Jeff Kirkland
Forum Replies Created
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You’ve done pretty much everything I’d suggest – except delete and reinstall FCPX.
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
The XA10 records PsF (progressive frames in an interlaced signal) which the camera mis-tags and FCPX incorrectly interprets as being actual interlaced footage. Deinterlacing, which is what FCPX is trying to do to it, will cause unwanted artifacts.
You can either try setting Field Dominance Override of each clip to progressive or have something like EditReady rewrap the footage before import. EditReady will correctly interpret the PsF files and set the progressive flag properly in the rewrapped version.
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
I may just get out of it easy because I’m in a 25p country but with the XA10, I usually only have to go to the info panel and tell FCPX it’s got progressive footage rather than actually deinterlace it.
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
From memory, there’s a free FX Factoy title that does this. I remember using it for numbers but I’m sure it did letters too.
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
Can’t say if it’s changed recently – I stopped having any need to use QT 7 years ago. I’ll assume that like the rest of the legacy apps, it won’t even under High Sierra.
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
Resolve us a completely different beast when it comes to colour grading. There are things that I’d be tearing my hair out trying to fix in FCPX that take five minutes in Resolve, so to me it’s worth the pain, although I rarely round trip back again. Resolve is my final step.
But I agree that it’s more effort than most of my projects need. I probably finish 90% of my projects in FCPX using colour finale – but when you need resolve’s perecision and tools, there’s no other way to go.
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
Other than switching from its own internally generated proxies to original media, FCPX can only re-link to clips that are an exact match (resolution, bit depth, audio channels, etc) for clips it thinks are missing.
I haven’t had the opportunity to work with outputting HDR footage yet so I can’t speak to any issues there may be with colour space conversion if you’re letting FCPX convert from HDR to SDR, however I haven’t heard of any issues either.
What are the specific problems you’ve heard about?
To be honest, if I were in that situation, I think I’d edit in FCPX and then move the project to Resolve to do the final grade and output . Even if you captured both versions at the same time and relinked to the alternate media in Resolve, I feel I’d still want to do a specific grade for each colour space rather than just a generic conversion.
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
Either scale the clip in the info panel or use the transform tool and resize it with the mouse.
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
FCPX renders in the flavour of ProRes you specify in the settings but it’s in it’s own format – lots of little chunks that aren’t useable by anything else and may only represent a small section of the timeline – which makes sense because otherwise if you made a change that affected just a small portion of a clip, FCPX would have to re-render the entirety of the clip rather than just the section that changed.
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
What camera? And are you importing from the original cards or have you copied the card content somewhere else?
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland