7
Table Of Contents
- Final Cut Pro 7 Professional Formats and Workflows
- Contents
- Welcome to Final Cut Pro
- An Overview of Professional Formats and Workflows
- Working with HDV
- About HDV
- About the Log and Capture Window
- Native HDV Editing Workflow
- Stage 1: Connecting an HDV Camcorder to Your Computer via FireWire
- Stage 2: Choosing an HDV Easy Setup
- Stage 3: Logging and Capturing Native HDV Footage
- Stage 4: Choosing a Render File Format for HDV Sequences
- Stage 5: Editing HDV Footage Natively
- Stage 6: Rendering and Conforming Long-GOP MPEG-2 Media
- Stage 7: Using the Print to Video Command to Output HDV
- Transcoded HDV Editing Workflow
- Using the Sony HVR-V1 HDV Camcorder
- HDV Format Specifications
- Working with DVCPRO HD
- About DVCPRO HD
- Working with DVCPRO HD in Final Cut Pro
- Choosing 720p60 DVCPRO HD Timecode Display Options
- Using the DVCPRO HD Frame Rate Converter
- Working with 24p DVCPRO HD
- DVCPRO HD Format Specifications
- Working with IMX
- Working with Panasonic P2 Cards
- About Panasonic P2 Cards and Media Files
- Recording Footage with a P2 Camcorder
- 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
- Working with AVCHD
- Working with AVC-Intra
- Working with Sony XDCAM Formats
- About XDCAM, XDCAM HD, and XDCAM EX
- Working Natively with Sony XDCAM Formats in Final Cut Pro
- Stage 1: Installing Sony XDCAM Transfer Software
- Stage 2: Connecting an XDCAM Device to Your Computer
- Stage 3: Ingesting XDCAM Media
- Stage 4: Choosing an Easy Setup
- Stage 5: Choosing a Render File Format for XDCAM HD or XDCAM EX Sequences
- Stage 6: Editing XDCAM Media Natively
- Stage 7: Rendering and Conforming XDCAM HD and XDCAM EX Footage
- Stage 8: Outputting to XDCAM Media and Other Formats
- XDCAM, XDCAM HD, and XDCAM EX Format Specifications
- Working with Sony Video Disk Units
- Working with Apple ProRes
- About the Apple ProRes Codecs
- Types of Apple ProRes Codecs
- Working with Apple ProRes Codecs
- Maximizing Performance by Adjusting Real-Time Playback Quality
- Sample Apple ProRes Workflows
- Mastering REDCODE Projects
- Capturing Directly to the Apple ProRes 4444 Codec
- Mastering DPX or Cineon Digital Negative Projects
- Transcoding Directly to an Apple ProRes Codec on Ingest
- Compositing and Visual Effects Projects
- Offline Editing with Apple ProRes Codecs
- Using Apple ProRes Codecs in Native Workflows
- Choosing the Appropriate Apple ProRes Codec
- Apple ProRes Format Specifications
- Apple ProRes Tips
- About the Apple Intermediate Codec
- Working with REDCODE Media
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.”
Apple ProRes 4444
The Apple ProRes 4444 codec offers the utmost possible quality for 4:4:4 sources and for
workflows involving alpha channels. It includes the following features:
• Full-resolution, mastering-quality 4:4:4:4 RGBA color (an online-quality codec for editing
and finishing 4:4:4 material, such as that originating from Sony HDCAM SR or digital
cinema cameras such as RED ONE, Thomson Viper FilmStream, and Panavision Genesis
cameras). The R, G, and B channels are lightly compressed, with an emphasis on being
perceptually indistinguishable from the original material.
• Lossless alpha channel with real-time playback
• High-quality solution for storing and exchanging motion graphics and composites
• For 4:4:4 sources, a data rate that is roughly 50 percent higher than the data rate of
Apple ProRes 422 (HQ)
• Direct encoding of, and decoding to, RGB pixel formats
• Support for any resolution, including SD, HD, 2K, 4K, and other resolutions
• A Gamma Correction setting in the codec’s advanced compression settings pane, which
allows you to disable the 1.8 to 2.2 gamma adjustment that can occur if RGB material
at 2.2 gamma is misinterpreted as 1.8. This setting is also available with the
Apple ProRes 422 codec.
Apple ProRes 422 (HQ)
The Apple ProRes 422 (HQ) codec offers the utmost possible quality for 4:2:2 or 4:2:0
sources (without an alpha channel) and provides the following:
• Target data rate of approximately 220 Mbps (1920 x 1080 at 60i)
• Higher quality than Apple ProRes 422
Apple ProRes 422
The Apple ProRes 422 codec provides the following:
• Target data rate of approximately 145 Mbps (1920 x 1080 at 60i)
• Higher quality than Apple ProRes 422 (LT)
Apple ProRes 422 (LT)
The Apple ProRes 422 (LT) codec provides the following:
• Roughly 70 percent of the data rate of Apple ProRes 422 (thus, smaller file sizes than
Apple ProRes 422)
111Chapter 10 Working with Apple ProRes