Instruction manual

18
Uncompressed
10-bit
Data rate: 28 MB/second (see later “Storage Capacity” chart in Chapter 1 for
transfer rates)—requires SCSI, Fibre Channel or ATA drive array
Quality: Excellent, very high quality
Offering all the benefits noted previously for 8-bit uncompressed, 10-bit
additionally offers the very highest quality available. With 10-bit media and Final
Cut Pro’s 32 bit Floating Point YUV effects rendering, video quality is second to
none—at any price. For more information on this subject, please see the topic at
the end of Chapter 4: Installation and Configuration, titled “Using 8-bit Versus 10-
bit Video.”
Mixing and Matching Formats in Final Cut
In Final Cut Pro, it works best to use one format consistently. For example, if you
capture DV 50 files and then capture 8-bit uncompressed files, you’ll have to
convert one or the other when using the two types on the same Final Cut sequence
(the timeline where media is edited into a project). You could even capture 8-bit
uncompressed and DV, and then place them both on a PhotoJPEG timeline and
end up having to render them both. You can capture directly, in real time to any
supported format, even if it doesn’t match the source formats at all (for example,
DV and DV50 to 8 bit uncompressed).
Therefore, it makes sense to capture media into your system at the highest quality
you’ll expect to use to eliminate rerendering and ensure best results. KONA LS is
ideal for this since it has the connections necessary to bring in a variety of sources
and formats for capturing into Final Cut.