601/709 to RGB Filter

A common problem taking a video from Avid to Final Cut is color space- Avid works in 601/709, and Final Cut works in RGB. This leads to low contrast video when using a video exported with Avid in FCP. Luckily, Avid can export as RGB as well.

Take for instance, this still from a video of quaking aspens shot with an iPhone. The one on the top was exported from Avid as 601/709, and the one on the bottom was exported as RGB.

The difference is slight, but the darks aren’t as dark, and the lights aren’t are light in the one exported as 601/709. Putting the 601/709 version on top of the RGB version in the FCP timeline and changing composite mode to difference on the 601/709 version shows where there are differences. It’s hard to see (try staring at it for several seconds, or adjusting your viewing angle of the screen), but the waveform shows there is up to 10% difference in the colors.

A quick overview of the difference between RGB and 601/709- a digital color is made up of a Red, Green, and Blue value. Each can have a value of 0 to 255.

In 601/709, black has a value of 16,16,16, and white has a value of 235,235,235. Here’s the waveform for the aspens shot which was exported in 601/709-

In RGB, black has a value of 0,0,0, and white has a value of 255,255,255. Here’s the waveform of the aspens shot, exported as RGB-

Notice the differences between the two waveforms- the RGB one stretches further into black, and further into white (to the point of clipping – thanks, iPhone).

Both color spaces their perks- 601/709 can handle values blacker than black, and whiter than white, but RGB has more information (256 steps between white and black, versus 220 for 601/709).

To handle this difference, I wrote a filter, that basically takes each value from a 601/709 file, and “stretches” it out to RGB space.

Here’s what the filter does with the aspen shot- the top is the original exported as 601/709, the middle is exported as 601/709, with the filter, and the bottom is the original exported as RGB.

The filter has brought the 601/709 footage much closer to the RGB, how it should be in Final Cut. How close? Using the same difference composite mode technique, I can see it’s much closer, in fact within 3%.

As you can see, it will not match exactly, but it will work in a pinch. If you can reexport the file as RGB, that is preferable, but there are many instances (lost master, time constraints) where that isn’t possible.

Download the filter by right clicking and saving- 601-709RGB.fcfcc.

To install, unzip the file, and place the filter into /Library/Application Support/Final Cut Pro System Support/Plugins/ and relaunch Final Cut Pro. It will be in the Image Control folder in the Video Filters section. Apply it to a 601/709 clip, and it should be fine. If it’s a bit off, try messing with the “Adjust” Parameter until it’s correct.

Let me know how the filter works for you!

Readable Timecode Window Burns in Compressor

One of my clients does a lot of shooting, and needs rather quick turnaround on timecode window burns. We could set up the DVD recorder, and play out through the Kona card, but that is real time, and occupies an edit suite for the entire time. Final Cut has a timecode reader filter, but it has long render times, again hogging up a suite.

So I turned to Compressor, to see what it could do. It has a timecode generator filter as well, but it is lacking one major thing- readability. There is no built in background, bar, or shadow that ensures it will be readable no matter the background. White text may disappear on a beach shot, for instance, and black text will disappear on dark night shots.

So I figured out how to use the Watermark filter in conjunction with the Timecode generator to give that transparent background.

First, I made a graphic for the watermark, a transparent 720×480 with a simple black bar near the bottom. It should work for 16×9 or 4×3. You can download my .psd here – no use in reinventing the wheel, as it took a bit of tweaking to get it positioned correctly.

To make the preset, open up Compressor, and duplicate the MPEG-2 6.2Mbps 1 Pass preset from the DVD: Fastest Encode 90 minutes folder. Here’s how to do it in Compressor 3.

You can do this with the 120 or 150 minute presets if you want, but I rarely get a tape longer than 90 minutes. The preset is set up fine as is – we want to take a look at the filters tab in the Inspector window.

Turn on the Watermark filter. Hit the “Choose…” button, and choose the tcwb.psd file you downloaded earlier. Change the position to Upper Center, and make sure Scale by is set to 1, and Alpha is set to .5.

Now, turn on the Timecode Generator filter. Set the position to “Lower Right – Title Safe”. Leave the Alpha at 1. Change the Text Color to white. Click “Select Font…” and up the font size to about 50. You can change the font if you wish, but make sure it is readable.

Important note- Compressor applies the first filter in the list, and then moves down the list. You’ll probably need to move the Watermark Filter above the Timecode generator – otherwise, the watermark will be in front of the timecode, and make it hard to read.

Save the preset, and you’re ready to convert away. To make it really easy, set up a droplet. I used Final Cut Server to make a watch folder, so my edit suite is completely free for other work. The only thing left is to burn the DVD.

Making XDCam duplicates with correct timecode

Recently, I’ve had to make duplicates of XDCam Masters from a variety of different media- some XDCam, HDCam, DVCPro. Now, making XDCam masters is a pain, especially when you have 100′s of clips on a single disc. There’s no quick and easy way of doing it. No way of batch exporting. No way of simply dragging a .mov onto the disc. You can drag .mxfs onto the disc, but there isn’t a way of batch exporting to mxf. Not only that, but since other people are using these discs as masters, they need to match the timecode of the window burns you’ve given out.

And then there’s this problem:

So what I used to do was this

1. Insert clip into a new sequence.
2. Apple-0 to bring up sequence settings.
3. Set the starting timecode of the sequence to the starting timecode of the clip.
4. Change the audio outputs to dual mono.
5. Export to XDCam.

This method was very error prone, and took forever. One day, I realized I wouldn’t make the deadline for getting the disc out if I did it my normal way. So, I clicked around in Final Cut until I came up with an unlikely solution- Multiclip Sequences. Here’s the simplest way I’ve found to quickly export to XDCam from any source media, while maintaining timecode-

First off, it takes a bit of setup.

1. Go to your User Preferences, and go to the last tab, Audio Outputs.
2. Duplicate the Stereo Monitor: L+R preset.
3. Set up the new one like this:
4. Hit OK, and make sure there is a check mark next to the new preset. From now on (until you change it back), all new sequences will have a dual mono output, prefect for exporting to XDCam.

Now you’re ready to go. To make things easier, I added buttons in the Browser for “Make Multiclip Sequence” and to export “Sony XDCAM” (It’s the second one on the button bar list- the first is to import.) You can also make shortcuts to these commands, and I even set up Spark to hit that shortcut key, then hit enter on the screens that follow.

So now, to actually export-

1. Select the Clip you want to export to XDCam.
2. Make a Multiclip Sequence using the shortcut or button bar. Default settings are fine.
3. A bin with a multiclip and a new sequence called “Multiclip Sequence x” will appear in the browser.
   
4. The new sequence has the right timecode, and if you check your sequence settings, you’ll see the audio outputs are correct.
5. Notice that for some reason, the last frame is cut off. If you’re giving raw footage, this likely won’t matter, but you may want to open the Multiclip Sequence, and type “v” (to select the closest edit- your playhead should be at the very end of the timeline) and then “]” to move the edit 1 frame forward.
6. Now, you should be able to export your new Multiclip Sequence to XDCam perfectly with correct timecode.

Of course, it’s helpful if you have already transcoded the files to the XDCam codec- do it overnight in Compressor, and then the hands on portion will go much faster.

I hope this helps!

Visual Enhancement Pro Filter

I’d like to announce “Visual Enhancement Pro” filter. Visual Enhancement Pro in itself is not a revolutionary plugin- it simply is a reapplication of the state of the art technologies used by CSI units and top secret spy agencies. It allows you to enhance several parameters to get an image that is impossible with other enhancement tools, all within Final Cut.

Watch the video below for more info. You can download and install the plugin here.

I plan on adding more features in future releases, including:

• License plate enhancement
• Rotating around subject in 3D from single camera
• And more! Let me hear your suggestions.

Thanks to Tim Stotz for his help.

Controlling Final Cut with your iPhone

Almost a year ago, Scott Simmons from The Editblog wrote a blog with suggestions for video apps for the iPhone. One caught my attention, and I’ve been working on it off and on ever since. And now, with a new update from Snatch, we’re a bit closer.

To get this working, you’ll need to buy ($5.99) and install Snatch (link to iTunes store). Then, you’ll need to download the Snatch Server on your computer here. Snatch uses bonjour, making it pretty simple to set up and use (and can also be used without bounjour). It has cursor control, scrolling, an app switcher and a keyboard with customizable screen. The latest release made it possible to easily share screens. So once you have it set up, you can install a screen I quick threw together just for you . You can download FCP Control 1.0 here (right click, and save as).

On your iPhone, launch Snatch, and go to the “Keys” tab, and hit “Edit”, and then “Load Screen,” making sure that you are connected to your computer. On your computer, navigate to where you saved fcpcontrol1-0.remote and select it. You’ll be prompted to overwrite the current screen. Say yes, and Wa-la! You can easily control Final Cut now.

I’ve decided that playback is probably the most useful thing, so you won’t be able to do any actual editing. Features I’ve included are:

• Go to previous marker
• Add a marker
• Go to next marker
• Play in to out
• Play to out
• Go to in
• Set in point
• Set out point
• Go to out point
• Rewind
• Reverse
• Pause
• Play
• Fast forward
• Toggle play/pause

The buttons simply send a keystroke to the computer, which will act as shortcuts in Final Cut, so you’ll have to have the keyboard set up to the default. If you don’t, you can simply change the keystrokes on this screen to whatever you wish.

If anyone is a GUI designer, let me know- I’d love to make this look a bit less, well, utilitarian.

Hope you get good use out of this, and let me know if you have any questions in the comments.

Carnival of Errors

Carnival of Errors from Alan Dague-Greene on Vimeo.

Synopsis: The fight for control of carnival land will pit clowns against mimes in a musical standoff that will tickle the funny bone and excite the senses. The Ben-Hur of single shot musicals.

A couple weekends back, I helped out on a film shoot as part of the International 48 Hour ShootOut. I had worked with the same group of people in November on Quillions, and had a blast again. During production, I was a Production Assistant, helping by controlling music for lipsyncing (I used Remote on my iPod Touch), burning CD’s for practice, taping a mock up of the set on the floor as we only had access to the space for 4 hours, and whatever else needed it. I also worked on Visual Effects, making the mime disappear at the very end. A good, yet busy weekend.
On a different note, I will be starting full time as assistant editor at Idea Spring Editing tomorrow. More on that later.

Quality of blank DVD media

You’ve heard warnings of bad DVD media, most likely. But how can you tell whether your stack of DVDs is a dud or good? Evidently, you can’t tell by a brand- you have to do some sleuthing to see if it’s good or not.

Sadly, this method only works after you have bought that stack, but at least you can tell whether to get the same kind again.

First, you’ll need to insert your blank media into your Mac (this method only works on Macs, and I can only say that it works on Leopard). Open up the System Profiler by choosing “About the Mac” from the Apple Menu, then hitting the “More Info” button. Then, choose “Disc Burning” under “Hardware”. This will bring up something like this:

What you’re looking for is the Media ID, which is highlighted in orange above. Take that code, and go to http://www.digitalfaq.com/reviews/dvd-media.htm. Search for the ID on the page (you may need to remove spaces), and see if it comes up under 1st, 2nd, or 3rd class media. Hopefully it’ll be under 1st class.