Apple FINAL CUT PRO 5 Working With High Definition And Broadcast Formats
Final Cut Pro 5
Working With High Definition
and Broadcast Formats
K
Apple Computer, Inc.
© 2006 Apple Computer, Inc. All rights reserved.
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Production stills from the films “Koffee House Mayhem”
and “A Sus Ordenes” provided courtesy of Refuge Films.
“Koffee House Mayhem” © 2004 Jean-Paul Bonjour;
“A Sus Ordenes” © 2004 Eric Escobar.
http://www.refugefilms.com
1
Contents
Preface 7 About High Definition and Broadcast Formats
8
Overview of High Definition Video Formats
Chapter 1 11 Working With HDV
11
About HDV
12
HDV Formats Supported by Final Cut Pro
13
About MPEG-2 Compression
14
Working With HDV in Final Cut Pro
15
Native HDV Editing Workflow
16
Connecting an HDV Device to Your Computer
17
Choosing an Easy Setup
17
Logging and Capturing Native HDV Footage
25
Editing HDV Footage
26
Outputting HDV to Tape or Exporting to a QuickTime Movie
28
HDV Apple Intermediate Codec Editing Workflow
28
Connecting an HDV Device to Your Computer
29
Choosing an Easy Setup
29
Capturing HDV Video to the Apple Intermediate Codec
30
Editing Video Using the Apple Intermediate Codec
30
Outputting HDV to Tape or Exporting to a QuickTime Movie
32
Using the Canon XL H1 HDV Camcorder
33
HDV Format Specifications
Chapter 2 37 Working With DVCPRO HD
37
About DVCPRO HD
38
DVCPRO HD Formats Supported by Final Cut Pro
38
DVCPRO HD Frame Rates
40
Working With DVCPRO HD in Final Cut Pro
Connecting a DVCPRO HD Device to Your Computer
40
40
Choosing a DVCPRO HD Easy Setup
41
Logging and Capturing Your DVCPRO HD Footage
43
Editing DVCPRO HD Footage
45
Outputting Your DVCPRO HD Sequence
3
46
Working With Variable Frame Rate DVCPRO HD Footage
48
DVCPRO HD Format Specifications
Chapter 3 51 Combining Standard and High Definition Video
51
About Standard Definition and High Definition Video
52
Mixing High Definition and Standard Definition Video in the Same Sequence
52
Choosing High-Quality Scaling Options
53
Downconverting High Definition Video
56
Upconverting Standard Definition Video
60
Tips for Converting Between Standard and High Definition Media
Chapter 4 61 Working With 24p and Variable Frame Rate Video
61
What Is 24p Video?
62
Film, 24p Video, and Cinema Tools
63
Working With 24p NTSC Video
64
Using A DVX100 NTSC Camcorder With Advanced Pulldown
65
Working With 720p24 DVCPRO HD Video
66
Working With 1080pA24 DVCPRO HD Video
Chapter 5 69 Working With IMX
69
About IMX
70
IMX Formats Supported by Final Cut Pro
70
About MXF
70
Working With IMX in Final Cut Pro
71
Transferring IMX Footage to Your Computer
71
Importing MXF-Wrapped IMX Media Files Into Your Project
71
Choosing an IMX Easy Setup
71
Editing IMX Clips Into a Sequence
71
Exporting IMX QuickTime Media Files
IMX Format Specifications
72
Chapter 6 75 Working With Panasonic P2 Media
75
About Panasonic P2 Cards and Media Files
77
Working With Panasonic P2 Cards and Final Cut Pro
78
About the Import Panasonic P2 Window
79
Example Panasonic P2 Workflow
81
Recording Footage With a P2 Camcorder
81
Mounting P2 Cards, Disk Images, and Folders
84
Using the Browse Area
88
Using the Preview Area
90
Using the Logging Area
92
Using the Transfer Queue
94
Reingesting Clip Media
95
Working With Spanned Clips
4
Contents
98
Using Print to Video to Output to P2 Cards in the AG-HVX200
10 0
Archiving P2 Cards
10 0
Setting Preferences
101
Capturing Over FireWire as if the P2 Card Were a Tape in a VTR
10 3
Panasonic AG-HVX200 Camcorder Compatibility
10 4
Panasonic P2 Card Format Specifications
Chapter 7 107 Working With Sony XDCAM HD and Video Disk Units
10 7
Working With Sony XDCAM HD
10 7
About XDCAM HD
10 9
XDCAM HD Formats Supported in Final Cut Pro
10 9
Installing Sony XDCAM Software
10 9
Connecting XDCAM HD Devices to Your Computer
11 0
Ingesting XDCAM HD Media
11 0
Editing XDCAM HD Media in Final Cut Pro
11 0
Exporting Sequences to XDCAM HD Media
11 0
Working With a Sony Video Disk Unit
11 0
About Sony Video Disk Units
111
Importing Footage From a Sony Video Disk Unit
Contents
5
About High Definition
and Broadcast Formats
Final Cut Pro 5 is a complete broadcast post-production
solution, supporting the latest high definition video formats,
project interchange formats, and high-performance, shared
disk storage.
With more and more video formats introduced every year, it can be difficult to
keep your post-production suite up to date. Making Final Cut Pro the center of your
post-production workflow ensures that your suite is compatible with the latest
broadcast and high definition formats.
This document covers the following format support in Final Cut Pro:
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Native capturing, editing, and output of HDV
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Native capturing, editing, and output of DVCPRO HD
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Importing and native editing of MPEG-2 IMX
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Ingesting from non-tape-based media such as Panasonic P2 cards, Sony XDCAM HD,
and Sony Video Disk Units
Preface
7
Overview of High Definition Video Formats
Because of the multiple frame sizes, frame rates, and scanning methods supported by
the latest high definition video specifications, there are a large number of high
definition formats currently available. While the most commonly used formats are
described below, many other variations exist today.
1080i60
This is a common broadcast format that is compatible with standard definition
NTSC video.
Pros
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Individual still frames in this format are very high quality because of the high resolution.
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29.97 fps frame rate and interlacing are both compatible with standard definition
NTSC video.
Cons
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Quick action or rapid camera motion may cause interlacing artifacts.
1080i50
1080i50 is compatible with standard definition PAL video.
Pros
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Individual still frames in this format are very high quality because of the high
resolution.
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25 fps frame rate and interlacing are both compatible with standard definition
PAL video.
Cons
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Quick action or rapid camera motion may cause interlacing artifacts.
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Because of the lower frame rate, this format can cause more severe motion artifacts
than 1080i60.
8 Preface
About High Definition and Broadcast Formats
1080p24
1080p24 is sometimes simply referred to as
most flexible frame rate choice because it is possible to transfer to NTSC video, PAL
video, and—perhaps most important—film. Choose this format if you plan to transfer
your finished video to film, or if you are trying to emulate a film look on your final
video. This format is similar to 720p24, but with much higher resolution.
Pros
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Individual still frames in this format are very high quality because of the high resolution.
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Can be easily converted to other frame rates compatible with NTSC video, PAL video,
and film (24 fps frame rate allows direct transfer to film).
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Progressive scanning eliminates interlacing artifacts.
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When pulldown is removed, 1080p24 has a potentially lower data rate than other
1080-line formats.
Cons
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Some 1080p24 modes require pulldown removal and insertion, complicating
timecocde and media management.
 Requires a telecine pulldown process when transferring to NTSC.
 Requires a frame rate increase when transferring to PAL. This slightly alters the
audio rate.
 The low frame rate requires slow camera motion to avoid stuttering jumps from
frame to frame.
24p
and is considered by some to be the
720p60
This format is smaller than 1920 x 1080, but the smaller image dimensions decrease
the per-frame data rate. This means the frame rate can be doubled compared to
1080i formats without significantly increasing the data rate.
Pros
 Yields the highest frame rate possible for a high definition format.
 Individual still frames in this format have no motion artifacts (such as flickering lines)
because 720p is progressively scanned.
 Captures and displays quick action and fast camera moves smoothly.
 The 59.94 fps video frame rate is compatible with NTSC video.
Cons
 720p has a smaller image size than 1920 x 1080 (though it is still higher resolution
than standard definition video).
Preface
About High Definition and Broadcast Formats
9
720p30
720p30 is a particularly flexible format because it is compatible with standard definition
NTSC video (because it has a matching frame rate of 29.97 fps) as well as streaming and
downloadable video (because it is progressively scanned). Because of the progressive
scanning, 720p30 is also useful when you need a video format that can output
high-quality still frames.
Pros
 720p is compatible with both standard definition NTSC video (29.97 fps) and
computer graphics because it is progressively scanned.
Cons
 720p has a smaller image size than 1920 x 1080 (though it is still higher resolution
than standard definition video).
720p24
720p24 is sometimes simply referred to as 24p, and is considered by some to be the
most flexible frame rate choice because it is possible to transfer to NTSC video, PAL
video, and film. Choose this mode if you plan to transfer your finished video to film, or
if you are trying to emulate a film look on your final video.
Pros
 Can be easily converted to other frame rates compatible with NTSC video, PAL video,
and film (24 fps frame rate allows direct transfer to film).
 Progressive scanning eliminates interlacing artifacts.
 Has a 60 percent lower data rate than 720p60 because of the lower frame rate.
Cons
 720p has a smaller image size than 1920 x 1080 (though it is still higher resolution
than standard definition video).
 Requires a telecine pulldown process when transferring to NTSC.
 Requires a frame rate increase when transferring to PAL. This slightly alters the
audio rate.
 The low frame rate requires slow camera motion to avoid stuttering jumps from
frame to frame.
10 Preface About High Definition and Broadcast Formats
1 Working With HDV
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.
This chapter covers the following:
 About HDV (p. 11)
 Working With HDV in Final Cut Pro (p. 14)
 Native HDV Editing Workflow (p. 15)
 HDV Apple Intermediate Codec Editing Workflow (p. 28)
 Using the Canon XL H1 HDV Camcorder (p. 32)
 HDV Format Specifications (p. 33)
1
About HDV
HDV is a new high definition video format created by a consortium of manufacturers
including Sony, Canon, Sharp, and JVC. HDV allows you to record an hour of high
definition video with a consumer-priced handheld camcorder on standard mini-DV
videocassettes. You can connect an HDV camcorder to your computer via FireWire, so
you can capture and output just as you would with a DV device.
HDV uses MPEG-2 compression to achieve a maximum video data rate of 25 Mbps,
which is the same data rate as DV. This means you can fit the same amount of video on
your scratch disks as you can when using DV.
Although the HDV workflow is nearly identical to a typical DV workflow, a few
additional steps are required. This chapter describes the unique features of
Final Cut Pro that allow you to capture, edit, and output HDV video in its native format.
What Is ProHD?
ProHD extends the JVC 720p HDV format to support 24 fps video, professional
timecode options, and up to four audio channels.
11
HDV Formats Supported by Final Cut Pro
Within the HDV specification, several resolutions and frame rates are defined. HDV
formats are usually distinguished by the number of lines per frame (the height of the
image), the scanning method (progressive or interlaced), and the frame or field rate.
For example, 1080i60 describes a format with 1080 lines, interlaced scanning, and
60 fields per second.
Final Cut Pro supports the following HDV formats:
Final Cut Pro
Format
1
1080p24
1
1080p25
1080i60 HDV - 1080i60 1440 x 1080 25 Mbps
1080i50 HDV - 1080i50 1440 x 1080 25 Mbps
2
720p24
2
720p25
720p30 HDV - 720p30 1280 x 720 18.3 Mbps
1
Supported by the Canon XL H1 HDV camcorder. Also called 1080F24 and 1080F25.
2
Supported by the JVC GY-HD100 ProHD camcorder.
Easy Setup
HDV - 1080p24 1440 x 1080 25 Mbps
HDV - 1080p25 1440 x 1080 25 Mbps
HDV - 720p24 1280 x 720 18.3 Mbps
HDV - 720p25 1280 x 720 18.3 Mbps
Dimensions Video Data Rate
Standard Definition Recording With an HDV Camcorder
In addition to recording high definition video, most HDV camcorders can also record
standard definition DV video. You can capture, edit, and output this DV video just as
you would any other DV video.
Important: You should avoid recording DV and HDV video on the same tape. This can
cause problems during capture and playback.
An additional format defined within the HDV specifications, known as SD, is available
on some JVC camcorders. Final Cut Pro does not support this format.
12 Chapter 1 Working With HDV
About MPEG-2 Compression
High definition video requires significantly more data than standard definition 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 MPEG-2 compression.
MPEG compression reduces the data rate by removing redundant visual information,
both on a per-frame basis and also across multiple frames.
Spatial (Intraframe) Compression
Within a single frame, areas of similar color and texture can be coded with fewer bits than
the original, thus reducing the data rate with a minimal loss in noticeable visual quality.
JPEG compression works in a similar way to compress still images. Intraframe compression
is used to create standalone video frames called I-frames (short for intraframe).
Temporal (Interframe) Compression
Instead of storing complete frames, temporal compression stores only what has
changed from one frame to the next, which dramatically reduces the amount of data
that needs to be stored while still achieving high-quality images. Video is stored in
three types of frames: a standalone I-frame that contains a complete image, and then
predictive P-frames and B-frames that store subsequent changes in the image. Every
half second or so, a new I-frame is introduced to provide a complete image on which
the P- and B-frames are based. Together, a group of I-, P-, and B-frames is called a group
of pictures, or GOP. HDV uses a long-GOP pattern, which means that there are several
P- or B- frames for each I-frame.
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-2” is
I-frame–only MPEG-2, in which only I-frames are used. Formats such as IMX use
I-frame–only MPEG-2, 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.
Therefore, while the decoding demands on your computer are decreased, there is
a greater demand for scratch disk speed and capacity.
Chapter 1 Working With HDV 13
For example, suppose you record some typical “talking head” footage, such as an
interview in which a seated person moves very little throughout the shot. Most of the
person’s body stays still, so most of the visual information is stored in an I-frame; the
subsequent P- and B-frames store only the changes from one frame to the next.
Because P- and B-frames depend on other frames to create a meaningful image, your
computer spends more processing power decoding HDV frames for display than it does
when displaying intraframe-only formats such as DV, uncompressed video, or the Apple
Intermediate Codec.
Editing HDV Using Apple Intermediate Codec
Instead of working with native MPEG-2 HDV video, you can transcode your HDV video
to the Apple Intermediate Codec during capture. The Apple Intermediate Codec is a
high-quality video codec optimized for playback performance and quality. Although
the data rate of the Apple Intermediate Codec is three to four times higher than the
data rate of the native MPEG-2 HDV, the processing requirements to play back your
video are less. Unlike MPEG-2 HDV, the Apple Intermediate Codec does not use
temporal compression, so every frame can be decoded and displayed immediately,
without first decoding other frames.
Working With HDV in Final Cut Pro
If you’ve previously worked with DV, you’ll find that the HDV workflow is similar. There
are two basic workflows for editing HDV footage in Final Cut Pro:
 Native MPEG-2 HDV editing: 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. As a
result, you may be able to play back fewer real-time effects when editing in this format.
However, there are many benefits to native HDV editing:
 Native HDV editing uses less disk space because long-GOP MPEG-2 HDV video has
a very low data rate.
 Outputting HDV to tape requires little processing before output because your
video is already in the native HDV format. Only segments of your sequence that
contain cuts or effects must be re-encoded, or conformed, to create the proper
HDV GOP pattern.
This workflow is useful for cuts-only edits that you want to quickly output back to
tape, or for export to other MPEG formats. For more information, see “Native HDV
Editing Workflow,” below.
14 Chapter 1 Working With HDV
 HDV editing using Apple Intermediate Codec: This method allows you to capture your
HDV footage using an intermediate, high-quality codec without temporal
compression. Using an I-frame–only codec avoids some of the decoding overhead
required for HDV footage.
The disadvantage of this workflow is that more scratch disk capacity is required for
your footage, and you cannot output HDV to tape without first re-encoding your
entire sequence back to native HDV. If your sequence is long, the re-encoding
process can be time-consuming. For more information, see “HDV Apple Intermediate
Codec Editing Workflow” on page 28.
Native HDV Editing Workflow
The steps for capturing, editing, and outputting HDV in Final Cut Pro are almost
identical to the workflow used for DV, but there are several important differences. The
differences between the HDV and DV workflows are highlighted in the steps below.
Step 1: Connect your HDV camcorder to your computer via FireWire
This step is similar to connecting a DV device via FireWire.
Step 2: Choose an HDV Easy Setup
Choose the HDV Easy Setup that corresponds to your HDV format.
Step 3: Log your footage and capture it to your scratch disk
This step 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.
 When capturing HDV, scene detection is always enabled. A scene break is embedded
data on tape that indicates where the camcorder was stopped and then started
again. Whenever Final Cut Pro detects a scene break in your incoming HDV footage,
a new media file and corresponding clip are created.
Step 4: Edit your HDV clips into a sequence
Editing HDV is similar to editing other formats in Final Cut Pro. However, there are
some differences:
 You cannot view native MPEG-2 HDV video on an external HDV device connected via
FireWire. As an alternative, you can use the Digital Cinema Desktop Preview option.
Important: The only way to output HDV video to an HDV device via FireWire is to use
the Print to Video command.
Chapter 1 Working With HDV 15
o camcord
Step 5: Output HDV back to tape, or export to a QuickTime movie
Before you can output or export your HDV sequence, Final Cut Pro needs to conform
any noncompliant GOPs to the correct I-, P-, and B-frame pattern. Conforming is a
necessary step for creating an acceptable MPEG-2 data stream for HDV devices.
Important: Conforming and rendering are not the same processes. Rendering
calculates the visual data for each frame, while conforming ensures that your sequence
has the proper GOP structure prior to output.
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.
Connecting an HDV Device to Your Computer
Once you have HDV footage on tape, you can connect your camcorder or VTR to your
computer to capture.
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.
Note: On some camcorders, this mode may be labeled “Play.”
2 Connect the 4-pin connector on one end of your FireWire cable to the 4-pin FireWire
port on your camcorder.
3 Connect the 6-pin connector on the other end of your FireWire cable to a FireWire 400
port on your computer.
4 Make sure your camcorder is in HDV mode, not DV mode.
For more information, see the documentation that came with your HDV device.
Computer
16 Chapter 1 Working With HDV
6-pin connector
to computer
H
FireWire
4-pin connector
t
er
HDV camcorder
in VTR mode
Choosing an Easy Setup
Final Cut Pro has three native HDV Easy Setups available: 1080i60, 1080i50, and 720p30.
Always choose the Easy Setup that corresponds to your HDV footage.
To choose an Easy Setup:
1 Choose Final Cut Pro > Easy Setup.
2 Choose an Easy Setup from the Setup For pop-up menu, then click OK.
Important: Make sure to choose an Easy Setup that matches the format of your
HDV source tapes.
Logging and Capturing Native HDV Footage
Once you’ve connected your camcorder and chosen the appropriate Easy Setup, you
can log and capture your footage. When you select a native HDV Easy Setup, the Log
and Capture window appears, specifically tailored for use with HDV.
For detailed instructions about logging and capturing, see the following chapters in the
Final Cut Pro 5 User Manual:
 Volume I, Chapter 17, “Overview of Logging and Capturing.”
 Volume I, Chapter 18, “Logging Clips.”
 Volume I, Chapter 19, “Capturing Your Footage to Disk.”
To open the Log and Capture window:
m Choose File > Log and Capture (or press Command-8).
The Log and Capture window appears.
Chapter 1 Working With HDV 17
About the Log and Capture Window
The Log and Capture window allows you to view your footage, set In and Out points,
enter log notes, select which tracks to capture, create clips, and capture media files.
Logging, Clip Settings, and
Capture Settings tabs
Resize control
Preview area
There are several areas in the Log and Capture window.
 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 enabled, the transport controls do not appear.
 Tabs: On the right are the Logging, Clip Settings, and Capture Settings tabs.
 Log and capture buttons: You click one of these buttons when you are ready to log a
clip or capture media.
The resize control in the lower-right corner allows you to adjust the size of the Log and
Capture window. This option is only available when you select an HDV Easy Setup.
Log and capture
buttons
18 Chapter 1 Working With HDV
Preview Area
This section of the Log and Capture window lets you view video from tape while you
log and capture it. The video preview area remains black until your camcorder or deck
is turned on and a tape is playing in the device. The following controls appear if your
camcorder or deck is on and properly connected, and device control is enabled.
Timecode Duration field
Video preview area
Shuttle control
Clip In Point
Timecode field
Current Timecode
field
Clip Out Point
Timecode field
Device
status
Available space
and time
Transport
controls
Important: If your computer has a PCI graphics card installed and you are logging or
capturing HDV footage, Final Cut Pro does not preview video or audio in the Log and
Capture window. You can still log and capture, but you need to use your HDV camcorder
display to preview video.
Video Preview Area
 Available space and time: Final Cut Pro displays the amount of available space on all
currently assigned scratch disks.
 Device status: Shows the readiness of camcorders and decks connected to your
computer and being controlled by Final Cut Pro. If you see “VTR OK,” your equipment
is connected and working properly.
 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.
 Current Timecode field: Displays the timecode number of the current frame of your
source tape. You can enter a timecode number in this field to navigate to that
timecode point on your tape.
∏ Tip: When using the Log and Capture window with a native HDV Easy Setup, you can
drag timecode values between the Log and Capture timecode fields by holding down
the Option key while you drag a timecode value from one field to another. Dragging
timecode from other windows is not supported.
Chapter 1 Working With HDV 19
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
Shuttle Control
A shuttle control similar to the one in the Viewer and Canvas is also 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. For more information about using
the J, K, and L keys for playback, see the Final Cut Pro 5 User Manual, Volume I,
Chapter 6, “Viewer Basics.”
Note: Tape playback is not as efficient as playback from media files on your hard disk.
It takes a few seconds for a tape to cue to the proper frames or change playback
direction. The video frames and timecode displayed on the camcorder LCD screen may
differ from the frames you see in the video preview area. This is because Final Cut Pro is
decoding the MPEG-2 HDV in real time.
20 Chapter 1 Working With HDV
Marking Controls
Use these to set In and Out points for a clip on tape.
Clip In Point
Timecode field
Go to In Point
The Log Bin button
contains the name of the
currently selected
logging bin.
Clip Out Point
Timecode field
Go to Out Point
Mark In
Mark Out
 Mark In (I): Click this to set the In point for a clip on tape.
 Clip In Point Timecode field: Shows the timecode value of the currently set In point.
 Go to In Point: Click this to cue the connected VTR to the currently set In point.
 Mark Out (O): Click this to set the Out point for a clip on tape.
 Clip Out Point Timecode field: Shows the timecode value of the currently set Out point.
 Go to Out Point: Click this to cue the connected camcorder or VTR to the currently set
Out point.
Tabs in the Log and Capture Window
The Log and Capture window has several tabs:
 Logging: Use this tab to add descriptive information to each clip that you log, such
as reel name, scene/take number, log notes, markers, and so on. Much of this
information can also be added later in the Browser.
New bin button
Logging fields
Marker controls
Chapter 1 Working With HDV 21
Select this option to
enable video capture.
Select this option to
enable audio capture.
Stereo/Mono control
Capture Audio
Channel control
 Clip Settings: 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.
Individual audio
channel meters
When an HDV Easy Setup is chosen, only two audio channels are available for
capture. You can choose to capture one or both audio channels, either as two
discrete mono tracks or a single stereo pair.
Click here to open the
Scratch Disk tab.
 Capture Settings: Use this tab to specify scratch disks for capture. You can also set
scratch disk settings by choosing Final Cut Pro > System Settings, and then clicking
the Scratch Disks tab.
Current scratch disk
capacity and capture
limitations shown here.
22 Chapter 1 Working With HDV
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.
 Capture Clip: Logs and captures a single clip with the current logging information,
clip settings, and capture settings.
 Capture Now: Captures the current video and audio input to a media file on disk until
you press the Escape key. No In or Out points are necessary. You can use this to
capture an entire tape in a single pass. When scene breaks are detected, new media
files and corresponding clips are created automatically.
 Capture Batch: Captures the selected clips in the Browser, or the clips in the currently
assigned logging bin.
Capturing Footage With Start/Stop Indicators
When you capture HDV footage, you can control how media files are created when
start/stop indicators and timecode breaks are detected. This behavior is slightly
different from the way DV footage is handled:
 When you capture DV: Start/Stop indicators can be detected after capture if you
select the clip and choose Mark > DV Start/Stop Detect.
 When you capture HDV: You can control whether start/stop indicators create
individual media files by selecting or deselecting the “Create new clip on Start/Stop”
checkbox in the Clip Settings tab of the Log and Capture window.
In the General tab of the User Preferences window, the option you choose from the
“On timecode break” pop-up menu determines how timecode breaks affect capture,
but the Warn After Capture option is disregarded to avoid capturing media files that
contain breaks in the middle of an MPEG-2 GOP.
Chapter 1 Working With HDV 23
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, then select an HDV
Easy Setup from the “Setup for” pop-up menu.
2 Choose File > Log and Capture (or press Command-8), then click Clip Settings.
3 Select or deselect the “Create new clip on Start/Stop” checkbox to turn start/stop
detection on or off:
 Start/Stop detection on: When the checkbox is selected, a new media file and
corresponding clip are created each time Final Cut Pro detects start/stop indicators in
the incoming HDV stream.
 Start/Stop detection off: When the checkbox is deselected, one continuous media file
and corresponding clip are created, and start/stop indicators are ignored.
Note: The option to turn off start/stop detection is available only when you capture
HDV footage shot on a Sony camcorder. When capturing footage shot on a JVC HDV
camcorder, the nature of the MPEG-2 stream requires creation of a new media file at
each start/stop indicator.
To determine how timecode breaks are handled when you capture HDV:
1 Choose Final Cut Pro > User Preferences, then click the General tab.
2 Choose an option from the “On timecode break” pop-up menu:
 Make New Clip: This is the default option. Whenever a timecode break is detected
during capture, Final Cut Pro finishes writing the current media file to disk and then
begins capturing a new media file. A clip corresponding to the new media file is also
created in the Browser.
 Abort Capture: If you choose this option, Final Cut Pro stops capture immediately
when a timecode break is detected. All media captured before the timecode break
has frame-accurate timecode and is preserved. The resulting media files are saved
and the corresponding clips are placed in the Browser.
Depending on the signal on tape, you may see one of two messages when a
timecode break is detected:
 A “stream error” message
 A “timecode break error” message
 Warn After Capture: When you capture HDV, this option behaves identically to the
Abort Capture option.
24 Chapter 1 Working With HDV
How Clips Are Named When Start/Stop Indicators
and Timecode Breaks Are Detected
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 there is already a media file
named “Cafe Wide Shot-1,” the new media file is named “Cafe Wide Shot-2,” and so on.
Recapturing HDV Footage
Recapturing HDV footage is similar to recapturing other video formats. It is important
that your clips contain accurate timecode or you may have difficulty recapturing. For
more information about recapturing footage, see the Final Cut Pro 5 User Manual,
Volume I, Chapter 19, “Capturing Your Footage to Disk.”
Important: Some HDV camcorders do not record timecode, so recapturing media files
from tapes recorded by these camcorders may result in new media files with an offset
of one or two frames.
Using an HDV Camcorder to Capture or Output DV Footage
You can use an HDV camcorder as a standard DV device. However, before doing this,
make sure that:
 The Log and Capture window is closed.
 The camcorder is set to DV mode, not HDV mode. For more information, see the
documentation that came with your camcorder.
 You choose the proper DV Easy Setup before opening the Log and Capture window.
Editing HDV Footage
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.
These processes happen automatically, but it is a good idea to understand why
they are necessary.
Chapter 1 Working With HDV 25
When you edit two HDV clips together in a sequence, the GOP pattern is typically
broken. In particular, cutting an HDV clip can remove the I-frame that subsequent
P- and B-frames rely on for picture information. When this happens, Final Cut Pro must
preserve the I-frame for these other frames to reference, even though the I-frame is no
longer displayed in the sequence. This requires additional processing power and
memory not necessary for I-frame–only editing (such as DV editing). During playback,
this process happens in real time. For output and export, Final Cut Pro re-encodes (or
conforms) the areas of your sequence that require new I-frames or GOPs.
Note: Some applications, such as DVD Studio Pro, support simple MPEG-2 editing, in
which you are allowed to cut only at GOP boundaries. Final Cut Pro allows you to cut
on any frame.
Outputting HDV to Tape or Exporting to a QuickTime Movie
To prepare for output, any effects in your HDV sequence need to be rendered, and then
the sequence must be conformed to create a proper MPEG-2 output stream. These
steps happen automatically when you begin a Print to Video operation.
Rendering and Conforming MPEG-2 Media for Output
Before you can output or export your HDV sequence, Final Cut Pro needs to process
your media in two ways:
 Render any applied transitions and effects, as well as any leader and trailer elements
included in the Print to Video dialog.
 Conform any noncompliant GOPs to the correct I-, P-, and B-frame pattern. Any
segments of your sequence that contain cuts, transitions, or other applied effects must
be conformed to standard MPEG-2 GOP structures before output, creating new
I-frames and GOP boundaries where necessary. Conforming also ensures that your HDV
sequence has the proper data rate for the HDV format you are outputting. The time
required for conforming depends on the number of edits and effects in your sequence.
During a Print to Video operation, Final Cut Pro renders and conforms video in a single
pass, storing properly conformed media within your sequence’s render files. As a result,
subsequent Print to Video operations don’t need to conform the video unless you
make changes to your sequence.
Note: Leader and Trailer elements, as well as gaps in your sequence, are rendered and
conformed each time you use the Print to Video command.
26 Chapter 1 Working With HDV
Conforming While Rendering in the Timeline
You can generate properly conformed render files for your sequence by enabling all
options in the Render All, Render Selection, and Render Only submenus located in the
Sequence menu. For example, if you enable rendering for all real-time and render
statuses in the Render Selection submenu, and then choose Sequence > Render
Selection, the render files created for selected video items in the Timeline are
conformed with proper GOP structures. When you output to tape or export using
QuickTime conversion, these render files are already properly conformed, reducing
the time required for final rendering and conforming.
∏ Tip: You can disable conforming during rendering in the Timeline by deselecting one
or more real-time/render statuses in the appropriate Render submenu of the
Sequence menu.
Using the Print to Video Command to Output HDV
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.
To output your HDV sequence to tape:
1 Make sure your camcorder is properly connected to your computer via FireWire.
For more information, see “Connecting an HDV Device to Your Computer” on page 16.
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.
5 Select any Leader or Trailer elements you want to include on your tape, as well as start,
end, and looping options.
∏ Tip: If you want Final Cut Pro to start recording automatically, select the Automatically
Start Recording checkbox.
Chapter 1 Working With HDV 27
6 Click OK.
If any segments of your sequence require rendering or conforming, Final Cut Pro
renders and conforms them now. A progress dialog appears indicating the amount of
time that remains until rendering and conforming are complete. Any segments of your
sequence where GOP boundaries were broken (such as the frames around edit points
or any frames with added filters, motion parameters, and so on) are conformed.
A second progress dialog briefly appears indicating the time it takes to process Leader,
Trailer, and gap elements in your sequence.
A dialog appears when your sequence is ready for output.
7 If you did not select the Automatically Start Recording checkbox in the Print to Video
dialog, press the record button on your camcorder or deck, then click OK.
If your tape is write-protected or if frames are dropped during the Print to Video
operation, a dialog appears allowing you to try the operation again.
Note: When using the Print to Video command with a JVC ProHD device, you can
output sequence timecode to tape. For more information about proper deck settings,
see the documentation included with your JVC device.
HDV Apple Intermediate Codec Editing Workflow
When you edit using footage encoded with the Apple Intermediate Codec, you don’t need
to worry about making cuts on GOP patterns or re-encoding. You can edit just as you
would with any other I-frame–only encoded footage, such as DV or uncompressed video.
The main drawbacks to using the Apple Intermediate Codec for editing HDV footage
are that the required disk space is significantly larger and conforming your media for
output back to tape can be very time-consuming.
Step 1: Connect your HDV camcorder to your computer via FireWire
Step 2: Choose the appropriate Apple Intermediate Codec HDV Easy Setup
Step 3: Capture your footage to disk
Step 4: Edit your HDV clips into a sequence
Step 5: Re-encode and output back to tape, or export to a QuickTime movie
Connecting an HDV Device to Your Computer
This step is identical to connecting your HDV camcorder for MPEG-2 HDV capture. For
details, see “Connecting an HDV Device to Your Computer” on page 16.
28 Chapter 1 Working With HDV
Choosing an Easy Setup
Final Cut Pro includes Easy Setups for capturing and editing HDV transcoded to the
Apple Intermediate Codec.
To choose the HDV Apple Intermediate Codec Easy Setup:
1 Choose Final Cut Pro > Easy Setup.
2 Choose the appropriate HDV Apple Intermediate Codec Easy Setup from the Setup For
pop-up menu.
3 Click OK.
Capturing HDV Video to the Apple Intermediate Codec
Capturing HDV video is very similar to capturing DV video using the Capture Now
feature. The main differences are:
 The Log and Capture window is not used.
 Capturing HDV video may not take place in real time because transcoding HDV
frames into the Apple Intermediate Codec requires special processing steps.
To capture HDV footage to the Apple Intermediate Codec:
1 Click in the Browser to make it active, then choose File > New Bin.
2 Control-click the bin, then choose Set Logging Bin from the shortcut menu.
Your captured clips will be placed in this bin.
3 Name the bin, then press Enter.
4 Choose File > Log and Capture (or press Command-8).
A Capture dialog appears instead of the Log and Capture window.
5 In the Capture dialog, enter a name for the clip, then click Capture.
The capture preview window appears and the camcorder begins playing back video
from its current position. The status area of the capture preview window displays the
percentage of real time in which the video is being encoded from HDV to the
Apple Intermediate Codec.
6 Press the Esc (Escape) key to stop capturing.
The video playback on the camcorder stops immediately. The capture preview window
may lag behind, displaying where the video is in the encoding process. As these frames
are processed, the status area of the capture preview window displays the percentage
of frames left to process.
Note: Pressing the Esc key a second time stops the encoding process and cancels
the capture.
After the capture preview window closes, the captured clip appears in your Logging Bin.
Chapter 1 Working With HDV 29
Capturing Footage With Scene Breaks
When you capture HDV footage using the Apple Intermediate 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.” When a scene
or timecode break is detected, Final Cut Pro stops writing the first media file and
begins writing a new file named “Cafe Entrance-1.” Subsequent breaks create media
files and clips named “Cafe Entrance-2,” “Cafe Entrance-3,” and so on.
Editing Video Using the Apple Intermediate Codec
Editing HDV video in the Apple Intermediate 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 of the Apple Intermediate Codec. For more information about HDV data
rates, see “HDV Format Specifications” on page 33.
Outputting HDV to Tape or Exporting to a QuickTime Movie
After you finish editing, you can output your movie to videotape using your camcorder,
or export your sequence to a QuickTime movie. If you want to output your movie back
to tape, Final Cut Pro needs to re-encode (or conform) the movie into MPEG-2 data
before outputting. Depending on the length of your sequence, this process can be
fairly time-consuming, because every frame in your sequence must be re-encoded.
To output Apple Intermediate Codec HDV video to videotape:
1 Make sure your HDV camcorder is properly connected to your computer and turned on
before you open Final Cut Pro.
2 Insert a DV tape into the HDV camcorder.
3 Click anywhere in the Timeline or Canvas to make it the active window.
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.
30 Chapter 1 Working With HDV
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