Bill Brownstein
Forum Replies Created
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Yeah, it creates successful ProRes files as well. But the problem occurs once I bring these files into FCP and start to edit and export them.
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Yep, Log and Transfer doesn’t work. It only works for Canon H.264 stuff because there’s a specific plug-in for it.
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I’ll give ’em a try!
Ha, was kinda hoping somebody at some point needed to do the same and had a workflow/presets that I could just copy. What’s wrong with these tracks is exactly the same across them all; I need to dampen the effects of the mic itself.
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Yes, it looks the same.
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The color space theory was a good one, but actually when I look at the original camera H.264’s and the ProRes files (both pre and post FCP) they all look exactly the same.
Seems that the problem is just the viewer window in FCP with ProRes files; it makes them less saturated with more contrast. I’ve read that the new Final Cut Studio bundle has improved ProRes support, maybe after an upgrade the files will look correct in FCP.
I’m really shocked nobody else has encountered this problem before. We do exclusively web-oriented videos, so external monitors and in depth color correction isn’t necessary. Simple tweaks with 3-Way Color Corrector are more than enough. I just need consistency through the entire process.
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Yes, the sequence settings match the settings of the ProRes files.
This particular shot actually has no color correction; in FCP it looked perfect so I did nothing to it. Whether I do a compressed or uncompressed render, the results are the same.
Looking at the original ProRes files, outside of FCP, they look how my FCP renders look. So basically FCP increases contrast and saturation in the viewer window during editing. Anybody know why?
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I realize now that my subject head is misleading because forgetting about the 7D footage for a second, I can’t even get this Panasonic footage to sync to an audio track recorded separately at the shoot. I feel like this should just be mathematical but I can’t find a solution.
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It shoots 23.98
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Tried it and it still doesn’t work. Nice to know about that option though. Maybe there’s something else wrong that I’m not thinking of. I can’t really understand why this doesn’t work; there must be a way.
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How do I conform the time of the clip?
My test 48fps clip is 03:09:08 so half of that is 01:34:16.