![]() ![]() I found out the developer groups for the video software were rather small, did not much care what the other groups were doing and generally just did not seem to be the best talent. A few years ago I was more actively involved in Adobe programs. You might want to cross-post to r/editors, as they may have experience with this.It is difficult to say about Adobe software how they actually handle things (other than to be certain that not necessarily ideal methods are being used). We've never done a project where we've worked with 4K natively (at never in FCP7), we've always processed it through external applications. I might consider dropping the 4K footage to 1080p Proxy footage and relink in the end, just for sanity's sake. QuickTime is smart enough to know how to handle this, and Compressor is built on QuickTime, so it'll inherit that capability. Hence why I'd keep everything in the Apple realm for this one. Apple bills this as "virtually lossless," and I wouldn't be too concerned about it.Īnd I wont know the true image quality until after I export. What's the source file format? H.264? Going to ProRes introduces almost entirely imperceptible quality loss. I don't want to lose image quality in conversion. ![]() It was never really designed to handle that, and being a 32-bit application you're likely to run, head-first, right into that 4GB RAM wall at full speed. This is FCP7 we're talking about, so the rule is "ProRes or No-Res." The big bugaboo is that I don't know how well FCP7 will handle 4K. mov files directly into the 1080 sequence? or should I transcode the. I'd make sure you specify that your export will do 422HQ, since I'm assuming you'll be doing some color grading and will be mixing in the 4K footage. Standard 422 will probably be enough, though I've heard folks say that even 422LT is plenty for DSLR/MFT footage (however this is the GH2 we're talking about, which shoots files a bit nicer than your average 5D Mk II). Why not just use Compressor? If you've got FCP7 chances are you already have it. RGB 0-100%), and as such it frequently exhibits gamma shifts in H.264 media. VLC is notoriously bad for handling color space differences (Rec. What would be some of your workflows when working with the same type media? I just want to keep the images looking like they are. ![]() My concern is the gamma will change and I wont know the true image quality until after I export. ![]() mov files will slow me down because I'll have to constantly render but I don't want to lose image quality in conversion. mov files to 4K PRORES? I know importing the. My question is with the 4k footage and if this workflow makes sense? Should I import the. My workflow plan right now is to Transcode first all of AVCHD GH2 files with 5dToRGB to PRORES 422HQĪfter that I'll import the PRORES files into FCP and drag a clip to the timeline and match the sequence settings to the clip because the final deliverable will be in 1080. With that said I have a couple questions with how I should continue with this project or if there is a better way. mov GH4 files if I open in FCP or VLC? I've had this problem with RED files and I just continued editing with the darkened gamma change because the files seem to correct themselves upon export. I recently shot a music video with the GH4(in 4k) and GH2(1080) all the footage looks really good in preview playback but I notice a Gamma change with the. ![]()
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