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Final Cut workflow woes
Hello,
This is my first post on Creative Cow, so bear with me. I’ll do my best to be clear and include as much relevant info as possible. And thanks in advance for any help.
Summary of Issue:
I have a super 16mm project that was transcoded into DNxHD 36 MXF files for an Avid editing workflow. I am editing on Final Cut Pro.System Details:
I am Running Final Cut Pro version 6.0.6 as part of Final Cut Studio Pro 2. My machine is an iMac 2.8 GHz Intel Core 2 Duo with 4 GB of ram, running Mac OS X version 10.5.8, and Quicktime Pro version 7.6.2.The Long Story:
I shot a film on Super 16mm film that was transferred to DNxHD 36 MXF files, (1920x1080p, 23.976 framerate) for editing in an Avid workspace. I am editing and finishing on Final Cut.I transferred the MXF files to my external hard drive and brought them to my FCP editing computer. I had no way to play the MXF files until I downloaded and installed a program called “Calibrated{Q} MXF Import for OSX” which you can read about here: https://www.calibratedsoftware.com/MXFImport_Mac.asp
This allowed me to play the MXF files with QuickTime and eventually in FCP. Editing with the files is a different story, as the computer plays through the timeline, an error will pop up that says:” Warning – Dropped Frames. One or more frames were dropped during playback. If this occurs frequently, rty: -Turning off “Unlimited RT.” – Lowering your compression data rate. – Closing open sequences. -Lowering the preference for real time audio tracks. – Increasing the speed of your system and/or disk drives and/or network connection.”
I was told that I could make Quicktime files and either export them from Quicktime using the ProRes 422 codec, or DVCPRO HD 1080p24 codec. My issue with this process is that the ProRes files are approximately 28+ gigs, where as the original MXF files are 8.5 gigs. So they ProRes makes huge files. The second issue is that the Quicktime files look really dark compared with the original MXF files, apparently due to a 1.8 gamma setting, native to Quicktime (as compared with the standard 2.2 gamma everywhere else.)
I need to preserve the metadata of the MXF files so that I can produce an .edl that will be used to rescan my selects in hi res for finishing, once I’m done editing.
To maintain the necessary metadata, can I simply import my media files into FCP (MXF, Quicktime, or otherwise) and select the clip, go to Modify > Timecode, Frame Set to “first”, set the timcode field to the visible burn-in on the first frame of the datacine transfer (i.e. 01:00:00:00) and then make sure that the “Reel” value reflects the burned in labroll number? That should preserve the metadata that I need in order to rescan selects based on my .edl right?
I’m looking for one of many possible solutions:
#1 – A suggestion for a workflow from step one through completion, which will include a rescan of my film based on the selects in my EDL.
#2 – A suggestion for a way to edit with the MXF files in FCP without the “Dopped Frames” issue.
#3 – A way to make Quicktime files that I can edit with that will not be huge files or suffer from the Quicktime gamma issues.
#4 – Some remedy that I have not considered.I understand that the new ProRes codecs in the FCP 7 offer smaller file sizes, and that the gamma issue is being resolved with the OS X Snow Leopard. Is an upgrade my best option? For reference sake, what is a normal workflow for someone shooting on film and editing in FCP?
I hope my lengthy post is inclusive of all the necessary info. Thanks again, in advance, for any help.
-ursus-
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4 Replies
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The problem is not that you have MXF files, the issue is that the codec is DNxHD, ProRes is Apples version, and while AVID gives the codec for playback, FCP does not handle this codec as an editing codec. So that is why the people are telling you to transcode to ProRes.
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[Jeremy Rush] “#4 – Some remedy that I have not considered.”
Stick with Avid from start to finish.
Mark
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1 – A suggestion for a workflow from step one through completion, which will include a rescan of my film based on the selects in my EDL.
——–realistically, do you really need to transfer the 16mm ? if you have decent best light transfers you can CC from there, I’d stay put. you will save a ton of cash, time, aggravation. 16mm on a good day is SD resolution when shot with something like ISO500 speed film, maybe 720 if I want to be kind. even with slower speed films like ISO200, you’ll be lucky to get 1920X1080 worth of res from the frame. I know some folks will jump all over this and talk about 16mm getting 4K of resolution… to which I’ll say this. Maybe and ONLY on ISO25 speed stock, shot with VERY good lenses at ideal aperture ( F4-5.6), no on camera filtering except color correction, perfect lab processing, perfect transfer shooting a lens chart. Back in the real world, 16mm res is a lot less then that, so you may already be as good as its going to get.
#2 – A suggestion for a way to edit with the MXF files in FCP without the “Dopped Frames” issue.
just turn the warning off. FCP spits that error out all day long. it means nothing unless you are playing out to tape, or thru something like a MXO2 downconverting to SD to make DVD-R.
also, I’d hardly call 28G of files huge, not when a 1TB drive goes for $89. if you are using the iMac’s internal drive, that could be a big part of your problem, especially if its pretty full. ditto a FW400 external
#3 – A way to make Quicktime files that I can edit with that will not be huge files or suffer from the Quicktime gamma issues.
did you install the Avid Codecs ? maybe thats the problem – the 3rd party ware is using the wrong gamma.
Steve Oakley
DP • Editor • VFX Artist
http://www.practicali.com -
Hey Steve,
Thanks for the well organized and relevant post.
I get the rescan done for free, so cost is not an issue on this project. And we will be doing some CG elements so the up-res (and 10 bit log) will be helpful for that purpose.
I agree, 28 gig files are not huge, but 10, 8 gig files turned into 10, 28 gig files seems unnecessary.
I did install the Avid codecs. I forgot to mention that. Also forgot to mention that I’m working off of an external 500 gig firewire 800 drive.
Anyone have a suggestion for what a standard 16mm film to FCP workflow might look like?
Anyone have a suggestion for my unique workflow? I’d like to start syncing and editing asap, but I don’t want to start without a solid workflow understanding.
Thanks,
-ursus-
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