Darren Roark
Forum Replies Created
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[Jeremy Garchow] “For whatever reason synchronized clips inherit the timeline settings, so that means my 4K clips are now 1080 to FCPX. “
How are the clips being synchronized? Last year there was an issue with Sync N Link that was doing this, it ended up being a problem going to Resolve. I had to break apart the clips and re-reframe™ to fix it.
The other odd one is 5K Red Epic footage when synchronized is set to the stock FCP X 5K resolution which causes vertical black bars on the sides. I have to manually enter 4800 by 2700 on each clip to fix it.
When I manually sync clips in FCP X I have to leave custom settings on to make sure the native clip settings stay put for certain formats. Not ideal but it works.
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[Tangier Clarke] “I appreciate the testing. Thanks.”
It was for a previous situation but I did double check it was still true in the current version.
Phew.
To be 100% sure you could break apart the clips before you color which does revert them to the file native settings.
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[Tangier Clarke] ” Not totally sure how FCP X handles this other than rendering. Not sure if it’s then possible to change the settings of the synced clip to match the clip inside it either.”
It seems on export only the native clip resolution and frame rate matter in relation to the export settings. I haven’t been able to break it.
What I did to test it was I synchronized the fake clips, made the resolution 960 by 540 and 23.98 even though it was HDV 1440:1080 60i/29.97i footage.
I put the clips in a 1080p 59.94p project and then overcut the original untouched HDV clips. By enabling and disabling them I couldn’t see a difference. I then exported the fake 23.98 540p synchronized clips as a ProRes 422 at the project settings of 1080p 59.94 as well as the untouched HDV versions of the clips
I couldn’t see a difference at all in a split screen. Although it’s not confirmed in the manual, it seems you should be fine leaving it be.
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You should be fine with just leaving it like that unless you are leaving FCP X to go to sound and color. The downside is that FCP X will want to render those clips.
Sharing a master FCP X seems to factor in the original source clip’s frame size and frame rate plus the timeline settings and skips the clip settings.
I’ve done tests and I haven’t been able to get it to matter what the sync’d clip is set to within FCP X on the timeline.
If a 1080i 29.97 HDV clip and make it a 540p 23.98 clip it plays like it’s those settings. If I put the same clip in a 1080 59.94 timeline and lay it on top of the same clip that is set to the native clip settings they are identical.
Every frame I skip through is there on the 60p timeline, even though the clip is set to 23.98.
The other option is you can break apart the clips which isn’t deal.
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Open the inspector and select info and change the metadata view to general or extended.
For multicam it’s the same process except you select make multicam clip instead of synchronize the prep is the same for both.
Multicam land is a fun place. One big advantage of multicam editing in FCP X is when you do your color, if you set a general look on your angles in the multicam viewer it will ripple through your cut for every instance of that clip.
Saves a lot of time.
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What you can do is give each camera an angle in the inspector before syncing. Give the cameras an A B C D and so on, and the audio recorders I would give a Z angle so it is on the bottom.
The different cameras will be stacked together as long as there is footage. (No more tracks)
I realize you don’t intend to use the multicam workflow but I can’t recommend it enough. I didn’t use it much in the FCP 7 days as it was kind of a mess. FCP X multicam is a joy.
I just finished an hour long comedy concert recently that had ten angles, I don’t know how we would have done it so easily without it.
There is no harm in trying both.
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The footage looks like it was correctly captured so that can be ruled out.
The blurry frames look like camera motion blur which is normal.
I did a few tests and what looks best is 30p with frame blending and deinterlace enabled. That said, 60p with deinterlace looked pretty darn good too just slightly softer as FCP X is creating the other half of the lines of resolution where the 30p is using information from two fields to create a frame.
30p is sharper but you lose the fluid motion, 60p preserves motion but the image is somewhat softer. It comes down to what is important to you. Motion or sharpness?
https://f1.creativecow.net/10143/60p-deinterlace?uploaded=file
https://f1.creativecow.net/10144/30p-with-frame-blending-and-deinterlace-checked?uploaded=file
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What is the exact frame rate of your footage? Something seems off to me.
Yes uploading a short clip would be helpful. Make sure it hasn’t been re-transcoded, that it’s directly from the capture. .
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[John Rofrano] “Once again… If you are planning to deliver 60p you DO NOT want to render the clip as 30p and bring it back in. That defeats the whole purpose of converting 60i to 60p.”
The options were regarding what was more important motion or resolution. 60i to 60P is filling in the other 50% of the res vs combining the two fields to make 30p.
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You could do it that way sure. The interlaced fields are a one frame increment of time, they are just half res so FCP X will be filling in the other half by line doubling essentially.
It won’t be as sharp but I’ve seen acceptable results.
The other option is you could export the clip out as 30P and then bring it back in the 60P timeline.