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  • Giuseppe Mangione

    October 2, 2022 at 9:37 pm in reply to: Canon c70 clips into FCPX 10.4.6.

    XF-AVC YCC422 10 bit,
    I just updated to FCPX 10.4.10 and now everything works fine.


  • Thanks Joe,

    your explanation was very clear. It tooks time for me to understand all the process, but now it’s pretty clear.

    I knew that changing the speed is the best way to convert the 25 to 24 FPS but I didn’t expect that FCPX was doing this automatically when a 25fps clip was inserted in the 24fps. I’m sure I have done it in the past, but never notice the change of speed until now.

    [Joe Marler] “If the UI clearly showed a colorful retiming bar on the clip this would probably confuse people.”
    this was what confused me.

    Now I’m waiting the movie distributor answer. They say that nowadays mostly movie theaters accept 25p. But I asked the percentage of movie they still accept only 24p… Then I will decide if doing a conversion or not. If yes I will also do a test to convert the audio speed in Pro Tools and check if it will sound better!

    Thanks again to all for the suggestion!

  • [Joe Marler] ” The best way to rate conform 25 to 24 fps is via a speed change, IOW to slow the 25 fps material by 4 %. That is what FCPX does and I think it automatically does audio pitch correction. The other option is discard a frame occasionally which would cause a motion cadence issue.”

    Hi Joe that’s what i was thinking, I thought to change the speed of the clip. But I didn’t expect that inserting a 25fps clip in a 24fps timeline the clip speed change automatically. I notice that in the bottom of the video inspector, it says “25 converted to 24”

    And the speed of the clip is changed (from 10 second to 10:10) In the retime editor it should be 96%, not 100%! This is what surprises me. And If you make “automatic speed” it reduce the speed of another 96%. The clip of 10 second became 10:20!

    I personally think this is a bug, I haven’t find any explanation.


  • Thanks for the suggestion!
    I will try.

  • Thanks for the answer!
    Make sense but… how you can save a personalized preset of one of this not-motion-transition?

    You can copy and past to reuse a personalized transition in the same project… but not way to save it for the future.


  • Giuseppe Mangione

    September 13, 2014 at 1:16 pm in reply to: Sony A7S and FCP 7 Workflow

    We have a documentary to shoot this October in Italy and I have a similar problem.

    The cameraman is coming from LA with the Sony A7s… It seems the perfect camera for the low light we will have in the cellars! This Doc is about wine and the people who make it.

    Our editor is based in Chicago, and she will be editing with FCP7. So Before I sent her the drive I want to convert all the XAVC clips to ProRes.

    Here in Italy, I have the updated FCPX. What do you think to use FCPX to transcode (selecting create optimized media when I import)? It seems pretty fast and reliable!

    Considering the XAVC-S codec is at 50Mbps, which ProRes setting Should I use? ProRes 422, ProRes 422 HQ, or ProRes 422 LT?


  • This is a link from apple help on motion 5,

    at the bottom of the page it says:

    Note: When a preset Final Cut Pro generator is applied to the Final Cut Pro Timeline and then modified in Motion, the saved changes do not affect instances of the template in the Final Cut Pro Timeline. However, after the modified version of the preset is applied to the Final Cut Pro Timeline, any subsequent changes made in Motion to the template affect instances of the generator in the Final Cut Pro Timeline.

    So it means that any changes will be affect the clips in the timeline.
    But only after you close and re-open the project.

    is this strange?

  • but I can edit an image jpg, tiff or png that is already open in FCP

    I guess there is noting to do with Motion 5

  • thanks Dave,
    anyways… I want to try shooting in 24p. I have a short video project coming. This will be my 24p test…

    Then I’ll post my experience converting the file in 30p and 25p.

  • Thank you Dave for the suggestion.
    I’m shooting with the sony EX1r so I have the capability of 24p.
    I’m sure this doc will be broadcast in television.

    So if I do 24p I have to do 2 “conversions”… and are you suggesting that is easiest to do a 3:2 pulldown for NTSC countries and a to conform to 25p for PAL countries that a conversion from 30 to 25 or viceversa.

    This is interesting!

    I have to go deeper in this field…

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