[Edwin Street]

No need to transcode ProRes422 files to DNxHD. Just skip this step and edit with ProRes422 files. That’s what they were made for. You’re just making things more complicated for yourself transcoding from ProRes to DNxHD, no need. They’re exactly the same type of file, they’re both i-frame codecs which means they were made for editing.

[Edwin Street]

[Shane Ross] “Conform a 48FPS clip? No…you don’t do that. You want a sequence that matches that 48fps clip, do you not? You want to shoot and edit 48fps…right? Or are you wanting to slow that down to 23.98 slow motion?”

Yes I want a sequence setting that matches 48fps but FCP7 can’t seem to do that. I’ve tried dropping a 48fps clip into a new timeline and it doesn’t work. (I’m not slowing down anything, I want to shoot and edit 48FPS)

[Shane Ross] “Two frames every second…to 46fps? Now you’ve really lost me. What are you wanting to do, exactly? Adobe Premeire, and even the latest Avid, will allow you to cut 48fps and output 48fps.”

In the case that FCP7 can’t edit 48FPS then I will shoot and edit 50FPS and convert the final Quicktime file from 50FPS to 48FPS for DCI distribution because they only accept 24 or 48fps. So I need software that will convert 50fps to 48fps without simply dropping two frames every second or changing the pitch of the audio. Like the method they use to convert NTSC to PAL.

[Edwin Street]

I’ve already tried to see if it’ll conform a 48FPS clip but it doesn’t unfortunately.

[Shane Ross] “Premiere Pro will do this.”

I’m just doing tests at the moment but how do I do this in Premiere Pro, without just simply dropping 2 frames every second, because MPEG Streamclip or Compressor could do that.

[Edwin Street]

I’ve done a bit of researched and found this video that will answer your question:
https://www.youtube.com/watch?v=mUTT3HCBaMQ

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[Edwin Street]

Sorry I can’t help but this is a really interesting question I’d like answered too.

[Edwin Street]

I did find a solution.

Closing the timeline and reopening it, seems to fix the bug.

[Edwin Street]

Final Cut Pro 6 has always had this problem as long as I can remember. Apple fixed it in version 7.

This is how you get around the problem:
1) Open the exported file in QuickTime Pro
2) Press Command+J to Show Movie Properties
3) Click the Video Track then Visual Settings tab
4) Untick Preserve Aspect Ratio
5) Change the Scaled Size to 854×480
6) Press Command+S to save it

When I was using FCP6 I had to do this with all my 16:9 videos that I was editing in SD.

[Edwin Street]

Thanks John and Shane for your simultaneous responses. 😉 That’s cleared things up.

On the topic of standard conversion, how does Compressor 4 do it? I’m converting 30p to 25p. I’ve read that when we watch American shows here in Australia they are slowed down about 5% to become PAL.

When is this slow down/speed up technique used and does Compressor 4 do it? After a simple test my 5min video came out at exactly the same time from 30p to 25p, so I’m guessing it just dropped some frames to go to 25p, it doesn’t seem to slow it down 5%.

Thanks again.

[Edwin Street]

There is no limit to the resolution FCP7 can handle. I’ve heard this many times that FCP7 handles up to maximum 2K, including RED’s own Final Cut Studio Whitepaper on the matter. But the fact is that FCP7 can handle any resolution up to and beyond 4K. But because it’s unpractical to handle files sizes this large there’s really no need.

One glitch to keep in mind though is that the Sequence Settings of the Timeline will only display a maximum resolution of 4096×4096. Even if your timeline frame size is larger. But you can check the actual dimensions in the Browser window under Frame Size. Here it will always show you the actual resolution.

[Edwin Street]

Depending on the speed and power of your computer and how much disk space you have, there are two options.

Option 1 Limited speed and disk space: Use Redcine-x Pro (free download) to convert all the R3D files to ProRes422 1080p. Edit with these files then once you have locked the picture export an XML and open it with DaVinci Resolve (or whatever colour grader you’re using) and reconform back to the original R3D files for grading.

Options 2 Powerful computer with enough disk space: Use Redcine-x Pro to convert all files to ProRes444 with native clip resolution (in your case 4.5K). Then simply import those into FCP7 and edit and grade with these files.