DVCPRO HD 1080p30

Hi All,
So I just got back from a trip in which I shot with an Panasonic HVX200 at 1080p30 and I want to be able to edit the footage that I shot. Unfortunately, my computer is not recognizing the footage. The set up that I am currently using is a PowerMac G5 1.8GHz with Final Cut Pro 5.1.4. Is there any reason why I'm not able to to see or edit the footage? I have already tried to convert the footage several different ways and they were all failures.
-Ben C.

Are you not using the IMPORT PANASONIC P2 option? There is a specific workflow for P2 in FCP...
http://library.creativecow.net/articles/rossshane/p2workflow.php
In FCP 6 and 7, the option has been changed to LOG AND TRANSFER, but for FCP 5.1 and 5.0, it was called IMPORT>PANASONIC P2. You need to load the P2 drivers for this stuff too.
Shane

Similar Messages

Capture: DVCPRO HD 1080p30 vs Apple ProRes 422

We shot a project at 1080p30, 29.97 fps. I'm wondering if I should capture this footage using the DVCPRO HD 1080p30 setting or the Apple ProRes 422 setting. And why would you recommend using one or the other.
Thank you very much!

I called AJA and they can do it with an Intel Mac Pro 3ghz dual core.

Best setup for DVCPro HD 24pa

I have footage that was shot on a Panasonic HVX200a at 1080pA24.
When I select that DVCPRO HD - 1080pA24 Easy Setup, FCP creates timeline with Editing timebase of 23.98 but the Quicktime Video compressor it uses is DVCPRO HD 1080p30.
Is this correct?
Thanks in advance.
Fernanda.

That is correct. the COMPRESSOR is just the original format...that's all. Your frame rate is correct...and the compressor is correct.

Shot 1080p30 but captures as 1080i60

We shot at 1080p30, 29.97fps and I used the DVCPRO HD 1080p30 capture preset, but the resulting clips show up in FCP as 1080i60. Does anyone know why??

That is correct. Actually you media depending on you output abilities is 1080p30 but for ease of editing and viewing on a monitor, you footage will show as 1080i29.97. Most monitors cannot show "true" progressive frames. More of them are and will all be able to do so in the future but for now to keep compatibility with most of the market, editing at 1080i29.97 is the norm.
Try editing at 1080p24 (true progressive), your screen will flicker alot and not look so good to your eye. This is because the electrical standard is 60hz, therefore everything we see is based on a division of 60. This is why TV was set to 30 frames interlaced. 30 frames x 2 interlaced frames = 60hz.
So don't worry, if you outputting to 1080p30, your program on your deck should be 1080p30 (that is, if your deck is set to record at 1080p30). We have done this for years and never had an issue with this.

Help with FCP 7

I hate using generic subjects like this, but I'm new to FCP and have a number of questions. First, here are my specs...
Cam: Canon HFS100 shooting at 1080/60i
Computer: MBP 2.6 dual core with 2 gigs of ram and 256 meg video card
Drive: internal hd
Output:
I'm able to get the videos transferred into FCP using the "log and transfer" option. When I do the "easy setup", does it matter what I set it to? I have it set right now to...
Sequence Preset: DVCPRO HD - 1080p30
Capture Preset: DVCPRO HD - 1080p30 48khz
Control Preset: Non-Controllable Device
Playback Output Video: Digital Cinema Desktop Preview - Main
Playback Output AUdio: Default
Edit to Tape-video: Same as Playback
Edit to Tape-audio: Same as Playback
Now, because I'm importing things from the camera over the mounted drive (avchd format), does it matter what I set the above to? Is there a better option to use for what I have?
My next question deals with video editing. For what I've done so far, it seems to react well and doesn't seem very sluggish. Besides changing the 'undo' history to a smaller number (like 5), is there a better video codec I should be using for optimal editing?
My last question deals with output/print to video. I know many people use tape. I would like to have an output to something else, so I can bring it into a dvd authoring program, such as Toast, or play it on my HTPC. I know .mkv's are popular on my HTPC with HD. Can I output/export the file to a .mkv or .mp4? Is there a way to make it 'process' the video longer so that it will not stutter upon playback?
Thanks all in advanced for any help or insight you might be able to provide.

One last question... I discovered the apple prores whitepaper located here...
http://images.apple.com/finalcutstudio/docs/AppleProRes_White_Paper_July2009.pdf
According to the camera manual, "MXP" Mode (which is the highest quality mode) is set to 24Mbps. The whitepaper says that the Apple ProRes 422 (Proxy) maintains the HD data rates below 36Mbps and the "LT" maintains at 100 Mbps or less.
Given the max of the camera is 24mbps and the Proxy is 36mbps, am I gaining anything other than a larger file by using the ProRes 422 (regular codec)? If I use the LT, or even the Proxy, won't the quality be the same but just the file size smaller?
thanks again for all your help!

Sequence Settings - seem to be same - but video looks different

Hello all.
I have a project that I have 6 or 7 sequences that I have edited, output as self-contained quicktimes, and then sent them on to Compressor to turn into mp4's. Everything's great.
EXCEPT for one, single sequence. I have no explanation for it, but this one sequence -- when I look at it in Finder the thumbnail appears to be in the correct 16x9 format. But when I drag it into QT 7, it formats almost completely square! And then when I test it in MP Streamclip - completely square. But then when I play it with QT10 - it seems to maintain it's format.
I think I remember that QT 7 and QT10 play pixel aspects differently? But I can't seem to figure out why one sequence outputs and plays differently from another sequence? They all have the same settings?
Settings are:
Frame Size: 1280x1080
Aspect Ratio: HD 1280x1080
Pixel Aspect Ration: HD 1280x1080
Anamporphic NOT checked
Compressor DVCPRO HD 1080p30
Thanks for sharing your ideas...
db

It's always best to convert nonsquare pixel video to square pixel dimensions for use on computers. 1920x180 is the correct format for 1080 with square pixels. You can try and adjust the display pixel dimensions in quicktime player but I wouldn't count on it.

Possibility to assign a color profile in the color management tab for more video formats

Presently, in After Effects CS5, in the color management tab of the "Interpret Footage" dialog box the possibility to assign a color profile to footage is grayed out for many video formats.
Formats that allow to assign a color profile include Quicktime/JPEG2000, Quicktime/Motion JPEG A, Quicktime/Motion JPEG B, Quicktime/MPEG-4, Quicktime/Animation as well as various image sequences, like tiff-sequences. (Motion JPEG A,B and Quicktime/MPEG-4 are not very helpful in this context because they have a small color shift when reimported to After Effects.)
Formats that do not allow to assign a color profile include Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V. (Here, H264 main concept has anyway the disadvantage that it has a color shift when reimported into After Effects.)
In After Effects CS4 it was possible to assign a color profile to Quicktime/H264, Quicktime/PhotoJPEG, DVCPRO HD 1080p30, but in CS5 this is no longer possible.
Those video formats that do not allow to assign a color profile automatically are interpreted as having the color profile HDTV (Rec. 709) Y'CbCr in case that the videos have 1920x1080 format; similar applies to PAL formats which get SDTV (Rec. 709) Y'CbCr color profile.
(I did not find anything of this automatic assignment to HDTV or SDTV color profile in the "interpretation rules.txt" file, therefore it must be written into the programme itself.)
With growing popularity of wide gamut monitors it becomes necessary to produce footage and other videos that have a color profile different from HDTV or sRGB. When such footage is reimported to After Effects it has the wrong color and the only workarounds are either to use (in After Effects) the effect "Color profile converter" which necessitates extra render time or to use somewhat unpopular formats, like JPEG2000 that has very large filesize.
Presently many footage is produced in Quicktime/PhotoJPEG and therefore it would be very desirable to allow to assign a color profile to such footage in the color management tab of the "Interpret Footage" dialog box.
Does anyone know why in AE CS5 the video formats Quicktime/PhotoJPEG and Quicktime/H264 do not allow to have an arbitrary color profile assigned (although it was possible in CS4), is it a bug, or does it have a deeper reason.
In this context I have a related question, often I read that Quicktime videos have a gamma tag. Does this mean that part of the color profile (the gamma value) is actually embedded/remembered, like you have it for images where the gamma is part the embedded color profile.
I use AE CS5 on Mac Pro 2009 with OS 10.6.7.
Thanks,
Volker

Thank you Rick for this interesting explanations and the links to articles.
In the past few days I performed a few tests in After Effects and it is interesting that you mention that cameras, like the Sony EX3, allow videos to have embedded color profiles. I am not working myself with cameras but either get footage from the internet or sometimes videos from our video department which produces videos with professional SONY cameras, usually I get them in a matrox mxf format.
As far as my test with After Effects show it is not possible to embed color profiles in the videos rendered with After Effects. Independent of the color profile in the working space and independent from the color profile in the output module I always get the same reaction if I reimport videos rendered by After Effects back to After Effects:
In AE CS5 videos made in the formats Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V are always interpreted as color profile SDTV/HDTV (Rec. 709) Y'CbCr (even if I made them in other color profiles, such as Adobe RGB, Photo RGB, sRGB); and there is no possibility to change this interpretation rule.
In contrast videos made in the formats Quicktime/JPEG2000, Quicktime/Motion JPEG A, Quicktime/Motion JPEG B, Quicktime/MPEG-4, Quicktime/Animation are always interpreted as sRGB (even if if I made them in other color profiles, such as Adobe RGB, Photo RGB, HDTV); only this time I can change the interpretation rule. Therefore if I know for example that if I had selected Photo RGB in the Output module I can change after the reimport the interpretation rule from sRGB to Photo RGB and only then I get again the original colors.
The only exceptions are picture sequences, such as tiff-sequences, where the original color profile is automatically selected in the interpretation of the footage.
Therefore, unfortunately for videos produced by After Effects your advice "If it says something like sRGB and you can change it, in most cases you shouldn't change it because the guess is probably right. If there is no color profile assigned then you should assume that is correct." is not so easy to be applied. You have to know how you did it originally in the Output module and hope that you can change it to the proper color profile, in case that the original color profile in the Output module was different from sRGB and HDTV/SDTV. But it is interesting to hear from you that with cameras there seem to be more possibilities.
For this reason it would be nice if in future versions of After Effects one could change the color profile in the the color management tab of the "Interpret Footage" dialog box also for formats such as Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V.
Of course one can always circumvent shortcomings by using tiff-sequences, QT/jpeg2000, or QT/Animation as formats for storing, which is anyway better for lossless or nearly lossless storing, but the files are then too large and also cannot be played easily with a player.
Volker

Problem Importing Importing Avid Mov File Into FCP

Hello all,
I had transitioned into this issue off an older thread I had, with a different topic. So I figured it was smarter to just make it it's own thread, since it's become it's own issue.
I am editing the core of a project on Final Cut Pro 6. A portion of the footage that was shot for this project though, was captured on a PC into Avid Media Composer 3.0, and therefore, converted to MXF format.
I am running both Final Cut Pro 6 (FCP 6) and Avid Media Composer 3.0 (AMC3) on my Macbook Pro, so I was able to import this MXF footage into AMC3. That was the easy part. The hard part, has been knowing how to properly export it, so I can then, properly import it into FCP6.
Important detail about the FCP6 System Settings:
- *The sequence preset is DVCPRO HD - 1080p24*
In the Avid, when I go to export a small 1 min clip (as a test), these are the Quicktime options I am given:
Fast-Export Quicktime NTSC
Fast-Export Quicktime PAL
Make New - QuickTime Reference
Pro Tools QuickTime (ref)
QuickTime Reference
Quicktime Reference DV Codec
Send To QT Movie
None of them were seeming to work. I was getting this message:
"Long GOP media can not be exported using same as source. Please select a custom resolution or transcode to an I-frame only resolution."
*Send To QT Movie* seems to be the only one that works. But I then had to go in and customize it, making my own Saved preset for this.
I've now so far tried this with 4 custom presets, and while all of them are able to export and play / look fine on my desktop..... none of them import correctly into FCP6. They'll play as clips... but completely stuttery and unusable. I'll then drop them into a sequence, and they'll play for about 3 seconds and then I'll get this message:
"Warning - Dropped Frames
One or more frames were dropped during playback.
If this occurs frequently, try:
- Turning off 'Unlimited RT'
- Lowering your compression data rate.
- Closing open sequences.
- Lowering the preference for real-time audio tracks.
- Increasing the speed of your system and/or disk drives and/or network connection."
Now, I've also gotten a message about the projects needing to have the same capture preset, but I can't replicate it at the time of this post. Though, I'm sure this is probably the root of the problem.
Here's why: In AMC3, with my custom export preset, I notice that Avid supports the DVCPRO codecs, but doesn't have the exact one I'm using in FCP6.
Here's what I have in my AMC3:
DV/DVCPRO - NTSC (this is the one I'm using, and have tweaked the frame rate to 23.98)
DVCPRO - PAL
DVCPRO HD 1080i50
DVCPRO HD 1080i60
DVCPRO HD 1080p25 (this one is close...)
DVCPRO HD 1080p30
DVCPRO HD 720i50
DVCPRO HD 720i60
DVCPRO50 - NTSC
DVCPRO50 - PAL
Now, you'll remember that my sequence preset in FCP6 is DVCPRO HD - 1080p24.
Because this doesn't exist in Avid, I went with DVCPRO HD 1080p25 and just customized the frame rate to 23.98.
Still no cigar though.
Does anyone have any suggestions on how I should further customize the Avid codecs? Or is there even a way to just download more Avid DVCPRO codecs so I can find one with 1080p24?
Sorry for such a long post. I like to be thorough.

Hi Kyle,
Just some more backstory:
This was a two day shoot.
- One Day 1 of the shoot (Saturday), we shot with the Sony camera, on Sony DVC tapes (MiniDV). This was about 20 gigs worth of media shot that day. That footage was later captured onto an Avid MC 3.0 in MXF format. (I still have it all raw on my passport drive if you need further info about those files)
- On Day 2 of the shoot (Sunday), we got the camera we wanted all along for the shoot -- the Panasonic HVX200. Therefore, all of Day 2 was shot on P2 cards, converted on a Macbook Pro, and then put onto an external harddrive. This was about 80 gigs of media.
Right now, when I watch the Sunday footage (Sony) on FCP6, I do indeed see faint horizontal lines on the canvas, when free-framed and at 100%. They're not terrible... but they're there. (I'm not great at this, so if you need total confirmation, I can upload you a large rez screenshot so you can decipher if the interlaced lines are there)
Now, I just checked this out on the Sunday footage as well (the Panasonic P2 card footage which wasn't converted, but imported directly into FCP6, without need for the Avid as the middle-man), and I see the same faint lines on this as well.
Both pieces of media (the original Panasonic footage and the converted Sony footage) are at 29.97FPS. Both are at the same Compressor now (DVCPRO HD 1080p30) per your instructions . Meaning, the Pansonic footage brought into FCP6 had that as a preset from the moment I installed the program and was asked to choose my project settings..... and once you explained to me how to look for this, I then sought to match it on the Avid end, and changed the EXPORT settings on the Avid files to that codec.
So both sources medias match now in FCP6. They also play now without stutter.
But they both do have those lines. Albeit, faint, but I'm concerned about them now.
So I think this definitely has to do with my Final Cut Audio/Video settings:
My Sequence Preset is: DVCPRO HD - 1080p24
My Capture Preset is: 1080p24 48KHz
Should the Sequence Preset be changed to p30?
And if so... will I then have to recapture all the Panasonic footage back in? (I'd lose all my log notes and shot names).
Or, can I just delete the two timelines, change the sequence setting, and then redrag them back in?
Thanks for all your help, Kyle.

Canon 5D Mark II footage in FCP

Does anybody edit Canon 5D Mark II footage with FCP? My playback stops at every blade cut or in the end of the clip for a second before resumes the next clip ... pretty annoying. All the other HD camera footage plays just fine.
Help!
Jarmo

I can only covet your camera, but I happen to have a FCP tutorial for the Mark II. It says do this:
1. Make sure you have latest MacOS (10.5.6 or highter), Quicktime (7.6 or higher), and FCP (6.0.5 or higher). And of course an Intel-based Mac (2.8 Ghz recommended). You may still get some stutter during playback with multiple layers of video, audio, and transitions/filters. But output will be OK.
2. Make a Mark II pre-set as follows (one day FCP will include one, sigh):
Select Audio/Video Settings.
select Sequence Presets. Select this one to duplicate and modify: DV NTSC 48 kHz.
Pull down Aspect Ratio and select HDTV 1080 i (16:9). that is is really correct but 1080p is not a choice but you will not convert to interlaced anyway.
Change *Pixel Aspect Ratio* to SQUARE. Do NOT check Anamorphic 16:9
Select *Field Dominance* Upper(Odd)
*Editing Time base*: select 30
*Timecode Path*: 30 Non-Drop Frame
Compressor: H.264
*Audio Settings*:
Rate: 44 kHz, Depth: 16-bit, Config: Cannel Grouped
Under SUMMARY tab in Audio/Video Settings:
(make sure Sequence Preset shows name of the one you just made)
Capture Preset: Generic Capture Template
Device Control: Non-controllable device
Video Playback: none
Audio Playback: default
Click Create Easy Setup (put in your Mark II name) and click Create
Enable verification tab: checked
NOW when you begin a new project, go to Easy Setup and pull down your newly-created Mark II preset. The tutorial I got this from said to be sure you create a NEW project or some default presets may still be in play.
You may need TRANSCODING if your system still struggles with the above.
Convert H.264 to a managable HD codec (Apple ProRes 422 or 422 (HQ) or DVCPRO HD 1080p30)
I assume you would know the steps doing this, but if not, let me know.
Would really like to know if this works for you. Have the Mark II on a short list of possibilities for a new camera.
Good luck!

Exporting Canon 5D Mark ii footage..

I'm fairly new to final cut, im running a Mac Pro, 2 X 3 Ghz processor, 10GB memory, 10.6.2 snow leopard... and i still find myself having to render at every edit in the timeline, and now im having trouble figuring out how to export correctly to get the highest possible quality on youtube and/or vimeo
here's what i have done and researched so far:
i took my original canon 5d footage into MPEG streamclip and converted the files into Apple ProRes 422 (LT) at 30fp, i then created a custom setup in final cut 7 with the following presets:
SEQUENCE PRESET: Canon 5D Mark ii footage (duplicated an Apple ProRes 422 (LT) 1920X1080 30p 44.1ghz audio)
CAPTURE PRESET: DVCPRO HD 1080p30 48kHz (i won't be capturing in fcp since i've been using MPEG streamclip
DEVICE CONTROL PRESET: FIREWIRE NTSC
VIDEO PLAYBACK: (sometimes i have this set at Digital Cinema Desktop Preview - Full Screen so that i can take advantage of my other monitor, but it tends to drop frames faster in playback, so i usually have it set to "none")
AUDIO PLAYBACK: Default
now my question is, how do i correctly export this? i tried a couple different ways, some had skipped frames... others the audio was off... another setting made the colors way too contrasty after exporting...
also how can i solve this "rendering" issue... did i make a mistake in the beginning in setting up the timeline (btw , the sequence matches the same settings as the footage... ) i'm also playing back at "safe RT, medium quality, half frame rate..." not sure if that matters..
so yeah, my two main questions are, correct export for this file, and any help with render issues?
thank you..

oops.sorry...
here is a link to what i uploaded using Quicktime X directly to youtube..
http://www.youtube.com/watch?v=a3q19YDSdWE
it doesn't look as good as i think it could...and it has a HQ option instead of HD? i don't have quicktime pro so i couldn't export with exact settings, just directly to youtube... how can i export w/ final cut .. when i export using quicktime conversion and using Apple Pro Res, it ends up being a 1.34gb file and its only 1 minute... would i then need to compress it?
and yes i need to get rid of all the layers i have in the timeline.. maybe that might help but it was giving me the rendering "RED" color even in the beginning when i had 1 layer..
i changed audio to 44.1 because i read it somewhere online i believe it was under phillip bloom.. suggesting to change from 48 to 44.1 for all canon 5d footage.. ? im not sure why though..

Losing quality with images when I import them into Premiere cs5

I am creating a video using a series of stills. I originally imported them as png's. I noticed that the images where degraded when they appeared in the timeline, and thought they would come out clear and crisp when I exported. But they remained the same quality in the export as they did in the timeline. I tried replacing the png's with other files and nothing seemed to import nicely, except when I converted the png's to PSD and imported the PSD's. The PSD's looked perfect in the timeline, until I rendered the timeline. And then immediately they degraded. I tried exporting just to see if it would produce a better result and it did not. I also noticed that the titles are degraded in the export as well.
I've gone through a bunch of forums and haven't seen an answer to my issue. My guess at this point is that it was something to do with interlacing or "fields", but I honestly don't know jack about that stuff. Should I be working in a different sequence preset? If so, which would be best for importing PNG's, or PSD's (RGB) as stills?
The goal here is to fix my current sequence and improve the quality of the stills in it. I would prefer not starting over
Specs:
General
Editing mode: HDV 1080p
Timebase: 29.97fps
Video Settings
Frame size: 1440h 1080v (1.3333)
Frame rate: 29.97 frames/second
Pixel Aspect Ratio: HD Anamorphic 1080 (1.333)
Fields: No Fields (Progressive Scan)
Audio Settings
Sample rate: 48000 samples/second
Default Sequence
Total video tracks: 3
Master track type: Stereo
Mono tracks: 0
Stereo tracks: 3
5.1 tracks: 0
Submix mono tracks: 0
Submix stereo tracks: 0
Submix 5.1 tracks: 0
Export Spec:
1280x1080 29.97, progressive, quality 100, dvcpro hd 1080p30
render at maximum depth
optimize stills
I honestly don't know what the right export setting is, i'm just looking for something that produces a high def result. I know that my project framerate is 30 fps, so it should probably be exported for 30 fps.
Any help on this would be great. I've gone pretty much to the far corners of the internet and have found nothing of real help.

For the YouTube version, use the appropriate YouTube preset. If you have the upload bandwidth, change Target and Max from 8 to 50.
For the computer Master, you might try something lossless. I like the UT codec. (http://umezawa.dyndns.info/archive/utvideo/) It's free and works fine with Windows and Macs. The down side is that not many players can handle it, including the venerable VLC. I have to use Windows Media Player for those files.
Another option is MXF OP1a using the AVC-I 100 codec. It's not technically lossless, but it is damn close. But again, player support is somewhat limited for this format.
Of course, if you do up the bitrate to 50 in the YouTube export, that would not be a horribly copy to keep around. And it'll play in a lot more players.

Ideal Set up for D90 Video

So here’s my problem. I normally work in FCP with clips from my Panasonic HVX200 P2 camera but I needed to use video from my D90 for a small project.
Not completely understanding the implications, I simply imported the D90 clips and edited them together with text and graphics into an 11 min piece that looks and plays fine from the timeline.
But, when I followed my normal procedure for exporting the sequence (Export to: Quicktime > Current Settings) I got what at first appeared to be a perfectly decent .mov but when I play it through it gets to the 8 min point and then begins to fall totally out of synch with the audio and image skipping and repeating.
At first I had no idea of what the problem could be but then I figured that it had to do with having an incompatible sequence for the clips I was importing.
So, my question is, can anyone tell me the steps I can use to create a new project that’s ideal for the D90 clips I’m importing?
(Or, are there any other ideas for what this problem is?)
Thanks for your help with this,
Chris
Here are the relevant stats:
My system:
Model Name: Mac Pro
Model Identifier: MacPro1,1
Processor Name: Dual-Core Intel Xeon
Processor Speed: 2.66 GHz
Number Of Processors: 2
Total Number Of Cores: 4
L2 Cache (per processor): 4 MB
Memory: 4 GB
FCP 6.06
Sequence Settings:
Compressor: DVCPro HD 1080p30
Frame Size: 1280 x 1080
Vid Rate: 29.97 fps
Aud Rate: 48.0 Khz
32-bit Floating Point
Audio: 2 outputs
D90 Clip Settings
Compressor: Apple OpenDML JPEG
Frame Size: 1280 x 720
Vid Rate: 24 fps
Aud Rate: 11025Hz
16-bit Floating Point
Audio: mono

Hmmm not sure if its the same thing but I have re cut some videos before that was already exported and compressed into a h.264 file. I brought it back in FCP to re cut some stuff.

Log and Transfer 1080i60 issue

I am trying to transfer the P2 data into FCP 6.0.5 at DVCPro HD 1080i60, but FCP keeps reverting the compression to DVCPro HD 1080p30.
The film was shot 1080i60. I have confirmed that all of the settings (timeline, capture presets, etc) are set for DVCPro HD 1080i60. I have deleted the project and opened a new one, dbl checked the XML files to confirm, and they show 1080i 59.94.
What am I missing?
I dealt with this issue in the past with another film, however, I forget what i did when I resolved the issue.

I am still struggling with this issue of footage not transferring properly. I have sent messages to Panasonic, and it's not something they can resolve. It is an issue with FCP. No one else is experiencing this issue? I'm sure apple has a KB somewhere for it.

Format mismatches: 1080pA clips into FCP timeline

For my HVX, in FCP, I'm using the suggested preset for 1080 24pA which cites a compressor setting of DVCPRO HD 1080p30. When I try to drag the clip into the timeline it says there is a mismatch--that the clip does not match the preset and I have the option to change the sequence setting to match the clip settings or not. FCP advises that one change the sequence to match the clip property, and so if I opt to change that sequence setting, when I look at the sequence specs the one thing that has changed is that now the sequence setting is DVCPRO HD 1080i60. That is, it appears from this that despite having checked the box in Raylight to remove the 2:3:3:2 pulldown, this has failed and clip is still interlaced over 60. And indeed when one looks at the clip properties the clip is identified as DVCPRO HD 1080i60.
What am I doing wrong and what do I do to get the pulldown properly removed and make my 1080pA shot footage progressive? Or is there something fundamental I'm not correctly understanding?

Hi Shane,
Thanks for your reply.
I'm not disputing your suggested approach as I believe it is generally the tried and true one.
To be clear, I have done that as well (making sure the remove pulldown box is checked in the L&T interface) and from what I can tell yielded the exactly the same results… same clip properties vs. sequence properties.
Either way I use the FCP easy setup to create the sequence format it recommends for 24pA footage which in the FCP browser shows among a long list of properties the following key ones a video rate of 23.98 fps (ii) compressor setting of DVCPRO HD 1080p 30 and Pixel Aspect of HD 1280x1080.
Whether I use L&T or Raylight, I get a clip with the same properties except the compressor setting being DVCPRO HD 1080i60. I assume that FCP identifies the mismatch because of the difference of that parameter.
Either way I have the same problem.
BTW, the latest version of Raylight claims to remove pulldown. In that pa's General Options the top section is dedicated to pulldown removal. One can set the target frame rate (23.976 in my case) and check the box of the removal. You can see a screen grab of the General Options on their web site (http://dvfilm.com/raylight/mac/index.htm).
From their Support Doc:
Pulldown Options
24PA pulldown, also known as 2:3:3:2 or "Advanced Pulldown", can be removed from 1080i/60 and 480i/60 (NTSC DV, DVCPRO, DVCPRO50) clips, if the "Remove Pulldown" option is selected. You can also use this option to remove 3:2 or 2:2 pulldown from footage recorded at 60P, or 2:2 pulldown from 50P. Be sure to set the Target Frame Rate in the drop-down selector box to 23.976, 29.97, or 25 fps as appropriate.
To answer your question, I can only hypothesize that when a file is processed through Raylight incuding the Pulldown removal instruction, the reulting Raylight .MOV file includes instructions to quicktime/FCP to remove the extra frames when the MXF file is played through it.
Possibly this feature does not work correctly however? I guess next I need to contact Raylight.
BTW to round out the picture for you:
My workflow into FCP 7/Studio 3:
1. HPX170.. shooting 1080 24pA.
2. Ingest files from P2 cards via P2 Card reader onto external drives using MacPro (OS10.6.8) workstation using Panasonic's P2CMS
3. To avoid Log & Transfer and the creation of redundant massive scratch data, I apply Raylight v3 to:
(a) re-wrap .MXFs into .MOV alias pointing to the original MXFs in sub-folder "Contents" and
(b) remove the 2:3:3:2 pulldown
4. Import the .MOV alias files into a Clip Bin in FCP
5. Use the FCP easy setup to create the recommended sequence for 24pA footage which in the FCP browser cites properties for that sequence as having a video rate of 23.98 fps (ii) compressor setting of DVCPRO HD 1080p 30 and Pixel Aspect of HD 1280x1080,
6. I attempt to drag the clips into that sequence which is where i hit the mismatch.
Some key anecdotal observations for which I'm uncertain of the significance:
1. I cannot perceive much difference in how the footage plays whether I convert the sequence to match the clip as per the above workflow (as FCP recommends) or conversely elect to force the clip into the FCP recommended sequence for 24pA footage
2. footage viewed in the P2CMS Previewer (prior to pulldown removal) does appear to my realtively untrained eye as more interlaced (though not terribly so) than that viewed in FCP in either case immediately above
3. Though the image of the 1080 footage is larger, that 1080 footage does not look as clean 720 pN (24p) footage shot with that same camera.
In the end I'm not sure if I have a misunderstanding, doing something wrong or whether everything is OK and as good as it gets considering what to me appears to be a degradation of the 1080 image in comparison with the 720 image.
Any more thoughts?

Final Cut Pro Settings For AVCHD Canon HFS100

Hi friends,
I am new to Final cut pro and digital video. I just purchased a Canon HFS 100 and am shooting in 30p and am going to be editing on FCP 6.0.1. From Easy Setup on FCP I have changed the FORMAT to HD, RATE to 29.97 and USE to DVCPRO HD -1080p30. Will this be the most favorable settings if I want to make high quality HD videos for the web. Or should I leave it on FCP Easy Setup default which is FORMAT: all formats, RATE: all rates and USE: Custom Setup.
Thanks.

Hi Khorsani,
welcome to the arena.
Your version of FCP was the [first one|http://www.apple.com/support/releasenotes/en/FinalCut_Pro_6.0_rn/index.html#appleref%3Adoc%3Auid%3ATempBookID-ReplacedWhenAssociatingWithMessierRevision-CH1-SW59 ] to offer some support for AVCHD.
You want to use Log&Transfer (FCP main menu>File or ShiftCommand8)to convert your footage to ProRes or AIC, which are editable formats that FCP likes.
http://www.apple.com/support/releasenotes/en/FinalCut_Pro_6.0rn/
Also [Read this|http://documentation.apple.com/en/finalcutpro/professionalformatsandworkfl ows/index.html#chapter=6%26section=2%26tasks=true] for more general info.
Connect your camera to your machine, then try to Log&Transfer.
Please note that AVCHD support was improved with following FCP 6.0.x versions so you may want to update your current version if something does not work.
To update just click on the Blue Apple of the OS top menu and look for software updates.

DVCPRO HD 1080p30

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