Final Cut DVD workflow issue

I shot HDV 1080i 60. I cut on a new sequence setting matching that easy setup. It is shot 16:9 on the camera. I have had problems before where I have the text in the letter safe zone and then when I burn and play the DVD on some tvs it cuts off letters.
So I make a QT file using the HDV 1080i setting.
Then I compress it in compressor.
Then I goto DVD Studio and make a straigh DVD burn.
What am I not setting properly?
Mike

Are you making a letterbox or pan and scan disk/track? Are you using a 16:9 safe area or a 4:3 one?
If you are using a 16:9 safe area and producing a pan and scan track it will cut off a fair whack of the 16:9 safe area. You need to use a 4:3 safe area (FCP does not have a 4:3 safe area overlay generator for 16:9 so you will need to make your own, or look at the Digital Heaven plug in www.digitalheaven.co.uk)
Hope this helps.
Trevor

Similar Messages

Final Cut Studio Workflow Discussion

I'm trying to find out how many Final Cut users out there use the "Final Cut Studio Workflow" meaning; do you guys use Soundtrack Pro, Motion, Livetype and the other programs for your work? And how often do you use them? I think it'd be really cool to get a discussion going about who is using these programs in their editing workflow and how often and what they use it for.
Most of my work comes out of FCP but I use a lot of Adobe products such as After Effects, Photoshop and Illustrator. I DVD author with DVDSP and use Compressor when I go to DVD or web.
I find it interesting that I mostly use the FCP studio for just FCP. I hardly ever touch Livetype; I've used Soundtrack Pro twice and I've never used Motion.
The reason I post this in the Final Cut Pro user forum is because I'm interested in knowing how many 'editors' are doing this extra stuff outside of traditional editing.

I use the tools I know. I know photoshop and aftereffects (sortof) and haven't gotten a handle on motion. I use soundtrack pro occasionally to normalize, and eq, but not for much else (just remembered that I did a cool little music piece using the loops in soundtrack pro. really blew my client away). I find I can do almost everything I need to do audio wise in fcp. Subframe audio editing is a little cumbersome but doable. But... I do realize that I'll need to bite the bullet and explore motion eventually.
I've used cinematools a number of times to remove pulldown from film to tape transfers and to change the frame rate of pal qts (25fps) to 24 fps (very handly when my english animators gave me qt's with the wrong frame rate.
I started out as a film editor, when all I did was make edits on a flatbed with a rivas splicer. Those days are gone forever. Every year I find I'm doing more things than I ever did before. Maybe not always with a professional skill set, but I'm getting there.
Message was edited by: Michael Grenadier

Final Cut Pro to Final Cut Express -- Format issues?

Hi,
I'm shooting a project on a Panasonic HVX-200A, and my cameraman is going to import the footage to his Final Cut Pro station. He's then going to transfer the FCP footage and data over to an external hard drive, which I am going to use to edit the film using Final Cut Express.
Will there be any formatting issues if I bring the data from Final Cut Pro to Final Cut Express?
Thanks!!
Sameer Ketkar

Clip files can be easily imported into FCE if they are QuickTime DV-NTSC/DV-PAL or Apple Intermediate Codec (720p30, 1080i50/60). If they are other formats/codecs they should be converted to DV or AIC before importing into FCE.
FCPro project files cannot be imported into FCExpress.
I'd suggest a trial run before committing the project to this workflow.

Final Cut Pro 7 issues

I have just recently upgraded to FCP 7 from 5.1 and I am having multiple problems with it. The main issue is that when I batch capture from My Panasonic DVX100 using 24p advanced pull-down the video on my computer after capture is out of sync by half a second to a second out of sync with the audio. I have tried uninstalling and reinstalling Final cut studio multiple times first with app zapper and more recently with FCS Remover and it still has multiple issues that make final cut pro largely unusable. So Does any one have any advice as to go about fixing it?

Used to be, Apple included the DVX100 sync fixer file on the install disc. Did you look to see if it's still included or not? Here is an explanation from back in the FCP5 days:
http://www.2-popforums.com/forums/showthread.php?t=81233

Final Cut X - Workflow Options (Collaboration)

Hi
I am trying to workout the workflow for editing with Final Cut X - I am based in Philaelphia and the other editor is in Texas - From my reading it seems that the only way to edit and then share files is via the copy project feature.
Does anyone know if you can use dropbox or similar to share projects if we have the same file locations on both computers - obviously the render files may differ but has anyone tried this and got it to work?
Thanks,

It doesn't look as if they've built in the presets. Did you contact FxFactory?

Final Cut Studio Workflow

I´ve got a project where I use Final Cut Pro for editing, Soundtrack Pro for sound (Logic Pro for Scoring), Motion for rotoscoping and keying, Color for color correction, and Compressor for outputting the final movie...
So, what is the best workflow?
I would prefer to use roundtripping from beginning to end, but this is unfortunately not always possible. Color, for instance, isn´t always on speaking terms with Motion-clips. Should I export the clips made in Motion, so that I could do the overall coloring in Color, or should I use the 3-Way Color Corrector on that particular clip? Will exporting the Motion-clip as an independent clip reduce the quality of the clip?
I really don´t know enough regarding formats and quality loss (I´m a hobbyist, not a pro), and would appreciate all the help I could get!

The best workflow is one that works for you.
I do the edit to what I want inserting temporary text/graphics/animations/whatever and then strip all that out, send the sequence to Color with considerations for transitions (in other words I build handles into the edit to account for dissolves/star wipes/fish wipes). When I'm done with Color I send it back to FCP and duplicate the ___(from Color) sequence and begin to insert all the other elements and trim the edits for transitions and what not. Why do I duplicate the sequence from Color? Simply because I don't want to cut up the original so I have something to fall back upon in case I go in a horrendously wrong direction with my project.
This is how I'll incorporate Motion projects that use an alpha channel. If you think you need to treat your Motion projects in Color then you'll need to export self-contained files, import them into FCP and then send your sequence to Color.
Unlike the FCP timeline which begrudgingly will accept almost any format into a sequence, Color will not tolerate mixed formats or files.
This is what works for me, as with anything in this non-linear world, you'll find many many many other opinions of what works.
Good luck.

DPX - Glue Tools - Final Cut - Color workflow problem

Hello all,
I haven't worked much with DPX since the Final Cut Studio 2 update and have now come upon an urgent problem.
I need to import 16bit DPX files into Final Cut, cut them on the timeline, then send to Color and back to FCP after correction.
I've tried this in serveral ways which lead to different problems.
First approach:
- Import DPX Sequence via Glue Tools DPX Import of Final Cut Pro 7
- Drop on timeline
- Send to Color
- Opens just fine, color correct, render
- Send to Final Cut Pro
It switches to Final Cut, but doesn't open the new corrected sequence.
Second approach:
- Instead of sending the corrected movie to Final Cut, Export XML
- Import XML into Final Cut
Again it switches to Final Cut, but I get the following error message (translation from German): The xml transformation has been cancelled due to a serious error.
Third approach:
Because I don't have much time at the moment I thought I'd just go back to the older workflow of putting the dpx files into a mov container first (I haven't worked much with dpx since FCS2).
So I opened one of the dpx files with QT7 and exported into an uncompressed mov file and already have the first problem.
It seems to cut off all the shadows. When I open the newly exported mov file with QT7 and compare it with the still open dpx sequence it looks even more flat than the dpx files and seems to has lost all shadow detail.
When I drop the mov file into FCP, send to Color and try to get some contrast into the film the shadows look completely crushed.
Sending back to Final Cut works now though.
I've searched through the archive and read the Glue Tools manual again, but nothing I try seems to work.
I use the newest Glue Tools version and the settings are standard. Changing them doesn't seem to influence exporting to a mov file anyway.
Any hint would be much appreciated!

So I opened one of the dpx files with QT7 and exported into an uncompressed mov file and already have the first problem.
it looks even more flat than the dpx files and seems to has lost all shadow detail.
It "looks" even more flat and seems to have lost shadow detail?
You are not measuring values with a scope? In other words you're "flying blind.''
Sounds like an RGB/Y'CbCr scaling problem -- Probably the dpx files are full range and the QT is being rendered Linear so the black "0" is actually being mapped to about minus 10 IRE and your white vales won't be able to make it much above 85-90 units. There will also be a gamma difference. If you were scoping these values, they'd be instantly obvious.
jPo

Final cut x import issues

hi guys.
recently changed to final cut x.... I actually had been scared to because I read so many bad things about it when It released, but I love it.
anyway.. I was running it on an external drive on leopard, and decided that I want to try and run it on my laptop with mountain lion.
current config is that I have a macbook pro running mountain lion. I have the dual boot with leopard for other programs, and originally it was for FCP 6 as there were issues with that and mountain lion.
Anyway. I created a project in FCP X on the leopard drive. I wanted to use that project on the Mountain Lion volume. But I would like to continue using the external drive as the scratch disk and the events folder etc. After re-reading all of the tutorials i did, it seems that there is the option to set your destination folder up when you create/save the project first off, but I can't seem to work out how to just bring over the event file and the project file and have it still reflect back to the external drive where all of the data/media files are.
anyone know how I can do this? or should I just finish export this project on leopard, and start all new projects on mountain lion with the scratch/external drive as the media source drive...
thanks
bret

here is a link to the first video files i exported. the quality of one of them was pixelated, it was pro res 422 but with h26 encoding . the other was something I can't remember.
as for the type of format of the picture I am filming, it is also a screen shot that gives you the info on the format of the film clip.
hope that helps
http://functionfitpt.com/screeshots/

Final Cut X Stability Issues from update.

Hello,
I have been working problem free with my FCPX until the last update. Since the update to 10.0.4 my Final Cut is now useless. Everytime I open it - it last about 20 seconds before the program crashes. Even if I do nothing for 10 m,inutes and then try to open any of my projects it crahes during the loading of the project. I have send over a dozen support requests to apple via the "send to apple" feature as well as attempting to reinstall the program. I first thought it was related to one one project but it is multiple projects. This is a huge problem for me and is stopping me from getting any of my work done. I have removed and reinstalled the product once but nothing was changed. I have even asked a rep at a apple stoer and they told me to call support or get on here. Please advise. Is there a way to roll back to 10.0.2 or 10.03?
Chris
Streesed FCPX User

Trashing the preferences is an essential first step whenever FCP X (or any other pro editing app) starts behaving problematically.
Corrupted preferences can occur at any time and lead to a tremendously wide range of symptoms which appear to have nothing to do with the preference settings.
Use this free app to do it:-
http://www.digitalrebellion.com/prefman/
I can't guarantee it will cure the problem but at least it will be one possibility out of the way.

Premiere Elements 8 to Final Cut Express Workflow

Working on a series of videos that will require creating offline of interviews in PE 8 then sending to finish (b-roll, titles, etc) on a Final Cut Express (Mac) system. My b-roll shots are recorded at AVCHD 1920v1080i.
Any thought on what format I can save my interviews at that would allow for FC to use and also bring in b-roll shots?

I would recommend ideally Share/Computer/MPEG at the 1440x1080 30i. This creates an .mts HDV video, ideal for working in high def.
In version 10 there are also some AVC output options you could use. But the .mts is a good, universal format for hi-def.

Final Cut Studio & Antivirus issue

Hi,
we,re about to install a new editing suite with Final Cut Studio 3. The IT people want to install an antivirus software on the Mac. I don't want to dabate if it's useful or not, I just want to know if FCS has any problem with that. I heard somewhere that an antivirus shouldn't be installed on a computer running Final Cut but cannot find any reliable source about that.
Thanks.

Patache wrote:
Yes, a good expresso might do it!
That's a brand name for jeans or some windows video app.
I'm sure you meant espresso
http://en.wikipedia.org/wiki/Espresso
http://www.coffeeresearch.org/espresso/potential.htm
bogiesan

Final Cut Studio 2 issues with some AU Audio Plug ins

Just installed Final Cut Studio 2. When trying to open the program, every time it reaches the audio filters loading part of the load, it crashes. It's seeing Celemony Melodyne, a vocal tuning plug in, and then it just stalls and crashes. All attempts to remove Celemony Melodyne from my computer haven't seem to make any difference. It keeps trying to laod that plig in. Is there any way to tell FCStuido 2 to NOT look for certain audio filters(plugins) during the loading process?

You can use a free Audio Unit manager app (like AudioUnit Manager) or even better, use Jon Chappell's Plugin Manager tool (which is part of his excellent FCS Maintenance Pack)

Final Cut X import issue with .fcpxml files

I am trying import an .fcpxml file into my Final Cut X, but am receiving the following error: "The document "File Name.fcpxml" could not be opened. Inavlid argument."
My editor created these .fcpxml files on a different computer, but none of the source files were changed or moved.
I greatly appreciate any advice or suggestions.

here is a link to the first video files i exported. the quality of one of them was pixelated, it was pro res 422 but with h26 encoding . the other was something I can't remember.
as for the type of format of the picture I am filming, it is also a screen shot that gives you the info on the format of the film clip.
hope that helps
http://functionfitpt.com/screeshots/

A conclusion to ALL the AVCHD/.mts Log and Transfer Final Cut Pro 7 issues

Hey all! Happy 2011!
So this is my first post here and hopefully when this thread concludes with all your help we should be able to help a lot of people and save them the heartache that I have recently had to endure by stating these things in plain English. I have some questions at the end which I think could be answered very easily! Please, no gobbledygook!
It would be great if people in the know can confirm/deny or comment on my points so those that are in a similar position to me can save their time and just get on with it.
1) I have a Panasonic HDC-TM300 and it records in AVCHD/.mts files
2) FCP 7 can deal with AVCHD files via the Log and Transfer feature if you do it straight from the camera or memory card and can convert to ProRes 422 (LT)?
3) Log and Transfer _*DOES NOT WORK*_ if you move the AVCHD/.mts to an external drive without maintaining the folder structure?
4) What is required from the folder structure that makes FCP act this way?
5) Basically I have f*ed it by doing the part 3 above which I think is the most natural thing in the world to do! Im sure that many people have done the same thing as me please correct me if i’m wrong
After a lot of research on the internet I have come up with the following solutions and in brackets my thoughts on them. If anyone has any experience with them please please let me and other people know so I can get on with my life and editing these files.
a) Harass the people that make FCP 7.0 and make sure that the next update solves this stupid/idiotic/ridiculous oversight. (This could take a while but i think we should do it for the sake of future generations)
b) Someone could let us know about a workaround to this that may be the folder structure that FCP needs to be able to do L&T (needs to be simple so that everyone can do it. This would be the best short term solution until part a is completed)
c) Buy one of the converter programs such as ClipWrap, Toast Titanium or Aunsoft mts converter. If so which is the most/ least recommended and why? (Least desirable option due to requirement for extra program so extra faffing and extra cost).
Thanks y’all and keep up the awesome work!!
K*

2) FCP 7 can deal with AVCHD files via the Log and Transfer feature if you do it straight from the camera or memory card and can convert to ProRes 422 (LT)?
Yes.
3) Log and Transfer DOES NOT WORK if you move the AVCHD/.mts to an external drive without maintaining the folder structure?
This is true of ANY tapeless format.
4) What is required from the folder structure that makes FCP act this way?
This is due to the fact that most of them have files in those other folders in that structure that FCP needs to access in order to get all the proper components assembled properly. Sure, there are formats that have folders with nothing in them. Doesn't matter, FCP is designed to look at the full structure and work from that.
5) Basically I have f*ed it by doing the part 3 above which I think is the most natural thing in the world to do!
The most natural thing in the world is to NOT backup everything? Well, that might be the case, since this comes up so darn often. But, it is wrong. The full structure must be maintained. This is true of many tapeless formats and more than just FCP. Avid and Premiere need this for certain tapeless formats too.
a) Harass the people that make FCP 7.0 and make sure that the next update solves this stupid/idiotic/ridiculous oversight.
It isn't an oversight. It is designed like this on purpose. You need to learn how to do things right. You obviously know what that is now...keep the full card structure. So now it is up to you to continue to do things properly. Instead of insisting that an NLE conform the way it works to suit your needs.
b) Someone could let us know about a workaround to this that may be the folder structure that FCP needs to be able to do L&T (needs to be simple so that everyone can do it. This would be the best short term solution until part a is completed)
Easy. Shoot a small bit on another card. Look at the folder structure. Recreate that structure in your backed up footage. Often this will mean making folders with exact names, even if they are empty. But if they have files in them, even small ones, then the first backup you did might not work....because those might be some of the small files FCP needs in order to do the L&T process properly. Always worth trying though.
c) Buy one of the converter programs such as ClipWrap, Toast Titanium or Aunsoft mts converter. If so which is the most/ least recommended and why?
I highly recommend Clipwrap. Mainly because I haven't tried the others. But also because the author is always following the latest formats, and works hard to make sure his software works with them. It solved an importing issue I had with the Sony NXCam camera...within a week of me moaning about the issue.
Want a tutorial to walk you through the tapeless workflow in FCP? I have one. Tapeless Workflow for FCP 7 Tutorial You might know most of this, but watch it for other tips.
Shane

Pro Tools Bounce to Disk, Import to Final Cut - bizarre sync issue

Hi all,
I've been having so much fun agonizing over this issue I thought I'd let some other people join in the fun. Okay, really, I've got a bounced AIFF file from Pro Tools that doesn't stay in sync when it goes to FCP.
There's a lot of information to cover here, so bear with me.
1) The project is a 123-minute feature. It's made up of 9 separate sequences (which correspond to nine different Pro Tools projects). This problem only occurs on 1 of these 9 sequences. Over the course of about 14 minutes, the audio is about 20 frames shorter than the video. (I know what you're thinking, but there's no pulldown or pullup anywhere. I've checked this extensively.)
2) When I export the video for this sequence from FCP and import it into the Pro Tools project, it syncs perfectly with the Pro Tools audio. No problems whatsoever.
3) This sequence worked fine until recently. It may be worth noting that I had more or less finished this project and left it for a period of a couple months before revisiting it to make the finishing touches, and it's only after revisiting it that the problem has occurred. It may also be worth noting that I had actually done a quick add-on record/edit on this particular sequence at some point during the down period (I needed the sound of footsteps in the snow, so I went and got the sound one day when it snowed, positioned it in the project, mixed it, etc. but then held off bouncing until now).
4) The source is film, and everything - EVERYTHING! - is in 24fps (true 24fps, not 23.98). I've checked the settings in FCP and Pro Tools a million times to confirm that I'm not crazy. It's 24, 24, 24, 24 all the way through. It's also 48K, 48K, 48K, 48K everywhere as well (again, no pulldown or pullup).
5) Something bizarre I noticed that I thought would be the source of the problem, but changing it ended up doing nothing. All the sequences were set to internal clock source. Somehow or another, when I looked at the Session settings for this particular sequence, the clock source had been set to SPDIF. I have no idea how this happened. I don't have any external clock source. At any rate, I changed it back to internal, but that didn't change anything. Still drifts by the same amount.
6) Like I said everything is 24fps/48K. Except that this AIFF file, when it goes to FCP, FCP thinks it's 30fps drop-frame. All the other bounced AIFF files go into FCP as pure 24. This one, despite the fact that I'm doing nothing difference, shows up as 30fps drop-frame in FCP. (Again, this is despite the fact that it's in pure 24fps in Pro Tools.)
7) Okay, here's where it gets really bizarre. The info on this AIFF file, shows the correct duration both in Finder and in FCP. The duration in 24fps is 13:51:15. FCP shows 13:51;19 in 30fps which matches up pretty much perfectly in terms of actual length. It's when I drop it into the sequence that it's off. I suspect this has something to do with putting audio with drop-frame TC into a pure 24fps sequence, but I have no idea how it happens. (How would FCP change the rate of the file for the 24fps sequence without any rendering involved?) Furthermore, I opened the file in peak and it shows all the proper parameters: 24fps, 48K. Only FCP doesn't understand this, and only for this one file out of the nine. (I know I keep saying "the file," but I assure you I've bounced many, many, many of them by now in my troubleshooting.)
Naturally, I suspect it's an issue with FCP. What I really don't understand is why this issue would occur with only this one sequence while the others work perfectly. Like I said, there are a couple things unique about this particular sequence (having worked on it a little in the interim and discovering the clock source to have been set to SPDIF), but I don't see how that could lead to this all of a sudden. At any rate, I'd say it's pretty clear that whatever is making FCP read the file as 30fps drop-frame is what's causing the problem, and that if it understood the file as a 24fps file, the problem would almost certainly go away.
For what it's worth, it appears that I can bounce to a Quicktime movie, and that audio will sync up fine, but, well, I'm just not satisfied with using that workaround permanently. Any help is greatly appreciated. Thanks.

smack5099 wrote:
6) Like I said everything is 24fps/48K. Except that this AIFF file, when it goes to FCP, FCP thinks it's 30fps drop-frame. All the other bounced AIFF files go into FCP as pure 24. This one, despite the fact that I'm doing nothing difference, shows up as 30fps drop-frame in FCP. (Again, this is despite the fact that it's in pure 24fps in Pro Tools.)
I don't know why FCP does this, but it does consider all audio-only clips to be 30fps.
For what it's worth, it appears that I can bounce to a Quicktime movie, and that audio will sync up fine, but, well, I'm just not satisfied with using that workaround permanently.
Why? Seems like a perfect solution for you.

Final Cut DVD workflow issue

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