Baselight for FCP

[Jim Giberti]

I’ve just never like the “integration” with FCP and Color. It was always cobbled and kludgy to me.
I find realtime, in the program, grading to be a huge asset…one of the best things about FCPX, especially with Magic Bullet installed.

[Frank Gothmann]

[Michael Gissing] “I would still use Color, if only to use the Tangent Wave controller and to have grades render whilst FCP is still active. Grading with a mouse sucks.”

There’s Eucon support so you could use Avid’s control surfaces for grading. (No Eucon in X btw). Would be nice to see that as a plug for MC or PP6.
Yep, it’s sad. I hope they’ll recoup some of the money when the version for Nuke comes out.

[Michael Gissing]

Jim, I have Colorista2 in FCP but still prefer to send to Color because it is so much faster and more powerful. Once the grade is done, I just back into FCP to tidy up graphics and titles whilst the grade renders when onlining, so I take advantage of the round tripping to work during renders, something that is lost when using on board grade tools.

[Jim Giberti]

[Michael Gissing] “Jim, I have Colorista2 in FCP but still prefer to send to Color because it is so much faster and more powerful. Once the grade is done, I just back into FCP to tidy up graphics and titles whilst the grade renders when onlining, so I take advantage of the round tripping to work during renders, something that is lost when using on board grade tools.”

Were you a “node/tree” based editor before Color Michael?
It’s probably because I just never warmed to the interface.

[Shane Ross]

Baselight works INSIDE FCP…supports a control surface (MC Artist Color), and allows you to use whatever IO card you happen to have. Resolve requires very specific graphics card, and a Decklink card. Sorry, I like my Kona 3 too much. VERY solid with FCP, Avid MC…and possible better future with Adobe CS6.

Shane
Little Frog Post
Read my blog, Little Frog in High Def

[Michael Gissing]

“Were you a “node/tree” based editor before Color Michael?
It’s probably because I just never warmed to the interface.”

No which is why I my head hurts a bit with da Vinci but I am pushing on regardless. I started grading with Rank Mk2 telecines so I learned with real time joy sticks so hardware control is fast and intuitive for me. I used to grade film, live to air, back in the mid 1970s.

I also do sound post which is very much track oriented hence my lukewarm attitude to the magnetic timeline.

[Michael Gissing]

Hey Shane, I have discovered that I can run the Kona3 with FCP7 and a Decklink Intensity with da Vinci on the one Mac Pro machine. da Vinci recognises it and installs all the codecs and card support so I didn’t install the Decklink drivers on the Mac. It just works for monitoring da Vinci.

Eventually I will build a WIN7 screamer for da Vinci but sorting out my training and using the Tangent wave whilst still having FCP7 and Color working is handy.

[Lance Bachelder]

Lol! Oh and Walter being excited… double LOL!

Lance Bachelder
Writer, Editor, Director
Irvine, California

[Jeremy Garchow]

I think one of the big takeaways from this is that the full version of baselight can send sequences back to fcp7 and render in their entirety, even though the plug doesn’t have all the features of the full kit all via XML.

This represents a highly collaborative workflow and if you work with baselight graders, and still use fcp7, $999 will save you money in messenger/FedEx/hardrive fees alone.

It also allows establishing primary/suggested looks to be handed off to baselight graders.

This, to me, represents awesome ideas and a new spin on when, where, and how colorists and editors can collaborate. Hopefully these ideas won’t go to waste.

[Jim Giberti]

[Michael Gissing] “I also do sound post which is very much track oriented hence my lukewarm attitude to the magnetic timeline.
“

Yeah, I’m a music producer as well hence my discussion about tracks and mixers.