Exporting HD FCP7

Okay I'm having lots of trouble exporting a 1080p video in FCP7. I never have trouble with this and for some reason this happened tonight. My camera is a Canon XA10 recording 1080p. On the computeer, the AVCHD file is crystal clear. When I logged and transfered the AVCHD file into FCP it looks fine as well. however when I export the video using quicktime conversion, it exports blurry and disfigured. I tried playing with the sequence settings and found out that it wasn't set to 1080p. I changed it and it completely shrunk the video. Here's screenshots of my sequence and quicktime conversion export settings:
Any ideas? I normally shoot with tape cameras and this AVCHD structure is new so I never have had this problem. Points to answer that solves my question. Thanks!

Create a new sequence.
Drag or edit one of your camera source clips to the new (empty) timeline.
You should be prompted to match the sequence settings to the properties of the source clip. Say yes.
Now delete the clip you just placed on your new timeline.
Return to the timeline that has your edited sequence.
Click anywhere in the timeline, and then type Command + A to select all the clips, then Command + C to copy them.
Now switch to your new (empty) timeline and click anywhere on it.
Type Command + V to paste in your edit.
If the video that is pasted into your new timeline looks incorrectly sized or distorted, click on any one of the clips in the timeline to select it.
Type Command + A to select all the clips.
On any one of the selected clips, Control-Click on the clip and from the drop down menu choose Remove Attributes.
When the Remove Attributes Pane opens, check the box for Basic Motion and the box for Distort (if they are not grayed out) and then click OK.
MtD

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ryanh65956935 wrote:
The files exported from AE look fine in VLC, PP and FCPX, so I am assuming this is a FCP7 issue.
Thanks in advance.
As LaRonde says, we'll ned something more tangible and specific.
FCP will, if you wish, work in the codec native to the first clip you drop into a project. If you do not export in the same codec, something could get compressed or quantized. So, please tell us what you means exactly by quality loss and what codec and pixel dimensions you are starting with and ending with.

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Final Cut Pro 7 export drops frames

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them: "no."

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A few responses, hopefully they are illuminating and possibly also helpful
"Best Quality" has a subjective aspect to it. If you mean, "as close to my original footage as possible", then export to QuickTime Movie, not QuickTime Conversion. And if you are sending the video to iDVD, export to QuickTime Movie only.
If you are using Final Cut Express, your HDV material has already been transcoded to QuickTime/Apple Intermediate Codec. That's how FCE works with HDV video. If you simply export your sequence to QuickTime Movie, you will get a file that is QuickTime/Apple Intermediate Codec.
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If your video is HDV it should already be 16:9; there is nothing further you need to do to ensure it is 16:9.
The lines on your TV screen could happen from many causes. It's not necessarily your video, although if the lines are fairly consistent throughout the entire video, it could be from the interlaced nature of the video, a bad export or a bad encode & burn. Try the following as a test:
In FCE, do Sequence > Render All > Both, followed by Sequence > Render Only > Mixdown.
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Then import the video into iDVD.
In iDVD make sure your Encoding preference is set to Professional Quality.
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Importing animated photoshop layers to FCPX

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All the files came in but I have multiple errors, such as wrong font, wrong size of some images and movies,
some sound layers not there but most importantly:
all my animated layered Photoshop files are there but none of all the keyed animation is there, nothing is
animated anymore.
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pierre

I'm a little surprised that the animations didn't come over to FCPX intact. (Just checked the documentation and nothing stands out.)
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If you don't need to work on the animations in FCPX, flatten them before exporting from FCP7.
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Looks like a pulldown issue, duplicated frames are baked into transcoded files...

Have a bit of a messy project atm...this started with a client call on my way back from a festival where I ran large format video screens as a VJ & camera switcher/editor (Sasquatch in NW USA) so I was tired from 5 solid days of work. I dropped by their studio to examine an example clip…tired and thinking they had a good test case pulled up & ready to look at.
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MOST of the footage as I have it is ProRes 4:2:2 LT 29.97p with every 3rd frame duplicated (1 out of 3 duplicated rather than 1 out of 5).   The ProRes format didn't come from a digital recorder in this case, it was transcoded from the source media using a software tool to organize & collect the source media and compressor to transcode for editing. Since these 2 episodes were left in the editing pile for months, the source files are obviously *no longer around*….
In the past I've dealt with reverse pulldown issues from 24p & 24pA (where the frames are either interlaced or duplicated to achieve the pulldown) but these all give a 5 frame cadence. Also when done correctly they don't destroy good frames and leave frame dupes. What we have here seems more like improperly handled PsF (via HDMI or SD output from 1080p cameras) or pulldown incorrectly applied to 29.97 over 60i/59.94i, or...?   In any case these are destined for 60i broadcast, so simply interlacing them again to create the 3rd frame is out of the question, and frame blending isn't much better than the dupe frames.
Removal of every 3rd frame which (since that = every 2nd frame) obviously gives a visual "jump" over the now removed dupe frame, and leaves footage has to be converted from 20p to 29.97 which looks horrible regardless of how its done (conformed or interpolated).    Removal of every 3rd frame from 29.97 is actually not too hard, as 2/3rds of the frames are still 'good' it's easy to
apply a conform to the file headers bringing the rate down to 19.98p, bringing that into AE and creating a comp that's set to 'preserve frame rate when nested' under advanced, then putting that into a 29.97 comp..., that works relatively well but the missing frames STILL need to be replaced somehow...
To make matters worse, some clips have a cadence that doesn't stay consistent (the repeated frames will 'jump' from every 3rd periodically), OR worse yet there are sometimes 4-6 duplicated frames in a row (???), and then other sequences have only occasional frames repeated (meaning they need to be identified manually by stepping frame by frame). Some of this is potentially due to rounding errors in the pulldown, but there's got to be something more amiss as is evident by the other inconsistencies...very odd.
In any case what do to about the 3rd frames that need to be 'repaired' or 'created'? This is the crux of my issue, and software interpolation alone isn't going to cut it... Since a simple pass on the entire clip(s) causes vast sections get time stretched (not just every 3rd frame synthesized but rather the whole thing interpolated), I tried going in and setting timestretch keyframes manually (so I could manually stretch the area where the 3rd frame needs to be 'created). As the software applies motion techniques that obviously assumes the distance between frames in both directions is equal...well it just replaces 1 visual problem (dupe frames) with another (visual distortions).   This has been the case with ALL the software tried so far...
I've tried AE's native higher quality mode (rather than just frame blending, which will look awful. Twixtor (demo) in AE, Smoke (autodesk), DaVinci Resolve (Light version but I have access to the GPU accellerated version as well) & Apple's Motion. All do a horrible job (FootageFIxing directory examples in dropbox) of handling this automatically, which I expected. However I had originally intended to simply 'replace' every duplicated frame using the interpolated footage, this resulted in WORSE matching to surrounding frames due to the poor interpolation not matching up well on many frames than frame blending, not better (portions of the frame 'jump' out of alignment with both the previous & following frames, after analysis it acts like a spine with a midpoint that is not parallel to a line drawn between the start & end points).
So dropping 29.97 to 20p then synthesizing every 3rd frame (until cadence jumps) is where I'm at. Once done synthesized frames have to be checked and a huge % of them (when there's motion on a person in the scene or camera pans etc) have elements…or whole frames…that are incorrectly synthesized. So pieces of surrounding frames have to be roto'd & composited into selective areas to 'patch' the portions that get 'squashed', 'stretched' or 'rippled' into position (VERY VERY noticeable).
Lastly, due to a variety of shutter speeds used the motion blur across frames is also an issue, so once a shot has been correctly re-synthesized for the missing frames it must be evaluated for whether motion blur is required, which brings us back to the rendering process that was assumed at the start of this (in other words final output of each clip may need motion blur in post before delivery).
At this point I'm left with doing the synthesis of the 3rd frame and 'repairing' the areas of that which distort too heavily, or duplicate (some of the camera pans are done to track high speed motion, birds flying through frame etc)...
Anyone have any interesting techniques I could try, beyond telling the studio I'm working with that they're hosed (that discussion is coming but I'm going to show best efforts and the timeframe required to achieve that across all shots/edits)....

Oh and the easier way to removing the dupe frames was just to drop it to 19.984, set (nested) comp advanced settings to 'preserve framerate when nested' and watch for the occasional rounding error when back in a 29.97 container composition. It would be nice to be able to specify 29.976...
In any case the missing frame needs to be replaced, not removed. The visual jump i that gap actually looks to be closer to 2 frames when motion of objects is estimated by hand.
Also (as I think I mentioned) other clips seem to have even further oddities.
The reality is that I can actually create smoother motion by doing a lot of hand massaging of the footage (scaling previous frames in simple pans, hand-rotoscoping/masking/compositing in sections of frames around missing ones to synthesize motion in onscreen talent & background objects, things tracked across the screen by the camera and so on.
But that's a heck of a lot of work and probably beyond what's achievable at present I suspect...

Can't import DV files or convert them

I am unable to import DV files into FCPX. I've seen that others have had this problem as well, but this doesn't only happen with .dv. I have a file that was exported from FCP7 as DV/DVCPRO - NTSC, 720x480 (640x480). Audio is Linear PCM, little-endian signed integer, 2 channels, 48000 Hz. Extension is .mov. FCPX won't import it. I tried using Compressor to encode it as h.264, but it only gave me audio. I can open the file just fine in QuickTime X, but when I try to open in QuickTime 7 it searches for a movie file, tells me the sequence can't be found and then gives me this message. The operation couldn't be completed. (OSStatus error -128). I did a search for that error code, but couldn't find anything. If I open the file in QuickTime 7 on the computer it was created on, which has OS 10.4.11, it plays just fine. Is this just because my machine has 10.8.2, and why would that make a difference? Thank you for any insight.

I don't necessarily need a .dv file. Just needs to be in the DV format.
The sequence settings are 720x480 NTSC DV 3:2 Lower field 29.97 fps. QT Video Settings Compressor is set to DV/DVCPRO - NTSC. This matches all of the clip settings in the project, which were imported as .dv (originally mpeg-2 files converted to dv). The only file that doesn't match those settings is the graphic which is still 720x480 29.97 lower field first, but the compressor is "animation."
When exporting I'm going to File/Export/QuickTime Movie then using the following. Setting: Current Settings (which gives me the high quality dv video I'm looking for). Include: Audio and Video. Markers: Chapter Markers. Recompress All frames and Make Movie Self-Contained are unchecked. Hide extension is checked. As I just typed that I realized I should probably have Make Movie Self-Contained checked. Only I thought the whole concept of exporting in the first place as opposed to just saving, is that you were flattening all of your files into one final video - thus making it self-contained. Am I incorrect on that?

Why loosing sync when coming back from Sountrackpro to FC7?

Hello everybody...
I am having a problem that happens for the first time, never had it before. I finished a project in FC7 and then sent the audio to SountrackPro to work it.
Everything was fine but when importing the final mix, the track was shorter by a number of frames than the lenght of the project, which makes sync to be lost.
My native setup work is in 25fps. My guess is that somehow something in the preferences or some setup has been changed. I checked in FC7 and my timeline settings and the system are at 25fps non-drop. Also checked in Soundtrack and I have the same settings, but somehow in the process everything gets screwed. I think is Soundtrack thats is messing it but I am not sure anymore.... Any ideas please?
Thanks a lot

Hi Nexus_9, I've had this very same problem for some time now. No matter how I exported via FCP7 it would always loose sync going through STP. By accident I opened up a new project with a new sequence and voila! it didn't happen on that project. I went back to my standard project template and it did it again. Something had to go screwy on the old template and there was no fix. Now I have no problem. I can't tell you what was wrong, but I know it works fine once I started with a new project file and sequence. To save all of your already precious time, just copy everything from your old sequence into the new sequence and it should all work out okay.

Mastering HD?

Hello Forum
I am finishing up a 25 minute project. I edited it in HD with the ProRes LT codec. We might go to tape in a few months for broadcast but in the meantime I just wanted to master the project as a file.
I have tried to export it as prores 4444 file but I keep getting an out of memory error when exporting from FCP7 or a Quicktime Error -50 when exporting it through Compressor.
What am I doing wrong?
Any insight much appreciated.
Thank you
sk

Thank you all for your help. I appreciate it.
I ended up
1) exporting a targa image sequence,
2) opening the sequence in quicktime,
3) Save movie as new self contained quicktime,
4) Import the new quicktime into Final Cut Pro 7
5) Export from FCP as ProRes4444.
Finally I have my master file...
I guess you were right, something on the timeline must have been creating the error. Something that caused an error with the new prores codec but not with the old h264 or m2v codecs. I wonder what that could be...
I wish Final cut Pro would throw more detailed errors, specifying which image or video clip is causing which kind of error. Even in form of a textfile in a library somewhere on the harddrive would be helpful. If anyone knows of a place where I can submit feedback for the Final Cut Pro developers please let me know.
Thank you all again. This list is very helpful.
stephank

Exporting HD FCP7

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