![]() ![]() Turnovers from FCP to Resolve come over fantastic. Since the transition to FCP 10.0 the new FCPXML holds so much more and produces a more accurate representation of the timeline but developers have by and large decided not to support it - that is unless you look at Resolve. This old version of XML isn’t great at preserving a whole lot. Other developers decided to support it, that’s a part of why it’s well known. It’s the version that was last a companion to FCP 7. The XML variant most people are familiar with was created by Apple. Regarding XMLs this is a sort of pet peeve of mine. And that AAF will only look nice if they know FCP well enough to understand they should be using Roles to organize their media It should fall on them to us X2Pro to make you an AAF. This person should not have sent you an FCPXML. Replace “hev1.mp4” and ”hvc1.mp4” with the appropriate path, file name and extension to taste.Yes, and there are even more people who’d be using it for larger productions if a small handful of things made it easier for them to do so. Your only option is to transcode to another format, ProRes preferably but H264 at a pinch.Īlternatively, if you have ffmpeg installed as a command line tool, this should allow you to convert the file without transcoding: ffmpeg -i input-hev1.mp4 -c:v copy -tag:v hvc1 -c:a copy output-hvc1.mp4 If it says Parameter Sets in Bitstream, FCP will not import it. ![]() Tick the option for Codecs and then look in the column to the right at the entry for Codecs. Switch to Column View, select your file and then go to Finder | View | Show Preview Options. If the Mac can play both versions, why not FCP? Figuring out this conundrum is well above my pay grade and is left as an exercise for the reader.Īll well and good but how do we identify problematical files before we start tearing our hair out? Finder is your friend: Big Sur and Ventura have a handy way of revealing the difference. This seems a rather curious engineering decision on Apple’s part. These two methods are known as hev1 and hvc1 respectively.įCP doesn’t like hev1-at all. It transpires that there are two different ways these three particular elements can be stored: directly into the bitstream or “above” the bitstream in the container. Each of the syntax elements is grouped into a Network Abstraction Layer Unit, and these elements fall into one of ten groups: the three crucial ones are Video, Sequence and Picture. These describe the various “syntax” elements of the bitstream. I did some testing and research and discovered the reason, and it relates to the video’s codec ID, how H265/HEVC stores data and something called Parameter Sets. I was, however, intrigued by this quandary particularly as Macs generally have no problem playing back such material. Personally I always work in ProRes regardless of the originating format so it’s therefore not a problem I’ve encountered before. ![]() Pull in that compound clip.Ī recent post about why FCP was refusing to import H265/HEVC files piqued my interest. With your audio touched up and already in stereo for your project. Whoever invented graying out menu items without inline documentation should be punched. If you try to put the clips into your project, then the synchronize clips menu item will be grayed out. You need to import your video and audio into FCP and then from the BROWSER, click synchronize clips. Three gigabytes later I can drop that into Final Cut Pro. So to get the final audio file for each track, I need to SOLO it and then bounce ("BNC") the stereo out track. Which should sound better than straight panning. This took me three hours today just to get these presets. (Can't think of a better way to capture this audio while running a TW Spaces.) The other track is my cell phone running Twitter Spaces and mic-ed up using a cardioid mic. Maybe need to adjust if I'm podcasting from the road. There is no "noise reduction", lol, learn about gates and band reject. Using a soft EQ and pulling out my HVAC sound. My main track is a compressor microphone. Because you can never adjust them again when you mix down. These settings need to be perfect for the loud parts of your show, the quiet parts, parts when people are talking over each other, when your HVAC turns on, everything. Then an EQ, a noise gate, and a platinum compressor. First there is a simple pre-gain, maybe this is the only thing I need to adjust each week. I am producing a weekly video podcast so I hope for this to be reusable. Here is a field report of how that went.įirst I created separate tracks for my two audio sources. I just changed my workflow this time to edit audio first in Logic, bounce that, and then use it in Final Cut Pro. ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |