Ramil Pasibe
Forum Replies Created
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Hi David,
As mentioned by the guys above, you need to create a blackmagic sequence and put all the contents of your edit timeline in that sequence.
Go to File>New>Sequence
a pop up menu will appear. On the Sequence Presets Tab, you need to select the Blackmagic Design Folder and choose from the list below the file resolution you would want to edit/work on. That should do the trick.
If for some reason you do not see the Blackmagic Design Folder, I suggest you reinstall the latest BlackMagic Design Drivers for your card.
Best of luck!
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I’m thinking of getting Colorista 2 also… although right now you might consider me as one in “waiting mode” for adobe CS6…
Since Adobe bought Iridas – I am confident that they would be implementing an online Color Grading workflow with Iridas technology… not to mention that Resolve would now be available for Windows system by NAB this year!
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I suggest you convert the material first to PRORES using compressor. As of the latest version, FCP does not handle h264 formats very well.
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Hi Alex,
I’m not in front of my workstation right now so I’ll try to help you as much as I can (from memory)…
1. No there is no way to import his premiere edit straight to color.
2. what you did was the right route – you just need to transcode the R3D into a quicktime container (instead of the H264 files) that maintains the RAW depth of the file. This are the files you are going to use for online in Color.- you do this with the plugin from Red website -I think this is Log and Transfer plugin – then when you install it – open log and transfer in FCP, then tweak the settings for RED MEDIA( I think) then choose Import as Native.
– however, this would only import it to a maximum of 2K or a bit higher but not 4K since FCP is limited in terms of screen resolution. The Compression would be in REDCODE.
– Just change the sequence setting compression to PRORES 4444. Then you could send that sequence via normal SEND to COLOR command.
Inside Color, I think in the settings tab – there should be a dedicated RED TAB with numerous settings for you to tweak you RAW footages.
There you have it. Again it won’t be 4K, you are actually limited by the FCP Studio Apps, I think it is just 2K or a bit higher.
regards,
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“Does that mean this device will also take care of illegal values”
– what the device would do is to give you an “analog out” of your digital output. Through this method you can somehow grasp how it would look say on a normal TV.
– It pays to utilize the software vectorscope and waveform monitor available in your color correction software – be it Apple Color, Color Finesse etc… alongside with an analog output to standard monitor.
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“Would the HD display correctly on an HD television, while effectively “letterboxing” the footage on a regular television? Or would a regular TV chop off the edges of the video?”
– so all these materials would be played using just DVDs right. If that is the case then you have no choice but to work on an SD timeline.
Regular DVD players would chop off the edges of the video – since you’re working on HD – you’ve definitely gone beyond the safe area for SD.
neither will the HD display correct you’re 16×9 aspect ratio unless you’ve started to work on a DV 16×9 setting.
I would suggest re-doing your work on a DV timeline 16×9 aspect ratio. Just to be on the safe side.
– Ramil
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Hi Jerry,
I do have a quadcore with 8 gigs of RAM running vista 64 bit and I have edited several projects on it – including a TV SPOT. I have experienced no letdowns. I guess it all boils down to the basics
1. Don’t install other stuff in it aside from your pro applications
2. keep your drives defragmented – if possible use 3 drives – for the system, another is for the Raw Materials and the last one is the drive where you would be exporting to.Although I’m no stranger to working on a MAC ( I use Final Cut Studio in my office) – I can asssure you that I do run into a few bugs now and then.
Just like everyone said – both systems are just as capable.
Ramil
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Hi Joel,
I don’t think you could get away with shooting each arm separately because that would create a very awkward movement even if you managed to do a good composite.
I agree with every one – there’s no way around it but through rotoscoping – it is indeed a laborious process but that is the only way that you can create a believable effect.
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All those fancy transitions are definitely a sign of an amateur at work. Reminds me of the old days when I was just learning adobe premiere and thinking – “wow there’s a lot of option here – and then there’s this need to utlize all of them. – hahaha glad I got those things behind me.