Anthony Huang
Forum Replies Created
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I’m sorry, I figured since I initially had this issue in Compressor 4, and 4 was part of the new X release, I’d just post here.
Media Encoder does work (with some Googling to restore Quicktime Move formats instead of just the default .flv and H.264 settings), but it’s really slow bringing clips in (my batches are about 200 clips each), and it doesn’t seem to utilize all cores the way Compressor does (when I setup QMaster). It actually seems to be a little slower than MPEG Streamclip 🙁
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I have used GoPro Studio, but it’s a time-intensive solution. I’m looking for a solution where I can bring the raw straight into a transcoding program to output for edit immediately.
I haven’t however tried FCP X. That’s mostly because the post house I’m at is using FCP 7. But I can give that shot!
Is there anything I can do in Compressor settings to alleviate this? It really sounds like an issue with the way the .mp4 wrapper is written, but even then i’ve tried to batch save out the files in MPEG Streamclip with new .mp4 or .mov wrappers, and still no luck.
Has anyone used any other transcoding programs that hasn’t been listed yet?
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Sorry for not posting the solution to this earlier!
Yes, the AJA Ki Pro is 10 bit 422. This is possible because the video output on the Sony F3 is 10 bit 422. This is why many opt for the AJA Ki Pro on this camera. The XDCam files, as mentioned by Douglas, is 8 bit 420. There is literally less information, less color, and therefore, explains why the image is so different. Thanks everyone for your help and input! Greatly appreciated!
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I guess what I’m suggesting is, if I were to transcode footage in FCP to Apple ProRes, and say, footage in MPEG Streamclip, on my laptop, and if I opened the files in QT 7, put the ProRes files side by side, they would look the same, because they’re identical, regardless of whatever contrast or gamma or tint inaccuracies existed on my laptop screen. A broadcast monitor would indeed display accurate colors, but the files would still look the same because they’re identical. My laptop screen is the consistent factor in viewing these files.
But the ProRes files that comes out of the AJA Ki Pro are lighter. Is there some setting within the Ki Pro that should be looked at? Is there a gamma setting that should be set different from default? Is this the result of recording SDI as opposed to HDMI? I believe the only option to play with on the AJA Ki Pro is what kind of Apple ProRes file you want.
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The only way to transcode the XDCam footage from the Sony F3 in a computer on FCP 7 is to import using Log & Transfer, pulling in your footage as XDCam (Sony hasn’t made a L&T plugin that transcodes, just imports and reads), then exporting as Apple ProRes. Compressor, and QT 7, cannot read the .mp4 file inside the BPAV folder.
From what I understand however, all these programs use the same Quicktime function/mechanics that’s built into Mac OS X, so they really shouldn’t different.
I know that laptop monitors aren’t the most accurate monitors to judge color on, but if the ProRes files are suppose to be the same, then they should still look, the same, right? If my monitor was yellow tinted or something, then both clips should just be equally yellow tinted if the files are suppose to be identical, correct?