My FCP Workflow

[James Miller]

1/ Copy contents from CF card.
2/ Import contents in FCP.
3/ Edit using native H.264
4/ Colour grade within FCP.
5/ Duplicate Sequence. (*backup)
6/ Change FCP Sequence to ProRes codec.
7/ Render out

*Good to keep native timeline backup.

Via Compressor:
8/ Encode to media destinations.


This works if your system can play back H.264 alternatively you can lower the playback quality to avoid dropped frames within FCP.

If you leave the sequence in H.264, colour grade then render out the quality is degraded quite considerly.

Try two sequences one with native H.264 and one with ProRes then look at 100% crops.

Re-encoding H.264 from H.264 due to colour grading reduces detail. Re-encoding to ProRes from H.264 keeps more detail even then going back to H.264 for online services like Vimeo.

You can encode all footage before hand to ProRes but if you cut first in Native H.264 you avoid encoding unused content.

Back up your smaller H.264 masters and FCP project and then delete your final Prores files and scratch files after final print encoding to media destinations.

Pro's: Quicker to render, holds more detail.
Con's: Takes a lot more room.

James

[Oleg Kalyan]

Thank you for sharing this workflow,

It sounds great, however does not read/produce full 0-255 RGB colorspace, that 5mk2 provides.

Through initial research my colleagues find, that QT from the get go, does not transpire the color space cutting it to 16-235.

Reading RGB as 0-255 will only give full color information that the camera provides.
Otherwise we will see lots of crushed blacks and clipped whites. For certain tastes it's OK,
Yet it\s limitation.


On a Windows platform so far apparently only Carbon interpret .mov files from the camera correctly.

(possibly the new Mac/FCP firmware has a new video option, colorspace adjustment) I guess this is related to RGB vs. enhanced RGB?

[James Miller]

True but outside of 16-235 the levels are also outside of the legal broadcast range.

I don't have a problem with clipped whites or crushed blacks as I have used the custom profile 'Flat2' found here.

Index of /canon5dmk2/Presets

http://www.millermiller.co.uk/canon5...sets/Flat2.pf2

James

[Don Miller]

Thanks James,
What hardware are you using to edit?

[James Miller]

Hi Don,

Some old G5 duel's 2.0 (7 years old!) networked for compressor and a Intel Macbook that plays the H.264's faster.

[James Miller]

Hi Oleg, I understand the issue and it would be great if the full range was native in FCP or as an option but using a modded preset you can avoid most of the clipping problems.

[Oleg Kalyan]

James Hi, thank you, I
think there is a solution found, Mpeg Streamclip, it repackages files, interpreting codec for a full range, 0-255, more about it in Vegas thread.

It really works, confirming!

Evan Donn, appreciate your help!

[James Miller]

Hi Oleg, I use MPEG streamclip alot, I downloaded the current version and opened up the link from the other thread. It does not work on mine with that file.
Still has clipped wings.
James

[Oleg Kalyan]

Hi, James!

I was too quick to say that Mpeg Streamclip produces full 0-255.
Further analysis shows that is not a fact, you are right,

a better conversion/codec, plugin has to be discovered/developed for getting full gamma from the camera.

One good thing I was told today, Apple Color can interpret original footage correctly..

[James Miller]

Hi, Oleg and fellow Dvings

Attachments from Apple Color - Showing primary luma curve adjustment.

Images:
• Original with scopes
• After Luma adjustment with scopes
• Luma curve

The information is there you just have to get it back.

This is also what can be done within 'Picture Styles' in the Canon software, addressing the issue at source.

[James Miller]

Just a quick one and not meant to offend, but do scopes remind anyone else of the 'Turin Shroud'.

[Bill Petropoulos]

Wow.
That's freaky.

-Bill

[Oleg Kalyan]

James, thank you, so Color works, thats great!
I have to thank my colleague Alexandr Oleynik for letting me us know that!

[James Miller]

Yes, please thank Alexandr.

I had forgotten how quick and powerful Color is, once you get round the interface.

James

[Evan Donn]

Originally Posted by Oleg Kalyan

I was too quick to say that Mpeg Streamclip produces full 0-255. Further analysis shows that is not a fact, you are right,

Yep, sorry about that, I spoke too soon as well - it looks like the streamclip conversion recovers some black detail (not highlights though) but nothing compared to what you can pull back in in Color.

I've been meaning to spend more time in Color anyway, so I guess this camera is a good excuse!