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Oct 09

MTS workflow for Mac-Sony HDR-PJ10 MTS footage working with iMovie or FCE

Summary: In this article you will get to know Sony HDR-PJ10 with iMovie or FCE workflow: How to import Sony HDR-PJ10 MTS to iMovie or FCE? First encode Sony HDR-PJ10 MTS to AIC MOV on Mac..

Sony HDR-PJ10 Review:

Good: The Sony Handycam HDR-PJ10’s built-in projector and stereo speakers are very convenient for sharing home movies. Plus, the HD camcorder has the same wide-angle lens, built-in USB cable, and good automated performance as its projector-free siblings.

Bad: If you don’t plan to use the projector, the rest of the camcorder’s performance and feature set are a bit underpowered for the money.

Question: How to import Sony HDR-PJ10 recording MTS to iMovie or FCE on Mac Mountain Lion 10.8?

“I have just got  Handycam HDR-PJ10, a camcorder that supports 1920 x 1080 Full HD 60p recording, I recorded some footages when I travel. Now I want to import Sony HDR-PJ10 AVCHD files to Avid Media Composer for editing, but I always encounter problems in the importing process. What video format and codec should I use so that I can edit PJ10 AVCHD in Avid natively and smoothly?”

If you usually edit videos, you may know that MTS and M2TS format is not friendly with many editing softwar, like Avid. Avid Media Composer doesn’t support MTS files well because of the codec and frame rate, you may encounter many problems when you try to import or edit Sony camera recorded videos.

Solution: The most simple way to encode Sony PJ10 MTS footage to iMovie or FCE compatible codec/format?

The best codec for iMovie or FCE is MOV format with AIC codec, so encode Sony PJ10 MTS to AIC MOV is the first choice if you want to work Sony PJ10 footages in iMovie or Final Cut Express, follow the guide below.


Step 1. Add mts files.
Connect Sony HDR-PJ10 camcorder to you Mac. Run Pavtube MTS to MOV Converter for Mac, it’s an excellent Mac MTS to Mac converter. Click “Add” to load Sony PJ10 mts files or directly drag the files into file list.

Note: If you want to Convert Sony PJ10 MTS to MP4, you can also try Free MTS Converter for Mac from iTunes app store, this freeware has some limitations on output format, like Apple ProRes codec for FCP is not supported.

Step 2. Click on the dropdown menu of “Format”, and then follow “iMovie and Final Cut Express > Apple InterMediate Codec (AIC) (*.mov)”. By the way, the Mac Panasonic AVCHD Converter also supports output Apple ProRes format for using in Final Cut Pro.

Step 3. Edit MTS video with the best AIC Converter for iMovie: trim AVCHD file into small segments, cut black sides around video, apply special effects, audio replacement, etc. And click “Settings” button, then you will enter the following interface, on which you are allowed to customize size, bit rate, frame rate, sample rate, and audio channel to your required ones. (Tip: this converter can helps you to downmix 5.1 channell to stereo for iMovie editing)

Step 4. Click “Convert” to start to transcode Sony PJ10 MTS to AIC MOV on Mac OS X. You’ll see the conversion process,  get the output QuickTime AIC .mov files by clicking “Open” button after conversion.

The software can help you to convert Sony PJ10 MTS footage to MOV at a short time if the file not so big. Video and audio quality and synchronization are perfectly guaranteed.


1. You can also read more guides in Pavtube MTS column.

2. If you want to burn MTS to DVD from Sony PJ10, view the guide “Burn huge MTS files to DVD without loss of quality“.

I hope you read happy!


Oct 03

Solved: Fast Burn Canon EOS MOV to DVD for sharing with family and friends

Summary: How to fast make Canon MOV videos to DVD for sharing with family and friends via athe professional Canon MOV to DVD Maker.

Canon camcorder is very popular in people’s lives now, many Canon Camera users tend to use it to memorize unforgettable moments in life, like wedding ceremony, graduation ceremony, speech contest, singer contest and wonderful family get together.

When you take quite a big amount of Canon videos, you could not store all videos just in the camera or computer, because they will occupy big space for storage. Under this situation, you can burn all Canon videos into DVD for eternal storage:

Why we need to burn Canon video to DVD?

1. Save computer space: The videos from Canon Camcorder are always very clear, and the high quality videos will occupy big space, so it is suitable to burn them to DVD for storage. Now you can know more about the difference between Camera and Camcorder.
2. Keep it longer: We usually use the Canon Camcorder to record the memorable videos, such as family party, birthday, meeting and baby growth process and so on. Why not to burn and save the Video to DVD? So that you can keep these memories on DVD for all your lifetime.
3. Easy to share: The DVD which you burn from Canon Video is very easy to carry when you are travelling, you also can play it on your computer and DVD player, or share with your friends and families.

Here are two “Canon MOV to DVD making” problem from Canon camcorder fans:

Q1. “I have not yet succeeded creating a workable DVD from the MOV files of the 7D. First, I tried Nero and just added the MOV files to burn a DVD. But then there was no sound.

I then tried Quicktime Pro to convert to AVI files first, but then the image quality got just awful in the AVI file (but the sound was there).

Any good ideas of how to create DVDs from the 7D MOV files in a good and efficient way??”

Q2. “Now that I have a half hour of holiday .MOV video, I don’t have any program to burn it to a DVD that will play on a TV. It’s the wrong format for what I have which means to convert but what format to convert to? Is there a simple method you use? Anyone? Please?

I’ve spent 2 hours and gotten nowhere.”

They are Canon lovers and own EOS 7D camera, but don’t know is any program to burn Canon .mov files to DVD that will play on a TV or PC. So here I want to throw this guide for him to show the easy way to burn/make/convert Canon 7D H.264 MOV clips to DVD for playback and backup. If you have the same problem, you can take this article as reference.

How to burn/make Canon videos to DVD?

Now we all know that it is really a good way to store and archive Canon videos by burning Canon video to DVD. Still not sure how to do this? No problem, just read on for the simple way to convert Canon video to DVD:

Before burning, you need to choose one DVD Creator. Yes, you can use free tools or professional ones.

Free tools:

Movie Maker for Windows User        iDVD for Mac Users

Note: The good thing is that It is free, but sometimes it may not work or not meet your need, so don’t expect too much from it.

Professional and Perfect tools – DVD Creator:

Note: If you are suffering with the format limitation and low output quality of free DVD burners, you should switch to real professional DVD burning tool to try your luck. The professional Pavtube DVD Creator provides the easiest , fastest and effective way for burning any video or movie to playable DVD ISO/Disc. And it has powerful editing features and excellent output video quailty especially gives surround sound effect if chosing 5.1 channel. Photos can be made into slide. Choosing DVD menu template/style, menu text, display aspect ratio and background for the DVD menu and setting chapter mark and playback mode, a DVD with your favourite style will present in front of your eyes!

With the professional DVD Creator, you can convert and burn Canon video to DVD in a few clicks:

Step 1. Download DVD Creater.

Free download this Canon MOV to DVD burner. Follow the steps to install and run the free program.  You can see the main interface.

Step 2. Load video files.

1. Drag and drop Canon .mov video files to source area (details in Source Screen)

2. Select “Add Files” from the drop-down list of Quick Start menu.

Each file is recognized as a chapter after being imported to DVD Creator. Press on “Add title” button to add more titles. And you can do some arrangement for titles or chapters.

Tip: You can enter Video Editor to Trim, Crop, Text Watermark, add Image/Video Watermark, set Effect, and Replace audio if necessary before burnning.

Step 3. Customize DVD menu.

Turn to Menu pane and double-click a DVD menu beneath the Menu Template to apply it to your DVD. You can change the background video/image, background music, text, title thumbnail and more for your DVD menu.

Step 4. Preview created DVD video.

Once the DVD menu has been decided, click on “Preview” tab and your DVD video will be played just like on a DVD player. The control buttons here are corresponded with the keys on remote control.

Step 5. Start burning Canon EOS MOV to DVD.

Click the “Burn” button to start Fast Make DVD from Canon Camera – video to a writable DVD (or ISO image) that will plays on standard DVD player after burning. Now you are able to watch the DVD on your home DVD player or TV.

With this professional Canon MOV to DVD Maker, you will find it pretty easy to convert Canon mov videos to DVD for you to enjoy a quality time watching movies with your family at home. In addition, Pavtube DVD Creator also support directly burn Canon EOS-1D X, Canon EOS-1Ds Mark III, Canon EOS-1D Mark IV, Canon EOS 5D Mark II, Canon EOS 60D, Canon EOS 650D(T4i), Canon EOS 600D(T3i), Canon EOS 550D (T2i), Canon EOS 1100D, Canon EOS 500D, Canon EOS 450D, Canon EOS 1000D, Canon EOS 50D, Canon EOS 7D, Canon EOS 5D and more Canon cameras.

PS: If you are beginners, please switch to the online guide about how to use dvd creator


Oct 03

AVCHD to FCP without Log and Transfer-Convert/Edit Sony NEX-FS100 AVCHD MTS in FCP 7/FCP X

Summary: Get the best AVCHD to Final Cut Converter for Mac to encode/recode Sony NEX-FS100 1080 50p/60p AVCHD files to Final Cut Pro 7 or FCP X compatible codec for importing FS100 AVCHD clips to Final Cut Pro 7 without log and transfer on Mac.

Here is a problem from vimeo:

“I bought Sony FS100 in half a month ago and recorded some family videos in my FS100. Now, i am importing some mts files i shoot, but when I go to the log and transfer window some files are not recognized but Final Cut Pro 7. I think they were shot in 1920 (60 fps) Any option how to see them in FCP 7? Thanks”

Sony NEX-FS100 camcorder records AVCHD format video, and it uses MPEG-4 or MPEG-2 codec, this codec is not good for editing in FCP 7, so you will encounter importing and codec problems when you try to import FS100 1080/60p MTS to FCP 7/X or iMovie.

In fact, FCP 7 is not a omnipotent Video Editor, 1080p/50p or 1080p/60p is unsupported in FCP 7 and even the new FCP X, because it is a very non-standard format. Plus, AVCHD is not a good edit format for Final Cut Pro, its best compatible video format is Apple ProRes 422 Codec(*.mov). It means you have to convert Sony FS100 1080/60p AVCHD to ProRes codec no matter for FCP 7 or FCP X first. Use Pavtube Mac MTS/M2TS Converter for best lossless .mts to .mov conversion…(as far as I know) and select destination .mov ProRes 422 for importing Sony FS100 AVCHD footage to FCP without Log and Transfer. That works great for me. Here, I will share my way about how to transcode FS100 recordings to ProRes 422 for FCP 7 or FCP X on your Mac OS X.

Important Notice:

1. If you shoot 30p (or 24p), you won’t have a problem with Log and Transfer.

2. If you are also a FCP X user, before you try to do the conversion, don’t forget to make sure that you have installed the Apple ProRes Codec manually since the FCP X asks users to install it by themselves.

Step 1. Go to download and install Pavtube Sony FS100 AVCHD to FCP Converter for Mac to make the transcoding task without quality loss, which offers you particular Apple ProRes profiles for Final Cut Pro. Then launch the software to import your FS100 AVCHD clips to the professional AVCHD to FCP 7 Converter for Mac.


Step 2. Click on the “Format” box to select “Final Cut Pro > Apple ProRes 422(*.mov)” as the output format. If you want to get the best video quality for editing in FCP 7 or FCP X, you can choose “Final Cut Pro > ProRes 422 (HQ) (*.mov)”.

Step 3. You can click the “Settings” icon to do some audio/video settings before transcoding Sony FS100 1080 50p/60p AVCHD to Apple ProRes MOV. We recommend 1920*1080 as video size and 30fps as video bitrate for easier editing in Final Cut Pro. If you are in PAL(50p) area, you are recommended 25fps as video bitrate.

Step 4. You can edit the MTS video before you convert Sony FS100 AVCHD MTS to ProRes MOV. By clicking “” button, you can trim, crop the video, or add watermark and adjust effect to the videos which you will convert.


By default the HD Video Converter will apply de-interlacing facility to all the MTS clips that are interlaced. If you’re using an older version, just click “Edit” to enter the video editor, switch to “Effect” tab, and check the “Deinterlacing” box. If you’d like to apply de-interlacing effect to all the loaded MTS files, click “Apply to All” before hitting “OK” to confirm.


Basically, video hosting sites restrict video clips to be in certain file size and length. For instance, YouTube stated that “videos can be up to 2GB in size and 10 minutes long”. You can trim the video to desired length with the Pavtube HD Video Converter. Simply click “Edit” menu > “Trim” tab and set start and end time point.


To join multiple MTS together, just select them in file list, and tick off the checkbox “Merge into one file” on the main interface.

Step 5. Click the small folder icon next to Output bar to specify a location for saving the converted Sony FS100 MTS files.

Step 6. Click on “Convert” button to start encoding FS100 1080 50p/60p MTS to ProRes 422 mov or ProRes 422 (HQ) mov. The converter supports batch conversion and will convert all the selected files in file list once you click “Convert”. You could select “Shut down computer after conversion” when the progress panel pops up.

After the conversion,  click the “Open” button to locate converted files, then load ProRes .MOV files in FCP 7 or FCP X. Now you can successfully and easily import Sony NEX-FS100 1080 60p/50p MTS footage to FCP 7 or FCP X for editing with best quality.

The steps are finished. Is it easy? Once you have installed the Sony AVCHD to FCP X Converter, you can easily convert Sony FS100 files to FCP 7/X for editing, this software runs fast, so you can convert your FS100 footages to FCP in less time, video and audio synchronization are perfectly guaranteed, and you can use accurate trim function when you edit Sony AVCHD video in the software before conversion.


When the conversion process shows in 100% with the top AVCHD to ProRes Converter Mac, you can edit the converted Sony NEX-FS100 AVCHD videos in FCP 7/FCP X without any problems.


1. If you want to import Sony FS100 AVCHD to iMovie or FCE for editing on Mac, only need to change the Step 2: click “Format > iMovie and Final Cut Express > Apple Intermediate Codec (AIC) (*.mov)” as the output format for encoding FS100 AVCHD MTS to AIC MOV for iMovie/FCE editing on Mac, you can view “Convert AVCHD MTS to AIC on Mac“.

2. If you want to  import Sony FS100 AVCHD to Avid Media Composer, only need to change the Step 2: click “Format > Avid Media Composer > Avid DNxHD (*.mov)” as the compatible format for Avid MC, then you can recode Sony NEX-FS100 AVCHD to AIC MOV for editing in Avid Media Composer. In addition, you can also view “Avid Media Composer category“.

3. Learn more at MTS Column.


Oct 02

P2 Card Mac Converter-Transcode Panasonic AG-HPX250/HPX255 P2 MXF to Apple ProRes 422 for FCP X

Summary: The video from Panasonic AG-HPX250/HPX255 P2 card is in MXF format, and it will not be supported by FCP X. It means that you will not import P2 to Final Cut Pro X. So you will need a P2 MXF converter for Mac, transcoding P2 MXF to ProRes 422 so that it will be 100% compatible with Final Cut Pro X on Mac Mountain Lion 10.8.

Panasonic AG-HPX250 Introduce

Panasonic is providing a free upgrade to their AG-HPX250, and introduced the new AG-HPX255 handheld and the AG-HXP600 should-mount HD cameras. All the units feature 4:2:2 AVC-Intra recording to P2 cards, full HD 1920 x 1080, multiple frame rates and more.

The HPX255 is a handheld professional P2 HD camera that works with Panasonic’s Paint Box remote control, the AG-EC4. It features three 1/3-inch 2.2 MP (megapixel) 3-MOS sensors, offering the full HD resolution. It weighs just 5.5 pounds, and the fixed high definition lens gets 22x zoom. The HPX255 also shoots in the 10-bit, 4:2:2 AVC-Intra codec.

The free Panasonic AG-HPX250 upgrade, which allows for “focus-in-red”, making it easier to get critical focus, and a one-push auto focus feature known as “Turbo One”. You can visit Panasonic’s site for the free upgrade.

How to import Panasonic AG-HPX250 P2 MXF files to Final Cut Pro X without rendering on Mac?

For most video fans, their favorite is to edit the videos and share to YouTube or other websites. And sometimes they just share the videos with families or friends instead of uploading to the web. No matter where to share, the basic tool needed is a Video Editor, which will help to get better video effects. And the common but powerful video editors included iMovie, Final Cut Pro, Final Cut Pro X, Final Cut Express and so on. As now Mac is owned by most families, video editors designed by Apple have been much more acceptable.

Final Cut Pro X was issued in June 2011. And it has replaced Final Cut Express since then. Apple has announced its functions as: Revolutionary video editing, Powerful media organization and Incredible performance. This software, actually, is a little difficult to manage totally. But for most people, getting to know how to edit the videos is enough. Just like me: I can only do basic edit to my videos, but the effects are really great. After that, I usually share the videos to YouTube.

The only problem for Final Cut Pro X and P2-card-user is the video format. You know, Panasonic P2 card stores videos in MXF format. But to FCP X, Apple ProRes 422 is the best format to read. If not, FCP X will refuse reading the files or spending much time on the process of Rendering. And the simple solution is to Convert P2 MXF to Apple ProRes codec. Here comes the most powerful video conversion tool, which is Pavtube MXF Converter for Mac.
This software can deal with MXF files perfectly. It supports basic edit for the files, such as merge, split or trim. Of course, its main function is to transcode the P2 MXF files to other video formats, such as Apple ProRes, Apple InterMediate Codec(AIC), MOV, Mp4, AVI and so on. And the following Steps will show how it works.

1. Download Pavtube P2 MXF to MOV Converter for Mac. The professional Mac P2 MXF converter can help you convert Panasonic P2 MXF files to common formats, such as Apple ProRes, MOV, MP4, AVI, MKV etc.


2. Install and launch the professional P2 Card Mac Converter, import Panasonic HPX255/HPX250 P2 MXF videos to the P2 MXF to MOV converter for Mac.

Click “Format” bar to choose the best video format for output. You are recommended to choose “Final Cut Pro -> Apple ProRes 422 (*.mov)” as output format for editing Panasonic HPX255/HPX250 P2 MXF footage on FCP X.

3. You can click “settings” button to adjust the output video’s parameters, such as resolution, bitrate, etc.

4.Edit function is easy and useful, you can trim, crop, or add watermark to the video.

5.Click “Convert” button to start encode Panasonic HPX255/HPX250 P2 MXF to Apple ProRes for FCP X.


1. When converting MXF footage using Final Cut Pro oriented format templates(e.g. Apple ProRes), please ensure that your computer has Final Cut Pro installed, otherwise the converted files will have audio only without image.

2. If you are using FCP X, please make sure you have installed ProApps QuickTime Codecs, or you may get files with sound only without video. The FCP X does not install the ProApps QuickTime Codecs automatically, so you need download and install the codec manually from

All folders and single files are supported, after conversion you can import converted MOV files to FCP X without rendering, it can deal with all the MXF files, such as Panasonic P2 series, Canon XF series, Sony XDCAM series, etc.

Don’t worry about quality of the new videos output. If you have ever tested this software or compared with other converters, you will find that MXF Converter for Mac supply high quality for new videos, even the same as your original ones. And the process costs much shorter time than any other such converter. In another word: P2 MXF Converter for Mac will run in fast speed, and in high quality.


Oct 02

Panasonic AG-HPX600 Review: Manage HPX600 P2 MXF files on Final Cut Pro (X) effortlessly

Summary:  How to solve Final Cut Pro (X) importing Panasonic AG-HPX600 P2 MXF footage without rendering on Mac via P2 MXF to FCP X Converter for Mac?

The AG-HPX600 is the first model to offer expandability to Panasonic’s new AVC-ULTRA Series of professional codecs. Accommodating a variety of interchangeable lenses, this 2/3-type shoulder-type model has a compact body with the industry’s lightest2 weight of 3 kg (6.6 lb).

Its newly developed MOS sensor attains high F12 sensitivity (at 60 Hz) and low noise with an S/N of 59 dB. AVC-lntra100/50, DVCPRO HD, DVCPRO5O, DVCPRO and the DV format are equipped as standard recording codecs. Over and above these basic specifications, the AG-HPX600 offers optional compatibility with AVC-ULTRA codecs and other essential functions. AG-HPX600 enables the configuration of a low-cost, easy-to-use image acquisition system for news gathering, image production and other applications.

Panasonic AG-HPX600 shoots to P2 cards, with an SD card port available, in AVC-Intra at 4:2:2, 10-bit recording. Panasonic says that an upgrade by 2013 will allow the HPX600 to record in a new format called AVC-ULTRA, still at 4:2:2 and 10-bit, but offering a lower bit-rate or “master quality.” There’s also Ethernet, Wi-Fi, and USB ports and functionality available. The camera will carry a suggested retail price of $16,000 without a lens, and around $18,000 with a color LCD known as the AG-CVF10.

MXF is a special HD video format which has been put to use in many high-end camcorders such as Panasonic P2 HD series or Cannon XF series. Files are saved onto the P2 memory card in MXF format allowing direct data transfer to broadcasting and production system. However, those files in MXF format have proved to be not so well-suited when they are about to be edited in Apple editing tools. Neither Final Cut Pro (X) nor Final Cut Express allows native input of the *.mxf video clips or directly editing them.

To edit Panasonic AG-HPX600 P2 MXF footage with Final Cut Pro (X), you have to transcode P2 MXF to FCP (X) natively supported video format like Apple ProRes MOV.

The following guide shows how to convert Panasonic AG-HPX600 P2 MXF to Apple ProRes Codec on order to import P2 MXF files to Final Cut Pro (X) for post-production.


Get Pavtube P2 MXF Converter for Mac, which performs well on Mac OS X Leopard, Snow Leopard and even Lion.

Step 1. Run the P2 MXF to FCP X Compressor for Mac. Click “Add Video” or “Add from folder” button to load MXF source files. (Note: Before conversion, you need to transfer MXF files from your Camcorder to Mac Hard Drive, then click the “add” button to browse to import MXF videos)

MXF file structure on Panasonic’s P2 card


If you are loading Panasonic P2 MXF files to Pavtube MXF converter for Mac to Final Cut Express to do format conversion, please make sure you have the entire MXF file structure as it saved on your camcorder’s P2 card. As the above screenshot of MXF file structure on Panasonic’s P2 card showing, .MXF clips are all saved in ‘VIDEO’ folder, while audio files are all stored in ‘AUDIO’ folder, so if you only have some loose .MXF clips, your files will have image only without audio.

Step 2. Choose the best output format.

Click “Format > Final Cut Pro > Apple ProRes 422 (*.mov)”. The format is developed by Apple and is natively supported by FCP (X). ProRes encoded .mov video can be instantly imported to FCP without rendering.

Tip: If you want to convert Panasonic AG-HPX600 P2 MXF to iMovie or Final Cut Express, only need to change the “Step 2” options, choose “Format > iMovie and Final Cut Express > Apple InterMediateCodec (AIC) (*.mov)” as the best output format for importing P2 MXF to iMovie/FCE for editing on Mac, or just choose “QuickTime Movie Format”.

Step 3. Convert AG-HPX600 P2 MXF to ProRes MOV on Mac.

Click “Convert” button to start converting Panasonic AG-HPX600 P2 MXF to FCP (X) friendly Apple ProRes 422 MOV.

When conversion complete you can click “Open” to find final .mov videos. Then you can directly import the mov files to FCP (X), saving time from rendering the files for more compatible with FCP (X).


Pavtube MXF Converter for Mac is an easy-to-use and intuitive Mac tool for camcorder users. It is good at converting MXF recordings shot by Panasonic P2 camcorders, Canon XF series cameras to formats compatible with your video editing software like iMovie, Final Cut Pro (X), Final Cut Express, Avid Media Composer, Adobe Premiere, and more.

Simple editing functions:

This MXF Converter tool provides users with several simple editing functions, including “Crop”, “Watermark”, “Effect” and “Audio Replace”:

– The “Crop” facility helps you cut off black edges and unwanted parts from the image;

– The “Watermark” facility allows you to add different watermark to the source file, such as text, image and video;

– The “Effect” function enables you to adjust brightness, contrast, and saturation, as well as add special effects to your source file;

– The “Audio Replace” function allows you to replace the original audio track in your source MXF file with your specified.

Learn more to convert P2 MXF on Mac, go to MXF Column.


Sep 29

Canon PowerShot SX500/SX160 IS footage & FCP X: Is H.264 a great codec for editing on FCP X or FCP 6/7?

Summary: How to convert Canon PowerShot SX500/SX160 IS footage (h.264 .mov) to Apple ProRes 422 codec so as to avoid rendering process in Final Cut Pro X or FCP 6/7, a professional Canon footage to FCP X Converter can do it. Please read the following articles.

“I have been editing a feature film which uses a FCP X 24p HD 1440 x 1080 timeline. The movie was filmed exclusively on a Canon HV40 camera using, of course, 24p HD footage, widescreen. However, I am now adding footage shot on a small Canon PowerShot SX500 IS digital camera which also can shoot decent HD video (.mov files likewise, but not in 24p). When I put this HD video into my timeline, a red render bar appears above the footage, and apparently I have to render the footage before being able to view any of it in “Safe RT” mode. When in “Unlimited RT” mode, an orange bar appears above the footage, and it “plays”, but the footage plays very unsteady, stopping and starting, making it nearly impossible to edit fast & intuitively because the eyes/mind don’t see the full clips in all their natural wonder/splendor. One just sees images that skip and fumble by, along with their sounds, and it’s somewhat headache-inducing. Is there any cure for this?”

That’s usually a good indication that the video clip doesn’t match the Sequence settings in FCP X. If they matched, you wouldn’t need to render. Canon HV records to HDV and XDCAM, for example. But the Canon Powershot SX500/SX160 IS camera films MOV movies in H.264, and that is not a good codec for editing in FCP. That will have to be converted to Apple ProRes 422 codec that FCP X/FCP 6/FCP 7 Can edit.

Refer to below guide for how to convert PowerShot SX500/SX160 IS footage (.mov) to Apple ProRes 422 codec so as to avoid rendering process in Final Cut Pro X or FCP 6/7.

Required software:
Free Download Pavtube HD Video Converter for Mac.

Part One: Transcode Canon PowerShot SX500/SX160 IS H.264 .mov to Apple ProRes .mov for FCP X natural editing on Mac.

Step 1. Back up the PowerShot SX500 or SX160 IS .mov footage from PowerShot SX500 IS camera/SD card to Mac HDD.

Step 2. Run the Canon footege to FCP X. Drag and drop H.264 .mov footage to the converter.

Step 3. Press on “Format” bar and choose “Final Cut Pro” >> “Apple ProRres 422 (*.mov)” format as best codec for FCP X.


1. Since ProRes 422 (LT), ProRes 422 (Proxy) and ProRes 4444 have not been added to FCP 6, you’d better not set one of them as output if you happen to edit your H.264 files in FCP 6 before upgrading FCP 7

2. Like Apple ProRes 422 (HQ) and ProRes 422, the ProRes 422 (LT) balances incredible image quality with smaller file size and is perfect for digital broadcast environments where storage capacity and bandwidth are offen at a premium.

3. If you want to use ProRes format in offline editing workflows with Final Cut Server, the Apple ProRes 422 (Proxy) is the ideal format.

Step 4. Press the “Settings” button to set frame rate to 24fps, which is preferred for film making. You can resize the 1280 x 720 footage to 1920 x 1080 if necessary.

Step 5. Press the big “Convert” button to start encoding Canon PowerShot SX500/SX160 IS H.264 .mov to ProRes. Wait till the conversion completes. Then press Open to find converted ProRes video.

Part Two: Transfer and Managing your converted videos onto Final Cut Pro X for editing

The converted Apple ProRes .mov video is naturally supported by Final Cut Pro X or FCP 6/7 and can be imported to FCP X instantly. Just run Final Cut Pro, follow “File > Import > Files…” to browse and import videos video to Final Cut Pro X for post-production. Want to sy on Skype? You can try Skype Spy Software here.


Sep 28

Import camera videos to FCP X – Managing videos, projects, media onto Final Cut Pro X

Though Apple claims Final Cut Pro X “a revolutionary new version of the world’s most popular Pro video editing software”, we see more negative reviews than positive ones since the release of Final Cut Pro X version 1.0. There has been a ton of complaints regarding Final Cut Pro X. It has been accused of “Apple’s biggest mistake” (by Kevin Hall) and “ruining everything”. It is understandable that a 1.0 release is difficult and not every feature can be added. However, the biggest problem is that Final Cut Pro 7 support ended. Final Cut Pro 7, which is for now the better product, will be going away. This urged me to move to FCP X, which I find later is very different from FCP 7. Here’re some tips for those who feel like to give a shoot to FCP X, mainly about importing media to FCP X.

1.Log and Transfer is replaced with Import From Camera.

In Final Cut Pro 7 we choose File>Log and Transfer to ingest/load HD footage from a digital camcorder. In Final Cut Pro X the thing is different, because there’s no Log and Transfer option. To load a tapeless recording media from camcorder, you need to follow File>Import From Camera… instead. Apple has added a page for user to check whether their cameras are supported by FCP X, which is helpful. Click to learn
Final Cut Pro X Supported Cameras.

2. iMovie project is supported, but FCP 7 project is not.

The funny thing about new is that no matter what the Madison Avenue folks think, the first thing we associate with “new” isn’t “improved,” it’s “different.” The lack of support for importing Final Cut Pro 7 projects clearly shows us how “different” FCP X is. The good thing is now you can import iMovie project and medias from iMovie Event Library.

3. Be compatible with iPad 2 and SD card.

It is not surprising that Apple added iPad 2, iPhone 3GS, iPhone 4, and iPod touch 4 to the support list of FCP X. But I find FCP X performs really FAST when importing and editing MP4 videos. And FCPX will import a memory card in the background, allowing you to edit the footage directly from the card and then replace it seamlessly with the media on the hard disk once the transfer is complete. I think this is a great idea.

4. Import errors? Unsupported file types?

People have been reporting load errors with FCP X in Apple forum. I had received error message when tying to load .mxf clips taken with my Canon XF105. FCP X should work with AVCHD videos but the .mts files also turned gray when I tried to importing them to FCP X. Maybe I missed something here but after transcoding AVCHD MTS to ProRes Codec the videos are loaded to Final Cut Pro X instantly (without rendering).

More than importing issues concerned with MXF and MTS clips, you may also encounter problems when input Nikon D7000 MOV to FCP X, edit Canon footage in Final Cut Pro X.

If this is the case, you can try to use Pavtube HD Video Converter Mac to encode AVCHD/MTS/MOV/MOD/TOD/MXF to FCP, FCP X, FCE, iMovie, Avid Media Composer.

Anyway, Final Cut Pro X is here, probably to stay, which is good because it is a good product that will continue to get better. So, use the new app and be ready for the day when Final Cut Pro X become matured enough to be a viable replacement.


Sep 28

Import MPEG-2 to FCP (X)-Encode Sony EX3 XDCAM EX MPEG-2 MP4 to ProRes for FCP editing on Mac Lion 10.8


“I may have a certain idea on this, but would love to have a detailed guidance from experts. all from scratch.

i’ve been asked to shoot a video on Sony PMW EX3 in a couple of weeks’ time.

i’ll have to travel to a different country for that, and on location i will only have access to my intel macbook with Tiger OS X 10.4.11 and Final Cut Pro 6.0

i really need to be well prepared for this.

and here comes the question:

precisely, what software / firmware / updates / codecs would i need on my mac in order to load clips off Sony EX3 onto an external USB drive, attached to my macbook, and be able to preview them in FCP?

thanks for the help in advance.”


“I have recorded many 1080p footages from Sony PMW-EX3 camcorder, which I borrowed from my friends. I haven’t shot or edited HD before now, so need some help setting up the project. when I import Sony PMW-EX3 MPEG-2 MP4 files to Final Cut Pro 6.0, it says that the codec are not supported, I searched the forum and many people say the MPEG-2 codec need to be converted to Apple ProRes codec, can you give me some suggestions and what software I need to use?”.

A:Update to at least 6.0.3…that is the first version to deal with the XDCAM EX codec. Then get the Sony Transfer utility. This allows you to view the footage, and then convert it to Apple ProRes.


1. Sony PMW-EX3 camcorder is professional camcorder which has excellent video quality, it is great for us to take high quality full HD videos.

2. Sony XDCAM EX camcorders usually record MPEG-2 codec MP4 format video, this codec is not good for editing in Apple Final Cut Pro, and you will encounter importing and codec problems when you try to import Sony PMW-EX3 recordings to Final Cut Pro.

3. Apple Final Cut Pro best supported video format is Apple ProRes 422 codec MOV format, so the best method to solve Sony PMW-EX3 importing and codec problem is to convert Sony PMW-EX3 MP4 footage to ProRes for editing in Final Cut Pro, you can follow the steps below to transcode Sony PMW-EX3 files to FCP for editing.

4. Something you need to know about Apple ProRes codec

Apple ProRes is a post-production format designed for pristine quality, economical hardware configurations, and high-performance, multistream Final Cut Pro real-time editing – for film, digital cinema, high definition (HD), and standard definition (SD) workflows.

The Apple ProRes format comes in five versions: Apple ProRes 4444, Apple ProRes 422 (HQ), Apple ProRes 422, Apple ProRes 422 (LT), and Apple ProRes 422 (Proxy). As for video quality:

Apple ProRes 4444 has higher quality than Apple ProRes 422 (HQ);

Apple ProRes 422 (HQ) has higher quality than Apple ProRes 422;

Apple ProRes 422 has higher quality than Apple ProRes 422 (LT);

Apple ProRes 422 (LT) has higher quality than Apple ProRes 422 (Proxy)

For a complete comparison of the relative data rates of the Apple ProRes codecs, see Apple ProRes Format Specifications.

5. Pavtube HD Video Converter for Mac – a professional HD Video Converter can help you convert Sony PMW-EX3 MP4 files to ProRes 422 MOV format for Final Cut Pro, more import and output formats are also supported. It can also transcode camera videos and TiVo recordings for edit use with iMovie 8/9/11, Final Cut Pro, Final Cut Pro X, Final Cut Express 4, Avid Media Composer and Adobe Premiere Pro, etc on Mac OS X Leopard (10.5), Snow Leopard (10.6), Lion (10.7), Mountain Lion (10.8).

How to Connect Sony PMW-EX3 to your Mac?

1. Download and install the XDCAM Transfer plug-in for Apple Final Cut Pro from the Sony website. This free application adds a special option to Final Cut Pro’s menu for importing XDCAM video.

2. Connect the power cable to your EX3 if you do not have a charged battery. Connect the camera’s USB cable to the USB port on the camcorder, which is located next to the other audio and video cable connections. Connect the other end of the USB cable to an available port on your Mac.

3. Move the camcorder’s power switch to the right to set it to “Media.” When the camera displays a message identifying a USB connection, select “Execute” to accept the connection to your computer.

How to Convert Sony PMW-EX3 MPEG-2 MP4 to Apple ProRes 4444 or ProRes 422 for editing on Final Cut Pro (X)?

Step 1. Install and launch this Sony XDCAM EX MPEG-2 to FCP Converter. Click the “Add Video” button to load Sony EX3 seperate mp4 files or press on “add from folder” button to add MXF folder.

Step 2. Click on the “Format” and you will get a dropdown menu and then select Final Cut Pro > Apple ProRes 4444 (*.mov) as the output format which is the best format for Final Cut Pro.

PS: The first five Apple ProRes .mov formats all work with FCP well.

If you want to transfer Sony XDCAM mxf recordings to FCP keeping original HD Quality, you should better shoose “Final Cut Pro” > “Apple ProRes 422(HQ)(*.mov)” video format.

If you want to get a small XDCAM mxf file for editing in FCP (X), you’d better select Apple PreRes 422(LT)(*.mov).

Step 3. Click “Settings” to set video resolution (1920×1080/1440×1080/1280×720/720×480), bitrate(from 1Mbps to 20Mbps), frame rate (24p/30p) as you like.  To deinterlace, denoise, mute, volume up and crop MP4 video, click “Edit” menu.

Step 4. Click “Convert” button and this Sony PMW-EX3 MPEG-2 to FCP Converter for Mac OS X 10.8 will start transcode Sony EX3 XDCAM EX MPEG-2 MP4 to ProRes for directly importing to FCP (X).

After fast Sony XDCAM MP4 to FCP (X) Conversion, you can directly Importing video files and projects into Final Cut Pro (X) without problems on Mac OS X 10.8. And please remember for FCP X users, make sure that you have installed the Apple ProRes Codec manually since the FCP (X) asks users to install it by themselves.


1. If you want to convert a XDCam EX MP4 file into a mac-compatible file for enjoying which retain the same size and quality, with running xdcam browser you can preview the MP4 files or export as a mxf  file, but can’t transfer to a .mov file and this rewapped .mxf file may not be viewing. Also, can try a program called “Calibrated{Q} XD Decode codec” ($89.95) to encode MP4 files for playback. But using Pavtube HD Video Converter for Mac ($35) can helps you to tranfer to a mac friendly format like .mov. easily and fastly.

2. If you have rewapped the MP4 files to MXF by xdcam browser, you can also use Pavtube Mac HD Video Converter above, and if you like, you can try another related software Mac Sony MXF Converter specially designed for MXF files.

3. If you are iMovie and Final Cut Express users, only need to change Step 2, Click “Format > iMovie and Final Cut Express > Apple Intermediate Codec(AIC) (*.mov)” as output format for iMovie or FCE importing and editing on Mac.

4. If you are Avid Media Composer users, only need to change Step 2, Click “Format > Avid Media Composer > Avid DNxHD (*.mov)” as the best codec for Avid Media Composer editing on Windows or Mac.

Hope the article can help you to import Sony PMW-EX3 XDCAM EX MPEG-2 MP4 clip to FCP (X) for editing on Mac Mountain Lion 10.8.


Sep 28

Types of Apple ProRes Codec for Final Cut Pro (X)

The Apple ProRes format comes in five versions: Apple ProRes 4444, Apple ProRes 422 (HQ), Apple ProRes 422, Apple ProRes 422 (LT), and Apple ProRes 422 (Proxy). The following list describes the features of each version. For a complete comparison of the relative data rates of the Apple ProRes codecs, see Apple ProRes Format Specifications.

Apple ProRes 4444

The Apple ProRes 4444 codec offers the utmost possible quality for 4:4:4 sources and for workflows involving alpha channels. It includes the following features:

– Full-resolution, mastering-quality 4:4:4:4 RGBA color (an online-quality codec for editing and finishing 4:4:4 material, such as that originating from Sony HDCAM SR or digital cinema cameras such as RED ONE, Thomson Viper FilmStream, and Panavision Genesis cameras). The R, G, and B channels are lightly compressed, with an emphasis on being perceptually indistinguishable from the original material.

– Lossless alpha channel with real-time playback

– High-quality solution for storing and exchanging motion graphics and composites

– For 4:4:4 sources, a data rate that is roughly 50 percent higher than the data rate of Apple ProRes 422 (HQ)

– Direct encoding of, and decoding to, RGB pixel formats

– Support for any resolution, including SD, HD, 2K, 4K, and other resolutions

– A Gamma Correction setting in the codec’s advanced compression settings pane, which allows you to disable the 1.8 to 2.2 gamma adjustment that can occur if RGB material at 2.2 gamma is misinterpreted as 1.8. This setting is also available with the Apple ProRes 422 codec.

– Recording at 1080/25p, 1 minute of media will take 2.3GB, or alternatively a 32GB card will record 13.9 mins

Apple ProRes 422 (HQ)

The Apple ProRes 422 (HQ) codec offers the utmost possible quality for 4:2:2 or 4:2:0 sources (without an alpha channel) and provides the following:

– Target data rate of approximately 220 Mbps (1920 x 1080 at 60i)

– Higher quality than Apple ProRes 422

– Recording at 1080/25p, 1 minute of media will take 1.6GB, or alternatively a 32GB card will record 20 mins

Apple ProRes 422

The Apple ProRes 422 codec provides the following:

– Target data rate of approximately 145 Mbps (1920 x 1080 at 60i)

– Higher quality than Apple ProRes 422 (LT)

– Recording at 1080/25p, 1 minute of media will take 1GB, or alternatively a 32GB card will record 32 mins

Apple ProRes 422 (LT)

The Apple ProRes 422 (LT) codec provides the following:

– Roughly 70 percent of the data rate of Apple ProRes 422 (thus, smaller file sizes than Apple ProRes 422)

– Higher quality than Apple ProRes 422 (Proxy)

– Recording at 1080/25p, 1 minute of media will take 734.7MB, or alternatively a 32GB card will record 43 mins

Apple ProRes 422 (Proxy)

The Apple ProRes 422 (Proxy) codec is intended for use in offline workflows and provides the following:

– Roughly 30 percent of the data rate of Apple ProRes 422

– High-quality offline editing at the original frame size, frame rate, and aspect ratio

– High-quality edit proxy for Final Cut Server

– Recording at 1080/25p, 1 minute of media will take 337.3MB, or alternatively a 32GB card will record 94 mins


Sep 28

Apple ProRes Format Specifications – Final Cut Pro (X) Compatible Formats

With the Apple ProRes format, you can work in a wide variety of frame sizes, frame rates, bit depths, and even color sample ratios.

Frame Dimensions Supported in Final Cut Pro with Real-Time Playback

Although the Apple ProRes format itself supports virtually any frame size, the Final Cut Pro RT Extreme real‑time effects architecture supports the following Apple ProRes frame sizes only:

– 720 x 480

– 720 x 486

– 720 x 576

– 960 x 720

– 1280 x 720

– 1280 x 1080

– 1440 x 1080

– 1920 x 1080

– 1024 x 512

– 1024 x 576

– 2048 x 1024

– 2048 x 1080 (Apple ProRes 4444 only)

– 2048 x 1152

– 2048 x 1556 (Apple ProRes 4444 only)

Scanning Method

The Apple ProRes format supports both interlaced and progressive scan images and preserves the scanning method used in the source material.

Color Recording Method

The Apple ProRes format supports the following digital video signals:


4:2:2 Y’CBCR

4:4:4 Y’CBCR

Data Rates

The actual data rate of Apple ProRes codecs depends on the dimensions, frame rate, image complexity, and quality setting you are using.

The Apple ProRes format has a target data size for every frame, regardless of complexity, but allows frames to fall short of that target if they are simple (if they cannot benefit in quality from using more bits). Such a shortfall is not reclaimed for other frames; instead, it just produces a smaller overall file.

The following table shows several sample data rates. The Apple ProRes codecs are designed to target the data rates shown. Because most sequences contain simple frames, actual bit rates are typically 5 to 10 percent lower than these targets.

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