Managing and Revealing Master Clips
In previous versions of Final Cut Pro, affiliate clips shared data with a master clip stored in the Browser. If you deleted the master clip, a dialog would appear requesting confirmation that you wanted to break the master-affiliate clip relationship. If you clicked OK, all of the affiliated clips would become independent. In Final Cut Pro 5.1.2, deleting a master clip no longer breaks the relationship between affiliated clips. Instead, the master-affiliate clip relationship still exists even when the master clip in the Browser is deleted. No dialog appears when you delete a master clip. Also, when you open an older project in Final Cut Pro 5.1.2, master clips are no longer created in the Browser. To create master clips for your sequence clips, you can use the Create Master Clips command described below. To create one or more master clips from independent sequence clips: m Select one or more independent sequence clips and drag them from the sequence to the Browser. Master clips are created for each independent clip dragged to the Browser.
To create master clips for one or more selected sequences in the Browser: 1 Select one or more sequences in the Browser. If no sequences are selected, Final Cut Pro behaves as though all sequences are selected. 2 Choose Tools > Create Master Clips. If one sequence was selected, a bin named after the sequence is created, containing master clips for each independent clip in the sequence. If multiple sequences were selected, a bin named after the project is created, containing master clips for each independent clip in the selected sequences. To create a new master clip in the Browser using the Reveal Master Clip command: 1 In the Timeline, select (or move the playhead over) an affiliate sequence clip that no longer has a master clip in the Browser. 2 Choose View > Reveal Master Clip (or press Shift-F). A dialog appears asking if you want to create a new master clip. 3 Click OK to create a new master clip in the Browser. A master clip for all affiliated clips is created in the Browser. To make all clips in a sequence independent: m Select a sequence in the Browser, then choose Modify > Make Sequence Clips Independent.
Multiclip Master Clips and Project Size Reduction
Multiclips now have a master-affiliate relationship that allows angle information to be shared among multiple instances of a multiclip. This relationship significantly reduces the file size of projects that contain a large number of multiclips. In previous versions of Final Cut Pro, every instance of a multiclip was completely independent. In Final Cut Pro 5.1.2, the first instance of a multiclip is considered a master multiclip. Copies of this clip, created by duplicating the multiclip in the Browser or editing it into a sequence, are considered affiliate multiclips. However, when you perform an operation on a multiclip that affects its angle structure, such as adding, deleting, or rearranging the order of multiclip angles, the modified multiclip loses its affiliation with the original master multiclip, and a new master multiclip is automatically created. Note: The new master multiclip does not automatically appear in the Browser, but if you attempt to reveal the master multiclip for a multiclip whose angles you just restructured, Final Cut Pro asks if you want to create a master multiclip in the Browser.

To reveal an affiliate multiclips master multiclip in the Browser: 1 Select a multiclip in a sequence or in the Browser. 2 Choose View > Reveal Master Multiclip. The master multiclip appears in the Browser, selected. If the multiclip has no master multiclip, Final Cut Pro asks if you want to create one. 3 Click OK to create a new master multiclip in the Browser. The new master multiclip is selected in the Browser. Note: You cannot make multiclips in a sequence independent. Multiclips in a sequence are always affiliated with a master multiclip.
Video Scopes Issues Fixed
Final Cut Pro 5.1.2 corrects the following issues in the Video Scopes tab that occurred in previous versions of Final Cut Pro: Not every line of video was analyzed. Video scopes did not update in real time during playback. Video scopes updated slowly while the playhead was scrubbing. To open the Video Scopes tab: m Choose Tools > Video Scopes (or press Option-9). Full-Line Video Analysis In previous versions of Final Cut Pro, the video scopes analyzed half the pixels of 16 lines of video. In Final Cut Pro 5.1.2, you can choose three levels of accuracy from the Real Time Effects (RT) pop-up menu in the Timeline: All Pixels: Every pixel of every video line is analyzed and pixel values are displayed in the Video Scopes tab. The word all appears in the lower-right corner of the Video Scopes tab. All Pixels Except Top & Bottom: Displays every line except the top nine and bottom nine lines, which are reserved for signals such as closed captioning. The word most appears in the lower-right corner of the Video Scopes tab. Select Pixels (Fastest): This mode has the same accuracy as the video scopes in previous versions of Final Cut Pro. This is also the mode used during real-time playback. Important: The accuracy level you choose here affects video scopes when the playhead is paused or scrubbing; real-time video scopes updating always uses the Select Pixels (Fastest) option. The lower-right corner of the Video Scopes tab indicates the Scope Display option selected in the RT pop-up menu.
Using Video Scopes in Real Time Depending on the format of your video and the processing capabilities of your computer, the Video Scopes tab can update in real time using the same level of quality available in previous versions of Final Cut Pro. To enable real-time updating in the Video Scopes tab: 1 Open a sequence in the Timeline window. 2 In the Timeline, choose Playback Scopes Live from the RT pop-up menu. Note: Using the Playback Scopes Live option requires additional processing power. Enabling this option could result in a red render bar in the Timeline. Also, the Video Scopes tab may not update in real time with some formats. For example, playing back an HDV multiclip requires significant processing power, so the Video Scopes tab may not update in real time in this situation. Video Scopes Restrictions and Performance The following list describes limitations when using video scopes in Final Cut Pro: For the Playback Scopes Live option: Your editing system requires an AGP or PCI Express graphics card. Some older PCI graphics cards may not have enough processing power to update the Video Scopes tab in real time. You must be using a supported real-time format. For a list of formats that Final Cut Pro can process in real time, choose Final Cut Pro > System Settings, then click Effect Handling. The View pop-up menu in the Video Scopes tab must be set to Current Frame (referring to the Canvas) or Viewer. Options such as Current Frame w/o Filters and Previous Edit disable the Playback Scopes Live option. Video scopes accuracy: You can analyze all video lines only when playback is stopped or when scrubbing. The Playback Scopes Live option updates the Video Scopes tab using the Select Pixels (Fastest) option. For more information, see Using Video Scopes in Real Time on page 7.

Real-Time Playback and Rendering Unlike FXScript plug-ins, whose performance improves only with increased RAM and CPU processing power, many FxPlug plug-ins achieve high performance by processing effects with your computers graphics card. Upgrading your graphics card or switching to a system with a better graphics card can improve FxPlug plug-in performance. Using very high-resolution clips or turning on high-precision rendering in your sequence settings may exceed the capabilities of older graphics cards. In these circumstances, Final Cut Pro displays one of the following warnings: Rendering the effect in high-precision requires a graphics card with more capabilities: Your graphics card does not support high-precision rendering. The effect cannot be rendered in a sequence of this size with the current graphics card: Your graphics card supports high-precision rendering, but the dimensions of the sequence containing clips with applied FxPlug filters are too large for the graphics card. The effect cannot render this media at full resolution. The media will be scaled in order to render: Your graphics card has enough memory to store the sequence dimensions, but the clip with an applied FxPlug filter is too large for the graphics card. When you enable high-precision rendering in your sequence settings, some systems with older graphics cards may be able to play back clips with FxPlug plug-ins in real time, but may not be able to render those clips. Keep in mind that a green render status bar indicates only the real-time playback status of a clip in the Timeline; it does not indicate whether or not it is possible to render that clip. In these cases, disable high-precision rendering in the Video Processing tab of the Sequence Settings window or move your project to a system with a more powerful graphics card. To improve FxPlug plug-in real-time performance, try the following: m Hold down the Option key when scrubbing through video clips with filters applied. This works for both FXScript and FxPlug plug-ins. m Turn off the Digital Cinema Desktop playback option by choosing View > External Video > Off.

To change the gamma property of a still-image clip in the Item Properties window: 1 Select a clip in the Browser or in a sequence. 2 Choose Edit > Item Properties > Format (or press Command-9). 3 Do one of the following: Control-click the value next to the Gamma Level property, then choose a predefined gamma value for the clip (Source, 1.8, or 2.2). Click in the Gamma Level field and enter a gamma value or type Source, then press Enter.
Tip: To see how a clips gamma affects its brightness, try changing the Gamma Level property of a clip while viewing the clip in the Viewer or Canvas.
To view the Gamma Level column in the Browser: m Control-click in any column in the Browser, then choose Show Gamma Level from the shortcut menu. To change the Gamma Level property of a single clip in the Browser: 1 Select a clip in the Browser. 2 Click in the Gamma Level column next to the selected clip, enter a value between 0.01 and 10.00, then press Enter. To change the Gamma Level property of multiple still-image clips in the Browser: 1 Select multiple clips in the Browser. 2 Control-click in the Gamma Level column, then choose Source, 1.8, or 2.2.
Choosing Audio Mapping for Multichannel Audio Output
If you have a VTR or audio device that supports RS-422 remote control, you can enable recording of individual audio channels during output with the Edit to Tape window (also known as insert editing). Final Cut Pro 5.1.2 allows you to enable recording of up to 16 individual audio channels for insert editing. Note: If you use FireWire or the Print to Video command for output to tape, you can skip this section. You can record-enable individual audio channels in the Edit to Tape window by choosing channels from the Audio Insert pop-up menu.

Audio Insert pop-up menu

When you start the output process, Final Cut Pro sends a channel insert message that tells the deck which channels you chose from the Audio Insert pop-up menu. However, different decks expect audio channel information to be in different places within the message, potentially leading to unexpected enabling or disabling of channels. To ensure that Final Cut Pro sends audio channel insert information in the proper format, you need to choose an audio mapping setting in your device control preset before you edit to tape. Important: The audio mapping setting does not determine which audio channels are inserted. Instead, it determines the format in which Final Cut Pro communicates which audio channels to insert. The following chart shows some common video and audio recording decks and the appropriate audio mapping setting for each.

Recording device Sony UVW-1800, Sony BVW-70 (BetacamSP) Sony DVW-500 (Digital Betacam), Sony HDW-2000 (HDCAM), Panasonic AJ-SD930 (DVCPRO 50) Sony MSW-2000 (IMX), Panasonic AJ-HD3700 (D5-HD) Tascam DA-98 Sony SRW-5505 (HDCAM SR) Channels available for insertion on deck 2 channels 4 channels Audio mapping 2 channels 4 channels
8 or more channels 8 channels 12 channels
8 channels 8 channels (legacy) 12 channels
If you are uncertain which audio mapping setting to use for your deck, here are several guidelines: 2 channels: Older decks that only have analog audio inputs (for example, BetacamSP and U-Matic 3/4") typically allow two channels of audio insert editing. Note: Some BetacamSP decks have four audio channels, but channels 3 and 4 cannot be inserted independently from the video channel (thus these decks are still considered two-channel decks for the purpose of audio insert editing). 4 channels: Many professional digital video decks today (Digital Betacam, DVCPRO 50, HDCAM) support at least four channels of audio insert editing. 8 channels: Some newer digital video decks (D5-HD, IMX) support eight channels of audio insert editing. 8 channels (legacy): Several older audio-only decks such as the Tascam DA-98 support eight-channel insert editing, but they communicate differently than newer digital video decks. If you are using a Tascam DA-98 or similar device, try this option. 12 and 16 channels: Newer high definition HDCAM SR decks support 12 channels of audio insert editing.

EDL Import and Export

A number of EDL import and export issues have been resolved: Final Cut Pro warns you when exporting an EDL containing clips without reel names. EDLs with drop frame timecode no longer contain invalid frame numbers (for example, 01;01;00;00 and 01;01;00;01) at 1-minute transition points. EDLs exported from mixed-rate sequences (sequences containing clips whose frame rate and timecode do not match) no longer have invalid timecode. The following types of EDLs now have accurate timecode: EDLs generated from Panasonic VariCam footage 30 fps EDLs containing 24 fps clips EDLs generated from sequences containing both 29.97 and 25 fps footage
Final Cut Pro XML Interchange Format
In previous versions of the Final Cut Pro XML Interchange Format, importing XML could generate new project items (bins, sequences, clips), but existing project items could not be updated. Final Cut Pro 5.1.2 supports version 3 of the Final Cut Pro XML Interchange Format, which allows imported XML to modify existing items in your project. For a complete list of Final Cut Pro XML Interchange Format updates, see the documentation for the Final Cut Pro XML Interchange Format at http://developer.apple.com/appleapplications.

QuickTime Metadata Support
Final Cut Pro 5.1.2 adds support for QuickTime metadata elements stored within QuickTime movie files. Any metadata stored in a QuickTime movie that Final Cut Pro uses is: Accessible and modifiable via the Final Cut Pro XML Interchange Format Maintained by Media Manager Copy, Move, and Remove Unused operations Maintained when using the Export QuickTime Movie command Metadata is also cached within Final Cut Pro project elements so that it is still available via the Final Cut Pro XML Interchange Format when a media file is offline. After adding or changing metadata within Final Cut Pro project elements, you can update metadata in the corresponding QuickTime media files using the Reconnect Media command. For more information about working with metadata within QuickTime movies, go to http://developer.apple.com/appleapplications.

Support for Apple Events

Final Cut Pro 5.1.2 responds to seven custom Apple events, allowing developers to write software that can externally modify projects, clips, and sequences directly within Final Cut Pro. By combining Apple events and version 3 of the Final Cut Pro XML Interchange Format, you can easily customize Final Cut Pro to fit your post-production pipeline. For details about custom Apple events, go to http://developer.apple.com/appleapplications.
Previous Release Information About Final Cut Pro 5.1.1
Final Cut Pro 5.1.1 optimizes application compatibility on specific hardware and fixes critical bugs.
Real-Time Processing on Intel-Based Macintosh Computers
Final Cut Pro 5.1.1 resolves a real-time processing issue on Intel-based Macintosh computers.
Intel-Based Macintosh Canvas Display Issue Resolved
Final Cut Pro 5.1.1 resolves an issue with display errors in the Canvas window on Intel-based Macintosh computers.
Issue with Import Panasonic P2 and 720p/24PN Footage Resolved
Final Cut Pro 5.1.1 resolves an issue in using the Import Panasonic P2 feature with 720p/24PN footage resulting in duplicate frames in rendered sequences.

Using Paste Attributes to Paste Subclip Contents
In Final Cut Pro 5.0 or later, if you copied a subclip and used the Paste Attributes command with the Content checkbox selected in the Paste Attributes dialog, the pasted media always began from the source clips Media Start point (the beginning of its media file) instead of the beginning of the subclip (designated by its subclip limits). In Final Cut Pro 5.1, this issue has been resolved. The Paste Attributes command now uses the subclip limits when you select the Content checkbox.
Using the Media Manager to Delete Unused Media
Final Cut Pro 5.1 resolves several issues related to the Delete Unused option in the Media Manager: Working with clips with speed changes: Choosing Create Offline and selecting Delete Unused no longer results in sequences with gaps between edits. Processing multiclips: Choosing Copy or Recompress and selecting Delete Unused now correctly deletes media from angle 1 of a multiclip. Processing clips with negative speed: Choosing Copy or Create Offline and selecting Delete Unused no longer results in media with shortened audio. Processing offline clips: Selecting the Delete Unused option no longer results in a new project in which offline clips are untrimmed, so you no longer need to recapture the original media file duration.
Using Scale and Motion Blur Simultaneously on Still Images
Final Cut Pro 5.1 resolves an issue in which simultaneous use of the Scale and Motion Blur motion parameters on still images would result in visual artifacts in uncompressed 10-bit sequences.
Reconnecting Media Files Automatically
In previous releases, Final Cut Pro detected when a clips media file was altered and the clip went offline. The only exception to this behavior was when you modified a clips media file by using the Open in Editor command. In this case, Final Cut Pro would automatically reconnect a clips media file when you returned to Final Cut Pro from the external editor application. In Final Cut Pro 5.1, you can configure Final Cut Pro to always reconnect modified media files, even if you dont use the Open in Editor command. This means that when you modify media files in other applications, the clip does not go offline when you return to Final Cut Pro. To configure Final Cut Pro to always reconnect modified media files: 1 Choose Final Cut Pro > User Preferences. 2 Click the Editing tab. 3 Select the Always Reconnect Externally Modified Files option. Warning: Be cautious when you select this option, particularly in a shared environment (such as an Xsan environment) in which media drives are shared for collaborative editing. If you (or someone else) modifies media files in other applications, Final Cut Pro will not notify you when clips are reconnected. For example, if someone changes the duration of a media file in Soundtrack Pro, Final Cut Pro does not warn you that the clip duration has changed. If you want to ensure that clips are only reconnected when you use the Open in Editor command, deselect the Always Reconnect Externally Modified Files option.

Using the Camera as a P2 Card Reader over FireWire Using the camcorder as a card reader takes advantage of the flexibility and random-access capability of P2 technology. To use the camcorder as a P2 card reader over FireWire: 1 Connect one end of the FireWire cable to the FireWire port on the camcorder. 2 Connect the other end of the FireWire cable to a FireWire port on your computer. 3 Turn on the camcorder and confirm the Camera mode settings. For more information, see Preparing the AG-HVX200 above. 4 Switch the camcorder to PC/Dub mode. 5 Insert the P2 memory card containing the media you want to capture into one of the slots in the camcorder. Individual memory cards appear on the desktop as mounted disks named NO NAME.
An individual P2 memory card appears on the desktop.
6 Do one of the following: Import the media from the P2 card. For instructions on importing P2 media, see Importing Media from P2 Memory Cards on page 28. Copy the media to a hard disk. For instructions on importing P2 media from a hard disk, see Importing P2 Media from a Hard Disk on page 30. 7 When you have finished, eject (unmount) the P2 card before disconnecting the camcorder, or before removing the card. Warning: Final Cut Pro only recognizes P2-compliant folders that include the original media files, descriptive metadata, and a corresponding set of XML index files. If you need to copy the contents of a P2 card to a hard disk, duplicate the contents without making any changes. (Dont copy only the CONTENTS folder; copy the enclosing folder.)
Capturing over FireWire as if the P2 Card Were a VTR While traditional Log and Capture procedures are familiar to Final Cut Pro users, this is the slowest ingest method (of the four described here) because it is limited to real-time speeds. However, two benefits of this method include: It allows you to log media on the P2 cards. Final Cut Pro will remove duplicate (flagged) frames from progressive footage during capture. Note: With the new 720pn 24 / 30 (progressive native) format, the AG-HVX200 camcorder can also do this process automatically while it is recording media to the P2 card. However, this format requires P2 Import (rather than Log and Capture). To capture from a P2 memory card as if it were a VTR: 1 Connect one end of the FireWire cable to the FireWire port on the camcorder. 2 Connect the other end of the FireWire cable to a FireWire port on your computer. 3 Insert the P2 memory card containing the clips you want to capture into one of the slots in the camcorder. 4 Turn on the camcorder and confirm the Camera mode settings. For more information, see Preparing the AG-HVX200 on page 23. 5 Switch the camcorder to MCR/VCR mode. Important: Do not open Final Cut Pro until after you switch to MCR/VCR mode. Otherwise, device control or video passthrough may not be available. 6 Use the Audio Dub/Thumbnail button to switch out of Thumbnail mode. Note: To start capturing from a particular point in the footage, first use the camcorders Thumbnail feature to select a particular clip, then use the Audio Dub/Thumbnail button to switch out of Thumbnail mode. 7 Open Final Cut Pro and choose Final Cut Pro > System Settings, then click the Scratch Disks tab. 8 Select a scratch disk or folder to which you want to transfer your P2 media. For more information about selecting scratch disks, see the Final Cut Pro 5 User Manual, Volume I, Chapter 13, Connecting DV Video Equipment and Specifying Initial Settings. 9 In Final Cut Pro, choose File > Log and Capture (or press Command-8). 10 Do one of the following: Click the Play button. Press the Space bar. 11 When youre ready to begin capturing, click the Capture Now button.

Importing Media from P2 Memory Cards You can use the Import Panasonic P2 window in Final Cut Pro 5 to import or browse P2 media files directly from a P2 memory card device or from a folder on a hard disk. The import procedure is the same for all of the following import methods: Using the Camera as a P2 Card Reader over FireWire on page 24 Inserting the P2 Card into the PC Card Slot of a PowerBook on page 26 Using a USB 2.0 P2 Card Reader or P2 Store Drive above To import media from a P2 memory card device: 1 Make sure that the P2 memory card device (camcorder, PowerBook, P2 Store drive) is connected and that each inserted P2 card is mounted on the desktop. 2 Choose Final Cut Pro > System Settings, then click the Scratch Disks tab. 3 Select a scratch disk or folder to which you want to transfer your P2 media. 4 Choose File > Import > Panasonic P2. The Import Panasonic P2 window appears. Any devices that conform to the Panasonic P2 specification are listed in the Volumes/Paths pop-up menu at the top of the window. Any media files stored on the card are listed in this window.
Click the Add Path (+) button to add directories that contain valid P2 media. Assign a reel name for the mounted card or P2 media folder chosen from the Volumes/Paths pop-up menu. P2 media files available for import are displayed here.
Click here to scan for P2 volumes mounted after you opened this window.
Click one of these buttons to import selected or all P2 media.
You may add or change the cards in the slots while the memory card device is connected.
5 Click the Re-Scan button to update the Import Panasonic P2 window to reflect the current cards (volumes) in the P2 memory card device. Note: Clicking the Re-Scan button clears the items listed in the Volumes/Paths pop-up menu. 6 Choose the card from which you want to import P2 media from the Volumes/Paths pop-up menu. 7 In the Reel Name field, enter a reel name for the card you chose. You can assign a unique reel name to each item that appears in the Volumes/Paths pop-up menu. The reel name you enter remains associated with the currently chosen card or folder in the Volumes/Paths pop-up menu until the Import Panasonic P2 window is closed. When you import P2 media, the resulting media files are assigned the reel name shown here. 8 Do one of the following: Click (or Command-click) one or more media files to be imported, then click Import. Click Import All to import all the media files in the chosen card or folder. Final Cut Pro transfers the media files to your scratch disk as QuickTime media files and displays corresponding clips in the Browser. The resulting self-contained QuickTime files contain the audio, video, and timecode tracks from the P2 card. The filename is based on the name of the media file on the P2 card, and the Reel property is assigned using the name entered in the Reel Name field. Important: Do not attempt to copy media files from a mounted P2 card directly to your scratch disk. Media files copied directly from a P2 memory card device in this way are not QuickTime media files, and they will not be handled properly if you import them into Final Cut Pro.

Importing P2 Media from a Hard Disk This procedure is almost identical to importing from a P2 card. To import P2 media from a hard disk: 1 Choose File > Import > Panasonic P2. 2 Click the Add Path (+) button to the right of the Volumes/Paths pop-up menu. An Open dialog appears. 3 Select a folder that contains Panasonic P2 media, then click Open. 4 In the Reel Name field, enter a reel name for the selected folder. 5 When the list of media files appears in the Import Panasonic P2 window, do one of the following: Select one or more media files to be imported, then click Import. Click Import All to import all the media files in the selected folder. Warning: Final Cut Pro only recognizes P2-compliant folders that include the original media files, descriptive metadata, and a corresponding set of XML index files. If you need to copy the contents of a P2 card to a hard disk, duplicate the contents without making any changes. (Dont copy only the CONTENTS folder; copy the enclosing folder.) For additional information about SD and HD formats and about working with P2 cards, see the Working With High Definition and Broadcast Formats document. To access the document: m In Final Cut Pro, choose Help > HD and Broadcast Formats.
Previous Release Information About Final Cut Pro 5.0.3
The following information was included with Final Cut Pro 5.0.3, which improves multiclip and multichannel audio reliability. The issues listed below have been resolved.

Working with Multiclips

Matching Frames When Working with Multiclips Several multiclip match frame issues in Final Cut Pro 5.0.2 and earlier have been resolved: Choosing View > Match Frame > Master Clip would sometimes open a master clip in the Viewer without audio items. Now, both video and audio items are opened. Choosing View > Match Frame > Multiclip Angle for a multiclip whose angles have offset sync points would open certain angles with the playhead positioned on the wrong frame. Now, multiclip angles open with the playhead positioned on the proper frame.
Setting In and Out Points in a Multiclip In Final Cut Pro 5.0.2 and earlier, multiclip In and Out points were removed if you switched the active angle. Now, In and Out points remain when you switch the active angle. Setting Markers in a Multiclip In Final Cut Pro 5.0.2 and earlier, markers added to an angle of a sequence multiclip disappeared if you switched the active angle. Now, markers remain when you switch the active angle. Reduced File Sizes with Duplicated Multiclip Sequences File sizes of projects containing duplicated sequences with multiclips have been reduced.
Working with Multichannel Audio
Capturing Multichannel Audio In Final Cut Pro 5.0.2 and earlier, capturing lengthy media files with more than two channels of audio sometimes resulted in media files that were shorter than expected. This issue has been resolved. Exporting AIFF Files from a Sequence with Multiple Audio Outputs In Final Cut Pro 5.0.2 and earlier, exporting AIFF files from a sequence using the Channel Grouped option caused a General Error alert message to appear. In Final Cut Pro 5.0.3, AIFF files are properly exported without an alert message. Rendering Audio Items In some cases, in Final Cut Pro 5.0.2 and earlier, rendering stereo audio items created render files without stereo channel separation. This issue has been resolved. Sending Selected Audio Clip Items to a Soundtrack Pro Multitrack Project In certain situations in Final Cut Pro 5.0.2 and earlier, some audio clip items were omitted when sending selected audio clip items in the Timeline to a Soundtrack Pro multitrack project. This issue has been resolved.

Working with Final Cut Pro and Soundtrack Pro
The following issues with using Final Cut Pro and Soundtrack Pro together have been resolved. Working with Background Movies in Soundtrack Pro Background movies are now properly sent to Soundtrack Pro when exporting to a Soundtrack Pro multitrack project from Final Cut Pro. Sending Soundtrack Pro Projects from Final Cut Pro to Soundtrack Pro You can now send Soundtrack Pro audio projects from the Final Cut Pro Timeline to Soundtrack Pro multiple times. In Final Cut Pro 5.0.2, when you send an audio clip in the Final Cut Pro Timeline to a Soundtrack Pro audio project, the resulting Soundtrack Pro audio project clip in the Timeline audio tracks is no longer linked to its corresponding video clip in the video track. If you need to link a video clip and a Soundtrack Pro project clip in the Timeline, you can manually link them by selecting them and choosing Modify > Link.
Choosing How Final Cut Pro Handles HDV Start/Stop Detection
When capturing HDV footage from a Sony HDV camcorder using Final Cut Pro 5.0.2, you can choose how Final Cut Pro creates media files and clips when start and stop indicators are detected. (Start/stop indicators occur on a tape in places where recording was stopped and then started again.) 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 Click Create new clip on Start/Stop to select from the following two options: 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.

Corrections to Final Cut Pro Documentation
The following information covers corrections and updates to the documentation included with Final Cut Pro 5. Loading Final Cut Pro Settings and Plug-ins from a Network Server In the Final Cut Pro 5 User Manual (Volume IV, pages 304, 311, and 313) and in the New Features document, the feature that allows Final Cut Pro to load settings from a network server is described inaccurately. Each time Final Cut Pro is opened, it checks two local directories for Easy Setups, plug-ins, window and keyboard layouts, button bars, and so on. The local directories that Final Cut Pro checks are: /Users/username/Library/Preferences/Final Cut Pro User Data/ /Library/Application Support/Final Cut Pro System Settings/ In addition, Final Cut Pro can also check the directory path /Network/Library/ Application Support/Final Cut Pro/ for additional settings and plug-ins. This directory path is accessible if: Your computer is connected to a server using Mac OS X Server software Your system administrator has properly configured the accounts within your local network so that your computer has access to the directory /Network/Library/ Application Support/Final Cut Pro/ For more information about setting up accounts within your local network, contact your system administrator or see the documentation included with the Mac OS X Server software.
Using Merged Clips Within Multiclips The Final Cut Pro 5 User Manual (Volume II, page 248) incorrectly states that merged clips can be used when creating multiclips. Merged clips cannot be used as multiclip angles. Sending an Audio Clip to Soundtrack Pro from Final Cut Pro In the section of the Final Cut Studio Workflows document titled Sending a Clip From Final Cut Pro to the Soundtrack Pro Waveform Editor, step 1 is incorrect. The correct text is: Control-click the clip in either the Final Cut Pro Browser or Timeline, then choose Send to > Soundtrack Pro Audio File Project. Adding Effects to Multiclips In the Final Cut Pro 5 User Manual (Volume II, Chapter 16, page 285), the names of the multiclip filter overlays are incorrect. Share with Active Angle is now Apply to Source Angle (yellow overlay). Apply to Clip Only is now Apply to Multiclip (red overlay).
2007 Apple Inc. All rights reserved. Apple, the Apple logo, DVD Studio Pro, Final Cut, Final Cut Pro, Final Cut Studio, FireWire, LiveType, Mac, Macintosh, Mac OS, PowerBook, QuickDraw, QuickTime, Soundtrack, and Xsan are trademarks of Apple Inc., registered in the U.S. and other countries. Cinema Tools, Finder, and Safari are trademarks of Apple Inc. AppleCare is a service mark of Apple Inc., registered in the U.S. and other countries. Adobe and After Effects are trademarks or registered trademarks of Adobe Systems Incorporated in the U.S. and/or other countries. Intel, Intel Core, and Xeon are trademarks of Intel Corp. in the U.S. and other countries. OpenGL is a registered trademark of Silicon Graphics, Inc. PowerPC is a trademark of International Business Machines Corporation, used under license therefrom. Other company and product names mentioned herein are trademarks of their respective companies. February 20, 2007 019-0924

Final Cut Pro and XDCAM HD

White Paper August 2006

White Paper Final Cut Pro and XDCAM HD

Contents

Page 3
Introduction Professional Disc Media Prerequisites Workflow Overview Acquire Ingest Edit Output XDCAM HD Acquisition Choosing a Format Slow and Quick Motion Effects Ingesting XDCAM HD Media Installing the XDCAM Software Mounting Professional Disc Media Name the Disc Importing Clips into Final Cut Pro Mark Clips Background Importing Important Settings Finishing the Import Session Activity Monitor Editing with XDCAM HD Clips Outputting to XDCAM HD Discs

Page 4

Page 6

Page 7

Page 14 Page 16

Introduction

The XDCAM HD Professional Disc system is a rugged new tapeless acquisition format from Sony. It records high-definition video, at a variety of frame rates and qualities, onto the same PFD-23 Professional Disc media popularized by the XDCAM SD format. The XDCAM HD system supports variable frame rate recording for creating undercranked or overcranked slow motion and fast motion effects, as well as full support for myriad HD formats and frame rates with up to four channels of uncompressed audio at 16 bits/48 kHz. The XDCAM HD system allows three quality settings: LP, SP, and HQcorresponding to 18, 25, and 35 Mb/s, respectively. All three settings utilize long group of pictures (GOP) MPEG2 compression to ensure excellent video quality with significantly reduced bandwidth requirements. The SP setting (25 Mb/s) is constant bit rate, virtually identical to HDV (but with the capability to carry four channels of uncompressed audio rather than HDVs two compressed channels). The LP and HQ settings (18 and 35 Mb/s, respectively) are variable bit rate. All three are fully compatible with Final Cut Pro 5.1.2. The XDCAM HD system fills the gap between HDV and HDCAM equipment, providing professional lenses, features, and 1/2-inch CCDs at a fraction of the price of HDCAM equipment. It also offers a higher quality option than HDV, with the added benefit of tapeless recording.

Professional Disc Media

The inexpensive discs afford many advantages over tape-based systems. They are extremely durable and can be reused thousands of times. And because discs are not magnetic like tape, data is more secure, and intelligent error correction prevents data loss in the event of bad sectors or physical damage. Disc management is easy; for example, it is impossible to accidentally record over existing clips, but easy to delete unwanted clips to conserve space. Additionally, recording onto optical media means instant random access to clips, either in the field or in the edit room. Metadata such as file title and production parameters can be stored in scene files, which can be organized on the camera or by manipulating low-resolution proxy files to simplify the logging process and speed the transition to the edit suite.

Prerequisites

Using XDCAM HD footage requires Mac OS X v10.4 or later, QuickTime 7, and Final Cut Pro 5.1.2. Sony XDCAM Transfer software must also be installed to effectively access the XDCAM HD footage.

Workflow Overview

Video professionals using the XDCAM HD format typically follow a predictable w orkflow to complete their productions. The workflow can be broken into four phases representing the chronological stages of the production process: acquire, ingest, edit, and output.

Acquire

The first phase is acquisition, where content is recorded using an XDCAM HD c amcorder such as the PDW-F330 or PDW-F350. In preparation for acquisition, many specifics regarding the format and type of shooting must be decided.
While the XDCAM HD camcorders can capture in both DVCAM and MPEG HD formats, standard-definition and high-definition footage cannot be mixed on the same disc. However, different quality levels of MPEG HD can be stored on the same disc. Every time the camera is started and stopped, a new clip is added to the disc. These clips can be viewed as thumbnails on the camcorder LCD display, and unwanted clips can easily be deleted.

PFD-23 Professional Disc

Thumbnail display on camcorder LCD display
Additionally, clips can be named, annotated, and organized to better prepare the disc for the editor. Specific information about the camera settings used while shooting, such as frame rate effects and the date and time of acquisition, is automatically a nnotated to each shot.

Ingest

Once all footage has been shot, it must be transferred to a computer hard disk for editing and converted into a format editable by Final Cut Pro. Although the XDCAM HD camera records directly to digital files on the Professional Disc, the files are stored in a special file type called MXF (Material Exchange Format). In order to edit the files in Final Cut Pro, the data within the MXF files must be transferred to QuickTime files. This translation does not damage or cause quality loss to the video files. The MPEG HD data is simply unwrapped from the MXF file and rewrapped in a QuickTime file. One additional benefit of the XDCAM HD format is that low-resolution proxies of every clip are automatically created and stored on the Professional Disc media. These proxies allow you to quickly view the clips before importing the full-resolution data and choose which clips to ingest and which to leave on the Professional Disc media. You can even log different sections of the proxy clips (using In and Out points) to avoid importing unwanted parts of the full-resolution HD files you may not need for editing.

Once the footage has been moved from the Professional Disc media to the computer hard disk, it is ready for editing in Final Cut Pro. The import process automatically adds the clips to the current Final Cut Pro project file; however, it is important to ensure that the sequence settings correspond precisely to the settings of the ingested clips.

Output

Once the edit phase is completed, the finished show will likely be prepared for output to a variety of formats. Exporting for web video and DVD can be accomplished using Compressor, as with any other Final Cut Pro sequence, but outputting back to the XDCAM HD format requires a special process.

XDCAM HD Acquisition

The XDCAM HD format is extraordinarily flexible, providing an array of frame rates and frame sizes. While such choice offers the advantage of flexibility, its important to think through the entire production workflow before settling on your acquisition settings. Choosing settings inconsistent with your intended output format may require transcoding or recompressing, which would cause unnecessary image degradation and wasted time during post-production.

Choosing a Format

Both PDW-F330 and F350 cameras can shoot in either HD (1440x1080) or SD (720x480) frame sizes. SD footage is always recorded in the DVCAM format (in either NTSC or PAL), so it can be transparently integrated into other DV projects intended for SD-size output, such as traditional broadcast or DVD. Additionally, SD footage can be shot in either 4:3 or 16:9 aspect ratios. XDCAM HD footage can be recorded in five different frame rates (59.94i, 50i, 29.97p, 25p, and 23.98p) and three different quality levels (LP, SP, and HQ), as previously described. Footage shot at different frame rates cannot be edited in the same Final Cut Pro sequence without rendering, so before beginning your production, choose a frame rate and stick with it for all footage in a particular show. For shows heading for European or other PAL standard environments, that means 50i; for NTSC environments, use 59.94i. Alternatively, you can choose to shoot in 23.98p for a more cinematic look. Once the frame rate and scanning method are determined, you can decide on picture quality level. Final Cut Pro 5.1.2 includes presets that provide full compatibility with the different shooting modes and quality levels of XDCAM HD.

Slow and Quick Motion Effects
The PDW-F350 allows variable frame rate recording to create slow motion and fast motion effects in the camera, including time-lapse recordings. This allows for organic-looking speed effects similar to the results of overcranking or undercranking a hand-wound film camera. These effects can be recorded in progressive frame rates only (23.98p, 25p, or 30p). The resulting clips appear as ordinary frame rate clips in your editing system, and the speed effect will not be removable.

Ingesting XDCAM HD Media

XDCAM HD clips are recorded directly into digital files stored on the Professional Disc media. However, to edit the clips, they must be moved from the discs onto a Macintosh computer equipped with Final Cut Pro. Fortunately, all XDCAM HD cameras and decks contain a FireWire (i.LINK) port that can be connected to any Macintosh using an ordinary FireWire cable.

FireWire (i.LINK) Ports

PDW-F350 Camera
FireWire (i.LINK) Port PDW-F70 Deck
Installing the XDCAM Software
Before you can successfully connect an XDCAM HD device to your Mac, you must install the Sony drivers and XDCAM Transfer software (PDZK-P1). The software can be downloaded at www.sony.com/xdcamhd.
Mounting Professional Disc Media
When an XDCAM HD camera or deck is connected to a Mac via FireWire, it can be used in one of two ways: AVC or FAM. The device can be set to either mode in the menu. AVC (Audio Video Control) mode allows the device to be controlled remotely, like an analog deck. With FAM (File Access Mode), files can be accessed directly, like a hard disk volume. For camera, you will find the setting in: Menu 07 > Output > i.LINKMODE. For deck, you will find the setting in: Setup > Interface > i.LINKMODE. When the device is set to FAM and connected to a Mac, the disc appears on the Mac OS X desktop like any other removable device.

Name the Disc

For best results, name the disc in the Finder before attempting to import the clips into Final Cut Pro. This prevents the possibility of having duplicate discs and clips with identical names. Rename the disc by selecting it in the Finder and choosing Get Info (Command-I). Type the new name in the Get Info window inside the Name & Extension box.
Note: If the disc is write-protected or the deck is in Record-Inhibit mode, you will not be able to rename the disc. Once the name has been changed, eject the disc and reinsert it. This step is necessary in order for the XDCAM Transfer software to recognize the disc.
Importing Clips into Final Cut Pro
Installing the XDCAM Transfer software automatically adds a new menu item in the File > Import pop-up menu of Final Cut Pro.

Note: The menu item will be dimmed unless the Browser window is selected. Choosing Sony XDCAM launches the Transfer application from within Final Cut Pro. You can now view the contents of the disc, mark clips and sections of clips to be imported, and import them directly into Final Cut Pro. The first time you launch this program, a dialog asks you to set up three scratch disk locations where the various media files you create will be stored.
Proxies and clip information cache folder is used to hold low-resolution proxy m ovies and small data files only. The default location is the current Users Library on your startup disk. Clip import folder is where the full-resolution HD files are stored. For organizational purposes, the folder should typically be assigned to the same location as your Final Cut Pro Capture Scratch folder, often on an external media drive. The bandwidth requirements are no higher than with standard DV footage. Clip export folder also contains full-resolution video files, created temporarily during the export process. Because the files are deleted automatically upon completion of the export function, the location of this folder is less critical. Once you complete the Sony XDCAM Transfer Setup dialog, the main application window opens.
The XDCAM Transfer window immediately begins reading low-resolution proxy images of each of the clips on the disc. As soon as the proxy is loaded, the proxy overlay appears in the clips area. This allows you to view the clips in the movie area and even log clips by setting In and Out points, without having to wait for the full-resolution clips to be transferred.

Mark Clips

As you examine the clips on your disc, you can log the sections you want to import using the In and Out buttons in the playback control area (or the I and O shortcut keys). You can even use the familiar J-K-L playback shortcut keys. Marked areas are indicated in the video scrubber area.

Marked area

Mark in

Mark out

Add clip

Clip list

Click the Add Clip button to add the marked region to the clip list on the right. Once you have completed logging the clip, you can import the full-resolution version immediately by clicking the Import button, or choose a different clip from the clips area to continue logging. Marked clips will display an IN/OUT overlay in the lower-right corner of each clips icon. This makes it easy to identify all of the clips on a disc that have been marked. To sort by marked clips, choose View > Sort By > Sub-clips from the menu. All of the clips will be sorted, and marked clips will be at the top of the window, making it easy to select and import just the media you need. Clicking Import creates a new QuickTime file in the location previously specified, and automatically imports it into the current Final Cut Pro project.

Background Importing

Because importing happens in the background, you can continue to log clips while the previous clip is being loaded. Or complete all logging and import all clips at onceyou dont need to wait until the importing is done to begin editing in Final Cut Pro. As each clip is imported, it is dynamically added to the Final Cut Pro project you selected, even as you are editing the project.

Important Settings

Use the XDCAM Transfer Preferences window to modify the import location or to control the automatic naming of the clips you import.
The Output pane allows you to change the location where imported clips will be stored. Additionally, there are several options to specify how the clips will be named and stored. This is important in order to prevent multiple clips with identical names, which can create confusion later or even result in files accidentally being deleted (if the Overwrite existing files checkbox is enabled). Make sure the Use disc name for clips folder setting is checked. This ensures that clips are placed in individual subfolders, named to match the disc name. You can also choose to include the clips title, UMID, and in and out timecodes to further ensure that each file has a unique and easily identifiable name. The Preferences window also contains settings for the location of the cache where low-resolution proxies and thumbnails are stored. The default is the Application Support folder in the Users Library. You can set this to another location, but remember that the database file must always remain in the same location as the proxy movies. Additional settings control which audio channels are monitored in the Browser window (all channels will always be imported), and whether the Import function automatically adds the clips to the Final Cut Pro project.
Finishing the Import Session
Once you have imported all of the clips from a particular disc, you can eject the disc and load a new one. The XDCAM Transfer tool retains all of the proxy information for each disc you load, allowing you to review the discs contents even when the disc is offline. All currently viewable discs are listed in the source area. When you add a new disc or one that has already been viewed, its contents are automatically loaded into the main window area.

Activity Monitor

You can check the programs progress by opening the XDCAM Activity window (found in the Window menu).

Because the XDCAM Transfer tool continues to import in the background, it does not automatically quit. To end the XDCAM Transfer session once all full-resolution clips have been imported, bring the window to the front and choose XDCAM Transfer > Quit, or press Command-Q.
Editing with XDCAM HD Clips
Once all of the clips are imported into Final Cut Pro, you are ready to begin editing. However, as you create sequences, you must match the sequence settings to the specific properties for the XDCAM HD clips you imported. When you install the XDCAM Transfer software, a group of new Easy Setup options are automatically added to Final Cut Pro. Because all XDCAM HD footage is the same frame size (1440x1080), the primary difference between formats is the frame rate. To open the Easy Setup window, choose Final Cut Pro > Easy Setup.
Click the Show All checkbox to reveal all of the easy setups; choose from one of the three XDCAM HD presets to match the frame rate of your source footage.
Note: Sequences created before you apply the Easy Setup retain the previous default settings. So if you apply the Easy Setup after a project has been created, delete the automatically generated Sequence 1 and create a new sequence. The sequence will be based on the values in the selected Easy Setup. If you have any doubt as to the frame rate of your media, select any clip in Final Cut Pro and click the Format tab in the Item Properties window.
Once you have matched your Easy Setup to your media and created a new sequence, you are ready to edit your show. Note: Slow motion (overcranked) footage shot with the PDW-F350 is recorded using a v ertical resolution of 540 lines instead of the standard 1080. This footage is compatible with Final Cut Pro and will need to be rendered prior to playback due to the difference inresolution.
Outputting to XDCAM HD Discs
Like importing, it is possible to export sequences directly onto XDCAM HD Professional Disc media. If the sequence is a native XDCAM HD format, no recompression is required. Regardless of how many audio tracks are used in the sequence, all sequences intended for output to XDCAM HD disc media must be set to four mono channels. To make this adjustment, open the Sequence Settings window, click the Audio Outputs tab, and set Outputs to 4 and Grouping to Dual Mono.
To export a sequence, select the sequences icon in the Browser and choose File > Export > Sony XDCAM. Only sequences can be exported this way.
Note: This export module does not provide the option to add color bars or any other pre-roll or post-roll content. To create a master with such elements, build those elements directly in your sequence. Selecting Sony XDCAM opens the Sony XDCAM Export pane.

At the top of the window, specify the disc where the exported sequence is to be placed. If no disc is currently loaded, you can save the file to a location on your hard disk.
Any sequence can be output onto XDCAM HD media; however, it is critical that the settings used (chosen in the Sony XDCAM Export dialog) precisely match the settings currently enabled on the XDCAM HD device. If you attempt to export using the 24p setting but the camera or deck is set to 29.97p or a different quality setting, the export operation will fail. Click the Export button to activate the XDCAM Exporter, which displays a status window that illustrates exactly what is going on.
If you chose a setting in the dialog with different settings than the sequence being exported, Final Cut Pro will render the sequence at the specified output settings prior to writing the file to disc. (Even when exporting a sequence with the same settings, Final Cut Pro may appear to be rendering prior to recording the file to disc. This is just the process of writing the temporary file used by the XDCAM Exporter.) Minor recompression may occur around edit points to ensure the group of pictures structure and data rate meet MPEG-2 compliancy. Note: If the disc is write-protected, you will not be able to complete the operation. If you are recording the sequence onto a disc containing existing clips, the new clip appears at the end of the clip list. It is not currently possible to delete existing clips on the disc without expressly deleting them using the menu on the camera or deck.

For More Information

For more in formation visit www.apple.com/finalcutstudio.
2006 Apple Computer, Inc. All rights reserved. Apple, the Apple logo, Final Cut, Final Cut Pro, FireWire, Mac, Macintosh, Mac OS, and QuickTime are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Finder is a trademark of Apple Computer, Inc. Other product and company names mentioned herein may be trademarks of their respective companies. August 2006 L325774B