Chapter 8

Chapter 9

Chapter 10

Working with Sony Video Disk Units About Sony Video Disk Units Importing Footage from a Sony Video Disk Unit Setting Up a Sony Video Disk Unit Importing DV Media from a Sony Video Disk Unit
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. 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).
The following table shows the HD formats in common use today. NTSC-Compatible HD Formats
Format 1080i60 Description Has high-resolution frames, is able to capture fast movement, and has reduced vertical resolution due to interlacing. Easily downconverts to NTSC. Has high-resolution frames. Movement is less smooth but resolution is higher than interlaced formats in areas of movement. 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. Is a variant of 720p60 with a lower frame rate.

1080p30

720p60

720p30

PAL-Compatible HD Formats
Format 1080i50 Description Has high-resolution frames, is able to capture fast movement, and has reduced vertical resolution due to interlacing. Easily downconverts to PAL. Has high-resolution frames. Movement is less smooth but resolution is higher than interlaced formats in areas of movement. 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. Is a variant of 720p50 with a lower data rate. Can be slowed down to 24 fps for film transfers or downconverted to PAL.

1080p25

720p50

720p25

Film-Compatible HD Formats
Format 1080p24 720p24 Advantages Has the resolution, scanning method, frame rate, and aspect ratio closest to film. Is the same as 1080p24, but with lower resolution. Is ideal for a film transferred to video look.

Rewind Play In to Out Stop 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 Mark In Mark Out Clip Out Point Timecode field Go to Out Point
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.
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.

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.
Select this option to enable video capture. Select this option to enable audio capture. Stereo/Mono control Capture Audio Channel control
Individual audio channel meters
When an HDV Easy Setup is chosen, only two audio channels are available for capture. You can choose to capture one 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.

Final Cut Pro includes Easy Setups for capturing and editing HDV transcoded to the Apple Intermediate Codec or the Apple ProRes 422 codec. To choose an Easy Setup for transcoding HDV: 1 Choose Final Cut Pro > Easy Setup. 2 Choose Apple Intermediate Codec from the Format pop-up menu. Note: The Apple ProRes 422 Easy Setup option supports only 1080p24 HDV. You should use this codec when you have 24 fps footage stored with 3:2 pull-down in a 1080i60 HDV signal. 3 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. 4 Choose an appropriate HDV - Apple Intermediate Codec 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. 5 Click Setup. The corresponding capture, sequence, and device control presets are loaded, as well as A/V device settings.
Capturing and Transcoding HDV Video
Capturing and transcoding HDV video is very similar to capturing DV video using the Capture Now feature. The main differences are: The Log and Capture window is not used. Capturing HDV video may not take place in real time because transcoding HDV frames into the Apple Intermediate Codec or Apple ProRes 422 codec requires special processing steps.
To capture HDV footage to the Apple Intermediate Codec or Apple ProRes 422 codec: 1 Click in the Browser to make it active, then choose File > New Bin. 2 Control-click the bin, then choose Set Logging Bin from the shortcut menu. Your captured clips will be placed in this bin. 3 Name the bin, then press Enter. 4 Choose File > Log and Capture (or press Command-8). A Capture dialog appears instead of the Log and Capture window. 5 In the Capture dialog, enter a name for the clip, then click Capture. The capture preview window appears and the camcorder begins playing back video from its current position. The status area of the capture preview window displays the percentage of real time in which the video is being transcoded from HDV to the target codec. 6 Press the Escape key to stop capturing. The video playback on the camcorder stops immediately. The capture preview window may lag behind, displaying where the video is in the encoding process. As these frames are processed, the status area of the capture preview window displays the percentage of frames left to process. Note: Pressing the Escape key a second time stops the encoding process and cancels the capture. After the capture preview window closes, the captured clip appears in your logging bin.

rates for the Apple Intermediate Codec are variable; these figures are approximate and may vary according to the complexity of your footage. Images with a lot of detail have a higher data rate, while images with less detail have a lower data rate.
Note: Although audio is compressed on an HDV tape, Final Cut Pro converts this signal to an uncompressed format during capture. This means that the overall HDV data rate on tape differs from the captured date rate.
Video Compression HDV uses MPEG-2 compression with a constant bit rate (CBR). I-, P-, and B-frames are used, creating a long-GOP pattern. MPEG-2 video and audio are composed of a hierarchy of data streams: Elementary stream: This can be a video, audio, subtitle, or other basic media stream. Formats like HDV contain both video and audio elementary streams. Transport stream: A transport stream encapsulates elementary streams for real-time distribution, such as television or Internet broadcast. Program stream: A program stream also encapsulates elementary streams for content stored on media such as DVDs or hard disks. HDV devices store and transmit elementary video and audio streams in an MPEG-2 transport stream. When you capture HDV video, Final Cut Pro automatically extracts the elementary video and audio streams from the transport stream and stores the data in tracks in a QuickTime media file. Audio HDV uses two audio tracks with a sample rate of 48 kHz and 16-bit resolution per sample. The audio is encoded using the MPEG-1 Layer 2 format with a data rate of 384 kbps. Timecode The timecode format of an HDV camcorder matches the frame rate of the video format. For example, 1080i50 footage uses 25 fps timecode. Important: Some HDV camcorders do not record timecode, so you wont be able to precisely recapture any clips if you delete the corresponding media files.

Working with DVCPRO HD

In Final Cut Pro, you can natively capture, edit, and output DVCPRO HD video using the built-in FireWire port on your computer.
This chapter covers the following: About DVCPRO HD (p. 43) Working with DVCPRO HD in Final Cut Pro (p. 48) Using the DVCPRO HD Frame Rate Converter (p. 53) Working with 24p DVCPRO HD (p. 59) DVCPRO HD Format Specifications (p. 62)

DVCPRO HD footage can be recorded on tape or on Panasonic P2 cards. This chapter focuses on capturing DVCPRO HD footage from tape. For information about transferring DVCPRO HD footage from a Panasonic P2 card, see Chapter 5, Working with Panasonic P2 Cards, on page 97. The steps for capturing, editing, and outputting DVCPRO HD video are almost identical to the workflow used for DV. This section describes the basic DVCPRO HD workflow and highlights unique facets of working with DVCPRO HD in Final Cut Pro. Step 1: Connect your DVCPRO HD camcorder or deck to your computer via FireWire Step 2: Choose a DVCPRO HD Easy Setup Step 3: Log your footage and capture it to your scratch disk Step 4: Edit your video clips into a sequence Step 5: Output back to a DVCPRO HD or other HD video device, or export to a QuickTime movie
Connecting a DVCPRO HD Device to Your Computer
Because DVCPRO HD is part of the DV/DVCPRO family of video formats, setting up Final Cut Pro to capture, edit, and output DVCPRO HD is essentially the same as setting up a system for any other kind of DV editing. To set up your computer for DVCPRO HD capture and output: m Connect your DVCPRO HD camcorder or deck to your computer using a 4-to-6-pin or 6-to-6-pin FireWire cable. For additional instructions on connecting a DV camcorder or deck to your computer, see the Final Cut Pro 6 User Manual, Volume 1, Chapter 11, Connecting DV Video Equipment. For information about mounting a Panasonic P2 card for use with the Log and Transfer window, see Mounting P2 Cards, Disk Images, and Folders on page 99.
Choosing a DVCPRO HD Easy Setup
Final Cut Pro comes with several DVCPRO HD Easy Setups. Choose the Easy Setup that matches your source footage on tape. The 720p30, 720p25, and 720p24 Easy Setups remove duplicate frames during capture so that your media files have the proper frame rate. For more information, see Removing Duplicate Frames During Capture, below. To choose an Easy Setup: 1 Choose Final Cut Pro > Easy Setup. 2 Choose Panasonic DVCPRO HD 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. 5 Choose an Easy Setup from the Use pop-up menu, then click Setup. If you need to create a custom Easy Setup, see the Final Cut Pro 6 User Manual, Volume IV, Chapter 24, Audio/Video Settings and Easy Setups.

Choosing an Intended Playback Rate
Variable frame rate recording with DVCPRO HD works the same way it does with film, except that the final playback rate varies (24, 25, 30, 50, or 60 fps) depending on your final output format. During shooting, you need to have an intended playback rate in mind to know what frame rate to record your footage at. For slow-motion effects, you need to record at a frame rate higher than your intended playback rate. For fast motion, shoot at a frame rate lower than your intended playback rate. For example, if you shoot at 60 fps and play back your footage at 24 fps, the result will be slow motion because the rate at which you recorded was higher than the final playback rate. However, if you record at 24 fps and play back your footage at 24 fps, your footage will play at normal speed.
How DVCPRO HD Variable Frame Rate Recording Works
In 720p DVCPRO HD variable frame rate recording, the camera CCD outputs a frame rate while the recording rate is fixed at either 59.94 fps or 50 fps (depending on the camcorder model). A 720p60 camera CCD can generate between 4 and 60 images per second, while the recording unit records at a constant rate of 60 fps (technically, 59.94 fps). When you select any frame rate lower than 60 fps, some images from the CCD are recorded more than once. These redundant frames are tagged for later removal using a special device called a frame rate converter.
What Is a Frame Rate Converter?
A frame rate converter, or FRC, is hardware or software that converts the frame rate of your footage by: Setting the rate of playback higher or lower, so that each frame lasts a longer or shorter amount of time on the screen. By changing the duration that each frame is shown onscreen compared to its recorded duration, you can speed up or slow down the action in your media. Intelligently skipping redundant frames containing variable frame rate flags Some frame rate converters can also do upconverting and downconverting, allowing you to use 720p for variable speed cinematography and then transfer to 1080i or 480i (standard definition).
How a Frame Rate Converter Works

Mounting Media Devices

A file-based media device needs to be mounted on the desktop as a media volume before you can ingest footage from the device. Most media devices can be set to a special file access mode and then connected to your computer via FireWire or USB. For details, see the documentation included with your particular media device. You can also mount disk images of media volumes. Important: Make sure you unmount any volumes before you physically remove storage media or disconnect a media device from your computer. To unmount a volume, do one of the following: m In the Log and Transfer window, select a volume, then click the Eject button. m In the Finder, select the mounted volume, then choose File > Eject (or press Command-E). After unmounting the volume, you can remove the storage media or disconnect the media device.
Using Folders with Valid File-Based Media Folder Structure
The Log and Transfer window can ingest media from any folder with a valid folder structure. You can create these folders by copying them from their respective cards and devices to your hard disk. Important: Final Cut Pro recognizes compliant folders that include the original media files, the descriptive metadata, and a corresponding set of XML clip files. If you need to copy the contents of a file-based media device to a hard disk, duplicate the contents without making any changes.

Using the Browse Area

The Browse area allows you to view the contents of any mounted volumes and select clips to be ingested in the Transfer Queue. Valid volumes appear automatically in the Browse area when you open the Log and Transfer window. Note: The Log and Transfer window shows all available mounted volumes and folders that were displayed last time the window was open.
Eject button Add Folder button Column headings Mounted volume

Search field

Flat List View and Hierarchical List View buttons Action pop-up menu
Media map indicator shows how much media has been ingested. Double-click a clip property to modify it, or press Enter. Folder with valid structure

Thumbnail Resize slider

Click to add selected clips to the Transfer Queue.
Controls in the Browse Area
The Browse area contains the following controls: Add Folder button: Click to add a folder with a valid file-based media folder structure for a format such as P2, AVCHD, AVC-Intra, or XDCAM. You can also drag a folder from the Finder to the Browse area. Eject button: Click to remove the currently selected volume or folder from the Browse area. The selected volume is unmounted from the desktop in the Finder. Folders are removed from the Browse area but are otherwise unaffected. Search field: An iTunes-like search field that limits which clips are displayed. All columns are searched for matches even if some columns are not currently displayed. For example, if you type DV, clips whose names contain DV are displayed, but so are clips using DV and DVCPRO codecs. You can press Command-Control-S to highlight the search field. The search field accepts three kinds of timecode delimitersperiods (.), semicolons (;), and colons (:)and does not distinguish between them during searches. For example, you can find all clips containing 10;00 in a timecode field by entering 10.00, 10:00, or 10;00.

Incomplete spanned clip in Hierarchical List view
Incomplete spanned clip in Flat List view
In Flat List view, a complete spanned clip appears as a single item in the Browse area. In Hierarchical List view, the same spanned clip appears within each volume that contains one of the spanned clips segments.
Hierarchical List view displays multiple, identical spanned clips.
Flat List view displays a single spanned clip.
To avoid confusion, its usually best to use Flat List view when ingesting spanned clips. When a spanned clip is incomplete, you can ingest each segment as an individual QuickTime media file and clip. However, when all segments of a spanned clip are available, you can ingest all of the spanned clips media to a single QuickTime file.
Tip: When logging spanned clips, assign reel names that indicate all volumes from which a clip originated. For more information, see Choosing Reel Names and Understanding Volume Names on page 90.
Archiving File-Based Media from Cards
Unlike tapes, which are cheap enough to archive permanently, cards are expensive to use for long-term file storage. Therefore, you need to erase your cards to make room for more recording. Before you erase your cards, you should archive their contents in case you need the footage later. To back up a card, you can erase it without losing your media in two ways: m Copy the folder on the card to another hard disk. m Create a disk image of the card that you can mount later as a volume.

Archiving to a Folder

You can copy the folder of a volume directly in the Finder, or you can use the Archive to Folder command in the Browse area of the Log and Transfer window. To create a copy of the folder of a volume using the Log and Transfer window: 1 In the Browse area, make sure the Hierarchical List View button is selected. 2 Select the volume you want to copy. 3 Do one of the following: Control-click the volume, then choose Archive to Folder from the shortcut menu. Choose Archive to Folder from the Action pop-up menu in the upper-right corner of the Browse area. 4 Enter a name for the copied folder. By default, the name of the volume is used.
Archiving to a Disk Image
The Archive to Disk Image command produces a readable, writable disk image that is easily stored on other hard disks or disc media and can be easily opened to access the archived content. To create a disk image of a card: 1 In the Browse area, make sure the Hierarchical List View button is selected. 2 Select the card whose contents you want to archive. 3 Do one of the following: Control-click the card icon, then choose Archive to Disk Image from the shortcut menu. Choose Archive to Disk Image from the Action pop-up menu in the upper-right corner of the Browse area. 4 Enter a name for the disk image file. By default, the name of the volume is used. Important: The name you enter here is the name of the disk image (.dmg) file, not the name of the disk image contained within it. To rename a mounted volume of an archived disk image: 1 In the Log and Transfer window, select a volume and then choose Archive to Disk Image from the Action pop-up menu in the Browse area. A new disk image (.dmg) file is created on the desktop. 2 Switch to the Finder (press Command-Tab or click the Finder icon in the Dock). 3 Double-click the new disk image you just created to mount it on the desktop. 4 Select the mounted volume on the desktop, then press Enter to select the volume name. 5 Enter a new name for the mounted volume, then press Enter.

Removing Advanced Pull-Down and Duplicate Frames During Transfer
The Remove Advanced Pulldown and Duplicate Frames option in the Log and Transfer window preferences allows you to remove redundant (duplicate) frames recorded in variable frame rate DVCPRO HD 720p footage. You can also select this option to remove advanced (2:3:3:2) pull-down from 29.97 fps footage such as 1080i and 480i, resulting in 23.98 fps (24p) footage on disk after ingest. The Panasonic AG-HVX200 camcorder can record 24p footage on P2 cards using three methods: Native 23.98 fps (no pull-down or extra frames) 23.98 fps with standard 3:2 (2:3:2:3) pull-down 23.98 fps with advanced (2:3:3:2) pull-down Important: The Log and Transfer window cannot remove standard 3:2 pull-down. To convert footage with 3:2 pull-down, you can ingest the media at 29.97 fps and then use Cinema Tools to remove the pull-down. For details about selecting this option, see Setting Log and Transfer Import Preferences on page 95.
A spanned clip is created any time you record a single shot that is larger than the capacity of the current P2 card or when the file size exceeds 4 GB. When this happens, the camcorder stops recording the current media file and begins recording a new media file on a new P2 volume. The result is a single shot that seamlessly comprises multiple media files. Important: To ingest (or reingest) a spanned clip as a single media file, you need to mount all of the P2 volumes necessary for the clip. Mounting separate P2 volumes at different times may cause Final Cut Pro to capture only individual portions of a P2 clip or prevent you from capturing partial portions when other P2 segments are missing.
Using Print to Video to Output to P2 Cards in the AG-HVX200 Camcorder
You can output footage in Final Cut Pro to P2 cards in a Panasonic AG-HVX200 camcorder. This method works only when using the built-in FireWire port on your computer in conjunction with the Print to Video command or when playing footage directly in the Viewer or Timeline. To output to P2 cards, the following must be true: The camcorder recording mode and your footage in Final Cut Pro must have matching settings. For example, if your footage is 720p60, the camcorder recording mode must be set to 720P/60P. Your current video playback selection must match the camcorder recording mode. For example, if your camcorder recording mode is set to 720P/60P, you must choose View > Video Playback > DVCPRO HD (720p60) (1280 x 720). The same option appears in the A/V Devices tab of the Audio/Video Settings window. If you dont see the video playback option you want, try changing the camcorder recording mode (for more information, see the setup steps below). You must have available space on the P2 cards inserted in the Panasonic AG-HVX200 camcorder. Important: Not all formats supported by the Panasonic AG-HVX200 camcorder can be output to P2 cards from Final Cut Pro. Make sure to test the format you want to output before starting your project. For example, 720pN24, 720pN30, 720p25, and variable frame rate formats are not supported. To set up Final Cut Pro and a Panasonic AG-HVX200 camcorder for output to P2 cards: 1 Connect the camcorder and computer using a 4-pin-to-6-pin FireWire cable. 2 On the camcorder, do the following: a Choose Camera mode. b Press the Menu button. c Choose the Recording Setup menu and then select REC FORMAT. d Set the REC FORMAT to the format of your footage in Final Cut Pro. For example, if your footage is DVCPRO HD 720p60, select 720P/60P. e Press the mode button to switch to MCR/VCR mode. f Press the AUDIO DUB/THUMBNAIL button. If the current video playback setting in Final Cut Pro does not match the camcorder recording mode, you may see 1394 INPUT ERROR flashing on the camcorder display. g Press the Menu button and choose the RECORDING SETUP menu. h Turn on the 1394 TC REGEN and 1394 UB REGEN options, then press the Menu button to exit the menu.

3 In Final Cut Pro, choose View > Video Playback, then choose the format you want to output via FireWire. For example, if you want to output 720p60 footage and the camcorder recording mode is set to 720P/60P, you should choose View > Video Playback > DVCPRO HD (720p60) (1280 x 720). 4 Open a clip in the Viewer or a sequence in the Timeline whose format matches the recording mode of the camcorder. 5 Choose View > External Video > All Frames. The current frame in the Viewer or Canvas appears on the camcorder display. If the current frame does not appear, start over from step 2. 6 Do one of the following: Choose File > Print to Video, choose your output options, then click OK. Press the Space bar to begin playing your footage directly in the Viewer or Timeline. Note: For best results, deselect the Automatically Start Recording checkbox in the Print to Video window. 7 On the camcorder, press the red and gray record buttons simultaneously. 8 When you have finished recording, press the Pause/Set button on the camcorder and then press the Down menu button. To verify that a clip was created on the P2 card in the camcorder, press the AUDIO DUB/ THUMBNAIL button on the camcorder, navigate to the thumbnail for the clip you just recorded, then press the Up menu button to play the clip.
Capturing over FireWire as if a P2 Card Were a Tape in a VTR
You can configure the Panasonic AG-HVX200 camcorder so that Final Cut Pro treats it like a traditional VTR (video deck). Accordingly, inserted P2 cards can emulate the linear nature of tape, allowing you to use the Log and Capture window to transfer media. Note: Because footage is transferred in real time as though it were coming from tape, this method is slower than ingesting media via the Log and Transfer window. To use the Log and Capture window to capture media from a P2 card: 1 Connect one end of a FireWire cable to the corresponding port on the camcorder. 2 Connect the other end of the FireWire cable to a corresponding port on your computer. 3 Insert the P2 card containing the clips you want to capture into one of the slots in the camcorder.
4 On the camcorder, do the following: a b c d e Choose Camera mode. Press the Menu button. Choose the Other Functions menu, then select the PC Mode setting. Set the PC Mode setting to 1394DEVICE. Press the mode button to switch from Camera mode 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. 5 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. 6 Open Final Cut Pro and choose Final Cut Pro > System Settings, then click the Scratch Disks tab. 7 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 6 User Manual, Volume 1, Chapter 11, Connecting DV Video Equipment. 8 In Final Cut Pro, choose File > Log and Capture (or press Command-8). 9 Do one of the following: Click the Play button. Press the Space bar. 10 When youre ready to begin capturing, click the Capture Now button. Final Cut Pro begins capturing your media file to your scratch disk. Important: If you intend to capture to the end of recorded material, first choose Final Cut Pro > User Preferences and make sure the Abort capture on dropped frames checkbox is not selected. Unlike a VTR, which repeats frames when it reaches the end of media, the Panasonic AG-HVX200 camcorder simply stops transmitting frames. This preference setting ensures that the last clip is saved. 11 Press the Escape key to stop capturing, or wait until Final Cut Pro automatically stops because the maximum amount of time specified in the Limit Capture Now To field (in the Scratch Disks tab of the System Settings window) has been reached. After Final Cut Pro stops capturing, a clip appears in your logging bin. The new clip refers to the media file you just captured. 12 When you have finished, eject (unmount) the P2 card before disconnecting the camcorder, or before removing the card.

The SP format uses a constant bit rate (CBR) and is compatible with 1080i HDV. The LP and HQ formats use variable bit rates (VBR) and provide extended recording time with lowerthan-HDV quality (LP) and quality that surpasses that of the HDV recording format (HQ). The HD422 format uses a 50 Mbps CBR. XDCAM EX can record footage at two quality levels.
Format SP (HDV) HQ MPEG-2 bit rate 25 Mbps (CBR) 35 Mbps (VBR) Frame dimensions 1440 x x x 720 Color sample ratio 4:2:0 4:2:0 MPEG-2 standard MPEG MP@HL-1440 MPEG MP@HL
Aspect Ratio XDCAM records 4:3 SD video. XDCAM HD and XDCAM EX record 16:9 HD video. Frame Dimensions, Number of Lines, and Resolution XDCAM records DV and IMX video. For more information about these formats, see IMX Format Specifications on page 70 and the Final Cut Pro 6 User Manual, Volume IV, Appendix A, Video Formats. XDCAM HD records 1440 pixels per line and 1080 lines per frame. XDCAM EX can record either 1920 pixels per line and 1080 lines per frame, or 1280 pixels per line and 720 lines per frame. XDCAM HD422 can record either 1920 pixels per line and 1080 lines per frame, or 1280 pixels per line and 720 lines per frame. Note: Variable frame rate (VFR) recording above 30 fps records 540 lines per frame.
Frame Rate XDCAM supports 25 and 29.97 fps. XDCAM HD and XDCAM EX support the following formats and frame rates: 1080i60, 1080p30 1080i50, 1080p25 1080p24 XDCAM EX also supports the 720p format at 23.98, 25, 29.97, 50, and 59.94 fps. XDCAM HD422 supports the 720p format at 50 and 59.94 fps. A VFR shooting mode is also available on certain XDCAM HD camcorders. You choose a playback frame rate (24p or 30p) and a recording frame rate (from 4 to 60 fps in single increments). Because no duplicate frames are recorded, you can immediately see the results of your VFR footage in-camera without special processing. For example, if you shoot at 60 fps with a playback speed of 24 fps, the resulting video appears to be 40 percent slower than real time. Note: XDCAM HD records variable frame rates above 30 fps (overcranking) by halving the vertical resolution to 540 lines per frame. However, once you capture your footage in Final Cut Pro, its frame dimensions appear as you expect at 1440 x 1080 pixels. Scanning Method XDCAM supports interlaced scanning. XDCAM HD and XDCAM EX support both progressive and interlaced scanning, depending on the HD format you are using.

Chapter 9 Working with REDCODE RAW
The camera records data directly to proprietary hard disk drives and CompactFlash cards. Hard disk drives can be connected directly to your computer, and CompactFlash cards can be connected to your computer using a card reader. You can then download the files to other large storage devices, such as large-capacity hard disk drives or RAID storage servers. You can access and edit the files using Final Cut Pro, or further process them using the RED ONE camera software or other DI finishing software.
Working with REDCODE RAW in Final Cut Pro
Although there are several alternative workflows, depending on the final output you want, there are two main recommended workflows for working with REDCODE RAW footage in Final Cut Pro: Native editing for 2K REDCODE RAW footage for output to film or digital cinema: For more information, see Native REDCODE RAW Editing Workflow for Film on page 134. Transcoding using the Apple ProRes 422 (HQ) codec and editing for output to video: For more information, see Transcoded REDCODE RAW Editing Workflow for Video on page 137. Important: The RED ONE camera can produce REDCODE RAW footage and QuickTime reference movies that represent the footage, storing all the files together in clip folders. However, Apple doesnt recommend using the QuickTime reference movies. The recommended workflows are to ingest and edit the native REDCODE RAW files at 2K resolution or to transcode the REDCODE RAW files to the Apple ProRes 422 codec. Note: If you import a REDCODE RAW clip into an empty Final Cut Pro sequence, the sequence settings are automatically conformed to the clip settings, but the QuickTime video compressor setting is set to Apple ProRes 422 for the rendering of effects. You should not change the compressor setting to REDCODE, because encoding functionality is not supported by the REDCODE codec. The following restrictions apply when working with REDCODE RAW footage: REDCODE RAW footage support is available only on Intel-based Mac computers. Final Cut Pro can ingest either 4K or 2K REDCODE RAW files, but downconverts 4K footage to 2K resolution. You must install the latest RED QuickTime codec. Working with RED ONE camera footage requires your Mac to have Mac OS X version 10.4.11 or later. To preview REDCODE RAW footage in the Log and Transfer window, you must install the RED FCP Log and Transfer plug-in available at http://www.red.com/support.
Native REDCODE RAW Editing Workflow for Film
Its recommended that you use the RED ONE camera to shoot footage in 4K RAW. You ingest the REDCODE RAW files using the RED QuickTime codec, and the footage is converted to 2K QuickTime files. You then perform an edit of your footage in a Timeline set to 2K sequence settings. After the edit, you can send your footage to Color. You use Color to grade the sequence and render it as 2K DPX files, uncompressed HD files, or Apple ProRes 422 codec files. You can also transfer the DPX files to a DI software finishing application, if you wish. You can then output the finished DPX files to film or to digital cinema files. Important: Ingesting REDCODE RAW files requires the RED QuickTime plug-in and the RED FCP Log and Transfer plug-in to be installed and selected when you ingest the REDCODE RAW files. These items are available for download from the RED Digital Cinema Company website at http://www.red.com/support. Before ingesting the REDCODE RAW files, you must specify the destination codec in the Log and Transfer window preferences. For more information, see Choosing the RED FCP Log and Transfer Plug-in for Transfer on page 136. After ingesting your footage, you can conform your sequence settings by dragging a REDCODE RAW clip into the Timeline. Final Cut Pro automatically conforms the sequence compression setting to the Apple ProRes 422 codec, which is the appropriate rendering format for REDCODE RAW footage. After you ingest your REDCODE RAW footage and convert it to RGB or YUV QuickTime files, you cannot render your footage back to native REDCODE RAW footage because the REDCODE codec does not support encoding. Important: New methods for ingesting REDCODE RAW files into Final Cut Pro are being developed on a regular basis. For more information on the latest workflows for working with REDCODE RAW footage, go to the RED Digital Cinema Company website at http://www.red.com. Note: You edit the resulting 2K REDCODE RAW QuickTime files just as you would edit DV or uncompressed video. You should set your sequence settings to Unlimited RT to facilitate editing REDCODE RAW footage. The advantage of this workflow is that you can output 2K DPX files for final processing by a DI finishing system. However, this workflow requires large amounts of disk space to hold the REDCODE RAW and DPX files. In addition, you wont have full real-time playback in Final Cut Pro and must use Unlimited RT.

You can transfer REDCODE RAW footage to your scratch disk using the Log and Transfer window in Final Cut Pro. During transfer, you use the Log and Transfer window to transcode your footage to the Apple ProRes 422 (HQ) codec. For more information about using the Log and Transfer window, see Sample File-Based Media Workflow on page 78. After you ingest the REDCODE RAW files, your ingested clips will be 2K size, with either a resolution of 2048 x 1024 and a 2:1 aspect ratio or a resolution of 2048 x 1152 and a 16:9 aspect ratio. Important: Although it is possible to copy REDCODE RAW files directly to your scratch disk, Final Cut Pro wont recognize these files. You must use the Log and Transfer window to transfer and transcode REDCODE RAW footage.
Editing Video Using Transcoded REDCODE RAW Footage
Editing video transcoded to the Apple ProRes 422 (HQ) codec or the Apple ProRes 422 codec is the same as editing other formats in Final Cut Pro. However, you need to make sure your scratch disk supports the data rate. For more information about the data rates of these formats, see REDCODE RAW Format Specifications on page 141 and About the Apple ProRes 422 Codec on page 11.
Grading Your Transcoded Footage with Color
If you are going to grade your footage using Color, you can perform a normal edit that includes transitions and effects. After youve completed your edit, you can send the footage to Color by choosing File > Send To > Color. After you grade your files, you can return them to Final Cut Pro for finishing by choosing File > Send To > Final Cut Pro. For more information about preparing your project for grading in Color, see the Color User Manual.
Outputting to Tape or Exporting to Compressor
After you finish editing, you can output your movie to videotape or export your sequence to Compressor to create a high-quality MPEG-2 file. Because your transcoded REDCODE RAW footage sequences are 2K media files, and few decks support 2K media formats, you may have to choose another format for output to tape as HD or SD files. Before you output 2K Apple ProRes 422 (HQ) video to tape, make sure the video is output at a legal size and frame rate for the format you want. You can place your 2K media in a sequence that has the output settings you want, or use Kona3 to crop the media to an HD frame size. You can also use Compressor to configure a crop or to scale down the footage to HD or SD formats. To output to tape, follow the standard procedures for using the Print to Video command. For more information, see the Final Cut Pro 6 User Manual, Volume IV, Chapter 15, Printing to Video and Output from the Timeline. To export your sequence to Compressor to create an MPEG-2 file: 1 Open your Final Cut Pro sequence in the Timeline. 2 Choose File > Export > Using Compressor. For more information about using Compressor, see the Compressor documentation.

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