FCP to Film using DI’s

[N3wy0rk In la]

So maybe no one is doing film projects using digital intermediate files (2K DPX/Cineon) on FCP here?

Hi-Def and 2K Online Finishing
Compositing, Motion Graphics
Hollywood, Ca

[Gary Adcock]

[N3w Y0rk in LA] “I am wondering if there are any tips on coloring DPX sequences and also does nesting affect frame sequence’s color in an FCP timeline”

nay number of us are using the 2K tools, but without info on what your trying to do or what tools we are using it is very hard to understand.

the first tip: not too many trust FCP’s color correction capabilities for a film out.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[N3wy0rk In la]

So tru as I asked the guys at Fotokem to help me on this and the guy I was talking to said he had never done a filmout from a mac w/FCP! So guys I guess i’ll make all the mistakes and try to fumble forwards with grace.

I am using FCP with a Kona 3 on a Mac Pro with 6gigs ram and my raid.. its a 4GigFibre from infortrend (was difficult to configure btw) but works flawlessly once set. I just bought some seats of fibrejet san software from commandsoft and (MAC HOLLYWOOD) shout-out to the guys there! and my plug-ins as of right now for color would be CGM.

I’m not sure if when using the AJA codec for 2048×1556 RGB 10Bit that there is enough colorspace but I looked at a film test I did yesterday (projected) and it looked ok … just ok granted this is an indy film project. The prior test looked milky but I made adjustments for the later test.

Hi-Def and 2K Online Finishing
Compositing, Motion Graphics
Hollywood, Ca

[Seawild]

what is your question?

[N3wy0rk In la]

ok well now that i’ve been thru 2 film out tests… The film house uses the term points regarding (i’m assuming) Fstops, is that an increment of a stop and if so how much or little is a point? I rendered out Linear Quicktime files this time but would like to use Cineon next time… How do I go about using a LUT? Also monitor calibration… how does one set up monitors for previewing Cineon files using LUT? Am I saying all this in the correct context?

Hi-Def and 2K Online Finishing
Compositing, Motion Graphics
Hollywood, Ca

[Gary Adcock]

[N3w Y0rk in LA] “So tru as I asked the guys at Fotokem to help me on this and the guy I was talking to said he had never done a filmout from a mac w/FCP! So guys I guess i’ll make all the mistakes and try to fumble forwards with grace. “

There is a filmout session at NAB once again this year and myself and Steve Beres from PlasterCity Post in LA cover the steps. Funny that FOTOKEM in LA has done a number of filmouts and they use Kona 3 cards also.

Filmouts have been done by a number of people with FCP including the current release “Zodiac”.

“I’m not sure if when using the AJA codec for 2048×1556 RGB 10Bit that there is enough colorspace but I looked at a film test I did yesterday (projected) and it looked ok … just ok granted this is an indy film project.”

what LUT space and how did you adjust for the LOG vs LIN in which version of the codec?
is your LUT space 1D or 3D?
is you content DPX or Tape?
how are you handling the monitoring?

in log space yes the footage should look flat, that’s what LUT’s are for.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[Gary Adcock]

[N3w Y0rk in LA] “The film house uses the term points regarding (i’m assuming) Fstops, is that an increment of a stop and if so how much or little is a point?”

those are “printer” points and are they are NOT talking f-stops
these points are measured in 1/8 stop increments

” I rendered out Linear Quicktime files this time but would like to use Cineon next time…”
video files need to be linear, film files are usually in Log space

“How do I go about using a LUT?”
Look Up Tables are used to modify the video without modifying the original underlying imagery think of it as an adjustment layer in Photoshop

there are 1D LUT controls in the Kona Control panel, Final Touch supports 3D LUTs and it has a conversion set up.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[N3wy0rk In la]

Ironic because my boss and I post supervised those “Zodiac” TV spots and trailers… I had no Idea the movie was filmedout from Macs… we used more hi end post eqip for the work but I was impressed with the style and texture of the film… I thought it was shot on HD tho… cant remember for sure. Anyway you ask:

what LUT space and how did you adjust for the LOG vs LIN in which version of the codec? I worked in Lin space.

is your LUT space 1D or 3D? I didnt use a LUT

is you content DPX or Tape? I recieved film scans in DPX files Linear

how are you handling the monitoring? good question lol well I have a panasonic BT-LH2600 for video and I bought a used Sony GDM FW 900 CRT for film. I need help needless to say since this is my first step into film not being on a Flame and having someone do all the background TD for me. So any help is appreciated and thank you thus far!

-N

Hi-Def and 2K Online Finishing
Compositing, Motion Graphics
Hollywood, Ca

[N3wy0rk In la]

So guys I did a final film out of this trailer… and I’m guessing I had a lot of good KHARMA on my side because it looked great compared to what images looked like that I recieved ( extremly grainy and no detail in the blacks) I supposed they were going for a certain look that I tried to stay with. I looked at the film out of the trailer this morning and to my suprise it was good… the color is ok for not knowing how changing parameters of the FCP filters will effect the film as opposed to what i’m seeing on the video monitor in final cut pro. So thanks for all the help and to be honest I still have a lot of questions regarding this workflo process… Take a look at the trailer when it comes out and tell me what you think.. The movie is called Delirious.

Hi-Def and 2K Online Finishing
Compositing, Motion Graphics
Hollywood, Ca