Core Features

Functionality allowing batch extraction and rendering of stills or animated GIFs based on each Marker's timecode.

Automatically analyse and embed colour swatches from extracted images for shot reference.

Integrates with Final Cut Pro, boasting a native Share Destination & Workflow Extension.

Precise extraction of Markers, ensuring an accurate representation of metadata.

Native integration with renowned databases such as Notion and Airtable.

Effortlessly synchronise Final Cut Pro's Marker metadata to cloud databases with a single click.

Versatile features for batch burning-in labels, embedding comprehensive metadata of each Marker onto stills or animated GIFs.

Comprehensive timeline functionality, encompassing support for timelines such as Projects and Compound Clips.

Allows the creation of multiple configurations tailored to diverse project requirements.

Harnesses the potential to utilise Captions as Markers, adding a layer of flexibility.

Written in Apple Swift language and SwiftUI framework.

Application is Notarised by Apple.

Available Extract Profiles

Notion (JSON), Airtable (JSON), Comma-separated values (CSV) - Compatible with spreadsheet applications, Tab-separated values (TSV) - Compatible with spreadsheet application, Microsoft Excel (XLSX), YouTube Chapters (TXT), Standard MIDI File - Compatible with most audio DAWs

https://markerdata.theacharya.co/

I just bought a GH4 and I am trying to get it to work with my FCP 7, but is does not really work well yet. I prefer to film in FHD 100Mbps 25P, and I need to film longer than 30 min..The camera is bought in US and does film continuously more than 30, but it chops up the files in small pieces of 4.27GB (6.40 min). There are 2 problems in this: 1) When importing in FCP7 it imports well, but when put on the timeline, "General Error" appears and it will not play it. I have tried to convert to ProRess HQ, and this plays well, but a second problem appears: 2)every 6:40 min I lack 2 frames both audio and video, and this is really not what I need, I need a continuos file for more than 6.40 min...

What can I do?

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.

(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

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.

http://www.apple.com/final-cut-pro/whats-new/

I primarily work as an editor, but im not super "tech". For the past few years i've been using a hacked gh1 for my personal stuff, editing on an imac with FCP 7, log and transfer to prores. As far as i have experienced h264 has not been good to edit with? every time i have had footage shot with canons sent to me for work, an assistant editor would trans-code to prores.

so with one of the main selling points of the GH3 being ALL-I, and the talk of "edit ready" h264, im confused.

like everyone else, i want to get the most out of this camera in terms of image quality, so my question is, to transcode or not? if you were to transcode ALL-I footage to prores, would it defeat the purpose of shooting it in the first place? what are the pros and cons of working with H.264?

the primary size and frame rates i'd be using are 1080 24p and 1080 60p for slow motion.

what are you guys doing for post? what are your opinions on codecs and workflow?

thanks! jon

http://www.amazon.com/Dr-Bott-Final-Keyboard-FCP-AW-CC/dp/B005MEZJNC/ref=sr_1_2?s=electronics&ie=UTF8&qid=1360790735&sr=1-2&keywords=final+cut+pro+x+keyboard

I am in need of a little guidance regarding my workflow options for an upcoming project I will be shooting on a Panasonic GH2.

Footage from my GH2 is in the .mts format/AVCHD codec and my usual workflow is to use FCP's 'log and transfer' function to convert the footage to ProRes, for editing in FCP. I usually also archive each SD card as back up.

However, I am wondering whether there is a better method for this project, which will involve heavy use of the Twixtor plugin in After Effects. My initial instinct was to transcode the raw files into ProRes via FCP as per usual and then import these ProRes files into After Effects for processing. But I wonder whether I would be better of editing the .mts files directly in After Effects before exporting for FCP. My understanding is that this method involves one less re-compression and should theoretically result in less artifacts.

I am also unsure about what the most efficient codec for exporting from After Effects to bring back into FCP.

My ultimate goal here is to preserve quality and minimise re-compression artifacts.

Any help would be much appreciated!

Cheers. J

Camera : Panasonic GH2 AVC-Intra Sedna ~140mb/s 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

The poem is written by the Frisian poet Durk van der Ploeg, a dutch writer and poet. His work is mainly published in the Frisian language and he is a Knight of the Order of Oranje Nassau.

The images portrait Frisian landscape architect Siem de Vlas working in his studio and visiting the grave of the famous dutch landscape architect Lucas Pieters Roodbaard (1782 - 1851). Roodbaard laid out many English landscape gardens in major cities in the Netherlands.

The Frisian languages are a closely related group of Germanic languages, spoken by about 500,000 members of Frisian ethnic groups, who live on the southern fringes of the North Sea in the Netherlands and Germany. The Frisian languages are the second closest living languages to English, after Scots.

Concept, Camera, Editing : Richard van der Laan Poem writer : Durk van der Ploeg Poem reading : Siem de Vlas

I hope you enjoy watching..

Despite all my objections a client has insisted on shooting the GH2 in 30p, so I'm doing as told and want to make sure I have it down pat since I've only shot 1080p24 or 720p60 before. I set the mode to HBR NTSC and shot some test footage, but when I bring it into FCP (which is where the client will be editing the final project) and convert it to ProRes, it's 29.97 with Upper Fields. The footage I am to shoot is to be mixed with other footage all shot at 30p. Is the fix in FCP as simple as setting the fields of the individual converted prores files to none? Or should I do something with Cinema Tools to make the GH2 footage true 30p? I have tried to find this answer but to no avail.

I've got some computer generated video at 60 fps (and higher framerates up to 120 fps) which I would like to convert to standard 30 fps, with motion blur derived from blending the intermediate frames.

Specifically, my question is, is there an After Effects or (preferably) Apple Motion plugin that does this correctly? Or some utility software like MPEG StreamClip?

To be clear, I don't want to change the playback speed of the video, just blend intermediate frames to simulate footage shot at a lower frame rate and corresponding shutter speed.

thanks in advance

bruno

[edit] - on a hunch, I just checked the export options in StreamClip. There are "frame blending" and "better downscaling" options in the "Frame Rate" section. Does anyone have experience with using these for the purpose I described? Specifically wha's on my mind is, if downscaling a high frame rate video (e.g. 120 fps) to 30 fps, are ALL intermediate frames used in the blending? And in what proportion?