Richard Keating
Forum Replies Created
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This “Gamma Shift” issue with Quicktime is a common problem. Do a search for “gamma shift and quicktime” and you’ll see lots of discussion on the topic. I came across a tutorial on how to fix this a while back which I didn’t try but may be worth looking at:
https://www.videocopilot.net/blog/2008/06/fix-quicktime-gamma-shift/
Richard Keating
Editor, Co-Creator of ScreenLight
“Centralized Video Project Collaboration”
http://www.screenlight.tv
Blog: blog.screenlight.tv -
Yes. Convert your source files to ProRes422 and save to a new folder. When done, select video clips in Final Cut browser and right click “Make Offline…”. Make sure you select to leave files on the disk so you don’t delete your original source files. That will take all the video media offline. Then select the clips again in the browser and right-click “Reconnect Media…”, this time selecting your newly converted clips in the new folder. This will bring everything back online, but with the new files. Make sure all the file names remain the same or you may have linking issues. If you have any issues, you can always reconnect back to the original files.
Richard Keating
Editor, Co-Creator of ScreenLight
“Centralized Video Project Collaboration”
http://www.screenlight.tv
Blog: blog.screenlight.tv -
Despite the file format (.mov or .mp4), the codec for both files is most likely H264, which is what Final Cut doesn’t like. I recommend you transcode ALL the files to a Final Cut friendly codec (ie. ProRes422). This will make not just make the export faster, but if done before would have saved you time in the edit (no render time).
Richard Keating
Editor, Co-Creator of ScreenLight
“Centralized Video Project Collaboration”
http://www.screenlight.tv
Blog: blog.screenlight.tv -
That’s because video uses rectangular pixels, and still images work in square pixels. Open your still in Photoshop and re-size to 640×480 (the square pixel equivalent to the rectangular pixel 720×480). That should do the trick.
Richard Keating
Editor, Co-Creator of ScreenLight
“Centralized Video Project Collaboration”
http://www.screenlight.tv
Blog: blog.screenlight.tv -
I don’t recommend you export from Final Cut using Quicktime conversion. I suggest two options:
1. If your video is short (under 15 minutes), export a Self-contained Reference Movie. That way you are uploading the video with no quality loss. Keep in mind that YouTube transcodes the video on upload, so there will be some quality loss at that point, so starting with the most pristine source file is key. The limits for YouTube uploads are 15minutes running time and 2GB file size. If your self-contained reference movie meets this, then use this option.
2. Encode a H264 Quicktime file in Compressor. I posted a tutorial on my blog a while back about the best way to do this. Check it out here: https://blog.screenlight.tv/2010/11/25/encoding-h-264-quicktime-for-the-web-with-compressor
Good luck.
Richard Keating
Editor, Co-Creator of ScreenLight
“Centralized Video Project Collaboration”
http://www.screenlight.tv
Blog: blog.screenlight.tv -
When working with P2 footage, I wouldn’t recommend copying any folders other than the root folder. Once you start messing around with the sub-folders, your asking for trouble. But even dragging and dropping your root folder to offload your P2 footage can be risky – works fine 99.9% of the time, but you don’t want to be that 0.01%. I recommend using P2CMS (free download from Panasonic: https://eww.pavc.panasonic.co.jp/pro-av/support/desk/e/download.htm). It offloads your P2 cards, verifying the contents in the process.
Richard Keating
Editor, Co-Creator of ScreenLight
“Centralized Video Project Collaboration”
http://www.screenlight.tv
Blog: blog.screenlight.tv -
I agree – H264 in a Quicktime format (.mov) is the way to go. I wrote a detailed tutorial a short time ago about doing this in Compressor. You can read it here:
https://blog.screenlight.tv.Good Luck.
Richard Keating
Editor, Co-Creator of ScreenLight
“Centralized Video Project Collaboration”
http://www.screenlight.tv
Blog: blog.screenlight.tv -
Just to be clear, I was not suggesting that you back up your files to tape. I was just using the role of the tape in a tape workflow to illustrate the importance of your raw 5D files. If you do indeed decide to throw you raw files on to an external drive (as Michael suggests) and shelf it, then that is akin to having a tape on the shelf.
Richard Keating
Editor, Co-Creator of ScreenLight
“Centralized Video Project Collaboration”
http://www.screenlight.tv
Blog: blog.screenlight.tv -
Working with digital files, I like to think about the raw footage as the “tape”. In a tape workflow, I wouldn’t through away my tapes after I captured my footage, so neither would I delete my raw source files in an all digital workflow. Back in the olden days, I had my capture scratch and everything was all backed up, but I also knew I had that raw tape master on a shelf somewhere if all else failed. And besides, you never now if you will need to work with a different codec at some time in the future, and its best to convert from your original source files rather than from files that have already been converted to something else (in your case ProRes 422(LT).
Richard Keating
Editor, Co-Creator of ScreenLight
“Centralized Video Project Collaboration”
http://www.screenlight.tv
Blog: blog.screenlight.tv -
Hi Aaron,
If you are looking for your clients to simply review and sign off on the videos, you should try ScreenLight (https://www.screenlight.tv), a new video review and approval application built specifically for video production professionals. The whole idea behind ScreenLight is ease of use for non-technically savvy end-clients.
It’s free to try so give it a shot.
Hope this helps. Cheers,
Richard Keating
Editor, Co-Creator of ScreenLight
“Painless Video Review and Approval”
http://www.screenlight.tv