Here’s part 2 in an initial 3 part series of Final Cut Prose video tutorials working with footage from the new Canon EOS 5D Mark II digital SLR. I recommend clicking thru for the HD version to better see Color’s GUI.
One considerable addendum to the tutorial. I loaded the h264 source files into Color and observed far different measurements in Color’s waveform monitor. Check this out:
Broadcast safe on:
Broadcast safe off:
So it would appear there were some luma and chroma changes taking place during the conversion from h264 to ProRes. Almost as if Compressor applied a broadcast safe filter during conversion. The h264 source video that Vincent Laforet provided for download does indeed appear to be sans color correction.
Bleh, the h264 to Apple ProRes 422 workflow will need improvement. Well, it’s a working model. You are witness to my real world self-analysis, right here before your eyes, humble reader.
If there’s an FCP, Color, and / or Motion topic you would like me to cover, then post a comment and let me know. Check back soon for FCProse Episode 3 – Compressing 5dmarkii Footage for Web.
In the meantime, here’s some HDR timelapse footage (click here for a how-to) shot on a digital SLR in San Francisco by Chad Richard.
Know any $2600 video cameras that can produce these results?
proactively • sculpting my brain to comprehend this new world of possibilities • peter
I love your tutorials! Thank you so much! I am originally a photographer and am looking to buy a 5D Mark II. I thought FCP Suite was intimidating, but the way you breeze through it inspires me. I was wondering though, could you maybe go into more depth into the values that your inputting and the significance of the values. I wish you could make this a podcast! I would love to download this. Thank You so much, especially for working with Canon 5D Mk II files!
Once Again Much Appreciated,
Will
By the way, do you always edit on your laptop, or do you have a desktop as your main? If so, please include config. and peripherals (i.e. RAID, backup, monitors etc.) Thanks Again!
Hey William, thanks for stopping by!
Downloading is enabled on the Vimeo page so you can view the source 720p high def Quicktime anytime you want. Scrub thru, fast forward, all that good stuff. Here’s the link:
http://vimeo.com/1970384
I do use a Mac Pro tower as well as my trusty 17″ MacBook Pro. I’ll put a Final Cut Studio system config tutorial on the list of Final Cut Prose requests. In the midst of cutting and coloring America’s Scariest Halloween Attractions 3 for Travel Channel this week and next, and moving apartments, but I’ll see what I can whip together in my spare time (ha!)
I’ll probably do a consolidated cut + color + compress tutorial once I’ve finished episode 4. And check out these posts for great further Color reading and tutorials. I couldn’t possibly give Steve Hullfish’s book a higher recommendation:
http://petersalvia.wordpress.com/2008/09/08/apple-color-steve-hullfish-video-tutorials/
http://petersalvia.wordpress.com/2008/08/05/apple-color-grade-sharing/
Visited your site and I can see I have a lot to learn about the photography world and weapons of choice. Cool post about the HASSELBLAD H3DII-50. Good grief that camera is ridiculous.
proactively • peter
Hey great vid. Just curious if you know the color space on this camera for post-color work. Could I get away with alot of chromakeying for special fx scenes in my movies,er?
Hey Branden:
Here’s a link to a screen grab of the properties for the Quicktimes Vincent LaForet made available for download (not sure if they’re still available).
http://petersalvia.files.wordpress.com/2008/09/reverie-quicktime-specs.png
I think it remains to be seen how much flexibility these h.264 files will have. Of course, people pull keys with dv 4:1:1 footage all the time with great success, so I’m sure the 5dmarkii stuff will be fine.
proactively • peter