No Color Correction to FCP from Color

I have project that I graded in Color, I rendered it and send it back to FCP, when I viewed to clips in the FCP timeline from Color, no color correction was applied to the clips, did I do something wrong?
How do I make work properly?
Any advice would be appreciated.
Thanks
Sigi

Sigi
I am new to Color but had the same problem, I was rendering out to an external harddrive. Re-render or move your files to 'Documents Folder' > 'Color Documents' > 'Renders'.
Then re-send your color project to FCP.
I'm no expert but this might work.
Chris

Similar Messages

How do I keep FCP from auto-distorting my video when I drag it into the timeline?

FCP keeps auto distorting my video when I drag it into the timeline. It keeps setting the motion aspect ratio to -12.5, then when I set it to 0 and render, the video has lost significant quality even though I have my motion render settings to: best. I figure it is this motion distort which is ruining my quality on render because the avi from the camera is ridiculously clean and un-pixelated. How do I keep FCP from auto-distorting my video? It makes no sense that it does, because at -12.5 aspect ratio, FCP is creating a letterbox for my video. I just want the video to fill the entire canvas that I chose! There must be a setting somewhere that I have missed, but I cannot figure it out for the life of me. Please help!
I have a video shot on my Pentax K-r that is 1280x 720p 25fps. When run it in quicktime pro, the inspector affirms this sizing. And in QTpro there is no letterbox present when the original is played.
In FCP I have the sequence settings at:
HDTV 720p (16:9) (which is 1280 720)
Timebase: 25
I have tried to turn anamorphic on, then off in the clip format settings, and also turn the anamorphic on and off in the sequence settings. No combination seems to correct the problem.
Any help is appreciated. Thank you,
ML

Hi I have done some more digging and found this:
1) In the bottom left corner of FCPX, click the film reel so that you can see all your projects:
2) Select the project you are having problems with and then in the inspector window, click on the spanner icon in the lower right side:
3) Finally a window appears so that you can choose the settings for the video you are using:
Hope that helps
G

HT4480 I have redemption codes for FCP from my university - how many machines can I install on?

I have redemption codes for FCP from my university - how many machines can I install on?

Do you have these codes because this will be your app? Or is this a "loan" from the school to install on your machine? Do you use your own Apple ID to redeem the code and install the app?
If it is your app, then you may install it on as many Macs as you own or have in your control.

I would like to see and access the correct sound patches from my E-mu mps orchestral plus from inside of logic express.

I would like to see and access the correct sound patches from my E-mu mps orchestral plus from inside of logic express.
Right now , I have access to some of the sound files but most are missing and all are incorrectly labeled.
Is it possible to ("Library") these sound files or access them from logic?
Thanks
J

HI,
I'm not quite sure who you think you are addressing here with your idea but this is a user to user forum. Apple don't come here.
If you want to offer ideas or feedback to Apple, it would be best for you to do it here:
http://www.apple.com/feedback/logic-pro.html

How can i find the original picture in the correct event folder from an album folder picture?

how can i find the original picture in the correct event folder from an album folder picture? I can find the link to the original event folder, but is there a way to get right to the picture without having to search visually the event folder?

Depends on whatr you mean
Deleting from your phone does not delete from anywhere else
HOWEVER deleting from your Photo stream does delete from the Photostream so anyone looking at the PS from any device will no longer see the photo
But if your Mac iPhoto is set to automatically impor tphotos form PS or is you have manually imported photos from PS then onc ethey are imported they are on your Mac and change to PS will not affect them
for more on PS see http://support.apple.com/kb/HT4486?viewlocale=en_US&locale=en_US
LN

Filter Lens Correction is missing from the menu, along with adjacent filters.

Filter > Lens Correction is missing from the menu, along with adjacent filters.
I updated 1 day ago via Adobe Connect and it is now missing from the menu drop down. As well as the other filters in that general area.

hi ffadler
i experience the same on my laptop,
do you have an solution already?
regrds
piet

I bought a new Mac Pro and migrated my FCP from my old one. But the new old won't accept my product serial number. Help!

I bought a new Mac Pro and migrated my FCP from my old one. But the new old won't accept my product serial number. Help!

Was the FCS on your old machine an upgrade? You will need to enter your original, full version serial first, and then you will be prompted for the upgrade serial number.
Hope this helps.
MtD

Configuring the time capsule airport wlan function as "connect to wlan", the time caspule gets a correct IP adress from the other wlans IP range, but does not assign this to the ethernet ports. With Airport Express it worked!

Configuring the time capsule airport wlan function as "connect to wlan", the time capsule gets a correct IP adress from the other wlans IP range, but does not assign this to the ethernet ports. With Airport express it worked, the single Ethernet port got the IP Parameters passed through!
My setup is a Vodafon Esaybox connected to ISP. Time Capsule is not able to extend the wlan of the easybox, neither airport express can do.
Only the option "connect to wlan" is succesful.
With airport express I was able to connect my Sony Bravia TV to the lan via ethernet to stream pictures, the TV set got an IP adress from the easybox.
With the time capsule the easybox dosn't find devices connected to the ethernet ports to submit IP adresses. The TV set get another IP adress (169.xxx.x.x.) in subnet mask 255.255.0.0 and I don not now where from.
My notebook is a MacBook pro.
Any idea????
Thank a lot in advance!
Kind regards
Ingo

Neverthe less, could there be the chance, that this feature could be implemnented with an firmware update?
That would appear to be a question for Apple to answer. You can make suggestions to Apple here:
Apple - AirPort Extreme - Feedback
If the AirPort Extreme and Time Capsule are configured to "extend a wireless network" they will provide additional wireless coverage....and...the Ethernet ports are enabled in this type of setup.
The "catch" here is that you must have an Apple router providing the network to be extended.

Update FCP from 5.0.4 to 5.1

What is the process for updating FCP from 5.0.4 to 5.1?
Thanks.

Welcome to the forums.
Search is your friend:
http://discussions.apple.com/thread.jspa?threadID=683812&tstart=0
Next time use the SEARCH function in the upper right hand corner and see if you can find the answer to your question, because more often than not, it has been brought up. In fact, just a few posts below this was the link I just provided.
Shane

Upgrade to FCP from FCE

Can anyone give me an idea of the learning curve when upgrading from FCE to FCP. It looks as the the programs are quite similar on the surface but I have never seen this question directly answered. I am also somewhat intimidated by Compressor, DVD Studio Pro ect since I currently output to iDVD.
Mac Pro Mac OS X (10.4.8)

I upgraded from FCE to FCP last year. I used FCE for 5 years. I am not a professional but I do a fair amount of multicamera work for local ballet companies. I record and create the DVDs for their performances and individual dancers. I do it for fun and to help out the dancers.
I upgraded to FCP in order to obtain the multicamera feature in FCP. It has been worth it to me. There was very little difference in the learning curve in most aspects of logging, editing, compositing, etc. There are a ton of professional equiptment oriented input and output features that only professionals would need in FCP. I don't understand most of them but I don't need them either.
I use iDVD and not the DVD studio professional app because iDVD is so easy and the final DVDs are so beautiful. Someday I will learn DVD pro when I have some time.
Compressor has been handy, though. Sometimes a ballet will last longer than 2 hours.
Also, I bought a book about FCP which really helped.
So, I would say that you should upgrade to FCP from FCE if there are certain features that you need in FCP or the FC Studio bundle. Or if you have the cash and just want to have the top of the line program go for it. Otherwise I would stick with FCE because is is 98% of FCP and such an unbelievable software deal.
Brock Fisher
San Diego
imac Mac OS X (10.4.3) FCE 3.5
imac g5 Mac OS X (10.4.3) FCP 5

I cant read correct single quote from mySQL database...

I cant read correct single quote from mySQL database, pls help. What i'm talking about. I must import, "J'adore" for example in my DB and I'm doing this. Thats ok. But when I try to read this value from my DB through JDBC I'm receiving SQL exception (because JDBC thinks that i didn't close may quote). If somebody knows solution for this problem lets tell me.

I'm not sure I got your question correctly, but maybe
this solves your problem:
Connection conn = // Wherever you get it from
PreparedStatement query =
= conn.prepareStatement("INSERT INTO table_A (field_A) VALUES (?)");
query.setString(1, "J'adore");
query.execute();
query.close()Regards, Eirikthe select variation which i think you mean the WHERE clause would be...
Connection conn = // Wherever you get it from
PreparedStatement query = conn.prepareStatement("SELECT * FROM table_A WHERE field_A = ?");
query.setString(1, "J'adore");
ResultSet rs = query.executeQuery();

I just LOVE Color Correcting in FCP X

Don't ask me about the technical stuff but for some reason, I can now get great color (colour really) from some clips I shot back in 2006. The stuff I shoot these days is usually very consistent but these old clips muddy and have severe colour casts.
The new Color Board in FCP X seems to cope really well.
Being able to drag either of the four buttons to the colour that needs adjustment, slide it up or down for a rough adjustment, and then a tiny bit to the left or right to perfect the job is so user-friendly.
I disliked the old color wheels on FCP Studio, where it all seemed much less precise unless you were able to move a mouse in a perfect circle.
Anyone else have any thoughts on it?

My on-going off-and-on project has been editing and moving my old home movies to DVD so they can languish away digitally instead of as VHS tapes. (This includes quite a few Super-8mm films which were converted to VHS in the mid 80s, so its still all VHS.)
Sprinkled in with this are more current home movie projects such as "How we spent our year" Travelmentaries (commonly called vacation movies), and an annual DVD of our Boy Scout Troop outings for the year.
First I have to say, this has all been hobby and goes along in fits and starts. FCP 3 got old and clunky when it had to be pushed thru Rosetta like a meat grinder, and I messed with iMovie until FCE 4 came along. If I had dedicated myself, probably would have finished all the VHS stuff long ago, but mostly worked on stuff when it occurred to me that peeps in the Super-8 stuff, for instance, might actually enjoy seeing it all again 40 years later. And the color correction stuff was tedious and wearing, making anticipation of the next project less inviting.
In all this, doing a limited amount of color correction and sharpening worked pretty well. But I have to say that having all the parts (color, saturation, exposure) right there working the same with the same 4 "grab and drag" method has actually made the whole job far less imposing.
The one thing I miss about the color wheel, however, is that whatever color over-tinted the clip, dragging the "button" directly away from it pretty much settled the problem. For instance, if shot inside with the yellowish incandescent tinting, blue was the color needed, and it was opposite yellow.
It took a bit to get used to the color bar's method of removing yellow in maybe light tones area and adding a little blue, perhaps, in the mid-tones. But I also quickly found that by playing with the exposure in either area, I can sharpen those old fuzzy VHS tapes -- something I never noticed was happening until I tried it. The sharpen effect works pretty good as a start (used unsharp mask in FCE), but the color bar really sharpens things up, if not overdone.
Personally, I find I am anticipating spending lots of time on my "restoration" projects now, all because of the ease of use and power of FCPX. I finally finished one I started (converting the VHS tapes to DV) in 2009, although in all fairness, it was an extra four hours left over after having processed at least as much at the time. (To make things less intimidating, I have also moved the VHS player and now convert the tapes directly to disk using an otherwise now unused Canon DV camera as an AV to DV convertor.
But I am certainly one of those apparently targetted by Apple with the new FCPX at the expense of losing their loyal professional base. And the Color Bar's ease of use is a major part of that.

Sending back to FCP from Color

I have been going nuts all day about this, I have a sequence with about 20 dissolves. It is about 1 minute 30 seconds long. I applied a very simple color fx called dream.cold.cfx. I got the clips to render, that was no problem. But when I "Send to Final Cut" it comes back correctly as a "Sequence_name (from color)" but the sequence is empty is is blank. The clips are in folders labeled 1,2 ,3, 4, etc. But it dosen't come back as a sequence in FC. help me, I read the manual, I look at the discussions. I looked at my render folder settings, etc.
I need help.... it's 11:00pm here in NY and I am tired and getting ready to hit the machine with a sledge hammer.

I am running latest version Mac OS 10.53, FCP 6, I have all the latest evrything. I tried exporting XML out of color. What I hav done is just pieced together the rendered clips from the color render folders and put the dissolves back on. But this shpouldn't happen. To tell you the truth I had it right the first time I did it, but I failed to apply the effect to a very small clip in the color sequence. So when I went back to the original FCP sequence that's when it hit the fan. I had the "send to FCP" corerct, but now it is just blank when I do it. I've done it hundreds of times, changing render folders etc. I have now just rerendered as a quicktime movie and did it that way.

Going back to FCP from Color...use original format or ProRes422?

OK, so I've color graded all 5 reels for my feature film and am finally ready to send back to FCP and reassemble! I'm hoping Shane Ross can jump in here too since he's been SO helpful up to this point :-) So I have two different formats which I've graded seperately...720p DVCPROHD stuff (99%) of film and two scenes which were HDV 1080p24. So far when I've sent back my DVCPROHD clips I've rendered out of Color using ProRes422..but my Resolution Presets: and Width & Height settings are what I'm most concerned with. What I've done when sending back to FCP is use Apple ProRes 422 with Width 1280 and Height 720 and changing my Resolution Preset from 720 x 576 DV PAL to 1280 x 720 HD to match the Width and Height settings (not sure if I should leave this at 720 x 576 DV PAL??). However, the clips show up in FCP as 133%..so obviously upscaled. So now I'm going to export the DVCPRO stuff to Compressor to upscale to ProRes422 1920x1080 to bring back and match with the HDV 1080p24 footage before FINAL export to compressor again. Should I not be sending the Color clips back to FCP upscaled to 133% with my Color settings...since I will then again be upscaling in Compressor? Or will it really make that much of a difference? And also, should I check the Broadcast Safe circle in Color when sending back to FCP? I didn't color correct with the Broadcast Safe on so should I now to be on the safe side?
Thanks!
David

Ok Shane, So actually just went over my Color outputs and I did render everything as ProRes 422 at 1280x720 ...and the clips back in FCP are scaled at 100% so that's good...for some reason I remember having some that came back at 133%...maybe that was just a couple clips somewhere that were wrong...I'll figure that out...but I didn't check Broadcast Safe on the renders so I guess I can go back and re-render with broadcast safe on...so we did shoot 720p HD and I AM going back still in HD from Color.
Now I'm having another issue with the HDV 1080p24 stuff...which is actually only 20 shots of the entire film. But for some reason I'm noticing that they are interlaced when viewing on my FCP timeline, which my settings are HDTV 1080i 1920x1080...now when I export the scene out to Compressor as a ProRes 422 1920x1080 .mov it actually looks great on my computer monitor...no interlacing that I can tell, looks great. However, if I drop it onto my FCP 1080i timeline then there is interlacing again...and worse, when I make a SD DVD it is also interlaced...most noticable an actor's shirt, there is a bit of Moire effect going on...this must be because I'm downconverting to 720x486?? So I've been killing myself trying to figure this one out. Doesn't appear that deinterlacing in Compressor helps any either. Is my only option to blur it out with a gaussian blur of around 2? (the HDV clips do show as 1080p24 in FCP) Not sure if the interlacing would be gone if I were to burn a bluray since it's a higher resolution?? My settings in FCP are 1920x1080 HDTV 1080i (16:9) Pixel Aspect: Square, Apple ProRes 422 BTW.
There's also quite a bit of color blurring when watching from a burnt DVD from DVD Studio Pro...wish it looked as good as it does on my LG LED 32" screen with Matrox mini...man, do DVD's really look this bad? REALLY considering going and buying an external BluRay burner today
So if I could just get this interlacing problem resolved somehow...

Color Correction in Encore from Premiere

When I open my Encore project which consists of a Master show from Premiere (composed of multiple timelines), it doesn't see the color correction used in Premiere.
Curiously, Encore 5.1 does (although this was fraught with transcoding issues, hence my jump to 6).

No. Original was created in premiere 5.5 and dynamically linked to encore
5.1 via timelines containing the various sequences from premiere. The
burned dual layered dvd would freeze at 7:24 in the 5th chapter and return
to the main menu. I opened that encore project in encore 6 and burned a
fully-functional did with the exception of the encore 6 project wouldn't
see the color correction effects from the premiere5.5 project to which it
was directed.

No Color Correction to FCP from Color

Similar Messages

Maybe you are looking for