I have been using Final Cut Pro for a few years now. Currently on 10.2.1
Recently when I import video form my Canon 70d, 80d or 6d into the timeline, it is slowed down.
The pitch is lower and to get it back in time I have to increase the speed to 104%.
I do a lot of music videos and having to do this every time is taking ages!!
When I import videos off my phone (.MP4) the audio pitch and timing is fine.
JamesPendle wrote: Did this ever get solved in the end? I'm having exactly the same problem since updating FCP to newer version. Using canon 80D.
Did what get solved? When conforming 24 fps and 25 fps material, FCPX will stretch or shrink one to match the timeline rate. This is unavoidable, as you can only have a single frame rate for the timeline itself, and all clips must conform to that. The only straightforward way to conform 24 and 25 fps is a rate change.
Despite previous statements, when FCPX does this it automatically uses audio pitch correction. You can verify this by taking a dialog clip and do Modify>Retime>Custom, set it to 50% speed, and play it. The voice will be slower but pitch will be maintained.
To see the difference, first play that same clip in VLC at 50% speed (CMD + minus key twice, on-screen display will show 50% playback rate). It will sound just like FCPX.
Then disable pitch correction in VLC and do the same thing. To do this use VLC Preferences>Show All>Audio, and uncheck "Enable time stretching audio". It will play at the same 50% rate but pitch will be shifted much lower.
To restore VLC you re-check that option, the shut down and re-launch VLC.
A high priority on any planned shoot is verify all cameras are at the same frame rate or an even multiple of that. E.g, 23.98, 47.96, or 30, 60, 90, etc. Frame rates that are even multiples can easily be conformed in post without artifacts.
An exception might be if a drone or gimbal cam was running at 60 fps, with the plan of slowing that for smooth slow motion. But if that material is then needed at 1x playback speed it cannot be perfectly rate conformed with 24 fps.
There are cases where you have no control over this, say material is contributed such as a car crash captured on a cell phone.
Or maybe you have archival material at a different frame rate. Say you're planning a documentary at 24 fps but during pre-production it becomes apparent you'll be using a lot of 29.97 fps archival material. In that case consideration should be given to making the entire project 29.97 to match that material. The alternative is spend a lot of time and effort trying to shoe horn 29.97 material into a 24 fps project. This usually requires optical flow rate conforming, lots of CPU & GPU time rendering, and meticulous examination of every clip for artifacts.
Outside these exceptions, all participants in any planned shoot should be informed well in advance of the urgency of verifying the frame rate of their cameras. Even smart phones often have adjustable frame rates.