- #OPEN CINEMA GRADE WITH FINAL CUT PRO HOW TO#
- #OPEN CINEMA GRADE WITH FINAL CUT PRO PRO#
- #OPEN CINEMA GRADE WITH FINAL CUT PRO FREE#
So my takeaway from this little bit of unscientific testing: No ProRes 422 frames are created if you use Compressor to export ProRes 444 but they are when using compressor settings. If you then delete the event files the ProRes 444 are used on export. I think FCPX is using the Event ProRes 422 as an intermediate file to render the ProRes 444.
#OPEN CINEMA GRADE WITH FINAL CUT PRO PRO#
If you render a ProRes 444 timeline then 1920×1080 ProRes 444 render files are created inside the project folder as well as 2400 x 1350 Pro Res 422 frames within the event. Even if you choose to export an image sequence as DPX or as ProRes 444 file (using export media) the frames are still created as ProRes 422. If you export without rendering the timeline any frames that haven’t been played/skimmed are created before export and exporting times will increase significantly. When importing check the “create optimized media” checkbox to have these files created from the get go I was getting realtime playback in the project timeline because I’d viewed most of the clips already in the event. Seems to be some intelligent caching so if you’ve clicked on a bunch of individual frames within the event then when dropped into the timeline the playback will be smoother.
ProRes 422 is used even if you set the compound clip and project to ProRes 444. These are stored within the default Event/Render Files/High Quality Media. lt’s creating 2400 x 1350 ProRes 422 frames (about 1MB) on the fly as you play (when playback quality set to high) and skim the image sequence in the event and project. I took a look at what FCPX is doing in the background with these DNGs. Still with 16GB ram it does surprisingly well with FCPX Motion and the Adobe CS6 suite. I bought it before falling back into the video world so it’s only the Core2 Duo model with the 256Mb graphics card. I can’t run Resolve on this iMac hence the experimentation with FCP X.
#OPEN CINEMA GRADE WITH FINAL CUT PRO HOW TO#
Thank you so much for any help! I suspect my problem is the GPU but I don’t know how to fix it. I know my machine and card are not supported by BMD but I was functional with Resolve 8.2. Resolve 9 gives me kernel panics! Sorry to trouble you but would you be so kind and let me know more about your iMac (late 2009)? I continually crash in Resolve 9 just adding to the Media Pool on my 2009 iMac with 16 GB RAM, 2 TB internal 7200 rpm drive, ATI 4850 GPU. Off faster storage and with a newer machine (I’m using a late 2009 iMac) I’d expect good performance. “Playback was realtime (playback quality high) off my internal hard drive and even with the grade applied near realtime. I started using the color board but I find the squeel less than ideal when correcting color casts.Īlso using wvl_RGBbalance allowed the screenshots to show the whole correction.Įxported to Vimeo using built-in export, multi-pass enabled.Įxporting ProRes 444 to disk took around 60 seconds for the graded 23 second timeline.īefore/after screenshots from FCP X available here. I’m sure the color board would produce similar results. Nothing fancy here, just trying to balance each shot.
#OPEN CINEMA GRADE WITH FINAL CUT PRO FREE#
Used my free effect wvl_RGBbalance to complete a base grade.
Playback was realtime (playback quality high) off my internal hard drive and even with the grade applied near realtime. Dropped onto a 1080 24p timeline (ProRes 444) Opened up and set duration of the images to 1 frame. Selected each keyword collection for the individual shots and created 1080 24p compound clips. Imported files with “Import folders as Keyword Collections” selected. I have no idea what is going on under the hood, and I’m not suggesting this is the best approach to maximise image quality, but the following workflow produced a reasonable result. 4x8 sheets of plywood for sale.I thought I would try bringing in the raw Cinema DNG files from John Brawley’s recent shoot into Final Cut Pro X
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