2k Cineons in FCP6

[Frank Wylie]

Sorry to butt in, but…

Mike, can you make specific equipment suggestions to create that environment or are you suggesting to stick to a lab?

I’d love to hear any low budget projection suggestions for a “mini theater” suite.

[Mike Most — account bouncing, bad address]

No, I really can’t. A theater environment, set up properly for film color correction, cannot be done correctly using “cheap” equipment. A “low budget solution” is not practical if you are doing professional film work, especially if you are planning to deliver files that can be used for digital cinema. Some equipment is cheaper than other equipment, and you don’t necessarily have to use a full 3 chip digital cinema projector, but you really need to know what you’re doing regarding color calibration, film preview lookup tables, and proper light levels, as well as proper environment.

You still get what you pay for. Professionalism still has value. Just because you can do something doesn’t mean you should.

[Mike Most — account bouncing, bad address]

That actually sounds somewhat reasonable. Whether the difference is negligable or not really depends on how good your colorist (the one prior to going into a DI theater) is, and whether your monitor calibration is accurate.

It also depends on how long you have to turn this around, and what your level of responsibility is for the final product.

[Frank Wylie]

Ok, well I thought that was where you were going; can’t say as I agree, but I can understand and appreciate your opinion on the subject.

For the record, I think you can do quality work with less than totally top-end equipment, but like you say, NOT without comprehensive understanding of the workflow and pipeline.

Not looking for an argument here, just thought you might have a few tips for low budget DI work.

Again, there is a LOT to be said for sticking to professional lab environments, but provided you are knowledgeable enough and understanding of the limitations of the equipment you work with, you can probably come up with a relatively inexpensive system for DI work that allows you to do the job.

Frank

[Pixel Bulley]

hi liam,

i am a vfx editor working or at least trying to streamline a digital workflow for a TV show. i am using FCP6 with glue tools (which i just purchased…i had to get the fellow that runs the company to update the code to allow it to read 10bit yuv files) a kona 3 car on a macpro, captured 4:2:2 from a sony crw 5500 hdcam sr deck. i have not tried to export dpx files yet from FCP yet, however i tried to export through quicktime which uses the same gluetools plugin and the images differ slightly from the original capture (gamma is affected?). i have been using color to render out sequences for artist as cineon and DPX however AE is unable to read the dpx files, and there is a color/gamma alteration in the cineon files. i have done a few tests but nothing that has resolved. has anyone hear of a similar problem exporting from color? Color seems also a little simple in its preferences as well…any hints from anyone?

[Frank Wylie]

Have you ever looked at the file headers to see how they are being changed?

What is the error code or message that is being displayed in AE?

Wasn’t color stripped out of Shake?

Wonder if it is a big-endian mixed with little-endian problem?