7
Table Of Contents
- Final Cut Pro 7 User Manual
- Contents
- Welcome to Final Cut Pro
- About the Post-Production Workflow
- Video Formats and Timecode
- Understanding Projects, Clips, and Sequences
- Overview of the Final Cut Pro Interface
- Browser Basics
- Viewer Basics
- Canvas Basics
- How You Use the Canvas
- Opening, Selecting, and Closing Sequences in the Canvas
- Learning About the Canvas
- Editing Controls in the Canvas
- Transport Controls in the Canvas
- Playhead Controls in the Canvas
- Marking Controls in the Canvas
- Zoom and View Pop-Up Menus in the Canvas
- Playhead Sync Pop-Up Menu in the Canvas
- Navigating and Using Timecode in the Viewer and Canvas
- Timeline Basics
- Customizing the Interface
- Changing Browser and Timeline Text Size
- Moving and Resizing Final Cut Pro Windows
- Using Window Layouts
- Ways to Customize Keyboard Shortcuts
- Learning About the Keyboard Layout Window
- Viewing Commands in the Command List
- Assigning Keyboard Shortcuts
- Avoiding Keyboard Shortcut Conflicts
- Clearing and Restoring Keyboard Layouts
- Saving Commands and Keyboard Shortcuts as Text Files
- Saving and Loading Keyboard Layouts
- Using Different Keyboards and Languages
- Working with Shortcut Buttons and Button Bars
- Connecting DV Video Equipment
- Connecting Professional Video and Audio Equipment
- Components of a Professional Final Cut Pro Editing System
- About Video Interfaces, Signals, and Connectors
- Connecting Professional Video Devices
- Audio Interfaces
- Audio Connectors and Signal Formats
- Connecting Professional Audio Devices
- Connecting Remote Device Control
- Determining Your Hard Disk Storage Options
- External Video Monitoring
- Overview of Capturing Tape-Based Media
- About the Log and Capture Window
- Opening the Log and Capture Window
- Controls in the Log and Capture Window
- Preview Area in the Log and Capture Window
- Logging Tab in the Log and Capture Window
- Clip Settings Tab in the Log and Capture Window
- Capture Settings Tab in the Log and Capture Window
- Log and Capture Buttons in the Log and Capture Window
- Logging from Tape
- Overview of Logging Steps
- Opening the Log and Capture Window
- Inserting a Tape in the VTR
- Setting a Logging Bin to Store Logged Clips
- Entering a Reel Name for the Current Tape
- Setting Clip In and Out Points
- Entering a Clip Name and Other Logging Information
- Adding Markers to Clips While Logging
- Selecting Which Tracks to Capture
- Changing Capture Settings
- Setting Video and Audio Levels for Analog Video
- Logging a Clip
- Capturing Video from Tape
- Capturing Clips as You Log
- Capturing Entire Tapes
- Batch Capturing Clips
- Capturing Audio from Tape
- Advanced Topics in Capturing Tape-Based Media
- Overview of Transferring File-Based Media
- About the Log and Transfer Window
- Logging File-Based Media
- Transferring File-Based Media
- About Transferring File-Based Media
- Choosing a Scratch Disk and Logging Bin
- Mounting Media Devices
- Mounting Media Volumes in the Log and Transfer Window
- Choosing a Destination Codec
- Viewing Clips to Be Transferred
- Selecting Clips
- Previewing Clips
- Logging Clips in the Log and Transfer Window
- Placing Clips in the Transfer Queue
- Advanced Topics in Transferring File-Based Media
- Importing Media Files into Your Project
- What File Formats Can Be Imported?
- Importing Media Files
- About Importing Video Files
- About Importing Audio Files
- What Kinds of Audio File Formats Can Be Imported?
- Choosing Audio File Sample Rate and Bit Depth
- Choosing Sequence Bit Depth
- Mixing Sample Rates and Using Real-Time Sample Rate Conversion
- Converting Audio Clips to Match Sequence Settings
- Importing Broadcast Wave Files
- About Broadcast Wave File Timecode at a Video Rate of 29.97 fps
- Using Audio CD Tracks in Your Project
- Importing Still Images and Graphics
- Importing Numbered Image Sequences
- Organizing Footage in the Browser
- Creating Subclips
- Merging Clips from Dual System Video and Audio
- Working with Projects, Clips, and Sequences
- Specifying Preferences Before You Start Editing
- Working with Projects
- Learning About the Different Types of Clips
- Viewing and Changing the Properties of a Clip
- Creating and Working with Sequences
- The Fundamentals of Adding Clips to a Sequence
- Using Markers
- Learning About Markers
- Viewing Markers in the Viewer or Canvas
- Viewing Markers in the Browser
- Adding Markers in Clips and Sequences
- Deleting Markers in Clips and Sequences
- Navigating with Markers
- Modifying Markers
- Moving Markers
- Using the Ripple Sequence Markers Setting
- Editing Multiple Markers on the Same Frame
- Aligning Items in the Timeline by Their Markers
- Extending a Marker’s Duration
- Editing Markers into Sequences
- Exporting Markers with Your QuickTime Movies
- Exporting Marker Lists as Text
- Setting Edit Points for Clips and Sequences
- Working with Tracks in the Timeline
- Drag-to-Timeline Editing
- Three-Point Editing
- Finding and Selecting Content in the Timeline
- Understanding What’s Currently Selected
- Direct Methods for Selecting Content in a Sequence
- Finding and Selecting Based on Search Criteria
- Selecting a Vertical Range Between In and Out Points
- Using Auto Select to Specify Tracks for Selections
- Arranging Clips in the Timeline
- Cutting Clips and Adjusting Durations
- Linking and Editing Video and Audio in Sync
- Linked Sync Relationships Between Video and Audio Clips
- Linking and Unlinking Video and Audio Clip Items in the Timeline
- Selecting Individual Clip Items While They Are Linked
- Getting Clip Items Back in Sync
- Establishing Different Sync Relationships Between Linked Clip Items
- Learning About Linking Behavior in Audio Channel Pairs
- Synchronizing Dual System Recorded Video and Audio
- Split Edits
- Working with Multiclips
- About Multiclips
- Multiclip Workflow
- Preparing Clips to Be Used as Multiclip Angles
- Creating Individual Multiclips
- Creating Multiclip Sequences
- Identifying and Naming Multiclips in the Browser
- Working with Multiclip Angles in the Viewer
- Editing with Multiclips in Real Time
- Using Keyboard Shortcuts and Shortcut Buttons for Multiclip Editing
- Editing Multiclips into the Timeline
- Switching and Cutting Between Angles
- Editing in Multiclip Playback Mode
- Applying Filters, Speed, and Motion Parameters to Multiclips
- Collapsing and Expanding a Multiclip
- Working with Multiclip Master-Affiliate Relationships
- Match Frame Commands Used with Multiclips
- Media Management and Project Interchange
- Audio Editing Basics
- The Goals of Audio Editing
- Using Waveform Displays to Help You Edit Audio
- Learning About the Audio Controls in the Viewer
- Editing Audio in the Viewer
- Opening Audio Clips in the Viewer
- Viewing Audio Tracks in the Viewer
- Zooming In to or Out of the Waveform Display Area
- Scrolling Through a Zoomed-In Audio Clip
- Using the J, K, and L Keys to Hear Subtle Details
- Turning Off the Audio Scrubbing Sounds
- About Setting Edit Points for Audio
- Dragging an Audio Clip to the Canvas, Browser, or Timeline
- Trimming Audio Clips in the Viewer
- Editing Audio in the Timeline
- Creating or Separating Stereo Pairs
- Working with Audio at the Subframe Level
- Examples of Ways to Easily Edit Audio
- Performing Slip, Slide, Ripple, and Roll Edits
- Learning About Trimming Clips
- Trimming Clips Using the Trim Edit Window
- Adding Transitions
- Learning About Transitions
- Adding Transitions Between Clips
- Moving, Copying, and Deleting Transitions
- Modifying Transitions in the Timeline
- Working with Default and Favorite Transitions
- Detecting Duplicate Frames over Transitions
- Video Transitions That Come with Final Cut Pro
- Using Alpha Transitions
- Refining Transitions Using the Transition Editor
- Sequence-to-Sequence Editing
- Matching Frames and Playhead Synchronization
- Working with Timecode
- Audio Fundamentals
- Assigning Output Channels and External Audio Monitors
- Audio Signal Flow in Final Cut Pro
- Configuring Audio Outputs
- Creating and Saving Audio Output Presets
- Assigning a Default Audio Output Preset for New Sequences
- Assigning Tracks in the Timeline to Audio Outputs
- Matching Audio Outputs to Clip Items in the Timeline
- Assigning More Audio Outputs Than Your Hardware Supports
- Audio Output Export Settings
- Downmixing Multiple Audio Channels to a Stereo Mix
- Configuring External Audio Monitors
- Evaluating Levels with Audio Meters
- Overview of the Audio Mixer
- Using the Audio Mixer
- Making Basic Audio Adjustments with the Audio Mixer
- Making Stereo Pan Adjustments with the Audio Mixer
- About Mixer Automation and Keyframe Recording
- Using a Control Surface with the Audio Mixer
- Choosing an External MIDI Interface
- Installing a MIDI Interface
- Choosing a Control Surface
- Connecting a Control Surface
- Configuring Final Cut Pro to Work with a Control Surface
- Working with a Control Surface
- How Audio Mixer Tracks Correspond to Control Surface Faders
- Arranging Control Surface Order
- Working with Fader Banks
- Controlling the Audio Mixer with a Control Surface
- Recording Audio Mixer Keyframes Using a Control Surface
- Mixing Audio in the Timeline and Viewer
- Adjusting Audio Levels in the Timeline
- Changing Audio Levels in the Viewer
- Panning Audio in the Timeline
- Changing the Pan of Audio in the Viewer
- Changing Pan for an Entire Clip
- Copying, Pasting, and Removing Audio Attributes
- Adjusting Clip Audio Levels and Pan Using Keyframes
- Using the Voice Over Tool
- About the Voice Over Tool
- Setting Up Your Computer to Record Voiceover
- Stage 1: Installing or Connecting an Audio Interface
- Stage 2: Connecting a Microphone and Microphone Preamplifier
- Stage 3: Opening the Voice Over Tool and Choosing Audio Input Settings
- Stage 4: Choosing an Audio Track and Duration for Your Voiceover
- Stage 5: Determining the Offset of Your Audio Interface
- Stage 6: Plugging In Your Headphones
- RAM Requirements When Using the Voice Over Tool
- Controls in the Voice Over Tool
- Defining the Recording Duration and Destination Track
- Recording a Voiceover
- Using Audio Filters
- Overview of Audio Filters
- Equalization Filters
- Gain Filter
- Compressor/Limiter Filter
- Expander/Noise Gate Filter
- Noise Reduction Filters
- Echo and Reverberation Filters
- Applying Filters to an Audio Clip
- Displaying Filter Keyframes in the Timeline
- Modifying and Removing Filters
- Automating Audio Filter Parameters with Keyframes
- Making Real-Time Audio Filter Adjustments
- Saving a Filter or Transition as a Favorite
- Installing Third-Party Audio Units Filters
- Exporting Audio for Mixing in Other Applications
- Ways You Can Finish Your Audio
- Organizing Your Audio Clips for Multitrack Export
- About Exporting Audio Tracks to Individual Audio Files
- Preparing to Export Audio Tracks as Audio Files
- Exporting Audio Tracks as Individual Audio Files
- Exporting Audio Output Groups to AIFF Files
- Exporting Multichannel QuickTime Files
- Exporting OMF Audio Files
- Exporting Audio Clip Information to an EDL
- Exporting Audio for DVD
- Tips for Better Audio
- Working with Soundtrack Pro and Logic Pro
- Using Video Filters
- Installing and Managing Video Effects
- Video Filters Available in Final Cut Pro
- Changing Motion Parameters
- Creating Motion Effects in the Viewer
- Adjusting Parameters in the Motion Tab
- Using Cartesian Geometry to Position Clips
- Examples Using Motion Settings
- Creating Motion Effects in the Canvas
- Manipulating Images in the Canvas
- Zooming In to the Canvas
- Using Wireframe Handles to Transform, Scale, and Rotate
- Example: Using Motion Parameters and Wireframe Handles
- Adjusting Parameters for Keyframed Effects
- Animating Motion Effects Using Keyframes
- How Keyframing Works
- Determining the Number of Keyframes to Use
- Keyframing Controls in the Viewer
- Keyframing Tools in Final Cut Pro
- Setting Keyframes
- Adjusting and Deleting Keyframes
- Moving Between Keyframes
- Resizing the Keyframe Graph Area
- Zooming In to the Keyframe Graph Area
- Adjusting All Opacity Keyframes of a Clip
- Example: Using Keyframes to Make Opacity Changes
- Example: Keyframing Opacity in the Timeline
- Smoothing Keyframes with Bezier Handles
- Creating Keyframed Motion Paths in the Canvas
- About the Timeline Keyframe Graph Area
- Customizing the Keyframe Graph Area in the Timeline
- Animating Motion Effects Using Keyframes
- Reusing Effect and Motion Parameters
- Changing Clip Speed
- Working with Freeze Frames and Still Images
- Using Still Images and Graphics in Your Sequences
- Creating Freeze Frames from a Video Clip
- Exporting Still Images
- Creating Graphics with the Correct Frame Size for Video
- Working with Graphics Clips of Different Sizes
- Bit Depth of Imported Graphics
- Scaling a Graphic to Fit the Frame Size
- Creating Graphics with the Correct Color Settings for Video
- Choosing the Maximum White Sequence Setting
- Flattening Graphics with Layers
- Using Alpha Channels
- Selecting Fonts and Creating Line Art for Video
- Scaling Images and Video Clips to Match a Sequence
- Changing the Duration of Still Images
- Example: Adding Camera Motion to Still Images
- Compositing and Layering
- Keying, Mattes, and Masks
- Using Generator Clips
- Using the SmoothCam Filter
- About the SmoothCam Filter
- Working with the SmoothCam Filter
- Applying the SmoothCam Filter
- About Motion Analysis States
- Checking Motion Analysis Status
- Starting and Stopping SmoothCam Motion Analysis
- Analyzing All SmoothCam Clips in a Sequence
- Reanalyzing Clips
- Reprioritizing Clips in the Processing Queue
- Adjusting SmoothCam Filter Parameters
- Setting Clip In and Out Points to Improve SmoothCam Rendering
- Rendering and Exporting Clips with the SmoothCam Filter Applied
- Managing Media and Motion Analysis Data
- Improving SmoothCam Filter Results and Troubleshooting
- Creating Titles
- Working with Motion and Shake
- Using Motion with Final Cut Pro
- Using Shake with Final Cut Pro
- Working with Master Templates
- Measuring and Setting Video Levels
- RGB Color Model
- Y′CBCR Color Model
- Measuring Video Levels with the Final Cut Pro Video Scopes
- Opening Video Scopes Tabs
- Layout Options in Video Scopes Tabs
- Learning to Read the Waveform Monitor
- Learning to Read the Vectorscope
- Learning to Read the Histogram
- Learning to Read the RGB Parade Scope
- Choosing Display Options for Video Scopes
- Using Video Scopes in Real Time
- Choosing Video Scope Accuracy
- Video Scope Restrictions and Performance
- Preventing Illegal Broadcast Levels
- Displaying Excess Luma and Chroma Levels in the Viewer and Canvas
- Using the Broadcast Safe Filter
- Using the RGB Limit Filter
- Working with Analog Video
- Using Color Bars for Video Calibration
- About Color Correction
- Color Correction Features
- Color Correction Filters
- The Final Cut Pro Color Correction Filters
- The Color Corrector Filter
- General Controls in the Color Corrector Filter
- Copy Filter Controls in the Color Corrector Filter
- Color Balance Controls in the Color Corrector Filter
- Auto Level and Contrast Controls in the Color Corrector Filter
- Level and Saturation Controls in the Color Corrector Filter
- Match Hue Controls in the Color Corrector Filter
- Limit Effect Controls in the Color Corrector Filter
- The Color Corrector 3-Way Filter
- General Controls in the Color Corrector 3-Way Filter
- Copy Filter Controls in the Color Corrector 3-Way Filter
- Color Balance Controls in the Color Corrector 3-Way Filter
- Auto Level Controls in the Color Corrector 3-Way Filter
- Level and Saturation Controls in the Color Corrector 3-Way Filter
- Match Hue Controls in the Color Corrector 3-Way Filter
- Limit Effect Controls in the Color Corrector 3-Way Filter
- The Desaturate Highlights and Desaturate Lows Filters
- RGB Balance Filter
- Color Correction Examples
- Example: Using the Color Corrector Filter
- Example: Using the Color Corrector 3-Way Filter
- Example: Color Correcting a Three-Shot Sequence for Continuity
- Example: Using the Color Corrector 3-Way Filter Match Hue Controls
- Example: Using the Limit Effect Controls to Isolate a Specific Color Against Grayscale
- Example: Using the Limit Effect Controls of the Color Corrector Filter to Change a Specific Color
- Example: Using the Desaturate Highlights Filter
- Color Correction with Color
- Using RT Extreme
- Introduction to Real-Time Processing
- Locations for Changing Real-Time Playback Settings
- About Real-Time Playback Options
- Still-Image Real-Time Playback
- Improving Real-Time Performance
- Real-Time Audio Mixing in Final Cut Pro
- Choosing Real-Time Playback Versus Rendering
- Supported Real-Time Playback Codecs
- Using a Third-Party Video Effects Accelerator Card
- Using RT Extreme for Video Output
- Viewing Your Composition in the QuickView Tab
- Rendering and Video Processing Settings
- What Is Rendering?
- About Render Status Bars in the Timeline
- About Item-Level Render Status Bars
- The Rendering Process
- About Changing Render and Video Processing Settings
- Changing Settings in the Render Control Tab
- Changing Settings in the Video Processing Tab
- Adjusting Gamma
- Managing Your Render Files
- Tips for Reducing Render Time
- Working with Mixed-Format Sequences
- About Mixed-Format Sequences
- Determining Whether Clips in a Sequence Will Play Back in Real Time
- Conforming Sequence Settings to Match a Clip’s Settings
- Conforming Clips to Match Sequence Settings
- Mixing Frame Rates
- Combining Interlaced Footage with Different Field Dominances
- Mixing Footage with Different Codecs
- Nesting Nonmatching Sequences
- Adding Filters and Motion Effects to Mixed-Format Sequences
- Combining SD and HD Video
- Downconverting HD Video
- Upconverting SD Video
- Rendering Mixed-Format Sequences
- External Monitoring and Output
- Media Management and Project Interchange
- Media Management
- Backing Up and Restoring Projects
- Backing Up and Restoring Projects
- Archiving Completed Projects
- About Updating Projects from Previous Versions of Final Cut Pro
- Choosing Project Update Options
- Elements of a Final Cut Pro Project
- Working with Master and Affiliate Clips
- About Using Master and Affiliate Clips
- Shared and Unique Clip Properties
- Working with Master Clips
- Working with Affiliate Clips
- Creating Independent Clips
- Changing Independent Clips to Affiliate Clips
- Modifying Master-Affiliate Clip Relationships
- Moving Clips Between Projects
- How Does Final Cut Pro Identify Matching Clips?
- Resolving Property Differences Between Matching Clips
- Offline and Online Editing
- Reconnecting Clips and Offline Media
- Finding Your Media Files After Capture
- About the Connections Between Clips and Media Files
- Renaming Media Files and Clips
- How the Connection Between Clips and Media Files Can Be Broken
- Making Clips Offline
- Reconnecting Clips to Media Files
- When Final Cut Pro Reconnects Your Clips
- Reconnecting Media Files Automatically
- Overview of the Media Manager
- What Can You Do with the Media Manager?
- Selecting Items to Process with the Media Manager
- Settings and Options in the Media Manager Window
- How the Media Manager Processes Selected Items
- Limiting How Much Media Is Copied or Deleted
- Media File Formats Supported by the Media Manager
- About Color Space Conversion in the Media Manager
- Examples of How to Use the Media Manager
- Media Manager Workflow
- Using the Media Manager
- Example: Removing Unused Media from a Sequence
- Example: Duplicating a Sequence and Its Corresponding Media Files
- Example: Duplicating a Portion of a Sequence and Its Media Files
- Example: Copying Sequences with New Settings, but Without Media Files
- Example: Recompressing Media Files for Editing on a Portable Computer
- Example: Removing Portions of Media Files After Creating Subclips
- Example: Consolidating Media Files into One Folder
- Example: Consolidating Your Project and Media Files for Archiving
- Diagnostic Tools for Clips
- Importing and Exporting EDLs
- Using Final Cut Pro XML and QuickTime Metadata
- Remote Previewing with iChat
- Working with Film and Cinema Tools
- An Overview of the Film Editing Process
- About Using Cinema Tools with Final Cut Pro
- Creating a New Final Cut Pro Project
- Importing a Telecine Log to Create a Cinema Tools Database
- Batch Capturing Video from Tape
- Removing 3:2 Pull-Down or Conforming 25 fps PAL to 24 fps
- Synchronizing Clips with the Cinema Tools Database
- Editing Clips in Final Cut Pro
- Using Edge Code Overlays and Feet+Frame Rulers
- Opening Final Cut Pro Clips in Cinema Tools
- Exporting Film, Change, and Audio Lists
- Preparing to Output to Tape
- Choosing a Videotape Format and Equipment for Output
- Output Requirements
- Methods for Output to Tape in Final Cut Pro
- Setting Up Your Editing System to Output to Tape
- Stage 1: Connecting Your Video Equipment
- Stage 2: Choosing Video and Audio Outputs
- Stage 3: Selecting Playback Settings
- Stage 4: Selecting Render Settings
- Stage 5: Selecting Edit to Tape and Print to Video Preferences
- Stage 6: Preparing Your Videotape with Black and Timecode
- Stage 7: Cueing the Videotape
- Stage 8: Calibrating Your Timecode
- Stage 9: Choosing Device Control and Edit Preview Settings
- Assemble and Insert Editing Using Edit to Tape
- Printing to Video and Output from the Timeline
- Learning About QuickTime
- Using Share
- About the Share Window
- Exporting Single Clips and Sequences with Share
- Exporting Groups of Clips and Sequences with Share
- Creating Multiple Outputs
- Using Share with Compressor
- Working with Share Output Types
- Using Share to Create Apple TV Output
- Using Share to Create Blu-ray Output
- Using Share to Create DVD Output
- Using Share to Create iPhone Output
- Using Share to Create iPod Output
- Using Share to Create MobileMe Output
- Using Share to Create YouTube Output
- Using Share to Create Apple ProRes 422 Output
- Using Share to Create Apple ProRes with Alpha Output
- Using Share to Create QuickTime H.264 Output
- Using Share to Create Other Output Types
- Using Batch Monitor with Share
- Exporting QuickTime Movies
- Exporting Using QuickTime Conversion
- Exporting Sequences for DVD
- Using Compressor with Final Cut Pro
- Exporting Still Images and Image Sequences
- Batch Exporting Clips and Sequences
- Choosing Settings and Preferences
- Audio/Video Settings and Easy Setups
- Capture Settings and Presets
- Device Control Settings and Presets
- Sequence Settings and Presets
- Appendix A: Solving Problems
- Appendix B: Video Formats
- An Overview of Video Format Characteristics
- Storage Medium
- Video Standards
- Types of Video Signals
- Aspect Ratio of the Video Frame
- Frame Dimensions, Number of Lines, and Resolution
- Pixel Aspect Ratio
- Frame Rate
- Scanning Method
- Color Recording Method
- Video Sample Rate and Bit Depth
- Video Compression
- Video Formats Supported by Final Cut Pro
- Appendix C: Frame Rate and Timecode
- Appendix D: Working with 24p Video
- Appendix E: Working with Anamorphic 16:9 Media
- Appendix F: Using Multi-Touch Gestures with Final Cut Pro
- Glossary
40 frames
per foot
(16 mm)
16 frames
per foot
(35 mm)
30 frames
per 1:00
(DF)
30 frames
per 1:00
(NDF)
25 frames
per 1:00
24 frames
per 1:00
Frame
count
0285+220112+0600:00:59:2800:00:59:2800:01:11:2300:01:14:221798
0285+230112+0700:00:59:2900:00:59:2900:01:11:2400:01:14:231799
0287+200112+0800:01:00:0200:01:00:0000:01:12:0000:01:15:001800
0287+210112+0900:01:00:0300:01:00:0100:01:12:0100:01:15:011801
0287+220112+1000:01:00:0400:01:00:0200:01:12:0200:01:15:021802
0287+230112+1100:01:00:0500:01:00:0300:01:12:0300:01:15:031803
0287+240112+1200:01:00:0600:01:00:0400:01:12:0400:01:15:041804
0287+250112+1300:01:00:0700:01:00:0500:01:12:0500:01:15:051805
0287+260112+1400:01:00:0800:01:00:0600:01:12:0600:01:15:061806
0287+270112+1500:01:00:0900:01:00:0700:01:12:0700:01:15:071807
0287+280113+0000:01:00:1000:01:00:0800:01:12:0800:01:15:081808
0287+290113+0100:01:00:1100:01:00:0900:01:12:0900:01:15:091809
0287+300113+0200:01:00:1200:01:00:1000:01:12:1000:01:15:101810
0287+310113+0300:01:00:1300:01:00:1100:01:12:1100:01:15:111811
0287+320113+0400:01:00:1400:01:00:1200:01:12:1200:01:15:121812
0287+330113+0500:01:00:1500:01:00:1300:01:12:1300:01:15:131813
0287+340113+0600:01:00:1600:01:00:1400:01:12:1400:01:15:141814
0287+350113+0700:01:00:1700:01:00:1500:01:12:1500:01:15:151815
0287+360113+0800:01:00:1800:01:00:1600:01:12:1600:01:15:161816
0287+370113+0900:01:00:1900:01:00:1700:01:12:1700:01:15:171817
0287+380113+1000:01:00:2000:01:00:1800:01:12:1800:01:15:181818
0287+390113+1100:01:00:2100:01:00:1900:01:12:1900:01:15:191819
0288+000113+1200:01:00:2200:01:00:2000:01:12:2000:01:15:201820
0288+010113+1300:01:00:2300:01:00:2100:01:12:2100:01:15:211821
0288+020113+1400:01:00:2400:01:00:2200:01:12:2200:01:15:221822
0288+030113+1500:01:00:2500:01:00:2300:01:12:2300:01:15:231823
0290+000114+0000:01:00:2600:01:00:2400:01:12:2400:01:16:001824
0290+010114+0100:01:00:2700:01:00:2500:01:13:0000:01:16:011825
0290+020114+0200:01:00:2800:01:00:2600:01:13:0100:01:16:021826
0290+030114+0300:01:00:2900:01:00:2700:01:13:0200:01:16:031827
0290+040114+0400:01:01:0000:01:00:2800:01:13:0300:01:16:041828
0290+050114+0500:01:01:0100:01:00:2900:01:13:0400:01:16:051829
0290+060114+0600:01:01:0200:01:01:0000:01:13:0500:01:16:061830
1929Appendix C Frame Rate and Timecode