Final Cut Pro 7 Professional Formats and Workflows
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Contents Preface 7 7 7 8 Welcome to Final Cut Pro About Final Cut Pro About the Final Cut Pro Documentation Additional Resources Chapter 1 9 10 10 11 An Overview of Professional Formats and Workflows About Standard Definition Formats About High Definition Video Formats About Digital Cinema Formats Chapter 2 13 13 17 24 33 37 37 Working with HDV About HDV About the Log and Capture Window Native HDV Editing Workflow Transcoded HDV Editing Workflow Using the Sony HVR-V1 HDV Camcorder HDV Format Specif
66 69 70 70 71 71 73 74 76 Mounting P2 Cards, Disk Images, and Folders Deleting P2 Clips Directly in the Log and Transfer Window P2 Card Restrictions During Preview Removing Advanced Pull-Down and Duplicate Frames During Transfer Working with Spanned Clips Using Print to Video to Output to P2 Cards in P2 Camcorders Capturing over FireWire as If a P2 Card Were a Tape in a VTR Panasonic P2 Camcorder Compatibility Panasonic P2 Card Format Specifications Chapter 6 79 79 79 82 Working with AVCHD About AVC
126 Transcoded REDCODE Editing Workflow 129 Finishing and Outputting REDCODE Projects 130 REDCODE Format Specifications Contents 5
Preface Welcome to Final Cut Pro This preface covers the following: • About Final Cut Pro (p. 7) • About the Final Cut Pro Documentation (p. 7) • Additional Resources (p. 8) The first choice of professional editors worldwide, Final Cut Pro delivers high-performance digital nonlinear editing, native support for virtually any video format, and professional-level extensibility and interoperability. Its workflow extends through the other Final Cut Studio applications and Final Cut Server for even more power.
• Final Cut Pro 7 User Manual: The onscreen user manual is a comprehensive document that describes the Final Cut Pro interface, commands, and menus and gives step-by-step instructions for creating Final Cut Pro projects and for accomplishing specific tasks. It is written for users of all levels of experience. The user manual is available in Final Cut Pro Help.
An Overview of Professional Formats and Workflows 1 This chapter covers the following: • About Standard Definition Formats (p. 10) • About High Definition Video Formats (p. 10) • About Digital Cinema Formats (p. 11) 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 digital cinema, high definition, and broadcast formats.
About Standard Definition Formats During most of the decades of color television broadcasting and video technology, the video medium was defined as 525 or 625 interlaced lines per frame at either 29.97 or 25 frames per second (fps). With the emergence of new high definition (HD) video formats, video signals meeting these older broadcast standards are now referred to as standard definition (SD) video formats.
Format Description 1080i50 • Has high-resolution frames, is able to capture fast movement, and has reduced vertical resolution due to interlacing. • Easily downconverts to PAL. 1080p25 • Has high-resolution frames. • Movement is less smooth but resolution is higher than interlaced formats in areas of movement. 720p50 • Captures fast-action movement with clarity. However, still frames have lower resolution than 1080-line still frames. • Is ideal for sports videography and commercial television.
Final Cut Pro workflows for digital cinema formats include ingesting native RAW camera media as QuickTime files, ingesting from Sony HDCAM SR video decks, and ingesting DPX image sequences. (See the Color User Manual for more information about DPX image sequence workflows.) 12 Recording format Description Example cameras RAW camera formats RAW image files contain uninterpreted, bit-for-bit digital data from the camera’s image sensor when the images are captured.
Working with HDV 2 This chapter covers the following: • About HDV (p. 13) • About the Log and Capture Window (p. 17) • Native HDV Editing Workflow (p. 24) • Transcoded HDV Editing Workflow (p. 33) • Using the Sony HVR-V1 HDV Camcorder (p. 37) • HDV Format Specifications (p. 37) 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.
Format Final Cut Pro Easy Setup Frame dimensions Video data rate 1080i60 HDV - 1080i60 1440 x 1080 25 Mbps 1080i60 (Canon) HDV - 1080i60 FireWire Basic 1440 x 1080 25 Mbps 1080F30 (Canon) HDV - 1080p30 FireWire Basic 1440 x 1080 25 Mbps 1080F24 (Canon) HDV - 1080p24 FireWire Basic 1440 x 1080 25 Mbps 720p60 HDV - 720p60 1280 x 720 18.3 Mbps 720p30 HDV - 720p30 1280 x 720 18.3 Mbps 720p24 HDV - 720p24 1280 x 720 18.
About MPEG Compression HD video requires significantly more data than SD 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 long-GOP MPEG compression. MPEG compression reduces the data rate by removing redundant visual information, both on a per-frame basis and also across multiple frames.
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.
A slight variation of this native workflow involves rendering using an Apple ProRes codec. For more information, see “Stage 4: Choosing a Render File Format for HDV Sequences” in “Native HDV Editing Workflow.” Native format Shoot Ingest Edit HD SD Finish 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. For more information, see “Stage 7: Using the Print to Video Command to Output HDV” in “Native HDV Editing Workflow.
The Log and Capture window appears. Logging, Clip Settings, and Capture Settings tabs Resize control Preview area Log and capture buttons The Log and Capture window contains several general areas: • 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 available, the transport controls do not appear.
Preview Area This section of the Log and Capture window lets you view video from tape while you log and capture it. If your camcorder or deck is not on or there is no tape inserted, you’ll see color bars or black. The following controls appear if your camcorder or deck is on and properly connected, and device control is available.
• 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. • Shuttle control: A shuttle control similar to the one in the Viewer and Canvas is available for navigating through the tape. Shuttle control 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.
• 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 Play In to Out Fast-Forward Play Around Current Frame Stop Play Tabs in the Log and Capture Window The Log and Capture window has several tabs you can use for logging and capturing your HDV footage.
Clip Settings Tab 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 Capture Audio Channel control Stereo/Mono control When an HDV Easy Setup is chosen, only two audio channels are available for capture.
Capture Settings Tab Use this tab to specify scratch disks for capture. You can also specify scratch disk settings by choosing Final Cut Pro > System Settings and then clicking the Scratch Disks tab. Click here to open the Scratch Disks tab. Current scratch disk capacity and Capture Now settings are shown here. Log and Capture Buttons As you log and capture, use the following log and capture buttons. • Log Clip: Logs a single clip with the current logging information and clip settings.
Native HDV Editing Workflow If you use this method, you capture, edit, and output your original 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.
Stage 1: Connecting an HDV Camcorder to Your Computer via FireWire This stage is similar to connecting a DV device via FireWire. Once you have HDV footage on tape, you can connect your camcorder or VTR to your computer to capture. 6-pin connector to computer HDV camcorder in VTR mode FireWire Computer 4-pin connector to camcorder 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.
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. Stage 3: Logging and Capturing Native HDV Footage This stage is much like logging and capturing DV and other video formats. The differences are: • 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.
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, choose HDV from the Format pop-up menu, and then choose an Easy Setup from the Use pop-up menu. 2 Choose File > Log and Capture (or press Command-8), then click Clip Settings.
How Timecode Breaks Affect Clip and Media Filenames 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 native rendering is slowing down the pace of your editing, you can choose to render segments of your native HDV sequences using an Apple ProRes codec. Because Final Cut Pro supports mixed-format sequences, you can play back the entire sequence, including the Apple ProRes codec files, in real time. In this slight variation of the native HDV editing workflow, you continue to edit using a native HDV sequence, but any render files will be in an Apple ProRes codec.
Stage 5: Editing HDV Footage Natively 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. The additional processing happens automatically, but it is a good idea to understand why it is necessary. When you edit two HDV clips together in a sequence, the GOP pattern is typically broken.
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. Conforming While Rendering in the Timeline If you choose to use native HDV render files while you edit, your render files can be conformed when they are rendered.
To output your HDV sequence to tape 1 Make sure your camcorder is properly connected to your computer via FireWire. For more information, see “Stage 1: Connecting an HDV Camcorder to Your Computer via FireWire.” 2 Insert a DV tape into the HDV camcorder. 3 In the Browser, do one of the following: • Select a sequence or clip. • Double-click a sequence to open it in the Timeline. • Double-click a clip to open it in the Viewer. 4 Choose File > Print to Video. The Print to Video dialog appears.
Transcoded HDV Editing Workflow When you edit using footage encoded with an Apple ProRes codec or the Apple Intermediate Codec, you can edit just as you would with any other I-frame-only encoded footage, such as DV or uncompressed video. This workflow is particularly convenient if your project involves multiple camera formats and you want to standardize on a single codec for editing.
Note: The Apple ProRes 422 Easy Setup option supports only 1080p24 HDV. You should use this codec when you have 24 fps footage stored with 3:2 pull-down in a 1080i60 HDV signal. 5 Click Setup. The corresponding capture, sequence, and device control presets are loaded, as well as A/V device settings. Stage 3: Capturing and Transcoding HDV Video Capturing and transcoding 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 or an Apple ProRes 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.
4 Choose File > Print to Video (or press Control-M). The Print to Video dialog appears. 5 If you want Final Cut Pro to start recording automatically, select the Automatically Start Recording checkbox. 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 codec back to MPEG-2 HDV and gives you a time estimate for when the encoding process will finish.
Using the Sony HVR-V1 HDV Camcorder Final Cut Pro includes support for the Sony HVR-V1 HDV camcorder, which records native 1080i50 and 1080i60 footage. As with other HDV tape-based devices, you can capture natively or capture to either the Apple Intermediate Codec or an Apple ProRes codec. You can also output back to the Sony HVR-V1 HDV camcorder using the Print to Video command.
Video Standard The HDV standards were jointly created by a consortium of manufacturers including Sony, Canon, Sharp, and JVC. HDV supports 1080i, 1080p, and 720p HD standards. Aspect Ratio HDV has an aspect ratio of 16:9.
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 HDV 720p301 1280 x 720 7 MB/sec. (equivalent to 25 GB/hr.) Apple Intermediate Codec HDV 1080i501 1440 x 1080 12 MB/sec. (equivalent to 42 GB/hr.
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 format of an HDV camcorder matches the frame rate of the video format. For example, 1080i50 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.
3 Working with DVCPRO HD This chapter covers the following: • About DVCPRO HD (p. 41) • Working with DVCPRO HD in Final Cut Pro (p. 44) • Choosing 720p60 DVCPRO HD Timecode Display Options (p. 49) • Using the DVCPRO HD Frame Rate Converter (p. 50) • Working with 24p DVCPRO HD (p. 56) • DVCPRO HD Format Specifications (p. 58) In Final Cut Pro, you can natively capture, edit, and output DVCPRO HD video using the built-in FireWire port on your computer.
Format Final Cut Pro Easy Setup Sequence dimensions and frame rate Scanning method 720p24 DVCPRO HD - 720p24 960 x 720, 23.98 fps Progressive 50 fps–Based Formats The following table shows the 50 fps–based DVCPRO HD formats supported by Final Cut Pro.
720p60 DVCPRO HD The 720p60 DVCPRO HD format supports 60, 30, and 24 fps recording. When you choose a frame rate lower than 60 fps, the camera CCD captures images at the lower rate but the recording rate stays fixed at 60 fps. For example, if you record the 720p30 format, the camera CCD produces 30 unique images per second, but each frame is recorded on tape twice. These duplicate frames are digitally flagged during recording and must be removed during or after capture.
For more information, see “Stage 3: Logging and Capturing Your DVCPRO HD Footage” in “Working with DVCPRO HD in Final Cut Pro.” 720p50 DVCPRO HD The 720p50 DVCPRO HD format supports 50 and 25 fps recording. When you record at 25 fps, the camera CCD captures images at the lower rate but the recording rate stays fixed at 50 fps. 720pN DVCPRO HD Native Frame Rate Recording Camcorders such as the Panasonic AG-HVX200 allow you to record 720p footage onto P2 cards without duplicating frames.
The steps for capturing, editing, and outputting DVCPRO HD video are almost identical to the workflow used for DV. The following sections describe the basic DVCPRO HD workflow and highlight unique facets of working with DVCPRO HD in Final Cut Pro.
4 Click the Use pop-up menu to see all of the Easy Setups related to your choice in the Format pop-up menu. You can further refine the list by choosing a specific frame rate from the Rate pop-up menu. 5 Choose an Easy Setup from the Use pop-up menu, then click Setup. If you need to create a custom Easy Setup, see the Final Cut Pro 7 User Manual. Stage 3: 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.
About 720p50 and 720p60 Formats and Devices When working with 720p formats, keep the following information about timecode and device control in mind. About Timecode for 720p50 and 720p60 Formats Although 720p HD formats can record at video frame rates of 60 fps, the timecode recorded on tape is always 30 fps.
Stage 5: Outputting Your DVCPRO HD Sequence DVCPRO HD clips and sequences are recorded to tape via FireWire, in the same way as any other DV media. For more information about editing to tape, see the Final Cut Pro 7 User Manual. Optionally, you can export your sequence as a QuickTime movie, export your sequence to Compressor, or send your sequence to Color for finishing.
Choosing 720p60 DVCPRO HD Timecode Display Options It is important that you choose the correct timecode display option for 720p60 DVCPRO HD media. Even though the timecode track of 720p60 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. When editing 720p60 video, you can choose from two time display options: • HH:MM:SS:FF: The timecode counts 60 frames per second, from :00 to :59. • 60 @ 30: Displays 59.
To display clip time for a 720p30 or 720p24 clip 1 Open a 720p30 or 720p24 clip in the Viewer. 2 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 “Working with Timecode” in the Final Cut Pro 7 User Manual.
A 720p60 camera CCD can generate between 4 and 60 images per second, while the recording unit records at a constant rate of 60 fps (technically, 59.94 fps). When you select any frame rate lower than 60 fps, some images from the CCD are recorded more than once. These redundant frames are tagged for later removal using a special device called a frame rate converter.
Several examples of 720p60 DVCPRO HD variable frame rate footage are shown below.
You can record variable frame rates with a 720p50 camcorder just as you would with a 720p60 camcorder, although the range of variable frame rates is between 4 and 50 fps. About Native Variable Frame Rate Recording Camcorders such as the Panasonic AG-HVX200 and AG-HVX200E aren’t limited by the constraints of tape-based recording, so they can record native frame rates without duplication of frames. For more information, see “720pN DVCPRO HD Native Frame Rate Recording.
Audio is not affected or considered when shooting variable frame rate footage. Just as with variable frame rate film cinematography, these shots are usually recorded MOS (without sound), and sound is added later during post-production. About the Frame Rate Converter Options The options for the Frame Rate Converter are described below. Source file name and format description Choose the intended playback frame rate here.
• Make Self Contained File: If this checkbox is selected, a new self-contained QuickTime media file is written to disk. Select this option if you want the new media file to be completely independent of the original file. You may want to do this if you plan to get rid of the original file, or if you want to copy the new, processed file to another editing system. Note: If you create a self-contained file, you need to have enough disk space for another copy of the media file.
If the Import Result Into Final Cut Pro option is selected, the converted media file is imported into Final Cut Pro. The clip name is the same as the name you entered in the Save Converted Media dialog. Note that the converted media filename and the resulting clip name are typically not the same, so you need to be especially organized when managing media files created by the Frame Rate Converter.
Stage 3: Editing 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 pull-down 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 pull-down options, see “Working with 24p Video” in the Final Cut Pro 7 User Manual.
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 HD 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.
Final Cut Pro captures and processes DVCPRO HD using its native dimensions but displays the image onscreen 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 1080i60, 1080p30, 1080pA24 1080i50, 1080p25 720p Frame Rate DVCPRO HD supports both NTSC and PAL frame rates: • NTSC: 59.94 and 29.97 fps • PAL: 50 and 25 fps Note: The Panasonic Varicam camcorder has an option for true 60 fps recording (versus 59.
Data Rate The data rate of DVCPRO HD on tape is fixed at 115 Mbps, 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. These data rates show video only. Format Data rate (Mbps) Data rate (MB/sec.) 1080i60 115 Mbps 14.4 MB/sec. 1080i50 115 Mbps 14.4 MB/sec. 720p60 115 Mbps 14.4 MB/sec. 720p50 115 Mbps 14.4 MB/sec. 720pN30 58 Mbps 7.2 MB/sec. 720pN25 58 Mbps 7.2 MB/sec. 720pN24 46 Mbps 5.
4 Working with IMX This chapter covers the following: • About IMX (p. 61) • Working with IMX in Final Cut Pro (p. 62) • IMX Format Specifications (p. 63) Native IMX editing support makes Final Cut Pro a powerful addition to any broadcast post-production environment. 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.
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.
Stage 5: 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. IMX Format Specifications IMX, also known as Betacam IMX or MPEG IMX, records SD 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 Y′CBCR (component) 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: 5.6:1 compression • 40 Mbps: 4.2:1 compression • 50 Mbps: 3.
Working with Panasonic P2 Cards 5 This chapter covers the following: • About Panasonic P2 Cards and Media Files (p. 65) • Recording Footage with a P2 Camcorder (p. 66) • Mounting P2 Cards, Disk Images, and Folders (p. 66) • Deleting P2 Clips Directly in the Log and Transfer Window (p. 69) • P2 Card Restrictions During Preview (p. 70) • Removing Advanced Pull-Down and Duplicate Frames During Transfer (p. 70) • Working with Spanned Clips (p.
The following definitions provide some shorthand for discussing P2 cards and media. • P2 card: A solid-state memory card for recording DV, DVCPRO, DVCPRO 50, DVCPRO HD, and AVC-Intra media within MXF container files. • 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 Mac 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 about using the Log and Transfer window, see “Overview of Transferring File-Based Media” and “About the Log and Transfer Window” in the Final Cut Pro 7 User Manual. • 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.” You can also configure the Panasonic P2 camcorder as a VTR and use the Log and Capture window as though the P2 card were a tape in a video deck.
3 On the camcorder, do the following: a Choose Camera mode. b Press the Menu button. c Choose the Other Functions menu and then highlight 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. f Hold down 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 appear as mounted disks on the desktop in the Finder.
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: µ µ In the Finder, select the mounted P2 card, then choose File > Eject (or press Command-E).
Important: If you delete a media file from a P2 card, folder, or disk image, the footage is irretrievable. Because 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. For more information about using the Log and Transfer window, see “Overview of Transferring File-Based Media” and “About the Log and Transfer Window” in the Final Cut Pro 7 User Manual.
• 23.98 fps with advanced (2:3:3:2) pull-down Important: The Log and Transfer window cannot remove standard 3:2 pull-down. To convert footage with 3:2 pull-down, you can ingest the media at 29.97 fps and then use Cinema Tools to remove the pull-down. For details about selecting the Remove Advanced Pulldown and Duplicate Frames option, see “Advanced Topics in Transferring File-Based Media” in the Final Cut Pro 7 User Manual.
To set up Final Cut Pro and a Panasonic 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 Choose Camera 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.
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. Important: Not all formats supported by the Panasonic 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.
For more information about selecting scratch disks, see “Connecting DV Video Equipment” in the Final Cut Pro 7 User Manual. 8 In Final Cut Pro, choose File > Log and Capture (or press Command-8). 9 Do one of the following: • Click the Play button. • Press the Space bar. 10 When you’re ready to begin capturing, click the Capture Now button. Final Cut Pro begins capturing your media file to your scratch disk.
Panasonic AG-HVX200 (NTSC) This table shows which NTSC formats supported by the Panasonic AG-HVX200 camcorder are compatible with recent versions of Final Cut Pro. Format Recorded frame rate Pull-down/ duplicate frame pattern Timecode P2 Tape 1080i60 29.97i - DF, NDF 1 1 1080p30 29.97i 2:2 DF, NDF 1 1 1080p24 29.97i 2:3 NDF 2 2 1080pA24 29.97i 2:3:3:2 NDF 2, 3 2, 3 480i60 29.97i - DF, NDF 1 1 480p30 29.97i 2:2 DF, NDF 1 2 480p24 29.
Panasonic AG-HVX200E (PAL) This table shows which PAL formats supported by the Panasonic AG-HVX200E camcorder are compatible with recent versions of Final Cut Pro.
• 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. (The Panasonic AG-HVX200 camcorder does not record proxy files.
Working with AVCHD 6 This chapter covers the following: • About AVCHD (p. 79) • Working with AVCHD in Final Cut Pro (p. 79) • AVCHD Format Specifications (p. 82) The Log and Transfer window allows you to transfer AVCHD footage from file-based camcorders. About AVCHD AVCHD is an HD video format jointly developed by Sony and Panasonic. AVCHD uses Advanced Video Coding (AVC) compression (also known as MPEG-4 part 10 or H.264) to achieve high-quality images and low data rates.
After you have transferred your footage, you can edit using Apple ProRes or the Apple Intermediate Codec and output to the format of your choice. Apple ProRes Shoot Ingest Transcode to Apple ProRes Edit HD SD Finish In the figure above, the media is transcoded to an Apple ProRes codec, but you can also use the Apple Intermediate Codec in a transcoding workflow. Important: You cannot export footage back to the AVCHD format from Final Cut Pro.
• It is not possible to delete clips on an AVCHD volume, even if read-and-write permissions on the volume are set to allow file deletion. This behavior is different from that of P2 volumes, where clip deletion is allowed when proper read-and-write permissions are set. • The Log and Transfer window shows only an average duration for AVCHD clips, especially clips longer than 1 minute. After clips are ingested, the correct duration is displayed in the Final Cut Pro Browser.
Note: When ingesting AVCHD audio, the AVCHD plug-in is preset to ingest the audio as Matrix stereo. With some AVCHD camcorders, the audio may sound unbalanced when ingested as Matrix stereo. To correct the imbalance, select the AC-3 Audio decoder option in the AVCHD plug-in preferences, and choose Plain Stereo. Then reingest the AVCHD footage. It’s a good idea to ingest an initial AVCHD clip and check for this sound imbalance.
Frame Dimensions, Number of Lines, and Resolution AVCHD supports three HD video resolutions: • 1920 x 1080: This format is sometimes called Full HD because it contains the full 1920 horizontal pixels of the 1080-line HD format. • 1440 x 1080: This is a horizontally subsampled image with 1080 lines. • 1280 x 720: This is a full-resolution 720p format.
Format name Bit rate LP (long play) 5 Mbps (VBR) Panasonic Camcorder AVCHD Quality Levels This table lists the bit rates for different quality-level settings on Panasonic AVCHD camcorders. Depending on the quality-level setting, Panasonic camcorders use either constant bit rate (CBR) or variable bit rate (VBR) encoding. Format name Bit rate PH 21 Mbps (VBR) HA 17 Mbps (VBR) HF 13 Mbps (CBR) HG 13 Mbps (VBR) HN 9 Mbps (VBR) HE 6 Mbps (VBR) Audio AVCHD audio can be recorded in 5.
Working with AVC-Intra 7 This chapter covers the following: • About AVC-Intra (p. 85) • AVC-Intra Formats Supported by Final Cut Pro (p. 86) • Working with AVC-Intra Footage (p. 86) • Native AVC-Intra Editing Workflow (p. 87) • Transcoded AVC-Intra Editing Workflow (p. 89) • Finishing and Outputting AVC-Intra Projects (p. 90) • AVC-Intra Format Specifications (p. 91) The Log and Transfer window allows you to transfer AVC-Intra footage from P2 volumes.
AVC-Intra Formats Supported by Final Cut Pro Final Cut Pro can ingest all AVC-Intra frame rates and image dimensions in both 50 and 100 Mbps formats. For details, see “AVC-Intra Format Specifications.” Important: You cannot export footage back to the AVC-Intra format from Final Cut Pro because the AVC-Intra codec does not support encoding. Working with AVC-Intra Footage AVC-Intra footage can be transferred using the Log and Transfer window in Final Cut Pro.
Native AVC-Intra Editing Workflow You can ingest Panasonic AVC-Intra media natively using the Log and Transfer window (without transcoding) and edit with real-time effects in the Timeline. Before ingesting the AVC-Intra files, you must configure the Log and Transfer window preferences. For more information, see “Stage 1: Choosing the P2 AVC-Intra Plug-in for Transfer.” After ingesting your footage, you can create your sequence settings by dragging an AVC-Intra clip into a new, empty sequence.
4 Choose Native from the pop-up menu in the Target Format column corresponding to the P2 AVC-Intra item. 5 Click OK. For more information about using the Log and Transfer window, see “Overview of Transferring File-Based Media” and “About the Log and Transfer Window” in the Final Cut Pro 7 User Manual. Stage 2: Transferring Native AVC-Intra Footage You can transfer AVC-Intra footage to your scratch disk using the Log and Transfer window in Final Cut Pro.
Transcoded AVC-Intra Editing Workflow When you ingest the AVC-Intra files for this workflow, you transcode the files to an Apple ProRes codec (or to DVCPRO HD). For the best-quality footage, use the Apple ProRes 422 (HQ) codec. However, if you’re doing an offline edit or producing an EDL, and footage quality for editing is not an issue, you can save disk space and bandwidth by editing with Apple ProRes 422 (LT) files or even Apple ProRes 422 (Proxy) files.
4 Choose an Apple ProRes codec or choose DVCPRO HD from the pop-up menu in the Target Format column corresponding to the P2 AVC-Intra item in the list, then click OK. The recommended codec for high-quality media transcoded from AVC-Intra footage is Apple ProRes 422 (HQ). Stage 2: Transcoding Your AVC-Intra Footage You transfer AVC-Intra footage to your scratch disk using the Log and Transfer window in Final Cut Pro. In this workflow, the AVC-Intra footage is transcoded as it is transferred.
3 In the Send To Color dialog, enter a Color project name in the Color Project Name field, then click OK. Outputting an AVC-Intra Project to Tape and Other Formats After you finish editing, you can output your movie to videotape or export your sequence to Compressor. You can also use the Share feature to quickly create and deliver output media files in iPod, iPhone, Apple TV, MobileMe, DVD, Blu-ray Disc, YouTube, and Apple ProRes formats.
Aspect Ratio AVC-Intra records HD video with an aspect ratio of 16:9. Frame Dimensions, Number of Lines, and Resolution AVC-Intra supports the following HD resolutions: • 1920 x 1080: This format is sometimes called Full HD because it contains the full 1920 horizontal pixels of the 1080-line HD format. • 1440 x 1080: This is a horizontally subsampled image with 1080 lines. • 1280 x 720: This is a full-resolution 720p format. • 960 x 720: This is a horizontally subsampled image with 720 lines.
Working with Sony XDCAM Formats 8 This chapter covers the following: • About XDCAM, XDCAM HD, and XDCAM EX (p. 93) • Working Natively with Sony XDCAM Formats in Final Cut Pro (p. 96) • XDCAM, XDCAM HD, and XDCAM EX Format Specifications (p. 101) Final Cut Pro allows you to natively transfer and edit XDCAM, XDCAM HD, and XDCAM EX formats. About XDCAM, XDCAM HD, and XDCAM EX The XDCAM format records SD DVCAM or IMX video on Sony Professional Disc media.
The SP format uses a constant bit rate (CBR) and is compatible with 1080i HDV. The LP and HQ formats use a variable bit rate (VBR) and provide extended recording time with lower-than-HDV quality (LP) and quality that surpasses that of the HDV recording format (HQ). Variable frame rate recording is also supported. The HD422 format uses 50 Mbps CBR. XDCAM EX is a variation of XDCAM HD that records full HD resolution as either 1920 x 1080 or 1280 x 720 footage.
XDCAM HD422 CBR Easy Setups Final Cut Pro includes support for the Sony XDCAM HD422 format, Final Cut Pro includes the following XDCAM HD422 CBR (50 Mbps) Easy Setups: • XDCAM HD422 1080p24 CBR • XDCAM HD422 1080p25 CBR • XDCAM HD422 1080p30 CBR • XDCAM HD422 1080i50 CBR • XDCAM HD422 1080i60 CBR Final Cut Pro also includes the following 720-line XDCAM HD422 (50 Mbps) Easy Setups: • XDCAM HD422 720p50 CBR • XDCAM HD422 720p60 CBR XDCAM EX Formats Supported in Final Cut Pro Final Cut Pro includes support fo
Working Natively with Sony XDCAM Formats in Final Cut Pro Final Cut Pro can ingest and export XDCAM, XDCAM HD, and XDCAM EX using third-party Sony XDCAM Transfer software. Editing XDCAM requires a DV or IMX Easy Setup, and editing XDCAM HD or XDCAM EX requires an Easy Setup corresponding to your format. Native format Shoot Ingest Edit HD SD Finish The following sections describe the workflow for editing XDCAM, XDCAM HD, and XDCAM EX natively in Final Cut Pro.
To mount XDCAM or XDCAM HD media on your computer desktop 1 Install a Sony XDCAM File Access Mode (FAM) driver. This driver is installed with the Sony XDCAM Transfer software. For more information, see “Stage 1: Installing Sony XDCAM Transfer Software.” 2 Connect the deck to your computer with a FireWire or USB cable. 3 Enable PC Remote mode on the deck. To select the PC Remote mode on a Sony PDW-1500 XDCAM deck, the Extended Menu option must be enabled.
3 With SETUP MENU selected, press the Right button to display the SETUP MENU options. 4 Press the Down button until INTERFACE SELECT is selected, then press the Right button to display the INTERFACE SELECT options. 5 Press the Up or Down button until FAM (PC REMOTE) is selected. 6 Press the Set button to save your settings. 7 When the deck asks you to confirm your settings, press the Set button. 8 Connect the deck to your computer with a FireWire cable. The disk appears mounted on your computer desktop.
Note: Final Cut Pro renders and exports LP (18 Mbps VBR) XDCAM HD footage using the 35 Mbps (HQ) codec, so you cannot export back to the 18 Mbps VBR LP format. However, 18 Mbps VBR LP 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. Final Cut Pro also includes support for real-time playback of XDCAM HD variable frame rate footage.
To choose the render file format in an XDCAM HD or XDCAM EX 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 MPEG-2 codec of your sequence. • Apple ProRes 422 Codec: This option enables rendering with the Apple ProRes 422 codec.
Stage 8: Outputting to XDCAM Media and Other Formats If you want to export a finished sequence or clip from Final Cut Pro back to an MXF file containing XDCAM or XDCAM HD footage, or an MP4 file containing XDCAM EX footage, you need to use the XDCAM export plug-in included with the Sony XDCAM Transfer (PDZK-P1) software. For more information, see “Stage 1: Installing Sony XDCAM Transfer Software” and “Stage 2: Connecting an XDCAM Device to Your Computer.
XDCAM and XDCAM HD video and audio content is stored on disc within MXF container files, and XDCAM EX video and audio content is stored on disc within MP4 container files. Much like QuickTime movie files, MXF and MP4 files can store video and audio data in almost any frame rate and codec, as well as metadata about the content, such as the date of recording, GPS positioning data, and so on.
Aspect Ratio XDCAM records 4:3 SD video. XDCAM HD and XDCAM EX record 16:9 HD video. Frame Dimensions, Number of Lines, and Resolution XDCAM records DV and IMX video. For more information about these formats, see “IMX Format Specifications,” as well as “Appendix A: Video Formats” in the Final Cut Pro 7 User Manual. XDCAM HD records 1440 pixels per line and 1080 lines per frame. XDCAM EX can record either 1920 pixels per line and 1080 lines per frame, or 1280 pixels per line and 720 lines per frame.
Working with Sony Video Disk Units 9 This chapter covers the following: • About Sony Video Disk Units (p. 105) • Importing Media from a Sony Video Disk Unit (p. 105) You can use the Log and Transfer window to view footage recorded on a Sony Video Disk Unit and transfer the footage to your scratch disk.
To connect a Sony Video Disk Unit to your computer 1 Connect the 4-pin connector on one end of your FireWire cable to the 4-pin FireWire port on the Sony Video Disk Unit. 2 Connect the 6-pin connector on the other end of your FireWire cable to a FireWire 400 port on your computer. 3 Turn on the Sony Video Disk Unit. A FireWire hard drive icon named Untitled appears on the desktop.
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.
Working with Apple ProRes 10 This chapter covers the following: • About the Apple ProRes Codecs (p. 109) • Types of Apple ProRes Codecs (p. 111) • Working with Apple ProRes Codecs (p. 112) • Apple ProRes Format Specifications (p. 115) • Apple ProRes Tips (p. 117) • About the Apple Intermediate Codec (p.
The Apple ProRes codecs were designed for great software flexibility and performance. No extra hardware is required for encoding or decoding. In particular, the Apple ProRes codecs have been designed to take advantage of multicore processors. The performance of Apple ProRes codecs scales—which means that the decoding time per frame goes down—as the number of processors increases. When the system spends less time decoding each frame, it has time for more real-time effects processing.
Types of Apple ProRes Codecs The Apple ProRes format comes in five versions: Apple ProRes 4444, Apple ProRes 422 (HQ), Apple ProRes 422, Apple ProRes 422 (LT), and Apple ProRes 422 (Proxy). The following list describes the features of each version. For a complete comparison of the relative data rates of the Apple ProRes codecs, see “Apple ProRes Format Specifications.
• Higher quality than Apple ProRes 422 (Proxy) Apple ProRes 422 (Proxy) The Apple ProRes 422 (Proxy) codec is intended for use in offline workflows and provides the following: • Roughly 30 percent of the data rate of Apple ProRes 422 • High-quality offline editing at the original frame size, frame rate, and aspect ratio • High-quality edit proxy for Final Cut Server Working with Apple ProRes Codecs Apple ProRes is an extremely flexible post-production format.
Mastering REDCODE Projects After final grading in Color, you can render to the Apple ProRes 4444 codec and send the project back to Final Cut Pro for conforming and output. REDCODE is a 12-bit, 4:4:4, full-color format. By grading the native R3D files with float processing and then rendering to a 4:4:4 format for editing, you retain the maximum possible quality. For more information, see “Working with REDCODE Media.
Depending on your project and your budget, you could use any of the Apple ProRes codecs for offline editing. On the high end, you might use Apple ProRes 4444 as a very high-quality offline codec for digital intermediate workflows that will be finished in DPX for film output. For a typical HD or SD video project, you can get high quality and superb playback performance with Apple ProRes 422 (LT) or Apple ProRes 422 (Proxy) as your offline format.
Most appropriate Apple ProRes codec Acquisition format Workflow DPX image sequences Projects that generate DPX image sequences, including those using film-scan workflows or digital cinema cameras Apple ProRes 4444 Sony HDCAM SR Projects recorded on Sony HDCAM SR in 4:4:4 RGB or 10-bit 4:2:2 color mode Apple ProRes 4444 or Apple ProRes 422 (HQ) DVCPRO HD Online master phase of projects that don’t use effects or compositing Apple ProRes 422 (HQ) or Apple ProRes 422 AVC-Intra Online master phase o
• 1440 x 1080 • 1920 x 1080 • 1024 x 512 • 1024 x 576 • 2048 x 1024 • 2048 x 1080 (Apple ProRes 4444 only) • 2048 x 1152 • 2048 x 1556 (Apple ProRes 4444 only) Scanning Method The Apple ProRes format supports both interlaced and progressive scan images and preserves the scanning method used in the source material.
Frame dimensions Frame rate Apple ProRes 4444 data rate 720 x 576 29.97 fps 110 Mbps 73 Mbps 49 Mbps 34 Mbps 15 Mbps 960 x 720 23.98 fps 113 Mbps 75 Mbps 50 Mbps 35 Mbps 15 Mbps 960 x 720 25 fps 118 Mbps 79 Mbps 52 Mbps 36 Mbps 16 Mbps 960 x 720 29.97 fps 141 Mbps 94 Mbps 63 Mbps 44 Mbps 19 Mbps 1280 x 720 23.98 fps 132 Mbps 88 Mbps 59 Mbps 41 Mbps 18 Mbps 1280 x 720 25 fps 138 Mbps 92 Mbps 61 Mbps 42 Mbps 19 Mbps 1280 x 720 29.
Apple ProRes 4444 Files with Alpha Channel and the Video Render Status Bar When you import an Apple ProRes 4444 file with an embedded alpha channel, Final Cut Pro detects the alpha channel and sets the Alpha value to either Black or Straight (instead of None/Ignore). If you add the clip to a matching Apple ProRes 4444 sequence, the video render status bar in the Timeline may change color accordingly.
Working with REDCODE Media 11 This chapter covers the following: • About REDCODE (p. 119) • Native REDCODE Editing Workflow (p. 121) • Transcoded REDCODE Editing Workflow (p. 126) • Finishing and Outputting REDCODE Projects (p. 129) • REDCODE Format Specifications (p. 130) You can use Final Cut Pro to ingest and edit REDCODE media for output to film, digital cinema formats, and HD and SD video.
About the RED ONE Camera The RED ONE camera uses a 12-megapixel CMOS sensor to capture images at a number of resolutions. For Final Cut Studio workflows, 4K and 2K are recommended resolutions. For the latest information about the RED ONE camera specifications and formats, go to the RED Digital Cinema Camera Company website at http://www.red.com.
• Transcoding using Apple ProRes codecs: For more information, see “Transcoded REDCODE Editing Workflow.” Important: The RED ONE camera can produce REDCODE media and QuickTime reference movies that represent the media, storing all the files together in clip folders. However, Apple doesn’t recommend using the QuickTime reference movies. The recommended workflows are to ingest and edit the native REDCODE files or to transcode the REDCODE files to an Apple ProRes codec.
After the edit, you can send your media to Color, which can extract the full-resolution 4K data from one of these QuickTime-wrapped R3D source files. You use Color to grade the sequence and render it as DPX files, uncompressed HD files, or Apple ProRes files. You can also transfer the DPX files to a digital intermediate software finishing application or output the finished DPX files to film or to digital cinema files.
Important: New methods for ingesting REDCODE files into Final Cut Pro are being developed on a regular basis. For more information about the latest workflows for working with REDCODE media, go to the RED Digital Cinema Camera Company website at http://www.red.com. The native REDCODE workflow follows the standard process for ingesting file-based media using the Log and Transfer window.
• After you have ingested the media using the Log and Transfer window, do not change the name of the .RDM folder again, and do not change the name of any other file or folder. Doing so will jeopardize your ability to later reconform offline sequences to the original source media. Important: Make sure to name the .RDM folder before ingesting. Using the Reel field of the Log and Transfer window to enter new reel names for REDCODE media during ingest is not recommended.
Stage 3: Transferring REDCODE Media You can transfer REDCODE media to your scratch disk using the Log and Transfer window in Final Cut Pro. For more information about using the Log and Transfer window, see “Overview of Transferring File-Based Media” and “About the Log and Transfer Window” in the Final Cut Pro 7 User Manual.
Transcoded REDCODE Editing Workflow When you ingest the REDCODE files for this workflow, you transcode the files to an Apple ProRes codec. For the best-quality media, use the Apple ProRes 4444 codec or the Apple ProRes 422 (HQ) codec. However, if you’re doing an offline edit or producing an EDL, and media quality for editing is not an issue, you can save disk space and bandwidth by editing with Apple ProRes 422, Apple ProRes 422 (LT), or even Apple ProRes 422 (Proxy) files.
• Stage 3: Transcoding Your REDCODE Media • Stage 4: Editing Video Using Transcoded REDCODE Media Stage 1: Downloading REDCODE Media Files to Your Computer After shooting REDCODE media, connect the camera’s hard disk drive to your computer, or insert the CompactFlash card into a card reader connected to your computer. See the documentation that came with your RED ONE camera for more detailed information. Download your files to the hard disk storage device that you will access with Final Cut Pro.
• Always copy the entire contents of each RED volume to an individually named folder or disk image. Do not combine the contents of several RED volumes into a single folder. For example, don’t make a folder called RED MEDIA and put all the .rdc and .profile items in it. • Do not nest folders of RED content within each other. • Do not place the contents of the RED volume in your Capture Scratch folder.
Stage 4: Editing Video Using Transcoded REDCODE Media Editing video transcoded to an Apple ProRes 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. For more information about the data rates of the Apple ProRes codecs, see “Working with Apple ProRes.” After you’ve completed your edit, you have a range of finishing and output options. For more information, see “Finishing and Outputting REDCODE Projects.
Outputting to Tape and Other Formats After you finish editing, you can output your movie to videotape or export your sequence to Compressor. You can also use the Share feature to quickly create and deliver output media files in iPod, iPhone, Apple TV, MobileMe, DVD, Blu-ray Disc, YouTube, and Apple ProRes formats. Few video decks support media formats with digital cinema frame sizes, such as REDCODE. You may have to choose another format for output to tape, such as an HD or SD format.
Frame Dimensions and Resolution The REDCODE format supports a number of RAW native video resolutions.
