Jonathan Flookes
Forum Replies Created
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Well right now we do have burn ins on the film footage so were not completely screwed. But what we’ve decided to try and do is move everything to a 29.97 sequence. So far its working minus a black frame here and there.
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Yep,
Makes complete sense, I actually went into AE afterwards with some of the footage and realized you could do exactly that.
Thanks again!
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Thanks Jeremy and Gary,
It does make sense, and I appreciate you guys taking the time to look at my problem. I only have one more question.
If I change the field order in FCP will it directly effect the QT’s? My job for this is to load the footage and then ship the drive off to Sweden for some After Effects guys to key a bunch of the footage. My guess is no since FCP is a non-destructive editing platform, and that to get the none field order I would then need to export everything out again.
Thanks again guys, that was huge help.
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Well sadly thats what I am doing but the FRC still strips the timecode of the slow-mo clip. I know i can go back to the original if I need to, but still just a little bit of a pain, when it probably shouldn’t be.
Thanks for your help Walter, if you or anyone else can think of another way to do this with out losing TC that would be great.
Thanks!
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Right, but then I will have unreliable timecode if I need to online. Or am I crazy, cause I just did a capture and the TC was all off. Is it going to be off no matter what?
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Here are some images.. I can only show part for reasons beyond my control
The image on the left is what the camera gave us and the image on the right is what it is “Supposed” to look like. Anybody seen this before. I was no on production but from what they all say it was shot correctly. Although i don’t know what they had to light it.
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We are viewing it on a properly calibrated SD monitor through the AJA but it looks off on both the montior and the computer screen and i have never known or heard of a screen putting color off by that much (IE completely changing colors like from dark gray to brown or from blue to purple), i will post pictures of what it looks like corrected and un corrected in a minute on both forums.
Jonathan
P.S. Thanks for the heads up on the Panasonic forum
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So I ended up figuring it out around 8 PM yesterday after talking with some other editorial houses. I at first thought it could be a framreate issue after readin millions of text on the internet. Talked to the DP and he swore on his life it was shot at 720 30PN (Native). I had heard that FCP 5.0.4 couldn’t handle that but that FCP 5.1 could (Which is what I was running it on.)
As it turns out the encoding on the P2 cards can become “Corrupt” in a way that Mac and FCP can not read them. The files really arn’t corrupt and if put on a PC would be read immediately because Pansonic offers software that fixes it only to PC’s right now. I’ve been told that both Panasonic and Apple know about the problem and are trying to fix it as it is on their list of things to do. As of right now the only program i’ve found that could read the files and export them for em properly is HD Log or P2 Log from Imgaine Products. It exported just fine for me with XML’s and QT’s. This is the only solution I found and it will cost you either $200 or $500 depnding on which one you get. If anyone else happens to know of another way i would appreciate the knowledge.
Also i would have waited for 5.2.1 except the agency were working with wanted these clips done ASAP so that wasn’t an option. I appreciate everyones help.
Jonathan
P.S. Im making another post about a color problem were having with thats ame footage, so if you happen to know of color problems please respond.
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NEVERMIND… Figured it out. Hope no ones been looking for a solution.
Sorry,
Jonathan -
Update, I gifured it out, there was a miss communication with production, turns out their shooting at 29.97.
Thanks anyways guys
Jonathan