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Final Cut Pro X is one of the ideal video editing tools for Mac users. You may have could not help importing your MP4 files to FCP. Importing MP4 into FCP X/7/6 is not a strange thing for most Mac users. When trying to import MP4 files to Final Cut Pro X, you will be noticed “File error” and you just fail to add and import MP4 to Final Cut Cup X. Why? Well. it might be the format codec issue. 

 

To solve the problem, you need to change the file extentsion from ".mp4" to "a codec" that FCP X can read more easily (without rendering basically) (read FCP supported formats). The codec is Apple ProRes, which ensures maximum editing quality and efficiency when working with Final Cut Pro X. To transcode MP4 files to ProRes MOV, Pavtube HD Video Converter for Mac is an easy-to-use yet professional app to achieve your goal smoothly. 

Overall, the MP4 to FCP X Converter is clean and safe to install and use. And only with barely several mouse clicks, you can get the whole job done. Besides MP4, it can also change more video file formats like MTS, MXF, M4V, AVI, MKV to Final Cut Pro X most compatible Apple ProRes .mov without any quality loss. Now download it and follow below steps to transcode MP4 files to Final Cut Pro X. 

Best MP4 to FCP X Video Converter - Pavtube HD Video Converter for Mac: 

  • Convert MP4 to Final Cut Pro X with the native codecs like ProRes on Mac 
  • Convert SD/HD/4K MKV, AVI, H.265, XAVC, MXF, AVCHD MTS/M2TS etc to FCP X Apple ProRes 
  • Convert MP4 to or from any format including H.265, MOV, MKV, AVI, and even 3D & HD videos. 
  • Convert videos at 6 X faster speed and ZERO quality loss.
  • Support all FCP versions - FCP X, FCP 7, FCP 6 etc.
  • Supported OS: macOS Sierra, Mac OS X 10.11 (El Capitan), 10.10, 10.9, 10.8, 10.7, 10.6, Windows 8/7/XP/Vista.
  • Windows version - Pavtube HD Video Converter


Hot search: 

AVI to FCP X ǀ MTS to FCP 7 ǀ H.265 to FCP X 

MXF to FCP X ǀ 4K to FCP X ǀ MP4 to FCP X/7/6 

Now download the MP4 to FCP X video converter for Mac: 

  

Other Download: 

 

Transcode and Import MP4 files to Final Cut Pro X on Mac (El Capitan/macOS Sierra also included) 

Step 1: Add .MP4 videos 

Install the MP4 to Final Cut Pro X converter program on Mac and run it. Drag the .mp4 clips to the software. Or you can also click "Add video" button on the top of the main interface to import video to the program. 

 

Step 2: Choose FCP X best editable format 

Go to "Format" bar and choose "Final Cut Pro > Apple ProRes 422 (*.mov)" as output format for Final Cut Pro X. (Kindly Note: Apple ProRes 422 (HQ) have higher qualities. Apple ProRes 422 (LT) and Apple ProRes 422 (Proxy) have smaller sizes. You can choose according to your requirement.) 

 

Tips: Adjust video, audio settings 

Click the "Settings" button and customize proper video/audio parameters including Video size, bitrate and fame rate and more. 

Step 3: Start MP4 to ProRes conversion for FCP X 

Click the "Convert" button at the bottom right corner to start transcoding MP4 files for FCP X. It does MP4 to FCP X video conversion like a charm and the output files will maximally preserve the quality of your original MP4 clips. After conversion, you can import converted MP4 clips into Final Cut Pro X to create the end results that you want. 

Note: If you are also a FCP X user, before you try to do the conversion, don't forget to make sure that you have installed the Apple ProRes Codec manually since the FCP X asks users to install it by themselves. 

Read Guides about FCP X: 


Read Guides about MP4: 


Tips: Secret Tips and Tricks for Final Cut Pro X 
 

MEDIA 

Media and libraries can be stored anywhere; provided its fast enough to support video editing. 

USB 2 and FireWire 400 are not fast enough. 

Because I like keeping media and libraries separate from the operating system, I recommend storing media and libraries on a separate drive from the internal boot drive. 

Generally, the more a codec compresses a file, the more color information is lost. If you plan on doing lots of color effects or color correction, use a codec that compresses media the least. 

For simplicity, import media into a library. This makes creating backups a lot easier. 

For flexibility, store media separately from a library. This makes it easier to share media between libraries and/or editors. 

Proxy files are 1/4 the resolution of camera native or optimized media. They are designed for slower systems, limited disk space, or multicam editing. 

Final Cut Pro X prefers still images that are smaller than 10,000 pixels on a side. I recommend images no larger than 3x your project frame size. 

Optimizing media does not make it look better, it just helps it edit more efficiently and export faster. 

You can import media from your iPhone to your computer using a Lightning cable and Preview. 

How big is an uncompressed 4K video frame? About 230 MB at 10-bit depth. (That’s a SINGLE frame!) 

STORAGE 

More RAM is better than a faster CPU. A faster GPU is better than a faster CPU. 

A hard disk is either empty or full. I don’t know why, it just happens. 

Always keep at least 10% of free space on any drive you use for anything; 20% is even better. 

RAIDs are better than single drives because they are faster, hold more, and protect your data in the event a drive inside it dies. As you get serious about editing, budget for a RAID to add to your system. 

SSD drives are far faster than spinning media (the new name for a traditional hard disk). But they cost more and don’t hold as much. If you can afford them, buy them. If not, a RAID 5 containing at least 4 spinning media drives allows you to edit virtually every format except 4K uncompressed. 

As frame sizes increase, file sizes increase geometrically: 

  • SD: 0.3 megapixels per frame 
  • 720p: 0.9 megapixels per frame 
  • 1080p: 2.1 megapixels per frame 
  • 2K: 2.2 megapixels per frame 
  • UHD 4K: 8.3 megapixels per frame 
  • UHD is 24 TIMES bigger than standard definition video! 


SHORTCUTS 

If you edit as a hobby, keyboard shortcuts are helpful, but not mandatory. If you edit because someone else is paying you, using keyboard shortcuts will allow you to get home to your family at reasonable hours. 

My Top 5 Keyboard Shortcuts: 

E – Append edit a clip from the Browser into the Timeline 
Shift+Z – Fit something into a window 
Cmd + B – Cut a clip at the position of the playhead/skimmer 
[ comma ] / [ period ] – move something left or right one frame 
Cmd + E – Export using the default sharing option 
Some of the coolest keyboard shortcuts are not assigned. Explore the Keyboard Commands screen to create your own shortcuts. 

TROUBLE-SHOOTING 

Don’t trash FCP preference files unless something is not working properly. Trashing prefs should only be used for repair, not preventative maintenance. 

If FCP is acting sluggish, check: 

Speed/fullness of your hard drive – you’ll need 20% free or more. 
Number of clips or projects stored in the library – less than 3,000 
Codecs used by stock footage – when in double, optimize 
This trouble-shooting guide – larryjordan.com/five-step-trouble-shoot/ 
EDITING 

Final Cut prefers fewer than 3,000 clips be stored in a library. 

Put whatever you don’t want to shift in time into the Primary Storyline. For dramas, put principle dialog; for interviews, put talking heads; for music videos, put the audio track. 

Don’t believe the audio levels you hear in a compound clip. 

In fact, use compound clips sparingly. 

There’s no limit to the number of stacked layers you can create in the timeline, though you may need to render them to play them successfully. 

Render file settings can be changed at any time using Project Properties. 

Frame size can be changed at any time, however, frame rate should only be changed when no clips are in the Timeline. 

Changing the frame rate will mess up all your edits. 

Multicam editing does not allow audio mixing between tracks, nor combining images from different angles. It is simply a high-speed cutting utility. 

The position tool is your best friend. It allows you to move clips without them snapping back together. 

AUDIO 

Audio levels should never exceed 0 dB when exporting the final project. 

Separating a stereo clip into two mono clips changes the audio level by 3 dB in each channel. 

If you need to do audio repair or serious mixing, send your project to ProTools or Adobe Audition. 

Final Cut calculates audio levels and effects at 24-bit. (Your camera records it at 16-bit.) 

Sample rate determines frequency response. A 48k sample rate exceeds normal human hearing. 

EFFECTS 

Fast cutting with hand-held cameras tells me that either the editor has no story to tell or the people on camera have no talent. 

Buy plug-ins. Support smaller developers who are committed to the Final Cut Pro X platform. 

To see two or more images on screen at the same time, they must be stacked; unless you are using drop-zones. 
Always use video scopes when color correcting anything. Its amazing what they can tell you if you pay attention. 

Want to reduce video noise, or skin blemishes, in a close-up? Blur the blue channel. 

Equal amounts of red, green and blue equal gray. More importantly, if something is supposed to be gray, then it must contain equal amounts of red, green and blue. 

A good story with characters you care about is worth about the same as a $100 million effects budget. 

EXPORT 

Final Cut always exports at the highest quality, UNLESS you have Proxy files checked in the Viewer menu. In which case, it exports proxy files. 

Compressor is an essential tool for Final Cut. Motion isn’t essential, but it is really helpful. 

If you sit more than 5 feet away from a 50″ 4K TV set, you won’t see the additional resolution provided by 4K media. It will look the same as 1080p. 4K still sounds sexy, though. 

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