His 360VR Toolbox used to sell for over $1,000. If you produce or are thinking of making 360 videos then this is a great pack of plugins.

 
Here the Editor Essentials

https://fxfactory.com/info/editoressentials/

 
and a cute SG

 
Source: http://www.fcp.co/final-cut-pro/articles/1956-tim-dashwood-joins-apple-all-of-his-plugin-products-are-now-free

Well, it turns out to be pretty simple. It seems that when the GH2 is power cycled, it makes a new playlist in the AVCHD structure (you can tell because there are multiple .MPL files in PRIVATE/AVCHD/BDMV/PLAYLIST/), and FCPX only sees clips from the most recent playlist with no way to switch to another playlist.

After a little hunting with a hex editor, I found that PRIVATE/AVCHD/BDMV/INDEX.BDM tells the importing software (at least in the case of FCPX) which playlist to look at. There is a number at the end that matches the number of the most recent playlist file (eg 00001) for 00001.MPL. So if you import the visible footage, you can then backup INDEX.BDM and use a hex editor to change that last number in it to the number of the previous playlist. You're just changing a single byte! Save, then open the FCPX import window again (maybe you need to relaunch FCPX? - don't remember) and the clips that were missing will probably be there. I assume you could repeat the process if you had 3 or more AVCHD playlist files on the card.

for a free hex editor on mac, I recommend Hex Fiend: http://www.macupdate.com/app/mac/22589/hex-fiend

Don't use a normal text editor – more than that single byte will probably change and you'll be sorry.

So to summarize

If missing clips in FCPX import:

• import what you can see
• check for the presence of multiple .MPL files
• change the 5 digit number (eg 00001) in INDEX.BDM to refer to a different .MPL file
• import again in FCPX - missing clips should show up

attached are some screenshots of changing the contents of INDEX.BDM.

Hope this tidbit of knowledge helps some people out. I wish I had discovered it a year ago – would have saved me some aggravation for sure.

will this setup handle raw (red raw from scarlet-x) edit and full res playback in premiere pro cc or fcpx ? anybody using same or similiar setup ?

thank you

I hacked my GH2 a few months ago and things have been pretty lovely so far. A couple weeks ago, however, as I was importing some AVCHD files from my SD card (64GB SanDisk Extreme) into Final Cut Pro X and some of them gave me this error upon import:

"Import Failed: The following clip encountered an error during import and is still referencing media on the camera: Clip Name: 2012-12-01 19:21:00 Event: X Original Name: Clip #X Volume: NO NAME"

After looking around, I noticed that the files that presented this issue had a strange timecode. Instead of displaying a normal start time of "00:00:00:00" they started with "23:27:41:06". Only some files are like this, and as far as I can tell it only happens to clips that used lenses that have been adapted to the camera (non-4/3 Panasonic lenses).. Other than that I don't know what's going on.

Has anyone else had this issue? Is there anything I can do to fix it?

Cheers

Just saw that magic bullet looks came out the other day and is on offer for 7 days. What are folks opinions of it here, and at this temporary new price? Worth a shot?

(com.apple.compressor.compressorkit.errordomain error -1.)

As far as I know no one changed any settings between the last burn and this one. I've found other forums with 15-20 people having the same issue but no one has posted a solution that I've seen. Anybody seen this issue before and been able to troubleshoot it?

FCPX v. 10.1.4

24" iMac, Early 2008 OSX 10.9.5 (Mavericks) 3.06 Ghz Intel Core 2 Duo 6 GB 800 Mhz DDR2 SDRAM NVIDIA GeForce 8800 GS 512 MB

So here is my intended version of the video that we agreed upon. Shot on GH2 with Flowmotion and Nikkor AI and AI-S lenses, edited in FCPX and graded in Resolve.

Password: MyVersion

Official video (if you want to compare):

The other key issue is not copying the original footage to disk, since my SSDs are re-used on a regular basis. This makes grading a one shot process (well until the SSDs are needed again). Obviously money could improve this workflow, but then there would be no profit!

Thoughts welcomed:

This is my latest short film. Shot on a GH3 with Canon EF L Primes (from my 60D days) and a manual aperture adapter (wish the new speedbooster was out earlier, and wish the GH3 had the focus peaking feature like the GH4 does).

I like the Vivid setting in the GH3, the blacks look good after grading. This wasn't aimed as a cinema production, instead TV with a slight filmic quality!

Few things I would of changed, would have lost the massive DOF to one of my interviews. Broke my lens hood on the Canon 100mm f2.8 IS lens and found I had some casting/refraction on certain shots without it.

Shot by: Kirk Gaydon Panasonic GH3 Canon EF L 24mm Canon EF L 50mm Canon EF L 100mm (IS not usable)

Panasonic GH3 Settings: MOV 72Mbps Vivid -5, -5, -3, -3 1080p50 PAL Shutter 1/100 (on track) 1080p25 PAL Shutter 1/50 (interviews)

Audio: Rode VideoMic Pro

Any thoughs or questions, just ask.

throughout the duration of the course.

1. Session
   • Foundation: FCPX Fundamentals
   • Media Management
   • Importing Media
   • Review & Categorizing Media
2. Session
   • Editing Your Project
   • Organizing Your Timeline
   • Multicam Editing
   • Trimming Your Project
3. Session
   • Audio
   • Transitions & Titles
   • Effects
   • Sharing & Exporting

https://www.creativelive.com/courses/final-cut-pro-x-depth-and-date-larry-jordan

Would be great to here thoughts and feedback. Please watch with headset or good audio system and download file for best quality.

Camera settings: 50 Mb/s IPB 50fps => 24p timeline, -5 -2 -5 -5 Lights: 1 x Arri Mini-Cyc 800W, 2 x Arri Junior Plus 650 W, 2 x Arri Junior Plus 300 W Post Production: FCPX + FilmConvert

Acting by: Veronika Herren-Wenger Music by: Jasu Jaranka (Sam Cava Productions) Art direction by: Heidi Wenger Assistance by: Ali Kisaoglu Directing, camera, light design and editing/grading: Christian Wenger

This was a promo for a series of video production classes at a local public access station, centering on one of the former students who is now an intern working at the station.

90% of the footage was shot on a GH3 with the 14-140mm f4-5.8 lens

Recording mode was MOV 30p All-I

Photo Style was set to Natural 0,0,0,0

10% of the footage was from a GoPro HERO 3 (anything obviously hyper-wide)

Edit and grading were done in FCPX, with heavy use of Neat Video's noise reduction plugin for the interior production truck shots.

About: A workshop for a school acting group to understand the difference between acting for the stage and acting for a camera. Focus on the acting in one afternoon we shot it with natural light and kept the fancy equipment to a minimum: a reflector and a home built slider.

Shot in three hours with a hacked GH2 (Flow Motion) and vintage Nikon lenses. Edited in Final Cut Pro X. Graded in Davinci Resolve 10. Sound mix in Pro Tools 11.

Winner of the audience award at the TellUs Short Film Festival.

I applied HS filters to the elements but found that transparency failed on embedded clips of flare - not in Motion but in FCPx. Furthermore, dropzones were working differently.

These projects are not very expensive so I didn't expect too much when I put a support email in. I was pleasantly surprised by the response.

First Clips in DropZones work differently in FCPx 10.1 - my bad I should have done a little more research (Now the position of the playhead at the point of application is used rather than the beginning of the selection) .

Transparency in Motion and the way that video is inherited into the dropzone in FCPx is quite complex where there is another transparent video clip in the project. The upshot is that if you apply a HS filter to a group of elements then the transparent clip in that element has the equal and opposite HS filter applied.

Jakub Jaroszek of MotionVFX send me a screenshot of his Motion project with all the elements expanded and an explanation of what to do where.

I thought this was worthy of a note on PV.

Frankly in FCPX I now find that you have to switch off the scrubber almost all the time, as it will scrub everything you touch. Before in my old system it would kind of play stuff back if it could- but now- ehh! Talk about annoying. Move mouse to change some value- ZzzzzzzZzzzip.

Oh well.

Maybe this is what After Effects was talking about? I don't know. But I do know I just watched my timeline background render itself while I made myself a coffee. (The project is 1 Hour long with 1000's of transitions - effects - animations - ken burns etc.

I think that I may get 2.

A bit like what that Edius guy said the other day on the forum: 'render? what is that?'

So I thought, I buy a cheap old Macbbook take it with me also for viewing, put all the footage on a lower quality and do an offline editing (original footage will be shot on GH2 and be sent to a "safer place").

Anybody has experience down to which Macbook and OSX, FCPX still works, RAM etc?

There isn't a lot of NLE specific information out there on how to properly un-squeeze, and Voldemort's ebook was a starting point for the math that lead to the above solution. There are some assumptions about sharpness and the way one un-stretches that seem a bit quirky or hard to follow, however.

All of my grabs and little vimeo tests and things up this point have been done that way and I am happy with the results. However I'm soon going to be starting the edit on a little feature, and due to my geographic location I have a pretty solid chance of some manner of theatrical projection and I want to start from the ground up with that in mind in the edit.

A couple of days ago I tried what I thought might be a more 'proper' workflow, which was to run GH2 files through 5D2RGB and then through compressor changing the pixel aspect ratio to 1.333. The result was a clip that looked correct, but when I put it in FCPX, I noticed it was slightly taller than my previous efforts. It matched other clips only if I changed their vertical scale to 80 instead of 76. At this height, however, neither match the 'widescreen' button from the plugins, which I take to be a guide for 2.39:1.

I'm wondering which is 'correct' and/or what am I doing wrong, in every case. Obviously, slight variations in squeeze may pass essentially unnoticed, but there must be a 'proper' mathematically correct process for this.

I also at some point of course need to come up to 2k resolution to meet the DCP standard. It's not a huge jump but I'm wondering if I should incorporate that into my initial workflow as well. There were some posts on the BMC forum recently about uprezzing to 4k that were quite illuminating, it seems that the method and amount of color information can play a big role in how well this is accomplished. I've uprezed GH2 frames to 4k in photoshop with pretty good results so honestly I'm not too worried about the jump from 1920 to 2048. Still, I don't know if FCPX is enough, or Compressor might be better, and/or if both the un-squeeze and up-res can be accomplished at once?

Right now I'm looking at:

1.) High quality intra hacked .mts files into 5D2RGB, outputting ProRess 422HQ (unless we think for my later purposes 444 would be better?)

2.) Where to go from here, for un-squeeze and up-res?

Any help would be greatly appreciated. I believe the anamorphic part of the equation should have a more definitive answer than the net seems to provide.

Camera : Panasonic GH2 AVC-Intra Sedna Lens : Nikon AF-S 24-70mm f2.8 G ED Gear : Sachtler FSB-4 75 CF, Gini Rig Follow Focus, Lilliput field monitor Tools : FCPX, Magic Bullet Looks, Motion

This film has been made as a first try out of my new gear. No further purposes. Color grading with MBL.

Has anyone used this product? At 25$ it has the right price, to be helpful as the new XML workflow develops.

http://www.fuelyourmotionography.com/review-clipexporter-for-final-cut-pro-x/

How does ClipExporter compare to Xto7?

https://vimeo.com/mindtransplant/clipexporter-for-final-cut-pro-x

The version 1.1 adds AE export

EDIT 2: If anyone has a FCP 7 exported XML 5 file or a DaVinci Resolve 8.2 XML file they could post so I could try to look at syntax differences vs. the current XML, it would be much appreciated. If you are interested in seeing the features below implemented so that you can buy the software,

Michael at http://www.aatranslator.com.au/ has been kind enough to spend a lot of time recently working on getting better FCP XML conversion capabilities into AATranslater (his relatively inexpensive conversion program for audio that is expanding to include video). If the conversion process worked properly, it would allow a lot very helpful things to happen.

• The ability to take Sony Vegas Pro sessions in and out of Resolve the way the FCP 7 users can currently do (via FCP XML).
• Improved export from Sony Vegas Pro to FCP 7 or Adobe Premiere Pro CS6.
• He has talked about possible FCP X support.

And there are of course many others. I am not affiliated with Michael's company but if the conversion starts working, I will of course buy myself a copy of the software (because the process to get Vegas files into DaVinci Resolve is insanely difficult at the moment, even with the intermediate use of programs like Adobe Premiere to try and convert the AAF files to be more readable, etc.) When I say the workflow without this tool is insanely difficult, I mean over 30 man-hours this week alone on the problem and still have not solved in a satisfactory fashion after 2 weeks.

Here are some of the reasons why a converter like this would help. - Sony Vegas Pro 11 AAF files will not open in DaVinci Resolve 8.2. - Sony Vegas Pro 11 EDL files will not open in DaVinci Resolve 8.2. - Sony Vegas Pro 11 EDL files will not open in Adobe Premiere Pro CS6. - Sony Vegas Pro 11 AAF files that can open close to perfectly back into Sony Vegas, may have major issues in Adobe Premiere CS6. - The AAT Sony Vegas Pro XML import and export scripts (potentially) allow more information to come out of Vegas than an AAF file (current issues seem limited to BIN support and sub-clip support).

But at the moment we are hitting several challenges and so I would like to ask for help, both in providing additional files and in looking at the ones below.

The attached "AAT XMLfiles for PV - v1" ZIP file contains two files.

The "VP11 AAT XML v1" file is the XML output from Vegas using a custom AAT script.

The "AAT XML to AAT to FCP XML - v1" file was created by parsing that script through the converter at the moment (note that the program has not been designed for this sort of conversion and will have to be re-written to work properly).

If you have FCP 7 XML 5 exported files or similar DaVinci Resolve 8.2 files that you can upload for analysis, it would be appreciated. Or if you can look at the AAT FCP XML file below to find out things like why it will open in Premiere Pro CS 4.0.1 but not CS 6.0, it would also be appreciated.

Here's hoping Michael can create a conversion tool that would make life a lot easier, and thanks in advance for your help!

'Update 2012-07-30 01:02AM' - The resolution mismatch has now been fixed. - The CS6 "hanging" issue from a direct import (vs CS4 importing mostly correctly) is being looked at.

I've read a few things here and there on this site and the internet about importing our clips to look the best, with 5DToRGB offering improvements to sub-sampling and perhaps this gamma issue that certainly effected FCP7, and Premiere on Mac, and in some footage perhaps Windows too.

There are some discussions about whether its an issue for FCPX or not.

I wondered if anyone here had any definitive verdict on FCPX's state in this matter?

I know I watched some footage off camera, over HDMI last night and it looked quite washed out. Watching it tonight within FCPX on my MacBook I can see that the material looks more contrasty. Obviously the two displays are different and not calibrated in any way, but does this imply a problem or not? In this case i think the footage in FCPX looks better, though perhaps less flat and ready for grading.

I've tried opening the same file in VLC, FCPX, QuickLook and QuickTime... perhaps there are some differences between VLC and QuickLook/Time but its quite subtle. Would this imply the issue is occuring? Which would be the more "correct" playback?

Finally, if there is an issue, is it even an issue at all with a full 32bit float workflow, has anything actually been lost. The example comparisons on EOSHD's article above look like a real big difference.

The convenience of working with clips natively ingested via FCPX is sort of why I enjoy using it so i'm a little reluctant to work with another workflow, especially for one as I'm running out of disk space a little too quickly, whenever I create ProRes clips of large amounts of footage.

Would really appreciate a discussion on this, if there are any FCPX/GH2 users out there.

Cheers

Ok so I'm not running a 100 core cluster just a dual core 2012 i7 mac mini with a AMD Radeon HD 6630M / 256 MB but wow, FCPx is a lot faster on the transcoding side. I swear I benchmarked 3x for 1080p60 transcoding now it's more like 1x (one min of footage take one min to transcode to prores proxy and regular prores)!!!

Also OSX finally plays AVCHD natively even my nice 1080p60 footage at 28mbps does not stutter and it uses way way less CPU cycles.

Looks like they are finally using Open GL. (On my shite box Windows 7 laptops I've been able to play native avchd with low cpu usage for the past year so well done apple for catching up)

This is great new for us cheapskates using minis instead of Mac Pros

Can someone confirm this speed increase just in case I've been drinking too much of the Job's Kool-Aid.

Not affiliated in any way but I just had to post regarding this astounding plugin for FCPX and Motion 5. It also works with FCP 7 and Express and Motion 4.

One of the tell tale signs of most DSLR footage and especially the GH2 is the lack of latitude. Shadows tend to go dark and hi-lights are usually blown out. Obviously you can shoot around this but, on a sunny day some times you don't have much choice. What Tonalizer Pro does is allow you to salvage hi-lights and boost shadows to get a more film like look. It really is amazing what it can do. Take a look at some frame grabs from some footage I shot with one of Driftwoods hacks last year. The hi-light recovery is worth the price alone in my opinion. But it really has about everything you need to truly get the most out of footage. Of course pulling detail from shadow will expose grain and noise but there are handy check boxes to allow for noise reduction and aliasing. Still the GH2 hack is getting very good at reducing noise in the shadows so I'm more confident in lifting them now.

Have a look at the images as they tell the story better than I can. I haven't been this impressed with a plugin for a long time. If you try Tonalizer Lite, I got a 35% discount which made it a more reasonable price. It is expensive but 35% off ain't bad.

all the best

rich

This short film is about the journey to Brixton and the lovely people who came to the show.

Shot with a Panasonic GH2@60P, 44Mb hack, 20mm/1.7 & 7-14mm lenses.

Edited with FCPX 10.0.3

Music: Your Hand in Mine by Explosions in the Sky