[Adrian Makai]

Hey Matt,

That worked! Thanks a bunch. I don’t think I would have ever figured that out! 🙂

-Adrian

[Adrian Makai]

Thanks for the feedback and yes, I realize the audio content is the same but I need the file names to also be the same.

The reason is that the sound guy will often want to choose an alternate sound take than what was in the Final Cut timeline (for e.g. using the boom source for a given clip instead of the lav source). The assistant editor mostly merged the video with lav mic audio and in post sound we are probably going to use more boom audio.

Sound guy explained that it would make his life *much* easier if I could give him an OMF that included the correct names for all the production audio. Is there an easy way to do this?

[Adrian Makai]

Bumping. Still a mystery to me and hope someone has a solution

[Adrian Makai]

Thanks Guys – problem solved!

Added a basic color correction and broadcast safe filter, adjusted down the highlights and chose a very conservative broadcast-safe setting and presto! Tested it every which way and it now exports properly.

I still find it interesting that H264 somehow auto-corrected for all that while the uncompressed and ProRes 422HQ exports did not. Oh well, not gonna sweat the why’s anymore. Back to editing.

[Adrian Makai]

[So the original ProRes HQ export straight from timeline, pre VFX still shows the artifacts? So how did you get the clean screen grab? Or are you saying your orig footage/export doesn’t show this?]

Yes, pre VFX still shows artifacts.

Yes, clean grab was from orig footage transcode from AVCHD to ProRes 422 HQ. Without opening FCP, I just opened that particular clip in Quicktime Player and grabbed the clean frame.

And again, that very same clean clip plays fine within FCP as well. It’s only when exporting or sending to Compressor in either uncompressed or ProRes 422HQ that I get color smear.

Will try the 8-bit suggestions and see if that works.

[Adrian Makai]

Actually, one reason we used TIFFs is because it was supposed to be lossless, or so we thought?

Does FCP limit TIFF output to 8-bit regardless of the bit-rate of the footage? If yes, that would be nuts…

[Adrian Makai]

Thanks for the feedback, Matt.

Even if I don’t change my timeline to 10-bit, but keep it at ProRes422 HQ (identical to the base clips) – same problem! I was originally doing that before I tried 10-bit.

Thanks for the reminder on TIFFs 8-bit limitation. The original footage was 8-bit, so hopefully we didn’t lose any quality when sending to VFX. It didn’t look like any quality was lost.

It’s only after VFX have been applied with higher bit-rate layers, that we are now trying to stick to 10-bit.

[Adrian Makai]

Thanks for the input Charles and David.

[Adrian Makai]

Interesting. Why would 422 be better than 422HQ? I always thought the latter is supposed to be better.

And what might account for the fact that if I just open the original 422HQ clip in QT, it plays fine? I posted a clean still from that clip a few posts above – no pink smear.

[Adrian Makai]

Thanks for the input but the problem has nothing to do with the VFX step. As mentioned a couple of posts up, I tried going back to the earliest cut of the movie (before anything had been done other than dropping the clips into FCP) and exporting that sequence to QT. Same proble – looks fine playing in the timeline or when exported to H.264. Looks smeared when exporting to uncompressed or PR422HQ.

Still a mystery…