![]() I never delete cards until the job is finished, and the NEXT job is finished, by which time, I have an archive of the cards, the FCPX version, and the finished stuff too. FCPX really doesn't like the wrapped files and if I'm transcoding, I'd prefer to use 5DtoRGB.īut most of the time, I'm simply hauling in the MTS straight from the card into FCPX. I used to use ClipWrap for my FS100 footage, but there's something really awful going on with my current version (2.6.1) and FCPX with C100 files. It's like owning a British sports car - you get used to its little quirks, but any sane car owner would be shocked at having to adopt them. FCPX insists is interlaced until you twist FCPX's arm into using Progressive interpretation using the Info tab (which sometimes doesn't stick, which can require quitting out of FCPX and restarting it to fix). 5DtoRGB does a better job of interpreting the '25PFS' mode. Which brings us onto Canon's 'malign' implementation of PSF. On the whole, 95% of the time, the AVCHD will be visually identical to the ProRes version. There's a number of tests that folks have done on 'motion' artifacts of LongGOP codecs like AVCHD vs ProRes recorders, with the general conclusion that you only see a better quality on the recorder using ProRes HQ - these tests were not done on the C100, which has some tricks up its sleeve regarding noise reduction for its AVCHD files. You can select ProRes422 instead of HQ if you wish. Note that you should be using ITU-R BT.709 matrix, not the default 601 one. Usually one wants to compress the highlights only, by bringing just the superwhites down to 100IRE (or '100%'), not squeeze the whole range (including blacks) into the middle as this then needs full-on curves to remap your settings, and that means Resolve or something. The reason being, using the 'Full Range' setting sqishes the superwhites and superblacks into IRE0-100, and that narrows your contrast and lifts your blacks as well as pulling down your whites. ![]() That's best done in FCPX with the WFM switched on. ![]() In my standard 'Quality' workflow, the important thing with 5DtoRGB is to use the 'Broadcast' setting and NOT let 5DtoRGB 'mend your whites' for you. I'm mostly importing direct into FCPX when I need speed, and using 5DtoRGB when I need just a little more help with chroma subsampling, or when I have time and want reliable quality.
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