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Finishing RED 4K Project With Final Cut
I am Assistant Editing for a project shot on the RED at 4K resolution.
Our workflow has been to offline edit with ProRes LT, re-transcode up to the R3D using ProRes 4444, grade in Color, and then output.
However, there are effects shots and a final sound mix that will need to be incorporated into our 4K output from Color. It would be simple if I could just send the Color sequence back to Final Cut, where I could finish the project, but Final Cut can’t output 4K video.
This seems like a very usual problem, but can’t find much support on the topic. What is usually done here?
Thanks!
Conor
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13 Replies
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There are editing tools in Color, so seems to me you could cut in what you need there. It’s cuts only.
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski. My Blog: https://blogs.creativecow.net/Jerry-Hofmann
Current DVD:
https://store.creativecow.net/p/81/jerry_hofmanns_final_cut_system_setup8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX – Cinema Displays I have a 22″ that I paid 4k for still working. G4 with Kona SD card, and SCSI card.
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Okay, sounds like I could perhaps splice back in FX shots, but having audio tracks with the video is still impossible.
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Well, you could edit these elements in your offline edit, then reconnect to the high res versions in Color? Exporting your audio then from FCP…
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski. My Blog: https://blogs.creativecow.net/Jerry-Hofmann
Current DVD:
https://store.creativecow.net/p/81/jerry_hofmanns_final_cut_system_setup8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX – Cinema Displays I have a 22″ that I paid 4k for still working. G4 with Kona SD card, and SCSI card.
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Okay, but that leaves me with separate video and audio. How can I bring them together?
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What is your final delivery format to be? a film print? or?
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski. My Blog: https://blogs.creativecow.net/Jerry-Hofmann
Current DVD:
https://store.creativecow.net/p/81/jerry_hofmanns_final_cut_system_setup8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX – Cinema Displays I have a 22″ that I paid 4k for still working. G4 with Kona SD card, and SCSI card.
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I’m thinking we will be putting it onto HDCAM, a full res Quicktime movie, and on a Blu-Ray (as a movie).
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Then there’s little reason to render out at other than 1080 HD… so when you send back to FCP it will open there.
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski. My Blog: https://blogs.creativecow.net/Jerry-Hofmann
Current DVD:
https://store.creativecow.net/p/81/jerry_hofmanns_final_cut_system_setup8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX – Cinema Displays I have a 22″ that I paid 4k for still working. G4 with Kona SD card, and SCSI card.
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haha. Yes, I suppose you are right about that.
Are you saying then that the only real circumstance to deliver a 4K image is with a film out? It seems strange to me that, for archival reasons, one couldn’t have a full 4K movie file with contained audio.
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Well, FCP X promises to get this going…
That said, the 4k raw files have more latitude in grading than say, ProRes 4:2:2 files would. So still might make sense to correct using them. But if the corrections are more or less minor, there’s really no need to go the 4k files because the end result will be the same.
Even film prints have been known to come from 2k intermediary files.
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski. My Blog: https://blogs.creativecow.net/Jerry-Hofmann
Current DVD:
https://store.creativecow.net/p/81/jerry_hofmanns_final_cut_system_setup8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX – Cinema Displays I have a 22″ that I paid 4k for still working. G4 with Kona SD card, and SCSI card.
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Wait, are you saying that if I grade at 4K ProRes 4444, but end up bouncing it back to Final Cut for a 2K output I will be losing my latitude in my prior color correction?
Is the only way to take advantage of the extra latitude (and keep it) is by outputting directly from Color?
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