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A Nice Plus
I’m surprised I haven’t seen this discussed, or maybe I’ve just missed it, but there’s something really big about fcpx that was a real and constant issue in all precious fcps – remotely reliable output from your timeline to any and all flavors of compression.
The whole ColorSync management thing works like a charm. I’ve set up several Compressor templates for different flavors of: client approval, HD and SD broadcast, web, etc. and everything comes out of Compressor looking exactly as it does in X.
Given the gamma nightmare that has been fcp/compressor/QT, this is really nice.
I’ve had a chance to see a couple of new projects on air during this weekend’s football games and they look perfect from skin tones to blacks. -
66 Replies
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[Jim Giberti] “I’m surprised I haven’t seen this discussed, or maybe I’ve just missed it, but there’s something really big about fcpx that was a real and constant issue in all precious fcps – remotely reliable output from your timeline to any and all flavors of compression.”
This forum very rarely discusses the good points of FCPX, but you’re right it’s nice not having to compensate for the QT issues
“My Name is Steve and I’m an FCPX user”
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It’s for consumers, after all.
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Seriously though, I can’t tell you how many frustrating hours I’ve spent , after getting a good good corrected edit, trying to fudge it with filters and settings at compression – just to go through it again and again and still been pissed when I saw it on air.
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[Jim Giberti] “just to go through it again and again and still been pissed when I saw it on air.”
I hear you. It’s a great thing that something like this has finally been figured out.
Wasn’t the Color Sync management one of the top four “features” explained at the SuperNAB Explosion?
Jeremy
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Exactly why I’m surprised it hasn’t gotten attention.
It was a major problem and they really fixed it.If you output for broadcast or any critical medium, it’s one big reason to edit in X rather than 7.
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[Jim Giberti] “I can’t tell you how many frustrating hours I’ve spent , after getting a good good corrected edit, trying to fudge it with filters and settings at compression – just to go through it again and again and still been pissed when I saw it on air.”
Well, no matter what you view your footage on in your bay…computer monitor, external broadcast monitor, it will never look like that again. Because it is compressed for when it goes to air, so that will take a gamma hit. And depending on the TV you are using to watch it…it will look different.
But what I don’t get is…you are using your COMPUTER DISPLAY to color correct to? Sure, I get using FCX for this. It’s a consumer app and meant to ensure that what you see on the computer display will be what you see when you compress for the web. The same look. But using it to judge BROADCAST colors?
And are you telling me you used FCP 7 and your computer display to judge color for on air spots? No wonder they didn’t look the same. Totally different color space.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
[Shane Ross] “Well, no matter what you view your footage on in your bay…computer monitor, external broadcast monitor, it will never look like that again. Because it is compressed for when it goes to air, so that will take a gamma hit. And depending on the TV you are using to watch it…it will look different.”
Well of course, but it needs to leave your studio as you produced it, not as the QT changed it.
That is a big difference with X.
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Personally I haven’t found ColorSync to be any more or less accurate than FCP 7 and I haven’t hit gamma issues with any less frequency. In fact, I’ve actually run into it more, using apps like Squeeze with FCP X than with FCP 7. Sorry to contradict. Just my own experiences at this end.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Jim Giberti] “Well of course, but it needs to leave your studio as you produced it, not as the QT changed it.”
It does leave my studio as I produced it. I output to tape…it looks exactly how it does on my external monitor. I output to ProRes HQ Quicktime. I bring that into FCP, it looks exactly the same on the external monitors. Output to monitor from AJA TV…looks the same. It looks different when I open it on my computer monitor…but that’s not how it will be seen by most people. They will watch it on a TV.
[Jim Giberti] “That is a big difference with X.”
So you are color correcting for air using your computer display? Since X doesn’t output to a broadcast monitor. And it looks exactly the same as when you DO output it to a broadcast monitor? Or are you only judging what you see in the viewer with what you see when you open it up in QT? Because neither is the proper way to judge broadcast colors.
(Yes, I’m being snooty and elitist. One has to be when one does stuff for air)
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
[Shane Ross] “that’s not how it will be seen by most people. They will watch it on a TV.”
What kind of TV?
Plasma, TN-LCD, IPS-LCD, VA-LCD, RGB-LED backlit LCD, color-tube?Too bad one has to produce for consumers – they never use proper
professional equipment.
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