From FCP7. COLOR before MOTION?

Should I color correct before exporting to Motion 4 for graphics?
Could use a little help on the workflow best practices... Thanks.

TYPICALLY Color Correction is done as the final stage. BUT, in the case of shots that go to graphics...say out of house to a graphics shop where they send you back a fully rendered file, you might color correct before you give it to them. Or THEY will color correct it. But best if you do so you know what you want. OR they send a temp, then you upres, color correct, then send a final that they replace in their comp and send back.
That might be the thing to do...as you said you are upconverting in the end. Don't color correct the low res.
Shane

Similar Messages

Where Does These Handles Come From In Color v1?

When i add handles in Color where are they coming from?
i.e.
if the clip goes to color as a say 3 second clip. I then grade it and add a 5 frame handle.
Does the 5 frames come from the clip in motion or doe it come from the footage before an after the fcp edit points?
if it comes from what i sent then how do i maintain my edit/style rhythm of cuts?

in@ 00:03:20 and then out@ 00:04:20...
If those numbers are the source time code *at 23.98 fps*, there would be 24 frames in that clip. If you did not add handles, a new clip (#_1.mov) would be rendered and placed in the COLOR project render directory of your choosing. On Send To FCP, a new clip with the old reference name (but pointing to the new media) will appear on the FCP sequence and it will be 24 frames starting at 3:20 and ending at 4:20.
If you request the addition of 4-frame handles, the clip will be rendered with a duration of 2444=32 frames. The clip "#_1.mov" source time code will be 3:16 to 5:00 (remembering this is 24 fps). When it appears on the FCP timeline, a one-second clip will show up and it will be In/3:20, Out/4:20, but you will be able to slip it +/- 4 frames or add up to a 4-frame transition outside the
selected pickup points.
It has not much to do with the master time code of the edit sequence, the handles only get added to the "source" clip, but it does not affect its pickup or duration on the master sequence. On the Master sequence, you would still only see the 24 original frames... but if you wanted to trim the edit a couple of frames, you would have them.
You must understand that COLOR generates new independent media, usually ONLY the selected footage on the timeline. Handles are a way of generating extra media in an attempt to build in some post-lock flexibility, and they do not affect the edited sequence selection in any other way.
jPo

Switching from FCP7 to CS6! Two BIG questions I can't figure out...

Hello!
So I'm running CS6.01 on my new 27" iMac running OS 10.6.8. I'm excited to be transitioning over to CS6 after the last 6 or 7 years using Final Cut Pro. But I don't have time to mess around as I'm in the middle of projects so here are my 2 main questions right off the bat:
First I should say that I edit AVCHD footage shot from Panasonic HMC150's. I shoot Weddings. About 35-40/year. In FCP, my workflow was...shoot EVERYTHING at 720p60 and TRANSCODE it in FCP to ProRes Proxy. Then I'd CONFORM it to 23.98 (using Cinema Tools which takes all of about 30 seconds to do 400 clips) so that it was all in slow-mo looking smooth and beautiful. Then, I'd drop it all on the timeline and edit. Most clips I need in slow-mo but the ones I don't (eg. the Ceremony) I just speed up 250% and it's full speed. Then at the end of editing I'd batch capture and re-transcode to ProRes 422 and I'm done. It all looks great.
Here's the important thing:
I edit on a 23.98fps timeline that way it maintains a bit of the film-stuttery look instead of the video/soap-opera look of 60fps footage and also it naturally has everything at 40% smooth slow-mo. I dont want that video/soap opera look that I would get if I edited my 60p footage on a 60p timeline! This is important to me.
1) I know with CS6 I don't "have" to transcode, but I can just ingest and edit the AVCHD files natively, right? Well, okay, but if I do that will dropping those 60p clips on a 23.98fps timeline give me the same look I got when I use to conform the footage first? Specifically is it just as smooth to just change the speed of a 60p clip by 40% and drop it on a 24p timeline? And what about the stuff I want at full speed...if I drop that 60p footage right on the timeline and don't speed it up it will be full speed but will it look the same as my conformed footage looked when sped up in FCP? Please elaborate for me.
2) Audio. When I bring in audio clips from my 2 cameras each track has 2 separate audio feeds (eg. 2 wireless mics, a shotgun mic, an internal mic). CS6 brings them in on one track. I read up where I need to "Modify the clips" and adjust the Audio Channels so that there are 2 tracks. Then I'm guessing I just make one track the left track and one the right? This seems to work and makes a separate track that is balanced to the center and has each of the 4 channels as its own separate adjustable track. Am I doing that right? And more importantly...my real question...if I'm scrubbing thru the timeline and I double click on one of the audio tracks to bring up the waveform and edit, sometimes it doesn't come up where I stopped in the timeline. Unless the clips are linked. But don't I have to unlink them to edit them individually? So how do I do this where I can be in the timeline, watching the video and when I hear something I want to adjust, I stop the video and quickly access the individual track (eg. one of the wireless mics) to make the adjustments?
Hope my questions make sense. Thanks SO much in advance for all your help! It took me like 20 minutes to figure out how to post a question but now that I've done it I'm very excited that I've got it out there and hopefully I'll get past my current workflow roadblocks. Thank you!!!!!!!

Jim Simon wrote:
I'd recommend a different work flow. Shoot what you want at full speed in 720p/24. Shoot what you want in slow motion at 720p/60...
I would respectfully disagree with Jim's statement and endorse the OP's technique of shooting at 60 fps for purposes of playback at both normal speed and slow motion at 24 fps.
I think the more creative choices you give yourself in post the better.
Since you (DMH79) are using the same footage for both normal speed and slow motion playback, I think your way is definitely the way to go as long as you are happy with the resolution.
Even if you were not using the same clips at different speeds, I would still disagree with the opinion that you should be able to predict in advance which shots from a hectic live action event such as a wedding you will want to use in slow motion. In fact, I would go so far as to say that it would be impossible, no matter how easy it is to switch modes.
Given that slow motion is a reasonable priority for you, I think there is much less to be gained by shooting at 24 fps for clips that you might use at normal speed than by giving yourself the option of both normal speed and slow motion with a 60 fps recording. (To me the bigger tradeoff is not being able to shoot 1080p at 60 fps, which I think applies to your HMC150.)
I love the look of 24p and will shoot that way for scripted work or if I am absolutely certain that I won't want to use a single shot in slow motion, but for many live events, my preference is to shoot at 720p60, shutter angle 180, for eventual output at 30 fps. I edit in a 60 fps timeline in Premiere, but I export at 30 fps. I find that exporting at 30 fps in combination with the 1/120 shutter speed removes much of the soap opera look (a great description, by the way), but there is no jerkiness in normal speed clips because 30 is exactly half of 60. Media Encoder simply removes every other frame during export. Yet, this allows me to drop any clip to 50% speed and achieve perfectly matched, silky smooth slow motion.
You probably prefer the 40% speed slow motion and added stutter of 24 fps, but regardless, if you do find that controlling the speed via Speed/Duration is equal in quality to conforming, you may want to consider cutting in a 60 fps timeline and giving yourself the option to export at either 24 or 30 fps.
Your last post on this topic was from a few months ago. I also switched from FCP7 and would be very curious to know what you have discovered!

Wanting to use Photoshop CS6 to open images directly from iPhoto 11. Using OSX10.8.2 and iPhoto 11. Just installed Photoshop CS6 and want to open images directly from iPhoto. Before I installed PS I was not able to edit photos in iPhoto 11. Nothing

Wanting to use Photoshop CS6 to open images directly from iPhoto 11.
Using OSX10.8.2 and iPhoto 11. Just installed Photoshop CS6 and want to open
images directly from iPhoto. Before I installed PS I was not able to edit photos
in iPhoto 11. Nothing happens when I click on ‘edit‘ it is blank.
And now it will not work using Photoshop CS6 either.
From Help Center I have gone to iPhoto/Preferences/ Advanced and chosen Photoshop CS6 to Edit Photos but then cannot find an 'Open' to click? Perhaps this is the problem?
When I select a photo in iPhoto and click the Edit button - nothing happens.
Please advise. Glenys

This may be of help to you:
Using Photoshop or Photoshop Elements as Your Editor of Choice in iPhoto.
1 - select Photoshop or Photoshop Elememts as your editor of choice in iPhoto's General Preference Section's under the "Edit photo:" menu.
2 - double click on the thumbnail in iPhoto to open it in Photoshop. When you're finished editing click on the Save button. If you immediately get the JPEG Options window make your selection (Baseline standard seems to be the most compatible jpeg format) and click on the OK button. Your done.
3 - however, if you get the navigation window
that indicates that PS wants to save it as a PS formatted file. You'll need to either select JPEG from the menu and save (top image) or click on the desktop in the Navigation window (bottom image) and save it to the desktop for importing as a new photo.
This method will let iPhoto know that the photo has been editied and will update the thumbnail file to reflect the edit..
NOTE: With Photoshop Elements the Saving File preferences should be configured as shown:
I also suggest the Maximize PSD File Compatabilty be set to Always. In PSE’s General preference pane set the Color Picker to Apple as shown:
Note: to switch between iPhoto and PS or PSE as the editor of choice Control (right)-click on the thumbnail and select either Edit in iPhoto or Edit in External Editor from the contextual menu. If you use iPhoto to edit more than PSE re-select iPhoto in the iPhoto General preference pane. Then iPhoto will be the default editor and you can use the contextual menu to select PSE for your editor when desired.
OT

How to turn of specific spot (pantone) colors before i export the document to pdf and these selected colours will not included in pdf...

Hello, i have one question. Please help me with indesign... i have prepared photoshop document with pantone color in channel pallete... This photoshop file i have imported in indesign document and when i export it from indesign to pdf so color (pantone) overlay over cmyk... i have pantone color just for parcial paint not for proof for customer.
For example: i need to disable all pantone colors before i export document into pdf file. It is very clear process what i need to do but without find some solution. I know about pallete preview in window/output/... in indesign but this do not fix it! Please help.

Ok... i understand to overprint process... i have spot color (pantone) in imported image because of preparation to partial varnish... but i'm wondering how can i export the indesign document to pdf without the spot color which recolores my design recolored and i can't it send to customer...
Only way how can i figure out is to delete spot channel in photoshop? This is very annoying and useless prosess
i look at this threat:
Photoshop images with spot channels in Indesign CS6 (layout question)
and there is some answer to my question!
I have maked a problem when i set the spot color in photoshop for parcial with some pantone pink color! and this was the problem! I haven't known that i can set white spot color (lab color) and use it in indesign invisible nad in exported pdf too!!! this is what i exactly want!

Subjects' faces look red from export out of Motion 4

Hello,
I am using Motion 4 and FCP 7 for a video project. When I export out of M4 into FCP 7, the subjects' face look reddish. I originally exported from FCP 7 into Motion 4 and added text and other graphics. When loading the video exported from Motion 4, I am having problems with the red faces. Any suggestions? Would appreciate your feedback.
Thanks,
Mike

This is a part of Final Touch that was lost when it got married to FCP as COLOR. The issue you now have is that COLOR doesn't actually create export lists, it modifies existing XMLs (and cut-lists) that are created at the time of SEND To... from FCP. I'm gathering you did a form of CMX 'import as cut-list' to get the media and event/clips into COLOR. And then there's no apparent way out.
If its a CMX-flow, it was probably a V1-only list, all cuts. If all the material was rendered back to 10-bit Uncompressed, then that media exists somewhere, all neatly tucked into individual folders numbered corresponding to their order in the cut list. In the old days, we would do a FinalGather which would herd all these clips into either a reference Quicktime or a folder where the clips were exposed in such a way that you could grab them all and drop them onto a Final Cut sequence. There are some automator scripts laying around here and there for pulling all the clips into a single directory... it'll take a bit of searching, or you can create your own.
If I'm on the right track with this, creating a new FCP timeline with the rendered media is as simple as selecting them all and dropping them on a new sequence, since they are oriented with names like 1_g1.mov, 2_g1.mov, and so on. Search for those with Finder if you haven't already, and then you'll know what to do. The tough part is that they, each individual clip, are all imbedded in their own folder which makes it a beeotch to wrangle them as a collection.
jPo

Trouble Exporting From FCP 5 to Motion

Hi, I'm new to this forum and have a question. I'm trying to export a sequence of clips from FCP to a motion project. The manual says File>Export>Export to Motion Project as a path but that option does not seem to exist. I've gone the "Send to Motion Project" route but there is no option to embed content that way. How do I send my work from FCP to Motion with embedding so the changes are refelcted in FCP? Thanks.

Thanks! I actually discovered it myself by accident just a minute ago. I was selecting the sequence in the browser before and that apparently doesn't work. Got it now though. Thanks for the reply!

When I start my mac book pro the screen flashes on and off and then a blue color before it open to the log in screen. Sometime a program will shot down buy it's self without me clicking the quit button. Help?!

When I start my mac book pro the screen flashes on and off and then a blue color before it open to the log in screen. Sometime a program will shot down buy it's self without me clicking the quit button. Help?!

If you keep getting a 'red' message it means that the HDD is faulty and will have to be replaced. You will have to format the new HDD in Disk Utility>Erase and then install the OSX and your data from Time Machine.
Ciao.

Sending from fcp7

Trying to send from Fcp 7 but the clips will not display, I'm just seeing black frames.
I know that I can not round trip but it would be nice to send the clips from FCP7 to Motion 5 as the software has over written Motion 4.
This is the same on my laptop.
Any help would be appreciated.

Cheers Dwas - It's a bug alright, part of that problem might be that the codec I'm (trying) to work in is not present in the Pixel Aspect Ratio drop down. DVC Pro HD - Only one of the most established codecs out there.
Now Motion does not round trip and update FCP - "Media Missing in Motion File" - Sheesh!
Its going back

Color ( or motion) on second computer - different mac than Final Cut

Hi,
is there a way to install e.g. color or motion on a second computer and have Final Cut Pro send the clip/clips there for grading and back?
Or does the 'send to color' only work for 1 mac?
Thanks,
Robert
FCS2 in intel Macbook Pro Mac OS X (10.4.6)

"Send to Color" automates an xml path inherited from Final Touch. In theory, you should be able to Send to Color on your local machine to create the Color project, then transfer it to another machine as long as your media drives are mounted over the network. "Send to FCP" should still work when transferred back to your edit machine. Of course you'll need a licence for each, unless the drives are physically detachable. Not sure of the legalities of running FCP on one machine and Color on another with a single licence - in theory, you're not doubling up but I bet it won't let you.
FT/Color uses Unix symlinks, not aliases, and you can cheat it to provide file paths to drives that have vanished if you need to revisit projects where media has moved.

HT4722 What happens if you opened FCP 7 before Motion 4? What should I do if I did it this way?

What happens if you opened FCP 7 before Motion 4? What should I do if I did it this way?

Hi Nick, thanks for responding. Sorry I wasn't clear.
What I want to figure out is regarding FCP X and FCP Studio in the same machine.
I installed FCP X. Moved the FCP X's applications into a folder. I moved the FCP Studio Apps out to the root directory of my applications folder.
But what I didn't do, is open Motion 4, before opening any other application form FCP Studio. (This is what Apple recommends to do)
Now every time I want to open a motion 4 file directly from FCP 7, the new motion 5 opens. I'd have to modify files individually to "open with" motion 4.
I am working in a school setting, (public computer) so I want to leave it easy for users...
Thanks!!

Can't install Color or Motion

Just installed Final Cut Studio but can't get Motion or Color on. I've used all the discs and no joy. I don't have a disc with Color on it which worries me. Tried to install from the Motion disc separately and it said successful install but couldn't find it on the system.
Please help...

Both the Color and Motion apps are installed from the 1st disk, ( Color may have installed; look in your applications folder for it) in fact all of the actual applications are installed from that 1st disk... the motion disk just installs the templates...
What is the spec of your graphics? If they don't meet the minimum as posted in the specs of Studio, Motion won't install, because it relies heavily on your graphics processor.
The spec for Motion is: A standard or built-to-order system configuration with a ATI Radeon 9600, 9700, 9800, X800, X1600, X1900, or X2600 class graphic card.
But that all said, didn't you check on all of the installs from that first disk? You can select them to install or not...if you don't see color or motion, then try installing them again from that first disk.
Jerry
Message was edited by: Jerry Hofmann

HT1657 How can I delete a rented movie from my ipad before its expiration date?

How can I delete a watched rented movie from my Ipad before its expiration date?

Hello, K M Cartwright.
Thank you for visiting Apple Support Communities.
You definitely can delete the movie prior to the expiration date. However, the movie will automatically disappear from your iTunes library 24 (or 48) hours after you've begun viewing it. Here are the steps on how to delete iTunes media.
How to delete content you've downloaded from the iTunes Store, App Store, iBooks Store, or Mac App Store
http://support.apple.com/kb/HT5772
Cheers,
Jason H.

I have Adobe Photoshop Elements 10 and Adobe Premier 10 loaded on a Dell PC. Do I need to uninstall from the Dell before I install on a recently purchased Apple Mac Pro? There are separate disks for Mac and PC in the package.

I have Adobe Photoshop Elements 10 and Adobe Premier 10 loaded on a Dell PC. Do I need to uninstall from the Dell before I install on a recently purchased Apple Mac Pro? There are separate disks for Mac and PC in the package.

Generally, it's ok to install on two machines as long as they are both yours and you only use one version at a time.
BTW, this is the forum for Adobe Contribute.

I am attempting to have cells use data from a selective month from the year before so that I can show actual from the prio. years each month.

I am attempting to have cells use data from a selective month from the year before so that I can show actual from the prio. year each month. I need to create a spreedsheet using the the Acutlas from the year-to-date and from last year-to-date, but need to report each month.

Hi Tony,
Answering your question would be easier given a screen shot of the source table and one of what you want the summary table to look like.
Is the data you want for each month in a single cell o the source table, or does the summary table need to collect February's data (for example) from several cells and do some math with those numbers before presenting them on the summary table?
Regards,
Barry

From FCP7. COLOR before MOTION?

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