Issues with FCP EDL to Scratch when using PROXIES in FCP?

[paulbuhl]

I'm attempting to offline a feature with H PROXIES, conform with Clipfinder, send to Color to output a ProRes version for screeners, etc.
I then want to EDL out to finish in Scratch for real master output, etc.

Are there issues with generating an EDL from FCP using PROXIES in the sequence?

Or should I go with the log and transfer to RED QT for my offline for a cleaner EDL to Scratch??

Thanks,
Paul Buhl

[John Tissavary]

I'm attempting to offline a feature with H PROXIES, conform with Clipfinder, send to Color to output a ProRes version for screeners, etc.
I then want to EDL out to finish in Scratch for real master output, etc.

Are there issues with generating an EDL from FCP using PROXIES in the sequence?

Or should I go with the log and transfer to RED QT for my offline for a cleaner EDL to Scratch??

Thanks,
Paul Buhl

Red Camera proxies are, in my experience, the most reliable way to get good EDLs out of FCP and into Scratch.

As long as the logging info (clip/reel name, source timecode) is in tact, either way (camera proxy or log & transfer'd proxies) will yield reliable, easy to conform results in Scratch. Keeping the logging info in tact in FCP is the most important thing.

regards,

JT

[Allan Chesher]

you can easily conform in scratch and use multiple pieces of metadata ie clipname, reel, source time code for conform. Depending on the cut of the feature, multiple layers and effects shots/transitions and so forth you can do it all in scratch if you but sometimes its easier to export back out from scratch graded finished files and reassemble in FCP. it all depends on the complexity of your project,

You will have to flatten the FCP timeline and then export and edl or export several edl's for each layer. Scratch doesn't support multiple layer as as FCP does. it has a stack system but its kinda not the same thing.

Also if your worried about the _H.mov then you can always open the edl in a txt editor and "find and replace" the _H.mov with .R3D. or .mov with .r3d depending on how you generated the offline media. Make sure you keep the clip names as the original names. ie. A001_C001.... that bit. i have had a client name the offline quicktimes as shot_1_take_1.mov etc. with no tc. time for eye match.

Chesh

[Allan Stallard]

The only complaint I have received from FCP edit using proxies is that they are not as quick to edit with compared to a good old Prores QT. We now always run all of the shoot footage through Red Rushes and provide edit with Prores. This has provided me with excellent EDL's for Scratch as well. Remember that EDL needs to be 1 layer and CMX 3600.

[paulbuhl]

Sincere thanks to all who replied, extremely helpful!

Paul.

[Tim Whitcomb]

Indeed, if you buy a RED ROCKET and do a 4K full debayer to prores 4444 and THEN conform back to R3D's (or keep it in Prores444 as its suitable for most deliverables save film out), and you will never bother with proxies again :) The Quad 4 codec also maintains surprisingly broad latitude for Color Correction.

Of course, it all depends on your deliverables. But many post houses are finding the new Prores 4444 codec sufficient for deliverables and are not spending the time or money on an online/r3dconform