How can I import XAVC clips from my X70 to Final Cut Pro X? I have upgraded Final Cut to version 10.2.1 and it doesn't seem to recognize the clips. What else can I do?
Also, due to requirements from some of my clients I have to record 720x480 dv clips which come out in a .avi form in the X70. How can I import these type of clips also into Final Cut Pro X?
Any help appreciate it. Thanks in advance.

Are you running v2 of the X70's firmware??

No Sir, I just got my new camera and its running version 1.02 as it came originally from factory

No Sir, I just got my new camera and its running version 1.02 as it came originally from factory

That's it - you have to do the 2.0 firmware update, and then also reformat your SD card in the firmware updated camera for this to work. You also cannot shoot multiple formats on the same SD card, and footage shot under the old firmware will not import even after you do the update.

I have done the firmware update successfully. My camera is running version 2.00, I have formated the sd card with the new version. I have shot some XAVC clips under the new firmware version and Final Cut X will not recognize any video nor audio. the only thing I can see in the import window of final is a still picture of each clip I have recorded. What else can I do?

Are you importing footage directly from the camera? If so, I had trouble doing that (would only recognize the first clip). The solution was to either use a card reader, or, copy the card structure from the camera to your computer.

The issue is that the drives mounted on your computer representing the cards in the cam are read-only. Once the card's data is on a read-write volume, all works well.

See page 7 of this thread for details:

Any word on XAVC-L plugin for FCP X? (http://www.dvinfo.net/forum/sony-pxw-x70-fdr-ax100/526499-any-word-xavc-l-plugin-fcp-x-7.html)

...and, make sure that you aren't mixing recording formats on the card.

I've also heard of a couple of cases where the SD card had to be reformatted (in-camera, of course) a couple of times before it would "take." Also verify in the camera menus that you're successfully updated to 2.0.

Are you importing footage directly from the camera? If so, I had trouble doing that (would only recognize the first clip). The solution was to either use a card reader, or, copy the card structure from the camera to your computer.

The issue is that the drives mounted on your computer representing the cards in the cam are read-only. Once the card's data is on a read-write volume, all works well.

See page 7 of this thread for details:

Any word on XAVC-L plugin for FCP X? (http://www.dvinfo.net/forum/sony-pxw-x70-fdr-ax100/526499-any-word-xavc-l-plugin-fcp-x-7.html)

I've been having the same problem as well. I'm gonna try this tonight. Thanks for the info!

I have a FCPX issue where I must RESTART FCPX after importing XAVC-L from my X180 before the card from my X70 will be recognized properly. If I don't restart X, I get an empty clip folder with a spinning dial forever in the lower portion of the import screen.

Paul

I hate to say this, but although I don't have any issues importing, I'm finding that some third party transitions, etc. still have a few glitches with native XAVC-L in FCPX. I'm able to solve the glitches (a few random frames of heavy pixelization at the start or end of transitions) by either using a different transition, or by transcoding the individual clip to ProRes and replacing the existing clip with that new one.

I think we're still not 100% yet with this workflow. For now, when in doubt, the EditReady to ProRes option is fast and rock-solid. For archiving I toss the ProRes anyway to save space, knowing they can always be recreated.

How can I import XAVC clips from my X70 to Final Cut Pro X? I have upgraded Final Cut to version 10.2.1 and it doesn't seem to recognize the clips. What else can I do?
Also, due to requirements from some of my clients I have to record 720x480 dv clips which come out in a .avi form in the X70. How can I import these type of clips also into Final Cut Pro X?
Any help appreciate it. Thanks in advance.

Download Sony Catalyst Browse:
Sony Creative Software - Catalyst Browse (http://www.sonycreativesoftware.com/download/catalystbrowse)

Transcode your files from whatever format they were shot in (XAVC) to whatever format FCP will accept (XAVC Intra, for example) and import those transcoded files into your project. I have done this several times over the past 24 hours with the new 4K upgrade and it works great. Some examples can be seen here:

Sony PXW-X70 4K field test: Jody Eldred DP/Editor - YouTube

More PXW-X70 4K Deliciousness - YouTube

Download Sony Catalyst Browse:
Sony Creative Software - Catalyst Browse (http://www.sonycreativesoftware.com/download/catalystbrowse)

Transcode your files from whatever format they were shot in (XAVC) to whatever format FCP will accept (XAVC Intra, for example) and import those transcoded files into your project.

I have not used Catalyst Browse along with the X70's firmware 2.0. But with older firmware, it was revealing a levels issue. Hopefully that is no longer the case.

These days I'm just using native import of XAVC-L into Final Cut. I was also using EditReady to transcode to ProRes 422. It was a cheaper solution than Catalyst Prepare. And both it at Prepare don't have any levels issues.

Since the Firmware update, I have not been ingesting XAVC from my X70 into FCPX. Instead, I have been ingesting my camera clips into Catalyst Browse 1.2, renaming the clips, entering metadata, making any obvious color tweeks, getting rid of useless heads and tails, and then transcoding to Prores 422 and output the files to my "original data" location--which is part of a raid drive array and backed up on a scheduled basis. Transcoding to Prores and dumping the camera native files prior to ingest means that I don't have to later optimize the files in FCPX. FCPX sees that I already have them and uses them. That way I am, of course, editing in Prores instead of camera native. I believe this is more natural (effective/efficient??) for FCPX. I also archive my master project files in Prores as well.

I understand that also means that I am placing all of my long-term eggs in the longevity of Prores to the exclusion of any other Edit codecs format. My rationale is that as effective as XAVC may be as a capture codecs (and it seems to be shaping up marvelously!), it may not be as elegant as Prores for editing, at least in FCPX. I do realize that the Prores files are larger than the camera native files as well...that is the only downside that I see--at least at this point.

I am hoping that the end result is that if I ever need to re-create anything I have it teed up and ready to go in a universal Edit friendly format.

Thanks for sharing this Bob. I'm also contemplating doing the same. The one killer though are ProRes 422 files in 1080p 59.94 as their data rate is about 280 Mbps. In 29.97, data rate is closer to 150 Mbps.

The other thing I've noticed about XAVC import... I'm not given the option to leave the files where they are. FCP X always makes a copy. Thus, I now have two copies of the original files (technically four since currently both my 'original media' folder is backed up as well as the FCP X projects bundle). My scratch drive (never backed up), then contains the optimized media.

Assuming that each project would have final output files of say 35 Mbps (e.g. Blu-ray) and a 6 Mbps (web), final storage requirement should be:

XAVC-L solution
* 62 MB/h
* 44 MB/h of backups (to be fair, I could mark the 2nd copy as not requiring a backup, so really this would be 22 MB/h)
* 66 MB/h (29.97) or 123 MB/h (59.94) of Scrach drive storage for transcoded media

Total: 150 MB/h (29.97), 207 MB/h (59.94)


59.94 ProRes 422 solution
* 141 MB/h (163 MB/h if keeping XAVC-L footage)
* 123 MB/h of backups (final Blu-ray and web output not backed up)
* 22 MB/h on Scratch drive if keeping XAVC-L footage

27% to 38% more storage than XAVC-L solution


29.97 ProRes 422 solution
* 84 MB/h (106 MB/h if keeping XAVC-L footage)
* 66 MB/h (final Blu-ray and web output not backed up)
* 22 MB/h on Scratch drive if keeping XAVC-L footage

0% to 15% more than XAVC-L solution


For the vast majority of my footage, I plan to record in 29.97. And if I opt to toss the original XAVC-L, the total storage requirements are the same comparing XAVC-L vs. ProRes solutions.

BTW, this is all ProRes 422... numbers will be different if working with the HQ or LT variants).

Finally, I'm a-ok with storing as ProRes. Some cams and external recorders record directly to that. In fact, if I ever decide to go the external route, I would end up recording first-gen ProRes and then directly copy that to my computer. I would still record internally to XAVC-L as a backup just in case the ProRes material got damaged. Right now, I think I'd trust that future software will work with ProRes much more than with XAVC-L.

Hi Ricky--thanks for working out the numbers. I haven't done the math, but I think you hit it on the head.

The bottom line seems to be that if you are going to do major surgery in the edit---grading, complex transitions, fancy effects, etc. then one has to take the file to all of its inner parts---frame by frame. Here compression is our enemy---so big files here we come! Data rate, of course follows, but at least here transport is not the problem, only storage. But at least with the CPU power, when we are using ProRes and avoiding the heavy math associated with taking apart heavily compressed files for the edit since ProRes has already bloated them back up. At this point that big size is convenient for the edit, though. XAVC and other native files may also work for the edit---sure---but I think that Prores is better prepared to do the heavy lifting at this point. One theory believes that the XAVC file from the camera has completed its task, and can be sent to the boneyard. Keep the ProRes file.

However, if the all I am going to do is quickly cut a bunch of clips from a short to the timeline then I might as well keep it simple and edit with the native files. It depends on the task.

In any case, following the edit we must pick a new codec for the delivery---ProRes (Data Rate/ Size, etc.) simply will not do at this point. Picking a delivery codec is very specific to the end method of display and distribution. Heavy compression and minimal storage and efficient transport is once again is the desired characteristics.

Sony apparently wants to sell XAVC (and its variants) as an across the board codec (capture/edit/delivery) as well as one that bridges from consumer to studio pro. That is ambitious and a tall order---we shall see.

In the meantime, I will pick and choose. But these are exciting possibilities!

I might be way off. Others may have already figured this all out. But this is where I am at this point.

For what it's worth, I've used XAVC extensively on my F55 in HD and 4K and I find it to be a very elegant compression algorithm... plenty of room to color grade, plenty of ones and zeroes without artifacting yet manageable files sizes.

For the vast majority of my footage, I plan to record in 29.97. And if I opt to toss the original XAVC-L, the total storage requirements are the same comparing XAVC-L vs. ProRes solutions.

Oops, my calculations contain a flaw :) I didn't account for the fact that if working with XAVC-L footage, the transcoded ProRes (optimized media) need not be stored indefinitely. Thus, space-wise, it is still better to import the original XAVC-L clips.

Updated calculations based on 50 Mbps 1080p XAVC-L:

22 GB/h (original copy from SD card transferred to the computer; this can be purged depending upon how critical the footage is).

22 GB/h (FCP X's copy of the footage after import)

66 GB/h (29.97) or 123 MB/h (59.94) of Scratch drive storage for transcoded media

22 GB/h backup of FCP X's imported media

22 GB/h backup of original SD card data if needed.

18 GB/h of output (Blu-Ray @ 35 Mbps and Web @ 6 Mbps)

18 GB/h of backup of the output files (I plan to start backing these up too now)


Most cases will involve purging of the original card data after a while and no backup needed of that either. So this gives just 40 GB/h of storage on my main drives and the same 40 GB/h on my backup drives. Not bad at all.

If needing to keep and back up the original SD card data, this jumps to 62 GB/h each for the main drive storage and backup drive storage.

Hi Ricky-- yeah, I have found that the ProRes files continue to be much larger, in every case, as well. I will go back to archiving the camera native files, and get rid of the ProRes files after editing. That's what I had been doing before with AVCHD anyway.

I still haven't made up my mind on editing native XAVC files versus ProRes however. Right now I am sticking with ProRes, unless I find out that there is an advantage to editing in the camera native files format.