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5D to FCP conversion issues
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yes, we have the original H264’s. that is what we have been starting with when we go to ProRes LT – can those go into the Canon App?. the gamma shift is noticeable in comparing the original H264 and the ProRes LT versions in QT Pro and in FCP. As i mentioned in my initial post though, this difference is not evident on a machine running Leopard and QT 7.6.2
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the process of getting the H264s off the cards just seemed like a process of moving files. we have the original H264 files sitting on drives. three copies in separate locations. in all my reading about moving files i didnt come across anything about retaining the file structures. it just seemed like the movie files would contain what we needed – i mean call me crazy but its a movie file.
anyway. as you say, the gamma shift is not severe and can be worked out in the final timing but it is good to know for the future that there are other workflows that might avoid this stuff in the future.
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[mark wilkinson] “i mean call me crazy but its a movie file.”
If these are just your home movies, sure. But if you’re doing this prefessionally, yikes. I wouldn’t let a director hear you saying that. You should probably read this:
https://broadcastengineering.com/infrastructure/where-tapeless-workflow-begins-2-20100704/
Pay close attention to the section on transfer software.
JM
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Well, at least you saved the .mov files. I’ll give you credit for that. Log and Transfer is a far better way to go here, because it brings in two things editors crave…reel numbers and unique timecode. You see, the OTHER files, the THM files, they contain information…metadata. Time of day code of the footage. So instead of every clip starting at 00:00:00:00. which is maddening, each clip has unique time-of-day timecode. And the reel number is the name of the folder you backed up the footage, so if you ever lost the media drive, you know where to look to reimport your footage…and if you log and transferred it, all you need to do is hit BATCH CAPTURE and FCP will reimport the footage and leave the cut you did intact.
Without that, you are manually reimporting the footage, renaming it (Log and transfer allows for custom naming…and it remembers where the orignals are) and manually reconnecting the footage. Laborous work.
But, at least you have the masters
Now…are you viewing with QTX or QT7.6? QT X isn’t ready for prime time, still has lots of issues. ANd I know there is a gamma issue with people running SL that happens on occasion. Not quite sure what the solution is there.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
hia
also just to add another thought. If you’re using compressor now you don’t have the file structure, are you using qmaster to enable all your computers processors? It will speed up transcoding massively, especially if you have a mac pro.https://forums.macrumors.com/showthread.php?t=337736
cheers
nick -
Well, there’s allot going on here. You say you see it in one instance, but not others. This seems to tell me that you aren’t monitoring properly. There’s gamma weirdness thy happens, sure. Call me crazy, but for the most part, I think Snow Leopard has been a huge step in the right direction, but you still have to watch yourself.
The ProRes codec also has gamma correction built in to it. Maube turn that off. Also, I just learned the other day that Canon h264 files might have a 601 color space, which be default has slight but different gamma value of the transcoded 709 ProRes files. Compressor has controls for this as well.
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[Nick Price] “don’t have the file structure”
If you don’t have the complete file structure, you can recreate it.
Duplicate all your mov’s and replace the mov extension with thm. You then can use log and transfer. If you have installed the plug-in.
Steve Eisen
Eisen Video Productions
Vice President
Chicago Final Cut Pro Users Group -
wow. giant piece of learning here. all of the input is appreciated. with regard to the the ‘duplicate the .movs and change the extension to THM – isn’t it the THM that contained the important data in the first place ?
and to your thought about monitoring jeremy, when i say we are seeing differences that is between four QT movies displayed in four quadrants of the same monitor and the difference is between movie 1 and movies 2,3, and 4. then when the same four movies are shown on a different system ( older OS and QT ) there is almost no difference between the four movies displayed.
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[mark wilkinson] “with regard to the the ‘duplicate the .movs and change the extension to THM – isn’t it the THM that contained the important data in the first place ?”
I don’t see how this mehtod could work, although crazier shit has happened. The THM is a very small file that is encrypted with text data. The THM file, as Shane says, has the metadata needed to make tc and other info.
[mark wilkinson] “hen when the same four movies are shown on a different system ( older OS and QT ) there is almost no difference between the four movies displayed.”
In QT 7, make sure the ‘Enable Final Cut Pro Studio Color Compatibility” Box is checked in the Qt prefs.
And you should be judging this through a capture card on a broadcast monitor.
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[Jeremy Garchow] “I don’t see how this mehtod could work, although crazier shit has happened.”
This is where I saw it.
https://thebuibrothers.com/blog/2010/03/how-to-canon-t2i-with-eos-movie-plugin-e1-final-cut-pro/Steve Eisen
Eisen Video Productions
Vice President
Chicago Final Cut Pro Users Group
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