Yellow Cast to HVX200 Footage in FCP - but fine on NTSC Monitor

Dear Folks:
I am shooting two cameras with an HVX200 and an HMC150 in a room where the only light source is daylight-bulbed Kinoflos. The lights are fixed, as it the set. Nothing changes. There are no windows.
I have two NTSC monitors, both set to camera bars.
I use manual white balance. I use a big white card (a foamcore board).
The first day, the image looked perfectly white balanced on the NTSC monitors. We ingested the footage through Final Cut Pro. It matched the look we saw on the NTSC monitors on several macs.
The second day, however, the image had a YELLOW cast to it when ingested via Log and Transfer.
Why would it look clean and white on the NTSC monitors and yellow on various macs?
Thanks!

First off, are you saying there is a difference between Day One and Day Two...? or...
Just a difference between NTSC and mac display?
Are there any common values in the days that can be sampled and compared numerically? For example some thing "white" in day one is R=235, G=235, B=235 and on day two is R=235, G=235, B=190?
Two other things off the top of my head might be the white balance went away overnight (if you didn't balance again on the second day), or one of your kinos went "sour".
Not likely but you may be getting a subtractive dynamic contrast in the shadows?
Or, more likely, there is a white point difference between the NTSC monitors and the macs. Generally speaking, most macs set for broadcast-emulation sit around D65, while many, many ntsc monitors can range from D65 all the way up to about 9500, which is VERY blue, but your eye-brain adapts to that and then it becomes a VERY bright "white".... against which everything else will look yellow.
jPo

Similar Messages

Nice footage in FCP, but washed out in export

I've tried searching everywhere for a solution to this but I just don't know what to do anymore. I'm working with HD footage and when I export it to quicktime, most of the clips in the sequence become washed out, gain a bit of red color in certain areas, and/or become brighter. First, I thought this was due to the computer display, but after I brought it into DVD Studio Pro and created the DVD, the image looked the exact same way on my TV. Also, I had color corrected using the same TV and the image looked perfectly fine there.
I've tried experimenting with different settings. I tried compensating for the changes before exporting from FCP and by applying filters in Compressor, but it still never looks the same. I also tried changing the gamma correction in FCP's System Settings and enabling the "Final Cut Studio color compatability" option in Quicktime Pro (which did darken the footage a bit), but the image still looks a bit washed out and bright.
I put the DVD into a different computer (a PC) and it looked slightly better. I'm not sure why it looks so bad on my computer and TV.
I've never had this problem in the past, but I didn't have FCP 6, Quicktime 7.2 and wasn't working with HD back then either. I'm sure it probably had to do with the Quicktime update. Does anyone know of anything else that can be done? Has this problem been figured out yet or am I just overlooking something?
Thank you.

The field order of the clips are also set to none.
Here is a picture of the item properties window of one of my main shots:
http://gabrielredding.com/clip_info.jpg
To make things more interesting, the interlacing follows a pattern. Three frames of non-interlaced shots, and then two frames of interlaced shots. Consistently.
Could this have something to do with my integrated graphics card?
Like I said, when the video is exported to a different format, the interlacing is gone, even though no deinterlacing was applied...
Thanks

Interlacing artifacts on progressive footage in FCP but not when exported?

Hey everyone! Thanks so much to everyone here who has helped me before!
I am trying to edit a music video on my 2GHz Core2 Duo Macbook. I can do everything just fine, but with one little hitch.
The video I am editing was shot DVCPro 1080p 30.
When playing back the raw footage, or playing back my edits in FCP, the video has interlacing artifacts during periods of quick movement, even though the footage was shot progressive. However, when the video is exported, *there are no artifacts upon playback.*
Also, if I open the video in Adobe Photoshop CS5 Extended, and look at the video one frame at a time, the interlacing artifacts are there!
Anyone have any idea about why this is happening?
Thanks so much!

The field order of the clips are also set to none.
Here is a picture of the item properties window of one of my main shots:
http://gabrielredding.com/clip_info.jpg
To make things more interesting, the interlacing follows a pattern. Three frames of non-interlaced shots, and then two frames of interlaced shots. Consistently.
Could this have something to do with my integrated graphics card?
Like I said, when the video is exported to a different format, the interlacing is gone, even though no deinterlacing was applied...
Thanks

Captured 24A footage wildly out of sync in FCP, but fine in QT

I just captured a bunch of 24A footage I shot on my Panasonic DVX100A and was dismayed to find that the clips were all wildly out of sync when I opened them in FCP--even though they are fine when I open the captured files directly in QT on my desktop. But when I play these same clips in FCP, the audio slips so steadily out of sync that on one 47 minute take, the video ended seven minutes before the audio, so the clip ends with seven minutes of sound against a black screen!
I actually found a workaround for this problem in a thread started by another poster with a similar sync problem. On that thread someone suggested that if I simply opened the underlying file as a QT movie on my desktop and then edited a second or two from the beginning, and saved it as a new Self Contained QT movie, I could import that one into FCP and it would have no sync issues. For reasons I still don't quite understand, that workaround solved the problem almost every time.
Until now, when not even that convoluted solution seems to help with this latest clip. Even after shaving the ends and saving it with a new name, the resultant QT file still imports into FCP with the same off sync problem.
Obviously, the best solution would be to figure out why clips are capturing with bad sync in the first place. For the record, I've shot and captured many, many hours of 24A footage from this camera in the past without experiencing any syn issues. As far as I can tell, the audio was shot and captured at 48.0 KHZ, just like always. (And the out of sync clip shows up as having 48.0 KHZ audio in the FCP browser.)
Since it was shot at 24A, I captured it using Advanced Pulldown removal as always. (Oddly, I notice in the browser info window that the clip shows up as 29.97 fps and not 23.98--if that's a clue to anyone.)
Thanks for your guidance on a sticky issue that has me stopped in my tracks.

Hello GeeFor,
I was browsing for a different audio sync issue and came across your post. It caught my attention because I believe that I've ran into the same problem before and figured out what causes it, so I thought I'd share my experience.
You said that you've noticed that FCP initially recognizes the problem clips as 29.97, even though you've captured the 24PA footage with Advanced Pulldown. I've found that if, while you are capturing 24PA footage, you allow the capture to go beyond the recorded footage and into blank tape, that FCP recognizes the entire clip as 29.97. This causes audio sync problems, and if you end up trying to do a final export, will cause video problems as well.
I've successfully duplicated this problem and the solution is to make sure to stop your capture before your 24PA footage ends and blank tape begins. One way to avoid the problem is to record black to the entire tape while on the 24PA setting prior to filming. I normally just record an extra minute or two while on location at the end of the footage.
I think your work around in Quicktime works because you are effectively removing the break in timecode at the end of the clip, therefore FCP sees a start and end timecode that matches the 24PA settings.
I hope this fixes your issue, I'd be curious to know if it does. I did a lot of trial and error to figure out what my problem/solution was and I couldn't find anything in the forums that helped with my particular issue.

Import 16:9 footage to FCP but doesn't playback in 16:9

When I import 16:9 video to FCP, and play it back on the timeline, it does not show up as 16:9 instead it plays back in 4:3. Please help me with this?

Shouldn't be anything to do with the camera. When you say it's 4:3, do you mean that your 16:9 image is stretched vertically/squeezed horizontally? This means that your clip and seq are both set as non-anamorphic. If your footage is appearing as 16:9 in the viewer but as letterbox in the sequence then the clip is set as anamorphic but the sequence isn't. Some people may want this.
If you want to work proper 16:9 you should capture as anamorphic and work in an anamorphic sequence.

Hot To Monitor video from FCP on an External NTSC Monitor

Can someone point me in the right direction?
Is there a tutorial on setting-up for monitoring your finish work to an external monitor?
I saw it somewhere a while ago, but can't remember the link
Any help would be helpful
thank
Ron

I'm guessing you mean 'How' To...
This may not be the way you want to go with your setup, but it works well for me.
I have a Canopus ADVC100 that I purchased at a reasonable off eBay. The newer version is:
http://canopus.com/products/ADVC110/index.php
Not only can you monitor while editing, but you can capture from any video device (digital or analogue) as well as export to any device..
Nick. . .
G4 PowerBook 768Mb & QuickSilver 1.5Gb (FCP 4 & 5 _ DSP 4) Mac OS X (10.4.7) Linux and Wimpdows

FCP to NTSC monitor solution help required

Greetings,
Please forgive me, this is my first foray into owning a Mac.
I am getting started with Final Cut Pro, and am looking for a good way to capture analog sources, and output my FCP timeline to an NTSC monitor. My monitor takes RGB and component, and I would like to use one of those if possible.
I have looked into the AJA Kona cards, and they seem a little too robust for my needs. I won't be capturing HD SDI any time soon. The blackmagic solutions seemed interesting, the Decklink SP looked good, and the Intensity looked OK too, but I haven't seen too much talk on them. Are their any other solutions people are using to monitor their timelines? Currently I am just working with plain old DV.
Thanks so much for your advice,
David

The Intensity Pro may be just right for you with your Mac Pro. Very reasonably priced. I have the HDMI only Intensity card and it is nice. Not sure of all connections packaged with the Pro model, but good stuff. Intel units only for this product.
AJA is an awesome company and great products. I have the LHe and the tech support is the best. Like anything you do get what you pay for.
Good Luck
Z1&V1user

Red Footage imports with heavy yellow cast

Good day all,
I am looking to import and work with some Red footage that I shot with a Red camera. I have installed Redcode, and Redcine. Am using CS 4.2.1, and even installed After Effects 9.0.3 to make sure that all drivers and whatnot that come with that are available.
So with all of that, when I import Red footage, it comes up with a sever yellow cast. However, when i look at the same R3D files through redcine, it is fine, needs some tweaking, but fine overall.
What am i missing?

I dont know what to say except what Jim already said to get what you really want... and even then I would look at the new Avid thing and the peripherals it supports ( and color grading etc ) on a mac ( so you can use import and export prores )
videoguys has some good info about the new avid thing ( 6 ? ) and whats supported etc. re: peripherals.
The only good thing about PPro right now IMO is photoshop and after effects and that sort of "suite " handling of stuff. In a perfect world you would have EVERYTHING... more than one platform to work from ( pc mac ) and more than one editing program etc.
redcine x is gonna give you your export ( probably mov animation for your ppro version ? ) and now you're already dealing with stupid color spaces that dont match and so on... so it doesnt matter what you do in redcinex really.
Upgrade to ppro 5.5 and deal with that ... direct from files and bypassing redcine... see how it works. Or find frames to find a white balance that works OK in PPro version you have. A lot of work ...cause you'll have to make cuts probably to fine tune.
Sorry.. is the way it is. FCP handled it better as prores.. but that program has bit the dust lately too... leaving you with this (newest version, not your version ) or avid now or the older version fcp. Part of what you're dealing with is the 32bit and newer 64bit stuff... not to mention a ton of other things.
good luck

Footage jittery in fcp screen but good in blackmagic monitor hdmi screen

I filmed footage on a ex1 at hdv level 1080i 1440 pal all looks good on camera, all looks good when you play it out on the camera on component into a plasma screen
so I have imported the footage off the chips into final cut pro. On the motion shots lets say pan left to right, slow 360 pan the footage the fcp poxy screens give it a jittery look, I have a black magic hdmi output on it going to a plasma screen and its a smooth as it should be.
I would not usually worry as a proxy screen built in to edit suites can show that sometimes but when I export the footage the "jittery frame look" is on that too!
on the export I have tried de interlace but still no luck.
Any ideas on how to stop it looking jittery when it should not be? it was shot pal 25 and when I imported its said "lets make a time line to fit this" and I said yes.
Your help would be great,
regards
Daz

here they are,
General
fame size 1440 x 1080
Aspect HD 1440 x 180 16:9
Pixel HD 1440 x 1080
Feild dominance upper odd
editing time base 25
quicktime video settings
compressor HDV 1080 50i
quality 100%
audio 48 k 16 bit grouped
Video processing
render in 8 bit yuv
processing max white as whote
mtion filter quality normal
render and paly back
filters tick
frame blending tick
res 100%
codec apple pro res hd cam ex only
master templated and motion projects
quality normal.
I have done more testing today of course,
this is the video file I am having problems with
http://www.vimeo.com/1578148
its about 25 seconds in on the 360 pan
I loaded the same clip on to avid liquid and that done ot to ( but in most cases it always had and as it was a proxy screen people said dont worry )
on the avid liquid I exported it to wmv hd and played that back, yes that jitterd, so on avid liquid I mad a short dvd and played that direct on a dvd player and my plasma screen and it was fine.
I am new to fcp and dvdpro but tried making a dvd today with that clip
and ****, the whole film jitterd like crazy it was like double vision so on that bit I must blame my self and try again, must be a setting I missed some where.
But back to my fundemental problem of exporting to a file that ( pan ) bit in paritular strobes slightly on the fields.
I hope the vimeo clip I have pasted shows you the situation,
regards
desperate from newbury

How do I get HVX200 footage into Final Cut 4.5?

This may be a redundant question, and I am currently in the process of waiting for my upgrade to Final Cut Studio to arrive in the mail, but in the meantime, just received a HVX200 camera in the mail yesterday and was wondering if it is possible to get the footage in my computer. I followed the instructions in the operation manual and my G5 did recognize the camera as a separate drive via Firewire on the desktop which is full of .mxf files. Being new to HD video, I just did a basic Firewire hook-up from the camera straight into the computer and hoped that I would be able to capture the footage via Final Cut 4.5 HD. Obviously I was wrong. After doing some research, I've seen several ways of getting the footage into the system, most of which refer to the latest version of Final Cut Studio, but nothing much on how to get it into 4.5 other than some confusing mentions of somehow converting the footage in Quicktime files. If the .mxf files can be converted into Quicktime and then edited in Final Cut 4.5 until my upgrade arrives in the mail, can someone please help me with this? The bad news is as of now I only have Mac OS X version 10.3.7. I do plan on upgrading very soon, but was curious if it is still possible to make the HD footage editable on the system I currently are running - 10.3.7 and FC 4.5. If anybody could help, I would appreciate it very much.
Mac G5 Dual-Processor with Final Cut HD 4.5 Mac OS X (10.3.7)

Do I have to be running the latest version of Tiger for this to work? I ask because the new Quicktime download method did not work from OS 10.3.9. Maybe I'm still doing something wrong. Either way, I'm completely confused. First of all, what mode does the HVX200 need to be in? MCR/VCR or PC/DUB mode? My main question is how to convert those .mxf files into editable and viewable Quicktime files. Can I select a "convert" option somewhere? Am I overlooking something here completely? The thing that baffles me is the Firewire cable running from the tower to the camera displays the HVX200 files on my desktop under a white-drive icon that reads "no name". I just so badly want to grab them and convert them to editable Quicktime files that my 4.5 Version of Final Cut will import and recognize. Looks like that would be a relatively easy thing to do, but apparently not. Honestly, all that I got out of the link that you attached was apparently just how to upgrade to the latest version of Quicktime which would recognize "XL1" footage, not HVX200 HD footage. The posting didn't appear to be directed towards the HVX200/FCP 4.5 solely.
In your original posting, you mentioned that FCP 4.5 would actually allow HVX200 footage in or at least knew a way to go about getting the footage into a system like mine. My question is, from your personal experience, can you give me a more accurate step-by-step description of what I need to do from hooking up the HVX200 to the G5 tower via Firewire and so on....
It just seems that only upgrading Quicktime doesn't really get me anywhere near where I need to be. As I just try to figure out the common-sense of this all, it sounds like the computer IS recognizing the camera and the P2 card - hence the icon the appears on my desktop full of my video files labeled as .mxf files. So from here, the only thing that I can figure is that the only way to see my clips are to convert those files into another file (such as Quicktime) that FCP 4.5 wouldn't have any trouble reading??? CORRECT???? Seems like this is the only way it's gonna fly on the system I have...until I get the FCS upgrade. That said, I've got a two week wait and I'm impatient to watch my footage on my high quality Apple monitor!!
Sorry to be a bother about this, but any additional help is welcomed!

HVX200 footage and timeline with 16mm telecine footage?

I am shooting a documentary with mostly HVX200 footage in the 720p 24PN mode. I am also shooting about 30 minutes of 16mm footage then doing a telecine pass with my colorist. How can I keep everything in the same format? I was thinking I could rent the Panasonic AJ-HD1200A deck and bring it to my telecine session so they can patch it into their bay/system. I could lay down the 16mm transfer down to DVCPROHD with that deck correct? Is there a special setting on the deck where I could lay it down as 23.98 to match my HVX200 material? Or does it lay it down as 60p and I just capture it at 23.98? Any suggestions would be great!

Chris. It's Saturday. The weekend. The morning after Cinco de Mayo. If we aren't with our families, or recovering from hangovers or enjoying a day off...then we are working...like me. sigh.
If they telecine to DVCPRO HD, they will have to do it at 720p24 but at 59.94 fps. This way when you capture it, you choose 720p24 and the advanced pulldown SHOULD be removed.
But I cannot say for sure...for I haven't done this nor do I have the deck. But I do know that 720p24 footage shot at 60fps on a varicam removes the pulldown nicely to 23.98 and it intercuts well with 24PN footage from the HVX. But the varicam flags the footage as 23.98 while recording 59.94. I am not sure if the HD1200 deck can as well.
You can try posting this onthe Creative Cow in the FCP forum or even the Varicam forum. A few people there have those decks.
http://forums.creativecow.net/cgi-bin/newviewposts.cgi?forumid=8
http://forums.creativecow.net/cgi-bin/newviewposts.cgi?forumid=120
Shane

What am I doing wrong here? Vids look correct in FCP but not in Quicktime..

Hi,
I have a few quicktime movies that I made a long time ago. I have dragged them to my hard drive and they look great and play exactly how I edited them in Final Cut Pro. However, when I open them in Quicktime or try to play them into any other format (Flash) they appear wider.
Now I am confused as it appears every movie I have ever saved seems to be distorted when I play it in Quicktime.
Are there some settings within FCP or Quicktime that I am not aware of?
Are both programs accurately playing what is recorded?

I am having this exact same issue. My sequence is 352x288 the video looks great in FCP but every time I Export this sequence straight out through QuickTime (not QT Conversion or Compressor) self-contained and using the current settings it plays back in QuickTime as 720x480 (640x480) millions in DV format. I even tried to force the export to a customized setting with the 352x288 frame size and it still plays back at 720x480 making the video look fuzzy and stretched. We've already spent a few hours testing other options with no success.
Oh and what's odd is if I open the same exported file in FCP's Viewer the size is correct and when I view the exported file's info (Apple+I) it says Dimensions: 352x288. Codec is DV/DVCPRO - NTSC. One thing I just thought of while typing this is would changing the codec make a difference since the original footage is 720p from an HVX200 camera? If I should change it what should I change it too?
The viewers will be watching this in QT Player. I'm using FCP7 and QT7 also tested with QTX with the same results.
Any idea is better than none, thanks!
Lance

My 2008 Mac Pro running Lion will not play HDV1080i60 footage in FCP 7. When I open the sequence settings, all HDV codecs are hdv1, hdv2, hdv3, and so forth. Anyone have any idea how to fix this?

My 2006 - 2008 Mac Pro running Lion will not play HDV 1080i60 footage in FCP 7. When I open the sequence settings, all HDV codecs are hdv1, hdv2, hdv3, and so forth. However, when I open the project on my other Mac Pro running Snow Leopard and FCP 6, the footage works fine as it does on my newer Imac running Mavericks and FCP 7. I have tried a Quicktime update on the Mac Pro that the footage doesn't work on but it says that I already have the newest version of Quicktime installed. I have also tried reinstalling the Final Cut Pro Studio twice, still no fix. I'm completely out of solutions and need to be able to edit HDV footage on this machine. Any help would be great. Thanks.

there was a recent software update that seemed to screw HDV up. Do some searching here over the last month or 2 and you'll find a bunch of posts and some possible solutions.
Worst case scenario, do as Shane suggests. But might I suggest you take a look at the user tips section of the forum. there are some great tips on how to prevent these sorts of problems by cloning your startup drive, etc.

Black levels fine in FCP, but not in Compressor files

Using an AJA box I have ingested SDI video to DV50 using FCP. The colors and levels on the waveform/vectorscope look fine on all tapes. The picture itself looked fine on an NTSC monitor I used when I captured the footage, and it looks fine on my iMac display as I edit.
It also looks great in Quicktime movies I've exported.
When I send the sequence to Compressor, then make a DVD using DVD Studio Pro, the blacks are crushed on all the monitors I've played it on.
I've read other posts about blacks being too high, but this is the opposite.
Do I just need a better encoder such as BitVice, or are there settings that I need to change in either Compressor or DVD Studio Pro.
I am using Final Cut Studio 2.
Thanks for your help.

Ok -- we'll all play "guess what I'm thinking" with you...
How many audio tracks do you have?
Look - if you've been doing this for years, there should be no reason for you to ask such an open ended question with little information...
We're not going to sit here and throw out suggestions just so you can come back with short answers... we can be short too.
Why don't you give us an idea of the equipment you're using... what exactly the uncompressed clip is... what type of project you are doing... how many effects you have on the clip... etc...
bottom line QT/Fine:FCP/Jumpy -- dude... bigger overhead?
Good luck,
CaptM

Yellow cast

Lightroom, CS4, Bridge, photos have a yellow color cast. My fault I'm sure, as I tried to use my old Eye One, with what I thought was the proper driver, on my new Vista PC. I got an error message but the calibration went through. I do not have this problem on my XP PC, nor do I have any problems on my Vista PC except for Adobe. I think Adobe is trying to correct the color - I can actually see it do so in the Bridge filmstrip.
Temporarily, I can change CS4 to Proof Setup and then Monitor RGB, but that does't help in Lightroom.
I'm ordering a new Eye One today, but in the meantime can I do anything different in Lightroom?
Thanks, Shirley Anne

Thanks, I have tried sRGB, in fact tried everything, so I hope a new
calibration does it. It is interesting to watch in Bridge - the photos come
up correctly in the film strip, then one by one, Adobe goes down the line
and changes them to the yellow cast.
In Lightroom, if I go to Viveza, I get a correct picture. When I go back to
Lightroom, the yellow cast is back again, with some Viveza adjustments.
It is clearly an Adobe situation.
I'll let you know how it goes with the calibration. I write for children and
often sell pictures with my manuscripts, and also compete internationally in
photography. My XP computer is right on - screen and print. That's what I'm
aiming for on my new Vista PC.
Shirley Anne

Yellow Cast to HVX200 Footage in FCP - but fine on NTSC Monitor

Similar Messages

Maybe you are looking for