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FCP Workflow Conundrum
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I think it’s cool that SD ProRes Proxy is like 1.25MB/sec at 480/24P. 4GB/hour. That will make a lot of people happy.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
[Mark Raudonis] “If you know how to use Color, there’s no reason NOT to use it on every project (except maybe a quickie).”
Mark,
I agree with everything else you said in this thread, but not this one thing…
I’ve been doing a lot of work lately as a colorist on several very glossy compilation videos (behind the scenes DVD features and TV shows) that are very heavy on animated stills, and very heavy on animated layered graphics. I would truly love to use Color on these projects, but the fact is, it would take days to “bake in” all the graphic elements and substitute everything on the timeline, and the client certainly doesn’t want to go there for a whole host of reasons. If Apple could just do something to fix that one area of the workflow I think Color would be a no-brainer for me and for a lot more users.
David
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.
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Hey Mark, it seems my prayers have been answered in Color 1.5. The following is from the new “Product Overview”…
Seamless round-tripping with Final Cut Pro 7
You can now send most long, complex sequences—including scenes with still graphics, speed effects, multicam clips, and other advanced functions—directly to Color from Final Cut Pro, with no preparation required. Speed changes render faster when you send your graded sequence back to Final Cut Pro.David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.
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