Questions about HD (FCP 6 or FCP 7)

Hi, I'm using FCP 6 and have sequences of high resolution still images in JPEG format.
Assuming I'll be able to project my movie with a good HD projector, from an output Quicktime file, what's the best sequence setting for optimal output?
I see an Aspect Ratio of HD (1280x1080) (16:9), and another of HD (1440x1080) (16:9). Is there a preference? I understand one is 1080i60 and the other *50 but don't know which I should choose.
How does that correspond to the pixel aspect ratio? Should they match?
Is there any advantage to choosing "Square" as the pixel aspect ratio? The manual says this is for "uncompressed high definition video."
I can also set my aspect ratio to a custom setting that matches the resolution of the original still images, which is closer to 2880x2400. Is there any advantage to using this setting for higher resolution output?
Are the "HD" aspect ratios in FCP any different than setting a higher frame size with the same aspect ratio?
Bonus question: is Quicktime the best output?
Thanks for any tips you can provide. I'm about to start a pretty large project and want to make sure I have everything optimized for best output at the start.
Scott

I get involved in this kind of project several times each year... what I suggest is not gospel, but it works for me.
1.) Probably the most popular viewing format these days is 1080p, which is 1920x1080 pixels. Either 24 (23.976) or 30 (29.97) fps is fine. That long list of formats you're anguishing over is for video. The odd (1440x1080, etc.) frame sizes are to accommodate various videocam recording methods; they don't apply to stills.
2.) The aspect ratio for most of the better digital cameras is NOT 16:9. And virtually all of them shoot images several times larger that 1080p. This means two things to you: A: you're going to want to pre-process your photos to crop or down-res them prior creating your sequences in order to bring the frame sizes closer to 1080, which is about as large as you can easily handle. and B: you'll want to be working with a 1080p timeline in anticipation of your final output. You will either be pillar boxing or re-framing the shots to make them "fit."
3.) Most all HD is square pixel, and progressive scan is common, so this fits nicely with your photos.
4.) Fussing with the sequence settings and altering the aspect ratios are always possiblities, but if you want an easily cut / easily playable show, stick to 1080p and save hours/days of rendering.
5.) Yes, QuickTime Movie using the timeline settings is the best quality. I always output a QT clip for a "Master" and then go to Compressor for whatever is required for delivery.
Hope this helps...

Similar Messages

A question about project settings..FCP 7

I am using FCP 7 and I'm a little overwhelmed with the myriad of project settings options.
I use a Canon T3i and film in full HD (1920x1080 i think). All my footage I transcode in compressor to Apple ProRes 422 before importing to FCP projects.
I installed another computer and reinstalled FCP 7 and lost my old templates and importing some footage, I get the red line indicating unrendered footage.
Is there a standard setting that Compressor and FCP use to make it easy to just transcode, import, and edit? I'd like all my projects to look the best possible in full HD and there's hundreds of preset project settings and I'm a little unfamiliar with all the options.
Anyone have any quick tips, pointers, or thoughts?

If you drop a clip into the timeline, it means the sequence settings don't match the clip settings. Make a new sequence, add the clip. FCP should ask "do you want the sequence to match the clip settings?" Click YES. If you don't see that, you might need to trash your preferences...or it might be an older version that doesn't support ProRes formats (FCP 5.1 and earlier).
Another way is to choose an EASY SETUP that matches your clip settings, and then make a new sequence.
And your camera shoots 1920x1080p...not i.

Question about audio channels in FCP

Because of the way audio was captured with a few clips in my sequence, the clips audio is only coming through one channel (speaker). The other channel contains nothing. How can I duplicate the channel with audio and assign it to the other speaker?

I did notice that. There are a small few of us on here.
So now that I've helped you out, bring me some Great Plains Sauce & Dough.

Questions about editing with io HD or Kona 3 cards

My production company is switching from Avid to Final Cut Pro. I have a few editing system questions (not ingesting and outputting, just questions about systems for the actual editors - we will have mac pros with either kona 3 or io HD for ingest and outputs)
1) Our editors work from home so they most likely will be using MacBook Pros - Intel Core 2 Duo 2.6GHz 4GB computers with eSata drives to work on uncompressed HD, will they be able to work more quickly in FCP if they are using the new Mac Pro 8-Core (2 Quad-Core 2.8GHz Intel Xeon) or will the mac book pro's be able to hold their own with editing hour long documentaries, uncompressed HD
2) Will having an AJA Kona 3 (if we get the editors mac pros) or io HD (for the mac book pros) connected be a significant help to the editor's and their process, will it speed up their work, will it allow them to edit sequences without having to render clips of different formats? Or will they be just as well off without editing with the io HD?
I'm just trying to get a better understanding of the necessity of the AJA hardware in terms of working with the editors to help them do what they have to do with projects that have been shot on many formats- DVCPro tapes, Aiptek cameras that create QTs and P2 footage.
Thanks

1. with the IoHD, laptops become OK working with ProRes and simply eSata setups. Without the Io, they can't view externally on a video monitor (a must in my book). It will not speed up rendering a ton, nor will it save renders of mixed formats. The idea is to get all source footage to ProRes with the Io, and then the Io also lifts the CPU from having to convert ProRes to something you can monitor externally on a video monitor, and record back to any tape format you want... all in real time.
2. Kona 3's on Towers would run circles around render times on a Laptop... no matter what the codec, but the Kona does not really speed renders up. That's a function of the CPU and just how fast is it. (lots of CPU's at faster speeds will speed up render times).
I'd recommend you capture to ProRes with Io's or the Kona 3 and don't work in uncompressed HD. You gain nothing doing it quality wise at all. And you only use up a ton of disk space (6 times the size in fact) capturing and working in uncompressed HD, which from your post, you're not shooting anyway. The lovely thing about ProRes is that it's visually lossless, efficient, and speeds up the editing process. Mixing formats can be done, but it's better to go to ProRes for all source footage, and edit that way.
With either the Kona or the Io, you then can output to uncompressed HD tape... that's what they do for you no matter what codec you've edited in. ProRes is designed to be the codec of choice for all HD projects when you're shooting different formats especially... Get them all singing the same tune in your editing stations, and you'll be a much happier camper. Only reason to buy laptops is portability... otherwise you're much better off with towers and the Kona 3 speed wise.
Jerry
Message was edited by: Jerry Hofmann

Quick question about iMovie

I have a question about iMovie. I've used Final Cut Pro before using iMovie, and FCP allowed the user to play two video/images on top of each other. You could play with the opacity and the duration very easily.
I'm wondering, can you do the same thing with iMovie? I'll be VERY disappointed if you can't do it.
iBook G4

Hi
And You could take a look at the plug-ins to iMovie.
- Stupendous software http://www.stupendous-software.com
- GeeThree http://www.geethree.com
- cf/x. http://www.imovieplugins.com
and possibly more.
QT-pro can do this as said above - but You need to be very precise.
But I would do this in FCP and then export as QT.mov to do the rest in iMovie
if necessary.
Yours Bengt W

Question about images....Image Size ... Augh!!!

I am curious about importing images into FCP. I understand that pixels in an image are square and that in video they are rectangular. When I import an image into FCP it looks great, until I export and then they take on a "fatter" look. I know that when you import an image as a Multi-layered Photoshop document that FCP will automatically adjust for it. But if you import a .TIFF, .PNG, or .JPEG that you will need to compensate for it's image size prior to importing.. (which is quite confusing)... I come across images of all ppi, resolution, and size.
Two things I have discovered.... If I import it as a Multilayered Photoshop file and then export it, I seem to lose quality. But if I import it without compensating for image size(it looks better within FCP) and then export it using Compressor with a DV NTSC 4:3 setting, it looks fairly dead on and the image maintains it's high quality.... but I know this is not the way to do it.
So here is my questions...
1) What am I doing wrong? Is there a simple formula to get it correct everytime?
2) Is there anyway that FCP can compensate for pixel changes on a single layer image or do I need to convert each image to a Photoshop Multilayer Document? Why am I losing quality?
3) Is there anyway to import single layer images and have Compressor export it how I see it on my computer monitor?
Thanks for any help....!
Gary

Hi Busso,
This forum discusses the Community Help AIR application and CS5 Help experience.Try posting your question directly to the Photoshop Win or Mac Forum:
http://forums.adobe.com/thread/685477?tstart=0

Round trip workflow with proxies between Premiere and AE / a more general question about how these programs work?

Hi all,
I'm new to editing with proxies in Premiere and have some questions about how to handle the relationship with After Effects. Say I have a rough cut (with proxies) and I want to send it to AE to do some effects. The simplest thing to do seems to be to replace the proxies with the originals in Premiere, send the project to AE and do my thing. But if I then want to send the project back to Premiere, it will involve the original files, which are too machine-intensive for me to edit. In theory, it seems like there should be a way to send the project with original footage to AE, do effects, send it back to Premiere, and then replace it with proxies to do further editing while retaining the effects.
This leads to a confusion about how AE works. When I do an effect, am I correct in assuming that it does nothing to the original file? If that's the case, it seems like it shouldn't matter (in the editing stage) what file AE "applies" an effect to (proxy or original). But I feel like there's a hitch in this workflow. The same question could also be asked about going back and forth in Speed Grade.
Perhaps there is no real answer to this and the best option is to save effects and grading for after I have picture lock, but sometimes that's not entirely possible or convenient, etc.
Hopefully this makes some sense—It's a little hard to explain.
Thanks.

Hi Mark,
Here are the specific sections of the manual that should give you the best explanation regarding the Check out/in workflow for FCP projects in Final Cut Server:
Check out:
http://documentation.apple.com/en/finalcutserver/usermanual/#chapter=7%26section =5
Editing:
http://documentation.apple.com/en/finalcutserver/usermanual/#chapter=7%26section =6
Check in:
http://documentation.apple.com/en/finalcutserver/usermanual/#chapter=7%26section =7
-Daniel

A question about AIC

Hello
I have a question about Apple Intermediate Codec (AIC).
At the moment I have an Intel IMac Core Duo and Final Cut Studio 1 (FCP 5.1.4) and I am editing in SD so far.
I have been looking at the new Sony CX6 witch use AVCHD codec and I am aware that my FCP 5.1.4 will not import that.
However, I have just bought IMovie 08 and that program will accept AVCHD and will convert it to AIC.
At first it sounded like a good idea to capture in Imovie 08 and then open the files in FCP since my FCP will accept AIC.
When I looked for AIC in “Easy Setup” the only one I can find is "HDV-Apple Intermediate Codec 1080i50" (I’m in PAL country) and this is where I got confused since it said HDV.
Is that another AIC that won’t work with my IMovie AIC or are they the same?
To put this in one question: Could I use my Imovie 08 to capture AVCHD into AIC and the import those files in FCP under AIC1080i50 even if it says HDV-AIC?
I hope someone will be able to help me with this question.
Cheers
Hans

Your problem is you have iDVD 4 or earlier. Such versions ONLY supported internal SuperDrives.
PatchBurn at http://www.patchburn.de/faq.html may help you.

Maybe a simple question about M2T ?

Hi
I record in HDV on the JVC GY 101.
I store on the Focus Enhancements DR HD100 Hard disk recorder.
The footage I have is in HDV 25frames Progressive.
The hard disk stores as m2t file and I seem to need to use Mpeg streamclip to convert for Final Cut Pro HD.
I have a few questions about this.
1) What should i convert to with mpeg streamclip ? mov, dv m2v etc etc
2) What setting should I have on FCP with regards to screen size ? The converted clips are 1280x720. When I choose this setting on the sequence, I end up with small black bars left and right of the video on the canvas ???
3) I will also later have to add some digi beta footage which will be PAL, 720x576 Anamorphic.
4) What is the best resolution for me here ?
5) And will the quality of the original m2t file be downgraded by the mpeg streamclip ?
Thanks so much for your help
All the best
Simon

HDV isn't an "edit-friendly" format, meaning: HDV uses inter-frame compression, combined with a long group-of-pictures (GOP) of 15 frames (12 frames in PAL-equivalent). In intra-frame compression (as in DV, DVCPRO HD, etc.), each video frame is a complete image that stands alone. Inter-frame compression (which is also used in DVDs) uses only a limited number of complete image frames, the GOP determines that number. So, in HDV for example, with a GOP of 15 frames, 1 second of 30fps video contains only 2 complete frames, while the other 28 frames are determined by calculations used in conjunction with the Bi-directional ('B') and Predicted ('P') frames, which contain partial information on the changes in the video in between the 'I' frames which contain whole images. This process, of course, requires much more computer processing power than when editing DV, DVCPRO HD, Uncompressed, etc.
Editing video streams such as HDV (and XDCAM HD) is made difficult by the reduced number of I-frames. For example, if you make a cut in between the I-frames in the video clip, the computer has to then recalculate new I-frames that are placed at both sides of the cut. Converting on capture/after import to an intra-frame codec like DVCPRO HD, ProRes 422, or Uncompressed will reduce processing power and increase real-time performance, as well as give better performance when adding effects and performing compositing like chroma-keying.
A common rule of thumb in professional applications is to acquire in HDV, XDCAM HD, etc., but capture and edit in DVCPRO HD, ProRes 422, or even Uncompressed. Native HDV editing is not taboo by any means; it's just not as easy or robust -- especially with the LONG render times. Depending on what kind of work you do (and of course personal preference), you may not see much benefit by transcoding to another format.
Are you suggesting i have to convert each clip after capture?
Unless you have an HDV deck with HD-SDI and a capture card, you would have to convert each clip. Batch-conversion would be very useful for that.
Hope that helps.
tim

Question about closed captioning

Hello all,
I have a quick question about closed captioning. I've output broadcast shows to Mini-DV which has been transferred to BETA SP with no problems. Another station requires the BETA tapes with closed captioning on them. The company doing the captioning has requested that the tapes be originals that have never been dubbed to BETA. Does it make a difference? Or can the same DV tapes I supplied the first station still be used?
Thanks in advance...

Thrillcat's got it.
You might want to ask for a captioned DV (more likely DVCam) dub as well, so you can have the CC on any dubs you do. DV and variants store CC in a mysterious place called "VAUX data", and as long as the deck respects it (many mini-DV decks don't) the CC will be passed through FireWire. You can FireWire it back into FCP and it will stay with the program.
If you're doing the above ask if the video itself is a digital DV clone. That may not be the normal case, as standard old-fashioned Line 21 is normally inserted in an analogish way.
Oliver, your posts still don't make it clear if DV is the best format you can output. That should be the major factor in what you give them. If you are equipped to output to BetaSP, DVCPro50, etc. while avoiding a DV compression, your program will thank you.

Subtitling (question about archived material)

OK, I've looked through the archived questions about how to subtitle...and I just want to make sure I do this right. If I do subtitles in DVDSP, do I write them up in a text file first and then import them, or just type them in manually?
If I do subtitles in FCP I just use something like Title3D and type them in manually...creating a whole buncha overlay (title) clips, right?
Forgive the redundency, I know how subtitles are supposed to look, just trying to find the best (and least time consuming) way to produce them.
FYI...the subtitles will be of a person from Spain speaking English (it's kinda hard to understand him since he talks fast and has a heavy Spanish accent).
Thanks, all, in advance.
Jonathan

subtitling (question about archived material)< </div>
So you are trying put subtitles on your archived material?
If you use the subtitle track in DVDSP, the text will be switchable by the user. (This is made more complicated by several factors like your desire to make the subtitles permanent or uncontrollable by the user. These are options you can control by programming the DVDSP project. Not difficult but very confusing.)
If you use a text tool in FCP, the titles will be permanently burned into the video image.
If you use some fo the more sophisticated (read: Expensive) subtitling tools for FCP, you can export a caption-compliant file that can be printed to videotape or mastered to DVD. If you own one of these products, you are at the complete mercy of their manual's writer.
bogiesan

Question about batch transfer limitation

Just got a brand new iMac 24" 3 days ago and love it. My first Mac.
I'm interested in creating hunting and family videos so I was reading about the differences between FCP and FCE. The articles say that FCE cannot do a batch transfer for capturing and I want to be sure I know what that means. Last night I hooked my Canon HV30 up and using iMovie it automatically imported all the video from the tape and it appeared to automatically group each different section where I had started/stopped the tape into different sections. That appeared to be a batch import to me so can FCE do the same thing as iMovie or does this mean something else?
Thanks,
Gil Jones

It means something else. Batch capturing means you define sections to capture before you ingest the material. Then go back in give the applications instructions to simply capture the sections you wanted. FCE will capture HDV material very much as iMovie does.

Questions about your new HP Products? HP Expert Day: January 14th, 2015

Thank you for coming to Expert Day! The event has now concluded.
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We will be holding more of these Expert Days on different topics in the months to come. We hope to see you then!
If you still have questions to ask, feel free to post them on the Forum – we always have experts online to help you out.
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We’ll also be covering the commercial products on the HP Enterprise Business Community. We’ll have experts online covering select boards on the Printing and Digital Imaging and Desktops and Workstations categories.
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For more information and a complete schedule of previous events, check out this post on the forums.
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No. This time we’ll have experts and volunteers online across the globe, answering questions on the English, Simplified Chinese, and Korean forums. Here’s the information:
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Looking forward to seeing you on January 14th!
I am an HP employee.

My HP, purchased in June 2012, died on Saturday. I was working in recently installed Photoshop, walked away from my computer to answer the phone and when I came back the screen was blank. When I turned it on, I got a Windows Error Recovery message. The computer was locked and wouldn't let me move the arrow keys up or down and hitting f8 didn't do anything.
I'm not happy with HP. Any suggestions?

Have questions about your Creative Cloud or Subscription Membership?

You can find answers to several questions regarding membership to our subscription services. Please see Membership troubleshooting | Creative Cloud - http://helpx.adobe.com/x-productkb/policy-pricing/membership-subscription-troubleshooting- creative-cloud.html for additional information. You can find information on such topics as:
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Branching to new discussion.
Christym16625842 you are welcome to utilize the process listed in Creative Cloud Help | Install, update, or uninstall apps to install and evaluate the applications included with a Creative Cloud Membership. The software is fully supported on recent Mac computers. You can find the system requirements for the Creative Cloud at System requirements | Creative Cloud.

Questions about using the Voice Memos app

I'm currently an Android user, but will be getting an iPhone 6 soon. My most used app is the voice memos app on my Android phone. I have a couple questions about the iPhone's built-in voice memos app.
-Am I able to transfer my voice memos from my Android phone to my iPhone, so my recordings from my Android app will show up in the iPhone's voice memos app?
-When exporting voice memos from the iPhone to computer, are recordings in MP3 format? If not, what format are they in?
-In your opinion, how is the recording quality of the voice memos app?

You cannot import your Android voice memos to your iPhone's voice memo app. You might be able to play the Android memos and have the iPhone pick up the audio and record it.
Here is the writeup about sending voice memos from the iPhone to your computer (from the iPhone User Guide):
App quality is excellent.

Re: Question about the Satellite P300-18Z

Hello everyone,
I have a couple of questions about the Satellite P300-18Z.
What "video out" does this laptop have? (DVI, s-video or d-sub)
Can I link the laptop up to a LCD-TV and watch movies on a resolution of 1080p? (full-HD)
What is the warranty on this laptop?

Hello
According the notebook specification Satellite P300-18Z has follow interfaces:
DVI - No DVI port available
HDMI - HDMI-out (HDMI out port available)
Headphone Jack - External Headphone Jack (Stereo) available
.link - iLink (Firewire) port available
Line in Jack - No Line in Jack port available
Line out Jack - No Line Out Jack available
Microphone Jack - External Micrphone Jack
TV-out - port available (S-Video port)
VGA - VGA (External monitor port RGB port)
Also you can connect it to your LCD TV using HDMI cable.
Warranty is country specific and clarifies this with your local dealer but I know that all Toshiba products have 1 year standard warranty and also 1 year international warranty. you can of course expand it.

Questions about HD (FCP 6 or FCP 7)

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