Timeline Codec incorrect?

Hello all
I've been having crashing problems for months in FCP, even after I recently upgraded my O.S. and bought a full new version of it going from the educational one I had previously. So the entire system has been formatted and reinstalled... Yet I still have mind boggling numerous crashes while simply pressing play quite often. I can't barely work without a crash every 2 minutes.
After doing all typical fixes like preference related things, using Disc utilities, etc... I am down to wondering if the timeline format simply doesn't LIKE my video. The thing is, I am using the "native" setting when dealing with the video.
I shoot from 12 to 17 MBPS using my Canon Vixia HG20 (an HD camcorder).... and load it into the timeline as a native format, simply by saying "yes" when it asks me. I have so many crashes when all I am doing is scrolling, or pressing play only, nothing fancy.
I wonder if there is a suggestion as to what timeline codec or other settings I should perhaps try and use instead of the "native" codec that comes up when I drop the video in a sequence. I am currently re-rendering it all by changing the "codec" portion of the timeline settings to "DVCPRO HD 1080p 30" and hoping it will take care of things... But I don't know for sure if this is my best choice... Especially since there are the new Apple intermediate codecs.
Any suggestions? Perhaps my MBPS is causing FCP to choke because it is too much data?

Hello
I think the above information linked to is probably what is going on in this situation... At first I tried to change the codec type used in the edit sequence, and this seemed to help, at least at first... I got another couple of hours in editing in which there were much less crashes going on, so I actually got something accomplished. A couple days in again however, and it seemed that all rules were off... Suddenly I had crashes virtually every few minutes, losing my work as before. Nothing had changed since the previous sessions better work. I also had begun trying to use things like Livetype, and when I imported some video into that as a frame size to work off of, it also crashed though not immediately. I went back to trying to use DIsc warrior to check into file errors a few times in a couple days. I did find errors, but that is unusual to scan a few times hours apart and find errors, except that the crashes probably created them...
It seems like my problem is not application specific (motion and livetype crash when I have the video imported also), but probably more to do with the AVCHD articles you point out... The working codec used in trying to go from this apparently "not natively supported" codec which a lot of cameras use. I would have thought that changing my timeline settings to ProRes and rendering it all would have helped more than it did.
I don't have the flexibility to redigitize as all video was captured from the camera hardrive and then erased from the camera, as I couldn't hold it for long on there (that much). I have no idea how I would edit and then replace the cut video in the timeline with higher res versions later anyway, I've never seen it done. Possibly ensuring that the log and transfer window is using ProRes at the start may help next time. But in this particular situation and job, I must get this finished and still have to cope with all the AVCHD HD video sources used... Then just "changed" via the timeline settings codec.
I can't be 100% sure this is even the actual problem so many crashes have occurred while doing literally anything, even just playing... But it seems to be the best guess. Since I still must complete this project, what I still look into to try and minimize the crashes? I think I only had much in the way of crashes once I used a higher rate of camera quality MBPS... Maybe the computer is just choking on the data rate as much as anything... Even though I am rendered, drag a little in the timeline, or just press play quite often.

Similar Messages

Timeline Codec Not Found Issue

I inherited a project from another editor and recently tried to open the project. I can open the project, but the timeline and canvas are not showing up - when I double click to open the Sequence she was working in to open the timeline I get the following error: "Codec not found. You may be using compression type without corresponding hardware card." When I click OK I receive this error: "Error: Out of Memory."
Some background information: The other editor said that her entire project was working fine except for an imported file which was producing the Codec not found error. She was unable to open that specific file in the canvas or timeline so she deleted it from the project then saved the project, closed and passed it off to me. Somewhere in between the deleting, saving and closing something corrupted.
Any ideas what is going on? I have a quick turnaround on this project and would really rather not have to create the entire thing again on top of the other deliverables.

DVCPRO HD 720p60...VERY easy codec to deal with. OK...but that doesn't explain the oddness. Everything was fine until the other editor brought in some other footage that didn't work...but they said they deleted it. But I wonder if they got everything.
You can open the sequence, right? But it gives the error? If you can open it, highlight all the video clips and then go to the MODIFY MENU and deselect CLIP ENABLE (keyboard combination is Control-B). Then turn on the clips one at a time, or a few at a time, until you get the error. That will narrow things down.

Why do i always have to render even if only move the footage in the timelin

I just edited something in fcp and this wasn't happening, how come it is now.. must be a setting? Thanks!

Rendering is required usually when applying effects or when the timeline codec / dimension differs from the clip settings. What are yours?
See Shane's tip on how to handle non-standard codecs...
Patrick

Missing tag in SOAP Response object

Currently running WebLogic 8.1 SP2 (legacy system, unable to upgrade to newer versions).
Looking at a SOAP Response from a Web Service call, it's notable that there are some missing tags in the response. When the same call is made through an RMI invocation, the data is there, so it appears that it's being set correctly. The obvious answer is that it's an XML serialization problem, but there are no errors in any log files and the Codec classes for a working class and non-working class look identical.
Let me explain better
We have essentially:
Class foo {
public int getID();
public void setID(int);
Class bar1 extends foo {
//other stuff
Class bar2 extends foo {
//other stuff
The Schema defines the ID field as minOccurs="1" (the default).
The response coming from the server will look something like this:
<foo>
<bar1>
<ID>TheID</ID>
...other stuff...
</bar1>
</foo>
However, if the returned object is of the other type...
<foo>
<bar2>
...other stuff, but no ID...
</bar2>
</foo>
The classes and service are being generated from a WSDL and XSD files, searching through the value and codec classes shows no fundamental difference between the implementation of the two subclasses, yet one shows the ID, and the other doesn't.
Anyone have any idea where to look to start narrowing down the problem? This has us completely baffled.

I guess I'll answer my own question since I've since been able to solve it in the hopes that it will someday help someone else.
Short answer: There is a bug in WebLogic 8.1 SP2 which generates the isPropertySet(int index) method in the Codecs incorrectly for certain subclasses.
Using the foo example from the original question
class foo;
class bar extends foo;
class dot extends foo;
If dot has additional properties, the Codec will be generated incorrectly. They should look like:
<pre>
protected boolean isPropertySet(Object my_obj, int idx) {
if (idx < SUPERPROP_COUNT) return super.isPropertySet(my_obj,idx);
idx -= SUPERPROP_COUNT;
Dot typed_obj = (Dot) my_obj;
switch(idx) {
case 0:
return typed_obj._isSetAdditionalProperty();
</pre>
...etc
What it actually does look like is...
<pre>
protected boolean isPropertySet(Object my_obj, int idx) {
Dot typed_obj = (Dot) my_obj;
switch(idx) {
case 0:
return typed_obj._isSetAdditionalProperty();
</pre>
...etc
so attempting to get the eariler properties of the super class from an instance of the sub class returns erratic results depending on whether properties of the subclass were set.
Anyway, this was fixed in SP3 or 4, and there was a patch available to fix it in SP2 as well. Good luck if anyone else happens to run into this problem.

Quicktimes from AVID into FCP

I exported a final piece from AVID Adrenaline as an uncompressed Quicktime. I took that QT to my Mac (G5, OS 10.4.1, FCP 5.1.4), and imported it into FCP. The resulting clip has audio, but the video is completely white. The QT also does not play on Quicktime 7.1.2, though it did play on the Mac Quicktime 7.1.2 on the Adrenaline system.
I dug around, and it appears that the problem might be related to the AVID codec for QT exports (which I don't quite understand why there would be a particular AVID codec if it's uncompressed). I went to the AVID sight and downloaded the codec they have for Intel macs and installed it. That did not have any effect. I gather from the posts I see on the internet that this is a problem that can have many unrelated reasons... any ideas? Or is there an AVID export codec that I should use on Adrenaline that is more consistent with FCP?
Thanks again in advance for your wisdom,
Andrew

I don't know your timeline codec in Avid, but I had the same problem. The thing is that avid codecs are "special", so special that avid is the only one that can read them. I was working with dvcpro timeline and if the "use avid codecs" was checked in the export settings it wouldn't play in fcp. So don't check the "use avid codecs" if you plan to export to fcp. One workaround I found few years back was to install avid free dv and then I got the avid codecs to work but it seems that avid has stopped the avid free dv project Hope this helps.

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

Who at Apple Can I complain to about FCP...

Just bought a FCP system (8 core intel Mac pro 10 Gig ram). It's amazing who uninformed the people at the Apple store are.
FCP is great but dang....it's render ****!!
Anyone have any suggestions as to a solution for making the every day edit easier?
An overlay graphic above a piece of video (animation codec) takes forever to render!
Help....
-Rob

An overlay graphic above a piece of video (animation codec) takes forever to render!
Anyone have any suggestions as to a solution for making the every day edit easier?
You might want to consider repurposing your elements according to their purpose/delivery format
for example, using animation codec is never recommended for production workflows. Instead you could use a proxy in its place for edit purposes then replace with the full res version for delivery (traditional offline/online workflow) ... or simply use an alternative high quality intermediate codec better suited to your production workflow. ProRes 422 HQ has quickly become a popular intermediate codec for FCS users but it doesn't support an alpha channel so that might rule it out for you. There are alternatives though, such as using a suitable Avid QT codec (downloadable from their site) or something like Bitjazz's Sheer codec or Digital Anarchy's Microcosm (a 64 bit lossless codec that supports an alpha channel and is soon to be a free release from from Red Giant who just acquired it).
Fixing simpler issues as well can help alleviate day to day render struggles, like ensuring your source and timeline codecs are matched (or failing that, are pre-conformed to a codec natively supported by FCP).
Re. making your complaints heard at Apple, you can submit your feedback at:
http://www.apple.com/feedback/finalcutpro.html
But do take care to be clear, concise and (I'd advise) polite. Well crafted feedback submitted from someone who can clearly demonstrate a professional understanding of modern production workflows is likely to carry more weight than a hastily written and angry rant.

Uninstall quicktime pro and re-install

I have a problem with FCP quitting "unexpectedly" every time I try to export a H264 file, regardless of the original timeline codec.
I downloaded a program which analyzes the error logs and IT thinks it is QuickTime that is causing the "quits"
So my goal here is to remove quicktime and re-install.
Is there a way to do this short of reinstalling FCP completely?

Quicktime is not likely to be the problem, regardless of your IT wonks' opinions.
But if you're dead set on the attempt, try google for starters. This is hopelessly out of date but might help:
Reinstalling Quicktime
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Another possible culprit of your Final Cut Pro problems could be an issue with QuickTime, which is a major component to the workings of Final Cut Pro. One problem could stem from a bad installation (update) of QuickTime. Another reason to re-install QuickTime is if the current version is not compatible with the version of Final Cut Pro you are running and if you need to install an earlier version of QuickTime. The instructions next cover both scenarios.
1. Before installing the same (or older) version of QuickTime on your computer, you will want to delete certain receipt files first. This Apple article covers which files to delete: http://docs.info.apple.com/article.html?artnum=301852
2. Then navigate to your user Home directory > Library > Preferences.
3. Delete these QuickTime preference files:
com.apple.quicktime.plugin.preferences.plist
com.apple.quicktimeplayer.plist
QuickTime Preferences
4. Repair permissions on your main hard drive.
5. Install QuickTime from Software Update or by downloading it from http://www.apple.com/quicktime/mac.html . For an older version of QuickTime, go to http://www.apple.com/support/ and do a search for the particular version you are looking for.
6. After the install and subsequent computer restart, repair permissions again.
Try this:
http://support.apple.com/kb/HT3678
And this is funny stuff:
https://discussions.apple.com/thread/2159721?start=0&tstart=0
and this:
http://www.lafcpug.org/phorum/read.php?1,258576,258580

Working with m2v files extracted from m2t

Hey everyone. Here's a question...
First, the background: I'm working with LumiereHD and a JVC GY-100U HDV camera recording in 24p. In the past, I have captured the m2t files into Lumiere, extracted the m2v and aif files, then created mov files for import and editing into FinalCut. This works perfectly..
Now the other day, I accidentally imported the wrong set of files into Final Cut, those being the m2v files... what I found is that the m2v files will play in the viewer perfectly (and if the aif files of the same name are in the same folder will play with sync sound).
My question is, since final cut can PLAY the m2v files, is there a timeline codec I can use so that I can edit with these m2v files and save the step of transcoding them to mov files?
The problem here is that I'm working with ProHD 24p HDV files rather than the standard 30 frame HDV. I know Apple is supposed to be releasing support for 24p in it's next "technical update" but that news was released months ago and there still no sign of it on the horizon... (too bad you couldn't 'modify' one of the existing HDV templates to work in 24 frames).
There may not be a work around here, but I figured if anyone knew if it would work, someone here would.
Thanks!

Almost forgot to mention... I was looking to gain real-time benefit. I can drop the m2v files on the timeline and RENDER them, but that defeats the purpose of working with the native m2v files...

Updating QuickTime compressor options in FCP 5?

Is there a way to update FCP 5 with a new Quicktime video codec? I'd like to import AVCHD video clips (MTS format) into FCP 5. Since FCP does not support that format, I converted it to .MOV files using H.264 AVC (advanced video coding) compression. Plays well in Quicktime player. Unfortunately FCP 5 does not support H.264 AVC compression even though I can import it and place it on the timeline. When I try to render the clip from the timeline, codec error appears.

You're right, H.264 would be a compressed video. My only problem is how to convert to DVCPRO HD when I'm on a G5 power Mac which is not intel-based. Have not found a converter tool yet to get it to import successfully into FCP 5.

Out of sync in/out points when exporting from FCP

When I import a sequence from FCP6 as both an XML and straight into using Send to, a lot of the clips in my timeline contain incorrect in/out points.
On some clips it is a completely different shot altogether although the durations are correct.
I have read the release notes about issues with importing sequences and the boxes are checked this end.
Has anyone been experiencing these problems too? If it helps, this only seems to be on sequences shot on the Panasonic HVX200 at: 720p25
I would appreciate any help!

Has anyone discovered the source of this problem? I just ran into this today. This is a VERY serious problem in my opinion. The whole benefit of Color (from my point of view) is to allow high end color correction without having to re-export your clips into an external app, adding another layer of degradation to your clips, or having to deal with huge uncompressed files. This bug makes that workflow useless so I sincerely hope this is fixable.

An HDV discovery

I'm fighting through a small HDV project right now. Yes, it doesn't deal with camera movement well, yadda yadda yadda...
I just spent an hour on the phone with AJA support as I was looking for some answer regarding my Kona2 and how it deals with HDV. The tech support guy I spoke with asked me if timecode was crucial for delivery. It isn't for this particular project. He told me to run a test using the Apple intermediate Codec as a capture and timeline codec. He said it's got (a bit) more information as it doesn't have to do everything that the HDV preset does. Wow - an obvious difference. Much nicer than HDV. Better edges, less (but it's still there) pixelation, and what looks like more natural contrast.
The capture process is dodgy though.
I know we're all still limited as per delivery, but at least it's a better place to start the compression process. Give it a try.

In which case, I also assume you could also change it to this:
x:5:respawn:/opt/kde/bin/kdm -nodaemon
if you like the look of KDE a bit better

LUMIERE created XML files to 'facilitate the migration of project in FCP.'

I recently purchased Lumiere so that I could work with material shot on the JVC GY-HD100U camera in FCP. I understand that FCP is due to for an update soon, but alas, I'm unable to wait. That being said, I have followed the various steps to create mov files from the compressed MP2 files generated through Lumiere. The supposed last step before beginning the edit in FCP is to decide whether or not to 'create FCP XML' or not.
1. What purpose does using XML files instead of the .mov files serve in FCP? It is an option in the import files drop down... What gives? For that matter why and what are xml files function here? Pretty Green, I know
2. Can I edit using the custom 24p Apple Intermediate Codec I was told to create usinf the mov files instead, and then online, or convert the timeline to full resolution just the same using the mov files?
3. If I am getting an error message when trying to import the XML files and am therefore unablr to do so... any ideas why? I had one file with 'acceptable errors'. The log read that there was a path problem with the audio files, which I was unable to fix. The other files would not import at all. Why?
4. What is the best way/codec for editing HDV - outputing te best image resolution without a Xserve raid or the like...
I know this probably reads like questions for a Lumiere forum, but I have tried and received no answers... Any insights appreciated, as my deadline is fast approaching.
-Thanks
Tom.

Maybe this will help from the Lumiere HD forum on their site (http://www.lumierehd.com/forums/showthread.php?t=576) :
720p EDITORIAL WORKFLOW USING JVC-GYHD100 AND FCP5.0
By Jon Farhat
CAPTURING AND EDITING
JVC GY-HD100 720p > LUMIERE HD > FINAL CUT PRO 5.0
Workflow Steps:
1. Launch Lumiere HD and begin with the CAPTURE/PRINT tab.
2. Enter your Logging information into the fields labeled REEL, DESC., SCENE and SHOT. The program with create a name for you based on this information and place it in the NAME field.
3. You can also check AUTOINCREMENT. Doing this will create a Name based on the Scene Name and will add a Shot number starting with 1. Each time you capture a new take, the shot number will increase as well as appear as an extension to the file name as indicated in the Name field.
4. Click on the DESTINATION button to choose a folder for your raw Transport streams. The files placed in this folder will have the naming convention, DESCSCENE1.m2t. Note that these files have the Audio and Video multiplexed together.
5. Use the toggle controls to line find your desired take and back up a while to add a little pre-roll. (Note: LHD does not do Batch Capturing so you have to click the CAPTURE and STOP CAPTURE button for each take.
6. Once you have captured all your takes and placed them in your working folder, click on the PROGRAM STREAM tab.
7. Click on the DESTINATION button in the PROGRAM STREAM VIDEO area. When the navigation window opens, click on NEW FOLDER and create a folder called “Video”. Select OK to choose your new folder.
8. Click on the DESTINATION button in the PROGRAM STREAM AUDIO area. When the navigation window opens, click on NEW FOLDER and create a folder called “Audio”. Select OK to choose your new folder.
9. Now click on the SELECT M2T FILE(S). IMPORTANT NOTE: If you have used the Autoincrement function, or have sequentially numbered files, no not select the folder housing your m2t’s but rather drag select across all your takes, starting from the lowest number to the highest. Then click OK.
10. Now you are read to split the raw m2t transport streams into a separate AIFF audio file, which will be placed in the Audio directory you created and and M2V video file which will be placed in the Video Directory. It is important that the audio files and video files are in these separate directories.
11. Choose the PRESETS pull-down menu In the REALTIME TIMELINE CODEC window. Select OTHER.
12. In the COMPRESSION TYPE Pulldown menu, select APPLE INTERMEDIATE CODEC.
13. Select the FRAMES PER SECOND pull-down menu and select 23.98.
14. Select the OTHER button in the COMPRESSOR > PRESET.
15. In the SIZE section, choose the SOURCE button. Note that you can also create a smaller dimension such as 720 x 406 (16:9 aspect ratio) since this is only used as a proxy in FCP to edit with. But if you have the memory and speed, working in the full 1280 x 720 is preferable. These files will not be rendered into your final master. After you edit with this proxy codec, you will use Media Manager to build a new timeline from the full size raw capture images. It is on this new full-size timeline that you will color correct your movie as well. (Discussed later in this document)
16. In the FINAL CUT AUTOMATION section, check the CREATE FCP XML box, and UN-CHECK the ANAMORPHIC box.
17. Click on the AUDIO FILES? Button and either double-click on the AUDIO directory you created which houses your AIFF’s and then click OPEN or simply select the directory once and then click OPEN.
18. Now click on the SOURCE button in the SOURCE/DESTINATION section. Open the Video folder which houses your de-multiplexed m2v video files.
19. Click on the DESTINATION button in the SOURCE/DESTINATION section and select NEW FOLDER and call this “project name”_REALTIMES. This is where your .mov files which are compressed with the AIC (Apple Intermediate Codec) will be placed.
20. You are now ready to hit the GO button. So, what are you waiting for, hit the GO button now!
21. When the Quicktime settings dialog opens, confirm your SETTINGS, FILTER and SIZE settings under the VIDEO sections. IMPORTANT NOTE: Make sure to select the SOUND > SETTINGS button and change the SAMPLE RATE to 48kHz, 16 bit, Stereo.
22. After Lumiere HD creates your file(s), another window will open asking you to input your XML FILE NAME. Do this then click OK.
23. When you view your “REALTIMES” directory, you will notice that you now have matching files to your demultiplexed Video files. For instance, if your file was named, DESCSCENE1.m2t then then Realtime file you use for editing will be named DESCSCENE1.mov. The XML file will also appear in this destination directory.
24. Open Final Cut Pro. Let’s start by creating a new EASY SETUP preset. (You will only have to do this one time since no Easy Setup setup exists for AIC 24p in FCP. From then on, you will start FCP and simply go to Easy Setup and select this Project Preset before you import your XML skipping to item 29 below) Select AUDIO VIDEO SETTINGS. Under the SEQUENCE PRESETS tab, select APPLE INTERMEDIATE CODEC 720p30 from the scrolling menu. Note that we are going to create a preset for 23.98 from this one by changing the frame rate. All other settings are the same as the 720p30 preset.
25. Select the DUPLICATE button. In the SEQUENCE PRESET EDITOR change the NAME to “Apple Intermediate Codec 720p24” Go ahead and also change 30 to 24 in the DESCRIPTION text box.
26. Confirm the following settings in the GENERAL tab.
a. FRAME SIZE: 1280 X 720
b. ASPECT RATIO: HDTV 720p (16:9)
c. Make sure the ANAMORPHIC (16:9) box is UNCHECKED.
d. PIXEL ASPECT RATIO: Square
e. FIELD DOMINANCE: None
f. EDITING TIMEBASE: 23.98
g. TIMECODE RATE: Same as Editing Timebase
h. QUICKTIME VIDEO SETTINGS: Apple Intermediate Codec.
i. QUALITY: Desired setting based on your system capacity.
j. AUDIO SETTINGS: 48kHz, 16-bit and a Default Config:
27. Click OK, then select this new Preset once you return to the AUDIO/VIDEO SETTINGS dialog and then click CREATE EASY SETUP.
28. When the EASY SETUP dialog opens up create type in the NAME field, “HDV-Apple Intermediate Codec 720p24” Enter a description and then click the CREATE button. Save in the CUSTOM SETTINGS pull-down menu.
29. Let’s start by closing all open Projects and stay in FCP. It’s always good to have a separate 720p project for all your JVC HD-100 sequences. Select EASY SETUP and select your new “HDV-Apple Intermediate Codec 720p24” Of course you will still be in the basic program now with no Projects or Sequences, but your system is now configured to import the XML and the sequence presets will match perfectly. (Keep in mind we did all this to circumvent a bug in FCP5.0)
30. Now go to FILE > IMPORT > XML and select the XML file you created in Lumiere HD. Select CHOOSE. When the IMPORT XML window opens, select the CREATE NEW PROJECT in the DESTINATION pull down menu. Make sure your DEFAULT is APPLE INTERMEDIATE CODEC 720p24. Make sure all buttons are checked, including OVERRIDE WITH SETTINGS FROM XML. You should be able to simply check this override box when importing into any open FCP session and create a new project with the XML settings once the bug is fixed in FCP.
31. This will create a new project named after your XML, and a directory of all your real-time clips called “project name”_REALTIMES.
32. You will also notice that the clip names do not end with .mov but rather end with .m2v. These names actually access the AIC compressed .mov files as this naming convention in the browser is simply a means to locate the uncompressed transport streams later with Media Manager once you have finished editing.
33. Now you can start editing. When you drag a clip to the Timeline, the corresponding AIFF audio file will also travel with it and be locked to the Video. However, until Timecode sync is offered in LHD, you may need to re-sync via the Clapper slate as mentioned above. However, unless you are using very long takes, the sync is within fractions of a frame and isn’t perceptible.
34. Edit away but avoid doing things like color correction or final rendering of effects until you are done with the need to work in real-time.
35. Once you are finished editing, move to the next section.
GOING ONLINE
FINAL CUT PRO 5.0 > LUMIERE HD > JVC GY-HD100 720p
CONNECTING ORIGINAL MEDIA: ONLINE OPTION #1
1. Select sequence in your browser.
2. Choose FILE > MEDIA MANAGER.
3. Media Manager Settings:
a. Media: CREATE OFFLINE
b. Set Sequence to CUSTOM
c. 1280 X 720
d. Pixel Aspect Ratio: SQUARE
e. Anamorphic Box: UNCHECKED
f. Editing Timebase: 23.98
g. Timecode rate: SAME
h. Compressor: NONE or HDV720p30
i. Audio: 48kHz, 16 bit, stereo default
j. Project name: ONLINE 720p24
k. Go to ONLINE 720p24 tab in the browser. Double click on the sequence. (Note: the is currently an issue in LHD’s XML function in that it will not transfer the REEL NAME to the clip. You will have to select all your clips to add the reel name, otherwise the the clips will not be made “Offline”. You can always right-click on the clip an select the MAKE OFFLINE function. )
l. Save project name: ONLINE 720p24
m. Go to ONLINE 720p24 tab in the browser and double-click on the sequence. (clips should be offline if the reel name is added in the brower.)
n. Select all the clips in the browser in the ONLINE 720p24 sequence and choose RECONNECT MEDIA.
o. Point to the original digital negative clips that you demuxed in LHD. (ignore mismatch warning and all your clips should reconnect.
IMPORTANT NOTE: The above routine for going online worked will with FCP4 but now there exists a BUG in FCP5 in the Media Manager function.
BUG REPORT: When doing an offline and choosing "based on clip names" (which are NAME.MOV), Media manage will add .MOV to the source name resulting in NAME.MOV.MOV.
This is happening in FCP5. It never happened in FCP4. We've used this freature extensively before for online/offline editing workflow. The advantage of using clip name vs. file name in the browser is that you can edit a proxy and always keep track of its online version by naming the clip the same name as the online version. Now that it ads .MOV to the name, it's unusable - or you have to reconnect by hand rather than using hte "connect the clips based on relative paths" option.
CONNECTING ORIGINAL MEDIA: ONLINE OPTION #2
STICKING WITH APPLE INTERMEDIAT CODEC.
For now, it is possible to stick with the Apple Intermediate codec when going online and back through LHD to the JVC HD-100. If so, choose NONE compression when exporting a Quicktime from FCP for use in LHD. However, the best case will be to use the above option #1 when Apple gets around to fixing their bug with Media Manager.
Otherwise, you will have to reconnect all your clips to the original m2v’s manually to avoid the codec altogether.
About the Apple Intermediate Codec
The Apple Intermediate Codec is a high-quality video codec that Apple developed for use as an alternative to native MPEG-2 HDV editing in an HDV workflow. Instead of editing the MPEG-2 HDV data directly, you can capture video from the tape source and then transcode it with the Apple Intermediate Codec to optimize the video data for playback performance and quality.
Working with the Apple Intermediate Codec is less processor-intensive than working with native HDV. Unlike MPEG-2 HDV, the Apple Intermediate Codec does not use temporal compression, so every frame can be decoded and displayed immediately without first decoding other frames. The drawback of this codec is that it requires three to four times as much bandwidth and hard drive storage space as MPEG-2 HDV.
Data rates for the Apple Intermediate Codec are variable; the data rates and storage needed may vary slightly, depending on the complexity of your footage. Images with a lot of detail have a higher data rate, while images with less detail have a lower data rate.
Format and Data rate
MPEG-2 HDV 720p30……….2.5 MB/sec. (equivalent to 9 GB/hr.)
MPEG-2 HDV 1080i60/50……….3.3 MB/sec. (equivalent to 12 GB/hr.)
Apple Intermediate Codec HDV 720p30………. approximately 7 MB/sec. (equivalent to approximately 25 GB/hr.)
Apple Intermediate Codec HDV 1080i50………. approximately 12 MB/sec. (equivalent to approximately 42 GB/hr.)
Apple Intermediate Codec HDV 1080i60………. approximately 14 MB/sec. (equivalent to approximately 49 GB/hr.)
Frame Aspect and Dimensions
MPEG-2 HDV and Apple Intermediate Codec feature a 16:9 widescreen aspect ratio for all resolutions.
The 1080i format features 1080 lines (1440 pixels per line), interlaced, using non-square pixels to display a screen ratio of 16:9 (equivalent to 1920 x 1080). The 720p format features 720 lines (equivalent to 1280 x 720) with a progressive scan.
Color Recording Method
Both MPEG-2 HDV and Apple Intermediate Codec HDV record a 4:2:0 component (Y´CBCR) digital video signal. Each sample (pixel) has a resolution of 8 bits.
Note: This article was based on information from the HD and Broadcast Formats document (in Final Cut Pro 5, choose HD and Broadcast Formats from the Help menu).
EXPORTING QUICKTIME TO LUMIERE HD > JVC GY-HD100
1. Use the following settings when feeding a Quicktime file back to Lumiere HD if you plan on generating a 720p24 transport stream to the JVC GY-HD100 or BR-HD50.
2. Quicktime settings:
a. Resolution: 1280x720
b. Frame Rate: 23.976 (23.98)
c. Progressive
d. Audio on whole track.
e. Audio Settings: 48kHz, 16bit, stereo
f. Square Pixel.
3. Open LHD and select the TRANSPORT STREAM tab.
4. Select JVC 720p/24 (GY-HD100, BR-HD50) in the pulldown menu.
5. Select the HDMASTER tab and then choose your .MOV file.
6. Select the DESTINATION BUTTON under the TRANSPORT STREAM section.
7. Now return to the CAPTURE/PRINT tab in LHD and select the print to tape button. Choose your new edited TS (transport stream) file and Click OPEN and it will print to tape automatically.
Special Thanks to the following for their input to this document:
Frederic Haubrich
Neil Boone
Apple Docs: Article number 301599
Jerry

How to export FCP for broadcast station

I recently picked up a gig editing for the zoo here in the city. Unfortunately, I have never filmed/edited anything for t.v. How should I export the movie for the cable networks? Here are a few questions I have (I'm a rookie, please be patient with me):
1) Should I select make movie self-contained?
2) Should I export as "using quicktime" or "using quicktime conversion"?
3) How do I change the codec and frame rate if needed?
4) How would I transfer the movie file onto DVD after I am done?
Thanks, it is really apprecitated!

1.You should export a self contained movie using current settings -same as your Timeline codec and make the deliverables from that, using Compressor. Only the broadcaster can tell you what they need. Ask each and everyone of them that you will be delivering to for their spec sheet.
2. QuickTime Conversion will recompress the file, even if it is to the same codec as your Timeline.
3.Compressor. See 1.
4. You already have a copy of DVD Studio Pro. Learn to use it.

To interlace or not to interlace...

I've got a project where I'm mixing HDV 720P and DVCAM 60i footage. I'm using ProRes as my timeline codec. My final destination is DVD. So to maintain the sharpest image for TV on DVD playback I'm wondering whether I should have interlacing on in Sequence Settings. I know that Compressor will interlace anyway as part of the DVD Best Quality transcode, so I'm wondering whether interlacing in my timeline is good or bad for my footage, particularly the progressive stuff. Or is the difference negligible? Any thoughts? Just to complicate matters I also have some HDV 1080i shots as well. They have the shift fields filter applied to modify from upper to lower.

joey848 wrote:
I know that Compressor will interlace anyway as part of the DVD Best Quality transcode
That's not actually correct. If your timeline is 23.976, Compressor will just leave it at 23.976 all the way through the MPEG-2 encoding process. You'll end up with 23.976 footage on your DVD, and the player itself — the actual piece of home-entertainment equipment — will be responsible for inserting pulldown if necessary.
The question you're asking isn't whether your timeline should be interlaced or not. The question you're asking is whether you should conform your 60i footage to 60p, or conform your 60p footage to 60i.
There's no easy answer in this case, because you're not just conforming timebases. You're also scaling. You're taking 720p60 and 1080i60 footage down to 480. That means you're going to be destroying any field structure in your HD footage anyway, by scaling it down.
Since none of your source footage is p24, it makes no sense to work at 23.976. Since DVD only supports 480p24 and 480i60, that leaves you with just one practical option.
So the bigger question becomes at what point you should conform everything to the same size and timebase. My gut tells me you're going to get the best results by running all your 720p60 and 1080i60 footage through Compressor, with frame controls on, and having it scale everything down to 480i. (You didn't say whether your finished product will be anamorphic or not; whether you go anamorphic or pan-and-scan to 4:3 or letterbox is up to you.)
You might try doing a test. Set your timeline to 480i60 (either anamorphic or not, depending on what you prefer) and drop in some 480i60, 720p60 and 1080i60 footage. Throw some transitions across cuts, whatever you think you're going to be using in your show. Render it all out to ProRes with your render settings set to best. Put it on DVD, see what you think of it. It might be entirely satisfactory.

Timeline Codec incorrect?

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