Apple 6 manual Rendering and Conforming Long-GOP MPEG-2 Media, Rendering HDV

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Rendering and Conforming Long-GOP MPEG-2 Media

Before you can output or export a native HDV sequence, Final Cut Pro needs to process your media in two ways:

åRender any applied transitions and effects, as well as any leader and trailer elements included in the Print to Video dialog.

åConform any noncompliant GOPs to the correct I-, P-, and B-frame pattern. Any segments of your sequence that contain cuts, transitions, or other applied effects must be conformed to standard MPEG-2 GOP structures before output, creating new I-frames and GOP boundaries where necessary. Conforming also ensures that your HDV sequence has the proper data rate for the HDV format you are outputting. The time required for conforming depends on the number of edits and effects in

your sequence.

Note: Because HDV, XDCAM HD, and XDCAM EX constant bit rate (CBR) footage use an identical format, the information in this section also applies when rendering XDCAM HD and XDCAM EX footage.

Rendering HDV

When you render segments of an HDV sequence, you can choose to create render files using either:

åNative MPEG-2 HDV

åThe Apple ProRes 422 codec

To choose the render file format in an HDV sequence:

1Select your sequence in the Browser or Timeline.

2Choose Sequence > Settings, then click the Render Control tab.

3From the Codec pop-up menu, choose one of the following options:

åSame as Sequence Codec: This option enables rendering with the native HDV codec of your sequence.

åApple ProRes 422 Codec: This option enables rendering with the Apple ProRes 422 codec.

Creating Render Files Using Native MPEG-2 HDV

Rendering native MPEG-2 HDV takes longer than rendering other formats because of the interframe compression this format uses. The advantages to rendering natively are:

åConforming and rendering for export or output to HDV tape happens faster because the render files are already in the necessary format. If you aren’t outputting to an HDV format, this may not be an advantage.

åNative HDV render files are smaller than those generated by other HD I-frame-only codecs.

However, if native rendering is slowing down the pace of your editing, you can choose to render using the Apple ProRes 422 codec.

Chapter 1 Working with HDV

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Contents Final Cut Pro Apple Inc Copyright 2008 Apple Inc. All rights reserved Contents Working with IMX Choosing an IMX Easy SetupUsing the Log and Transfer Window Adding Volumes and Folders to the Browse Area109 Working with Avchd Working with Panasonic P2 CardsRecording Footage with a P2 Camcorder Mounting P2 Cards, Disk Images, and Folders116 130 Setting Up a Sony Video Disk Unit115 Working with AVC-Intra 115Overview of High Definition Video Formats About High Definition and Broadcast FormatsNTSC-Compatible HD Formats PAL-Compatible HD FormatsFilm-Compatible HD Formats About the Apple ProRes 422 Codec Format Frame dimensions Frame rate Scanning methodAbout the Apple Intermediate Codec DV footage, making the switch to HDV is simple What Is ProHD?About HDV Fps Formats HDV Formats Supported by Final Cut ProTemporal Interframe Compression About Mpeg CompressionStandard Definition Recording with an HDV Camcorder Spatial Intraframe CompressionTranscoding HDV to Other Apple Codecs More About Long-GOP VideoWorking with HDV in Final Cut Pro Native HDV Editing WorkflowLog your footage and capture it to your scratch disk Steps for Native HDV EditingTo connect your HDV camcorder or VTR to your computer Connecting an HDV Device to Your ComputerChoosing an Easy Setup To choose an Easy SetupLogging and Capturing Native HDV Footage About the Log and Capture WindowTo open the Log and Capture window Preview Area Transport Controls Video Preview AreaMarking Controls Shuttle ControlLogging Tab Clip Settings TabLog and Capture Buttons Capture Settings TabCapturing Footage with Start/Stop Indicators Recapturing HDV Footage About Long-GOP Editing and Rendering Using an HDV Camcorder to Capture or Output DV FootageImproving HDV Rendering by Using the Apple ProRes 422 Codec Editing HDV FootageRendering and Conforming Long-GOP MPEG-2 Media Rendering HDVTo choose the render file format in an HDV sequence Conforming While Rendering in the Timeline Using the Print to Video Command to Output HDVTo output your HDV sequence to tape Steps for Transcoded HDV Editing Transcoded HDV Editing WorkflowCapturing and Transcoding HDV Video To choose an Easy Setup for transcoding HDVCapturing Footage with Scene Breaks Outputting HDV to Tape or Exporting to a QuickTime Movie Editing Video Using Transcoded HDV FootageTo export your sequence to a QuickTime movie Exporting HDV for DVD Studio ProTo change the FREERUN-PS setting on the camcorder Using the Canon XL H1 HDV CamcorderUsing the Sony HVR-V1 HDV Camcorder HDV Format Specifications Format Native frame size Data rate Data RateVideo Compression AudioTimecode Page About Dvcpro HD 2Working with Dvcpro HDFps-Based Formats Dvcpro HD Formats Supported by Final Cut Pro1080pA24 Dvcpro HD Dvcpro HD Frame Rates720p24 720p60 Dvcpro HD720p Dvcpro HD Variable Frame Rate Recording Setting System Frequency on a Panasonic Varicam Camcorder720p50 Dvcpro HD 720pN Dvcpro HD Native Frame Rate RecordingConnecting a Dvcpro HD Device to Your Computer To set up your computer for Dvcpro HD capture and outputWorking with Dvcpro HD in Final Cut Pro Choosing a Dvcpro HD Easy Setup Logging and Capturing Your Dvcpro HD FootageRemoving Duplicate Frames During Capture About Device Control for 720p50 and 720p60 Devices About Timecode for 720p50 and 720p60 FormatsChoosing Timecode Display Options for 720p60 Dvcpro HD Media Editing Dvcpro HD FootageOutputting Your Dvcpro HD Sequence To set the timecode display for 720p60 videoTo display clip time for a 720p30 or 720p24 clip Using the Dvcpro HD Frame Rate Converter Outputting Sequence Timecode Using Dvcpro HDChoosing an Intended Playback Rate What Is a Frame Rate Converter? How Dvcpro HD Variable Frame Rate Recording WorksHow a Frame Rate Converter Works Recording Variable Frame Rates with Dvcpro HD 720p About the Dvcpro HD Frame Rate Converter About Native Variable Frame Rate RecordingOriginal Media File Requirements Timecode and Audio Restrictions About the Frame Rate Converter OptionsImport Result Into Final Cut Pro Why Is There an Option to Convert 59.94 fps to 59.94 fps?Remove Duplicate Frames Make Self-Contained FileUsing the Frame Rate Converter Working with 24p Dvcpro HDWorking with 1080pA24 Dvcpro HD Video Shoot with advanced pull-down 23.98 fps at 29.97 fps 720pN24 Dvcpro HD Native 24p Working with 720p24 Dvcpro HD Video720p60 Dvcpro HD Recorded at 23.98 fps 720p50 Dvcpro HD Recorded at 24 fpsDvcpro HD Format Specifications 1080i50 Format Recorded data rate Mbps Captured data rate MB/sec Video Compression Page About IMX 3Working with IMXWorking with IMX in Final Cut Pro IMX Formats Supported by Final Cut ProAbout MXF Editing IMX Clips into a Sequence Choosing an IMX Easy SetupTransferring IMX Footage to Your Computer Importing MXF-Wrapped IMX Media Files into Your ProjectIMX Format Specifications Data Rate and Video Compression Page 4Using the Log and Transfer Window About the Log and Transfer Window About File-Based MediaTo open the Log and Transfer window Choose File Log and Transfer or press Command-Shift-8File-Based Media Terminology Using the Log and Transfer Window Sample File-Based Media Workflow Using the Log and Transfer Window Mounting Media Devices Using the Browse AreaUsing Folders with Valid File-Based Media Folder Structure To unmount a volume, do one of the followingControls in the Browse Area Add Folder button Column headings Mounted volumeUsing the Log and Transfer Window Selecting Clips in the Browse Area Adding Volumes and Folders to the Browse AreaDeleting Clips Directly from Storage Media Using the Preview AreaRestrictions During Preview Transport Controls in the Preview AreaUsing the Logging Area Using Autofill Cache Logging InformationTo enter previously logged data from the autofill cache Setting Audio and Video Clip Import Settings To apply import settings to multiple clipsIncrementing Logging Fields Adding Clips to the Transfer Queue for Ingest Using the Transfer QueuePausing and Stopping Ingest Organizing Clips in the Transfer QueueFilenaming and Clip Naming During Ingest Reingesting Clip Media Choosing Reel Names and Understanding Volume NamesWorking with Spanned Clips Viewing Spanned Clips in the Browse Area Archiving to a Folder Archiving File-Based Media from CardsTo rename a mounted volume of an archived disk image Archiving to a Disk ImageTo create a disk image of a card Clear Logging Autofill Cache Setting Log and Transfer Import PreferencesLog and Transfer Plug-in Transcode Settings Remove Advanced Pulldown and Duplicate FramesPage About Panasonic P2 Cards and Media Files 5Working with Panasonic P2 CardsRecording Footage with a P2 Camcorder Working with Panasonic P2 Cards and Final Cut ProMounting P2 Cards, Disk Images, and Folders To mount a P2 memory card using a P2 card readerMounting P2 Cards Using a PowerBook PC Card Cardbus Slot Mounting P2 Cards Using a Panasonic AG-HVX200 Camcorder Using Folders with Valid P2 Card Folder StructureUnmounting P2 Cards Deleting P2 Clips Directly in the Log and Transfer Window Working with Spanned Clips Press the Menu button Capturing over FireWire as if a P2 Card Were a Tape in a VTR 104 Panasonic AG-HVX200 Ntsc Panasonic AG-HVX200 Camcorder CompatibilityFormat Duplicate Timecode Frame rate Frame pattern Panasonic AG-HVX200E PALPanasonic P2 Card Format Specifications Page Avchd Formats Supported by Final Cut Pro About AvchdRestrictions When Working with Avchd Working with Avchd in Final Cut ProTransferring Avchd Footage Choosing an Avchd Destination Codec Avchd Format Specifications Specified Avchd frame rates are Panasonic Camcorder Avchd Quality Levels Sony Camcorder Avchd Quality LevelsAVC-Intra Formats Supported by Final Cut Pro About AVC-IntraRestrictions When Working with AVC-Intra Working with AVC-Intra in Final Cut ProChoosing an AVC-Intra Destination Codec AVC-Intra Format Specifications Data rate Frame dimensions Color sample ratio About XDCAM, Xdcam HD, and Xdcam EX 8Working with Sony Xdcam FormatsXdcam HD Formats Supported in Final Cut Pro Xdcam HD VBR Easy SetupsXdcam HD CBR Easy Setups Xdcam Formats Supported in Final Cut ProXdcam EX Formats Supported in Final Cut Pro Xdcam HD422 CBR Easy SetupsWorking with XDCAM, Xdcam HD, and Xdcam EX in Final Cut Pro Installing Sony Xdcam SoftwareConnecting an Xdcam or Xdcam HD Deck To enable the PC Remote mode on a Sony PDW-1500 Xdcam deckTo mount Xdcam or Xdcam HD media on your computer desktop Ingesting XDCAM, Xdcam HD, or Xdcam EX Media Rendering and Conforming Xdcam HD or Xdcam EX Media Exporting Sequences to XDCAM, Xdcam HD, or Xdcam EX MediaTo assign four mono audio outputs to your sequence XDCAM, Xdcam HD, and Xdcam EX Format Specifications Frame Color 128 About Sony Video Disk Units 9Working with Sony Video Disk UnitsImporting DV Media from a Sony Video Disk Unit Setting Up a Sony Video Disk UnitTo unmount a FireWire hard drive from the desktop Importing Footage from a Sony Video Disk UnitTo transfer media from a Sony Video Disk Unit
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6 specifications

The Apple iPhone 6, released in September 2014, marked a significant evolution in Apple's smartphone lineup. This model introduced a larger screen and a sleeker design, setting the stage for future devices in the iPhone series.

One of the most notable features of the iPhone 6 was its display. With a 4.7-inch Retina HD screen, the iPhone 6 offered a resolution of 1334 x 750 pixels, delivering vibrant colors and sharp images. This screen size was a departure from previous models, appealing to users who favored larger displays for better viewing experiences, whether for gaming, watching videos, or browsing the web.

The design of the iPhone 6 was another highlight. It featured a slim, curved aluminum body that not only made it more aesthetically pleasing but also improved its ergonomics. Weighing just 129 grams, the phone was light yet robust. The placement of volume buttons, the power button, and the headphone jack was thoughtfully designed to enhance usability.

Under the hood, the iPhone 6 was powered by the A8 chip, a 64-bit dual-core processor that offered impressive performance and energy efficiency. Coupled with the M8 motion coprocessor, the device could effectively handle demanding apps and services while optimizing battery life, providing users with a smooth experience throughout the day.

The camera capabilities of the iPhone 6 were also advanced for its time. It featured an 8-megapixel rear camera with optical image stabilization and a f/2.2 aperture, allowing for clearer low-light photography. The front-facing camera was improved as well, offering a 1.2-megapixel resolution and support for 720p HD video, making it great for selfies and video calls.

Connectivity options included LTE support, enabling faster download speeds, and Wi-Fi calling, which allowed users to make calls over Wi-Fi networks, enhancing communication in areas with poor cellular coverage. The iPhone 6 also introduced the Apple Pay feature, allowing users to make secure transactions using their devices.

In terms of software, the iPhone 6 originally came with iOS 8, which boasted new features such as HealthKit and HomeKit, further integrating technology into daily life. Regular software updates ensured that users could enjoy the latest features and security enhancements well into the device's lifecycle.

Overall, the iPhone 6 distinguished itself with a combination of innovative design, powerful performance, and a user-friendly experience, solidifying Apple's position in the smartphone market and paving the way for future iterations in the iPhone lineup.