Apple Final Cut Pro - 6 Working With High Definition and Broadcast Formats
Final Cut Pro 6
Working with High Definition
and Broadcast Formats
K
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1
Contents
Preface 9 About High Definition and Broadcast Formats
9
Overview of High Definition Video Formats
11
About the Apple ProRes 422 Codec
12
About the Apple Intermediate Codec
Chapter 1 13 Working with HDV
13
About HDV
14
HDV Formats Supported by Final Cut Pro
15
About MPEG Compression
17
Working with HDV in Final Cut Pro
17
Native HDV Editing Workflow
18
Steps for Native HDV Editing
19
Connecting an HDV Device to Your Computer
19
Choosing an Easy Setup
20
Logging and Capturing Native HDV Footage
28
Editing HDV Footage
29
Rendering and Conforming Long-GOP MPEG-2 Media
30
Using the Print to Video Command to Output HDV
32
Transcoded HDV Editing Workflow
32
Steps for Transcoded HDV Editing
32
Connecting an HDV Device to Your Computer
33
Choosing an Easy Setup
33
Capturing and Transcoding HDV Video
35
Editing Video Using Transcoded HDV Footage
35
Outputting HDV to Tape or Exporting to a QuickTime Movie
36
Exporting HDV for DVD Studio Pro
37
Using the Canon XL H1 HDV Camcorder
38
Using the Sony HVR-V1 HDV Camcorder
39
HDV Format Specifications
Chapter 2 43 Working with DVCPRO HD
43
About DVCPRO HD
44
DVCPRO HD Formats Supported by Final Cut Pro
3
45
DVCPRO HD Frame Rates
48
Working with DVCPRO HD in Final Cut Pro
48
Connecting a DVCPRO HD Device to Your Computer
49
Choosing a DVCPRO HD Easy Setup
49
Logging and Capturing Your DVCPRO HD Footage
51
Editing DVCPRO HD Footage
52
Outputting Your DVCPRO HD Sequence
53
Using the DVCPRO HD Frame Rate Converter
53
Choosing an Intended Playback Rate
54
How DVCPRO HD Variable Frame Rate Recording Works
56
About the DVCPRO HD Frame Rate Converter
57
About the Frame Rate Converter Options
59
Using the Frame Rate Converter
59
Working with 24p DVCPRO HD
59
Working with 1080pA24 DVCPRO HD Video
61
Working with 720p24 DVCPRO HD Video
62
DVCPRO HD Format Specifications
Chapter 3 67 Working with IMX
67
About IMX
68
IMX Formats Supported by Final Cut Pro
68
About MXF
68
Working with IMX in Final Cut Pro
69
Transferring IMX Footage to Your Computer
69
Importing MXF-Wrapped IMX Media Files into Your Project
69
Choosing an IMX Easy Setup
Editing IMX Clips into a Sequence
69
69
Exporting IMX QuickTime Media Files
70
IMX Format Specifications
Chapter 4 73 Using the Log and Transfer Window
74
About File-Based Media
74
About the Log and Transfer Window
76
File-Based Media Terminology
78
Sample File-Based Media Workflow
80
Mounting Media Devices
80
Using Folders with Valid File-Based Media Folder Structure
80
Using the Browse Area
81
Controls in the Browse Area
83
Adding Volumes and Folders to the Browse Area
83
Selecting Clips in the Browse Area
84
Deleting Clips Directly from Storage Media
84
Using the Preview Area
4
Contents
85
Transport Controls in the Preview Area
85
Restrictions During Preview
86
Using the Logging Area
86
Using Autofill Cache Logging Information
87
Incrementing Logging Fields
87
Setting Audio and Video Clip Import Settings
88
Using the Transfer Queue
88
Adding Clips to the Transfer Queue for Ingest
89
Organizing Clips in the Transfer Queue
89
Pausing and Stopping Ingest
89
Filenaming and Clip Naming During Ingest
90
Reingesting Clip Media
91
Working with Spanned Clips
92
Viewing Spanned Clips in the Browse Area
93
Archiving File-Based Media from Cards
93
Archiving to a Folder
94
Archiving to a Disk Image
95
Setting Log and Transfer Import Preferences
Chapter 5 97 Working with Panasonic P2 Cards
97
About Panasonic P2 Cards and Media Files
98
Working with Panasonic P2 Cards and Final Cut Pro
98
Recording Footage with a P2 Camcorder
99
Mounting P2 Cards, Disk Images, and Folders
10 2
Deleting P2 Clips Directly in the Log and Transfer Window
10 2
Restrictions During Preview
Removing Advanced Pull-Down and Duplicate Frames During Transfer
10 3
10 3
Working with Spanned Clips
10 4
Using Print to Video to Output to P2 Cards in the AG-HVX200 Camcorder
10 5
Capturing over FireWire as if a P2 Card Were a Tape in a VTR
10 7
Panasonic AG-HVX200 Camcorder Compatibility
10 9
Panasonic P2 Card Format Specifications
Chapter 6 111 Working with AVCHD
111
About AVCHD
111
AVCHD Formats Supported by Final Cut Pro
112
Working with AVCHD in Final Cut Pro
112
Transferring AVCHD Footage
112
Restrictions When Working with AVCHD
113
Restrictions During Preview
113
Choosing an AVCHD Destination Codec
11 4
AVCHD Format Specifications
Contents
5
Chapter 7 117 Working with AVC-Intra
117
About AVC-Intra
117
AVC-Intra Formats Supported by Final Cut Pro
11 8
Working with AVC-Intra in Final Cut Pro
11 8
Restrictions When Working with AVC-Intra
11 8
Restrictions During Preview
11 8
Choosing an AVC-Intra Destination Codec
11 9
AVC-Intra Format Specifications
Chapter 8 121 Working with Sony XDCAM Formats
121
About XDCAM, XDCAM HD, and XDCAM EX
12 2
XDCAM Formats Supported in Final Cut Pro
12 2
XDCAM HD Formats Supported in Final Cut Pro
12 3
XDCAM EX Formats Supported in Final Cut Pro
12 4
Working with XDCAM, XDCAM HD, and XDCAM EX in Final Cut Pro
12 4
Installing Sony XDCAM Software
12 5
Connecting an XDCAM, XDCAM HD, or XDCAM EX Device to Your Computer
12 6
Ingesting XDCAM, XDCAM HD, or XDCAM EX Media
12 6
Choosing an Easy Setup and Editing XDCAM Media in Final Cut Pro
12 7
Choosing an Easy Setup and Editing XDCAM HD or XDCAM EX Media in Final Cut Pro
12 7 Rendering and Conforming XDCAM HD or XDCAM EX Media
12 7 Exporting Sequences to XDCAM, XDCAM HD, or XDCAM EX Media
12 8 XDCAM, XDCAM HD, and XDCAM EX Format Specifications
Chapter 9 131 Working with REDCODE RAW
131 About REDCODE RAW
13 2 About the RED ONE Camera
13 3 Working with REDCODE RAW in Final Cut Pro
13 4 Native REDCODE RAW Editing Workflow for Film
13 5 Transferring REDCODE RAW Media Files to Your Computer
13 6 Choosing the RED FCP Log and Transfer Plug-in for Transfer
13 6 Logging and Transferring REDCODE RAW Footage
13 6 Editing Video for Output to Color
13 6 Outputting to Color
13 7 Outputting DPX Files for Finishing
13 7 Transcoded REDCODE RAW Editing Workflow for Video
13 8 Transferring REDCODE RAW Media Files to Your Computer
13 9 Choosing the Apple ProRes 422 (HQ) Codec for Transcoding
13 9 Logging and Transferring REDCODE RAW Footage
13 9 Editing Video Using Transcoded REDCODE RAW Footage
14 0 Grading Your Transcoded Footage with Color
14 0 Outputting to Tape or Exporting to Compressor
141 REDCODE RAW Format Specifications
6
Contents
Chapter 10 143 Working with Sony Video Disk Units
14 3 About Sony Video Disk Units
14 4 Importing Footage from a Sony Video Disk Unit
14 4 Setting Up a Sony Video Disk Unit
14 4 Importing DV Media from a Sony Video Disk Unit
Contents 7
About High Definition
and Broadcast Formats
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 broadcast and high definition formats.
This chapter covers the following:
 Overview of High Definition Video Formats (p. 9)
 About the Apple ProRes 422 Codec (p. 11)
 About the Apple Intermediate Codec (p. 12)
Overview of High Definition Video Formats
Digital high definition (HD) formats are defined by their vertical resolutions (number of
lines), scanning methods (interlaced versus progressive), and frame or field rates. For
example, the 1080i60 format has 1080 lines per frame, uses interlaced scanning
(indicated by the i), and scans 59.94 fields per second. HD frame rates are compatible
with NTSC, PAL, or film.
Preface
Note: For comparison to HD formats, standard definition (SD) video formats are now
defined in similar terms. For example, 480i60 has 480 lines, interlaced scanning, and
59.94 fields per second (NTSC).
9
The following table shows the HD formats in common use today.
NTSC-Compatible HD Formats
Format Description
1080i60 Has high-resolution frames, is able to capture fast movement, and
has reduced vertical resolution due to interlacing.
Easily downconverts to NTSC.
1080p30 Has high-resolution frames.
Movement is less smooth but resolution is higher than interlaced
formats in areas of movement.
720p60 Captures fast-action movement with clarity. However, still frames
have lower resolution than 1080-line still frames.
Is ideal for sports videography and commercial television.
Easily downconverts to NTSC.
720p30 Is a variant of 720p60 with a lower frame rate.
PAL-Compatible HD Formats
Format Description
1080i50 Has high-resolution frames, is able to capture fast movement, and
has reduced vertical resolution due to interlacing.
Easily downconverts to PAL.
1080p25 Has high-resolution frames.
Movement is less smooth but resolution is higher than interlaced
formats in areas of movement.
720p50 Captures fast-action movement with clarity. However, still frames
have lower resolution than 1080-line still frames.
Is ideal for sports videography and commercial television.
Easily downconverts to PAL.
720p25 Is a variant of 720p50 with a lower data rate.
Can be slowed down to 24 fps for film transfers or downconverted
to PAL.
Film-Compatible HD Formats
Format Advantages
1080p24 Has the resolution, scanning method, frame rate, and aspect ratio
closest to film.
720p24 Is the same as 1080p24, but with lower resolution.
Is ideal for a “film transferred to video” look.
10 Preface About High Definition and Broadcast Formats
About the Apple ProRes 422 Codec
The Apple ProRes 422 codec is a high-quality 10-bit 4:2:2 video codec designed for
demanding post-production workflows. Both SD and HD resolutions are supported
at two quality levels—standard and high. All standard frame rates are available:
23.98, 25, 29.97, 50, and 59.94 fps. The standard-quality format is called Apple ProRes 422
and the high-quality format is called Apple ProRes 422 (HQ).
The following Apple ProRes 422 codec formats are available in both high and
standard quality.
Format Frame dimensions Frame rate Scanning method
1080i 1440 x 1080
1920 x 1080
1080p 1440 x 1080
1920 x 1080
720p 1280 x 720
960 x 720
486i (NTSC)
486p
576i (PAL)
576p
720 x 486 29.97 fps Interlaced
720 x 576 25 fps Interlaced
25, 29.97, and 30 fps Interlaced
23.98, 24, 25, 29.97, and
30 fps
23.98, 24, 25, 29.97, 30,
50, 59.94, and 60 fps
Progressive
Progressive
Progressive
Progressive
The Apple ProRes 422 codec uses variable bit rate (VBR) encoding. The actual bit rate
depends on the dimensions, frame rate, image complexity, and quality you are using.
The following table shows several sample bit rates.
Average bit rate
Format Frame dimensions
1080i60, 1080p30
720p60
1080p24 1920 x 1080 176 Mbps 117 Mbps
720p50 1280 x 720 184 Mbps 122 Mbps
720p30 1280 x 720 110 Mbps 73 Mbps
720p24 1280 x 720 88 Mbps 58 Mbps
486i60
486p30
576i50
576p25
1
247.5 Mbps is the maximum data rate allowed.
2
165 Mbps is the maximum data rate allowed.
1920 x 1080
1280 x 720
720 x 486 63 Mbps 42 Mbps
720 x 576 61 Mbps 41 Mbps
(high quality)
1
Mbps 1472 Mbps
220
Average bit rate
(standard quality)
Preface About High Definition and Broadcast Formats 11
Here are some advantages of using the Apple ProRes 422 codec:
 Provides lower storage costs compared to the Uncompressed 8-bit and 10-bit codecs.
 Can be used to capture using a third-party video interface with SDI or HD-SDI inputs.
 Can be used to transcode formats that Final Cut Pro does not support natively.
 Can be used to render long-GOP MPEG-2 formats (such as HDV and XDCAM HD) to
avoid MPEG-2 reencoding artifacts before output.
 The Apple ProRes 422 codec used with video processing sequence settings set for
high-precision YUV rendering can be used for preview screenings (avoiding costly
film transfers) and for color grading.
 The Apple ProRes 422 (HQ) codec can be used for output to a high-end mastering
format or even for output to film on lower-budget productions.
The Apple ProRes 422 Codec Works with 8-Bit and 10-Bit Source Files
The Apple ProRes 422 codec always preserves the bit depth of your original source
files. This way, when you import a file using the Apple ProRes 422 codec, you don’t
have to first determine whether it is an 8-bit or 10-bit file—the Apple ProRes 422
codec can automatically handle either bit depth.
About the Apple Intermediate Codec
The Apple Intermediate Codec is a high-quality 8-bit 4:2:0 video codec used mainly as a
less processor-intensive way of working with long-GOP MPEG-2 footage such as HDV.
Format Frame dimensions Frame rate Scanning method
720p 1280 x 720 29.97 fps Progressive
1080i 1440 x 1080 25 and 29.97 fps Interlaced
1080p 1440 x 1080 23.98, 25, and 29.97 fps Progressive
12 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. 13)
 Native HDV Editing Workflow (p. 17)
 Transcoded HDV Editing Workflow (p. 32)
 Using the Canon XL H1 HDV Camcorder (p. 37)
 Using the Sony HVR-V1 HDV Camcorder (p. 38)
 HDV Format Specifications (p. 39)
1
About HDV
HDV is an HD format created by a consortium of manufacturers including Sony, Canon,
Sharp, and JVC. HDV allows you to record an hour of HD 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 as the DV data rate. 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.
13
HDV Formats Supported by Final Cut Pro
Within the HDV specification, 1080-line and 720-line formats using several frame rates
are defined. Final Cut Pro supports the following HDV formats.
59.94 fps Formats
Final Cut Pro
Format
1080i60 HDV - 1080i60 1440 x 1080 25 Mbps
1080i60 (Canon) HDV - 1080i60
1080F30 (Canon) HDV - 1080p30
1080F24 (Canon) HDV - 1080p24
720p60 HDV - 720p60 1280 x 720 18.3 Mbps
720p30 HDV - 720p30 1280 x 720 18.3 Mbps
720p24 HDV - 720p24 1280 x 720 18.3 Mbps
Easy Setup
FireWire Basic
FireWire Basic
FireWire Basic
25 fps Formats
Final Cut Pro
Format
1080i50 HDV - 1080i50 1440 x 1080 25 Mbps
1080i50 (Canon) HDV - 1080i50
1080F25 (Canon) HDV - 1080p25
720p50 HDV - 720p50 1280 x 720 18.3 Mbps
720p25 HDV - 720p25 1280 x 720 18.3 Mbps
Easy Setup
FireWire Basic
FireWire Basic
Frame dimensions Video data rate
1440 x 1080 25 Mbps
1440 x 1080 25 Mbps
1440 x 1080 25 Mbps
Frame dimensions Video data rate
1440 x 1080 25 Mbps
1440 x 1080 25 Mbps
14 Chapter 1 Working with HDV
Standard Definition Recording with an HDV Camcorder
In addition to recording HD 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. (You
should also avoid recording HDV footage using different frame sizes and frame rates
on the same tape.) This can cause problems during capture and playback.
An additional format defined within the HDV specification, known as SD, is available
on some JVC camcorders. Final Cut Pro does not support this format.
About MPEG Compression
HD video requires significantly more data than SD 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 long-GOP MPEG compression. MPEG compression
reduces the data rate by removing redundant visual information, both on a per-frame
basis and also across multiple frames.
Note: HDV specifically employs MPEG-2 compression, but the concepts of long-GOP
and I-frame-only compression discussed below apply to all versions of the MPEG
standard: MPEG-1, MPEG-2, and MPEG-4 (including AVC/H.264). For the purposes of this
general explanation, the term MPEG here may refer to any of these formats.
Spatial (Intraframe) Compression
Within a single frame, areas of similar color and texture can be coded with fewer bits
than the original frame, 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 bipredictive 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 subsequent 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 is at least one P- or B-frame for each I-frame.
Chapter 1 Working with HDV 15
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 is
I-frame-only MPEG, in which only I-frames are used. Formats such as IMX use
I-frame-only MPEG, 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, although the decoding demands on your computer are decreased, there
is a greater demand for scratch disk speed and capacity.
1080-line HDV media uses an open GOP structure, which means that B-frames in the
MPEG stream can be reliant on frames in adjacent GOPs. 720-line HDV media uses a
closed GOP structure, which means that each GOP is self-contained and does not rely
on frames outside the GOP.
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.
Transcoding HDV to Other Apple Codecs
Instead of working with native MPEG-2 HDV video, you can transcode your HDV video
to the Apple Intermediate Codec or Apple ProRes 422 codec during capture. For more
information about these codecs, see “About the Apple Intermediate Codec” on
page 12 and “About the Apple ProRes 422 Codec” on page 11.
Unlike MPEG-2 HDV, these Apple codecs do not use temporal compression, so every
frame can be decoded and displayed immediately, without first decoding other frames.
You can also capture and edit native HDV but render your footage using the
Apple ProRes 422 codec. For more information, see “Rendering HDV” on page 29.
16 Chapter 1 Working with HDV
Working with HDV in Final Cut Pro
If you’ve previously worked with DV, you’ll find that the HDV workflow is similar.
However, the nature of MPEG-2 long-GOP editing can add significant rendering time
when editing native HDV. To avoid this, you may want to choose one of the other
HDV editing workflows.
There are three workflows for working with HDV footage in Final Cut Pro:
 Native MPEG-2 HDV capturing, editing, and rendering: For more information, see
“Native HDV Editing Workflow” on page 17.
 Transcoding, editing, and rendering using an alternative codec: For more information,
see “Transcoded HDV Editing Workflow” on page 32.
 Native MPEG-2 HDV capturing and editing, but rendering using the Apple ProRes 422
codec: For more information, see “Rendering HDV” on page 29.
Native HDV Editing Workflow
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 reencoded, 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.
Chapter 1 Working with HDV 17
Steps for Native HDV Editing
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 and add effects
Editing HDV is similar to editing other formats in Final Cut Pro. However, you cannot
view native MPEG-2 HDV video on an external HDV device connected via FireWire. You
can monitor HDV video via DV FireWire, a third-party video interface, or 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.
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. Rendering calculates the
visual data for each frame, whereas 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.
18 Chapter 1 Working with HDV
o camcord
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 connector on one end of your FireWire cable to the FireWire port on
your camcorder.
3 Connect the 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.
6-pin connector
to computer
HDV camcorder
H
in VTR mode
FireWire
Computer
4-pin connector
t
er
Choosing an Easy Setup
Final Cut Pro has several native HDV Easy Setups available. Always choose the Easy Setup
that corresponds to your footage.
To choose an Easy Setup:
1 Choose Final Cut Pro > Easy Setup.
2 Choose HDV from the Format pop-up menu.
3 Choose “(all rates)” from the Rate pop-up menu.
4 Click the Use pop-up menu to see all of the Easy Setups related to your choice in the
Format pop-up menu.
You can further refine the list by choosing a specific frame rate from the Rate
pop-up menu.
Chapter 1 Working with HDV 19
5 Choose an Easy Setup from the Use pop-up menu.
Important: Make sure to choose an Easy Setup that matches the format of your
HDV source tapes.
6 Click Setup.
The corresponding capture, sequence, and device control presets are loaded, as well
as A/V device settings.
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 6 User Manual:
 Volume I, Chapter 15, “Overview of Logging and Capturing.”
 Volume I, Chapter 16, “Logging Clips.”
 Volume I, Chapter 17, “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.
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.
Preview area
20 Chapter 1 Working with HDV
Logging, Clip Settings, and
Capture Settings tabs
Resize control
Log and capture buttons
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 available only when you select an HDV Easy Setup.
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.
Chapter 1 Working with HDV 21
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.
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
Stop
22 Chapter 1 Working with HDV
Play
Fast-Forward
Play Around
Current Frame
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 6 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 frame 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.
Marking Controls
Use these to set In and Out points for a clip on tape.
Clip In Point
Timecode field
Go to In Point
Clip Out Point
Timecode field
Go to Out Point
Mark In
Mark Out
 Mark In: Click this (or press I) 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: Click this (or press O) 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.
Chapter 1 Working with HDV 23
Tabs in the Log and Capture Window
The Log and Capture window has several tabs you can use for logging and capturing
your HDV footage.
Logging Tab
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.
The Log Bin button
contains the name of the
currently selected
logging bin.
Select this option to
enable video capture.
Select this option to
enable audio capture.
Stereo/Mono control
New Bin button
Logging fields
Marker controls
Clip Settings Tab
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
Capture Audio
Channel control
24 Chapter 1 Working with HDV
When an HDV Easy Setup is chosen, only two audio channels are available for capture.
You can choose to capture one channel or you can capture both audio channels, either
as two discrete mono tracks or a single stereo pair.
Capture Settings Tab
Use this tab to specify scratch disks for capture. You can also specify scratch disk settings
by choosing Final Cut Pro > System Settings and then clicking the Scratch Disks tab.
Click here to open the
Scratch Disks tab.
Current scratch disk
capacity and Capture
Now settings are
shown here.
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.
Chapter 1 Working with HDV 25
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.
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, choose HDV from
the Format pop-up menu, and then choose an Easy Setup from the Use 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 not available when capturing
footage shot on a JVC HDV camcorder because the nature of the MPEG-2 stream
requires creation of a new media file at each start/stop indicator.
26 Chapter 1 Working with HDV
To determine how timecode breaks are handled when you capture HDV footage:
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.
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 6 User Manual,
Volume I, Chapter 17, “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.
Chapter 1 Working with HDV 27
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. The
additional processing happens automatically, but it is a good idea to understand
why it is necessary.
About Long-GOP Editing and Rendering
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 refer to, even though the I-frame is no
longer displayed in the sequence. Final Cut Pro reconforms the broken GOPs in the
vicinity of the edit and leaves the subsequent GOPs unchanged.
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 reencodes (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. Although you cannot set Final Cut Pro to edit on GOP boundaries only,
you can transcode your source files to the Apple ProRes 422 codec, ensuring
I-frame-only editing, or you can temporarily turn off the reconforming of the GOP
boundaries by deselecting one or more render status categories in the appropriate
Render submenu of the Sequence menu.
Improving HDV Rendering by Using the Apple ProRes 422 Codec
To save time during rendering, you can set up your native HDV sequence to render
using the Apple ProRes 422 codec. Using the Apple ProRes 422 codec also produces
high-quality 4:2:2 render files that, in some cases, may be higher quality than rendering
back to native HDV.
28 Chapter 1 Working with HDV
Rendering and Conforming Long-GOP MPEG-2 Media
Before you can output or export a native 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.
Note: Because HDV, XDCAM HD, and XDCAM EX constant bit rate (CBR) footage use an
identical format, the information in this section also applies when rendering XDCAM HD
and XDCAM EX footage.
Rendering HDV
When you render segments of an HDV sequence, you can choose to create render files
using either:
 Native MPEG-2 HDV
 The Apple ProRes 422 codec
To choose the render file format in an HDV sequence:
1 Select your sequence in the Browser or Timeline.
2 Choose Sequence > Settings, then click the Render Control tab.
3 From the Codec pop-up menu, choose one of the following options:
 Same as Sequence Codec: This option enables rendering with the native HDV codec
of your sequence.
 Apple ProRes 422 Codec: This option enables rendering with the Apple ProRes 422 codec.
Creating Render Files Using Native MPEG-2 HDV
Rendering native MPEG-2 HDV takes longer than rendering other formats because of
the interframe compression this format uses. The advantages to rendering natively are:
 Conforming and rendering for export or output to HDV tape happens faster because
the render files are already in the necessary format. If you aren’t outputting to an
HDV format, this may not be an advantage.
 Native HDV render files are smaller than those generated by other HD I-frame-only codecs.
However, if native rendering is slowing down the pace of your editing, you can choose
to render using the Apple ProRes 422 codec.
Chapter 1 Working with HDV 29
Creating Render Files Using the Apple ProRes 422 Codec
To improve rendering performance while editing, you can render segments of your
native HDV, XDCAM HD, and XDCAM EX sequences using the Apple ProRes 422 codec.
Because Final Cut Pro supports mixed-format sequences, you can play back the entire
sequence, including the Apple ProRes 422 codec render files, in real time.
Conforming While Rendering in the Timeline
If you choose to use native HDV render files while you edit, your render files can be
conformed when they are rendered. You can generate properly conformed render files
for your sequence by enabling all options in the Render All, Render Selection, and
Render Only submenus of the Sequence menu.
For example, if you enable rendering for all render status categories in the Render
Selection submenu and then choose Sequence > Render Selection > Video, 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 the Export QuickTime Movie
command, 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 render status categories 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 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.
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. However, leader and trailer elements, as well as gaps in your
sequence, are rendered and conformed each time you use the Print to Video command.
30 Chapter 1 Working with HDV
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