[David Battistella]

solomon was a typo for slow motion.

Set your project up as a 23.98 project in FCP X.

What I am trying to determine is if you shot 60P in order to get slow motion footage out of it.

That is video style slow motion which means reinterpreting the footage.

Example. you shot 60P and if you interpret that footage as being 23.98 then when you play it back it will play back in slow motion. If you interpret the footage at 59.94, it will look normal.

So maybe you have to do two passes. interpret the footage once as slow motion and once as regular motion. You can do this in compressor and create two separate clips to work with.

Or, the lazy and crappy way would be to bring it all into a 23.98 timeline and use the slow motion retime effects in FCP X

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[David Battistella]

What is your desired effect? Solomon? Half speed?

What camera did you film with and what was the timebase of the camera?

Maybe check out my article here.

https://library.creativecow.net/battistella_david/Film-Style-Slow-Motion/1

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[David Battistella]

So just edit the XML as a text file?

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[David Battistella]

Thank you!

I think I can figure it out now after these excellent suggestions.

I attacked it a few ways yesterday.

It might make sense to try to import the XML into resolve, relink it to the Rendered clips. In FCP X the resolve XML carries the R3D clip names in the timeline. Thus, i believe FCP X thinks it is dealing with 5K Clips instead of the rendered media, even though when you link the media in the finder it recognizes the rendered clip as the source. On short timelines, this is no biggie but on longer ones avoiding the render is preferred from a disk space and time perspective.

Still, something this basic should work pretty easily. Maybe it has something to do with XML 1.4.

Shane, I could try to send you the XML, and I will if I don’t work this out quickly. I’ve posted/reported this in the Blackmagic DaVinci support forum community but have not heard anything back in that thread.

If I view the XML using mayflies from spherico the timeline carries the R3D name but it is linking to the rendered media correctly, so I think it has something to do with how FCP X is reading the original source clip and resolution.

Then again, if I create a new sequence and drop a rendered clip into it, no problem, if I copy paste from the old sequence, NOGO. parameters are all exactly the same except in the FCP inspector where the the source is 5K RED material and I suspect that information is being passed along through the FCP X chain.

If I edited the XML to make the source names match, I suspect that there would be no issue, because a change in PROJECT/timeline resolution has no effect.

David

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[David Battistella]

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

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[David Battistella]

As others have stated the whole RED workflow with FCPX is deceptively simple. its latterly the flip of a switch.

David

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[David Battistella]

You may have muted the track with the V command. Maybe you could select the track in question *it will be a bit darker) and hit the V key and that will unmet the track.

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[David Battistella]

Well,

Theoretically you can not “compare timelines”, but as suggested here you can click on as many projects you want to open in the timeline window.

Once they are open you can navigate between the two with the arrow keys as previously suggested.

You can compare two projects in one timelines in many ways, but that would require a tutorial

David

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[David Battistella]

[Jeremy Garchow] “Sorry David. Just trying to offer assistance.

I’ve had luck with RCX, but I don’t need to go to Logic.”

Jeremy,

I appreciate you and your approach in this thread and all things COW related. I’m on quite a heavy deadline for this project.

I did manage to get the whole track divided into ROLES and then I exported the ROLES. It took a little extra checker boarding of audio and creating additional ROLES, etc. but it was done and delivered.

Logic is a great mixing tool and I have been using it for quite some time. I had expected tighter integration from Apple within a couple of their Pro Apps, especially FCPX LOgicX. Motion would use tiger round tripping as well.

Thanks for your help here. I know you are helpful and one of the “good guys”

Battisetlla

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[David Battistella]

[Robin S. Kurz] “Happy to oblige. Keep up the belligerence. Always a great foundation for any argument.”

Great. You can keep up the arrogance. 🙂

Battistella

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