[Uli Kunkel]

Gary,

Did you by chance see my last post in the FCP forum about outputting 4:4:4 RGB from with the Kona 3?

I’ve been getting conflicting information on this. Wondering if you could help.

Thanks.

Uli

[Uli Kunkel]

Gary,

The documentation in FCP 7’s manual on 10 bit RGB processing is vague and non-specific from what I can tell. Everything you’ve said looks to be true, but I’m still looking for verification on a couple of things.

– If an FCP Timeline set up for ProRes 444 is set to “Always Render RGB,” will I still be outputting 10 bit RGB color through my Kona card onto SR?

– Will simple dissolves render to 10 bit RGB in the timeline, or will they only be 8 bit?

Somewhat unrelated question…

– I am rendering Red footage from Color to ProRes 4444 for a Davinci 2K color correction off of SR tape. If my FCP timeline is relinked to the Red _H Proxies and sent to Color, will Color be accessing the same color space (12 bit RGB) as it would if I had used the “Native” workflow from the Red FCP whitepaper?

Thanks for your advice.

Uli

[Uli Kunkel]

Thank you. This is helpful. When I was talking workflow in our first meeting with the post people, they were talking about archiving the film to the SR tape in 2K and using that to feed the DaVinci. We would then output from DaVinci to another SR tape at 2K. We do have the latest decks capable of 2K apparently.

Thanks for your advice.

Uli

[Uli Kunkel]

I obviously want to maintain as high of quality from the original as possible (2K timeline, 10-bit, 4:4:4). If I render DPX sequences of each clip of the whole film and reassemble them in an Avid timeline (Because Avid allows import of DPX), I should be able to play out to the SR in the highest quality possible, right?

Also, what about dissolves and other transitions? On the playback timeline, those all have to be removed, right? Can they be rebuilt in the DaVinci? Can DaVinci handle speed changes?

Thanks for your input.

Uli

[Uli Kunkel]

The reason for the conversion is because we edit a lot of Red Footage at 2K. So it’s being converted from 2k to 720. The Sony LCD cannot display 1080p over a component connection, only HDMI, so 720 was the next best option.

I”m wondering if I would get better results converting my component to HDMI or monitoring from my HDSDI output converted to HDMI.

Thoughts?

[Uli Kunkel]

Hi Walter. We recently installed a Sony plasma for client viewing in our edit suite and have it hooked up via analogue component cables coming out of our Kona breakout box. We went with that connection because that’s the way our previous CRT monitor was hooked up. However, the CRT was receiving a down-converted signal to 525i whereas the new LCD is receiving a down-converted 720p signal.

We are now seeing about a 1 frame lag on playback on the client monitor. It’s not perfectly in sync with the viewer window in FCP on the computer. We never had this problem with our CRT at 525i. Can you think of a reason for this and what we might do to solve the problem?

Playback delay in FCP is set to 0.

Thanks for your help.

Uli

[Uli Kunkel]

Forgive my ignorance, but why do you use this method when you can just keyframe the Y position? I would like to create a nice-looking credit roll, so if your integer method is better, perhaps you could explain how to do it?

Thanks for your patience.

Best,

Uli.

[Uli Kunkel]

Yes, I restarted the computer, and I even tried it in a different user with the same problem.

When I play in the timeline, the picture on the client monitor is in sync with the audio. When I mute the client monitor and turn up the editing speakers, the sound on the computer screen is slightly out of sync. When both speakers are turned up, they sound echoed because the sound seems to be getting to one of the sets of speakers before the other.

Make sense?

[Uli Kunkel]

The audio is actually delayed on the edit system oddly enough.

The speakers are both connected via a splitter to the RCA monitor jacks on the Kona Breakout box.

[Uli Kunkel]

On the film I’m finishing, the production sound has timecode, it’s just that it is not in sync with the picture timecode generated by the Red camera, thus all the dailies were synced manually.

What would the workflow be for tracking the relationship between the Red footage TC and the production audio TC in Cinema Tools? I ask because most people don’t edit with the Red proxies and rather transcode the r3ds to a more manageable codec like ProRes. Perhaps after transcoding, you create a database of all the transcoded footage plus the production audio and import it into FCP via Cinema Tools?

Jussi’s post makes a lot of sense, and my sound facility has the most recent version of ProTools, so I’m sure they could handle this workflow.

Matt, as far as cutting in 2K goes, you should really give it a shot if you’ve got a big enough machine to handle it. I just cut this feature in 2K ProRes created through the Log and Transfer window in Final Cut Pro. I think on the next feature I’ll transcode with RedRushes to smaller size like 1280×720 merely for performance reasons. However, the 2K always played back in realtime and it was wonderful cutting with such a big, crystal clear image.