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The movie files generated by the Canon EOS 5D Mark II conform to a full RGB range, so set the color level mapping to RGB when importing these files into Media Composer. Computer files, like a Photoshop graphic, are almost always RGB. When you import a QuickTime file into Avid Media Composer you must decide whether the file’s video levels are mapped as RGB (a full 0-255 range) or 601/709 (a scaled 16-235 range). I have to make sure the process is as transparent as possible, since there is no I/O hardware between the NLE and the final product. In the case of these 5D spots, though, the web is the target. If you compare the Avid output through one of Avid’s DX units with FCP’s output through a Kona card, both would look the same on a broadcast monitor and scopes. That really doesn’t matter for most video. less contrast, than the exact same image in a Final Cut window. An image in a Media Composer window will tend to look “flatter” on the computer display, i.e. One visible evidence of this difference is how each UI displays images. Not every QuickTime conversion is equal and you may get level, gamma, saturation and hue shifts depending on where and how the conversion is done and which codec is used. FCP doesn’t really honor this scale and seems to internally use adjusted levels of 0-235 (my guess), so it makes it tricky whenever you convert clips in and out of QuickTime. This allows headroom and footroom for superwhites and “blacker than black” shadow areas. 601/709, which means that black and white equal 16 and 235 on a scale of 0-255. That’s another reason to be very sure the images match, regardless of the NLE used.
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When I finish editing the spot, there may be a reason to continue in FCP – such as to use Color for grading. Ultimately these are web spots, so I want to make sure what I do in Media Composer matches what I do in Final Cut.
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In order to make sure that video levels match what I’m used to with FCP, I’ve been doing some testing of how to roundtrip files back to Final Cut. So this time, Media Composer is the right tool for the job. Avid’s FluidMotion is simply a much better slomo technology than anything in Final Cut. In addition, the creative treatment calls for some nice speed ramp effects. There are a number of reasons, including some recent stability issues I’ve had with FCP. This time I’m cutting the project in Avid Media Composer instead of Final Cut Pro. In the meantime, I’ve started on another Canon 5D commercial. That’s still coming in another couple of weeks. | Login Instructions howtologins.No, this isn’t the 5D workflow article that you’ve been waiting for.
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