RAW-FCP-AE workflow questions

[Please_do_not_use_all_caps_for_your_name_or_when_posting]

thanks, but Not sure if this would work in my case, I really need to be able to finesse the edit and working with raw files in AE this would be difficult… If my animation was spot on then I think going directly into AE would solve all issues but Ive got to add frames here and take away frames there mess with the speed etc… all of which I really need to do while watching a reeltime playback which again would be difficult in AE, correct? or is there something Im missing.

Is there an easy way to designate proxy files in FCP? I know some file formats automatically do this but not Still images. I looked for an easy means of replacing the low res with high res files after I was done with the edit but there just doesnt seem to be a native means of doing this…or again maybe im missing something

thanks for your response

[Gary Adcock]

You need to look into the standard production for still frames in video production.

you will need to understand that camera RAW files are different than other formats and that a conversion must be done to achieve success with this kind of workflow.

ever though about trying to understand the use of a proxy file or that they can be made in the QT player?

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Inside look at the IoHD

[Please_do_not_use_all_caps_for_your_name_or_when_posting]

thanks for the “advice” gary
I do understand RAW format and that a conversion needs to take place for FCP as it does not support raw format but AE does support it which is why I am asking about the workflow. I did not know that quicktime supports raw format and can make proxy files from a raw format still which is what I understood the comment “ever though about trying to understand the use of a proxy file or that they can be made in the QT player?” to mean underneath the condescending tone. Yes gary I have thought about trying to understand how this all works, which Is why I post questions. To learn from people who do know.

[Mike Schrengohst]

Here is what I would do (And I did something similiar dealing with RED footage)
Take your RAW files into AE. Encode to the size of your project (1920×1080 for 1080p or
1280×720 for 720p) I assume the project is HD?
So, encode a QuickTime 10 bit Uncompressed file from your stills.
Take that file into FCP and put a time-code reader effect on it.
Make proxy files into the flavor you want to off-line with.
Then you can finesse the edits and see how it plays with your other footage.
Then when finished just replace your proxy footage with your 10bit uncompressed file.
Typically unless you have a RAID set-up 10 bit uncompressed will probably not playback in real time.
But from that timeline you can encode for DVD, h.264 or whatever. You could edit using a G-raid
external and save the project on that drive as well and take the project to a post-house for CC
and final delivery. We did this with some HD spots that needed to be layed off to HDCAM and it
worked great. The post house had an AVID Nitrus system,. We saved the project as OMF and
all the elements came in and we just tweaked the footage a bit.

Mike Schrengohst

[Please_do_not_use_all_caps_for_your_name_or_when_posting]

thanks mike,
this sounds like a winner, so with the uncompressed 10bit you still had the color depth of RAW? I would also need to bring the fcp after the edit was done back into AE for some effects work and color correct, I was planning on just importing the xml file into AE using the popcorn island script fcptoae. Do you know if I would replace the proxy before this step so the fcp file was referencing the 10bit footage or could I wait and do this with the proxy file?

[Mike Schrengohst]

You got me there. I was just going from AE to FCP. For our purpose the 10 bit files were sufficient for mild CC. When starting in AE with RAW I would set-it up as 32 bit float. Of course any critical CC depends on your monitoring environment. Unless you have a “true monitor” you could never get the look you want to achieve to translate out. That is why I do a 90% correction and then rely on the post house for a CC pass. Now you could achieve a consistent look using the method outlined so that your time in post is less. It may take some testing and back and forth on your end to determine the best workflow. I would be interested to here what you come up with.

[David Bogie]

There are many misperceptions about what one gains or loses by using raw image formats and your post implies your adhere to several of them. Research everything Canon has to say about their raw format and maybe buy or check out the Adobe camera raw books.

Your workflow assumptions are also flawed. You won’t go from FCP to AE, not normally. You will go from AE to FCP. You have no specific output format objectives.

Stop motion created with digital SLRs requires extensive experimentation before diving into production. Your exposure settings and lighting must be carefully tested so you do not need to do much post production processing. You must not change your exposure values while shooting which is why god gave us light meters, depth of filed preview switches, video preview, adjustable lighting instruments, and 100 years of excellent books all about animation.

I say, throw it all away. Chalk this u to experience. Go back to the drawing board, learn how your camera works, learn how to light a set, and try to enjoy the opportunity you have gained in correcting all of your mistakes by simply reshooting.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[Gary Adcock]

Danny

Its all about the research- this is a pretty high end workflow, essentially you are wrongly trying to cut a original camera negative, something that no one does, without even thinking that it is beyond the range of your tools.

The files need to be converted to something that can be edited more simply- what you are proposing would be a daunting task as direct conversions from your chosen capture format do not exist directly in the FCP (with 2048 pixels max video width) world nor correct for existing frame based workflows worked on outside of a few specific uses due to the sheer effort involved in handling the files.

you do not understand RAW vs LOG vs RGB from what I have read.

What you want is a LOG Video file that gives you the maximum dynamic range but is still playable as video. That is not RAW.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Inside look at the IoHD

[Mike Schrengohst]

Danny,

Have you previewed what you shot so far? How much have you shot?