1080i/24p to Film Out in Final Cut Pro

A client of ours shot a project with the *Panasonic HVX-200* in 1080i/24p (not 1080i/24pa) and they are asking if they will have a problem with the footage when they output to film. They are using *Final Cut Studio 2* on an *8-core Mac Pro*.
I told them to use *Cinema Tools* to reverse telecine the 29.97 footage back to the native 24p and they shouldn't have problems. They said I was wrong and that frames would be lost in the process. (Which I know isn't how 3:2 pull-downs work) They also said that they did this before and the 1080i footage they got from the HVS-200 P2 cards and FS-100's were already in 24p format when transfered. Is there a way that this was possible or am I missing something here?
Thanks!

You are right, they are wrong, very, very, very wrong. I'm going to copy and paste from another thread I just answered about this same issue:
I am the author of the FS-100 DVD guide, work with Focus Enhancements closely, have many consulting clients using this system, and have been using the HVX200/FS-100/FCP system since the HVX200 shipped, and a cert'd trainer.
As for FCP, here's the workflow. To start, make sure your HVX is set to 1080i/24PA. If it is set to 1080i/24P, you won't get 24p, you'll get 60i with the 24P effect. Just like on the DVX100. 24P results in a native 60i with the 24P effect, as 24PA has metadata that allows it to become progressive and 24P native.
In FCP, bring in your footage with the Log & Transfer window, assuming you're on FCP 6. Any pre-6 version was super buggy with P2 data. Make sure the "remove advanced pulldown" is selected and import your footage. Ignore the "Compressor" that is referred to in the clips info (which is all the metadata), it will not say 1080p24, it only refers to the compression engine handling the footage, not the actual compression of the clip.
In your project, delete any Sequences you have, in the FCP menu go to Easy Setup, and choose "DVCPRO HD - 1080pA24". Create a new Sequence and you're good to go. Simple as that.
If you go to look at "Item Properties" for these clips, look at the "Vid Rate" field, it will be 24p. The "Compressor" field refers to an engine and has nothing to do with the actual format of the clip, ignore it. The 1080p30 you see as the "Compressor" simply means that the QuickTime 1080p30 engine is being used, and is perfectly capable of driving native 1080p24 footage.
The lines you're seeing on 1080p24 are interlace lines, and are normal, as 1080p24 is, again, 60i with the 24p "effect". You have to record in, and edit in 1080pA24. There's a big difference.

Similar Messages

  • Transcode in Media Encoder Straight out of Final Cut Pro. Possible?

    I have a Finished Final Cut Pro Timeline shot and Edited in 1440 x 1080i HD
    Is it possible to come Straight out of Final Cut Pro 7 and right into Adobe Media Encoder to Encode it as HD 1440 x 1080i?
    Will my Chapter Markers go with it?
    If not, What would be the best solution for this? I want to Encode it as HD 1440 x 1080i to be used in Encore to make it a Blu-Ray Disc.
    Thanks in Advance

    One solution would be to export, self contained from FCP, bring into Encore and re-create your chapter markers.
    Another is to export self-contained and bring into Premiere to re-create chapter markers.
    You can use XML to transfer your project into Premiere
    http://forums.creativecow.net/thread/145/869656
    Based on what appears to be your Creative Cow question, you simply have to correct the image width for the problem clips using the Effects Controls / Motion panel. Or importing the clips individually and re-editing into the sequence may corrrect the pixel aspect problem.

  • Plz give me work flow of film editing in Final Cut Pro..

    Hello Everyone...
    I am basically a Avid Film Editor. Past 2 years I am using Final Cut Pro. Recently I finished Final Cut Pro Level 1 & T3. Right now I am working as a App. Support Engineer specially for Final Cut Pro .
    I want know the work flow of film editing in Final Cut Pro. I am very interested to do film editing in FCP but the workflow from Avid to FCP its totally different.
    I tried few options like using FCP & Cinema Tools..
    1. Captured 25fps clips and cofirmed to 24fps in cinematools.
    2. In FCP the Timeline frame rate is 24fps
    But I am not able to understand..
    1. What is Database?
    2. Cant we capture 24fps in FCP?
    3. How to Synchronize captured clips with Cinema Tools database?
    4. How to link the captured clips in to Cinema Tools database?
    5. Where do I enter the KN Start & KN End?
    6. What about Pull List & Cut List?
    Please give me the details of film technics in Final Cut Pro....
    Thanks in advance....

    I knew I'd find this same post here. That makes three versions of trhe same list of questions.
    Posting three times here implies you have posted this set of questions in many other FCP forums around the Net. If that is so, do us all the kindness of returning to all of them and closing them. Include the suggestions you have received and the solutions that were successful for you. That way your multiple threads will show up on search inquiries when other confused FCP newbies try to start complex film projects.
    It's a bummer you cannot find these answers in the FCP manuals, I'm usre you looked there first. But, since we run on volunteers around here, it may be several days before someone with enough practical CinemaTools experience can stop by and handle them for you. Please have some patience.
    bogiesan

  • OMF won't export out of final cut pro.

    Exporting a 93min 1920x1080 HD timeline to OMF
    5 second handles tried 2 second handles as well.
    OMF won't export out of final cut pro. Get error message there is a 2 gb limit.
    Final cut 6.0.6
    Have deadline. Didn't see it on any forum. Help!! Thanks!!

    Seems like a weird thing to not be able to do since it's called final cut PRO...
    Bagging on Final Cut Pro for OMF? HA! OMF has been around LONG BEFORE FCP was introduced. It isn't an FCP issue...OMF technology is VERY old. Over 20 years I believe. I used it on Avid...and it always had a 20GB limit.
    You cannot deliver 1 track via OMF. You can ask the audio person. I know that Avid now allows you to export an AAF...but FCP doesn't do AAF. For embedded audio I think that OMF is the only way. SO you have to work within the limitations of that format.
    Shane

  • Mini-Dvi to Video out from Final Cut Pro working

    Thanx Everybody for posting reply for my post regarding running video out to external TV from Final Cut Pro in MacBook.
    It's working fine.

    @ Studio X : The files were originally created with Final Cut Pro, rendered out to QuickTime, then are being played back with Final Cut Pro. The file that has the most noticable studdering is a 60-minute timeline sequence in Final Cut. All files are being stored and played back from the Mac Mini's internal hard drive. Everything was originally shot on DV and formatted for a 4:3 aspect ratio.
    @ Shane Ross : Are there any settings in the MacOS or FCP where I can improve the HDMI video signal? Or do you know of / have any experience with Firewire to HDMI converters? Unfortunately, my new signal path relies on HDMI from the video playback.
    My current setup uses the Firewire output, which is then converted to composite video & analog audio using a pair of ageing DV tape decks. That setup is becoming troublesome due to age.

  • Preview out in Final Cut Pro 6, doesnt seem to be working

    I have a cilent coming over in a few hours and im having some issues getting the preview out from my computer to my TV to work. I refreshed everything, and its set to "All Frames" but all i seem to be getting is a black screen.

    its DV format, We are running it though a JVC Deck VIA Firewire. It has worked with Final Cut Pro 5 and up but 6 seems to be an issue, Nothing has changed but the software

  • Can I Change duration of a Film Burn in Final Cut Pro X

    Is there a way to change the duration of a Film Burn (.mov) in Final Cut Pro X.  for example I have 10 second film burn (.mov), and I want that film burn to be 30 sec or more any way I can do this? 
    Currently I copy the Film Burn several times on the timelien to make it longer.
    Note: The Film Burn is set at 10 seconds, I CAN NOT DRAG it to make it any longer.  Any Ideas would be great!

    You could drag three instances into a timeline and then create a compound clip that you could use over and over again.

  • Creating a film look in Final Cut Pro 3

    I have finished editing my short in and some of the images are too harsh; please advise me on how I can get a more film like look. I shot the short on a Sony PD-150 and edited it on Final Cut Pro 3 using a G4 and running OS X. 2.6
    A friend suggested using a filter like Magic Bullet, which doesn't work on OS X. 2.6. Someone else suggested rendering it in 30 frames per second but don't know how to do that in FCP.
    G4   Mac OS X (10.2.x)  

    You're not going to be able to make magic happen with DV footage on final cut 3. Film has a generally softer and murkier look than video, so try bringing down the harsher higlights and desaturing colors somewhat. You're just going to have to play arround with the the filters and color corrector, and eyeball it on a broadcast monitor.
    As far as frame rate is concerned, there's nothing you can do. DV is 29.97fps, film is 24fps. Simply changing the framerate (especially to 30) won't make it look more film like. 24 fps pulldown needs to happen in camera to achieve such an effect.
    If you're interested in something like Magic Bullet (which you'll have far better luck with), you'll have to find someone who has it.
    Honestly, my advice would be to worry about your film looking good more than worry about your film looking like film.

  • Why is my audio cutting out in Final Cut Pro X?

    All the elemnets in the timeline now have random sound cut outs. Any ideas as to what may be causing this? Happens in playback and when rendered out.

    What audio is this? Camera audio? Something else? Comrpessed? MP3? AAC? AIFF 48k?

  • Expoert out of Final Cut Pro to ATV

    How best to export DV footage out of FCP to use on ATV? No "Movie to AppleTV" export option from FCP like in QuickTime. Wouldn't it show up in FCP if it's in QT?
    Thanks

    Wouldn't it show up in FCP if it's in QT?It appears that older version of both FCP and FCE cannot access this export option. Believe at least one person has indicated it does show up in the latest version of FCP/Studio 5. Not sure if these apps use a custom QT interface or the system interface which might be why.
    How best to export DV footage out of FCP to use on ATV? No "Movie to AppleTV" export option from FCP like in QuickTimeActually, there appear to be a number of options depending on your personal preferences. You could try the "Movie to MPEG-4" export via QT which appears to have the new HD display options and offers H.264/AAC in the "main" profile. Or your could try the "Movie to QT" export option using H.264/AAC codes. (Have not tried either since QT 7.1.5 was released so I can't verify at this point that output from either is TV compatible but it is on my "to do" list. On the other hand, if you really want to use the "Movie to TV" QT Pro option, simply output your project as a QT reference file, open it in QT Pro, reset current display size if needed, and export normally using the "Movie to TV" option.

  • When are Apple going to sort out the Final Cut Pro X Key Frame problem

    Hello,
    I’m trying to move three custom text clips to different locations on the screen & change the text size. The text clips drift around between two key frames with the same values. (“linear” is set on the red wire frame movement indicator) I know you can stop the drift by going to the first key frame, move forward one frame, add a key frame, wait for the rendering to complete then delete the key frame, then move to the next key frame, go back one frame, add a key frame, wait for the rendering to complete then delete the key frame. All this takes a considerable time. Does anyone know when Apple plan to fix this Key Frame bug? Or an easier way to stop the drift between key frames?
    Thanks
    JohnH

    Yep, I hope KFs get a little bit of love in the next update too.
    To make my KFs linear, I always do the move, then drop a dummy keyframe inbetween them and add/delete that KF until the Motion path stops showing a change. Linear interpolation will follow!
    Pain but quite quick!!

  • TS4522 I have a finished project, but Final Cut Pro has grayed out the export option. How do I fix this to upload my file to youtube and burn dvds?

    Hi guys, I really need help trying to figure out why Final Cut Pro will not allow me to export my project. I have done this in the past and had no problems at all with other projects, and I have done nothing different from what i can tell. Any help???

    Hey Tom,
    Thankyou for your help. No, I have done this and it does not work. I have tried clicking and dragging, selecting the file in the project library, selecting individual files etc etc etc. The only thing that may have helped me out was last night...I clicked on a tab in FCP on the far right side (that must have something to do with exporting as well) and a small screen popped up after clicking it stating i cannot export the file while it is still referencing media off of the camera. I dont understand this either? I do have to have my camera connected before FCP will RECOGNIZE the media clips, but they have all been imported to my external hard drive and once i click import from camera, it is complete within seconds, so the hundreds of video clips i am using are obviously saved on there somewhere already....im at a loss here as to what to do. Do i have to literally download ALL MEDIA in each project to my computers hard drive before final cut pro will allow me to export any of the projects i create?? This seems like such backward thinking...I dont have nearly enough room on my computers intenal memory to do this with all my video clips!!!

  • A Case Study Question in the Use of Stills with Final Cut Pro

    Believe it or not, for the last week I have been reading endlessly about pixels, resolution, aspect ratio, Photoshop resizing, the bloody battle over the usefulness of the term "dpi" in video discussions, and generally about what one should do in order to use still images in a film edited in Final Cut Pro. And yet, though I have a PhD from an Ivy League university, and can understand a lot of things, I am sorry to say I am still at a loss.
    Much of the discussions of photos on forums like this one are either quite technical or broadly philosophical. But my questions are completely practical and specific. I am not a photographer or a printer, nor am I an experienced editor. I am just a fairly smart person trying to use photos in his film. So I am going to ask some specific questions and hope for specific answers, without any philosophical waffling or technical mumbo jumbo.
    I have one of those HP all in one printer/fax/scanner machines. I am told this device, while not fancy, is perfectly adequate to the task. Some of my photos I scan with this device from prints. Some of them I get from other people. (I have stopped downloading photos from the web, as the quality is nearly always poor.) I have Photoshop Essentials (not Photoshop). I am making a 90-minute HDV documentary, 16x9. The doc is mostly HDV footage with a still here and there. I want to be able to move on the photos (zoom, pan, etc.). I want, obviously, for them to look good. My sense is that the work flow is: (a) scan the photo (or obtain from some source as a digital file); alter the photo in some way in Photoshop; and (b) import the photo into your FCP project.
    Question #1: If I have a 6x8 print, what settings should I scan it in with -- is it possible there really is no difference between scanning in it at 72dpi and 300dpi? Is it really all about the dimensions of the image? Isn't a photo whose dimensions are enlarged in Photoshop to make it available for panning and zooming in my sequence going to look fuzzier and more pixelated if it was originally scanned at 72dpi than at 300dpi? Also: Does it matter if I save it as a jpeg or tiff? Bottom line: What settings do I use in my scanning software when I scan a photo for this purpose?
    Question #2: Once I have the image file on my hard drive, I suppose I now have to load it into Photoshop Elements and do something to it. What is it exactly I am using this program for? I'm going to take a wild guess. I use PS Elements to (1) crop the photo so that it has a 16x9 aspect ratio, and (2) resize it so that I can do pans and other Ken Burnsy moves on it in FCP. Bottom line: What exactly do I do in PSE to the photo and what settings do I use to both (a) make it available for moves and (b) not injure the quality of the photo by increasing its dimensions?
    (In passing, I will say that I have done experiments that show that if I increase a photo's dimensions to, say, 4000 pixels by 2000 pixels, the photo's quality definitely and obviously suffers. I don't understand how a picture can be increased in size without losing sharpness. So, what am I doing wrong? Is this a function of it having been scanned in improperly to begin with?)
    Question #3: If I am obtaining a photo from an outside source -- say, a professional photographer -- what are the specifications I ask for in both a hard print and a photo file? If the former, what dimensions do I ask for? If the latter, do I specify resolution and dimensions and file type?
    These are my questions. At this point, I really don't want to know WHY any of this is the way it is. I just want someone to say: "Do this; do this; and then do this."
    Thank you very much.

    Studio X is absolutely correct; while DPI has no meaning in the video world, it often has significant meaning in scanning (and, of course, printing). If your scanning program only allows image size adjustments in DPI, then you'll have to adapt to that ... keeping in mind that the scanner's DPI setting directly relates to pixel resolution. And it is pixel resolution (not DPI) that will make all the difference in the world for images used in video. You can test this yourself by scanning an image at 1000 x 1200 @ 72 DPI and again at 1000 x 1200 at 300 DPI. They will look identical on TV or projection as long as the pixel resolution remains the same.
    As an example, my Epson scanning software allows me to adjust image size by DPI or pixel resolution. Wanting to maintain the correct aspect ratio for the image area that I'm scanning, I adjust the DPI setting which in turn adjusts the pixel resolution automatically. But it doesn't work the other way around; if I adjust the pixel resolution settings manually, the DPI setting does not change. Your software may vary.
    As Jim Cookman suggested, a scan setting of 300 DPI works well for most images ranging from 3 x 5 to 4 x 6 (typical snapshot size) in a DV Sequence. I may scan smaller images at 400 or 600 DPI and larger images (8 x 10 and up) at 150 DPI. Other size images fall in between those numbers. But I'm constantly watching the pixel resolution numbers to make sure I'm getting what I'll need to support the animation I intend to apply to the images once in FCP. Also bear in mind that I don't always scan the entire image. I only scan the area of an image that I intend to use in my program.
    So the answer is that it all depends on your scanner's software and how far you plan to push into an image once in FCP. Do a few experiments ... you're a bright fellow so it shouldn't take long for you to find the formula that suits your purposes.
    I haven't edited an HD Sequence using images yet, so I cannot offer definitive pixel resolutions for you there.
    On to your specific questions:
    1. See above. There is no one correct answer It all depends on what you intend to do with the image once it's in FCP. If you only plan to push in about 10%, you won't need much higher resolution than the equivalent of your FCP Sequence resolution. If you plan to push in further, you'll need a higher resolution to support that move.
    2. I've been doing these for many years (SD Sequences only) and I've never loaded them into Photoshop first. I import the entire folder into FCP and drop it on the Timeline so I can see what the images look like on TV; unless your program is for CD-ROM or web delivery, that's where it counts. When you place them on the Timeline, FCP will automatically scale to your Sequence settings and pixel aspect ratio. If I see that some of them need adjustment using an external editor such as Photoshop, then and only then do I use that program. And by the way, if you have a vertical image and a 16 x 9 aspect ratio in FCP, how do you propose to crop it to fit? Perhaps you meant another term instead of "crop."
    3. If it's a print, it won't matter what size they supply because you'll control the image size when scanning. If it's a file ... once again, the size (pixel resolution) depends on what you intend to do with the image once in FCP.
    I really don't want to know WHY any of this is the way it is. I just want someone to say: "Do this; do this; and then do this."<<</div>
    With that attitude, how did you ever earn a PhD from an Ivy League university? But if that is truly all you want, you might consider hiring an experienced editor to do it for you.
    -DH

  • Final Cut Pro X - software update issues

    Hi,
    I’m trying to update my Final Cut Pro X software on my Mac and I keep getting the following error message:
    An error has occurred.
    The operation couldn’t be completed
    (NSURLErrorDomain error – 1102.)(102)
    Does anyone know what this means? And, how can I resolve it?  I can’t export my projects out of Final Cut Pro either and keep receiving the error message (error -1); which I think is related to the software needing an update.
    Any help is much appreciated!
    Thanks,
    Alicia

    that error code in human language means 'no read permission'
    Are you logged-in with your Account, you purchased the installed version of FCPX with?
    Are you using a purchased version or the trial version?

  • Final Cut Pro unexpectedly quits when scrubbing in the viewer

    Hello there!
    I am scrubbing an H264 clip in the viewer window and suddenly, FCP quits! I tried trashing the FCP prefs already, repairing the disk permissions, but to no avail.
    What seems to be the problem?

    Thanks for the tip. Tried using other formats like the prores codec worked fine.
    It turned out that Final Cut Pro had problems scrubbing with H.264 files. I have tried using the H.264 clips with both versions 5 and 6, and yielding the same problem.
    H264 playback issues with Final Cut Pro 6.0.1 was resolved by Apple a couple of months ago. See link below:
    http://docs.info.apple.com/article.html?artnum=306072
    I presume that scrubbing, on the other hand, has not been resolved by Apple yet.

Maybe you are looking for