Canon-HV20 Workflow with FCP 5.1.4

hi, I've been having all the same problems with pulldown that everyone else seems to have with the HV20 only problem is, I have 5.1.4, and I cannot find any help with this version, just my luck I have the version no one else has, ANY help would be greatly appreciated, I just need a way to capture and not have the terrible pulldown, thanks.

Cinema Tools can remove the 3:2 pulldown but its a bit of fussing around. You first have to convert the imported video to Apple Intermediate Codec (AIC). Then you have to manual figure out the cadence for each clip in Cinema Tools and do the reverse telecine.
There used to be some tutorials on the HV20 forums here: http://dvinfo.net/conf/forumdisplay.php?f=139 but I haven't looked at them lately.

Similar Messages

Tapeless workflow with FCP 5 and Canon XL H1

Is it possible to establish a tapeless workflow with FCP 5 and a Canon XL H1 shooting in HD mode?
We have to shoot many days of lectures and want to skip the import of the footage. The firestore FS-C can only record up to 7.5 hours in HD but we don't have the time to empty it overnight so it can be available the next day...
We can connect a couple of 500 GB lacie to a 17" Macbook Pro and wanted to use FCP to live capture from the camera. Is that possible?
Or did anyone try to do that with the Canon Console software (windows only) and then import its stream in FCP?
Thanks

No time to unload a drive when you have all night? Why would that be? Isn't this just a big drag and drop? Can't let it start and go to dinner?
If you shoot HDV you should also record it to tape becuase disk drives can fail etc during the shoot.
You can capture live from the camera's FW port but again I'd shoot tape as well... use capture now but also use the device control that works with that camera to get the TC thru too. (probably FW HDV basic)
The camera also has an uncompressed output but that would take a capture card and fast disk array (faster than FW for sure) to capture the uncompressed HD.
Jerry

Workflow with FCP 7 advice

Hi,
So I have really struggled with embracing FCP X. Though each update seems to make things a little bit better, I really still just dispise the whole layout of X and despite the background rendering, it seems unbelievably slow on my setup compared to FCP 7. I am running 10.6.8 on a quad core with 16Gb Ram and SSD.
Basically I have only been using FCP X for video and audio enhancements and corrections. The color correction and audio correction options specifically seem to give a lot better results in many cases. That being said, currently what I have been doing is importing my footage into X, correct or affect what I need and then export back out as ProRes to use in FCP 7.
My question is whether or not anyone can recommend a good workflow.
So for example, I have my footage organized as follows:
Backup HDD -> Project Name -> Camera 1, Camera 2, B-Roll
I normally import footage (but not copy) to default Event/Project. After corrections on a per clip basis, I create a new folder in "Project Name" as "Corrected" and then subdivide as needed. So I do still end up with duplicates, one original set and then the corrected set. This takes up a lot of space but allows me to redo anything necessary off the original files. The other issue is that I need to do this per clip on the timeline, export then delete and start over, rinse and repeat.
Can anyone suggest a better, faster way to achieve mass corrections on the clips using FCP X for use back into FCP 7? Or is this how others are working with both FCP 7 and X?

Yes, I am aware that they are not designed to integrate per se. But just like using After Effects or Motion in conjunction with FCP, there are many ways to accomplish things for the best output of the final project.
For example, I am working on a Sin City type effect for a video. This is super easy to achieve in FCP X and the results look better, but it is a bit more involved to do in FCP 7. So this is why I am color correcting in FCP X, but I much prefer editing in FCP 7. I know most of the hot keys are same, but the entire GUI layout of FCP X and how clips attach to each other and this whole storyline thing is very unintuitive and foreign to me. Hence my continued use of FCP 7.

Will canon hv20 work with imovie4?

I am considering buying the canon hv20 but want to know if it will work with imovie 4. can any one please help. if it wont, does anyone have any suggestions for a video camera in the same price range that will?
many thanks

carlov wrote:
I am considering buying the canon hv20 but want to know if it will work with imovie 4. ...
yes and no
iM vers4 does NOT support HiDef quality as the hv20 delivers...
allthough, afaik, the Canon is able to output HD (HiDef) in SD (standard) ... that should work with iM..
check your set-up with the specs of iLife8 http://www.apple.com/ilife/systemrequirements.html ..
invest 80$, and you get iM08 AND iMHD6 (HD stands for HiDef)
or eBay for a iMHD5 version of iMovie ...

Canon HV20 Compatibility with Final Cut Express

I cannot get the latest version of Final Cut Express to work with my new Canon HV20 video camera. I can get the video into iMovie 08, but nothing I try can get Final Cut Express to recognize the camera. I cannot import the imovie file either. It gives me an error. I can drag the video from the Hard Disk to Final Cut Express to import it, but that is cumbersome.

Start here:
http://www.fcpbook.com/Video10.html
Then come back and do this:
Please give your full system specifications, what computer, what drives, what camera or deck, how everything's connected, what settings are on the media, what settings you're using in FCE, and finally what version of the software, of the OS, and of QT are you using?

Anyone ever use a Canon XH A1 with FCP 5.1.4? I cannot capture at present.

I tried to start a new project with different setting for SD, and all the settings I originally had for my HD project changed, now I cannot capture anymore. It took me a while to configure all the settings for HD with the 2:3:3:3 pulldown, but now I'm just plain confused. Anyone know a solution?

I shot in HD in the 24F mode on a Canon XH A1. I've been capturing fine, but now the camera is not recognized ever since I created a new project with different settings.I created those project settings thinking they would only apply to that project (an SD one), and now I cannot figure out the steps to get back to where I was. This is what I wrote down to for my "In System Settings" that worked:
Video Quality: Dynamic
Frame Rate: Full
Pulldown Pattern: 2:3:3:2
Frame Offset: 4
Record (Full Quality).
Easy Setup - HDV-1080i60
Then I set my compressor for HDV 1080p24.
Now this simply doesn't work and I cannot capture.
Is there a way to revert back to my old settings before I created a different project?
Very confused why I cannot recognize my camera.

HDV long format workflow with FCP

I think this is a fairly simple question, but I'm having a hard time getting an answer.
Can you take footage from a Sony Z1 (HDV) camera (or ANY HDV camera) and load it into FCP at low-res (say, Photo-Jpeg or the like), edit it, and then recapture at full HDV using the master tapes in batch capture?
I'll be working on a long-form documentary with many hours of footage, and would like to work in the lowest res possible...
I've also heard there may be issues with HDV timecode being accurate enough for re-capture.
Thanks for your help.
-Rob

Hi Shane. thanks. Yes i do know that HDV takes up same amount of space as DV. If it were a DV documentary with 700 hours of footage, I'd still want to edit in OFFLINE RT and then upres at end.
I guess the big question is... If you downconvert the HDV to DV through firewire, then does that mean you can capture at OFFLINE RT and still retain a decent timecode to RE-capture at full HDV when the edit is complete?
I don't have the HDV camera yet, as I'm still trying to figure out the best way to do this thing.
Best,
Rob

Canon 5Dii workflow with premier

i need help: i shoot with 5DII and i used adobe premiere CS5, project setting was 1080 25p, why the footage after export looks funny,? is not smooth at all like my sony EX1 or some other video in vimeo that been filmed with 5D? do i need to do something like scale or reduce the size or change the format? could you let me know what setting do i have to use to get better project and export.
some says use MPEG streamclip to:
1) reduce the size and change to different format like Apple ProRes 422 HG
2) some other says to change to apple XDCAM HD 1080 30p
3) and some one told me about Native format, is it the 24P?
i really need help as i am getting fed up with my footage. i need to know from scrach to open new project for this kind of file or what format shall i change?
many thanks guys.

why the footage after export looks funny,?
You'll need to explain this better. Funny how?
do i need to do something like scale or reduce the size or change the format? could you let me know what setting do i have to use to get better project and export.
You don't have to do anything out of the ordinary: import, drop it in a sequence, and edit. No converting is necessary. If you don't know the parameters of your footage, drop a clip on the New Item button at the bottom of the Project Panel. You'll get a sequence that matches your footage.
What codec and settings you're using to export is important, though. That's less automatic, so you need to choose the parameters (or at least a preset) carefully to ensure the best--or most appropriate--output.

HVX200a workflow to FCP?

Hello FCP Gurus,
Going to work with the HVX200a and MXF files for the very first time. This is a low/no budget comedy project with industry professionals donating their time (I've been running Inferno the last 5 years and dusting off the editing chops). Hoping to wrap my head around the workflow BEFORE the shoot. Here's some questions:
1) Shooting with HVX200a using two p2 cards dumping one while shooting with the other. I'm hoping this PCMCIA to Express slot converter works? *I have a MacBook Pro Intel Core 2 Duo from 2008. Can anyone confirm this?*
http://www.duel-systemsadapters.com/?productid=DP-0001
2) After each P2 card is full, will be dumping the shot folder plus .txt file from P2 card to duplicate reel folders on two drives, GRAID FW800 for editing, LaCie FW400 for backup. *Does this drive scenario make sense?*
3) From the GRAID FW800 Drive intend to play with footage on set a bit in FCP. From the demos I've seen (Thanks Shane Ross Creative Cow) it seems I'll need FCP 6 and will use the log and capture feature to pulled in desired footage. *Does this import create duplicate files, AKA Quicktimes taking more space, inside my designated capture Scratch FCP folder?*
4) I like the idea of logging Metadata into the original source clips so they can be used on any system FCP/Avid/Inferno and the notes will stay with source MXF files. *Is there a way to do this without buying an expensive program like MXF4Mac and copying this data to our backup folders on our FW400?*
5) Once all the footage is in the can and duplicated we will be logging (hopefully on original desktop clip) and pulling footage into a FCP system on a new MacPro. The editing will move back and forth between that system and my MacBook Pro so we intend to keep all the project files and renders on our GRAID FW800 constantly backing up onto the LaCie FW400. *Any feedback on this work flow?*
6) Finally I will be shooting shooting additional footage with my Canon 7D 1080p 24fps native H.264 and the HVX200a will be shooting 720p DVCPro 24fps native. The HVX is the main camera so was planning on converting the 7D footage to 720p DVCPro 24fps native and working with a 720p DVCPro 24fps native timeline. *Is this the best way to combine the two formats and maintain the best end quality?*
Thank you in advance for any suggestions and ideas!!!!
Michael AKA Tangelope
Visual Effects Artist and Editor

First and foremost...watch this tutorial:
P2 Workflow with FCP 6
1) Yes, the Duel is what you need. WARNING! Not compatible with SNOW LEOPARD. No fix in the works either. So I hope you are running Leopard.
2) After each P2 card is full, will be dumping the shot folder plus .txt file from P2 card to duplicate reel folders on two drives, GRAID FW800 for editing, LaCie FW400 for backup. Does this drive scenario make sense?
Yes... BUT, FCP doesn't edit MXF natively. So you will have to store the masters on the LaCie, and import them onto the G-RAID. Watch the tutorial.
Does this import create duplicate files, AKA Quicktimes taking more space, inside my designated capture Scratch FCP folder?
DUPLICATES? INSIDE the capture scratch? No...it puts ONE copy there. BUT, it does take the MXF files and wrap them into QT. SO if you have the MXF on the same drive as the imported footage, then yes, you are doubling the footage. If you'd like, you can get MXF4MAC or P2 Flow and edit the MXF files natively. That workflow is slicker than snot. And with P2 Flow, you can view the footage, and edit or add any metadata you want. And then either work with that natively in FCP, or export a batch list that FCP can import and wrap as QT, carrying over all the metadata you need.
Tellin' you, slick.
4) I like the idea of logging Metadata into the original source clips so they can be used on any system FCP/Avid/Inferno and the notes will stay with source MXF files. Is there a way to do this without buying an expensive program like MXF4Mac and copying this data to our backup folders on our FW400?
Ahhh...this is what I get for not reading the WHOLE POST first.
MXF4Mac, P2 Flow, HD Log...those are what you need. Sorry, nothing cheaper. CAlibrated only reads what you have, as does Raylight. Only those options allow you to modify.
Any feedback on this work flow?
Uh...yeah. Don't do it. You are telling me that the Lacie AND the G-Raid are where you will store your master P2 card dumps, AND where you will store the media. This is MAJOR MAJOR NO NO! If you lose a drive, which happens, then you are FUBAR...SOL. You need to offload the clips onto an ARCHIVE DRIVE....then import onto a MEDIA drive. Then you can clone the media drive and have two with the same file structure and name to go back and forth. The only issue will be RENDER FILES and any new media you add.
6) Finally I will be shooting shooting additional footage with my Canon 7D 1080p 24fps native H.264 and the HVX200a will be shooting 720p DVCPro 24fps native. The HVX is the main camera so was planning on converting the 7D footage to 720p DVCPro 24fps native and working with a 720p DVCPro 24fps native timeline. Is this the best way to combine the two formats and maintain the best end quality?
Know that 24fps NATIVE on the HVX-200 is 23.98, and the 24fps on the Canon 7D...that shoots 24fps? not 30fps? Really? IF it shoots 24fps, then it might be like the Canon 5D that shot 30fps, not 29.97 that is video standard, but 30fps. If the 7D shoots video (I didn't think it even did that, I thought only the 5D did), then you need to convert the footage to DVCPRO HD 720p 23.98 to match your other footage. Use Compressor.
Watch that tutorial. Back up your P2. Those are your MASTER TAPES. Don't mess around and go cheap. This is not the time to do it.
Shane

Canon 7D Workflow

Hi Everyone,
I've recently downloaded the EOS plug in for FCP 7 and would like to know the following:
What ProRes setting will I use on the 'log and transfer' window?
What will I need to set the 'Easy Set Up' window to?
Anything further would be helpful. Lastly I'm mainly using the 720P 50fps setting on my 7D.
Many thanks!

Hello!
Welcome to the forums. The short answer to your question is that you'd need to select ProRes LT as your import codec, then select a ProRes LT easy setup.
We get a lot of similar questions here everyday. Take a look through this quick search link, and you'll find a wealth of information regarding the Canon Workflow with FCP.
http://discussions.apple.com/search.jspa?threadID=&q=canon+7d&objID=c123&dateRan ge=last90days&userID=&numResults=15&rankBy=10001

Canon HV20 24P HDV workflow, Some things with FCP and Quicktime are ODD.

Canon HV20, 24P, HDV, CMOS sensor...
First, I do hope and pray that the FCP dudes are making this work native at HDV 24p -- great!
But until then, there's a workflow (see below) and a real oddity I can't figure out, and if anyone has any thoughts about it that would be great.
Sometimes, the image captured/shown/exported is a lighter picture, and other capture/playing/export methods are darker picture. Example: the captured 60i from Final Cut Pro has a light gamma picture when viewed in Quicktime Player.
But playback in Final Cut Pro appears darker, and rich. But then exporting it out turns it light again, but export out to a MPEG-2 DVD is darker again? ODD.
Can anyone explain the FCP capture size of 1888 x 1062?
Anyhow, here is some workflow success that I had.
Capturing in Final Cut Pro using the HDV 1080/60i setting with HDV firewire basic NDF. But 60i is evil. So that's not enough. Got to get it to 24P,since that allows 20% more bandwidth, space, faster renders, and DVD players can play it.
Transcoding to a regular editing codec before converting to 24P is required. I found that MPEG Streamclip would create a wierd, jagged edges on small moving figures with high contrast, no matter what the settings, so I refuse to use it to export the footage.
So instead, FCP has an additional capture option of "Apple Intermediate Codec" or something like that, which transcribes it on the fly to AIC. I always stayed away from AIC like the plague, but they must have spent some time with it because it's nearly identical to the HDV original.
Next, open up in Quicktime Player, and start the clip on that second P frame. Sounds odd, I know. Goto the first interlaced frame, and back up two frames. Mark the "I", and then move that Out marker to the end, and then Trim the clip to the selection. Do that with all the clips, and then you can batch 24P them all.
If you don't want to find that one frame each time, here are the other settings:
First, open up the clip inside cinema tools, and then select Rev. Telecine button.
Find out which of these your clip is doing at the very beginning:
p-p-i-i-p - aa
p-i-i-p-p - bb
i-p-p-p-i - bc
p-p-p-i-i - cd
i-i-p-p-p - this is no good. must remove at least one frame from the beginning of source file
i = interlaced frame
p = progressive frame
all settings use the F1-F2, style one, standard upper/lower

Sometimes, the image captured/shown/exported is a lighter picture, and other capture/playing/export methods are darker picture. Example: the captured 60i from Final Cut Pro has a light gamma picture when viewed in Quicktime Player.
But playback in Final Cut Pro appears darker, and rich. But then exporting it out turns it light again, but export out to a MPEG-2 DVD is darker again? ODD.
This is known. This happens with ANY footage you look at in FCP and QT player. QT lightens the gamma of the footage. Why? Something to do with adjusting the image for computer monitors.
Shane

Canon HV20 with 24p

I have FCP ver 5.0.4, and am trying to edit a 24p sequence shot with a Canon HV20. I have gone through and done the reverse telecine with my clip, and successfully gotten my 1080i60 clip off the tape and it's now 1080-24p. In my sequence settings I changed the frame rate to 24. But my clip still shows it needs rendering when I put it in the timeline.
Do I need to upgrade my version of FCP to do this properly to 5.1.x? Why does it still need to render my 24p clip in my 24p sequence?
Thanks

the 24p mode on ur camera isn't true 24p so that's why final cut doesn't like it in a real 24p sequence. try dropping it in a 60i sequence, because that is technically what your stuff is. footage from mini dv tapes should go into a 60i sequence. even though you shot it 24p and it LOOKS 24p....it's still 60i respectively.
Message was edited by: bkvideography

24p or 25p With Canon HV20?

A number of people on this forum have written about shooting 24p with the Canon HV20 and I have also read independent reviews about it.
So why does my HV20 only have 25p in the menus and manual ?
Is it because mine is PAL and the others are NTSC ?
Will 25p be superior to 24p ?
Also how do you deal with it when using FCE/FCP ? Do you treat it exactly as you would 1080i50 HDV and use the same Easy Setups etc.?
Actually it is not called "25p" but "HDV(PF25)"
Message was edited by: Ian R. Brown

I think it's like most things, you can _Crash and Burn_ or _Crash and Learn._
Jump in and try everything.
Thankfully we use PAL and _Not The Same Colour_ twice.
What's (PF25) stand for? 25 Progressive Frames??
BTW: I doubt if your camera will or Mac will catch fire under normal test conditions.
Al

Using the Canon FS11 with FCP

Hi everyone
I'm helping someone who is using the FS11 camera (http://www.usa.canon.com/consumer/co...&modelid=16183), which records in MPEG2 .mod files.
Not much info online, and it doesn't seem to be compatible with FCP Log and Transfer, and its also USB. (although strangely enough the camera can be purchased through Apple sites in come countries).
We've been using MPEG streamclip to convert the files to Quicktime at the moment. But it's rather labour intensive, and I'm not convinced that MPEG SteamClip is doing the best compression.
Any thoughts on this? Has anyone created a workflow for this camera? Once I figure it out I might post one as it seems quite a few people are using it.
Thanks community!

I had to look up what an XM1 is and found out it is a PAL GL-1. I have the GL-1 (NTSC) and have never had a problem loading it into iMovie.

Import HD video with my Canon HV20

Hi, I have a Canon HV20 which is a High Def camera. I bought a firecable at the Apple Store, but now I'm trying to import it into Final Cut. I used the Log and Capture, then went and imported it as HV NTSC 48 Khz. When I burn it with DVD Studio Pro it doesn't look like it is HD. So what is a correct preset that Final Cut will recognize it because when I select like one of the DVDPRO options he won't recognize it. Thank you and much obliged for any help.

Thanks for your reply. I still can't find it in the list, attached is a screen shot. Thank you for your help!
Message was edited by: EBechStein

Canon-HV20 Workflow with FCP 5.1.4

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