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How screwed am I?
Hi, people. I’m working with Canon C300 footage for the first time. The editors transcoded the MXF files into ProRes, changed the file names AND whatever they used to transcode generated new timecode instead of copying the timecode on the original clips. I’m now conforming back to MXF for coloring, and it looks like I have to go shot-by-shot & match the frames.
Is there some quirk with Canon C-camera footage I’m missing that may help with this?The one saving grace is that the project is a stage performance, all one take cutting between 4 cameras, so at least the clips are in chronological order…
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10 Replies
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Not having identical timecode between the editorial media and camera originals is a tough one. Did they rename the ProRes in a way that you can tell which editorial file corresponds to which camera original file?
We’ve solved a similar issue in the past by doing this: make a list of the editorial media and the starting timecode of each clip. Add the camera media to the media pool and sort it in the same order as the list. Then go down and go into “clip attributes” and change the “current frame timecode (while on the first frame)” to match the starting timecode of the editorial media. Resolve will use this new timecode as you conform. Hopefully you have very few files total.
Cheers,
KC
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Why not just grade off the prores? Unless there was a grade applied you’re likely not missing much vs the mxfs.
https://JuanSalvo.com
https://theColourSpace.com -
I agree with Juan that the ProRes is probably the way to go.
Also did they accidentally reset the timecodes to 00:00:00:00 on each clip or is it a random new timecode?
If it was a zero code you can match the timecodes in Resolve via the clip attributes it could save you a bit of time as the EDL will work again.
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Dan Moran
Colourist
Smoke & Mirrors: London
http://www.danmorancolor.com/blog -
Hmm.. prores is easier.. If you had to though…
1. QTchange to batch change the prores to 00:00:00:00 TC
2. QTchange to find some sort of file name pattern that you can duplicate with the raws. (i.e. day1 or camB or card4)
3. Resolve sets TC to framecount (aka 00:00)
4. Resolve enable reel names using a */%R pattern to match reel names. (i.e. put raw files in a folder called day1, etc.) -
Go prores and enjoy a nights sleep.
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And then tear the editors a new one.
http://www.4Kfinish.com | owner-colorist | Hollywood, CA
http://www.facebook.com/4kFinish
Twitter 4kfinish -
I also say go with the ProRes as the Canon 300 MXF is awkward to work with and has no visual benefit over a 4444 PR.
If they only encoded 422, well take a good look at it and then decide.
But generally its not worth using the camera files if resolution and encoding are decent enough.
its not a Red or Alexa….heck, its not even a DSLR 😉A slice of color…
Resolve 10b3 , Smoke 2013 EXT
Colorist / VFX / Aerial footage nerd
https://vimeo.com/saschahaber -
Nicely done, Blase.
That’s a really elegant way to solve that. But will that work with spanned clips?
However, unless they’re paying you extra for a conform, I’d just grade in pro res.
*If* the used a certain kind of conversion they could have clipped some highlights from the mxf… Otherwise there’s really no reason to go back.
Joseph Mastantuono
http://www.goodpost.net
Color Grading & Post Production Consulting -
Consider Canon MXF is 4:2:2 sampled 8bit mpeg2… even if it’s ProRes 422 HQ (heck even regular 422) I don’t think there is an effective benefit.
https://JuanSalvo.com
https://theColourSpace.com -
Thanks for the advice. I’ll be grading the ProRes files. No, they are not paying me enough to go through THIS much trouble.
Here’s what happened, which you guys may find amusing. The show is a standup comedy performance. They recorded the rehearsal, the opening act and the main show. Apparently, the C300 doesn’t like video files longer than 5:16, so there are dozens of files, 5:16 in length, that continue one after the other.
In order to make editing more convenient, they combined every clip from each camera into one ProRes 422(HQ) master clip–clean transcode, no LUT or highlight clipping or anything. Four cameras, once clip per camera per show–rehearsal, opener & main show. They renamed the master clips LIVE_SHOW_Camera_1 or REHEARSAL_Camera_2, and so on. Each master clip has timecode wholly unrelated to the original camera-generated code. Footage from all 3 shows is cut throughout–sometimes better delivery in the rehearsal, sometimes good crowd shots from the opener’s set. It was actually a much bigger mess than I thought when I first posted my question.As I understand it, the C300, when recording to an external drive, outputs a max of 422, 1920×1080. Technically it’s “better” than the ProRes transcodes, but since the DP is really smart & detail oriented, and since it’s a highly controlled set, I really can’t tell the difference between the two. Like one of you said, it’s not like they recorded 4k.
And yeah, I’ll be chatting with the editors about workflow. Knowing is half the battle (the other half is handled by a cranky colorist)…
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