Alex Elkins
Forum Replies Created
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Just updating this thread to let you all know that the same thing just happened to me, and copying back to an MXM SDHC card worked fine. The camera immediately prompted for a recovery.
It sounds like it’s very hit-and-miss as to whether SDHC cards are safe, but fortunately in my case it was saved. On the last shot of the day the camera operator had forgotten to stop recording, then just powered down the camera to pack up, hence the incomplete XML files.
Alex Elkins
Twitter: @postbluetv
http://www.PostBlue.tv
View Post Blue showreel
Shot on RED @ 100fps, Post on FCP/Color: Capoeira Film -
Hi Chris,
You’re complicating something that is in fact very simple. When you shoot on the RED Camera you pick a framerate and a timebase.
In your case:
Framerate = 120fps
Timebase = 23.98fpsMeaning that the camera is recording 120fps but it will always play back at 23.98.
There’s nothing for you to do in post other than convert to ProRes and begin editing. It will automatically be slow-mo.
Regarding the fact that you need to interchange between Avid and FCP, I can’t see the logic in simply handing them a QuickTime file only for them to re-edit from the raw files. Seems a very old-fashioned way of going about things.
Avid will now work pretty well with ProRes files anyway, so in theory they could simply stick with the files you’re using and give them an EDL, or give them an EDL and they can conform to the raw files automatically.
Maybe someone familiar with Avid could chime in on this point??Alternately, you can use REDCine-X to convert to both ProRes and Avid MXF. All timecodes will match up between the files, and again, and EDL should do the trick.
You need to determine whether you need the Avid editor to revert back to the raw files at all. There’s not much gained unless your final output is for cinema. For web and HD broadcast, the ProRes files will look fantastic.
You could test all of this yourself by downloading a trial of Avid Media Composer:
https://forms.avid.com/forms/mctrialUse REDCine-X to convert to ProRes or MXF:
https://www.red.com/support
This will give you much more flexibility than FCP, and it won’t come out all green.Good luck
Alex Elkins
Twitter: @postbluetv
http://www.PostBlue.tv
Shot on RED @ 100fps, Post on FCP/Color: Capoeira Film -
[Dave LaRonde] “never trust the FCP viewers to make a judgement about image quality.”
Of course normally I would agree, it’s common sense to trust only your broadcast monitor BUT, get this – exporting a full quality QuickTime, compressing for DVD, burning disc and playing back on a DVD player hooked up to a TV still showed the same interlace artifacts as the canvas/viewer, whilst the whole time the Kona output was clean as a whistle. I could replicate this problem every time, and as soon as I changed the Kona output to 8bit or resized the canvas/viewer windows the issue disappeared throughout.
Usually I don’t care what the viewer and canvas windows look like as long as my calibrated monitor looks good, but if it’s effecting file outputs then it’s a cause for concern.
I still don’t understand why this is happening as neither the Kona nor the scale of the canvas and viewer windows should have any effect whatsoever on QuickTime outputs. Nevertheless I’ve found a way to avoid it, so I just wanted to share it with the O/P in case it fixed things for him.
Alex Elkins
Twitter: @postbluetv
http://www.PostBlue.tv
Shot on RED @ 100fps, Post on FCP/Color: Capoeira Film -
Hi Brian,
Something similar was happening to me the other day. I’m not 100% sure what’s causing it and our issues may be unrelated but you never know.
Are you seeing the problem only in the FCP canvas and viewer, or on an external monitor?
Do you have an AJA card installed?
Bizarrely for me I found that if my Kona card was outputting 8bit I saw no issues but at 10bit the issues were there. Also by re-sizing the canvas/viewer windows to exactly 50% (or 25, 75 and 100%) the interlace artifacts disappeared. I never saw any issue on my external monitor, but within FCP and with QuickTime outputs the problem was clearly visible.
I still don’t know why this was happening but if my fixes work for you maybe it will help to shed some light on the cause of this. My only hunch was that it was a QuickTime bug. No reason why the Kona settings should have any effect within FCP/QuickTime and yet they did!
Alex Elkins
Twitter: @postbluetv
http://www.PostBlue.tv
Shot on RED @ 100fps, Post on FCP/Color: Capoeira Film -
UPDATE:
Trashing preferences wasn’t the cure. The issue is only apparent if my FCP canvas is set to a non-standard zoom, i.e. not at 12, 25, 50 or 100%. My layout happens to have the canvas set at 41% (‘zoom to fit’).
I can partially understand why this might cause issues displaying on the FCP canvas but for a QuickTime file output?? Seems bizarre…
A shot in the dark is that this could be a graphics card issue. I’m using an NVIDIA GeForce 8800 GT, which is relatively old now (the system I’m using is 2-3 years old).So there now seem to be 2 contributing factors:
1. Bit depth output from the Kona 3
2. Canvas zoom percentageI’m posting this in case someone will find this information helpful in the future. Seems like I’ve found a workaround for my particular setup.
Alex Elkins
Twitter: @postbluetv
http://www.PostBlue.tv
Shot on RED @ 100fps, Post on FCP/Color: Capoeira Film -
Right, I should have done this straight away – trashing FCP prefs fixed everything. FCP troubleshooting rule 1 and it didn’t even occur to me. Doh!
Still, it’s a very odd thing to have happened.
Alex Elkins
Twitter: @postbluetv
http://www.PostBlue.tv
Shot on RED @ 100fps, Post on FCP/Color: Capoeira Film -
Hi Bret,
Nice one, 1080i timeline monitoring 10bit worked. However I still don’t understand why the Kona monitoring settings would have any effect on the canvas or QuickTimes. I’ll speak to AJA now and post back if there’s anything to report.
Thanks,
AlexAlex Elkins
Twitter: @postbluetv
http://www.PostBlue.tv
Shot on RED @ 100fps, Post on FCP/Color: Capoeira Film -
[Thumper Nagasako] “what’s really weird is the bottom two show up with waveforms and my audio monitor shows as audio coming in but I can’t hear anything?”
You computer/io card is probably set up to output only channels 1 & 2. The simple answer is that you need 4 speakers to monitor 4 channels simultaneously, or you can press the downmix button on the Audio Mixer tool in FCP, which will mix everything down into two channels.
Alex Elkins
Twitter: @postbluetv
http://www.PostBlue.tv
Shot on RED @ 100fps, Post on FCP/Color: Capoeira Film -
Hi August,
You’re working with a codec that FCP doesn’t support. To give us the full information so we can decide how best to help could you please select one of your clips and press CMD+9 to open Item Properties. Then please post a screenshot of that window.
It would also be good to see how your sequence is set up. You can do this by selecting your sequence from the Browser Window and pressing CMD+0 to open Sequence Settings – a screenshot of that would be good too.
The information in the Item Properties and Sequence Settings needs to match in order to not have to render, but you also must make sure you’re working in a format that FCP is comfortable with. For instance, 640 x 360 is not a frame size FCP will handle very well. It’s likely that you’ll need to convert your video files to something FCP understands, but we need more information in order to advise what to convert the files to.
All the best,
AlexAlex Elkins
Twitter: @postbluetv
http://www.PostBlue.tv
Shot on RED @ 100fps, Post on FCP/Color: Capoeira Film -
[Hoping Chen] “The better chice is probably transcode the H.264
files to ProRes at the very beginning. Would you agree?”100% agree, although personally I’m hoping the next FCP will work properly with h.264 files. If my iPhone can do it I think my Mac Pro with FCP should too!
All the best,
AlexAlex Elkins
Twitter: @postbluetv
http://www.PostBlue.tv
Shot on RED @ 100fps, Post on FCP/Color: Capoeira Film