833x480 from 60p

I normally edit with FCP7, but FCP7 will not import HDV footage properly, it's all buggy and normally I have to go to Imovie when I tape in 30P. There's never any issues getting 1280 x 720 video with Imovie, it's only now that I taped something in 60p that the capture is not getting the full aspect ratio.
I'm seeing everybody post that Imovie is downgrading their video to 960x540 at times generally when they've captured 1920x1080 footage
Imovie '09 is downgrading my hdv60p video to 833x480 even when I selet "full" in the capture settings upon capture.
In the past when I taped in hdv30p Imovie 09 would capture the full image at 1280 x 720 no problems.
Is there another setting somewhere that I'm missing?
Thanks for any info

@RedHavoc
Yes. I downloaded Final Cut Pro X this morning and created a project with a frame rate of 24p. I imported footage shot on my Canon 7D @60fps. I dropped a clip in the timeline, selected it, went to Modify>Retime>Conform Speed and it retimed the footage to 40% of it's original speed.

Similar Messages

Black frames at the end of an exported file when converting from 60p to 24p

I have another export issue that I can't figure out.
I import footage I shot at 23.98fps (on a JVC HD100) using a Kona LH card at 59.94fps DVCPro HD, in which it has a 2:3 cadence. I need to make files that are actually 23.98p DVCProHD. Unfortunately, when I export in Final Cut from the 59.94 original, the new 23.98 file has all of the image, exported correctly, followed by a number of black frames such that the total number of frames in the exported file equals the number of frames in the original file. That is:
If the original 59.94 file was 3s long, that is 60 * 3 = 180 frames. The exported 23.98 file also has 180 frames, but only 3s of image = 3 * 24 = 72 frames, followed by 180 - 72 = 108 frames = 4s 12frames of black.
How can I prevent this from happening, and end up with an exported file that is (e.g.) just the 3s of image, and not 7.5s of which 4.5s are black?
It's true that I can manually clip this black off, but I need to do many clips as a batch, and would really not have to change one clip at a time. It is also true that I can do a batch in compressor, and that this process does not suffer this problem -- that is, there is no extra black -- however, there is another problem: the original 59.94 DVCProHD files are actually 1280x720 with square pixels; the files exported from FCP via the KONA DVCProHD codec maintain this true HD proportion, but the ones exprted through compressor (which does not appear to support the KONA LH implementation of DVCProHD as an option) have the size 960x720 with anamorphic pixels, and I would rather keep the original size. Thus, I would rather export from fcp. If anyone has any insight into how I might resolve this....
Thanks,
Robert Schaller

Thanks. If I understand you correctly, it does seem to export correctly if I paste the 59.94 clip into a 23.98 sequence (you can't nest sequences that have different time bases) and export from there, and it doesn't even have to specify square pixels, etc.: the AJA codec implementation seems to take care of that. There is no longer any extra black, so, per file, that gives the right result.
That, however, is only one part of the problem, though a significant part. Next is, I really would like to do this as a batch process, as I tend to have many clips to do at one time. As soon as I try any kind of batch export, I end up with one of two problems:
1) if I try to batch export from fcp, I'm back to having extra black frames, or
2) if I try to batch export with compressor, I get 960x720 files.
If anyone has any suggestions on how to get the right files in a batch, that would be the next step. Is fcp scriptable? And, if so, can you write a script that takes a clip, pastes it into a blank 23.98 DVCPro timeline, sets the correct in and out points (i.e, in at the beginning and out 1 before the end), exports it with a specified codec and time base, with a name based on the source clip, and then repeats that as needed?
Thanks for any input --
Robert Schaller

From 60p to 24p...

Hi guys, with new FCX how do you now conform 60p into 24p? Thanks a bunch !

@RedHavoc
Yes. I downloaded Final Cut Pro X this morning and created a project with a frame rate of 24p. I imported footage shot on my Canon 7D @60fps. I dropped a clip in the timeline, selected it, went to Modify>Retime>Conform Speed and it retimed the footage to 40% of it's original speed.

How do I output the smoothest video when changing or mixing frame rates from the original footage?

I have been experimenting with various Media Encoder settings, and wondered if there was anything else I can try to get the smoothest video output possible, especially when changing frame rate and possibly resolution. For clarification, let me start from the beginning and explain what I'm doing and what I've tried so far. I'll try to be as brief as possible, but if I do go into too much detail, I apologize.
My original footage is AVCHD 1080p - 60fps. (my camera only does 60fps...specifically 59.94fps) We're not talking interlaced video here, I'm staying away from that. This is definitely full frame, progressive video at 60 frames (not fields) per second. My output will ultimately be for the web. I have been keeping my output codec (H.264) and bit-rate (VBR 2-pass, relatively high-bitrate) consistent, and have been trying numerous output options and even sequence settings to see what would yield the best results. I am using Premiere Pro CS5.5 along with Media Encoder. Here's what I've done and the results I've observed:
1. I created a sequence with 1080p - 59.94fps settings to match my original footage. I then output both 1080p and 720p versions at 59.94fps, and at 29.97fps. The 59.94fps output files looked absolutely great, as would be expected. Extremely smooth. The 29.97fps output files were generally smooth, but not near as smooth as the 59.94fps. This is expected since it's half the frame rate as my original footage. However, my question is this: What exactly is Media Encoder doing when "down converting" from 60p to 30p? From a technical stand point, is it dropping every other frame? I'm just curious to understand exactly what it does. I tried the Frame Blending option as well, and that only yielded a bit more blur to the images which wasn't desirable for any of the output files.
2. Just to see what would happen, I created a sequence with 1080p - 29.97 settings. I then output both 1080p and 720p versions at 29.97fps. The video was much more choppy in these cases, even with Frame Blending on. Now, I know not matching my sequence settings with my original media isn't ideal, but I again just want to understand why this yields less smooth video than the 29.97fps options above. Why does cutting the sequence settings frame rate in half from the original, then outputting the same frame rate as the sequence yield video that is not as smooth?
3. Next, I wanted to try mixing frame rates to see how Premiere and Media Encoder handled the footage and output files. Premiere handled it great, no issues there. However, I had some interesting things happen when I output the files. Here's what I did: I created a sequence with 1080p - 59.94fps to match my original footage. Then I took the same exact footage that was in my sequence, copied it in my project panel and interpreted it at both 23.976 and 29.97 fps, yielding slow motion video. The slow motion video looked great in Premiere, so I went ahead and just added it to my sequences, along with the original 59.94 footage. I also created separate sequences for the 29.97 and 23.976 footage respectively, each with matching sequence settings, then added a nested sequence to another original footage sequence (with 59.94fps sequence settings) to see which yielded the best results. Basically, I'm trying to output 59.94fps that match my original footage, but also throw in some slow motion footage at different framerates. I'll explain my results in a moment as they are a bit convoluted, however, here is my question: When mixing frame rates and trying to output the smoothest video, am I going about this the right way? I would assume you would use your sequence settings that match the original footage (which is what the majority of the footage will be), then bring in a nested sequence for the slow motion (as oppose to just dropping the slow motion video directly into my main sequence), and then output to the same frame rate of the majority of the footage, in this case 59.94fps. Is there a better workflow for this?
The results to #3 above were as follows. Initially, it looked like it didn't matter if I nested the slow motion sequence into my main sequence, or simply dropped the actual slow motion video into my original 59.94fps sequence. It seemed to produce smooth results either way. Frame Blending blurred the video a bit, but didn't seem to make much difference, and quite honestly I like the footage without Frame Blending in general. However, when I closed down Premiere, and opened the output files later (opening in Quicktime), the footage looked choppy. In fact, it would go from choppy to smooth and back, almost like it had an irregular cadence (don't know if I'm using "cadence" in the right context here). I would then open up Premiere again, import the output footage into my project panel, and play the footage in Premiere, and it would play back smooth again. Is this a Quicktime issue? I was playing 1080p 59.94fps files when this happened, so maybe it's just because it's a large file. Doesn't seem to have issues with the 720p files I created. But it sure threw me off with my testing because I then started second guessing the settings I was using. My iMac is the latest 2011 model with plenty of RAM, so I wouldn't think it's the computer. Thoughts?
4. Next, I noticed on ALL my output files (again, using the H.264 codec from Media Encoder) that the color of my video seemed to flatten quite a bit. It seems that the original footage has more contrast and saturation than the output files. I figured maybe this was just how it was, but when I re-imported the output files back into Premiere, they looked IDENTICAL to the original footage. And in Media Encoder's Source/Output windows, I don't see any difference there either. Is Quicktime again the culprit here, doing some odd things to the color of my videos?
5. Regarding Frame Blending, when is the best situation to enable this option in Media Encoder? I've read it is when mixing frame rates, but I honestly didn't see too much of a change except for a bit more blur, which I didn't care for.
6. Lastly, my conclusion is that 60fps yields the smoothest video, which is an obvious conclusion. However, I know that 60fps isn't the best or easiet frame rate for web delivery. It seems 30p is more the standard. Are there any integrated web players that would play 60fps? Can you get 60fps video on YouTube/Vimeo? If yes to any of these questions, can they do 720p and 1080p at 60fps?
Those are all my questions. I hope I am clear enough without being overly wordy and hopefully I didn't put too many questions into one post. Thanks in advance for any insight, I really appreciate it.

Did you ever figure out which output worked the best? I have the same original footage; trying to determine the best output settings to make a dvd for tv.
thanks!

Best workflow for slow motion from Canon 7D?

Hey guys,
I am working with a slow motion clip for the first time and I am realizing that there isn't really an easy workflow with this. First of all, the clip was filmed with the Canon 7D, 60 fps. When I put in on the timeline, obviously I get rid of the audio. But then if I slow it down to 50% I get the typical frame blending crappy looking image that FCP gives me EVEN THOUGH the sequence settings are set to playing 30fps. In reality, I thought that when I import the clip in the timeline with those settings the clip would automatically be double-length... Stupid me. It's treating the clip like a normal regular clip and so when I slow it down it does the same thing it does with all clips - a terrible job at slow motion. So basically, at 50% it should be playing every frame and there should be no frame blending but apparently that's not the case.
So.. What's the best way to work with this? I tried putting the clip on a separate sequence and then slowing it down which did a much better job but then I had to export the clip out of FCP and bring it back in as a "new slow motion" clip if I wanted to preserve the effect. What happens if I have more than one clip? Is there a way to do "batch export" on all of them at once and not just one clip at a time? What's the fastest and best way to work with a 60fps clip in FCP and mix it in with the rest of my clips which are 30fps without it looking like crap?
I also just found out about Optical Flow in Motion and that's great but wow... the render time is many many hours for a 5 minute clip... that's crazy. I don't have that kind of time.
So... Please help! Thanks guys!

Step 1: Convert to ProRes. Log and Transfer, MPEG STREAMCLIP, Magic Bullet Grinder...whatever. Make it ProRes.
Step 2: Duplicate the clip if you want to also have it normal speed, because Step 3 is not undoable.
Step 3: Take into Cinema Tools and CONFORM to the frame rate you want. 29.97, 23.98...whatever the rest of the project is. This conform is permanent. It takes seconds, but is undoable. Thus what you did in Step 2.
TUTORIAL!
SMOOTH SLOW MOTION FROM 60P USING CINEMA TOOLS
http://library.creativecow.net/ross_shane/slow-motion_cinema-tools/1

Video import problems from a Sony DSC-HX9V

Hey There
I have a Sony DSC-HX9V which I've owned for several months now, a Intel based MBP and iMovie 11.
Something strange is cooking and I wonder if anyone could let me have some suggestions of how to solve the issue?
In the past both iPhoto and iMovie has had no problems at all recognizing the camera and downloading photos and video files. I've created projects, burnt DVDs all the normal stuff.
This afternoon though a problem has arisen. Although iPhoto is letting me download photos from the camera, iMovie I guess is not "seeing" the camera. I've done exactly what I think I usually do, but this time its not working. When you click on "Import from camera" the window opens up but only the iSight camera is being used. I've clicked the "camera" drop down but again only the iSight camera is an option.
I've made sure all of my software is updated, no problems there, turned the camera off, turned the MBP off and on numerous times, but still it won't see the camera.
I've spent the last few hours trolling through various posts, even tried shooting video in all of the different quality grades available on the camera, just to make sure, but still nothing.
This Sony camera is definitely compatible with iMovie 11, again I've check and as I mentioned before, I've used it several times in the past.
Any suggestions would be warmly received.
David

I found this link helpful, I'm going to change the camera settings to 60i from 60p as on post mentions and will report the results http://forums.dpreview.com/forums/readflat.asp?forum=1009&message=39416949&chang emode=1

Premiere Pro CC 60p to 30i and 50p to 25i

Hi,
When i have 60p footage and i need to burn a dvd, I have to convert 60p to 30i. In export menu I put the settings and the results are not good at all! When I play the new mpeg2dvd file the interlaced frames are like echoing...What should I do? What is wrong in the settings?
Please help me!!!

In Field Options (CS4) has the "Interlace Consecutive Frames".
That is gone from CC since it happens "under the hood" now. I was very glad when that option was removed, so the footage 50p to 25i, always comes out great.
Dont' check "Frame Blending", don't check "Use Previews", don't export to 25p if you want smooth motion in the exported footage.
When you say "...interlaced frames are like echoing...", what do you mean? Do you mean that the video always looks bad or that sometimes frames are repeated and thus the footage looks bad sometimes? Import the exported footage into Premiere Pro CC and place it on a matching timeline and use the arrow keys to move forward, frame by frame. Do you see any repeated frames? There has been a bug since CS5 that causes repeated frames sometimes when going from 50p to 25i or from 60p to 30i. That issue should be fixed in 7.0.1, so make sure to update if you use 7.0.0. (Help > Updates)
- Are you exporting to MPEG2-DVD or do you use any other Exporter in the Export Settings dialog?
- Where are you playing/watching the file, on a burned DVD on a television or the .m2v-file in a media player on the computer?

Why doesn't Final Cut Express reconize my footage from my NX70

I had a Sony MC50 and it would read that footage and I could work with it. I bought a Sony NX70 and it will not read that footage. It is the same type file AVCHD 1080/60i FX! From what I see there is no defferance in footage. Only thing I changed was camera.

Ok so what your saying for what ever reason when converting the footage inside the camera it's not getting done right?
I'm saying that based on the specs, the camera is probably working as designed but perhaps in the internal conversion from 60p to 60i the data being output cannot be recognized by FCE. Not because it's being done wrong, but because there may be some leftover data embedded in the output that causes FCE to think it's not getting pure unadulterated 60i data. FCP and FCP-X are much more 'forgiving' about this than FCE is, probably because FCP and FCP-X support 60p AND 60i whereas FCE only supports 60i.
As I said before, call Sony tech support to inquire about NX70's handling of it's native 60p recording vs. its output at 60i. I'm just suspicious that is where the problem lies in FCE's inability to recognize the footage. It's more likely to be a design issue than a specific problem with just your NX70 but more research will be necessary. The fact that your friends can capture from the NX70 with FCP indicates the camera is functioning properly.

Some questions about the Panasonic TM700 1080 60p mode.

Hey folks,
I've been using the Panasonic tm700 with FCP 7 and it's great for my purposes.
I have been converting my 1080 60p footage with Voltaic and it generally works pretty great for slow motion stuff.
My questions are :
1. Since the camera doesn't offer a 30p mode, would I get a higher quality image from shooting in the 60p mode and converting it to 30p or shooting in 60i and deinterlacing the footage?
2. Voltaic or Aunsoft? Which is the better converter for 1080 60p to Pro Res?
thanks!
alec
Message was edited by: smotherparty

1. You will get perfect 30p from 60p (just edit into a 30p timeline and FCP will drop other frame). Don't deinterlace 60i as a means to make 30p unless you have no other option.
2. I have never used Voltaic or Aunsoft ... if I had to choose between the two I think I'd probably want to use Voltaic just because Aunsoft (as a brand name) has little exposure / credibility in the pro market. If I could choose for myself tho I'd probably be using neither of those two, I'd be trying Divergent Media's ClipWrap instead.
http://www.divergentmedia.com/clipwrap

Adobe Premiere Elements 10 not working on both my Computer

I just bought Adobe Premiere Elements 10 to use with my Sony Handycam HDR-XR160 but it just dont work
I first try to install on my PC: Intel Quad Q6600 with 8 Gig of Ram and a 500 Go WD Black Edition and a GeForce 9800 GT with 1 Gig of Video Memory .... really jerky video editing interface and the play back is really bad a lot of pixellization all over and also really realy jerky
then I tried with My Mac Pro 2008 2XQuad Core Xeon 10 Gig of Ram 2 x 1TB WD Black Edition (Scratch Folder on second HD) and a ATI Radeon HD 3870 same problem but now the video play back just stop every 5 seconde it s also hard just to drag the video in the time line at the botom of the screen
This is computer I use for My Recording Studio and it's working like a DREAM. I did the same manipulation with other program like IMovie and so on with NO PROBLEM AT ALL .... and the interface was responsive unlike Premiere
I bought your programe thinking I was going for a upgrade from what I was using before and now I can't take it back cause the box is open so please tell me you have a fix or someting cause at the moment ... i'm really not to impress
Thanks for the help

Hello Steve
Thanks for a your help
I still have the same problem I did change the recording from 60p to 60i but the video are still jerky , I know i'm probably the one who's got the problems but I just don't see it !!!
This is the setting I have on my Camera:       Image Quality/Size
                                                                  Image Quality = HD
                                                                  Frame Rate = 60i
                                                                  Recording mode = High Quality FH
                                                                  x.v.Color = On
                                                                 Connection
                                                                 TV Type = 16:9
                                                                 Component = 1080p/480i
                                                                 HDMI Resolution = Auto
                                                                 CTRL FOR HDMI = On
From thoes Info can you tell me what's the Best Preset in Premiere or if someone is using premiere with a Sony Handycam HDR-XR160 can you tell me your exact settings for both the Cam and Premiere
Thanks

720p60 3:2 Pulldown to 720p24 in Final Cut?

We shot a feature film with a Panasonic Varicam at 24p and captured directly to a computer via HD-SDI through a BlackMagic Design Decklink HD Extreme using Apple's ProRes codec (looks fantastic by the way... for those interested there is definitely a visual difference between DVCProHD and ProRes when capturing from an uncompressed source). The transport mechanism was 720p60 because that's what the Varicam outputs, and Final Cut's capture doesn't pay any attention to the HD-SDI meta-data (if any exists) so the pulldown frames were not removed in the capture process.
So, now I have all of this 60p footage that has superfluous frames added in the 3:2 pulldown process of the camera. When we edit these clips within Final Cut in a 24fps timeline, about a fifth of our clips play back stuttered as they are dropping, or more accurately doubling, every other frame and ignoring those in-between. I've figured out the reason for this is because Final Cut has no clue what frame of the 3:2 sequence each clip begins with and thus thinks each clip begins on an A1 frame. In 4 out of 5 frame sequences, this is fine, as shown here:
Normal telecine sequence:
AAA BB CCC DD EEE FF…
Edit starts on first frame:
AAABBCCCDDEEEFF
ABCDEF
Edit starts on second frame:
AABBCCCDDEEEFF
ABCDEF
Edit starts on third frame:
ABBCCCDDEEEFF
ACCEE
Edit starts on fourth frame:
BBCCCDDEEEFFG
BCDEFG
Edit starts on fifth frame:
BCCCDDEEEFFGGG
BCDEFG
As such, we see a stuttering issue (which appears as 12fps... every other frame is ignored of the original footage) on all clips that begin with the 3rd A-frame because Final Cut reverses this pulldown automatically but assumes that the beginning of the clip is at the beginning of the sequence every time, when it's not. I had hoped that I could somehow change the starting pulldown frame within Final Cut but see no way to do this. Cinema Tools doesn't have any good tools for working with 60p original content, so I'm stuck here.
I downloaded and installed the Nattress Standards Conversion filters and have experimented with them but have not been successful at eradicating this problem entirely. It seems its conversion from 60p to 24p assumes 60 unique frames, not a 3:2 pulldown clip. This coupled with the fact that Final Cut has some flakiness with its handling of the pulldown in general leaves me seeking the best strategy for handling this from wise council, which I would absolutely this forum to be.
Thanks for any help in advance!

Alex, thanks for your help. I didn't notice one of the FCP settings for my camera had been changed. Funny how working at 2:45 a.m. can sneak up on your brain.
Thanks again & take care!

Video recording format question ...

I'm sanity checking how I record video for 2013. I have no issues buying a new camera if recommended. In this case I'm referring to recording "home movies" - a kid's birthday party, spring break trip, band concert, etc. My intended target is to watch on a big screen TV via Blu-ray disc, streaming to a PS3, occassional playback on a computer. My current consumer camcorder records in 1080/60p, 1080/60i, and 1080/24p. I have seen other consumer camcorders offering 1080/30p.
I will also have some footage shot on a Droid phone in 1080/30p, although that amount of video will be minor in comparison; I just mention in case of minor influence on an opinion. And by "streaming" on my PS3 I mean playback of a compatible format file via a DLNA server without transcoding on the fly. Presently the PS3 can play all the formats as far as I know. I've been shooting in 1080/60i.
What recording format would you recommend?

Even though it's not a supported bluray format, I'd record at 60p. Converting from 60p to 60i is a really easy process, each field has more data than it needs as a full frame is recorded for each one, so there is no quality lost, and having that extra data gives you a lot more options if you want to do slow mo shots.
The reason some cameras are recording at 30p even though it's not part of the bluray spec is that a 60i signal made from a 30p source is effectively 30p. It just plays each frame twice as fields, rather than two different fields as would happen with an interlaced clip.

Re: Can you import 1080 60P material in Elements 11, as an example from a Panasonic HDC-TM900 camcorder?

It is not about a slow computer (míne is new and fast) or an apple computer (I use windows 8) but it's about video quality and editing usability. Down under are the specifications of my camera, you can see the panasonic has different options and the MOV 50p had better quality (because of the higher bitrate), it is easier to use then the highly compressed AVCHD with video editing and I can use it also on a MAC (if I would like to). That is because I use MOV (and professionals like it too). So I need a MOV 50P setting and nog the AVCHD setting (I already installed the AVCHD setting as described above). It is true the panasocic is new and it is not very common in the consumer market to use MOV (most camcorders use AVCHD indead) and most DSLR don't have the 50p resolution yet it is still rare these days.
I hope there is anybody with a solution (I wish someone good give me a MOV 50p setting for PE11 and I'm happy!)
these are the video specifications of the Panasonic GH3
MOV (H.264) resolution, frame and bit rates
• 1920x1080 (60p/50p): 50Mbps
• 1920x1080 (30p/25p): 50Mbps (IPB), 72Mbps (All-I)
• 1920x1080 (24p): 50Mbps (IPB), 72Mbps (All-I)
• 1280x720 (60p/50p): 50Mbps (IPB), 72Mbps (All-I)
• 640x480 (24p): 10Mbps
MP4 (H.264) resolution, frame and bit rates
• 1920x1080 (24p): 50Mbps
• 1920x1080 (30p/25p): 20Mbps
• 1280x720 (30p/25p): 10Mbps
• 640x480 (30p/25p): 4Mbps
AVCHD resolution, frame and bit rates
• 1920x1080 (60p/50p): 28Mbps
• 1920x1080 (60i/50i): 24/17/13Mbps
• 1920x1080 (24p): 24/17Mbps
• 1280x720 (60p/50p): 17/13Mbps
Audio
44.1kHz Mono (Internal Mic), Linear PCM
File Formats
MOV, MP4, AVCHD
I will continue at a new discussions (because originally it's about panasonic 60p and that is indeed AVCHD like most camcorders and that solutions works):
http://forums.adobe.com/thread/1169776

One of the beauties of Non Linear Editors is that at final output rendering, it goes to the source. It is not rendered twice.
The single most confusing subject I've run into trying to learn editing is how this works. Here is what I think happens.
First, you have to have a project setting that accepts your source files so that you can work in real time preview with smoothness. The computer is doing "real time project rendering" for preview. So, if Ann's suggestion works during the editing process, you're fine. In other words, you may not NEED an exact match between your source footage and your project preset. Let PrE pick the best it can when you slide the first clip to the timeline.
Second, when it is time to make your final product(s), you set the "output render" or "transcode" setting in the Share+Publish area. You might need something optimized for YouTube, an iPhone or Hollywood. The editing software then looks at what you have been doing in real time, goes to all the markers and transitions you have set and makes an entirely new file, the "video", by reading from your 50Mbps source files.
Somewhere here there is a long post from an Adobe tech who tried to explain it to me. He emphasized that there was some relationship between the project setting and the output files, but the most important part was the output settings.
In the Share+Publish section there are a lot of presets. For some you can change the frame rate and bit rate. You should find something pretty close.
Your GH3 is so new, I've read little about it. A 50 Mbps rate is twice what we've had at the consumer level for the last few years. Have fun with that camera!
Bill

I can not import 60p files from Sony NEX-FS100U to Final Cut Pro X.

I can not import 60p files from my Sony NEX-FS100U to Final Cut Pro 10.0.1. Does Sony offer a plug in?

I shoot fishing footage of big catches. Slow motion playback appears to me to be much better when shot it 60p even compared to 60i. It also blows away all of the other formats for a "still" grab. Thank you for your help as I did a search and downloaded Clip Wrap which converted the files to .mov and they actually do import the full 60 frames. Thank you again for your reply.

How long does it usually take to get added raw support (nex5n)? i pretty much just use aperture 3 and love it but why does lightroom from adobe seem to get raw support faster than Apple's Aperture 3. Also FCPX lacks v Adobe on 60p.

How long does it usually take to get raw support for Aperture 3? Is it slowed by Apple or camera company. I only ask because Lightroom has support for nex5n raw but Aperture 3 does not. Also direct import into Adobe premiere and ability to edit in 60p. However, support for 60 p not as easily worked with in FCPX. I am just surprised Apple does not keep pace with these type of updates that Adobe does. Don't get me wrong I love and use Apple software when I can but I wish Apple was ahead of adobe in getting this support. I guess more of a vent than a question.

Yes, more of a vent.
FWIW I agree.
Camera companies keep RAW specs confidential so firms like Apple and Adobe have to (sort of) reverse-engineer to develop RAW converters for each new camera. The good news is to my eyes/brain Apple usually does a slightly better job at it than Adobe does. The best RAW conversions (logically) come from the camera manufacturers.
Apple gives up market share with slow support for new cameras. IMO really DUMB. It has at least been improving...
-Allen

833x480 from 60p

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