Join Frank Rohmer for an in-depth discussion in this video Color correction, part of Photography Video Workflow: Final Cut Pro + Canon 5D Mark II.
Occasionally, you are going to need to color correct some of your video files…that you generated from your Canon 5D Mark II. It's just the reality of video…production. Occasionally, you just don't get the right white balance or you…video tape something with the wrong color temperature, but for whatever…reason, you have just got to make it look good.…Here in Final Cut Pro you can do that with about five or six Mouse-Clicks, it's…pretty straight forward, it's very easy. So what I have done is I have set up a…sequence here with a few video clips. You can see right where my playhead is…parked, that if you look up in the Canvas window, that this particular scene at…the wedding just didn't turn out right.…
I didn't do white balance and I have the wrong color temperature set in my…camera. It happened to be right at a critical point during the ceremony, of…course, but thank goodness we have Final Cut Pro, because it will correct this…and make it look beautiful.…So I am going to park my playhead right on top of the clip. In this case, this…
Photography Video Workflow: Final Cut Pro + Canon 5D Mark II was created and produced by Frank Rohmer. We are honored to host his material in the lynda.com library.
- Preparing system hardware for editing HD footage
- Creating a Canon 5D Mark II project preset for HD video
- Transferring and importing Canon HD video files into Final Cut Pro
- Editing with three-point edits, drag and drop, and automated techniques
- Understanding transitions and filters for HD video
- Converting non-drop frame to drop frame for broadcasting
- Finishing a project out to DVD, Windows Media, Flash, or QuickTime
Skill Level Intermediate
Q: In the sequence in the "Auto sequence setup" chapter, the QuickTime video setting is set to H.264, after the instructor prompts us to import the movie into ProRes422 or similar. Therefore, my movie will be 422 and my QuickTime video compressor sequence setting is H.264. Shouldn’t the sequence be set to the same codec as the movie that has been imported?
A: The general rule is that you should edit your footage in the same codec that it was shot in unless you are shooting with a codec like H.264 (Canon, HDSLR cameras). Outside of the HDSLR circle, professional videographers will select a video camera that they believe has the best codec to shoot in. Once that selection has been made they'll typically leave the codec alone while editing.
In the case of Canon HDSLRs, the codec is very challenging to work with, hence the reason for transcoding to ProRes 422. Because H.264 is extremely tough for all editing systems, Canon recommends transcoding their H.264 native codec to ProRes 422. You don't have to do this. Final Cut Pro will edit either way.
Even if the sequence settings are different then the codec used, Final Cut Pro will allow you to go either way. You always have a choice. That's one of many reasons to use Final Cut Pro.