Tobias Heilmann-schuricht
Forum Replies Created
-
No, it’s in a secondary story line. Does that make a difference?
In Touch Media Entertainment
Munich, Germany -
Thank you both! The color trace function did a great job…
In Touch Media Entertainment
Munich, Germany -
Thank you. I will give that a try….
Best,
Tobias
In Touch Media Entertainment
Munich, Germany -
OK. I fixed the problem. None of the usual helped: Trashing prefs, caches, etc.
I used Disk Utility to look at and “repair” my Raid on which the files are stored, and I used it to repair all the disk permissions on my hard drive.
One of the two or both combined solved the problem… Very mysterious none the less.
Thank You!
In Touch Media Entertainment
Munich, Germany -
…and yes, I have read the other threads. Nothing gives.
Completely in the dark here, as it’s not only one file, but many files that worked just fine until today…
In Touch Media Entertainment
Munich, Germany -
Hi,
As posted initially, our worklflow looks as follows:
RAW footage (RED)
Converted (First Light CC) to 10 Bit DPX in Red Cine (The AJA 10B 4:4:4 Codec is not available in Red Cine at this point,
Used AJA DPX Converter 5.1 to convert 10B DPX Files to 10B 4:4:4 RGB Codec.
Imported on to 10B 4:4:4 Codec Timeline (FCP 6.0.3). (Render RGB Settings)
Sent to Color (1.0.2) to grade (10 Bit Mode)
Sent back to FCP in the same AJA Codec.
Sequence still same settings.
Clips playback fine (look great), the image is identical to that in Color. As soon as I render anything with those clips (crop, filter, size, etc. doesn’t matter what) I see a dramatic shift in what I perceive to be a darker Gamma Level. I see this both in the Viewer, as well as the Kona3 Dual Link Output.
Even when I just export this sequence as a Quicktime Movie (using original settings) without rendering anything, I get this shift in the exported movie.
So there’s what we did. Any ideas? Thank you!
In Touch Media Entertainment
Munich, Germany -
Hi,
As posted initially, our worklflow looks as follows:
RAW footage (RED)
Converted (First Light CC) to 10 Bit DPX in Red Cine (The AJA 10B 4:4:4 Codec is not available in Red Cine at this point,
Used AJA DPX Converter 5.1 to convert 10B DPX Files to 10B 4:4:4 RGB Codec.
Imported on to 10B 4:4:4 Codec Timeline (FCP 6.0.3). (Render RGB Settings)
Sent to Color (1.0.2) to grade (10 Bit Mode)
Sent back to FCP in the same AJA Codec.
Sequence still same settings.
Clips playback fine (look great), the image is identical to that in Color. As soon as I render anything with those clips (crop, filter, size, etc. doesn’t matter what) I see a dramatic shift in what I perceive to be a darker Gamma Level. I see this both in the Viewer, as well as the Kona3 Dual Link Output.
Even when I just export this sequence as a Quicktime Movie (using original settings) without rendering anything, I get this shift in the exported movie.
So there’s what we did. Any ideas? Thank you!
In Touch Media Entertainment
Munich, Germany -
Hi,
As posted initially, our worklflow looks as follows:
RAW footage (RED)
Converted (First Light CC) to 10 Bit DPX in Red Cine (The AJA 10B 4:4:4 Codec is not available in Red Cine at this point,
Used AJA DPX Converter 5.1 to convert 10B DPX Files to 10B 4:4:4 RGB Codec.
Imported on to 10B 4:4:4 Codec Timeline (FCP 6.0.3). (Render RGB Settings)
Sent to Color (1.0.2) to grade (10 Bit Mode)
Sent back to FCP in the same AJA Codec.
Sequence still same settings.
Clips playback fine (look great), the image is identical to that in Color. As soon as I render anything with those clips (crop, filter, size, etc. doesn’t matter what) I see a dramatic shift in what I perceive to be a darker Gamma Level. I see this both in the Viewer, as well as the Kona3 Dual Link Output.
Even when I just export this sequence as a Quicktime Movie (using original settings) without rendering anything, I get this shift in the exported movie.
So there’s what we did. Any ideas? Thank you!
In Touch Media Entertainment
Munich, Germany -
…ok I just read those links. Thank you! Very interesting.
Can’t say that the question marks have vanished. These papers explain a problem, which is yet of a totally different scope.
From reading those papers I still can not discover, why FCP would change the look of my footage just by placing it in a timeline (identical to the footage) and then exproting it from there…. Hmmm.
In Touch Media Entertainment
Munich, Germany -
Thank you.
I have not read those two papers yet… but it goes straight to my question: How do I know what FCP is doing to my footage?
We even tried just re-exporting the AJA 10 Bit RGB 4:4:4 clip from the timeline without doing anything to it at all. We then compared the exported clip to the clip that Color generated. The FCP clip is darker.
We compared the two clips by viewing them via AJA TV, our Kona3 via Dual Link Out.
My head is full question marks…
In Touch Media Entertainment
Munich, Germany