Camera workflow
Convert the camera stream to a timeline-friendly Apple intermediate.
The free version limits many processing operations to the first three minutes. Check compatibility and trial limits.
Problem and solution
Keep the original card structure when available, then confirm the codec, frame rate, scan type, and editor support before converting.
This article originated with Final Cut Pro 7, but current editors support more AVCHD recording modes. Keep the complete camera structure and try native import before creating an intermediate.
If isolated MTS clips or the recording mode remain unsupported, create ProRes at the source resolution and frame rate. Verify cadence, interlacing, picture, audio, and sync and avoid unsupported speed or lossless-quality claims.
Solution direction
Convert the camera stream to a timeline-friendly Apple intermediate.
Three-step workflow
Convert the camera stream to a timeline-friendly Apple intermediate.
Add the source
Open LosslessConverter and select Add Files. Add the Sony NEX-F3 MTS clips and select the files required for this workflow.
Create editing-ready media
Open Output Format, select the Editing group, and choose ProRes. Select Same as source to retain the source dimensions; choose HD 1080P or HD 720P only when the project deliberately uses that resolution.
Create the current output
Choose an output folder and select Start All. When processing finishes, import the ProRes MOV files into Final Cut Pro and verify picture, frame rate, and audio.
Try it with your own media
The free version limits many processing operations to the first three minutes. Check compatibility and trial limits.
Primary sources
Use these first-party references to confirm current format, application, or device support. Capabilities can change after this guide is updated.
Check current native media support before transcoding.
Review Apple's current file import workflow and media handling.
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