[Paul Figgiani]

Alyssa,

You’re correct – your 4K footage is not 16:9. The aspect ratio is 1.9:1 as opposed to 1.78:1 (1080p).

Have a look at this frame. The project resolution is 1920×1080. The light gray clip is 4096×2160 drooped into the 1080p project and is letterboxed.

In this case yo can rescale the image to “fit” the 16×9 frame. Or – you can leave it letterboxed. Of course you can crop the letterbox bars – but that will change the frame size.

Bottom line try dropping the imported footage into a 1080p project and see how it goes …

-paul.

[Paul Figgiani]

[Simon Ubsdell] “we leave the DCP mastering house to do the upscaling. Not sure how well FCP X manages it but I would make sure you test all your options and find out which looks best.

Do make sure any graphics are 2048 though as you will notice a difference there.”

Thanks, Simon.

So alternatively I could work with 2.39 letterboxed 1080p and 2048 graphics. Then crop the output accordingly and let the DCP mastering house handle the upscaling. Makes sense.

Thanks again.

-paul.

[Paul Figgiani]

My database utility for these:

https://f-video.s3.amazonaws.com/CC.jpg

Right now it’s compiled to run only on Mavericks. Reason is I don’t have any of the legacy SDK’s installed on my system. I can only build Mavericks compatible … Let me know if you want to check it out.

-paul.

[Paul Figgiani]

• An audio Bus that is before the Storyline output. This would allow the insertion of global audio effects to the entire mix. One useful scenario would be to add a Loudness Meter plugin on the bus, or a True Peak Limiter. Right now we are forced to do this on Compound Clips.

• A robust audio waveform editor with real waveforms – not the cartoonish, rectified waveforms that are now displayed. As someone mentioned above – reintroduce some of the useful Soundtrack Pro editing features that do not exist in X.

-paul.

[Paul Figgiani]

[Pam Picard] “Hi there –

I have finished a :30 spot for a client and now starting to look at the broadcast specs. Can anyone guide me through what is required for the audio (specifically the Loudness Meter).

Spot has been cut on FCPX.

Thanks,
Pam”

Pam,

What are the specific specs for Program (Integrated) Loudness, Loudness Range, and True Peak? The client may have also specified Momentary and Short Terms Loudness targets …

As far as a meter – indeed Nugen’s VisLM is excellent. Waves latest release of their WLM Plus meter has some nice features. Mainly a built in True Peak Limiter and Gain compensation. And best bang for the buck is TB EBULoudness by ToneBoosters.

And yes – you’ll need to work with a Compound Clip or a bounced version of your mix …

-paul.

[Paul Figgiani]

Chuck,

Essential reading material:

Managing Media with Final Cut Pro X Libraries

-paul.

[Paul Figgiani]

Vince,

Read through this thread. Let me know if it sorts things out for you …

-paul.

[Paul Figgiani]

Hey James.

Not trying to be snarky – but have you had a change of heart? I thought you hated everything about FCPX??

“To Editors Thinking Of Switching to FCPX 10.1”

-paul.

[Paul Figgiani]

[Bret Williams] “Horizontal crop
by Bret Williams on Feb 12, 2014 at 2:55:50 am
Last Edited By Bret Williams on Feb 12, 2014 at 3:24:21 am

Definitely a bug-

In the inspector, the HORIZONTAL sliders for cropping (trim mode) are incorrectly limited to a numerical value equal to the Y axis of the frame”

Bret,

Try Simon’s TKY SuperCrop …

-paul.

[Paul Figgiani]

[Warren Eig] ” Re: Mavericks QT Player X “Converts” FCP X Quicktimes Before Playing
by Warren Eig on Feb 11, 2014 at 2:48:06 pm

Quicktime X only seems to play back h.264. Have you installed Quicktime 7.6.6?”

I don’t think so. I can immediately play back ProRes files right out of FCPX in QT X.

-paul.