Need some information /suggestions for 4K edit

Apple Final Cut Pro

Need some information /suggestions for 4K edit

Posted by Sachin Desai on June 11, 2015 at 5:45 am

Hello!

I’ve a client who is shooting on Red Dragon on 5K. It will be 2:30 Hrs long video finally.

My job is to edit, color correct and delivery would be DCP & DPX in 2K (CinemaScope cropped)2048 × 858 2.39:1.

Hardly any plugins will be used in the project as the effects would be done on another system and I’ll use rendered files and I’m planning to use color finale for color grading in the project.

I don’t want to invest much, I’ve a MacPro Cylinder-the base model with 16gig RAM, D300 and 4TB Thunderbolt G-Tech Drive.

what other things I should consider for this project ? and what should be the workflow for this, i searched on it but couldn’t figured out the proper way as there is lots of information.

and what about RedCine x

Thanks.
Sachin Desai

Sachin Desai

Sachin Desai replied 10 years, 10 months ago 4 Members · 11 Replies
11 Replies

Oliver Peters
June 11, 2015 at 3:29 pm

Prep edit files in DaVinci Resolve Lite. Create editing proxies In Resolve and edit in FCP X. Send back to Resolve for grading and mastering. You can create DCPs from inside Resolve, but I believe you’ll need to buy a license. Better to send a master to a company that specializes in DCP creation.

Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
Sachin Desai
June 11, 2015 at 4:13 pm

Thanks for the reply,

I wanted to complete the project in FCPX if that works fine and someone has done that.

I kind of like color finale for color correction and grading.

I think the only problem would be dpx output from fcpx..

thanks though

sachin

Sachin Desai
Oliver Peters
June 11, 2015 at 4:22 pm

There’s no problem in doing the whole job in X. If so, I would recommend the FCP X proxy workflow. Color Finale is a great tool, but using any plug-in to grade a whole film can be very tedious. Although I’ve done it in Legacy before, so it’s certainly do-able.

As far as DCP, simply export a master file from FCP X and then take that somewhere to get the DCP made. If you have a current version of Adobe Media Encoder, you can also create a DCP with that, although I believe it is limited to HD and stereo audio.

Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
Oliver Peters
June 11, 2015 at 4:24 pm

PS – remember that to grade the film, you have to switch back to the original/optimized setting. This way you can tweak the RED raw settings in the metadata pane before you start applying color correction changes using Color Finale.

Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
Craig Alan
June 14, 2015 at 5:59 pm

Oliver, what are the minimum requirements for this workflow in terms of a Mac.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
Oliver Peters
June 14, 2015 at 6:13 pm

[Craig Alan] “Oliver, what are the minimum requirements for this workflow in terms of a Mac.”

I don’t know the minimum, but most of my RED work to date has been with older (around 2008-10) Mac Pro towers – usually 4 or 8 core. Decent video cards, but nothing hot-rodded. The faster the drives the better. For heavy lifting, then an 8-bay eSATA array (connected as mini-SAS). I’ve run 4K natively through my Retina 15″ MBP, but I haven’t really put it through its paces on a full-blown 4K project. Since I’m suggesting editing with the proxy files, the edit demand are really quite light.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
Craig Alan
June 14, 2015 at 8:26 pm

So I shouldn’t get too concerned if my

or 2012 Imacs (don’t have specs in from of me but put in a plenty of ram and upgraded to i7 CPU) with pegasus thunderbolt raids

could handle short form 4k (ursa) footage in FCP X?

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
Oliver Peters
June 14, 2015 at 8:53 pm

Should be fine. The MP is pretty close to mine.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
David Battistella
June 15, 2015 at 9:55 pm

I’ve done several projects with this workflow on an older macpro with no problems.

Open and one light all the clips in Redcine X. Make sure you put the clips in a bin and then do a quick pass on the color or set all the clips to the same ISO and color balance.

Import the clips into FCP x and transcode the media to proxy. Step one ensure your one lighthouse correction will be rendered with the proxy file.

Edit in proxy mode and even color if you like.

When you lock the picture you can flip to optimized/ better quality and render out a Prores 4444 master.

Use a house that has dcp authoring software to convert your master and view it in xyz color space. Many will give decent breaks to Indy films.

Not sure what you are doing about an audio mix, but you will most likely need X2pro to export an AAF file that can be opened in protocols or logic.

Good luck with the project

______________________________

https://www.bottegabattistella.com/blog/
Craig Alan
June 16, 2015 at 12:50 am

Thanks,

what about the iMac:

(advantage being it will work with our thunderbolt drives)

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

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