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Your basic troubleshooting and discussion forum for all things Final Cut Pro X. If you are having issues with FCP 7 and below, post it in Cafe LA.
ProRes to DNxHR (or FCPX to Avid?) How best to convert? - 7 years ago
I work in FCPX. Just shot hours of material for another outfit that uses Avid. My footage was shot very flat (for highest dynamic range). Their editor/workflow is not set up to do any colour work. Their director doesn't want to be working with flat washed out material. So I want to do a working colour grade/stabilization etc. on the footage in FCPX and then convert it all to Avid's DNxHR HQby Ben Ged Low - Café LA - X
Cineon Glue Tools and FCPX 10.3? - 7 years ago
I'm looking for something that will allow FCPX 10.3 to read DPX files. Does such a thing exist? I remember using Cineon Glue Tools back with FCP 7, but I'm not finding any info on the web whether the company has continued to develop into the FCPX realm. Any suggestions would be most appreciated. Benby Ben Ged Low - Café LA - X
FCPX export to DPX?? - 7 years ago
Exporting a completed film, lots of color grading, masks, etc.. Want to make a DPX version. I can export out as an image sequence and it will give me a good set of TIFF's. But if I choose the DPX option I get a series of DPX's that look as if all the color grading and effects have been stripped. I get a RAW looking set of images. I'm looking at the DPX's in Resolve / Premiere. Same resultby Ben Ged Low - Café LA - X
FCP 10.3.2 & .mxf files?? - 7 years ago
El Capitan / FCP 10.3.2 I see a RippleTraining tutorial with Steve Martin that's almost three years old – and he demonstrates how easily FCP 10.1 ingests .mxf files. I just got a job dumped in my lap, mostly all .mxf files (Sony F65). I can't get FCPX to recognize the files. I've downloaded and installed Apple's Pro Video Formats ver. 2.0.5. No go. FCPX not recognizing .mxf files. Isby Ben Ged Low - Café LA - X
Re: FCPX & DPX, color grading IMAX film? - 7 years ago
Will check out Color Finale Michael. And yes Jon, I'm not so concerned about the app itself – though I use FCPX so much now, and can colour grade screamingly fast, I'd rather not add a learning curve to this particular job. And you're right, the issue is the color space, and the continuity of the grade across platforms. Thus the suggestion of working so I can deliver the grade in DPX format,by Ben Ged Low - Café LA - X
FCPX & DPX, color grading IMAX film? - 7 years ago
Last year I did a quick FCPX colour grade of an IMAX film, mainly for a preliminary screening. A few weeks later when we'd done the full-on post production house grade we compared the two versions, my laptop FCPX version and the post production house version – and they were more or less identical. The IMAX producers asked me to colour grade their next film, but 'seriously' this time. I knoby Ben Ged Low - Café LA - X
Multicam editing and audio control? - 8 years ago
I've got 2 compound clips (with video & audio). And 1 compound clip of 'master' audio. I've created a multi-cam clip. When I cut from one angle to another I'm getting ONLY the sound from that angle. If I set the 'Channel Configuration' up in the Audio window my selection holds UNTIL I make another cut, and then I lose whatever I've set in the Audio Window. I want to hear the 'master' aby Ben Ged Low - Café LA - X
23.98 fps to 24 fps, ouch ouch ouch... - 8 years ago
Two camera shoot. Supposedly 24 fps on both cameras. Turns out one camera, though it SAYS 24 fps in the menu, was actually shooting 23.98 fps. So I have a sync problem. The first piece I cut (6 minutes) I basically made chops in that clip, and re-synched a half dozen times; then cut around those synching cuts. Slow slow slow. The next piece is more like 12 minutes. I so much want to do aby Ben Ged Low - Café LA - X
UP-resing HD to 4K? - 9 years ago
Editing a film that was mostly shot in 4K. But about 1/3 of the footage was shot in HD. I want to try and experiment ... to see how good I can make the HD look in 4K. I had been planning to finish the film in HD, down-resing the 4K. But watching how fast the 4K market is taking off ... and the fact that all the remaining shooting of the film will be in 4K ... thus my interest. Just wonderiby Ben Ged Low - Café LA - X
MacBook Pro, 2 external monitors, controlling what goes on which monitor? - 9 years ago
I've got a colour grade and sound mix to do on the fly. Plugged my MacBook Pro into two external monitors, one a Thunderbolt Cinema screen, the other a generic LCD. Everything works fine. But. I want to put up the FCPX app on the large generic screen, and send the Viewer over to the Thunderbolts as the (Second Display), and use the MacBook Pro screen for notes and bopping on and off the webby Ben Ged Low - Café LA - X
Re: Erratic response from FCPX when changing title size parameters?? - 9 years ago
Am sure to check out your X-title tools Andreas. What I did for now ... was export out an XML file, brought it into a text editor, resized all the font sizes to what I want - using Search & Replace (one click); and deleted all the lines that relate to position of subtitle, which was more laborious as I had to do it line by line. I got this from Luis Sequira over on the Apple forum. And .by Ben Ged Low - Café LA - X
Re: Erratic response from FCPX when changing title size parameters?? - 9 years ago
Thank you Andreas, Will check out your X-Title tools. Yes. My fingers are crossed - that my 'fix' stayed fixed. I haven't tested it yet with an export out. Actually, I'm just now exporting another section of the film, where I reset all the titles: we'll see if the end result stays consistent to the ProRes master. Will report back...by Ben Ged Low - Café LA - X
Re: Positioning titles - two different ways; looking for a default reset? - 9 years ago
Thank you Andreas, I was hoping there was a one click solution built in. What I did, was re-position all the titles to the centre, with the yellow cross-hairs (one by one I'm afraid). Then I could do a transform positioning. But I should learn how to do your technique. In fact, I've got two more fifteen minute segments to complete ... so I may just take you up on your offer. Though I'by Ben Ged Low - Café LA - X
Positioning titles - two different ways; looking for a default reset? - 9 years ago
One hour film. Tons of sub-titles. The editor positioned the titles either by highlighting the text and dragging it into position, by eye, or by trying to position it in the Inspector by hitting the return key a half dozen times. Ouch. So I've cleaned up all the empty lines in the Inspector ... so each line of text actually starts at the top of the page, so to speak, in the Inspector. Whicby Ben Ged Low - Café LA - X
Re: Erratic response from FCPX when changing title size parameters?? - 9 years ago
Thank you Alex, Mmmm. Somewhere in the very back of mind I was thinking exactly that - but the number of sub-titles to do was prohibiting that little bit of information to reach my consciousness. Very good suggestion. One thing it might be, or might have been: I created a new project, and imported all the clips straight over to the new project. I think, don't quote me, that it fixedby Ben Ged Low - Café LA - X
Erratic response from FCPX when changing title size parameters?? - 9 years ago
Posting a film with a LOT of sub-titles. Director wants to change font size on all sub-titles. I thought it was an easy fix. I highlight the sub-title text clips on the timeline, then change the font size 'parameter' in the Text Inspector. Everything hunky dory. I see my fonts a different size in the timeline (I've done this both singly and collectively with the clips). The bug: when I exby Ben Ged Low - Café LA - X
HDV to ProRes - a protocol for a 90 min film? - 10 years ago
I've got a 90 minute movie to cut. 2/3'rds of the original material was shot with a Sony HDV camera 60i. The other third is Sony XDCam (HQ), also 60i. I'm trying to figure out a protocol. The film is aimed at some kind of theatrical distribution, festivals for sure, possibly a network airing. (It's an engaging subject, and very nicely shot, despite the older format). Anybody done thisby Ben Ged Low - Café LA - X
HD proxie for 4K - protocol for connecting timeline to original 4K? - 10 years ago
This is an IMAX film, shot in 4K. I'm coming in late here on the project, just trying to be helpful. They converted the 4K to HD (little bars on top and bottom), have done their edit in FCP 7. They needed a quick colour grade for a screening in a smaller theatre. I moved the project to FCPX, and did a colour grade (I was really impressed, I'd never used FCPX before). Now I have a colouby Ben Ged Low - Café LA - X
Syncing up 30fps & 60fps on a timeline? - 10 years ago
I've got to sync up two video formats. One camera is shooting 30fps, the other 60fps. This is a scientific experiment. They are both filming the same event. The 30fps camera is actually 'Debut Video Capture' software - recording data appearing on three screens from three different apps. It is a big huge (5,000x1080).mov file that I will break into three separate (1920x1080) .mov filby Ben Ged Low - Café LA
Re: Capturing media from a Sony PMW100?? - 12 years ago
Thank you kindly Strypes Mmmm. How does one make a 'copy of the card'? I thought that was what I was doing ... by importing it (drag and drop) onto a new drive? And that's what was taking 8 hours per 30 gigs. Right now I'm using XDCam Browser to convert the files straight from the card to the hard drive ... converting to a version of XDCam HD that Final Cut Pro can work with. It seeby Ben Ged Low - Café LA
Purchasing a copy of Final Cut Pro Express?? - 12 years ago
Is it possible to purchase a legit Final Cut Pro Express somewhere, and where? A client is wanting to cut his half hour film very fast. We need to do it in Final Cut Pro 7 (I'm too slow in FCPX). I want to send him home with Final Cut Express to do a rough edit / organizing of his material before we start the actual cut. Hoping I can pull his Final Cut Pro Express organized project into Finby Ben Ged Low - Café LA
Capturing media from a Sony PMW100?? - 12 years ago
This is interesting. A client arrives with his Sony PMW100 which seems to be shooting XDCam HD 422. I first try to just drag all the folders from the Sony SXS card onto a hard drive. Thirty gigs is going to take 8 hours. 8 hours?! I pull my XDCam BPAV folder over in a few minutes - this is from a Sony EX3. I'm wondering if something is wrong? So I try to do a Log & Transfer with FCby Ben Ged Low - Café LA
Re: Two cameras: PAL 25p, NTSC 30p (or 24p); how to marry them? - 12 years ago
Thank you Nick and Jude, Both really helpful suggestions. I'm trying to avoid doing the freeze frame thing, and going back to the Powerpoints. I can cut and title and output one of these in a couple of hours .... but if I start doing a fancy edit, using the original Powerpoint, syncing up the images, it takes days. I've done it this way before. I think I will go the 24p and 25p route, coby Ben Ged Low - Café LA
Two cameras: PAL 25p, NTSC 30p (or 24p); how to marry them? - 12 years ago
I'm on a shoot. 2nd camera went down. We found a make-do replacement. Problem: the replacement is a new Sony HDR PJ760, which is PAL 25p. Camera #1 is an EX3 (NTSC). I'm shooting a score of presentations, all speakers with Powerpoints going up on a large screen. I'm using an EX3 to do the speaker, and need a second camera locked down on the screen ? this to facilitate a very quick edit atby Ben Ged Low - Café LA
Compressor - getting the best of the preset? for a show that is 1:35 hrs.? - 12 years ago
The presets in Compressor give a choice ... 90 minutes or 120 minutes. Any suggestions for how to squeeze the best out of shows that are just over 90 minutes? 1:23 and 1:35 hrs. Do I choose the 120 min preset and then jack up the Average and Maximum bit rate? And what is a maximum bit rate these days? The last time I was asking the recommendation was 7.9 Mbps ... the tops for the averageby Ben Ged Low - Compressor - Media Compression and Conversion
Re: Losing my 'rendering' in timeline? - 12 years ago
" Oh - does the timeline now reference one single unit out of Color? Maybe that's it. You're actually adjusting that whole piece?" I don't think so. For example, I just re-rendered the whole show, then did some work on four or five clips ... and the show is still holding, no disconnect from the rendering. So far. Now, I'm trying to figure ... how would the timeline be set so iby Ben Ged Low - Café LA
Re: Losing my 'rendering' in timeline? - 12 years ago
Hi Jude, Yes, since I guess all the clips have been 'Color' graded; it will be one of those I'm adjusting (adding a filter for example, that was best left until AFTER the color grading), like SmoothCam for example. Why would adjusting a single Color graded clip affect the whole timeline? Benby Ben Ged Low - Café LA
Losing my 'rendering' in timeline? - 12 years ago
Working in ProRes 422. Last stages of completion. I render out my film. All clips rendered. I do some minor work on a clip somewhere in the timeline, maybe a couple of little changes here or there, but NO actual movement of, or change in, ALL the other clips on the timeline. And then suddenly I look down and a majority of the clips have lost their rendering. I'm wondering what might be haby Ben Ged Low - Café LA
Re: Corrupted clips in Color (replacing??) - 12 years ago
My original show was mostly HDV. I used Media Manager to convert the whole thing to ProRes. It was the ProRes project I sent to Color. I thought maybe those particular clips had been corrupted in the process of conversion, so I re-converted them, HDV to ProRes. And I replaced the original ProRes clips with these new ones, THEN re-sent the project to Color. Nope, no difference. And here isby Ben Ged Low - Color
Corrupted clips in Color (replacing??) - 12 years ago
Sent show from FCP to Color. Got halfway through grading to discover three of the clips sent from FCP are corrupted (just their aspect ratio). This may have been due to SmoothCam filters on these clips, which I had not deleted before sending the project to Color. Question: I've already graded most of the show. Is there a way I can replace the three errant clips IN Color ... without havingby Ben Ged Low - Color
