8 Replies Latest reply: Jan 22, 2013 8:36 PM by JaseKWilliamson
JaseKWilliamson Level 1 Level 1 (0 points)

Ive cut a project in Final Cut using ProRes422 Files created in Log and Transfer.

ive now reconformed the final edit back to the original 5d3 H264 files ready to grade in color.

 

The problem is once its in Color (via send to color) all the edits are wrong, ie the clips are all out of sync and referencing another segment of that peice of footage.

 

I know that reconforming back to H264 does work as ive done it on 60D and 5D Mark ii with no issues at all. but the mark 3 is a different kettle of fish.

 

id prefer to grade the H264 rather than the prores.

 

 

any one had this issue and know a fix? (other than grading prores)

 

 

details of footage if it helps: 1080P 25fps IPB compression

 

 

 

Thanks for any help


Color, OS X Mountain Lion (10.8.2)
  • Shane Ross Level 8 Level 8 (42,315 points)

    >ive now reconformed the final edit back to the original 5d3 H264 files ready to grade in color.

     

    BUZZ!! Wrong move. Color doesn't work with H.264 files. Not at all. Gotta use ProRes 422 for this.

     

    >I know that reconforming back to H264 does work as ive done it on 60D and 5D Mark ii with no issues at all.

     

    Sure, THAT works. But getting the H.264 files into Color...it isn't compatible.

     

    >any one had this issue and know a fix? (other than grading prores)

     

    If you are going to use Color, you need to grade ProRes.  Besides, ProRes is 10-bit 4:2:2...the original H.263 files are 8-bit 4:2:0

  • JaseKWilliamson Level 1 Level 1 (0 points)

    Strange becuase ive graded H264 files from 60D and 5D2 many times in color without the need for ProRes until final render from color. ive only started having issues with the 5D3. (of course when editing i cut with prores proxy files)

     

    >If you are going to use Color, you need to grade ProRes.  Besides, ProRes is 10-bit 4:2:2...the original H.263 files are 8-bit 4:2:0

     

    This is true but you lose data everytime you transcode and prores likes to compress blacks ive found. from my own experience ive have better results grading H264 files in color.

     

    Ive very fimilar witht the 5D/prores workflow as thats how i used to do it but once i found i have more flexiblity using the h264 ive always used that.... until i got a 5d3

  • Shane Ross Level 8 Level 8 (42,315 points)

    This is the first time I have ever heard of H.264 working in Color. I've had issues (Canon 7D), and countless others on the forums reported issues. 

     

    You've entered the Twilight Zone...

  • JaseKWilliamson Level 1 Level 1 (0 points)

    must be a few people in the Twilight Zone as a lot of people i know do the same thing.

     

    Some use Resolve, others Color. maybe its something to do with the fact the timecode is now generated by 5D3.

     

    Guess ill have to go back to grading prores files.....

  • Studio X Level 7 Level 7 (26,990 points)

    You may be able to get h.264 in, but I'll bet dollars to donuts you get ProRes out - at least from Color. Time code doesn't have anything to do with it. The issue is h.264 is a GOP format and Color needs to work in an I frame format.

     

    x

  • JaseKWilliamson Level 1 Level 1 (0 points)

    Considering you can only output prores or uncompressed youve got a safe bet. I output prores from color, of course!

  • Studio X Level 7 Level 7 (26,990 points)

    What's happening is Color is converting the compressed files to ProRes on ingest. The downside of this method is there can be a high degree of uncertainty about how Color will interpret the files. LOTS of threads in the old Color forum regarding very wonky results with this workflow.

     

    Given that FCP hates h.264, there is really no reason not to do the conversion to ProRes from the start and gain all the benefits of stability and speed that editing in a ProRes world brings.

     

    Best,

     

    x

  • JaseKWilliamson Level 1 Level 1 (0 points)

    im a huge fan of prores. I edit in prores then reconform back to the H264. but take a really dark 5d file in to color in both original H264 and prores created by final cut and see what difference having the original files makes, its saved more than a few shots for me.