Alan Okey
5
COW Coins
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DaVinci Coins
Forum Replies Created
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[Thomas Mitchell] “Now I import the project into FCP as I need to export it as a divx.”
Why do you need to import the file into FCP at all? Why not use Compressor, or even Quicktime Pro? There’s no need to use FCP, as you’re not editing the source clip, only encoding it.
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Since XDCAM EX is a more lossy codec than ProRes, it makes more sense to transcode to ProRes. You may also get better editing performance with ProRes, but to be fair, FCP actually handles XDCAM EX fairly well. In a cuts-only edit with no graphics or filters you probably wouldn’t see much difference, but for anything else, ProRes wins. In general, you can’t go wrong with ProRes as long as you have enough storage.
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If you want slow motion, use Cinema Tools to conform the 720p60 footage to 720p24, then import the conformed clips into FCP. Only do this on copies of the original clips, because it is a destructive process. Also, be aware that Cinema Tools can only conform source footage with intraframe codecs (DVCPRO HD, ProRes), not long-GOP interframe codecs (XDCAM EX, HDV, etc.).
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Strobe filter…
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[Daniel Laurin] “I have to edit in FCP in a 29,97 timeline because it’s the final fps needed for the broadcast show.”
That’s not necessarily true – the Kona 3 can output a 24p sequence to a deck at 29.97fps and automatically add 3:2 pulldown. If you’re doing a rigidly timed show for broadcast with commercial breaks, etc. then it might be necessary to edit in a 29.97fps sequence. If you only need to output a complete show with no breaks, using the Kona to output a native 24p sequence and letting it do the frame rate conversion and add 3:2 pulldown could save you a ton of rendering time.
I’d recommend soliciting the opinion of an expert like Shane Ross who is intimately familiar with FCP, the Kona 3 and broadcast deliverable requirements.
Have the packaging assets already been created at 29.97fps? If so, you will need to first use Compressor to transcode your 24p XDCAM EX footage to ProRes 422 @ 29.97fps with 3:2 pulldown added, then edit in a 29.97fps ProRes 422 sequence. FCP 7 does not properly add 3:2 pulldown to 24p footage placed in a 29.97fps sequence, it simply duplicates every 4th frame (2:2:2:4 pulldown), which looks absolutely atrocious and will probably get your deliverable rejected.
If you need instructions on how to use Compressor to transcode the 24p XDCAM EX footage to ProRes 422 29.97fps with 3:2 pulldown, let us know.
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You can either apply a 3-way color corrector filter and manually reduce the highlight and chroma levels, or you can apply a broadcast safe filter. Some have found that the broadcast safe filter is unreliable and may not always produce broadcast-safe levels. It’s probably safer to do it manually. Levels often change after rendering, so after applying the CC filter and corrections, render and re-check levels.
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[Elisa Sweet] “when I go to a computer without FCP, QuickTime cannot recognize the files. “
Log and Transfer rewraps the SxS card contents into Quicktime movies using the native XDCAM EX codec. This codec is not available on computers that do not have FCP installed, nor is it freely available.
Log and Transfer does not have the ability to create ProRes files from XDCAM EX source material on ingest. It can only create Quicktime movies with the XDCAM EX codec.
If you want to create Quicktime movie files that may be viewed on other computers that do not have FCP installed, you will need to transcode your XDCAM EX Quicktime movies to another codec. You can do this using Compressor or MPEG Streamclip.
If the files are only for review and will not be edited on other systems, you could transcode to h.264 for smaller file sizes. If you need full-resolution full-quality files, then you could transcode to ProRes Quicktime files. ProRes 422 or ProRes 422 (LT) would be sufficient. ProRes 422 (HQ) is unnecessary, and will only create larger files with no visual benefit. ProRes files may be played back on any computer with Quicktime Player installed.
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[Steve Bralver] “Whats the best way to convert to 30?”
That depends on several factors. What is the required delivery format? Do you need to deliver the final output as a file, or on tape? Do you have a video I/O card (AJA Kona, etc.) Installed in your system?
If you don’t have a video I/O card and you are delivering a file for broadcast, you must find out the exact details about what file type and specifications the broadcaster requires for delivery. That will determine what software you will need to use for creating the deliverable.
Let us know what the specifications are and we can suggest the proper workflow.
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Shoot and edit in native 24p (23.98). Export a QuickTime movie, then use Compressor to create two versions – one at 24p for your reel, and one at 29.97 with 3:2 pulldown added for broadcast.
If you have an AJA Kona card and you’re outputting to tape for broadcast, you can let the Kona add 3:2 pulldown on output from FCP instead of using Compressor.
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[Steve Kunz] “Does FCPX have built in camera trackiing similar to that of PFHoe or Camera Tracker?”
No.