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Final Cut Pro 5 Working With High Definition and Broadcast

1. 01 50 21 00 01 50 21 00 01 50 21 00 01 50 21 01 e When editing 720p30 or 720p24 video you can choose to display clip time instead of source time The clip time option displays timecode at the media file frame rate not the media file timecode track rate Important These timecode display options do not change the timecode of your media files only the displayed timecode count is affected Chapter 2 Working With DVCPRO HD 43 44 To set the timecode display for 720p60 video Open a 720p60 clip or sequence in the Viewer or Canvas Control click a timecode field then choose Non Drop Frame this will display 60 fps timecode or 60 30 from the shortcut menu Note The 60 30 timecode display is only available when you are working with 59 94 fps or 60 fps media files and sequences To display clip time for a 720p30 or 720p24 clip Open a 720p30 or 720p24 clip in the Viewer Control click the Current Timecode field then choose Clip Time from the shortcut menu The Current Timecode field now displays timecode based on the frame rate of the media file instead of the source timecode rate For more information about changing timecode display options see the Final Cut Pro 5 User Manual Volume II Chapter 25 Working With Timecode Creating Graphics for HD Projects Creating graphics and still images for high definition video projects is the same process as for standard definition video To determine the image dimen
2. e Before ingesting a clip in the Import Panasonic P2 window you can revert back to a clip s original properties by Control clicking the clip and choosing Revert to Original Metadata e While logging clips to a new project in the Import Panasonic P2 window you won t see clip property modifications that you made while logging clips in other projects In other words P2 clip properties can only be modified on a per project basis Chapter 6 Working With Panasonic P2 Media e Media map indicators Indicate how much of a P2 clip s media has been ingested in the current project Before you ingest any media into a project all the media map indicators are empty If you ingest a portion of media from a clip on a P2 volume that segment is added to the project as a clip and the corresponding media map indicator has a partially filled icon If you create a new project or close the current one the media map indicator for that P2 clip becomes empty again Media map indicators have three states e Empty No media has been ingested e Partial At least one frame but not all frames has been ingested Complete All of the media for the P2 clip has been ingested e Thumbnail Resize slider Adjust the slider to change the size of clip thumbnails Click the large or small thumbnail buttons to jump to the largest and smallest thumbnail sizes respectively e Add Selection to Queue button Click this button to add the currently selected clips in the Br
3. displayed at 16 9 or 1280 x 720 Final Cut Pro captures and processes DVCPRO HD using its native dimensions but displays the image on screen as you would expect 16 9 video to appear 1920 x 1080 1920 x 1080 1280 x 1080 1440 x 1080 1280 x 720 960 x 720 1080160 1080p30 1080150 720p 1080pA24 Frame Rate DVCPRO HD is capable of recording and playing back all the NTSC PAL and film frame rates For NTSC compatibility you can choose to alter whole number frames rate by 99 9 In practice the NTSC related frame rates are used far more often than the whole number rates Whole number frame rates 60 30 and 24 fps NTSC related frame rates 59 94 29 97 and 23 98 fps PAL related frame rate 25 fps Some 720p DVCPRO HD camcorders support variable frame rate recording In this case the video is actually recorded at either 60 fps or 59 94 fps for NTSC compatibility and duplicate frames are flagged for removal during post production Once the duplicate frames are removed the video plays back at the intended rate Scanning Methods DVCPRO HD can record either interlaced or progressive scan images depending on the frame size and format 1080i and 1080p Interlaced and progressive e 720p Progressive Chapter 2 Working With DVCPRO HD 49 50 Color Recording Method DVCPRO HD records a 4 2 2 component Y C C digital video signal Each sample pixel has a native resolution of 8 bits FireWire transfers color nativel
4. stream error message e A timecode break error message Warn After Capture When you capture HDV this option behaves identically to the Abort Capture option Chapter 1 Working With HDV How Clips Are Named When Start Stop Indicators and Timecode Breaks Are Detected Filenames for new media files and clips generated by start stop indicators and timecode breaks are appended with a number to ensure they have unique names For example suppose you are capturing a media file named Cafe Wide Shot when a scene or timecode break is detected At the break detection point Final Cut Pro begins capturing a new media file named Cafe Wide Shot 1 If there is already a media file named Cafe Wide Shot 1 the new media file is named Cafe Wide Shot 2 and so on Recapturing HDV Footage Recapturing HDV footage is similar to recapturing other video formats It is important that your clips contain accurate timecode or you may have difficulty recapturing For more information about recapturing footage see the Final Cut Pro 5 User Manual Volume I Chapter 19 Capturing Your Footage to Disk Important Some HDV camcorders do not record timecode so recapturing media files from tapes recorded by these camcorders may result in new media files with an offset of one or two frames Using an HDV Camcorder to Capture or Output DV Footage You can use an HDV camcorder as a standard DV device However before doing this make sure t
5. 109 109 110 110 110 110 110 111 Using Print to Video to Output to P2 Cards in the AG HVX200 Archiving P2 Cards Setting Preferences Capturing Over FireWire as if the P2 Card Were a Tape in a VIR Panasonic AG HVX200 Camcorder Compatibility Panasonic P2 Card Format Specifications Working With Sony XDCAM HD and Video Disk Units Working With Sony XDCAM HD About XDCAM HD XDCAM HD Formats Supported in Final Cut Pro Installing Sony XDCAM Software Connecting XDCAM HD Devices to Your Computer Ingesting XDCAM HD Media Editing XDCAM HD Media in Final Cut Pro Exporting Sequences to XDCAM HD Media Working With a Sony Video Disk Unit About Sony Video Disk Units Importing Footage From a Sony Video Disk Unit Contents About High Definition and Broadcast Formats Preface Final Cut Pro 5 is a complete broadcast post production solution supporting the latest high definition video formats project interchange formats and high performance shared disk storage With more and more video formats introduced every year it can be difficult to keep your post production suite up to date Making Final Cut Pro the center of your post production workflow ensures that your suite is compatible with the latest broadcast and high definition formats This document covers the following format support in Final Cut Pro e Native capturing editing and output of HDV e Native capturing editing and output of DVCPRO HD e Importing and nativ
6. 2 Use Remove Advanced Pulldown command in Final Cut Pro or Cinema Tools after capture or ingest 3 Enable Advanced Pulldown Removal option during capture tape or ingest P2 4 Use Frame Rate Converter plug in audio and timecode are removed 5 Basic editing is supported but rendering in a sequence is not supported For more information go to http docs info apple com article html artnum 303950 Chapter 6 Working With Panasonic P2 Media 103 104 AG HVX200P PAL Pulldown duplicate Recorded frame v5 0 4 v5 1 v5 1 1 v5 1 2 Format frame rate pattern Timecode P2 Tape P2 Tape P2 Tape 1080150 25 NDF 1 1 1 1 1 1 1 1 1080p25 25 2 2 NDF 1 1 1 1 1 1 1 1 576i50 25 NDF 1 1 1 1 1 1 1 1 576p25 25 2 2 NDF 1 1 1 1 1 1 1 1 720p50 50 NDF 2 720p25 50 22 NDF 3 720pN25 25 NDF n a na n a 1 n a 720pN VFR NDF 1 n a 1 n a 1 n a 1 n a VFR 1720p variable frame rates 12 18 20 23 25 27 30 32 36 48 and 50 fps i interlaced p progressive A advanced pulldown N native frame rate without duplicate fields or frames DF drop frame NDF non drop frame VFR variable frame rate 1 No pulldown removal is necessary native frame rate is captured or ingested 2 Ingest is supported but native 720p50 editing is not supported 3 Enable Advanced Pulldown Removal option during P2 ingest Panasonic P2 Card Format Specifications A P2 card is a PC Card containin
7. 3 pulldown If you are outputting to film or progressive scan video you don t need to add a pulldown Chapter 4 Working With 24p and Variable Frame Rate Video 63 64 Using A DVX100 NTSC Camcorder With Advanced Pulldown The steps below explain the workflow for capturing and outputting 24p video using the Panasonic DVX100 NTSC camera Other NTSC camcorders that use this advanced pulldown method can also follow this workflow Step 1 Shoot with advanced pulldown 23 98 at 29 97 Choose the 24p advanced pulldown option on your camera This creates 29 97 fps NTSC video that contains 23 98 fps progressive frames using a 2 3 3 2 pulldown pattern Step 2 Remove 2 3 3 2 Advanced Pulldown From 24p Video During Capture Choose or create a capture preset that has the Remove Advanced Pulldown and or Duplicate During Capture From FireWire Sources checkbox selected Duplicate video fields are discarded during capture resulting in a 24p 23 98 fps media file on disk after capture If you have already captured your video at 29 97 fps you can remove duplicate fields from your media file after capture To remove 2 3 3 2 advanced pulldown from your media files after capture Select the 29 97 fps clips in the Browser then choose Tools gt Remove Advanced Pulldown Your media files will remain the same size but they will be set to play back at 23 98 fps If no advanced pulldown flags are detected the media file remains at 29 97 fps Step 3 E
8. AG HVX200 camcorder does not record voice annotations Chapter 6 Working With Panasonic P2 Media 105 Working With Sony XDCAM HD 7 and Video Disk Units Final Cut Pro includes support for XDCAM HD formats and Sony Video Disk Units This chapter covers the following e Working With Sony XDCAM HD p 107 e Working With a Sony Video Disk Unit p 110 Working With Sony XDCAM HD Final Cut Pro allows you to edit video and audio recorded in the Sony XDCAM HD format The file based nature of the XDCAM HD format provides predefined clips and random access to footage on inexpensive high capacity discs About XDCAM HD The original XDCAM format uses the Sony Professional Disc a 120 mm disc like CD and DVD discs that can record 23 3 GB of media by using a a 405 nm blue violet laser to record a variety of standard definition digital video formats including e DVCAM 25 Mbps DV NTSC or PAL e MPEG IMX 30 40 or 50 Mbps MPEG 2 I frame only NTSC or PAL Note Although the Sony Professional Disc uses a blue violet laser it is not compatible with Blu ray disc technology The Sony Professional Disc supports a transfer speed of 72 Mbps whereas a consumer Blu ray disc has a maximum rate of 36 Mbps All video and audio content is stored on disc within MXF container files Much like QuickTime movie files MXF files can store video and audio data in almost any frame rate and codec as well as metadata about the content such as date of
9. Adding Clips to the Transfer Queue for Ingest on page 92 Watch the Transfer Queue area to see the status of your ingested media If necessary you can output footage back to P2 cards using the Print to Video command For more information see Using Print to Video to Output to P2 Cards in the AG HVX200 on page 98 Chapter 6 Working With Panasonic P2 Media Recording Footage With a P2 Camcorder The Panasonic AG HVX200 P2 camcorder supports a large number of standard and high definition video formats at various frame rates The AG HVX200 can record on either tape or P2 cards but some formats can only be recorded on P2 cards For a detailed list of formats supported by the AG HVX200 see Panasonic AG HVX200 Camcorder Compatibility on page 103 Mounting P2 Cards Disk Images and Folders After you record footage on P2 cards there are three ways to mount P2 cards in your computer s file system e Use a Panasonic P2 memory card reader connected to your Macintosh computer e Insert a P2 card into the PCMCIA slot on a PowerBook e Use a Panasonic AG HVX200 camcorder connected via FireWire as a card reader Alternatively you can e Mount archived disk images of P2 cards that you previously created e Ingest MXF media from any P2 compliant folder on a local or networked hard disk For more information see Using Folders With Valid P2 Card Folder Structure on page 84 You can also configure the Panasonic AG HVX200 as a V
10. Free Space 8 1 C8 Se Timecode Duration field y Angle 1 z Video preview area Log Note adjust red levet audio too quier Good v martars mO O Ciiorisaoo0 M os1s1500 C upane Uist 04 14 44 22 04 14 44 22 door opens 04 14 54 20 04 14 59 20 audio too low Shuttle control Clip In Point 7 Timecode field fe oxtaaaze OCE Cece Cai Crow Cener o Device Transport Clip Out Point status controls Timecode field Important If your computer has a PCI graphics card installed and you are logging or capturing HDV footage Final Cut Pro does not preview video or audio in the Log and Capture window You can still log and capture but you need to use your HDV camcorder display to preview video Video Preview Area e Available space and time Final Cut Pro displays the amount of available space on all currently assigned scratch disks e Device status Shows the readiness of camcorders and decks connected to your computer and being controlled by Final Cut Pro If you see VTR OK your equipment is connected and working properly Timecode Duration field Displays the duration in timecode between the current tape In and Out points If you enter a duration in this field the Out point is adjusted Current Timecode field Displays the timecode number of the current frame of your source tape You can enter a timecode number in this fi
11. In this case the camcorder seamlessly continues recording to a new media file on the next available P2 card For more information see Working With Spanned Clips on page 95 Proxy A low resolution copy of a media file usually stored as an MPEG 4 file A proxy can be used for fast transfer and preview of footage Note The Panasonic AG HVX200 camcorder does not record proxy files Ingest A general term for the process of transferring video audio and metadata from one media storage system to another Depending on the context ingest may mean any of the following Transferring data between different computer platforms or file systems such as between a P2 file system and Mac OS X Transferring data between different storage media such as from tape to hard disk also known as capturing Adding media files from your local scratch disk to a nonlinear editing system to create clips that point to the media also called importing Converting media between different container file formats such as from MXF files to QuickTime files Transcoding video and audio data to different formats such as from DVCPRO HD 1080i footage to standard definition 480p MPEG 2 footage Working With Panasonic P2 Cards and Final Cut Pro Final Cut Pro allows you to ingest video and audio recorded on Panasonic P2 cards and then edit the resulting media files just as you would edit media files in any other format Because of their nonlinear nature P2 stor
12. MXF 69 70 IMX Formats Supported by Final Cut Pro IMX can be recorded using NTSC or PAL video standards at three possible bit rates 30 40 and 50 Mbps Final Cut Pro supports real time editing and effects using the 30 and 50 Mbps IMX formats You can use 40 Mbps IMX in Final Cut Pro but the RT Extreme playback engine does not support this format Format Dimensions Data rate IMX NTSC 720 x 486 30 401 50 Mbps IMX PAL 720 x 576 30 401 50 Mbps 1Real time processing of 40 Mbps IMX footage is not supported About MXF Material eXchange Format MXF is a generic media container format for the video industry It is not a compression scheme or specific video type but rather a container for storage and transmission of video audio and associated metadata An MXF container is similar in concept to a QuickTime movie which is a general purpose media container that can contain video and audio with various dimensions codecs sample rates and so on For example the IMX format stores MPEG 2 compressed video and audio within an MXF container However because MXF is not codec specific it can contain video compressed with other codecs as well such as DVCAM Panasonic P2 cards can store DV DVCPRO DVCPRO 50 and DVCPRO HD data within an MXF wrapper The MXF wrapper facilitates transfer and storage of specialized media data within general purpose computer systems and across multiple media types Working With IMX in Final
13. NTSC video PAL video and film 61 Currently there are several techniques for recording 24p video on another format e 24p recorded at 29 97 fps NTSC compatible in this case the actual frame rate is 23 98 fps e 24p recorded at 25 fps PAL compatible e 24p recorded at 60 or 59 94 fps 720p or 1080p DVCPRO HD ProHD e 24p recorded at 48 fps 1080p Sony CineAlta Some of these techniques are based on existing film to video telecine methods and some are newer approaches In all cases the video signal is digital and can contain embedded duplicate frame metadata also referred to as flags When redundant repeated fields or frames are recorded they are flagged so they can be removed by a frame rate converter Final Cut Pro has the ability to remove these redundant frames so for example 29 97 fps video can be easily converted to 23 98 fps Another advantage of 24p video is that it has a lower data rate than 25 29 97 and 59 94 fps formats Tip When you shoot video at 24 fps you need to avoid quick pans and tilts because they may cause the image to stutter This is common knowledge for film cinematographers but videographers new to 24 fps videography may not always be aware of this fact 24 or 23 98 fps Although the term 24p implies 24 frames per second the value 24 is usually inaccurate since most people working within NTSC standards actually shoot at a frame rate of 23 98 fps On the other hand 24 fps footage transfe
14. Press F2 Restrictions During Preview The following restrictions apply while viewing clips in the Preview area Listening to audio while scrubbing While previewing footage in the Import Panasonic P2 window you can only hear audio during forward and reverse playback at normal 100 percent speed Scrubbing at other speeds is silent Video playback performance Computers with the minimum high definition video system requirements 1 GHz processor and 1 GB of RAM do not smoothly preview high definition video in the Preview area P2 card and volume playback performance If you experience playback issues from a clip stored on a P2 card try copying the CONTENTS folder from the P2 card to a folder on a separate hard disk and then use the copied clip for ingest If you use this method make sure to unmount the original P2 card so that there are not multiple occurrences of the same P2 clip in the Import Panasonic P2 window Chapter 6 Working With Panasonic P2 Media 89 90 Logging fields 4 Using the Logging Area You can use the Logging area to modify a clip s reel name and other descriptive information before ingesting Data entered here is stored with project clips after ingest Increment button Autofill pop up menu The fields here are identical to the logging fields in the Log and Capture window Press Tab to move from field to field and press Shift Tab to move through fields in reverse You can reset clip logging fields and
15. When you capture 720p DVCPRO HD media Final Cut Pro converts the 30 fps timecode on the source tape to a 60 fps timecode track within the QuickTime media file This timecode can be used to accurately recapture your media at a later time For more information about 60 fps timecode see Choosing Timecode Display Options for 720p DVCPRO HD Media on page 43 Chapter 2 Working With DVCPRO HD Editing DVCPRO HD Footage You can edit DVCPRO HD footage just as you would DV footage Several additional options are available to support the unique frame rates of DVCPRO HD Choosing Timecode Display Options for 720p DVCPRO HD Media Even though the timecode track of 720p DVCPRO HD QuickTime media files is always running at 60 fps you can choose whether the timecode fields in Final Cut Pro display 60 or 30 fps timecode e When editing 720p60 video you can choose from two time display options 60 fps timecode The timecode counts 60 frames per second from 00 to 59 60 30 timecode Displays 60 and 59 94 fps video using 30 fps timecode One timecode number is used for every two video frames and an asterisk is displayed on every other frame This timecode display matches the display on DVCPRO HD decks and is useful when you are referring to log notes or EDLs generated with 30 fps timecode Frames 60 30 fps 60 fps P 01 50 20 28 01 50 20 56 01 50 20 28 01 50 20 57 01 50 20 29 01 50 20 58 01 50 20 29 01 50 20 59
16. allows direct transfer to film e Progressive scanning eliminates interlacing artifacts e Has a 60 percent lower data rate than 720p60 because of the lower frame rate Cons 720p has a smaller image size than 1920 x 1080 though it is still higher resolution than standard definition video Requires a telecine pulldown process when transferring to NTSC Requires a frame rate increase when transferring to PAL This slightly alters the audio rate The low frame rate requires slow camera motion to avoid stuttering jumps from frame to frame Preface About High Definition and Broadcast Formats Working With HDV Final Cut Pro supports native capturing editing and output of HDV media If you already have experience editing DV footage making the switch to HDV is simple This chapter covers the following About HDV p 11 Working With HDV in Final Cut Pro p 14 Native HDV Editing Workflow p 15 HDV Apple Intermediate Codec Editing Workflow p 28 Using the Canon XL H1 HDV Camcorder p 32 HDV Format Specifications p 33 About HDV HDV is a new high definition video format created by a consortium of manufacturers including Sony Canon Sharp and JVC HDV allows you to record an hour of high definition video with a consumer priced handheld camcorder on standard mini DV videocassettes You can connect an HDV camcorder to your computer via FireWire so you can capture and output just as you would with a DV device H
17. and Capture window to transfer media Note Because footage is transferred in real time as though it were coming from tape this method is slower than ingesting media via the Import Panasonic P2 window To use the Log and Capture window to capture media from a P2 card Connect one end of a FireWire cable to the corresponding port on the camcorder Connect the other end of the FireWire cable to a corresponding port on your computer Insert the P2 card containing the clips you want to capture into one of the slots in the camcorder On the camcorder do the following a Choose Camera mode b Press the Menu button c Choose the Other Functions menu then select the PC Mode setting d Set the PC Mode setting to 1394DEVICE e Press the mode button to switch from Camera mode to MCR VCR mode Important Do not open Final Cut Pro until after you switch to MCR VCR mode Otherwise device control or video passthrough may not be available Use the AUDIO DUB THUMBNAIL button to switch out of Thumbnail mode Note To start capturing from a particular point in the footage first use the camcorder s Thumbnail feature to select a particular clip then use the AUDIO DUB THUMBNAIL button to switch out of Thumbnail mode Open Final Cut Pro and choose Final Cut Pro gt System Settings then click the Scratch Disks tab Chapter 6 Working With Panasonic P2 Media 101 102 Select a scratch disk or folder to which you want to transfer your P2 m
18. and or Duplicate Frames During Capture From FireWire Sources option Duplicate video fields are discarded during capture resulting in a 24p 23 98 fps media file on disk after capture Note You can also remove advanced pulldown while ingesting 1080pA24 or 480pA24 footage recorded on P2 cards For more information see Setting Preferences on page 100 If you have already captured your video at 29 97 fps you can remove duplicate fields from your media files after capture To remove 2 3 3 2 advanced pulldown from your media files after capture Select the 29 97 fps clips in the Browser then choose Tools gt Remove Advanced Pulldown Your media files will remain the same size but they will be set to play back at 23 98 fps If no advanced pulldown flags are detected the media file remains at 29 97 fps Chapter 4 Working With 24p and Variable Frame Rate Video Step 3 Edit at 23 98 fps You can edit your footage in a 23 98 fps sequence To preview your video on an external monitor while you are editing you can choose one of several pulldown options to convert the 23 98 fps video to 29 97 fps The 2 2 2 4 option is the least processor intensive but it should be used only for previewing For more information about real time pulldown options see the Final Cut Pro 5 User Manual Volume Ill Chapter 23 Using RT Extreme Step 4 Output back to 1080i60 video with advanced pulldown After you finish editing your movie you ca
19. clips on five P2 volumes appears in both views In both views segments of a spanned clip appear separately when the spanned clip is missing segments from other P2 volumes However when a spanned clip is complete it is displayed differently depending on the view you choose Incomplete spanned clip Incomplete spanned clip in Hierarchical List view in Flat List view In Flat List view a complete spanned clip appears as a single item in the Browse area In Hierarchical List view the same spanned clip appears within each P2 volume that contains one of the spanned clip s segments Hierarchical List view displays Flat List view displays multiple identical spanned clips a single spanned clip Chapter 6 Working With Panasonic P2 Media 97 To avoid confusion it s usually best to use Flat List view when ingesting spanned clips When a spanned clip is incomplete you can ingest each segment as an individual QuickTime media file and clip However when all segments of a spanned clip are available you can ingest all of the spanned clip s media to a single QuickTime file Tip When logging spanned clips assign reel names that indicate all volumes from which a clip originated For more information see Choosing Reel Names and Understanding P2 Volume Names on page 94 Using Print to Video to Output to P2 Cards in the AG HVX200 You can output footage in Final Cut Pro to P2 cards in a Panasonic AG HVX200 camcorder This m
20. constant rate of 60 or 59 94 fps for NTSC compatibility Any redundant frames in the 60 or 59 94 fps video stream are tagged to be removed later by a special frame rate converter For example if the camera is set to record 15 fps 3 out of every 4 frames are tagged as duplicates and ignored when played back on the frame rate converter Once duplicate frames are removed the frame rate converter can play the remaining frames at one of several standard frame rates 60 59 94 30 29 97 24 or 23 98 fps Note Some frame rate converters can also do upconverting and downconverting allowing you to use 720p for variable speed cinematography and then transfer to 1080i or 480i standard definition Several examples of how variable frame rates are recorded on 720p DVCPRO HD devices are shown below Note Although whole number frame rates are shown below Final Cut Pro only supports DVCPRO HD capture and output of NTSC compatible frame rates such as 59 94 29 97 and 23 98 fps via FireWire Chapter 2 Working With DVCPRO HD Recording Variable Frame Rates With DVCPRO HD 720p Used frames B Duplicate frames f ffs fo gt fofn Pb E a EJ Ls Ey 8 Le R X E x 3 X E E 8 E a E E3 E B E Ls E 5 amp amp a EER E E Ls Le E3 Ea B Ls Le EEEPEP ED EP EE eB eee eB eel es
21. ee BP aera DVCPRO HD tape 60 fps 2 SE 5 spf IBE 12 Bg S 7 19 BE 22 23 4 25 26 27 2 2 o After duplicate frame removal 30 fps DVCPRO HD tape 60 fps Ee ne i Se i a After duplicate frame removal 25 fps JE go ga caga gada gdda codi gi DVCPRO HD tape 60 fps JABAL 6 7 JODE 2 ue s s e 19 20 a 2 After duplicate frame removal 24 fps RR a a a DVCPRO HD tape 60 fps 1 2 3 4 5 6 T 8 9 10 n 12 13 14 15 After duplicate frame removal 15 fps DVCPRO HD tape 60 fps After duplicate frame removal 4 fps Chapter 2 Working With DVCPRO HD 48 DVCPRO HD Format Specifications DVCPRO HD is a 100 Mbps extension of the DVCPRO 25 and DVCPRO 50 formats used for capturing and editing high quality high definition video Because DVCPRO HD is a DV format native FireWire capture and output is supported Storage Medium DVCPRO DVCPRO 50 and DVCPRO HD tapes use a metal particle MP tape formulation Some tape sizes are supported only by decks and not by cameras As the data rate is doubled from 25 Mbps DV and DVCPRO to 50 Mbps DVCPRO 50 to 100 Mbps DVCPRO HD the recording time is halved in each case Therefore a 63 minute DV tape stores only 31 minutes of DVCPRO 50 footage or 15 minutes of DVCPRO HD footage Warning DV sometimes referred to as mini DV and DVC
22. find this less objectionable In Final Cut Pro you can scale the entire HD movie by nesting and scaling it into an SD sequence In this case the sides of the scaled HD footage are cropped by the dimensions of the SD frame You will have to render the whole sequence before you output For more information about nesting a sequence see the Final Cut Pro 5 User Manual Volume Il Chapter 23 Sequence to Sequence Editing Pan and Scan The pan and scan method also crops 16 9 movies within a 4 3 frame but the movie can be cropped on a shot by shot basis This is a more time consuming approach to converting 16 9 to 4 3 but it is often necessary when the original widescreen movie was not shot with 4 3 in mind This is often the case with older widescreen movies shot prior to mass video rental and distribution since the only viewing venue was in movie theaters capable of showing the complete widescreen images In some complex scenes with multiple characters or centers of visual activity an artificial camera move a pan can be introduced to recenter the widescreen action within the 4 3 frame Unless this is done subtly this can be more of a distraction than anything else Note The pan and scan method does not necessarily refer to panning during the transfer but rather the fact that each frame may be cropped differently Chapter 3 Combining Standard and High Definition Video 55 In Final Cut Pro you can crop and even perform simpl
23. for the copied folder By default the name of the P2 volume is used Setting Preferences The Import Panasonic P2 window has several preferences that you can access by choosing Preferences from the Action pop up menu in the Browse area e Remove Advanced Pulldown and Duplicate Frames Removes redundant duplicate frames recorded in variable frame rate DVCPRO HD 720p footage Also removes advanced 2 3 3 2 pulldown from 29 97 fps footage such as 1080i and 480i resulting in 23 98 fps 24p footage on disk after ingest The Panasonic AG HVX200 camcorder can record 24p footage on P2 cards using three methods e Native 23 98 fps no pulldown or extra frames e 23 98 fps with standard 3 2 2 3 2 3 pulldown e 23 98 fps with advanced 2 3 3 2 pulldown Important The Import Panasonic P2 window cannot remove standard 3 2 pulldown To convert footage with 3 2 pulldown you can ingest the media at 29 97 fps and then use Cinema Tools to remove the pulldown Clear Logging Autofill Cache Empties the cache of information previously entered in each logging field For more information see Using the Logging Area on page 90 Chapter 6 Working With Panasonic P2 Media Capturing Over FireWire as if the P2 Card Were a Tape ina VTR You can configure the Panasonic AG HVX200 camcorder so that Final Cut Pro treats it like a traditional VTR video deck Accordingly inserted P2 cards can emulate the linear nature of tape allowing you to use the Log
24. formats e IMX digital video file transfer via networking interfaces such as Ethernet and TCP IP protocols Video Standards IMX supports both standard definition NTSC and PAL Aspect Ratio NTSC and PAL IMX both have an aspect ratio of 4 3 Frame Dimensions Number of Lines and Resolution IMX can store video at two possible resolutions NTSC 525 and PAL 625 The numbers refer to the number of analog lines of the corresponding video formats However many of these analog lines are not used to store picture information In Final Cut Pro the following dimensions are used e NTSC IMX 720 pixels per line 486 lines e PAL IMX 720 pixels per line 576 lines In both formats standard definition rectangular pixels are used just as with DV DVD Digital Betacam and other standard definition digital video formats Frame Rate IMX supports NTSC and PAL frame rates of 29 97 fps and 25 fps respectively Scanning Methods IMX supports interlaced recording Chapter 5 Working With IMX Color Recording Method IMX records a 4 2 2 component Y C C digital video signal Each sample pixel has a resolution of 8 bits Data Rate and Video Compression IMX uses I frame only MPEG 2 compression IMX is a restricted version of MPEG 2 4 2 2 Profile ML The official SMPTE designation is D10 as specified in SMPTE standard 356M Three compression ratios are supported e 30 Mbps 6 1 compression e 40 Mbps 4 1 compression e 50 Mbps 3
25. metadata by Control clicking one or more clips in the Browse area and choosing Revert to Original Metadata from the shortcut menu The following clip properties are reset Reel Name Scene Shot Take Angle Log Note In Out and the clip s playhead position Using Autofill Cache Logging Information Unlike the fields in the Log and Capture window the fields in the Logging area retain an autofill cache of previously logged information in each field so that you can enter repetitive information more quickly Note Final Cut Pro adds logging information to the autofill cache only when a clip is ingested To enter previously logged data from the autofill cache Choose previously entered logging data from the pop up menu next to the logging field To empty the autofill cache so that previously logged data does not appear in logging fields In the upper right corner of the Browse area choose Preferences from the Action pop up menu Click Clear Logging Autofill Cache Chapter 6 Working With Panasonic P2 Media Two audio channels enabled and grouped as a stereo pair One mono channel enabled Incrementing Logging Fields Most of the logging fields have an Increment button you can click to increase the value of the last character of the clip name by one according to the following rules Any numbers at the end of a field are incremented by one Any single letters at the end of a field are incremented alphabetically by one from At
26. recording GPS positioning data and so on 107 XDCAM camcorders can also record low resolution MPEG 4 proxy files 1 5 Mbps for quick previewing before ingesting into your editing system Proxy file dimensions are 352 x 240 NTSC or 352 x 288 PAL adhering to the Common Intermediate Format CIF standard 500 MB of disc space is reserved for storing general purpose files such as text files Final Cut Pro project files graphics and so on XDCAM HD extends XDCAM to include several MPEG 2 based high definition video formats sometimes referred to by Sony as MPEG HD Format MPEG 2 bit rate Dimensions Color sampling MPEG 2 standard LP 18 Mbps VBR 1440 x 1080 4 2 0 MPEG MP HL SP HDV 25 Mbps CBR 1440 x 1080 4 2 0 MPEG MP HL 1440 HQ 35 Mbps VBR 1440 x 1080 4 2 0 MPEG MP HL The SP format uses a constant bit rate CBR and is compatible with1080i HDV formats recorded by tape based HDV camcorders Once the XDCAM HD footage is ingested you can edit it just as you would any other 1080i HDV footage The LP and HQ formats use variable bit rates VBR and provide extended recording time with lower than HDV quality LP and quality that surpasses that of the HDV recording format HQ respectively A variable frame rate shooting mode is also available on certain XDCAM HD camcorders You choose a playback frame rate 24p or 30p and a recording frame rate from 4 to 60 fps in single increments Because no duplicate frames are reco
27. settings see the documentation included with your JVC device HDV Apple Intermediate Codec Editing Workflow When you edit using footage encoded with the Apple Intermediate Codec you don t need to worry about making cuts on GOP patterns or re encoding You can edit just as you would with any other I frame only encoded footage such as DV or uncompressed video The main drawbacks to using the Apple Intermediate Codec for editing HDV footage are that the required disk space is significantly larger and conforming your media for output back to tape can be very time consuming Step 1 Connect your HDV camcorder to your computer via FireWire Step 2 Choose the appropriate Apple Intermediate Codec HDV Easy Setup Step 3 Capture your footage to disk Step 4 Edit your HDV clips into a sequence Step 5 Re encode and output back to tape or export to a QuickTime movie Connecting an HDV Device to Your Computer This step is identical to connecting your HDV camcorder for MPEG 2 HDV capture For details see Connecting an HDV Device to Your Computer on page 16 Chapter 1 Working With HDV Choosing an Easy Setup Final Cut Pro includes Easy Setups for capturing and editing HDV transcoded to the Apple Intermediate Codec To choose the HDV Apple Intermediate Codec Easy Setup Choose Final Cut Pro gt Easy Setup Choose the appropriate HDV Apple Intermediate Codec Easy Setup from the Setup For pop up menu Click OK Capturing HDV Vide
28. to reingest Do one of the following e Choose File gt Batch Capture or press Control C e Make sure the Import Panasonic P2 window is open then drag selected clips from the Browser to the Transfer Queue area In the dialog that appears specify whether you want to reingest media for all selected clips or only clips whose media files are offline then click OK If Final Cut Pro cannot find media with a matching clip ID on the currently mounted P2 volumes a warning appears reminding you of the clip s Reel property In this case locate the P2 volume that contains the P2 clip you want to reingest add it to the Import Panasonic P2 window and then repeat the steps above For more information about adding a P2 volume to the Import Panasonic P2 window see Adding P2 Volumes and Folders to the Browse Area on page 87 Important Because it is so easy to make archived disk images and copied folders of your P2 cards you can potentially add more than one P2 volume containing the same P2 clip to the Browse area in the Import Panasonic P2 window This can cause unexpected results especially when viewing or ingesting spanned clips Working With Spanned Clips A spanned clip is created any time you record a single shot that is larger than the capacity of the current P2 card or when the file size exceeds 4 GB When this happens the camcorder stops recording the current media file and begins recording a new media file on a new P2 volume
29. video on an external monitor while you are editing duplicate frames are automatically added whenever you view your DVCPRO HD video via FireWire This means the FireWire video output is always 59 94 fps To view your video on an external monitor you can connect your computer to a DVCPRO HD deck via a FireWire cable and then connect a monitor to the output of the deck Chapter 4 Working With 24p and Variable Frame Rate Video 65 Step 4 Output to 720p60 DVCPRO HD tape When you output 720p video to tape via FireWire the proper duplicate frames are added automatically resulting in 24p video output at 59 94 fps You can also export your movie to a 23 98 fps QuickTime movie or image sequence for delivery to a video to film transfer lab Working With 1080pA24 DVCPRO HD Video The steps below explain the workflow for capturing and outputting 1080pA24 advanced pulldown DVCPRO HD footage Note To remove standard 3 2 2 3 2 3 pulldown from 1080p24 footage you need to capture the footage as 1080i60 29 97 fps and then use Cinema Tools to remove the pulldown Step 1 Shoot with advanced pulldown 23 98 fps at 29 97 fps Choose the 1080i 24PA recording mode on your camera This creates 29 97 fps 1080i video that contains 23 98 fps progressive frames using a 2 3 3 2 pulldown pattern Step 2 Remove 2 3 3 2 advanced pulldown from 24p video during capture Choose the DVCPRO HD 1080pA 4 Easy Setup which enables the Remove Advanced Pulldown
30. with a camcorder such as the Panasonic AG HVX200 In the Finder mount one or more P2 volumes on the desktop using a P2 card reader or copy an entire folder from a P2 card to your scratch disk For more information see Mounting P2 Cards Disk Images and Folders on page 81 Choose Final Cut Pro gt System Settings then click the Scratch Disks tab Choose a scratch disk to determine where ingested media will be stored In the Final Cut Pro Browser choose a logging bin where ingested clips will be stored in your project Choose File gt Import gt Panasonic P2 Any mounted P2 cards and disk images appear automatically in the Browse area Chapter 6 Working With Panasonic P2 Media 79 80 7 10 12 13 14 15 If necessary add additional P2 folders from the Finder by doing one of the following e Click the Add Folder button in the upper left corner of the Browse area choose a P2 folder then click OK e Drag a P2 folder from the Finder to the Browse area then release the mouse button e From the Action pop up menu in the upper right corner of the Browse area choose Add Custom Path choose a P2 folder then click OK Select a clip in the Browse area of the Import Panasonic P2 window to view it in the Preview area In the Preview area set In and Out points to identify the media you want to ingest By default a clip s Reel property is the same as the name of the P2 volume where it is stored If the clip i
31. 3 1280 x 720 16 9 1 78 Scale up 1920 x 1080 and pillarbox 720 x 480 16 9 1 78 1280 x 720 16 9 1 78 Scale up anamorphic squeezed 1920 x 1080 1280 x 720 16 9 1 78 1920 x 1080 16 9 1 78 Scale up Chapter 3 Combining Standard and High Definition Video N A 480 to 1080 480 to 720 Pillarboxing 4 3 Video In a 16 9 Frame Scaling 4 3 video to 16 9 results in black side panels on either side of the 4 3 image n E or0000 00 Side panels To scale and pillarbox a 720 x 480 SD clip into a 960 x 720 HD sequence Edit one or more 720 x 480 clips into a 960 x 720 sequence Open the SD sequence clip in the Viewer by double clicking it in the Timeline In the Viewer click the Motion tab Reveal the Basic Motion parameters by clicking the disclosure triangle Type 150 in the Scale number field Reveal the Distort parameters by clicking the disclosure triangle Type 12 5 in the Aspect Ratio number field Note The aspect ratio value may already be set if you have edited this clip into an HD sequence Tip Instead of setting scale and aspect ratio parameters manually in the Motion tab you can scale a clip to your sequence dimensions by selecting the clip in the Timeline and then choosing Modify gt Scale to Sequence Chapter 3 Combining Standard and High Definition Video 57 Similar upconversion can be done by following the steps above and replacing the appropriate numbers with the numbers shown in the
32. 3 1 compression Audio IMX supports two audio channel configurations e Four audio channels sampled at 48 kHz with 24 bits per sample e Eight audio channels sampled at 48 kHz with 16 bits per sample Timecode IMX supports 30 and 25 fps timecode Chapter 5 Working With IMX 73 Working With Panasonic P2 Media Final Cut Pro allows you to import video and audio recorded on Panasonic P2 cards and then edit the resulting media files just as you would edit media files in any other format This chapter covers the following About Panasonic P2 Cards and Media Files p 75 e Working With Panasonic P2 Cards and Final Cut Pro p 77 e Panasonic AG HVX200 Camcorder Compatibility p 103 e Panasonic P2 Card Format Specifications p 104 About Panasonic P2 Cards and Media Files A P2 card P2 stands for Professional Plug in is a compact solid state memory card designed for professional video use Since they have no moving parts P2 cards are free from many of the pitfalls associated with tape based media such as temperature and moisture sensitivity tangled tape dropouts and tedious logging and capturing Panasonic currently produces proprietary P2 cameras decks and card readers The original P2 card had a capacity of 2 GB or roughly 8 minutes of DV 25 footage A fully loaded five slot array could therefore hold 10 GB or 40 minutes of DV 25 footage Cards with 8 GB capacities are now available and capacities are projected t
33. 37 37 38 38 40 40 40 41 43 45 Contents About High Definition and Broadcast Formats Overview of High Definition Video Formats Working With HDV About HDV HDV Formats Supported by Final Cut Pro About MPEG 2 Compression Working With HDV in Final Cut Pro Native HDV Editing Workflow Connecting an HDV Device to Your Computer Choosing an Easy Setup Logging and Capturing Native HDV Footage Editing HDV Footage Outputting HDV to Tape or Exporting to a QuickTime Movie HDV Apple Intermediate Codec Editing Workflow Connecting an HDV Device to Your Computer Choosing an Easy Setup Capturing HDV Video to the Apple Intermediate Codec Editing Video Using the Apple Intermediate Codec Outputting HDV to Tape or Exporting to a QuickTime Movie Using the Canon XL H1 HDV Camcorder HDV Format Specifications Working With DVCPRO HD About DVCPRO HD DVCPRO HD Formats Supported by Final Cut Pro DVCPRO HD Frame Rates 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 Editing DVCPRO HD Footage Outputting Your DVCPRO HD Sequence Chapter 3 Chapter 4 Chapter 5 Chapter 6 46 48 51 51 52 52 53 56 60 61 61 62 63 64 65 66 69 69 70 70 70 71 71 71 71 71 72 75 75 77 78 79 81 81 84 88 90 92 94 95 Working With Variable Frame Rate DVCPRO HD Footage DVCPRO HD Format Specificat
34. 80150 25 Mb s CBR Sony XDCAM HD 1080p24 25 Mb s CBR Installing Sony XDCAM Software Final Cut Pro requires Sony software to mount XDCAM devices ingest media from them and export Final Cut Pro sequences back to MXF wrapped footage You can download the XDCAM Transfer PDZK P1 software from the Sony XDCAM HD website http bssc sel sony com BroadcastandBusiness markets 10014 xdcam_info shtml Complete instructions for using the XDCAM Transfer software and the corresponding Final Cut Pro XDCAM import and export plug ins are included with the software Connecting XDCAM HD Devices to Your Computer You can connect XDCAM HD devices to your computer using a standard FireWire cable When the appropriate Sony XDCAM File Access Mode FAM driver is installed the XDCAM HD device mounts in the Finder Important Although it is possible to directly copy the MXF wrapped media from the XDCAM HD device to your scratch disk Final Cut Pro won t recognize the MXF files Use the Sony XDCAM transfer software instead see ingesting XDCAM HD Media for more information Chapter 7 Working With Sony XDCAM HD and Video Disk Units 109 110 Ingesting XDCAM HD Media Use the Sony XDCAM Transfer PDZK P1 software and import plug in to ingest XDCAM HD media from MXF wrapped media to QuickTime wrapped media on your scratch disk For more information see Installing Sony XDCAM Software above Editing XDCAM HD Media in Final Cut Pro Once yo
35. AM use a metal evaporated ME tape formula while DVCPRO uses metal particle tape When in doubt always use cassettes explicitly manufactured for the camera or VTR you intend to use You can also record DVCPRO DVCPRO 50 and DVCPRO HD on P2 cards For more information see Working With Panasonic P2 Media on page 75 Video Standards The DVCPRO HD specification supports several high definition formats depending on the camcorder or deck used Related Frame rate and SMPTE standard Dimensions scanning method Aspect ratio SMPTE 274 1998 1280 x 1080 60i 59 94i 16 9 1440 x 1080 50i 25p SMPTE 296M 2001 960 x 720 60p 59 94p 16 9 60p 59 94p variable 30p 29 97p 25p 24p 23 98p 1 Any frame rate from 4 to 60 fps can be recorded using a camcorder such as the Panasonic Varicam Regardless of the frame rate you choose the camcorder actually records at either 60 or 59 94 fps for NTSC compatibility Chapter 2 Working With DVCPRO HD Aspect Ratio Regardless of the specific resolution used DVCPRO HD always captures and displays an image with an aspect ratio of 16 9 or 1 78 Frame Dimensions Number of Lines and Resolution DVCPRO HD supports three resolutions 1080i60 1080p30 1080pA24 1280 pixels per line 1080 lines interlaced displayed at 16 9 or 1920 x 1080 1080i50 1440 pixels per line 1080 lines interlaced displayed at 16 9 or 1920 x 1080 e 720p 960 pixels per line 720 lines progressive
36. Cut Pro There are several steps for importing and editing IMX video in Final Cut Pro Because IMX is an MXF based format you need third party software to extract MPEG 2 IMX media from its MXF container and store it in QuickTime media files Step 1 Transfer IMX footage to your computer Step 2 Import MXF wrapped IMX media files into your project Step 3 Choose an IMX Easy Setup Step 4 Edit your IMX clips into a sequence Step 5 Export IMX QuickTime Media Files Chapter 5 Working With IMX Transferring IMX Footage to Your Computer IMX media is stored within MXF files so the first step is to transfer the MXF files containing your IMX media to your computer hard disk Depending on the media format you are using you can use a Sony IMX VTR XDCAM player or any other device that supports MXF file transfers For more information about transferring IMX media to your computer see the documentation that came with your deck Importing MXF Wrapped IMX Media Files Into Your Project Once you have MXF files on your hard disk you need to extract the IMX MPEG 2 media data and store it within QuickTime media files This process requires a third party plug in that extends the ability of Final Cut Pro to import MXF encoded media Once your IMX media has been converted from MXF to QuickTime media files you can import the QuickTime media files into Final Cut Pro Choosing an IMX Easy Setup Once you have created QuickTime media files containing IMX MPE
37. DV uses MPEG 2 compression to achieve a maximum video data rate of 25 Mbps which is the same data rate as DV This means you can fit the same amount of video on your scratch disks as you can when using DV Although the HDV workflow is nearly identical to a typical DV workflow a few additional steps are required This chapter describes the unique features of Final Cut Pro that allow you to capture edit and output HDV video in its native format What Is ProHD ProHD extends the JVC 720p HDV format to support 24 fps video professional timecode options and up to four audio channels HDV Formats Supported by Final Cut Pro Within the HDV specification several resolutions and frame rates are defined HDV formats are usually distinguished by the number of lines per frame the height of the image the scanning method progressive or interlaced and the frame or field rate For example 1080i60 describes a format with 1080 lines interlaced scanning and 60 fields per second Final Cut Pro supports the following HDV formats Final Cut Pro Format Easy Setup Dimensions Video Data Rate 1080p24 HDV 1080p24 1440 x 1080 25 Mbps 1080p25 HDV 1080p25 1440 x 1080 25 Mbps 1080160 HDV 1080i60 1440 x 1080 25 Mbps 1080150 HDV 1080i50 1440 x 1080 25 Mbps 720p242 HDV 720p24 1280 x 720 18 3 Mbps 720p252 HDV 720p25 1280 x 720 18 3 Mbps 720p30 HDV 720p30 1280 x 720 18 3 Mbps 1Supported by the Canon XL H1 HDV camcor
38. E Semel Ie aches DVCPRO HD tape 59 94 fps Peel EP beh bp ae bere hb Beer erp mitle setts sss pp Captured in Final Cut Pro 59 94 fps N 20p30 DVCPRO HD tape 59 94 fps HEBER E BEDE EE SPARE Ae ERE Captured in Final Cut Pro 29 97 fps 720p24 DVCPRO HD tape 59 94 fps Captured in Final Cut Pro 23 98 fps wu 6 7 2 nN 12 3 ws 18 19 20 a 2 2 Some camcorders such as the Panasonic VariCam allow you to record any frame rate between 4 and 60 fps You can even adjust the frame rate during recording This is known as variable frame rate recording For more information see Working With Variable Frame Rate DVCPRO HD Footage on page 46 Chapter 2 Working With DVCPRO HD 39 40 Working With DVCPRO HD in Final Cut Pro The steps for capturing editing and outputting DVCPRO HD video in Final Cut Pro are almost identical to the workflow used for DV Step 1 Connect your DVCPRO HD camcorder to your computer via FireWire Step 2 Choose a DVCPRO HD Easy Setup Step 3 Log your footage and capture it to your scratch disk Step 4 Edit your video clips into a sequence Step 5 Output back to a DVCPRO HD or other high definition video device or export to a QuickTime movie Connecting a DVCPRO HD Device to Your Computer Because DVCPRO HD is part of the DV DVCPRO family of video formats setting up Final Cut Pro to capture edit and output DVCPRO HD is essential
39. Final Cut Pro 5 Working With High Definition and Broadcast Formats Apple Computer Inc 2006 Apple Computer Inc All rights reserved Under the copyright laws this manual may not be copied in whole or in part without the written consent of Apple The Apple logo is a trademark of Apple Computer Inc registered in the U S and other countries Use of the keyboard Apple logo Option Shift K for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws Apple the Apple logo DVD Studio Pro Final Cut Final Cut Pro FireWire iTunes Mac Macintosh Mac OS PowerBook and QuickTime are trademarks of Apple Computer Inc registered in the U S and other countries Cinema Tools and Finder are trademarks of Apple Computer Inc Other company and product names mentioned herein are trademarks of their respective companies Mention of third party products is for informational purposes only and constitutes neither an endorsement nor a recommendation Apple assumes no responsibility with regard to the performance or use of these products Production stills from the films Koffee House Mayhem and A Sus Ordenes provided courtesy of Refuge Films Koffee House Mayhem 2004 Jean Paul Bonjour A Sus Ordenes 2004 Eric Escobar http www refugefilms com Preface Chapter 1 Chapter 2
40. G 2 media you need to choose a sequence preset or corresponding Easy Setup that is compatible with your IMX format Final Cut Pro includes Easy Setups for real time editing using 30 or 50 Mbps NTSC or PAL IMX media Note Although Final Cut Pro allows you to import 40 Mbps IMX media real time editing is not supported for this format Editing IMX Clips Into a Sequence No special features or settings are necessary for editing IMX in Final Cut Pro As with any other format you simply need to make sure your Easy Setup matches the format of the footage you are editing Exporting IMX QuickTime Media Files When you finish editing your sequence you can export a QuickTime movie using the corresponding NTSC or PAL IMX codec Chapter 5 Working With IMX 71 72 IMX Format Specifications IMX also known as Betacam IMX or MPEG IMX records standard definition NTSC and PAL video using high quality MPEG 2 compression Storage Medium One of the features of the IMX format is that it is not restricted to a single media type IMX can be recorded on XDCAM a Sony optical disc format as well as the IMX tape format IMX VTRs bridge the gap between conventional tape decks and modern computer editing systems with the following features e Playback of older video formats such as Betacam SP Beta SX and Digital Betacam These formats can be converted and output to MPEG IMX in real time Note Not all IMX VTRs support playback and recording of all Betacam
41. Importing DV Media From a Sony Video Disk Unit The Import VDU Data command allows you to browse and import media files directly from a Sony Video Disk Unit To import media from a Sony Video Disk Unit Make sure that the Sony Video Disk Unit is connected and mounted on the desktop Choose Final Cut Pro gt System Settings then click the Scratch Disks tab Select a scratch disk or folder to which you want to transfer your P2 media For more information about selecting scratch disks see the Final Cut Pro 5 User Manual Volume I Chapter 13 Connecting DV Video Equipment and Specifying Initial Settings Choose File gt Import gt VDU Data Chapter 7 Working With Sony XDCAM HD and Video Disk Units 111 112 5 Click the disclosure triangle next to the bin icon to reveal any media clips on the Sony Video Disk Unit as well as associated timecode information VDU Data Browser a v Do one of the following e Click in the Transfer column next to each media file you want to import e Click in the Transfer column next to the Untitled bin to import all of the media files Click OK Final Cut Pro transfers the media files to your scratch disk as QuickTime media files and displays corresponding clips in the Browser The resulting self contained QuickTime files contain the audio and video media from the Sony Video Disk Unit as well as a source timecode track The QuickTime media filenames are based o
42. Progressive 29 97 fps 720p25 DVCPRO HD 720p25 960 x 720 Progressive 25 fps 720p24 DVCPRO HD 720p24 960 x 720 Progressive 23 98 fps 1Via P2 ingest only Capture from and output to tape is not supported DVCPRO HD Frame Rates DVCPRO HD is a flexible format that supports many different frame rates e Integer frame rates such as 60 30 24 and 25 fps e NTSC related frame rate variants such as 59 94 29 97 and 23 98 fps Important Final Cut Pro only supports NTSC related timebases such as 59 94 29 97 and 23 98 fps when transferring video to or from a DVCPRO HD device via FireWire Using tapes recorded with whole number frame rates such as 60 fps or 30 fps is not supported The one exception is 1080i50 which uses 25 fps Chapter 2 Working With DVCPRO HD Recording 720p DVCPRO HD With Alternate Frame Rates DVCPRO HD always records and plays back 720p video at either 60 fps or 59 94 fps for NTSC compatibility but alternate frame rates can be achieved by duplicating and flagging certain frames for removal during capture or playback For example if you choose to record 720p with a frame rate of 29 97 fps the camera actually records at 59 94 fps but every other frame is a duplicate frame that can be removed during capture Final Cut Pro comes with Easy Setups for commonly used alternate frame rates such as 720p30 and 720p24 Capturing DVCPRO HD Used frames B Deleted frames 720p60 AEE BABES e e e cidar tales ocho a E
43. TR and use the Log and Capture window as though the P2 card were a tape in a video deck This method is slower than mounting P2 cards on the desktop so it is rarely recommended For more information see Capturing Over FireWire as if the P2 Card Were a Tape in a VTR on page 101 Important When you finish working with a P2 card make sure you eject unmount it from the Finder before physically removing it from the reader device Chapter 6 Working With Panasonic P2 Media 81 Mounting P2 Cards Using a P2 Card Reader or Panasonic P2 Store Unit You can use a Panasonic memory card reader or a Panasonic P2 store AJ PCS060G portable hard disk unit to import or copy P2 media To mount a P2 memory card using a P2 card reader Connect the P2 memory card device to your computer Insert a P2 memory card into one of the slots in the P2 memory card device Individual memory cards or partitions on the P2 store portable hard disk unit appear on the desktop as mounted disks named NO NAME An individual P2 memory card appears on the desktop Important When you have finished eject unmount the P2 card before disconnecting the card reader or before removing the card Mounting P2 Cards Using a PowerBook PC Card Cardbus Slot To mount a Panasonic P2 card in Mac OS X using the PC Card slot of a PowerBook you first need to download and install the P2 Driver Software from the Panasonic website https eww pavc panasonic co jp pro av sup
44. The result is a single shot that seamlessly comprises multiple media files Important To ingest or reingest a spanned clip as a single media file you need to mount all of the P2 volumes necessary for the clip Mounting separate P2 volumes at different times may cause Final Cut Pro to capture only individual portions of a P2 clip or prevent you from capturing partial portions when other P2 segments are missing Chapter 6 Working With Panasonic P2 Media 95 96 How Final Cut Pro Identifies Spanned Clips Each P2 clip XML file contains a unique clip ID to keep track of media files A spanned clip contains a shot ID number in addition to the clip ID numbers of every media file constituting the shot P2 volume P2 volume P2 volume Clip 1 Clip 2 Clip 3 ID 901 ID 902 ID 903 Spanned clips usually exist on multiple P2 volumes but they can also exist on a single P2 volume because of the 4 GB file size limit of the FAT32 file system For example when shooting a long take on an 8 GB P2 card it s possible to create a spanned clip one clip that points to two 4 GB media files on that single volume P2 volume Clip 1 Clip 2 ID 951 ID 952 Chapter 6 Working With Panasonic P2 Media Viewing Spanned Clips in the Browse Area The Browse area of the Import Panasonic P2 window can display P2 clips two ways in Hierarchical List view and Flat List view The following example shows how a spanned clip consisting of five P2
45. age devices provide clear advantages over tape based media You can log clips while ingesting others at the same time This is impossible using tape Clips on P2 devices are defined at the time of recording so it s easy to review footage With tape you have to define clips manually by setting In and Out points No cueing or pre roll time is necessary for viewing and ingesting footage You can mount multiple P2 devices at the same time With tape you can only use one at a time Chapter 6 Working With Panasonic P2 Media 77 78 About the Import Panasonic P2 Window The Import Panasonic P2 window is organized into four areas e Browse Provides an overview of all mounted P2 volumes and the clips contained within them e Preview Allows you to view P2 footage set In and Out points and add clips to the Transfer Queue e Logging Use this area to add descriptive information about clips before ingesting You can also click the Import Settings tab in this area to select which video and audio channels are ingested with each clip e Transfer Queue Shows a status list of clips currently queued for ingest Preview area Browse area Logging area Transfer Queue area Vertical resize bar and resize pointer Vertical resize bar Horizontal resize bar To resize areas in the Import Panasonic P2 window do one of the following Drag a horizontal or vertical resize bar Double click a hori
46. amera mode b Press the Menu button c Choose the Recording Setup menu and then select REC FORMAT d Set the REC FORMAT to the format of your footage in Final Cut Pro For example if your footage is DVCPRO HD 720p60 select 720P 60P e Press the mode button to switch to MCR VCR mode f Press the AUDIO DUB THUMBNAIL button If the current video playback setting in Final Cut Pro does not match the camcorder recording mode you may see 1394 INPUT ERROR flashing on the camcorder display g Press the Menu button and choose the RECORDING SETUP menu h Turn on the 1394 TC REGEN and 1394 UB REGEN options then press the Menu button to exit the menu In Final Cut Pro choose View gt Video Playback then choose the format you want to output via FireWire For example if you want to output 720p60 footage and the camcorder recording mode is set to 720P 60P you should choose View gt Video Playback gt DVCPRO HD 720p60 1280 x 720 Open a clip in the Viewer or a sequence in the Timeline whose format matches the recording mode of the camcorder Choose View gt External Video gt All Frames The current frame in the Viewer or Canvas appears in the camcorder display If the current frame does not appear start over from step 2 Do one of the following e Choose File gt Print to Video choose your output options then click OK e Press the Space bar to begin playing your footage directly in the Viewer or Timeline Note For be
47. ansfer between 24 fps film and NTSC video must take into account the fact that the field rate of NTSC video is actually 59 94 fields per second To properly transfer 24 fps film to 29 97 fps NTSC video the film is slowed down slightly to 23 98 fps This is how a traditional film to video telecine works Several camcorders have the ability to emulate this telecine process by exposing and shuttering at 23 98 fps and then adding a 2 3 2 3 pulldown when the signal is recorded to tape at 29 97 fps The result is NTSC compatible video that looks similar to a film to video transfer Note Even though the 2 3 2 3 pulldown of a film to tape transfer is emulated by this process there are many other factors that to contribute to a film look such as exposure resolution color depth of field and so on Most camcorders use a pulldown method referred to as advanced pulldown which has a 2 3 3 2 pattern instead of the traditional telecine 2 3 2 3 pulldown The advantage of this pattern is that it is more efficient for digital devices or applications such as Final Cut Pro to remove and introduce this pulldown than the traditional 2 3 2 3 pulldown pattern In Final Cut Pro you can remove the redundant fields during or after capture Once the redundant fields or frames are removed you can edit at 23 98 fps When you have finished editing you can output back to NTSC at 29 97 fps by reintroducing the advanced pulldown 2 3 3 2 or the traditional 2 3 2
48. as flickering lines because 720p is progressively scanned e Captures and displays quick action and fast camera moves smoothly e The 59 94 fps video frame rate is compatible with NTSC video Cons e 720p has a smaller image size than 1920 x 1080 though it is still higher resolution than standard definition video Preface About High Definition and Broadcast Formats 720p30 720p30 is a particularly flexible format because it is compatible with standard definition NTSC video because it has a matching frame rate of 29 97 fps as well as streaming and downloadable video because it is progressively scanned Because of the progressive scanning 720p30 is also useful when you need a video format that can output high quality still frames Pros e 720p is compatible with both standard definition NTSC video 29 97 fps and computer graphics because it is progressively scanned Cons e 720p has a smaller image size than 1920 x 1080 though it is still higher resolution than standard definition video 720p24 720p24 is sometimes simply referred to as 24p and is considered by some to be the most flexible frame rate choice because it is possible to transfer to NTSC video PAL video and film Choose this mode if you plan to transfer your finished video to film or if you are trying to emulate a film look on your final video Pros e Can be easily converted to other frame rates compatible with NTSC video PAL video and film 24 fps frame rate
49. bin in the Browser Progress bar P2 logging bin 4 clips queued Transferring 0035F4 Sie Ce Pause button et Status Name iin Out Duration l Eg eo 0030KQ 01 03 19 04 01 03 35 55 00 00 16 52 Eal o35F4 01 03 32 41 01 03 35 31 00 00 02 51 Fy 003959 02 00 58 38 02 00 59 46 00 00 01 09 Es 0030KQ 01 03 19 04 01 03 35 55 00 00 16 52 te Thumbnail Resize slider Important Ingesting clips always makes a copy of your media by extracting it from the original MXF file and copying it to a new QuickTime file For example if you ingest 4 GB of media from a P2 folder on your hard disk an additional 4 GB of disk space is required for the QuickTime movie file Adding Clips to the Transfer Queue for Ingest There are many ways to add P2 clips to the Transfer Queue for ingest In the Browse area select one or more clips then click Add Selection to Queue Drag one or more clips from the Browse area to the Transfer Queue Drag a P2 volume from the Browse area to the Transfer Queue All clips on the P2 volume are added to the Transfer Queue at once e In the Preview area click the Add Clip to Queue button Note When you click the Add Clip to Queue button only the clip that appears in the Preview area is added to the Transfer Queue e Click in the video image in the Preview area and drag it to the Transfer Queue You can also drag clips from the Import Panasonic P2 window to your project in the Browser Those
50. ccess as opposed to read only access you can delete clips and their associated media by e Selecting a clip and pressing Delete Control clicking a clip and choosing Delete from the shortcut menu Most P2 folders and disk images have read and write access However if you mount P2 cards via an older Panasonic P2 card reader the Panasonic AG HVX200 camcorder or the Panasonic P2 store AJ PCS060G portable hard disk unit the volumes have read only access Important If you delete a media file from a P2 card folder or disk image the footage is irretrievable Since most workflows reuse P2 cards during production you should develop a plan for backing up original media on P2 cards in case you need to reingest it later Using the Preview Area The Preview area allows you to view your clips and set In and Out points to determine how much of each clip s media is ingested Clip name sonic P2 G3 0000 0104 003959 ez005809 1 Current Timecode field Image display area 4 In point Out point Scrubber bar Jog control M aa Shuttle control Next Clip button Previous Clip button In point Transport Out point controls controls controls Chapter 6 Working With Panasonic P2 Media Transport Controls in the Preview Area The transport navigation and marking controls in the Preview area work in the same way as the controls in the Viewer and Canvas The same keyboard shortcuts includ
51. cify which audio channels you capture Select this option to enable video capture Select this option to enable audio capture Individual audio Stereo Mono control channel meters Capture Audio Channel control When an HDV Easy Setup is chosen only two audio channels are available for capture You can choose to capture one or both audio channels either as two discrete mono tracks or a single stereo pair Capture Settings Use this tab to specify scratch disks for capture You can also set scratch disk settings by choosing Final Cut Pro gt System Settings and then clicking the Scratch Disks tab Click here to open the Scratch Disk tab Current scratch disk capacity and capture limitations shown here 22 Chapter 1 Working With HDV Log and Capture Buttons As you log and capture use the following log and capture buttons 4 e Log Clip Logs a single clip with the current logging information and clip settings Capture Clip Logs and captures a single clip with the current logging information clip settings and capture settings e Capture Now Captures the current video and audio input to a media file on disk until you press the Escape key No In or Out points are necessary You can use this to capture an entire tape in a single pass When scene breaks are detected new media files and corresponding clips are created automatically Capture Batch Captures the selected clips in the Browser or the clips in t
52. clips are automatically logged in the project and added to the Transfer Queue and their media is ingested Chapter 6 Working With Panasonic P2 Media Organizing Clips in the Transfer Queue The Status column displays the ingest status of each clip in the Transfer Queue e Ingesting A spinning disc indicates media is being transferred to your scratch disk e Paused A still disc indicates the current P2 clip is partially transferred e Error An exclamation point indicates that the source media for this clip may have been unmounted or moved since the clip was added to the Transfer Queue Delete the clip and add it to the Transfer Queue again Clips are ingested one at a time in the order they appear You can reorder clips by dragging them above or below other clips You can also stop the ingest of clips by selecting them and deleting them from the Transfer Queue Pausing and Stopping Ingest Final Cut Pro does not save partially ingested media If the Transfer Queue is in the process of ingesting a P2 clip or if a transfer is paused Final Cut Pro warns you that you will lose the partially ingested media if you do any of the following Delete the P2 clip from the Transfer Queue e Close the Import Panasonic P2 window e Close the current Final Cut Pro project containing your logging bin e Quit Final Cut Pro Filenaming and Clip Naming During Ingest When you add clips to the Transfer Queue area Final Cut Pro checks to see if a media f
53. cludes some special features for logging and capturing Removing Duplicate Frames During Capture The 720p30 and 720p24 DVCPRO HD capture presets enable the Final Cut Pro option that removes duplicate frames added by the camcorder For more information see Recording 720p DVCPRO HD With Alternate Frame Rates on page 39 Capture Preset Editor Name DVCPRO HD 720p24 48 kHz Description Use this preset when capturing DVCPRO HD 720p material at 24 fps for DVCPRO HD FireWire input and output Width Height Aspect Ratio Frame Size 1280 x 720 HDTV 720p 16 9 B C Anamorphic 16 9 r QuickTime Video Settings Digitizer DVCPRO HD 720p60 i 3 Compressor DVCPRO HD 720p60 ik Input FireWire E Quality J FPS 59 94 C Umit Data Rate oK Advances QuickTime Audio Settings Device DVCPRO HD is Select to remove Input _ DVCPRO HD E Format 48 000 kHz 16 bit 2 chan T duplicate video frames Capture Card Supports Simultaneous Play Through and Capture du ring capture Remove Advanced Pulldown and or Duplicate Frames During Capture From FireWire Sources High Quality Video Play Through Tip If you want to capture your footage at 59 94 fps and then remove the duplicate frames later you can select your clips in the Browser and choose Tools gt Remove Advanced Pulldown The 1080pA 24 capture preset also enables the Remove Advanced Pulldown
54. deo preview area This is because Final Cut Pro is decoding the MPEG 2 HDV in real time Chapter 1 Working With HDV Marking Controls Use these to set In and Out points for a clip on tape Clip In Point Timecode field Clip Out Point Timecode field Go to In Point Go to Out Point e Mark In l Click this to set the In point for a clip on tape Clip In Point Timecode field Shows the timecode value of the currently set In point Go to In Point Click this to cue the connected VTR to the currently set In point e Mark Out O Click this to set the Out point for a clip on tape Clip Out Point Timecode field Shows the timecode value of the currently set Out point Go to Out Point Click this to cue the connected camcorder or VTR to the currently set Out point Tabs in the Log and Capture Window The Log and Capture window has several tabs e Logging Use this tab to add descriptive information to each clip that you log such as reel name scene take number log notes markers and so on Much of this information can also be added later in the Browser The Log Bin button New bin button contains the name of the currently selected logging bin Logging fields Marker controls Chapter 1 Working With HDV 21 e Clip Settings Use this tab to select which video and audio tracks you capture from tape You can choose to capture video only audio only or both video and audio You can also spe
55. der Also called 1080F24 and 1080F25 2Supported by the JVC GY HD100 ProHD camcorder Standard Definition Recording With an HDV Camcorder In addition to recording high definition video most HDV camcorders can also record standard definition DV video You can capture edit and output this DV video just as you would any other DV video Important You should avoid recording DV and HDV video on the same tape This can cause problems during capture and playback An additional format defined within the HDV specifications known as SD is available on some JVC camcorders Final Cut Pro does not support this format Chapter 1 Working With HDV About MPEG 2 Compression High definition video requires significantly more data than standard definition video A single HD video frame can require up to six times more data than an SD frame To record such large images with such a low data rate HDV uses MPEG 2 compression MPEG compression reduces the data rate by removing redundant visual information both on a per frame basis and also across multiple frames Spatial Intraframe Compression Within a single frame areas of similar color and texture can be coded with fewer bits than the original thus reducing the data rate with a minimal loss in noticeable visual quality JPEG compression works in a similar way to compress still images Intraframe compression is used to create standalone video frames called frames short for intraframe Temporal I
56. dit at 23 98 fps You can edit your footage in a 23 98 fps sequence To preview your video on an external NTSC monitor while you are editing you can choose one of several pulldown options to convert the 23 98 fps video to 29 97 fps The 2 2 2 4 option is the least processor intensive but it should only be used for previewing For more information about real time pulldown options see the Final Cut Pro 5 User Manual Volume Ill Chapter 23 Using RT Extreme Step 4 Output back to 29 97 fps NTSC video with advanced pulldown After you finish editing your movie you can output back to 29 97 fps NTSC video by introducing a pulldown on the FireWire output You can choose one of several pulldown patterns either from the Real Time Effects RT pop up menu in the Timeline or in the Playback Control tab of System Settings For output back to tape you should choose advanced pulldown 2 3 3 2 or normal telecine pulldown 2 3 2 3 You can also export your movie to a 23 98 fps QuickTime movie or image sequence for delivery to a video to film transfer lab Chapter 4 Working With 24p and Variable Frame Rate Video Working With 720p24 DVCPRO HD Video Some DVCPRO HD camcorders such as the Panasonic Varicam and AG HVX200 allow you to record 720p video at 23 98 or 24 fps This format is commonly referred to as 720p24 The camcorder actually records at either 60 fps or 59 94 fps for NTSC compatibility but some frames are duplicated and tagged for
57. e e Double click a clip to open it in the Viewer Choose File gt Print to Video The Print to Video dialog appears Select any Leader or Trailer elements you want to include on your tape as well as start end and looping options Tip If you want Final Cut Pro to start recording automatically select the Automatically Start Recording checkbox Chapter 1 Working With HDV 27 6 Click OK If any segments of your sequence require rendering or conforming Final Cut Pro renders and conforms them now A progress dialog appears indicating the amount of time that remains until rendering and conforming are complete Any segments of your sequence where GOP boundaries were broken such as the frames around edit points or any frames with added filters motion parameters and so on are conformed A second progress dialog briefly appears indicating the time it takes to process Leader Trailer and gap elements in your sequence A dialog appears when your sequence is ready for output 7 If you did not select the Automatically Start Recording checkbox in the Print to Video dialog press the record button on your camcorder or deck then click OK If your tape is write protected or if frames are dropped during the Print to Video operation a dialog appears allowing you to try the operation again Note When using the Print to Video command with a JVC ProHD device you can output sequence timecode to tape For more information about proper deck
58. e Import Panasonic P2 window for a clip whose clip ID matches If no clips have a matching clip ID Final Cut Pro tells you that the P2 volume containing that clip is not mounted Choosing Reel Names and Understanding P2 Volume Names When you log P2 clips it is important to assign memorable meaningful reel names so that you can find P2 volumes and folders later for reingesting This is especially important when you are ingesting spanned clips because a spanned clip s media comes from several P2 volumes and by default Final Cut Pro assigns each clip the Reel property of Spanned Reel You should try to assign a reel name that describes each P2 volume required for the spanned clip For example the reel name 10A_10B_10C could indicate that a clip requires three P2 volumes 10A 10B and 10C When warning you that the volume is missing Final Cut Pro tells you the clip s assigned Reel property not the P2 volume name While both reel name and volume name are important for keeping track of your P2 clips Final Cut Pro does not make use of them for reingesting Instead Final Cut Pro searches any mounted volumes for clips that have clip ID numbers that match the clips you want to reingest This means you can reingest the clip from any P2 volume as long as the volume contains a clip with the matching clip ID Chapter 6 Working With Panasonic P2 Media To reingest media for P2 clips In the Browser select the clips whose media you want
59. e editing of MPEG 2 IMX e Ingesting from non tape based media such as Panasonic P2 cards Sony XDCAM HD and Sony Video Disk Units Overview of High Definition Video Formats Because of the multiple frame sizes frame rates and scanning methods supported by the latest high definition video specifications there are a large number of high definition formats currently available While the most commonly used formats are described below many other variations exist today 1080160 This is a common broadcast format that is compatible with standard definition NTSC video Pros e Individual still frames in this format are very high quality because of the high resolution e 29 97 fps frame rate and interlacing are both compatible with standard definition NTSC video Cons e Quick action or rapid camera motion may cause interlacing artifacts 1080150 1080150 is compatible with standard definition PAL video Pros e Individual still frames in this format are very high quality because of the high resolution e 25 fps frame rate and interlacing are both compatible with standard definition PAL video Cons e Quick action or rapid camera motion may cause interlacing artifacts Because of the lower frame rate this format can cause more severe motion artifacts than 1080i60 Preface About High Definition and Broadcast Formats 1080p24 1080p24 is sometimes simply referred to as 24p and is considered by some to be the most flexible fra
60. e pans by animating the origin parameters in the Motion tab For more information on using the Motion tab and animating parameters see the Final Cut Pro 5 User Manual Volume Ill Chapter 12 Changing Motion Parameters Warning It is difficult to add a convincing pan into a scene that did not originally have one Use this technique sparingly 16 9 Anamorphic This method preserves the 16 9 aspect ratio of high definition video but reduces the resolution by scaling from HD to SD image dimensions SD anamorphic video squeezes a 16 9 image within the 4 3 SD image area The image is stretched during playback so the image appears normally Some DVD players and video monitors have an option to unsqueeze anamorphic video For more information about working with anamorphic video see the Final Cut Pro 5 User Manual Volume IV Appendix C Working With Anamorphic 16 9 Media Upconverting Standard Definition Video Upconverting a 4 3 aspect ratio image to a 16 9 frame results in borders or side panels on the left and right sides of the 4 3 image This type of frame is sometimes referred to as pillarboxed If the aspect ratios of the original and destination formats match for example 720 x 480 anamorphic footage upconverted to 1920 x 1080 you can simply scale the original video to the destination size Original Original Destination Destination Upconversion size aspect ratio size aspect ratio method 720 x 480 4 3 1 3
61. easy removal Final Cut Pro can remove the redundant frames during or after capture The steps below explain the workflow for capturing and outputting 24p video using the 720p24 DVCPRO HD format Step 1 Shoot 720p at 23 98 fps On the camcorder set the frame rate to 24 fps Make sure the NTSC option is enabled This means you are actually recording at 59 94 fps and the shutter is operating at 23 98 fps Since Final Cut Pro can only capture and output DVCPRO HD over FireWire when an NTSC related frame rate is used it is important that the NTSC option is enabled on the camcorder Step 2 Remove duplicate frames during capture Choose or create a capture preset that has the Remove Advanced Pulldown and or Duplicate During Capture From FireWire Sources checkbox selected Duplicate video fields are discarded during capture resulting in a 720p24 media file on disk after capture If you have already captured your video at 59 94 fps you can remove duplicate frames from your media file after capture To remove duplicate frames from your media files after capture Select the 720p60 clips in the Browser then choose Tools gt Remove Advanced Pulldown Your media files will remain the same size but they will be set to play back at 23 98 fps Note If no duplicate frames are detected the media file remains at 59 94 fps Step 3 Edit at 23 98 fps You can edit your footage in a 720p24 23 98 fps sequence If you want to preview your
62. ected a new media file and corresponding clip are created each time Final Cut Pro detects start stop indicators in the incoming HDV stream e Start Stop detection off When the checkbox is deselected one continuous media file and corresponding clip are created and start stop indicators are ignored Note The option to turn off start stop detection is available only when you capture HDV footage shot on a Sony camcorder When capturing footage shot on a JVC HDV camcorder the nature of the MPEG 2 stream requires creation of a new media file at each start stop indicator To determine how timecode breaks are handled when you capture HDV Choose Final Cut Pro gt User Preferences then click the General tab Choose an option from the On timecode break pop up menu e Make New Clip This is the default option Whenever a timecode break is detected during capture Final Cut Pro finishes writing the current media file to disk and then begins capturing a new media file A clip corresponding to the new media file is also created in the Browser e Abort Capture If you choose this option Final Cut Pro stops capture immediately when a timecode break is detected All media captured before the timecode break has frame accurate timecode and is preserved The resulting media files are saved and the corresponding clips are placed in the Browser Depending on the signal on tape you may see one of two messages when a timecode break is detected e A
63. ectory structure and MXF media files For more information see Panasonic P2 Card Format Specifications on page 104 P2 volume name The name of a P2 card mounted disk image or folder If you have write access to the P2 volume you can change the volume name in the Finder Clip An object in Final Cut Pro that refers to or points to a media file on disk Media file A file containing one or more video or audio tracks of sample data QuickTime MXF AIFF Wave TIFF and JPEG are all examples of types of media files P2 clip An XML clip file and its associated MXF video and audio files stored on a P2 volume P2 media files use the FAT32 file system and are therefore limited to 4 GB P2 clip name A simple clip name usually six characters long assigned automatically by the P2 camcorder P2 clip ID A universally unique ID UUID number assigned to each clip recorded by a P2 camcorder This is also called global clip ID Reel name A property stored in each clip in your Final Cut Pro project to remind you which P2 volume your clip s original media is stored on A clip s reel name is especially important when you are reingesting a clip and you need to find the P2 volume containing the original media 76 Chapter 6 Working With Panasonic P2 Media e Spanned clip A single P2 clip that consists of two or more media files Soanned clips are created whenever you record a single shot that exceeds the capacity of a P2 card or exceeds 4 GB
64. edia For more information about selecting scratch disks see the Final Cut Pro 5 User Manual Volume I Chapter 13 Connecting DV Video Equipment and Specifying Initial Settings 8 In Final Cut Pro choose File gt Log and Capture or press Command 8 10 12 Do one of the following e Click the Play button e Press the Space bar When you re ready to begin capturing click the Capture Now button Final Cut Pro begins capturing your media file to your scratch disk Important If you intend to capture to the end of recorded material first choose Final Cut Pro gt User Preferences and make sure the Abort capture on dropped frames checkbox is not selected Unlike a VTR which repeats frames when it reaches the end of media the Panasonic AG HVX200 camcorder simply stops transmitting frames This preference setting ensures that the last clip is saved Press the Escape key to stop capturing or wait until Final Cut Pro automatically stops because the maximum amount of time specified in the Limit Capture Now To field has been reached After Final Cut Pro stops capturing a clip appears in your logging bin The new clip refers to the media file you just captured When you have finished eject unmount the P2 card before disconnecting the camcorder or before removing the card Chapter 6 Working With Panasonic P2 Media Panasonic AG HVX200 Camcorder Compatibility The Panasonic AG HVX200 P2 camcorder supports a large nu
65. eld to navigate to that timecode point on your tape Tip When using the Log and Capture window with a native HDV Easy Setup you can drag timecode values between the Log and Capture timecode fields by holding down the Option key while you drag a timecode value from one field to another Dragging timecode from other windows is not supported Chapter 1 Working With HDV 19 Transport Controls If you have device control use these to control your camcorder or deck These controls are similar to controls in the Viewer and Canvas except that they control playback of a videotape instead of a media file 77S Rewind SOR Hoe Fast Forward Play Around Current Frame Play In to Out Stop Shuttle Control A shuttle control similar to the one in the Viewer and Canvas is also available for navigating through the tape Shuttle control ie 0414 44 22 gt lt In the Log and Capture window you can use the J K and L keys for playback and shuttling just as you can in the Viewer and Canvas For more information about using the J K and L keys for playback see the Final Cut Pro 5 User Manual Volume Chapter 6 Viewer Basics Note Tape playback is not as efficient as playback from media files on your hard disk It takes a few seconds for a tape to cue to the proper frames or change playback direction The video frames and timecode displayed on the camcorder LCD screen may differ from the frames you see in the vi
66. ences e You cannot view native MPEG 2 HDV video on an external HDV device connected via FireWire As an alternative you can use the Digital Cinema Desktop Preview option Important The only way to output HDV video to an HDV device via FireWire is to use the Print to Video command Chapter 1 Working With HDV 15 Step 5 Output HDV back to tape or export to a QuickTime movie Before you can output or export your HDV sequence Final Cut Pro needs to conform any noncompliant GOPs to the correct I P and B frame pattern Conforming is a necessary step for creating an acceptable MPEG 2 data stream for HDV devices Important Conforming and rendering are not the same processes Rendering calculates the visual data for each frame while conforming ensures that your sequence has the proper GOP structure prior to output You can only output HDV footage to tape using the Print to Video command The Edit to Tape command is not supported for HDV media Connecting an HDV Device to Your Computer Once you have HDV footage on tape you can connect your camcorder or VTR to your computer to capture To connect your HDV camcorder or VTR to your computer 1 Turn on your VTR or camcorder and switch it to VCR or VTR mode Note On some camcorders this mode may be labeled Play 2 Connect the 4 pin connector on one end of your FireWire cable to the 4 pin FireWire port on your camcorder 3 Connect the 6 pin connector on the other end of your FireW
67. ethod only works when using the built in FireWire port on your computer in conjunction with the Print to Video command or when playing footage directly in the Viewer or Timeline To output to P2 cards the following must be true The camcorder recording mode and your footage in Final Cut Pro must have matching settings For example if your footage is 720p60 the camcorder recording mode must be set to 720P 60P Your current video playback selection must match the camcorder recording mode For example if your camcorder recording mode is set to 720P 60P you must choose View gt Video Playback gt DVCPRO HD 720p60 1280 x 720 The same option appears in the A V Devices tab of the Audio Video Settings window If you don t see the video playback option you want try changing the camcorder recording mode for more information see the setup steps below You must have available space on the P2 cards inserted in the AG HVX200 camcorder Important Not all formats supported by the AG HVX200 camcorder can be output to P2 cards from Final Cut Pro Make sure to test the format you want to output before starting your project 720pN24 720pN30 720p25 720p50 and variable frame rate formats are not supported Chapter 6 Working With Panasonic P2 Media To set up Final Cut Pro and an AG HVX200 camcorder for output to P2 cards Connect the camcorder and computer using a 4 pin to 6 pin FireWire cable On the camcorder do the following a Choose C
68. first re encoding your entire sequence back to native HDV If your sequence is long the re encoding process can be time consuming For more information see HDV Apple Intermediate Codec Editing Workflow on page 28 Native HDV Editing Workflow The steps for capturing editing and outputting HDV in Final Cut Pro are almost identical to the workflow used for DV but there are several important differences The differences between the HDV and DV workflows are highlighted in the steps below Step 1 Connect your HDV camcorder to your computer via FireWire This step is similar to connecting a DV device via FireWire Step 2 Choose an HDV Easy Setup Choose the HDV Easy Setup that corresponds to your HDV format Step 3 Log your footage and capture it to your scratch disk This step is much like logging and capturing DV and other video formats The differences are e Some options and controls are different in the Log and Capture window when you capture HDV For example you can resize the window in real time e When capturing HDV scene detection is always enabled A scene break is embedded data on tape that indicates where the camcorder was stopped and then started again Whenever Final Cut Pro detects a scene break in your incoming HDV footage a new media file and corresponding clip are created Step 4 Edit your HDV clips into a sequence Editing HDV is similar to editing other formats in Final Cut Pro However there are some differ
69. g four Secure Digital SD memory cards ganged together in a RAID 0 array providing quadruple the capacity and transfer speed of a single SD card P2 cards are formatted using the FAT32 file system which limits the size of a single file to 4 GB For example if you record continuously on an 8 GB P2 card a single shot will be broken into two 4 GB media files known as a spanned clip Chapter 6 Working With Panasonic P2 Media The Panasonic file system organizes clips media and metadata into the following file hierarchy e CONTENTS This is the root folder of a P2 card containing folders of all recorded media and metadata e AUDIO Contains audio media of each clip wrapped within MXF container files CLIP Each clip on a P2 card is defined by an XML file identifying which video and audio MXF files are part of the clip where the thumbnail icon file is located and additional metadata describing the clip s media ICON Contains thumbnail files for each clip usually in BMP format PROXY Contains optional low resolution MPEG 4 files representing each clip Used for reviewing footage or previewing before transfer Note The Panasonic AG HVX200 camcorder does not record proxy files e VIDEO Contains video media of each clip wrapped within MXF container files Common Panasonic codecs such as DV DVCPRO 50 and DVCPRO HD are supported e VOICE Optional voice annotations that can be associated with each clip Note The Panasonic
70. hat e The Log and Capture window is closed e The camcorder is set to DV mode not HDV mode For more information see the documentation that came with your camcorder e You choose the proper DV Easy Setup before opening the Log and Capture window Editing HDV Footage For the most part editing HDV footage is identical to editing any other format in Final Cut Pro However because of the GOP structure of MPEG 2 media edits in HDV sequences require some additional processing during playback and output These processes happen automatically but it is a good idea to understand why they are necessary Chapter 1 Working With HDV 25 26 When you edit two HDV clips together in a sequence the GOP pattern is typically broken In particular cutting an HDV clip can remove the I frame that subsequent P and B frames rely on for picture information When this happens Final Cut Pro must preserve the I frame for these other frames to reference even though the I frame is no longer displayed in the sequence This requires additional processing power and memory not necessary for l frame only editing such as DV editing During playback this process happens in real time For output and export Final Cut Pro re encodes or conforms the areas of your sequence that require new I frames or GOPs Note Some applications such as DVD Studio Pro support simple MPEG 2 editing in which you are allowed to cut only at GOP boundaries Final Cut Pro allows you
71. he Timeline Choose File gt Export gt QuickTime Movie The Save dialog appears Enter a name and choose a location for the movie At the bottom of the dialog make sure the Make Movie Self Contained checkbox is not selected If you need DVD chapter markers from your Final Cut Pro project to be exported to the QuickTime movie choose DVD Studio Pro Markers from the Markers pop up menu Click Save You can also use the Export Using Compressor command to create a high quality MPEG 2 file for use in DVD Studio Pro For more information see the Compressor and DVD Studio Pro documentation Chapter 1 Working With HDV 31 32 Using the Canon XL H1 HDV Camcorder Final Cut Pro recognizes the Canon XL H1 HDV camcorder for most Final Cut Pro operations including Log and Capture and Print to Video To set up Final Cut Pro to capture and output to the Canon XL H1 HDV camcorder Connect one end of a FireWire cable to a FireWire port on your computer and the other end to a FireWire port on your camcorder Choose Final Cut Pro gt Easy Setup Select the Show All checkbox in the Easy Setup dialog Choose an Easy Setup that corresponds to your Canon XL H1 HDV footage e HDV 1080i60 FireWire Basic e HDV 1080150 FireWire Basic e HDV 1080p25 e HDV 1080p24 When using the Canon XL H1 HDV camcorder with Final Cut Pro keep the following in mind Final Cut Pro captures the first two audio channels only even though the camcorde
72. he currently assigned logging bin Capturing Footage With Start Stop Indicators When you capture HDV footage you can control how media files are created when start stop indicators and timecode breaks are detected This behavior is slightly different from the way DV footage is handled e When you capture DV Start Stop indicators can be detected after capture if you select the clip and choose Mark gt DV Start Stop Detect When you capture HDV You can control whether start stop indicators create individual media files by selecting or deselecting the Create new clip on Start Stop checkbox in the Clip Settings tab of the Log and Capture window In the General tab of the User Preferences window the option you choose from the On timecode break pop up menu determines how timecode breaks affect capture but the Warn After Capture option is disregarded to avoid capturing media files that contain breaks in the middle of an MPEG 2 GOP Chapter 1 Working With HDV 23 24 To choose how Final Cut Pro handles start stop detection when capturing HDV footage If you have not already done so choose Final Cut Pro gt Easy Setup then select an HDV Easy Setup from the Setup for pop up menu Choose File gt Log and Capture or press Command 8 then click Clip Settings Select or deselect the Create new clip on Start Stop checkbox to turn start stop detection on or off e Start Stop detection on When the checkbox is sel
73. il have a higher data rate while images with less detail have a lower data rate Note Although audio is compressed on an HDV tape Final Cut Pro converts this signal to an uncompressed format during capture This means that the overall HDV data rate on tape differs from the captured date rate Chapter 1 Working With HDV Video Compression HDV uses MPEG 2 compression with a constant bit rate CBR l P and B frames are used creating a long GOP group of pictures pattern MPEG 2 video and audio are composed of a hierarchy of data streams e Elementary stream This can be a video audio subtitle or other basic media stream Formats like HDV contain both video and audio elementary streams Transport stream A transport stream encapsulates elementary streams for real time distribution such as television or Internet broadcast e Program stream A program stream also encapsulates elementary streams for stored media such as DVD or computer media files HDV devices store and transmit elementary video and audio streams in an MPEG 2 transport stream When you capture HDV video Final Cut Pro automatically extracts the elementary video and audio streams from the transport stream and stores the data in tracks in a QuickTime media file Audio HDV uses two audio tracks with a sample rate of 48 kHz and 16 bit resolution per sample The audio is encoded using the MPEG 1 Layer 2 format with a data rate of 384 kbps Timecode The timecode fo
74. ile with the same name already exists in the current scratch disk folder If a media file with the same name already exists Final Cut Pro modifies the name of the media file and the resulting clip in the project using the rules described in Incrementing Logging Fields on page 91 Chapter 6 Working With Panasonic P2 Media 93 Reingesting Clip Media If a clip s media files are deleted or lost you can reingest its media at any time This process is equivalent to batch capturing when working with tape based media However there are a few differences in the way P2 clips are tracked versus clips logged and captured from tape In tape based workflows the Reel Media Start and Media End properties determine where a clip s original source media is located on a tape When you log a clip you assign its Reel property using the label written on the source tape so that you can find it again later when recapturing Final Cut Pro has no way of verifying whether you put in the correct tape or not If you insert the incorrect tape and Final Cut Pro finds matching timecode you could accidentally recapture the wrong footage P2 clips store a more robust media tracking identifier called clip IDs Each P2 clip contains a unique clip ID number that is dedicated to only that clip When you log and ingest a P2 clip the clip ID is stored in the clip within your project When you want to reingest a clip Final Cut Pro searches the current P2 volumes in th
75. ing the J K and L keys for playback also work Looped playback can be turned on or off by choosing View gt Loop Playback or by pressing Control L You can press the Tab key to move through the fields in the Preview and Logging areas See the Final Cut Pro 5 User Manual Volume Chapter 6 Viewer Basics for more information about the controls in the Viewer Final Cut Pro treats all of the selected clips in the Browse area as a single continuous entity when you are jogging shuttling using the J K and L keys or clicking the Previous and Next Clip buttons For example when the playhead reaches the end of a clip in the selection the next selected clip is opened and playback continues However if you enabled looped playback by choosing View gt Loop Playback or by pressing Control L playback is limited to the clip that appears in the Preview area The Previous and Next Clip buttons navigate within the range of selected clips in the Browse area If just one clip is selected you can navigate through all of the clips To move from clip to clip within the selected clips in the Browse area do one of the following Click the Previous Clip button or press Command Control Left Arrow Click the Next Clip button or press Command Control Right Arrow To add the current clip to the Transfer Queue do one of the following Click the Add Clip to Queue button Click in the image display area and drag the clip to the Transfer Queue
76. ions Combining Standard and High Definition Video About Standard Definition and High Definition Video Mixing High Definition and Standard Definition Video in the Same Sequence Choosing High Quality Scaling Options Downconverting High Definition Video Upconverting Standard Definition Video Tips for Converting Between Standard and High Definition Media Working With 24p and Variable Frame Rate Video What Is 24p Video Film 24p Video and Cinema Tools Working With 24p NTSC Video Using A DVX100 NTSC Camcorder With Advanced Pulldown Working With 720924 DVCPRO HD Video Working With 1080pA24 DVCPRO HD Video Working With IMX About IMX IMX Formats Supported by Final Cut Pro About MXF Working With IMX in Final Cut Pro Transferring IMX Footage to Your Computer Importing MXF Wrapped IMX Media Files Into Your Project Choosing an IMX Easy Setup Editing IMX Clips Into a Sequence Exporting IMX QuickTime Media Files IMX Format Specifications Working With Panasonic P2 Media About Panasonic P2 Cards and Media Files Working With Panasonic P2 Cards and Final Cut Pro About the Import Panasonic P2 Window Example Panasonic P2 Workflow Recording Footage With a P2 Camcorder Mounting P2 Cards Disk Images and Folders Using the Browse Area Using the Preview Area Using the Logging Area Using the Transfer Queue Reingesting Clip Media Working With Spanned Clips Contents Chapter 7 98 100 100 101 103 104 107 107 107 109
77. ire cable to a FireWire 400 port on your computer 4 Make sure your camcorder is in HDV mode not DV mode For more information see the documentation that came with your HDV device 6 pin connector to computer HDV camcorder in VTR mode FireWire Computer 4 pin connector to camcorder 16 Chapter 1 Working With HDV Choosing an Easy Setup Final Cut Pro has three native HDV Easy Setups available 1080i60 1080i50 and 720p30 Always choose the Easy Setup that corresponds to your HDV footage To choose an Easy Setup Choose Final Cut Pro gt Easy Setup Choose an Easy Setup from the Setup For pop up menu then click OK Important Make sure to choose an Easy Setup that matches the format of your HDV source tapes Logging and Capturing Native HDV Footage Once you ve connected your camcorder and chosen the appropriate Easy Setup you can log and capture your footage When you select a native HDV Easy Setup the Log and Capture window appears specifically tailored for use with HDV For detailed instructions about logging and capturing see the following chapters in the Final Cut Pro 5 User Manual e Volume I Chapter 17 Overview of Logging and Capturing e Volume I Chapter 18 Logging Clips e Volume I Chapter 19 Capturing Your Footage to Disk To open the Log and Capture window Choose File gt Log and Capture or press Command 8 The Log and Capture window appears Chapte
78. it in the Timeline 2 In the Viewer click the Motion tab 3 Next to the Basic Motion settings click the Reset button with an x to reset the scale settings or type 100 in the number field labeled Scale 4 Next to the Distort settings click the Reset button with an x to reset the aspect ratio settings in the number field labeled Aspect Ratio Upconverting 4 3 Anamorphic Video to 16 9 Video 4 3 anamorphic video is actually a 16 9 image squeezed into a 4 3 frame so it can easily be scaled to fit an HD sequence You can use the steps on page 57 and the table on page 58 to upconvert 4 3 anamorphic video to a 16 9 frame size Chapter 3 Combining Standard and High Definition Video 59 60 Tips for Converting Between Standard and High Definition Media When converting high definition media to standard definition media you should do one of the following Use the Export Using Compressor command Edit or nest high definition clips or sequences into a standard definition sequence with the appropriate settings and then export the sequence This option properly deinterlaces video before scaling and then reintroduces interlacing after scaling For example if you want to export a high definition sequence to DV NTSC settings create a sequence using the DV NTSC Easy Setup drag the original high definition sequence into the DV sequence and then export the DV sequence using the Export QuickTime Movie comma
79. ly the same as setting up a system for any other kind of DV editing To set up your computer for DVCPRO HD capture and output Connect your DVCPRO HD device to your computer using a 4 to 6 pin or 6 to 6 pin FireWire cable For additional instructions on connecting a DV deck or camcorder to your computer see the Final Cut Pro 5 User Manual Volume Chapter 13 Connecting DV Video Equipment and Specifying Initial Settings Choosing a DVCPRO HD Easy Setup Final Cut Pro comes with several DVCPRO HD Easy Setups Choose the Easy Setup that matches your source footage on tape If your source footage and output format are different it s usually best to choose an Easy Setup that matches your source footage and then export your final movie to the output format when editing is complete To choose an Easy Setup Choose Final Cut Pro gt Easy Setup Choose an Easy Setup from the Setup For pop up menu then click OK Important Make sure to choose an Easy Setup that matches the format of your DVCPRO HD source tapes If you need to create a custom Easy Setup see the Final Cut Pro 5 User Manual Volume IV Chapter 23 Audio Video Settings and Easy Setups Chapter 2 Working With DVCPRO HD Logging and Capturing Your DVCPRO HD Footage You can log and capture DVCPRO HD footage in the same way you log and capture any other DV source footage However because of the unique way DVCPRO HD can record various frame rates Final Cut Pro in
80. mber of standard and high definition video formats at various frame rates The AG HVX200 can record on either tape or P2 cards but some formats can only be recorded on P2 cards The following table shows which formats are compatible with recent versions of Final Cut Pro AG HVX200 NTSC Pulldown duplicate Recorded frame v5 0 4 v5 1 v5 1 1 v5 1 2 Format frame rate pattern Timecode P2 Tape P2 Tape P2 Tape P2 Tape 1080i60 29 97i DF NDF 1 1 1 1 1 1 1 1 1080p30 29 97i 2 2 DF NDF 1 1 1 1 1 1 1 1 1080p24 29 97i 23 NDF 2 2 1080pA24 29 97i 2332 NDF 23 23 480i60 29 97i DF NDF 1 1 1 1 1 1 1 1 480p30 29 97i 22 DF NDF 1 1 1 1 1 1 1 2 480p24 29 97i 2 3 DF NDF 2 2 2 2 2 2 2 2 480pA24 29 97i 2 3 3 2 DF NDF 2 Pome 23 23 PEE 23 23 720p60 59 94p NDF 1 1 1 1 1 1 1 1 720p30 59 94p 2 2 NDF 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 720p24 59 94p 2 3 NDF 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 720pVFR 59 94p NDF 4 4 4 4 4 4 4 4 720pN30 29 97p NDF 1 n a 1 n a 1 n a 1 n a 720pN24 23 98p NDF 5 na 5 n a 1 n a 1 n a 720pN VFR NDF 1 n a 1 n a 1 n a 1 n a VFR 1720p variable frame rates 12 18 20 22 24 26 30 32 36 48 and 60 fps i interlaced p progressive A advanced pulldown N native frame rate without duplicate fields or frames DF drop frame NDF non drop frame VFR variable frame rate 1 No pulldown removal is necessary native frame rate is captured or ingested
81. me rate choice because it is possible to transfer to NTSC video PAL video and perhaps most important film Choose this format if you plan to transfer your finished video to film or if you are trying to emulate a film look on your final video This format is similar to 720p24 but with much higher resolution Pros Individual still frames in this format are very high quality because of the high resolution Can be easily converted to other frame rates compatible with NTSC video PAL video and film 24 fps frame rate allows direct transfer to film Progressive scanning eliminates interlacing artifacts When pulldown is removed 1080p24 has a potentially lower data rate than other 1080 line formats Cons Some 1080p24 modes require pulldown removal and insertion complicating timecocde and media management Requires a telecine pulldown process when transferring to NTSC Requires a frame rate increase when transferring to PAL This slightly alters the audio rate The low frame rate requires slow camera motion to avoid stuttering jumps from frame to frame 720p60 This format is smaller than 1920 x 1080 but the smaller image dimensions decrease the per frame data rate This means the frame rate can be doubled compared to 1080i formats without significantly increasing the data rate Pros e Yields the highest frame rate possible for a high definition format e Individual still frames in this format have no motion artifacts such
82. method interlaced and progressive may also be involved Some reasons you may need to convert between high definition HD and standard definition SD or vice versa are e If you are working on an HD project and you want to incorporate 4 3 SD archival footage e If you want to distribute an HD project in an SD format like Digital Betacam DV DVD or VHS e If you are using HD footage in an SD project A similar problem occurs when you need to use NTSC footage in a PAL project or vice versa Converting between standard definition NTSC and PAL footage is known as standards conversion 51 Mixing High Definition and Standard Definition Video in the Same Sequence Many editors encounter situations in which they must mix HD and SD video or use HD media with different resolution in the same sequence Because Final Cut Pro is resolution independent you are free to add any clips in the Browser to a sequence but clips that do not match the current sequence settings often need to be rendered during playback indicated by a red bar above the clip in the Timeline If you need to mix a lot of SD and HD video footage in a single sequence it s often more efficient to convert all your footage to a common format so that all your media files have the same dimensions frame rate and codec You can convert many clips at once using the Batch Export function or you can have upconverted or downconverted videotape transfers made at a video transfe
83. n output back to 1080i60 video by introducing a pulldown on the FireWire output You can choose one of several pulldown patterns either from the Real Time Effects RT pop up menu in the Timeline or in the Playback Control tab of the System Settings window For output back to tape you should choose advanced pulldown 2 3 3 2 or normal telecine pulldown 2 3 2 3 You can also export your movie to a 23 98 fps QuickTime movie or image sequence for delivery to a video to film transfer lab Chapter 4 Working With 24p and Variable Frame Rate Video 67 Working With IMX Native IMX editing support makes Final Cut Pro a powerful addition to any broadcast post production environment This chapter covers the following About IMX p 69 e Working With IMX in Final Cut Pro p 70 e IMX Format Specifications p 72 About IMX IMX is a high quality standard definition MPEG 2 based video format created by Sony Both NTSC and PAL video standards are supported IMX is not bound to a particular tape format or transmission method IMX can just as easily be stored on tape hard disk or optical disc In addition to standard video signal transfers via analog component and SDI interfaces SDTI and Ethernet interfaces can be used to transfer native IMX data IMX bridges the gap between traditional video formats and computer based postproduction systems by encapsulating video and audio data within an increasingly popular data format known as
84. n the chronological order of the camera takes Important Do not attempt to copy media files from a mounted Sony Video Disk Unit directly to your scratch disk Media files copied directly from a Sony Video Disk Unit in this way are not QuickTime media files and they will not be handled properly if you import them into Final Cut Pro Chapter 7 Working With Sony XDCAM HD and Video Disk Units
85. nd Avoid converting high definition media directly to standard definition media by using the Export Using QuickTime Conversion command with Browser clips in your project This approach may introduce interlacing artifacts when the video is scaled Chapter 3 Combining Standard and High Definition Video Working With 24p 4 and Variable Frame Rate Video Many new video formats support 24 fps video for film compatibility and variable frame rate recording for special effects This chapter covers the following e What Is 24p Video p 61 Film 24p Video and Cinema Tools p 62 e Working With 24p NTSC Video p 63 e Working With 720p24 DVCPRO HD Video p 65 e Working With 1080pA24 DVCPRO HD Video p 66 What Is 24p Video The term 24p refers to 24 fps progressive scan video For film this is nothing unusual but for video both progressive scanning and the 24 fps frame rate are still exciting new territory Instead of building 24 fps video cameras that would be incompatible with established NTSC and PAL video equipment some new camcorders make it possible to shoot 24p video while maintaining backward compatibility with NTSC or PAL equipment One of the obvious reasons to shoot 24p video is to make it easy to transfer your video to film without any frame rate conversions Another reason is to achieve a film look on video even though film was never used 24p video is also a convenient starting format for moving between
86. nd High Definition Video 53 54 a _ Sail pee 1080 to 480 720 to 480 a 16 9 to 4 3 crop center If a film or video was shot to be exclusively viewed in a widescreen venue this technique is usually the best approach for downconversion However this method makes poor use of the already lower resolution of an SD 4 3 frame since many lines are not used at all In Final Cut Pro you can scale the entire HD movie by nesting and scaling it into an SD sequence You will have to render the whole sequence before you output Cropping 16 9 Video to 4 3 If you keep both 16 9 and 4 3 aspect ratios in mind during the shoot making sure important action stays within the 4 3 center of the 16 9 frame you can choose to crop your entire movie within a 4 3 frame This method allows you to fill the whole 4 3 screen with some portion usually the center of your 16 9 image In this case a simple crop can be applied to the entire film without significantly altering the visual storytelling f vaco rmes T l econ 1000 a 16 9 frame 4 3 frame Chapter 3 Combining Standard and High Definition Video 16 9 to 4 3 pan and scan For broadcast in the UK 16 9 images are often cropped to 14 9 and letterboxed within a 4 3 frame for standard definition PAL televisions Because a 14 9 image has a less severe letterbox that is smaller black bars at the top and the bottom of the frame some viewers
87. nterframe Compression Instead of storing complete frames temporal compression stores only what has changed from one frame to the next which dramatically reduces the amount of data that needs to be stored while still achieving high quality images Video is stored in three types of frames a standalone I frame that contains a complete image and then predictive P frames and B frames that store subsequent changes in the image Every half second or so a new I frame is introduced to provide a complete image on which the P and B frames are based Together a group of l P and B frames is called a group of pictures or GOP HDV uses a long GOP pattern which means that there are several P or B frames for each I frame More About Long GOP Video The term long refers to the fact that P and B frames are used between I frame intervals At the other end of the spectrum the opposite of long GOP MPEG 2 is frame only MPEG 2 in which only l frames are used Formats such as IMX use frame only MPEG 2 which reduces temporal artifacts and improves editing performance However I frame only formats have a significantly higher data rate because each frame must store enough data to be completely self contained Therefore while the decoding demands on your computer are decreased there is a greater demand for scratch disk speed and capacity Chapter 1 Working With HDV 13 14 For example suppose you record some typical talking head foo
88. o 1394DEVICE e Press the mode button to switch from Camera mode to MCR VCR mode f Press and hold the mode button again for several seconds until the camcorder screen displays solid blue and the PC Dub mode light is on The P2 cards in the camcorder mount on the desktop in the Finder Note If you have already set the PC Mode setting to 1394DEVICE you can skip steps cand d Chapter 6 Working With Panasonic P2 Media 83 84 Unmounting P2 Cards To safely remove a P2 card from a P2 device connected to your computer make sure you unmount the volume from the desktop in the Finder To unmount a P2 card on the desktop do one of the following In the Import Panasonic P2 window select the P2 card then click the Eject button In the Finder select the mounted P2 card then choose File gt Eject or press Command E After unmounting the volume you can remove the card from the P2 device or PowerBook PC Card slot Using Folders With Valid P2 Card Folder Structure The Import Panasonic P2 window can ingest MXF media from any folder with a valid Panasonic P2 folder structure You can create these folders by copying them from P2 cards and devices to your hard disk For more information see Panasonic P2 Card Format Specifications on page 104 Important Final Cut Pro only recognizes P2 compliant folders that include the original media files the descriptive metadata and a corresponding set of XML clip files If you need
89. o grow geometrically with each new P2 card release 75 The following definitions provide some shorthand for discussing the Import Panasonic P2 window P2 card A solid state memory card for recording DV DVCPRO DVCPRO 50 and DVCPRO HD media within MXF container files MXF A media file standard for wrapping video or audio and associated metadata into a single container file An MXF file is similar to a QuickTime file they are both file formats for storing media and metadata about the media For more information see About MXF on page 70 Metadata Generally secondary data describing the primary data In the case of media the primary data is the video and audio samples themselves and the metadata is descriptive information attached to it such as shooting time GPS coordinates camera operator name shot and take number sample rate video codec used and so on Final Cut Pro preserves metadata stored in P2 clips by transferring it to both QuickTime media files and their associated clips in a project P2 device A camcorder deck or card reader capable of reading and writing to a P2 card These devices can usually be connected to a Macintosh computer via a USB or FireWire cable P2 volume Any P2 card or mounted disk image that contains a valid P2 directory structure and MXF media files For more information see Panasonic P2 Card Format Specifications on page 104 P2 folder Any folder that contains a valid P2 dir
90. o to the Apple Intermediate Codec Capturing HDV video is very similar to capturing DV video using the Capture Now feature The main differences are e The Log and Capture window is not used e Capturing HDV video may not take place in real time because transcoding HDV frames into the Apple Intermediate Codec requires special processing steps To capture HDV footage to the Apple Intermediate Codec Click in the Browser to make it active then choose File gt New Bin Control click the bin then choose Set Logging Bin from the shortcut menu Your captured clips will be placed in this bin Name the bin then press Enter Choose File gt Log and Capture or press Command 8 A Capture dialog appears instead of the Log and Capture window In the Capture dialog enter a name for the clip then click Capture The capture preview window appears and the camcorder begins playing back video from its current position The status area of the capture preview window displays the percentage of real time in which the video is being encoded from HDV to the Apple Intermediate Codec Press the Esc Escape key to stop capturing The video playback on the camcorder stops immediately The capture preview window may lag behind displaying where the video is in the encoding process As these frames are processed the status area of the capture preview window displays the percentage of frames left to process Note Pressing the Esc key a second time stops
91. oZ Any single letters preceded by numbers are incremented alphabetically from A to Z After Z the number increases by one and the letter starts over at A and then the cycle repeats A number is appended to any fields ending with multiple letters and is incremented by one For example ABC is followed by ABC1 then ABC2 and so on Setting Audio and Video Clip Import Settings You can open the Import Settings tab by clicking the Import Settings button in the Logging area Here you can specify whether video or audio is ingested as well as the number and groupings of the audio channels Audio meters display audio input levels on enabled channels When a single clip is selected in the Browse area clip import settings are applied to that clip To apply import settings to multiple clips 1 Shift click or Command click multiple clips in the Browse area to select them 2 Enable video and audio channels in the Import Settings tab 3 Click Apply to Selection then click OK in the dialog that appears Chapter 6 Working With Panasonic P2 Media 91 92 Ingest Status column 4 Using the Transfer Queue The Transfer Queue shows a list of clips currently queued for ingest The status of each clip is shown and a progress bar indicates how much of a clip s media has already been ingested You can pause or restart ingest at any time by clicking the Pause button or by pressing Command Control Q Click to reveal the current logging
92. ootage is captured the 30 fps timecode is converted to 60 fps timecode To view 30 fps timecode instead of the 60 fps timecode in your media files Final Cut Pro has a timecode display option called 60 30 timecode Important Final Cut Pro does not support drop frame timecode for 720p formats Chapter 2 Working With DVCPRO HD Combining Standard and High Definition Video As the video industry transitions from standard definition to high definition video you may need to combine HD and SD video within the same sequence This chapter covers the following e About Standard Definition and High Definition Video p 51 e Mixing High Definition and Standard Definition Video in the Same Sequence p 52 e Choosing High Quality Scaling Options p 52 e Downconverting High Definition Video p 53 e Upconverting Standard Definition Video p 56 About Standard Definition and High Definition Video Because high definition video systems are still relatively new many video producers find that they need to combine high definition with standard definition footage or several high definition video sizes within the same project Converting a video format to a higher resolution format is called upconverting and the reverse is called downconverting The process of upconverting and downconverting is not as simple as scaling a video frame Changes in aspect ratio 4 3 for standard definition and 16 9 for high definition frame rate and scanning
93. option so that redundant fields are removed and your captured media file is 23 98 fps instead of 29 97 fps Chapter 2 Working With DVCPRO HD 42 About 720p DVCPRO HD Timecode Although 720p HD formats can record at video frame rates of 60 fps or 59 94 fps for NTSC compatibility the timecode recorded on tape is always 30 fps even when you record using an alternate frame rate How can 30 fps timecode account for every frame when the video frame rate is 60 or 59 94 fps Every two frames are represented by one timecode number and the second frame in the pair is uniquely flagged so it can be differentiated in the timecode count For example the first two timecode numbers of a 720p60 tape are indicated by the timecode numbers 00 and 00 where the asterisk indicates the second frame Using this method 60 frames can be uniquely addressed using only 30 timecode numbers per second Important Drop frame timecode is not supported when capturing 720p DVCPRO HD When recording 720p DVCPRO HD footage you should only use non drop frame timecode About 720p DVCPRO HD Device Control When you log capture or output 720p DVCPRO HD the remote device control displays the tape timecode which is always 30 fps This means that you can only set In and Out points with 30 fps timecode accuracy even though the video frame rate is 60 or 59 94 fps Despite this minor restriction you can still edit with 60 fps frame accuracy once you capture your footage
94. ormed each time you use the Print to Video command Chapter 1 Working With HDV Conforming While Rendering in the Timeline You can generate properly conformed render files for your sequence by enabling all options in the Render All Render Selection and Render Only submenus located in the Sequence menu For example if you enable rendering for all real time and render statuses in the Render Selection submenu and then choose Sequence gt Render Selection the render files created for selected video items in the Timeline are conformed with proper GOP structures When you output to tape or export using QuickTime conversion these render files are already properly conformed reducing the time required for final rendering and conforming Tip You can disable conforming during rendering in the Timeline by deselecting one or more real time render statuses in the appropriate Render submenu of the Sequence menu Using the Print to Video Command to Output HDV You can only output HDV footage to tape using the Print to Video command The Edit to Tape command is not supported for HDV media To output your HDV sequence to tape Make sure your camcorder is properly connected to your computer via FireWire For more information see Connecting an HDV Device to Your Computer on page 16 Insert a DV tape into the HDV camcorder In the Browser do one of the following e Select a sequence or clip Double click a sequence to open it in the Timelin
95. ou can also select the volume and press the Right Arrow key to open it and the Left Arrow key to close it By default this view shows columns for Name thumbnail images Media Start and Media Duration e Flat List view View clips from all mounted P2 volumes in a single list Each clip s parent volume is specified in the Volume column This view is unique because it consolidates spanned clips into a single item If you are working with spanned clips you should usually work in this view e Action pop up menu Contains commands to modify the current selection This is also where you access the Import Panasonic P2 window preferences e Column headings Columns display clip properties and metadata You can use column headings the following ways e Click a column heading to sort clips by this property Click the column heading again to reverse the sort order e Control click to show or hide additional columns such as Format Compressor and Shooting Date e Reorder column headings by dragging them to the left or right e Clip properties Most clip properties are read only but you can change some properties such as Name Scene Shot In and Out by double clicking them pressing Enter or pressing Return If a clip name is selected you can press Tab to edit the name of the next clip in the Browse area Changes to P2 clip properties are temporarily stored within the current project but they remain unchanged on the P2 volumes This means that
96. ovie back to tape Final Cut Pro needs to re encode or conform the movie into MPEG 2 data before outputting Depending on the length of your sequence this process can be fairly time consuming because every frame in your sequence must be re encoded To output Apple Intermediate Codec HDV video to videotape Make sure your HDV camcorder is properly connected to your computer and turned on before you open Final Cut Pro Insert a DV tape into the HDV camcorder Click anywhere in the Timeline or Canvas to make it the active window Choose File gt Print to Video or press Control M The Print to Video dialog appears If you want Final Cut Pro to start recording automatically select the Automatically Start Recording checkbox Chapter 1 Working With HDV Select any Leader or Trailer elements you want to include on your tape as well as start end and looping options A progress bar shows the progress of encoding from the Apple Intermediate Codec back to MPEG 2 HDV and gives you a time estimate for when the encoding process will finish A dialog appears instructing you to press the record button on the camcorder Press the record button on your camcorder then click OK If you selected the Automatically Start Recording option the camcorder automatically begins recording your program to tape The camcorder stops after the program is recorded to tape To export your sequence to a QuickTime movie Open your Final Cut Pro sequence in t
97. owse area to the Transfer Queue for ingest Adding P2 Volumes and Folders to the Browse Area Mounted P2 cards and disk images appear automatically in the Browse area when you open the Import Panasonic P2 window You can add folders with valid P2 folder structures by clicking the Add Folder button and then choosing a folder with a valid P2 structure You can also add a P2 folder by dragging it from the Finder to the Browse area Selecting Clips in the Browse Area Final Cut Pro treats the selected clips in the Browse area as a continuous entity that you can navigate through using the transport controls in the Preview area For example if you have two clips selected in the Browse area when the playhead reaches the end of the first selected clip it continues playing the second clip For more information see Transport Controls in the Preview Area on page 89 You can select clips in the Browse area by clicking anywhere in the row containing the clip s name You can select a range of clips by clicking one clip and then Shift clicking a second clip Command click clips to add or remove them from the current selection You can select all clips in the Browse area by choosing Edit gt Select All or pressing Command A You can deselect all clips by choosing Edit gt Deselect All or pressing Command Shift A Chapter 6 Working With Panasonic P2 Media 87 88 Timecode Duration field Deleting P2 Clips If a P2 volume has read and write a
98. port cs csregistp2m ep2main soft_e htm Note You may need to provide the serial number of one of your Panasonic P2 devices to download the P2 Driver Software Carefully follow the installation instructions included with the P2 Driver Software Installing this driver requires you to restart your computer Chapter 6 Working With Panasonic P2 Media To mount a P2 card inserted in the PC Card slot of a PowerBook Make sure the P2 Driver Software from the Panasonic website is installed on the PowerBook Insert the P2 card containing the media you want to import into the PowerBook PC Card slot The P2 card appears on the desktop as a mounted disk named NO NAME i NO NAME Note You can rename the card after it is mounted in a PowerBook To be safe limit P2 card names to alphanumeric characters numbers and letters no punctuation or other symbols Mounting P2 Cards Using a Panasonic AG HVX200 Camcorder You can use a Panasonic AG HVX200 camcorder as a P2 card reader to mount P2 cards on the desktop To configure a Panasonic AG HVX200 camcorder as a P2 card reader Connect one end of a FireWire cable to the corresponding port on the camcorder Connect the other end of the FireWire cable to a corresponding port on your computer On the camcorder do the following a Choose Camera mode on the camcorder b Press the Menu button c Choose the Other Functions menu and then highlight the PC Mode setting d Set the PC Mode setting t
99. r can record four channels With the addition of a third party HD SDI video interface it is possible to capture four channels For proper detection of start stop indicators set the clock of the Canon XL H1 HDV camcorder before recording any footage with it This is a one time step for new camcorders Note The Log and Capture window may be unresponsive when the FREERUN PS option is chosen on the Canon XL H1 HDV camcorder To change the FREERUN PS setting on the camcorder Press the Menu button on the camcorder Within the camcorder menu navigate to Signal Setup gt Time Code gt Count Up and then select Rec Run Chapter 1 Working With HDV HDV Format Specifications Storage Medium HDV is recorded on standard mini DV videocassette tapes Video Standards The HDV standards were jointly created by a consortium of manufacturers including Sony Canon Sharp and JVC HDV supports 1080i 1080p and 720p high definition standards Aspect Ratio HDV has an aspect ratio of 16 9 Frame Dimensions Number of Lines and Resolution The HDV format supports two HD video resolutions 1080 lines 1440 pixels per line 1080 lines displayed with an aspect ratio of 16 9 or 1920 x 1080 interlaced or progressive scan e 720 lines 1280 pixels per line 720 lines progressive scan The native and displayed pixel dimensions are shown below 1920 x 1080 1440 x 1080 1280 x 720 1080 lines 720 lines Frame Rate Final Cut Pro suppor
100. r 1 Working With HDV 18 About the Log and Capture Window The Log and Capture window allows you to view your footage set In and Out points enter log notes select which tracks to capture create clips and capture media files Logging Clip Settings and Capture Settings tabs Resize control lPreview area log and capture buttons There are several areas in the Log and Capture window Preview area On the left is the area where you view video while logging clips This area contains transport controls marking controls and timecode fields If device control is not enabled the transport controls do not appear e Tabs On the right are the Logging Clip Settings and Capture Settings tabs Log and capture buttons You click one of these buttons when you are ready to log a clip or capture media The resize control in the lower right corner allows you to adjust the size of the Log and Capture window This option is only available when you select an HDV Easy Setup Chapter 1 Working With HDV Preview Area This section of the Log and Capture window lets you view video from tape while you log and capture it The video preview area remains black until your camcorder or deck is turned on and a tape is playing in the device The following controls appear if your camcorder or deck is on and properly connected and device control is enabled Available space Current Timecode and time field KaKa Tog and Capture Total
101. r facility For details about using the Batch Export command see the Final Cut Pro 5 User Manual Volume IV Chapter 21 Batch Exporting Clips and Sequences Note Whenever possible combine SD and HD media with matching frame rates Convincing frame rate conversions are difficult to achieve If you need to combine footage with different frame rates you may want to have your video converted at a professional facility Choosing High Quality Scaling Options Upconversion and downconversion in Final Cut Pro usually involves scaling your video To ensure the highest quality you should always choose the best scaling quality option in your sequence settings To select the best scaling quality for a sequence Select a sequence in the Browser or double click it to open it in the Timeline Choose Sequence gt Settings then click the Video Processing tab Choose Best from the Motion Filtering Quality pop up menu Click OK Tip To decrease rendering time during your edit session you can select a lower quality motion filtering option just remember to set the quality to Best before you output your final sequence Chapter 3 Combining Standard and High Definition Video Downconverting High Definition Video There are several methods for downconverting HD video to SD video e Letterbox e Crop e Pan and scan 16 9 anamorphic If you are downconverting from one 16 9 HD format to another you can simply scale the original video to
102. rame Rates on page 39 Warning Don t record DVCPRO HD video to a tape that already has DVCPRO 25 or DVCPRO 50 footage on it Even though these formats can use the same tape stock the recording speeds are different Outputting Sequence Timecode Using DVCPRO HD When you output a DVCPRO HD sequence or clip to a DVCPRO HD device via FireWire timecode numbers are included This works during Print to Video and Edit to Tape operations as well as normal playback when external video via FireWire is enabled For more information see the Final Cut Pro 5 User Manual Volume IV Chapter 14 Assemble and Insert Editing Using Edit to Tape Tip You can also set a custom starting timecode number when you use the black and code feature with DVCPRO HD tapes For more information about using the black and code feature in Final Cut Pro see the Final Cut Pro 5 User Manual Volume IV Chapter 13 Preparing to Output to Tape Note Drop frame timecode is not supported when you black and code a 720p tape Chapter 2 Working With DVCPRO HD 45 46 Working With Variable Frame Rate DVCPRO HD Footage Some DVCPRO HD devices allow recording and playback of variable frame rates from 4 to 60 fps Variable frame rate recording and playback are limited to the 720p DVCPRO HD format this feature is not available with 1080i DVCPRO HD The camera CCD outputs from 4 to 60 fps in whole number increments but the built in VTR records at a
103. rded you can immediately see the results of your VFR footage in camera without special processing For example if you shoot at 60 fps with a playback speed of 24 fps the resulting video appears to be 40 percent slower than real time Note Variable frame rates above 30 fps record 540 lines per frame instead of 1080 lines Final Cut Pro includes support for this format but you need to render these clips ina sequence before you can play them back XDCAM HD devices can record two or four channel 16 bit 48 kHz uncompressed audio FireWire connectors are built in for easy connection to your Macintosh computer and Gigabit Ethernet connectors can be optionally included Chapter 7 Working With Sony XDCAM HD and Video Disk Units XDCAM HD Formats Supported in Final Cut Pro Final Cut Pro has Easy Setups for the HQ 35 Mbps VBR and LP 18 Mbps VBR XDCAM HD e XDCAM HD 1080p24 35 Mb s VBR e XDCAM HD 1080p25 35 Mb s VBR e XDCAM HD 1080p30 35 Mb s VBR e XDCAM HD 1080i60 35 Mb s VBR e XDCAM HD 1080150 35 Mb s VBR Note LP 18 Mbps VBR XDCAM HD footage is edited rendered and exported using the 35 Mbps HQ codec However this format is ingested at a data rate of 18 Mbps so it still requires less disk space during ingest than the 35 Mbps format Three additional XDCAM HD Easy Setups are available if you install the XDCAM Transfer PDZK P1 software from Sony e Sony XDCAM HD 1080160 25 Mb s CBR Sony XDCAM HD 10
104. riginal MPEG 2 HDV data throughout the entire process This process is referred to as native editing because Final Cut Pro works directly with the MPEG 2 data captured from your HDV tapes Native HDV playback is processor intensive because displaying a single frame can require decoding of several frames earlier or later in the video stream As a result you may be able to play back fewer real time effects when editing in this format However there are many benefits to native HDV editing Native HDV editing uses less disk space because long GOP MPEG 2 HDV video has a very low data rate Outputting HDV to tape requires little processing before output because your video is already in the native HDV format Only segments of your sequence that contain cuts or effects must be re encoded or conformed to create the proper HDV GOP pattern This workflow is useful for cuts only edits that you want to quickly output back to tape or for export to other MPEG formats For more information see Native HDV Editing Workflow below Chapter 1 Working With HDV e HDV editing using Apple Intermediate Codec This method allows you to capture your HDV footage using an intermediate high quality codec without temporal compression Using an I frame only codec avoids some of the decoding overhead required for HDV footage The disadvantage of this workflow is that more scratch disk capacity is required for your footage and you cannot output HDV to tape without
105. rmat of an HDV camcorder matches the frame rate of the video format For example 1080150 footage uses 25 fps timecode Important Some HDV camcorders do not record timecode so you won t be able to precisely recapture any clips if you delete the corresponding media files Chapter 1 Working With HDV 35 Working With DVCPRO HD 2 In Final Cut Pro you can natively capture edit and output DVCPRO HD video using the built in FireWire port on your computer This chapter covers the following About DVCPRO HD p 37 e Working With DVCPRO HD in Final Cut Pro p 40 e Working With Variable Frame Rate DVCPRO HD Footage p 46 DVCPRO HD Format Specifications p 48 About DVCPRO HD DVCPRO HD is a high definition addition to the DV DVCPRO format family making it simple to adapt your existing DV and FireWire based editing workflow to high definition video 37 38 DVCPRO HD Formats Supported by Final Cut Pro Final Cut Pro natively supports the following DVCPRO HD formats Final Cut Pro Sequence dimensions Format Easy Setup and frame rate Scanning method 1080i60 DVCPRO HD 1080i60 1280 x 1080 Interlaced 29 97 fps 1080i50 DVCPRO HD 1080i50 1440 x 1080 Interlaced 25 fps 1080p30 DVCPRO HD 1080p30 1280 x 1080 Progressive 29 97 fps 1080pA24 DVCPRO HD 1080pA24 1280 x 1080 Progressive 23 98 fps 720p60 DVCPRO HD 720p60 960 x 720 Progressive 59 94 fps 720p30 DVCPRO HD 720p30 960 x 720
106. rred to PAL is truly 24 fps While it may be easier to simply say 24p keep in mind that in some cases such as during audio post production it s critical to know the exact frame rate or your audio may drift from the picture Film 24p Video and Cinema Tools Cinema Tools is used mainly to edit movies shot and finished on film To make editing cheaper and more convenient NTSC or PAL telecine transfers are used as intermediate editing formats Cinema Tools can remove 3 2 pulldown from a 29 97 fps telecined video or convert 25 fps telecined video back to 24 fps so you can edit at the proper frame rate of 24 fps However this chapter focuses on 24p footage that originated on video not film For more information see the documentation that came with Cinema Tools Chapter 4 Working With 24p and Variable Frame Rate Video Working With 24p NTSC Video Techniques for transferring 24 fps video to 29 97 fps NTSC video have existed for many years Because NTSC video is interlaced two fields comprise each frame there are actually 59 94 fields per second in NTSC video To simplify matters suppose the field rate is 60 fields per second In this case it s easy to see that 24 frames per second can be mapped to 60 fields per second by using a 3 frame 2 frame pattern referred to as 3 2 or 2 3 2 3 pulldown The first film frame is recorded on 2 video fields The second film frame is recorded to 3 video fields Then the pattern repeats However a tr
107. s displayed ae Resize slider Click to add selected clips to the Transfer Queue Controls in the Browse Area The Browse area contains the following controls Add Folder button Click to add a folder with a valid P2 structure You can also drag a P2 folder from the Finder to the Browse area e Eject button Click to remove the currently selected P2 volume or folder from the Browse area If the P2 volume is a mounted P2 card or disk image it is also unmounted in the Finder Search field An iTunes like search field that limits which clips are displayed All columns are searched for matches even if some columns are not currently displayed For example if you type DV clips whose names contain DV are displayed but so are clips using DV and DVCPRO codecs You can press Command Control S to highlight the search field Note The search field accepts three kinds of timecode delimiters periods semicolons and colons and does not distinguish between them during searches For example you can find all clips containing 10 00 in a timecode field by entering 10 00 10 00 or 10 00 Chapter 6 Working With Panasonic P2 Media 85 e List view buttons There are two ways to view the list of clips on mounted P2 volumes e Hierarchical List view View clips grouped by volume In this view you can click the disclosure triangle next to a volume name to show or hide the clips contained within Y
108. s part of a spanned clip its Reel property defaults to Spanned Reel If you want you can change a clip s Reel property to a more memorable name This step helps you if you want to reingest a clip s media later and you need to remember where the clip s original media is stored Changing a clip s reel name is particularly important when working with spanned clips For more information see Choosing Reel Names and Understanding P2 Volume Names on page 94 Change the clip s Reel property in the Browse area Logging area or Preview area Change the P2 clip name to a more meaningful name than the default name assigned by the P2 camcorder Add descriptive information about each clip in the logging fields These properties are included with the clip when it is ingested and stored in the Browser Click Import Settings in the Logging area then select the video and audio channels you want to ingest The number of audio channels available usually two or four depends on how many channels the P2 clip in the Browse area contains You can group pairs of audio channels as stereo or dual mono Do one of the following In the Browse area select one or more clips then click Add Selection to Queue e In the Preview area click Add Clip to Queue Note When you click the Add Clip to Queue button only the clip that appears in the Preview area is added to the Transfer Queue For more ways to add clips to the Transfer Queue see
109. s via FireWire and is capable of recording up to 3 hours of video audio signals in parallel with tape recording The Sony Video Disk Unit supports recording playback and file transfer via FireWire You can record video directly onto the drive and then use it as a read only FireWire drive to import the video and audio contents to your computer Chapter 7 Working With Sony XDCAM HD and Video Disk Units Importing Footage From a Sony Video Disk Unit To import media from a Sony Video Disk Unit you need to connect it to your computer via FireWire and then select which media files you want to import using the Import VDU Data command in Final Cut Pro Setting Up a Sony Video Disk Unit Connecting and using a Sony Video Disk Unit is very similar to using an external FireWire hard disk drive To connect a Sony Video Disk Unit to your computer Connect the 4 pin connector on one end of your FireWire cable to the 4 pin FireWire port on the Sony Video Disk Unit Connect the 6 pin connector on the other end of your FireWire cable to a FireWire 400 port on your computer Turn on the Sony Video Disk Unit A FireWire hard drive icon named Untitled Untitled appears on the desktop Note As with any other external FireWire drive remember to unmount the Sony Video Disk Unit before disconnecting it or turning it off To unmount a FireWire hard drive from the desktop Drag the FireWire hard drive icon to the Eject icon in the Dock
110. sions for your sequence follow the guidelines below Sequence preset Still image dimensions 1080i or 1080p 1920 horizontal x 1080 vertical 720p 1280 horizontal x 720 vertical Note Unlike standard definition video formats which use rectangular pixels high definition video formats use square pixels You don t have to worry about adjusting high definition image dimensions before importing your graphics into Final Cut Pro Chapter 2 Working With DVCPRO HD Outputting Your DVCPRO HD Sequence DVCPRO HD clips and sequences are recorded to tape via FireWire just like any other DV media For more information about editing to tape see the Final Cut Pro 5 User Manual Volume IV Chapter 13 Preparing to Output to Tape Generating Color Bars and Tone for 1080i 1080p and 720p Video Final Cut Pro includes bars and tone generators especially for use with1080i 1080p and 720p sequences These bars and tone generators are available in the Video Generators bin in the Effects tab For more information see the Final Cut Pro 5 User Manual Volume IIl Chapter 21 Using Built in Generated Clips 720p Output and Playback When recording a 720p60 720p30 or 720p24 clip or sequence to tape Final Cut Pro automatically outputs 59 94 fps video creating duplicate frames if necessary For more information about how DVCPRO HD flags 59 94 fps frames with alternate frame rate information see Recording 720p DVCPRO HD With Alternate F
111. st results disable the Automatically Start Recording option in the Print to Video window 7 On the camcorder press the red and gray record buttons simultaneously When you have finished recording press the Pause Set button on the camcorder and then press the Down menu button To verify that a clip was created on the P2 card in the camcorder press the AUDIO DUB THUMBNAIL button on the camcorder navigate to the thumbnail for the clip you just recorded then press the Up menu button to play the clip Chapter 6 Working With Panasonic P2 Media 99 Archiving P2 Cards Unlike tapes which are cheap enough to archive permanently P2 cards are too expensive to store Therefore you will need to erase your P2 cards to make room for more recording Before you erase your cards you should archive their contents in case you need the footage later You can copy the CONTENTS folder of a P2 volume directly in the Finder or you can use the Archive to Folder command in the Browse area of the Import Panasonic P2 window To create a copy of the CONTENTS folder of a P2 volume using the Import Panasonic P2 window In the Browse area make sure the Hierarchical List View button is selected Select the P2 volume you want to copy Do one of the following e Control click the P2 volume then choose Archive to Folder from the shortcut menu e Choose Archive to Folder from the Action pop up menu in the upper right corner of the Browse area Enter a name
112. table below Original Destination Scale Aspect ratio clip size sequence size Motion tab Motion tab 720 x 480 960 x 7202 150 50 720 x 480 anamorphic3 960 x 7202 150 12 5 720 x 4801 1280 x 7204 150 12 5 720 x 480 anamorphic 1280 x 7204 177 18 52 720 x 4801 1280 x 10805 225 68 75 720 x 480 anamorphic3 1280 x 10805 225 26 56 960 x 7202 1280 x 10805 150 12 5 1280 x 7204 1280 x 10805 150 50 720 x 480 1440 x 10806 225 50 720 x 480 anamorphic 1440 x 10806 225 12 5 720 x 5767 1440 x 10806 1875 25 720 x 576 anamorphic 1440 x 10806 200 6 67 960 x 7202 1440 x 10806 150 0 1280 x 7204 1440 x 10806 150 33 33 720 x 4801 1920 x 10809 225 12 5 720 x 480 anamorphic3 1920 x 10809 266 67 18 52 720 x 5767 1920 x 10809 200 6 67 720 x 576 anamorphic8 1920 x 10809 266 67 42 22 960 x 7202 1920 x 10809 200 33 33 1280 x 7204 1920 x 10809 150 0 1Standard definition NTSC 2DVCPRO HD 720p 3Widescreen standard definition NTSC 4HDV and uncompressed 720p 5DVCPRO HD 1080i60 6 HDV 1080i60 50 and DVCPRO HD 1080i50 7Standard definition PAL 8 Widescreen standard definition PAL 9Uncompressed HD 1080i p Chapter 3 Combining Standard and High Definition Video Aas ae ae 480 anamorphic to 1080 w I l 480 anamorphic to 720 To clear the scale and aspect ratio settings of a clip in the Timeline 1 Open the standard definition sequence clip in the Viewer by double clicking
113. tage such as an interview in which a seated person moves very little throughout the shot Most of the person s body stays still so most of the visual information is stored in an I frame the subsequent P and B frames store only the changes from one frame to the next Because P and B frames depend on other frames to create a meaningful image your computer spends more processing power decoding HDV frames for display than it does when displaying intraframe only formats such as DV uncompressed video or the Apple Intermediate Codec Editing HDV Using Apple Intermediate Codec Instead of working with native MPEG 2 HDV video you can transcode your HDV video to the Apple Intermediate Codec during capture The Apple Intermediate Codec is a high quality video codec optimized for playback performance and quality Although the data rate of the Apple Intermediate Codec is three to four times higher than the data rate of the native MPEG 2 HDV the processing requirements to play back your video are less Unlike MPEG 2 HDV the Apple Intermediate Codec does not use temporal compression so every frame can be decoded and displayed immediately without first decoding other frames Working With HDV in Final Cut Pro If you ve previously worked with DV you ll find that the HDV workflow is similar There are two basic workflows for editing HDV footage in Final Cut Pro e Native MPEG 2 HDV editing If you use this method you capture edit and output your o
114. the destination size In Final Cut Pro you can downconvert by nesting and scaling your HD sequence to fit within an SD sequence For example if your output format is DV NTSC nest your DVCPRO HD sequence in a DV NTSC sequence When converting high definition footage to standard definition you should do the following Use the Export Using Compressor command Edit or nest high definition clips or sequences into a standard definition sequence with the appropriate settings and then export the sequence This option properly deinterlaces video before scaling and then reintroduces interlacing after scaling For example if you want to export a high definition sequence to DV NTSC settings create a sequence using the DV NTSC Easy Setup drag the original high definition sequence into the DV sequence and then export the DV sequence using the Export QuickTime Movie command Important Avoid converting high definition footage directly to standard definition media by using the Export Using QuickTime Conversion command directly with Browser clips in your project This approach may introduce interlacing artifacts when the video is scaled Letterboxing 16 9 Video in a 4 3 Frame To preserve the aspect ratio of widescreen movies on a 4 3 screen widescreen movies are scaled until the width fits within the 4 3 frame The remaining space at the top and bottom of the 4 3 frame is left empty and is usually left black Chapter 3 Combining Standard a
115. the encoding process and cancels the capture After the capture preview window closes the captured clip appears in your Logging Bin Chapter 1 Working With HDV 29 30 Capturing Footage With Scene Breaks When you capture HDV footage using the Apple Intermediate Codec Final Cut Pro detects any scene or timecode breaks on the tape introduced during shooting At each scene or timecode break a new clip is created during capture When capture is completed these clips appear in the Logging Bin and the corresponding media files are placed on your hard disk For example suppose you begin capturing a clip named Cafe Entrance When a scene or timecode break is detected Final Cut Pro stops writing the first media file and begins writing a new file named Cafe Entrance 1 Subsequent breaks create media files and clips named Cafe Entrance 2 Cafe Entrance 3 and so on Editing Video Using the Apple Intermediate Codec Editing HDV video in the Apple Intermediate Codec is the same as editing other formats in Final Cut Pro However you need to make sure your scratch disk supports the data rate of the Apple Intermediate Codec For more information about HDV data rates see HDV Format Specifications on page 33 Outputting HDV to Tape or Exporting to a QuickTime Movie After you finish editing you can output your movie to videotape using your camcorder or export your sequence to a QuickTime movie If you want to output your m
116. to copy the contents of a P2 card to a hard disk duplicate the contents without making any changes Don t copy only the CONTENTS folder copy the enclosing folder Using the Browse Area The Browse area allows you to view the contents of any mounted P2 volumes and select clips to be ingested in the Transfer Queue Valid P2 volumes appear automatically in the Browse area when you open the Import Panasonic P2 window Chapter 6 Working With Panasonic P2 Media Add Folder button Note The Import Panasonic P2 window shows all available mounted volumes and folders that were displayed last time the window was open Flat and Hierarchical Eject button Search field List View buttons Pe A D Action pop up menu Column headings Name Media Start Media Duration P2Card_KHM P2 card or mounted m 0 disk image 0035F3 Ey 01 03 32 40 00 00 02 52 003714 B 02 04 45 28 00 00 07 32 Media map indicator o 003959 Fy 02 00 54 52 00 00 05 08 shows how much media 0041VT Fez 01 12 18 36 00 00 03 18 has been ingested 00431W 01 07 15 40 00 00 03 44 x le 00462 fe 01 16 51 34 00 00 04 48 Double click a clip 4 property to modify it or T G Pacaran press Enter fo 0030KQ Spanned Ed 01 03 19 04 00 00 16 52 v 4p P2CardA 2 Folder with valid P2 structure O 0030KQ Spanned 01 03 19 04 00 00 16 52 G 8 8 O selected 3 vol 7 clip
117. to cut on any frame Outputting HDV to Tape or Exporting to a QuickTime Movie To prepare for output any effects in your HDV sequence need to be rendered and then the sequence must be conformed to create a proper MPEG 2 output stream These steps happen automatically when you begin a Print to Video operation Rendering and Conforming MPEG 2 Media for Output Before you can output or export your HDV sequence Final Cut Pro needs to process your media in two ways Render any applied transitions and effects as well as any leader and trailer elements included in the Print to Video dialog Conform 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 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 During a Print to Video operation Final Cut Pro renders and conforms video in a single pass storing properly conformed media within your sequence s render files As a result subsequent Print to Video operations don t need to conform the video unless you make changes to your sequence Note Leader and Trailer elements as well as gaps in your sequence are rendered and conf
118. ts the following HDV frame rates NTSC compatible frame rate 29 97 fps 1080i60 720p30 PAL compatible frame rate 25 fps 1080150 1080p25 720p25 Film compatible frame rate 23 976 fps 1080p24 720p24 Chapter 1 Working With HDV 33 34 Scanning Methods HDV can record either interlaced or progressive scan images 1080 lines Interlaced 1080i or progressive 1080p e 720 lines Progressive Color Recording Method HDV records a 4 2 0 component Y C C digital video signal Each sample pixel has a resolution of 8 bits Data Rate The following table lists the data rates for MPEG 2 HDV as well as HDV transcoded to the Apple Intermediate Codec DV data rates are included for comparison Format Native frame size Data rate DV NTSC 720 x 480 3 6 MB sec equivalent to 12 GB hr DV PAL 720 x 576 3 6 MB sec equivalent to 12 GB hr MPEG 2 HDV 720p30 1280 x 720 2 5 MB sec equivalent to 9 GB hr MPEG 2 HDV 1080i60 50 1440 x 1080 3 3 MB sec equivalent to 12 GB hr Apple Intermediate Codec 1280 x 720 7 MB sec HDV 720p30 equivalent to 25 GB hr Apple Intermediate Codec 1440 x 1080 12 MB sec HDV 1080i50 equivalent to 42 GB hr Apple Intermediate Codec 1440 x 1080 14 MB sec HDV 1080160 equivalent to 49 GB hr 1Data rates for the Apple Intermediate Codec are variable these figures are approximate and may vary according to the complexity of your footage Images with a lot of deta
119. u ingest your MXF based XDCAM HD footage to QuickTime media files on your scratch disk you can simply choose the XDCAM HD Easy Setup that corresponds to your footage and edit as you would with any other native format in Final Cut Pro However the18 Mbps VBR LP format is treated as though it were the 35 Mbps VBR HQ format during rendering and exporting so you cannot export back to the18 Mbps VBR LP format Instead Final Cut Pro renders and exports LP 18 Mbps VBR XDCAM HD footage using the 35 Mbps HQ codec Note LP 18 Mbps VBR XDCAM HD footage is ingested at a data rate of 18 Mbps so it still requires less disk space during ingest than the 35 Mbps format Exporting Sequences to XDCAM HD Media If you want to export a finished sequence or clip from Final Cut Pro back to an MXF file containing XDCAM HD footage you need to use the Final Cut Pro XDCAM Export plug in included with the Sony XDCAM Transfer PDZK P1 software For more information see Installing Sony XDCAM Software on page 109 Working With a Sony Video Disk Unit Final Cut Pro allows you to import video and audio recorded on a Sony Video Disk Unit VDU and then edit the resulting media files just as you would edit media files in any other format About Sony Video Disk Units The Sony DSR DU1 Video Disk Unit is an attachable FireWire disk recorder that uses a 40 GB hard disk drive as its recording media The drive connects to professional quality DVCAM camcorder
120. y at 8 bit color depth and HD SDI transfers each color sample as a10 bit value Data Rate The data rate of DVCPRO HD is fixed at 100 Mbps or 12 5 MB sec which is double the DVCPRO 50 data rate and four times the rate of DVCPRO The table below compares the captured data rates for DVCPRO HD formats The actual disk space used during capture will vary slightly depending on the number of audio channels captured Format Megabits per second Megabytes per second 1080i60 720p60 100 Mbps 11 75 MB sec 720p30 50 Mbps 6 25 MB sec 720p24 40 Mbps 5 MB sec 1 1This data rate assumes duplicate frames are removed during capture Because DVCPRO HD is compressed an internal 7200 rpm parallel or serial ATA drive is sufficient for capturing DVCPRO HD footage FireWire drives are often sufficient as well Video Compression DVCPRO HD uses a variation of the DV and DVCPRO 50 codecs The compression ratio is around 6 7 1 Audio The DVCPRO HD format supports up to eight audio tracks though not all devices can access every track The sampling rate is 48 kHz using 16 bits per sample Timecode On tape or P2 card 1080i60 1080p30 and 720p DVCPRO HD use 30 fps timecode 1080150 DVCPRO HD footage uses 25 fps timecode When recording 720p DVCPRO HD each timecode number is used twice with an asterisk used to distinguish frame 1 and frame 2 of each timecode pair This maintains backward compatibility with SMPTE 30 fps timecode When 720p f
121. zontal or vertical resize bar to make the area disappear or reappear if it is already hidden Note If you drag resize bars near the edge of the window one or more areas may be hidden but the resize bars always remain visible Chapter 6 Working With Panasonic P2 Media Example Panasonic P2 Workflow Although it is possible to copy P2 clips in the MXF format directly from a P2 volume to your scratch disk you cannot edit MXF based media in Final Cut Pro When you transfer P2 clips using the Import Panasonic P2 window Final Cut Pro automatically extracts P2 media from MXF container files and losslessly transfers that media into QuickTime media files on your scratch disk You can then edit the QuickTime media files as you would any other media The process of ingesting P2 footage is similar to using the Log and Capture window although it is much faster because P2 cards are a tapeless nonlinear storage format Here is an example workflow to get you started with the Import Panasonic P2 window Step 1 Record footage Step 2 Choose a scratch disk and logging bin Step 3 Mount P2 volumes in the Import Panasonic P2 window Step 4 Select clips in the Browse area Step 5 View cips in the Preview area Step 6 Add logging information in the Logging area Step 7 Add clips to the Transfer Queue to ingest media Step 8 Output to tape or P2 cards Here are the detailed steps describing the Panasonic P2 workflow above Record footage on P2 cards

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