Final Cut Pro

Final Cut Pro 7 Professional Formats and Workflows......Page 1 Contents......Page 3 About the Final Cut Pro Documentation......Page 7 Additional Resources......Page 8 An Overview of Professional Formats and Workflows......Page 9 About High Definition Video Formats......Page 10 About Digital Cinema Formats......Page 11 HDV Formats Supported by Final Cut Pro......Page 13 Temporal Compression......Page 15 Native MPEG-2 HDV Capturing, Editing, and Rendering......Page 16 About the Log and Capture Window......Page 17 Preview Area......Page 19 Logging Tab......Page 21 Clip Settings Tab......Page 22 Log and Capture Buttons......Page 23 Native HDV Editing Workflow......Page 24 Stage 2: Choosing an HDV Easy Setup......Page 25 Stage 3: Logging and Capturing Native HDV Footage......Page 26 Stage 4: Choosing a Render File Format for HDV Sequences......Page 28 Stage 6: Rendering and Conforming Long-GOP MPEG-2 Media......Page 30 Stage 7: Using the Print to Video Command to Output HDV......Page 31 Stage 2: Choosing an Easy Setup......Page 33 Stage 3: Capturing and Transcoding HDV Video......Page 34 Stage 5: Outputting to HDV Tape or Other Formats......Page 35 HDV Format Specifications......Page 37 DVCPRO HD Formats Supported by Final Cut Pro......Page 41 1080pA24 DVCPRO HD......Page 42 720p60 DVCPRO HD......Page 43 Working with DVCPRO HD in Final Cut Pro......Page 44 Stage 2: Choosing a DVCPRO HD Easy Setup......Page 45 Stage 3: Logging and Capturing Your DVCPRO HD Footage......Page 46 Stage 4: Editing DVCPRO HD Footage......Page 47 Stage 5: Outputting Your DVCPRO HD Sequence......Page 48 Choosing 720p60 DVCPRO HD Timecode Display Options......Page 49 How DVCPRO HD Variable Frame Rate Recording Works......Page 50 How a Frame Rate Converter Works......Page 51 Timecode and Audio Restrictions......Page 53 About the Frame Rate Converter Options......Page 54 Using the Frame Rate Converter......Page 55 Working with 1080pA24 DVCPRO HD Video......Page 56 720pN24 DVCPRO HD......Page 57 DVCPRO HD Format Specifications......Page 58 IMX Formats Supported by Final Cut Pro......Page 61 Working with IMX in Final Cut Pro......Page 62 IMX Format Specifications......Page 63 About Panasonic P2 Cards and Media Files......Page 65 Mounting P2 Cards, Disk Images, and Folders......Page 66 Mounting P2 Cards Using a Panasonic P2 Camcorder......Page 67 Mounting P2 Cards Using a PowerBook PC Card Slot......Page 68 Deleting P2 Clips Directly in the Log and Transfer Window......Page 69 Removing Advanced Pull-Down and Duplicate Frames During Transfer......Page 70 Using Print to Video to Output to P2 Cards in P2 Camcorders......Page 71 Capturing over FireWire as If a P2 Card Were a Tape in a VTR......Page 73 Panasonic P2 Camcorder Compatibility......Page 74 Panasonic P2 Card Format Specifications......Page 76 Working with AVCHD in Final Cut Pro......Page 79 Restrictions When Working with AVCHD......Page 80 Choosing an AVCHD Destination Codec......Page 81 AVCHD Format Specifications......Page 82 About AVC-Intra......Page 85 Restrictions When Working with AVC-Intra......Page 86 Stage 1: Choosing the P2 AVC-Intra Plug-in for Transfer......Page 87 Stage 3: Editing AVC-Intra Video......Page 88 Stage 1: Choosing an Apple ProRes Codec for Transcoding......Page 89 Sending an AVC-Intra Project to Color......Page 90 AVC-Intra Format Specifications......Page 91 About XDCAM, XDCAM HD, and XDCAM EX......Page 93 XDCAM HD CBR Easy Setups......Page 94 XDCAM EX Formats Supported in Final Cut Pro......Page 95 Stage 1: Installing Sony XDCAM Transfer Software......Page 96 Stage 2: Connecting an XDCAM Device to Your Computer......Page 97 Stage 3: Ingesting XDCAM Media......Page 98 Stage 5: Choosing a Render File Format for XDCAM HD or XDCAM EX Sequences......Page 99 Stage 6: Editing XDCAM Media Natively......Page 100 XDCAM, XDCAM HD, and XDCAM EX Format Specifications......Page 101 Setting Up a Sony Video Disk Unit......Page 105 Importing DV Media from a Sony Video Disk Unit......Page 106 About the Apple ProRes Codecs......Page 109 Types of Apple ProRes Codecs......Page 111 Sample Apple ProRes Workflows......Page 112 Offline Editing with Apple ProRes Codecs......Page 113 Choosing the Appropriate Apple ProRes Codec......Page 114 Apple ProRes Format Specifications......Page 115 Apple ProRes Tips......Page 117 About the Apple Intermediate Codec......Page 118 About REDCODE......Page 119 Working with REDCODE Media in Final Cut Pro......Page 120 Native REDCODE Editing Workflow......Page 121 Stage 1: Copying REDCODE Media Files to Your Computer......Page 123 Stage 2: Choosing the RED FCP Log and Transfer Plug-in for Transfer......Page 124 Stage 4: Editing REDCODE Video......Page 125 Transcoded REDCODE Editing Workflow......Page 126 Stage 1: Downloading REDCODE Media Files to Your Computer......Page 127 Stage 3: Transcoding Your REDCODE Media......Page 128 Outputting DPX Files from Color......Page 129 REDCODE Format Specifications......Page 130