FCPX & DPX, color grading IMAX film?

Posted by Ben Ged Low 
FCPX & DPX, color grading IMAX film?
February 02, 2017 11:14AM
Last year I did a quick FCPX colour grade of an IMAX film, mainly for a preliminary screening. A few weeks later when we'd done the full-on post production house grade we compared the two versions, my laptop FCPX version and the post production house version – and they were more or less identical.

The IMAX producers asked me to colour grade their next film, but 'seriously' this time. I know FCPX works in RGB colour space, and a post house will work in a 'cinema?' colour space. I'm wondering if there is a work flow that would allow me to produce a colour grade in FCPX – working with original codecs from the various cameras (all digital on this film), converting to ProRes 444, then exporting as a DPX with Compressor – that I can then take to Technicolor to do a final run-through check?

I'm having trouble finding any recent data about FCPX & working with DPX.

I could also do the colour grade with DaVinci, but I actually love the simplicity of FCPX, and am colour grading on-the-fly as I edit all the time... so no learning curve or refresher course required.

Any suggestions would be most appreciated,

Re: FCPX & DPX, color grading IMAX film?
February 02, 2017 11:25AM
Have you looked at Color Finale to add to FCPX? Not sure it will give you exactly what you need but there is a trial version you can download. And if you master it before Feb 22 come to lacpug and demo it. I'm looking for someone. :-)


Michael Horton
Re: FCPX & DPX, color grading IMAX film?
February 02, 2017 11:50AM
I think the question of which app you use is less important than how you're monitoring it. I'm assuming they want it in a P3 space, which means you would have to have a monitor capable of displaying that gamut.

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Re: FCPX & DPX, color grading IMAX film?
February 02, 2017 12:18PM
Will check out Color Finale Michael. And yes Jon, I'm not so concerned about the app itself – though I use FCPX so much now, and can colour grade screamingly fast, I'd rather not add a learning curve to this particular job. And you're right, the issue is the color space, and the continuity of the grade across platforms. Thus the suggestion of working so I can deliver the grade in DPX format, which I can then take to a high-end post production house like Technicolor to check at the very end.

I have to confess that if I stick with Apple monitors (even my little retina screen) and seriously resist jacking up the saturation, then I've found I usually get something that plays well, and consistently, out in other formats/screens.

And, if I'm remembering right, the one grade I did do with my laptop, when compared to the large screen in the grading studio ... they were virtually the same. Surprise, surprise.

Thank you guys, Ben
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