Editing stereoscopic footage ("3D film") using FCP

Does anyone have any work around to doing stereoscopic editing using FCP?
We've been debating the viability of wrapping the left and right eye images in Quicktime, making it "invisible" to FCP.
I am curious if anyone has evaluated or used the product for stereoscopic film editing.
Markus

I only know that Avid has just announced support for stereoscopic editing in Media Composer v3.5. FCP has never claimed any real ability to do it that I know of. I always assumed that people edited with just one eye, then separately assembled the two images for screenings. If the timecode matches for both eyes that shouldn't be too hard. But if you need to edit and monitor in 3-D all the time I'd guess you're looking at some hard work to make it happen in FCP.

Similar Messages

  • 16mm film in FCP - sound synch.

    I am making a working edit of a 16mm film in FCP. Once complete the EDL will
    be used by a neg cutter and the project will be finished as 16mm show print.
    All the sound was recorded wild and although most is not in need of a tight
    synch. there are short spoken sections that must be lip synched.
    In FCP we have both video and audio, but the runs faster than the audio and
    a lip synch. is impossible.
    We telecined to DigiBeta but also laid the picture off to DVCam (with TC and
    Frame Numbers in pic.). We captured from the DVCam into FCP. In ignorance we
    did not pay attention to the capture rate or the frame rate of our sequence,
    so used 25 frames for both. We want to do as much work in FCP as possible to
    produce a sound track mixed down onto DAT for the production of a optical
    soundtrack neg. FCP is helping us make decisions for the neg. cutter but is
    not usuable as a guide to edit the audio.
    This may be a problem of our own making but any advice as to how to get out
    of this impasse would be much appreciated.
    G4-dual 1Ghz   Mac OS X (10.2.x)  

    Many thanks.
    We telecined to PAL video (UK). Does this still use 3:2 pulldown? or a different system? Cinema tools doesn't offer Reverse Telecine for changing PAL 25 fps to 24 fps, but it does have a Conform tool which allows me to do something similar (I think). Will this have the same effect and bring the video back to match the film and audio speed as it was recorded (24fps)?
    If you are going to cut the negative you'll need
    something more than an EDL. EDLs track the xfer tape
    timecode, you need to give the negative cutter
    keycode number from the negative. You can xfer with
    keycode burn in for this. Is that what you did? Talk
    to your negative cutter and see what they want.
    Yes I think we did. We have two counters burnt in vision on our DVCam dub. One is TC (from the telecine) the other has the suffix FN (frame number?). We will talk with our TX guy for confirmation. However these FN numbers do not appear in the FCP EDL - is it possible to generate an EDL in FCP that references the frame numbers/Keycode?
    Again thanks, any more info on using Cinema Tools with PAL material would be welcome.

  • Edit stereoscopic (3d) footage

    I'm trying to edit stereoscopic (3d) footage. I've seen some tutorials of Dave Helmly. I 'm using AVCHD 3D (.MTS) files. I'm expecting to see a Side-by-side image in the program monitor and  hope to see an actual 3D image on my 3D screen. But that doesn't happen. I have installed the QuickS3D Lite plugin; no difference.
    What is going wrong?
    My HP Z400 workstation has a NVIDIA Quadro FX 1800 installed.
    Karel Hebly (The Netherlands)

    Some previous discussions that may (or may not) help
    Adobe and 3D http://forums.adobe.com/thread/1229799
    -and http://forums.adobe.com/thread/831871
    -w/3rd party tools in Encore http://forums.adobe.com/thread/1286644

  • Editing 24p footage - FCP or Vegas?

    I'm planning on using a dvx100b to shoot a project in 24p (or 24pa). For editing, I quite naturally was going to use FCP (29.97 & 23.976 timelines respectively), since I already own the software. When I mentioned this to an acquaintance who is an experienced Vegas editor who also did a little work on FCP, he was adamant that Vegas is vastly superior to FCP for 24p editing. Not having ever edited 24p(a) footage, I was taken aback, and lacking in information to confidently express any opinion. Im not clear on why it would make a difference... what's going to be different editing such footage on FCP from just regular non-24p footage?
    Also, I don't want to spend the money on Vegas, or the time to learn the software, not to mention having to upgrade my windows gear (I only have a 3 year old Dell Inspiron 1100 w/ XP). Bottom line, I really don't want to do this, unless there are very compelling reasons.
    Is anyone here familiar with both Vegas and FCP who can shed light on the issue? TIA.

    Thanks, Capt. Mench, that is quite helpful, as I'd rather stick with FCP since I already am a bit familiar with it (not 24p editing though), instead of learning another software like Vegas from scratch. I hear you wrt. Vegas... my purpose was not to diss Vegas, but rather I was worried that FCP had some kind of issues when it comes to dealing with 24a(p) footage and Vegas did not. If it's just that Vegas workflow is "better" in being slightly more intuitive or economical or ergonomic, I don't care. If FCP can do the job without hiccups (even if less "iintuitively" than Vegas), then I'd rather stick with FCP.

  • I am using 4K Footages for editing in Premiere pro CC 2014, but its getting crash in between at every 15 to 20 mins. Kindly suggest how can it be solved, does any plugins or settings needed to edit 4K footages? Also would like to mention that footages fra

    I am using 4K Footages for editing in Premiere pro CC 2014, but its getting crash in between at every 15 to 20 mins. Kindly suggest how can it be solved, does any plugins or settings needed to edit 4K footages? Also would like to mention that footages frame rates are 29.97 and i have set timeline to 25 FPS is requirement by client. kindly revert. Thanks

    Thanks Richarad ..It has solved the problem but still crashes some times .As the programme has the break (bumper)after every five minutes ,i hope it will not compress bumper time too after export.

  • I am interested in editing GoPro footage using Adobe Photoshop Premiere  any have experience with that.

    Wondering if this software is good for editing GoPro footage.  Thanks

    My GoPro workflow currently is:
    - record with GoPro in Protune
    - import GoPro MP4 into Premiere and edit
    - convert GoPro MP4 to AVI using GoPro Studio (leaving same file name stored in sub-folder)
    - 'offline' GoPro Premiere MP4 footage and 'relink' to AVI
    - export media out of Premiere
    Be careful with AVI files in Premiere as they crash my 2014.2 release 8.2.0(65) build. Solution I see to have AVI not crash Premiere is to turn off GPU Acceleration and use Software only.
    After I re-link AVI files in Premiere, I leave my GPU Acceleration on and render out. I do not play the AVI with Premiere to avoid crashing. When I am re-linking the MP4 to the AVI, I am saving the project frequently due to Premiere crashing. I am exporting GoPro AVIs fine with GPU Acceleration on.
    Premiere handles GoPro MP4 files fine. I could not tell you anything about Photoshop video editing if that is what you are asking.

  • Hi sir im using fcp 7 for video editing in i mac, how can i edit mts files in fcp 7 without log n transfer, is their solution for fcp 7?

    Hi sir im using fcp 7 for video editing in i mac, how can i edit mts files in fcp 7 without log n transfer, is their solution for fcp 7?

    >No, you are not right.
    Going to question the biggest contributor to this forum?  (Yes, my ego is talking).  OK then...
    >Install the QT-Plugin, restart your Mac and you will be able to import and use .mts files in FCP 7.
    Sure...yes, that makes it POSSIBLE to read the files natively in FCP...if they come from a Panasonic camera. BUT...just try working with those files.  Right away the system won't be nearly as responsive as it would if they were ProRes. First...there are no sequence settings for that format...so you'll have to use ProRes and have a green render bar.  BUT, that's no big deal.  The big deal is trying to work with the AVCHD format, which is VERY processor intensive...inside an application that doesn't like to work with much outside of the FCP editing codecs.
    Is it possible? Sure? Will it work well...will you be as zippy and error free as if you converted to ProRes? Not by a long shot.  OH, but don't just take my word for it.  Go ahead...try it and see.  No skin off my nose...no waste of my time.  See how well this works. 
    I'm just here to relate real world working solutions to issues.  And yes, I did try that plugin, and boy, was editing a pain.

  • Editing a Feature Length Film... pointers?

    Hey Guys-
    I'm currently working on a film thats going to be about 60-70 minutes long, and before I started editing/logging footage, I needed to ask some advise. I've only ever edited small projects (less than 20 minutes), and while I'm pretty decent with editing tricks... I'm unsure how to approach a larger project. Mainly- would it be more beneficial to break the film down into several different projects, or keep it all in one? Also, what would be the best way to export a longer length short/feature to a CD? Since I've only ever edited shorts, if I needed to rip them to a CD, I would just export them from FCP, then import them to iMovie and go from there.
    Thanks for the help in advance.
    D. Bone

    Well, I have a lot of tips on organization of projects, including long form and features, on this tutorial DVD:
    http://store.creativecow.net/p/63/gettingorganized_in_final_cutpro
    what would be the best way to export a longer length short/feature to a CD?
    DVD...you mean DVD. Just export a reference QT or self contained QT and then take that into Compressor and use the DVD presets that matches your timing. Then burn with DVD Studio Pro. DO NOT import into iMovie.
    (I may receive some form of compensation from the above posted link)
    Shane

  • Edit HD footage in a PAL timeline

    Hello gurus!
    I will be editing a commercial with the latest FCP installed on my laptop. The commercial will be shot entirely on a Phantom Camera (1920x1080 HD). I will export the Phantom footage to TGA or Tiff sequences and then import them into FCP. The finished product will be delivered in PAL format.
    I guess what we want to do is edit the HD footage in a Pal timeline but have the full 1920x1080 resolution available so as to perform various zooms on the HD footage and still retain PAL quality. The zooms will not be exceeding PAL limit i.e we will not zoom in the HD footage past 720x576 pixels.
    Will this work if i just follow the above procedure, import HD footage and use a PAL timeline? Will this retain full HD quality of my footage or will the PAL timeline force the footage into 720x576? Will I probably have to render all the time? I am opting for delivering a title-less finished film in Pal format and then hand it over for the titles to be placed at a later stage.
    I am new at HD so any help will be appreciated.
    Thanks
    Tolis

    Thanks a lot you guys,
    like you all said, it is as simple as importing HD footage and editing them on a SD timeline. Here's what i did:
    I took my image sequences and converted them to ProRes .mov in Quicktime then dropped them into a DV Pal project with the DV Pal Sequence Preset (I tested both High Quality and Proxy and both work in FCP with no need to render) and voila, i have HD footage to pan and zoom around to!
    This is what i wanted to do.
    I also did a few tests and i am posting the questions that came up in the process.
    When i did the test i realized that whichever workflow we devised, i would have to convert my image sequences to video before bringing them into Final Cut!
    Any other way to create video files out of image sequences besides QuickTime Pro or Mpeg Streamclip?
    Is the HQ ProRes codec or any other ProRes Codec good enough to retain all color space so as if i convert all my Tiff Sequences to it i can use as my new source for online?
    I also tried to work with the HD Tiff files directly into FCP and would like to know what would the best Sequence Preset be. I used 1920 x 1080/HDTV 1080i (16:9), square pixels and no field dominance. For the compressor part i found out that if i use uncompressed 10 or 8 bit, i can work without rendering, same with the Apple ProRes but if i put Tiff as a compressor i need to render to work. Can you explain a bit more on what the compressor option refers to in the sequence settings?
    Another thing i tried is the Auto Conform option for new sequences but it appears to not work when i drop a tiff file into the sequence. I guess FCP does not consider this video to conform the sequence to.
    Again thanks a lot for all the help. I will mark this thread solved once we discuss a bit more the new questions that came up.
    T

  • Prosumer looking for the right desktop to edit hd footage...

    Hi Everybody,
    I have a question for all of you, but before I ask the question I have searched high and low for an answer to my question and although I've found people in similar situations, I need to find an answer for my specific needs. Okay here it goes, I have an had camera Sony Sr11 and I want to edit the footage, somewhat flawlessly, I want it to run as smooth as possible b/cuz my current laptop (dell 1520 2.4 Ghz, 4GB Ram, non-dedicated graphics) isn't cutting it. I'm not a film student or anything I just like to make movies it's a hobby and I do it for family and friends that sort of thing. I intend on using final cut express to get that particular job done, I also have thousands of photos..and I don't plan on putting them on the hard drive of my computer, they're kept in an external hard drive. I like to edit those as well I wanted to use aperture for that. So the two main programs I want to use are final cut express hd and aperture...now for the third thing...I do a little gaming and I mean a little..I play sims 2 and I want to eventually play sims 3...so I want a computer that can run those games at the highest settings...compared to other games I don't think that's asking much but I don't want medium settings I want high settings...
    So those are my main concerns...running final cut express, aperture, sims 2 and eventually sims 3...should I get the new Imac 24" 3.06 Ghz or should I bite the bullet save a little longer and get the mac pro with an external screen maybe hp or dell...oh and one more question do you have to be a "computer major" to get the adc discount b/cuz I'm a pharmacy student???
    Again thanks for your help everybody

    hey there VXII,
    the discount is available to any one who's a registered student w/ a valid ID- check w/ your school bookstore, take your ID to an Apple Store or check out the Education Store here on apple.com for the requirements. the current iMacs are so new, there may not be anyone who has used it for gaming.... but you might want to check MacWorld in a few days to see if they have new Benchmark tests or Reviews that may help you decide about gaming or just keep the Dell for gaming. to edit the HDD, AVCHD, any not tape-based video over Firewire, you will need an Intel Mac & i suggest you get as much RAM as you can afford, try Crucial or OWC to get it for way less than Apple.
    good luck.

  • I would like to save footage to a hard drive and stiill be able ot edit the footage. I would like to reuse the cards on the  same project. Is this a sensible option. Camera JVC  GY-HM100

    Hello I wonder if anyone would be able to help.
    I have a JVC GY-HM100. I have footage from a ongoing project saved on SDHC cards. I want to save money by reusing the cards while i carry on working on the same project.  I wondered if I could save the footage from the SDHC card too a hard drive ; delete the footage from the cards and reuse them. would i still be able to edit the footage stored on the hard drive alongside the footage which will be imported straight from the camera..  I have heard that this camera works well with final cut pro but if the info is saved to a hard drive first and subsequent footage is straight from the camra and SDHC cards will it work or is it a false economy to reuse the cards.
    Hope that makes sense
    Lindabob

    "I wondered if I could save the footage from the SDHC card too a hard drive"
    Yes.
    "delete the footage from the cards and reuse them."
    Yes.
    "would i still be able to edit the footage stored on the hard drive alongside the footage which will be imported straight from the camera.."
    What program are you using to edit? If Final Cut Pro there is an entire forum with FCP experts who can guide you:
    https://discussions.apple.com/community/professional_applications/final_cut_pro_ x

  • My footage looks posterized in FCP playback

    im using FCP 7 and have downloaded all the latest software updates.
    my footage looks normal when i play it back on my video camera, it's normal when i watch it on quicktime, and even when i export it as a quicktime from FCP. it's also normal when capturing to my computer using the 'log and transfer' window. but when i play/preview the clips from the timeline or directly from the browser window, the footage looks distorted and posterized.
    ive tried talking to apple support, ive re-loaded the program, ive tried the program with a different user account, ive trashed preferences and reloaded again... but the footage still looks posterized on FCP.
    when i change the view settings, the footage looks normal on the R channel, the G channel and B channel, and even on the RGB + alpha channel, but when i view it using the RGB channel, it looks posterized, making it quite difficult to edit and colour-grade.
    any suggestions on how i can fix this problem?

    ok, so i dont know what i did. but after checking my colour settings in my system preferences (which i didnt change), FCP has decided to magically work! the footage is playing back normally now. yay!
    i really dont know what i did to fix this problem, but it all appears to be fine now. thanks for your help!

  • Editing iPhone footage in final cut pro

    So my sister got baptized and I'm trying to put together a hightlight of this awesome event. I did not have my video camera on me, but I did have my iPhone. I shot a 3 minute video and then brought it into FCP without any issues. It plays perfectly in the timeline, or so I thought. I'm letting the timeline adjust itself automatically to format to the iPhone video settings. 640x480, H.264 encoding. I have to render but that's only because the audio.
    The issue I'm having is with the transitions from video to still pictures I imported from another camera. I'm adding a simple "fade in / fade out" and it's doing crazy things to my work flow. The video now jumps or lags and will not play smooth. Also when I transition into a picture from video it flickers real bad. I've tried everything and can't get it to work. Last night I started using iMovie and that was terrible. I need some help on workflow here. I should be able to go in and out of video and pictures without any problems. My exported video even jumps so I know there is something wrong. I tried just putting two iphone video clips back to back and there was lag there as well. I edit HD footage all the time and have a loaded system. So I know it's not hard ware...
    PLEASE HELP!
    MacBook Pro 2.4 15" 4 gig RAM   Mac OS X (10.5.7)    

    Convert the video in Compressor or the QT Pro player to motionjpeg or some other editing format.
    Use that instead.
    Remember that the original footage is heavily compressed and using a transcode won't improve the footage, just the edit.

  • Adding a timer into videos using FCP?

    Does anyone know of a way to insert a timer into a video using FCP? I'll have some sports clips and I'd like to insert a small timer in the corner of the video (the type that would start at 0:00.00 and count up, beginning at an arbitrary point in the footage? I don't know of any.
    Thanks.

    I had this question a while back, needing something that would count down (really just arbitrary, as you could set it in reverse). I needed something that counted in just time through a multitude of clips, not really a TC thing. After searching hard, the best thing I came up with was just shooting a digital clock that can count down, put it in the corner of the picture, and could edit it just like video. Just sort of a 'plan-x' method.
    -Jack

  • Remote Voice Over Workflows using FCP - thoughts?

    I am going to try and keep this as simple as possible.
    I am Producer and host for an Australian Drag Racing Show that we air nationally...
    We record these shows in Full 1080 HD using modern XFILE systems (EVS) using the Apple ProRes 422 (HQ) codec.
    Our ENG/EFP team use XDCAM (full 1080i HD).
    We edit these shows using FCP 7 amongst a few suites.
    I also do some offline content on my 17inch i7 MBP using FCP too.
    My question is thus:
    The Post Production Team are based in Sydney on the east coast, whilst I am based in Western Australia - this is like being in LA in comparison to New York!
    I want to reduce my travel commitment by air, as in the past I have travelled weekly to commentate these shows (40+ shows a year!)
    I have - as does the production house - a reasonably good ADSL Internet connection.
    I do a lot of Producing and program checks using iChat Theatre within FCP 7. It is quite good.
    What I want to get to though is a way in being able to more often commentate these shows remotely from home, without the need for me to physically having to be across country on every occasion - for my sanity's sake.
    My co-commentator also lives near me, however our editors are all based across country, together in Sydney.
    I see the following options as being the way to do this:
    OPTION 1.
    When we ingest (log and transfer) the vision, I will always be in Sydney at that time. There are usually several shows generated from this vision.
    I copy the Quicktime MOV files that are for use in the shows to my external (eSATA) HD.
    Editors in Sydney cut the racing components of our show. They then email me the FCP project file.
    (I have FCP, the required Audio and Mics)
    Then, I open this FCP Project File and re-link and re-render as required once I receive this and we commentate the shows using the VO utility within Final Cut.
    I then do an Audio export only and send the editors the updated FCP Project file, for them to receive and re-link the vision as required, sound mix and print.
    OPTION 2.
    The Editors cut the shows, then export either within FCP or Compressor a reduced quality file size to send via FTP or sendspace.
    I then import this vision locally into FCP, render the vision and commentate it accordingly and just send back the audio.
    SO:
    What would you all suggest as the easiest and best way to do this. We do have tight work timeframes in terms of getting content to air.
    I think Option1 is by far the best, and what I am not sure about is if I did Option2 - what settings for export and I want to avoid bogging down the editors on handling cumbersome vision exports anyway?
    Thoughts?
    Dean...

    I would probably go with option 2, myself - I usually export my cuts and run the movie thru compressor with the H.264 LAN or H.264 800KBPS presets. These are found under Apple/Other Workflows/Web/Streaming/Quicktime 7/
    These take up roughly 10MB per minute and 5MB per minute respectively.
    While I have used Option 1 (duplicate media, transferring a project file), this can get problematic when the editors have generated media - like effects, color correction, etc...
    my 2¢
    Patrick

Maybe you are looking for