Converting Cineon and DPX Image Sequences to QuickTime

You can use Color to convert Cineon and DPX image sequences to QuickTime files to facilitate a variety of workflows.

The timecode of converted DPX or Cineon film scans is copied to the new media that’s created. This allows you to track the correspondence between the QuickTime clips you generate, and the original image sequences from which they came. This conversion uses the following rules:

When converting from Cineon and DPX to high definition or standard definition QuickTime video (and vice versa), Color automatically makes all necessary color space conversions. Log media is converted to linear, and Rec. 701 and 601 color spaces are taken into account.

To convert Cineon or DPX image sequences to QuickTime media
  1. Create a new, empty project. (For more information, see Creating and Opening Projects.)

  2. Using the file browser, select the folder that contains all of the shots you want to convert, and click the Import Folder button to edit every shot within that folder into the Timeline.

    When you import a folder of shots, all shots that are contained by subfolders within the selected folder are also imported. This makes it convenient to import an entire nested hierarchy of image sequence media that has been organized into multiple individual folders. For more information about importing media into the Timeline, see Importing Media Directly into the Timeline.

  3. Open the Project Settings tab of the Setup room, and do the following:

    1. Click Project Render Directory, choose a render directory for the converted media, then click Choose.

    2. Choose QuickTime from the Render File Type pop-up menu.

    3. Choose a resolution from the Resolution Presets pop-up menu.

    4. Choose the codec you want to convert the image sequences to from the Export Codec pop-up menu. (For more information about choosing a suitable output codec, see Compatible QuickTime Codecs for Output.)

  4. If necessary, grade the shots to make any corrections to the offline media that you’ll be generating.

    Sometimes, the source media from a particular camera or transfer process needs a specific color correction or contrast adjustment in order to look good during the offline edit. If this is the case, you can use a single correction to adjust every shot you’re converting (the equivalent of a one-light transfer). At other times, you’ll want to individually correct each shot prior to conversion to provide the best-looking media you can for the editing process (the equivalent of a best-light transfer).

    Tip: To quickly apply a single correction to every shot in the Timeline, grade a representative shot in the Primary In room, then click Copy to All.

  5. Open the Render Queue, then click Add All.

  6. Click Start Render.

    All of the shots are converted, and the rendered output is written to the currently specified render directory.

    Important: After you’ve rendered the converted output, it’s a good idea to save the Color project file you created to do the conversion, in case you need to reconvert the media again. You might do this to improve the “one-light” color correction you applied to the converted media, or to change the codec used to do the conversion. Keeping the original conversion project makes it easy to reconvert your media in the same order, with the same automatically generated file names, so you can easily reconnect a Final Cut Pro sequence containing previously converted media to a new set of reconverted media.

For more information about options in the Render File Type, Resolution Presets, and Export Codec pop-up menus, see Resolution and Codec Settings.