Colors rendering differently to original final cut timeline

i have color corrected all the shots in a video i am working on but when it comes to rendering the footage, everything comes out differently. i have used many different options to render out. share>youtube, export via qucktime conversion, and i have also used compressor. is there anything i can do to keep the colour i see in my timeline.

I'm starting to make a lot of web content including video. The average Mac user will be watching videos on the new Quicktime Player 10. Some of my content looks horrid on Player 10, but great on properly preference ticked Player 7.
It seems pointless to be pacified by choosing to watch our Final Cut exports on Player 7 with the Final Cut compatibility box checked when almost none of our audience can be expected to have done that.
I really don't know what Apple's QuickTime engineers expect content providers to do when they designed a spiffy new player (10) that doesn't properly display the color in Apple software produced content. It really tests my loyalty.
The end of the joke is that my H264 video from Final Cut Pro actually looks more accurate in Windows Media Player than Quicktime 10.
How about upgrading the QT player 10 with a simple gamma and color fix?
Would be great if a discussion mediator could provide a work around, or some kind of assurance that something is being done to make it easier for content providers to get matching at least across Apple OS users machines. If anyone has any more info or answers to this topic, please let me know here.

Similar Messages

Motion and Final Cut timeline audio

Working on a long Motion/Final Cut project for the first time. Started off with a ten minute long screen recording of my narrator recording a keynote presentation. Brought that video into Final Cut and have been sending chunk after chunk into Motion to create the actual graphics, all of which are heavily matched up to the sound.
Now, (of course!) the narrator wants to rerecord almost all of his dialog. In tests, if I place a new audio in the Final Cut timeline (along with the Motion clips), there's no way for me to tell the Motion file to use the updated audio - if I link the Motion clip and new audio in the Timeline, then edit the Motion clip in Motion, it still references the original audio. Is there a simple way I can tell Motion to use the updated audio instead, or (what I fear is the case) am I stuck with having to manually dump each edit audio clip directly back into the individual motion file? Because my video is heavily audio-timed, I need to have the audio in the Motion file.
Thanks!

this sort of thing happens all the time. Of course you really have to lock down the audio before spending too much time on the pictures, but even with the best intentions it happens.
You could try to edit the v/o in fcp against the preexisting pictures first, to try and get it to work better. But then your only option is to send audio to the motion projects.
Its too late now but it might be useful to think about in the future. Rather than sending clips to motion, i export it frrom fcp, could be audio, could be pictures, could be both. I bring that clip into a motion project and work on it. If it needs updating, I re-exeport from fcp and relink the media in the motion file.
hth
adam

Colors look different in titler than on timeline

Colors look different in titler than on timeline. Here's a screen grab. The upper image is the program monitor and the lower image is the titler. Both are on the same monitor.
I guess it's a bug and I will report it but I wonder if anyone else is seeing this.

What is your Premiere Monitor Playback Res set at?
What is the Preview Setting?
Jims advice is useless in this instance. He expects you to do an output file everytime you make a tweak in Titler or Sequence just to see what you might abitrarily be getting.

What happens to Apple Color users with the new Final Cut Pro x

What happens to Apple Color users with the new Final Cut Pro x?

Some of the functions of Color have been incorporated into FCP X, meaning you will have more than the 3-Way-Color-Corrector but less than Color.
Since you cannot share projects between FCP and FCP X, you might want to stay with FCS if you rely on Color.
mish

Color ( or motion) on second computer - different mac than Final Cut

Hi,
is there a way to install e.g. color or motion on a second computer and have Final Cut Pro send the clip/clips there for grading and back?
Or does the 'send to color' only work for 1 mac?
Thanks,
Robert
FCS2 in intel Macbook Pro Mac OS X (10.4.6)

"Send to Color" automates an xml path inherited from Final Touch. In theory, you should be able to Send to Color on your local machine to create the Color project, then transfer it to another machine as long as your media drives are mounted over the network. "Send to FCP" should still work when transferred back to your edit machine. Of course you'll need a licence for each, unless the drives are physically detachable. Not sure of the legalities of running FCP on one machine and Color on another with a single licence - in theory, you're not doubling up but I bet it won't let you.
FT/Color uses Unix symlinks, not aliases, and you can cheat it to provide file paths to drives that have vanished if you need to revisit projects where media has moved.

Good quality quicktime movie looks poor when played thru Final Cut timeline

I created a quicktime file with moving text in After Effects 6.5..when i play the movie file it looks fine..no aliasing or jagged edges on the text...
when I import the .mov file into finalcut (4.5HD) and immediately launch & play it in the viewer, it also looks fine...
but when i place the .mov file onto the timeline and play it from there, or when i relaunch that .mov file from the timeline into the viewer, the quality of the text looks degraded...
...so i'm thinking it's a setting issue...i don't think it's an AE issue because I was able to get a good quality image into the viewer in Final Cut...I'm using the DV NTSC 48khz standard settings...720 x 480...could it be the 'millions of colors' or the 'YUV video processing' settings selected in the sequence settings?
...thanks for any help!
peace
G5 Mac OS X (10.4.5)

thanks...that helps...i've been watching it back on
the computer monitor..guess i'll have to do a quick
dvd burn to see how it appears on tv to see if that
was the issue...(no monitor or space to use a tv as a
monitor yet)
Whoa there! You shouldn't waste time burning a DVD to check the quality of your renders. In fact, you should be working with the video monitor (or TV) hooked up to your DV Deck or DV Camcorder as you work. That way, you can always be aprised of your quality. This is the way the manual says you should be set up at all times. However, you are cutting in a space that does not have room for a small video monitor? Wow, must be a closet or something.
If a video monitor is not convenient, then you can see an aproximation of the quality you'd see in a video monitor if you do the following: Zoom out your Canvas to precisely 100% and Uncheck Sq. Pixels in the Zoom pop up. You may need to resize the Canvas to see the whole image and if you are working with a small computer screen.

Adapt corrected Color Project to a new Final Cut Project

I spent the last 5 days color grading a shortfilm.
The director gave me the finished Final Cut project.
I Sent it to Color
Color graded my butt off
Now the director made a complete new cut.
What is the correct Workflow to adapt the corrected Clips to the new cut ?

Quick note:
Reconform seems to work much better in 1.5 than previous versions of Color.
If you're in an earlier version of Color - the reconform must be created from the original timeline you sent to Color. And even then, depending on the nature of the timeline, it's very hit & miss. You may have to just save out all your grades and start all over from the new edit. If you do, make sure it really is locked picture.
Good luck!
- pi

Problems rendering motion projects in Final Cut.

When I import a motion project into final cut, and attempt to render it once it's on the timeline, i just get a black screen.

Here's an inelegant workaround I've used when having these kinds of troubles:
In your FCP timeline, create a slug the exact duration of the Motion project you're trying to import. Then control click on that slug, and choose Send To>Motion Project. It will launch Motion, with all the correct project properties assigned to the Motion file. Copy all your work from the first Motion project (the one that renders black), and paste it into this new Motion file that FCP has created. Hit Save in Motion. Then try rendering again in FCP. (Also, in FCP's Canvas, make sure Image is selected in the upper rightmost dropdown, or you might just get black.)

Slow Rendering Time After Installing Final Cut Studio 2 Upgrade

I have a Mac Pro with two dual core processors, 8 GB of Ram, and 1 Terabyte of storage. I'm running the latest version of OSX. Ever since I upgraded to Final Cut Studio 2 my rendering time in Final Cut Pro 6 has become painfully slow. For example, it now takes at least an hour to render a short 5 minute video project. A project that size used to take just a few minutes. I uninstalled Final Cut Studio using AppZapper because I couldn't figure out how to remove the program any other way. Then, I reinstalled Final Cut Pro 6, but it didn't fix the problem. I called Apple's Final Cut Studio tech support, but they just had me upgrade Final Cut Pro 6 to 6.0.1. Unfortunately, this didn't fix the problem. Everything worked fine with Final Cut Pro 5, but ever since we upgraded everything has fell apart. Can anyone give us any insight into fixing this problem? So far, Apple's Final Cut tech support has been unable to find a solution.

Just a couple things to double check.
1. Repair Disk permissions, RESTART.
2. Try setting your RENDER DRIVE to something Different than the Media drive, RESTART.
3. Try Hosting your Media on a new Drive, RESTART.
Also, at this point since you are having system problems, I would backup all of your Media, Projects, etc. I just read a post of someone else that didn't have backup of their project and it became corrupted. I use Lacies SilverKeeper to automatically backup about 20 times a day, so we have dupes of at least all our Projects. And the first thing I do every morning is start the system up, repair disk permissions, and RESTART.
The reason why I suggest restarting after each attempt at changing preferences and such is so that the next time you load FCP it loads the settings that you have saved/changed as native settings as opposed to changed settings, this does make a difference. You will know what I am talking about if you have experienced the Log & Capture Input problem for FCP 5.
Let me know, I have some other suggestions if these don't work.

Final Cut Timeline Feed as video source for iChat?

I was at the Apple NAB presentation in Vegas a few weeks ago, and one of the things they showcased in regard to iChat AV was the ability for an editor to videoconference with several other people at once and one of the video feeds in the chat window was actually the output from the editor's Final Cut Pro timeline. As he made changes in the FCP timeline, he could play it out in real time and all the people in the chat could see the video feed and make comments on the edit.
OK- so we were excited because that's a workflow issue we have here. So, we bought some iSight cameras and Tiger and started to do some testing here. The only problem is that it doesn't seem very easy to set up. At first I just thought, "well, they are just playing the timeline out of the firewire port on the FCP machine and another computer is ingesting that firewire stream as a video source for iChat." except when you connect 2 Macs together with a firewire cable, the FCP system doesn't detect a DV video device to output to and the iChat system doesn't detect the incoming firewire stream as a "camera". I spoke to tech support and they said it's not something they support so no luck there.
I did find an article on Creative Cow about someone doing something similar, but it involved exporting the FCP timeline out through a Kona analog video card into an external tape deck that does analog to DV conversion which then can be imported back into iChat as a DV stream, but last time I checked, a Kona card would run me around 1500 bucks.
Anyone have any other ideas?

HI Jeremy,
Welcome to the Aple Discussion Pages.
Based on the Auto Responding iChat Accounts that play films I would guess they were either using an AppleScript to import FCP as the Video sourdce or usiing an Add-On like iChatUSBCam that also alows you to change the video source to the desktop.
iChatUSBcam has a new beta for Tiger http://www.ecamm.com/mac/ichatusbcam/
Ralph

Need advice on a workflow (mixing HD and SD on Final Cut timeline)

Hi
I'd love some help with the following. Thanks in advance.
I have shot full HD 1920 x 1080 24P PAL footage with the Canon 7D. I have also shot SD footage with the Canon XL2 (16:9, PAL, 50i).
I am using Final Cut Studio (Final Cut Pro 7). I am running FCPro 7 on a MacBook Pro and a Mac Pro (both intel).
What is the best set up (audio/visual set up) in Final Cut, before I bring in the footage? There are so many different set ups. When I export, how do I export? What settings do I use? If I want to export using compressor, what should I do in there? If I want to just make a simple DVD in iDVD, what do I export as from FCPro?
In the end, I want a high quality DVD. I realize I can't do a Blu-Ray disc because some of the footage is SD.
What is the best work flow? Thanks very much for the help. I really appreciate it.

interdiscipline wrote:
Here's the configuration we're considering:
Processor: Two 3.2GHz Quad-Core Intel Xeon (8-core)
*Don't do it!* Stick with the dual-2.8GHz config. A jump from that to the dual-3.2GHz gains you only an approximate 9% increase in power at a 52% increase in cost! Not worth it all. That money is much wiser spent on RAM, RAID array, or a broadcast monitor.
Memory: 16GB (4 x 4GB)
Hard Drives: 300GB 15,000-rpm SAS (for OS X, Final Cut, & other programs) plus 2 x 1TB 7200-rpm Serial ATA 3Gb/s (for video storage)
Graphics: NVIDIA Quadro FX 5600
We're thinking about spending the extra $1600 to get the best processor available, since we want this machine to be the hub of the business for about five years.
The processor is only one part of the whole, and as I just mentioned, the power:cost benefits are not good.
The graphics card is where we're most torn - specifically between the Quadro 5600, the GeForce 8800, or perhaps even getting the computer with the standard card (or no card) and getting a different third-party card. We do mostly DV now, but we foresee doing HD projects in the future.
Quadro 5600 is pricey, but I'm not sure about its benefits for people in our field. Even if I had the money for it, I would be hard pressed to consider it considering, again, money is liekly wiser spent elsewhere.
Also, it looks like we're gonna buy Final Cut Studio 2 and are considering also getting Final Cut Server. It seems the combination would allows us to use the Final Cut suite on other computers (both Mac and Wintel) that don't have their own version of Final Cut installed. Is that the correct interpretation?
I don't know much about FCServer, but my impression is that it is -- simply speaking -- Final Cut version of Avid Unity. In other words, I am pretty certain that your understanding on that is false. I may be wrong.

Importing 3GP Files into a Final Cut Timeline

I'm trying to import 3GP files from a cell phone video camera into Final Cut to edit. I've read that it can be done, but I'm having difficulties setting the correct presets in FCP.
When I import a clip into FCP I get the following settings in the clip window:
FRAME SIZE: 352 x 288
Vid Rate: 10 fps
Compressor: H.263
Aud Rate: 8.0 KHZ
That said, I cannot replicate these settings when I try to set the "Sequence Settings" and therefore, the clip does not appear in the timeline when I drag it down. Is there a preset for using this file format? Is there an easier way to do this?
Thank you in advance for your help.

as your mobile phone footage is a non standard tv format, you really need to start off with a proper sequence setting, SD PAL, SD NTSC 4:3 then import your footage into the browser, drop it onto the timeline and let fcp auto conform to the sequence. You could also look at compressor to convert it to the right frame size, or use mpeg streamclip to turn the footage into DV QT movie
but as the mobile footage is small and highly compressed @10 frames a sec it is never going to look great anyway

Exporting Final Cut timeline in highest quality Quicktime (self-contained)

Hi, I am wondering if you can help me. I just finished editing a film in HDV, 24P in Final Cut Studio 2 and need to export it as a stand alone quicktime file to take it to the color correction people and then for downressing in order to write to DigiBeta tapes.
My question is, do I simply export to Quicktime movie self-contained file using default (current) setting? I also see there are options such as Applre ProRes422 HQ, uncompressed 8bit and 10bit. From what I've heard uncompressed 8 and 10 bit and also apple ProRes422 are higher qualities? Am I wrong?
But going to Uncompressed 8bit or even to Apple ProRes won't make a difference since I only have HDV quality and that's the highest quality I can get anyway?
Please advise.
Thank you

Exporting a self contained QT Movie, and not recompressing will get you an HDV file that is full quality. But unless the facility you are going to has FCP on the machine they load this, they won't be able to see it. Same with ProRes...which would be the better choice for color correcting (10-bit, I-Frame format instead of GOP). ProRes and HDV (and DVCPRO HD) are codecs that only come with FCP, and any computer, even a mac, that doesn't have FCP installed cannot even view those file formats.
Shane

Rendering imported images in Final Cut so they look nice

I recently edited a video requiring still image animation, something Final Cut is notoriously poor at. After much experimenting, I got good results that I want to share. Hope it will help someone else. I have also posted this info, with pictures, here: http://members.dslextreme.com/users/craig.lawson/fce/static_images.html
Q: Say you have a nice graphic done in Illustrator or Inkscape. How can you import it into FCE?
A: Not supported. As I write this, I've found no filters which allow SVG to be imported. However, you can convert your graphic to JPEG or PNG, and import that. PNG supports transparency, and is recommended.
Q: I've imported a nice high-resolution PNG and it looks crappy when I try to zoom or distort it. It's 4 times the resolution of my video. +What did I do wrong?+
A: Not supported. What you did wrong is to assume that FCE would use the extra resolution you provided and render a nice image.
Q: Is there nothing I can do?
A: Over in the high-rent neighborhood, people with FCP are using Adobe After-Effects for this. But those of us on a budget bought FCE for a reason. Fortunately, the FCE 4 bundle comes with a tool which gets you partway there: LiveType.
LiveType to the rescue. I hate LiveType. I want to like it, since I like good typography, but LiveType has a weird interface for controlling effect rates, does not support multiple columns credit rolls (hello? Is that basic or what?), and appears to be focused on cheap tricks.
Yet it can import high resolution images, keep the high resolution until rendering, and works well with FCE. I'll describe my storyboard, and how I used LiveType to make it look pretty good. (You can use my sequence if you want, but I'm not writing a cookbook here. My goal is to use my storyboard to describe a general technique.)
Storyboard
My images are two static vector graphics created in Inkscape.
* Start with image one, scale = 100% @ 0 sec, and begin gradual scale increase (zoom in) to scale = 720% @ 17 sec.
* At 10 seconds, begin a 2 second transition from image one to image two.
* While this is going on, begin distorting the image with the vertical Wave filter. Start with amplitude = 0 and frequency = 0 @ 0 sec. Gradual change to amplitude = 10 @ 10 sec and frequency = 20 @ 15 sec.
* Start Bad TV filter at 15 seconds.
* Begin one second fade-out @ 17 sec.
Implementation
If done entirely in FCE, the result is a pixelated mess with moire patterns. The rendered image section shown here is about 10 seconds into the sequence.
Start by exporting your images to PNG at 4 times the resolution of your video (multiply width and height each by 2). Import these into LiveType, size appropriately, and add the transition. (I'm not going to describe exactly how to do this in LiveType. There are many LiveType tutorials available on the Internet, and more words here will not improve LiveType's quirky interface.)
Implement the scale in LiveType, also, but do not scale fully from 100% to 720%. LiveType slows down a lot at high scale values, and we need some headroom to do post-effect scaling in FCE. Instead, scale from 100% to 300%.
Import the project into FCE. Add Wave and Bad TV filters. Notice how when the wave filter makes your image ripple, the top and bottom edges are cut-off? It appears as though FCE imported a rectangular image from LiveType, and there's nothing beyond the edges but black. To complete the effect, add scale from 100% @ 0 sec to 240% @ 17 sec (300% x 240% = 3.0 x 2.4 = 7.2 = 720%). Scale in FCE is applied after the other filters, and hides the cut-off edges.
End result: Much better looking than with FCE alone. Pixelation is eliminated and moire patterns are reduced (though not eliminated). However, it is a pain to set up. But that is the price perfectionists pay, so welcome to the club and suck it up.
*Removing moire & interlace flicker*
Moire & interlace flicker occurs when you use narrow horizontal lines in your graphic. Bad choice, yet here we are.
First off, what is the destination for your work - broadcast TV, DVD, or YouTube? If the first two, you should see how it looks on an interlace monitor; if YouTube, you're probably done - upload a test, see how your careful work has been mangled, weep, and then give up.
For interlace, you'll need to blur vertically to reduce adjacent scanlines flicker. The standard technique for this is to apply:
Video Filters > Blur > General Convolution:
Cell 2 = 0.25
Cell 5 = 0.5
Cell 8 = 0.25
all other cells = 0
Apply as the last filter in the chain. However, if you see moire due to the Wave or some other distortion filter, you might try adding another one at the beginning of the filter chain.
Moire occurs not just in still images, but also when the images animate. Although not shown here (because these are still images), I have not eliminated moire entirely. However, it is improved.
Tips to improve image quality further:
* Avoid scaling in FCE. If you can, scale in LiveType only.
* Avoid using thin lines.
* Use a high resolution source image.
Message was edited by: c555

"A: Over in the high-rent neighborhood, people with FCP are using Adobe After-Effects for this."
Nothing will scale bitmapped images 720% well. Not even After Effects. It may look better than FCE but it will look bad. AE and Motion will support vector images and continuously rasterize to create smooth scaling at high levels.
If you want vector text in FCE that will scale up you can use Title 3D.

Final Cut Timeline

Been a long time user of Final Cut and I have a pet peeve on the fact that I can't "name" timelines. Used to use Premiere long ago and I hated that software and that was the only redeeming thing I can remember is being able to name each timeline.
Anyone have any idea if FC will ever make the jump to change this simple request?
Cheers

I thought that was probably what you were referring to ... and I agree; that would be a very handy feature.
-DH

Colors rendering differently to original final cut timeline

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