Media 100 to FCP workflow

[Bryce Whiteside]

If you have some After Effects Comps, just resize your Comps for the FCP sequence settings and rerender for your FCP machine.

If you absolutely have to use legacy footage digitized on the M100 machine your will need the OS X transcoder for you FCP machine found at:
ftp://ftp.media100.com/pub/software/

I believe you are looking for this one:
M100OSXTranscoder.sit.hqx 1639 KB 3/22/2004 12:00:00 AM

If you are importing from a Vincent 601 system you may have issues with the field order because the 640 x 480 image size prefers upper field dominance and board like the AJA Kona prefers lower field dominance. This is very noticable if you export DV from M100 and load it up in FCP. You will see pronounced jutter in fast moving images. I was abe to fix in After Effects, but no matter how I told FCP to interpet the footage it would not fix it. If you have a P6000 based M100 system, you may not have these issues, but I can’t confirm that.

But that was before Joe’s Filters or Nattress’s Filters for FCP.
https://www.joesfilters.com/joesfieldfixer.php
I can’t find the specific Nattress filter but here is his web site:
https://www.nattress.com/

If you are transferring a large amount of footage, you may want to redigitize. Just export the EDL from M100–CMX 3600 works best–making sure your reel names are 8 characters. Import in FCP and batch digitize. I have imported M100 footage from a Vincent 601 system, but it came in about safe action size which seems to indicate to me that it saw the vertical blanking a part of the image, but that is just an educated guess. Of course you would have to rescale the footage and you might run into some interlace problems and definitely softening of the image.

If you have a bin full of Media 100 clip selects, just drag them all to a program timeline and export as an CMX 3600 EDL and import into FCP as a sequence. Then drag all the clips for the sequence timeline to your clip bins to be digitized.

Below is some field dominance information for you that may or may not apply to your situation:

Upper Field First = Field 1 or Odd
Lower Field First = Field 2 or Even

According to Adobe Knowledge Base
https://www.adobe.com/support/techdocs/317681.html

———————————————————

DV is always lower field first

———————————————————

In Final Cut Pro, there are two options for field dominance:

* Upper (Field 2 is dominant, so the second field is drawn first)
* Lower (Field 1 is dominant, so the first field is drawn first)

Generally, Upper is used by 640 x 480 systems, while Lower is most common in professional 720 x 486 and DV 720 x 480 systems. Video capture cards can be either Upper or Lower.

According to Apple’s Final Cut Pro Knowledge Base
https://docs.info.apple.com/article.html?artnum=36822

———————————————————

HTH,
Bryce

Don’t worry Mr. B. I have a cunning plan…

PowerBook 1.67 Ghz ATI 9700 128 MB 2 GB
Final Cut Pro HD
DVD Studio Pro 3
Motion

[Bryce Whiteside]

Here is Nattress’s filter. It was under Set 1
https://www.nattress.com/Set1/G_Field.htm

HTH,
Bryce

Don’t worry Mr. B. I have a cunning plan…

PowerBook 1.67 Ghz ATI 9700 128 MB 2 GB
Final Cut Pro HD
DVD Studio Pro 3
Motion

[Matt Short]

Thanks for the help.