|
|
All the news now and in your digital future
Show all posts by user
This forum is now READ ONLY. You cannot post questions here. Post on CAFE LA
Flaw in ProRes in FCP7 - 3 years ago
Part I. Experiment Try this simple experiment in FCP7. 1. Make a 1920x1080 progressive sequence in ProRes HQ codec; framerate doesn't matter. The default FCP7 render option for ProRes is "high precision YUV". 2. Insert 100 frames of black slug. 3. Export to a .mov file. The file is 2.2 MB. 4. Return that .mov file to the sequence, replacing the slug. 5. Apply the FCP7by dcouzin - Café LA
Re: I got some files on an exFAT drive - can i work with this ? - 3 years ago
Nick, I can't replicate your problem. Finder is happy with an EXFAT volume. I tried this on both an MBR and a GUID partitioned hard drive. Maybe your problem is OS dependent. I only tried Lion. Also quite high data rate .mov files on the EXFAT volume seem to play as well as when on a HFS+ volume. Dennis Couzin Berlin, Germanyby dcouzin - Café LA
Re: What is the last OSX update that works with FCP 7? - 3 years ago
Hi Loren, I'm curious about this, and like you, anxious about becoming obsolete while still going. .mov is a container file format. An encoded video slips into it. We should check if the new Mac software is just griping about the container, or about the encoding within it. I suggest you find a rejected .mov file, and use MPEG Streamclip to save it as an .mp4. It's practically the same contaby dcouzin - Café LA
Re: What is the last OSX update that works with FCP 7? - 4 years ago
Loren, your report is baffling. "32-bit" and "64-bit" pertain to operating systems, and programs, not to media files. When you say "32 bit Quicktime", do you mean the old QuickTime (Pro) program 7.6.6 on which FCP7 leaned, or do you mean QuickTime media files, namely .mov files? Now a .mov video file does specify a codec, and a codec requires a decoder to playby dcouzin - Café LA
Re: What is the last OSX update that works with FCP 7? - 4 years ago
Joe Riggs: Come OSX Mojave, the jig is up for FCP7. FCP7 worked increasingly poorly in the operating systems after Lion, and couldn't run at all in OSX High Sierra, but you had the option of making your computer dual bootable. That way FCP7 runs happily in an earlier operating system in a bootable volume of its own, and FCP7 in that volume and your newer software in your up-to-date bootable vby dcouzin - Café LA
Re: How to work with 96kHz - 24 bit audio file in FCP7? - 4 years ago
Robert: Go to Sequence > Settings > General. The audio settings are in the lower right of the pane. You can set the sampling rate at 96 kHz, if you wish. But there is no depth setting for 32-bit floating-point in FCP7. How can your sequence be so set "by default"? I believe you will find that the audio depth is set to 24-bit, and if not you can change it to that. Dennis Coby dcouzin - Café LA
Re: Simple feather question - 4 years ago
stefangs: The problem of "feathers all sides" does not arise if the half-frame masks are made correctly. You only need to make one. It is most simply made from slug. Crop 50% from left. Apply video filter "Negative". Export one frame of that slug as a tiff. But you can also make a half-white, half-black tiff in Photoshop. When putting your split screen together applyby dcouzin - Café LA
Re: FCP7 - Problems with preserving image color and contrasts with AppleProRes422HQ output - 4 years ago
Robert, if you want a ProRes 422HQ export that looks like what you've made don't export "Using QuickTime Conversion" -- a horrible pathway -- but instead export a "QuickTime Movie". First go into your Sequence Settings and change what it calls the "Compressor" to ProRes 422HQ. Click "Advanced..." and there make the gamma correction "None".by dcouzin - Café LA
Re: Imported clips darkening - 4 years ago
I don't think GIMP has a proper gamma control. Within FCP7, to export a satisfactory still from a satisfactory video, I suggest the following: Apply a Gamma filter to the shot that contains your chosen frame. (The Gamma filter is found in Effects > Video Filters > Image Control.) In the Gamma filter dialog set the gamma value to 1.22. Now Export Using QuickTime Conversion to a Still Imby dcouzin - Café LA
Re: Imported clips darkening - 4 years ago
Hi Stefan, Oh, that! Presumptuous Apple wrote these programs as if still images are displayed at gamma 1.8 while video is displayed at gamma 2.2. When you export a still from an HD video the video range Y'CbCr needs to be converted to full scale R'G'B', which is done correctly per BT.709 equations. But the Apple programmers then also hit the R'G'B' with a gamma boost -- exactly to power 2.2/1by dcouzin - Café LA
Re: Imported clips darkening - 4 years ago
Hi Stefan, I guess you're using FCP6 versus my FCP7. So we can't track down why the QT and FCP displays match on my system but not on yours. Was the prores master clip an export from your own FCP6 timeline? That is, after you edit and filter and render your edit watching the FCP6 Canvas, and then export a .mov file, and then reimport the .mov file, are its colors changed in the FCP6 Canvaby dcouzin - Café LA
Re: Imported clips darkening - 4 years ago
I guess you're using QuickTime 7.6. In its Preferences there's an option to "Enable Final Cut Studio Compatibility". Even I don't understand the accompanying verbiage, but this option will hopefully make your QuickTime display match your FCP canvas. It works well enough on my system. The differences are too small to notice, but they are real, not measurement noise. FCP andby dcouzin - Café LA
Re: tif or jpg for photos used in video? - 4 years ago
All the zoom tests I described yesterday used ProRes HQ. Then I tried codec "None". The edges, whether on red, grey or black grounds, moved quite smoothly. "None" is an old Apple codec that is essentially an 8-bit RGB bitmap. If you don't have it with your FCP7 it's probably just disabled. Enable it using the command given at:Quotehttps://discussions.apple.com/thread/by dcouzin - Café LA
Re: tif or jpg for photos used in video? - 4 years ago
Hi Robert, If you make the zoom without the grey on V1, the edge moves smoothly throughout. I put red on track V1, with an undersized B&W photo on V2, and the edge jittered wildly. You can single-frame through it, with the FCP 7 viewer at 800%, to watch the action. The photo enlarges smoothly, its edge moving pixel by pixel, while the background's edge makes larger jumps frames apart, henby dcouzin - Café LA
Re: tif or jpg for photos used in video? - 4 years ago
Oh, just 4% zoom. Then my earlier comment about needing pixels in reserve is not germane. This sounds like a jittery (vertical or horizontal) edge effect having nothing to do with picture detail. But I encounter no jittery edge effect when I try what might be a similar zoom. It moves smoothly. So what are the pixel dimensions of your still image, and what are the scale values in the Motiby dcouzin - Café LA
Re: tif or jpg for photos used in video? - 4 years ago
Robert didn't say he intends zooms in his "slide show", but if he does, then Nick's suggestion to import higher resolution photos into the HD timeline makes good sense. It yields photos that zoom into their subjects, rather than zooms, à la Antonioni, into the photos themselves. Nick's suggestion works if the zooms, or blow-ups, are done using the Scale control in the Motion tab.by dcouzin - Café LA
Re: Compressor - Strange Behaviour - 5 years ago
QuoteMetalGuru I'm converting 23.976 ProRes 422 (APCN) to 23.976 ProRes for use in FCP7 (FCP7 doesn't like APCN). Apple ProRes comes in 6 flavors ProRes 422 Proxy ProRes 422 LT ProRes 422 ProRes 422 HQ ProRes 4444 ProRes 4444 XQ FCP7 has no trouble with ProRes 422. FCP7 can handle all 6 flavors of ProRes. (XQ requires Mountain Lion or later.) The designation "APCN" is theby dcouzin - Café LA
Re: Best DCP conversion software from FCP output - 5 years ago
I also recommend DCP-o-matic. I've used it regularly for 2½ years and checked its DCPs carefully. You can project them at a theater to confirm them on screen, or you can simply use the provided dumpxyz.exe program to examine the DCPs pixel by pixel. The trick to making a good DCP is for you to understand how you've made, and viewed, your source file and then to convey this understanding toby dcouzin - Café LA
Re: what is most stable version of OS for use with FCP7 Studio ? - 5 years ago
For my minority viewpoint see and the post that follows it. Dennis Couzin Berlin, Germanyby dcouzin - Café LA
Re: Best replacement for FCP - 5 years ago
'Twas High Sierra broke your FCP7. See this August 2017 strand: . FCP7 works, although imperfectly, on Sierra. Apple still provides an installer for Sierra: . Consider downgrading your iMac to Sierra, or dividing the disk to include a Sierra volume. You must check whether your iMac's firmware allows installation of Sierra. Apple warns that the firmware won't allow it: QuoteThe version oby dcouzin - Café LA
Re: mts recovery - 5 years ago
Stefan, Mavericks should work simply. Using its QuickTime Player 10.3, choose "save" and make an H.264 .mov file compatible with your FCP. For a free solution wholly within Snow Leopard, you can install PanasonicAVCCAMImporter. Then Snow Leopard's QuickTime Player 10.0 can open .mts files. Choose "save as" to make the H.264 .mov file. Dennis Couzin Berlin, Germanyby dcouzin - Café LA
Re: mts recovery - 5 years ago
Stefan, With your Snow Leopard operating system you'd need to use ClipWrap or Voltaic to convert a single .mts to .mov. With recent Mac operating systems the accompanying QuickTime Player can open the .mts file and instantly save it as .mov. With QuickTime Player 10.2 that comes with OSX Mountain Lion, you'd choose "export" and get an H.264 .mov file compatible with your FCP. Witby dcouzin - Café LA
Re: Export still frame - 5 years ago
nick, yes the stills have the same color correction as was applied to the clip. I only tested Color Corrector 3-Way. Conceivably other color filters don't behave. Yes, there might be a layering way to make the surround "really black" instead of "no-color". Just that it appeared black in the FCP canvas but grey in the exported still was a shocker. Dennis Couzin Berliby dcouzin - Café LA
Re: Export still frame - 5 years ago
Stefan is using FCS2, which came with FCP6, under OSX Snow Leopard. I don't have a FCP6 installation to try, but when using FCP7 under either Snow Leopard, Lion, Mountain Lion or Mavericks, stills exported from a ProRes timeline have almost all their effects attributes. One apparent attribute that does not export is the black that partly surrounds a rotated or shrunk image. It becomes grey inby dcouzin - Café LA
Re: DJI Spark footage in FCP? - 5 years ago
That was my "(In what wrapper?)" question too. While I share your satisfaction with OS 10.6.8, you could add a little volume with a newer OSX for occasional needs. It would have up-to-date QuickTime, more likely able to open funny new files, and able to output them as .mov. From the new volume send the .mov file back to the OS 10.6.8 volume. Dennis Couzin Berlin, Germanyby dcouzin - Café LA
Re: DJI Spark footage in FCP? - 5 years ago
If the Wikipedia article is correct, video can be exported from Spark as H.264. (In what wrapper?) Then you'd wisely transcode to ProRes for FCP6/7 editing. If you get a Spark thing as something other than H.264 video, maybe you can import it into Spark and then export as H.264 video. Dennis Couzin Berlin, Germanyby dcouzin - Café LA
Re: Frame size mismatch - 5 years ago
I think your original plan is better. Being on YouTube doesn't mean only being on YouTube, and forever. People will download your YouTube videos, etc. Suppose you want to make the best 720x1280 possible from your material. The image quality will be judged by the 95%, not the 5%, of material. With your second plan you'd throw the 1080x1920 material into a 720x1280 timeline. But FCP6/7 doby dcouzin - Café LA
Re: How to combine 25p and 30p footage on same timeline? - 5 years ago
QuoteNick Meyers so either way is good. Nick, it's better to say that either way is good or either way is bad. As mentioned in the 2014 topic "Optical Flow transformation always looks smooth, but sometimes looks weird." Unreal, morphy things can appear, sometimes away from the main subjects, that ruin the effect. Your advice to Robert to try the transform on his own shots is right-onby dcouzin - Café LA
Re: How to combine 25p and 30p footage on same timeline? - 5 years ago
Nick, no motion estimation was used. It was just a comparison of the visibility of skipped versus replicated frames -- two basic kinds of jerkiness. Doing those clip with Compressor's "Best (High quality motion compensated)" setting looked great either way. When changing 30-to-25 with optical flow, only one frame is kept from every six; four new frames replace the other five. Wheby dcouzin - Café LA
Re: How to combine 25p and 30p footage on same timeline? - 5 years ago
Robert asks an interesting question: which is the more obnoxious, 30-to-25 conversion that skips every sixth frame of the original, or 25-to-30 conversion that replicates every fifth frame frame of the original? I did an experiment in which Ken Stone was right, 30-to-25 was more obnoxious. Download the clips here. But the experiment was imperfect, since the clock runs at different speeds in thby dcouzin - Café LA
