Rafael Amador
Forum Replies Created
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If I’m not wrong, the Canon only shoot Progressive, but your sequence is Interlaced.
rafael -
Sorry, but I can’t do nothing with the clip you uploaded. I can’t download it. and even if I could, the clip will be Broadcast Safe if has been converted to h264 with QT. All the illegal values are clipped on compression.
[Colin Tse] ” Eventually, the only codec that can reserve most of the visual quality and can clip out the underblack after export is “Animation”.”
Answering to this: This is normal. When you set Animation as the sequence codec, FC forces render in 8b RGB. There there blacks are mapped to 0% (bit 0) and whites to 100% (bit 256). No room for under-blacks or super-whites. Under-blacks and supper-whites happens in YUV.Questions:
– Which application is the cartoon coming from?
– Are they coming from AfterEffects?
If so, there is no way that there are under-blacks. AE clips everything under 0% and over100%.
– Which is the original codec of the animation?[Colin Tse] “With curiosity I tried to crop further on the image and found that the under black have gone away when all black portion are cropped.”
As I mentioned, the issue may come from the “Aperture”: the way that QT present or open movies.
Another thing that could be causing troubles, is if the clip has been exported with an Alpha channel.Can you send me “1 frame’ of the original footage?
Do like that:
– Open a clip in QT Player and put the play head wherever you want.
– Hit “I”, then hit “O”.
– Copy (Cmd-C).
– Open a new window (Cmd-N) and paste (Cmd-V).
You will have movie with just one frame. Then “Save as..”.
Save the new clip as self contained.
You can zip it and send it to me to nagavision at nagavideo dot com.
rafael -
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[Rosie Walunas] “Well, I’m not exactly sure about the raw files but this details the camera:
https://pro.sony.com/bbsc/ssr/show-highend/resource.solutions.bbsccms-assets...So it looks like the footage could be coming in as 10-bit 444, and have to run through a LUT?”
Could be S-Log with 10 Bit 4:2:2 and RGB4:4:4 if have been recorded with the OPTIONAL “SR-R1 SRMemory recorder” (US$ 9.000), Convergent-Design Gemini 444 (US$ 6.000), or similar.
That’s something that you have to find out, because the workflow is completely different than if has been recorder with the basic XDCAM codec (8b/YUV) or an external recorder like the Ki-Pro, Ninja or NANO-Flash.
So ask the guys who made the shooting.
rafael -
5DtoRGB makes the best H264 to Prores conversion, and conform to 23,98 at the same time.
rafael -
AS Michael say, maintenance. Trash preferences, repair permissions and rebuild your HDs directories (Diskwarrior). The system crap piles up and is necessary to clean it now and them.
Also, avoid editing things like H264 stuff on your time line.
rafael -
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Hi Ben,
You shouldn’t been having problems with those codecs.
Try making some FC maintenance. Delete the “Constant Frames” folder (Renders),
and refresh permissions, to start.
rafael -
Something important is that you keep untouched the card files/folder structure.
Any change will screw the option to Lg&Transfer the clips.
Have a look to this tutorial:
https://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/1
rafael -
[Johan Windh] “The footage is shot with SONY EX1 (XDCAM HD) and first cut natively. Then copied to a new sequence which is ProRes HQ 422 with 10-bit rendering. This is exported and graded in Color and re-imported, exported as QT to AE.”
you could skip the step of copying the EX-1 sequence and putting it on a ProresHQ sequence to be sent to Color. You don’t win nothing this way. Just send to Color the EX-1 sequence and render to Prores HQ in Color.
rafael