Managing Video Filters There are many FxPlug effects that are equivalent (or nearly equivalent) to existing FXScript effects. Generally, the names and controls of equivalent FxPlug and FXScript effects are identical or vary only subtly. To keep track of FxPlug and FXScript effects in Final Cut Pro, you can select which effects are displayed in both the Effects tab and the Effects menu by indicating that they are preferred effects. For example, there is a Gaussian Blur FXScript filter included with Final Cut Pro and a Gaussian Blur FxPlug filter included with Motion as part of Final Cut Studio. By enabling the preferred property for only one of these filters, you can control which Gaussian Blur plug-in is displayed in the Effects tab and the Effects menu. Note: Preferred effects are not the same as favorite effects. Preferred effects simply indicate which plug-ins you want to display in the Effects tab; favorite effects are saved instances of effects with particular settings you use frequently. The Effects tab displays three columns for identifying and keeping track of effects: Effect Class: Shows the kind of plug-in installed. When this property is empty, the effect is an FXScript plug-in. If the effect is an FxPlug plug-in, the word FxPlug is displayed. Preferred: Shows if an effect is preferred or not. You can turn this property on and off by clicking in the column next to the effect. You can also turn this property on or off for multiple effects by selecting them, Control-clicking in the Preferred column next to any of the selected effects, and then choosing Yes or No from the shortcut menu. Description: Shows a brief description of the effect (if it contains one). FxPlug plug-ins contain descriptions but FXScript plug-ins do not. To choose which effects are displayed in the Effects tab and the Effects menu: 1 Choose Window > Effects (or press Command-5) to open the Effects tab. 2 If you want, click in the Preferred column next to any effects you want to display. 3 Choose Effects > Effect Availability or Control-click in an empty area of the Effects tab, then choose one of the following menu items: Only Recommended Effects: Shows a list of effects recommended by Apple, minimizing duplicate FXScript and FxPlug filters. In most cases, the FXScript plug-in is recommended. Only My Preferred Effects: Shows only effects whose Preferred property is turned on. You can use this option to display a customized list of your installed plug-ins. All Effects: Shows all installed plug-ins. You can also add buttons to the Browser button bar to show recommended effects, preferred effects, or all effects. Note that these three buttons work together as a single unit and you can only select one button at a time. You can open the Button List window by choosing Tools > Button List.

Full Frame Bars and Tone Generators for 25 fps (PAL) Formats
The following PAL-compliant Bars and Tone generator clips have been added to Final Cut Pro 5.1.2: Bars and Tone (HD 25p/50i Full Frame) Bars and Tone (PAL Full Frame) Also, the Bars and Tone (HD 1080i50) generator has been renamed Bars and Tone (HD 25p/50i). In the Mastering Settings tab in the Edit to Tape window, you can now choose the Full Frame Bars option when the current device control preset has a frame rate of 25 fps (PAL). When you select this option, full-frame bars are output to tape. When this option is not selected, SMPTE bars are output just as in earlier versions of Final Cut Pro. Note: If the current device control preset does not have a frame rate of 25 fps, this option is unavailable.
Gamma Control for Imported Still Images
Because many graphics applications do not embed gamma information in still-image files, Final Cut Pro 5.1.2 allows you to define the gamma setting of imported still-image clips. You may want to adjust the gamma of an imported still image when: You know its gamma value but Final Cut Pro cannot determine the value automatically You want to control image brightness, especially when you need to match a still image to similar-looking video clips A still-image clips Gamma Level property tells Final Cut Pro what brightness curve it should assume the clip has. Final Cut Pro compensates for the Gamma Level property by applying an opposing brightness curve to the still-image clip.
There are two places to adjust still-image gamma: Gamma Level pop-up menu in the Editing tab of the User Preferences window: This pop-up menu globally determines gamma for still images at the time they are imported. Gamma Level clip property in the Item Properties window or Browser column: You can adjust the gamma of individual clips in the Browser or in the Item Properties window. This allows you to override the global setting applied by the Gamma Level pop-up menu in the User Preferences window. To choose the gamma value applied to an imported still-image file: 1 Choose Final Cut Pro > User Preferences, then click the Editing tab. 2 Choose one of the following options from the Gamma Level pop-up menu: Source: Choose this option when you want still images to appear the same as in previous versions of Final Cut Pro. If you have already adjusted the gamma of your still-image files to work with previous versions of Final Cut Pro, you should choose this option. This option uses QuickTime to interpret the gamma of imported still images. 1.8: Choose this option when importing still-image files created with the Macintosh operating system or created by an application in which you specified a gamma value of 1.8. 2.2: Choose this option when importing still-image files created with non-Macintosh operating systems or created by an application in which you specified a gamma value of 2.2. Custom: Choose this option to enter any gamma value you wish in the Custom number field. Note: When you adjust the gamma of a still-image clip within Final Cut Pro, the media file is not modified; only the still-image clip in the project is affected. You can change gamma for the following image formats: BMP, QuickDraw, Targa (TGA), PNG, TIFF, SGI, PlanarRGB, MacPaint, and layered or flattened Photoshop (PSD) files. If you need to modify gamma for still-image clips after importing, you can adjust the Gamma Level property in the corresponding Browser column or in the Item Properties window. The Gamma Level property is not shared between master and affiliate clips, so changing the gamma for a master clip has no effect on the affiliated clips, and vice versa.

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.
Previous Release Information About Final Cut Pro 5.1
This version of Final Cut Pro is designed to run natively on both PowerPC-based and Intel-based Macintosh computers.

Using Print to Video with HDV Footage
In Final Cut Pro 5.0.4 and earlier, no audio was output from HDV sequences after the retry alert message appeared during Print to Video operations. This issue has been resolved.
Previewing Video During HDV Capture
Final Cut Pro 5.1 resolves an issue in which the quality of the preview video shown on your computer screen would degrade when capturing 720p HDV for 10 minutes or longer.
Fast Forward Timeline Playback Issue Resolved
Final Cut Pro 5.1 resolves an issue in which mouse movement would cause the Canvas and the video on an external monitor to freeze during Fast Forward and Fast Reverse playback.
Switching Angles in Multiclips with Multichannel Audio
When switching or cutting multiclips with three or more audio clip items, unexpected results can occur when you switch only a subset of tracks at once (for example, if you are switching tracks A1 and A2 in a multiclip containing four audio clip items). In Final Cut Pro 5.1, you can ensure proper angle switching by stopping playback and selecting the multiclip before you switch or cut the angles.
To switch or cut a subset of audio channels in a multiclip with multichannel audio: 1 Edit a multiclip with three or more audio clip items into your sequence. 2 Choose View > Multiclip Active Tracks > Audio, then select the audio channels you want to cut or switch. For example, if you want to switch only audio items 1 and 2 in the multiclip without affecting audio items 3 and 4, choose View > Multiclip Active Tracks > Audio > A1+A2. 3 Play the sequence. 4 Make a single cut or switch by doing one of the following: Press an assigned keyboard shortcut to switch or cut multiclip audio items. Click a button in the button bar to switch or cut multiclip audio items. The audio clip items you cut or switched are no longer linked to the original multiclip you added to the sequence; they now comprise an unrelated multiclip with only two audio channels. To continue switching or cutting the new multiclip, you must select it first. Otherwise, Final Cut Pro will continue switching the multiclip in the highest-numbered video track, which is the original multiclip. 5 Stop playback. 6 Select the new multiclip in the Timeline. 7 Move the playhead to the desired location of the edit. 8 Do one of the following: Press an assigned keyboard shortcut to switch or cut multiclip audio items. Click a button in the button bar to switch or cut multiclip audio items.

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.

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.
Using Subclips with 24@25 Timecode
Final Cut Pro 5.0.3 resolves cases where subclips created from clips with 24@25 fps timecode had inaccurate timecode.
Using DVCPRO HD Easy Setups with Panasonic AJ-HD1200A (Japanese Version Only)
Final Cut Pro 5.0.3 updates the Japanese DVCPRO HD Easy Setups to properly communicate with Panasonic AJ-HD1200A VTRs.
Updating Uncompressed 8- and 10-Bit PAL Easy Setups
The field dominance settings of the capture and sequence presets within the Uncompressed 8- and 10-bit PAL Easy Setups are now both properly set to Upper (Odd). The Final Cut Pro 5.0.3 installer copies an updated version of these Easy Setups into each language folder within /Applications/Final Cut Pro Additional Easy Setups/. To make the Uncompressed 8- and 10-bit PAL Easy Setups available for use in Final Cut Pro: 1 In the Finder, navigate to /Applications/Final Cut Pro Additional Easy Setups/, then open the folder for the language you prefer. This folder contains the updated versions of the Uncompressed 8- and 10-bit PAL Easy Setups. 2 Choose File > New Finder Window (or press Command-N), then navigate to /Library/ Application Support/Final Cut Pro System Support/Custom Settings/. This folder contains the older version of the Uncompressed 8- and 10-bit PAL Easy Setups. 3 Select the updated version of the Uncompressed 8- and 10-bit PAL Easy Setups. Note: If you are using the Japanese version of Final Cut Pro 5.0.3, also include the Uncompressed 8- and 10-bit NTSC Easy Setups in your selection. 4 Do one of the following: Choose File > Copy (or press Command-C), click in the Custom Settings window, then choose File > Paste (or press Command-V). Option-drag the updated version of the Uncompressed 8- and 10-bit PAL Easy Setups to the Custom Settings window. Note: Users of the Japanese version of Final Cut Pro 5.0.3 must also Option-drag Uncompressed 8- and 10-bit NTSC Easy Setups. 5 If a Copy dialog appears asking if you want to replace the Easy Setup files, click Replace.

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.
Updating the IMX PAL Easy Setup

The field dominance settings of the capture and sequence presets within the MPEG IMX 8-bit PAL - 50 Mbs - 48kHz Easy Setup are now both properly set to Upper (Odd). The Final Cut Pro 5.0.2 installer copies an updated version of this Easy Setup into each language folder within /Applications/Final Cut Pro Additional Easy Setups/. To make the IMX PAL Easy Setup available for use in Final Cut Pro: 1 In the Finder, navigate to /Applications/Final Cut Pro Additional Easy Setups/, then open the folder for the language you prefer. This folder contains the updated version of the MPEG IMX 8-bit PAL - 50 Mbs - 48kHz Easy Setup. 2 Choose File > New Finder Window (or press Command-N), then navigate to /Library/ Application Support/Final Cut Pro System Support/Custom Settings/. This folder contains the older version of the MPEG IMX 8-bit PAL - 50 Mbs - 48kHz Easy Setup. 3 Select the updated version of the MPEG IMX 8-bit PAL - 50 Mbs - 48kHz Easy Setup. 4 Do one of the following: Choose File > Copy (or press Command-C), click the Custom Settings window, then choose File > Paste (or press Command-V). Option-drag the updated version of the MPEG IMX 8-bit PAL - 50 Mbs - 48kHz Easy Setup to the Custom Settings window. 5 If a Copy dialog appears asking if you want to replace the Easy Setup file, click Replace.
Applying Motion, Filters, and Effects
Several motion, filter, and still image issues have been resolved. Video Transitions Certain video transitions placed between clips in a sequence no longer display black. Working with Still Images Still image clips that have been adjusted horizontally using the clips motion parameters no longer exhibit vertical blurring or field-doubling when rendered. Color Correction When the Limit Effect controls are enabled in the Color Corrector and Color Corrector 3-way filters, the Matte output is no longer displayed on the current video output.
Understanding Motion Filtering Quality When Rotating a Clip When you adjust a clips Rotation parameter in Final Cut Pro 5.0.2, the clip is automatically rendered using the motion filtering quality setting used by Final Cut Pro HD (version 4.5), regardless of the option chosen in the Motion Filtering Quality pop-up menu of the Video Processing tab of the current sequence settings. For example: If you adjust a clips Scale, Position, or Crop parameter: The clip is rendered using the motion filtering quality option chosen in the Video Processing tab of the current sequence. If you adjust only a clips Rotation parameter: The clip is rendered using the Fastest motion filtering quality setting, which was the only option available in Final Cut Pro HD (version 4.5). If you adjust a clips Rotation parameter as well as additional motion parameters: The clip is rendered using the Fastest motion filtering quality setting because the Rotation parameter has been adjusted.

HDV Footage with Timecode Breaks May Report a Stream Error During Capture If you choose the Abort Capture option from the On timecode break pop-up menu in the General tab of User Preferences, capturing stops when a timecode break is detected. Depending on the signal on tape, you may see one of two messages: A stream error message A timecode break error message

Capturing and Outputting

Capturing Footage Across Timecode Hour 23 and 00 Results in Two Clips When you capture footage that spans timecode hour 23 and timecode hour 00, Final Cut Pro handles this timecode transition as a timecode break. If you choose the Make New Clip option from the On timecode break pop-up menu in the General tab of User Preferences, Final Cut Pro creates two clips. The Media Start timecode of the second clip begins shortly after the pre-roll time specified in the Editing tab of User Preferences has passed. This provides sufficient pre-roll time for the VTR to recapture the clip later while avoiding the timecode break.

Importing and Exporting

Turning Off Internet Streaming Options When Exporting QuickTime Movies For best results, turn off Internet streaming options when using the Export Using QuickTime Conversion command. Avoid Using QuickTime for High Definition to Standard Definition Downconversion When converting high definition media to standard definition media, you should do one of the following: Use the Export Using Compressor command. Edit (or nest) high definition clips or sequences into a standard definition sequence with the appropriate settings, and then export the sequence. This option properly deinterlaces video before scaling, and then reintroduces interlacing after scaling. For example, if you want to export a high definition sequence to DV NTSC settings, create a sequence using the DV NTSC Easy Setup, drag the original high definition sequence into the DV sequence, and then export the DV sequence using the Export QuickTime Movie command. Note: Avoid converting high definition media directly to standard definition media by using the Export Using QuickTime Conversion command with Browser clips in your project. This approach may introduce interlacing artifacts when the video is scaled.
Installing Final Cut Pro 5
When you install Final Cut Pro 5, you can also install its accompanying applications Cinema Tools 3, Compressor 2, and LiveType 2. The Final Cut Pro 5 installer does not install Soundtrack or Soundtrack Pro. For more information about installing Final Cut Pro 5 and its accompanying applications, see the Installing Your Software booklet.

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

Native HDV Editing with Final Cut Pro 5
Frequently Asked Questions

What is HDV?

HDV is a compressed MPEG-2-based high-definition video format. Although HDV uses standard MiniDV tapes, HDV content is higher resolution and has more than four times the number of pixels. To fit the high-definition video on a MiniDV tape, the HDV codec uses a complex compression scheme called long GOP MPEG-2.

What is native editing?

The term native editing means that video is transferred directly into Final Cut Pro from the source without any changes. There is no loss of quality and the video is edited in the same camera-original format that was shot and stored on tape. Now including HDV, Final Cut Pro 5 also supports many formats natively: DV, DVCPRO, DVCAM, DVCPRO 50, IMX, and DVCPRO HD.
What is the difference between native and non-native editing?
Non-native editing means that the incoming video signal is converted, or transcoded, into another format during the capture process. Each conversion from and back to the tape can create quality degradation. Editing HDV in its native MPEG-2 format allows for the highest quality possible.

Why edit HDV natively?

Professional customers demand the highest image quality when editing their video. Native editing preserves the quality of the camera-original video by using a no-loss capture workflow. Non-native applications such as iMovie HD, Final Cut Express HD, and Adobe Premiere Pro all use an intermediate codec. The video is converted, or transcoded, during capture to a different format. This process introduces a generation of image degradation that might be unacceptable to professional customers. On some systems this process can be much slower than real time (meaning you have to wait for the video to be converted before you can start editing).
Technology FAQ Native HDV Editing with Final Cut Pro 5
What are the benefits of native HDV editing?
Native HDV editing offers these benefits: 1. Preservation of the camera-original quality of the source video (no generation loss on capture). 2. Real-time capture (no waiting for transcoding, as on some non-native systems). 3. Smaller files (non-native files are often four times larger). 4. Zero encoding loss when going back to tape for frames not modified in the editing process. 5. Higher-quality output than competitors when going back to tape for frames that have been modified by the editing process.
Are we really editing native HDV?
Adding native HDV editing capabilities to Final Cut Pro was a typical project for Apple: Take something insanely difficult and make it stunningly simple. To Final Cut Pro users, editing HDV is just as easy as editing regular DV. Editing native HDV (long GOP MPEG-2) poses significant challenges for any software vendor. MPEG-2 was not designed as an editable format, and most nonlinear editing applications are not able to work with HDV in the native format. In fact, some of our competitors doubt that we are actually editing native HDV! Its easy to see that were editing HDV natively in Final Cut Pro 5. Select any captured HDV clip and view the data rate and codec through the Item Properties command. Adding support for native HDV editing in Final Cut Pro required work from many different teams at Appleeverybody from our advanced codec engineering group to the QuickTime team, and of course, the Final Cut engineering teams worked on various components to bring this solution to market. Unlike other native MPEG-2 editing solutions, Final Cut Pro 5 lets you make cuts and edits on any frameother systems sometimes limit you to cutting on Groups of Pictures (GOPs) boundaries.
How is long GOP MPEG-2 HDV different than regular video codecs?
Most codecs, like DV for example, compress the contents of individual frames. Each frame is a single compressed picture called an I-frame. I-frame codecs work well for editing software like Final Cut Pro because you can park at, cut on, and view any frame. High-definition video encoded using an I-frame codec would be too large to store on the MiniDV tapes that HDV uses. Long GOP MPEG-2 achieves smaller file sizes by creating GOPs that include different types of frames that rely on each other to complete the image. For example, a Sony HDV 1080i camera uses GOPs that are 15 frames long. The first frame of a GOP contains the only I-frame (complete picture). The rest of the GOP is made up of bidirectional (B) and predictive (P) frames. To see a B or P frame, the system must construct the image by reading multiple frames, starting with the first frame of the GOP. This process allows for great encoding efficiency and very small files (about 3.5 MBps, the same as regular DV). It also means that working with HDV in its native long GOP MPEG-2 format is difficult; each frame of video the user sees has to be constructed by reading numerous other frames in the GOP.

How are native and non-native workflows different?

Native

Acquisition
Native HDV via FireWire Lossless

Editing

Native HDV editing with Digital Cinema Desktop

full-screen playback

Output
Reencode (render) only the changed frames

Non-Native

Transcode HDV on capture Some quality is lost
Edit using intermediate format. Parts with effects are rendered to intermediate again.
Reencode (render) entire program back to HDV
Is it true that HDV render times are longer?
The long GOP MPEG-2 encoding used for HDV is computationally intensive and does take longer to process than I-frame-only codecs. Many people are comparing the render times with DV, which is a standard-definition format. This comparison is not fair since HDV contains more than four times the number of pixels than DV. It is more appropriate to compare HDV render times with other compressed high-definition formats, such as DVCPRO HD. The native workflow used in Final Cut Studio reencodes (renders) only the frames that have been changed by the editing process. The rest of the frames are sent back to tape as is, with zero loss. Non-native solutions must reencode the entire timeline when outputting to tape, meaning they have to render significantly more material than you would if you were using Final Cut Pro 5.
How does the quality of a native HDV workflow compare with the competition?
Apple performed a series of internal tests against the leading Windows-based NLE, Adobe Premiere Pro. A round-trip from camera to hard disk and back is one cycle. We measured PSNR for five cycles; PSNR is a measurement that tells us how much the image has changed. Higher numbers are better.
The numbers below are from tests using the same HDV source content. Different content will yield slightly different numbers. The trends highlighted by the results below will be consistent across the board.
Final Cut Pro 5 (Native HDV) 5 iMovie HD/FCE HD (Apple intermediate codec) 44.9dB 44.3dB 44.0dB 43.8dB 43.6dB Adobe Premiere Pro (CineForm intermediate codec) 37.6dB 36.9dB 36.4dB 36.0dB 35.7dB

The first table compares the native HDV workflow of Final Cut Pro 5 with both iMovie HD/Final Cut Express HD and the Adobe Premiere Pro intermediate workflow. iMovie HD and Final Cut Express HD both use Apples own intermediate codec. Adobe Premiere Pro uses the CineForm intermediate codec. If there are no edits (that is a clip comes in and goes out in its entirety), then no reencoding is necessary. The Final Cut Pro reencoding error is zero pixel levels (or infinite PSNR).
Final Cut Pro 5 (forced native HDV reencode) 5 45.4dB 44.9dB 44.4dB 44.1dB 43.9dB iMovie HD/FCE HD (Apple intermediate codec) 44.9dB 44.3dB 44.0dB 43.8dB 43.6dB Adobe Premiere Pro (CineForm intermediate codec) 37.6dB 36.9dB 36.4dB 36.0dB 35.7dB
The second table shows the native HDV workflow of Final Cut Pro 5 with a forced reencode of HDV compared with the other workflows. Even in this case, when we force Final Cut Pro 5 to reencode the HDV video, the results are clear: After five cycles, Final Cut Pro 5 shows 43.9dB, an average of 1.6 pixel value errors from the original, whereas Adobe Premiere Pro shows 35.7dB, with an average of 4.2 pixel value errors from the original.
How does HDV hold up for visual effects work?
The HDV format is a 4:2:0 codec. This number is a reference to the sampling rate of the luminance (Y) component and two color components (B-Y), (R-Y). In HDV, the vertical and horizontal color resolutions are only half that of the luminance resolution. Professional production studios have standardized on 4:2:2. HDV holds up considerably well for visual effects work, despite its reduced color space. Final Cut Pro 5 delivers exceptional image quality by compositing and applying effects in uncompressed 4:4:4 color before reencoding the final images back to the sequences format (HDV, in this case). For output back to HDV tape or HD-DVD, this process preserves the maximum possible quality. Customers who need higher-quality mastering have the option of transoding HDV into a professional 4:2:2 format, such as DVCPRO HD or even fully uncompressed 10-bit HD. Final Cut Pro 5 configurations that support additional high-definition workflows are available from Apple resellers.
2005 Apple Computer, Inc. All rights reserved. Apple, the Apple logo, Final Cut, Final Cut Pro, FireWire, iMovie, and QuickTime are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Adobe is a trademark or registered trademark of Adobe Systems Incorporated in the U.S. and/or other countries. Other product and company names mentioned herein may be trademarks of their respective companies. Product specications are subject to change without notice. This material is provided for information purposes only; Apple assumes no liability related to its use. June 2005 L310570A