Résumé du contenu de la page N° 1
Final Cut Pro 6
Working with High Definition
and Broadcast Formats
Résumé du contenu de la page N° 2
K Apple Inc. Apple, the Apple logo, DVD Studio Pro, Final Cut, Copyright © 2008 Apple Inc. All rights reserved. Final Cut Pro, Final Cut Studio, FireWire, iDVD, iTunes, Mac, MacBook, Mac OS, PowerBook, and QuickTime are Your rights to the software are governed by the trademarks of Apple Inc., registered in the U.S. and accompanying software license agreement. The owner other countries. or authorized user of a valid copy of Final Cut Studio software may reproduce this publication for t
Résumé du contenu de la page N° 3
1 Contents Preface 7 About High Definition and Broadcast Formats 7 Overview of High Definition Video Formats 9 About the Apple ProRes 422 Codec 10 About the Apple Intermediate Codec Chapter 1 11 Working with HDV 11 About HDV 12 HDV Formats Supported by Final Cut Pro 13 About MPEG Compression 15 Working with HDV in Final Cut Pro 15 Native HDV Editing Workflow 16 Steps for Native HDV Editing 17 Connecting an HDV Device to Your Computer
Résumé du contenu de la page N° 4
43 DVCPRO HD Frame Rates 46 Working with DVCPRO HD in Final Cut Pro 46 Connecting a DVCPRO HD Device to Your Computer 47 Choosing a DVCPRO HD Easy Setup 47 Logging and Capturing Your DVCPRO HD Footage 49 Editing DVCPRO HD Footage 50 Outputting Your DVCPRO HD Sequence 51 Using the DVCPRO HD Frame Rate Converter 51 Choosing an Intended Playback Rate 52 How DVCPRO HD Variable Frame Rate Recording Works 54 About the DVC
Résumé du contenu de la page N° 5
83 Transport Controls in the Preview Area 83 Restrictions During Preview 84 Using the Logging Area 84 Using Autofill Cache Logging Information 85 Incrementing Logging Fields 85 Setting Audio and Video Clip Import Settings 86 Using the Transfer Queue 86 Adding Clips to the Transfer Queue for Ingest 87 Organizing Clips in the Transfer Queue 87 Pausing and Stopping Ingest 87 Filenaming and Clip Naming During Ingest 88 Re
Résumé du contenu de la page N° 6
Chapter 7 115 Working with AVC-Intra 115 About AVC-Intra 115 AVC-Intra Formats Supported by Final Cut Pro 116 Working with AVC-Intra in Final Cut Pro 116 Restrictions When Working with AVC-Intra 116 Restrictions During Preview 116 Choosing an AVC-Intra Destination Codec 117 AVC-Intra Format Specifications Chapter 8 119 Working with Sony XDCAM Formats 119 About XDCAM, XDCAM HD, and XDCAM EX 120 XDCAM Formats Supported in Final Cut Pro 120 XDCAM HD Formats Supported in Final Cut Pro 1
Résumé du contenu de la page N° 7
About High Definition and Broadcast Formats More and more video formats are introduced every year. 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 chapter covers the following: Â Overview of High Definition Video Formats (p. 7) Â About the Apple ProRes 422 Codec (p. 9) Â About the Apple Intermediate Codec (p. 10) Overview of High Definition Video Formats Digital high definition
Résumé du contenu de la page N° 8
The following table shows the HD formats in common use today. NTSC-Compatible HD Formats Format Description 1080i60 Has high-resolution frames, is able to capture fast movement, and has reduced vertical resolution due to interlacing. Easily downconverts to NTSC. 1080p30 Has high-resolution frames. Movement is less smooth but resolution is higher than interlaced formats in areas of movement. 720p60 Captures fast-action movement with clarity. However, still frames have lower resolution than
Résumé du contenu de la page N° 9
About the Apple ProRes 422 Codec The Apple ProRes 422 codec is a high-quality 10-bit 4:2:2 video codec designed for demanding post-production workflows. Both SD and HD resolutions are supported at two quality levels—standard and high. All standard frame rates are available: 23.98, 25, 29.97, 50, and 59.94 fps. The standard-quality format is called Apple ProRes 422 and the high-quality format is called Apple ProRes 422 (HQ). The following Apple ProRes 422 codec formats are available in both
Résumé du contenu de la page N° 10
Here are some advantages of using the Apple ProRes 422 codec: Â Provides lower storage costs compared to the Uncompressed 8-bit and 10-bit codecs. Â Can be used to capture using a third-party video interface with SDI or HD-SDI inputs. Â Can be used to transcode formats that Final Cut Pro does not support natively. Â Can be used to render long-GOP MPEG-2 formats (such as HDV and XDCAM HD) to avoid MPEG-2 reencoding artifacts before output. Â The Apple ProRes 422 codec used with video processin
Résumé du contenu de la page N° 11
1 Working with HDV 1 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: Â About HDV (p. 11) Â Native HDV Editing Workflow (p. 15) Â Transcoded HDV Editing Workflow (p. 30) Â Using the Canon XL H1 HDV Camcorder (p. 35) Â Using the Sony HVR-V1 HDV Camcorder (p. 36) Â HDV Format Specifications (p. 37) About HDV HDV is an HD format created by a consortiu
Résumé du contenu de la page N° 12
HDV Formats Supported by Final Cut Pro Within the HDV specification, 1080-line and 720-line formats using several frame rates are defined. Final Cut Pro supports the following HDV formats. 59.94 fps Formats Final Cut Pro Format Easy Setup Frame dimensions Video data rate 1080i60 HDV - 1080i60 1440 x 1080 25 Mbps 1080i60 (Canon) HDV - 1080i60 1440 x 1080 25 Mbps FireWire Basic 1080F30 (Canon) HDV - 1080p30 1440 x 1080 25 Mbps FireWire Basic 1080F24 (Canon) HDV - 1080p24 1440 x 1080 25 Mbps Fir
Résumé du contenu de la page N° 13
Standard Definition Recording with an HDV Camcorder In addition to recording HD 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. (You should also avoid recording HDV footage using different frame sizes and frame rates on the same tape.) This can cause problems during capture and playback. An additional format
Résumé du contenu de la page N° 14
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 is I-frame-only MPEG, in which only I-frames are used. Formats such as IMX use I-frame-only MPEG, 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. Ther
Résumé du contenu de la page N° 15
Working with HDV in Final Cut Pro If you’ve previously worked with DV, you’ll find that the HDV workflow is similar. However, the nature of MPEG-2 long-GOP editing can add significant rendering time when editing native HDV. To avoid this, you may want to choose one of the other HDV editing workflows. There are three workflows for working with HDV footage in Final Cut Pro: Â Native MPEG-2 HDV capturing, editing, and rendering: For more information, see “Native HDV Editing Workflow” on page
Résumé du contenu de la page N° 16
Steps for Native HDV Editing 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 f
Résumé du contenu de la page N° 17
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 connector on one end of your FireWire cable to the FireWire port on your camcorder. 3 Connect the connector on the other end of your FireWire cable to a Fi
Résumé du contenu de la page N° 18
5 Choose an Easy Setup from the Use pop-up menu. Important: Make sure to choose an Easy Setup that matches the format of your HDV source tapes. 6 Click Setup. The corresponding capture, sequence, and device control presets are loaded, as well as A/V device settings. 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 app
Résumé du contenu de la page N° 19
There are several areas in the Log and Capture window: Â 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. Â Tabs: On the right are the Logging, Clip Settings, and Capture Settings tabs. Â Log and capture buttons: You click one of these buttons when you are ready to log a clip or capture media. The resize cont
Résumé du contenu de la page N° 20
Video Preview Area  Available space and time: Final Cut Pro displays the amount of available space on all currently assigned scratch disks.  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 Ou
