Results 1 to 4 of 4

Thread: Canon 60D-loss of saturation when transcoding to ProRes 422

  1. #1

    Default Canon 60D-loss of saturation when transcoding to ProRes 422


    (1) I transcode my Canon 60D video clips to ProRes 422 using MPEG Streamclip, and when I compare pre-transcoded and post-transcoded clips on Quicktime side by side (on my Macbook Pro), I see that with the transcoded clips, I lose some saturation. Are others having this problem? Any way to prevent the loss?

    (2) What convoludes this issue is that my 60D LCD screen shows images as more saturated and slightly darker than my laptop when I use my laptop as a monitor while shooting. I have been tweaking the image based on what I see on the laptop monitor. After shooting, when I put the memory card in my laptop, the Quicktime clip looks closer to what the LCD screen displayed. But after transcoding, the new Quicktime clip looks closer to what my laptop displayed (but not *exactly*)----which is not SO bad, since I was using my laptop's image as the standard to begin with.

    This seems like way too many calibration calculations to go through in order to know what my final image is going to look like. How can I make this process more reliable and less cumbersome?

    Thanks a lot for your help.

  2. #2
    Moderator Zwick's Avatar
    Join Date
    Sep 2004
    Los Angeles


    That's why people use properly calibrated production monitors. All of these devices you mention are going to some degree profile color a little bit differently. So that's one thing. As far as the side by side comparisons I suggest you do a Google search on ProRes gamma space and read similar complaints, reasons and potential solutions.

    Eric Peterson (AKA, "Zwick")
    Person in charge
    Content creation/Education

  3. #3

    Default eos-plugin

    Why are you using MPEGstreamclip? Have you tried the "standard" solution using the canon eos plugin found here?:

    Not sure it will give you a better result though. But it works fine for me.

  4. #4


    I can't use that method because I have FCP 6.06 runnning on Tiger and the OS has to be Leopard I believe. But for many reasons, I just bought the new iMAC and will download the free trial of FCP X and see how things go. I've read a couple of remarks online from people who say that even with FCP X, which can edit the 60D codec no problem, they still convert to ProRes for better quality video. Can that be right??

    And yes, I do have to invest in a broadcast monitor and/or calibration hardware/software because these inconsistencies in picture are driving me crazy. The DLSR video I shot since I posted above looks great on my Macbook Pro but is terribly underexposed-looking on my new high-end iMAC. If the raw video looks great on my Macbook Pro, there's hope for it, right? The data must be there, so that, with correction, or maybe even without too much correction, good exposure will be achievable no matter what computer or TV it plays on??

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts