Final Cut Pro

Final Cut Pro 7 Professional Formats and Workflows......Page 1
Contents......Page 3
About the Final Cut Pro Documentation......Page 7
Additional Resources......Page 8
An Overview of Professional Formats and Workflows......Page 9
About High Definition Video Formats......Page 10
About Digital Cinema Formats......Page 11
HDV Formats Supported by Final Cut Pro......Page 13
Temporal Compression......Page 15
Native MPEG-2 HDV Capturing, Editing, and Rendering......Page 16
About the Log and Capture Window......Page 17
Preview Area......Page 19
Logging Tab......Page 21
Clip Settings Tab......Page 22
Log and Capture Buttons......Page 23
Native HDV Editing Workflow......Page 24
Stage 2: Choosing an HDV Easy Setup......Page 25
Stage 3: Logging and Capturing Native HDV Footage......Page 26
Stage 4: Choosing a Render File Format for HDV Sequences......Page 28
Stage 6: Rendering and Conforming Long-GOP MPEG-2 Media......Page 30
Stage 7: Using the Print to Video Command to Output HDV......Page 31
Stage 2: Choosing an Easy Setup......Page 33
Stage 3: Capturing and Transcoding HDV Video......Page 34
Stage 5: Outputting to HDV Tape or Other Formats......Page 35
HDV Format Specifications......Page 37
DVCPRO HD Formats Supported by Final Cut Pro......Page 41
1080pA24 DVCPRO HD......Page 42
720p60 DVCPRO HD......Page 43
Working with DVCPRO HD in Final Cut Pro......Page 44
Stage 2: Choosing a DVCPRO HD Easy Setup......Page 45
Stage 3: Logging and Capturing Your DVCPRO HD Footage......Page 46
Stage 4: Editing DVCPRO HD Footage......Page 47
Stage 5: Outputting Your DVCPRO HD Sequence......Page 48
Choosing 720p60 DVCPRO HD Timecode Display Options......Page 49
How DVCPRO HD Variable Frame Rate Recording Works......Page 50
How a Frame Rate Converter Works......Page 51
Timecode and Audio Restrictions......Page 53
About the Frame Rate Converter Options......Page 54
Using the Frame Rate Converter......Page 55
Working with 1080pA24 DVCPRO HD Video......Page 56
720pN24 DVCPRO HD......Page 57
DVCPRO HD Format Specifications......Page 58
IMX Formats Supported by Final Cut Pro......Page 61
Working with IMX in Final Cut Pro......Page 62
IMX Format Specifications......Page 63
About Panasonic P2 Cards and Media Files......Page 65
Mounting P2 Cards, Disk Images, and Folders......Page 66
Mounting P2 Cards Using a Panasonic P2 Camcorder......Page 67
Mounting P2 Cards Using a PowerBook PC Card Slot......Page 68
Deleting P2 Clips Directly in the Log and Transfer Window......Page 69
Removing Advanced Pull-Down and Duplicate Frames During Transfer......Page 70
Using Print to Video to Output to P2 Cards in P2 Camcorders......Page 71
Capturing over FireWire as If a P2 Card Were a Tape in a VTR......Page 73
Panasonic P2 Camcorder Compatibility......Page 74
Panasonic P2 Card Format Specifications......Page 76
Working with AVCHD in Final Cut Pro......Page 79
Restrictions When Working with AVCHD......Page 80
Choosing an AVCHD Destination Codec......Page 81
AVCHD Format Specifications......Page 82
About AVC-Intra......Page 85
Restrictions When Working with AVC-Intra......Page 86
Stage 1: Choosing the P2 AVC-Intra Plug-in for Transfer......Page 87
Stage 3: Editing AVC-Intra Video......Page 88
Stage 1: Choosing an Apple ProRes Codec for Transcoding......Page 89
Sending an AVC-Intra Project to Color......Page 90
AVC-Intra Format Specifications......Page 91
About XDCAM, XDCAM HD, and XDCAM EX......Page 93
XDCAM HD CBR Easy Setups......Page 94
XDCAM EX Formats Supported in Final Cut Pro......Page 95
Stage 1: Installing Sony XDCAM Transfer Software......Page 96
Stage 2: Connecting an XDCAM Device to Your Computer......Page 97
Stage 3: Ingesting XDCAM Media......Page 98
Stage 5: Choosing a Render File Format for XDCAM HD or XDCAM EX Sequences......Page 99
Stage 6: Editing XDCAM Media Natively......Page 100
XDCAM, XDCAM HD, and XDCAM EX Format Specifications......Page 101
Setting Up a Sony Video Disk Unit......Page 105
Importing DV Media from a Sony Video Disk Unit......Page 106
About the Apple ProRes Codecs......Page 109
Types of Apple ProRes Codecs......Page 111
Sample Apple ProRes Workflows......Page 112
Offline Editing with Apple ProRes Codecs......Page 113
Choosing the Appropriate Apple ProRes Codec......Page 114
Apple ProRes Format Specifications......Page 115
Apple ProRes Tips......Page 117
About the Apple Intermediate Codec......Page 118
About REDCODE......Page 119
Working with REDCODE Media in Final Cut Pro......Page 120
Native REDCODE Editing Workflow......Page 121
Stage 1: Copying REDCODE Media Files to Your Computer......Page 123
Stage 2: Choosing the RED FCP Log and Transfer Plug-in for Transfer......Page 124
Stage 4: Editing REDCODE Video......Page 125
Transcoded REDCODE Editing Workflow......Page 126
Stage 1: Downloading REDCODE Media Files to Your Computer......Page 127
Stage 3: Transcoding Your REDCODE Media......Page 128
Outputting DPX Files from Color......Page 129
REDCODE Format Specifications......Page 130