Michael Gissing
195
COW Coins
190
DaVinci Coins
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Solve Coins
Forum Replies Created
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Apart from restarting, what else have you tried? How are you monitoring? If it is via an I/O card, have you checked its settings.
Have you powered down, counted to ten and done a restart?
Can you open a different sequence and get audio? Can you get any audio out from anything on the computer?
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I’ll bet when you check sequence settings that the anamorphic box is unticked on those three sequences so what you have are 4:3 sequences. FCP will put your clip that has been ticked as anamorphic into that sequence as letterboxed which is how it is appearing in the final output.
The distort settings should be zero. It has probably also scaled the size in the motion tab down from 100. You can fix it easily if you tick anamorphic in the sequence settings and then select all clips and remove attributes > distort and basic motion.
To be safe duplicate these sequences first and change the dupes in case there is something else going on. By removing all basic motion, it will change any zooming or re-framing you might have done so be careful.
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“Delivered some video files in full HD (1920×1280) with the quicktime codec in After Effects”
Quicktime is not a codec. Full HD is also not a codec. HD can be in a number of frame sizes from 4k to 720. Please clarify.
Like Arnie, I am not aware of a bug. I too send quicktime files to AE users without field order issues. Last project was ProRes4444 2K. Previously I have sent Apple Uncompressed 10 bit 1920 x 1080 and received back the same or Animation 1920 x 1080. I have never had a field issue unless the AE operator has forgotten to export with fields set correctly. Field settings in HD are rather simplified as all should be upper or none depending on original footage and intended delivery output.
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The recommended workflow for FCP from RED’s website is to convert files using RED Rushes or Log & Transfer into ProRes QT files before editing, maintaining the same file names.
When you send these file to Color, they can be used to relink to r3d files. Using proxy files is not recommended, probably for the reasons you have discovered. Can you change the file names to remove the extra? Save, backup and duplicate before fiddling with file names.
Research, consult and test with any new workflow long before you hit the critical time with others are watching on and the clock is ticking. The RED website has lots of info and recommendations. Perhaps their forum will have already answered this question for you.
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Thanks for the warning Andreas.
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What is your final output going to be? I must say it is unusual to have an effects person grading a feature film. Are they and experienced grader with proper monitoring.
I know that it is probably low budget but depending on how the film is going to be presented, I would recommend using a person who is an experienced grader who can take your FCP project and grade with Color at the least.
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What a nice mess. What is the original camera codec and frame rate? How the hell did they capture 25 frame footage as 60p? Is it Varicam?
When you say the timecode matches apart from the odd skip, are you comparing the converted clip code to the camera original code?
Have you tried opening a new sequence and dragging a single file into the sequence and letting it adjust the settings to match? If not, do that and see firstly what the sequence settings are and if the footage still skips. The recapture could be a nightmare if the sequence settings are fighting between compressor settings and timcode base.
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What are you exporting to, if not a .mov? You may have to export the audio separate to the picture but without any info as to what you are trying to end up with I can’t guess.
Have you tried Compressor?
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You will have to try and smooth the differences with color correction. If you are a beginner then the 3 Way CC in FCP is the place to start. The manual is good for describing how to use the CC and it is fairly intuitive.
More advanced users would use ‘send to Color’ as Color is a much more comprehensive grading tool. There are limits with what you can achieve with color matching as the basic lighting angles will also change so continuity will always be a compromise.
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Deinterlacing is not required. Do you have to maintain speed with these files?
If yes then you could try conversion in Compressor using the frame controls. This has been discussed many times here at the Cow and a quick search will give you tips on the specific settings.
If speed is not important, Compressor using frame controls can be used to speed up and create Qt files @ 25 fps. This is faster and cleaner than a standards conversion as it is really just a vari speed baked into the files. Sound will change pitch + 4.1% which is around 3/4 semitone. OK for FX & atmos. A bit weird on voice and not good for music.