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Is anyone rendering 23.976 footage transcoded or rewrapped with FCPX out of Color? Xto7 7toX
I am hitting a weird bug.
All footage is 23.98 all the way through the pipeline until you render out of Color.
All graded files then show up as 24.0 in FCP7.
If I then send to FCPX (I am using Intelligent Assistance 7toX and Xto7), footage is imported as a still frame. The files are tagged as 23.98 in FCPX.
The same footage round tripped through Resolve does not have this problem.
If footage is logged and transferred with FCP7 first, there is no problem.
Once footage is over to X and I media manage to new ProRes files, grade, and send back to X, there is no problem.
If I conform all graded movs to 23.98 before sending to FCPX, there is no problem.
Using Resolve to go from X to 7 to Color to FCP7 to X (all via XML/FCPXML) results in the same problem, files from Color end up as 24.0 and the footage imports as a still frame.
I guess I should take some aspirin.
I have tried footage from C300, fs700, AF100, P2 and the problem surfaces.
Arri Alexa, footage does not have this problem.
Since other applications seems to have no problem with 23.976 files generated from FCPX, there must be something weird with Color.
Can’t wait till it gets fixed. 😉
Jeremy
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41 Replies
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Have you made sure the timebase is set to 23.98 in the Color project?
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Everything is 23.98 until it gets sent back from Color.
The sequence sent back from Color is 23.98, it’s just the media that’s 24.0
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Does QT7 ID the rendered files at 24fps? Are these 1920 x 1080 or something else?
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “Does QT7 ID the rendered files at 24fps?”
The color renders are identified as 24.0 in QT and QT Edit, as well as FCP7, yes.
Everything is 23.98 before the Color render. It is only the Color generated media that is 24.0
If the media is imported via FCPXML in to FCPX, the media shows up as 23.98.
If I import a graded clip sans XML to FCPX, it shows up as 24.0
[Oliver Peters] “Are these 1920 x 1080 or something else?”
I’ve tried 1920×1080, 1280×720, and 960×720.
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Weird. I have not noticed that, but it’s been awhile since I’ve done any 23.98 grading in Color. I do know that some of the round-tripping in FC Studio has been a bit wonky for awhile now. Seems like little things are breaking. I guess try trashing prefs. Have you tried media directly – just from FCP 7 only or direct into Color?
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “Weird. I have not noticed that, but it’s been awhile since I’ve done any 23.98 grading in Color. I do know that some of the round-tripping in FC Studio has been a bit wonky for awhile now. Seems like little things are breaking. I guess try trashing prefs. Have you tried media directly – just from FCP 7 only or direct into Color?”
I tried trashing prefs, and tried it on other machines, same repeatable problems. It seems like a bug to me.
This only happens with media that is rewrapped or transcoded with FCPX.
I guess I have to face the fact that Color is truly dead. 🙁
RIP
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[Jeremy Garchow] “This only happens with media that is rewrapped or transcoded with FCPX”
I see. Something I NEVER do. I hate their transcode/rewrap/ingest from camera. Still use FCP 7 L&T when needed. It’s simply better.
[Jeremy Garchow] “I guess I have to face the fact that Color is truly dead. :(“
Well, sort of. As you just pointed out, it appears to be an FCP X bug.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Yes, it starts in fcpx, but the exact same footage round trips from Resolve with no problem, and every other program I have used footage from X in has recognized 23.976 just fine.
I realize that the rewrapped files X creates aren’t quite what fcp7 used to make, but at some point the tie is going to need to be cut from 7.
I guess for me, it will be earlier than I expected.
Have you tried EDL-X to SpeedGrade? That’s my next venture.
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The answer is staggeringly simple…
Don’t use Color if you ingest/transcode with FCX. If Resolve works, use Resolve. Oh, but that means that you need a BMD card, that your great AJA cards won’t work.
The biggest kick I get out of this conversation is how much you all still rely on FCS to do stuff. You don’t just use FCX. You keep going back to FCS apps to do what you need to do when you want it done right. This seems to indicate there is a huge hole in FCX that hasn’t been patched. Stuff that you need, anyway.
Do you ever see a time when you won’t have FCS involved in the process?
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
[Shane Ross] “Oh, but that means that you need a BMD card, that your great AJA cards won’t work. “
Bingo, otherwise I’d just use Resolve as the interchange works.
[Shane Ross] “The biggest kick I get out of this conversation is how much you all still rely on FCS to do stuff. You don’t just use FCX. You keep going back to FCS apps to do what you need to do when you want it done right. This seems to indicate there is a huge hole in FCX that hasn’t been patched. Stuff that you need, anyway. “
Actually, FCPX works well if you use it as intended. The only part that doesn’t work in this whole scenario is the dead app Color, and of course, the fact that I don’t have a Decklink card. Everything else works.
[Shane Ross] “Do you ever see a time when you won’t have FCS involved in the process?”
Sooner rather than later, but that means I have to get some Blackmagic gear… If I had Thunderbolt on all my machines, it would be a no brainer.
If Speedgrade had video out, I’d try that, too. It would be the same process but using Pr for the XML import and EDL to Speedgrade for the XML flip, or EDL-X straight to Speedgrade. Interchange isn’t that uncommon between disparate applications and Xto7, 7toX seem to be working fairly well.
Certainly, it’s no FCP7 to Color round trip, but life moves on.
Color correction within FCPX is pretty capable, I just needed some finer details with this particular project that were more easily done in a grading application because Canon’s “Log” color space is really funky.
I media managed the clips to ProRes and kept working.
The spots will be broadcast starting Saturday. If you watch golf at all, you’ll see them. 🙂
Jeremy
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