Converting Frame Size for Final Cut

I have XDCAM HD .mov files that are 1440x1080, which I converted through Streamclip to 1920x1080. And 2 problems arose:
1) the 1st time I imported them in the Project I had the right Frame Size : 1920x1080, but the wrong Pixel Aspect : HD (1440x1080) instead of Square.
2) the 2nd time I looked for an Option in Streamclip to select the Pixel Aspect, but there is none. I imported the 1920x1080 files into the project, and they appeared as 1440x1080 files!!!
I also tried creating a sequence with the desired specs (Frame Size and Pixel Aspect) and said NO when asked to conform the Sequence to the Clip. It worked but the RED Rendering will take forever.
Do you have a better solution?
Could the problem be my Version 6 Final Cut? Or am I missing something? I would be most grateful for any suggestion.

If you have iTunes 9 or higher, go to +iTunes > Preferences > General+. Under 'When inserting a CD' select any one of the three import options. Then click +Import Settings > Import Using > AIFF Encoder.+ In the same panel, click +Setting > Custom.+ Select +Sample Rate = 48Khz, Sample Size = 16 bit, Channels = Stereo.+ Then click +OK, OK, OK.+
Then in your Library, select the song you want to convert. Then do +Advanced > Create AIFF Version.+ iTunes will make a copy of the song & convert it to AIFF.

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HELP! Convert .mts files for Final Cut Pro 6

Please help!
I am a broadcast/video production teacher in California and we are struggling.
I just bought some Canon R10s to go with our F200s. We edit on FInal Cut Pro and we have 20 G5, PowerPC Macs.
How do we convert the video so we can edit in Final Cut?
I bought an MST converter. Log and transfer doesn't work (we don't have Intel computers), I have tried to change the sequence presets. Some things work, but converting takes forever, we have to render everything, Final Cut crashes, and the video will skip right before the frame starts.
When using the MTS converter, we convert using the settings: h.264, 30fps, 1500 bit rate.
What should we change? What can we do?
We put together a weekly 20 minute show, and if this continues, I will start to lose the kids.
Thanks for the help,
Ben
[email protected]

Welcome to the forum,
Okay, as a starting point, if you're running G5s, you DO NOT want to transcode to h.264 for editing with. It IS NOT a working codec, it is a delivery codec, and/or an acquisition codec for many cameras. H.264 has a complex algorithm and is built on the mpeg4 format.
Without meaning to sound like a grumpy old man, the amount of times we see people on a daily basis coming to this forum with problems caused by editing in h.264, is just ridiculous.
I reiterate; Do not edit in h.264. You will grind your computers to a halt, and be rendering forever.
If you have the hard-drive space, you should transcode to ProRes and use that in FCP.

RAID block size for final cut pro x

Just got one of the new late 2012 27" iMacs and a 6 TB LaCie Thunderbolt drive. Can finally edit the video I took last spring. I'll be using Final Cut Pro X, and doing a lot of multicam stuff with 4 or 5 views and a separate audio track. The LaCie came formatted as a mirrored RAID. I'm going to change that to 0 (Striped RAID set), but am wondering what block size to set. The default is 32k, but I have read that this ought to be increased to the max (256k) for video editing. I have also read it should NOT be increased. And the posts I have read have all been at least 3 years old. So let me ask you all--what block size would you recommend for my situation?
Thanks in advance!

Hi Eddie...
This depends on what kind of source footage you are editing....
For compressed Video, Audio and Uncompressed audio 128k
I have only had BAD results with 256k. 64 is also weird. Whereas 32 is fine.
All my RAIDs have 128k for audio/video editing
you can go further if you editing Image Sequences.. but according to my own findings and I have been dealing with raid since years.... 128k does the job the best.
Rule of thumb.... The smaller the file sizes you are putting the RAID the smaller the block size. And vice versa.
I.e. You would cripple the raid performance if storing a database on it, having a block size of 256. In case of servers and OS 32k would be a good choice, perhaps even 16k if supported.

What is the ideal Still Size for Final Cut Pro?

I am suing stills in my Timeline. Right now they look really bad. They look great in the Viewer but they look like to crap in the Canvas and Timeline. The stills are 2896x1944.
What's the ideal size so they will maintain the same quality in the Timeline?
Message was edited by: Host <to clarify title>

I am suing stills in my Timeline.
Not sure what legal means you are using to sue your stills..who's your lawyer?
Okay now seriously, your Canvas crap is because it's just a low res proxy. Spit out a self-contained movie and look at it in Quicktime or better yet look at it through a broadcast monitor for a more accurate representation.
In terms of size you want to keep your total pixels to under 4000. And if you're not making moves on the stills then make them the same size as your sequence.

Converting FCP .mov files for Final Cut Express

Working in FCP 6, I've transferred P2 footage (720p30) into an edit, via the Prores 422 (HQ) codec. No problems, edit done. But now my client would like the source clips to manipulate in her copy of Final Cut Express (version 4).
FCE doesn't recognize Prores, it seems, so I've tried converting a sample clip via "Apple Intermediate Codec," which does produce a recognizable file, but requires a render. From what I can see of FCE, the AIC codec is the way to go, but obviously I'm missing some setting, because whenI asked her to render, export as .mov, then re-import, and that new clip shows without having to render.
That tells me it's probably some specific codec consideration, but I'm not really familiar enough with FCE to troubleshoot it.
Any ideas about the proper export settings for getting 720p30 HD footage into FCE?
Thanks in advance!

The problem is a little more complicated with DVCPRO HD media because it uses its own anamorphic frame size for 720p media. Open the file you need to convert into the QT player and give the exact specifications from the movie inspector.

Convert AVID files to Final Cut Pro X for editing

Convert AVID Bin to Final Cut Pro with Media
What is the way to convert AVID to FCPX so I can continue editing on FCPX?

Can you be more specific FCP can create optimized footage in app after import for editing if that is what you need. If you need to literally covert it than running it through compressor should do the trick. Or you could download the avid codecs for your mac and maintain your original footage. http://avid.force.com/pkb/articles/en_US/Download/en392959?popup=true

Advice on sequence settings - frame size for VHS video in FCP

Hello,
I was hoping that I could get some advice on editing and output for video captured from VHS Tapes to ensure the best quality possible.
My current workflow to digitize the VHS tapes is:
VHS signal from JVC S7600u with TBC into ADVC 300 (no de-interlace or other filters set) into a Mac Pro via firewire. Capture preset in FCP is DV NTSC 48khz.
Once in FCP - the captured VHS video frame size is 720 X 480, Vid rate is 29.97, pixel aspect is NTSC-CCIR 601 and field dominance is lower (even)
My questions are:
If my final destination is for You Tube sharing , are these the best sequence/ frame size settings or should I convert the sequence frame size to 640 X 480, or should I leave at 720 X 480 while working in FCP and then output to Compressor and select the H264 you tube sharing video setting and change the frame size to 640 X 480?
Should I de- interlace for internet/youtube destination?
Should I de-interlace for DVD/TV destination?
If I want to burn the finished project to DVD and watch the video on a progressive montitor/ TV screen, what would be the best settings/frame size for that?
If any of you out there have experience with editing vcr/analog video in FCP and have a good workflow to ensure best quality, I would really appreciate any advice/suggestions.
Thanks in advance.

Digitize to 720X480 frame size in FCP. In compressor, your YouTube preset will automatically deinterlace and a square pixel aspect ratio.No deinterlacing for DVD.
Russ

Canon EOS MOVIE Plugin-E1 for Final Cut Pro Now Available...

There's been so much talk about the 5D, 7D, 550D on this board that I'm going to point to the EOS MOVIE Plugin-E1 for Final Cut Pro. This is supposed to speed to transcode of Canon Camera H.264 to FCP-friendly formats and let you add more metadata along the way.
Enjoy!
Canon webpage. Under Drivers & Downloads. Once you select your OS, "Mac OS X", the download should appear near the top of the "Software" list.
Note: (from Quickstart Guide)
This plug-in software allows you to convert MOV movies shot with an EOS Digital camera into ProRes files at high speed in the (Log & Transfer) window of Apple's Final Cut Pro.
FWIW: The quick start guide says cameras involved are 7D, 5D, 1D, no mention of 550D. Sort of odd.

For users in North America to make the Canon EOS REBEL T2i work (550D for Europe):
1. Install the new Canon EOS MOVIE Plugin-E1 for Final Cut Pro (http://www.usa.canon.com/consumer/co...nloadDetailAct)
2. Go to Library/Application Support/ProApps/MIO/RAD/Plugins/CanonE1.RADPLug/Contents/Resources/
2. Open up cameras.plist
3. After the 7D info add the following lines of code (keeping to the coding structure):
<key>T2i</key>
<array>
<string>Canon EOS REBEL T2i</string>
</array>
4. Save the text file. Close it. Everything should work now.
Cheerz.

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

Problems with converted .MTS files in Final Cut Express 4

I have a hard drive full of video shot and a consumer grade HD camera in the .MTS format.
After struggling with finding an acceptable converter, I finally bought iSkysoft's Video Converter.
I've been using the converter's output preset of "MP4 Format for Final Cut X" and "High definition MP4 format" settings and they both yield the same results.
Now I am having problems simply editing the footage in FCE4.
I can take the footage and set i/o points in them but when I drag clips into the timeline, it often hangs up, locks up, FCE is unresponsive and it's even crashed.
This is on a 2 x 3.2 GHz Quad-Core Intel Mac running 10.6.8.

In order to use .mts video in Final Cut Express, you need to convert the video to QuickTime/Apple Intermediate Codec before importing into FCE. .mts video files are typically H.264 video, highly compressed and is not something that FCE can edit. Ditto for "MP4 format for FCPX or HighDef MP4 format". If iSkysoft cannot convert to QT/AIC then I suggest Clipwrap
Note: for the future, if your camcorder is an AVCHD camcorder you can directly ingest the video from the camcorder into FCE.

New Canon EOS Movie Plug-in-E1 for Final Cut Pro

Just thought your would like to know. From canonrumors.com
http://www.canonrumors.com/2011/04/canon-updates-e1-plugin-for-fcp/
Canon today announces the latest update for EOS Movie Plug-in-E1 for Final Cut Pro – the company’s custom-developed software application that provides quicker and easier editing of EOS Movie footage in Apple’s Final Cut Pro software suite.
Launching to coincide with the start of the 2011 National Association of Broadcasters (NAB) Show in Las Vegas, EOS Movie Plug-in-E1 for Final Cut Pro version 1.2 will make the importing of EOS Movie files even easier, allowing users to transfer files from any folder, without needing to mirror the folder structure on the camera itself.
The update also enables smoother importing from Canon’s EOS 7D, EOS 5D Mark II and EOS-1D Mark IV models, allowing users to import footage without requiring the THM file generated by the camera.
Originally launched in February 2010, EOS Movie Plug-in-E1 for Final Cut Pro is designed to quickly and seamlessly convert EOS Movie footage from Canon’s leading range of EOS DSLR cameras to Apple’s high-quality ProRes 422 codec. The plug-in allows users to convert footage at approximately twice the speed of Apple’s standard conversion, creating a smoother workflow for the rapidly growing number of videographers shooting HD video content on DSLR cameras.
EOS Movie Plug-in-E1 for Final Cut Pro version 1.2 will be available to download for free from 25th April 2011.

And I just spent over an hour yesterday explaining to a client how utterly essential it was to maintain the exact folder structure for proper log & transfer:/
If I say that once a day to students, I say it a thousand times.
On top of that I just started Carbon Copy Clone today with all my updates in my editing lab. Not the end of the world but it's a little time consuming on 80 stations. Oh well.

Does a QMaster Cluster really make sense for Final Cut Server?

Correct me if I'm wrong, and I often am, but my understanding of the difference between setting up a "Cluster" and just using "This Machine" is the cluster allows multiple jobs to be processed simultaneously, while an unmanaged system will only do one job at a time. However, when it does that one job, it uses all the system's processors.
Yesterday I created a cluster consisting of two Quad Core Intel systems, and started Final Cut Server cataloging about a half a TB of data. I noticed that Server submits the Proxy render jobs one at a time, and that the jobs were being submitted to only one processor core, in a rotating fashion. Is there a way to make FCServer submit jobs in "parallel," or am I better off with using just the local system for transcoding?

The default proxy transcode setting seems to be specifically tuned to work at a small scale, which makes sense if you are asking a box to host the database, serve the app, and do all the proxy transcodes. I observed the same phenomenon, so I made my own transcode setting for proxies and I chose to lower the bitrate a bit to help with file size and transfer time. The upside is the floodgates are wide open when my 32 core Xeon cluster (four 8-cores) goes to town on a proxy encoding job.
Your other observation is also right, that only one item is encoded at a time across the cluster rather than working on all of them at once across the cluster. So what you get with a fast cluster is shorter encode time, not parallel encodings that all finish at the same time.
If you have the spare machines to dedicate to cluster work, I strongly endorse setting up that way. I would not recommend Quick Clusters for Final Cut Server encoding duty. Either set up a dedicated Managed Cluster that FCSvr can use or none at all.

I need help: Canon HF S10 settings for Final Cut

Hello, i am a German guy, so i am sorry that my english is not very well.
I got the Canon HF S 10 from Japan, so its an NTSC one. For Cutting i am using Final Cut Pro. I want to produce online Videos in the best possible Quality.
My Problem is, that i dont know witch settings i should take for best Quality.I already tryed much. The Quality is good if i dont move the camera. If i move it the Video becames very bad Quality.
The Cam has these possibilitys:
Frame Rate: 60i (Standard), PF30, PF24.
24Mbps (MXP), 17Mbps (FXP), 12Mbps XP+,7Mbps (SP), 5Mbps (LP)
I dont know with import Settings i should use for Final Cut.
Could you please help me to find the right settings?
Thanks alot

I tryed it, but there is no besser result. Could you maybe help me again? If i import from my hdd cam, i just need to put the Final Cut Settings for the Sequenz right? There i put ProRes 1920 x 1080i60.
I push import and it opens the window to import my files. There are also settings on the top:
P2 Plugin
P2 AVC-Intra - Nativ
AVCHD Pugin
AVCHD - Apple ProRes 422 (HQ)
AC - 3 Audio - Matrix Stereo
Is that all right?

IMac to TV for Final Cut Pro

I'm a newbie so forgive my ignorance.
I have a mid 2010 iMac and I would like to hook it to my HD insignia TV to view playback for Final Cut content.
I just need to know which method is the best (VGA, Mini DV, Hdmi, etc)
What cords & adapters do I need?
I'm running OS X mountain Lion with Final Cut Pro X.
Insignia 32inch HD TV model # NS-32LB451A11 (rev A)
Thanks!

Oh. I also have a Cakewalk US-25 EX 24bit 96 kHz sound card too.

Clean install Leopard or Tiger for Final Cut 2 on my g5?

Hi, I currently have the previous final cut on my g5, on a Tiger operating system. I just got the new Final Cut 2, and I'm going to do a clean install of the OS to have everything running as smooth as possible. Will Leopard speed things up (or slow things down) for Final Cut 2, or should I just reinstall Tiger with Final Cut 2?
Thanks

My biggest concern isn't rendering, it's overall playback performance in final cut pro.
Also, I'm curious as to how much slower motion 3 will be then motion 2 will be, and if motion 3 would run faster or the same in leopard and tiger. If I'm not mistaken I believe motion performance is quite dependent on the graphics card. I have an ATI 256 meg card that ran motion 2 acceptably in tiger, though I'm wondering how motion 3 in leopard will be in comparison (with the same video card and g5)
Thanks

Converting Frame Size for Final Cut

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