[Doug Metz]

Each dual-mono channel would be center panned in a multi-channel mix. If the clip audio is actually stereo, but flagged as dual mono, it can cause phasing issues and frequency cancellation, which sounds bad. You’d run into this with a stereo smartphone recording or camcorder with a built-in stereo mic, or similar scenario. If it actually is dual mono (each channel a different mic, or one channel duplicated), then it shouldn’t be any kind of real problem outside a simple level adjustment. Not one you’d hear, anyway.

The screen shot shows Stereo though, so it’s a bit puzzling that the output is showing otherwise.

Doug Metz

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[Doug Metz]

[Billy Young] “FCPX v10.4
MacOS Sierra v10.12.5”

Hm… running out of ideas. There was something about FCPX 10.2.2 that fixed a protocol change.

Found this completely unhelpful KB article:
https://support.apple.com/en-us/HT205334

With Final Cut closed, can you log into YouTube through Safari successfully?

Doug Metz

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[Doug Metz]

Personally, I prefer to edit native and conform later.

I need to reuse material frequently, and don’t want to have to remove extra frames or dig out the source media and re-cut from scratch. Cutting natively makes this work smoothly – drives me crazy to see a beautiful pan ruined by notchy playback due to added or missing frames. With talking heads, you don’t really notice.

I’ll add the caveat that most of what I do doesn’t go to broadcast (sometimes, but not usually). Mostly corporate, live events, internal, and web. Frame rate can be what it is in these cases.

If I have a project with multiple frame rates, I’ll weigh the predominant media with the deliverable spec and find middle ground.

Doug Metz

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[Doug Metz]

[Suzi P.] “If I went this route, would I still cut in 24 and THEN send to DaVinci?”

You would, but I’m not sure it’s worth the time. Here’s why… when you cut 24p material in a 29.97 timeline (very common), the NLE will add the frames to make up the difference as you go…
In a progressive project, this manifests as a duplicate frame every 5th (1p, 2p, 3p, 4p, 4p, etc).
In an interlaced project, it’ll split the 4th progressive frame and make 2 new interlaced ones. So you’ll get 1p, 2p, 3p, 4i, 5i, etc.

Taking your finished 24p master into a 29.97 Compressor preset will accomplish the same thing. Which method it uses is based solely on whether your preset is set as progressive or interlaced.

Doug Metz

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[Doug Metz]

[Billy Young] “Tried your suggestion without success,
sigh, so annoying.”

One more question: What version of FCPX and MacOS are you running?

Doug Metz

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[Doug Metz]

[Suzi P.] “Thanks, Doug for your thoughts. Where’s that pull down option in FCPX?”

You’d simply finish your edit in 24p, then export a master file and either 1) bring that back in and drop into a 29.97 timeline – to prevent FCPX changing the frame rate of your timeline, place a gap clip before adding the master, and set the correct frame rate, then add your master and delete the gap… Or 2) you could take that master file and run it through a 29.97 preset in Compressor. I’d say go with option 2 if you can.

To remove pulldown after the fact, I typically use JES Deinterlacer (free, and soon to be non-functional). It has options galore for stuff like this. Unfortunately, the demise of QT7 and it’s versatility means I will soon need to find alternate means.

Doug Metz

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[Doug Metz]

I don’t think you’ll see much of a difference one way or the other.

From a completely selfish angle, I regularly need to incorporate client-supplied video files into new content.

Frequently, this involves re-using 29.97 files in a 24p timeline. If the 29.97 file(s) was originally shot 24p (which you can see if you step through the file by frame), I will remove the pulldown and go back to the original framerate. This works best if the content was edited at the original 24p source rate, and converted to 29.97 as the final step. The reason it works better this way is that the cadence is consistent throughout the piece (even through transitions) and makes conversion to a nice, clean 24p file quick and painless.

2¢

Doug Metz

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[Doug Metz]

One more thing to try:
– Go into FCPX Preferences / Destinations tab.
– Delete the YouTube destination in the left-hand list.
– At the bottom of that list, click ‘Add Destination’, then double-click the YouTube icon in the right-hand pane.
– Login from there, and try again.

Doug Metz

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[Doug Metz]

[Bobby Hall] “The project was on the boot drive. Since the crash, I have started storing projects on an external hard drive,since I doubt the computer crashing would affect the external drive.”

Good call on moving to external. I was asking this specifically to see how much free space you’ve got. Too little space could cause unseen system issues if your host application isn’t checking before writing.

Your computer crashing could still affect your external drive, particularly if it’s writing to the device at the time.

[Bobby Hall] “I’m not sure if it was a kernal panic. I’m not familiar with that. I believe when it restarted it said, “Your computer was restarted because of a problem.””

Have a look here:
https://support.apple.com/en-us/HT200553

Doug Metz

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[Doug Metz]

[Bobby Hall] “Is it possible that my computer crashing and restarting itself deleted the event and project?”

It’s possible, but if the event and project are truly gone you are likely missing other things that you haven’t noticed yet.

Questions:
– Are you editing on your boot drive, or an external?
– Any reason you’re so far back in OS?
– Was it a kernel panic, or some other situation?

Doug Metz

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