Work Flow with FCP and color correction

I am looking for a decent workflow between FCP and motion when I need to apply color correction to the clips.
I have a goup of clips in FCP that I would like to send to motion, animate them and send them back to FCP. Problem is I want to use FCP for the color correction- nicer than motion's. The, all bad options I have come up with are:
1. color correct in FCP and then send to Motion- will not work because filters are not applied in send.
2. Export the clips as one QT self containned movie- I lose the clip partitioning.
3. Exports individual clips to QT then into Motion- I lose the clip ordering
4. Color correct after I get back into FCP from Motion- clip boundaries are lost making applying color correction harder.
Any ideas?
Rick

I've done this two ways - both variations on the methods you have outlined. First and simplest and one I used last week on a PSP project was to apply the color correction to the Motion clip (.motn file) after it came back from Motion. This is simple and easy, but if you've done titling, you may not want to color correct that.
The second is as you said to render and export a self contained movie, then import it and copy it onto the timeline above the original clip that produced it, thus (at least organizationally) maintaining a connection between them. I then send the quicktime to Motion.
Sorry I cannot think of another better way of doing it...
Patrick

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Color Banding issue with FCP and Color...PLEASE HELP!!

Ok so heres whats going on and i'm hoping some can help me out here cause i'm totally lost!
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Yeah, you can't critically judge video quality on computer displays. They won't show you an accurate image. Unfortunately, there is no way to send a signal to a video display (HDTV, broadcast monitor) for this purpose from an imac.
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Try asking in the Premiere Pro forum seems to be an Adobe Lab for Premiere Pro

FCP 3Way Color Correct Shows Up Incorrectly

I have a 1080 60i ProRes project that I have done an initial balancing pass in FCP using the 3 way color corrector. When I send that project to color, all of the settings that I have used in FCP come thru, but the actual output looks really, really red on my external monitor.
I am viewing thru fcp and color thru my AJA IoHD (HD-SDI) - but of course color only output SD. Is the difference because of colors' downconvert? I'm really thinking about trashing my work in FCP and starting over in just color, but I won't get the benefit of viewing the HD output.
Not really sure what to trust.

Can I just add to this. When I send a Pro Res sequence to Color from FCP with no colour correction the clip appears much redder in Color than in FCP - I've tested this from an IoHD and an Lhe.
If I do the same but this time with a DCVPRoHD 1080i50 sequence and media the clips are the same colour in both FCP and Color as I would expect.
I'm confused, what am I missing about Pro Res, why does it appear differently in FCP and Color - which should I use to grade ?
Any help appreciated.

AE CS6 - 3D Compositing and Color Correction workflow

AE CS6 - 3D Compositing and Color Correction workflow
Hello everybody,
I have some questions about work flow in AE concerning compositing and Color Correction. I saw many tuts about (f.e. Lynda.com Premiere Pro Color Correction and Enhancement... and tuts by Andrew Davis here in creative.cow).
Essentially, he have this CC work flow:
GRADING (primary and secondary)
Adjusting Tonality (Brightness and Contrast)
Adjusting Colors (White balance and fix color dominance)
MATCHING
Conforming colors of different clip shoted with different camera and lighting set up.
ENANCHING LOOK
Giving to all clips a unique "look"
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or/and
a keyed clip from a green screen shot?
How does this footage (3d object and green screen keyed shot) transform
the aforementioned work flow?
We have to consider that this footage (3d object and green screen keyed shot) must to be pre-multiplied to make a right compositing but when you make CC it must be again "straight"... (NOT pre-multiplied)
Is really hard also understand how dale this work flow between AE and Pre Pro if you want to make CC in Pre Pro after compositing in AE.
I try to present a work flow for this (very common) situation:
I have a landscape clip as a background
a keyed clip (pre-multiplied) with a Character watching sky
and a 3d (pre-multiplied) object U.F.O. on sky.
When I have done compositing, how make I a right CC of all footage if I have two clip (3d object and green screen keyed shot) still pre-multiplied?
I think, but I'm not sure, that should be a good idea to send to Pre Pro a composited Comp with separate layers (by dynamic links) to have all single separate layers (Background, 3d object and green screen keyed shot.. but also the Color Warping...!). Than, in Pre Pro you should make a CC (Grading) just for a BG and than try to Match (Matching) this color corrected BG with 3d obj and keyed shoot. But we have a problem at this point cause our 3d object and green screen keyed shot are still pre-multiplied, and before make matching we have to re- multiplied theme, but how? And if we re pre-multiplied them, compositing will be also right?
Or maybe, before exporting comp from AE to Pre Pro, he have to create both layers for 3d object and green screen keyed shot, one pre-multiplied and one "Stright"? But, again, how to combine them to have a right compositing and a a right CC?
Anybody can help me to understand or maybe suggest any tuts to dale this common issue in AE- Pre Pro?
Many, many thanks!

Dave is correct. (And so is Mylenium. No need to be rude, when he was jsut trying to explain that you were introducing unnecessary complexity.)
The color matting is removed to interpret the alpha channel when you import the footage. After that, any color correction that you do to a layer based ont hat footage item doesn't have anything to do with whether the channels were straight or premultiplied for the source item.
You color-correct your individual items to amke them match as part of the compositing process in After Effects. Then, if you want to do a color grade of the shot in Premiere Pro along with other shots, you'd be working on the single rendered/flattened composite, so the details of the original elements that went into the composite are irrelevant.

Problems with FCP and my second display

Hi everyone !
I'd like to use for my editing and color correction a second display. I bought the JVC DT-V24L1D monitor, and plugged it into my MBP through a matrox mxo.
When inside FCP, I cannot find a way to display the canevas into my JVC screen, it displays the whole screen i already have on my laptop. I read the manual a good hundred times, and by following what is written I just got nothing. Can please somebody help me finding a way to set FCP ? Thanks.

You are probably better off posting this in the FCP forum, where there are several Matrox MXO users, but since I'm one, I'll give it a go.
When you install the Matrox software, you should have a whole new group of easy setups in FCP using the Matrox. If you are working with standard DV footage, choose the appropriate Matrox setup; i.e., Matrox MXO DV NTSC 720x480. There are also setups for HDV, etc.
After choosing an easy setup, and starting a new project, go to the view menu, and set your external video and audio to the same settings as the easy setup, if they aren't already correct.
Using Command/F12, you can switch from your regular display on the 2nd monitor to the FCP canvas.
A couple of other things to mention: for existing projects, you can change all of the above in your sequence settings, and under the View/External Video settings.
And, in system prefs/displays, set up your external display so that it is not mirroring the desktop; then you can create a dual display window arrangement in FCP, so that when you're not using the Matrox for viewing the canvas, you can have an expanded timeline, more space for your browser, etc., etc.
You can save your custom window arrangement, and toggle between it and the Matrox canvas view with the above mentioned Command/F12.

Optimizing work flow in FCP on new iMac? (dropped frames)

Hello-
I've recently purchased a new iMac, first in about 6 years. I'm looking for some advice about optimizing my work flow in FCP. I am largely self-taught, using FCP for hobbyist/amateur video.
Until this new computer, I have been using FCP on other people's Macs (schools, arts institutions, etc), only resorting to my old Powerbook when absolutely necessary. So I have not had to worry about performance issues until now.
I am shooting on a Kodak Zi8 pocket cam in 1080p HD .MOV files, 1920x1080 H.264, AAC audio.
In my first attempts at editing the footage, I find that I am getting dropped frames on playback at every edit point - any time I cut between shots, add titles, etc.
(I also tried editing some much smaller, compressed files (QT 854x480, H.264, AAC audio) in the timeline and had the frame drop problem.)
Also, when I add titles, they do not preview render - I have to render them completely to be able to playback.
When I allow FCP to change the sequence settings to match the clip, I get the following:
1920 x 1080
Aspect: HDTV 1080i (16:9)
Pixel Aspect: Square
Field Dominance: Upper (Odd)
Editing Timebase: 29.97
In this instance I am editing footage that is stored on the local HD, but I have also tried editing footage from a USB 2.0 external drive, and got the same dropped frame problem.
...its a little frustrating to get these performance issues on this new computer, so I hope that someone here can help me resolve some of my problems. Hopefully this is a work flow issue, but if its a lack of hardware, well, shame on me for not looking into it enough.
thanks in advance.

Hi -
H.264 is a recording and delivery format, but as you have discovered, it is very difficult to edit. Its qualities of recording a high quality image in a small file size, which make it attractive for use in Flash based camcorders, makes it very difficult for FCP to work with. Attempting to work in H.264 makes FCP drop frames, require constant rendering, etc.
The best solution is to convert your footage to an edit friendly file format, such a ProRes LT or AIC. There will be minimal impact on the quality of the image. This conversion will result in files that are much larger than your original files, but will work easily in FCP.
You don't say if you have FCS or just FCP, but if you do have FCS then you can use Compressor to do the conversion.
Hope this helps.

5930K vs 5960X for AVCHD editing and color correction?

***I have also posted this in Hardware Forum because I'm not certain which forum will be the best place to ask. Mods, I apologize if this is a no-no and of course you're welcome to remove the one you deem inappropriately placed. Thanks**
Hi guys, getting ready to have a new custom system built (probably iBuyPower, not sure yet). I would love your input on choosing the ideal processor. I have read benchmarks and forums on both the Intel 5960X and the 5930K. Most benchmarks are only concerned about encoding times, not the actual editing and color correction processes. I realize that encoding (exporting) would be generally faster on the 8-core 5960 compared to the 6-core 5930. HOWEVER, all my source material is AVCHD and for that, higher clock speed does make a big difference during the actual editing. So let's forget about encoding/exporting right now and ONLY think about the actual editing. Let's also assume I will not overclock, or if I do then never more than 20%.* I 'm not a gamer and this workstation is ONLY for editing. I use Premiere Pro CC 2014.x and always keep it up to the latest version.
Since the 5960X is only clocked at 3.0 Hz. I'm concerned that editing and color correcting AVCHDs will be not as smooth as one would expect from a $1000 chip. The editing process is quite complex, with multiple video layers (all AVCHD, either 60p or 60i), picture-in-picture, color correction (mostly GPU-accelerated ones such as the Three Way CC and RGB Curves), and so on. It's not simple cuts and a few transitions. In fact, the work required on those AVCHD files is very much beyond what AVCHD is meant for but it is what it is.
So, considering all that, would you STILL fork out the extra cash to get the 5960X versus the 5930K, and if so, why?
I thank you in advance for your opinions and insight!
Current planned system specs (highlights)
- Win 8.1
- 5930K or 5960X (help!)
- Asus Rampage V
- 32 Gb 2666 RAM
- GTX 780 (possibly will invest in a Titan X 12 Gb if funds allow)
- Intel 730 SSD (480 GB) for OS and programs
- I will use my current set of 5-6 SSD drives for sources, scratches, misc pull files, exports
Thanks again for your feedback!
PS: I would like to emphasize again that the actual process of editing and color correcting AVCHD files is what matters most to me here rather than getting the absolute fastest encoding times.
* I realize that both chips are unlocked and made for overclocking. I've overclocked for years but frankly, I was never that comfortable with it, lots of crashes and instability - and that was at low overlock levels of around 20% or less. I do not want manage overclocking or thermal management or worry about frying the chips. If at all possible I would like to run the chips at stock, or as close to stock as possible. However I'm also open to suggestions about that.

Actually the 5960X will clock the turbo speed for all cores if you set it that way which is one of the things we do with our systems. All Intel chips that are not locked can clock to their turbo rating for all cores if set that way. Even without setting all cores to the peak turbo ratio they will turbo to a clock speed higher than base when all cores are active. It's just not the peak turbo ratio. That has to be manually set. Turbo occurs anytime the system load reaches beyond a low level regardless of what your doing. The system boards and bios effect that. You can also disable a setting in the bios and the system will always stay at it's peak clock ratio. The 5960X clocked at 3.9 will easily outperform the 5930K with all codecs due to the cores and cache.
We can configure the systems with any hardware available in the market. However we cant include all those items on the website right now without making it far harder for people to configure systems. The hardware options we list are there because they are tested to work with the video and audio hardware/software and the reliability. We also support the systems as a solution for the life of the system. We have price the systems for that support which is part of the price difference. The options you are looking at wont have near the same support or expertise with the hardware and software together hence why your asking the questions here.
Eric
ADK

CS5.5 crashes when I change work space from editing to color correction

When I change my work space from editing to color correction CS5.5 crashes.
Can get it to change from editing to audio work space without crashing, but when I want to change back from audio to editing it crashes then too.
Any help appreciated.

In my quick search (check me out there), THIS DRIVER appears to be the latest. I would install and test with it. I find it a good idea to do a System Restore Point for before a driver install, and to also keep a few older drivers available, just in case one needs to roll-back.
Good luck,
Hunt

Chroma keying and color correction on same clip

I have an image, with some people shot on a green chroma key background. I want to key it on another image, and desaturate it, except the yellow color.
I have no problem keying out the green. I can also desaturate the image, with the deaturate filter, but if I apply the color corrector, and work with it to only keep the yellow color in the image, then my chroma keying is lost.
It kinda turns of the chroma key completely.
What is the easiest way to chroma key out the green of an image and desaturate everything except the yellow color of the image?
I have Final Cut Studio, so if it's easier to do it in Motion, then I'll do that...?
It's shot on HDV, so it's already a little tricky to key out the green perfectly.
thanks for your help.

After you key the image, export it as a self contained QT movie. Then re-import it, and color correct it to suit your needs.
Shane

Two Radeons 3870 with FCP and Motion?

Hi!
Have you tried to use two 3870 with FCP and Motion?
I just wanted to have all 512MB of video RAM for my canvas and use the second card with my Matrox MXO to display broadcast preview.
I know it could be risky, but as I remember earlier the problems shows only while rendering some of the plugins in FCP (my test was on 2006).
Do you have any experience with pair of 3870 cards?
I've just ordered two of them:)
regards
arti

From what I've read on this forum, FCP doesn't work properly with two video cards.
-DH

Automating work flow with Shared Reviews

Is there a way to manage the work flow with shared reviews? In other words, I have a pdf document I need to send out for review. I have several people on my review team, and I want them to look at in in sequence rather than all at the same time. Person A to make comments first, and then pass it on to person B.
Is there a way to set up reviews so that Person A gets to review the document first, and then when they are done, it notifies person B that the document is ready to be reviewed?
As far as I can tell, the way it is set up currently is a free for all and there is no organization - I would like to avoid doing this manually.

By server information, I mean the server type (webDAV/SharePoint/Network folder/Acrobat.com) on which you initiate the review in A9. What option do you choose during shared review initiation?
What is the error message that you get on opening A9 created files in A10? Can you send me one such testfile at ambooATadobeDOTcom (the one created in Acrobat 9)?

Looking for HD camcorder that works well with FCP. I'm fed up!

Hello Cutters!
I have the JVC GZ-HD7. This cam is a complete total nightmare. I have tried everything and the kitchen sink to get it to capture or to playback its files on my Mac Pro! It works on my PC but I want to use my Mac.
I have renamed the .TOD files to everything you can think of...and nothing.
I paid $20 to Apple and downloaded the mpeg2 update... and nothing.
I have tried capturing video with FCP and iMovie. You just see a Blue screen.
I have download the QuickTime update from Panasonic and it doesn't work either because it's outdated.
I have also tried other wild and crazy things. I GIVE UP. I'm not stupid, i've done my research and I'm about to post this cam on eBay.
I also herd that the new Panasonic HD cams are difficult to work with on Macs to?
So what are you guys using??? What is working for you? Does anything work?
-Mark

HI, I know nothing about your camera.
But, months ago someone at the COW was having problems
playing .TOD files from his camera.
He put a sample to download on his iDIsk.
Bring the curious type I found the QuickTime TOD plugin
that comes on the software disk included with the camera.
I also found easy setups for FCP and the Everio cam.
**You can get an updater for your installed QuickTime Component for Everio
released last April here:
http://www2.cli.co.jp/products/ne/updateqtc_for_gzhd7/qtc3eupdate.htm
and FCP easy setups here:
http://www.everydayvideo.com/eng/GZHD7/indexqc.php
The aforementioned TOD clip then opens instantly in QuickTime player
ready to export in the format of your choosing.
This on Leopard 10.5.4 and QuickTime 7.5
This may or may not help.
NB, You must have the the +QuickTime Component for Everio+ from your software disk installed for the updater to work.
This updater specifically mentions your camera.

E71 and Color Correction

I have noticed even with the new updated version firmware that when using the camera it still has a blue or purple tint and lacks sharpness.I preceded to http://mosh.nokia.com/content/4F546B0D59DD282DE040050A45300EA2 and D/l this file and installed on the E71.
I took two pictures using the normal camera on the E71 and the conditions were set that both images not use flash. The first image was taken in the living room by the door leading to the deck and the other image was taken in a room just using the overhead fixture.
I then preceded to using the installed program and went to camera-color correction and color corrected blue by adding yellow and increased the contrast slightly. I will add another post so that you might see Roomlight 1.jpg
You decide if its better or worse and i also noticed and using the installed program that the file size just about doubled.
Message Edited by iraf1 on 16-Feb-2009 04:13 PM
Message Edited by iraf1 on 16-Feb-2009 04:17 PM
Message Edited by iraf1 on 16-Feb-2009 04:22 PM
Solved!
Go to Solution.
Attachments:
Living Room.jpg ‏237 KB
Roomlight.jpg ‏257 KB
Living Room1.jpg ‏480 KB

Somebody asked me to make a comparison of that living room photo with and without contrast.
All photos reduced to 640x480 as if they were sent mms.
Original Living room Photo
Living Room Photo color corrected by adding yellow and slight magneta
Living Room Photo same as 1. except contrast added.
Color corrections done on the spot via photoeditor
Message Edited by iraf1 on 17-Feb-2009 11:00 PM
Attachments:
Living Room.jpg ‏75 KB
Living Room1.jpg ‏75 KB
Living Room_Contrast.jpg ‏81 KB

I had an iphone 4s and it worked nice with facetime and imessage using my phone number but it was stolen on December so I buy a new iphone 4s using the same cellphone number but now imessage and facetime does not work with my number, it only works with

I had an iphone 4s and it worked nice with facetime and imessage using my phone number but it was stolen on December so I buy a new iphone 4s using the same cellphone number but now imessage and facetime does not work with my number, it only works with my apple ID. Please Help me I speak Spanish so if my English is not ok I´m sorry about it.
Do you think that apple has to reset in their database of the old serial number attached with my phone number and that’s why I can´t activate imessage and facetime with my number in the new iphone 4s??

I understand all of this Meg; that is why I bought an Iphone; but never expected my phone not even give a at least a 24 or even 12 hours....I work 12 hour shifts and also would expect to have to charge each night but not twice a day or more. I am not always somewhere I can charge my phone.
Your points are true; however it doesn't help me......

Work Flow with FCP and color correction

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