Alan Okey
5
COW Coins
2
DaVinci Coins
Forum Replies Created
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[Adam Kranitz] “Any valid FCP serial number is eligible (excluding FCP X).”
Excellent news, thank you Adam.
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Is the crossgrade available to owners of the Academic version of Final Cut Pro, or only the full retail version?
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[Mark Suszko] “And it could be even more hipsterish if only he delivered it while riding a fixed-gear messenger bike.”
Fixies are the single most annoying urban hipster fad since the “swing revival” of the late 1990s.
Every time I see some douchebag with ear gauges in tight black jeans and an ironic tee shirt and go flying through a red light on his fixie and nearly kill a pedestrian, I pray that a bus or a tanker truck with faulty brakes is coming the other way…
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[David Roth Weiss] “If you want to be ignored get yourself a cat.”
David, you have obviously never owned a Siamese.
😉
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[Rafael Amador] “Half of the Hollywood movies DVDS are Upper first.”
I’d say most “Hollywood movies DVDs” aren’t interlaced at all – they’re native 24p. It’s up to the DVD player to add 3:2 pulldown on output when needed.
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[William Roman Jr] “a mix of 60p n 24p on a 60p sequence, exported in the 23.98 will make the file play at 24fps as possible correct? “
Correct.
[William Roman Jr] “now this is a mimick of 24fps?”
The native 24p footage will be 24p, and the (formerly) 60p footage will be converted to 24p by Compressor’s Optical Flow technology.
[William Roman Jr] “the 60p footage will now play and have the 24fps look? “
Yes, but you’ll have to test to see if there are any visible artifacts in the conversion. It will certainly look better than simply using Quicktime conversion from FCP.
By the way, you can set in and out points in Compressor if you want to encode a short test sample. You can simply type I and O in the viewer window at the desired in and out points, or drag the in and out sliders.
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[Michael Gissing] “Excellent find Alan. Big question remains though, which Motion will FCS3 send to? Round tripping may still be a problem.”
There is definitely no round tripping between FCP 7 (or earlier) and Motion 5. If you can believe it, there isn’t even round tripping between FCP X and Motion 5!
I don’t know if having installed Motion 5 will break round tripping between FCP 7 and Motion 4. You’ll just have to test it, I guess…
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[William Roman Jr] “how about exporting that 60p sequence w/ quicktime conversion with the frame rate set at 24? what does it do to the compressed movie?”
It won’t work as well as using Compressor. If your footage is a mix of 24p and 60p and you want to end up with a 24p file, use Compressor for the best results.
What is your delivery format? Web? DVD?
1. Export a Quicktime movie of your sequence (not Quicktime conversion) and then open the exported file in Compressor. Apply a compression preset that matches your intended delivery method.
2. In the Encoder tab of the Inspector window, click on video settings and set the frame rate to 23.98.
3. Turn on Frame Controls in the Frame Control tab, set Resize Filter to Best, set Output Fields to progressive, and set Rate Conversion to Better. Leave Duration at 100%.
4. In the Geometry tab, set the pixel aspect to square for web output or NTSC CCIR 601/DV (16:9) for DVD output.
5. Encode.
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[Patrick Morrow] “How can I use Motion 4 again for round tripping in FCP Studio, without deleting 5? Thanks so much.”
Try this:
https://support.apple.com/kb/HT4722
Restore the Final Cut Studio (2009) applications to their original location
Follow these steps to move the Final Cut Studio (2009) applications to their original location while still being able to use Final Cut Pro X, Motion 5, or Compressor 4 on the same system.
Create a folder called “Final Cut Pro X” (without quotations) in your Applications folder.
Drag the Final Cut Pro X, Motion 5, and Compressor 4 apps into the Final Cut Pro X folder you created.
When prompted, type your administrator password.
Locate the Final Cut Studio folder in the Applications folder. Modify the permissions on the Final Cut Studio folder by selecting it and choosing File > Get Info.
Click the disclosure triangle to the left of “Sharing & Permissions” to show the permissions for the Final Cut Studio folder (if they are not already visible).
Click the lock icon in the lower-right corner of the window.
When prompted, type your administrator password.
For the “admin” entry, click the current privilege setting and choose “Read & Write.” Close the Get Info window.
Drag the contents of the Final Cut Studio folder into the Applications folder.
Open Motion 4 (now located in the Applications folder). After it opens completely, quit Motion 4. -
[William Roman Jr] “since the sequence is 60p and has 24p footage in itas well as 60p how does it play w/o problems? “
It works because FCP is inserting extra frames to the 24p footage to make it play back properly in a 60p sequence.
The technique used for displaying 24fps footage in a 30fps video signal is called 3:2 pulldown, or “telecine.” It’s how film has been recorded on video for years. Prior to the availability of HD cameras that could record native 24p footage on memory cards, cameras recorded 24p over a 29.97 interlaced signal by adding 3:2 pulldown. If you were to step through a clip shot in this manner one frame at a time, you would see a pattern of three whole progressive frames followed by two “split” interlaced frames. For a detailed explanation of the process, check out this link:
https://www.adamwilt.com/24p/index.html#24pRecording
In 720p there is inherently no interlacing, so the process is done using duplicate frames. If you drop 24p footage in a 60p sequence, then step through it frame-by-frame, you will notice a repeating pattern of 3 identical frames followed by 2 identical frames in a repeating cadence.
Final Cut Pro has the ability to automatically add 3:2 progressive pulldown to 24p footage in a 60p sequence. However, It does not have the ability to do this properly with interlaced footage, either 29.97 SD or 1080i HD. If you try to put native 24p footage into a 29.97 SD sequence or a 1080i60 HD sequence, FCP will simply add a duplicate frame, which results in a stuttering look. This is known as 2:2:2:4 pulldown, and is visually unacceptable.
If native 24p footage is going to be placed in a 29.97 SD or 1080i60 HD sequence, proper 3:2 pulldown (interlaced) must be added in another application such as Compressor or After Effects.