[Matthew Taylor]

Hello Again

I have done a test on my footage, converted the 59.94fps H264, to 59.94fps Pro Res 720p. Then converted that to 29.97fps, via cinema tools. This has then been imported onto a 29.97fps editing timebase sequence in FCP, and I am still getting the same stuttering issue.

I am totally lost on this one, anyone have any advice?

Regards

Matt Taylor

[Matthew Taylor]

That’s great, thank you

Matt Taylor

[Matthew Taylor]

Thanks, that was what I figured, thanks for your help. But I can’t seem to find a 29.97fps 720p Pro Res project preset in FCP 7.

Any help with that?

[Matthew Taylor]

I need to deliver in 30fps, shot with my Canon 60D on NTSC settings, at 1280×720 60Fps assuming it would be 60fps. The Raw H264 is 59.94 fps in the QT Movie Inspector. I have converted these to 60fps Pro Res with MPEG Streamclip.

I have then duplicated these files as I know Cinema Tools is destructive and used batch conform to 30fps in Cinema Tools.

The now 30fps slow motion Pro Res files playback flawlessly in QT Player, but stutter in FCP. I have just done a test output via Compressor, and the QT playback doesn’t seem to skip.

The problem only seems to be in FCP

Does this help diagnose the problem?

Thanks in advance for any responses

[Matthew Taylor]

I have noticed that the original H264 rushes are at 59.94fps, I have converted all to 60. Could this be the culprit?

Still doesn’t explain why they play fine in Quicktime Player

Matt

[Matthew Taylor]

Hello Joe and Rafael

Sorry I didn’t come back thank you for your help sooner. Unfortunately your advice still left me scratching my head. the alpha was set to straight and the image was not scaling up or down. I have however found a SOLUTION, if anyone else runs into this problem.

On your APPLE PRO RES 422 (HQ) export from COMPRESSOR, in the Video settings, if you tick the ‘Enable Chroma Filtering for 4:4:4 sources’ check box, this seems to display your colour correctly and with smooth edges on your final export.

Thanks again guys and sorry for the late reply. But I eventually found a solution. Hope it helps someone else along the way.

Regards

Matt Taylor

[Matthew Taylor]

Thanks Rafael

That is the first genuine response that has shed any light on this issue that I have read on this subject. Makes much more sense. Still seems an awfully laborious task, after knowing Premiere can do this seamlessly.

Thanks so much again for you advice

Regards

Matt taylor

[Matthew Taylor]

Hello Everyone again

Seems I am talking to myself on this again as no-one has a definitive answer. My question now is, that If FCP cannot output a PNG file to Photoshop with the same colors as the timeline. How is it that I can create a PNG from scratch in Photoshop, bring it to FCP and the colours are fine, as in, displaying in FCP exactly as they did in Photoshop. Its only on the reverse…exporting from FCP to Photoshop that these strange color artefacts appear.

Please, if there is anybody with a response to this I’m seriously considering a financial reward. Its just so frustrating.

Any responses that mention broadcast monitors, will owe me a financial reward. You have been warned.

Regards

Matt Taylor

[Matthew Taylor]

Hello Again Jeff

Also just tried your advice on changing the Gamma in the item properties, but CTRL clicking gives me no option, as you can see from this screenshot there is no option to change Gamma levels.

screenshot2012-06-23at13.28.16.png

Once again stumped, it really can’t be this difficult can it? (Reaches for Adobe Production Premium)

Regards

Matt Taylor

[Matthew Taylor]

Hi Jeff

Thanks so much for your detailed reply, It has helped in some ways to explain the problem. I am fully aware I need to grade/colour correct through a broadcast monitor, but I don’t often work for broadcast and work more in the corporate sector, where the main distribution is web anyway, and also money is tight at the mo.

Coming from a Premiere background, I just find this whole issue such an oddity, In Premiere I could export my still to Photoshop, it would open with exactly the same colour space, do whatever work I wanted to do with it, then bring it straight back to Premiere, again with the correct colour space. It used to be a doddle.

It now seems impossible to work the way I used to between FCP and Photoshop. Even with a broadcast monitor I am pretty sure I wouldn’t be able to view my still image export in Photoshop on the monitor. Would I? Its not something I have ever been aware of in the past.

The issue I have is that everything looks different between applications on the same monitor…Something that never used to be an issue with Premiere and Photshop on a PC. Perhaps its time to finally make that switch back to Adobe….

I really do appreciate your advice, its just not the help am looking for unfortunately. I would just like a solution to everything looking as it should on the same monitor. But seemingly this is an impossibility

Regards

Matt Taylor