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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
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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
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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
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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
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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
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About IMX
IMX Formats Supported by Final Cut Pro
About MXF
Working with IMX in Final Cut Pro
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IMX Format Specifications
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Window
About File-Based Media
About the Log and Transfer Window
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File-Based Media Terminology
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Sample File-Based Media Workflow
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Mounting Media Devices
Using Folders with Valid File-Based Media Folder Structure
Using the Browse Area
Controls in the Browse Area
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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
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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
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Panasonic AG-HVX200 Camcorder Compatibility
Panasonic AG-HVX200E (PAL)
Panasonic P2 Card Format Specifications
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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
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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
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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
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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