Final Cut Pro 7 Professional Formats and Workflows (en).pdf - Apple

132 Pages·2010·1.06 MB·English

by  Apple Inc.

Final Cut Pro 7
Professional Formats and Workflows
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Contents
Preface 7 Welcome to Final Cut Pro
7 About Final Cut Pro
7 About the Final Cut Pro Documentation
8 AdditionalResources
Chapter1 9 An Overview of Professional Formats and Workflows
10 AboutStandardDefinitionFormats
10 AboutHighDefinitionVideoFormats
11 AboutDigitalCinemaFormats
Chapter2 13 WorkingwithHDV
13 AboutHDV
17 AbouttheLogandCaptureWindow
24 NativeHDVEditingWorkflow
33 TranscodedHDVEditingWorkflow
37 UsingtheSonyHVR-V1HDVCamcorder
37 HDVFormatSpecifications
Chapter3 41 WorkingwithDVCPROHD
41 AboutDVCPROHD
44 Working with DVCPRO HD in Final Cut Pro
49 Choosing720p60DVCPROHDTimecodeDisplayOptions
50 UsingtheDVCPROHDFrameRateConverter
56 Workingwith24pDVCPROHD
58 DVCPROHDFormatSpecifications
Chapter4 61 WorkingwithIMX
61 AboutIMX
62 Working with IMX in Final Cut Pro
63 IMXFormatSpecifications
Chapter5 65 WorkingwithPanasonicP2Cards
65 AboutPanasonicP2CardsandMediaFiles
66 RecordingFootagewithaP2Camcorder
3
66 MountingP2Cards,DiskImages,andFolders
69 DeletingP2ClipsDirectlyintheLogandTransferWindow
70 P2CardRestrictionsDuringPreview
70 RemovingAdvancedPull-DownandDuplicateFramesDuringTransfer
71 WorkingwithSpannedClips
71 UsingPrinttoVideotoOutputtoP2CardsinP2Camcorders
73 CapturingoverFireWireasIfaP2CardWereaTapeinaVTR
74 PanasonicP2CamcorderCompatibility
76 PanasonicP2CardFormatSpecifications
Chapter6 79 WorkingwithAVCHD
79 AboutAVCHD
79 Working with AVCHD in Final Cut Pro
82 AVCHDFormatSpecifications
Chapter7 85 WorkingwithAVC-Intra
85 AboutAVC-Intra
86 AVC-Intra Formats Supported by Final Cut Pro
86 WorkingwithAVC-IntraFootage
87 NativeAVC-IntraEditingWorkflow
89 TranscodedAVC-IntraEditingWorkflow
90 FinishingandOutputtingAVC-IntraProjects
91 AVC-IntraFormatSpecifications
Chapter8 93 WorkingwithSonyXDCAMFormats
93 AboutXDCAM,XDCAMHD,andXDCAMEX
96 Working Natively with Sony XDCAM Formats in Final Cut Pro
101 XDCAM,XDCAMHD,andXDCAMEXFormatSpecifications
Chapter9 105 WorkingwithSonyVideoDiskUnits
105 AboutSonyVideoDiskUnits
105 ImportingMediafromaSonyVideoDiskUnit
Chapter10 109 Working with Apple ProRes
109 About the Apple ProRes Codecs
111 Types of Apple ProRes Codecs
112 Working with Apple ProRes Codecs
115 Apple ProRes Format Specifications
117 Apple ProRes Tips
118 AbouttheAppleIntermediateCodec
Chapter11 119 WorkingwithREDCODEMedia
119 AboutREDCODE
121 NativeREDCODEEditingWorkflow
4 Contents
126 TranscodedREDCODEEditingWorkflow
129 FinishingandOutputtingREDCODEProjects
130 REDCODEFormatSpecifications
Contents 5

Welcome to Final Cut Pro
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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. Whether
you’re working solo or collaborating with a team, Final Cut Pro gives you the creative
options and technical control that you need.
Thisprefacecoversthefollowing:
• About Final Cut Pro(p.7)
• About the Final Cut Pro Documentation(p.7)
• AdditionalResources(p.8)
About Final Cut Pro
Final Cut Pro is the hub of Final Cut Studio, with powerful capabilities for working with
the other Final Cut Studio applications.
Final Cut Pro lets you edit everything from uncompressed SD to HDV, DVCPRO HD, and
uncompressed HD—as well as Panasonic P2 and Sony XDCAM HD file-based formats.
You can mix and match a wide range of formats and even frame rates in the open format
Timeline. Final Cut Pro includes a complete set of professional editing and trimming tools
that let you work quickly, with a full range of customization options to give you flexibility
and control. Also included are powerful multicamera editing tools that allow you to view
and cut video from multiple sources in real time.
About the Final Cut Pro Documentation
Final Cut Pro comes with various documents that will help you get started as well as
provide detailed information about the application.
• Exploring Final Cut Pro: TheExploring Final Cut Pro manual presents the basics of
Final Cut Pro in an easy, approachable way. Each chapter presents major features and
guides you in trying things out. A PDF version of the printed manual is available in
Final Cut Pro Help (in Final Cut Pro, choose Help > Final Cut Pro Help).
7
• 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.
• Professional Formats and Workflows: This document covers how to use digital cinema,
high definition, and broadcast formats (such as DVCPRO HD, HDV, AVC-Intra, Sony
XDCAM, REDCODE, and Apple ProRes) and devices (such as Sony Video Disk Units and
Panasonic P2 cards) with Final Cut Pro. This document is available in Final Cut Pro Help.
Additional Resources
Along with the documentation that comes with Final Cut Pro, there are a variety of other
resources you can use to find out more about Final Cut Pro.
Final Cut Pro Website
For general information and updates, as well as the latest news on Final Cut Pro, go to:
• http://www.apple.com/finalcutstudio/finalcutpro
AppleServiceandSupportWebsites
ForsoftwareupdatesandanswerstothemostfrequentlyaskedquestionsforallApple
products,gotothegeneralAppleSupportwebpage.You’llalsohaveaccesstoproduct
specifications,referencedocumentation,andAppleandthird-partyproducttechnical
articles.
• http://www.apple.com/support
For software updates, documentation, discussion forums, and answers to the most
frequently asked questions for Final Cut Pro, go to:
• http://www.apple.com/support/finalcutpro
FordiscussionforumsforallAppleproductsfromaroundtheworld,whereyoucansearch
forananswer,postyourquestion,oranswerotherusers’questions,goto:
• http://discussions.apple.com
8 Preface Welcome to Final Cut Pro
1
An Overview of
Professional Formats and Workflows
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.
The diagram below shows the relative frame sizes for common SD, HD, and digital cinema
formats that are edited in Final Cut Pro today.
2K (35 mm film)
2K (video)
1080 (HD)
720 (HD)
576 (SD)
480 (SD)
Thischaptercoversthefollowing:
• AboutStandardDefinitionFormats(p.10)
• AboutHighDefinitionVideoFormats(p.10)
• AboutDigitalCinemaFormats(p.11)
9
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)videoformats.
Forcompletedetailsaboutandspecificationsforstandarddefinitionformats,see
“AppendixB:VideoFormats”intheFinal Cut Pro 7 User Manual.
About High Definition Video Formats
Digitalhighdefinition(HD)formatsaredefinedbytheirverticalresolutions(numberof
lines),scanningmethods(interlacedversusprogressive),andframeorfieldrates.For
example,the1080i60formathas1080linesperframe,usesinterlacedscanning(indicated
bythei),andscans59.94fieldspersecond.HDframeratesarecompatiblewithNTSC
video,PALvideo,orfilm.
Note: ForcomparisontoHDformats,standarddefinition(SD)videoformatsarenow
definedinsimilarterms.Forexample,480i60has480lines,interlacedscanning,and59.94
fieldspersecond(NTSC).
NTSC-CompatibleHDFormats
ThefollowingtableshowscommonNTSC-compatibleHDformats.
Format Description
1080i60 • Hashigh-resolutionframes,isabletocapturefastmovement,
andhasreducedverticalresolutionduetointerlacing.
• EasilydownconvertstoNTSC.
1080p30 • Hashigh-resolutionframes.
• Movementislesssmoothbutresolutionishigherthaninterlaced
formatsinareasofmovement.
720p60 • Capturesfast-actionmovementwithclarity.However,stillframes
havelowerresolutionthan1080-linestillframes.
• Isidealforsportsvideographyandcommercialtelevision.
• EasilydownconvertstoNTSC.
720p30 • Isavariantof720p60withalowerframerate.
PAL-CompatibleHDFormats
ThefollowingtableshowscommonPAL-compatibleHDformats.
10 Chapter1 An Overview of Professional Formats and Workflows