Jason Berger
Forum Replies Created
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It was for a timeline of DSLR footage. Thanks to everyone’s input I figured out a workable solution:
If I set it to either 960×720 or 1280×720 during the conversion, it would convert properly but skew itself when imported to FCP.
BUT, for some reason I really cannot explain, if I converted it to 720×480 (DV-NTSC) it would work fine in FCP.
It looks great in my timeline, so I’m just going to shrug and finish my project.
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This thread has been a horrible fail. I just discovered the distortion is coming when I import it to FCP 7. Sorry to make you muddle though this mess, but do you have any tips for importing without distortion?
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Sorry for the confusion, everyone.
I just discovered that the converted files are still in the correct aspect ratio and Final Cut Pro 7 is distorting them when I import, but when I try to edit my original post it tells me that I don’t have permission to edit it.
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Yeah, you guys nailed it for me. It’s the green preview render bar I’m getting because the timeline is HDV. For some reason only the Canon footage needs to be rendered, though; the Nikon footage is fine, which is why it never crossed my mind I was in an HDV project.
Thanks so much for everyone’s help. That’s what makes this place great.
I think I’m going to start a new project with a ProRes timeline and see if I still have to render the Canon footage, just for future reference. Hopefully I do not.
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Aaagh. I feel like a dumb-ass now. My project settings are set for HDV 1080i 60fps because the first footage I loaded in this project was from a Canon XH-A1S and even though I never used any of that footage, the settings are still for HDV. It never occurred to me that would conflict with anything because I never before had to convert HDV footage.
So what is my solution here? Can I change the project settings to Pro Res 422 without screwing up my project which is almost fully cut?
It’s not the red unrendered line appearing above the footage, it’s the bright green preview rendering line.
And I pretty much decided to retire my XH-A1S after this, but if I ever decide to use it again I guess I’ll have to convert the HDV to ProRes 422 as well. Is that correct?
Thanks for the help, btw.
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I should add the main reason I chose not to get a MKIII is because they can only shoot 60 fps at 720p. If you want 1080p you have to shoot 30fps. And that’s pretty ridiculous when cameras half that price are offering 4k. The D750 shoots 1080p at 60fps.
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I was kind of in the same boat. Right now I’m editing a project using footage from a D3300 (same shooting quality as D5300, but less pro controls) and the MK III and the Nikon is holding its own with the MKIII.
The decision I made is to go with the D750. It’s still cheaper than the MKIII, but it’s a full frame sensor and I’ve been hearing nothing but good things about its low light capability and its ability to handle moire/aliasing.
Nikon streamlined the D750 with the intent of using it for videography and they really nailed something great here. I don’t want to make the jump to 4k yet and this Nikon really won me over.
I would forget the D5300 altogether and consider the D750 instead. It’s a really great camera.
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Was the slow mo footage of the horses colour corrected? It seemed flat to me and didn’t really match the highs and the lows of the other footage.
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ALL my research is telling me that a hacked GH3 is visually superior to most DSLRs. I’ve read many statements that it’s superior to all of them, but I’ll not insist on that.
The GH2 and GH3 really is something amazing from the sounds of it. If I didn’t have the issue with the lenses I’d scoop that up in a heartbeat.
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That’s a great link, thank you! 6D looks like my choice.
BUUUUUUUUT I recently just found out it may be possible to attach canon EF lenses to a GH3 with something called a speed booster. Does anyone know if the full electronic capabilities would be adapted? Or would it be a purely mechanical lens?