Creative Communities of the World Forums

The peer to peer support community for media production professionals.

Activity Forums Apple Final Cut Pro Legacy Encoding 1080p24 in FCP

  • Encoding 1080p24 in FCP

    Posted by Erichindes on December 14, 2005 at 10:44 pm

    I am receiving 1080p24 MOV files from my vendor. I need to compress them to 1080p24 MPG2. The only settings I see in FCP and Compressor is either 1080i or 720p. Is there a way to output MPG2 1080p24 from FCP via compressor or some other 3rd party software, or do I need to start playing with After Effects?

    Thanks for your help!
    ————————————–
    OS-X 10.4.3
    G5 2.7GHz – 2GB ram
    FCP 5.0.3
    KONA 2 card v.1.1.4

    Gary Adcock replied 20 years, 8 months ago 3 Members · 4 Replies
  • 4 Replies
  • Sean Oneil

    December 15, 2005 at 12:27 am

    Make a custom preset in Compressor.

  • Erichindes

    December 15, 2005 at 6:21 pm

    But the only mpeg2 options I see in compressor are 720p and 1080i. Can you get 1080p24 mpeg2 out of compressor?

    Thanks for your help!
    ————————————–
    OS-X 10.4.3
    G5 2.7GHz – 2GB ram
    FCP 5.0.3
    KONA 2 card v.1.1.4

  • Sean Oneil

    December 20, 2005 at 7:57 pm

    Actually I just looked at it and you don’t even need a new preset. Use the 1080i preset. It is set to “automatic” so it will encode it at whatever framerate and field dominance the source is. Even though it says 1080i, there’s no such thing as 23.98 interlaced. Trust me, it will encode as 1080 @ 23.98 (which is an option you can set manually).

  • Gary Adcock

    December 21, 2005 at 12:59 am

    [Sean ONeil] ” It is set to “automatic” so it will encode it at whatever framerate and field dominance the source is. Even though it says 1080i, there’s no such thing as 23.98 interlaced. Trust me, it will encode as 1080 @ 23.98 “

    Sean is correct about it being automatic, that’s because HDCam uses a “segmented frame” for all 1080 content that is recorded as regular HDCAM. The format is called “PSF”. It is captured as 24 frame progressive but played back on all but the highest end displays as 48i.
    It was explained to me as a limitation of the display technologies in combination with Sony’s need to not obsolesce the interlaced format –while still embracing the progressive standard demanded by Hollywood — all in one camera.

    Gary Adcock
    Studio37
    HD and Film Consultation
    Chicago, IL USA

We use anonymous cookies to give you the best experience we can.
Our Privacy policy | GDPR Policy