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edit alexa prores4444 in fcp without destroying bit depth and color?
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You are confusing me now. First, you can’t use Prores, but now you are stuck using ProRes.
I would send to Color/Resolve just what is needed and render something that resolve will like. No reason to do all the media, just want you need. You continue editing in Prores. The only UC stuff will be what VFX needs.
Am I missing something again?
Bummer about the ATI situation. You could use Resolve in a similar way.
Jeremy
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[Adam Berk] “What is UC?”
Sorry. Uncompressed. Much easier to type UC on an iPhone. 😉
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Sorry if I’ve confused you.
My goal is to pull selects from the PR4444 media without decompressing, then decompress only those selects. Simple as that. We are not stuck using any one tool, though it is much easier to give this task to an assistant to perform in FCP in the machine room than it is to have to involve multiple systems in rooms that are booked (resolve, flame, etc). The goal here is to have the uncompressed selects sitting on the SAN monday morning for me to start ingesting into flame.
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Got ya. That’s what I thought you were trying to do.
Not sure about the complexities of your bookings, but an ATI card and Color would plow through this.
Since that doesn’t seem to be an option, can you get Resolve on the assistant machine assuming you have the Mac version?
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Can probably just issue a shake terminal command to file-out the FCP edited PR4444 file as DPX as well. Then chop it up with the EDL once it’s in flame. No need to involve the Resolve at all in that case.
It will be interesting to see if FCP X will fix any of these age old quality issues that have plagued FCP and quicktime since the beginning.
Anyways. Thanks so much again to everyone for their responses and input on the weekend.
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Of Shake is alright with 12bit Prores. I have no idea.
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Just thinking out loud here, but /if/ Shake can handle the conversion, could you use Media Manager to export a folder of trimmed selects from your timeline? Then you avoid the FCP re-export. Then you can run the Shake script on the folder of trimmed quicktimes.
Of course, maybe there are some “gotchas” that I’m not thinking about…
Matt Lyon
Editor
Toronto -
[Adam Berk] “It will be interesting to see if FCP X will fix any of these age old quality issues that have plagued FCP and quicktime since the beginning.”
Presumably, since it’s based on neither. Apple mentioned at the Supermeet event that it processes in a linear float color space.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read What is FCP X’s relationship to iMovie? on our blog.
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[Adam Berk] “Can probably just issue a shake terminal command to file-out the FCP edited PR4444 file as DPX as well. “
FC has a “Send to SHAKE” function that, although with certain limitations, transfers to SHAKE your sequence.Be careful with the SHAKE version.
SHAKE 4.1 has a bug and can’t export to more than 8b.
You need SHAKE 4.1.1
rafael -
Hello, we bought an Alexa and we edit with final cut pro using Prores 444, when we finish the edit I export to xml (Don´t Export because finalcut will recompress your data using it’s quicktime conversion). I use After Effects, set the project to 16 bits and export the xml to DPX. Now I can use it with Smoke, Flame or Lustre.
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