Color to FCP with a 3d rendered movie wacky output

I have a movie I rendered in Cinema 4d that I was color correcting in Color. I had it imported into FCP, then sent to Color, did my corrections/stylization, rendered and sent back to FCP. Problem is, once it's back in FCP, the movie shows the corrections I made to it, but the movie is divided horizontally in half, with the bottom half divided vertically -with the left and right sides swapped.
This doesn't happen with regular shot video, only with some renders. I have no clue why they work just fine in FCP, but once they're run through Color, this happens. Am I missing a setting in Color or are they rendered the wrong way for Color?

I have a movie I rendered in Cinema 4d
In what??????
Sounds like a fairly obvious format incompatibility.
jPo

Similar Messages

Sending Color file to FCP Looses Links to Rendered Files

I have several Color files that are very similar and from the same project. All of them Send the XML file from Color to FCP beautifully, except one. What would cause the Color export to FCP loose the connections to the rendered files and revert back to the R3D files?

I had the same issue with one of my projects recenty.
The only solution seems to reconnect at FCP each clip with the equivalent in the 'Color renders' directory, the XML keeps the original names and looses the rendered clips paths. I hope Apple can correct this bug of they are able to reproduce it as it happened to us.

When sending to Color from FCP, my video is mostly black, with some green highlights.

I have a sequence of ProRes 422 (LT) and I'm trying to send to Color from FCP, however, when the project opens, the video shows up as mostly black, with most highlights green, blue and red -- but 90% of the frame is completely black. The weirdest part is, in the Color timeline, I can see the thumbnail for the video and it looks just fine.
Currently, I have a 2010 Mac Mini with 4gb of RAM and it's hooked up to my monitor through the HDMI port. Any help would be greatly appreciated.
Thanks!

I just got the 2010 Mac Mini -- but my previous Mini was the early 2009 model with only 2gb of RAM and Color ran just fine. Any help/suggestions?

Why does my canvas display white after importing sequence from Color into FCP 7

Hi, I have a problem involving the relationship between Color and Fcp 7. When I imported my Color grade back into fcp 7 it permanently changed my fcp working file, even the other ungraded sequences. Now when the cursor is static over a clip all that is diplayed on the canvas is white, but when the film plays it plays normally. This is obviously a problem because it is useful to see individual frames when editing.
Furthermore, when I exported the graded sequence from Fcp 7 as a .mov, certain parts were now blocks of white, the first time it seemed to be the parts where there were green unrendered bars above the clips in the fcp file, but then the second time I rendered it all prior to exporting and there were still two areas where it was white in the export, namely the title credit which I had made against a colour solid Matte, and also a greenscreen clip that I had imported from After effects.
The problem now is that it has permanently changed fcp so that all of the working files for my different projects now display as white when the cursor is static.
Does any one have any ideas?
Thanks alot,
Bill

Ah actually just solved the problem, turns out it has nothing to do with Color after all, just on the Canvas drop down menu to the right it was set to Alpha rather than RGB - very simple really!

Solution to Gamma/Color Shift Problems with Apple Codecs - Adobe BUG

Hi....
In AfterEffects when choosing an output module and that module be ProRes or 10 Bit Uncompressed,
when trying to color manage the file, there is a fine line called
'This Codec Does Not Support Output Profile'
You can find it int he Color Management Pane of the output module....
Funny thing is - That Profile Embedding IS support by:#
Apple's Compressor and THE CODEC 4444 AND UnCompressed
Episodes Encoder
See following Screen Shots:
First one from Apple's Compressor...
Look at that little beautiful Color Option... Adobe did you MISS that one, perhaps...
You must have - because your APPS are NOT including that when encoding or should I say
butchering movie files....
Here adobes famous but wrong dialog!!!!
And in this next screen shot you can easily see that adobe just strips the color profile out of the file...
AND THAT IS WHY THERE IS A COLOR SHIFT...........
left image = Apple's Compressor Encoding (Colors match of course) - Right Adobe's BRUTAL encoding (Colors WONT match...)
Now, in after effects you wont notice the shift. But ALL mac and PC users using quicktime to watch YOUR movies
are going to be looking at a movie with a different look than you thought it WOULD be... Courtesy of adobe ;-)
Jokes aside, Adobe.... It seems as if this one is on you to fix... Apple's Compressor has NO problems. And other encoders are also preserving those values.
Now... Let us assume that I encode in compressor... Looks are matching 100% that of the original source. All it takes to mess that up is ONE
roundtrip to after effects, premiere pro or Media Encoder. That is if I wanna maintain my initial choice of transcodec - in my case 4444 or 10bit Uncomp.
I could of course export to animation and then use compressor AGAIN to transcode to my format of choice... But in the long run I think that will become tedious.
Perhaps you could assign a few engineers on this one and in the future spend MORE time on living up to the name PRO(The most misused word in the software business) instead of wasting time generating new Application icons for your apps....
Thanks for reading and for a PROMPT and near-future BUG FIX

Mylenium wrote:
It's not really "embedding" anything, it merely sets the QT color space flags which have been there forever, but are mostly unused. Specific to ProRes it also toggles different internal optimizations in the encoding. That's also documented somewhere on the QT developer pages. I'm not sure I share your views otherwise. The point really is, that Apple developed ProRes just as much as a closed workflow within their products as Avid did with their CoDecs. Therefore the widespread use of the CoDecs is merely a byproduct of the use of the products, but not per se an intended workflow outside of those and, which is the more important part, also not explicable as a causal circumstance of the quality. If I may be so bold: What you are saying sounds like everyone would be using the Animation CoDec because it is so good, when the simple fact is that there are no decent free cross-platform alternatives and people are willing to accept limitations because of that. Don't get me wrong, ProRes is well designed and pretty robust, but the world doesn't come to an end without it and outside the Mac world it is difficult to deal with. Hell, it's even difficult to deal with between different versions of FCP occasionally...
Mylenium
I have been testing codecs for a long long looooooong time. My criterion(s) are:
1) Image Quality and that through multiple encoding generations and color grading
THEEEN
a looooong way down the road
2) Performance
BTW - I find that working with files less compressed and thus HUGE is much better. Hard drives are so cheap that one can build himself an 8 Disk RAID0 and that takes care of everything. In PPRO I can cut real time in FulRes with an uncompressed codec with the processors maxing at 3% while the H264 editing sequence will stutter like a drunken wasp and maxing the CPUs at 63%.... Go figure...
ProRes 4444's impeccable imageQuality:performance ratio, is unbeaten.
Especially on H264 material like that of the Canon5D. You might say if the source is 4:2:0 why bother upping it to 4444... Well in theory perhaps
it is overkill. But rather than reading in theoretical white papers I conduct my own tests. And the end results are (REALITY) and way different from what theory states. TO anyone reading this. DONT believe ANYTHING you read about codec nor what I am saying.... DO YOUR OWN TESTING and judge for yourself. Problem is that you have to do 100's and 100's of transcodings with ONE source to various destinations with lost of grading and transcoding generation. THEN you have to keep track of your tests and THEN compare them. It takes WEEKs. But it is well worth while it. In my case... I start with a Canon5DMKII H264 movies. Transcode it to PRORES4444 then I do LOTS of compositing and re-encoding then lots of color grading etc etc etc. Then I export back to H264 - and the end result is STUNNING has NO artifacts and is adorable to look at. Not so with at least 6 other codecs claiming to be top-notch....
Sure Mylenium, the world would NOT end with PR4444 not in it... BUT the WORLD has ALREADY decided that it WANTED ProRes4444 in it. It is growing and that every day..........
Had the codec not been so darn excellent - it would NOT have been used. Period.

Sending files back from color to fcp 7, but experiencing issues

I have four sequences in a FCP 7 project. I sent three of them to color from FCP 7, completed my grading, rendered and sent back to FCP 7. I did the same for the fourth sequence; however, when I opened this sequence in FCP 7 it had over written one of the other timelines media into the same clip lengths as the one I just sent back. So it had media from another project, but with the same clip lengths as the I had just sent back from color. I have never experienced this before. I am working for an advertising agency and I am basically getting raw footage ready so that it can be send to an animation house who is going to be adding their animations, transitions and exporting the project. This project is on a tight deadline and need to figure this issue out quickly. Is this indiciative of corrupt files somewhere? If any one has had this issue please share how you rectified it.
Thanks.

Color renders out the files and gives them new names... g_1, g_2...and so on. If some of them are exactly the same length as another one that's labelled g_1...FCP could connect it to the wrong one and whammo, your issue.
The REEL numbers should transfer. But if your footage doesn't have reel numbers, then it will link by name and length often. Yeah...messed up.

Mac Avid to Color and FCP

A freind of mine--yes, honestly, there is a friend--has built a project in a Mac Based Avid Program. He no needs to take it to another person who will color correct it using Color in FCP. I am Mac only literate and don't have an answer.
Can anybody give me some insight on how it needs to be transfered?

You will have to recapture. Best to use Automatic Duck to help. Export an AAF from Avid, use the Duck to import that into FCP...it retains a lot of information from the Avid, pretty amazing.
www.automatic.duck.com
Now, while the Duck can export ref QTs to allow FCP to see the media...you need to have the Avid codecs installed for this to work...but then you cannot send this to COLOR, as COLOR doesn't work with Avid media. I have tried then using the Media Manager to convert to ProRes, but that didn't work out well. The Avid original MXF files might be the issue, but it just didn't work. You will have to recapture the media.
But it is pretty easy.
Shane

Lightroom color not consistant with PSCS4/Bridge. Help please.

Hi All,
I started with a search, but didn't find an answer that covered what I'm seeing.
OK, first of all, let me set this.
I'm running a MacBook Pro 2.2, OSX 10.6, with a 23" Apple Cinema Display (non-glossy screen) attached as my main work monitor for my LR, PSCS and all my other photography and graphics work. Any reference here is referring to the 23' ACD as that is my calibrated color reference point. And for the record, both the ACD and the MBP are fully hardware calibrated on a regular bases.
What I'm seeing is gorgeous color and pop in LR, but more muted colors in PSCS4 and Bridge. I have noticed that if I open a single image in both PSCS4 and Apple's 'Preview' app, the PSCS4 rendering matches the Bridge preview dead-on. While the 'Preview' app's rendering looks more like the LR previews. So it would seem to me that LR is 'talking' to the systems color rendering, while PSCS4 and Bridge are more, 'on their own', yet talking to each other.
I work almost completely in Adobe 98 color space. I export out of LR into PCSC4 as Adobe 98 PSD files. I continue to work in Adobe 98, and even re-enter the PSD files back into my Lightroom catalogs with their attached color space. In LR, I get the same 'look'. Nicely saturated color with a little pop, but if I open up the files again in PSCS4 they again, look somewhat 'muted'. But, I have tried this using multiple file types (psd, jpeg, raw) as well as sRGB color space. The results are the same. It seems application specific, NOT file-type specific.
Now I can understand maybe a slight color difference between PSCS/Bridge and say maybe Corel 'Painter'. But I am not understanding this obvious color difference between supposed related Adobe apps such as LR and PSCS4, again, while working on the same calibrated monitor.
FYI, my Epson 2400, using Epson's custom profiles, looks fantastic printing out of LR's Print module. (I love the LR Print module!).
My problem here is, I need to send files out to certain print houses for album printing and such (usually in sRGB color space). I have confidence with what I'm seeing in the Lightroom previews of my files. But the PSCS4 files are just too 'dull' looking. Kind of nervous to let them go out the door.
Final note, my entire Adobe Creative Suite is set to 'North American Prepress 2'.
Thanks for any help you can send my way.
-Sol

One thing I would try is to run with only one monitor (close the MacBook's lid and unsleep it by hitting a key on an external keyboard or only use the built-in display) and see if the problem persists.
Lightroom and Photoshop use the exact same color management module with just a few small differences. In general, you should get identical rendering of colors but for a few exceptions. One is that Lightroom always uses perceptual intent rendering and Photoshop always uses relative. Some color calibrators generate v4 profiles with a built in perceptual profile. The colormunki is one of those. With profiles like that you will see very subtle differences between Lightroom and Photoshop. Generally not something as strong as what you describe. Another difference is that Lightroom in the Develop module does NOT apply the color noise reduction when zoomed out, only when zoomed in at 1:1 or higher. The result of this is that sometimes, if you have lots of saturated color fine detail, the Develop module shows you a falsely oversaturated image when zoomed out. A good example of this happens with flowers in a grass field, finely detailed fall color leaves, or neon lights. You can see the effect by switching back and forth between Develop and Library or simply by zooming in at 1:1. Library will appear far less saturated as will the 1:1 display. You can solve this issue by lowering the color noise reduction to zero. Lastly, you wouldn't be the first to be fooled by the relatively dark background in Lightroom. This can make everything appear more saturated than the equivalent display in Photoshop which usually has a lightish grey as background or simply your desktop. This is a small effect but I have found it to be surprisingly large a few times. You can change the color of the background in Lightroom to play with this by control (or right) clicking in the matte area.

Why does my clip look different in Color vs FCP via External mmonitor

Can anyone explain why my clip look slightly different in color as opposed to FCP. This clip is exported from FCP sequence with NO filters whatsoever. I'm basically viewing the same clip and switching between color and FCP. The clip seems to have a tad more highlight when viewing in color
I'm using a MacPro/Kona3/Sony Multiformat CRT. Thanks

seems to have a tad more highlight when viewing in color
Do you see a difference in the scopes? "seems to" is not as good a description as we really need to sort out whether this is a gamma issue or a possible 601/709 conflict, even with your Multiformat Sony. There appear to be a lot of RGB, Y'CbCr conversions in your image pipeline.
I am aware that some codecs are handled slightly differently by Final Cut and COLOR. They do not use the same media decoding engine. COLOR's is much more basic (fundamental) and generally speaking is more accurate for that reason. Similar to SHAKE in that respect.
jPo

I have an apple certified refurbished iPod touch 3rd generatio. When playing the music with headphones, the music moves from song to song. When it is on a docking station, it repeats the song. Any ideas why or how to fix it?

I have an apple certified refurbished iPod touch 3rd generatio. When playing the music with headphones, the music moves from song to song. When it is on a docking station, it repeats the song. Any ideas why or how to fix it?

Try:
- Reset the iOS device. Nothing will be lost
Reset iOS device: Hold down the On/Off button and the Home button at the same time for at
least ten seconds, until the Apple logo appears.
- Unsync all music and resync
- Reset all settings
Go to Settings > General > Reset and tap Reset All Settings.
All your preferences and settings are reset. Information (such as contacts and calendars) and media (such as songs and videos) aren’t affected.
- Restore from backup. See:
iOS: How to back up
- Restore to factory settings/new iOS device.

With IOS 7.0 How do you change the Color Red, that shows up on the Calendar to another color? People with certain eye problems cannot tolerate the color Red.

How do you change the Color Red, that shows up on various points of the Calendar to another color? Persons with certain eye problems have visual irritations that can be caused by the color Red. This problem came up with the update to IOS 7.0.

Sorry but you cant

Automatic creation of meter reading order with RR 01 after move in

Hi Experts,
I am working with DM module of SAP ISU. Currently I am facing a problem that after move-in a periodic order with RR 01 is created automatically by the system.
Ex: Move in date is 01.01.2010. Monthly Portion is used with Schedule record 01.01.2010, 01.02.2010, 01.03.2010, 01.04.2010 and so on.
If current system date is 20.07.2010 then Meter reading order is created automatically by the system for sch MRD 01.08.2010.
Please let me know how to overcome this problem
Thanks in advance.

Thanks for your reply but I have cheked SPRO setting the suggested check box is already uncheked.
I beleive the setting you have suggested is meant for default meter reading during move in but my problem is automatic creation of meter reading order with reason 01 during move in

Sales order display-how to change color of item with high level 0

Please does anyone know how can i chenge the color of item with high level 0 in display of sales order in red or yellow so it can be seen better for better searching on page?
thank you in advance...
regards..

You'd probably have to do a modification in SD for that. But what you can do, is make the higher level item not changeable. You could also set the display range to UHAU to only see the main items, do this in transaction VOV8. Or you could change your item category in VOV7 only to show main items.
good luck

Problem about .xml file from PPro CS5 to FCP with RED and P2 file.

I have create a Project in Premiere Pro CS5.
I import the RED file R3D or P2 file XMF and editing my media.
From menù File i select Export to "Final Cut Pro XML.."
I open FCP and Import file XML but the media are not reconnect.
"Warrnig: Non-critical error were found while processing an XML document.
Would you like to see a log of these error now?"
I want see the log file and...
"<file>: Unable to attach specified media file to new clip."
Where is the problem?

Hi Dennis I re-format my MACPRO 8 Core and I installed Final Cut Studio Suite and CS5 Premium (no CS4)
I install Blackmagick driver Decklink 7.6.3
If I open the After Effects and setting preview card blackmagic, I see the preview in external monitor.
If I open the Premiere Pro and setting preview, I don't see the blackmagic card but the second monitor, DV....etc.
In Premiere I see the blackmagic preset, but no the preview card.
I have a second question.
About Red file I want editing in Premiere Pro and i whant color correct in Apple Color from FCP.
My problem is: my color program crash when I send file form FCP to Color (random mode)
The sequence is:
I import file red in PPro5 -- editing file --- export file xml.
Close the PPro5.
Open FCP import xml (no re-link media)
Save de project in FCP
Select sequence and send to Color.
In this moment the Apple Color crash.
I shutdown the MAC.
I power-up the MAC
Open FCP select the project and send the sequence to Color.
Color see the project but no media.
I re link the media and I editing in color my media.
Why Apple Color program crash?
Sorry for my English
Many Thanks
Distinti saluti
Gianluca Cordioli
Alchemy Studio'S di Gianluca Cordioli
Via Pacinotti 24/B
37135 VERONA
cell.:+39 3385880683
[email protected]
www.alchemystudios.it

HT1338 I have a slide show in iphoto that I wish to export to iDVD, and when I attempt that I get and error message triangle, ! with the note "This movie contains an invalid data reference" iphoto help does not seem to have any suggestions, that work.

I have a slide show (project) that will not export. The error triangle appears with the message: "This movie contains an invalid data reference" What is the issue, and what is the solution?
jh

I found that the issue was with the title side, it had too many characters in the slide. When the number of characters was diminished, the show loaded without issue.

Color to FCP with a 3d rendered movie wacky output

Similar Messages

Maybe you are looking for