Manuel d'utilisation / d'entretien du produit 6 du fabricant Apple
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F inal C ut Pr o 6 W orking with High Definition and Broadcast F ormats.
K Apple Inc. Copyright © 2008 Apple Inc . All rights reserved. Y our rights to the software are governed by the accompanying software license agreemen t. The owner or authorized user of a valid c opy of Final Cut Studio software may reproduce this publication for the purpose of learning to use such software.
3 1 C ont ents Preface 7 About High Definition and Broadcast F ormats 7 Over view of High Definition Video Formats 9 About the Apple P roRes 422 C odec 10 About the Apple Intermediate C odec Chapter 1.
4 Contents 43 DVCPRO HD Frame Rate s 46 W orking with DVCPRO HD in F inal Cut Pro 46 Connecting a DVCPRO HD Device to Y our Computer 47 Choosing a DVCPRO HD Easy Setup 47 Logging and Capturing Y our D.
Contents 5 83 T ransport Controls in the Preview Ar ea 83 Restrictions During Preview 84 Using the Logging Area 84 Using Autofill Cache L ogging Information 85 Incrementing L ogging Fields 85 Setting .
6 Contents Chapter 7 1 1 5 W ork ing with A VC-Intra 1 1 5 About A VC-Intra 1 1 5 A VC-Intra F ormats Supported by Final Cut Pr o 1 1 6 W orking with A VC-Intra in F inal Cut Pro 1 1 6 Restrictions Wh.
7 Preface About High Definition and Broadcast F ormats More and more video f ormats are intr oduced ever y year . Making Final C ut Pr o the cent er of your post-production workflow ensur es that y our suite is compatible with the latest br oadcast and high definition formats .
8 Preface About High Definition and Broadcast Formats The following table sho ws the HD formats in common use toda y . NTSC-Compa tible HD Forma ts P AL-Compatible HD F ormats Film-C ompatible HD Formats Format Description 1 080i60 Has high-resolution frames, is able to capture fast movement, and has reduced vertical resolution due to interlacing.
Preface About High Definition and Broadcast Formats 9 About the Apple Pr oRes 422 C odec The Apple P roRes 422 codec is a high-quality 1 0-bit 4:2:2 video codec designed for demanding post-production workflows. Both SD and HD resolutions are supported at two quality levels—standard and high.
10 Preface About High Definition and Broadcast Formats Here are some advan tages of using the Apple P roRes 422 codec: Â Pro vides lower st orage costs compared to the Uncompr essed 8-bit and 1 0-bit codecs. Â Can be used to capture using a third-party video inter face with SDI or HD-SDI inputs.
1 11 1 W ork ing with HDV F inal Cut Pro supports native capturing , editing, and output of HDV media. If you already ha ve experience editing DV footage , mak ing the switch to HDV is simple. This chapter cov ers the following: Â About HDV (p. 1 1) Â Native HDV Editing Workflow (p.
12 Chapter 1 Working with HDV HDV F ormats Suppor ted by F inal Cut Pr o Within the HDV specification, 1 080-line and 720-line formats using several frame rat es are defined.
Chapter 1 Working with HDV 13 About MPEG Compr ession HD video requires significantly mor e data than SD video. A single HD video frame can require up to six times more data than an SD frame . T o record such large images with such a low data rate , HDV uses long-GOP MPEG compression.
14 Chapter 1 Working with HDV F or example, suppose you record some typical “talking head” footage, such as an interview in which a seated person moves very little throughout the shot.
Chapter 1 Working with HDV 15 W ork ing with HDV in F inal Cut Pr o If you’ ve previously worked with DV , you’ll find that the HDV workflow is similar . However , the nature of MPEG-2 long-GOP editing can add significant rendering time when editing native HDV .
16 Chapter 1 Working with HDV Steps for Na tive HDV Editing The steps for capturing , editing, and outputting HD V in Final C ut Pro are almost identical to the workflow used f or D V , but there are several impor tant differ ences. The difference s between the HDV and DV workflows are highlighted in the steps belo w .
Chapter 1 Working with HDV 17 Connecting an HDV Device to Y our Comput er Once you hav e HDV footage on tape, you can connect your camcorder or VTR to your computer to capture . T o connect your HDV camcorder or VTR to your computer: 1 T urn on your VTR or camcorder and switch it to VCR (or VTR) mode.
18 Chapter 1 Working with HDV 5 Choose an Easy Setup from the Use pop-up menu. Important: Make sure to choose an Easy Setup that matches the format of y our HDV source tapes. 6 Click Setup. The corres ponding capture, sequence, and device control presets are loaded , as well as A/V device settings.
Chapter 1 Working with HDV 19 There are several ar eas in the Log and Capture windo w : Â Preview ar ea: On the left is the area where you view video while logging clips. This area contains trans por t controls , marking controls , and timecode fields.
20 Chapter 1 Working with HDV Video Preview Area  A vailable space and time: Final Cut P ro displays the amount of a vailable spac e on all currently assigned scratch disks.  Device status: Shows the readiness of camcorders and decks connected to y our computer and being controlled b y Final Cut Pr o.
Chapter 1 Working with HDV 21 Shuttle Con trol A shuttle control similar to the one in the V iewer and Canv as is also available for navigating through the tape . In the Log and Capture windo w , you can use the J, K, and L keys for playback and shuttling, just as you can in the Viewer and Can vas.
22 Chapter 1 Working with HDV T abs in the Log and Capture Window The Log and Captur e window has several tabs you can use f or logging and capturing your HDV footage. Logging T ab Use this tab to add descriptive inf ormation to each clip that you log, such as reel name, scene/take number , log notes, markers, and so on.
Chapter 1 Working with HDV 23 When an HDV Easy Setup is chosen, only two audio channels are a vailable for capture. Y ou can choose to capture one channel or you can capture both audio channels , either as two discrete mono tracks or a single ster eo pair .
24 Chapter 1 Working with HDV Capturing F ootage with Star t/Stop Indicators When you capture HDV footage , y ou can control how media files ar e created when star t/stop indicators and timecode breaks ar e detected.
Chapter 1 Working with HDV 25 T o determine how timecode breaks are handled when you captur e HDV footage: 1 Choose Final C ut Pro > User Pr eferences , then click the General tab . 2 Choose an option from the “On timecode break” pop-up menu: Â Make New Clip: This is the default option.
26 Chapter 1 Working with HDV Editing HDV F ootage F or the most part, editing HDV f ootage is identical to editing any other f ormat in Final C ut Pro. However , because of the GOP structure of MPEG-2 media, edits in HDV sequences require some additional pr ocessing during playback and output.
Chapter 1 Working with HDV 27 Rendering and Conf orming Long-GOP MPEG-2 Media Before you can output or export a native HDV sequence, Final Cut P ro needs to proce ss your media in two ways: Â Render any applied transitions and effects, as well as any leader and trailer elements included in the Print t o V ideo dialog.
28 Chapter 1 Working with HDV Creating Render F iles Using the Apple ProRe s 422 C o dec T o improve rendering performance while editing, you can render segments of your native HDV , XDCAM HD , and XDCAM EX sequenc es using the Apple P roRes 42 2 codec.
Chapter 1 Working with HDV 29 T o output your HDV sequence to tape: 1 Make sure your camcorder is properly connected to your c omputer via F ireWire. F or more information, see “ Connecting an HDV D evice to Y our Computer ” on page 1 7. 2 Inser t a DV tape into the HDV camcorder .
30 Chapter 1 Working with HDV T ranscoded HD V Editing W orkflow Wh en y ou ed it u si ng fo ot ag e en code d wi th th e Ap ple Int erm ed ia te Co dec or Ap ple Pr oRe s 42 2 c odec , y ou c an e dit just as you wo ul d with an y ot her I-fr ame- only en co ded foo tage , su ch a s DV or unc om pr ess ed v id eo .
Chapter 1 Working with HDV 31 Choosing an Easy Setup Final C ut Pro includes Easy Setups for capturing and editing HDV transcoded to the Apple Intermediate C odec or the Apple ProRes 42 2 codec. T o choose an Easy Setup for transcoding HDV : 1 Choose Final C ut Pro > Easy Setup.
32 Chapter 1 Working with HDV T o ca pture HD V foo tage t o the A ppl e Int ermed ia te Code c o r A pple ProR es 42 2 cod ec: 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 shor tcut menu.
Chapter 1 Working with HDV 33 Editing V ideo Using T ranscoded HDV F o otage Editing video transcoded to the Apple In termediate Codec or A pple ProRe s 422 codec is the same as editing other formats in F inal Cut Pro. However , you need to make sure your scratch disk supports the data rate.
34 Chapter 1 Working with HDV T o expor t your sequence to a Quick Time movie: 1 Open your F inal Cut P ro sequence in the Timeline. 2 Choose File > Export > Quick Time Movie. The Sav e dialog appears. 3 Enter a name and choose a location for the mo vie.
Chapter 1 Working with HDV 35 Using the Canon XL H1 HD V Camcor der Final C ut Pro recognizes the Canon XL H1 HDV camcor der for most F inal Cut Pro operations, including Log and Capture and P rint to Video.
36 Chapter 1 Working with HDV Using the Sony HVR-V1 HDV Camc order As of version 6.0.2, Final C ut Pro include s support for the Sony HVR-V1 HDV camcorder , which records native 1 080i50 and 1 080i60 footage.
Chapter 1 Working with HDV 37 HDV F ormat Specifications HDV has the following format s p ecifications. Storage Medium HDV is recorded on standard mini-DV videocassette tapes or on a hard disk. Video Standard The HDV standards were join tly created by a consortium of manufacturers including Sony , C anon, Sharp, and JVC.
38 Chapter 1 Working with HDV Data Rate The following table lists the data rat es for MPEG-2 HDV as well as HDV transcoded to the Apple Intermediate C odec and Apple ProRes 42 2 codec.
Chapter 1 Working with HDV 39 Video Compression HDV uses MPEG-2 compression with a constant bit rat e (CBR). I-, P-, and B-frames are used, creating a long-GOP pattern. MPEG-2 video and audio are composed of a hierarch y of data streams: Â Elementary stream: T his can be a video , audio, subtitle, or other basic media stream.
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2 41 2 W ork ing with DV CPRO HD In F inal Cut Pro, you can nativ ely capture , edit, and output DVCPRO HD video using the built-in F ireWire por t on your comput er . This chapter cov ers the following: Â About DVCPRO HD (p. 4 1) Â W ork ing with DVCPRO HD in Final Cut P ro (p.
42 Chapter 2 Working with DVCPRO HD DVCPRO HD F ormats Suppor ted by F inal Cut Pr o Final C ut Pro natively supports the following DVCPRO HD formats. 59 .94 fps–Based F ormats 50 fps–Based F ormats Format Final C ut Pro Easy Setup Sequence dimensions and frame rate Scanning method 1 080i60 DVCPRO HD - 1 080i60 1 280 x 1 080 29 .
Chapter 2 Working with DVCPRO HD 43 DVCPRO HD F rame R ates DVCPRO HD suppor ts frame rates compatible with both NTSC and P AL frame rates, although most camcorders are designed to w ork with one or the other .
44 Chapter 2 Working with DVCPRO HD 720p60 D VCPRO HD The 7 20p60 DVCPRO HD format supports 60, 30, and 24 fps recording. When y ou choose a frame rate lower than 60 fps , the camera C CD captures images at the lower rate but the recording rate sta ys fixed at 60 fps.
Chapter 2 Working with DVCPRO HD 45 720p50 D VCPRO HD The 7 20p50 DVCPRO HD format supports 50 and 25 fps recording . When you record at 25 fps, the camera CCD captures images at the lo wer rate but the recor ding rate stays fixed at 50 fps.
46 Chapter 2 Working with DVCPRO HD W orking with DVCPRO HD in F inal Cut Pro DVCPRO HD footage can be recorded on tape or on P anasonic P2 cards. This chapter focuses on capturing DVCPRO HD f ootage from tape.
Chapter 2 Working with DVCPRO HD 47 Choosing a DVCPRO HD Easy Setup Final C ut Pro comes with several DVCPRO HD Easy Setups. Choose the Easy Setup that matches your sourc e footage on tape. T he 72 0p30, 720p25 , and 7 20p24 Easy Setups remove duplicate frames during capture so that y our media files have the proper frame rate.
48 Chapter 2 Working with DVCPRO HD About Timecode for 7 20p50 and 720p60 F ormats Although 72 0p HD formats can record at video frame rates of 60 fps , the timecode recorded on tape is alway s 30 fps.
Chapter 2 Working with DVCPRO HD 49 Editing DVCPRO HD F ootage Y ou can edit DVCPRO HD footage just as you would DV footage. S everal additional options are av ailable to support the unique frame rates of DVCPRO HD.
50 Chapter 2 Working with DVCPRO HD T o set the timecode display for 7 20p60 video: 1 Open a 72 0p60 clip or sequence in the Viewer or Can vas. 2 Control-click a timec ode field, then choose HH:MM:SS:FF (this will display 60 fps timecode) or 60 @ 30 fr om the shor tcut menu.
Chapter 2 Working with DVCPRO HD 51 Outputting Sequence Timecode Using DVCPRO HD When you output a DVCPRO HD sequence or clip to a DVCPRO HD device via F ireWire, timecode is also output. This works during P rint to Video and Edit to T ape operations, as well as during normal playback when external video output via F ireWire is enabled .
52 Chapter 2 Working with DVCPRO HD How DVCPRO HD V ariable F rame R ate Rec ording Works In 72 0p D VCPRO HD variable frame rate rec ording , the camera CCD outputs a frame rate while the recording rate is fix ed at either 59 .94 fps or 50 fps (depending on the camcorder model).
Chapter 2 Working with DVCPRO HD 53 Several examples of 7 20p60 DVCPRO HD variable frame rate f ootage are shown below . Y ou can record variable frame rates with a 7 20p50 camcorder just as you would with a 72 0p60 camcorder , although the range of variable frame rates is betw een 4 and 50 fps.
54 Chapter 2 Working with DVCPRO HD About Native V ariable F rame R ate Recor ding Camcorders such as the P anasonic AG-HVX200 and A G-HVX200E aren ’t limited by the constraints of tape-based recor ding, so they can record native frame rates without duplication of frames.
Chapter 2 Working with DVCPRO HD 55 Timecode and Audio Re strictions The F rame Rate Con verter does not include timecode or audio in the processed media file.
56 Chapter 2 Working with DVCPRO HD Remove Duplica te F rames If t he Rem ov e Dup lic ate Fr ames checkbo x is s electe d , th e F ram e Ra te C onv erter r emo ves an y flagge d dup licat e fra me s.
Chapter 2 Working with DVCPRO HD 57 Using the F rame Rate Con ver ter T o convert a DVCPRO HD media file using the F rame R ate C onverter: 1 Select a clip in the Browser that meets the Fr ame Rate Conv er ter requirements (see “ Original Media File Requiremen ts ” on page 54).
58 Chapter 2 Working with DVCPRO HD Step 1: Shoot with advanc ed pull-down (23 .98 fps at 29 .9 7 fps) Choose the 1 080i/24P A recording mode on your camera. T his creates 29 .9 7 fps 1 080i video that contains 2 3.98 fps progr essive frames using a 2:3:3:2 pull-down patt ern.
Chapter 2 Working with DVCPRO HD 59 W ork ing with 7 20p24 DVCPRO HD Video There are several methods f or recording 72 0p24 DVCPRO HD footage , depending on the camcorder you use .
60 Chapter 2 Working with DVCPRO HD DVCPRO HD F ormat Specifications DVCPRO HD is a 1 00 Mbps ex tension of the DVCPRO (2 5) and DVCPRO 50 formats , used for capturing and editing high-quality HD video. Because DVCPRO HD is a DV format, native F ireWire capture and output is supported.
Chapter 2 Working with DVCPRO HD 61 Fr ame Dimensions, Number of Lines, and Resolution DVCPRO HD suppor ts three resolutions: Â 1 080i60: 1 280 pixels per line , 1 080 lines; interlaced (displa yed a.
62 Chapter 2 Working with DVCPRO HD Scanning Method DVCPRO HD can record either interlac ed or progressive scan image s, depending on the frame size and format.
Chapter 2 Working with DVCPRO HD 63 Video Compression DVCPRO HD uses a variation of the DV and DVCPRO 50 codecs. The compression ratio is around 6.7:1 . Audio The DVCPRO HD format supports up to eight audio tracks, though not all devices can access every track.
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3 65 3 W ork ing with IMX Native IMX editing support makes F inal Cut P ro a power ful addition to any br oadcast post-produc tion environmen t. This chapter cov ers the following: Â About IMX (p. 65) Â W ork ing with IMX in Final C ut Pro (p . 66) Â IMX F ormat Specifications (p .
66 Chapter 3 Working with IMX IMX F ormats Suppor ted by F inal Cut Pr o IMX can be recorded using NTSC or P AL video standards at three possible bit rates (30, 40, and 50 Mbps). F inal Cut Pro supports real-time editing and effects using the 30, 40, and 50 Mbps IMX formats.
Chapter 3 Working with IMX 67 T ransferring IMX F ootage to Y our Computer IMX media is stored within MXF files , so the first step is to transfer the MXF files containing your IMX media to y our computer hard disk.
68 Chapter 3 Working with IMX IMX F ormat Specifications IMX, also k nown as Betacam IMX or MPEG IMX , records SD NTSC and P AL video using high-quality MPEG-2 compression. Storage Medium On e of t he f eat ure s of t he I MX f orm at i s th at i t is not re stri cted to a s in gl e medi a typ e.
Chapter 3 Working with IMX 69 Color Recording Method IMX records a 4:2:2 Y´C B C R (component) digital video signal. Each sample (pixel) has a resolution of 8 bits. Data Rate and Video Compression IMX us es I-fram e-only MPEG- 2 c ompre ssion . IMX is a restr icted ve rsi on of MPE G-2 4: 2:2 P rof ile @ ML.
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4 71 4 U sin g t he Lo g a nd T r ans f er Wi ndo w Y ou can use the Log and T ransfer window to view f ootage recorded on file-based media and tr ansfer it to y our scratch disk. This chapter cov ers the following: Â About File-Based Media (p . 7 2) Â About the Log and T ransfer Window (p.
72 Chapter 4 Using the Log and Transfer Window About F ile-Based Media Historically , video f ootage has been recorded on videotape . As digital acquisition quickly replaces analog technology , camcorders ar e starting to record footage as files on non-tape-based media such as hard disks, solid-state cards, and optical discs.
Chapter 4 Using the Log and Transfer Window 73 T o open the Log and T ransfer window: m Choose File > L og and T ransfer (or press Command-Shift-8). Note: The illustrations in this chapter show examples of the Log and Tr ansfer window ingesting P2 footage.
74 Chapter 4 Using the Log and Transfer Window F ile-Based Media T erminology When you ingest file-based media using the L og and T ransfer window , it’ s impor tant to know the following concepts and definitions: Â Ingest: A general term for the proce ss of transferring video , a udio , and metadata from one media storage system to another .
Chapter 4 Using the Log and Transfer Window 75 Â Med ia vo lume n ame : The name of a m ount ed vo lum e , dis k i mag e , or folde r . If y ou ha ve wri te acces s to a m edi a v olume , you can c han ge the v olu me nam e i n t he F inder . Â Media file: A file containing one or more video or audio tracks of sample data.
76 Chapter 4 Using the Log and Transfer Window Sample File-Based Media W orkflow The process of ingesting file-based f ootage is similar to impor ting tape-based media using the Log and Capture windo w , although it is often much faster because you a void the inconv eniences of tape.
Chapter 4 Using the Log and Transfer Window 77 8 If the format you are ingesting is not nativ ely suppor ted by Final Cut P ro (such as A VCHD or A VC-Intra), you need to choose a format to transcode y our footage to . F or more information, see “ Log and T ransfer Plug-in T ranscode Settings ” on page 93.
78 Chapter 4 Using the Log and Transfer Window Mounting Media Devices A file-based media device needs to be mounted on the de sktop as a media volume before you can inge st footage from the device . Most media device s can be set to a special file access mode and then connected to y our computer via F ireWire or USB .
Chapter 4 Using the Log and Transfer Window 79 Con trols in the Bro wse Area The Browse ar ea contains the follo wing controls: Â Add F older button: Click to add a folder with a valid file-based media folder structure for a format such as P2, A VCHD , A VC-Intra, or XDCAM.
80 Chapter 4 Using the Log and Transfer Window  List view buttons: T here are two wa ys to view the list of clips on mounted v olumes:  Hierarchic al List view : View clips grouped by v olume. In this view , y ou can click the disclosure triangle next to a volume name to show or hide the clips con tained within.
Chapter 4 Using the Log and Transfer Window 81 Â Media map indicators: Indicate how much of a clip’ s media has been ingested int o the current project.
82 Chapter 4 Using the Log and Transfer Window Deleting Clips Directly from Storage Media F or some types of storage media, you can delete clips directly from the storage media using the Log and T ransfer window . F or more information, see “ Deleting P2 Clips Directly in the Log and T ransfer Window ” on page 1 00.
Chapter 4 Using the Log and Transfer Window 83 T ranspor t Contr ols in the Pr eview Area The transport, navigation, and marking controls in the Preview ar ea work in the same way as the controls in the V iewer and Can vas. The same keyboard shortcuts, including the J, K, and L keys for pla yback, also work.
84 Chapter 4 Using the Log and Transfer Window Using the Logging Area Y ou can use the Logging area to modify a clip ’ s reel name and other descriptive information befor e ingesting. Data entered here is stored with project clips after ingest. The fields here are identical t o the logging fields in the Log and Capture windo w .
Chapter 4 Using the Log and Transfer Window 85 Incrementing L ogging Fields Most of the logging fields hav e an Increment button you can click t o increase the v alue of the last character of the clip name by one, according to the follo wing rules: Â Any numbers at the end of a field are incremen ted by one.
86 Chapter 4 Using the Log and Transfer Window Using the T ransfer Queue The T ransfer Queue shows a list of clips currently queued f or ingest. The status of each clip is shown and a progress bar indicat es how much of a clip ’ s media has already been ingested .
Chapter 4 Using the Log and Transfer Window 87 Y ou can also drag clips from the Log and T ransfer window to your project in the Browser . Those clips are automatically logged in the project and added to the T ransfer Queue, and their media is ingested.
88 Chapter 4 Using the Log and Transfer Window Reingesting Clip Media If a clip ’ s media files are deleted or lost, you can reingest the clip ’ s media at any time. This process is equiv alent to batch capturing when working with tape-based media.
Chapter 4 Using the Log and Transfer Window 89 T o reingest media for clips created in the L og and T ransfer window: 1 In the Browser , selec t the clips whose media you want to reinge st. 2 Do one of the following: Â Choose File > Bat ch Capture (or press C ontrol-C).
90 Chapter 4 Using the Log and Transfer Window Viewing Spanned Clips in the Browse Area The Browse ar ea of the Log and T ransfer window can display clips tw o ways: in Hierarchical List view and Flat List view . The following example shows how a spanned clip consisting of five clips (on five v olumes) appears in both views.
Chapter 4 Using the Log and Transfer Window 91 T o avoid confusion, it ’ s usually best to use Flat List view when ingesting spanned clips . When a spanned clip is incomplete , y ou can ingest each segment as an individual Quick Time media file and clip.
92 Chapter 4 Using the Log and Transfer Window Archiving to a Disk Image The Archive to Disk Image c ommand produces a readable , writable disk image that is easily stored on other hard disks or disc media and can be easily opened to acce ss the archived cont ent.
Chapter 4 Using the Log and Transfer Window 93 Setting Log and T ransfer Import Preferences The Log and Transf er window has several preferences that y ou can access by choosing Pref erences from the .
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5 95 5 W orki ng wit h P ana son ic P2 Ca rd s Y ou can use the Log and T ransfer window to view footage rec orded on P anasonic P2 cards and transfer it to your c omputer . This chapter cov ers the following: Â About P anasonic P2 Cards and Media Files (p .
96 Chapter 5 Working with Panasonic P2 Cards The following definitions pr ovide some shorthand for discussing P2 cards and media: Â P2 card: A solid-state memor y card for recording DV , DVCPRO, DVCPRO 50, DVCPRO HD , and A VC-Intra media within MXF container files .
Chapter 5 Working with Panasonic P2 Cards 97 Mounting P2 Car ds, Disk Images, and F olders After you record f ootage on P2 cards, there are three ways to mount P2 cards in y our computer’ s file system: Â Use a P anasonic P2 memor y card reader connected to your Mac computer .
98 Chapter 5 Working with Panasonic P2 Cards Mounting P2 Ca rds Using a P owerBook PC Card (Cardbus) Slot T o mount a Panasonic P2 car d in Mac OS X using the PC Card slot of a P owerBook, y ou first need to download and install the P2 Driver Software from the P anasonic website: https://eww .
Chapter 5 Working with Panasonic P2 Cards 99 Mounting P2 Ca rds Using a P anasonic AG-HVX200 C amcorder Y ou can use a Panasonic A G-HVX200 camcorder as a P2 card reader to mount P2 car ds on the desktop .
100 Chapter 5 Working with Panasonic P2 Cards Deleting P2 Clips Directly in the Log and T ransfer Window If a P2 volume has read-and-write access (as opposed t o read-only access), you can delete clip.
Chapter 5 Working with Panasonic P2 Cards 101 Removing A dvanced P ull-Down and Duplicate F rames During T ransfer The Remove A dvanced Pulldown and Duplicate F rames option in the Log and T ransfer window prefer ences allows you t o remove redundan t (duplicate) frames recorded in variable frame rate DVCPRO HD 7 20p f ootage.
102 Chapter 5 Working with Panasonic P2 Cards Using Print to Video to Output to P2 Cards in the A G-HVX200 Camcorder Y ou can output footage in Final C ut Pro t o P2 cards in a P anasonic AG-HVX200 camcorder .
Chapter 5 Working with Panasonic P2 Cards 103 3 In Final C ut Pro, choose View > V ideo Playback, then choose the format you want t o output via Fir eWire. F or example, if you want to output 72 0p60 footage and the camcorder recording mode is set to 72 0P/60P , y ou should choose View > V ideo Playback > DVCPRO HD (72 0p60) (1 280 x 720).
104 Chapter 5 Working with Panasonic P2 Cards 4 On the camcorder , do the f ollowing: a Choose Camera mode. b Pre ss the Menu button. c Choose the Other Functions menu, then selec t the PC Mode setting. d Set the PC Mode setting to 1 394DEVICE. e Pre ss the mode button to switch from C amera mode to MCR/VCR mode.
Chapter 5 Working with Panasonic P2 Cards 105 Panasonic A G-HVX200 Camcorder Compatibility Th e P anaso nic A G-H VX2 00 P2 camc or der su ppo rts a lar ge nu mbe r o f S D a nd HD vid eo fo rma ts at va rious frame rates .
106 Chapter 5 Working with Panasonic P2 Cards P anasonic AG-HVX200E (P AL) i = interlaced, p = progressive, A = advanced pull-down, N = native frame rate (without duplicate fields or frames), DF = drop frame, NDF = non-drop frame, VFR = variable frame rate 1 - No pull-down removal is necessary; native frame rate is captured or ingested.
Chapter 5 Working with Panasonic P2 Cards 107 Panasonic P2 C ard Format Specific ations A P2 card is a PC Card containing f our Secure Digital memor y cards ganged together in a RAID 0 array , pr oviding quadruple the capacity and transfer speed of a single Secure Digital card.
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6 109 6 W ork ing with A VCHD The L og and T ransfer window allows y ou to transf er A VCHD footage from file-based camc orders. This chapter cov ers the following: Â About A VCHD (p. 1 09) Â A VCHD Formats Supported by Final C ut Pro (p . 1 09) Â W ork ing with A VCHD in Final Cut P ro (p.
110 Chapter 6 Working with AVCHD W orking with A VCHD in F inal Cut Pro A VCHD footage can be transferred using the L og and T ransfer window in F inal Cut Pro. Once you hav e transferred y our footage , you can edit using an appropriate Apple Intermediate C odec or Apple P roRes 422 c odec Easy Setup.
Chapter 6 Working with AVCHD 111 Restrictions During Preview Preview of A VCHD video in the Log and Tr ansfer window is limited t o forward playback at 1 00 percent s peed. When you scrub with the pla yhead, video is not updated in the Preview ar ea until you stop scrubbing .
112 Chapter 6 Working with AVCHD A VCHD Format Specific ations A VCHD is an HD video format that uses Adv anced V ideo Coding (A VC) compression (also known as MPEG-4 par t 1 0 or H.
Chapter 6 Working with AVCHD 113 Fr ame Dimensions, Number of Lines, and Resolution A VCHD suppor ts three HD video resolutions: Â 1 920 x 1 080: This format is sometimes called F ull HD because it contains the full 1 920 horizontal pix els of the 1 080-line HD format.
114 Chapter 6 Working with AVCHD Sony Camc order A VCHD Quality Levels P anasonic Camcorder A VCHD Quality Levels Audio A VCHD audio can be recorded in 5 . 1-channel surround sound with Dolby Digital (AC-3) compression or up to 7 . 1-channel surround sound (uncompre ssed).
7 115 7 W ork ing with A VC-In tra The L og and T ransfer window allows you t o transf er A VC-Intra footage from P2 v olumes. This chapter cov ers the following: Â About A VC-Intra (p . 1 1 5) Â A VC-Intra Formats Supported by F inal Cut P ro (p. 1 1 5) Â W ork ing with A VC-Intra in Final Cut P ro (p.
116 Chapter 7 Working with AVC-Intra W orking with A VC-Intr a in Final Cut P ro A VC-I ntra foota ge can be tr ansfe rred usi ng the L og and T ran sf er win dow i n F inal Cut Pro . Dur ing tr ansf er , yo u can c hoo se to t ran sco de y our f ootag e to the Ap ple P roRe s 4 2 2 c odec or the A ppl e P roRe s 42 2 (HQ) code c.
Chapter 7 Working with AVC-Intra 117 A VC-Intra F ormat Specifications A VC-Intra is an HD video format that uses Adv anced Video Coding (A VC) compression, just as with A VCHD. However , A VC-Intra uses only intraframe compr ession (I-frame-only compression) as opposed to the in ter frame (long-GOP) compression used by A VCHD.
118 Chapter 7 Working with AVC-Intra Color Recording Method The 1 00 Mbps A VC-Intra color sample ratio is 4:2:2, with 1 0 bits per sample. T he 50 Mbps A VC-Intra color sample ratio is 4:2:0, with 1 0 bits per sample. Data Rate A VC-Intra can be recorded at either 1 00 or 50 Mbps.
8 119 8 Work ing with Son y XDC AM F ormats F inal Cut Pro allo ws you to na tively transf er and edit XDCAM, XDCAM HD , and XDCAM EX formats. This chapter cov ers the following: Â About XDCAM, XDCAM HD, and XDCAM EX (p . 1 1 9) Â W ork ing with XDCAM, XDCAM HD, and XDCAM EX in Final C ut Pro (p .
120 Chapter 8 Working with Sony XDCAM Formats The SP format uses a c onstant bit rate (CBR) and is compatible with1 080i HDV . The LP and HQ formats use a variable bit rat e ( VBR) and provide extended recording time with lower-than-HDV quality (LP) and qualit y that surpasses that of the HDV recording format (HQ).
Chapter 8 Working with Sony XDCAM Formats 121 XDCAM HD422 CBR Easy Setups F inal C ut P ro 6 in clu des suppo r t f or the Sony XDCAM HD42 2 fo rmat, but it re qui re s the ins tal lat ion of th e S on y X DCA M T ransf er so ftware an d a n X DCA M p lug -in .
122 Chapter 8 Working with Sony XDCAM Formats W orking with XDCAM, XDCAM HD, and XDCAM EX in F inal Cut Pr o F inal Cu t P ro can inge st an d expo r t XD CA M, XD CA M HD , an d XD CA M EX usi ng t hir d- pa rty So n y XD CA M T ra ns f er s oft war e.
Chapter 8 Working with Sony XDCAM Formats 123 Connecting an XDCAM, XDCAM HD , or XDCAM EX Device to Y our Comput er Before ingesting y our XDCAM footage , you must connect an XDCAM or XDCAM HD deck or an XDCAM EX camcorder or SxS card device to y our computer .
124 Chapter 8 Working with Sony XDCAM Formats T o enable remote device con trol on a Sony PDW-F70 XDCAM HD deck: 1 Disconnect the FireWire cable betw een the deck and your computer . 2 On the deck, press the Menu button. 3 With SETUP MENU selected, press the Right button to displa y the SETUP MENU options.
Chapter 8 Working with Sony XDCAM Formats 125 Choosing an Easy Setup and Editing XDCAM HD or XDCAM EX Media in F inal Cut P ro Once you ingest y our XDCAM HD or XDCAM EX footage to Quick Time media fi.
126 Chapter 8 Working with Sony XDCAM Formats XDCAM, XDCAM HD, and XDCAM EX Format Specific ations XDCAM (SD) records MXF file–based media to an optical disc f ormat. XDCAM HD extends XDCAM to include HD video. XDCAM EX adds full-resolution 1 9 20 x 1 080 or 1 280 x 720 modes and Expre ssCard-based recor ding.
Chapter 8 Working with Sony XDCAM Formats 127 XDCAM HD can record 1 080-line HD video using MPEG-2 compression at four quality levels. Th e SP fo rmat use s a c onst ant bit rat e ( CB R) a nd is comp atib le wi th 1 08 0i H DV .
128 Chapter 8 Working with Sony XDCAM Formats Fr ame Rate XDCAM suppor ts 25 and 29 .9 7 fps. XDCAM HD and XDCAM EX suppor t the following f ormats and frame rates: Â 1 080i60, 1 080p30 Â 1 080i50, 1 080p25 Â 1 080p24 XDCAM EX also supports the 720p format at 2 3.
9 129 9 W or ki n g w it h S on y Vi de o Di s k Un i ts Y ou can use the Log and T ransfer window to view f ootage recorded on a Son y V ideo Disk Unit and transfer the f ootage to your scr atch disk. This chapter cov ers the following: Â About Sony Video Disk Units (p.
130 Chapter 9 Working with Sony Video Disk Units Impor ting F ootage from a S ony Video Disk Unit T o impor t media from a Sony V ideo Disk Unit, you need to connect it to your computer via Fir eWire and then select which media files you want to import using the Log and T ransfer window in F inal Cut P ro.
Chapter 9 Working with Sony Video Disk Units 131 T o transfer media from a Sony Video Disk Unit: 1 Make sure that the Sony V ideo Disk Unit is connected and mounted on the desktop . 2 Choose Final C ut Pro > System Settings, then click the Scratch Disks tab.
Un point important après l'achat de l'appareil (ou même avant l'achat) est de lire le manuel d'utilisation. Nous devons le faire pour quelques raisons simples:
Si vous n'avez pas encore acheté Apple 6 c'est un bon moment pour vous familiariser avec les données de base sur le produit. Consulter d'abord les pages initiales du manuel d'utilisation, que vous trouverez ci-dessus. Vous devriez y trouver les données techniques les plus importants du Apple 6 - de cette manière, vous pouvez vérifier si l'équipement répond à vos besoins. Explorant les pages suivantes du manuel d'utilisation Apple 6, vous apprendrez toutes les caractéristiques du produit et des informations sur son fonctionnement. Les informations sur le Apple 6 va certainement vous aider à prendre une décision concernant l'achat.
Dans une situation où vous avez déjà le Apple 6, mais vous avez pas encore lu le manuel d'utilisation, vous devez le faire pour les raisons décrites ci-dessus,. Vous saurez alors si vous avez correctement utilisé les fonctions disponibles, et si vous avez commis des erreurs qui peuvent réduire la durée de vie du Apple 6.
Cependant, l'un des rôles les plus importants pour l'utilisateur joués par les manuels d'utilisateur est d'aider à résoudre les problèmes concernant le Apple 6. Presque toujours, vous y trouverez Troubleshooting, soit les pannes et les défaillances les plus fréquentes de l'apparei Apple 6 ainsi que les instructions sur la façon de les résoudre. Même si vous ne parvenez pas à résoudre le problème, le manuel d‘utilisation va vous montrer le chemin d'une nouvelle procédure – le contact avec le centre de service à la clientèle ou le service le plus proche.
