2k Cineons in FCP6

[Sean Oneil]

[Liam El Terrible] “My main problem though, is FCP6 capable of exporting 2k cineon/dpx sequences?”

Yes.

[Gary Adcock]

[Liam El Terrible] “My main problem though, is FCP6 capable of exporting 2k cineon/dpx sequences?”

yes, given the proper storage needs and a suitable video card.

Gluetools / Kona 3 is what I work with, but stick to DPX files, the industry is moving away from Cineon as a format for post.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[Bob Roberts]

Along those lines…

What are you using to do effects and transitions?

I’m considering using Shake or After Effects, doing the effects, then bringing them back into the FCP timeline as a DPX series for each shot before exporting to Color. Does that make sense?

Thanks in advance.

[Liam Stephens]

As usual we will be doing them in AE, well the 2D stuff wire removal, touch ups etc. I was thinking we would do the flops and resizes in FCP

[Gary Adcock]

[Bob Roberts] “What are you using to do effects and transitions?”

AE and Smoke
and I can render on multiple machines in AE.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[Mike Most — account bouncing, bad address]

The feasibility of the idea largely hinges on what you’re planning to monitor this on, how you plan to calibrate the color workflow, and whether you have a qualified colorist, editor, and producer around who know what needs to be delivered, in what format, and to whom.

[Liam Stephens]

Monitoring on a Sony HR (Any better suggestions) through a Kona3
We will be getting a qualified Colorist in…
Editor, Check!
Post Supervisor, Check!
Producer??? What does a producer do in post again? :p

[Gary Adcock]

[Liam El Terrible] “Producer??? What does a producer do in post again?”

get coffee

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[Mike Most — account bouncing, bad address]

Personally, I think you’re looking for the wrong place to try and save money. You’ve already said that you’re shooting 35mm film, you’re scanning in 2K, and obviously you’re recording out on some kind of film recorder, most likely a laser recorder (or are you just delivering HD video? You haven’t really said…..). Monitoring on an HD monitor is OK, but if you’re working from film scans, you really should be grading this on a large screen in a theater environment with proper color calibration for film output – because if you don’t, you’re just not getting an accurate preview of what the resulting print is going to be. If you want to conform the picture yourself, fine. But color correction – if it’s done properly for digital intermedate work – should be done in a proper environment with accurate viewing conditions for the delivery target. If you were doing a no-budget production with a $3000 camera, I could see the attraction of do it yourself finishing. But if you shot what you say you shot, this wasn’t a no-budget production, and post production shouldn’t be treated as such.

But that’s just the way I see it….

[Liam Stephens]

i would be delivering reels of cineon/dpx sequences. Thats why i asked originally if FCP6 was capable of this.

Doing color correction thru a HD monitor would i think suffice with maybe a 2-3 day color grade check/adjust done in an actual lab as opposed to 5-10days of color grade in a lab. The lab i actually spoke to recommended getting shots in a scene even before bringing it to them as it saves time. Seriously saving $30-50000 for a neglible image difference is always worth it. That money could definitely be spent elsewhere.

What i amreally doing is testing the waters. The smart thing would be to shoot digitally but if they want to shoot 35mm i dont have a say. Just trying to provide answers.

thanks for all your help guys i appreciate it..