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Suppose you have footage shot at one rate e.g. 25 fps and require it to be played at a different rate e.g. 24 fps.  Possible reasons: you shot at 25 fps and want to edit on a 24 fps timeline, or maybe want a crude but quick way to alter footage duration or to speed up or slow down the action that was shot.  The process below lets you alter the metadata  in video files so that they play back at a different fps to that at which they were shot.  That’s all it does, there’s no frame interpolation etc involved here.  This is a destructive process, the selected files have their metadata altered, to specify the required playback rate.

• Mac: Cinema Tools
  • Nicely explained at [http://documentation.apple.com/en/cinematools/usermanual/index.html#chapter=8%26section=3%26tasks=true]
• Cinema Tools:
  • File > Batch Conform
  • Browse to folder containing rushes & select files
  • Clickthe [Open] button
  • [Batch Conform] Dialog appears.  Specify the required fps.
  • Click the [Conform] button.
  • (The selected files have now been altered)

I’ve only just discovered Cinema Tools here, thanks to Den Lennie’s Creating the Film Look course, and quite clearly have only just scratched the surface.  Looks like its main function is to serve as a database for translating digitaal edits into film edits.  Not something I’ve been involved in thus far.

Steps: (may be useful for making a checklist?)

• (Day-book 2010-08-16 12:30)
  • Did it at office.

I was initially unable to find some required Easy Setups in FCP.  Eventually I did locate them in the menu, it was just that they didn’t appear by default - I had to select the right (from FCP’s point of view) frame rate or something (I forget now).

• But before I discovered that, I googled lots, coming up with the following conclusions, which I am no longer sure about - whether they still apply or are obsolete.  Maybe informative somehow anyway, so I’ll post it for posterity at least…

In Final Cut Pro menu: [Final Cut Pro > Easy Setup], if select Format [Apple ProRes 422] then Use only offers 720p50 ???.  However, further options do exist, they are just hidden away as “Additional Easy Setups”.   (Huh?  I thought Apple philosophy was to make things easy???).  For example there is the additional setup that I need, namely [Apple ProRes 422 1920×1080 25p 48 kHz.fcpre].  The fix for this is:

• The Format/Use combinations are stored as [.fcpre] files.
• The main folder for [.fcpre] files is [Macintosh HD>Library>Application Support>Final Cut Pro System Support>Custom Settings].
  • That’s the only place (to my knowledge) that FCP looks.
• Additional [.fcpre] files are to be found in [Macintosh HD>Applications>Final Cut Pro Additional Easy Setups>English].
• Manually copy required files from the latter to the former.

(more…)

Someone noticed that XDCAM-EX footage imported to FCP appeared different as compared to Avid (AMA import).  Addressed in an Avid forum thread started May 2010, referring to FCP 6.06 and Avid 4.02: http://community.avid.com/forums/p/84153/473798.aspx

• What AMA gives is, is _exactly_ what the camera has captured. What FCP shows you, is a remapped image, most often with a gamma shift. 
  • (For Avid AMA imports, Avid settings for RGB or 601 etc. make no difference - it’s always as-recorded).
  • … imports (to FCP) will look different (to expected), because FCP/QT “corrects” the gamma when bringing in footage (even if you would not want that).
• Most people seem to agree that FCP works in 0-235, not 0-255, not 16-235. And without the option to leave things untouched. So if you import something into FCP, there’s no getting it back to the original levels anymore.

I guess I’d better do some experiments with ramps & scopes etc…

Wondered whether there was a way to integrate spreadsheets with media logging and importing (transferring) etc. in FCP.

• Google: [fcp media spreadsheet]
  • http://documentation.apple.com/en/finalcutpro/usermanual/index.html#chapter=15%26section=2%26tasks=true
    • Ways to Log and Capture Footage in Final Cut Pro
      • Logging: In a spreadsheet or database application, enter the clip name, reel name, Media Start and End points, and other logging information, save it as a tab-delimited text file, then import this batch list into Final Cut Pro.
  • http://zachfine.com/blog/category/media/filmmaking/finalcutpro/
    • Lots of advanced stuff - gone off-topic but hey…
  • http://www.echochamberproject.com/collaborativefilmmaking
    • Collaborative Media with Drupal + Final Cut Pro XML
      •  ”I can use an open source content management system like Drupal to collaboratively edit my film.”

What happens when Sony XDCAM Transfer is used, within or without FCP, to import XDCAM footage (BPAV folders etc.)?  The following is my best guess at the moment, based on my experiences and web-searching.

• Logging is best done via ClipBrowser.  That updates the meta-info of this “master source”, which may then feed downstream to other formats (mxf?  mov?)
• The main function is to re-wrap to [.mov] files.
  • These may be FCP-specific
    • “.Mov’s containing XDCAM material are a very specific file, tailored for FCP. Even Premiere CS5 on a Mac doesn’t like them.” [http://www.dvinfo.net/forum/sony-xdcam-ex-cinealta/480547-ex-workflow-do-you-keep-bpav-files.html]
• Each time you start XDCAM Transfer, check the settings in Preferences, in particular for Import Location.
  • The Cache location can instead be an application-specific, project-independent location.
• To import to FCP:
  • Start XDCAM Transfer, by doing one of the following:
    • From FCP, do one of the following:
      • Menu: File > Import > Sony XDCAM
      • Browser: RtClk > Import > Sony XDCAM
        • Sadly, only ever imports to root of project, not to bin you right-clicked from…
    • From MacOS:
      • Start [XDCAM Transfer.app]
      • Optionally, in Preferences, tick [Open imported files with: Final Cut Pro]
  • Can mark-up selected clip(s) - e.g. OK/NG - affects all (selected) clips straight away (no ‘go’ button…).
• XDCAM Transfer is not just an application but a package, including File Access Mode (FAM) Driver (for XDCAM disks), FCP Import and Export plugins and FCP Sequence presets.
• It can import not only raw BPAV folders (etc) but also MXF-Sony (I tried it).
• There is a Fetch Metadata option, but I have yet to see it have any effect - because as far as I can see all the metadata is displayed anyway.  Possibly only useful for obscure situations e.g. if some data or thumbnails fail to appear http://forums.creativecow.net/thread/142/865859 or for a “clip or disc that contains modified essence marks” http://www.tapelessmadeeasy.com/2008/11/xdcam-transfer-update/
• Opinions are divided on whether or not to retain BPAV folders, but the balance is in favour of doing so [http://www.dvinfo.net/forum/sony-xdcam-ex-cinealta/480547-ex-workflow-do-you-keep-bpav-files.html]

Searching on Final Cut info generally, discovered some things that were added in the version 7 release of FCP and indeed the greater FCS 3, about a year ago.  I am attempting once again to wean myself off relying so much on (my traditional) Sony Vegas.

• http://www.apple.com/finalcutstudio/in-action/eatpraylove/
  • Apple Article: Bradley Buecker: Editing Eat Pray Love
    • The editors (used) ProRes 422 (Proxy) … introduced with Final Cut Pro 7.  As soon as dailies arrived … Assistant Editor Doc Crotzer would transcode the files from ProRes 422 (HQ) to ProRes 422 (Proxy), organize the footage into bins, and prepare the material for editing.
    • Using background exporting, another new Final Cut feature, Crotzer was able to continue editing even as he was compressing the files.
      • What is “background exporting”?
    • (He) cut in Proxy and in a few simple keystrokes (was) reconnected in ProRes 422 (HQ) to output for a screening.
      • How set up / do that?
• Google: [”background exporting” fcp]
  • http://community.avid.com/forums/p/74269/415595.asp
    • Avid forum post, “FCP can do Background exports. Avid needs to add this feature”, August 2008
      • FCP does not have background rendering (though)
  • http://www.studiodaily.com/blog/?p=1785
    • Studio Daily blog, July 2009
      • Thursday surprise with Final Cut Pro 7 and new Final Cut Studio By Scott Simmons
        • Post-article forum pulls apart the details and interpretations of the new features in this version.
          • e.g. Per-Project Capture-Scratch (etc) ?
            • Q: have they moved the capture scratch and render drive settings to be saved WITH the project for this release?
            • A: (Doubtful.)   Check out the Preference Manager from Digital Rebellion as it lets you do something similar if not exactly that. http://www.digitalrebellion.com/pref_man.htm
              • How best integrate this into my workflow?
                • Search on this topic another time, e.g. [”preference manager” “capture scratch” “per project”]
  • http://danrubottom.com/2009/07/final-cut-pro-7-did-they-listen/
    • Article “Final Cut Pro 7, Did They Listen?” by Dan Rubottom
      • when you undo, you don’t lose renders
      • Export, render and publish in the background using Compressor.  You can use Apple Qmaster QuickCluster for even quicker rendering
• YouTube: [final cut 7]
  • http://www.youtube.com/results?search_query=%22final+cut+7%22&aq=f
    • lynda.com: Final Cut Pro 7 Overview: Exploring the Final Cut Pro …
      • Ah yes, lynda.com, must remember them!
    • http://www.youtube.com/watch?v=3P4ytCeagHs
      • “lynda.com: Final Cut Pro 7 Overview: Exploring the Final Cut Pro interface”
    • http://www.youtube.com/watch?v=KF7ALnyydfg
      • “lynda.com: Final Cut Pro 7 Overview: Creating retiming effects”
        • FCP has a new simple-to-use retiming interface/feature

I installed the (free) LE version of Avid’s DNxHD onto bothWindows and Mac, in order to round-trip between Sony Vegas and FCP.  Having received no responses to my threads on forums for Sony Vegas and for FCP, I tried Avid’s forums.

• The “Avid on Windows” Forum:
  • PC MediaComposer to MAC FCP http://community.avid.com/forums/p/74442/416691.aspx#416691
    • Thread from August 2009.  Might well be out of date now.
    • If you export DVCProHD from your PC Avid you’ll want to check the “Use AvidDV Codec” box.  This will encode the file as AvidDV100 (which is Avid’s DVCProHD codec).  With the Avid codecs installed on your FCP system you’ll be able to read them.
    • Why don’t they mention DNxHD ?
• The “Avid on Mac” Forum:
  • Search on [fcp dnxhd]
    • http://community.avid.com/forums/p/84564/477328.aspx#477328
      • Error while loading DNxHD QT .mov into FCP
      • Someone with same issue as me: they rendered from Sony Vegas to DNxHD to import to FCP, and the media wasn’t recognized.
      • Thus far, that thread is inconclusive, with suspicions focussing on the precise format settings etc. and the fact that the media was rendered from Sony Vegas (as I guess the latter is relatively “unknown territory” to the Avid/DNxHD folks).
      • I copied this info (& thread link) to the Sony Vegas forum http://www.sonycreativesoftware.com/forums/ShowMessage.asp?MessageID=720994&Replies=11.  Useful replies:
        • …a smalll but critical point; the codec DNxHD does all the encoding of the video stream, vegas does not touch the encoding process. At most, vegas may update the file headers and starting meta data as it closes the file. If Sony has an issue it will be there, but I would question FCP file handling when it opening the file.
      • ?

Which is best?   Depends on the camera, scene and shot dynamics I guess.  The same point is queried at the following thread:

• http://www.dvinfo.net/forum/sony-xdcam-ex-cinealta/238593-steady-shot-smoothcam-both-what-2.html#post1551809

Some general advice from a computer-post-savvy author: definitely use the camera’s SteadyShot:

• http://www.gcvcc.com/March%202008%20%20Camera%20Techniques%20No2.pdf

Limitations of post

• Stabilization necessitates motion estimation and image reconstruction, which are extremely CPU-heavy, hence really slow to execute.
• Most stabilization apps (in post) can’t currently cope with motion-blurred edges or parallax effects (though both should be possible in principle, by deconvolution and 3D modelling both informed from multiple frames).
• For rolling-shutter-ed footage (e.g. CMOS sensors as in Sony Exmor as in Sony XDCAM-EX e.g. EX1 & EX3), there exist options to reduce the effect (don’t expect perfection, but may suffice):
  • Sony’s ClipBrowser 2.6 can remove this http://www.dvinfo.net/forum/sony-xdcam-ex-cinealta/467511-clipbrowser-takes-out-rolling-shutter.html.
  • Gunnar Thalin’s Deshaker plugin for VirtualDub can compensate for this.

My experiences:

• Stabilizing Tools:
  • Gunnar Thalin’s Deshaker works really well.  And it is multi-threaded, really speeds up the process.  The author says it is more intended for handheld pans etc. than fast-shaking shots from vehicles etc. (but has nevertheless seen good results in such situations).
    • The author says [http://forum.doom9.org/showthread.php?p=1418923] to try “to stabilize only on the most distant parts in the frames, since the moving inwards-effect is less there”.  And “you should probably increase the value for [discard motion of blocks that move > X pixels in wrong direction]. That’s to allow the blocks to move “freely” a little, since Deshaker can’t handle the “moving inwards”-effect.
    • Possibly equally applicable to other smooth/stabilize/deshake tools ?
  • Boris’s Optical/Motion Stabilizer (in Boris Red 4.3.3 on XP) is only single-threaded and I find it slower, clunkier and less intuitive than Deshaker.  Has a Smooth mode, which is like the others here, as well as a Stabilize mode (try to keep frame static, no good for motion then).  The other tools can be configured to do the same thing.
  • Mercalli in Sony Vegas has no mode for 720p50 but otherwise is pretty good and very intuitive and configurable.
  • FCP’s SmoothCam Effect worked best for a challenging clip for wobbly-hand-held camera tracking close past an object (a Formula-1 car) hence huge degree of moving-inwards effect.  The default settings worked straight away.  The result quality was way above that of the other tools.  On the other hand sometimes it’s not the best (sorry, forgot the exact situation).
• Cameras & Shots:
  • Historically, using a TRV33 DV HandyCam indoors (hence low-light hence long shutter time):
    • Way back in the past, using a (now ancient) TRV33 DV handy-cam (which has huge sensor margin i.e. spare pixels), when I shot big zooms to lecture audience individuals (e.g. question-time) I had the camera’s steady-shot (digital, not mirror) enabled  and used Gunnar Thalin’s Deshaker (VirtualDub plugin) also.  The result was astoundingly steady.
    • The same arrangement worked OK with hand or shoulder mounted cam for walk-throughs past nearby objects (e.g. walls, people, furniture).
    • An attempt to do the same thing without steady-shot enabled on the camera resulted in seriously motion-blurred edges.
  • Now, using a Sony EX3:
    • With camera Steady-Shot set to Medium, hand-held pans and motion past nearby objects seem to acquire a positional instability, as if the camera feedback mechanism needs greater damping. Maybe the camera’s internal mirror “suspension” has to be tighter (than the TRV33 digital equivalent) because it lacks the generous pixels margin of the TRV33?  or maybe something to do with the mirror’s inertia?  Or (real-time-constrained) processing-power?
      • Experimentation is needed with the camera’s other SteadyShot modes (High, Low).
      • In the absence of more generous sensor pixel margins, I wish it could be loosened-up e.g. to allow black borders (to crop in post) so as to permit smoother rides overall.

Problem:

• In Windows I export from Sony Vegas to AVI (CineForm).  In OS X I read the file into FCP and apply the SmoothCam effect, then export to ProRes.  In Windows, Sony Vegas, I replace the original file with the smoothed one.  The levels/gamma are wrong.

Solution (Search):

• Sony Vegas forum http://www.sonycreativesoftware.com/forums/ShowMessage.asp?ForumID=4&MessageID=718371
  • Use DNxHD
    •  Couple of tips re DNxHD:  709 color level assumes 16-235, and RGB assumes 0-255.
  • Force it back again: www.kenstone.net/fcp_homepage/gamma_mac_pc.html
    • But this presumably implies getting re-quantized twice (the roundtrip issue and the forcing), which for 8-bit footage I imagine could reduce the quality (banding).
• Uncertainties
  • Where and how does this gamma get applied?  In FCP I didn’t (knowingly) alter the levels (eg until it looked right), I just applied the SmoothCam filter.  So I guess it would look wrong on the (pre-SnowLeopard) Mac but I wouldn’t care.  Wouldn’t FCP then export back whatever it got but smoothed?  This one is really confusing.    Experiments needed (when I get time…) I guess.