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How to reconform to original R3D’s after working with ProRes422 proxies
Hi,
I just completed my edit in FCP using ProRes 422 Proxies that I created in redcine, then dragged and dropped into FCP. I synched the sound, created the edit and now I can’t figure out how to export an EDL and then recreate the edit using the native R3D files (that are presumable wrapped in a quicktime wrapper when ingested into FCP). I can’t even export an EDL from my sequence because it says something about timecode not being there for some of the clips.
Please help. I just want to be able to recreate the edit with native RED files so that I can deliver this as a .dpx or uncompressed quicktime to my coloring house.
Thanks!
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17 Replies
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michael, you dont need to assemble the native R3D files by yourself. You should generate an EDL and send the native R3D footage along with EDL to the colorist. He will confirm the R3d files according to your EDL.
If you have any time code issues then look for the clips where this problem is coming. -
They asked me to give them an uncompressed quicktime file not the original footage… I’ll ask them and see if I can just send the footage and an edl… they might charge me more to do the reconform though.
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Yeah they are cutting me a deal and said they would charge more money to do the reconform. Can anyone give me instructions on how to do this? It would be greatly appreciated!
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Interesting… they’re not using the R3D’s, which means they’ll be using camera look or your grade -if you graded them… So they’re using a “baked” DPX, which makes no sense if they’re using a non-linear color corrector (ie. Resolve, Lustre, Scratch, etc.), which would be cake. Now, if they’re going old-school thru a Davinci 2K or something, then it makes more sense as they’re probably feeding it with a Clipster or something of the like. If so, they better be giving you a killer deal!
Alright sorry, had to analyze the situation ’cause it’s perplexing man ;o) OK, so you can conform w/an XML easly in Storm. DL it and you’ll have 15 days to try it out w/no limitation. I love it and it’s worth the 400 bucks. Storm will put your piece back together w/little effort and you can export whatever you want. Spit out DPX’s and line up the QT in the queue and your good to go. You can also use REDCINE-X, but it’s a little more cumbersome.
Good luck,
Ben Rojas
Editor|Artist|Dir. of Post Production
KSC KREATE
3850 N 28th Ter. Ste. 101
Hollywood, FL. 33020
P. 954.326.7600
F. 954.326.7766
C. 305.301.2771
E. ben.rojas@ksckreate.com
http://www.ksckreate.com -
Okay so Company 3 is the post house doing the coloring… we’re only paying $700 for a 9 minute short, don’t really know if that is a good deal or not, it’s my first time doing any of this so I guess I’ll find out sooner or later. I think they are using resolve, but I’m not completely sure…
Thanks for the advice I will try it out!
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Okay so I’m trying to reconform using STORM but now when I try to import my xml from final cut, I get the following error message:
“Error setting timeline timebase in clip ‘….’ ”
Anyone know how to trouble shoot?
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What was the original footage acquired at; 23.976, 24, 29.97, 30? If you edited in 29.97 and acquired at 23.976, you may run into an issue. I’m sure with some tinkering you can resolve it in Storm, but you can just do back to FCP, create a new sequence at the correct frame rate, copy and paste into that one and re-export the EDL.
Ben Rojas
Editor|Artist|Dir. of Post Production
KSC KREATE
3850 N 28th Ter. Ste. 101
Hollywood, FL. 33020
P. 954.326.7600
F. 954.326.7766
C. 305.301.2771
E. ben.rojas@ksckreate.com
http://www.ksckreate.com -
Alright, so I got it to work by deleting all the audio in my final cut timeline, then exporting XML file, but now I am having a problem with reconnecting any media where I used a speed change… does that mean I should undo all those changes, then export the xml into STORM, then reconnect all media? I’ll just have to keep track of the speed changes I used so I can make them again when I get back the color corrected footage?
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Now you are venturing into uncharted territory my friend as I have not had to deal w/speed changes in Storm. Normally I send a clean XML to Storm so I can tweak any prior grading that was done. When I’m done, all I need is the metadata (.RMD) as I then conform that same XML in Smoke to finish w/the R3D’s. If I needed to re-grade a clip w/speed adjustments, I’d just grade that clip, re-export the ProRes Proxy and replace the file in FCP. None of this helps your situation as you need finals out of Storm. It’s a shame that “Resolve Lite” isn’t out yet because you may be able to conform the thing yourself and just hand them the Resolve project ready to go! What’s your time frame like? Resolve Lite, which will be free, comes out this month.
Ben Rojas
Editor|Artist|Dir. of Post Production
KSC KREATE
3850 N 28th Ter. Ste. 101
Hollywood, FL. 33020
P. 954.326.7600
F. 954.326.7766
C. 305.301.2771
E. ben.rojas@ksckreate.com
http://www.ksckreate.com -
So taking out all the speed changes worked. Got it working and ready to go, but now I’m worried about why the colorist wants an uncompressed quicktime. Like you said originally, it doesn’t make any sense. Especially for a high end post facility like Company 3. Doesn’t it mean that they wont be able to manipulate the original RED data since it will be baked into the quicktime? Or does it not matter?
Thanks so much for your help and the recommendation of STORM. What a fantastic program!
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