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  • FCP and MP4 files from Sony A7s3

  • Thomas Kaufman

    December 8, 2021 at 8:09 pm

    I’m shooting a project with the A7s3 of aperson standing in front of a gray background. The production company is using FCP X to edit. They need to do flow transitions to link shots together, and they’ve discovered artifacts within the transition. It’s created a lot of extra work for them and I wonder how we might eliminate this problem.

    My thoughts are:

    shoot at 100Mbits/second instead of the original 50 Mbits/second

    Take output of Sony camera toa Shogun recorder and record in ProRes.

    thanks for your help,

  • Patrick Donegan

    December 9, 2021 at 2:03 am

    Are the “artifacts” in the output file?

    Or just when you look close on the timeline?

    And you are using the “flow” transition?

  • Eric Santiago

    December 9, 2021 at 2:51 pm

    Have you transcoded to ProRes prior to all this?

  • Thomas Kaufman

    January 5, 2022 at 4:15 pm

    Hi Patrick

    Yes, the artifacts are in the output file, and yes,using the ‘flow transition’ effect to join clips together.

    thanks for your help.

  • Thomas Kaufman

    January 5, 2022 at 4:18 pm

    Hi Eric

    Yes, the footage was transcoded from XAVC to ProRes before creating the flow transition.

    Since my first post, we tried increasing the bit-depth of the footage from 8- to 1-bit, and also tried recording the HDMI output of the Sony A7s3 in ProRes using a Shogun recorder, but these weird artifacts keep appearing.

    An editor friend of mine suggested it was a FCP problem, and that FCP was ‘late to the party’ when it comes to this type of effect.

    BTW I had no trouble whatsoever creating this type of transition in Resolve (where it’s called a ‘smooth cut’).

    thanks for your help!

  • Eric Santiago

    January 9, 2022 at 1:31 am

    I would weigh my options here.

    How important is this transition?

    Putting blame on the NLE is a bit much.

    If it’s that important, I would have done it in the right NLE by now.

  • Doug Metz

    January 11, 2022 at 7:21 pm

    A few thoughts here… shot disparity plays a large part in the success of the transition, so if the last/first frames of the adjoining clips are substantially different, weird stuff will happen regardless.

    I’ve also made a habit of parking the playhead on each instance of the Flow transition so that FCP can calculate before playback, which has helped with output anomalies.

    Can you post a short clip with the artifacts in play?

  • Thomas Kaufman

    January 15, 2022 at 2:44 pm

    Hi Patrick

    Yes, the artifacts are in the output file. We are using the flow transition.


  • Thomas Kaufman

    January 15, 2022 at 2:49 pm

    Yes, the XAVC-I footage from a Sony A7s3 was transcoded prior to making the flow transition.

    i also shot footage in ProRes by taking the HDMI output of the Sony A7s3 camera and using an Atomos Shogun to record. Still had the same issue with artifacts in the output file.

    I’m not allowed to post any of the video, but the artifacts appear like ‘ghost’ images. By that I mean, during the flow transition, I can see my subject standing in front of a black background. During the transition I can see the side of the subject’s head as a pale, partial image. This artifact appears to the left of the person’s head. Another subject, a woman with her hair in a bun, had the artifact clustered around the bun.

    Apparently the problem is intermittent.


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