[Jeremy Garchow]

Are they slow motion clips? (S&Q In the Sony parlance)

[Jeremy Garchow]

Are you importing straight from the card?

Have you tried offloading the footage from the card, first?

[Jeremy Garchow]

Yes, you seem to have a great grasp of what is going on.

[Dave Smith] “- when I see a LUT that “converts” log-to-rec709… it’s not really converting anything, it’s just nondesctuctively applying a ‘look’ to the footage.
“

That’s correct, although the values, are in fact, being converted. But you are right in that it is nondestructive.

[Dave Smith] “Ok so with that, and somewhat back to my original question… how do you know when a clip is recorded with the log profile? Or any profile for that matter?”

Most of the time, the footage looks very flat, lots of grey. Sometimes, depending on the camera, FCPX will automatically add a camera LUT to the footage. Not all camera footage has this metadata, and FCPX doesn’t have factory LUTs for every camera, so mostly, you have to check and see if FCPX has applied a camera LUT. Looking at the footage in the Finder will show the raw values, not the footage with the LUT applied. You can also check the inspector under “Settings” to see if there’s a Camera LUT applied.

[Jeremy Garchow]

DLog is different than the Rec709 color space.

You can recording Dlog (the color and exposure values are encoded differently) and use a LUT to expand the color and luma out to 709 (or beyond).

What FCPX is telling you is correct, it’s all 709, because the DLog material fits within the 709 “bucket”, but in order to get the material to look more “natural” you would either color correct, or apply a LUT and color correct from there.

There’s a LUT on this page which you can load in to FCPX though the Camera LUT settings in the FCPX inspector: https://www.dji.com/mavic-2/info?pbc=mF6h4ZTt#downloads

Jeremy

[Jeremy Garchow]

Yes, it may have been interrupted, is my guess.

[Jeremy Garchow]

try to reimport the media in to the current project using the File > Import > Reimport for Camera/Archive options.

Or open a new library and import that media again. Move that media over to your other library to reconnect it.

[Jeremy Garchow]

My question would be what do you need to do?

Do you need to make high res assets with attached audio baked in?

Do you need to attach high res video to the original audio?

That is to say, what is finishing going to require?

If they need both high res video and audio as separate sources, you’d have to overcut the high res video to the low res picture, and do the same for audio. It would be pretty tedious work, but possible.

Since the audio and video is now married to a proxy that does not contain the appropriate metadata for audio, it’s going to be nothing short of a manual process. Even if you went to resolve to relink video, you’d have to overcut the audio.

[Jeremy Garchow]

[Dan Browne] “However, I just tried this and now my footage is stretched from 4:3 to 16:9, and, at 100%,”

You chose “none” and not “fill”?

Spatial conform of none should put your photos at 100%scale and crop the top and bottom.

If you are seeing anamorphic then put your clips in a timeline first before viewing. Make sure your timeline is set to 4k 16:9. (3840×2160)

[Jeremy Garchow]

Have you tried simply dropping it in the timeline and editing?

FCPX does a decent job depending on the footage.

[Jeremy Garchow]

Do you have all background processes in FCPX Prefs turned off?