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Reconforming to Apple ProRes 4444

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tom bailey
Reconforming to Apple ProRes 4444
on Jul 9, 2012 at 11:10:21 pm

Hi

I'm have been editing a project is that was shot on RED One- 4K, and transcoded to 422 HQ for the offline. I've since learnt we could have transcoded to Apple ProRes 4444 which is what I'm trying to do as an online codec. However I could not find this codec in FCP 6 and from what I could gather from reading online FCP 7 did have it.
So now I have access to a copy of FCP 7 but still cannot find the codec.

The original transcoding was a while ago and I'm a bit foggy on the workflow. Can anyone tell me where/ how to get this codec for FCP 6 or 7 and what the sequence settings are for this?


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Shane Ross
Re: Reconforming to Apple ProRes 4444
on Jul 9, 2012 at 11:21:47 pm

Did you INSTALL FCP 7? And are you USING FCP 7? That's the only way to get the codec...you need to be using FCP 7.

Shane
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Read my blog, Little Frog in High Def


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Michael Gissing
Re: Reconforming to Apple ProRes 4444
on Jul 9, 2012 at 11:43:52 pm

Also your workflow for the original r3d to ProRes conversion will determine how easy or difficult it will be to online in 4444. Note also that there is a bug in roundtripping to Color with 4444 and FCP.

A better workflow is to relink r3d files from the ProRes HQ offline edit in Color and grade the RED files in their raw format. This gives much more latitude and access to color temp & iso. Final render out could then be 4444 or HQ depending on final use and frame sizes.

Personally I find it is best to design an offline online workflow with RED that allows for relinking the r3d media. You can do this with FCP6 if you take the grade to a FCS3 suite with Color and the various RED plugins freely available from RED. Older version of Color like the version in FCP6 are not recommended. Probably the most important 'upgrade' feature from FCP6 to 7 was Color 1.5 .


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tom bailey
Re: Reconforming to Apple ProRes 4444
on Jul 10, 2012 at 10:59:19 am

Thanks for both your help.

I now managed to find prores 4444. I did/ do have FCP 7 installed and found the Red Final Cut Studio 3 installer.
I will speak about grading in r3d files to my grader. But for future reference, I had a couple of questions:

1. when updating the project from FCP 6-7 it says some speed settings have been changed- is there a report of what clips these are on anywhere and how drastic as they likely to be?

2. If I did want to re-transcode to 4444, I could make them offline, then how would I batch capture or reconform through log and transfer to re-encode them to 4444?
(seems a slightly stupid question, but just to keep me on the straight and narrow).

Thanks again


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tom bailey
Re: Reconforming to Apple ProRes 4444
on Jul 10, 2012 at 1:42:42 pm

Hi,

Just to be more specific about my previous problem.
Primarily I want to know if the alteration's to speed setting are anything to worry about and I can do anything about it?

- FCP speed settings had been changed moving the project between FCP 6 & 7
- i suspect I might have a similar problem going into colour. Especially as I remembered that it is advised to export clips with effects/filters on, as separate quick times and put them back in the sequence before going to colour. But if I do this I'll be stuck with those shots at 422.
But Ic an't get into FCP 7 to transcode it to 4444 without messing up speed settings. Right?


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Michael Gissing
Re: Reconforming to Apple ProRes 4444
on Jul 10, 2012 at 9:58:57 pm

The speed issues are unlikely to be a problem. FCP 7 changed the way it handled speed changes so it is probably just a reporting thing. Obviously check your program to make sure any speed changed shot looks right.

In preping for Color, you might want to put the shots with speed changes as normal speed full length at the end of the timeline and redo the speed changes after grading. Shots with other filters you leave the other filters in. Color ignores them and after sending back to FCP the filters are there. If you are relinking r3d's then those filter may not do the round trip and you might have to copy>paste attributes on those shots post grade.

Regarding reconform, I don't know what your workflow was. Unless you used Log & Transfer to do the original conversion and file names and reel naming has been matched against RED folder structure then you can't use L&T to reconform as 4444.

There are lots of resources on the RED site including recommended workflows for various NLEs. They also have free software like RED Cine X which many use to convert and conform but with all file based cameras there are specific workflows and practices that need to be followed and this is best planned before shooting as it goes back to how the location team arrange folders, timecode etc.


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