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Color space in FCP

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Eyad Hamam
Color space in FCP
on Nov 2, 2009 at 4:35:48 pm

Hello,

This is my first time working with redcode.
The work-flow I'm following is conversion of the 4k r3d files to 720p 24fps ProresSQ using RedAlert.

However there seems to be a color shift happening. Is this normal? Are there any workarounds? I'm monitoring using a blackmagic multibridge pro which allows me to import lookup tables. Can these be of any use?

thnx,
eyad


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Noah Kadner
Re: Color space in FCP
on Nov 4, 2009 at 8:06:51 pm

Well that depends- which color and gamma space did you shoot at and which are you using for the color conversion out of RED Alert! That completely determines how things will look. Also if it's footage shot with Build 20 or higher, not all applications support the new version of the color science. More specifics please. :)

Noah

Check out my book: RED: The Ultimate Guide to Using the Revolutionary Camera! Unlock the secrets of 24p, HD and Final Cut Studio.
Call Box Training now featuring the Sony EX1 Guidebook, Panasonic HVX200, Canon EOS 5D Mark II, Canon 7D, and Panasonic DVX100.


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Eyad Hamam
Re: Color space in FCP
on Nov 5, 2009 at 7:32:20 am

hi Noah, thanx for the response. Quite honestly I have no idea about how to answer your questions. This project sort of just dropped on me and I'm filling a gap.

I just want to make sure of one thing:

I've converted all the footage to Prores.... when the edit is done and they reconnect to the master r3d files in a post house in Holland (who I'm guessing will know about the color space issues and so on), can there be any issues in terms of color, or will the master files override the prores conversion?

(does this question even make sense!!!)
thanx

regards

eyad hamam
http://www.eyadhh.com


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Noah Kadner
Re: Color space in FCP
on Nov 5, 2009 at 2:50:04 pm

I'd suggest you don't punt those decisions to the colorist because when you convert to ProRes you're baking in a specific gamma or color space. That look cannot be easily pulled out especially if you've picked the wrong ones. If the colorist will be going back to the R3D files, they can choose the settings again but by then the director will have already gotten used to the way things look on your ProRes files- which takes away from the original intent of the cinematography. Best to discuss with the DP to determine which settings they used on the camera and match those on your conversions- i.e. was it shot REDspace, REC709, etc.

(Not to toss out a totally shameless plug but the book I mention in my signature was designed for exactly this situation- where an editor gets a RED project without a lot of warning.)

Noah

Check out my book: RED: The Ultimate Guide to Using the Revolutionary Camera! Unlock the secrets of 24p, HD and Final Cut Studio.
Call Box Training now featuring the Sony EX1 Guidebook, Panasonic HVX200, Canon EOS 5D Mark II, Canon 7D, and Panasonic DVX100.


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