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Mac AVCHD gamma issues - the fix


Andrew Reid

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I'm gonna so have to disagree with this part. Color was always completely unworkable. I could get way better results with AE and Colorista plugins than anything in Color. It was just so ridiculously ludicrous that I always wondered how could people use that shit. I even went to a course through my workplace where this one dude was talking about Color. I asked a pretty simply question: "What happens to the workflow when the edit changes?". He was fucking stumped. "oo, I think there is a way to ...hmm..it's not simple". 

 

Also FCP7 does not have good media organization. You are confusing it with AVID. FCP X is a consumer program that works well for a limited type of editing. 

 

I also wonder about people claiming transcoding is the thing to do. No it isn't. Transcoding is dumb and it takes away lots of time from actually doing stuff. Just get a program/system in place that can see the files for what they really are. If you work in professional editing environment, that's what you have to do. If you do independent music videos and the like occasionally, it doesn't really matter but if you want to do things the right way, do them.

 

You need not worry. Many complained about the Color workflow, but actually, if you understand the whole color affair as post in the strictest sense (that means exporting the FCP sequence and grade as final step of image processing, even after after FX), it is really fast and comfortable.

The only thing I wonder about is, why on earth you use Media Encoder for the conversion to ProRes. If you got FCP 7, you should do what's the programs greatest advantage over the competitors: You should log & capture/transfer. The organization of the assets is FCPs strength.

 

And it continues to be. The top of all editing software today is FCP X for it's unreached access to all your media through tagging, showing the clips as mini-timeline-thumbnails and a lightning-fast skimmer to identify every frame in hours of footage within seconds. Without cumbersome folders that need to be double-clicked before you can even scroll through old-fasioned lists.

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[img]http://www.eoshd.com/wp-content/uploads/2012/07/fs100-slrmagic-hyperprime.jpg[/img] As I recently discovered Macs really seem to hurt your AVCHD footage from the FS100, GH2 and NEX cameras. Es

These are not exactly new "problems". Stu Maschwitz describes the limiting of values (that is cutting off blacks and whites) in his [i]DV Rebel[/i], and for DV, hence the name. I didn't understand why

O dont have FCP x only PPro so Fix is for P Pro cs5.5 cs6

I'm gonna so have to disagree with this part. Color was always completely unworkable. I could get way better results with AE and Colorista plugins than anything in Color. It was just so ridiculously ludicrous that I always wondered how could people use that shit. I even went to a course through my workplace where this one dude was talking about Color. I asked a pretty simply question: "What happens to the workflow when the edit changes?". He was fucking stumped. "oo, I think there is a way to ...hmm..it's not simple". 

 

You are right. Colorista is a much easier way to get things done. Color is useable only in that one-way direction:

 

 

... if you understand the whole color affair as post in the strictest sense ...

 

 

Also FCP7 does not have good media organization. You are confusing it with AVID. FCP X is a consumer program that works well for a limited type of editing. 

 

I also wonder about people claiming transcoding is the thing to do. No it isn't. Transcoding is dumb and it takes away lots of time from actually doing stuff. Just get a program/system in place that can see the files for what they really are. If you work in professional editing environment, that's what you have to do. If you do independent music videos and the like occasionally, it doesn't really matter but if you want to do things the right way, do them.

 

Yes, it all depends.

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Indeed, for most corporate type video, where people never make up their f***ing minds and endless want to tweak stuff, it'd be suicidal to commit to an edit, so Colorista II is great there in timeline, as well as Premiere Adjustment Layers for quick looks.

 

If you're working with talented or genuinely creative people though, and the project isn't corporate vanity work you tend to be able to get a hard sign-off on the edit, then you can use DaVinci or similar on your final.

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Sorry guys i dont have a fluent english so im a lot of confusion, so..

i can EDIT the native file using the output fix? 

or i cant have the same result of 5dtorgb and i NEED to buy 5DtoRGB for have the best real image?

the 5DtoRGB lite i cant open the sd (PRIVATE) folder so i cant export anything.

 

so another question with the media convert i try to convert in DNxHD 185 HQ and i have a more flat image of mi original file i dont understand its good bad i have more detail but I'm confused now.

 

SO WHAT IS THE BEST WORKFLOW:

PREMIER PRO 6 : 

1.copy the entire sd card into hard drive.

2. use native file and fix the higlight with the output fix.

3.color correction, export?

 

or 

1.transcode in .mov into the hard drive

2 edit without any fix

3.color ect... ?

 

FCPX 

is it no good make just the import and than edit and fix the other stuff?

fcpx import and transcode very fast into prores directly right?

have amore powerful media organization or its a just my impression?

 

thank you all of you guys make my brain more clean!

Luca

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Sorry guys i dont have a fluent english so im a lot of confusion, so..

i can EDIT the native file using the output fix? 

or i cant have the same result of 5dtorgb and i NEED to buy 5DtoRGB for have the best real image?

the 5DtoRGB lite i cant open the sd (PRIVATE) folder so i cant export anything.

 

so another question with the media convert i try to convert in DNxHD 185 HQ and i have a more flat image of mi original file i dont understand its good bad i have more detail but I'm confused now.

 

SO WHAT IS THE BEST WORKFLOW:

PREMIER PRO 6 : 

1.copy the entire sd card into hard drive.

2. use native file and fix the higlight with the output fix.

3.color correction, export?

 

or 

1.transcode in .mov into the hard drive

2 edit without any fix

3.color ect... ?

 

FCPX 

is it no good make just the import and than edit and fix the other stuff?

fcpx import and transcode very fast into prores directly right?

have amore powerful media organization or its a just my impression?

 

thank you all of you guys make my brain more clean!

Luca

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