Editing with Canon 5D Mark II Problems

Hello fcp experts,
I shot a short film on 5D and I did not know that I should convert the raw files to Apple ProRes 422 in Compressor and then edit it on final cut pro.
I already edited the raw files in fcp. and I started adding fades and outline texts. then I rendered them and exported it. That's when I realized that the color of the video changed whenever there was subtitle or fades.
Is there any way to fix this or do I have to convert all the files to Apple ProRes 422? (I did start) Is there any short cut to this?? Please help!!!

sorimsanim wrote:
I followed this guideline I found online and it said to set in and out points on the raw files in Compressor.
I've never heard of this being done in any of the conversion workflows I'm aware of, and it seems like a waste of time. The amount of drive space you'll save will be negligible - if saving space is the reasoning behind it. Reconnect to the ones without in and out points.
+And could you tell me the exact settings after conversion? It should be Apple ProRes 422, right?+
If that's what you converted them to, then yes.

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I'm seriously considering buying Adobe's Production Premium, but I am extremely concerned about Premiere's support for the files outputted by my Canon 5D Mark II, h264 .mov 1920x1080p 30fps.
I've done a lot of research and it seems as if a lot of folks with a lot more experience, better hardware components and 3rd party software packages haven't been able to find a workflow that is reasonable in terms of effort and time required just to get a project going.
Can anyone give me a reason why I shouldn't seriously consider moving to an Apple solution with FCP Studio over production premium cs4 with premiere and after effects?
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Intel Core 2 Duo e6850 3.0ghz
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Thanks for your reply, Curt!
Curt Wrigley wrote:
flashbangphoto wrote:
Can anyone give me a reason why I shouldn't seriously consider moving to an Apple solution with FCP Studio over production premium cs4 with premiere and after effects?
If you want to stay on PC, would be the main reason.
I dont know how well FCP handles it; but typically fcp converts everything to an intermediate format (pro res)
I am definitely cringing at the thought of ditching all of my PC components (well, I suppose I can re-use the hard-drives at least in the Mac Pro if that's what I get). I do like a lot about windows, and being able to upgrade my stuff to my own liking rather than being stuck in a closed ecosystem. I also game a lot so that's a consideration too.
The way FCP converts the video to Pro Res sounds pretty smart and definitely take the guesswork out.
Jim Simon
Best one I can think of is that it would be an Apple solution.
The better solution would be to get a real video camera for video production. While the world of DSMC is rapidly approaching, we're not quite there yet.
Thanks for your reply, Jim!
I agree making the switch to Apple and Final Cut Studio might not be the best solution.
I cannot really speak to getting a "real" video camera just because Premiere cs4 can't seem to play nicely with the camera I currently have.
I am able to drag and drop 5D Mark II .mov files straight into imovie 6 HD, have it import (40 gb of movies in 4-5 hrs) and then edit away with no delays on a Macbook (non-pro) with no problems whatsoever. Playback, cutting, transitions, effects are silky smooth. Imovie 6 HD came with my Macbook when I bought it in December 2006. Premiere Pro came out last year didn't it? What gives?
There are people making some "real" good stuff out there with this camera and I love its ability to use all of my Canon lenses (four), high capacity memory cards (ranging from 8gb to 32gb) and camera batteries that I already have. Buying a new, but "real", camera would mean learning a whole new camera system not to mention having to buy all of the accessories, lenses, batteries, memory cards (a Panasonic P2 16gb alone is $800 USD) and carrying all that extra stuff around. If I'm on vacation for instance every morning I would have to make the decision of carting around either the still camera or the video camera instead of just bringing something that could do it both, and potentially miss either a once in a lifetime still or video.
I'm a photographer by trade but I'm getting into video production because I feel like I will need video editing/production skills in the future or I'll be left in the dust. That isn't the only reason of course - I've always wanted to shoot video but couldn't afford or justify a quality camera until now.
Jim why do you prefer Premiere to Final Cut Pro on the Mac?
Thanks again for replying.
Matt.

Dark pictures with canon 5d mark 3 and 600ex flash, night indoors in Auto Mode and flash on.

I have purchased a new canon 5d mark 3 and speedlight 600ex-rt flash. While testing it indoor at night , the room lights are on and I was using the Auto Mode with Flash on. The pictures are Dark with the Flash on and when the flash is turned off the pictures are brighter. I am confused. How to get the AUto mode working with the Flash on.

Automatic mode, it it's attempt to be reasonably foolproof, is going to lock you out of having any control over the exposure.
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Here's a video which both explains and then later demonstrates the concept in a way that makes it very obvious to see and easy to understand. If it seems confusing at first... stick with it. The video is only 12 minutes long.
In fully automatic mode the camera wont let you control anything (except how far away you stand from your subject).
If you switch to "Program" mode, it essentially works like automatic mode EXCEPT it will actually allow you to override settings or set compensations.
When you use a flash in a room with some ambient lighting (but otherwise dimly lit) there's a technique called 'dragging the shutter' (which the camera can actually do for you somewhat automatically).
To do that, set the camera to Tv mode (Tv = Time value... which is shutter priority mode). Dial in a slow-ish shutter speed... say around 1/60th of a second. Use a moderately boosted ISO (400 would probably work well... you might even go up higher).
The camera is going to evaluate the exposure needed for the room as though you don't have a flash... and it'll set the camera settings accordingly. However... since it knows you have a flash, it'll still perform the E-TTL II exposure metering and will use the flash anyway. What you end up with is a shot that has a nicely exposed primary subject (because the camera used flash) AND... a nicely exposed background which was primarily illuminated with ambient light -- but looks pretty good because the camera used an exposure that was adequate for the ambient light.
The reason I suggest using Tv mode and NOT Av mode is because you can control the mixture of flash vs. ambient light by controlling the TIME that the shutter is open. But this does NOT work if you control either the aperture or ISO.
Here's why: The flash is "momentary" but the ambient is constant. If you were to adjust the aperture settings, that will increase or decrease ALL the light sources that contribute to the exposure... so it increases (or decreases) the amount of flash AND the amount of ambient light ... and it does them in the same proportions. If you want to bright up the background lighting WITHOUT over-exposing your foreground subject, then you don't want to increase both... you only want to increase the amount of ambient light.
Since the flash is a momentary burst of light, if you leave shutter open longer you wont actually collect any more light from the flash (because the flash was providing illumination for only a tiny fraction of a second. Extending the amount of time that the shutter remains open means the camera will _only_ collect more of the ambient light... and that helps bring up the dark backgrounds.
One way to get around the flash fall-off problem is to greatly increase the distance between flash and subject. You still get "fall off" but now the distance you have to change to notice the fall off really increases. But this method usually isn't very practical because you'll be standing much farther then you'd prefer to be to get the shot.
The second way (and much more practical) is to "drag the shutter" (deliberately use longer shutter times so that the camera can collect more ambient light long after the flash is done.).
Tim Campbell
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Welcome to the forum.
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The Adobe fora allow one to search by both Subject and by People.
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Hello,
I recently purchased three Canon XF305 series cameras and have been conducting a series of tests to determine the best recording format and editing workflow. First, does anyone have experience with these new Canon cameras?
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but my experience with the 305's in ProRes is that it makes it a bigger file(more than double)
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and still needs to render.
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when I actually converted to ProRes, it seemed like it was more taxing on the computer, took up twice the hard drive, and more than three times the time to transcode compared to native.
It is less taxing to actually edit with. GOP formats require the computer to constantly process the GOP footage to show you frames...since there are no real frames in any GOP format. Well, there are 3 frames every second, then a bunch of pictures, and the computer has to guess what is next by looking at the frames, and then the pictures, and make up the in-between. PRORES is a full frame format...no guessing, no computing. And larger files are not more taxing on the computer...they might require faster hard drives...and larger ones, but they are less taxing. Yes, longer to convert than native, but when that is done, things are easier.
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wndows:
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Joachim Frey wrote:
But there was no flash on any of these two cameras, so how can this then be different?
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Hi,
I'm having problems exporting to Youtube with Final Cut Pro X. i convert the file and upload, but the audio is not syncing properly. The video is fine. Any tips on what to do? I'm using a Canon 5 D Mark ii. 24fps, 1080
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Hi aussiearn
The process you suggested worked beautifully: images clear and true sound accurate.
I have over 100 30 to 60-minute videos to put on a client's YouTube channel. Using the YouTube settings in Compressor my first uploads colours were looking washed out, and the audio progressively slipped when played via the Safari browser. Your advice has fixed this issue, so thank you for taking the time to post.
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An 'Export Progress' box should appear. My file took around 45-minutes to process.
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I'm using Aperture 2.1 and am wondering if anyone here is having this problem - basically highlights end up with false colour with this camera/RAW conversion combination. The problems appears to have been introduced with the 1.1 RAW converter as 1.0 conversions don't seem to have the problem. I'm not sure if this is camera specific, or whether there is some tuning which can be done to the RAW converter to minimise the effect - attempts have so far failed with this approach.
The best subject to produce the effect is strong reflections from water - i've attached a crop of an image which shows this problem, and I can supply a RAW with this problem.
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http://www.loftsoft.co.uk/pictures/KC7U5116%20-%20RAW%201.0.jpg
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Hmm. I can see some color effects in the 1.0 conversion as well.
Those are some touch photos... you have lots of specular highlights with the sun reflecting off the water and the railing.
Aperture 2.x and 1.x handle the RAW conversion differently. I would suggest you try playing with the RAW Fine Tuning brick, specifically with the Moire and Radius sliders, and try fiddling with the Auto Noise Compensation checkbox.
I don't know whether you'll be able to make the problem go away completely or not.
With my ~30,000 1D Mark II files I've seen something similar to this (though much less extreme) on a couple of them. Always with specular highlights though -- off water or metal objects.
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I am importing mRAW files without JPG and applying no Presets. The first time I click on the image it initially loads sharp and then after a split second it becomes "blurry"
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http://dougkerr.net/Pumpkin/articles/sRaw.pdf

Is elements 13 compatible with Canon 5d Mark iii raw files?

Just upgraded my camera and the raw files cannot be read on my current version of elements. Will Elements 13 be compatible - was thinking of upgrading to full photoshop but that now only seems to come in a monthly package! I really need someone to talk through my best options but there doesn't seem to be any customer service.

Photoshop elements 10 should be able to open those files if you update to camera raw 6.7
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windows
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mac
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