FCP X – AIC Converter-Import AVCHD/MTS to FCP/FCE/iMovie

Final Cut Pro X and 3D AVCHD: Can FCP X process Sony 3D DEV-5 .mts footage on Mac?

Admin — Sat, 23 Feb 2013 10:25:28 +0000

This article introduces handy tools and plugins for you to import 3D AVCHD video to Final Cut Pro X on Mac.

“I have the Sony 3D binoculars model DEV-5. It encodes video in 3D HD: MPEG4-MVC/ H.264 AVCHD 2.0 format compatible (1080/60i). Is there anyway to edit this video in the new Final Cut Pro X and maintain the ability to have 3D video? I’m having problem importing AVCHD 3D video into Final Cut Pro X…”

3D is a fascinating technology that was once only reserved for ultra exclusive film studios. Now, many prosumer users can purchase stereoscopic 3D cameras at decent prices. The only problem is finding out how to import that footage into your NLE. Many similar questions are being asked by people who shoot with Sony DEV-5 and other 3D camcorders. With all of the hype surrounding 3D technology and production in the last few years, I found it a bit surprising that Apple didn’t include built in tools stereoscopic (3D) editing tools within FCPX. Having the same problem importing 3D .mts to FCP X? Let’s go on a little video lover’s escapade into the world of digital video and check some cool tools for importing 3D .mts to FCP X.

1. Stereo3D Toolbox LE

With this plugin, Stereo3d lets you import and export native 3D stereoscopic footage. It also comes with an invaluable preview interface so that you can see your footage. Once you are done, you can conveniently upload your 3D masterpieces to YouTube 3D. Stereo3D Toolbox LE is compatible with the latest versions Adobe After Effects, Final Cut Pro, Final Cut Pro X, Motion and Premiere Pro.

Price: $99
Requires: Mac OS X Lion or Snow Leopard, FCP 6+, Motion 3+, Intel Processor, FxFactory, ATI or NVIDEA GPU
Developer: Dashwood Cenema Solutions

2. Pavtube HD Video Converter for Mac

This handy app lets you import native 3D stereoscopic AVHCD footage and export Apple ProRes 422 encoded .mov video, which can be imported to Final Cut Pro 7 and X without rendering. You can convert 3D MTS to 2D MOV video, or encode 3D AVCHD footage to Anaglyphic 3D that is also compatible with FCP X.

Meanwhile, the software serves as a universal video converter for QuickTime Player and iOS devices. It handles both 2D and 3D video formats including but not limited to MKV, MOV, MP4, M4V, VOB, 3GP, FLV, SWF, TS, and AVI.

Price: $35
Requires: Mac OS X Mountain Lion, Lion or Snow Leopard, FCP 6+, Intel Processor
Developer: Pavtube Studio

How to convert Sony 3D DEV-5 .mts to Apple ProRes 422 video for importing to FCP X

1. Backup your 3D .MTS video to hard drive.

2. Install and Launch Pavtube Mac 3D AVCHD to FCP X Converter software.

3. Drag and drop source 3D AVCHD footage to the software.

4. Press on “Format” bar and set “Final Cut Pro > Apple ProRes 422 (*.mov)” format.

5. Press on the big convert button. When conversion finishes, press “Open” to get converted MOV video.

6. Open up FCP X, and go to “File > Import > Files…” to import converted 3D footage to FCP X project.

Final Cut Pro X Files Importing step by step:

Learn More: Sony Column | MTS Column | File Importing

AVCHD 3D

AVCHD, adopts MPEG-4AVC/H.264 (AVC) standard, has been updated to version 2.0 by adding new specifications for 3D and 1080/60p, 50p. AVCHD 3D, AVCHD Progressive, and AVCHD 3D/Progressive are the new trademarks.

Final Cut Pro X Tips and Tricks #6

Admin — Thu, 31 Jan 2013 08:49:27 +0000

06-01 Sequence/Timeline markers (like FCP7).

You can have Sequence markers for the entire timeline by placing them in a clip the length of your timeline. Here I’ve placed markers in a slug in a storyline. I use a slug because a slug is transparent in an upper storyline in FCPX. You can use any clip to hold your timeline master markers if you disable it. Even a disabled title clip will work. To add markers, move your skimmer in the master marker storyline clip where you want the marker to be and hit the M key. Once markers are added you can jump to any timeline marker location by clicking on the marker in the timeline index.

To “Delete All Markers” just delete the markers storyline. You can also “Delete Selected Markers” by selecting all Timeline clips and visiting the menu Mark > Markers > Delete Markers in Selection or use the keyboard selection Ctrl – Shift – M.

06-02 Highlight with a Shape Mask.

Shape Masks are actually two masks in one, inside the mask and outside the mask. Here I’m using a jpg with text for highlighting In my timeline. Select your clip in the timeline and in the video tab of the Inspector click the add Shape Mask button. This will add a default circle Shape Mask. Change the Shape Mask into a rectangle by dragging the rectangle control point to the left. The outer circle controls the feathering of the Mask Shape.

Move the Mask Shape by dragging on its center move handle to the area that you want highlighted. Then change the Shape Mask height by dragging the top and bottom green button controls and its width by dragging the left and right green button controls to size it to fit this first highlight area.

Click the Correction 1 Show Correction right arrow button to go to the Color Adjustment panel.

(1) Click on the Exposure tab. (2) Click the Outside Mask control at the bottom of the panel. (3) Drag the global control down to darken outside of the Shape Mask to achieve the desired highlighting effect as shown below.

06-03 Animate a Highlight with Shape Mask keyframes.

In the inspector, click the Shape Mask 1 keyframe button (1) to set a keyframe at your first highlight position. In the timeline, move the playhead the length of time you want your first area highlighted. In the Inspector, add a second keyframe to lock in this time length.

Move the timeline playhead one second (or other length of time) forward. This will be the highlight travel time from area one to area two. In the Viewer move your Shape Mask by dragging on its center control point (2) to position it over the next highlight area. A new position keyframe will automatically be added to the Shape Mask. Repeat moving the timeline playhead, setting keyframes and adjusting the Shape Mask position for all additional areas that you want highlighted. The highlight will now pause and then move when played back in the timeline.

06-04 Use a slug as your main storyline clip for some projects.

If you need the freedom to move attached clips or secondary storylines around without being restricted by what they are attached to, you can use this technique. The attached clips are effectively connected to the entire timeline.

If you are cutting a music video, you could also use your master audio track as your main storyline clip to achieve the same effect.

06-05 1/10th pixel adjustments for position parameters in the Inspector.

Hold down the Option key while dragging up/down on the position values to get 1/10th pixel adjustments. Without the Option key held down, dragging up and down will move the position in whole pixels. To move 10 pixels at a time, hold down the Shift key.

06-06 To edit a Compound clip’s settings.

select the compound clip in the Event browser, go to the info panel of the Inspector (1) and at the bottom of the Info panel click on the little gear icon drop-down menu (2). From the drop-down menu choose Edit Compound Clip Settings.

Here you can modify the Name, Starting Timecode, Video Properties, Audio Properties and Render Format of your Compound clip.

06-07 Preview a Project before opening it.

The skimmer is a great tool for reviewing clips in the Timeline and Event browser but you can also can preview an entire Project complete with edits, transitions, titles, effects and listen to audio before you open it. If you have multiple versions of a Project and want to open a certain one, this is the way to check which one to open. Select your Project in the Project Library and skim your mouse pointer over it for an instant preview. You can also play the Project from the skimmer position by pressing the spacebar. Of course skimming (S key) has to be turned on for this to work.

Final Cut Pro X in 2013

Admin — Wed, 30 Jan 2013 04:56:33 +0000

What might we expect for Final Cut Pro X in the year 2013?

FCP X will be two years old in June. I think we will see Final Cut Pro X version 10.1 in 2013.

Here are some of my reasons.

1) I think a two year full point upgrade cycle for FCP X in 2013 is more likely than a three year upgrade cycle in 2014. If that proves to be true, Final Cut Pro X could be updated to version 10.1 sometime around the second half of 2013, maybe with a sneak peak in the Spring around NAB.

2) There are only two more incremental numerical updates left for Final Cut Pro X 10.0, – 08 and 09. We had five FCPX updates in 2012. After the next two updates, 08 and 09, it’s on to number 10.1.

3) Apple doesn’t have the luxury of a leisurely release schedule for FCPX. It has to stay aggressive and at the forefront of modern NLE applications. Avid and Premiere are formidable competitors.

Some people question having to pay the full price of $299 for Final Cut Pro X in the App store for version 10.1. Previous upgrades for one version of Final Cut Pro to the next full point upgrade were discounted from the full price. Currently there is no way to get a discounted price on an upgrade for an app you previously bought from the App Store.

To be fair to current customers, some of the App store developers offer a discount when they introduce a new full point upgrade in the App Store. For example, Screenflow went from version 3 to version 4 and had a discount of about 50% for a few days. And 1Password has announced the new App store version, V4, will be free to existing V3 customers. Their new V4 iOS version is on sale for over 50% off.

I see no reason why Apple can’t introduce Final Cut Pro X version 10.1 with the same kind of discount for a week or so. Or Apple can change the App store rules to include an upgrade path for existing customers of a given app. This is something App Store developers and customers have been requesting for quite a while.

But even if Apple doesn’t provide a discount or upgrade path, I don’t have a problem paying $299 every two years, or $150 per year, for a full point upgrade version of Final Cut Pro X. An individual can install one copy of Final Cut Pro X “…on each of the Mac Computer(s) that you own or control” according to current App Store Terms and Conditions. So if you own or control more than one Mac, you can install FCPX on each machine and only pay for the FCPX app once.

What kind of new features can we expect to see in Final Cut Pro X version 10.1? There are three categories.

The first category would be to add back missing features that FCP7 had (audio mixer, multiple scopes windows open at the same time, custom recallable window layouts). I expect the FCPX team will continue to return missing features that are much better versions than previous incarnations (like they did with multicam, persistent selections and Share).

The second category would be to add features that FCP never had but are an industry standard – A Scrolling Timeline:

where the Timeline scrolls behind a stationary Playhead. I have a hard time believing that a new 64 bit application built from the ground up with modern foundations and leveraging all processors and unlimited memory still has a playhead that scrolls off the screen when it gets to the end of the Timeline. Motion 5 has one. Every NLE and DAW has one. Why not FCPX?
Watch the movie below to see it in action. This movie’s been viewed over 6,700 times.

And the third category would be unique FCP X features that no one has (like the introduction of the skimmer or the magnetic timeline) – where the puck is going, magic NLE features. Whatever the Final Cut Pro X team has up their sleeves, these are the features that will justify a full point upgrade.

2013 could prove to be quite an exciting time for FCPX users with future updates, new powerful iMacs already here and a new Mac Pro in “later” 2013. As a professional user and proponent of Final Cut Pro X, I maintain a master list of Final Cut Pro X feature requests here. Let’s see how many Final Cut Pro X requests Apple crosses of the list in 2013.

Learn More Final Cut Pro X:

10 Quick Final Cut Pro X Tips

Admin — Wed, 30 Jan 2013 02:44:39 +0000

Whether you’re new to Final Cut Pro X or an experienced editor looking to sharpen your skills, don’t miss this video tutorial covering 10 quick FCP X tips.

We’ve previously featured YouTube user Matt’s Macintosh for his great “Sky Color Correction” tutorial in Final Cut Pro X. Now he’s released another FCP X Video Tutorial that’s a must-see for any Final Cut Pro X editor: TEN 10 SECOND FCP X TIPS.

In this video Matt shows you his favorite Final Cut Pro X tips including:

1. Copy and paste effects and attributes from one clip to another.
2. Shortcut for view entire Final Cut Pro X timeline.
3. Modify and customize Final Cut Pro X shortcuts.
4. Color correct footage in FCPX that appears outside a mask.
5. Using the share menu to export multiple still image formats.
6. Duplicate works similar to “Save as” in legacy versions of FCP.
7. Use duplicate to save space on your hard drive.
8. Change audio from mono to dual mono.
9. Where to look for FCP X plugins and effects?
10. Where do custom Final Cut Pro X templates and effects live on your system?

Take 2.5 minutes and learn these very useful FCP X tips! Visit Matt’s Macintosh YouTube channel for more great videos on Final Cut Pro X editing, video production and Apple related topics.

Got an FCP X tip to share?

FCP X Related Tutorial:

Any suggestion, pls leave it in the comments below!

Sony XDCAM Transfer: 2 Ways to Transfer Sony XDCAM MXF Content to Final Cut Pro on Mac

Admin — Fri, 25 Jan 2013 03:15:48 +0000

There are 2 ways to import footage from the Sony XDCAM camcorder to Final Cut Pro. You can directly import XDCAM-HD files by attaching your camcorder (with the memory cards still in it) to the computer via USB cable or by removing the cards from the camcorder and placing them in the express card slot of a MacBook Pro. Both methods require Final Cut Studio and Sony XDCAM Transfer Software (a free download from Sony).

Method 1: Express Slot and USB Cable to Camcorder

Step 1: Connect Cables

After shooting, remove the SxS card from camcorder and place it in the express slot of laptop; or attach the camcorder (with the SxS card still inside) to the computer via the supplied USB cable and turn the camera power switch to the Media position.

Step 2: Import Sony XDCAM MXF to Final Cut Pro

In Final Cut Pro, initiate the import by using the pull-down menu- File/Import/Sony XDCAM. This opens the Sony XDCAM Transfer software interface.

Step 3. Arrange Your Clips

Select the clip to view from the thumbnail images in the top half of the interface. Play the clip in the viewing window at the bottom of the interface. You can also mark “ins” and “outs” if you just want to import part of the clip. Add comments and other information to the clip in the lower right area of the interface.

Step 4: Import All Your Clips

Click on the Import button to ingest the clip to Final Cut Pro. You can import all the clips on the card by selecting all the clips and them clicking on Import.

Read More: How to connect/transfer/copy Sony XDCAM Media to Mac?

Method 2: Ingest Sony XDCAM MXF videos and encode the MXF clips to FCP Compatible Codec

This method should work with most Mac computer. If you run into a problem when importing Sony XDCAM, XDCAM HD and XDCAM EX media to FCP, here’s an alternative workaround: use Media Magician for Mac to ingest Sony XDCAM MXF videos and encode the XDCAM MXF clips to Apple ProRes 422 codec, which is naturally supported by Final Cut Pro 6, 7 and FCP X. The app can also be used to cut and merge MXF files, or convert MXF to QuickTime codec for playing on Mac, iPad, iPhone and other iOS devices.

Step 1: Connect your Sony XDCAM camera to Mac and import MXF from Sony XDCAM to Media Magician for Mac.

Connect your Sony XDCAM camera to Mac computer and launch Pavtube Media Magician for Mac. The app will automatically detect your camera and ask “Camcorder is connected. Are you ready to launch wizard now?” Click “Yes” to confirm. Select the MXF files you’d like to import to FCP, and then press “Start” to import MXF to Media Magician library.

Step 2: Organize and edit Sony XDCAM MXF videos in timeline.

Drag and drop the Sony XDCAM MXF clip to timeline for editing from library. Here you can remove unwanted .mxf clips, trim out unwanted frames from specific clip by frame-accurate, and put them into the right order for merging. Use the scissor icon to do frames trimming.

Step 3: Choose “Output” on the top of main interface to switch it to output interface.

Step 4: Choose Apple ProRes codec as output format.

Here you can set common video format like AVI, MKV, MP4, MOV, MPG, etc as well as intermediate codec for editing software. For importing Sony XDCAM MXF to Final Cut Pro, follow the steps to set Apple ProRes 422 preset:

1. Move your mouse to Editor, click on the tab.
2. Select “Final Cut Pro” group.
3. The default output format for FCP is Apple ProRes 422. To use other codec in the ProRes family, just select the desire codec (ProRes LT, Pro, HD, ProRes 4444) from the drop-down list of “Format” bar. Set bitrate and frame rate if necessary.

Step 5: Export Apple ProRes video for FCP 7/FCP X

Press the plus sign (+) to add task for conversion. Select the task(s) and click on the triangle sign to start encoding Sony XDCAM MXF to Apple ProRes 422 MOV.

Step 6: Import Apple ProRes 422 MOV to Final Cut Pro

In Final Cut Pro, follow pull-down menu- File/Import/Files… to import converted Sony XDcam footage to FCP without rendering on Mac.

PS. If you have any problem, pls contact with macsupport@pavtube.com to get more information. You also can leave a message on Pavtube Community or Pavtube Facebook, we will answer your questions as soon as possilble.