User manual APPLE FINAL CUT PRO HD - NEW FEATURES V4.5

New Features in Final Cut Pro HD Apple Computer, Inc. © 2004 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. Your rights to the software are governed by the accompanying software license agreement. 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. Every effort has been made to ensure that the information in this manual is accurate. Apple Computer, Inc. is not responsible for printing or clerical errors. Apple Computer, Inc. 1 Infinite Loop Cupertino, CA 95014-2084 408-996-1010 www.apple.com Apple, the Apple logo, DVD Studio Pro, Final Cut, Final Cut Pro, FireWire, Mac, Mac OS, Macintosh, PowerBook, Power Mac, and QuickTime are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Cinema Tools, Finder, OfflineRT, LiveType, and Sound Manager are trademarks of Apple Computer, Inc. Digital imagery® copyright 2001 PhotoDisc, Inc. AppleCare is a service mark 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. 3 Contents Preface 7 7 7 7 8 8 9 10 11 11 12 12 12 12 13 13 14 14 15 18 20 23 27 31 35 37 41 41 41 43 45 46 New Features in Final Cut Pro New Features in Final Cut Pro HD High Definition Video Editing Film Editing Timecode Titles and Effects Capture, Output, and, Media Management External Monitoring Preferences and Settings New Features in Final Cut Pro 4.1 Editing Audio Media Management and File Interchange External Monitoring Support Features New Features in Final Cut Pro 4.0 Improvements for Setup Interface Enhancements Preferences and Settings Real-Time and Rendering Capture and Output Media and Clip Management Editing Audio Effects Using DVCPRO HD Getting Started With DVCPRO HD DVCPRO HD Formats Supported in Final Cut Pro Setting Up a DVCPRO HD Editing System External Monitoring Setup Capturing DVCPRO HD in Final Cut Pro Chapter 1 3 48 48 50 50 51 51 51 51 55 55 56 56 60 Chapter 2 63 63 66 66 66 68 68 68 69 70 70 71 73 73 77 83 83 88 91 92 93 93 93 94 94 94 Editing DVCPRO HD in Final Cut Pro Working With DVCPRO HD Timecode Using Graphics and Effects With DVCPRO HD Creating Graphics for HD Projects Generating Color Bars and Tone for 1080i60 and 720p60 Video Real Time and Rendering Upconverting and Downconverting Combining High Definition and Standard Definition Media in Sequences DVCPRO HD Output in Final Cut Pro 720p Output and Playback Offline and Online Editing Using DVCPRO HD Capture and Media Management Workflows Using DVCPRO HD Trading Project Files Using Email or the Internet Editing and Trimming Copying and Pasting Clips in the Timeline Filling a Timeline Gap With Slug Adding Edits on Auto-Selected Tracks Asymmetrical Trimming Applying Filters to Multiple Tracks Dynamic Trimming in the Trim Edit Window Choosing Incoming and Outgoing Clips in the Trim Edit Window Listening to Sequence Audio While Trimming Changing View Options in the Timeline Track Layout Menu Detecting Duplicate Frames Over Transitions Using LiveType Titles in Final Cut Pro Editing Film With Final Cut Pro in a PAL Environment New Support for Conforming 25 fps to 24 fps and Exporting 25 fps EDLs Exercises for Understanding 24 @ 25 fps Timecode Viewing and Modifying Timecode Displaying Timecode in Final Cut Pro Modifying Media File and Sequence Timecode High Definition and Film Timecode Options Generating Timecode Window Burns Media and Clip Management Edit to Tape and Print to Video Setting Minimum Allowable Space on Scratch Disks Maximizing Media File Performance for Multiple Stream, Real-Time Playback Determining the Application That Created a Clip Creating Duplicate Master Clips in the Browser Chapter 3 Chapter 4 Chapter 5 Chapter 6 4 Contents 95 95 95 96 96 96 Chapter 7 97 97 100 103 103 107 108 110 111 112 115 116 116 116 117 117 118 118 119 120 121 121 121 122 122 123 124 Changing Affiliate Clips Into Independent Clips Removing Subclip Limits Automatic Naming of Captured Clips Additional Settings in the Batch Capture Window Display of Items in the Render Manager Including Master Comment Information in EDLs External Audio and Video Monitoring External Monitoring Setups Challenges With External Monitoring High Definition Video Fundamentals A Brief History of Film, Television, and Audio Formats The Benefits of High Definition Video High Definition Formats in Common Use Discussing HD Formats in Conversation Upconverting and Downconverting Downconverting High Definition Video Upconverting Standard Definition Video DVCPRO HD Specifications DVCPRO HD Tape Format Aspect Ratio Interlaced and Progressive Scanning Methods Native Image Dimensions Color Depth and Video Sampling Rate Frame Rate Versatile Formatting Choices With Digital Formats DVCPRO HD Timecode Brief Overview of DVCPRO HD Formats 1080i60 1080i50 720p60 720p30 720p24 Recording and Playing Back Variable Frame Rates With DVCPRO HD Appendix Contents 5 This is an overview of new features of Final Cut Pro, covering Final Cut Pro 4.0 through Final Cut Pro HD (version 4.5). New features not covered in the Final Cut Pro 4 User's Manual are described in depth in the following chapters. New Features in Final Cut Pro HD For more information on these features and their use, see the corresponding chapters in this document. High Definition Video Capturing, editing, and output of DVCPRO HD high definition video Final Cut Pro HD natively supports DVCPRO HD media. You can capture, edit, and output DVCPRO HD video using the built-in FireWire port on a qualified Power Mac without any additional specialized equipment. For details about working with DVCPRO HD in Final Cut Pro, see "Using DVCPRO HD" on page 41. For historical and background information about high definition video, see "High Definition Video Fundamentals" on page 103. Editing Copying and pasting clips follows track selection in the Timeline Final Cut Pro HD performs copying and pasting in the Timeline differently than Final Cut Pro 4.1 and earlier. When you copy clips from tracks in the Timeline, Final Cut Pro pastes those clips in the same tracks unless you specify different destination tracks by clicking their Auto Select controls. For more information, see "Copying and Pasting Clips in the Timeline" on page 63. Preface 7 New Features in Final Cut Pro HD Listening to sequence audio while trimming When trimming footage in the Trim Edit window, the following options are available in the Editing tab of the User Preferences window: · Trim with Sequence Audio: Allows you listen to all sequence audio tracks while trimming in the Trim Edit window. · Trim with Edit Selection Audio (Mute Others): Mutes all audio tracks except the ones currently selected in the Timeline. For more information, see "Listening to Sequence Audio While Trimming" on page 69. Film Editing New support for conforming 25 fps to 24 fps and exporting 25 fps EDLs Final Cut Pro now provides features that let you conform 25 fps (PAL) media to 24 fps, edit at 24 fps, and export a 25 fps EDL. This is for situations in which your content originated on film and your negative cutter prefers to receive a 25 fps EDL from you instead of a film cut list. To allow you to edit at the same speed as the film and yet export an accurate 25 fps EDL for the negative cutter, the 25 fps timecode is maintained while the editing timebase of your sequence is 24 fps. The new features that make this possible include: · · · · A DV PAL 24 @ 25 Easy Setup and DV PAL 48 kHz - 24 @ 25 sequence preset A "Conform 25 to 24" command in the Tools menu The ability to export a 25 fps EDL from a 24 fps sequence A new source timecode rate called 24 @ 25 For more information about editing film using 24 @ 25 fps PAL video, see "Editing Film With Final Cut Pro in a PAL Environment" on page 73. Timecode New timecode display and modification options Final Cut Pro HD displays timecode information differently than in earlier versions: · Speed adjustments are no longer interpreted by the clip time display mode. Instead, a separate time mode called View Native Speed can be selected. The View Native Speed mode can be applied to source time or clip time modes. · 60 @ 30 time display and 24 @ 25 frame rate are supported. · New Project Properties allow you to set global timecode view settings per project. · Sequence presets now have independent timecode rate and video frame rate (timebase) settings. For more information, see "Viewing and Modifying Timecode" on page 83. 8 Preface New Features in Final Cut Pro HD New TC Rate Browser column and item property The new TC Rate item property (visible in both the Browser columns and Item Properties) shows the source timecode rate of clips and sequences. Only the source timecode rate is displayed, not Aux 1 or Aux 2 timecode rates. Use the TC Rate Browser column to adjust the timecode rate for many clips at once. Some timecode rates are not allowed for some video frame rates. Note: TC Rate refers to the rate of a media file or sequence timecode track. Vid Rate refers to the frame rate of the video itself. New timecode reader and generator filters In Final Cut Pro HD, Timecode reading and generation are separated into two filters, replacing the Timecode Print filter. Both are located in the Video category of the Video Filters bin in the Effects tab. For more information about the new timecode reader and generator filters, see "Generating Timecode Window Burns" on page 92. Titles and Effects Using LiveType with Final Cut Pro You can directly import LiveType project files into Final Cut Pro. This eliminates the need to render a QuickTime movie of your LiveType title each time you want to use it in Final Cut Pro. For details about working with LiveType projects directly in Final Cut Pro, see "Using LiveType Titles in Final Cut Pro" on page 71. New Creator Browser column and item property The Creator item property (visible in both the Browser columns and Item Properties) shows the name of the application that created the media file referenced by a clip. Preface New Features in Final Cut Pro HD 9 More real-time effects displayed in bold In Final Cut Pro HD, the following filters and transitions are now capable of real-time playback when Unlimited RT is the selected real-time playback mode: Filters · Compound Arithmetic · Bumpmap · Displace · Difference · Image Mask · Curl Transitions · Page Peel · Gradient Wipe Capture, Output, and, Media Management Maximizing media file performance for multiple stream, real-time playback Final Cut Pro automatically captures and writes media files to maximize the number of simultaneous streams and real-time effects during playback. For more information about how Final Cut Pro optimizes media files, see "Maximizing Media File Performance for Multiple Stream, Real-Time Playback" on page 94. Edit to Tape and Print to Video In some instances, Edit to Tape and Print to Video used to require re-rendering of material in the Timeline prior to output. In Final Cut Pro HD, re-rendering is no longer necessary, significantly reducing rendering time before output. Note: Built-in countdowns, slates, color bars, and tone still require rendering before output. Automatic recording with Print to Video When printing to videotape, Final Cut Pro can automatically trigger recording on FireWire camcorders and decks. For more information, see "Edit to Tape and Print to Video" on page 93. 10 Preface New Features in Final Cut Pro HD External Monitoring Using a computer display for external video monitoring Final Cut Pro allows you to monitor Canvas or Viewer video using a computer display, simplifying your video editing system setup. If you have two computer displays, one can be used to view the Final Cut Pro interface and the Finder while the other can be used as a dedicated video monitor. For more information, see "Using a Computer Display for External Video Monitoring" on page 99. Preferences and Settings New Editing tab in User Preferences The User Preferences window contains a new tab for editing preferences. Many of the preferences in the new Editing preferences tab were formerly located in the General preferences tab. Setting minimum allowable space on scratch disks Each time Final Cut Pro generates a new preference file, the Minimum Allowable Free Space On Scratch Disks number field is calculated based on a percentage of the first scratch disk selected in the Scratch Disks tab in the System Settings Preferences. The minimum allowable disk space depends on whether the disk is currently a boot volume (the drive with the currently running operating system) or a non-boot volume: · If the first scratch disk selected is a boot volume, 5% of the total drive capacity is automatically entered. · If the first scratch disk selected is a non-boot volume, 1% of the total drive capacity is automatically entered. You can adjust this value as needed. Feedback command added to the Final Cut Pro menu You can now launch the Apple Final Cut Pro feedback webpage directly from the application menu. Preface New Features in Final Cut Pro HD 11 New Features in Final Cut Pro 4.1 The following features were added in Final Cut Pro 4.1. Editing Choosing incoming and outgoing clips in the Trim Edit window In the Trim Edit window, you can activate the outgoing or incoming clip by moving the pointer over it. The play button on the active Trim Edit viewer is highlighted. JKL keys only affect the currently active clip. Filling a gap with slug now uses multiple edits In Final Cut Pro 4.0 and earlier, filling a Timeline gap with slug performed a fit-to-fill operation, applying a constant speed change to the slug. In Final Cut Pro 4.1 and later, choosing the Fill with Slug shortcut command uses as many 2-minute slug generators as necessary to fill the gap. Audio Controlling audio levels in the Viewer The new Source pop-up menu, located in the upper right of the Audio Mixer, selects whether Canvas or Viewer audio levels are controlled by the Audio Mixer. If you want the Audio Mixer to automatically switch between the Canvas and Viewer depending on which window you are using, choose Auto from the Source pop-up menu. Media Management and File Interchange XML interchange format support Final Cut Pro project elements such as clips, bins, sequences, filters, keyframes, and markers can now be imported and exported using the new Final Cut Pro XML Interchange Format. Developers familiar with XML can now easily build tools for automatic sequence generation, clip management, and effects automation. 12 Preface New Features in Final Cut Pro HD Here are a few examples of how the new interchange format can benefit post-production workflows: · · · · · · · · · Improve project compatibility between Final Cut Pro and other video editing systems Archive and manage databases of multiple Final Cut Pro projects Maintain multiple sequence versions in multisystem editing environments Enhance batch lists to include detailed log notes, comments, bins, subclips, merged clips, and master/affiliate clips Synchronize dual-system video and audio clips (typically used for film post-production) Automate effects and generator creation Automate text generator subtitle creation Complete access to motion, effects, and speed parameters within clips Change a sequence duration by batch processing parameters such as clip In points, durations, and locations within the sequence For the latest technical specifications about the Apple XML Interchange Format, visit the Apple Applications page at the Apple Developer Connection website at http://developer.apple.com/appleapplications. External Monitoring Frame offset for synchronizing an external monitor and the computer display Final Cut Pro allows you to compensate for the delay between your computer display and external video and audio outputs. Frame offset is active only when your sequence real-time effects are handled by Final Cut Pro. For information about the settings in the Effects Handling tab of the Sequence Settings window, see Volume I, Chapter 6, "Viewing and Setting Preferences," in the Final Cut Pro 4 User's Manual. For more information about monitoring video externally, see "Compensating for Latency With Frame Offset" on page 101. Support Features Create support profile command has been added to the Help menu There are certain support situations in which AppleCare may require information about both your computer and how this particular application is configured. Choosing Help > Create Support Profile creates a file that contains the necessary information and can be emailed to AppleCare. You would not normally use this feature unless directed to by an AppleCare representative. Preface New Features in Final Cut Pro HD 13 New Features in Final Cut Pro 4.0 This is an overview of the new features in Final Cut Pro 4.0. For more information on these features and their use, see the Final Cut Pro 4 User's Manual or Final Cut Pro Help. Improvements for Setup Missing scratch disk warning You are now warned when scratch disks become unavailable. This can happen for a number of reasons: They might be turned off, disconnected, or temporarily unmounted. If the scratch disk folder you selected has been moved, deleted, or renamed, Final Cut Pro might not be able to find the scratch disk. The next time you open Final Cut Pro, if the scratch disk can't be found, a dialog appears with three options: · Quit · Set Scratch Disks to choose a new scratch disk · Check Again, allowing you to reconnect or start up your scratch disk, wait for it to mount, and then proceed as usual New screen layouts There are several new screen layouts, including: · Audio Mixing: This places the Viewer, Canvas, and Tool Bench at the top of the screen. The Tool Bench window contains the Audio Mixer tab. The Browser and Timeline are on the bottom, with the Tool palette and audio meters to the right of the Timeline. · Multiple Edits: This layout only appears if your screen resolution is set to 1280 x 854 or higher. This layout is useful for comparing three clips in a sequence in a row for color correction. At the top of the screen, from left to right, are the Viewer; a Tool Bench window with a Frame Viewer tab showing the previous edit point; the Canvas; and another Tool Bench window with a Frame Viewer tab showing the next edit point. The Browser and Timeline are on the bottom, with the Tool palette and audio meters to the right of the Timeline. Other improvements to screen layouts include the following: · You can now create and save multiple-monitor screen layouts. · Screen layouts are now resolution specific; a new screen layout's minimum required resolution is the resolution your monitor was set to when that layout was created. 14 Preface New Features in Final Cut Pro HD Interface Enhancements Customizable keyboard shortcuts All commands in Final Cut Pro can be assigned to customizable keyboard shortcuts using the Keyboard Layout window by choosing Tools > Keyboard Layout > Customize. The default keyboard shortcut layout can be changed at any time to better suit your needs. For example, if your style of editing requires a particular set of commands that isn't readily available by default, you can modify the default keyboard layout with your own set of commands. You can also create different keyboard layouts for different tasks, switching between them at will. For example, you may find it useful to create different keyboard layouts for editing, color correction, and audio mixing. Keyboard shortcut for Deselect All has changed The default keyboard shortcut for Deselect All is now Shift-Command-A (not Command-D). Keyboard shortcuts for Play Every Frame command In the Viewer and Canvas, you can choose to play every frame of a clip. To do this using keyboard shortcuts, press Option-\ or Option-P. Using keyboard shortcuts to zoom in and out of the Timeline Pressing Option-+ (plus) or Option-­ (minus) zooms in or out of the contents of the Timeline, as long as the Browser is not the active window. Customizable button bars in each window Shortcut buttons can be created and placed along the top of the main windows in Final Cut Pro--the Browser, Viewer, Canvas, Timeline, and any Tool Bench windows. You can then click any of the shortcut buttons in this button bar to perform commands, instead of entering key combinations or using menus. Resize multiple Final Cut Pro windows simultaneously You can now place the pointer at the intersection of two or more windows in Final Cut Pro and resize all of them simultaneously when the Resize Window pointer appears. To resize multiple windows in Final Cut Pro, move the pointer over the border between the windows you want to resize. When the pointer changes to the Resize Window pointer, drag the border in the desired direction to resize the appropriate windows. The windows on either side of the border are resized accordingly. Preface New Features in Final Cut Pro HD 15 Resize individual tracks in the Timeline You can change the size of individual tracks in the Timeline by dragging a track's boundary in the Timeline patch panel: · If it's a video track, drag the upper boundary of the track in the Timeline patch panel. · If it's an audio track, drag the lower boundary of the track in the Timeline patch panel. New view options in the Timeline track layout menu The Track Layout menu now includes five additional options. These options can also be set in the Timeline Options tab of the Sequence Settings window. · Show Video Filmstrips · Show Audio Waveforms · Show Through Edits · Show Duplicate Frames · Show Clip Labels (not available in the Timeline Options tab) New default sequence settings New sequences are now created by default with one video and four audio tracks. You can change this in the Timeline Options tab of the User Preferences window. Save custom Timeline track layouts Once you've created a custom track layout for your sequence, you can save it for future use. Saved custom track layouts appear in the Track Layout menu, and can be applied to any sequence that's open in the Timeline. Up to 40 custom track layouts can appear in the menu at once. New DV Sequences created with white setting DV sequence presets in Final Cut Pro 4 use a default white point setting of White instead of Super-White. (There are several DV sequence presets that use Super-White; these are labeled as such.) Assign destination tracks for editing using the new Timeline patch panel Many editing operations in Final Cut Pro require you to use the Source controls in the Timeline to assign destination tracks to determine where edited, duplicated, or moved clips will appear. Source and Destination controls are located in the Timeline patch panel, at the left of the Timeline window. When you open a clip or sequence into the Viewer, a number of Source controls appear in the Timeline patch panel and correspond to the number of video and audio items that make up that clip, or the number of tracks that appear in that sequence. For example, if you open a clip into the Viewer that contains one video and four audio items, one video and four audio Source controls appear in the Timeline patch panel. 16 Preface New Features in Final Cut Pro HD A merged clip may consist of 1 video and up to 24 audio items, so typically as many as 25 Source controls will appear in the Timeline. You can also open a sequence into the Viewer, in which case as many as 99 video and 99 audio tracks can appear in the Timeline, depending on how many tracks there are in the sequence. Whenever you open a new clip or sequence into the Viewer, the number of Source controls in the Timeline patch panel updates to reflect the number of video and audio items in the new clip or sequence. Auto Select controls in the Timeline Enabling the Auto Select controls of specific tracks in the Timeline allows the contents of those tracks to be selected via In and Out points in the Timeline or Canvas, just as if you'd used the Range Selection tool. When In and Out points are defined in the Timeline, operations such as the Copy command and lift edits are limited to the selected regions of tracks that have Auto Select turned on. When one or more Auto Select controls are enabled, regions of clips in the Timeline defined by In and Out points are highlighted, which indicates that these regions can be operated upon. Mute and solo controls in the Timeline Click a track's mute button to turn off audio playback for that track. The mute button affects monitoring during playback only. When a track is muted, it isn't audible during playback, but is still output during Print to Video and Edit to Tape operations, or when exported to an audio or movie file. The mute buttons for each channel in the Audio Mixer and the mute control in the Timeline editing controls are light amber when mute is enabled. Click a track's solo button to mute all tracks that don't also have solo enabled. For example, if you click the solo button on track A1, and it's the only track with solo selected, all other audio tracks are muted. If you enable the solo button on multiple tracks, all tracks with solo enabled play back, while all other tracks are muted. Like the mute button, the solo button affects monitoring during playback only. If solo is enabled on at least one track in a sequence, tracks that don't have solo enabled are not audible during playback, but are still output during Print to Video and Edit to Tape operations, or when exported to an audio or movie file. The solo button is dark red when turned on. When you solo a track, the mute controls of all non-soloed tracks are automatically turned light amber; this way, you can tell which tracks are soloed and which are muted, if other tracks are not displayed in the Timeline window. Preface New Features in Final Cut Pro HD 17 New Timeline zoom functionality Timeline zoom functionality has been improved. You can zoom into the Timeline in any of the following ways: · Drag the thumb tabs on either side of the Zoom slider to adjust both ends of your view at the same time. If the playhead is visible, it stays centered during the zoom. If the playhead is not visible, the visible area of the Timeline stays centered. · Hold down the Shift key while you drag one of the thumb tabs to zoom in or out of your sequence from the selected end of the Zoom slider, while keeping the other thumb tab locked in place. This also moves the visible area of the Timeline in the direction you're dragging as you zoom. · Click or drag the Zoom control to view the Timeline at a different time scale while keeping either the playhead or the current area of the Timeline centered. Clicking to the right of the control zooms out to show more of your sequence; clicking to the left zooms in to show more detail. Custom column layout menu in the Browser You can create customized column layouts for your own specific uses, and save these arrangements as custom layouts for easy access at any time. The custom column layouts you save appear in the shortcut menu that appears when you Control-click any column heading in the Browser except the Name column. Preferences and Settings New organization of preferences All preferences have been reorganized into two windows­User Preferences and System Settings. Sync Adjust Movies Over preference has been removed The Sync Adjust Movies Over preference available in earlier versions of Final Cut Pro has been removed from the General tab of the User Preferences window. The A/V sync of all captured clips in Final Cut Pro 4 is automatically maintained no matter which video device you capture from. Memory usage settings Two sliders in the Memory & Cache tab of the System Settings window allow you to decide how much of the RAM available in your computer to use when working in Final Cut Pro. Your computer's available RAM is defined as the amount of RAM not used by Mac OS X and other currently open applications. By limiting the amount of RAM Final Cut Pro uses, you can maintain the performance of Final Cut Pro by preventing Mac OS X from using virtual memory unnecessarily. This is especially important when multiple applications are open at the same time. 18 Preface New Features in Final Cut Pro HD Additional Timeline display options There are several new display options for the Timeline in the Timeline Options tab of the User Preferences window, including: · Show Duplicate Frames: Select this option to mark clips that are used more than once within a single edited sequence. Colored bars appear at the bottom of the clip's video item in the Timeline if that clip has been used more than once. You can adjust the parameters that determine when duplicate frames indicators appear in the General Preferences tab. · Show Audio Controls: Select this option to display the mute and solo buttons to the left of each audio track in the Timeline. By default, these controls are hidden. Audio controls can also be displayed using the Audio Controls button in the Timeline. · Video and audio keyframe editor: The keyframe editor shows you keyframe graphs for motion effects or parameters of filters applied to clips in your sequence. These graphs are identical to those found in the keyframe graph area of the Motion and Filters tabs in the Viewer. You can edit keyframes in the keyframe editor using the Selection and Pen tools. The keyframe editor can only display the keyframe graph of one effect parameter at a time. · Video and audio speed indicators: Speed indicators show you the speed of clips in your sequence using tic marks. The spacing and color of these tic marks indicate the speed and playback direction of your clips. The speed indicators of clips in the Timeline update in real time as you make variable speed adjustments to clips in your sequence, showing you exactly how you're altering a clip's timing. There are no useradjustable controls in the speed indicator area. Audio Outputs tab The Audio Outputs tab contains a list of presets that allow you to define the number of audio output channels that are available to your sequence via external audio interfaces connected to your computer. The selected audio output preset is automatically assigned to all new sequences and projects you create. Each sequence in your project has its own individual audio output settings. After a sequence has been created, any future changes to its audio output settings must be made in the Audio Outputs tab of the Sequence Settings window. Default location of Easy Setup files By default, the files for Easy Setups you create are stored in the following location: /Library/Application Support/Final Cut Pro System Support/Custom Settings. New location for third-party presets To install third-party preset files or use preset files that you've moved, you must drag the desired preset files to the following folder: /Library/Application Support/Final Cut Pro System Support/Plugins. The next time you open Final Cut Pro, the presets will be available in the Audio/Video Settings window. Preface New Features in Final Cut Pro HD 19 New location for locked presets Presets are stored with the Easy Setup they are used with. If you want to lock a preset that you've created, you can make a custom Easy Setup and store it in the folder where locked Easy Setups are located. To lock a preset that you've created as part of a custom Easy Setup, drag your custom Easy Setup from /Library/Application Support/Final Cut Pro System Support/Custom Settings to /Library/Application Support/Final Cut Pro System Support/Plugins. Note: You must quit Final Cut Pro and reopen the application for the preset to appear locked in one of the preset tabs in the Audio/Video Settings window. Real-Time and Rendering Unlimited RT Selecting the Unlimited RT option in the RT pop-up menu of the Timeline allows Final Cut Pro to play additional real-time effects that exceed your computer's real-time playback capabilities. Unrestricted real-time playback allows you play more effects, but increases the likelihood that your sequence will drop frames during playback. This mode is useful for getting a real-time preview of complex effects compositions. RT pop-up menu in the Timeline The Real-Time Effects (RT) pop-up menu allows you to adjust the playback quality of real-time effects in Final Cut Pro. Using the options in this menu, you can decide which is more important to you­visual playback quality or maximizing the available effects that can be played back in real time. For example, if it's more important to you to be able to view your program at the highest quality, you should deselect the Unlimited RT option and select the High playback option in this menu. This ensures that your program's video quality is always as high as possible, and that no frames are dropped during playback. The tradeoff in this case is that the number of simultaneous real-time effects that can be played back is reduced. If you'd rather lower the playback quality of your video in order to increase the number of real-time effects that can be played back, you can select the Unlimited RT and Low playback quality options to maximize your computer's playback performance. When you want to output your program to video, you can choose whether to render the effects that won't output at full quality in real time, or output them at the reduced quality you've selected in order to avoid rendering. Final Cut Pro always warns you before outputting video to tape at reduced quality when you use the Print to Video and Edit to Tape commands. 20 Preface New Features in Final Cut Pro HD Software-based real-time effects can be output using FireWire and other built-in video interfaces All real-time effects can be output to an external video monitor using FireWire or the built-in video output of a Macintosh PowerBook G4. This is true whether you're using OfflineRT or DV source media in your projects. Outputting real-time effects to video using FireWire is a processor-intensive operation, requiring a very fast computer. Outputting this way will significantly reduce the maximum number of real-time effects that your computer can play in real time. RT Scrubbing command removed from the sequence menu The RT Scrubbing command available in the Sequence menu of earlier versions of Final Cut Pro has been removed. Improved performance makes it no longer necessary. Real-time pull-down insertion for 24 fps sequences If you're editing 24 fps video, Final Cut Pro can play back and export your DV or OfflineRT sequence with 3:2 pull-down added. This lets you output 24 fps video to 29.97 fps using FireWire or the built-in video output of a Macintosh PowerBook G4 for viewing or exporting to tape, all in real time. Improved management of audio and video render cache files Audio and video render cache files are handled differently, eliminating the need to rerender effects in many instances: · Audio and video render cache files are now managed separately. Modifying video edits and making changes to video effects that overlap audio effects no longer affects rendered audio render cache files, and vice versa. · Audio and video render cache files are preserved when clips are duplicated or copied and pasted. · New item-level rendering of audio clips allows you to preserve audio cache files for audio effects and rendered resampling while making changes to volume and panning levels. Preface New Features in Final Cut Pro HD 21 Real-time effects playback and rendering options Three new tabs allow you to control real-time effects playback and rendering in your projects: · The Render Control tab in the User Preferences window allows you to enable and disable the most processor-intensive effects in Final Cut Pro. Changing the settings in the Render Control tab of the User Preferences window changes the default Render Control options that all new sequences are created with. To change the Render Control settings for existing sequences, alter these settings in your sequence's Sequence Settings window. · All settings in the Playback Control tab in the System Settings window remain the same for all sequences and projects opened on that computer. These settings also appear in the RT pop-up menu in the Timeline. Using these settings, you can decide which is more important to you­visual playback quality, or maximizing the available effects that can be played back in real time. · The Effect Handling tab in the System Settings window allows you to set how realtime effects are processed for clips compressed using a real-time-capable codec. This includes clips captured and compressed using the DV, DVCPRO50, and Photo JPEG codecs. Such clips, by default, can play back software-based real-time effects applied directly in Final Cut Pro. If a third-party capture card capable of real-time effects processing is installed that can process these codecs, you can reassign real-time effects handling to your hardware, instead. Auto-rendering The Auto Render preference allows you to take advantage of idle computer time when you're not editing­such as during a coffee break or lunch­to render open sequences in the Timeline. Options in the General tab of the User Preferences window allow you to define how long to wait before rendering, which sequences to render, and whether or not to render real-time effects in the selected sequences. Support for 10-bit video processing Final Cut Pro now supports 10-bit video processing for selected filters and transitions. 22 Preface New Features in Final Cut Pro HD Capture and Output Automatic timecode break handling during capture New timecode break handling allows Final Cut Pro to automatically capture over timecode breaks without interruption. You can now capture the footage from an entire tape, skipping every timecode break on the tape. The "On timecode break" pop-up menu in the General tab of the User Preferences window gives you three ways to avoid capturing media with timecode breaks: · Make New Clip: This is the default option. Video that's already been captured before the break in timecode is saved as a single clip, with its Out point set to the frame occurring immediately before the dropped timecode instance. Final Cut Pro then automatically continues capturing video after the dropped timecode frame as a second media file. When this option is selected, clips captured after timecode breaks are named with the original name plus a dash and the number of the clip. For example, if the first captured clip's name is "Cats Playing," then the second clip's name is set to "Cats Playing-2." This is a good setting if you are batch capturing an entire tape at once. For example, suppose you are capturing the entire contents of a 60-minute tape that had four timecode breaks. Instead of making you restart capture every time a timecode break is detected, Final Cut Pro captures all media from the tape as five clips, skipping every timecode break and ensuring that the timecode of all captured media is frame-accurate and in sync. · Abort Capture: If this option is selected, capture is stopped whenever a timecode break is detected. All media captured before the timecode break has frame-accurate timecode and is preserved. The resulting open media clip is saved to the Browser. · Warn After Capture: If this option is selected, timecode breaks are reported after capture and the media file with the timecode break is preserved. It is unwise to use such a clip unless you have no choice, because timecode breaks result in incorrect timecode from the timecode break forward, and will impair your ability to accurately recapture your media. Capturing audio and video to separate files now creates true merged clips When you capture video and audio to separate files, two sets of media source files are saved on your hard disk, but the clips appear in your project as merged clips. Capturing your video and audio as separate files allows you to divide the workload between two scratch disks, maximizing the performance of each scratch disk you're using so that you can capture your video at the highest possible data rate. Video and audio media files that have been captured separately are no longer dependent on one another. Preface New Features in Final Cut Pro HD 23 Automatic naming of captured clips Automatic naming of captured clips in Final Cut Pro has been updated to remove extra zeroes from the beginning of a clip number. For example, in previous versions of Final Cut Pro, a series of clips would automatically be named and numbered as follows: Untitled 0001, Untitled 0002, Untitled 0003. The extra zeroes in front of the number ensured that the clips would remain in sequential order once the clips reached 0010 and 0100 respectively. Final Cut Pro no longer requires the extra zeroes in order to sort effectively. Now clips are automatically named and numbered as follows: Untitled, Untitled 2, Untitled 3. Additional settings in the Batch Capture window In the Batch Capture window, when you select the Use Logged Clip Settings checkbox, additional settings are included for the captured clips: · Image and Gain settings (for analog capture) · Capture settings from the Capture pop-up menu · Audio settings from the Audio Format pop-up menu These settings are found in the Clip Settings tab of the Log and Capture window. Field dominance of sequences with progressive scan clips must be set to None Whenever you capture clips from progressive scan sources (such as cameras with a progressive scan mode), the field dominance of these clips should be set to None in the Format tab of the Item Properties window. You must also must make sure that all sequences you edit progressive scan clips into have their field dominance set to None. This prevents artifacts from occurring in motion effects that you apply to these clips. Advanced pull-down removal Select the "Remove Advanced Pulldown (2:3:3:2) From MiniDV Sources" setting of your capture preset if you're capturing from a DV format source that used the 2:3:3:2 pulldown method to capture 24P video. You want to remove the 2:3:3:2 pull-down to eliminate the redundant frame fields created by the pull-down so that you can edit true 24 (actually 23.98) fps progressive video. Pull-down insertion If you're editing a sequence with a 23.98 fps timebase and you want to output to an NTSC device via FireWire, you can choose one of three pull-down insertion patterns from the RT pop-up menu in the Timeline. Pull-down insertion is a method of converting 23.98 fps video to the NTSC standard of 29.97 fps video. Depending on the speed of your computer, you can select from 2:3:2:3, 2:3:3:2, or 2:2:2:4 pull-down. Control the quality of effects being output to video When outputting a sequence with draft-quality proxy effects to video, you can choose whether to render the effects that won't output at full quality in real time, or output them at the reduced quality you've selected in order to avoid rendering by choosing Use Playback Settings from the RT pop-up menu in the Timeline. 24 Preface New Features in Final Cut Pro HD Capturing audio using house sync When capturing audio intended to be synchronized to video from a separate source, it's important that your device-controllable audio deck be synchronized to your computer via a common video timing signal, such as a blackburst generator (also referred to as house sync). This is true even if you're capturing your audio via a dedicated audio capture interface. This can be accomplished by connecting a blackburst generator to both the genlock connector (also called external sync) of your audio deck and to the genlock connector of an external video capture interface connected to your computer. When capturing audio from a genlocked audio deck, you need to select "Sync audio capture to video source if present" in the General tab of the User Preferences window. Audio Sync tool for the Panasonic DVX-100 To address the way the Panasonic DVX-100 handles audio/video sync, the DVX-100 Audio Sync Tool plug-in is available in the DV Camera Tuner Scripts folder on the Final Cut Pro 4 installation DVD. If you're working with clips captured from the Panasonic DVX-100, you should move this plug-in to the following location: /Library/Application Support/Final Cut Pro System Support/Plugins When the DVX-100 Audio Sync Tool plug-in is installed, a new menu item appears in the Tools menu, Offset Audio Sync. To use the Offset Audio Sync tool: 1 In the Browser, select any clips you captured that were recorded with the DVX-100. 2 Choose Tools > Offset Audio Sync. The audio of all selected clips will be offset 2 frames later than the video to adjust their sync. Note: Adjustments made to clips using the Offset Audio Sync command are only saved in the Final Cut Pro project file where the adjustment was made. The corresponding source media on disk is unaffected. Edit to Tape window has new icons In the Video tab of the Edit to Tape window, two icons have changed. The Insert Timecode icon is now a yellow round clock icon, similar to the Timecode Duration and Current Timecode icons found in the Viewer and Canvas. The Insert Video icon is now a yellow frame of film with no letters. Support for separate video and audio capture interfaces You now have the ability to specify separate video and audio capture interfaces in the A/V Devices tab of the A/V Settings window. Preface New Features in Final Cut Pro HD 25 Support for multichannel audio output Final Cut Pro supports audio output via up to 24 outputs using Mac OS X­compatible audio interfaces. The Audio Outputs tab of the Sequence Settings window allows you to define the number of audio output channels that are available to tracks in your sequence via the external audio interface connected to your computer. All audio tracks in a sequence can be assigned to specific pairs of audio outputs using the shortcut menu in each audio track header in the Timeline. Support for multichannel audio during Edit to Tape operations Using a Mac OS X­compatible audio interface, you can now output up to eight audio channels while using the Edit to Tape command. The number of audio tracks that can be recorded to when using the Edit to Tape command depends on the number of audio tracks your video or audio recording device supports. When using a video or audio interface capable of outputting more than two channels of audio, you need to manually choose an appropriate audio track configuration based on the video or audio recording device you're recording onto. You can specify this configuration by selecting or creating a device control preset, and setting the Audio Mapping pop-up menu in the Device Control Preset Editor to the appropriate configuration for your recording device. The Audio Mapping pop-up menu does not automatically detect the number of audio tracks your video or audio recording device is capable of recording to. You need to choose a configuration based on your recording device's capabilities. Edit to Tape audio insert pop-up menu has new states Audio channels that are available to be recorded to can be enabled and disabled individually, or all at once. To record-enable an audio track, choose it from the Audio Insert pop-up menu and a checkmark appears next to it. Choose it a second time to remove the checkmark and disable the track. Eight audio channel indicators in the Audio Insert pop-up menu indicate which audio tracks are being output. The color of an audio channel indicator indicates its state. The colors have changed. The following is an update replacing the audio channel indicators listed in the Final Cut Pro 4 User's Manual. · Yellow: Indicates the audio track is available. · Gray: Indicates the audio track is unavailable. 26 Preface New Features in Final Cut Pro HD Support for audio interfaces with multiple input channels During capture, Final Cut Pro only supports the first two channels of audio interfaces with multiple input channels. Any additional channels do not appear in the Audio/Video Settings window, and appear to have fewer output channels than they really support. Despite this, the actual number of audio output channels supported by your audio interface is available for playback, Edit to Tape, and Print to Video operations. Audio outputs in sequences may be assigned to a maximum of 24 audio channels. In this situation, you may get a warning dialog improperly stating that the output map you've selected for this sequence contains more channels than the output device. If you know your audio interface supports the appropriate number of audio channels, you can ignore this alert. Media and Clip Management Viewing Item Properties for clips The Item Properties window provides you with information for an individual clip. Three tabs in this window--Format, Timing, and Logging Information--allow you to view or change various properties of a clip. In the Browser, you can only view the Item Properties of one clip at a time. If you select more than one clip, you'll only see information for the first clip. However, in the Timeline, you can select multiple clips and view all of their Item Properties in the same window. To view Item Properties: 1 Do one of the following: · Select a clip in the Browser. · Select one or more clips in the Timeline. 2 Do one of the following: · Choose Edit > Item Properties, then choose an option from the submenu. · Control-click the clip, then choose Item Properties from the shortcut menu. New master/affiliate clip relationships within a project Final Cut Pro 4 introduces master/affiliate clip relationships for clips used in a project. The first instance of a clip that is captured or imported into a project is a master clip. Editing a master clip into a sequence or duplicating it in the Browser results in the creation of a sequence clip or duplicate clip that is an affiliate of the original master clip. A relationship exists between the original master clip in the Browser and all edited or duplicated affiliates of that clip that appear in every sequence and in every bin of that project. For any group of affiliated clips in a project, there is only one master clip. Preface New Features in Final Cut Pro HD 27 As a result of the relationship between master and affiliate clips, changes made to certain properties of a master clip, such as Clip Name, Reel Name, or Timecode, are automatically made to all affiliated clips within the current project. These same changes, if made to an affiliate clip, are also made to that clip's master clip, as well as to all other affiliated clips in the current project. The online or offline state of clips is also automatically updated among all affiliated clips in a project, all at once. Suppose you open a project in which all the clips are offline. Relinking that project's master clips in the Browser automatically relinks all the affiliate clips that appear in each of that project's sequences, as well. New commands, including Reveal Master Clip, Duplicate as New Master Clip, and Make Independent Clip, allow you to manage these clip affiliations. The Match Frame command opens a clip's affiliated master clip from the Browser. Creating duplicate master clips in the Browser To create a new master clip instance of a clip in the Browser, press Option while dragging a clip from the Timeline into the Browser, then press Command. When you see a pointer with M+ next to it, this indicates that a new master clip is being created; you can release the keys. Changing affiliate clips into independent clips As a result of the relationship between master and affiliate clips, changes made to certain properties of a master clip, such as Clip Name, Reel Name, or Timecode are automatically made to all affiliated clips within the current project. These same changes, if made to an affiliate clip, are also made to that clip's master clip, as well as to all other affiliated clips in the current project. The online or offline state of clips is also automatically updated among all affiliated clips in a project, all at once. Suppose you open a project in which all the clips are offline. Relinking that project's master clips in the Browser automatically relinks all the affiliate clips that appear in each of that project's sequences. Depending on your project, you may choose to sever an affiliate clip from its master. This prevents the affiliate clip from updating with its master clip and other affiliate clips. To make an affiliate clip in a sequence independent: Control-click the affiliate clip in the Timeline, then choose Make Independent Clip from the shortcut menu. Your affiliate clip is now an independent clip. Any changes you make to this clip do not affect the master clip. m 28 Preface New Features in Final Cut Pro HD Finding master clips You may find it necessary to find the master clip in the Browser that is affiliated with a particular clip in the Timeline. You can do so using the Master Clip command. To find an affiliate clip's master clip: 1 Select a clip in the Timeline. 2 Choose View > Match Frame > Master Clip. The master clip is automatically highlighted in the Browser. Changing the label of a clip changes labels of all affiliated clips If you use labels to identify and sort your clips in the Browser, the clips' names are highlighted in the color that matches each label. Using keyboard shortcuts, you can change the labels of clips directly in the Timeline. Changes made to the label of any clip are also applied to all of that clip's affiliated clips. Support for merged clips using separate video and audio source media A merged clip is one that links to more than one source media file on disk. For example, a merged clip might link to both a QuickTime video file and a separate audio file. Merged clips allow you to synchronize the audio and video items of footage shot via dual system recording. Instead of syncing your video and audio onto tape prior to capturing, you can capture your audio and video separately, and then merge them together in Final Cut Pro. You can sync a video clip with up to 12 stereo or 24 mono audio clips (merged clips can contain a total of 1 video and 24 audio items) using their timecode, In points, or Out points. After a group of clips has been synchronized in preparation to create a merged clip, select them all and choose Modify > Merge Clips. Linking clips in the Timeline prior to creating a merged clip When creating a single merged clip by dragging multiple items from the Timeline into the Browser, all clips to be merged need to be selected and linked in the Timeline before they are dragged into the Browser. If you don't link them in the Timeline first, each unlinked clip will appear as a separate item when the group is dragged into the Browser. Note: Only one video and up to 24 audio items can be linked together in the Timeline in preparation for making a merged clip. Opening multichannel clips into the Viewer If the In and Out points of a merged or linked clip's audio don't match, and you doubleclick the clip in the Timeline, only the individual item you clicked opens into the Viewer. If you are in the Browser and open the same merged clip into the Viewer, all linked video and audio items open simultaneously in individual tabs in the Viewer. Preface New Features in Final Cut Pro HD 29 Removing subclip limits As a result of the relationship between master and affiliate clips, changes made to certain properties of a master clip or subclip are automatically made to all affiliated clips within the current project. The same is true of subclips and any affiliates associated with them. In particular, if you extend the In and Out points on a subclip to those of the original master clip, your subclip now has all of the media in the original master clip. Therefore, if you remove the limits from one subclip, Final Cut Pro removes the limits from all other subclips associated with it. Improvements to the Media Manager Two new options give you more control over operations performed by the Media Manager. · Include affiliate clips outside selection: You can choose whether or not to include additional marked master clip media and other affiliated clips in the selected Media Manager operation. How much extra media will be included depends on whether or not the "Duplicate selected items and place into a new project" option is selected. Including affiliate clips may dramatically increase the amount of media included by the Media Manager operation, but it will ensure that you include the maximum amount of useful footage by including master clip media that: · Is marked by an In point, Out point, or both · Falls between two unconnected clips derived from the same master clip · Appears as an affiliate clip in another sequence · Base media file names on: This pop-up menu lets you determine how clips are named when they're segmented as a result of the "Delete unused media" option. Since the clip names used in your project do not necessarily match the name of the source media files on disk (you may have renamed them manually, for example), you can specify which names to use. You have two options: · Existing file names: Filenames of clips created by the Media Manager are based on the source media files on disk. · Clip names: Filenames of clips created by the Media Manager are based on the names you've given the clips inside your project. Improvements to the Item Properties window The Item Properties window has been updated. Three tabs in this window--Format, Timing, and Logging Information--allow you to view or change various properties of a clip. The Item Properties window can now show information for a group of linked clips in a sequence, merged clips, and groups of sequence clips that have been opened simultaneously. 30 Preface New Features in Final Cut Pro HD Improved item linking in the Timeline You can now link up to 1 video item and 24 audio items in the Timeline. Additional support for modification of timecode in source media files You can modify the Reel, Timecode, Aux 1, and Aux 2 timecode tracks directly in a clip's source media file on disk. Display of items in the Render Manager Items in the Render Manager are now displayed in three groups: audio, audio mixdown (sequence level audio render files), and video. Including master comment information in EDLs When you export an EDL, you can now choose to export Master Comments 1­4 or Comment A­B in the EDL Export dialog. These appear as notes in the EDL, letting offline editors give notes to the online editor about complicated entries on the list. Editing Dynamic trimming in the Trim Edit window The Trim Edit window has a Dynamic checkbox that you can use to toggle dynamic trimming on and off, without having to go to the User Preferences window. This checkbox is located at the bottom of window, between the ­1 and +1 Trim buttons. Dupe detection You can now turn on the Show Duplicate Frames option in the Timeline Options tab of the Sequence Settings window. This option marks clips that are used more than once within a single edited sequence with colored bars appearing at the bottom of the clip's video item in the Timeline. Two options in the General tab of the Preferences window, Dupe Detection Handle Size and Dupe Detection Threshold, affect when and how duplicate frames indicators appear in the Timeline. · Dupe Detection Handle Size: Adds frames to the beginning and end of the clip regions which are used for comparison, to determine whether or not to display duplicate frames indicators. This can be used to take into account the extra frames that must be used for physically cutting and cementing pieces of negative that are necessary for film matchback, to prevent you from accidentally including frames that can't really be used. By default, this is set to 0. · Dupe Detection Threshold: Allows you to set a minimum number of frames that must be duplicated before a duplicate frame's indicator will appear. By default, this is set to 0 so that all instances of duplicated frames are indicated. You can set it as high as 99 frames (3 to 4 seconds, depending on the frame rate), in which case there would have to be a minimum of 99 consecutive duplicated frames before a duplicate frames indicator would appear. Preface New Features in Final Cut Pro HD 31 Detecting duplicate frames over transitions When Show Duplicate Frames is turned on in a sequence's settings, duplicate frames that occur over the duration of a transition between two clips are indicated by white dots to the left and/or right of that transition. The side of the transition the dots appear on indicates the clip or clips that use duplicate frames. Asymmetrical trimming in the Timeline Asymmetrical trimming allows you to ripple edit opposite edit points of video and audio items in the Timeline separately. Using the Edit Selection tool, you can select an outgoing video edit point, and the opposite incoming audio edit points. When you use the ripple tool to trim these selected points, they move in opposite directions, allowing you to create a split edit. Auto Select controls in the Timeline Enabling the Auto Select controls of specific tracks in the Timeline allows the contents of those tracks to be selected via In and Out points in the Timeline or Canvas, just as if you'd used the Range Selection tool. When In and Out points are defined in the Timeline, operations such as the Copy command and lift edits are limited to the selected regions of tracks that have Auto Select turned on. When one or more Auto Select controls are enabled, regions of clips in the Timeline defined by In and Out points are highlighted, which indicates that these regions can be operated upon. Adding edits on auto-selected tracks The Add Edit command (Control-V) in the Sequence menu works like the Razor Blade tool, adding an edit point to all clips in the Timeline at the current position of the playhead. This command works on all tracks with Auto Select turned on. Locating a match frame Finding a match frame can be useful if you want to quickly reedit a clip that's already been edited into your sequence, or if you need to quickly access a sequence clip's master clip to edit another part of it into your program. To open a sequence clip's master clip into the Viewer using the Match Frame option: 1 Position the playhead in the Canvas or Timeline on the clip you want to copy into the Viewer, at the specific frame that you want to locate. 2 Make sure the track that contains the clip you want to match is the destination track. Editing clips from one sequence to another Instead of nesting one sequence inside of another, you can edit the content of sequence A into sequence B­placing all of sequence A's clips directly into the Timeline of sequence B exactly as they appear in sequence A­using the Command key. Hold down the Command key while dragging sequence A into the Canvas to edit the clips contained by sequence A into sequence B. 32 Preface New Features in Final Cut Pro HD Viewing clip time or source media time in the Viewer You can view the timecode of a clip in the Viewer using either Clip Time or Source Time. Choosing Source Time guarantees that the current timecode displayed represents the timecode associated with that frame in your source media file. For example, if you change the speed of a clip to 50 percent, you effectively double the number of frames in that clip. With Source Time selected, each duplicated frame shows the correct timecode number of the frame in the media file it came from. To choose either Clip Time or Source Time, Control-click in the current timecode window of the Viewer and choose a display method from the shortcut menu. Ganging the Viewer and Canvas using the Playhead Sync pop-up menu You can lock the playhead in the Viewer to the playhead in the Canvas so that they move together while scrubbing through clips. This is known as ganging. Ganging allows you to trim a clip in the Viewer by a duration specified by some event in the Timeline, such as the duration of an actor's action, the length of a clip, or the distance between two markers. Ganging is especially useful when you're modifying clips with color correction filters applied. When adjusting color correction filters, you want to see the Color Correction tab in the Viewer that corresponds to the clip in the Canvas so that you're adjusting the right clip. Ganging lets you do this. You use the Playhead Sync pop-up menu to choose from four different ganging options: · Off: Disables Viewer/Canvas ganging. The Viewer and Canvas playheads move independently of one another. This is the default behavior. · Follow: The playhead in the Viewer is locked to the playhead in the Canvas whenever a sequence clip is opened into the Viewer, so that both playheads scrub together, displaying the same frame. For example, moving the Timeline playhead to the 20th frame of a clip in your sequence also moves the Viewer playhead to the 20th frame of that sequence's clip if it is also opened in the Viewer. · Open: This option is identical to Follow, except that as the playhead moves through your sequence, the clip that appears at the current position of the playhead is automatically opened into the Viewer. For example, moving the Timeline playhead from clip A in your sequence to clip B opens clip B into the Viewer, with the playheads in the Viewer and in the Canvas both ganged to the same frame. The tab currently selected in the Viewer remains the selected tab, even though a new clip has been opened into it. The Open ganging option is useful when adjusting multiple clips that have color correction filters applied to them­as you move the playhead from clip to clip, the Color Correction tab updates to reflect the settings applied to whichever clip is at the current position of the playhead. Preface New Features in Final Cut Pro HD 33 · Gang: When this option is selected, the offset between the current position of the playhead in the Canvas and the current position of the playhead in the Viewer is maintained as both playheads move together. This mode is useful for editing operations in which you want to mark In or Out points using durations defined by items or markers in the Timeline as your reference. Opening items into the Viewer when the Playhead Sync Pop-Up menu is set to Open When you choose the Open setting in the Playhead Sync pop-up menu in the Viewer, the playhead in the Viewer is locked to the playhead in the Canvas whenever a sequence clip is opened into the Viewer, so that both playheads scrub together, displaying the same frame. As the playhead moves through your sequence, the clip that appears at the current position of the playhead is automatically opened into the Viewer. The order in which items open into the Viewer has changed. Final Cut Pro looks first for a video item on an Auto Select track, from top to bottom tracks, then for an audio item on an Auto Select track (bottom to top), then for a video item on any video track (top to bottom), then finally, an audio item on any track (bottom to top). If you place the playhead over a gap, no new slug is opened into the Viewer. The Viewer displays the last clip opened. Timecode navigation and shortcuts There are several ways to enter and navigate using timecode. You can move the playhead to a specific frame by entering a complete timecode number in the Current Timecode field in the Canvas or Viewer, then press Return or Enter. You don't need to click in the field to enter a new timecode; simply enter the timecode. To avoid typing zeroes when moving by larger amounts, type a period instead. And instead of moving the playhead to an absolute timecode number, you can move it relative to its current position by pressing the + and ­ keys. For example, to move the playhead 1 minute and 20 frames back from the current position, type ­01.20. Note: The period automatically adds 00 to the minutes and seconds field. 34 Preface New Features in Final Cut Pro HD Audio Audio Mixer tab in the Tool Bench A new Audio Mixer tab in the Tool Bench has controls comparable to those of an automated hardware mixing console. Each audio track in the currently selected sequence is represented by a track strip, complete with solo and mute buttons, a stereo panning slider, and a volume fader. You can make fine adjustments to the audio in your program by manipulating these graphical controls in real time while you listen to your program play back. Final Cut Pro records the gestures you make with the mixing controls, adjusting the levels of clips in your sequence accordingly. Adjusting the levels of your tracks this way as you listen to them play back allows you to create mixes more quickly than does directly manipulating a track's volume overlays. The Audio Mixer tab has the following controls: · Track strip controls allowing real-time mixing and automation recording for volume and panning levels · Mute and solo monitoring controls · Master level, master mute, and mixdown controls · Individual track audio meters · Master output meters showing mixed levels for each assigned audio output · Controls to show and hide individual track strips · Up to four different mixer views, each with a different set of visible track strips · The ability to turn on and off keyframe recording Real-time automation recording When the Record Keyframes checkbox in the Audio Mixer tab or in the General tab of the User Preferences window is selected, Final Cut Pro records all changes you make to audio controls during playback as keyframes in the corresponding parameter overlay of the audio clip you are adjusting. This is referred to as recording mixer and effects automation. You can record automation in real time during playback for: · Volume and panning levels using the fader and pan controls in the Audio Mixer tab · Audio effects parameters using audio filter controls in the Filters tab of the Viewer Slowing faders and panning sliders Holding down the Command key while moving faders and panning sliders gears down their motion, allowing you to make more precise changes. Mute overrides solo in the Timeline and Audio Mixer tab If a track's solo control is already turned on, turning on mute overrides the solo status of that track and the track is silenced. Preface New Features in Final Cut Pro HD 35 Keyframe thinning A new Audio Keyframe Thinning pop-up menu in the General tab of the User Preferences window allows you to control how detailed keyframe automation is when recorded using the Audio Mixer or audio filter controls. There are three choices. · All: Records the maximum number of keyframes possible while you move a track strip's fader or panning slider. The end result is a precise re-creation of the levels you set using the Audio Mixer. The drawback to this option is that you might end up with an extremely dense cluster of keyframes in the audio level overlays of the affected clips that can be difficult to edit later. · Reduced: Reduces the number of recorded keyframes that are created when you move a track strip's fader or panning slider. The resulting level or panning overlay in the Timeline or Viewer is an accurate reproduction of the levels you set, but is easier to edit using the Selection or Pen tool. · Peaks Only: Records only the minimum number of keyframes necessary to approximate the levels you recorded when moving a track strip's fader or panning slider. Keyframes recorded using the Peaks Only option reflect only the highest and lowest levels that were recorded. This is primarily useful when you want to record a minimum number of keyframes to edit later in the Timeline or Viewer. Support for multichannel output and Mac OS X­compatible audio interfaces New support is available for specifying Mac OS X­compatible audio interfaces for capture and output in the Audio/Video Settings window. New settings in the Audio Outputs tab of the Sequence Settings window allow you to define the number of audio output channels that are available to assign to audio tracks from your sequence, using whichever external audio interface or third-party video capture card is connected to your computer. By default, a stereo preset is enabled, and will work with the audio output built in to your computer, as well as with most DV camcorders and third-party video capture interfaces. If you have a more sophisticated audio interface specified in the Audio/Video Settings window that supports more than two channels of audio output, you can create a new preset to define these additional audio output channels. Export multiple audio outputs to AIFF files The Export Audio to AIFF(s) command in the File > Export submenu gives you the opportunity to export every audio output channel that's defined in the Audio Outputs tab of your sequence's settings as a separate AIFF file. You also have the option of saving each exported AIFF file at 24-bit resolution, which is useful because Final Cut Pro mixes the audio in your program at 32-bit internal resolution, even if your source audio is 16 bit. Since all audio calculations are made with higher precision to maximize the quality of your program's audio, using this command to export your audio preserves this quality. 36 Preface New Features in Final Cut Pro HD New support for Audio Units Final Cut Pro includes a set of Audio Units filters that you can use to adjust your audio clips. The Audio Units format is the standard Apple audio plug-in format for Mac OS X applications. Third-party Audio Units are also available; before purchasing third-party Audio Units filters for use with Final Cut Pro, check with the third-party manufacturer to make sure they're compatible. Currently, Final Cut Pro only works with Audio Units filters that are capable of accepting mono audio as input, and can output a mono signal. Also, certain Audio Units filters that don't support certain properties required by Final Cut Pro for real-time playback will require rendering before playback. For information on how to install third-party audio filters, see the information that accompanied them. Rendering nested audio When you add a nested audio sequence to a sequence in the Timeline and then render it, audio levels of individual channels are not reflected during playback in the Audio Mixer. A rendered nested audio sequence is mixed down to a stereo pair. Final Cut Pro 4 saves processing at the track level by reading the output only. This is also why you can't perform mixer automation within a rendered nested audio sequence. Effects New real-time variable speed effects You can now apply variable speed to a clip. Also referred to as time remapping, this allows you to dynamically alter the speed of a clip, alternating among a range of speeds, in forward or reverse motion, throughout any duration you specify. Variable speed allows you to create sophisticated motion effects in which subjects appear to smoothly shift across a variety of different speeds, with hard or gradual transitions between each change. Speed changes you apply to clips in your sequence play back in real time. There are two ways you can make variable speed adjustments. · Timeline: One of the simplest ways to make variable speed changes is to use the Time Remap tool in the Tool palette to make adjustments to clips directly in the Timeline. As you work with this tool, an outline of your clip appears that shows you which source frame in the clip is being remapped to what time. Optionally, you can choose to display speed indicators and a keyframe graph underneath that clip's track in the Timeline, to help you see what you're doing. · Time graph: You can also add, subtract, smooth, and adjust time remap keyframes using the time graph of the keyframe editor in the Timeline or in the Effects tab of a clip in the Viewer. Preface New Features in Final Cut Pro HD 37 Speed indicators in the Timeline Speed indicators underneath each track in the Timeline can be displayed, and show you the speed of clips in your sequence using tic marks. The spacing and color of these tic marks indicate the speed and playback direction of your clips. The speed indicators of clips in the Timeline update in real time as you make variable speed adjustments to clips in your sequence, showing you exactly how you're altering a clip's timing. There are no user-adjustable controls in the speed indicator area. More real-time filters and motion effects Many more of the Final Cut Pro video filters, audio filters, and transition effects have been optimized to work in real time. New Timeline keyframe editor Keyframe editor areas can be displayed underneath each track in the Timeline. The keyframe editor shows you keyframe graphs for motion effects or parameters of filters applied to clips in your sequence. These graphs are identical to those found in the keyframe graph area of the Motion and Filters tabs in the Viewer. You can edit keyframes in the keyframe editor using the Selection and Pen tools. The keyframe editor can only display the keyframe graph of one effect parameter at a time. Keyframe graphs displayed in the keyframe editor are color-coded: motion parameter graphs are blue (matching the color of the blue motion bar), filter parameter graphs are green (matching the color of the green filter bar), audio levels are pink, and panning levels are purple. New Frame Viewer tabs Frame Viewer tabs in Tool Bench windows can be used to visually compare multiple frames from the same sequence. This is particularly useful when performing a color comparison of multiple clips in the same setting where the lighting attributes may have changed. In Final Cut Pro, you can open as many Frame Viewer tabs in as many Tool Bench windows as necessary to compare as many frames as you need. If you've arranged multiple Frame Viewers to accomplish a specific task, you can save your custom configuration by choosing Window > Arrange > Save Window Layout. For more information about saving window layouts, see the Final Cut Pro 4 User's Manual or Final Cut Pro Help, Volume I, Chapter 4, "The Final Cut Pro Interface." You can set a Frame Viewer tab to display the current frame, adjacent edit points, or the In and Out points in the Canvas and Timeline. You can also compare two frames within a single Frame Viewer tab using the split-screen buttons. You can split the screen either vertically or horizontally, or create a rectangular region showing the split as a picturein-picture. You can configure the Frame Viewer to display those individual frames that are most useful for making comparisons in your project. 38 Preface New Features in Final Cut Pro HD Improvements to the Color Corrector and Color Corrector 3-way filters Additional features have been added to the Color Corrector and Color Corrector 3-way filters. · The Hue Matching controls provide a way to adjust the color balance of the current clip, based on a specific hue, to match a similar hue in another clip. A common example of when you might use the Hue Matching controls is to match the flesh tones of an actor in two different shots that have different lighting. · New Edge Thin and Softening controls in the Limit Effect section of the Color Corrector and Color Corrector 3-way filters allow you to make fine adjustments. New Color Smoothing filters Two new color filters (in the Key bin within the Video Filters bin) are available to aid in chroma keying video clips in Final Cut Pro. The Color Smoothing--4:1:1 filter improves the quality of chroma keys performed with DV-25 video clips. The Color Smoothing-- 4:2:2 filter improves the quality of chroma keys performed with DVCPRO50 and 8- and 10-bit uncompressed 4:2:2 video clips. To improve the quality of your chroma key, apply the appropriate smoothing filter to the clip you want to chroma key first. As you add additional keying filters, make sure that the Color Smoothing filter you've used remains the first one in the video section of the Filters tab. Note: These filters may, in some instances, also be used to smooth out diagonal "stair-stepping" that can occur in video clips with areas of high-contrast color. Applying filters to multiple tracks using Auto Select When you apply a filter to a clip in a sequence, the filter is applied to all clips in tracks that have Auto Select turned on, just as if you'd used the Range Selection tool. However, filters are applied to the entire clip regardless of whether In and Out points are set. Preface New Features in Final Cut Pro HD 39 1 Using DVCPRO HD 1 Final Cut Pro combines the ease of DV and FireWire-based post production with the resolution of high definition video. Historically, editing high definition video has been prohibitively expensive for most film and video makers. Nonlinear high definition systems once required specialized video interfaces and costly high-speed disk arrays. In Final Cut Pro, you can capture, edit, and output DVCPRO HD video using the built-in FireWire port on a qualified Power Mac without any additional specialized equipment. For additional background information about high definition video, see "High Definition Video Fundamentals" on page 103. Getting Started With DVCPRO HD DVCPRO HD is part of the DV/DVCPRO format family, making it simple to adapt your existing DV- and FireWire-based editing workflow to high definition video. For details about the DVCPRO HD format, see "DVCPRO HD Specifications" on page 116. DVCPRO HD Formats Supported in Final Cut Pro Final Cut Pro natively supports the following DVCPRO HD formats. Format 1080i60 720p60 720p30 720p24 Final Cut Pro Easy Setup DVCPRO HD - 1080i60 DVCPRO HD - 720p60 DVCPRO HD - 720p30 DVCPRO HD - 720p24 Dimensions 1920 x 1080 1280 x 720 1280 x 720 1280 x 720 Scanning method Interlaced Progressive Progressive Progressive 41 Format 1080i60 720p60 720p30 720p24 Timebase (on tape) Timebase (in Final Cut Pro) Source timecode (in Final Cut Pro) 30 fps 30 fps 30 fps 30 fps 29.97 frames per second 29.97 fps (59.94 fields per second) 59.94 fps 59.94 fps (flagged as 29.97) 59.94 fps (flagged as 23.976) 59.94 fps 29.97 fps 23.98 fps Note: Final Cut Pro also supports additional uncompressed high definition formats using third-party PCI cards. The table above shows only DVCPRO HD formats currently supported by Final Cut Pro. Differences Between Standard and High Definition Video High definition (HD) video has the following distinct advantages over standard definition (SD) video: · Higher image quality because of significantly higher horizontal and vertical resolution · Motion smoothness because of increased frame rates and progressive scanning method · Widescreen, 16 x 9 aspect ratio versus standard definition with a 4 x 3 aspect ratio · Eight or more audio channels available for a 5.1 (6-channel) surround sound mix and a stereo (2-channel) mix all on one tape · Multiple frame rate and scanning (progressive or interlaced) choices for simple backward compatibility between HD and SD formats · Advanced gamma correction circuitry for more film-like light response (not available in all HD cameras) When Should I Use High Definition Video? Choosing production and distribution formats for your project is a critical decision that will affect you from the first day of shooting to the very last screening. If you are trying to decide whether or not to use HD video on your next project, here are a few things to consider: · High definition video is not a single format, but rather a family of formats that support a wide variety of frame rates, image sizes, and scanning methods. · Unlike cameras for SD video formats, HD cameras and VTRs allow you to select image size and frame rate as necessary. For example, using an SD NTSC camera will restrict your video to an image size of 720 x 480 pixels and an interlaced frame rate of 29.97 fps. Meanwhile, most HD cameras allow you to choose between several image sizes (1920 x 1080 or 1280 x 720), multiple frame rates (59.94, 29.97, or 23.98 fps) and progressive or interlaced scanning. 42 Chapter 1 Using DVCPRO HD To smooth the transition from standard definition to high definition video, most manufacturers have designed HD video devices to be cross-compatible with SD equipment by including built-in format converters. This flexibility has made high definition video a common production and post-production format even though it is a less common distribution format. Even if you are delivering your project on an SD format like DV or Digital Betacam, shooting and editing with an HD format will provide a future-proofed HD master and stunning image detail. In some cases, your project's distribution format makes HD the obvious choice for shooting and post production. If you plan to transfer and distribute your movie on film, HD is perfect because of its high resolution, aspect ratio, and 24 fps compatibility. HD is also useful in the following scenarios: · · · · · As a practical substitute for broadcast television shows normally shot on film Trade show videos requiring widescreen, high-resolution formats Scientific and medical imaging that requires high-detail images Sports and other high motion applications International format distribution: NTSC, PAL, and film all from a single HD master Choosing a Frame Rate Most DVCPRO HD cameras and decks allow two types of video frame rates: · Integer frame rates such as 60, 30, and 24 fps · NTSC-related frame rate variants such as 59.94, 29.97, and 23.98 fps Currently, Final Cut Pro only supports NTSC-related timebases such as 59.94, 29.97, and 23.98 fps when transferring video between a computer and a DVCPRO HD device via FireWire. Using tapes recorded with whole-number frame rates such as 60 fps or 30 fps is not supported in Final Cut Pro. Setting Up a DVCPRO HD Editing System 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 input and output: 1 Connect your VTR to the computer via a 6-to-6 pin FireWire cable. 2 Choose an available scratch disk. 3 In Final Cut Pro, choose an Easy Setup that corresponds to your input and output format. For additional instructions on connecting a DV deck or camcorder to your computer, see "Setting Up a DV System Using FireWire Device Control" in the Final Cut Pro 4 User's Manual. Chapter 1 Using DVCPRO HD 43 Determining Scratch Disk Requirements for DVCPRO HD Before capturing video and audio, make sure your hard disks have sufficient capacity for your source footage plus some additional space for video and audio rendering. The table below compares the on-tape 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 Bits per second 100 Mbps 50 Mbps 40 Mbps Bytes per second 11.75 MB/sec. 6.25 MB/sec. 5 MB/sec. Because DVCPRO HD is compressed, an internal 7200RPM ATA drive or serial ATA drive (used in computers with G5 processors) is sufficient for capturing DVCPRO HD. In some cases FireWire drives can be effectively used to capture and edit DVCPRO HD video. However, some FireWire drives lack the performance of internal Ultra ATA drives, or of internal or external SCSI drives, and for this reason are not always recommended. If you choose to use a FireWire drive, you should ensure that: The FireWire drive is the only FireWire device on the bus. The hard drive rotational speed is at least 7200 RPM. The hard drive can sustain minimum data rates appropriate for your video format. The hard drive uses a modern high-performance bridge chip such as the Oxford 911 or 922. · The hard drive uses its own power supply. · · · · 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 and your output format (assuming they are the same). If your source footage and output format are different, it's usually best to choose an Easy Setup that matches your source footage and convert your final movie to the output format when editing is complete. If you need to create a custom Easy Setup, see "Working With Easy Setups, Presets, and the A/V Devices Tab" in the Final Cut Pro 4 User's Manual. 44 Chapter 1 Using DVCPRO HD External Monitoring Setup While editing, it's best to watch your video and listen to your audio on external monitors. This is especially the case when using interlaced video because computer monitors can only show your video as progressive frames. High definition video monitors have the ability to display 16 x 9 images and can accept a digital HD SDI signal (an extension of the SDI connection format used to transfer digital video information between professional equipment). However, HD monitors can be expensive and not always practical for offline editing purposes. You can monitor DVCPRO HD footage in Final Cut Pro on an NTSC monitor by using a FireWire-capable DVCPRO HD deck with a built-in standards converter. In both cases, the VTR does the conversion from the FireWire DVCPRO HD signal to a video. To monitor DVCPRO HD video on external video monitors: 1 Connect the computer to a DVCPRO HD VTR via a 6-to-6 pin FireWire cable. 2 Connect the standards converter output of the VTR to an NTSC monitor or PAL monitor (depending on the HD format you are using) via composite or component connections. 3 Optionally, connect the HD SDI output of the VTR to the HD SDI input of the external monitor (if available). 4 Connect the left and right audio channels to two self-powered speakers, or to a mixer, amplifier, and passive speaker system. Audio Amplified speakers Computer FireWire DVCPRO HD VTR Composite NTSC/PAL monitor Audio Amplified speakers Computer FireWire DVCPRO HD VTR HD SDI HD SDI monitor Chapter 1 Using DVCPRO HD 45 Note: Not all DVCPRO HD VTRs convert between all HD and SD standards. Check with the VTR manual or manufacturer to make sure the type of external monitor (NTSC or PAL, composite, component, or HD SDI) you are using is compatible with the DVCPRO HD formats supported by the VTR. Capturing DVCPRO HD in Final Cut Pro Capturing DVCPRO HD video in Final Cut Pro works just like capturing from any other DV device. About DVCPRO HD Device Control Although 720p HD formats can record 59.94 and 60 fps, remote VTR control is communicated via SMPTE 30 fps timecode positional information. This means that during capture and output, you can only mark In and Out points with 30 fps timecode accuracy. However, you can edit with 59.94 and 60 fps frame accuracy within Final Cut Pro. For more information about 60 fps timecode, see "720p60 and 60 @ 30 fps Timecode" on page 49 and "60 @ 30 Timecode" on page 91. Choosing a Capture Preset Final Cut Pro HD includes new DVCPRO HD capture presets. Before capturing, do the following: · Choose a capture preset that matches your DVCPRO HD footage on tape. · Choose whether to capture your audio as a pair of discrete mono channels or as a stereo pair, or as a single audio channel. Warning: Make sure you choose a capture preset that matches the tape from which you are capturing. Setting Audio Capture Settings Some DVCPRO HD VTRs provide up to eight audio channels for recording and playback. Currently, Final Cut Pro can capture audio channels 1 and 2 in the following combinations: · Channels 1 and 2 (stereo pair) · Channels 1 and 2 (discrete mono) · Channel 1 (mono) · Channel 2 (mono) 46 Chapter 1 Using DVCPRO HD Capturing 720p30 and 720p24 DVCPRO HD Video DVCPRO HD always records and plays back 720p video at 59.94 fps or 60 fps, but alternate frame rates can be simulated by 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 is actually recording at 59.94 fps, but every other frame is a duplicate frame that Final Cut Pro will ignore during capture. Capturing DVCPRO HD: 720p60, 30, and 24 Used frames Deleted 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 (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) 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) 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) Chapter 1 Using DVCPRO HD 47 The 720p30 and 720p24 capture presets enable the checkbox that tells Final Cut Pro whether or not to remove camera-tagged duplicate frames when shooting at frame rates other than 59.94 fps. Select to remove duplicate video frames during capture. Editing DVCPRO HD in Final Cut Pro Once you have your DVCPRO HD media captured to the hard disk, you can edit it just as you would any other DV media. Final Cut Pro features that are unique to DVCPRO HD formats are discussed below. Working With DVCPRO HD Timecode There are several timecode formats available depending on the high definition format you are editing: · 60 fps timecode · 60 @ 30 fps timecode · 30 fps timecode · 24 fps timecode 48 Chapter 1 Using DVCPRO HD 720p60 and 60 @ 30 fps Timecode When editing 59.94 fps video, Final Cut Pro supports two time display options. · 60 fps timecode: The timecode counts 60 frames per second, from :00 to :59. · 60 @ 30 timecode: Displays 30 fps timecode with the addition of an asterisk on every other frame. This time 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. The 60 @ 30 timecode format maintains compatibility when you are cross-converting between HD and NTSC SD video. 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 To toggle the time display between 60 fps and 60 @ 30 fps: 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 time display is only available when you are working with 59.94 fps or 60 fps media files and sequences. 720p formats do not support drop frame timecode modes. Chapter 1 Using DVCPRO HD 49 Using 30 fps Timecode With 720p30 and 1080i60 1080i60 and 720p30 formats both use 30 fps timecode. 720p30 has one timecode number per progressive frame, while 1080i60 has one timecode number per two interlaced fields. Note: The option to show drop frame timecode is only available if your media file has a frame rate of 29.97 fps. 30 fps media files can only have a time display of 30 fps, non-drop frame timecode. Using 24 fps Timecode With 720p24 On tape, 720p24 records 30 fps timecode. Even though the frame rate of 720p24 media files is 24 fps (or 23.98 fps), the timecode track is captured at 30 fps. In Final Cut Pro, you may choose to view this timecode in two ways: · Source time: 30 fps timecode from the source media file, which corresponds to the original source tapes · Clip time: 24 fps timecode displayed based on the 24 fps (or 23.98 fps) frame rate of the media file Important: The frame rate (or timebase) of a media file is independent of its timecode track rate, although they are usually related. 720p24 is an example of a media file that has a frame rate and a timecode rate that differ. Using Graphics and Effects With DVCPRO HD 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 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. 50 Chapter 1 Using DVCPRO HD