Problem with export - Colour profile only HD (1-1-1)

1-1-1 is an NCLC metadata tag for a Rec709 SDR video which describes the color space, transfer function and color matrix of your exported video so that other apps, including YouTube etc, can interpret and play your video as you intended. These tags have nothing to do with resolution. You have nothing to worry about on that level.

Although Rec.2020 is often described in conjunction with an HDR spec like HLG or PQ, by itself it mainly entails a broader color space, not greater dynamic range. So plain Rec.2020 is about equal to Rec.709 dynamic range.

Rec.2020 supports a wider color gamut but your ability to see that will depend on whether your monitor is capable of Rec.2020. Given a Quicktime video file, MacOS ColorSync will read the 9-1-9 NCLC tags and transform the incoming Rec.2020 color to whatever your monitor display profile is.

Newer Macs with 27" Apple Studio or 32" Display Pro XDR monitors, the new MacBook Pros with Liquid Retina Screens and the newest iPad Pros have a preset system which (on MacOS) is in System Settings>Display. By default that preset is P3-500 nits or P3-1600 nits. Those look pretty good if the Quicktime file is tagged properly.

Other Macs have the previous ICC color profile system, and they typically don't look as good on Rec.2020 material, but each one can be different.

So, we are in a transitional period regarding wide-gamut displays, and the issue is not what you see but what equipment your viewers have and what they will see. As mentioned above, this also includes the distribution system and playback software. It is a complex test matrix.

Probably the start of each clip in the timeline is the start of the media, meaning no extra handles to dissolve into.

Here's one way to fix it:

Select all the clips in the timeline and press command-d then +2. then Enter. (The period after the two is important.) This will extend their durations by 2 seconds.

With all the clips still selected, click the time remap button and choose Reverse Clip.

With all the clips still selected, press command-d then -2. then Enter. This will shorten the end of the clips (which since they've been reversed is actually the beginning.)

With all the clips still selected, click the time remap button and choose Reverse Clip again. This will put them back in the original orientation but the in-point of the clips is now 2 seconds into the media, giving you handles for dissolves.

Finally, with all the clips still selected you can now double-click the dissolve icon and the default 1 second dissolve should be added between all clips.

What ISO were you shooting at? That is a key factor in determining dynamic range, which in turn determines the need (or lack thereof)for an HDR video export format. See attached photographic dynamic vs ISO graph for a Lumix S5.

E.g, if you used ISO 3200, the dynamic range is about 7.5 stops, so in that case Rec. 2020 HLG will not display anything greater than 7.5 stops which fits within Rec.709.

If you used ISO 100, the dynamic range is about 11.5 stops, which is above the dynamic range of Rec.709, so using Rec.2020 HLG might help.

However -- that is only useful if the playback device can display the HDR version. If uploaded and streamed from the web, it also depends on the web site. E.g, Youtube does not support Rec.2020 HLG in a format that is supported by MacOS Safari, but Vimeo does.

You said high res again (that is short for resolution) and you are confusing terminology: dynamic range, color space and frame size. You can have a 4K or 8K (resolution) Rec709 (color space) in an SDR (dynamic range) project. Are you a photographer with no experience in video and FCP by any chance?

Anyway, you can use a Wide Gamut library and a Rec2020 project if you have a suitable HDR monitor (e.g. a MacBook Pro with XDR screen). If you don't have a suitable monitor then you are stuck with SDR which is still what most people use.

By the way, for timelapse, you probably want your stills to be just 1 frame long.

If you don't understand any of this you need to go back to the basics - there is a load of info out there on these topics and a lot to lesrn. It's beyond the scope of what I can explain in a few sentences I'm afraid.

You have to make sure the library is in wide gamut in library properties. You have to change to 2020 in project properties. Select the project and press Cmd-J. Click Modify. You can then use 2020 when you export.

think about using a short dissolve few frames been the second clips.

Turn on HDR on your monitor and do as Tom says - Wide Gamut Library, Rec2020PQ or Rec2020HLG project. Adobe RGB is not ideal as the color space for creating the stills but I'm not familiar with the app you are using. I use Lightroom where you can gradr in HDR and export the stills as HDR Rec2020 which gives beautiful HDR stills in FCP. Short of Rec2020 tags for the stills, either P3 or even sRGB will probably look better than AdobeRGB in FCP. P3 is better than sRGB for HDR projects for sure but Rec2020 is best if your app will do it.

As I said in my previous post, Rec709 SDR (1-1-1) is about color and is not related to resolution (HD). The resolution (frame size which can be HD, 4K, 8K) is independent of the color.

As for cross dissolve the 2s images are too short to apply it, at least this is how I understand it.

That’s incorrect. The default transition is one second. You can see the default duration even shorter in FCP Settings. You might try using the Flow transition that is specifically designed to be short and to mix similar images.

I wonder if there is huge difference between 422/422 HQ/4444 or 4444 XQ

There are not enough differences for people to notice the difference. If you zoom in considerably, you might be able to spot the difference.

422 is usually sufficient unless you have special circumstances. Increasing the capacity will only put a burden on the viewer who plays the video. If the capacity is large, it will be compressed on the SNS side.

This may decrease the total duration of your project.

Please show the editing screen in detail with a screenshot. There is no margin at either end of the clip, so you can't add a transition. This can be solved by extending the length.

I want best quality possible since I'm a pixel peeper

I think the respondents are making reasonable suggestions based on their knowledge and experience. If you want to work to satisfy yourself, set it as you like.