[Russell Lasson]

Thanks Bret. I decided not to worry about adjusting the pan or levels in multi-clip timeline. I just applied a basic compressor filter and then mapped each audio track (2 lavs and 1 boom) to each be mono. Then when I go to the multi-clip in the project, I can choose the tracks in the channel configuration and then select how to pan them there.

I know something strange was happening, but it was probably part user error as I’m trying to wrap my head around how to work in FCPX.

Thanks,

-Russ

Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net

[Russell Lasson]

Alright. I’m wrong 🙂

Audio levels and filters are still there. But the pan is gone and the nice stereo mix I had in the multi-clip timeline is playing back as a mono mix in the project. The audio levels in the project also seems lower than they are in the multi-clip timeline. Is there a master audio level for a project somewhere?

-Russ

Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net

[Russell Lasson]

In our testing and talking with Canon, it appears that the Mark III isn’t compatible currently with their Log and Transfer plug-in. It’s strange that it will import files that are at frame rates other than 23.98.

-Russ

Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net

[Russell Lasson]

The program that converts footage to ProRes the fastest is actually FCP X. Much faster than compressor and a million times faster than FCP 7. So even if you’re editing in FCP 7, you could use FCP X just to transcode the footage to ProRes. Download the demo and give it a test.

Russ

Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net

[Russell Lasson]

Have you tried using ProRes Proxy versions? It’s nice because it’s small and can stay at the same frame size as your originals. Reconnects nicely.

Russ

Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net

[Russell Lasson]

email me and I’ll send you the old log and transfer tools that we have.

russ(at)colormill.net

Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net

[Russell Lasson]

You’ll have to go back to the old version of the canon log and transfer. We noticed that with v1.3 and decided not to update because it broke the connection to footage we had transferred in v1.2.

Russ

Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net

[Russell Lasson]

You can’t change the frame rate of a sequence when there is a shot in the timeline already. So just create a new sequence with the right frame rate and copy/paste your shots into the new sequence. You’ll need to go through the whole sequence and look for blank frames between shots as sometimes that can happen when changing frame rates of sequences.

-Russ

Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net

[Russell Lasson]

I’m with Alex. What’s the original format of the source?

If it’s a digital cinema camera (Alexa, RED, etc) then I go with mastering to ProRes 4444 or ProRes HQ.

If the source is a camera that uses a more compressed codec (DSLR, XDCAM, etc) I generally use ProRes SQ.

That said, I’m not sure I know of anyone that would watch your film at a festival and say, “Boy, you should have used ProRes HQ!”

So questions you should answer are:

1. What was the acquisition codec?
2. What was the post production codec and workflow?
3. How with the festival show your film? Just because you have it at 2K doesn’t mean that they can screen it at 2K. They might only have 1080P equipment. And if you give them ProRes, they might even just make a Bluray or something for the festival.

Russ

Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net

[Russell Lasson]

I generally try to do a clean install of the OS every time there is a new version. (10.4, 10.5, etc) I know it’s a pain to get everything back in to place, but it seems to avoid issues like this. So I would recommend starting over with your OS. I like to use Carbon Copy Cloner and make a copy of the current boot disk before starting over so that if you’re having a hard time loading anything back on, you can go back and figure it out.

Russ

Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net