User manual APPLE FINAL CUT PRO 5 - WORKING WITH HIGH DEFINITION AND BROADCAST FORMATS

Final Cut Pro 5 Working With High Definition and Broadcast Formats K Apple Computer, Inc. © 2006 Apple Computer, Inc. All rights reserved. Under the copyright laws, this manual may not be copied, in whole or in part, without the written consent of Apple. The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. and other countries. Use of the "keyboard" Apple logo (Option-Shift-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws. Apple, the Apple logo, DVD Studio Pro, Final Cut, Final Cut Pro, FireWire, iTunes, Mac, Macintosh, Mac OS, PowerBook, and QuickTime are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Cinema Tools and Finder are trademarks of Apple Computer, Inc. Other company and product names mentioned herein are trademarks of their respective companies. Mention of third-party products is for informational purposes only and constitutes neither an endorsement nor a recommendation. Apple assumes no responsibility with regard to the performance or use of these products. Production stills from the films "Koffee House Mayhem" and "A Sus Ordenes" provided courtesy of Refuge Films. "Koffee House Mayhem" © 2004 Jean-Paul Bonjour; "A Sus Ordenes" © 2004 Eric Escobar. http://www.refugefilms.com 1 Contents Preface 7 8 11 11 12 13 14 15 16 17 17 25 26 28 28 29 29 30 30 32 33 37 37 38 38 40 40 40 41 43 45 About High Definition and Broadcast Formats Overview of High Definition Video Formats Working With HDV About HDV HDV Formats Supported by Final Cut Pro About MPEG-2 Compression Working With HDV in Final Cut Pro Native HDV Editing Workflow Connecting an HDV Device to Your Computer Choosing an Easy Setup Logging and Capturing Native HDV Footage Editing HDV Footage Outputting HDV to Tape or Exporting to a QuickTime Movie HDV Apple Intermediate Codec Editing Workflow Connecting an HDV Device to Your Computer Choosing an Easy Setup Capturing HDV Video to the Apple Intermediate Codec Editing Video Using the Apple Intermediate Codec Outputting HDV to Tape or Exporting to a QuickTime Movie Using the Canon XL H1 HDV Camcorder HDV Format Specifications Working With DVCPRO HD About DVCPRO HD DVCPRO HD Formats Supported by Final Cut Pro DVCPRO HD Frame Rates Working With DVCPRO HD in Final Cut Pro Connecting a DVCPRO HD Device to Your Computer Choosing a DVCPRO HD Easy Setup Logging and Capturing Your DVCPRO HD Footage Editing DVCPRO HD Footage Outputting Your DVCPRO HD Sequence Chapter 1 Chapter 2 3 46 48 Chapter 3 51 51 52 52 53 56 60 61 61 62 63 64 65 66 69 69 70 70 70 71 71 71 71 71 72 75 75 77 78 79 81 81 84 88 90 92 94 95 Working With Variable Frame Rate DVCPRO HD Footage DVCPRO HD Format Specifications Combining Standard and High Definition Video About Standard Definition and High Definition Video Mixing High Definition and Standard Definition Video in the Same Sequence Choosing High-Quality Scaling Options Downconverting High Definition Video Upconverting Standard Definition Video Tips for Converting Between Standard and High Definition Media Working With 24p and Variable Frame Rate Video What Is 24p Video? Film, 24p Video, and Cinema Tools Working With 24p NTSC Video Using A DVX100 NTSC Camcorder With Advanced Pulldown Working With 720p24 DVCPRO HD Video Working With 1080pA24 DVCPRO HD Video Working With IMX About IMX IMX Formats Supported by Final Cut Pro About MXF Working With IMX in Final Cut Pro Transferring IMX Footage to Your Computer Importing MXF-Wrapped IMX Media Files Into Your Project Choosing an IMX Easy Setup Editing IMX Clips Into a Sequence Exporting IMX QuickTime Media Files IMX Format Specifications Working With Panasonic P2 Media About Panasonic P2 Cards and Media Files Working With Panasonic P2 Cards and Final Cut Pro About the Import Panasonic P2 Window Example Panasonic P2 Workflow Recording Footage With a P2 Camcorder Mounting P2 Cards, Disk Images, and Folders Using the Browse Area Using the Preview Area Using the Logging Area Using the Transfer Queue Reingesting Clip Media Working With Spanned Clips Chapter 4 Chapter 5 Chapter 6 4 Contents 98 100 100 101 103 104 Chapter 7 107 107 107 109 109 109 110 110 110 110 110 111 Using Print to Video to Output to P2 Cards in the AG-HVX200 Archiving P2 Cards Setting Preferences Capturing Over FireWire as if the P2 Card Were a Tape in a VTR Panasonic AG-HVX200 Camcorder Compatibility Panasonic P2 Card Format Specifications Working With Sony XDCAM HD and Video Disk Units Working With Sony XDCAM HD About XDCAM HD XDCAM HD Formats Supported in Final Cut Pro Installing Sony XDCAM Software Connecting XDCAM HD Devices to Your Computer Ingesting XDCAM HD Media Editing XDCAM HD Media in Final Cut Pro Exporting Sequences to XDCAM HD Media Working With a Sony Video Disk Unit About Sony Video Disk Units Importing Footage From a Sony Video Disk Unit Contents 5 About High Definition and Broadcast Formats Final Cut Pro 5 is a complete broadcast post-production solution, supporting the latest high definition video formats, project interchange formats, and high-performance, shared disk storage. With more and more video formats introduced every year, it can be difficult to keep your post-production suite up to date. 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 document covers the following format support in Final Cut Pro:  Native capturing, editing, and output of HDV  Native capturing, editing, and output of DVCPRO HD  Importing and native editing of MPEG-2 IMX  Ingesting from non-tape-based media such as Panasonic P2 cards, Sony XDCAM HD, and Sony Video Disk Units Preface 7 Overview of High Definition Video Formats Because of the multiple frame sizes, frame rates, and scanning methods supported by the latest high definition video specifications, there are a large number of high definition formats currently available. While the most commonly used formats are described below, many other variations exist today. 1080i60 This is a common broadcast format that is compatible with standard definition NTSC video. Pros  Individual still frames in this format are very high quality because of the high resolution.  29.97 fps frame rate and interlacing are both compatible with standard definition NTSC video. Cons  Quick action or rapid camera motion may cause interlacing artifacts. 1080i50 1080i50 is compatible with standard definition PAL video. Pros  Individual still frames in this format are very high quality because of the high resolution.  25 fps frame rate and interlacing are both compatible with standard definition PAL video. Cons  Quick action or rapid camera motion may cause interlacing artifacts.  Because of the lower frame rate, this format can cause more severe motion artifacts than 1080i60. 8 Preface About High Definition and Broadcast Formats 1080p24 1080p24 is sometimes simply referred to as 24p and is considered by some to be the most flexible frame rate choice because it is possible to transfer to NTSC video, PAL video, and--perhaps most important--film. Choose this format if you plan to transfer your finished video to film, or if you are trying to emulate a film look on your final video. This format is similar to 720p24, but with much higher resolution. Pros  Individual still frames in this format are very high quality because of the high resolution.  Can be easily converted to other frame rates compatible with NTSC video, PAL video, and film (24 fps frame rate allows direct transfer to film).  Progressive scanning eliminates interlacing artifacts.  When pulldown is removed, 1080p24 has a potentially lower data rate than other 1080-line formats. Cons  Some 1080p24 modes require pulldown removal and insertion, complicating timecocde and media management.  Requires a telecine pulldown process when transferring to NTSC.  Requires a frame rate increase when transferring to PAL. This slightly alters the audio rate.  The low frame rate requires slow camera motion to avoid stuttering jumps from frame to frame. 720p60 This format is smaller than 1920 x 1080, but the smaller image dimensions decrease the per-frame data rate. This means the frame rate can be doubled compared to 1080i formats without significantly increasing the data rate. Pros  Yields the highest frame rate possible for a high definition format.  Individual still frames in this format have no motion artifacts (such as flickering lines) because 720p is progressively scanned.  Captures and displays quick action and fast camera moves smoothly.  The 59.94 fps video frame rate is compatible with NTSC video. Cons  720p has a smaller image size than 1920 x 1080 (though it is still higher resolution than standard definition video). Preface About High Definition and Broadcast Formats 9 720p30 720p30 is a particularly flexible format because it is compatible with standard definition NTSC video (because it has a matching frame rate of 29.97 fps) as well as streaming and downloadable video (because it is progressively scanned). Because of the progressive scanning, 720p30 is also useful when you need a video format that can output high-quality still frames. Pros  720p is compatible with both standard definition NTSC video (29.97 fps) and computer graphics because it is progressively scanned. Cons  720p has a smaller image size than 1920 x 1080 (though it is still higher resolution than standard definition video). 720p24 720p24 is sometimes simply referred to as 24p, and is considered by some to be the most flexible frame rate choice because it is possible to transfer to NTSC video, PAL video, and film. Choose this mode if you plan to transfer your finished video to film, or if you are trying to emulate a film look on your final video. Pros  Can be easily converted to other frame rates compatible with NTSC video, PAL video, and film (24 fps frame rate allows direct transfer to film).  Progressive scanning eliminates interlacing artifacts.  Has a 60 percent lower data rate than 720p60 because of the lower frame rate. Cons  720p has a smaller image size than 1920 x 1080 (though it is still higher resolution than standard definition video).  Requires a telecine pulldown process when transferring to NTSC.  Requires a frame rate increase when transferring to PAL. This slightly alters the audio rate.  The low frame rate requires slow camera motion to avoid stuttering jumps from frame to frame. 10 Preface About High Definition and Broadcast Formats 1 Working With HDV 1 Final Cut Pro supports native capturing, editing, and output of HDV media. If you already have experience editing DV footage, making the switch to HDV is simple. This chapter covers the following:  About HDV (p. 11)  Working With HDV in Final Cut Pro (p. 14)  Native HDV Editing Workflow (p. 15)  HDV Apple Intermediate Codec Editing Workflow (p. 28)  Using the Canon XL H1 HDV Camcorder (p. 32)  HDV Format Specifications (p. 33) About HDV HDV is a new high definition video format created by a consortium of manufacturers including Sony, Canon, Sharp, and JVC. HDV allows you to record an hour of high definition video with a consumer-priced handheld camcorder on standard mini-DV videocassettes. You can connect an HDV camcorder to your computer via FireWire, so you can capture and output just as you would with a DV device. HDV uses MPEG-2 compression to achieve a maximum video data rate of 25 Mbps, which is the same data rate as DV. This means you can fit the same amount of video on your scratch disks as you can when using DV. Although the HDV workflow is nearly identical to a typical DV workflow, a few additional steps are required. This chapter describes the unique features of Final Cut Pro that allow you to capture, edit, and output HDV video in its native format. What Is ProHD? ProHD extends the JVC 720p HDV format to support 24 fps video, professional timecode options, and up to four audio channels. 11 HDV Formats Supported by Final Cut Pro Within the HDV specification, several resolutions and frame rates are defined. HDV formats are usually distinguished by the number of lines per frame (the height of the image), the scanning method (progressive or interlaced), and the frame or field rate. For example, 1080i60 describes a format with 1080 lines, interlaced scanning, and 60 fields per second. Final Cut Pro supports the following HDV formats: Format 1080p241 1080p251 1080i60 1080i50 720p242 720p252 720p30 1 Supported 2 Supported Final Cut Pro Easy Setup HDV - 1080p24 HDV - 1080p25 HDV - 1080i60 HDV - 1080i50 HDV - 720p24 HDV - 720p25 HDV - 720p30 Dimensions 1440 x 1080 1440 x 1080 1440 x 1080 1440 x 1080 1280 x 720 1280 x 720 1280 x 720 Video Data Rate 25 Mbps 25 Mbps 25 Mbps 25 Mbps 18.3 Mbps 18.3 Mbps 18.3 Mbps by the Canon XL H1 HDV camcorder. Also called 1080F24 and 1080F25. by the JVC GY-HD100 ProHD camcorder. Standard Definition Recording With an HDV Camcorder In addition to recording high definition video, most HDV camcorders can also record standard definition DV video. You can capture, edit, and output this DV video just as you would any other DV video. Important: You should avoid recording DV and HDV video on the same tape. This can cause problems during capture and playback. An additional format defined within the HDV specifications, known as SD, is available on some JVC camcorders. Final Cut Pro does not support this format. 12 Chapter 1 Working With HDV About MPEG-2 Compression High definition video requires significantly more data than standard definition video. A single HD video frame can require up to six times more data than an SD frame. To record such large images with such a low data rate, HDV uses MPEG-2 compression. MPEG compression reduces the data rate by removing redundant visual information, both on a per-frame basis and also across multiple frames. Spatial (Intraframe) Compression Within a single frame, areas of similar color and texture can be coded with fewer bits than the original, thus reducing the data rate with a minimal loss in noticeable visual quality. JPEG compression works in a similar way to compress still images. Intraframe compression is used to create standalone video frames called I-frames (short for intraframe). Temporal (Interframe) Compression Instead of storing complete frames, temporal compression stores only what has changed from one frame to the next, which dramatically reduces the amount of data that needs to be stored while still achieving high-quality images. Video is stored in three types of frames: a standalone I-frame that contains a complete image, and then predictive P-frames and B-frames that store subsequent changes in the image. Every half second or so, a new I-frame is introduced to provide a complete image on which the P- and B-frames are based. Together, a group of I-, P-, and B-frames is called a group of pictures, or GOP. HDV uses a long-GOP pattern, which means that there are several P- or B- frames for each I-frame. More About Long-GOP Video The term "long" refers to the fact that P- and B-frames are used between I-frame intervals. At the other end of the spectrum, the opposite of "long-GOP MPEG-2" is I-frame­only MPEG-2, in which only I-frames are used. Formats such as IMX use I-frame­only MPEG-2, which reduces temporal artifacts and improves editing performance. However, I-frame­only formats have a significantly higher data rate because each frame must store enough data to be completely self-contained. Therefore, while the decoding demands on your computer are decreased, there is a greater demand for scratch disk speed and capacity. Chapter 1 Working With HDV 13 For example, suppose you record some typical "talking head" footage, such as an interview in which a seated person moves very little throughout the shot. Most of the person's body stays still, so most of the visual information is stored in an I-frame; the subsequent P- and B-frames store only the changes from one frame to the next. Because P- and B-frames depend on other frames to create a meaningful image, your computer spends more processing power decoding HDV frames for display than it does when displaying intraframe-only formats such as DV, uncompressed video, or the Apple Intermediate Codec. Editing HDV Using Apple Intermediate Codec Instead of working with native MPEG-2 HDV video, you can transcode your HDV video to the Apple Intermediate Codec during capture. The Apple Intermediate Codec is a high-quality video codec optimized for playback performance and quality. Although the data rate of the Apple Intermediate Codec is three to four times higher than the data rate of the native MPEG-2 HDV, the processing requirements to play back your video are less. Unlike MPEG-2 HDV, the Apple Intermediate Codec does not use temporal compression, so every frame can be decoded and displayed immediately, without first decoding other frames. Working With HDV in Final Cut Pro If you've previously worked with DV, you'll find that the HDV workflow is similar. There are two basic workflows for editing HDV footage in Final Cut Pro:  Native MPEG-2 HDV editing: If you use this method, you capture, edit, and output your original MPEG-2 HDV data throughout the entire process. This process is referred to as native editing because Final Cut Pro works directly with the MPEG-2 data captured from your HDV tapes. Native HDV playback is processor-intensive because displaying a single frame can require decoding of several frames earlier or later in the video stream. As a result, you may be able to play back fewer real-time effects when editing in this format. However, there are many benefits to native HDV editing:  Native HDV editing uses less disk space because long-GOP MPEG-2 HDV video has a very low data rate.  Outputting HDV to tape requires little processing before output because your video is already in the native HDV format. Only segments of your sequence that contain cuts or effects must be re-encoded, or conformed, to create the proper HDV GOP pattern. This workflow is useful for cuts-only edits that you want to quickly output back to tape, or for export to other MPEG formats. For more information, see "Native HDV Editing Workflow," below. 14 Chapter 1 Working With HDV  HDV editing using Apple Intermediate Codec: This method allows you to capture your HDV footage using an intermediate, high-quality codec without temporal compression. Using an I-frame­only codec avoids some of the decoding overhead required for HDV footage. The disadvantage of this workflow is that more scratch disk capacity is required for your footage, and you cannot output HDV to tape without first re-encoding your entire sequence back to native HDV. If your sequence is long, the re-encoding process can be time-consuming. For more information, see "HDV Apple Intermediate Codec Editing Workflow" on page 28. Native HDV Editing Workflow The steps for capturing, editing, and outputting HDV in Final Cut Pro are almost identical to the workflow used for DV, but there are several important differences. The differences between the HDV and DV workflows are highlighted in the steps below. Step 1: Connect your HDV camcorder to your computer via FireWire This step is similar to connecting a DV device via FireWire. Step 2: Choose an HDV Easy Setup Choose the HDV Easy Setup that corresponds to your HDV format. Step 3: Log your footage and capture it to your scratch disk This step is much like logging and capturing DV and other video formats. The differences are:  Some options and controls are different in the Log and Capture window when you capture HDV. For example, you can resize the window in real time.  When capturing HDV, scene detection is always enabled. A scene break is embedded data on tape that indicates where the camcorder was stopped and then started again. Whenever Final Cut Pro detects a scene break in your incoming HDV footage, a new media file and corresponding clip are created. Step 4: Edit your HDV clips into a sequence Editing HDV is similar to editing other formats in Final Cut Pro. However, there are some differences:  You cannot view native MPEG-2 HDV video on an external HDV device connected via FireWire. As an alternative, you can use the Digital Cinema Desktop Preview option. Important: The only way to output HDV video to an HDV device via FireWire is to use the Print to Video command. Chapter 1 Working With HDV 15 Step 5: Output HDV back to tape, or export to a QuickTime movie Before you can output or export your HDV sequence, Final Cut Pro needs to conform any noncompliant GOPs to the correct I-, P-, and B-frame pattern. Conforming is a necessary step for creating an acceptable MPEG-2 data stream for HDV devices. Important: Conforming and rendering are not the same processes. Rendering calculates the visual data for each frame, while conforming ensures that your sequence has the proper GOP structure prior to output. You can only output HDV footage to tape using the Print to Video command. The Edit to Tape command is not supported for HDV media. Connecting an HDV Device to Your Computer Once you have HDV footage on tape, you can connect your camcorder or VTR to your computer to capture. To connect your HDV camcorder or VTR to your computer: 1 Turn on your VTR or camcorder and switch it to VCR (or VTR) mode. Note: On some camcorders, this mode may be labeled "Play." 2 Connect the 4-pin connector on one end of your FireWire cable to the 4-pin FireWire port on your camcorder. 3 Connect the 6-pin connector on the other end of your FireWire cable to a FireWire 400 port on your computer. 4 Make sure your camcorder is in HDV mode, not DV mode. For more information, see the documentation that came with your HDV device. 6-pin connector to computer HDV camcorder in VTR mode H FireWire Computer 4-pin connector to camcorder 16 Chapter 1 Working With HDV Choosing an Easy Setup Final Cut Pro has three native HDV Easy Setups available: 1080i60, 1080i50, and 720p30. Always choose the Easy Setup that corresponds to your HDV footage. To choose an Easy Setup: 1 Choose Final Cut Pro > Easy Setup. 2 Choose an Easy Setup from the Setup For pop-up menu, then click OK. Important: Make sure to choose an Easy Setup that matches the format of your HDV source tapes. Logging and Capturing Native HDV Footage Once you've connected your camcorder and chosen the appropriate Easy Setup, you can log and capture your footage. When you select a native HDV Easy Setup, the Log and Capture window appears, specifically tailored for use with HDV. For detailed instructions about logging and capturing, see the following chapters in the Final Cut Pro 5 User Manual:  Volume I, Chapter 17, "Overview of Logging and Capturing."  Volume I, Chapter 18, "Logging Clips."  Volume I, Chapter 19, "Capturing Your Footage to Disk." To open the Log and Capture window: m Choose File > Log and Capture (or press Command-8). The Log and Capture window appears. Chapter 1 Working With HDV 17 About the Log and Capture Window The Log and Capture window allows you to view your footage, set In and Out points, enter log notes, select which tracks to capture, create clips, and capture media files. Logging, Clip Settings, and Capture Settings tabs Resize control Preview area Log and capture buttons There are several areas in the Log and Capture window.  Preview area: On the left is the area where you view video while logging clips. This area contains transport controls, marking controls, and timecode fields. If device control is not enabled, the transport controls do not appear.  Tabs: On the right are the Logging, Clip Settings, and Capture Settings tabs.  Log and capture buttons: You click one of these buttons when you are ready to log a clip or capture media. The resize control in the lower-right corner allows you to adjust the size of the Log and Capture window. This option is only available when you select an HDV Easy Setup. 18 Chapter 1 Working With HDV Preview Area This section of the Log and Capture window lets you view video from tape while you log and capture it. The video preview area remains black until your camcorder or deck is turned on and a tape is playing in the device. The following controls appear if your camcorder or deck is on and properly connected, and device control is enabled. Available space and time Timecode Duration field Current Timecode field Video preview area Shuttle control Clip In Point Timecode field Device status Transport controls Clip Out Point Timecode field Important: If your computer has a PCI graphics card installed and you are logging or capturing HDV footage, Final Cut Pro does not preview video or audio in the Log and Capture window. You can still log and capture, but you need to use your HDV camcorder display to preview video. Video Preview Area  Available space and time: Final Cut Pro displays the amount of available space on all currently assigned scratch disks.  Device status: Shows the readiness of camcorders and decks connected to your computer and being controlled by Final Cut Pro. If you see "VTR OK," your equipment is connected and working properly.  Timecode Duration field: Displays the duration, in timecode, between the current tape In and Out points. If you enter a duration in this field, the Out point is adjusted.  Current Timecode field: Displays the timecode number of the current frame of your source tape. You can enter a timecode number in this field to navigate to that timecode point on your tape. Tip: When using the Log and Capture window with a native HDV Easy Setup, you can drag timecode values between the Log and Capture timecode fields by holding down the Option key while you drag a timecode value from one field to another. Dragging timecode from other windows is not supported. Chapter 1 Working With HDV 19 Transport Controls If you have device control, use these to control your camcorder or deck. These controls are similar to controls in the Viewer and Canvas, except that they control playback of a videotape instead of a media file. 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 5 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 frames 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. 20 Chapter 1 Working With HDV 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 (I): Click this 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 (O): Click this 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:  Logging: 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 Chapter 1 Working With HDV 21  Clip Settings: 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 or both audio channels, either as two discrete mono tracks or a single stereo pair.  Capture Settings: Use this tab to specify scratch disks for capture. You can also set scratch disk settings by choosing Final Cut Pro > System Settings, and then clicking the Scratch Disks tab. Click here to open the Scratch Disk tab. Current scratch disk capacity and capture limitations shown here. 22 Chapter 1 Working With HDV Log and Capture Buttons As you log and capture, use the following log and capture buttons.  Log Clip: Logs a single clip with the current logging information and clip settings.  Capture Clip: Logs and captures a single clip with the current logging information, clip settings, and capture settings.  Capture Now: Captures the current video and audio input to a media file on disk until you press the Escape key. No In or Out points are necessary. You can use this to capture an entire tape in a single pass. When scene breaks are detected, new media files and corresponding clips are created automatically.  Capture Batch: Captures the selected clips in the Browser, or the clips in the currently assigned logging bin. Capturing Footage With Start/Stop Indicators When you capture HDV footage, you can control how media files are created when start/stop indicators and timecode breaks are detected. This behavior is slightly different from the way DV footage is handled:  When you capture DV: Start/Stop indicators can be detected after capture if you select the clip and choose Mark > DV Start/Stop Detect.  When you capture HDV: You can control whether start/stop indicators create individual media files by selecting or deselecting the "Create new clip on Start/Stop" checkbox in the Clip Settings tab of the Log and Capture window. In the General tab of the User Preferences window, the option you choose from the "On timecode break" pop-up menu determines how timecode breaks affect capture, but the Warn After Capture option is disregarded to avoid capturing media files that contain breaks in the middle of an MPEG-2 GOP. Chapter 1 Working With HDV 23 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 Select or deselect the "Create new clip on Start/Stop" checkbox to turn start/stop detection on or off:  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. To determine how timecode breaks are handled when you capture HDV: 1 Choose Final Cut Pro > User Preferences, then click the General tab. 2 Choose an option from the "On timecode break" pop-up menu:  Make New Clip: This is the default option. Whenever a timecode break is detected during capture, Final Cut Pro finishes writing the current media file to disk and then begins capturing a new media file. A clip corresponding to the new media file is also created in the Browser.  Abort Capture: If you choose this option, Final Cut Pro stops capture immediately when a timecode break is detected. All media captured before the timecode break has frame-accurate timecode and is preserved. The resulting media files are saved and the corresponding clips are placed in the Browser. Depending on the signal on tape, you may see one of two messages when a timecode break is detected:  A "stream error" message  A "timecode break error" message  Warn After Capture: When you capture HDV, this option behaves identically to the Abort Capture option. 24 Chapter 1 Working With HDV How Clips Are Named When Start/Stop Indicators and Timecode Breaks Are Detected Filenames for new media files and clips generated by start/stop indicators and timecode breaks are appended with a number to ensure they have unique names. For example, suppose you are capturing a media file named "Cafe Wide Shot" when a scene or timecode break is detected. At the break detection point, Final Cut Pro begins capturing a new media file named "Cafe Wide Shot-1." If there is already a media file named "Cafe Wide Shot-1," the new media file is named "Cafe Wide Shot-2," and so on. Recapturing HDV Footage Recapturing HDV footage is similar to recapturing other video formats. It is important that your clips contain accurate timecode or you may have difficulty recapturing. For more information about recapturing footage, see the Final Cut Pro 5 User Manual, Volume I, Chapter 19, "Capturing Your Footage to Disk." Important: Some HDV camcorders do not record timecode, so recapturing media files from tapes recorded by these camcorders may result in new media files with an offset of one or two frames. Using an HDV Camcorder to Capture or Output DV Footage You can use an HDV camcorder as a standard DV device. However, before doing this, make sure that:  The Log and Capture window is closed.  The camcorder is set to DV mode, not HDV mode. For more information, see the documentation that came with your camcorder.  You choose the proper DV Easy Setup before opening the Log and Capture window. Editing HDV Footage For the most part, editing HDV footage is identical to editing any other format in Final Cut Pro. However, because of the GOP structure of MPEG-2 media, edits in HDV sequences require some additional processing during playback and output. These processes happen automatically, but it is a good idea to understand why they are necessary. Chapter 1 Working With HDV 25 When you edit two HDV clips together in a sequence, the GOP pattern is typically broken. In particular, cutting an HDV clip can remove the I-frame that subsequent P- and B-frames rely on for picture information. When this happens, Final Cut Pro must preserve the I-frame for these other frames to reference, even though the I-frame is no longer displayed in the sequence. This requires additional processing power and memory not necessary for I-frame­only editing (such as DV editing). During playback, this process happens in real time. For output and export, Final Cut Pro re-encodes (or conforms) the areas of your sequence that require new I-frames or GOPs. Note: Some applications, such as DVD Studio Pro, support simple MPEG-2 editing, in which you are allowed to cut only at GOP boundaries. Final Cut Pro allows you to cut on any frame. Outputting HDV to Tape or Exporting to a QuickTime Movie To prepare for output, any effects in your HDV sequence need to be rendered, and then the sequence must be conformed to create a proper MPEG-2 output stream. These steps happen automatically when you begin a Print to Video operation. Rendering and Conforming MPEG-2 Media for Output Before you can output or export your HDV sequence, Final Cut Pro needs to process your media in two ways:  Render any applied transitions and effects, as well as any leader and trailer elements included in the Print to Video dialog.  Conform any noncompliant GOPs to the correct I-, P-, and B-frame pattern. Any segments of your sequence that contain cuts, transitions, or other applied effects must be conformed to standard MPEG-2 GOP structures before output, creating new I-frames and GOP boundaries where necessary. Conforming also ensures that your HDV sequence has the proper data rate for the HDV format you are outputting. The time required for conforming depends on the number of edits and effects in your sequence. During a Print to Video operation, Final Cut Pro renders and conforms video in a single pass, storing properly conformed media within your sequence's render files. As a result, subsequent Print to Video operations don't need to conform the video unless you make changes to your sequence. Note: Leader and Trailer elements, as well as gaps in your sequence, are rendered and conformed each time you use the Print to Video command. 26 Chapter 1 Working With HDV Conforming While Rendering in the Timeline You can generate properly conformed render files for your sequence by enabling all options in the Render All, Render Selection, and Render Only submenus located in the Sequence menu. For example, if you enable rendering for all real-time and render statuses in the Render Selection submenu, and then choose Sequence > Render Selection, the render files created for selected video items in the Timeline are conformed with proper GOP structures. When you output to tape or export using QuickTime conversion, these render files are already properly conformed, reducing the time required for final rendering and conforming. Tip: You can disable conforming during rendering in the Timeline by deselecting one or more real-time/render statuses in the appropriate Render submenu of the Sequence menu. Using the Print to Video Command to Output HDV You can only output HDV footage to tape using the Print to Video command. The Edit to Tape command is not supported for HDV media. To output your HDV sequence to tape: 1 Make sure your camcorder is properly connected to your computer via FireWire. For more information, see "Connecting an HDV Device to Your Computer" on page 16. 2 Insert a DV tape into the HDV camcorder. 3 In the Browser, do one of the following:  Select a sequence or clip.  Double-click a sequence to open it in the Timeline.  Double-click a clip to open it in the Viewer. 4 Choose File > Print to Video. The Print to Video dialog appears. 5 Select any Leader or Trailer elements you want to include on your tape, as well as start, end, and looping options. Tip: If you want Final Cut Pro to start recording automatically, select the Automatically Start Recording checkbox. Chapter 1 Working With HDV 27 6 Click OK. If any segments of your sequence require rendering or conforming, Final Cut Pro renders and conforms them now. A progress dialog appears indicating the amount of time that remains until rendering and conforming are complete. Any segments of your sequence where GOP boundaries were broken (such as the frames around edit points or any frames with added filters, motion parameters, and so on) are conformed. A second progress dialog briefly appears indicating the time it takes to process Leader, Trailer, and gap elements in your sequence. A dialog appears when your sequence is ready for output. 7 If you did not select the Automatically Start Recording checkbox in the Print to Video dialog, press the record button on your camcorder or deck, then click OK. If your tape is write-protected or if frames are dropped during the Print to Video operation, a dialog appears allowing you to try the operation again. Note: When using the Print to Video command with a JVC ProHD device, you can output sequence timecode to tape. For more information about proper deck settings, see the documentation included with your JVC device. HDV Apple Intermediate Codec Editing Workflow When you edit using footage encoded with the Apple Intermediate Codec, you don't need to worry about making cuts on GOP patterns or re-encoding. You can edit just as you would with any other I-frame­only encoded footage, such as DV or uncompressed video. The main drawbacks to using the Apple Intermediate Codec for editing HDV footage are that the required disk space is significantly larger and conforming your media for output back to tape can be very time-consuming. Step 1: Connect your HDV camcorder to your computer via FireWire Step 2: Choose the appropriate Apple Intermediate Codec HDV Easy Setup Step 3: Capture your footage to disk Step 4: Edit your HDV clips into a sequence Step 5: Re-encode and output back to tape, or export to a QuickTime movie Connecting an HDV Device to Your Computer This step is identical to connecting your HDV camcorder for MPEG-2 HDV capture. For details, see "Connecting an HDV Device to Your Computer" on page 16. 28 Chapter 1 Working With HDV Choosing an Easy Setup Final Cut Pro includes Easy Setups for capturing and editing HDV transcoded to the Apple Intermediate Codec. To choose the HDV Apple Intermediate Codec Easy Setup: 1 Choose Final Cut Pro > Easy Setup. 2 Choose the appropriate HDV Apple Intermediate Codec Easy Setup from the Setup For pop-up menu. 3 Click OK. Capturing HDV Video to the Apple Intermediate Codec Capturing 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 requires special processing steps. To capture HDV footage to the Apple Intermediate 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 encoded from HDV to the Apple Intermediate Codec. 6 Press the Esc (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 Esc 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. Chapter 1 Working With HDV 29 Capturing Footage With Scene Breaks When you capture HDV footage using the Apple Intermediate Codec, Final Cut Pro detects any scene or timecode breaks on the tape introduced during shooting. At each scene or timecode break, a new clip is created during capture. When capture is completed, these clips appear in the Logging Bin, and the corresponding media files are placed on your hard disk. For example, suppose you begin capturing a clip named "Cafe Entrance." When a scene or timecode break is detected, Final Cut Pro stops writing the first media file and begins writing a new file named "Cafe Entrance-1." Subsequent breaks create media files and clips named "Cafe Entrance-2," "Cafe Entrance-3," and so on. Editing Video Using the Apple Intermediate Codec Editing HDV video in the Apple Intermediate 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 of the Apple Intermediate Codec. For more information about HDV data rates, see "HDV Format Specifications" on page 33. Outputting HDV to Tape or Exporting to a QuickTime Movie After you finish editing, you can output your movie to videotape using your camcorder, or export your sequence to a QuickTime movie. If you want to output your movie back to tape, Final Cut Pro needs to re-encode (or conform) the movie into MPEG-2 data before outputting. Depending on the length of your sequence, this process can be fairly time-consuming, because every frame in your sequence must be re-encoded. To output Apple Intermediate Codec HDV video to videotape: 1 Make sure your HDV camcorder is properly connected to your computer and turned on before you open Final Cut Pro. 2 Insert a DV tape into the HDV camcorder. 3 Click anywhere in the Timeline or Canvas to make it the active window. 4 Choose File > Print to Video (or press Control-M). The Print to Video dialog appears. 5 If you want Final Cut Pro to start recording automatically, select the Automatically Start Recording checkbox. 30 Chapter 1 Working With HDV 6 Select any Leader or Trailer elements you want to include on your tape, as well as start, end, and looping options. A progress bar shows the progress of encoding from the Apple Intermediate Codec back to MPEG-2 HDV and gives you a time estimate for when the encoding process will finish. A dialog appears instructing you to press the record button on the camcorder. 7 Press the record button on your camcorder, then click OK. If you selected the Automatically Start Recording option, the camcorder automatically begins recording your program to tape. The camcorder stops after the program is recorded to tape. To export your sequence to a QuickTime movie: 1 Open your Final Cut Pro sequence in the Timeline. 2 Choose File > Export > QuickTime Movie. The Save dialog appears. 3 Enter a name and choose a location for the movie. 4 At the bottom of the dialog, make sure the Make Movie Self-Contained checkbox is not selected. 5 If you need DVD chapter markers from your Final Cut Pro project to be exported to the QuickTime movie, choose DVD Studio Pro Markers from the Markers pop-up menu. 6 Click Save. You can also use the Export Using Compressor command to create a high-quality MPEG-2 file for use in DVD Studio Pro. For more information, see the Compressor and DVD Studio Pro documentation. Chapter 1 Working With HDV 31 Using the Canon XL H1 HDV Camcorder Final Cut Pro recognizes the Canon XL H1 HDV camcorder for most Final Cut Pro operations, including Log and Capture and Print to Video. To set up Final Cut Pro to capture and output to the Canon XL H1 HDV camcorder: 1 Connect one end of a FireWire cable to a FireWire port on your computer, and the other end to a FireWire port on your camcorder. 2 Choose Final Cut Pro > Easy Setup. 3 Select the Show All checkbox in the Easy Setup dialog. 4 Choose an Easy Setup that corresponds to your Canon XL H1 HDV footage:     HDV - 1080i60 FireWire Basic HDV - 1080i50 FireWire Basic HDV - 1080p25 HDV - 1080p24 When using the Canon XL H1 HDV camcorder with Final Cut Pro, keep the following in mind:  Final Cut Pro captures the first two audio channels only, even though the camcorder can record four channels. (With the addition of a third-party HD-SDI video interface, it is possible to capture four channels.)  For proper detection of start/stop indicators, set the clock of the Canon XL H1 HDV camcorder before recording any footage with it. (This is a one-time step for new camcorders.) Note: The Log and Capture window may be unresponsive when the FREERUN-PS option is chosen on the Canon XL H1 HDV camcorder. To change the FREERUN-PS setting on the camcorder: 1 Press the Menu button on the camcorder. 2 Within the camcorder menu, navigate to Signal Setup > Time Code > Count-Up, and then select Rec-Run. 32 Chapter 1 Working With HDV HDV Format Specifications Storage Medium HDV is recorded on standard mini-DV videocassette tapes. Video Standards The HDV standards were jointly created by a consortium of manufacturers including Sony, Canon, Sharp, and JVC. HDV supports 1080i, 1080p, and 720p high definition standards. Aspect Ratio HDV has an aspect ratio of 16:9. Frame Dimensions, Number of Lines, and Resolution The HDV format supports two HD video resolutions:  1080 lines: 1440 pixels per line,1080 lines (displayed with an aspect ratio of 16:9, or 1920 x 1080); interlaced or progressive scan  720 lines: 1280 pixels per line, 720 lines; progressive scan The native and displayed pixel dimensions are shown below. 1920 x 1080 1440 x 1080 1280 x 720 1080 lines 720 lines Frame Rate Final Cut Pro supports the following HDV frame rates:  NTSC-compatible frame rate: 29.97 fps (1080i60, 720p30)  PAL-compatible frame rate: 25 fps (1080i50, 1080p25, 720p25)  Film-compatible frame rate: 23.976 fps (1080p24, 720p24) Chapter 1 Working With HDV 33 Scanning Methods HDV can record either interlaced or progressive scan images:  1080 lines: Interlaced (1080i) or progressive (1080p)  720 lines: Progressive Color Recording Method HDV records a 4:2:0 component (Y´CBCR) digital video signal. Each sample (pixel) has a resolution of 8 bits. Data Rate The following table lists the data rates for MPEG-2 HDV as well as HDV transcoded to the Apple Intermediate Codec. DV data rates are included for comparison. Format DV NTSC DV PAL MPEG-2 HDV 720p30 MPEG-2 HDV 1080i60/50 Apple Intermediate Codec1 HDV 720p30 Apple Intermediate Codec1 HDV 1080i50 Apple Intermediate Codec HDV 1080i601 1 Data Native frame size 720 x 480 720 x 576 1280 x 720 1440 x 1080 1280 x 720 1440 x 1080 1440 x 1080 Data rate 3.6 MB/sec. (equivalent to 12 GB/hr.) 3.6 MB/sec. (equivalent to 12 GB/hr.) 2.5 MB/sec. (equivalent to 9 GB/hr.) 3.3 MB/sec. (equivalent to 12 GB/hr.) 7 MB/sec. (equivalent to 25 GB/hr.) 12 MB/sec. (equivalent to 42 GB/hr.) 14 MB/sec. (equivalent to 49 GB/hr.) 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. 34 Chapter 1 Working With HDV Video Compression HDV uses MPEG-2 compression with a constant bit rate (CBR). I-, P-, and B-frames are used, creating a long-GOP (group of pictures) 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 stored media such as DVD or computer media files. 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 won't be able to precisely recapture any clips if you delete the corresponding media files. Chapter 1 Working With HDV 35 2 Working With DVCPRO HD 2 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. 37)  Working With DVCPRO HD in Final Cut Pro (p. 40)  Working With Variable Frame Rate DVCPRO HD Footage (p. 46)  DVCPRO HD Format Specifications (p. 48) About DVCPRO HD DVCPRO HD is a high definition addition to the DV/DVCPRO format family, making it simple to adapt your existing DV- and FireWire-based editing workflow to high definition video. 37 DVCPRO HD Formats Supported by Final Cut Pro Final Cut Pro natively supports the following DVCPRO HD formats. Format 1080i60 1080i50 1080p30 1080pA24 720p60 720p30 720p251 720p24 1 Via Final Cut Pro Easy Setup DVCPRO HD - 1080i60 DVCPRO HD - 1080i50 DVCPRO HD - 1080p30 Sequence dimensions and frame rate 1280 x 1080 29.97 fps 1440 x 1080 25 fps 1280 x 1080 29.97 fps Scanning method Interlaced Interlaced Progressive Progressive Progressive Progressive Progressive Progressive DVCPRO HD - 1080pA24 1280 x 1080 23.98 fps DVCPRO HD - 720p60 DVCPRO HD - 720p30 DVCPRO HD - 720p25 DVCPRO HD - 720p24 960 x 720 59.94 fps 960 x 720 29.97 fps 960 x 720 25 fps 960 x 720 23.98 fps P2 ingest only. Capture from and output to tape is not supported. DVCPRO HD Frame Rates DVCPRO HD is a flexible format that supports many different frame rates:  Integer frame rates such as 60, 30, 24, and 25 fps  NTSC-related frame rate variants such as 59.94, 29.97, and 23.98 fps Important: Final Cut Pro only supports NTSC-related timebases such as 59.94, 29.97, and 23.98 fps when transferring video to or from a DVCPRO HD device via FireWire. Using tapes recorded with whole-number frame rates such as 60 fps or 30 fps is not supported. The one exception is 1080i50, which uses 25 fps. 38 Chapter 2 Working With DVCPRO HD Recording 720p DVCPRO HD With Alternate Frame Rates DVCPRO HD always records and plays back 720p video at either 60 fps or 59.94 fps (for NTSC compatibility), but alternate frame rates can be achieved by duplicating and flagging certain frames for removal during capture or playback. For example, if you choose to record 720p with a frame rate of 29.97 fps, the camera actually records at 59.94 fps, but every other frame is a duplicate frame that can be removed during capture. Final Cut Pro comes with Easy Setups for commonly used alternate frame rates such as 720p30 and 720p24. Capturing DVCPRO HD Used frames 720p60 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 Deleted frames DVCPRO HD tape (59.94 fps) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 Captured in Final Cut Pro (59.94 fps) 720p30 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 DVCPRO HD tape (59.94 fps) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 Captured in Final Cut Pro (29.97 fps) 720p24 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 DVCPRO HD tape (59.94 fps) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 Captured in Final Cut Pro (23.98 fps) Some camcorders, such as the Panasonic VariCam, allow you to record any frame rate between 4 and 60 fps. You can even adjust the frame rate during recording. This is known as variable frame rate recording. For more information, see "Working With Variable Frame Rate DVCPRO HD Footage" on page 46. Chapter 2 Working With DVCPRO HD 39 Working With DVCPRO HD in Final Cut Pro The steps for capturing, editing, and outputting DVCPRO HD video in Final Cut Pro are almost identical to the workflow used for DV. Step 1: Connect your DVCPRO HD camcorder 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 high definition 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 device to your computer using a 4-to-6 pin or 6-to-6 pin FireWire cable. For additional instructions on connecting a DV deck or camcorder to your computer, see the Final Cut Pro 5 User Manual, Volume I, Chapter 13, "Connecting DV Video Equipment and Specifying Initial Settings." 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. If your source footage and output format are different, it's usually best to choose an Easy Setup that matches your source footage and then export your final movie to the output format when editing is complete. To choose an Easy Setup: 1 Choose Final Cut Pro > Easy Setup. 2 Choose an Easy Setup from the Setup For pop-up menu, then click OK. Important: Make sure to choose an Easy Setup that matches the format of your DVCPRO HD source tapes. If you need to create a custom Easy Setup, see the Final Cut Pro 5 User Manual, Volume IV, Chapter 23, "Audio/Video Settings and Easy Setups." 40 Chapter 2 Working With DVCPRO HD Logging and Capturing Your DVCPRO HD Footage You can log and capture DVCPRO HD footage in the same way you log and capture any other DV source footage. However, because of the unique way DVCPRO HD can record various frame rates, Final Cut Pro includes some special features for logging and capturing. Removing Duplicate Frames During Capture The 720p30 and 720p24 DVCPRO HD capture presets enable the Final Cut Pro option that removes duplicate frames added by the camcorder. For more information, see "Recording 720p DVCPRO HD With Alternate Frame Rates" on page 39. Select to remove duplicate video frames during capture. Tip: If you want to capture your footage at 59.94 fps and then remove the duplicate frames later, you can select your clips in the Browser and choose Tools > Remove Advanced Pulldown. The 1080pA24 capture preset also enables the Remove Advanced Pulldown option so that redundant fields are removed and your captured media file is 23.98 fps instead of 29.97 fps. Chapter 2 Working With DVCPRO HD 41 About 720p DVCPRO HD Timecode Although 720p HD formats can record at video frame rates of 60 fps or 59.94 fps (for NTSC compatibility), the timecode recorded on tape is always 30 fps, even when you record using an alternate frame rate. How can 30 fps timecode account for every frame when the video frame rate is 60 or 59.94 fps? Every two frames are represented by one timecode number, and the second frame in the pair is uniquely flagged so it can be differentiated in the timecode count. For example, the first two timecode numbers of a 720p60 tape are indicated by the timecode numbers :00 and :00*, where the asterisk indicates the second frame. Using this method, 60 frames can be uniquely addressed using only 30 timecode numbers per second. Important: Drop frame timecode is not supported when capturing 720p DVCPRO HD. When recording 720p DVCPRO HD footage, you should only use non-drop frame timecode. About 720p DVCPRO HD Device Control When you log, capture, or output 720p DVCPRO HD, the remote device control displays the tape timecode, which is always 30 fps. This means that you can only set In and Out points with 30 fps timecode accuracy, even though the video frame rate is 60 or 59.94 fps. Despite this minor restriction, you can still edit with 60 fps frame accuracy once you capture your footage. When you capture 720p DVCPRO HD media, Final Cut Pro converts the 30 fps timecode on the source tape to a 60 fps timecode track within the QuickTime media file. This timecode can be used to accurately recapture your media at a later time. For more information about 60 fps timecode, see "Choosing Timecode Display Options for 720p DVCPRO HD Media" on page 43. 42 Chapter 2 Working With DVCPRO HD Editing DVCPRO HD Footage You can edit DVCPRO HD footage just as you would DV footage. Several additional options are available to support the unique frame rates of DVCPRO HD. Choosing Timecode Display Options for 720p DVCPRO HD Media Even though the timecode track of 720p DVCPRO HD QuickTime media files is always running at 60 fps, you can choose whether the timecode fields in Final Cut Pro display 60 or 30 fps timecode.  When editing 720p60 video, you can choose from two time display options.  60 fps timecode: The timecode counts 60 frames per second, from :00 to :59.  60 @ 30 timecode: Displays 60 and 59.94 fps video using 30 fps timecode. One timecode number is used for every two video frames, and an asterisk is displayed on every other frame. This timecode display matches the display on DVCPRO HD decks, and is useful when you are referring to log notes or EDLs generated with 30 fps timecode. Frames 60 @ 30 fps 01:50:20:28 60 fps 01:50:20:56 01:50:20:28* 01:50:20:57 01:50:20:29 01:50:20:58 01:50:20:29* 01:50:20:59 01:50:21:00 01:50:21:00 01:50:21:00* 01:50:21:01  When editing 720p30 or 720p24 video, you can choose to display clip time instead of source time. The clip time option displays timecode at the media file frame rate, not the media file timecode track rate. Important: These timecode display options do not change the timecode of your media files; only the displayed timecode count is affected. Chapter 2 Working With DVCPRO HD 43 To set the timecode display for 720p60 video: 1 Open a 720p60 clip or sequence in the Viewer or Canvas. 2 Control-click a timecode field, then choose Non-Drop Frame (this will display 60 fps timecode) or 60 @ 30 from the shortcut menu. Note: The 60 @ 30 timecode display is only available when you are working with 59.94 fps or 60 fps media files and sequences. To display clip time for a 720p30 or 720p24 clip: 1 Open a 720p30 or 720p24 clip in the Viewer. 2 Control-click the Current Timecode field, then choose Clip Time from the shortcut menu. The Current Timecode field now displays timecode based on the frame rate of the media file instead of the source timecode rate. For more information about changing timecode display options, see the Final Cut Pro 5 User Manual, Volume II, Chapter 25, "Working With Timecode." Creating Graphics for HD Projects Creating graphics and still images for high definition video projects is the same process as for standard definition video. To determine the image dimensions for your sequence, follow the guidelines below. Sequence preset 1080i or 1080p 720p Still-image dimensions 1920 horizontal x 1080 vertical 1280 horizontal x 720 vertical Note: Unlike standard definition video formats, which use rectangular pixels, high definition video formats use square pixels. You don't have to worry about adjusting high definition image dimensions before importing your graphics into Final Cut Pro. 44 Chapter 2 Working With DVCPRO HD Outputting Your DVCPRO HD Sequence DVCPRO HD clips and sequences are recorded to tape via FireWire, just like any other DV media. For more information about editing to tape, see the Final Cut Pro 5 User Manual, Volume IV, Chapter 13, "Preparing to Output to Tape." Generating Color Bars and Tone for 1080i, 1080p, and 720p Video Final Cut Pro includes bars and tone generators especially for use with1080i, 1080p, and 720p sequences. These bars and tone generators are available in the Video Generators bin in the Effects tab. For more information, see the Final Cut Pro 5 User Manual, Volume III, Chapter 21, "Using Built-in Generated Clips." 720p Output and Playback When recording a 720p60, 720p30, or 720p24 clip or sequence to tape, Final Cut Pro automatically outputs 59.94 fps video, creating duplicate frames if necessary. For more information about how DVCPRO HD flags 59.94 fps frames with alternate frame rate information, see "Recording 720p DVCPRO HD With Alternate Frame Rates" on page 39. Warning: Don't record DVCPRO HD video to a tape that already has DVCPRO (25) or DVCPRO 50 footage on it. Even though these formats can use the same tape stock, the recording speeds are different. Outputting Sequence Timecode Using DVCPRO HD When you output a DVCPRO HD sequence or clip to a DVCPRO HD device via FireWire, timecode numbers are included. This works during Print to Video and Edit to Tape operations, as well as normal playback when external video via FireWire is enabled. For more information, see the Final Cut Pro 5 User Manual, Volume IV, Chapter 14, "Assemble and Insert Editing Using Edit to Tape." Tip: You can also set a custom starting timecode number when you use the black and code feature with DVCPRO HD tapes. For more information about using the black and code feature in Final Cut Pro, see the Final Cut Pro 5 User Manual, Volume IV, Chapter 13, "Preparing to Output to Tape." Note: Drop frame timecode is not supported when you black and code a 720p tape. Chapter 2 Working With DVCPRO HD 45 Working With Variable Frame Rate DVCPRO HD Footage Some DVCPRO HD devices allow recording and playback of variable frame rates from 4 to 60 fps. Variable frame rate recording and playback are limited to the 720p DVCPRO HD format; this feature is not available with 1080i DVCPRO HD. The camera CCD outputs from 4 to 60 fps (in whole number increments), but the built-in VTR records at a constant rate of 60 or 59.94 fps (for NTSC compatibility). Any redundant frames in the 60 or 59.94 fps video stream are tagged to be removed later by a special frame rate converter. For example, if the camera is set to record 15 fps, 3 out of every 4 frames are tagged as duplicates and ignored when played back on the frame rate converter. Once duplicate frames are removed, the frame rate converter can play the remaining frames at one of several standard frame rates: 60, 59.94, 30, 29.97, 24, or 23.98 fps. Note: 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). Several examples of how variable frame rates are recorded on 720p DVCPRO HD devices are shown below. Note: Although whole-number frame rates are shown below, Final Cut Pro only supports DVCPRO HD capture and output of NTSC-compatible frame rates, such as 59.94, 29.97, and 23.98 fps, via FireWire. 46 Chapter 2 Working With DVCPRO HD Recording Variable Frame Rates With DVCPRO HD 720p Used frames Duplicate frames 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 DVCPRO HD tape (60 fps) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 After duplicate frame removal (60 fps) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 DVCPRO HD tape (60 fps) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 After duplicate frame removal (30 fps) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 DVCPRO HD tape (60 fps) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 After duplicate frame removal (25 fps) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 DVCPRO HD tape (60 fps) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 After duplicate frame removal (24 fps) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 DVCPRO HD tape (60 fps) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 After duplicate frame removal (15 fps) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 DVCPRO HD tape (60 fps) 1 2 3 4 After duplicate frame removal 4 fps) Chapter 2 Working With DVCPRO HD 47 DVCPRO HD Format Specifications DVCPRO HD is a 100 Mbps extension of the DVCPRO (25) and DVCPRO 50 formats, used for capturing and editing high-quality high definition video. Because DVCPRO HD is a DV format, native FireWire capture and output is supported. Storage Medium DVCPRO, DVCPRO 50, and DVCPRO HD tapes use a metal particle (MP) tape formulation. Some tape sizes are supported only by decks and not by cameras. As the data rate is doubled from 25 Mbps (DV and DVCPRO) to 50 Mbps (DVCPRO 50) to 100 Mbps (DVCPRO HD), the recording time is halved in each case. Therefore, a 63-minute DV tape stores only 31 minutes of DVCPRO 50 footage, or 15 minutes of DVCPRO HD footage. Warning: DV (sometimes referred to as mini-DV) and DVCAM use a metal evaporated (ME) tape formula while DVCPRO uses metal particle tape. When in doubt, always use cassettes explicitly manufactured for the camera or VTR you intend to use. You can also record DVCPRO, DVCPRO 50, and DVCPRO HD on P2 cards. For more information, see "Working With Panasonic P2 Media" on page 75. Video Standards The DVCPRO HD specification supports several high definition formats, depending on the camcorder or deck used. Related SMPTE standard SMPTE 274-1998 SMPTE 296M-2001 Dimensions 1280 x 1080 1440 x 1080 960 x 720 Frame rate and scanning method 60i, 59.94i 50i, 25p 60p, 59.94p 60p, 59.94p (variable1) 30p, 29.97p 25p 24p, 23.98p Aspect ratio 16:9 16:9 1 Any frame rate from 4 to 60 fps can be recorded using a camcorder such as the Panasonic Varicam. Regardless of the frame rate you choose, the camcorder actually records at either 60 or 59.94 fps (for NTSC compatibility). 48 Chapter 2 Working With DVCPRO HD Aspect Ratio Regardless of the specific resolution used, DVCPRO HD always captures and displays an image with an aspect ratio of 16:9 (or 1.78). Frame Dimensions, Number of Lines, and Resolution DVCPRO HD supports three resolutions:  1080i60, 1080p30, 1080pA24: 1280 pixels per line, 1080 lines; interlaced (displayed at 16:9, or 1920 x 1080)  1080i50: 1440 pixels per line, 1080 lines; interlaced (displayed at 16:9, or 1920 x 1080)  720p: 960 pixels per line, 720 lines; progressive (displayed at 16:9, or 1280 x 720) Final Cut Pro captures and processes DVCPRO HD using its native dimensions, but displays the image on screen as you would expect 16:9 video to appear. 1920 x 1080 1280 x 1080 1920 x 1080 1440 x 1080 1280 x 720 960 x 720 1080i60, 1080p30, 1080pA24 1080i50 720p Frame Rate DVCPRO HD is capable of recording and playing back all the NTSC, PAL, and film frame rates. For NTSC compatibility, you can choose to alter whole number frames rate by 99.9%. In practice, the NTSC-related frame rates are used far more often than the whole number rates.  Whole number frame rates: 60, 30, and 24 fps  NTSC-related frame rates: 59.94, 29.97, and 23.98 fps  PAL-related frame rate: 25 fps Some 720p DVCPRO HD camcorders support variable frame rate recording. In this case, the video is actually recorded at either 60 fps or 59.94 fps (for NTSC compatibility), and duplicate frames are flagged for removal during post-production. Once the duplicate frames are removed, the video plays back at the intended rate. Scanning Methods DVCPRO HD can record either interlaced or progressive scan images, depending on the frame size and format.  1080i and 1080p: Interlaced and progressive  720p: Progressive Chapter 2 Working With DVCPRO HD 49 Color Recording Method DVCPRO HD records a 4:2:2 component (Y´CBCR) digital video signal. Each sample (pixel) has a native resolution of 8 bits. FireWire transfers color natively at 8-bit color depth, and HD SDI transfers each color sample as a10-bit value. Data Rate The data rate of DVCPRO HD is fixed at 100 Mbps, or 12.5 MB/sec., which is double the DVCPRO 50 data rate and four times the rate of DVCPRO. The table below compares the captured data rates for DVCPRO HD formats. The actual disk space used during capture will vary slightly depending on the number of audio channels captured. Format 1080i60, 720p60 720p30 720p24 1 This Megabits per second 100 Mbps 50 Mbps1 40 Mbps1 Megabytes per second 11.75 MB/sec. 6.25 MB/sec.1 5 MB/sec.1 data rate assumes duplicate frames are removed during capture. Because DVCPRO HD is compressed, an internal 7200 rpm parallel or serial ATA drive is sufficient for capturing DVCPRO HD footage. FireWire drives are often sufficient as well. 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. The sampling rate is 48 kHz, using 16 bits per sample. Timecode On tape or P2 card, 1080i60, 1080p30, and 720p DVCPRO HD use 30 fps timecode. 1080i50 DVCPRO HD footage uses 25 fps timecode. When recording 720p DVCPRO HD, each timecode number is used twice, with an asterisk used to distinguish frame 1 and frame 2 of each timecode pair. This maintains backward compatibility with SMPTE 30 fps timecode. When 720p footage is captured, the 30 fps timecode is converted to 60 fps timecode. To view 30 fps timecode instead of the 60 fps timecode in your media files, Final Cut Pro has a timecode display option called 60 @ 30 timecode. Important: Final Cut Pro does not support drop frame timecode for 720p formats. 50 Chapter 2 Working With DVCPRO HD