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Another D5 video question
If this question has been handled earlier I’m afraid my search didn’t turn up that thread.
For editing Canon D5 DSLR video I understand the advisability of converting from H.264 into something such as ProRes and conforming to 29.97. No problem with that. However…
I can’t find any settings that will allow me to bring the resulting footage into FCP without having a red render line atop every clip of that video in the timeline. I’ve tried various settings in Compressor/StreamClip and Cinema Tools, and I’ve allowed the sequence settings in FCP to automatically reset in accordance with the converted media. No matter what I do I get a red render line.
IF someone here is bringing in this sort of material without the need to render on the timeline I’d very much appreciate you telling me what settings you are using for converting/conforming/sequence.
I debated whether to put this on the new DSLR forum but I thought I might have more luck here.
(FCS 2.0, Octocore, Leopard, Kona3, RAID array.)
TIA
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6 Replies
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There’s a forum ESPECIALLY FOR YOU!
https://forums.creativecow.net/dslr
The issue now is that the clip settings don’t match the sequence settings. Perhaps you converted incorrectly, or you didn’t let FCP set the sequence settings to match. Pose your question on that forum, where you have a LOT of people who use the same camera and workflow.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Well, Shane, maybe you read my post too quickly. I wrote that I did, in fact, consider the DSLR forum — and I might still go there — but my specific issue is how FCP is handling these files. And anyway, this is a busier forum with more participants. I also wrote that I am, in fact, letting the FCP sequence re-set according to the clip settings.
Do you have any actual information for me, Shane, or do you just not like my question for some reason?
For anyone else out there with real experience and suggestions, I would appreciate hearing from you.
Ron
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[Ron Craig] “I also wrote that I am, in fact, letting the FCP sequence re-set according to the clip settings. “
How? When FCP imports footage, it doesn’t change anything. It just makes a clip that points to the media as it exists. Did you use the Media Manager and the RECOMPRESS option? Or do you mean that you took the imported media in it’s native format, and then dropped it onto a sequence, rendered the footage (so now you have a RENDER file), and then what?
[Ron Craig] “Do you have any actual information for me, Shane, or do you just not like my question for some reason?”
I don’t work with D5 footage often…ONCE in fact…so I thought I’d let people who handle it all the time help you.
Now, if you used Compressor, did you use a preset for ProRes 422, or did you start modifying the presets, or use something other than an editing codec? ProRes 422, the standard preset in the ADVANCED CONVERSION part of Compressor, is a good choice. If you use MPEG STREAMCLIP, you need to make sure that you set the frame rate to 29.97, and not 30fps. FCP doesn’t work with straight up 30fps footage. It must be 29.97.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
And of course you made sure the audio was 48khz. All these conversion issues have been covered so many times in this forum that I find it hard to believe a search failed to reveal all.
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Thanks to both Shane and Michael for taking the time to suggest answers. It turns out that I was so concentrated on the video that I didn’t look closely enough at the render line. Duh! It was, in fact, the audio (which I don’t even need)that was the problem. Easy to fix. Thanks for pointing out the possibilities that led me to the answer.
— Ron
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[Shane Ross] “How? When FCP imports footage, it doesn’t change anything. It just makes a clip that points to the media as it exists.”
Not exactly.
I just finished (yesterday) as Tech weenie / Second Unit on the upcoming Zacuto DSLR Shootout 2010, where with the help of DPBob Primes (a.s.c) and UK DP Phillip Bloom we did a real honest comparison of 5 DSLR’s vs 35mm motion picture stock (kodak & Fuji) in 5 different tests designed to push even the film camera to it’s limits.
We went the whole route on this test, including 2K and 4K scans of the film stock, with all 5 cameras being matched against the film master in one of the top grading suites in Chicago, one of the things we found out was not all files import in the same manner.
Stay tuned on the Zacuto site for more info, I cannot let the cat out of the bag til NAB.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php
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