GoPro on a Workflow FCPX

Similar Questions

• Idle smoothly in FCPX with GoPro

  I am trying to import 60 p (59,98 fps) images of the GoPro in FCPX.  I want my project to 24 p.  But it's just not good - it is super nervous to research.  Here is what I tried:

  1 import directly from the camera.

  2 create a 24 p timeline.

  3 drag and drop the images.

  4 speed automatic (goes to 40%).

  5 images seems hectic.

  6. apply rate Conform and tried all the options.

  I also did the above, but exported GoPro studio first.  Exactly the same result.

  How do I leave my GoPro smooth slow motion?

  Thank you

  Johnny

  You make? You see this on FCP X chronology or also on the exported sequence?

• "Workflow" for FCPX AIC

  I have a client with a video in the Apple Intermediate Codec. I need to change the audio and video of return in AIC. Video original AIC seems to edit natively in FCPX, but I need to export out of FCPX and then convert back to AIC for editing in Final Cut Express. Is there a reasonable and realistic workflow to achieve? Can I keep the 1920 X 1080 resolution? I am using FCPX 10.2.3 and OS X 10.11.3.

  Thoughts?

  Thank you

  You can export the AIC in NICU compressor settings. Final Cut Pro x: Supported export formats

  RUss

• FCPx to still workflow? s

  Hello

  Using Encore CS5

  1. the overall quality of again created DVD will be better if I import mov 422HQ files in still rather than h264 files

  2. If using 422HQ mov files or h264, if the size of all the files used to create a DVD in Encore exceed 4.7 gig still compress automatically to create higher quality with the size of 4.7 GB limit? In other words all the files I use in still exceed 4.7 gig when trying to create standard DVDs?

  Thanks, joe

  DVD is standard definition 720 x 480, so something else MUST be converted yet to create a Bill

  Link to DVD Demystified FAQ for more information on the specification of the DVD http://forums.adobe.com/thread/544206

  If you have already set up to create a simple DVD layer and you still let a transcoding 'automatic' of your entry, it will attempt to make your video form

• Workflow ACES thread

  First of all a big hello to everyone

  Today I received my new sony F55 and I feel very comfortable with the camera, of course a few things that are missing sill, as the HFR and exposure tools, but that's another thread. Here, I want to discuss, as says the subject, ACES workflow with raw F55.

  And to be honest, I want to keep it as simple as possible.

  Lets start with the basic things:

  0 configuration double shooting (SxS and FIRST):

  1 eat them both

  2 use the SxS equipment for editing in Adobe Premiere

  3. send an EDL "Davinci Resolve"

  -> 4. Relink raw

  0R?

  --> 4.1. Convert materials first with Sony RawViewer DPX sequence (Workingspace ACE, stay with the meta settings, Export DPX)

  --> 5.1. Link again to sequence DPX

  Standings:

  6. start ranking primary, secondary

  Export

  ---> 7. The part the more delicate that I must apply luts limiting to conform to the user end monitors, projectors...

  ---> 8. Good format, if I chose DPX format to ingest the rank with, how to export a single file like Mov H264.

  For example, when I use ranking Speedgrade a DPX sequence and then want to restore a file H264, I will eventually get the sequence just like unique dpx popular with extention mov, but not a single file.

  Maybe we can bring light into the big advantage of the F55 and ACES )

  Bravo and thank you very much.

  thebird wrote:

  First of all a big hello to everyone

  Today I received my new sony F55 and I feel very comfortable with the camera, of course a few things that are missing sill, as the HFR and exposure tools, but that's another thread. Here, I want to discuss, as says the subject, ACES workflow with raw F55.

  And to be honest, I want to keep it as simple as possible.

  Lets start with the basic things:

  0 configuration double shooting (SxS and FIRST):

  1 eat them both

  2 use the SxS equipment for editing in Adobe Premiere

  3. send an EDL "Davinci Resolve"

  -> 4. Relink raw

  This first method you suggest is go to work. I already did with FCPX, it's quick and painless. Shooting MPEG50 to SxS, raw to the AXS. Ingested MPEG to FCPX, then by solving related to the MPEG initially, but the difference between determination and NLE more is that it expects users to connect new media to and makes it completely painless and quick.

  I don't mess with DPX except if you need to share with VFX shots, in this case it is the standard.

  Even then, frankly, I would still make the first method MPEG offline and just do DPX for people who need them, as appropriate.

  #7 & 8 points

  7 - ACES uses an output module to target what is available that you will. So if for HD video, select you the ODT (output to a display Transform) to Rec 708. For the web, you could choose Rec 709 or a sRGB ODT.

  8 - resolve can create quite a few outings, including video MPEG4 (although VERY high speed).

  Will is not always the right tool, but it seems he got cevered to your needs, even the Lite version free.

• GoPro 120 IPS, slo - mo

  I want to assure you that I understand how FCPX 10.2.1 manages overcranked film recorded at 120 frames per second to create the slo - mo.

  As I understand it, here's the basic workflow...

  1. I import the movie in FCPX - it shows in my library

  2. I move a clip on my calendar - my calendar is set to 29.97 FPS or some other acceptable/pick-up rate (60 or less) for my last film

  3. I select the percentage to reprogram that I want to slow down the video

  4. I make changes what ever I want and then export final movie

  My questions are these:

  1. when I move the clip 120fps to 29.97 FPS timeline is this drop of frames of the original film to conform to the lower fps timeline? Or abandonment of executives comes at time of export (if the images should be deleted)?

  2. when I slow down the video shown in the timeline of 29.97 FPS through reprogramming, it will use the images obtained in the original film of 120fps? Or FCPX made frames to create the slo - mo?

  3. If I slow down an element in the timeline at a percentage below images available of what the original film per second can support naturally, is that when FCPX will add filler/false frames to create the slo - mo?

  Just want to make sure that I understand how FCP causes changes in the background.

  Thank you

  -Robert

  Put the clip in the timeline panel, and then in the registration menu select Auto speed. Which sets the framework for the display of an image to give you slomo. Then use the adjustment bar to set the speed to anything you want.

• I can blur a picture directly in FCPX edges?

  I know that I can do in Photoshop and then load the photo in FCPX, but I was wondering if there is a way to do it directly in FCPX (in the sense that it can blur the edges of the dark background image)

  

  The answer is definitely yes--but if or not it's better to do it in Photoshop depends a lot on your workflow.

  You'll probably need to use two instances of the photo, on the other:

  

  You can, for example, apply Gaussian blur of the picture from the bottom and apply it to a shape or draw the mask to the top, and control feathering

  the mask to get a nice smooth transition from the Center targeted to the fuzzy edges:

  

• FCPX library-media

  Not new to editing, but fairly new to FCPX, I turned on about a dozen projects and try to develop the best workflow for my type of work.  I shoot two types of videos, 1 camera and camera 2-3, on 50-50.  I learned that unlike FCP7 I can link media or bring media in the project through the 'copy' instead of link selection.

  QUESTION 1: After I imported media (and he therefore copied the media to the folder of file FCP project 4 balls, and then remove the media player where the original media was?)

  QUESTION 2: If I use the method of the link, after I close the project and open a different project, whose media are on yet a third disk, delete the original media player as long as I'm not opening this original project?

  QUESTION 3: Is there a way to have this kind of configuration...

  • OS DRIVE (SSD) hosts the library for all projects and all projects, photos, media files, etc. is on DRIVE 1
  • DISC 1 (USB3 SSD) includes all media of these projects, photos, videos, and other media, etc.
  • DISC 2 (USB3 SSD) has all the files rendering of the above

  If the highest possible, how we implemented in FCPX and will that make the 4 small ball library file, or will it still be fat?

  QUESTION 4: If I use the section "copying" to all media files and imported media and had started to edit and made all the tasks are complete, close a library folder of projects within FCPX and then after the closure of FCPX, can move the file to another HD (say a SSD), which has a directory of FCPX LIBRARY with the same name on the original drive and then open the project and start working on it and then move the file back to the original disc LIBRAY and continue editing.  This allows the project to be edited by different people on different computers.  In other words, some libraries projects are located in a folder and move from machine to machine via external portable drives to SSD USB3.

  QUESTION 5: What is the best time to implement 'proxy files' in FCPX to media Import or after the media has been imported from the top menu bar?

  Thanks in advance for all those who wish to take the time to help a pro acting as an amateur, while trying to learn FCPX.

  1 should work.

  2. you keep saying project, but I think you mean library. I hope you mean library. If so, then Yes.

  3. Yes. I don't know what you mean by the 4 ball library file. If you mean the library on DISK OS, then Yes, it remains relatively low. Don't know what you get you're looking to put the files of rendering in DRIVE 2.

  4 depends on where you copied media. If it is inside the library and you pass the library back, it will work, but the copy process will be very long if you have a large number of media. The usual procedure is to have two identical systems with the same name of library and media stored in a file on each system. To move updated information back a transfer library is used. It is a library containing all of the project (using this in the terminology of the FCP) and is used to transmit the information to the other system. Once it is passed to the other person, they integrate it in their library and throw transfer library.

  5. no difference. Create a proxy support when you need it. If you know you'll need, you can create when importing, just make sure that the process of copying and transcoding is complete.

• Time display time display QuickTime vs FCPX

  I need help to understand what I see in FCPX.

  I have video files on a map of the camera. When I import a clip that I see, for example, an hour of starting 12:39:03; 20 and an end time of 12:49:18. 23. the shows 'content created"November 11, 2015, 18:49:35. After importation, the start and end times correspond to watch the window of time code in the center of the window FCPX.

  If I open the clip in FCP beam original media file, Quicktime show it starts at 00:00 and ends at 10:09. The person that I work with has a workflow of the first draft I Watch clips in Quicktime format and take notes using QuickTime displayed timecode. When he moves to FCPX to mark and keyword sections, the times do not match.

  We talked about its evolution, its workflow, but it's something he did for years and is comfortable with it.

  Why FCPX displays something different? Can I change the time display FCPX to correspond to Quicktime? Is there maybe a setting of the camera that I missed?

  MFT displays timecode from camera. The QuickTime X player does not work. He must use the QuickTime 7 or Pro Player or another player who displays the timecode. FCP can be made to display the time of day.

• F55 Davinci XDCAM Workflow issues

  Hi all

  Another Question which I hope that there is an answer.

  We tested the Sony F55 workflows and XAVC flavors apparently cannot be reconditioned via content browser 2.2 (as mentioned in another post) so we use FCPX for what is very well.

  I tested F55 using Davinci Resolve (Resolve9.1 / ML 10.8.5 / Mac Pro 3.1) and I can see the XAVC flavors and these make it very well but all the flavors of XDCAM are black at will and come out black when I return them.

  I'm looking around online while I type this but did anyone aware of this and what I need to do please?

  a big thank you to the community

  FYI

  9.1.6 will update fixed this problem... looking for durther is the version that is supported for F55

  Detective Conan Miss Marple

• Media of first import workflow in DOUBLE LOCKED

  Hello ladies and gentlemen!

  The day where I found my inspiration to do my travel diaries has finally arrived! After two days of searching for the right music I want to make a few quick rough edit of the trailer for the complete series. Unfortunately, due to the huge amount of GoPro files, I have a problem with the navigation on all files. Bridge won't since it's not access SNS. Decided I will give the first a shot, I was doing when working with smaller projects. I love the novelty with proxy, but again - can't be a chosen which files can I import.

  The files are located on DS415 + Synology NAS and I want so I could choose the one which copy/do proxy to consult. The problem exists in the thumbnails. Is there a way to "conform" all files at once? At the present time the vignettes show that when I click on the specific file. As you can see on the left lane structure, there are a lot of files in several folders it would take forever. Any ideas on that?

  

  Also - what is your workflow when working with files located on the SNS? Copy them into the SSD are not an option, especially when there's half a terabyte of media in folders. (work on the new iMac with 500 GB SSD).

  Kind regards

  Paul

  Please, don't post duplicate questions... go to the import of media from the NAS - working with MANY files

• MultiCam with some Segments of GoPro

  Hi guys

  I have been in charge of research and research, but do not know what is the technical term, so if this has been answered sorry.

  GoPros break the video into pieces, segments, catelogs, whatever. My problem is with Multicam and these pieces. The camera angle will record the entire 30 minutes in a single file, but it gets sync had only gets it file gopro first sync'd and the rest get lost in the mix. I tried to find 3rdparty tools that will join the 3 files gopro in one alone, but so far have not found simple solutions.

  Tim

  Hi Tim,.

  Please try below workflow and check if it works.

  1 import the items in the project Panel.

  2. slide the clips one by one on the timeline in different tracks.

  3 select all, right click on them in the timeline and select the option "Sync" and the way in which you want to synchronize.

  4. once the synchronization is complete, select all the files again in the timeline, right-click and select nest.

  5. once the files are nested in the timeline, right-click on it and select "multi-cameras > activate.

  Check it out in the Multicam monitor.

  Vinay

• Gopro transformed videos

  I made a few Gopro videos with silky smooth sky clear, 1080 p 60frames. I needed to slow-mo so I interpreted the half speed 30 fps videos and saved as 30 p. The final result was not satisfactory. Although the colors and contrast been refined a bit and looking better, there was a visible banding in the sky and the overall loss of sharpness. The videos looked tablets. Like saving a sharp image in Photoshop to 8 JPG instead of 12. I tried different codecs and settings (H.264, PHOTOJPG), has always used the maximum values to save, but never I could recover from the sharpness and clarity, I've had with intact Gopro material.

  What I am doing wrong?

  Thank you.

  Blue sky and 8-bit can easily give you strips. Here's a suggested workflow. I guess that you used to import your videos and convert them to the cuneiform GoPro GoPro Studio.

  Import of 60 fps images in AE. Select the footage in the project Panel and go to the interpretation of the images (right click or file > interpret footage > main) and set the frame rate of 29.97 (standard for video). Select the footage in the project Panel, and then create a new model of selected.

  Now set your project for 16 or 32 bit and make any adjustments to the images. This will preserve the original GoPro footage to the highest possible quality until you are willing to lend. The last step would be to use the TEA and one of the standard YouTube or Vimeo presets to create your final rendering for distribution on the net. If the AME adds banding you can try to increase the maximum data rate suggested by Vimeo or YouTube, or you can jack it way up if you want to just play videos on your computer. If you're still having problems of bands then I go back to AE and add a little grain film images go pro. The grain will tend to mask the problems of strips of 8 bits in the sky.

  If you are going to need to do more editing or processing of your videos I would suggest that you return a DI (digital intermediate) to an almost without loss or loss 10-bit or better codec. You could also do a sequence of images 16 or 32-bit. Keep things 10-bit or better until you're ready to make the final product compressed for delivery to your audience.

• Sequence GoPro/DSLR frame rates

  I search for an answer to this for a while and can't seem to find something forward.

  First off I'm shooting videos with a 6 d and a pro hero go 3 + black.

  IM shooting usually 1080 at 30 frames per second with the 6 d and 1080 at 60 fps with the go pro for slow motion shots.

  I use after effects or first (depending on what I want to do in the edition) and get some reading jumpy/choppy/laggy when I finished some projects.

  For example:

  I want the video to end play at 30 frames per second.

  -should I conform to the go pro clips from 60 fps to 30 fps using go pro studio before them sequels if I plan to make idle or time remapping with them? The sequence settings suitable for SPF 30 or 60?

  -clips of play very well before and after that I have them comply in pro studio go but once they are done in my rendering than the shifts of video playback.

  Here is an example between: 20 -: 25 seconds The Quinta, Ca on Vimeo ... to me, it seems that its executives of jumps. In this video I isn't in keeping them in 30 frames per second before hand. I just used temporal and remapping of time to slow them down. I also put pixel interpolation on the clip. (This was shot with a go pro)

  Here's the deal with frame rates. Interpretation of the file ALLOWS you to set the time DO NOT rate or to comply with a new cadence when you're transcoding because you'll lose frames or quality or both. Simple as that. In your workflow I import images from the GoPro, interpret to 29.97 because it is the frequency of images for your computer, then, when you drop the GoPro images in the timeline, it will play at half speed. If you need to slow down more use time-remapping or a plug-in like Twixtor. You will get much better results.

  I hope this makes sense. Slow mo is confusing to people who have worked in the video, but it makes perfect sense for people like me who one has grown up with a 16mm Bolex in his hands and turned images on film up to 20,000 images per second... All projectors (except the old plays football coaches Spotlight analysis usually use to analyze) run at 24 fps so my 20 000 really read fps camera images slowly and you could see all the pop rivets that the spar does not, but it's a different story.

• More simple workflow possible cut pieces of video and video filling in first

  I'm looking for the workflow as simple as possible cut out pieces of a video and video filling in first. I am a novice, so I'm not so familiar with the software.

  Basically I have a subscription to the first (cc version) purcased since it is able to manage any video format. I may have a few images of the GoPro video taken from screenshot software, something taken with a video camera, etc. Although the video contains parts I want to throw. I need to quickly cut that out and trom it.

  I'm looking:

  How to mark a part of a video. That cut.

  Mark the beginning and end of a video. That cut.

  Export the video as a MP4 file or another file format which reads easily on a Windows machine with good quality.

  I want to use keyboard shortcuts as much as possible.

  Looking forward to your expert advice.

  There are two basic approaches, with multiple ways to accomplish each. I'll limit to a single workflow for each approach.

  APPROACH A: only inserting the segments you want from the Source monitor in the sequence

  1. Double-click A Clip to load it in the Source monitor
  2. In LUN Source, use the JKL keys to rub to the first image of a segment you want to use.
  3. Press I to develop
  4. JKL in the last image of the same segment
  5. Press O to set the point
  6. Press, [comma] to insert in/out segment in the timeline (see below for a note on the creation of a sequence)
  7. Repeat steps 2 through 6 for other segments of the same clip.
  8. Repeat the foregoing for Clips B to Z

  B APPROACH: By cutting out segments you don't want the sequence

  1. Add Clips A to Z of a sequence in the order you want to run
  2. In the timeline panel, use JKL to rub the last image of a segment you want to cut.
  3. Press O
  4. Press (quote) to "extract" (cut the defined segment and the gap) [not required to Point to the first segment because first will assume that frame 0 is the entry point...]
  5. JKL to the first frame of the next Segment to be cut
  6. Press I
  7. JKL in the last image to cut out
  8. Press O
  9. Press on '
  10. Repeat for the rest of the content of the sequence.

  These workflows is for on the simplest possible sequence: a series of clips on the same track (i.e. no compositing superposition or Picture-in-Picture) with all the sequential clips the clip a source, then another. If you want to have several layers or cut Clip a to B new Clip in Clip, then things become more complicated.

  As to the sequence, since you work with the contents of a series of cameras, you can have clips of different resolutions (SD, HD and even Ultra HD). In this case, you must decide what sequence parameters to use. You usually get the best results by setting the sequence to match content with its very small dimensions, then reduce other content at your leisure; Scaling up generally returns the quality degradation.

  While you might start thinking you're doing a very simple mounting, the complexity is almost sure to grow, in order to invest in the time to become familiar with the basic workflows will pay dividends. Here is a good starting point: How to create a video with Premiere Pro | Adobe first Pro CC tutorials