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Color Correction Workflow

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Tony Corapi
Color Correction Workflow
on Jun 19, 2013 at 6:37:58 pm

Hello to all. Trying to understand metadata workflow. In particular in color correction. The scenario is this.
Shot a TV commercial with 2 Arri Alexa's. A camera and B camera. Both in HD Log-C ProRes 4444 Imported and created keyword and smart collections based on scene numbers. All great. I am editing about
seven 30 second TV commercials from this material. I am creating a sampler reel of all scenes color corrected for client to review and will be using some of the shots for the ads from sampler but not necessarily the exact in and out points. This is all fashion retail with a lot of handheld and long lens mixed together. So what I thought I do is have a project (sequence) for the sampler. Everything is tagged with favorites in the event browser for scene and the clips that make up the takes for that particular scene #.
I thought when the edit was locked I would go back to event browser and turn off the Log C Processing in settings view in the info tab to start color correcting the whole clip. This then turns it off the Log-C procsessing for the clip that exist in the sampler timeline because you can not turn it off by highlighting that clip in timeline. I then go back to event browser to the clip and control (right click) and do the open in timeline command and that clip loads in its own timeline and I do a basic color correction. When I go back to sampler timeline I thought the clip in the timeline would also be color corrected but it is not. I have to option Replace from start to put color corrected clip back in sampler timeline. Was I wrong in thinking if I color corrected clips in the event browser in the open timeline command that they would update in any project that was using that clip. Thanks in advance and is this a good workflow?


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Bill Davis
Re: Color Correction Workflow
on Jun 19, 2013 at 6:50:28 pm

[Tony Corapi] "Was I wrong in thinking if I color corrected clips in the event browser in the open timeline command that they would update in any project that was using that clip. Thanks in advance and is this a good workflow?"

The "flow" of metadata in X is largely downstream. From import to Event Browser (where user can add more). Then from EB to Storyline (where user can add more) to SHARE.

The only case where altered metadata is expressed back UPSTREAM is when you create compound clips in the Storyline. They reflect back to the Event Browser with the Storyline metadata intact.

As to your workflow, if t works for you, it's fine.

But I find Occam's Razor useful to keep in mind. The best solutions are those that have to make the fewest assumptions when starting out. So in X, it's often useful to look back at how you do things, and if you've ASSUMED that some stage is required for success, it's often useful to challenge that assumption.

Look for ways to remove steps when you can.

Do you NEED to use FAVORITES at the point where you do? Would there be gains to just using a custom keyword to bucket those clips earlier in your workflow and skip the PICK FAVORITES stage entirely?

(on-topic but self serving, the seminar I did for Movieola on Keywording might be interesting if you're just exploring this stuff. $2.99 to access at their website)

But one helpful thing might be to look at where you're doubling back in your workflow to work with assets you've already worked with. If you're doing that a good bit, ask yourself WHY and is there a more direct way.

Might not be. But then again their might!

Food for thought, anyway.



Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com - video editing curriculum complete with licensed practice content.


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Tony Corapi
Re: Color Correction Workflow
on Jun 19, 2013 at 7:01:32 pm

I guess this is where I don't quite follow. When I am in the EB and I open a clip in the open timeline command and color correct is that not the most downstream? It changes in the EB why does it not reflect in the project that is using that range from the EB? Thanks again!


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Oliver Peters
Re: Color Correction Workflow
on Jun 19, 2013 at 7:23:00 pm

The way it currently works with Alexa files (FCP X 10.0.8) is to use the Log Processing toggle. Map this to your settings view by using the "edit metadata" function. When Log Processing is checked, you have a LogC-to-Rec709 conversion LUT applied. When it is unchecked you see the uncorrected LogC profile.

It appears to be interactive with the timeline clip. Meaning that if I enable Log Processing for the clip and edit that to the Project timeline, a LUT is applied to the clip in the timeline. If I uncheck that button in either location, then that setting is applied to the other. Uncheck it in the Event Browser and the clip in the Project is LogC again. Uncheck it for the clip in the Project timeline and that clip in the Event Browser appears LogC.

- Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com


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Bill Davis
Re: Color Correction Workflow
on Jun 19, 2013 at 7:25:14 pm

I notice this a lot in questions. It seems to me that depending on how a person "learns" X, it's pretty easy to see some of it''s unique features as standard alternate workflows - when I think the designers intended them more as "convenience" features to handle specific situations.

"Open in Timeline" isn't simply an alternate way to open timelines you've created in the Storyline index. It's essentially a separate workspace attached to the Event Browser that lets you apply changes to an EB clip and preserve them in the event browser for use in other Storylines.

Maybe think of Open in Timeline as a railroad siding rather than as a stop on the main metadata flow track?

Open in Timeline space is attached (in and out) to the EB, but it's only attached to your storylines via the EB. It's NOT directly piped into Storylines or your Project Library

So it makes sense that Metadata will not flow from Open in Timeline directly to the EB, you have to go back through the EB to get that metadata into your Projects.

Hope that helps.

Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com - video editing curriculum complete with licensed practice content.


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Dave Brandt
Re: Color Correction Workflow
on Jun 19, 2013 at 7:31:44 pm

I was having trouble figuring out the same thing.
Now I understand the flow.

Thanks bill for your detailed clarification.

Dave

http://www.SolidMedia.ie

Macbook Pro 17" i7 2.2 8GB
PC i7 32GB Self Build
FCP 7 FCPX Adobe CS6 Vegas 12 Nuendo 4


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Bill Davis
Re: Color Correction Workflow
on Jun 19, 2013 at 10:46:44 pm

The props go to Phil Hodgetts & Greg Clark. They're the guys who clarified a whole lot of my thinking about metadata flow in FCP-X back right after it was released. Without that foundation, I'd be floundering a lot more.

Anything I get wrong, it's me. What I get right, it's largely because they helped me originally get my brain wrapped around it properly. I'm more than happy to try to pass along the favor.

Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com - video editing curriculum complete with licensed practice content.


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Tony Corapi
Re: Color Correction Workflow
on Jun 19, 2013 at 10:07:16 pm

[Oliver Peters] "It appears to be interactive with the timeline clip. Meaning that if I enable Log Processing for the clip and edit that to the Project timeline, a LUT is applied to the clip in the timeline. If I uncheck that button in either location, then that setting is applied to the other. Uncheck it in the Event Browser and the clip in the Project is LogC again. Uncheck it for the clip in the Project timeline and that clip in the Event Browser appears LogC."

Thanks all for your responses and help! Yes Oliver I understand what you are saying so why if I also color correct that same clip that I turned off the Log C processing in the EB, if I color correct in the EB (by using the open in timeline command) does that not also effect the clip that is in the timeline? Thanks again.


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Oliver Peters
Re: Color Correction Workflow
on Jun 20, 2013 at 1:26:22 am

[Tony Corapi] "so why if I also color correct that same clip that I turned off the Log C processing in the EB, if I color correct in the EB (by using the open in timeline command) does that not also effect the clip that is in the timeline?"

The Log Processing toggle is dependent on ARRI's metadata that is actually embedded into the QuickTime file recorded by the camera. It only works when this metadata flag is present and based on that, alters the color profile that FCP X uses to display the image (part of Color Sync). In other words, it's not a post effect, but rather a flag to tell FCP X how to interpret the file, based on ARRI's curve. The same toggle is not available if you have media from an F3 or a C300. Also not with Alexa files shot with early firmware cameras.

This is different than when you apply an effect, like color correction via the Color Board, which is being applied downstream of the media entering the system. It's simply that these are two separate processes, which are employed at different stages within the system and are not directly related to each other.

When you edit a clip to a Project timeline, you are in essence creating an independent instance of that clip. Therefore, anything done to the original clip in the Event Browser does not change the instance of that clip on a Project timeline. Think of audio, as an example. When you edit the clip to the timeline, you can alter the clip level in the Project or in the Event and neither change alters the other instance of that.

The simple explanation of "open in timeline" is that this is exactly the same as applying source side effects in FCP "legacy". In the FCP 7, for instance, you could click the filter tab on the source viewer and apply an effect, which then stayed with that clip. If you edited the clip (containing this source side effect) to the sequence, the filter would be carried over, as well. However, if you altered the filter settings again in the master clip - or the clip edited into the sequence - both changes were independent of each other. FCP X's "open in timeline" is simply a much more sophisticated version of the same thing.

- Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com


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Tony Corapi
Re: Color Correction Workflow
on Jun 20, 2013 at 3:24:26 am

Thanks Oliver and Bill . Appreciate the info. A much better understanding. I guess I thought the metadata carried through and the clips in a timeline were not independent of the Event Browser. Thanks again.


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