6
Table Of Contents
- Final Cut Pro Working with High Definition and Broadcast Formats
- Contents
- About High Definition andBroadcast Formats
- Working with HDV
- About HDV
- Native HDV Editing Workflow
- Transcoded HDV Editing Workflow
- Using the Canon XL H1 HDV Camcorder
- Using the Sony HVR-V1 HDV Camcorder
- HDV Format Specifications
- Working with DVCPROHD
- About DVCPROHD
- Working with DVCPROHD in FinalCutPro
- Using the DVCPRO HD FrameRateConverter
- Working with 24p DVCPROHD
- DVCPROHD Format Specifications
- Working with IMX
- Using the Log and Transfer Window
- About File-Based Media
- About the Log and Transfer Window
- File-Based Media Terminology
- Sample File-Based Media Workflow
- Mounting Media Devices
- Using the Browse Area
- Using the Preview Area
- Using the Logging Area
- Using the Transfer Queue
- Reingesting Clip Media
- Working with Spanned Clips
- Archiving File-Based Media from Cards
- Setting Log and Transfer Import Preferences
- Working with Panasonic P2 Cards
- About Panasonic P2 Cards and Media Files
- Working with Panasonic P2 Cards and FinalCutPro
- Using Print to Video to Output to P2 Cards intheAGHVX200 Camcorder
- Capturing over FireWire as if a P2 Card Were a Tape in a VTR
- Panasonic AG-HVX200 Camcorder Compatibility
- Panasonic P2 Card Format Specifications
- Working with AVCHD
- Working with AVC-Intra
- Working with Sony XDCAM Formats
- About XDCAM, XDCAMHD, and XDCAMEX
- Working with XDCAM, XDCAMHD, and XDCAMEX inFinalCutPro
- Installing Sony XDCAM Software
- Connecting an XDCAM, XDCAMHD, or XDCAM EXDevice toYour Computer
- Ingesting XDCAM, XDCAM HD, or XDCAMEX Media
- Choosing an Easy Setup and Editing XDCAMMedia inFinalCutPro
- Choosing an Easy Setup and Editing XDCAM HD orXDCAMEX Media inFinalCutPro
- Rendering and Conforming XDCAMHD or XDCAMEX Media
- Exporting Sequences to XDCAM, XDCAMHD, orXDCAMEXMedia
- XDCAM, XDCAMHD, and XDCAMEX Format Specifications
- Working with REDCODE RAW
- Working with Sony Video Disk Units
Chapter 1 Working with HDV 29
Rendering and Conforming Long-GOP MPEG-2 Media
Before you can output or export a native 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
I-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.
Note: Because HDV, XDCAM HD, and XDCAM EX constant bit rate (CBR) footage use an
identical format, the information in this section also applies when rendering XDCAM HD
and XDCAM EX footage.
Rendering HDV
When you render segments of an HDV sequence, you can choose to create render files
using either:
 Native MPEG-2 HDV
 The Apple ProRes 422 codec
To choose the render file format in an HDV sequence:
1 Select your sequence in the Browser or Timeline.
2 Choose Sequence > Settings, then click the Render Control tab.
3 From the Codec pop-up menu, choose one of the following options:
 Same as Sequence Codec: This option enables rendering with the native HDV codec
of your sequence.
 Apple ProRes 422 Codec: This option enables rendering with the Apple ProRes 422 codec.
Creating Render Files Using Native MPEG-2 HDV
Rendering native MPEG-2 HDV takes longer than rendering other formats because of
the interframe compression this format uses. The advantages to rendering natively are:
 Conforming and rendering for export or output to HDV tape happens faster because
the render files are already in the necessary format. If you aren’t outputting to an
HDV format, this may not be an advantage.
 Native HDV render files are smaller than those generated by other HD I-frame-only codecs.
However, if native rendering is slowing down the pace of your editing, you can choose
to render using the Apple ProRes 422 codec.