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Jay Cru
FCP workflow
on Dec 17, 2008 at 2:56:32 am

Hello,
I am new to the RED workflow, this is my first time doing it. a lot of how i got this far is from previous posts on this site. so thanks in advance.


I am using FCP 6.0.4 i also have the plug-ins for red final cut installed.. I uploaded my red files using log and transfer under the compressor "apple prores 422 (HQ). i am almost done with my edit. what is the best way to export to quicktime? (i want to take the quicktimes to after affects)

do i use crimson workflow?





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Jerry Hofmann
Re: FCP workflow
on Dec 17, 2008 at 11:07:42 pm

If you're finishing in ProRes for DVD or HD or even SD delivery... nothing to do special, you can make reference QT's if you're going to work in AE on the same machine... that's probably the easiest and quickest way, or you can make them self contained. Don't use QT conversion, use file/export/QT Movie... QT conversion will recompress the files and that's a no no.. other than that, there's nothing really special about your now ProRes files.

Jerry

Apple Certified Trainer

Author: "Jerry Hofmann on Final Cut Pro 4" Click here

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Jay Cru
Re: FCP workflow
on Dec 18, 2008 at 1:27:13 am

so once i do the file export quicktime, those quicktimes are ready to go, i dont need to re-capture the red "raw files" the .R3D files?




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Russell Lasson
Re: FCP workflow
on Dec 18, 2008 at 5:15:25 am

[Jay Cru] "i dont need to re-capture the red "raw files" the .R3D files? "

You don't have to do anything if you don't want. You can use the ProRes files you have to send to AE and you'll maintain great quality.

At the same time, there are ways of really maximizing the quality of the RED footage you have. There are a lot of different ways to go about it. First, I'd suggest reading the whitepaper that can be downloaded with the RED FCS2 Installer from RED's support website. If you want more quality options using a full debayer, then use a Crimson workflow or find a place that has a Scratch system.

Again, you don't have to do any more additional sets, but there are plenty of ways that you could.

-Russ




Russell Lasson
Ridgeline Digital Cinema Mastering
Universal Post
Salt Lake City, UT


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Uli Plank
Re: FCP workflow
on Dec 18, 2008 at 7:04:40 am

Unfortunately you'll have to expect some color shifts, since ProRes is YUV, while AE is calculating everything in RGB. The only codec to avoid this is Sheer from Bitjazz.

Apart from that it's OK to use ProRes if you did a first-light during ingest to FCP, but remember to work in 16 bit or more, or you'll loose quality (ProRes is 10 bit).

Regards,

Uli

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts


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Scott Roberts
Re: FCP workflow
on Dec 20, 2008 at 8:16:48 am

How much does 4:2:2 (ProRes) affect overal quality? How does this codec compare to, say, Animation?

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Russell Lasson
Re: FCP workflow
on Dec 20, 2008 at 3:32:53 pm

I'd probably say the difference is more mathematic than visual. Yes, animation is 4:4:4, but isn't it only 8-bit compared to 10-bit in ProRes? Plus, most people are going to finish in 4:2:2 anyways for broadcast or DVD. ProRes isn't the best codec in the world, but it's still an excellent option and RED footage compressed to ProRes still offers better flexibility than any other HD format.

-Russ

Russell Lasson
Ridgeline Digital Cinema Mastering
Universal Post
Salt Lake City, UT


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gary adcock
Re: FCP workflow
on Dec 20, 2008 at 5:27:28 pm

[Russell Lasson] "Yes, animation is 4:4:4, but isn't it only 8-bit compared to 10-bit in ProRes? "



Animation Codec is 4:4:4:4 @ 10 bit with Alpha and At 1920x1080 requires 200 MBps for playback

ProRes is 4:2:2:0 @ 10bit --- but does not support Alpha channels playback of 1920 x1080 is at 30 MBps.

Not all of the Adobe Apps Like prores, IMHO files from AE are better off staying as Animation codec all video content is fine with ProRes.






gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

Inside look at the IoHD
http://library.creativecow.net/articles/adcock_gary/AJAIOHD.php




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Russell Lasson
Re: FCP workflow
on Dec 20, 2008 at 5:41:46 pm

[gary adcock] "Animation Codec is 4:4:4:4 @ 10 bit with Alpha"

I pulled the 8-bit for animation stat off of http://codecs.onerivermedia.com/. That's why I though it was 8-bit. Other than that site, I can't find many other stats on the codec.

-Russ

Russell Lasson
Ridgeline Digital Cinema Mastering
Universal Post
Salt Lake City, UT


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gary adcock
Re: FCP workflow
on Dec 20, 2008 at 6:40:19 pm

[Russell Lasson] " pulled the 8-bit for animation stat off of http://codecs.onerivermedia.com/. That's why I though it was 8-bit."

OK
I was told by an animator that it was 10bit and never checked... shame on me.

more info is at.

http://kb.adobe.com/selfservice/viewContent.do?externalId=kb402250&sliceId=...


gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

Inside look at the IoHD
http://library.creativecow.net/articles/adcock_gary/AJAIOHD.php




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Scott Roberts
Re: FCP workflow
on Dec 29, 2008 at 9:53:48 am

Does the 10-bit vs. 8-bit difference affect gradient banding at all? Seems that when I create a vignette in AE I tend to get banding. Will going with a 10-bit codec address this issue?

Thanks!

Color Grading presets for After Effects, Premiere, etc., plus free presets and more.

LITTLE BLACK BIRD - PROFESSIONAL VISUAL EFFECTS

http://www.littleblackbird.com

http://www.myr3d.com


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Uli Plank
Re: FCP workflow
on Dec 30, 2008 at 8:32:16 am

Yes, it does.
Even 10 bit (linear) is not capable of preserving the full quality of RED's raw images, so one should do a one-light in RA/RR before conversion.

You should also keep in mind that Animation is RGB, and FCP will always reduce any RGB sources to 8 bit.

Regards,

Uli




Director of the Institute of Media Research (IMF) at Braunschweig University of Arts


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