Thatcher Kelley
Forum Replies Created
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I did a test with a Premiere XML conform in Resolve that also had some clips that had time changes. This worked flawlessly. So there is something wrong with Final Cut’s XMLs specifically because Adobe’s worked fine in Resolve.
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In FCP I have a 23.976 timeline. I have some footage that was shot at 60fps. I used the Retime-Conform Speed command in FCP to slow the frame rate of some of my clips down to 23.976, which showed 40% speed in the Retime Editor. Typically I just do this in Cinema Tools, but it’s been crashing on me lately and I’ve been reading that “Conform Speed” in FCP will do the job just the same.
So then I export an XML from FCP and import it into Resolve as a 23.976 timeline. Resolve recognizes all the clips that don’t have any Retime properties and puts them down on my timeline in the correct places. But any clip that was Retimed in FCP (Both the Conform Speed clips as well as some other clips that had other constant speed Retimes applied) don’t appear in the media pool, nor on the timeline. Even if I put all my source clips in the media pool before the XML import, it still won’t put the retimed clips on the timeline when I import the XML.
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“IOW the money you spend on proper monitoring will more than pay for itself in the money and effort saved by not having to fix the unfixable in post”
Thanks for the tip. I actually hadn’t even thought of taking it elsewhere for the last step of the process.
I am working on a monitoring solution. I just dropped a grand on adobe production premium. An upgrade from my student copy of AE 6.5. So it will be a little while before I’ll have money to spend on monitoring.
Any suggestions on a solution. I get the impression that the MXO box uses the DVI output, disallowing you to use the DVI as a part of the desktop, and only for a monitor output. Is this correct?
Does anyone have any firewire or expresscard solutions for a MacBook Pro setup that is under a grand? I’ve used the AJA I/O box, which is amazing, but is simply overkill and more than I’d like to pay to get SDI or HD component to a broadcast monitor
Also any suggestions on good, cheap (oxymoron I know) broadcast monitors. I was thining of getting a PVM14L or 20L HD CRT used. Those are fairly cheap. Is the Panasonic LH1700 LCD recommended. I use this all the time in production, but not for color correction. Any other CRTs or LCDs reasonably priced that are worth getting?
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“You should be using a professional external monitor to judge all video quality. This is how FCP was designed”
“The Viewer in Color should never be used to judge video quality, that application was designed solely to work with a professional external display”
I understand that I don’t have the ideal situation. I don’t have the luxury of being able to afford what I “should” do. I’m trying to find the best solution for what I can do, which is use the viewers in the programs. I posted to see if anyone has any ideas of something I can do. I didn’t post to see if anyone could tell me that I should never use the preview window.
I’m not pointing fingers at Apple saying that they have flaws in their system. I’m simply looking for a workaround. To me it seems logical that if quicktime displays a certain image, and then final cut, color, and after effects (i was looking in CS4 and discovered that it also gives me the same results), which all three have an identical look, but different from quicktime, then there aught to be a way in my settings or something of the sort to get them all looking the same. Afterall, before snow leopard and FCS3, they did all look the same (except for after effects).
So does anyone actually have a helpful suggestion?
Thanks,
Thatcher -
what do I need to change in the preferences? You mean the OSX prefs right?
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So as I analyze the fcp viewer vs. quicktime I think I’ve realized that the difference between the two isn’t 1.8 vs. 2.2 gamma. I realized this with the toggling of my 1.8 vs 2.2 gamma in the preferences panel of osx.
It appears that the quicktime output is a bit more saturated and maybe a tiny bit brighter, but not dramatically like a 1.8 vs 2.2 gamma difference.
I also looked at the Color preview window and it matches final cut. So a little less saturated and darker.
Has anyone else noticed this small discrepancy? I’m not too upset with it, but would still like if possible to find a solution (a temporary one that is free).
I know and understand the idea of a properly calibrated broadcast monitor. Unfortunately I’m building my computer station slowly and can’t afford an output module (I/O box), nor a broadcast monitor.
99.9% of my work is for web/computer playback. So what a video looks in quicktime on my MacBook Pro LCD is most important to me since a large chunk of viewers will be looking at an h.264 or flash video on an apple monitor. So when color correcting, I’d like to be able to have Color’s preview window on my macbook LCD, with the look that it will be when i export it to a quicktime. Does anyone know a way to do this? Such as a minorly adjusting LUT? Or should I just create an adjustment in compressor to make the quicktime look like Color’s preview window for my final output.
Thanks for any help!
-Thatcher
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I am having the same problem with Snow Leopard. If someone has the solution to this or an answer, let me know.
Thanks,
Thatcher -
How do I get it to look right on a computer. If I want to convert it to 720 for an HD youtube video, do I just duplicate one of the fields and scale it? Sorry for my ignorance. I have a really hard time understanding interlaced video. I’m too young.
Thanks,
Thatcher -
Ok, so if I can’t remove the pulldown on these clips, then I assume that is ok. Will the video play correctly if I compress it to a DVD and play on a TV or computer? When I play the straight quicktime I see the pulldown frames clearly. How do I deal with that?
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That’s why I am wondering if I can get around the GOP problem by converting to prores or something of the sort. And I’m wondering what the best process is to do it with final cut and cinema tools