Cineon DPX Files in FCP 5?

Hi Guys,
This is more a question to quell my curiosity. Can Final Cut Pro 5 edit Cineon DPX Files that have been telecined from film? Please forgive me for my ignorance but the knowledge will help my later on with some projects I may do in the future!
Your help would be very much appreciated!
James
Dual 2.3Ghz PowerMac G5, 1.5 Ghz Powerbook G4 Mac OS X (10.4.6)

It does not. You'll have to transcode the DPX files into something Final Cut can edit natively. You'll probably want to explore an uncompressed or lossless workflow for DI, if you have the gear to handle it. See a list of supported formats here:
http://www.apple.com/finalcutstudio/specs.html?finalcutpro
Final Cut Studio does come with Cinema Tools, which helps manage media from film. I've never used it, so I can't really give you any specifics.
Good Luck.

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Export DPX files from FCP with Timecode

Hi,
Have anyone found a way to export DPX files from FCP, and also get the timecode in the DPX header...
Thanks for answers!!
//P

Your workflow is not correct.
In FCP I bring the clip to the timeline, trim, color correct it then File> Export> Using Compressor. Compressor opens up and places the clip into the Batch Window. This works fine, but when I go back to FCP, delete the clip from the timeline and place an other clip there and when I Export>Using Compressor, Compressor places the clip in a new Window title "Untitle 1" and so it goes on. As far as I understood, whenever you add a clip from the FCP it places it below the first clip so when I want to add my settings, I can add all 3 settings to all the clips. Did I missunderstand something?
You're misunderstanding a couple of different things. When you send a clip or sequence from FCP to Compressor, you cannot then apply the settings you want in Compressor then go back to FCP and delete that clip from your sequence ... Compressor is trying to reference that sequence. If you keep removing clips, then Compressor won't follow those clips ... you're essentially breaking the link between Compressor and FCP by doing this.
Try this:
1. Load Clip A into the Viewer, Set your In & Out points and add your Color Correction.
2. Press Command U to Make a Subclip. This will create a separate "clip" in your bin. Rename as necessary.
3. Repeat this process for your other 19 clips.
4. Then Select all of your new subclips in your Browser, then File > Export > Using Compressor. This will open Compressor and add all of those subclips into the Job window.
5. Add your appropriate Target settings and set your Destinations and revise any filenames if necessary.
6. Click Submit.
For a good, quick overview on the basics of how and when to use Compressor, check out this video from MacBreak Weekly: http://www.pixelcorps.tv/macbreak153

Conforming DPX files on FCP

After offlining with one light telecine on FCP, I got the project and DPX 2k scans.
The DPX are 10bit log RGB with the same time code than the one light transfer.
Are there any ways of "auto conform"? The output master is meant to be PAL, but we have 2k becouse some frame resizing is needed.
any clues?
cheers
joan

Hello, Ok...when you finish a project on FCP and save it(not exporting it
just yet). Can you get rid of all the original capture video? Because what
I do is I capture the whole tape then I run through it and do kinda like
sub clips...So after I am done can I get rid of that whole tape I first
captured?
Absolutely not.
Wha?! I'm sure someone has some logic in telling you not to trash your media files, but it is logic beyond me. I'll offer a counter.
If your media is from timecoded sources, tapes that you can go back to, tapes that can be batch captured, then that media can be blown away when the project is finished (really finished, wait for the check).
When you come back to the project (let's all pray you don't have to), just Batch Capture the offline master clips. You'll be good.
For media elements that are not on tape (files from After Effects, Photoshop, Illustrator, etc), you should archive those media files too, since you can't batch capture them.

Color to FCP contrast shift (DPX files only...)

I have a Color sequence which has a mix of raw .R3D files from the RED, and DPX files from VFX work... When I grade, and then send the sequence to FCP, the files which started out as .r3d files, have correct color contrast; however, the clips that are DPX files, seem to have their black levels raised... I am rendering to proRes 4444 quicktime files for everything, and this color-shift is consistent for every clip that originated as DPX files.
In Color the waveforms and scopes of the DPX sequences, all read correctly (blacks are at 0, and whites at 100), but when brought into FCP, the contrast seems off, and this is confirmed by the scopes in FCP (black levels are consistently raised to around 10 or so...).
Trying to sort it out, and will post any solutions I can come up with, but any thoughts in the mean time would be greatly appreciated. Thanks!
-Brian

Thanks for your response JP, however I am not quite sure that it is quite what I need (unless I am misunderstanding you...). I can't adjust the scaling on export, because I am not rendering to DPX, but rather to ProRes 444 (I could adjust each clip on import, but that would render the LUT and current corrections pretty much useless....). Let me try to explain a bit further...
We are importing the DPX sequences (95-685 Log) as Linear (0-1023), and then using an LUT to correct for the LOG space during CC. For the time being we are rendering with the LUT in place because we are outputting to video (the film-out will come later....). The workflow for the RED footage is pretty much the same (gamma settings in the RED tab are set to PDLog685, and the same LUT is used for CC)... Upon render (to ProRes 444), the RED footage renders correctly, with blacks at 0, however the DPX footage acquires some sort of contrast shift which puts the blacks at around 5-10 IRE...
For the time being we can apply a quick 3wayCC back in FCP and adjust the black levels for the affected clips back to where they should be, but it would be really nice to know/understand exactly where the problem is occurring...
Sorry if I misunderstood your response, and feel free to correct me if I did. Thanks!
-Brian

Import DPX Files Workflow?

One of the main reasons I upgraded from PPro CS4 to CS5 was to handle DPX files. I used FCP 7 together with Glue Tools Cineon/DPX add on to import large DPX files for editing. However very little info is available in the various Adobe PPro CS5 help sources. As I result I am stumbling around trying to crack the code on how to bring in 1080p 24 f DPX files.
I work with very large 1080p DPX file sets. Eack folder holds 15,000 frames. The frame images are 1920 by 1080 pixels. The DPX files are stored on a very large RAID set with read and write rates of 1200 MB/sec. More than fast enough for any regular uncompressed file. But DPX files take many minutes to import and then I can not play the 15,000 frame clip in the source monitor, nor cam I add the clip to a sequence. I can add one frame at a time to the sequence but that defeats the whole purpose.
Does anyone have any workflow suggestions for importing large DPX files? Like the right presets to use etc. Do I need to process the DPX files in After Effects or some other Production Preimere CS5 utility?
Bill Wood

Steve - Thanks for the tip! I was trying to Import my DPX files from the Media Browser. The Import function there does NOT have the numbered still check box. I had to do the Import from the Project window. That has the numbered stills check box and other options. It is very quick and acts more like Final Cut Pro 7 with the Glue Tools Cineon/DPX plugin does. - Bill

DPX Files, Exporting DPX

I am using the trial version of Premiere Pro CC, and I'd like to put in a suggestion for a new feature for the program. I am importing DPX files (Cineon type) that were scanned on a film scanner for movie film, and Premiere Pro does not currently allow custom frame rates for importing. It only wants to do set rates and not a specified number of your choice. I have Super 8 which needs an 18 fps rate, and with Premiere Pro- you can only set it to 15 or 24. My only solution is to use After Effects, import in that, and the save the file to import back into Premiere. This seems like such a run around and forces me to use another programme just to do one thing with it. Premiere Pro should allow this option, as it has that feature in another of its programs.
Also since 4K video is becoming more popular, Premiere Pro should allow to save to a UHD file in a compressed format like ProRes4444 or MPEG 4 in 4K. 4K Blu rays will be available by the end of this year, so they should incorporate this option into the next software fix. My DPX files were scanned at 5K specifically to downrez to 4K video, and Premiere does not have an option for me to do that in a compressed video format. So please make this update available soon. For now- I cannot use Premiere Pro as is to finish my work, because it does not give me an output option I need.

Look in the "Manual" thingy, under "Configuring the Setup Room". In "Project Settings", there is a dialogue "Render File Type" and you will be able to choose dpx/cineon and a scaling range -- probably video for what you're doing. But take your pick:
• Video (64 Black - 940 White : Linear): The minimum and maximum values of 0 and 100
percent in Color’s scopes correspond to the digital values of 64 and 940 in rendered
DPX files. Super-white values above 100, if present in Color, are preserved using this
format.
• Linear (0 Black - 1023 White): The minimum and maximum values of 0 and 100 percent
in Color’s scopes correspond to the digital values of 0 and 1023 in rendered DPX files.
Super-white values, if present in Color, are clipped using this format when rendering
DPX files.
jPo

YUV 4:2:2 10bit DPX files in AfterEffects

Hello,
is it possible to use YUV 4:2:2 10bit DPX files as footage in AE? I'm writing DPX files on my own - including the headers - but AE gives me an error when trying to open such a DPX file :-(, while XnView has no problems. I also tryed an example file from GraphicsMagic ( ftp://ftp.graphicsmagick.org/pub/dpx/flowers-1920x1080-Rec709YCbCr-4%3A2%3A2-10.dpx ) which results in the same error. So the question is: doesn't like AE YUV 4:2:2 10bit DPX files or just those I have tested?
Thank you very much,
Nicola
P.S.: A fast answer would be great since my time is running...

Yeah, some formats work, others don't. I'm not sure as to why and how, as admittedly I'm stuck in a land where we use TIFFs for film scans and the rest is just video, so I never really get in touch with that stuff, but there's certainly some rational reason behind the various things being at different usefulness levels. Certainly there is something to consider with color profiles here which would, just liek with othe DPX/ Cineon stuuf, special precautions to be put in place. If it's important to you, throw in another vote on the feature request page, so it gets bumped a little toward the top of the list.
http://www.adobe.com/go/wish
Mylenium

How to handle DPX files for transfer to another party across the country.

Hi,
I'm currently working with somebody that is on the other side of the country to do some positing work for my Premiere Pro progect. There are 31 shots that need some compositing work. I have already created the DPX files that I will be sending him, however, the total size of all project files is 33gigs. Now, I decided to zip the files up and send that way. Then it hit me, when I zipped up the thousands of individual DPX files I will be sending him, the compressed way down, like 8-1 (from 33gb to 7gb). The full project ended up being I sent him one small batch of files, he opened them, and said they did not seem as though they lost any resolution, but I'm more concerned with color information being lost. So, my question is this...When I zipped up the files, did I lose anything. The unzipped back to the appropriate size (roughly 9mb per frame), and he said he could not see any loss in the image. However, my concern is that when I go to bump up exposure on a couple of shots that were lost, Im going to be dealing with artifacting, and working with a lot less information than the original DPX files contained.
Did I lose information when I zipped up the DPX files?
Please help. I may end up just fedexing him a hard drive full of media, but then I have to worry about shipping a flash drive with my media on it.
Thanks in advance for ANY and ALL assistance.

Did I lose information when I zipped up the DPX files?
Nothing at all.
...my concern is that when I go to bump up exposure on a couple of shots that were lost, Im going to be dealing with artifacting, and working with a lot less information than the original DPX files contained.
Zip only compresses the binary data that makes up the image...
there is no compression of the image at all.
After your co-worker completes the composites,
he should zip them up to send them back to you.
No worries. I do this all the time.

AVCHD: how to deal with the .MTS files in FCP 5 or iMovie 08

I just bought a Canon HF10 AVCHD camcorder and stumbles into the difficult editing process with FCP 5. Here are my steps:
- Conversion of the camcorder .MTS files with iMovie 8; they are then transformed into a .MOV sequence. A 14secondes sequence recorded in the highest quality (FXP, 17Mbps) is captured as a 28MB .MTS file by the camcorder, rendered as a 231MB .MOV file by iMovie 8, and it took 53 sec to process it !
- I export the sequence as: Share >Export Final Cut XML…
- In FCP 5: import XML…then I tried different modes: AIC 1080i60 (image is overstreched), AIC 720p30 (proportion is OK, but I captured in 1080…), AIC DV NTSC 48kHz (not HD…) BUT none of the resulting sequence is rendered, I still have the red bar above the timeline.
For financial reason, I’d like to avoid to go to FCP 6, which seems to work natively with the AVCHD format.
My questions are:
- is there a way to reduce the size of the iMovie converted files: 900MB per minute ?
- is there a way not to have to render the imported files in FCP ?
Can anyone help me ?

I have the same camera and the reality is you're going to go through that translation from AVCHD to some sort of Quicktime file format no matter which tool you use. I do it with FCP6 and it needs to do the same translation from the .mts files to (they recommend) ProRes files. AVCHD is a highly compressed format and when you move it to an editable form, the file(s) is going to get much larger. It is HiDef content after all which can be quite large.
In my case, once I do the transfer to ProRes format nothing needs to be rendered in the FCP timeline unless I add some sort of filter or effect to it.
The rendering problem you are describing is often caused by the Sequence setting not matching the content settings. This is automated in FCP6 where it detects the content format of the video you're trying to add and changes the sequence settings to match the content. Take a look at the sequence settings and see if they match the structure of the content and that should resolve the 'everything needs to be rendered' situation.

Can't open MOV files in FCP: "Searching for movie data in file..."

I know this has been posted before, but none of them seem to match up to what I'm all of a sudden dealing with. I have 4 MOV files that I'm converting to WMV. Movie 1 & 2 exported fine. Now, however, any time I try to open another MOV file, I get an error that it's "Searching for movie data in file..." and the file name is ALWAYS the same. The weird thing is, the file it's looking for is none of the 4 movies I'm working with. So how did the first two work and this pop out of nowhere??
I have cleared out the render cache. Dumped all the cache and prefs files I can find, etc. Restarted the machine. Started FCP with the Option key held down.
I've searched everywhere, but people usually seem to come across this error while opening FCP (I'm running 6.0.6). This only happens when I open a MOV file (oddly, I can open WMV files in FCP without issue).
HELP!

So, I open the movies in QT and the EXACT same thing is happening. So it appears the guy who created the videos did something when he was making them (probably made a reference files along the way). I'm having him re-export the MOV files.
So, it's not a FCP issue.....

Working with WMV files in FCP 5 Timeline

I know Flip4Mac Studio Edition allows for importing and exporting into and out of FCP 5 in WMV format. What I'm not sure of, is can you do intensive editing on the WMV files in FCP 5 without any glitches. Will FCP run smoothly?
I am asking because I work at online company that will be receiving wmv files on its servers. This is a high volume workflow with an intense turnover rate. We are receiving hour long clips and re-editing them down to 2 minutes. There is no time to go through lengthy WMV to MOV conversions. We need to receive, edit, and output all in WMV.
Can FLip4Mac with FCP 5 edit an intense environment like this? Where everything is done in WMV? Or Is Flip4Mac primarily for converting WMV into MOV so that editing in FCP is done with MOV files, and then at the end exporting as WMV again.
Is FLip4Mac the only solution. Are there others? After recommending and praising Macs, I may be on thin ice if FLip4Mac isn't a sufficient workaround!!
Thanks Curtis

Saving a WMV as MOV in QuicktimePro is simply putting a MOV wrapper on the WMV so FCP will better handle it. It's a Save As not an export so there's no additional compression.
Ultimately you will have to render though, most likely because it's not one of the video formats natively handled by FCP (DV, DVCPro50, etc). It's not just the physical settings, the "video" codec itself must be supported. BTW if you were to edit in HDV you'd have to render too for output (to create new GOP structure in that case though).
Hi Craig,
Thanks for the advice, a few things though....
"Flip4Mac Player Pro allows you to edit WMV in FCP."
The problem is that I need to render when I import
WMV files into FCP, even though I have matched all of
the parameters in the sequence settings (ie. pixel
aspect ratio, frame rate, frame size, etc.)
I don't know for sure, but my understanding is I have
to render because there is no WM9 option under the
"compressor" parameter in the Sequence Settings.
Because of this it is impossible to import WMV files
without rendering even with FLip4Mac, because I have
it installed and can still export as a WMV file.
Have you discovered a way to import WMV files into
FCP without needing rendering? This is critical for
me because the environment I'm in doesn't allow for
long render times, as it will slow down the workflow
of the whole newsroom.
"I can also open WMV in QuicktimePro (with Flip4Mac)
and save the file as MOV. I find it works smoother
that way."
But doesn't it degrade the quality when you convert
to .MOV? And for me, going from WMV to MOV back to
WMV will result in degradations at each step won't
it?
Curtis

MPG to Final Cut Pro , convert mpg files to FCP freely

Why need to convert/import MPG files to Final Cut Pro?
Final Cut Pro is the premium choice for any Mac video editing, and it is widely used by Mac users now. These MPEG standard files can be these different codes and cause failure in importing to Final Cut Pro. If anyone comes across the situation, the best solution is to get aids from MPEG/MPG to FCP converter for Mac, which can help you to convert MPEG group files to FCP compatible video format and then files can be easily imported for editing job.
As we know that Final Cut Pro don't natively support MPG, MPEG, MPEG-1, MPEG-2 files, it can import MPEG-4 files (but need to be rendered once you place them on your timeline) and MOV files (without rendering). Therefore, to import MPG to Final Cut Pro directly, the best way is to convert MPG to Final Cut Pro supported Apple ProRes MOV files.
How to convert MPG to Final Cut Pro(fcp)
Step 1: Import MPG files
Download the latest version of MPG to Final Cut Pro Converter, install and run. And then, click Add Files to import MPG files to FCP, or you can also drag MPG files directly to MPG to Final Cut Pro directly.
Step 2: Choose output format and directory
You can click the drop-down list of Convert Toto select output format as "Final Cut Pro"-> "Apple ProRes MOV ". After that, click "…" of Save Toto designate a directory to save your converted files.
Step 3: Convert MPG to Final Cut Pro (X)
Click Convert to transcode MPG to MOV for editing in Final Cut Pro.
MPG to Final Cut Pro Converter is a practical tool for you to convert MPG, MPEG files to Final Cut Pro supported MOV files in order to free import MPG to Final Cut Pro (X) , FCE, iMovie on Mac OS X Mountain Lion . Besides, it is also able to convert MPG to other video files AVI, WMV, MP4, MKV FLV, DV, 3GP, ASF, RM etc.
Related Article:
MOV to FCP: How to convert MOV to FCP
How to convert mp4 files to fcp freely

Import unsupported MPEG-1 or MPEG-2 to Final Cut Pro 7/X, Final Cut Express
Summary:If you are looking for the best way to transcode MPEG-1 or MPEG-2 videos to ProRes MOV for FCP 7/X and FCE, you can follow this post, it has offered best solutions for editing MPEG videos on Mac in Final Cut Pro 7/X, Final Cut Express.
Cases:
The following are two problems when some users import MPEG-1/MPEG-2 to Final Cut:
"I am trying to import MPEG-2 files into Final Cut Pro X. I have the raw files from a Sony Handicam HDR-SR5 as well as raw files from an Sony Handicam MDR-CX560. These files were recorded as MPEG-2 files and copied from the camera hard drives (entire folders were copied containind the MPEG-2 fies) to a local hard drive on my computer. Final Cut Pro X does not recognize the files and will not import them. I have tried to use Compressor to conver the fies. I am using the very latest version that touts being able to export to Final Cut X format. I don't see that option anywhere in the settings."
Question:
Is there a way to get MPEG-1 or MPEG-2 files into Final Cut Pro X without having to convert them?
Answer:
Don't try to work with (highly compressed) MPEG 2 in FCP X. Use software to convert to ProRes 422 first, it's best codec for final cut pro or final cut express. Life will be much easier for you if you do. ProRes 422 is roughly between 5 and 8 times bigger than native camera footage - sometimes as much as 10 times, I believe, but it's well worth it for editing, effects and playback quality. The time required depends largely on your processor power but 30 mins sounds realistic.
Software you need:
Pavtube HD Video Converter for Mac
This software can convert MPEG-1 or MPEG-2 to Apple ProRes 422 codec for Final Cut Pro, Final Cut Pro 7, Final Cut Pro X or Final Cut Expr editing without rendering.
Step by step guide:
1. Download and install the best MPEG1/MPEG2 to ProRes Converter and launch it to add your videos to it.
2. Choose output format. Click on the “Format”> Final Cut Pro, Apple PreRes 422(HQ), Apple PreRes 422, Apple ProRes 422(LT), etc are all the proper choice for you.
3. Click "Settings" to adjust the parameters as you want, like Video Codec, bit rate, frame rate, Audio codec, sample rate, bit rate, channels. Set the video frame rate as 30fps, video size as 1920*1080 will be better.
4. Click Convert button to start MPEG-1 or MPEG-2 to Final Cut friendly Apple ProRes 422 for native editing on Mac OS X.
5. When the conversion ends, you can run the Final Cut Pro and click File --> Import --> Files to import the resulted MOV files and edit them in FCP easily, you can follow this import video to fcp guide.
From the steps above, I think you got the point to convert and import MPEG-1 or MPEG-2 files to Apple ProRes 422 for Final Cut editing, please have a try, this software will solve you MPEG-1 or MPEG-2 importing and editing problems, and then you can import and use your MPEG-1 or MPEG-2 in Final Cut Pro 7, Final Cut Pro X or Final Cut Express on Mac without any problems.
Now you can get DVD Creator which can help you easily burn video to DVD disc/ISO files.
Buy One Get Another Free?! Yes, just join Pavtube's Special Offers to get the promotion.
PS. If you have any problem, pls contact with [email protected] to get more information. You also can leave a message on Pavtube Community or Pavtube Facebook, we will answer your questions as soon as possilble.
Learn more Cameras/Camcorders related tutorial, pls view our FCP Column, etc. on http://www.pavtube.com/hot-topics/

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Does Anyone know if there is a better way to import MS- Word files in FCP. Everytime I copy and Paste it needs to set lines and formating. I only get 1 line with all the doc's information. It takes forever to format in FCP. Any Sugestions would be apprieated....

Well hopefully somebody has a better answer than I do, but I find that it's sometimes smartest to format the text in word to match what I'm looking to accomplish in fcp. Also, I find that sometimes that word formatting can cause fcp to crash. I sometimes find it necessary to copy the text into text edit and then bring it in to fcp. By the way, I'm usually using title3D.

Created a project in Motion, cannot open the file in FCP

I posted this on the FCP forum as well. Would appreciate any help.
Hello. My first time trying to create something with Motion. I created the text animation and then when I go to import a file into FCP I get an error message: File Error: 1 file(s) recognized, 0 access denied, 1 unknown. Any idea why this is happening? I thought I did everything like the tutorial said.

Make sure your frame rate is 29.97...
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Not able to import .motn files into FCP

For some reason I'm not able to import .motn files into FCP. While in FCP, I use "send to motion" and uncheck the embed box. After motion opens and I add my motion content, I get the following error when trying to import the .motn file back into FCP "File Error: 1 files(s) recognized, 0 access denied, 1 unknown". What is strange is that I'm able to create another test FCP project with different media, and everything works fine. All tests and media are done on the same drive.
I'm using the latest updates of everything FCP 5.0.4 and motion 2.0.1
Any ideas anybody?
Thanks!
G5 Mac OS X (10.4.6)

Check the frame rate - that can sometimes interfere...
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Cineon DPX Files in FCP 5?

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