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These copies will be compatible with macOS Catalina or later If you created optimized media, you should still convert the original files for future compatibility. When you convert the files, they will be in the same ProRes format as the optimized media. Final Cut Pro won’t detect incompatible media used in Motion projects. To see if a Motion project uses incompatible Media, open it in Motion.

A message will appear if incompatible media is detected. In macOS Mojave, you can use Compressor to transcode one or more media files into a supported format such as Apple ProRes , which preserves image quality and provides the best performance when editing in Final Cut Pro. In macOS Catalina or later, you can’t convert incompatible media with Compressor. These video, audio, still-image, and container formats don’t rely on the QuickTime 7 framework, and are compatible with Final Cut Pro, Motion, and Compressor in macOS Catalina or later:.

In macOS versions up to and including macOS Mojave, third-party software has extended the QuickTime 7 framework to support many incompatible media formats. Third-party developers may continue to offer compatibility with some formats by building support directly into their apps.

Contact developers of third-party apps for more information about media formats supported in their apps. Information about products not manufactured by Apple, or independent websites not controlled or tested by Apple, is provided without recommendation or endorsement.

Apple assumes no responsibility with regard to the selection, performance, or use of third-party websites or products.

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This document explains step by step, how to export files using Final Cut Pro X in order to meet the requirements of the Red Bull Media House Technical Specifications for the delivery of moving images.

In Final Cut X, an accurate audio set up is one of the most important steps in ensuring that your final clips are submitted correctly. During this step, the clip in your project window must be marked. The options that are available in the Inspector panel depend on the item that is selected. For example, if you have selected a transition then the Inspector panel will display the options related to that effect.

Next, put the audio track or video clip in the sequence window timeline and expand the Audio Components, right click on the clip and choose Expand Audio Components Figure 3.

It is necessary to set all of the Stereo clips to Dual Mono and to change the panning to the left and the right side. Use Roles to organize, search, mute, view and label your source material with the proper labels in your timeline. Create all of the necessary roles as according to the requirements of Red Bull Media House.

For example, right click the left channel Mono 1 of your Dual Mono Track in your timeline and choose the role in the drop down list according to the type of material.

Repeat this Step for the right music channel Mono 2. If your clip does not contain all of the audio tracks mentioned above, such as Voice over or Interviews, then you nevertheless still need to add a short audio snippet with no content for these missing roles.

This is important, as you will not be able to export channels without an assigned role during final export. You can also tag your video material with the suitable role. For example, to separate video, graphics and lower thirds at the export process. After you have created a well-balanced mix of these signals you can create the Full Mix by selecting all the audio and going to:. The file needs to include all the signals that are available in the complete clip Figure 5.

If all the roles have been assigned correctly and you have adapted the panning according to the description mentioned earlier then you will get a stereo audio file, which contains all of the audio signals in your clip. All measurements must be determined in compliance with the recommendations of EBU R, but with the maximum True Peak level as stated above. Figure 6. To show the Video Scopes monitor press Command — 7 Figure 7. In this window, you will see a range of video signals. You can setup the view to display the Chrominance and Luminance waveform.

You can find a broadcast safe filter under Effects in the Video Filter section. To simplify and guarantee that the filter affects all the clips you can add an adjustment layer and put the broadcast safe filter on it. To change the audio setup manually, set Roles as to Multitrack Quick Time Movie and make sure to have 14 Mono audio tracks. Add the roles according to the order of the required audio channel layout. Scroll down to see the hidden audio tracks and set up all Channels as described below:.

Channel 1 includes Full Mix left. If you have set up all the channels correctly then you can click next and enter the filename and path.

Please do not use any special or space characters in the file name Figure Skip to content Tested with Version Pro Video Formats 2. Overview Figure 1 Set up the Source Material Audio In Final Cut X, an accurate audio set up is one of the most important steps in ensuring that your final clips are submitted correctly. Figure 2 Next, put the audio track or video clip in the sequence window timeline and expand the Audio Components, right click on the clip and choose Expand Audio Components Figure 3.

Figure 3 It is necessary to set all of the Stereo clips to Dual Mono and to change the panning to the left and the right side. Roles Use Roles to organize, search, mute, view and label your source material with the proper labels in your timeline.

VO FM excl. VO left FM excl. Repeat this Step for the right music channel Mono 2 ATTENTION If your clip does not contain all of the audio tracks mentioned above, such as Voice over or Interviews, then you nevertheless still need to add a short audio snippet with no content for these missing roles.

Figure 9 We need the final clips to have 14 separate Audio channels in Mono. Scroll down to see the hidden audio tracks and set up all Channels as described below: Channel 1 includes Full Mix left. Figure

 
 

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