BITC Timecode in Final Cut Pro 4.5

Does anyone know how to create burnt in timecode to a rough cut edit to show my clients. I am sure this is straight forward. Please help!!!
Dual 2.0 G5 Mac OS X (10.3.9)

Effects > Video Filters > Video > Timecode Reader
this is pretty basic. first, in the viewer, set it up to display as you need it, then select all in the timeline and apply drop it on. it will display source clip timecode but not source clip reel number
if you want it to show timeline timecode then nest your sequence first and then apply the filter to the nest

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Auxiliary timecode and Final Cut Pro

Is is just me or is there anyone else out there who can't seem to make and/or figure out how to make the Aux timecode in FCP work properly? I've been using Aux TC in Avid for years.. music videos, syncing multicam shoots when the timecode isn't jammed... and it works flawlessly in Avid. But in FCP it just never seems to work right. It won't take the assignments I give it, it changes sporadically..... and other frustrating things. Aux timecode is not discussed much on the forum so I'm starting a topic.
Any thoughts??

Patrick..
Yes, I agree 100% with what you said in your article. I already know exactly what you said in your reply. I mentioned it in an Avid vs. FCP article I wrote over on my blog at http://myeditblog.blogspot.com/2006/02/avid-vs-final-cut-pro-my-take.html
I have posted this message on several FCP board to try and open a dialog about how bad the Aux TC implementation is. My hope would be that Apple would read it and make it work properly.
Besides music videos, I often use Aux TC on multicam shoots when the operator starts and stops or the cameras weren't synced. The fact that Aux TC cannot be implemented on a per subclip level make it (in my opinion) pretty useless. If you look at my blog article, right after the Aux TC paragraph I talk about the matchframing limitations which echos what you mentioned in your ProAppTips article. While FCP is a great piece of software (I've been using it since v.1) there are a number of little workflow issues that Avid has implemented way better. I would love to see an upgrade that fixes these things that would make me work faster and more efficiently and not just give me smoking fonts. And yes... I have submitted these as "enhancement requests."
Thanks for the response. I wish more people would join in on the Aux TC discussion.
G5 dual 2.7 Mac OS X (10.4.2)

How do I adjust BITC rates in Final cut Pro

I have a client who i am doing sound design for on his short film. I received an m4v in 23.98 with the dialog track embedded. I performed my dialog edit and exported a BWF from Digital performer which all synced perfectly here. He in turn dropped the new dialog track into FCP and sync wanders and gets worse as the film plays on. he is in 23.98, 16/48K audio and all should be the same there as here.
Help?
Also, I had a client say he once had to adjust the samples by key frames in FCP to make sure sync stayed consistant throughout the film. Any one else heard of this?
Thanks in advance.

Hey Shane-
I've been using Digital performer combined with FCP, AVID and Premiere for a number of years and nary an issue. And yes, i am running everything to match his timeline. 23.98 and 16/48K.
I ran into an issue one time before though on a 2 1/2 hour feature that sync began to wander toward the end of the film. The editor adjusted the samples so it was actually running at 47.23256K instead of a solid 48K word rate. Not sure how he did this, jsut wondered if this might be the issue here. he is running all on a Mac and FCP 6.06.
The film is on 65 minutes so not sure where the sync problem could occur. He's doing some troubleshooting on his end. And please understand this is the director, not the editor I'm dealing with. Could very well be operator error .

Final Cut Pro Timecode breaks like iMovie

I'm wondering if there is a way to have final cut pro automatically slpit clips based on the timecode like iMovie does when importing. I have always imported into iMovie because that will split all the clips up. After doing that I put the project into final cut but its a pain to render all the audio every time. If there is a 3rd party software that would solve this problem im interested in that as well.

There is a simple application from Squarebox software called LIVE CAPTURE PLUS that will do what you want to. It is ~$50US iirc.
It will capture long sections then, from that larger file, create smaller files based on start/stop data. These are individual media files, not sub-clips.
If you need a more comprehensive media management strategy, they also sell CatDV, a media database application.
http://www.squarebox.co.uk/catdv/catdvpro.html
good luck.
x

Why does my 4:3 miniDV video keep getting captured as 16:9? (Vidi/Final Cut Pro question)

This is partially related to Final Cut Studio, although not necessarily. I've been trying to back up dozens of my miniDV tapes on to my harddrive for several months now, racing against the clock as their video quality starts to degrade. Since Final Cut Pro started giving me problems with the timecode breaks, I started using a capture program called Vidi instead (v0.4.7) Everything was capturing well, considering, until just last week where several of my tapes, which were shot in 4:3, would capture as 16:9. That is, the video files were clearly stretched to a 16:9 aspect ratio and appeared distorted. Today I tried to go back to Final Cut (v6.0.6) to capture it the old way, and, lo and behold, the video was once again being stretched to 16:9.
A few things:
- I'm about as sure as I can be that these tapes were shot in 4:3. I've watched them several times on my TV and they are played back in 4:3, with the black bars on the left and right.
- I had actually captured video previously from one of these tapes a few years back and it recorded as a 4:3 video file, just as it should.
- I definitely have "4:3" checked off in Vidi when I capture the video. What's even more infuriating, is that BOTH Vidi and Final Cut show the video playing in its 4:3 aspect ration during apture. It's only when I check the captured file that it's been stretched to 16:9
- A tape I shot in 2008 captured perfectly with Vidi today - in it's 4:3 format. That seems to imply that it's not a software setting issue.
I'm starting to lose my mind with this, especially since I haven't found a single reference to this problem anywhere else. All I want is to get the raw DV data off of these tapes to work with at a future date, and I'd like it to be exactly as it was originally shot, not distorted. Maybe some bit of code on these tapes got messed up over time, resulting in capture software to think it was shot in 16:9? These tapes aren't anywhere near my oldest ones - they're from 2010 and 2011. Is there something obvious I'm missing when I capture these videos? If there's no other solution, is it possible to squeeze them back to 4:3? It might not look as good as if were captured in it's native format, but I'm out of ideas.

Not sure if it makes any difference for archiving purposes, but dv files (dv streams) are not generally recommended for use in fcp. .mov with the dv codec is how fcp captures SD video via firewire. Someone a few months ago claimed that .dv was fine with fcp, but I seem to remember that audio will always need to be rendered and since I always use fcp for capture of DV material, it's not an issue for me.
You can use compressor to both convert to .mov with the dv codec and reset the anamorphic flag. Not sure if there will be any loss of quality, so it might be worth testing this. Perhaps someone with more knowledge will speak up regarding this or alternative methods of converting .dv to .mov
What problems are you having capturing from within fcp? Shouldn't be a problem. I find that setting the easy setup correctly is crucial for successful capturing. Even if all the individual elements that seem to compose the easy set up are correct, there can still be problems. Perhaps you might want to start a new thread regarding your capture problems and we can see if we can solve the problem.

How Can I do an export that from Final Cut Pro 7 that is specific to these settings?

Hi
I am current trying to export out a movie from Final Cut Pro 7 but the settings that are required are very specific and I was going to try it through compressor as well but I wasn't sure if that would work either.
Here are the settings:
HD:
1 Video CODEC                 XDCAMHD50
2 Wrapper format           QuickTime Self-Contained
3 Bit rate                              50 Mbit/s Constant Bit Rate (CBR)
4 GOP                                   Long GOP
                                             Closed GOP
5 Time code                       Must include embedded time code. Start-timecode: 10:00:00:00
6 Movie version               UK Home Video Version
7 Delivery time                 As per contract. Supplier to specify filename, delivery format and estimated time of arrival via email at least 60 days before                                                           transmission unless otherwise specified in contract. This should be accompanied by an IMDB link.
1 HD video format           720 line progressively scanned (720p) @ 50Hz (25 FPS)
                                          1080 line interlace scanned (1080i) @ 50Hz (25 FPS)
2 Resolution                      1280 x 720
                                           1920 x 1080
3 Aspect ratio                    Content should be 16:9, however 4:3 will be accepted on exception (such as for older movies shot in 4:3)
4 Graphics                           Must be within 16:9 safe graphics area (EBU R95-2000)
5 Chroma format              4:2:2
1 HD audio format           24 bits/sample 48 kHz sampling rate
2 Track layout                    Track 1 – 2.0 Stereo L mono
                                            Track 2 – 2.0 Stereo R mono
                                            Track 3 – L
                                            Track 4 – R
                                            Track 5 – C
                                            Track 6 - Low frequency effects LFE
                                            Track 7 – L Surround
                                            Track 8 – R Surround

First of all, what are your sequence settings? Looks like they want stereo AND dolby 5.1 audio tracks embedded in the quicktime (I've delivered a few films like this). Do you have a surround sound mix?
You will almost always have more options and control in compressor over fcp so that's the way I'd go, but not sure compressor will give you the ability to match these specs.
Do you understand about safe zones for graphics? If not, post back.
I don't see any option to set the GOP in xdcam in compressor. This may be built in to the xdcam format.
I don't see any option for 720 xdcam hd in compressor.
There are many other tools available for this kind of work, but they may be out of your price range. You might want to just find a facility with experience in deliverying this sort of thing.

Help!!! Upgrading to iTunes 10.5 has destroyed all video in Final Cut Pro

After upgrading to iTunes 10.5 all of the video on my external hard drive was shot with a Canon XL-H1 and captured on a Focus Enhancements FS-CF. The files are HDV quicktime movies with the MPEG 2, Linear Timecode codec.
Movie files that are already imported into Final Cut Pro 7 appear as white screens and will not play. Final Cut crashes when I try to re-import them.
When I try to open them with Quicktime 7 I get a message saying "An invalid public movie atom was found in the movie." Quicktime X won't open them either. However, VLC plays them just fine.
I've looked in the codecs folder for Quicktime and the HDV codec is present for playback.
I'm experiencing the same issue on two systems: a brand new 27" iMac and a 17" MacBook Pro. Both are running Snow Leopard.
I was on the phone with Apple for over 4 hours. Ultimately they blamed my camera and hung up.
Dear God, someone please help!

I emailed Focus Enhancements, the manufacturers of the FS-CF flash drive I use to recorde footage from my camera. They're aware of the problem. Here's the email I received:
Currently, there is an issue with Final Cut Pro X, Mac OSX Lion 10.7, the latest version of the Quicktime player (7.7 or any 10.0version and up) and our Quicktime HDV files. We have been working with Apple ona fix for this issue, however, I do not know when the fix will be available.The only workaround we know of at this time is to record in the .m2t fileformat and convert the footage to .mov (Quicktime).
If you are not running Lion and you have Final Cut Pro 6or 7, you may be able to downgrade your Quicktime player so your files willwork. Some of our customers have had success with downgrading their Quicktimeplayer by following the steps listed here: http://www.digitalrebellion.com/blog/posts/using_pacifist_to_downgrade_quicktime .html
If you cannot downgrade using Pacifist, you may need tocontact Apple for further assistance.
I tried the Pacifist route. It didn't work. And in my opinion, recording in .m2t and converting to .mov is a time consuming option, especially if you're on deadline. I'm going to dual boot my machines with Leopard and not upgrade iTunes.
iSkysoft's video converter is the only converter I've found so far that will convert my hdv files. But it pillarboxes the converted video and throws the audio 14 frames out of sync; issues that can be fixed in editing but then everything has to be re-rendered.
As far as Focus Enhancements working with Apple on a fix: don't hold your breath.

Final Cut Pro X. Delete automatic markers/keep manual markers.

Final Cut Pro X. I added markers to my project. I created a DVD by clicking...
Share-DVD-Burn.
When I play the DVD & use my remote to skip, I expected to skip to each spot that I had marked.
However, when I skip using my remote, it skips every 30 seconds.
I read someplace that Final Cut Pro X enters automatic markers every 30 seconds, but I can't find how to prevent this.
How do I prevent or delete the automatic markers and keep the markers I want to have in my project.
Please make you answer very SIMPLE. I'm not really a computer person. I used to use Pennacle Studio 11 and wish I had not switched but it's too late. I have way too much money tied up in this now. HELP!!!

So after many nights of rendering and trying different codecs here's what I've discovered:
Essentially, it's a timecode issue. FCPX is not playing nice with the timecode on the original DV footage.
How did I come to this conclusion?
I took a folder full of clips that were crashing FCPX. These are standard definition DV-NTSC clips in .mov containers.
I took this folder and transcoded to DV again and also converted to ProRes LT using both MPEG Stremclip as well as Compressor. All the footage from MPEG Streamclip worked fine in FCPX but the clips from Compressor kept causing the crashing issue. The difference between the two program is that Compressor retains the timecode of the original footage but MPEG Streamclip throws it away.
I was really hoping to retain the timecode since I have the original FCP7 project that I could reference to easily re-cut everything together. Looks like it's going to take a little more legwork if I want to start editing now. Not sure if this is something that FCPX will fix.

Export markers from Final Cut Pro X to DVD Studio Pro

Hello,
After finding out how to create chapters via markers in Final Cut Pro we wonder how to export these markers to DVD Studio Pro without having to create ourselves a .txt file and writing the names and the times of the markers in it to export it to DVD Studio Pro. Isn't there a way to make this happen automatically?
Unfortunately the new version of Final Cut Pro doesn't have an export to Quick Time Player and this is why this kind of solution falls out and we really need to create the markers first in Final Cut Pro and not directly in DVD Studio.
Is there a solution?
Thank you.

At present, you cannot add chapter markers in FCP X.
If you send the project to Compressor, you can add chapter markers there, or you can add them in DVD SP.
You can add the chapter markers in Compressor or DVD SP manually, or if you create a text file listing the exact timecode positions (from FCP X storyline) where you want the chapter markers to be (each on a new line) Compressor (or DVD SP) will automatically insert the markers when you point it to the text file.
Andy

Onlining p2 footage to dvcpro hd in final cut pro hd

so i'm gearing up to shoot with two cameras: the panasonic hvx900 and the hvx200. trying to figure out a workflow. i want to end up doing two things: using only dvcpro HD masters in the online (which would require transferring the uncompressed P2 files out to tape) and editing the P2 footage, along with the DVCPRO HD footage, at standard def in the timeline. so...
1) do i have to first transfer the P2 footage to the DVCPRO HD tapes and then do a downres capture from that? or is there a way that i could use the timecode from the P2 footage to make it through to the online using a different source (the DVCPRO HD tape) as a master, which would theoretically have the same timecode as the P2 footage?
2) can you even do downres ingesting? or does it have to be a capture? if it's not possible, then it seems like it's not even worth it to try to save time through ingesting.

hmm. the issue is that we are doing a doc and it's going to be huge, size wise, so we'd like to offline edit in standard def. so we can't really do the edit and be done thing. but we're trying to determine whether or not it's possible to capture from one format (P2 card files) and online using a copy of that P2 file with the same timecode transferred to a tape. or whether it's better to just transfer it to the tape first and then capture into the session from that. it could save us time if it were possible to ingest the p2 files in full HD for later transferring to the tapes, as well as converting to standard def for the offline editing. so i guess the big question is, assuming we get the right version of final cut, is it possible to do a downres ingest? and does final cut pro hd not do ingesting? thanks.

Final Cut Pro X export troubles: exports video with only half the audio.

Ever since I updated Final Cut Pro X, I've been having problems exporting. I either get error messages or the audio doesn't fully export. When I tried exporting a master file to my desktop, I got a message saying “error occurred when creating frame” then lists the frame number. Someone suggested copying the project file and pasting it into a new project. I did that, and it exported without the error popping up; but halfway through the video, the audio disappears, and does so in the same spot it disappeared in a previous youtube export before I tried the copy/paste method. I don't have the original footage; I'm making color correction changes to an edit; so I'm not sure if the second half of the video is somehow corrupted, don't know how to check that, and not sure what to do if it is.
Another suggestion given to me was to delete the event my footage is in, then create a new event, re-upload all the footage into that one, and relink my project files to it. He also said don't delete my event and project folder at the same time, which I'm not even sure how you simultaneously delete two things on a laptop. I don't understand how this method would work though, since deleting the event makes my project disappear since it has nothing to link to. I'm scared to try this method since I don't want to lose my work; I really don't want to color correct it all over again.
Is there any way to successfully export the file suitable for youtube posting, or is this a bug in the system they haven't fixed yet?

Just turned off background rendering.
I'm not certain what you mean for specs in a specific point in the video, but here are the specs for the entire edit I initially received:
Dimensions: 1920 X 1080
Codecs: H.264, AAC, Timecode
2 Audio Channels
Total bit rate: 12,083
Size: 951,735,770 bytes (951.7 MB on disk)
Here are the specs for the exported video that has the audio issue:
Dimensions: 1920 X 1080
Codecs: H.264, AAC, Timecode
2 Audio Channels
Total bit rate: 12,274
Size: 966,817,082 bytes (966.8 MB on disk)
The video is 10:28 minutes long and the audio leaves at 5:57.
If that wasn't what you were looking for, just let me know. I'm not very good with technical stuff sometimes so may have misunderstood.
Is there something I should have done to the piece before I began color correcting it, like transcoding?

Final cut pro 6 not able to find movie during launch

hi,
everytime i launch final cut pro 6 it comes up with a message telling me a 'movie file cannot be found' and that 'without this file the movie cannot play properly'
the file is there, it has not been renamed
this happens no matter what project i try and open, even if i just click on the final cut icon in the dock
i've deleted the pref and the obj caches
still no luck - any ideas?!?

Usually you get that kind of error if the file is one you exported not as "self contained", if it is a file that you sent to Motion or STP and some render data was lost, or if the file FCP is trying to reconnect has the same name of the file you captured but not the same data (e.g. no reel name or different reel name, no or different timecode etc...)
Try fcp rescue (http://fcprescue.andersholck.com/) or just recapture your file...

I'm trying to import from an A-to-D converter. Final Cut Pro X won't save my files.

I have a VHS videotape I'm attempting to digitize. The tape is being played on an ordinary VCR, and converted from analogue to digital by a Dazzle* Hollywood DV-Pro conversion box, from where it goes directly into my Mac via FireWire.
Final Cut Pro X recognizes the converter, and displays the video and audio from the VCR. I can attempt a camera import like normal— it asks me into what Event I want to save the captured video, and the import time counter counts up normally. However, once I close the Import window, my imported files have not been saved as Clips! I checked both in FCP and in the Finder— there are no files in the Event I made to store my clips.
Does anyone have any ideas why this could be, and what I can do to try and fix it?

FCP won't work with this device. It requires timecode input when using the tape-based importer, which it isn't getting from the Dazzle.

Which firewire interface for Final Cut Pro on MacPro?

I currently own a Presonus Firepod, and it seems to work pretty well, but may sell this when I upgrade from a MacMini to a MacPro. I use my Mac for Logic Pro currently.
I anticipate running Final Cut Pro in the near future, so I'm wondering about the ability to read/generate SMPTE time code that the MOTU traveller supplies?
There will be no external mixer, so this interface will connect directly to speakers & headphones. (would be nice to be able to mute speakers and control headphone mix using just the firewire interface).
I don't anticipate needing more than 2 Mic inputs - and my current mike is a Rode NT1. (As the NT1 is not a top-of-the-line mic, unsure if I should place a lot of emphasis on worrying about the pre-ams?)
I would like decent mic preamps, and ability to graphically monitor input and output levels (is this graphic monitoring necessary, or is just the single overload indicator sufficient?).
Which interfaces in $600-$1500 range would work best with Final Cut Pro - and Logic Pro?

I saw the Traveller ads in Videography mentioning
time code, so I presumed it had an advantage over
other interfaces.
I found this in some ad copy:
"""The Travler provides on-board SMPTE time code synchronization features that allow you to slave your Traveler system to SMPTE time code without a synchronizer. The Traveler provides a DSP-driven phase-lock engine with sophisticated filtering that provides fast lockup times and sub-frame accuracy. The included MOTU SMPTE Console software provides a complete set of tools to generate SMPTE for striping, regenerating or slaving other devices to the computer."""
So it likely uses an audio port for timecode I/O. However, unless you have external equipment that you want to slave to Logic Pro, (or have Logic slave to) e.g. a timecode DAT, then this really is not necessary. FCP would not see the Travaller as a "controllable" device.
For Final Cut Pro use, I'd probably shoot in HDV.
When shooting a green screen near my computer (or
maybe even on-site), I wondered if there would be an
advantage to recording the audio thru an interface
like the traveller.
The advantage is that you could capture additional mics and audio tracks with your mac while the cameras shoot. Just slate your takes and sync up later.
Do I actually need an interface that provides time
code, or is that only needed for movie work?
I have SMPTE I/O on my Unitor8, directly accessable in Logic Pro. In 8 years I've probably used it twice to capture audio from some modular digital multitracks. So, unless you have some specific need.....
Maybe it is simpler just to connect to the mic
directly to the camera's input?
Indeed. You should always have camera audio available. Anything else is supplemental. Alternatively, you could use the Travaller or RME, etc. as a "live to camera" mixer in a studio situation. Plug your mics into the interface, create a submix and send it to the camera while simultaneously capturing each mic to an individual track in Logic Pro. There are many possibilities.
G5 QuadPPC2.5, Ram:12.5g, Magma PCIe-PCI expansion Mac OS X (10.4.8) 2X Hammerfall DSP Digiface+Multiface, Digi 002r, 4X UAD-1

Question about Final Cut Pro X and miniDV's

Hi,
I'm thinking in buying Final Cut Pro X and use it to import and edit many hours of footage that I have on miniDV's tapes.
I've heard that to work with miniDV's, Final Cut Pro X is not great, especially regarding timecode, etc. True?
Any thoughts and advises? Many thanks!

My experience is if you're shooting SD then you shouldn't have a problem unless you are trying to load a full hour. When I tried that, the computer went crazy and loaded the video as thousands of clips just a few frames long.
That was supposed to be for a multicam shoot. I went back to FCP 7 where I've never had a single problem after at least 80 multicam projects with as many as eight cameras.
I'll have to try it again in FCP X now that there have been two updates since my last try.
I've also used HDV mini DV tapes shot with a Canon HV40. The video looked great in FCP X and I had no problem with clips that were 2-3 minutes long.
I did not load my HDV clips as ProRes in FCP X because, when I did try it, they looked like total crap. I was afraid my finished exported video would also look like that.

BITC Timecode in Final Cut Pro 4.5

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