Final Cut Pro 5 Working With High Definition and Broadcast Formats
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1 Preface 7 8 Contents About High Definition and Broadcast Formats Overview of High Definition Video Formats Chapter 1 11 11 12 13 14 15 16 17 17 25 26 28 28 29 29 30 30 32 33 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
46 48 Working With Variable Frame Rate DVCPRO HD Footage DVCPRO HD Format Specifications Chapter 3 51 51 52 52 53 56 60 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 Chapter 4 61 61 62 63 64 65 66 Wor
Chapter 7 98 100 100 101 103 104 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 VTR Panasonic AG-HVX200 Camcorder Compatibility Panasonic P2 Card Format Specifications 107 107 107 109 109 109 110 110 110 110 110 111 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
Preface About High Definition and Broadcast Formats 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.
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. 1080i60 This is a common broadcast format that is compatible with standard definition NTSC video.
1080p24 1080p24 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—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.
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  720p is compatible with both standard definition NTSC video (29.97 fps) and computer graphics because it is progressively scanned.
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 Working With HDV in Final Cut Pro (p. 14) Â Native HDV Editing Workflow (p. 15) Â HDV Apple Intermediate Codec Editing Workflow (p. 28) Â Using the Canon XL H1 HDV Camcorder (p. 32) Â HDV Format Specifications (p.
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.
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.
For example, suppose you record some typical “talking head” footage, 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.
 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 first re-encoding your entire sequence back to native HDV.
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.
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: 1 Choose Final Cut Pro > Easy Setup. 2 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.
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 Preview area Log and capture buttons 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.
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.
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. Rewind Fast Forward Play Around Current Frame Play In to Out Stop Play Shuttle Control A shuttle control similar to the one in the Viewer and Canvas is also available for navigating through the tape.
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 Out Point Go to In Point Mark In       Mark Out Mark In (I): 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. Mark Out (O): Click this to set the Out point for a clip on tape.
 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 specify which audio channels you capture. Select this option to enable video capture. Select this option to enable audio capture. Individual audio channel meters Stereo/Mono control Capture Audio Channel control When an HDV Easy Setup is chosen, only two audio channels are available for capture.
Log and Capture Buttons As you log and capture, use the following log and capture buttons. Â Log Clip: Logs a single clip with the current logging information and clip settings. Â Capture Clip: Logs and captures a single clip with the current logging information, clip settings, and capture settings. Â 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.
To choose how Final Cut Pro handles start/stop detection when capturing HDV footage: 1 If you have not already done so, choose Final Cut Pro > Easy Setup, then select an HDV Easy Setup from the “Setup for” pop-up menu. 2 Choose File > Log and Capture (or press Command-8), then click Clip Settings.
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.
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 I-frame–only editing (such as DV editing).
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 > Render Selection, the render files created for selected video items in the Timeline are conformed with proper GOP structures.
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.
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: 1 Choose Final Cut Pro > Easy Setup. 2 Choose the appropriate HDV Apple Intermediate Codec Easy Setup from the Setup For pop-up menu. 3 Click OK. Capturing HDV Video to the Apple Intermediate Codec Capturing HDV video is very similar to capturing DV video using the Capture Now feature.
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.
6 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. 7 Press the record button on your camcorder, then click OK.
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: 1 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. 2 Choose Final Cut Pro > Easy Setup. 3 Select the Show All checkbox in the Easy Setup dialog.
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.
Scanning Methods HDV can record either interlaced or progressive scan images: Â 1080 lines: Interlaced (1080i) or progressive (1080p) Â 720 lines: Progressive Color Recording Method HDV records a 4:2:0 component (Y´CBCR) 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.
Video Compression HDV uses MPEG-2 compression with a constant bit rate (CBR). I-, 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: Â Elementary stream: This can be a video, audio, subtitle, or other basic media stream. Formats like HDV contain both video and audio elementary streams.
2 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: Â About DVCPRO HD (p. 37) Â Working With DVCPRO HD in Final Cut Pro (p. 40) Â Working With Variable Frame Rate DVCPRO HD Footage (p. 46) Â DVCPRO HD Format Specifications (p.
DVCPRO HD Formats Supported by Final Cut Pro Final Cut Pro natively supports the following DVCPRO HD formats. Format Final Cut Pro Easy Setup Sequence dimensions and frame rate 1080i60 DVCPRO HD - 1080i60 1280 x 1080 29.97 fps Interlaced 1080i50 DVCPRO HD - 1080i50 1440 x 1080 25 fps Interlaced 1080p30 DVCPRO HD - 1080p30 1280 x 1080 29.97 fps Progressive 1080pA24 DVCPRO HD - 1080pA24 1280 x 1080 23.98 fps Progressive 720p60 DVCPRO HD - 720p60 960 x 720 59.
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.
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.
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 includes 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.
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.
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. Â When editing 720p60 video, you can choose from two time display options.
To set the timecode display for 720p60 video: 1 Open a 720p60 clip or sequence in the Viewer or Canvas. 2 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: 1 Open a 720p30 or 720p24 clip in the Viewer.
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.
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 constant rate of 60 or 59.94 fps (for NTSC compatibility). Any redundant frames in the 60 or 59.
Recording Variable Frame Rates With DVCPRO HD 720p Used frames Duplicate frames 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 DVCPRO HD tape (60 fps) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 After duplicate frame removal (60 fps) 1 2 3 4 5 6 7 8 9 10 1
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.
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).
Color Recording Method DVCPRO HD records a 4:2:2 component (Y´CBCR) digital video signal. Each sample (pixel) has a native resolution of 8 bits. FireWire transfers color natively 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.
3 Combining Standard and High Definition Video 3 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: Â About Standard Definition and High Definition Video (p. 51) Â Mixing High Definition and Standard Definition Video in the Same Sequence (p. 52) Â Choosing High-Quality Scaling Options (p. 52) Â Downconverting High Definition Video (p.
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).
Downconverting High Definition Video There are several methods for downconverting HD video to SD video:  Letterbox  Crop  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 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.
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. 1080 to 480 720 to 480 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.
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 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.
In Final Cut Pro, you can crop and even perform simple 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 III, 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.
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. 480 to 1080 Side panels 480 to 720 To scale and pillarbox a 720 x 480 SD clip into a 960 x 720 HD sequence: 1 Edit one or more 720 x 480 clips into a 960 x 720 sequence. 2 Open the SD sequence clip in the Viewer by double-clicking it in the Timeline. 3 In the Viewer, click the Motion tab. 4 Reveal the Basic Motion parameters by clicking the disclosure triangle.
Similar upconversion can be done by following the steps above and replacing the appropriate numbers with the numbers shown in the table below. Original clip size 720 x 4801 720 x 480 720 x anamorphic3 4801 Destination sequence size Scale (Motion tab) Aspect ratio (Motion tab) 960 x 7202 150 50 7202 150 12.5 960 x 7204 150 12.5 720 x 480 anamorphic3 1280 x 7204 177 –18.52 720 x 4801 1280 x 10805 225 68.75 1280 x 10805 225 26.56 1280 x 10805 150 12.
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 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.
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: Â Use the Export Using Compressor command. Â 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.
4 Working With 24p and Variable Frame Rate Video 4 Many new video formats support 24 fps video for film compatibility and variable frame rate recording for special effects. This chapter covers the following: Â What Is 24p Video? (p. 61) Â Film, 24p Video, and Cinema Tools (p. 62) Â Working With 24p NTSC Video (p. 63) Â Working With 720p24 DVCPRO HD Video (p. 65) Â Working With 1080pA24 DVCPRO HD Video (p. 66) What Is 24p Video? The term 24p refers to 24 fps, progressive scan video.
Currently, there are several techniques for recording 24p video on another format: Â 24p recorded at 29.97 fps (NTSC-compatible—in this case, the actual frame rate is 23.98 fps) Â 24p recorded at 25 fps (PAL-compatible) Â 24p recorded at 60 or 59.94 fps (720p or 1080p DVCPRO HD; ProHD) Â 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.
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).
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.
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 easy removal. Final Cut Pro can remove the redundant frames during or after capture.
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.
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 III, Chapter 23, “Using RT Extreme.
5 Working With IMX 5 Native IMX editing support makes Final Cut Pro a powerful addition to any broadcast post-production environment. This chapter covers the following: Â About IMX (p. 69) Â Working With IMX in Final Cut Pro (p. 70) Â 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 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.
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.
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.
Color Recording Method IMX records a 4:2:2 component (Y´CBCR) 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:  30 Mbps: 6:1 compression  40 Mbps: 4:1 compression  50 Mbps: 3.
6 Working With Panasonic P2 Media 6 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: Â About Panasonic P2 Cards and Media Files (p. 75) Â Working With Panasonic P2 Cards and Final Cut Pro (p. 77) Â Panasonic AG-HVX200 Camcorder Compatibility (p. 103) Â Panasonic P2 Card Format Specifications (p.
The following definitions provide some shorthand for discussing the Import Panasonic P2 window: Â P2 card: A solid-state memory card for recording DV, DVCPRO, DVCPRO 50, and DVCPRO HD media within MXF container files. Â 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.
 Spanned clip: A single P2 clip that consists of two or more media files. Spanned clips are created whenever you record a single shot that exceeds the capacity of a P2 card or exceeds 4 GB. 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.
About the Import Panasonic P2 Window The Import Panasonic P2 window is organized into four areas: Â Browse: Provides an overview of all mounted P2 volumes and the clips contained within them. Â Preview: Allows you to view P2 footage, set In and Out points, and add clips to the Transfer Queue. Â 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.
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.
7 If necessary, add additional P2 folders from the Finder by doing one of the following: Â Click the Add Folder button in the upper-left corner of the Browse area, choose a P2 folder, then click OK. Â Drag a P2 folder from the Finder to the Browse area, then release the mouse button. Â 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.
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 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: 1 Connect the P2 memory card device to your computer. 2 Insert a P2 memory card into one of the slots in the P2 memory card device.
To mount a P2 card inserted in the PC Card slot of a PowerBook: 1 Make sure the P2 Driver Software from the Panasonic website is installed on the PowerBook. 2 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. 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).
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: m In the Import Panasonic P2 window, select the P2 card, then click the Eject button. m In the Finder, select the mounted P2 card, then choose File > Eject (or press Command-E). After unmounting the volume, you can remove the card from the P2 device or PowerBook PC Card slot.
Note: The Import Panasonic P2 window shows all available mounted volumes and folders that were displayed last time the window was open. Eject button Search field Flat and Hierarchical List View buttons Add Folder button Action pop-up menu Column headings P2 card or mounted disk image Media map indicator shows how much media has been ingested. Double-click a clip property to modify it, or press Enter.
 List view buttons: There are two ways to view the list of clips on mounted P2 volumes:  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. You 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.
 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.
Deleting P2 Clips If a P2 volume has read-and-write access (as opposed to read-only access), you can delete clips and their associated media by:  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.
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, including the J, K, and L keys for playback, also work. Looped playback can be turned on or off by choosing View > Loop Playback (or by pressing Control-L). You can press the Tab key to move through the fields in the Preview and Logging areas.
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 Logging fields 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.
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: Â Any numbers at the end of a field are incremented by one. Â Any single letters at the end of a field are incremented alphabetically by one from A to Z. Â Any single letters preceded by numbers are incremented alphabetically from A to Z.
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 bin in the Browser.
Organizing Clips in the Transfer Queue The Status column displays the ingest status of each clip in the Transfer Queue: Â Ingesting: A spinning disc indicates media is being transferred to your scratch disk. Â Paused: A still disc indicates the current P2 clip is partially transferred. Â 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.
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.
To reingest media for P2 clips: 1 In the Browser, select the clips whose media you want to reingest. 2 Do one of the following: Â Choose File > Batch Capture (or press Control-C). Â Make sure the Import Panasonic P2 window is open, then drag selected clips from the Browser to the Transfer Queue area. 3 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.
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.
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 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.
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.
To set up Final Cut Pro and an AG-HVX200 camcorder for output to P2 cards: 1 Connect the camcorder and computer using a 4-pin-to-6-pin FireWire cable. 2 On the camcorder, do the following: a b c d Choose Camera mode. Press the Menu button. Choose the Recording Setup menu and then select REC FORMAT. 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.
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.
Capturing Over FireWire as if the P2 Card Were a Tape in a 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 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.
7 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.” 8 In Final Cut Pro, choose File > Log and Capture (or press Command-8). 9 Do one of the following: Â Click the Play button. Â Press the Space bar. 10 When you’re ready to begin capturing, click the Capture Now button.
Panasonic AG-HVX200 Camcorder Compatibility 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. The following table shows which formats are compatible with recent versions of Final Cut Pro. AG-HVX200 (NTSC) Format Pulldown/ duplicate Recorded frame v5.0.4 v5.1 v5.1.1 v5.1.
AG-HVX200P (PAL) Format Pulldown/ duplicate Recorded frame v5.0.4 v5.1 v5.1.1 v5.1.
The Panasonic file system organizes clips, media, and metadata into the following file hierarchy: Â CONTENTS: This is the root folder of a P2 card, containing folders of all recorded media and metadata. Â AUDIO: Contains audio media of each clip, wrapped within MXF container files. Â 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.
7 Working With Sony XDCAM HD and Video Disk Units 7 Final Cut Pro includes support for XDCAM HD formats and Sony Video Disk Units. This chapter covers the following: Â Working With Sony XDCAM HD (p. 107) Â 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.
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 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: Â XDCAM HD - 1080p24 (35 Mb/s VBR) Â XDCAM HD - 1080p25 (35 Mb/s VBR) Â XDCAM HD - 1080p30 (35 Mb/s VBR) Â XDCAM HD - 1080i60 (35 Mb/s VBR) Â XDCAM HD - 1080i50 (35 Mb/s VBR) Note: LP (18 Mbps VBR) XDCAM HD footage is edited, rendered, and exported using the 35 Mbps (HQ) codec.
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.
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.
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. 6 Do one of the following: Â Click in the Transfer column next to each media file you want to import. Â Click in the Transfer column next to the “Untitled” bin to import all of the media files. 7 Click OK. Final Cut Pro transfers the media files to your scratch disk as QuickTime media files and displays corresponding clips in the Browser.
