Yes. As far as I can tell, similar material from the FX6 doesn't show the problem of no audio after import to FCP. In my test Catalyst showed both FS5 and FX6 clips were 1080p at 25 fps, using a capture frame rate of 100 fps. Both were 10-bit 4:2:2 using AVC (H264) High422@4.1 profile, max GOP length of 12.
There must be some difference in how the two cameras write hidden or proprietary metadata to the file, but I don't see it in either Invisor or Catalyst. See attached.
@eladburger - If you do decide to go down the EditReady route, I wrote a small bash script to deal with the file modification time stamp issue. I've used EditReady for a few years and it worked well with AVCHD media except for the modification dates messing up FCP sort order. I had a feature request discussion with the developer but I don't think it's a high priority. The simple script loops through your EditReady output .mov files and set's their modification date to the creation date.
for i in *.mov
created=`/usr/bin/GetFileInfo -d "$i"`;
/usr/bin/SetFile -m "$created" "$i";
Thanks everyone for all the help, I appreciate it.
Its a shame that FCPX missed the FX5, and it's killing me that my colleague is rubbing it in my face that Premier Pro have no issues
I tried EditReady and it looks like the way to go until we changing to the FX6
...my colleague is rubbing it in my face that Premier Pro have no issues ....
Premiere has many issues, just different ones. It's ironic the Premiere playback engine is code-named Mercury. It's like having a pet turtle named "Lightning". Years ago a database called FoxBase was famous for being super fast. The CEO would walk among his developers with a stopwatch on a lanyard around his neck and demand impromptu timed performance tests of their code. I suppose nobody at Adobe has ever done that.
The cameraman brought the FX5 to me yesterday and I had a bit of a play and I found out:
At 200p super slow motion the FS5 have few setting options and the ones I tried:
- 200p/25fps/50Mbps - No problems importing to FCPX
- 200p/50fps/50Mbps - No problems importing to FCPX
- There is no 25Mbps option in super slow motion
At 100p I found only two options:
- 100p/25fps/25Mbps - Problem importing to FCPX (as discussed)
- 100p/50fps/50Mbps - No problems importing to FCPX!
So it looks like whoever was in charge of the Codec conversion/re-warp at Apple, did it on a Friday afternoon and forgot about the 25Mbps
I can't really see any reason (apart from a larger file size) not to shoot the 100p at 50fps and 50Mbps, I'm I right?
That's right, no reason I know of to not use the bit rate and frame rate that works. The FX6 has two bit rate options for 1080p 25 or 50 fps, which is 35 mbps or 50 mbps.
The FX6 still has the FS5 limit of inability to shoot 4k 10-bit 4:2:2 in Long GOP (XAVC-L), however it does that in XAVC-I (All Intra) so we use that, or external ProRes recording to a Ninja V or Shogun 7. The FX6 will shoot 10-bit 4:2:2 Long GOP at 1080p, but everything we shoot is 4k so we don't use that.
Because we use only SLog3 which is a very flat profile, we normally don't use 8-bit recording which could cause banding or other artifacts in post.
Catalyst Browse can transcode -- in fact it must do this to export Sony footage with gyro stabilization data, such as from the A7SIII, FX6 and FX9. That's because no NLE can interpret that, so it must be "baked in" by transcoding. The stabilization results are excellent if at 60 fps but it's a hassle and must be done clip-by-clip, not in a batch.
However EditReady2 is vastly faster since it can re-wrap, not just transcode. In this case re-wrapping is all that's needed.
It will do that if you import to Catalyst the MXF by itself without the XML sidecar file present in the folder. I don't know what effect it has, but it illustrates the risk of discarding the sidecar files or camera folder tree. You can never tell when some NLE or utility will need that metadata for something.
Yet FCP itself sort of encourages that since it won't import tree-oriented media using "leave files in place". OTOH if that metadata is needed, maybe FCP is doing the right thing by mildly insisting on that media and re-wrapping it during import.
That in turn raises the question about what if the data was captured on an HDMI recorder as ProRes. Would that contain all the required metadata? I don't know, but when I import to Catalyst A7SIII and FX6 material captured as ProRes on Atomos recorders, much of that metadata is missing. See attached. The video works OK in FCP but it raises the question about special cases like slow motion, HDR, special color profiles or Catalyst gyro stabilization. E.g, what if you're using Resolve and rely on its color management function to identify the imported clips and apply the proper color transform?
Supposedly if you re-wrap the Sony MXF using EditReady2, it will "fold in" all required metadata. However I've seen cases where that doesn't work. How could it, since video metadata is often proprietary and undocumented? Lots of metadata fields are squirreled away in "maker's notes", a term of art for "secret stuff". For utilities like Invisor, MediaInfo or the command-line tool ExifTool, it takes constant reverse engineering to figure out those metadata fields, and they are subject to change without notice.
For the case of FX6 4k/23.98 All-Intra XAVC-I re-wrapped with EditReady2, it apparently works OK but the re-wrapped file cannot be read by Catalyst Browse.
I suppose the lesson is you cannot simply assume that every combination of codec, NLE and post utility will work perfectly. Every single processing pathway should be tested ahead of time.