Apple 6 manual

Final Cut Pro 6

Working with High Definition

and Broadcast Formats

Contents

Main K Contents Page Page Page About High Definition and Broadcast Formats The following table shows the HD formats in common use today. NTSC-Compatible HD Formats PAL-Compatible HD Formats Film-Compatible HD Formats About the Apple ProRes 422 Codec About the Apple Intermediate Codec The Apple ProRes 422 Codec Works with 8-Bit and 10-Bit Source Files About HDV What Is ProHD? HDV Formats Supported by Final Cut Pro 25 fps Formats About MPEG Compression Spatial (Intraframe) Compression Temporal (Interframe) Compression Standard Definition Recording with an HDV Camcorder More About Long-GOP Video Transcoding HDV to Other Apple Codecs Working with HDV in Final Cut Pro Native HDV Editing Workflow Steps for Native HDV Editing Connecting an HDV Device to Your Computer Choosing an Easy Setup Logging and Capturing Native HDV Footage About the Log and Capture Window Page Page Page Page Page Capturing Footage with Start/Stop Indicators Recapturing HDV Footage How Clips Are Named When Start/Stop Indicators and Timecode Breaks Are Detected Editing HDV Footage About Long-GOP Editing and Rendering Improving HDV Rendering by Using the Apple ProRes 422 Codec Using an HDV Camcorder to Capture or Output DV Footage Rendering and Conforming Long-GOP MPEG-2 Media Rendering HDV Conforming While Rendering in the Timeline Using the Print to Video Command to Output HDV Page Transcoded HDV Editing Workflow Steps for Transcoded HDV Editing Connecting an HDV Device to Your Computer Choosing an Easy Setup Capturing and Transcoding HDV Video Capturing Footage with Scene Breaks Editing Video Using Transcoded HDV Footage Outputting HDV to Tape or Exporting to a QuickTime Movie Exporting HDV for DVD Studio Pro Using the Canon XL H1 HDV Camcorder Using the Sony HVR-V1 HDV Camcorder HDV Format Specifications Page Page Page About DVCPRO HD DVCPRO HD Formats Supported by Final Cut Pro 50 fpsBased Formats Final Cut Pro natively supports the following DVCPRO HD formats. 59.94 fpsBased Formats DVCPRO HD Frame Rates 1080pA24 DVCPRO HD 720p60 DVCPRO HD 720p50 DVCPRO HD 720pN DVCPRO HD Native Frame Rate Recording 720p DVCPRO HD Variable Frame Rate Recording Setting System Frequency on a Panasonic Varicam Camcorder Working with DVCPRO HD in Final Cut Pro Connecting a DVCPRO HD Device to Your Computer Choosing a DVCPRO HD Easy Setup Logging and Capturing Your DVCPRO HD Footage Removing Duplicate Frames During Capture About Timecode for 720p50 and 720p60 Formats About Device Control for 720p50 and 720p60 Devices Editing DVCPRO HD Footage Choosing Timecode Display Options for 720p60 DVCPRO HD Media Outputting Your DVCPRO HD Sequence Generating Color Bars and Tone for 1080i, 1080p, and 720p Video 720p60 Output and Playback Outputting Sequence Timecode Using DVCPRO HD Using the DVCPRO HD Frame Rate Converter Choosing an Intended Playback Rate How DVCPRO HD Variable Frame Rate Recording Works What Is a Frame Rate Converter? How a Frame Rate Converter Works Chapter 2 Working with DVCPRO HD 53 Several examples of 720p60 DVCPRO HD variable frame rate footage are shown below. About Native Variable Frame Rate Recording About the DVCPRO HD Frame Rate Converter Original Media File Requirements Timecode and Audio Restrictions About the Frame Rate Converter Options Why Is There an Option to Convert 59.94 fps to 59.94 fps? Using the Frame Rate Converter Working with 24p DVCPRO HD Working with 1080pA24 DVCPRO HD Video Page Working with 720p24 DVCPRO HD Video 720p60 DVCPRO HD Recorded at 23.98 fps 720p50 DVCPRO HD Recorded at 24 fps 720pN24 DVCPRO HD (Native 24p) DVCPRO HD Format Specifications Page Page Page Page About IMX IMX Formats Supported by Final Cut Pro About MXF Working with IMX in Final Cut Pro Page IMX Format Specifications Page Page Window About File-Based Media About the Log and Transfer Window Page File-Based Media Terminology Page Sample File-Based Media Workflow Page Mounting Media Devices Using Folders with Valid File-Based Media Folder Structure Using the Browse Area Controls in the Browse Area Page Adding Volumes and Folders to the Browse Area Selecting Clips in the Browse Area Deleting Clips Directly from Storage Media Using the Preview Area Transport Controls in the Preview Area Using the Logging Area Using Autofill Cache Logging Information Incrementing Logging Fields Setting Audio and Video Clip Import Settings Using the Transfer Queue Adding Clips to the Transfer Queue for Ingest Organizing Clips in the Transfer Queue Pausing and Stopping Ingest Filenaming and Clip Naming During Ingest Reingesting Clip Media Choosing Reel Names and Understanding Volume Names Working with Spanned Clips Viewing Spanned Clips in the Browse Area Archiving File-Based Media from Cards Archiving to a Folder Archiving to a Disk Image Setting Log and Transfer Import Preferences Remove Advanced Pulldown and Duplicate Frames Clear Logging Autofill Cache Log and Transfer Plug-in Transcode Settings Page About Panasonic P2 Cards and Media Files Working with Panasonic P2 Cards and Final Cut Pro Recording Footage with a P2 Camcorder Mounting P2 Cards, Disk Images, and Folders Mounting P2 Cards Using a P2 Card Reader or Panasonic P2 Store Unit Mounting P2 Cards Using a PowerBook PC Card (Cardbus) Slot Mounting P2 Cards Using a Panasonic AG-HVX200 Camcorder Unmounting P2 Cards Using Folders with Valid P2 Card Folder Structure Deleting P2 Clips Directly in the Log and Transfer Window Removing Advanced Pull-Down and Duplicate Frames During Transfer Working with Spanned Clips Using Print to Video to Output to P2 Cards in the AG-HVX200 Camcorder Capturing over FireWire as if a P2 Card Were a Tape in a VTR Page Panasonic AG-HVX200 Camcorder Compatibility Panasonic AG-HVX200E (PAL) Panasonic P2 Card Format Specifications Page The Log and Transfer window allows you to transfer AVCHD footage from file-based camcorders. About AVCHD AVCHD Formats Supported by Final Cut Pro Working with AVCHD in Final Cut Pro Transferring AVCHD Footage Restrictions When Working with AVCHD Choosing an AVCHD Destination Codec AVCHD Format Specifications Transcoded AVCHD Files Require Significantly More Disk Space Than Native AVCHD Files Page Page The Log and Transfer window allows you to transfer AVC-Intra footage from P2 volumes. About AVC-Intra AVC-Intra Formats Supported by Final Cut Pro Working with AVC-Intra in Final Cut Pro Restrictions When Working with AVC-Intra Choosing an AVC-Intra Destination Codec AVC-Intra Format Specifications Page Formats Final Cut Pro allows you to natively transfer and edit XDCAM, XDCAM HD, and XDCAM EX formats. About XDCAM, XDCAM HD, and XDCAM EX XDCAM Formats Supported in Final Cut Pro XDCAM HD Formats Supported in Final Cut Pro XDCAM HD VBR Easy Setups XDCAM HD CBR Easy Setups XDCAM HD422 CBR Easy Setups XDCAM EX Formats Supported in Final Cut Pro Working with XDCAM, XDCAM HD, and XDCAM EX in Final Cut Pro Installing Sony XDCAM Software Connecting an XDCAM, XDCAM HD, or XDCAM EX Device to Your Computer Connecting an XDCAM or XDCAM HD Deck Connecting an XDCAM EX Camcorder or SxS Card to Your Computer Ingesting XDCAM, XDCAM HD, or XDCAM EX Media Choosing an Easy Setup and Editing XDCAM Media in Final Cut Pro Choosing an Easy Setup and Editing XDCAM HD or XDCAM EX Media in Final Cut Pro Rendering and Conforming XDCAM HD or XDCAM EX Media Exporting Sequences to XDCAM, XDCAM HD, or XDCAM EX Media XDCAM, XDCAM HD, and XDCAM EX Format Specifications Page Page About Sony Video Disk Units Importing Footage from a Sony Video Disk Unit Setting Up a Sony Video Disk Unit Importing DV Media from a Sony Video Disk Unit