[Justin Crowell]

So, i’ve decided to do this on a different computer (2x 2.4Ghx 6-core Mac pro) that currently has the DMB HD 3D+ and a Radeon 5870. My plan is to purchase the new GTX 680 for mac (JUST released) for GPU processing. Issues:
1) This should beat out the available Mac Quadros, correct?
2) It’s only got 2GB. Will this limit me? Should I instead just get a PC version, as there isn’t any real functional difference between the two aside from price, and I could upgrade to a 4GB?
3) Do I have the power/PCI bandwidth to handle this thing?

Video editor, animator, composer, producer
JustinCrowell.com

[Justin Crowell]

Really excellent advice from everyone, thank you! I’ve decided that in some way or another, my machine will be adequate to do what I need. I have a 2x2TB RAID0, so I’m not certain whether I’ll have the io speed/storage adequate to do the caching approach. I’m more or less convinced that for this job, given the short turnaround time, it makes the most sense to go to uncompressed HD DPX files (the destination is only HD).

The question is, how do I make those? In Redcine X? The editor is handing me off an FCP7 file edit from Prores transcodes. Given that, here is what I’m thinking for a workflow (and please correct me, as I’ve only just started using Redcine X and am not quite sure this is the way to do it).

1) EDL from FCP
2) Open EDL in Redcine X, relink to raw R3D files. Transcode to DPX HD.
3) Add DPX HD files to media pool in resolve, open EDL.
4) Grade and export to HD DPX with XML.
5) Fix transitions and FX in FCP.

Questions: I’m still unsure about the whole transitions and FX stuff. Can anybody direct me to a tute on that part of the workflow?

Thanks~!
-Justin

Video editor, animator, composer, producer
JustinCrowell.com

[Justin Crowell]

I was considering that approach. Haven’t done any work in raw. If I’m working with a log format, is there any real advantage to raw anyway?

Video editor, animator, composer, producer
JustinCrowell.com

[Justin Crowell]

I’m not sure about delivery, but I’m assuming it’s HD. Is the only way to get the RT 4K Debayer a Red Rocket?

Video editor, animator, composer, producer
JustinCrowell.com

[Justin Crowell]

So the snapping happens to you even in Details View? I just checked, and it only happens to me in column view.

Video editor, animator, composer, producer
JustinCrowell.com

[Justin Crowell]

Alas, not really. I have found that switching to details view in the browse popup seems to help, though. Basically, I’ve decided that as long as I can keep it from crashing, that’s enough for me while I do the gradual switch to Premier and Avid. Good luck!

Video editor, animator, composer, producer
JustinCrowell.com

[Justin Crowell]

It’s really bizarre that I just found this thread, because this is EXACTLY what I’m doing right now. We are an audio post facility, however, so we did all of our mixes in Pro Tools and are now just doing laybacks in FCP.

My question is: Our mixes are all prepped for broadcast levels (the broadcaster gave us the exact voice vs M+E info). Under “Audio Outputs” in Sequence settings, do I want to make A1/A2 (full mix) and A3/A4(M&E) both stereo pairs or dual mono? Do I want to set my Downmix Db to 0, or off?

This site makes me think I should be doing dual mono, as my levels are all set and should basically be passed through: https://blog.abelcine.com/2009/02/05/final-cut-pro-stereo-downmix-confusion/

To your question about QT conversion: that is used if converting the sequence to something other than the sequence compressor. So, you’d use this if you were prepping for web with H.264, or transcoding to something like XDCAM or something that the layback house is looking for (these days Prores is almost always adequate). Most transcoding will cause a drop in quality, so only do it if you need to.

Video editor, animator, composer, producer
JustinCrowell.com

[Justin Crowell]

Ok, still trying to puzzle through this. It being only a chroma shift makes sense, because if it were a luma shift, the black and white would change. But when I open the waveform scope and make the switch, there is definitely movement for the areas between the black and white bars. Does this have something to do with the interrelatedness of the Y and the RGB values in FCP?

Thanks for all the help…REALLY appreciate it!

Video editor, animator, composer, producer
JustinCrowell.com

[Justin Crowell]

It’s interesting…in FCP white doesn’t change between 100/0/100/0 and 100/0/75/0, but the colors all seem to drop to 75% luminance without a chroma change. So wouldn’t that mean it’s Chroma/0/Luma/0? Or am I confused?

Video editor, animator, composer, producer
JustinCrowell.com

[Justin Crowell]

Thanks so much, Neil! That’s actually what I suspected the 100/0/100/0 was indicating–it’s just so startling to see those near-illegal colors!

I appreciate the help!

Video editor, animator, composer, producer
JustinCrowell.com