Matt Lyon
Forum Replies Created
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If the original clip truly has no problems, then you should find the clip in the earliest cut of the movie you mention, select it, then right click>”reveal in finder.” Open that clip in quicktime player 7 and trim out just the section you need for VFX. Use “save as…” to give the movie a new name, and send that short clip to the VFX artist. Now he/she is working with the closest to original generation footage possible and hopefully with none of the problems you are seeing.
Just out of curiousity, are there any filters or motion effects being applied to the clip before you did the problematic exports?
Hope this helps,
Matt Lyon
Editor
Toronto -
People I’ve worked with in the past have used ProTools combined with Titan to accomplish this. But there may be other tools that do the same job.
As Shane says, OMFs should work fine, but even straight audio-only EDLs can do the trick in a pinch.
But as everyone mentions, if there is no TC in the source audio (are they broadcast wavs?) then it won’t make a difference what tool you use to export.
Matt Lyon
Editor
Toronto -
I don’t know if I have a perfect answer, Rob. My preference is to not re-export any kind of self contained or reference quicktimes. I’ve been working lately with prores proxy media. So I need to be able to keep my connections to the camera originals so I can online at full quality.
So my approach has been to razor blade the audio and create multiclips that last up to the start of the next video clip. So you’ll end up with lots more multiclips. This is one of the big drawbacks of 7Ds, imho. They seem to spontaneously start and stop rolling as they please!
There are people on this list who do a lot more multi-cam shows then I do, so maybe someone else has a better answer. But since I really rely on the “log & transfer” functionality, I’m loathe to do any kind of re-exporting of footage.
Hope this helps,
Matt Lyon
Editor
Toronto -
I would think editing with reference movies is asking for trouble, isn’t it? How would you reconstitute your show if something happened to the data on your media drive. I’m happy to be proven wrong – but what made you decide this is a viable workflow?
In any case, I think you’d have better luck merging your dual system audio with your video, THEN making your multiclips.
Matt Lyon
Editor
Toronto -
This behavior is actually documented by Apple:
https://support.apple.com/kb/HT2912
(I think it’s in the FCP manual somewhere too)
Matt Lyon
Editor
Toronto -
I’m going to go out on a limb and say they are wrong. You’ve seen the proof with your own eyes. Set your display profile to 1.8 when using FCP and 2.2 when outside the program. That is what I do when working in a studio without a proper video monitor.
I think people get caught up in the fact that SL changed the default system gamma but this has no bearing on FCP. FCP 7 itself doesn’t know or care what your display gamma is set to in the system preferences.Matt Lyon
Editor
Toronto -
[Brian Petersen] ” is FCP still adjusting my video for display thinking that I’m in 1.8?”
Yes it is. FCP 7, like the versions before it, assumes a display gamma of 1.8, so it applies a multiplier to the gamma in the canvas window.
Matt Lyon
Editor
Toronto -
[Gabriel Weigl] “wouldnt be the best way to finalize DVD to send hdmi signal directly from fcp to dvd recorder?”
I think it certainly would be worthwhile to do a test. I’ve only ever used DVD recorders for making dailies reels (not color-critical quality needed). I suppose the quality would depend entirely on how good the DVD recorder is. I suspect the fidelity could vary wildly across makes and models.
Matt Lyon
Editor
Toronto -
[Gabriel Weigl] “if I do a DVD I would appreciate that it looks good +- on each display, not just on JVC.”
I think everyone would agree with your sentiments, but there’s a reason that NTSC is said to stand for “Never The Same Color” (and PAL is Pretty AwfuL )
At the end of the day, once your show goes out the door, it is going to be watch on all sorts of poorly calibrated display systems. You can drive yourself crazy worrying about color.
But all this being said, when making a web only quicktime of your project, your DVD grade might need some tweaking. You can play with your compressor settings, as others on the thread have suggested. Then you can start driving yourself nuts thinking about display gamma on different operating systems and software 🙂
Matt Lyon
Editor
Toronto -
Gabriel, how have you connected your JVC panel? Is it being driven by a proper video breakout box, like an AJA or Decklink with a YUV connection? This issue is a very common one on this forum. If you aren’t viewing your material on a proper Video monitor, with the correct signal path, then you aren’t viewing a correct image.
Also, don’t worry too much about matching your Samsung to your JVC monitor. The JVC monitor, when properly connected and calibrated, should be your hero monitor, and all color decisions based on what you see on that screen.
If you are grading your images on a computer display (or a Video Display connected to the graphics card of your Mac), then more often then not the saturation is artificially boosted. This appears subjectively nice, but isn’t necessarily an accurate representation of how your material will look in a calibrated video signal path.
Your final DVD should be evaluated on a good hardware DVD player (with all special video “enhancement” modes turned off), connected to the same JVC monitor (not on a computer screen). If you still see differences between your color grade and your output DVD, then you now have a solid basis for making adjustments.
Matt Lyon
Editor
Toronto