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5D mark3 final out ?

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sanyukta kaza
5D mark3 final out ?
on Jul 16, 2013 at 2:49:36 pm

Hey

I am currently working on a feature length interactive web documentary . We shot on 5d mark 3 . Therefore for the post process, we converted all our rushes to Apple Pro Res 422 Proxy since we are editing on FINAL CUT 7 .

Now for the upgrade initially we thought we would go on smoke but since we ran out of budgets we intend grading in COLOR .

I was initially intending to transcode all the footage to APPLE PRO RES HQ. I am aware FCP crashes every time we edit directly from the raw, but today I tried something new,

I made the media offline and directly connected to the raw then I exported a timeline of approximately 10 mins to 3 formats as an MOV

1) current settings
2) apple pro res HQ
3) quicktime H.264 100% quality
4)
the videos looked different at the output level
1) Current Settings the output had green frames , jitters and glitches
2) Apple Pro Res HQ the video was fine except for the blacks were too crushed
3) Quicktime H.264 looked just fine and the color space was just the same as the original raw

My question is, Do you think as a final output H.264 from the raw is ideal .Has anyone tried this process , do I need to look out for something ? especially with subtitles in the film.
This is a unique film since it will be on web on ipads, iphones , film festival and dvds .
Thanks a lot



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Steve Eisen
Re: 5D mark3 final out ?
on Jul 16, 2013 at 3:23:37 pm

Personally, I would keep your sequence as ProRes422. Color grade in Resolve Lite. Your final export should be a Self-Contained QuickTime Movie. Use the Self-Contained Movie to convert to other codecs for delivery (h.264, M2v, etc.)

Steve Eisen
Eisen Video Productions
Vice President
Chicago Creative Pro Users Group


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Shane Ross
Re: 5D mark3 final out ?
on Jul 16, 2013 at 5:30:25 pm

RAW H.264 in FCP is never advised. It's too rife with issues. And Color won't work with H.264 at all, so there is no point in relinking to the camera originals.

How did you convert to ProRes Proxy? If you did this in FCP via Log and Transfer, you can use the Media Manager to conform the cut and have it only reimport the footage used in the cut as ProRes HQ. That is something Color will work with.

Shane
Little Frog Post
Read my blog, Little Frog in High Def


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sanyukta kaza
Re: 5D mark3 final out ?
on Jul 17, 2013 at 6:42:40 am

Thank you so much for the above advice . My core question is ,I want to skip the recompressing or transcoding stage since the footage is quite a bit . So how do I go about it ?



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sanyukta kaza
Re: 5D mark3 final out ?
on Jul 17, 2013 at 11:46:00 am

I converted all the footage on mpegstreamclip on proxy settings. I find mpegstreamclip a bit faster in the encoding



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Shane Ross
Re: 5D mark3 final out ?
on Jul 17, 2013 at 5:00:53 pm

"My core question is ,I want to skip the recompressing or transcoding stage since the footage is quite a bit . So how do I go about it ?"

You don't. Sorry, but you are going to have to transcode, because ProRes Proxy is not high quality, and because COLOR doesn't work with H.264 files....nor does FCP. I guess you can TRY to link to the H.264, set your sequence Compressor to ProRes HQ...render...export out a self contained file, export an EDL, import that file and EDL into Color to it'll chop up the single file along cut points. That MIGHT work. But it might not, as FCP and H.264 is unpredictable, and it might render a wrong section of the clip, or add flash frames in the export, lose sync...any number of things.

There is a way to offline/online in FCP...and you didn't do it.

"I converted all the footage on mpegstreamclip on proxy settings. I find mpegstreamclip a bit faster in the encoding"

That was a fatal flaw. In doing this outside of FCP, FCP can no longer track the footage. If you used Log and Transfer to convert to Proxy, then you could Media Manage the sequence and reimport only the clips used in the cut as ProRes HQ, and then send that to Color. But you didn't, so that is moot. For future reference, this is that workflow:

http://library.creativecow.net/ross_shane/tapeless_online/1

Now you are left with few options, the first being to relink to H.264 and render out a self contained file, like I mentioned above. Or to convert ALL of the footage to HQ and relink. Or, once you relinked to the H.264, try to use the Media Manager to recompress only the footage in the cut to ProRes, but that's iffy due to FCP and H.264 not liking each other. Next time, it's best to research and test workflows before you dive in. Keeps from painting yourself into a corner, like you have now.

Shane
Little Frog Post
Read my blog, Little Frog in High Def


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sanyukta kaza
Re: 5D mark3 final out ?
on Jul 17, 2013 at 5:14:12 pm

Hey shane,
Initially we thought we would just upgrade on an online machine suddenly ran out of budgets therefore this situation has risen

Thank you very much



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