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PsF’s missing workflow, Part 8: ClipWrap to the rescue

Like a bridge over troubled waters, ClipWrap will now be the cure-all for AVCHD’s multiple weaknesses for many Mac video editors, at least in the short term.

By Allan Tépper | November 30, 2011


In parts 1-3 of the PsF’s missing workflow series, we introduced the terms benign PsF & malignant PsF, and revealed the PsF status of several professional AVCHD cameras from 3 manufacturers (Canon, Panasonic, and Sony). In #4, we did the same with several HD video recorders from 6 different manufacturers. In #5, we revealed how one recorder manufacturer is offering its own “Band-Aid” software to counteract the inappropriate signals offered over HDMI by many camera manufacturers. In #6, I published an open letter to all pro AVCHD manufacturers. In #7, I covered how to deal with PsF on a progressive sequence in Premiere Pro CS5.5. Now in #8, I’ll reveal how the US$49.99 middleware known as ClipWrap will be the cure-all for all of AVCHD’s multiple weaknesses, including both types of PsF, at least in the short term.

The terms Benign PsF and Malignant PsF

The terms benign PsF and malignant PsF were introduced in Part 1 of this series called PsF’s missing workflow.

A summary of AVCHD’s multiple weaknesses for anyone who plans to edit the footage

For all of the details, please read (or review) parts 1-7 of this PsF’s missing workflow. In the meantime, here is a short review of those AVCHD weaknesses:

  • Current AVCHD cameras (even professional ones) have chosen to record using lame FAT32 formatting, which unnecessarily forces the creation of multiple sequential files for long clips, which is a mess to view and manage at a system (“Finder”) level, and (without special workarounds in the software editor) requires manual rejoining of said sequential clips.

  • Due to its heritage in the Blu-ray format, instead of simply recording video files, all current AVCHD cameras (even professional ones) record video files in a strange hierarchy of folders and subfolders, which are also a mess to view and manage at a system (“Finder”) level.

  • Also due to its heritage in the Blu-ray format, 1080/25p and 1080/29.97p are not specifically valid, so all current AVCHD cameras (even professional ones) are unfortunately forced to record 1080/25p as 1080/25PsF, and 1080/29.97p as 1080/29.97PsF. There is not consistency in the way the PsF files are flagged (identified) among AVCHD manufacturers, so even though some PsF files (benign PSF) are properly recognized as progressive by some very recent software editing programs (i.e. Adobe Premiere Pro CS5.5.x and Apple Final Cut Pro X), other PsF files (malignant PsF) are misinterpreted as interlaced (with all of the pitfalls and negative side effects mentioned in part 1 of this series), and all AVCHD PsF files (even benign PsF files) are subject to pitfalls and negative side effects with older software editing programs.

In part 6 of the PsF’s missing workflow, I requested all professional AVCHD camera manufacturers (Canon, Panasonic, and Sony) to offer a professional UDF option in their camera menus, where they would format their flash media as UDF and record standalone long-GOP H.264 files as a single file per clip (not sequential files per long clip), and without unnecessary folders and subfolders. (There were several other requests in that letter.) While I hope they add these improvements to their current or upcoming long-GOP H.264 camera models, ahead you’ll see a cure for all of the AVCHD weaknesses mentioned above, plus some more features too.

Like a bridge over troubled waters, ClipWrap will now be the cure-all for AVCHD’s multiple weaknesses for many Mac video editors, at least in the short term.

ClipWrap is what I call middleware, because it acts as a bridge between the mess of sequential files, subfolders and potentially misinterpreted PsF (25PsF and 29.97PsF) into straightforward files that are recognizable both by the latest video editing apps, as well as the older ones with no problem. As the name indicates, in its default mode, the ClipWrap program re-wraps the original entangled H.264 files into straightforward .mov files. Shortly after releasing the very first articles in the PsF’s missing workflow series, I contacted Colin McFadden at Divergent Media to see whether he could add support for malignant PsF files to their US$49.99 ClipWrap product (which already handled benign PsF files properly), since I knew that if he did, ClipWrap would go from being a very good product to a “grand slam”. I had previously read that Divergent Media was vehemently opposed to adding a de-interlacing feature to their ClipWrap product (which I applaud) so I was careful to explain in my request/suggestion that I was not requesting de-interlacing, but just proper identification of all types of PsF (benign and malignant) in the resulting file as progressive, while continuing to identify the truly interlaced files as interlaced. Colin requested an example file of malignant 29.97PsF which I immediately supplied (thanks to Jorge Koechlin and Rafael Alarcón for that footage). I was surprised how quickly Colin sent me a ßeta version of ClipWrap to try it. I determined that ClipWrap was now capable of properly identifying the following types of AVCHD files:

  • Benign 25PsF clips from the Panasonic AG-AF100 (thanks to Rub©n Abruña, from Miami, Florida, USA)

  • Benign 29.97PsF clips from the Panasonic AG-HMC40 (thanks to Carlos Matamoros, from Miami, Florida, USA)

  • Benign 29.97PsF from the Sony HXR-NX5 (thanks to Sony)

  • Malignant 29.97PsF clips from the Canon XA10 (thanks to Jorge Koechlin and Rafael Alarcón, from Miami, Florida, USA)

  • Native 23.976p clips from the Sony HXR-NX5 (Thanks to Sony)

  • Truly interlaced AVCHD files from various sources

I determined that the only type that ßeta version ClipWrap couldn’t yet recognize as progressive were the malignant 25PsF clips from Canon (PF25), so Colin asked me to send him a sample 25PsF file, which I did (thanks to Jorge Mez©i, from Buenos Aires, Argentina). After receiving it, Colin updated the ßeta version, and I subsequently verified that the updated version now recognized all types of AVCHD PsF files properly, and the resulting .mov files were recognized as progressive in all of the editing programs with which I tested it, including Adobe Premiere (even older versions) and FCP X. Although I don’t have Avid Media Composer, Colin does, so I trust that it appears properly there too. The only place where the re-wrapped H.264 files don’t appear as progressive was in VideoSpec (since VideoSpec looks at another part of the metadata), but the most important thing is that the progressive files be recognized and treated as progressive in the editing programs, as they now are.

But beyond the good news about the fact that as of public version 2.4.5 (and later) ClipWrap now properly handles all types of AVCHD with all types of PsF, let’s talk about ClipWrap’s other wonderful functions and benefits. If you are a Mac video editor who receives AVCHD footage with malignant PsF exclusively (or malignant PsF together with any other type of AVCHD footage), ClipWrap is the tool you should be using to transfer footage from the camera or flash media card to your disk array, for several reasons. Here are the nice things that ClipWrap will do (or can do, optionally) in the process of transferring your footage (in its default, rewrap-only mode):

  • While transferring your footage to your disk array (or media drive), ClipWrap will create .mov files, without transcoding, without losing a generation, at the approximate speed of a file copy. In the process, ClipWrap fortunately eliminates all of AVCHD’s unnecessary folders and subfolders.

  • If you have long clips which the AVCHD/FAT32 monster has forced into multiple sequential files, ClipWrap will automatically rejoin the spanned files from long clips into a single .mov file, as indicated above: without transcoding, without losing a generation, at the approximate speed of a file copy. And as stated above, in the process, ClipWrap eliminates all of the unnecessary folders and subfolders.

  • If the raw AVCHD footage is native 23.976p, ClipWrap will leave it as such, creating a native H.264 file with a .mov extension, which will be properly recognized as progressive by your editing program.

  • If the raw AVCHD footage is 25PsF or 29.97PsF (benign or malignant), ClipWrap will create a true 25p or 29.97p H.264 file with a .mov extension, which will be properly recognized as progressive by your editing program.

  • If the raw AVCHD file is 50i or 59.94i, ClipWrap will create a corresponding interlaced H.264 file with a .mov extension, which will be properly recognized as interlaced by your editing program. If you later import them to a progressive sequence, your editing program will deinterlace it (as it should in that case). If you later import them to an interlaced sequence, your editing program will leave it alone (as it should in that case).

  • If your raw AVCHD footage has AC-3 audio, ClipWrap can optionally convert the audio to LPCM, while leaving the video alone. This is an option in ClipWrap’s preferences, and can be helpful in two cases: 1) If your editing program doesn’t support AC-3 audio well (or at all). 2) If the original AC-3 recording is multichannel (surround sound) but your editor (i.e. FCP X) automatically mixes them down to stereo and you really wanted discrete access to each channel, together with Perian, ClipWrap can be set to create multiple channel LPCM which can be independently managed in the editor. The video will still not be transcoded, and therefore there will be no video generation loss or expansion in file size in the video portion (only in the audio portion).

  • If available in the original file, matching timecode will be included in the copy created by ClipWrap.

  • As a setting in the preferences, ClipWrap can preserve the source file creation time, which is great for FCP X’s events, and I really can’t imagine when anyone would not want to have this option active.


Thankfully, ClipWrap has a very simple user interface, and as a result, there is likely nothing that you could possibly do wrong when using it. Perhaps the most important thing to do when first opening the ClipWrap program is to set the Movie Destination folder, which is easily seen and adjusted at the very bottom of the ClipWrap window. Next, it would be good to set the preferences to your taste, most of which I covered above. To select the raw footage, you can use any of four methods:

  • Drag from the Finder.

  • Click on the + symbol on screen.

  • Use your keyboard to press Command together with the letter O.

  • Use the menu option File>Open

In any of the four cases, it’s best to grab the highest level AVCHD folder (not the actual MTS files) so that ClipWrap can use the metadata to treat the footage the best way possible and (if appropriate) rejoin spanned clips that were forcibly divided by the FAT32 monster in the camera.

If you have a very recent editing program that edits H.264 natively (and if your computer is also fast), then you’re probably best served by using the default mode of Rewrap (don’t alter video samples), since this will be much faster and the video file sizes won’t multiply. If your editing program is not good at editing H.264 natively (i.e. FCP 7 or earlier) or if you have an older, slower editing system, them you may want to use one of the offered transcode options on the list, which currently include most flavors of Apple ProRes (all but ProRes4444), and Avid’s DNxHD (if installed). This is a good time to mention that at least as of publication time, ClipWrap will even run on PowerPC Macs, so ClipWrap can help you stretch the life of both your older hardware and older software while making them compatible with AVCHD, although it will take much longer and take much more drive space if you transcode.

Apple App Store? May you install ClipWrap on all of your Macs?

The current version of ClipWrap as of the publication date of this article is 2.4.6 and is sold exclusively via the Divergent Media website. However, the EULA (End User License Agreement) does allow you to install it on multiple Macs for the price of one. It is possible that a future version of ClipWrap may be sold via the Apple App Store, but the current one wouldn’t be allowed there due to some QuickTime tricks it does.

Windows version of ClipWrap?

Sorry for our Windows readers, but Colin tells me that there isn’t any plan to offer ClipWrap for Windows. If any reader knows of a similar app for Windows, please write it in the comments below. In the meantime, you should know that you can use ClipWrap on a Mac to rewrap (or transcode files to Apple ProRes or Avid DNxHD), all of which can be read on a Windows machine.

Why did I say “at least in the short term”?

I wrote “at least in the short term” for the following reasons:

  • Some of you may be purchasing an external recorder, some of which fortunately use UDF formatting (Sound Devices PIX 220 and PIX 240) or HFS formatting (AJA KiPro and KiPro Mini) and fortunately have reverse telecine on board to remove all types of pulldown (2:2 and 2:3).

  • Some or all of the pro AVCHD camera manufacturers may take my suggestions indicated in my open letter in part 6 of the PsF’s missing workflow series.

  • Eventually, Adobe, Apple, and Avid may discover the hidden, non-standard flags that Colin discovered in the malignant PsF footage, and then add direct support to recognize them directly as progressive. However, no one outside those companies knows when that might happen, and the upgrade cost from your current editor might be much more expensive than the price of ClipWrap.

In the meantime, if you are a Mac editor who receives AVCHD footage (especially with malignant PsF or AC-3 audio), or a Mac editor with an older system (with older software and/or a PowerPC Mac) and are receiving AVCHD footage of any type, ClipWrap will likely be your inexpensive bridge over troubled waters.

Upcoming articles in the PsF’s missing workflow series

Upcoming articles in this PsF’s missing workflow series will reveal the different workarounds with several other software programs, and my conclusions about this situation. To be sure you don’t miss any articles, sign up for my mailing list here.

Prior sections of the PsF’s missing workflow series

Allan T©pper's books, consulting, articles, seminars, and audio programs

Contact Allan T©pper for consulting, or find a full listing of his books, articles and upcoming seminars and webinars at Listen to his TecnoTur program, which is now available both in Castilian and in English, free of charge. Search for TecnoTur in iTunes or visit for more information.

Disclosure, to comply with the FTC's rules

None of the manufacturers listed in this article is paying Allan T©pper or TecnoTur LLC specifically to write this article. Some of the manufacturers listed above have contracted T©pper and/or TecnoTur LLC to carry out consulting and/or translations/localizations/transcreations. Many of the manufacturers listed above have sent Allan T©pper review units, Adobe gave him an NFR (not for resale) license of the Adobe programs described, and Divergent Media gave him an NFR of ClipWrap. So far, none of the manufacturers listed above is/are sponsors of the TecnoTur programs, although they are welcome to do so, and some are, may be (or may have been) sponsors of ProVideo Coalition magazine. Some links to third parties listed in this article and/or on this web page may indirectly benefit TecnoTur LLC via affiliate programs.

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wsmith: | December, 01, 2011

Thanks for this Allan, again. Your work on this subject is praiseworthy and I’m grateful for it.

Alas, as a Windows user, I lament not having Clipwrap as an option. As someone who isn’t afraid to transcode to an intermediate CODEC I’ve recently gone back over to Matrox with a MXO2 Mini (was on the Blackmagic side for a few years)

I wonder if Matrox is aware of this matter and is reading this. I suppose they could deal with with the problems in way similar to Convergent Design, if they wanted to, couldn’t they?

Allan T: | December, 01, 2011

Thank you! What camera(s) do you use, or what type of material do you receive from clients?

Allan T

wsmith: | December, 01, 2011

Hi Allan,

I’m shooting with two Panasonic HMC150s and it’s all my own shooting for my own accounts or for producers I shoot and edit for.

After upgrading to CS5.5 and at the same time getting the MXO2 Mini, I shot my first project in 1080P 30 fps (interlaced was fine in the SD days and into HD until I began to get your religion on progressive) I found myself not being able to ingest it via the Mini as a progressive stream from the camera HDMI (could do so if it were shot in 720p) So I ingested as interlaced and stuck it onto an interlaced timeline.

The project isn’t critical; it’s a guitar for a demo for a friend. So far it looks and plays alright on the timeline as I edit it but who really knows what it is anymore. I assume Matrox has interlaced it upon ingest.

I’ve never shot progressive before and then to have it interlaced by the editing hardware is an alien concept to me. I’ve learned a lot from your research on PsF here to use going forward but I wonder if I have something to worry about with this particular project given the PsF of my original progressive files (before ingest).

I did nothing regarding the proper settings in Premiere to identify the properties of the files, which you describe in part 7. 

Anyway, my solution to the camera breaking long files into smaller files with folders and subfolders and files is to ingest via HDMI to an intermediate CODEC; problem solved. The fact that Matrox cannot ingest a progressive stream from the camera was surprising (can only ingest 1080i 29.97 or 720p 59.94).


Allan T: | December, 01, 2011

Premiere Pro CS5.5’s new Media Browser fortunately allows you to see the spanned AVCHD clips as if they were one united clip so that is your first relief since you have Premiere Pro CS5.5.

Since the AG-HMC150 precedes the AG-HMC40. I cannot be sure that it records benign PsF in the 1080/“30p” mode (which is really 29.97) the way the AG-HMC40 does, but you can determine that immediately by following my steps and seeing whether Premiere sees your AVCHD clips (which were shot that way) are already detected as progressive or not.

It is not yet clear to me whether you captured with the MXO2 Mini live or by playing back the clips from the camera. Assuming it was live, and since you captured via the MXO2 Mini as interlaced, the clips you captured are really 1080/29.97PsF, so you could apply the same technique I described to make Premiere treat them as progressive on a progressive timeline. This would be almost perfect. I say almost perfect because the compression would have been more efficient if the encoder had known in advance that the signal was progressive (especially if you used a VBR códec). Which códec did you use to capture via the MXO2? Hopefully it was a 4:2:2 códec, since that way there wouldn’t be “broken chroma” as Adam calls it.

Allan T

wsmith: | December, 01, 2011

Allan, the capture CODEC is Matrox MPEG 2, I-Frame. Understood re broken chroma. The video was captured after shooting, not live.

However, I misspoke re MXO2 not being able to capture a 1080i stream as progressive. When I open Matrox’s Tools (their standalone capture utility) it only lists .(JavaScript must be enabled to view this email address). But when I open Premiere and then open the “Configure” button next to “Capture, it does indeed show a number of progressive capture options, including .(JavaScript must be enabled to view this email address)!. It shows that and other progressive options inside Matrox’s Tools when opened from inside Premiere’s capture utility.

Also, I now recall that I learned about a shortcoming of the HMC150 during my first ingest with the MXO2 which I’d temporarily forgotten about.

This camera’s HDMI only outputs 1080/60i, 720/60p or 480/60p. I spoke to Panasonic about this lameness (no 1080p output) and heard: “Oh, well, just ingest via a memory card reader and you’ll then have files as 1080/30p.” I said, “Oh yeah? well what about my new MXO2 Mini and my not wanting to work with your crappy native CODEC - even if my new system is a i7 980 hexcore with 24GB of RAM? I heard: “Oh well, sorry.”   

Sorry Matrox; It’s the HMC150’s lameness. I now recall that when I learned of this I decided to set the MXO2 to ingest my 1080/30p signal as .(JavaScript must be enabled to view this email address) interlaced.

Of course I could transcode the files to Matrox after importing via card reader but by ingesting via HDMI it was a realtime transfer that also solved the pesky problem of my large files being broken into multiple smaller ones each in folders with other files.

Thanks for the tip re Adobe’s Media Browser. I’ll check that out. I suppose I can use that and have the Matrox CODEC too.

Panasonic needs to be publicly flogged for their lameness.

Burn-E: | December, 02, 2011

Much ado about nothing. Most Windows-based programs can edit native AVCHD clips, for example Vegas could do it from at least version 8. If there is audio loss at join points, then either tsMuxer (free) or software that comes with camcorder can join mulitple segments into one without transcoding. Similarly, simple preliminary editing (cutting and joining) can be done with these tools. Just say in huge letters that your research is intended for Mac users and won’t care reading it.

You still haven’t provided specific and scientific symptoms of “benign” PsF vs. “evil” PsF. In your advertisement for Clipwrap you did not mention whether it properly reconciles interlaced chroma from “evil” PsF. I assume that chroma in “benign” PsF is progressive, but you haven’t researched this. Me? I don’t care much, one of my camcorders shoots native 1080p24, another shoots native 720p60, and yet another shoots native 1080p60 (Panasonic is strange offering this format on its consumer cams but not on pro cams). Deriving 30p from 60p is easy and I can have 0.5x slo-mo for free.

Interlaced video sucks. Native interlaced sucks harder, PsF sucks less, but if I can have native progressive I take it and I don’t look back.

P.S. ProCoder seems to correctly reconcile chroma from Canon’s PF24 using 2-3 pulldown profile. Sadly, it does not have 2-2 pulldown profile, so it does not convert PsF into native progressive correctly. Ah, whatever.

Allan T: | December, 02, 2011

Since you did not record “live” through the MXO2 Mini, I have the following comments for your specific case:

1) Since you did not (and apparently don’t plan to) record live through the MXO2 Mini, you will receive no quality improvement by capturing the pre-recorded AVCHD clips by playing them via the camera. So improved quality will not be a factor in this case.

2) You said “real-time” process. Well if you ingest the raw AVCHD clips into Premiere Pro CS5.5 using its new Media Browser, that process should be much faster than real time, and as stated earlier, the new CS5.5 Media browser effectively rejoins the spanned clips for you and makes them invisible to you.

3) Unless you have discovered that you have a performance issue with your computer system, you are better off -both for time and for quality- simply using CS5.5’s new Media Browser to ingest the raw AVCHD and then editing natively.

4) If you do ingest the raw AVCHD clips via Premiere Pro CS5.5’s new Media Browser and determine that the AG-HMC150 is producing benign PsF (the way I know the AG-HMC40 does), you have nothing more to concern you. If not, you’ll simply have to select all of the clips in the bin, and manually inform Premiere that they are really progressive as I documented here. Even if you have to do that, considering that all of your footage is generated by the same model of camera in the same mode (1080/29.97PsF), then there is no issue with human error and even if you have to do it, your total time to ingest and do that will be much faster than real time… and it is likely that the AG-HMC150 is recording benign PsF, so even that 20-second process would be unnecessary.

5) I am not surprised to hear that the AG-HMC150’s HDMI output does not output 1080p, since I have made reference the unfortunate lack of 1080p over HDMI in most AVCHD cameras throughout this Missing workflow series. It has just come to my attention that the Canon XA10 is perhaps the only pro AVCHD camera that does offer 1080p over HDMI (if so activated via the camera menu), although I have not yet verified the available framerates for that mode. Also, Sound Devices has just announced that their PIX recorders now support Sony’s special flags (that I covered here) via HDMI (including timecode and pulldown removal).</li>

To summarize for you WSMITH: given the fact that all of your material (for this project and from here forward) is coming from the same camera model at 1080PsF29.97 and that you have Premiere Pro CS5.5, you really have nothing to gain in quality or efficiency in capturing via the MXO2 Mini, unless it is to be done “live” or if your computer system is too slow to edit native AVCHD.

Allan T

wsmith: | December, 02, 2011


Thanks for the detailed and insightful response!

For clarification on my thinking re my workflow (also for benefit of anyone else here who wonders): 

By realtime “process” I meant a realtime ingest from camera, as opposed to heating up my CPU for who-knows-how-long to transcode native AVCHD to Matrox CODEC, which I like.

I like the Matrox CODEC because: edits like “soft butter” good external monitoring, good color correction. etc. and I want to get a Dreamcolor monitor so the progressive RGB output is why I switched from Black Magic.

I’ll look at the Adobe Media Browser thing to see if there’s a way to work with the Matrox I-Frame CODEC: Import files via card reader; transcode to Matrox; see them as large, single clips with Media Browser.

System performance issue?: For sure. I build my own Windows Boxes. I find that my new Corsair liquid cooling system needs to be immediately replaced with a bigger one before I go doing any more transcodes with the new i7 980 hexcore CPU. Too much heat! A selling point of the MXO2 is that it transcodes (in the device itself) to the I-Frame CODEC on ingest thus avoiding a CPU transcode. It also has the Max option to take the heat off the CPU when transcoding to H.264 for BluRay output (have not done that yet but I have the burner). I suddenly now wonder if the Max will transcode a file that is not a matrox I-Frame file… I’ll have to check that. 

Maybe someday we’ll see an external Matrox or BMD device that includes a card reader to transcode AVHCD camera files to an I-Frame CODEC as it imports into a system.

Others have concurred with my thinking that ingesting via HDMI (which is uncompressed)is theoretically better than a CPU transcode of a file that is already a highly compressed AVCHD file) I believe that process must surely constitute one the most intensive chores a CPU can be asked to do short of a stress test with Prime number crunching.

And, my pet theory is that quality a transcode of AVCHD to I-Frame won’t be as good as compressing an uncompressed signal from HDMI. But you are probably correct re quality not being any better.

I’m still not all that sold on this “edit natively” marketing hyperbole. My business has long benefited from the utility of intermediate CODEC use: Cineform has been terrific for a host of reasons. And by the way, I don’t foresee many (or any) of the ProRes devotees abandoning intermediate CODEC in favor of “native” editing. Of course, we now see ProRes capture in external devices like PIX, etc so Prores is becoming a “native” acquisition CODEC.

VideoNado: | January, 19, 2012

Amazing article and helped me a lot even though much of this is over my head.

I’ve been testing ClipWrap and I have the Canon m400, it works perfectly with the 29PsF by making Final Cut Pro X finally recognize them as Progressive but no such luck with the 24PsF movies from the same camera.

Whether I import them directly to FCPX or run through CW first, the 24PsF movies show up as 29.97i

Any ideas why or how to fix it?

McDanny: | March, 04, 2012

Hi. Does anyone know if the flash memory add-on unit available for the Sony HXR-NX5u also has the multiple file creation issue when recording long format programming?

Allan T: | March, 15, 2012

Hi VideoNado,
The M400 does not record 24PsF or even 23.976PsF. The M400 unfortunately records 23.976p-over-59.94i, which is completely outside what ClipWrap is designed to do. If you must (or would like) 23.976p, it would be better to use a camera that records 23.976p natively (even though many camera manufacturers call it “native 24p”. However, if that is not possible (and for your already-shot footage) you must use a separate application to reverse telecine (remove pulldown). This will take a few steps: First you need to transcode the raw AVCHD footage to some flavor of ProRes422, which you can do with ClipWrap. Then you can use the new Compressor (about US$50 on the AppStore) to reverse telecine that to a ProRes file that is pure 23.976p, which you can then use in FCP X.

Allan T

RockstarBruski: | January, 22, 2013

Allan, I wanted to say a HUGE thank you for writing up all these articles!  About 6 months ago I purchased a Canon XA10 camera and use Adobe Premiere Pro CS6 and was having trouble understanding what to do in my editor with the various recorded modes (60i, PF30, PF24, 24P) and your articles really helped me better understand what’s going on with this PsF (PF) “stuff” and how to set my editor correctly!  I really appreciate you taking the time to write all of them so clearly and with screenshots!  Now I just wish clipwrap would make a Windows version of their software as I don’t own an apple and am all PC based.  I look forward to reading more of your articles.  All the best to you!  Cheers!

ebalsley: | August, 22, 2013

This is a great series of articles, thank you Allan.
Do you know if NLE support has improved by now, with CS6 and CC?
Also, I didn’t see mention of the FS100 or FS700 in this article.  Do you know if ClipWrap properly identifies these malignant PsF clips?

HighTML: | November, 19, 2013

Thanks a lot for your articles, it helped me not throwing my XA-10 out of the window grin

You say, and i have noticed, that VideoSpec still sees the ClipWrapped footage from my 25 fps Canon XA-10 as interlaced. I would like to be able to see if a clip is correct progressive from the Finder without importing it into FCPX.

DO you recommend another tool besides VideoSpec which does see the wrapped version as 25P ?


(btw, i hope i get emailed automatically when you reply)

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