Jeremy Garchow
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By the way, you’d get these same results with Adobe Media Encoder. Once you go over 2 channels, the file is read as all mono tracks.
Premiere can read a 2ch mxf op1a as stereo, though. FCPX defaults to dual mono which you have to change to stereo in the inspector.
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What is the format of your timeline?
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Bouke’s got you covered.
FCPX makes compliant XDCam MXF files (including the 8 channels). Other codecs allow less channels.
You can set the channel assignments in Roles by assigning all roles to each track (track 1 stereo, track 2 mono, track 3 mono). Like this:
This will give you a mono L on ch 1, mono R on ch 2, mono mix on 3, and mono mix on 4. If your program has a slate, that’s what you should put on the slate, and the broadcaster will need to pan accordingly.
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What codec MXF?
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[Tangier Clarke] “I am not saying it’s not possible in Compressor. I just haven’t figured out a way to do it yet (if it is possible).”
I don’t see a way to do it in Compressor exclusively as it will not scale the 1080 vertical to a 1920 vertical.
But if you setup a 1080×1920 Project in FCPX and apply a compressor preset, you should be fine.
Or just export an mp4 out of FCPX like my screengrab shows, again, from a 9×16 Project in FCPX.
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I reread, and you can certainly setup a 9:16 Project (1080×1920), add your media, and export a 9:16 movie.
There’s no reason for a custom export as FCPX will simply export the pixel size of the Project.
Like this:
By the way, Adobe Media Encoder allows you to crop the source to 9×16 if you have that program.
Jeremy
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It’s a pain.
We’ve done some things for Snapchat and it’s alwaya a redo, never just a straight conversion.
We feel lucky if we know we have to protect for 9:16 before we shoot! 🙂
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[Marcin LipiÅ„ski] “For example: sound from the voice recorder + Panasonic camera (50 fps) + Sony A7RIII (24 fps) + old Sony 29.97 fps camera … everything placed on the timeline agrees (Project for example 25 fps!) — the recording time from one device is exactly one hour from another device. “
Sound is different because one second does equal one second. There are no frames of sound, only samples.
For video and fractional, non-drop frame rates, one hour of timecode does not equal one hour of real time. For whole frame rates (25, 50) the timecode corresponds to real time. 23.98 is a non-drop format, so the timecode does not equal real time, that is to say 01:00:00:00 of 23.98 video does not represent an actual hour of real time. In real time, “one hour” of 23.98 timecode is actually 00:57:32:14 of real time. So that “one hour” of 23.98 video is actually is nearly 3 minutes short of the one hour of 25fps video.
Said another way, an hour of 23.98 video is 86314 frames. That same amount of frames in 25fps video is 57minutes, 32 seconds, and 14 frames. Hopefully that makes more sense.
In order to get these two to sync, you would have to slow down the 23.98 video to match real time (because an hour of 23.98 video does not equal an hour of real time), or you’d have to add 02:30:00 of video (so the 23.98 clip is 01:02:30:00) to match an hour of real time. It’s very confusing, I know. I have to deal with these conversions for 23.98 non-drop to 29.97 drop frame to hit commercial timings. It sucks.
Jeremy
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It doesn’t work this way. I have no idea what iMovie is doing, but what Final Cut is doing is right.
One minute of 25fps video is not one minute of 23.98 video. The frames will never match. 2 seconds of 23.98 video is 48 frames, and 2 seconds of 25fps is 50 frames. And it gets even more complicated in that 23.98 video Timecode isn’t real time, so 1 minute on the tc clock of 23.98 video is actually only ~57 seconds of real time in 25fps video.
What FPS is your Project set to?
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[Marcin LipiÅ„ski] “Please, help me. What could be the reason?”
The post you linked to is talking about green screen keying.
Your post is talking about sync.
Can you tell us what you are actually experiencing?