I also read it can take some time... But in this case it was just that I used Safari in which they never show up.
I recently edited a whole Live concert that I shot that was gonna be released on DVD. Ended up telling them I couldn't do the authoring.
In my case the DVD was gonna be included for free with the live concert album so in that case it sort of make sense, I guess.
I figured it out!
It looks like YouTube only shows above HD if your browser supports VP9 codec. So in Safari I only see up to HD but in Firefox I can see the 2K and 4K options...
I never noticed you could change to "computer" in the Master export!
I achieved the same by choosing Apple Devices...
FCPX still exports at higher bitrates than the YouTube recommendations. But then again, it seems like YT will eff your videos up no matter what you do
Ok, client wants me to deliver h.264 in a .mp4 container. When exporting master it's .mov.
What's the best way to make a .mp4 version?
I tried uploading a 4K (well UHD) video as well, choosing 4K in FCPX when exporting/sharing to YouTube.
It still only becomes available as HD... weird!
Yeah, I just thought that it's a bit more than HD and still gives me a little room for reframing when shooting 4K. And it's the resolution of my monitor so I can see the final version pixel for pixel in full screen.
Oliver Peters wrote: Out of curiosity, why are you using his size? It's not a normal standard for delivery.
Been exporting then uploading. Maybe I'll try the built in uploader. Haven't used that in years. Can't even remember why I stopped using it haha.
Tom Wolsky wrote: Are you uploading using the FCP preset or but exporting the file first and using the YT uploader?
For 2020 I'm starting to shoot everything in 4K and was planning to deliver in 2560x1440. (unless client requests otherwise obviously).
But I did a test upload and YouTube only makes it available as HD 1080p.
Is it only when uploading 4K a 2K (2560x1440) is available? Anyone know?
Vimeo shows the full res version (along with better quality) but unfortunately as it's a music video it needs to be on YouTube.
Yes! That's it! Thanks!!
Axel wrote: No access to FCP from here. Isn‘t there an effect „negative“ or so that does this?
Doesn't help with adding transitions etc.
FCPX.guru wrote: You can also use Roles and the Timeline Index to collapse things.
Nothing wrong with how they work... just the way they look (UI, Icons etc)
I often have up to 8 layers of stuff... and it's nice to "hide" it so the whole timeline doen't build too much height and also sometimes when you want a transition to affect all of those etc I want to group them.
I think only once in all my time using FCPX (started with 10.0.1) I have wanted to use a compound clip in more than one location... Almost every project I want to collapse layers but many times don't because of the fiddle of compound clips...
Yeah, but it costs money and I feel it really should be in the main feature set.
degeneric wrote: Lock and Load X natively supports Multi-cam clips and has a batch processing option to stabilize many clips at once
Is there a way to expand compound clips so they come back to the timeline as it's seperate parts again?
I really don't like the way compound clips work... wish there was a way to group clips and it worked just like compound clips but didn't add a "file" in the browser and you could ungroup at any time. 9 times out of 10 I don't wanna use that compound clip anywhere else so having extra stuff littering my files is just annoying and more clips to organise... all for no reason.
To get ProRES RAW you need to output via SDI on FS5 as well. And the FS7 also need the extension back for it's raw output, just like the FX9 (it's the biggest flaw of those two cameras!).
What I've heard the gyro data will not be available in the raw output of the FX9. But I've also heard that they're working to allow ProRes RAW to accept more meta date, so who knows what'll happen in the future.
The FX9 will however have a 16bit raw. It won't be available until in the summer and I expect Atomos to have a new recorder available not that long after that.
Unless you really need ProRes RAW, you can just use an Atomos Ninja V or similar to record ProRes from HDMI or SDI.
Personally, my initial impression is that the gains of ProRes over the internal XAVC-I is minimal and also see no need to transcode to ProRes for editing. I like that the XAVC-I is fairly manageable file sizes.
I have the 28-135 as well and it's finally usable now on the FX9... for most things I don't like f4 on S35 sensors... But on a full frame sensor it's ok. I only use it for things like live performances etc. (or when I might have to be able to use the zoom part of the footage).
I'm pretty sure I've done it in FCPX before... is there really no invert colour in FCPX???
I'm going insane, I know I've done it before... but now I just can't find how to do it... how do you invert an image? Colour wise that is. So white becomes black and black becomes white etc???
Will try eventually!
joema wrote: Thanks. Can you try the Sony software to stabilize the image using the gyro data? How well does that work?