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Final Cut Pro HD (1.2): New Features (Manual)

1. After duplicate frame removal 24 fps DVCPRO HD tape 60 fps 1 2 3 4 5 6 i 8 9 10 1 12 3 4 15 After duplicate frame removal 15 fps DVCPRO HD tape 60 fps After duplicate frame removal 4 fps Appendix High Definition Video Fundamentals 125
2. In most cases the source timecode rate and video frame rate are the same but 24 25 fps clips are an exception For this reason your sequence needs to have 24 25 as its timecode rate as set by the Easy Setup in Step 3 in order to export a 25 fps EDL There is a new Browser column called TC Rate which you can look at to confirm that your clips have a 24 25 timecode rate If you don t see this column in the Browser Control click a Browser column heading then choose TC Rate from the shortcut menu You can also set the source timecode rate to 24 25 by using the Modify gt Timecode command For more information about modifying timecode see Modifying Media File and Sequence Timecode on page 88 Important You cannot accurately recapture offline clips that have been conformed from 25 fps to 24 fps Also do not use the Media Manager to make the clips offline or to delete clips or unused media after conforming from 25 fps to 24 fps If you need to capture these clips again repeat the capturing and conforming steps steps 3 through 5 above Chapter 4 Editing Film With Final Cut Pro in a PAL Environment 75 76 Some Background About Working With 24 25 in Final Cut Pro When you conform PAL video from 25 fps to 24 fps the result is that the clips play at 24 fps in actual time This means the speed appears natural and normal as you are editing it s the same speed at which the original material was filmed But the 24 25
3. 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 Asymmetrical Trimming Asymmetrical trimming allows you to simultaneously ripple edit opposing video and audio edit points in opposite directions One common reason to do this is when creating split edits on two adjacent clips but this feature can also be used with audio only and video only clips Asymmetrical trimming can be done either in the Timeline or in the Trim Edit window Note If you are doing a lot of asymmetrical trimming you may find it helpful to turn off the linked selection option by pressing Shift L or clicking the Linked Selection control in the upper right corner of the Timeline For more information about linked selections see Volume Il Chapter 6 Editing in the Timeline in the Final Cut Pro 4 User s Manual Chapter 2 Editing and Trimming To trim an edit asymmetrically to create a split edit when the linked selection option is turned off Select the Ripple tool Hold down the Option key then click the Out point of an outgoing video clip to select it Holding down the Option key while selecting an edit point selects only that point ignoring any other items linked to that clip Hold down the Command key then click the In point of an
4. Capture the PAL video with Final Cut Pro The DV PAL 24 25 Easy Setup that you chose in the previous step ensures that you capture your video at its PAL frame rate of 25 fps even though the editing timebase is set to 24 fps Chapter 4 Editing Film With Final Cut Pro in a PAL Environment Step 5 Select the clips in the Browser then choose Tools gt Conform 25 to 24 This command adjusts the PAL clips to play at a frame rate of 24 fps This command has the same effect as conforming from 25 fps to 24 fps in Cinema Tools Note If your clips contain both audio and video the Conform 25 to 24 command also adjusts the audio speed so that the audio and video remain in sync after the frame rate is changed If the audio is separate and not contained in the source clips an additional step is needed to sync the audio and video clips and merge them together as one clip in Final Cut Pro before editing Step 6 Edit the project in Final Cut Pro You are editing at 24 fps the same rate at which the film was shot so the video and audio are not sped up as they were in the telecine transfer Step 7 Select the sequence and export an EDL for the negative cutter When you export an EDL for this sequence Final Cut Pro creates a 25 fps based EDL Now you can give the EDL to your negative cutter who can then create a cut list from it Final Cut Pro creates EDLs based on the source timecode rate of the project not the video frame rate or editing timebase
5. Higher resolution images require more data so the frame rate must be lower The reverse is also true Higher frame rates require more data therefore the image dimensions must be smaller As long as the combination of frame rate image dimensions and number of audio channels does not exceed the tape or disk data rate a wide range of format choices is available within a single tape format Smaller frames more frames per second ee One second Larger frames fewer frames per second Note While many HD formats allow you to record different frame sizes and frame rates on the same videotape you should avoid this Some video decks may have to be powered on and off to switch between formats making tape playback unnecessarily inefficient Appendix High Definition Video Fundamentals 119 DVCPRO HD Timecode DVCPRO HD records timecode at 30 fps for NTSC related frame rates or 25 fps when recording at 25 fps When recording a video at 59 94 or 60 fps each timecode number actually is used twice with an asterisk used to distinguish frame 1 and frame 2 of each timecode pair Using 30 fps timecode maintains backward compatibility with SMPTE 30 fps timecode 60 30 fps 60 fps 01 50 20 28 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 Aca Important Dropframe timecode is not supported when using 59 94 or 60 fps progressive scan video
6. 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 e Is marked by an In point Out point or both e Falls between two unconnected clips derived from the same master clip e Appears as an affiliate clip in another sequence e 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 e Existing file names Filenames of clips created by the Media Manager are based on the source media files on disk e 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 grou
7. NTSC PAL monitor FireWire Composite DV camcorder or S video QW in VTR mode 97 A FireWire DV setup is a common configuration The FireWire device either a camcorder VTR or FireWire to analog converter box converts DV signals to video and audio signals connected to a video monitor and self powered speakers If you have a home stereo system you can also connect the audio output of the FireWire device into any available channels on the home stereo system FireWire video and USB or FireWire audio Amplified speakers USB or FireWire Computer NTSC PAL monitor FireWire S Using a FireWire or USB audio interface is an alternative to a DV only setup This configuration can potentially handle more than two discrete audio channels and may feature better digital to analog converters depending on the interface Most FireWire audio interfaces have more audio channels than USB 1 1 interfaces Uncompressed video via FireWire using the AJA lo Amplified speakers Computer NTSC PAL monitor ee FireWire SS The AJA lo is set up just like a standard DV setup using FireWire but instead of using compressed DV signals the lo transfers an uncompressed component 4 2 2 signal The full lo unit supports SDI and analog outputs for analog or digital monitoring There are four analog audio outputs for monitoring via speakers Ch
8. 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 e Set Scratch Disks to choose a new scratch disk e 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 e 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 e 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 wit
9. 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 e Yellow Indicates the audio track is available Gray Indicates the audio track is unavailable 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 y
10. an extension of the D 5 format e HDCAM and HDCAM SR an extension of the HDCAM format Uncompressed High Definition Tape Formats High definition requires extremely high data rates around 1 5Gb sec There are no camcorder in which the recorder is built into the camera formats currently available for recording uncompressed HD video High capacity general purpose digital tape formats like D 6 can be used in combination with camera heads and digital telecine machines capable of outputting uncompressed RGB and component HD video data High speed disk arrays can also be used to record uncompressed HD video A Comparison of Common High Definition and Standard Definition Formats The table below shows the relative data rates of some commonly used high definition formats Format Bits per second video only Bytes per second DVCPRO HD 1080i60 100 Mbps 11 75 MB sec DVCPRO HD 1080150 100 Mbps 11 75 MB sec DVCPRO HD 720p60 100 Mbps 11 75 MB sec DVCPRO HD 720p30 50 Mbps 11 75 MB sec DVCPRO HD 720p24 40 Mbps 11 75 MB sec D 5 HD 210 Mbps 26 25 MB sec DV 25 Mbps 3 6 MB sec DVCAM 25 Mbps 3 6 MB sec DVCPRO 25 25 Mbps 3 6 MB sec DVCPRO 50 50 Mbps 6 25 MB sec Digital Betacam 95 2 Mbps 11 9 MB sec D 1 172 Mbps 21 5 MB sec Appendix High Definition Video Fundamentals 109 Discussing HD Formats in Conversation Because there are so many possible HD formats it s best to be as specific as possible when desc
11. and progressive or interlaced scanning 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 e Asa practical substitute for broadcast television shows normally shot on film Trade show videos requiring widescreen high resolution formats e Scientific and medical imaging that requires high detail images e Sports and other high motion applications e 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 e Integer frame rates such as 60 30 and 24 fps NTSC related frame rate variants such as 59 94 29 97 and 2
12. timecode you see displayed by Final Cut Pro is counting 25 fps It shows a new timecode second starting after the frame numbered 24 by the timecode even though in actual time the new second starts after the frame marked 23 by the timecode The picture below illustrates an example of this Notice that though the same frames in both columns are played at different actual times they still have the same timecode associated with them as highlighted by the frames at timecode 01 00 00 23 25 fps PAL video Conformed to 24 fps Frame PAL video timecode Frame Timecode shown in Final Cut Pro 0 second 01 00 00 00 01 00 00 00 actual 01 00 00 01 01 00 00 01 glock one 01 00 00 02 01 00 00 02 01 00 00 20 01 00 00 19 01 00 00 21 01 00 00 20 01 00 00 22 01 00 00 21 01 00 00 23 01 00 00 22 01 00 00 24 01 00 00 23 01 00 01 00 01 00 00 24 actual 1 second 01 00 01 01 01 00 01 00 plodcnme How can it be that the timecode counts at 25 fps while the editing timebase of your sequence is 24 fps For one thing the timecode track stored within the source media file did not change it is still 25 ffps even though the source media video rate was set to play at 24 fps And when you conformed the PAL video from a 25 fps to a 24 fps rate no frames were actually added or taken away What changed is that the frames were slowed down to play a little later in actual time while the 25 fps timecode count did not change This makes the most
13. trimming in the Trim Edit window e 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 e 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 e The ability to export a 25 fps EDL from a 24 fps sequence Anew 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 Ins
14. 1080160 720p60 100 Mbps 11 75 MB sec 720p30 50 Mbps 6 25 MB sec 720p24 40 Mbps 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
15. 2 are distinguished by an asterisk placed on field 2 60 30 timecode works similarly Chapter 5 Viewing and Modifying Timecode 91 24 25 Timecode 24 25 timecode displays 25 fps timecode while you are editing 24 fps video For more information about 24 25 fps editing see Editing Film With Final Cut Pro in a PAL Environment on page 73 Generating Timecode Window Burns 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 Timecode Reader The Timecode Reader generates a visible timecode counter based on the clip or sequence frame rate timebase to which the filter is applied Timecode Generator The Timecode Generator generates a visible timecode counter independent of the timebase and timecode format of the affected clip or sequence For example you can apply a Timecode Generator filter counting at 24 fps while the affected sequence has a timebase of 29 97 fps The Timecode Generator now supports 60 fps and 60 30 fps time display For more information about 60 30 timecode see 720p60 and 60 30 fps Timecode on page 49 To generate a visible timecode window burn apply the Timecode Reader filter to one of the following e Individual clips An entire sequence To apply the Timecode Reader filter to an entire sequence Nest your original sequence w
16. 4 User s Manual 720p Output and Playback 720p DVCPRO HD provides several frame rate options during recording and playback 60 30 24 but the actual frame rate used is always 59 94 fps over FireWire or 60 fps 720p30 and 720p24 Output When recording 720p30 or 24 to tape Final Cut Pro automatically outputs 59 94 fps video creating and tagging duplicate frames For more information about how DVCPRO HD flags 59 94 fps frames with alternate frame rate information see Recording and Playing Back Variable Frame Rates With DVCPRO HD on page 124 For information about editing your clips or sequences to a particular timecode position on tape using the Edit to Tape window see Volume I Chapter 15 Editing to Tape in the Final Cut Pro 4 User s Manual For information about manually recording clips or sequences from Final Cut Pro to your video deck see Volume I Chapter 14 Recording to Videotape in the Final Cut Pro 4 User s Manual Warning Don t record DVCPRO HD video to a tape that already has DVCPPO 25 or DVCPRO 50 footage on it Even though these formats can use the same tape stock the recording speeds are different Chapter 1 Using DVCPRO HD 55 56 Offline and Online Editing Using DVCPRO HD Because formats like DV and DVCPRO HD are already compressed yet still acceptable quality many people choose to do their rough logging assembly and editing at full native resolution When you plan your po
17. Allowed Allowed Control click any display formats timecode field Chapter 5 Viewing and Modifying Timecode 89 90 A U N Note You can only adjust Media Start and Media End fields in the Browser or Item Properties for offline clips that are not associated with media files Warning Modifying or deleting your source timecode track or reel name may make recapturing from source tapes impossible and EDLs inaccurate Unless you have a good reason for modifying the source timecode track it s best to leave the timecode captured from tape For more information about modifying timecode see Volume Il Chapter 17 Tools for Managing Clips in the Final Cut Pro 4 User s Manual Sequence Settings and Timeline Options The starting timecode number of a sequence can be modified in the Sequence Settings window To modify the timecode rate of the sequence you need to use the Modify gt Timecode command To adjust the starting timecode number of a sequence Select a sequence in the Browser or make a sequence active by selecting the Canvas or Timeline window In the Sequence Settings window click the Timeline Options tab Type a new timecode number in the Starting Timecode number field Click OK In special editing scenarios the video rate timebase and timecode rate of a sequence need to be different For example if you are editing 24 25 film to PAL video you use a sequence with a frame rate of 24 fps with a timecode trac
18. Appendix High Definition Video Fundamentals Brief Overview of DVCPRO HD Formats 1080160 i 1920 x 1080 1280 x 720 720 x 480 1080160 is a common broadcast format that is frame and field compatible with standard definition NTSC video Pros e Individual still frames in this format are very high quality because of the high resolution e 29 97 fps frame rate and interlacing are both compatible with standard definition NTSC video Cons Quick action or rapid camera motion may cause interlacing artifacts 1080150 a 1920 x 1080 1280 x 720 720 x 480 1080150 is frame and field compatible with standard definition PAL video Pros e Individual still frames in this format are very high quality because of the high resolution 25 fps frame rate and interlacing are both compatible with standard definition PAL video Cons Quick action or rapid camera motion may cause interlacing artifacts Because of the lower frame rate this format can cause more severe motion artifacting than 1080160 Note This format is not supported in Final Cut Pro HD Appendix High Definition Video Fundamentals 121 122 720p60 720 1920 x 1080 1280 x 720 720 x 480 This format is smaller than 1920 x 1080 but the smaller image dimensions allow the frame rate to be doubled Sports events and other rapid movement imagery are usually broadcast in this format Pros e Yields the highest frame rate possible with the DVCPRO
19. Europe was introduced with such a remarkable increase in resolution 405 lines that it was labeled high definition in comparison to the previous 30 line format Soon after the North American NTSC format was introduced using 525 lines After significant industry debate color was added to the NTSC signal using a method that maintained backward compatibility with the original black and white signal This was also the historical moment when the NTSC frame rate was subtly altered from 30 fps to 29 97 fps Overcoming the shortcomings of the NTSC color signal European PAL and SECAM France color formats were introduced in the 1960s using 625 lines Since the introduction of the standard definition television formats digital technology has matured and global communications have proliferated via satellites and the Internet At the beginning of the 21st century a wave of digital television DTV standardization efforts merged with a rekindled interest in high definition electronic image acquisition One of the results of these standardization efforts is the Advanced Television Standards Committee ATSC digital television standards The ATSC specifies high definition television HDTV formats and digitally redefines traditional analog standard definition television SDTV formats Digital signals are more flexible than analog signals Frame rate and image dimensions are variable within a single tape format and high data compression ratios mean excell
20. HD format e Individual still frames in this format have no motion artifacting such as flickering lines due to the progressive scanning Captures and displays quick action and fast camera moves smoothly e NTSC compatibility because of the 59 94 fps video rate Cons e Smaller image size than 1920 x 1080 though still higher resolution than standard definition video 720p30 720 1920 x 1080 1280 x 720 720 x 480 720p30 is a particularly flexible format because it is compatible with standard definition NTSC video because it has a matching frame rate of 29 97 fps as well as streaming and downloadable video because it is progressively scanned Because of the progressive scanning 720p30 is also useful when you need a video format that can output high quality still frames Pros e Compatible with both standard definition NTSC 29 97 fps and computer graphics progressive scan Cons e Smaller image size than 1920 x 1080 though still higher resolution than standard definition video Appendix High Definition Video Fundamentals 720p24 TAS _ 1920 x 1080 1280 x 720 720 x 480 720p24 is sometimes simply referred to as 24p mode and is considered by some to be the most flexible frame rate choice because it is possible to transfer to NTSC and PAL as well as to film Choose this mode if you plan to transfer your finished video to film or if you are trying to emulate a film look on your final video Even though the c
21. If you need to change the timecode viewing mode for a particular clip only that clip will be affected Other clips including affiliate clips will not be affected 83 84 Timecode Modes For each clip you can select one of two timecode modes Source time The timecode track of the media file e Clip time Timecode based on the frame rate of the current clip Source Time Source time refers to timecode addresses of your media file Because you usually refer back to the original source tapes at some point during your project Final Cut Pro displays source time by default Source Timecode Tracks If your media file has several timecode tracks you can also choose which source timecode track to display when viewing source time e Source timecode e Aux 1 timecode e Aux 2 timecode If the current media file does not have auxiliary Aux timecode tracks there are no timecode track options in the timecode field shortcut menu Only source time and clip time are available in this case Auxiliary timecode tracks are often used to synchronize separate film and sound media files which are recorded with independent timecode tracks Adding auxiliary timecode tracks allows you to add new timecode to your media file without overwriting the original timecode Clip Time Clip time allows you to view timecode based on the frame rate of the media file instead of the rate of the timecode track This is useful when the frame rate and timecode ra
22. 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 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 In order 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 e The ability to export a 25 fps EDL from a 24 fps sequence Anew source timecode rate called 24 25 Note If your negative cutter prefers to receive a cut list rather than an EDL use Cinema Tools to create a clip database from the telecine log or ALE file and to conform the clips to 24 fps Then you can export a cut list called a film list from your edited sequence in Final Cut Pro See the Cinema Tools documentation for more information on creating databases and exporting film lists 73 The 25 fps EDL Export for Film Workflow The basic steps involved in this workflow are outlined below Refer to the Final Cut Pro and Cinema Tools docu
23. Waveforms Show Through Edits e Show Duplicate Frames e Show Clip Labels not available in the Timeline Options tab To choose an option in the Track Layout menu Open the Track Layout menu the arrow next to the Track Height control then choose an option A checkmark next to a setting indicates that it is on Choose the option again to remove the checkmark 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 The white dots indicate duplicate frames used in a transition If you use a clip more than once within a single edited sequence the duplicated frames are marked by a colored bar appearing at the bottom of the clip s video item in the Timeline The red bars indicate duplicate frames used within a sequence However if the duplicated frames fall outside the boundaries of the clip in the Timeline or fall within a transition a special indicator four white dots appears where the duplicate frames are located When you zoom out the white dots decrease in range from four to zero depending on the zoom level Chapter 2 Editing and Trimming Using LiveType Titles in Final Cut Pro You can directly i
24. and place into a new project for the recompressed media files a edla Dextination If your PowerBook is connected Users Shared Final Cut Pro Documents you can copy files directly to it Once the Media Manager has finished creating OfflineRT media files and a project that references them copy this project and its associated media files to an external hard drive or PowerBook for remote editing Chapter 1 Using DVCPRO HD Choose Create Offline from this pop up menu Select this option Deselect this option to avoid creating extraneous clips in your new project To edit your OfflineRT project In the OfflineRT project create a sequence using a sequence preset that matches your OfflineRT source footage Edit the sequence just as you would with full resolution clips When you finish editing you can capture the full resolution media necessary to create the final sequence You need to create a duplicate sequence that has full resolution settings for both the sequence and the clips within This sequence can be created with the Media Manager Note The sequence is called an offline sequence but in this case the term offline refers to the fact that all of the media will be considered offline in other words disconnected from the clips It does not mean that the sequence or clips will be offline quality To recapture the media in your sequence at full resolution In the OfflineRT project select your sequence in the Br
25. and video Including Master Comment Information in EDLs When you export an EDL you can now choose to export Master Comments 1 4 or Comment A B 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 Chapter 6 Media and Clip Management A U N External Audio and Video Monitoring Seeing and hearing your project on external monitors and speakers can provide a more accurate sense of your final project than simply using the built in computer speakers and display Since all Final Cut Pro systems can send video and audio out of the built in FireWire connector it is easy to monitor the Canvas or Viewer on an external NTSC or PAL monitor Some editors may choose to monitor their video and audio signals using third party digital video and audio cards External Monitoring Setups Your external monitoring setup will vary depending on the scale and budget of your editing system To configure and select external video and audio outputs Choose Final Cut Pro gt Audio Video Settings Click the A V Devices tab Choose a video device or port from the Playback Output video pop up menu Choose an audio output device or port from the Playback Output audio pop up menu For more information about specific setups see the description of common external monitoring setups below FireWire DV Amplified speakers Computer
26. are digital the same physical videotape can be used to store several different image sizes frame rates and scanning methods with a simple flip of a switch Even film cinematographers who once judged video inadequate for film quality work are discovering the benefits of HD acquisition and postproduction without sacrificing image quality or the universal film frame rate 24 fps Here are some reasons why people choose high definition video as an alternative to standard definition SD video HD has a 16 x 9 widescreen aspect ratio HD has increased horizontal and vertical resolution compared to SD Multiple frame rate choices make it possible to shoot footage that s compatible with NTSC PAL or film Progressive scanning eliminates interlacing artifacts such as thin horizontal line flicker and creates movies compatible with computer displays Here are some reasons why people choose high definition video as an alternative to film The high resolution images are comparable to film Digital formats allow for lossless archive copies and generations of post production processing such as color correction and image compositing Footage can be watched immediately after shooting removing lab processing time Tape stock is cheaper than film stock partly because there are no additional lab processing costs Longer recording times are possible on videotape than on film reels An all video post production pipeline eliminates costly and time co
27. clock in the menu bar now shows time counting in seconds Choose System Preferences gt Quit System Preferences or press Command Q Chapter 4 Editing Film With Final Cut Pro in a PAL Environment 81 Viewing and Modifying Timecode Timecode is the vital organizational link between your original camera tapes media files on disk and clips in Final Cut Pro When you prepare for the final cut each editing decision you made in an earlier phase must be accurately traced back to the original camera masters via timecode Final Cut Pro HD displays timecode information differently than in earlier versions Frame Rate Versus Timecode The frame rate of a piece of film videotape or media file determines how quickly frames are recorded or played back Timecode or edge code in the case of film is a unique address for each frame providing easy navigation logging recapturing and final edit decision lists EDLs that accurately refer back to original camera reels Displaying Timecode in Final Cut Pro Final Cut Pro provides flexible options for viewing timecode in the Viewer Canvas Timeline and Browser This flexibility covers a varied range of editing scenarios many of which may not apply to your particular footage If the timecode display choices seem overwhelming it s best to stick with the Final Cut Pro default settings e Time mode Source Time View Native Speed Selected 90 0 View Native Speed a Clip Time Source Time
28. editing process achieves both these goals Even if the concept is a bit confusing the process works if you carefully follow the steps explained in The 25 fps EDL Export for Film Workflow on page 74 Chapter 4 Editing Film With Final Cut Pro in a PAL Environment 77 78 If you are still grappling with the frame rates and timecode counting rates that don t match you can try the following exercises to better understand this principle To do these exercises you need only the following items A pen and paper A clock or watch that increments in seconds Tip Your computer clock can easily be set to count in seconds To set your computer clock to count in seconds see the instructions on page 81 Once you have a clock counting in seconds you are ready to begin Exercise 1 Counting 60 numbers 0 to 59 each minute At the turn of a minute when the second counter reaches zero begin writing down the number of seconds passed on the clock Your paper should look something like this 012345 and so on Note At first it may be challenging to write numbers this quickly and also keep in sync with the clock It s okay if you scribble a few of the numbers as long as you make some kind of mark for each second that passes If some of the numbers are scribbled you can usually go back and fill them in based on the numbers you successfully wrote down After you reach 59 the minute counter on the clock increments by one and the sec
29. 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 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 Chapter 2 Editing and Trimming 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 to 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 If both checkboxes are deselected you will hear only the selected audio clips in the Timeline including linked audio clips This was the default trimming behavior in Final Cut Pro 4 0 and earlier Tip In most situations you will want to keep the Trim with Sequence Audio checkbox selected If you want to hear only specific audio tracks while trimming select Trim with Edit Selection Audio Mute Others Note When you launch Final Cut Pro for the first time the
30. incoming audio clip Holding down the Command key while selecting an edit point allows you to add edit points to the current selection without deselecting previously selected edit points Intended video Out point of edit point outgoing video clip In point of incoming audio clips Note In this example Command clicking the In point of a stereo pair audio clip results in adding both audio items to the selection You can also Command Option click a single audio item to add it to the selection individually without including other audio items linked to it This can be especially useful for clips in which many audio items are linked to a single video item in the Timeline Chapter 2 Editing and Trimming 67 68 4 Use the Ripple tool to trim the above selection Each opposite set of edit points moves in opposite directions allowing you to create a split edit Audio video synchronization is maintained in both clips Outgoing video clip is trimmed shorter This clip remains from its Out point the same length This clip remains Incoming audio clip the same length is trimmed shorter from its In point Applying Filters to Multiple Tracks 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 Dynamic Trimming
31. 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 32 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
32. patch panel e If it s a video track drag the upper boundary of the track in the Timeline patch panel e 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 e Show Video Filmstrips e Show Audio Waveforms e Show Through Edits e Show Duplicate Frames e 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 i
33. sense if you think of timecode in this situation as simply a sequential labeling mechanism instead of a time tracking mechanism For example in actual time the frame labeled 01 00 00 23 plays later than it did before so the number 01 00 00 23 no longer conveys how much actual time has passed It is now simply a unique label to identify that frame Most importantly regardless of how fast or slow the video plays in Final Cut Pro the source timecode associated with each frame in Final Cut Pro still corresponds to the timecode for those same frames on the source media tapes This allows an accurate 25 fps EDL to be exported from the sequence Chapter 4 Editing Film With Final Cut Pro in a PAL Environment Note Importing a 25 fps EDL for editing at 24 fps is not supported A 25 fps EDL needs to be imported into a 25 fps sequence You cannot create and edit a 24 fps sequence from a 25 fps EDL In other words the 24 25 fps EDL editing process only works in one direction from film to PAL tape to 25 fps EDL Viewing the Clip Time 24 fps Versus the Source Time 25 fps The 25 fps timecode that is displayed in Final Cut Pro when you edit 24 25 fps media is called the source time since it is the timecode information encoded in the source media files However as described above the 24 25 fps video is played at 24 fps in actual time so the source time you see is different from the actual time in which the clips are played which i
34. since adopted this approach including DV DVCAM DVCPRO D 5 Digital Betacam Digital S D 9 DVD and so on Unlike the DVCPRO HD pixels which actually subsample and reduce the amount of overall data SD video records and shows all the pixels Color Depth and Video Sampling Rate DVCPRO HD records component Y C C color sampling at a component ratio of 4 2 2 Each sample pixel is recorded natively at 8 bit FireWire transfers color natively at 8 bit color depth and HD SDI transfers each color sample as a10 bit value Frame Rate DVCPRO HD is capable of recording and playing back all the ATSC specified frame rates as well as a PAL compatible frame rate In practice the NTSC related frame rates are used far more often than the integer rates Integer frame rates 60 30 and 24 fps NTSC related frame rates 59 94 29 97 and 23 98 fps PAL related frame rate 25 fps Note 25 fps 1080i video cannot be adjusted to an NTSC related frame rate Appendix High Definition Video Fundamentals Versatile Formatting Choices With Digital Formats Storing video digitally allows versatile formatting choices while still using the same physical storage media Frame rate image dimensions and scanning methods are no longer rigidly defined per tape format For example the same DVCPRO HD camcorder and tape can be used to record a 1920 x 1080 interlaced image at 29 97 fps or a 1280 x 720 progressive scan image at 59 94 fps The equation is simple
35. the minutes and seconds field 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 e Track strip controls allowing real time mixing and automation recording for volume and panning levels Mute and solo monitoring controls e Master level master mute and mixdown controls e Individual track audio meters e Master output meters showing mixed levels for each assigned audio output Controls to show and hide individual track strips e Up to four different mixer views each with a different set of visible track strips e The ability to turn on and off keyframe recording Real time automation recording When the Record Keyframe
36. 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 w
37. 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 Final Cut Pro Format Easy Setup Dimensions Scanning method 1080i60 DVCPRO HD 1080i60 1920 x 1080 Interlaced 720p60 DVCPRO HD 720p60 1280 x 720 Progressive 720p30 DVCPRO HD 720p30 1280 x 720 Progressive 720p24 DVCPRO HD 720p24 1280 x 720 Progressive 41 42 Timebase Timebase Source timecode Format on tape in Final Cut Pro in Final Cut Pro 1080i60 29 97 frames per second 29 97 fps 30 fps 59 94 fields per second 720p60 59 94 fps 59 94 fps 30 fps 720p30 59 94 fps 29 97 fps 30 fps flagged as 29 97 720p24 59 94 fps 23 98 fps 30 fps flagged as 23 976 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 e Higher image quality because of significantly hig
38. video latency compensation see Compensating for Latency With Frame Offset on page 101 Challenges With External Monitoring No matter what method you use for external monitoring all digital video and audio output cards including FireWire introduce inherent processing delays known as latency to signals sent out of the computer External video and audio coming from the built in FireWire port or third party interface may be several frames later than the video on your computer display in the Viewer or Canvas The latency between external devices and the computer display and speakers can be confusing especially when you are doing precise editing Chapter 7 External Audio and Video Monitoring Compensating for Latency With Frame Offset By changing the frame offset you can 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 setting the Effects Handling tab of the Sequence Settings window see Volume Chapter 6 Viewing and Setting Preferences in the Final Cut Pro 4 User s Manual To set the frame offset between the computer display and the external video and audio outputs Choose Final Cut Pro gt System Settings Click the Playback Control tab Enter an amount in whole frames in the Frame Offset number field Frame offset can be any whole number between 0 and 30 T
39. 3 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 Connect your VTR to the computer via a 6 to 6 pin FireWire cable Choose an available scratch disk 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 44 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 Bits per second Bytes per second
40. 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 60 30 fps 60 fps Frames p 01 50 20 28 01 50 20 56 D 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 Non Drop Frame Open a 720p60 clip or sequence in the Viewer or Canvas 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 50 Using 30 fps Timecode With 720p30 and 1080i60 1080160 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
41. CPRO50 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 Using DVCPRO HD 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
42. 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 In the Browser select any clips you captured that were recor
43. Manual 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 CS Amplified speakers Computer NTSC PAL m
44. 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 product
45. 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 e Source time 30 fps timecode from the source media file which corresponds to the original source tapes e 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 Still image dimensions 1080i 1920 horizontal x 1080 vertical 720p 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 adj
46. Trim with Sequence Audio checkbox is selected by default Listening to All Sequence Audio Tracks While Trimming Even if you are only trimming video clips you may want to hear all of the audio tracks in your sequence such as music sound effects and voiceover This can be useful if you are listening for a particular audio cue to determine when to make a cut To listen to sequence audio while trimming Choose Final Cut Pro gt User Preferences and click the Editing tab Select the Trim with Sequence Audio checkbox Listening to Only the Selected Audio Tracks in the Sequence While Trimming You may have a sequence with dialogue sound effects and music tracks but you currently want to focus on trimming only the dialogue and associated video In this case it helps to listen only to the currently selected video and audio clips while trimming instead of the full audio mix of the sequence To hear only the selected clips in the Timeline while trimming in the Trim Edit window Choose Final Cut Pro gt User Preferences and click the Editing tab Select Trim with Edit Selection Audio Mute Others If necessary select the Trim with Sequence Audio checkbox Chapter 2 Editing and Trimming 69 70 Changing View Options in the Timeline Track Layout Menu The Track Layout menu includes five additional options These options can also be set in the Timeline Options tab of the Sequence Settings window e Show Video Filmstrips e Show Audio
47. a subtle twist This time you ll have to pay a little more attention while you write the numbers but should be able to catch on after a few tries Exercise 2 Counting 59 numbers 0 to 58 each minute Instead of counting 60 numbers during each minute from 0 to 59 now you will use only 59 numbers from 0 to 58 The steps below explain how Just as before at the turn of a minute when the second counter reaches zero begin writing down the number of seconds passed on the clock Note If you like you can add a 0 0 a zero a colon and a zero before each second to make your numbers look more consistent As usual skip the colon if it slows down your writing Just make sure you write something unique for each second that passes on the clock Your numbers should look like this 0 00 0 01 0 02 0 03 0 04 0 05 0 55 0 56 0 57 0 58 Here is the subtle twist in the exercise When you reach 0 58 the next number you should write is 7 00 not 0 59 The number 59 is never allowed in this exercise because you are now counting from 0 to 58 not 0 to 59 If you slip up the first time start the exercise over at step 1 It will be easier to do this the second time once you anticipate this subtle difference The numbers on your paper should look like this 0 55 0 56 0 57 0 58 1 00 1 01 1 02 Continue writing numbers during the next minute w 1 03 1 04 1 05 1 06 1 55 1 56 1 57 1 58 Again when you reach the 58 in the count it s time
48. age dimensions of DVCPRO HD are 1080 lines each sampled 1280 times or 1280 pixels x1080 pixels 60i 1080 lines each sampled 1440 times or 1440 pixels x 1080 pixels 50i e 720 lines each sampled 960 times or 960 pixels x 720 pixels 720p 1920 x 1080 1920 x 1080 1280 x 1080 1440 x 1080 1280 x 720 960 x 720 720 x 480 1080i60 1080150 720p 480i 480p The resulting subsampled pixels are sometimes called rectangular pixels a concept that often leads to some confusion Appendix High Definition Video Fundamentals 117 The reason DVCPRO HD internally uses rectangular pixels is to reduce the overall amount of data recorded to tape and disk but you shouldn t need to worry about these behind the scenes format details while you shoot or edit An HD SDI signal output from an HD VTR or camera has square pixels a welcome relief for video graphics designers after struggling to understand standard definition rectangular pixels Note Standard definition digital formats were originally designed to create a single digital format capable of sampling both NTSC and PAL 720 times per line To fit both 576 lines PAL and 480 or so lines NTSC while using a consistent number of samples 720 per line rectangular pixels or pixels that represent rectangular portions of the screen must be used ITU R 601 formerly referred to as CCIR 601 was first implemented in the D 1 tape format in 1986 All component digital SD formats have
49. all when displayed on large computer displays Chapter 7 External Audio and Video Monitoring 99 A U N Full screen The video is scaled to fit the display in at least one dimension If the aspect ratio of the video signal and the computer display do not match the video on the display is letterboxed black on top and bottom or pillarboxed black on sides as necessary e Pros This format gives you the biggest picture possible and maintains the proper aspect ratio Cons Scaling artifacts may be noticeable when viewed up close Raw 1 1 This mode shows the video data with as little processing as possible This can be useful for engineering evaluations of the image No scaling is done whatsoever e Pros More accurate assessments of video quality can be made e Cons Not useful for general viewing No scaling or pixel aspect ratio adjustments are made even when the video is larger than the display Note For example a 720p frame 1280 x 720 showing in raw mode on an 800 x 600 display only shows 800 x 600 of the image To view Final Cut Pro video output on a computer display connected to your computer Choose Final Cut Pro gt A V Settings Click the A V Devices tab Choose one of the display options from the Playback Output Video pop up menu To listen to audio in sync with video output on a computer display make sure the audio frame offset value is set to 0 For information about how to set the frame offset for audio
50. amcorder always records 720p formats at 59 94 fps most of the frames are tagged as duplicates and can be removed during capture As a result 720p24 on your hard disk has a much lower data rate than other DVCPRO HD formats Important Video transfers using FireWire currently require that 720p24 video actually be recorded at the NTSC compatible speed of 23 8 fps Pros e Perfect for video to film transfers because of matching frame rates 23 976 fps 60 percent lower data rate than 720p60 because of the lower frame rate Cons Smaller image size than 1920 x 1080 though still higher resolution than standard definition video e Requires an extra telecine pulldown process when transferring to NTSC e Requires a frame rate increase process when transferring to PAL Note The workflow for capturing editing and output of 720p24 is similar to the Panasonic DVX100 workflow Appendix High Definition Video Fundamentals 123 124 Recording and Playing Back Variable Frame Rates With DVCPRO HD Some DVCPRO HD devices allow recording and playback of variable frame rates from 4 to 60 frames per second Variable frame rate recording and playback are limited to the 720p HD format The camera CCD outputs from 4 to 60 fps in whole number increments but the built in VTR records at a constant rate of 60 fps or 59 94 fps Duplicate frames in the 60 fps video stream are tagged to be removed later by special frame rate converter playback units Fo
51. ant 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 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 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 B placing all of sequence A s clips directly into the Timeline of sequence B exactly as they appear in sequence A using 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 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 me
52. apter 7 External Audio and Video 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 Although this setup works for any video format it can be particularly useful when editing high definition video that would otherwise require a fairly expensive HD monitor Progressive video formats such as 720p are well suited for monitoring ona computer display Note If you are doing critical online editing or color correction you may still want to use an external CRT video monitor especially when your final output is interlaced Q Amplified speakers USB or FireWire interface Display Display External video Final Cut Pro Computer QW 7 The following external video monitoring choices are available Desktop Normal The video is not scaled unless it is too large to fit on the display If the video signal is larger than the display it is scaled to fit on the display e Pros The video always maintains proper aspect ratio and does not exhibit scaling artifacts due to magnification Cons Some formats especially SD formats may look very sm
53. 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 gt 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 th
54. bar above the clip in the Timeline If you are mixing a lot of standard and high definition video footage in a single sequence it s often more efficient to convert all your footage to a common format so that all your clips have the same dimensions frame rate and codec before continuing to edit your project You can convert many clips at once using the Batch Export function or the Media Manager For details about using the Batch Export command see Volume Chapter 16 QuickTime Export of Video Images and Sound in the Final Cut Pro 4 User s Manual For more information about the Media Manager see Volume II Chapter 16 Using the Media Manager in the Final Cut Pro 4 User s Manual Tip Whenever possible combine SD and HD media that have matching frame rates Chapter 1 Using DVCPRO HD 51 52 Side panel _ nO uu A WwW N Upconverting Standard Definition Media for Use in High Definition Sequences Converting a video format to a higher resolution format is called upconverting Upconverting standard definition media to high definition can be done by scaling the SD clip placed in the HD sequence Side panel To scale and pillarbox a 720 x 480 standard definition clip into a 1280 x 720 high definition sequence Open the standard definition sequence clip in the Viewer by double clicking it in the Timeline In the Viewer click the Motion tab Open the Basic Motion parameters by clicking the disclo
55. ccepting 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 e Timeline One of the simplest ways to make variable speed changes is to use the T
56. code settings can be modified in the Browser or Item Properties but other settings are restricted to prevent accidental changes When you modify particular Browser columns Final Cut Pro will warn you that the media file not just the clip within the project file will be affected 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 In general choosing Modify gt Timecode provides deeper control over your timecode modifications but the Browser allows you to modify multiple clips at once Timecode modification Using Modify gt Timecode Using Browser Adding or deleting timecode Allowed Not allowed tracks in a media file Modifying timecode Allowed on any clip Allowed only with offline clips Media Start not associated with media files Modifying reel names Allowed Allowed with warning Reel Aux 1 Reel Aux 2 Reel Modifying timecode rate Allowed Allowed TC Rate Choosing source time timecode Unavailable Allowed Control click the track TC TC field Viewing different timecode
57. ct contains all of the full resolution DVCPRO HD clips that reference the full resolution DVCPRO HD media files on your scratch disk The second project which you will create using the Media Manager will look identical to the first except that the clips will reference offline quality clips on your scratch disk This second project along with its associated media files will require significantly less disk space and processing power You can copy these files to an external FireWire drive or an internal PowerBook drive and edit the project remotely If disk space is a concern on the original scratch disk you can throw away the full resolution DVCPRO HD media files keeping only the offline quality media files If any new DVCPRO HD footage is shot and captured it must go through the same Media Manager process and then be added to the offline quality project Chapter 1 Using DVCPRO HD 57 58 _ A U N Choose Recompress from this pop up menu Make sure these options 4 are selected 6 When your rough editing is complete you can return to your original source tapes and recapture only the media necessary to create the final edited sequence The result will be a full resolution DVCPRO HD sequence ready for full resolution output Although you may choose any offline quality format that suits your project the following table shows corresponding DVCPRO HD and OfflineRT HD presets that ship with Final Cut Pro Online full reso
58. ct or deselect the View Native Speed checkbox Click OK Modifying Media File and Sequence Timecode In Final Cut Pro 4 you can modify media file timecode in several ways e Individual timecode adjustments can be made by choosing Modify gt Timecode e Multiple clips can be adjusted in the Browser column Timecode tracks in your media files can be added altered and even removed by choosing Modify gt Timecode This is the most common way to add or delete timecode tracks from a media file When modifying clips that refer to several media files such as merged clips there is a tab for each media file in the Modify Timecode dialog Modify Timecode Frame To Set Current Wide Shot sync audio sync audio 2 Reel Roll Timecode Format Rate M Source TC 001 01 00 00 00 Drop Frame oy 30 B i AuxTC1 001Audio 14 00 20 20 Non Drop Frame 1 30 B M AuxTC2 001_bAudio 14 00 20 40 Non Drop Frame 1 60 i WARNING Modifying a timecode will change the timecode for all users of this file including other clips and other programs Cx Chapter 5 Viewing and Modifying Timecode Each media file or sequence can have up to three timecode tracks and corresponding reel names Source timecode track and reel name Aux 1 timecode and Aux 1 reel name Aux2 timecode and Aux 2 reel name Note Depending on the frame rate of the media file some timecode rates may not be allowed Some time
59. d 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 you visual 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 p
60. ded with the DVX 100 Choose Tools gt 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 26 Support for multichannel audio output Final Cut Pro supports audio output via up to 24 outputs using Mac OS X compatible 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 d
61. dia 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 e 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 sequ
62. djust the rate or speed of the timecode In general it s best to choose a timecode mode first then choose the time display that suits your particular editing scenario To change the timecode display format Control click a timecode field in the Viewer Canvas Timeline or Browser then choose one of the available timecode display options from the shortcut menu All video frame rates can be displayed as a straight frame count and exclusively use non drop frame counting Counting in frames is particularly useful for animated films or time lapse sequences 29 97 fps NTSC video is the only video format that can display a drop frame count Important You cannot modify media file timecode by changing the time display Timecode Affected by Speed Settings To see timecode affected by speed adjustments to the current clip select View Native Speed The word native indicates that you are seeing the timecode numbers directly from the media file without any interpretation from Final Cut Pro If View Native Speed is selected the timecode is affected by speed settings if any applied to the current clip For example if your clip has been slowed down by 50 the timecode numbers increment at 50 speed as well Important The timecode numbers are italicized to indicate that a clip s speed has been adjusted Timecode numbers display in italics only when View Native Speed is selected If View Native Speed is deselected the timecode will count at
63. e 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 a
64. e 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 double click 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 30 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 e 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
65. ence s clip if it is also opened in the Viewer e 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 them as 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 34 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
66. ent picture quality using a fraction of broadcasters allotted bandwidth For television viewers this means higher resolution images higher frame rates or several standard definition channels in the bandwidth of a single standard analog channel Appendix High Definition Video Fundamentals 105 ATSC Digital Television Formats With the exception of Japan s MUSE HDTV broadcast format and current HD development in Europe HDTV today usually refers to the ATSC specifications Unlike the single frame size and rate of the NTSC and PAL formats the ATSC chose 18 official digital television formats and several of these have official designations from the Society of Motion Picture and Television Engineers SMPTE Broadcasters can use their currently allocated frequency spectrums however they choose For example a network may choose to show a single HD channel or two simultaneous SD channels The ATSC standards also introduced six high definition television standards Though some experts define high definition video as any image with over 1000 lines the general consensus is that both the1920 x 1080 and 1280 x 720 formats are high definition television HDTV formats The smaller older generation of analog and digital formats generally referred to as standard definition SD are represented in the ATSC standards as well as several SD widescreen 16 x 9 formats ATSC has also satisfied computer manufacturers with the option of a progressive scann
67. ersions 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 e 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 e 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 22 Real time effects playback and rendering options Three new tabs allow you to control real time effects playback and rendering in your projects e The Render Control tab in the User Preferences window allows you to enable and disable the most processor intensive effects in Final Cut Pro Cha
68. f a film or video was shot to be exclusively viewed in a widescreen venue this technique is usually the best approach for downconversion However it has the disadvantage of poorly using the vertical resolution of the 4 x 3 frame which is already lower resolution to start with Cropping gt a a a a a a a a a a a a a A 16 x 9 frame 4x 3 frame If you are careful during production to keep both aspect ratios in mind making sure important action stays within the 4 x 3 center of the 16 x 9 frame you can choose to crop your entire movie within a 4 x 3 frame or a 14 x 9 frame sometimes used in Great Britain This method allows you to fill the whole 4 x 3 screen with some portion usually the center of your 16 x 9 image This simple crop can be applied to the entire film without significantly altering the visual storytelling For broadcast in the UK 16 x 9 images are often cropped to 14 x 9 and letterboxed within a 4 x 3 frame for standard definition PAL televisions Because a 14 x 9 image has less severe letterbox that is smaller black bars at the top and the bottom of the frame some viewers find this less objectionable Appendix High Definition Video Fundamentals 113 114 16x9to4x3 pan and scan Pan and Scan The pan and scan method also crops 16 x 9 movies within a 4 x 3 frame but the movie can be cropped on a shot by shot basis This is a more time consuming approach t
69. g 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 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 sc
70. ger Desktop Editing System High resolution media files Even if you aren t sure what settings the other person s media files are set to you can send the recipient your project without using the Media Manager When the recipient gets the project he or she can perform the same Make Offline media management operation explained above to create a project compatible with his or her local media files Chapter 1 Using DVCPRO HD 61 Copied clips Editing and Trimming The Timeline and Trim Edit windows in Final Cut Pro HD have been refined to allow even more specific control of your editing operations Copying and Pasting Clips in the Timeline 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 If no Auto Select controls are clicked between copying and pasting clips the pasted clips are placed on the same tracks from which they were copied Note Copying and pasting in the Timeline behaves differently in Final Cut Pro HD than in Final Cut Pro 4 1 and earlier To copy and paste clips within the same Timeline tracks Select one or several clips in the Timeline Copy the clips by pressing Command C Paste the clips by pressing Commana V Pasted clips 63 64 To copy and paste clips from one Timeline track to another 1 Select one or several clips in the Timeline 2 Copy t
71. h 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 e 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 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 gt Keyboard Layout gt 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 Ke
72. he 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 Preface New Features in Final Cut Pro HD Here are a few examples of how the new interchange format can benefit post production workflows e Improve project compatibility between Final Cut Pro and other video editing systems e Archive and manage databases of multiple Final Cut Pro projects e Maintain multiple sequence versions in multisystem editing environments e Enhance batch lists to include detailed log notes comments bins subclips merged clips and master affiliate clips e Synchronize dual system video and audio clips typically used for film post production e Automate effects and generator creation Automate text generator subtitle creation Complete access to motion effects and speed parameters within clips e Change a seq
73. he clips by pressing Command C 3 Option click the lowest numbered Auto Select control to select the track or lowest track you want to paste to 4 Paste the clips by pressing Command V V2 is auto selected a after copying clip Video clip is pasted to auto selected track No auto select controls are changed after copying clip Audio clips are pasted to original tracks Chapter 2 Editing and Trimming For example to copy and paste clips from tracks V3 A5 and A6 to tracks V2 A2 and A3 do the following 1 Select the clips on V3 A5 and A6 2 Copy the clips by pressing Command C 3 Option click the track V2 Auto Select control The video destination track for pasting is now set to V2 4 Option click the track A2 Auto Select control to set the lowest audio paste destination tracks The lowest numbered audio destination track for pasting is now set to A2 5 Paste the clips by pressing Command V Track V2 becomes the pasting destination after it is auto selected Track A2 becomes the pasting destination after it is selected Chapter 2 Editing and Trimming 65 66 Filling a Timeline Gap With Slug 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 two minute slug generators as necessary to fill the gap
74. he default value is 4 For example if a video monitor connected to your DV camcorder shows your program 4 frames later than your computer display a frame offset of 4 will synchronize the two Note Depending on your external monitor configuration you may need to experiment with frame offset values to synchronize the external monitor and the computer display Click OK In the Canvas or Viewer play and compare the video offset between your external monitor and your computer display If the computer display and external monitor are still not synchronized repeat steps 1 through 5 using different frame offset values until the display and monitor are in sync Note Final Cut Pro automatically compensates for latency in third party audio cards if proper Mac OS X CoreAudio drivers are provided Chapter 7 External Audio and Video Monitoring 101 High Definition Video Fundamentals Appendix Television is undergoing a radical change the most fundamental redesign since its invention nearly 100 years ago Everyone working in television video and even film production has heard the news The switch from analog to digital television is underway Television is being shot edited and even broadcast all in the digital domain All digital television requires new production formats transmission guidelines broadcasting equipment television receivers post production workflows and display devices As more digital television services bec
75. her 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 e 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 e Multiple frame rate and scanning progressive or interlaced choices for simple backward compatibility between HD and SD formats e 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 e 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 e 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
76. ia on the editing system you are sending to 4 In the Media Manager click OK 5 Choose a destination and name for the new project file then click OK 6 Attach the new project to an email or upload it to an accessible FTP or web server Note Some network servers may not recognize the native Final Cut Pro file format To ensure that the file is properly transferred you can create and send a compressed zip archive of your project instead Chapter 1 Using DVCPRO HD To create a cross platform compatible zip archive of your project s In the Finder select the Final Cut Pro project file s Control click the project file and choose Create Archive Of from the shortcut menu If you create a single archive zip file the archive file will be named after the file you originally selected for example My Movie fcp becomes My Movie fcp zip If you select multiple files the archive file will be named Archive zip You can change the name after the archive file is created but keep the three letter zip extension at the end of the file name This will help network servers properly handle the file The recipient will open the project and reconnect the media which should match the settings you chose PowerBook Editing System DOD File L luti Make offline in transfer ONN TESO DNION Media Manager media files Project Project A ee A A Clip Clip Clip Clip Clip Clip Make offline in File transfer Media Mana
77. ime 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 e 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 38 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 r 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 g
78. inal 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 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 e Trim with Sequence Audio Allows you listen to all sequence audio tracks while
79. ing method In the ATSC table below the scanning method is labeled either interlaced i or progressive p Related Frame rate and Aspect Pixel SMPTE standard Dimensions scanning method ratio dimensions SMPTE 274 1998 1920 x 1080 60i 16x9 Square 30p 24p SMPTE 296M 2001 1280 x 720 60p 16x9 Square 30p 24p SMPTE 293M 1996 720 x 480 or 60p 16x9 Rectangular 704 x 480 720 x 480 or 60i 16x9 Rectangular 704 x 480 30p 24p 720 x 480 or 60p 4x3 Rectangular 704 x 480 60i 30p 24p 640 x 480 60p 4x3 Square SMPTE RS170A 640 x 480 60i 4x3 Square 640 x 480 30p 4x3 Square 24p 106 Appendix High Definition Video Fundamentals Note The SMPTE RS170A standard actually specifies the color NTSC analog broadcast format in use since 1953 and only roughly corresponds to the ATSC 640 x 480 60i format Each ATSC format also supports NTSC speed variants 23 98 24 29 97 30 and 59 94 60 calculated by multiplying whole number frame rates by 1000 1001 which is a slightly more accurate ratio than 29 97 30 The Benefits of High Definition Video High definition video formats are rapidly gaining acceptance in markets as varied as sports broadcast and high end feature films Aesthetically HD video is exceptionally detailed and rich in color depth and uses a widescreen aspect ratio similar to major motion pictures Technically HD video formats are less restrictive than the analog SD formats of the past Because the latest formats
80. ing systems broadcasting services and finally HD televisions and receivers Because HD systems are still relatively new many video producers find that they need to combine HD with SD footage or several HD sizes within the same project Converting a video format to a higher resolution format is called upconverting and the reverse is called downconverting However the process of upconverting and downconverting is not as simple as scaling a video frame Changes in aspect ratio mostly between 4 x 3 standard definition and 16 x 9 high definition are also part of the process Some reasons you may need to convert between HD and SD or vice versa are If you are working on an HD project using archival footage which is still mostly standard definition If you have finished editing an HD program and you need a distribution copy in a standard definition format like Digital Betacam DV DVD or VHS If you are combining high definition footage such as a feature film transfer into an SD project The most common scenarios are upconverting SD footage for use in an HD sequence and downconverting HD projects to SD distribution formats which clearly demonstrates that HD is becoming a prevalent mastering format Appendix High Definition Video Fundamentals 111 Downconverting High Definition Video The method used in downconverting HD video depends on the destination format and the intentions of the cinematographer or director Since 16 x 9 images do
81. ip 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 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 Chapter 6 Media and Clip Management 95 96 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 e Image and Gain settings for analog capture Capture settings from the Capture pop up menu e Audio settings from the Audio Format pop up menu These settings are found in the Clip Settings tab of the Log and Capture window 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
82. ith 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 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 e Curl Transitions Page Peel e 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 renderin
83. ithin a second sequence with matching sequence settings Within the second sequence apply the Timecode Reader filter to the nested original sequence Note Older projects that use the Timecode Print filter will still function properly Chapter 5 Viewing and Modifying Timecode Media and Clip Management 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 Automatically Recording With Print to Video When printing to video tape Final Cut Pro can automatically trigger recording on FireWire camcorders and decks This is particularly useful for camcorders that do not have an independent VTR Record button To automatically start a camcorder or deck recording during Print to Video Choose File gt Print to Video Select the Automatically Start Recording checkbox in the Print to Video window Click OK to begin recording to tape Note The Automatically Start Recording checkbox is the same as the Auto Record and PTV checkbox in the Device Control presets 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 calc
84. its normal rate unaffected by any speed settings applied to the current clip Note In Final Cut Pro 4 1 and earlier the only way to view timecode adjusted by a clip s speed setting was to choose clip time In Final Cut Pro HD clip time does not interpret clip speed settings Instead the View Native Speed selection shows timecode affected by speed settings regardless of whether source time or clip time mode is chosen Chapter 5 Viewing and Modifying Timecode 85 86 Unless you make speed adjustments to a clip switching this setting on and off won t have any noticeable effect on the way timecode displays Important Adjusting speed affects how a clip plays back the frames of a media file but it does not affect the frames of the media file itself Constant and variable speed adjustments are nondestructive they leave the media file intact To see how speed settings affect the timecode view try the following Open a clip in the Viewer Choose Modify gt Speed or press Command J Type 25 in the Speed number box and click OK The clip now plays back frames from the media file at 25 speed The source timecode plays back just as slowly In the Viewer move through the clip one frame at a time using the left and right arrow keys Note that the timecode numbers change once every four frames This is because the speed adjusted clip holds each video frame for a duration of four frames Therefore the video frames and the timecode nu
85. jacent 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 picture in picture You can configure the Frame Viewer to display those individual frames that are most useful for making comparisons in your project 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 DV
86. k modified to 25 fps For more information about the 24 25 PAL editing process see Editing Film With Final Cut Pro in a PAL Environment on page 73 To create a sequence preset in which the video rate timebase and timecode rate are different Choose Final Cut Pro gt Audio Video Settings Click the Sequence Presets tab In the list of presets click the unlocked sequence preset you want to modify Click the Edit button to edit the selected preset or click the Duplicate button to edit a new copy of the selected sequence preset The sequence video frame timebase and timecode rate can now be set in the Sequence Preset Editor window By default the timecode rate matches the video frame rate as indicated by the words Same As Editing Timebase in the Timecode Rate pop up menu Choose a video frame rate from the Editing Timebase pop up menu Chapter 5 Viewing and Modifying Timecode Choose a timecode rate from the Timecode Rate pop up menu Note Not all timecode rates are available for all video rates timebases Click OK to accept the changes and click OK again to close the Audio Video Settings window The new sequence preset can be loaded into preexisting sequences or used in Easy Setups If you already have a sequence for which you d like to modify the timecode rate you can also use the Modify gt Timecode command However it s usually best to alter the timecode rate of a sequence before you begin editing with it T
87. layback 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 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 v
88. 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 windows User 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 amp 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 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 Du
89. les that have been captured separately are no longer dependent on one another Preface New Features in Final Cut Pro HD 23 24 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 e Image and Gain settings for analog capture Capture settings from the Capture pop up menu e 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
90. llow 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 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 e 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 exa
91. lso 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 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 Select a clip in the Timeline Choose View gt Match Frame gt 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
92. lution preset Offline low resolution preset DVCPRO HD 1080i60 OfflineRT HD 29 97 DVCPRO HD 720p30 OfflineRT HD 29 97 DVCPRO HD 720p24 OfflineRT HD 23 98 To capture media at full resolution and recompress at OfflineRT HD resolution Choose an Easy Setup or capture preset that matches your DVCPRO HD source footage Log footage before capture deciding which clips to capture Capture selected DVCPRO HD footage via FireWire Once you have captured all the clips you need for your project select all the clips in the project then choose File gt Media Manager Note Placing all the clips in a single bin and then selecting the bin also works In the Media Manager choose the following options then click OK Media Manager gt Summary Create a new project containing the items you have selected Recompress media files referenced by the duplicated items Modified BI 1 5 ce cest move your cursor over bar graph for more information r Media Recompress B media referenced by duplicated items C Include render files Recompress media using _OfflineRT HD Photo JPEG 29 97 i eee Choose the codec you want to use for L Delete unused media from duplicated items recompressing C Use Handles 00 00 01 00 iV include affiliate clips outside selection Base media filenames on existing file names is p Project Click here to choose a location a Duplicate selected items
93. mbers only change every fourth frame when viewed in the speed adjusted clip Control click the current timecode field then deselect View Native Speed from the shortcut menu Note When View Native Speed is deselected the timecode field is no longer italicized In the Viewer move through the clip one frame at a time using the left and right arrow keys Final Cut Pro now increments the timecode at the frame rate of the clip ignoring any speed adjustments If you want to see the actual source timecode of each frame of the media file leave View Native Speed selected Timecode Overlays Timecode overlays in the Viewer and Canvas display source time not clip time from the media file Timecode overlays are not affected when clip time is selected or View Native Speed is deselected You can use timecode overlays to verify that video window burn timecode visible timecode in the video picture itself matches the source timecode of the media file Chapter 5 Viewing and Modifying Timecode Each timecode overlay is colored to indicate linked video and audio clips A plus symbol next to the video or audio overlay title indicates that there are additional timecode overlays that cannot fit Changing the size of the Canvas or Viewer can sometimes reveal additional timecode overlays Indicates additional timecode overlays are not displayed OQO9_ ent iia Globally Changing Timecode Display Options Timecode display
94. mentation if you need more information about certain procedures mentioned here Step 1 Film at 24 fps and transfer to PAL video Transfer your 24 fps film to 25 fps PAL video The film is sped up to 25 fps in the telecine transfer Step 2 Use Cinema Tools to generate a batch capture list for Final Cut Pro This is an optional step but if you have a telecine log from a scene and take transfer using Cinema Tools to create the batch capture list makes it easy to automatically capture clips with the cuts that were chosen in the scene and take transfer It would be more time consuming to find and capture the clips manually with Final Cut Pro Step 3 In Final Cut Pro choose the Easy Setup called DV PAL 24 25 If you don t see the DV PAL 24 25 Easy Setup in the pop menu in the Easy Setup dialog choose Show All This Easy Setup sets the sequence preset editing timebase to 24 fps while the sequence source timecode is tracked as 25 fps This is called having a 24 25 source timecode rate It also lets you import your 25 fps batch capture list and capture at 25 fps Note The DV PAL 24 25 Easy Setup uses the DV PAL 48 kHz 24 25 sequence preset If you are not using DV video you can create a custom Easy Setup by editing the DV PAL 24 25 Easy Setup Customizing the preset allows you to Capture a format other than DV e Incorporate a custom sequence preset that has an editing timebase of 24 fps and a timecode rate of 25 25 Step 4
95. 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 e 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 X compatible audio interfaces New support is available for specifying Mac OS X compatible 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 camcorde
96. mple 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 fi
97. mport LiveType project files into Final Cut Pro HD This eliminates the need to render a QuickTime movie of your LiveType title each time you want to use it in Final Cut Pro Note To open LiveType projects directly in Final Cut Pro LiveType 1 2 or later must be installed on the Final Cut Pro system you are using To import a LiveType project into Final Cut Pro do one of the following Choose File gt Import or Command and navigate to the LiveType project you want to import into Final Cut Pro From the Finder drag a LiveType project file into the Final Cut Pro Browser The LiveType project file appears as a clip in the Final Cut Pro Browser A LiveType project file within Final Cut Pro is simply referred to as a LiveType clip or a LiveType movie If necessary you can reconnect the media in this case the actual LiveType project file on disk just as you would any other Final Cut Pro clip Using LiveType Clips in Final Cut Pro In Final Cut Pro imported LiveType project files behave just like any other clips They can be organized within the Browser opened in the Viewer edited into sequences trimmed copied and pasted LiveType clips maintain normal master and affiliate clip relationships Playing LiveType Titles in Final Cut Pro LiveType titles can be played back in Final Cut Pro like any other media file However when edited into sequences LiveType clips appear with a red render bar in the Timeline so you will have to render
98. n which the format is being used 1920 x 1080 DVCPRO HD can only be recorded at 29 97 30 or 25 fps so the country and specific camera used can most likely determine which frame rate is implied 29 97 fps for NTSC 25 fps for PAL If the context of the conversation involves shooting film it s likely that the frame rate for a 1920 x 1080 image is 23 98 or 24 fps and consequently the format would not be DVCPRO HD since 24 fps is not currently supported at 1920 x 1080 using this format Appendix High Definition Video Fundamentals Determining Image Dimensions From Frame Rate The following example suggests ways of assessing the image dimensions of an HD video format when only the frame rate is given in the name 24p describes an image recorded progressively at either 23 98 or 24 fps But what are the image dimensions If you are using DVCPRO HD only frame sizes of 1280 x 720 support 23 98 and 24 fps recording Some standard definition DV and DVCPRO 50 cameras can also record progressive frames at 23 98 fps using image dimensions of 720 x 480 Other HD cameras can record 23 98 or 24 fps with image dimensions of 1920 x 1080 but these cameras often use 24psF progressive frames segmented stored in an interlaced signal structure See 24psF on page 108 for a description of this format Upconverting and Downconverting To fully experience the quality of HD video a complete HD system is necessary HD camcorders tape formats edit
99. n for the new project file 4 Once saved open the new project in Final Cut Pro Note To avoid confusion close the original low resolution project if it is still open 5 In the Browser select your edited sequence and choose File gt Batch Capture For more information about batch capturing see Volume Chapter 10 Logging and Capturing Media in the Final Cut Pro 4 User s Manual When you have finished capturing all of your clips at full resolution you can output back to DVCPRO HD tape using Edit to Tape or Print to Video Trading Project Files Using Email or the Internet To send a project via the Internet or email you can use the Media Manager to create a copy of your project without media reducing transfer time significantly Keep in mind that recipients of your project need the same media files on their systems otherwise they will only see offline media indicators when they open the project Use the copy or recompress option in the Media Manager to create copies of your media files for remote collaborators The example below shows how to make a copy of your sequence s with different sequence settings image dimensions codec and so on to send to a remote collaborator You do not actually create any new media To use the Media Manager to create an offline sequence within a new project file 1 Select a sequence in the Browser 2 Choose Make Offline in the Media Manager 3 Select the sequence preset that matches the med
100. n t fit within a 4 x 3 frame some cinematographers shoot widescreen images while protecting for another aspect ratio For example 16 x 9 protected for 4 x 3 will keep the majority of the action centered within a 4 x 3 portion of the 16 x 9 image This footage can be safely cropped for a 4 x 3 version as well as a 16 x 9 version Of course if the aspect ratio of the original and destination formats match you can simply scale the original HD video to the destination size Original Original Destination Destination Downconversion size aspect ratio size aspect ratio method 1920 x 1080 16 x 9 1 78 1280 x 720 16 x 9 1 78 Scale down 1920 x 1080 16 x 9 1 78 720 x 480 16 x 9 1 78 Scale down anamorphic and squeeze horizontally 1920 x 1080 16 x 9 1 78 720 x 480 4 x 3 1 33 Letterbox Crop Pan and scan 1280 x 720 16 x 9 1 78 720 x 480 16 x 9 1 78 Scale down anamorphic squeezed and squeeze horizontally 1280 x 720 16 x 9 1 78 720 x 480 4 x 3 1 33 Letterbox Crop Pan and scan Letterbox 1080 to 480 ay a Ss 720 to 480 112 Appendix High Definition Video Fundamentals ES Pil Pas ue 16x9to4x3 crop center To preserve the aspect ratio of widescreen movies on a 4 x 3 screen widescreen movies are scaled until the entire image fits within the 4 x 3 frame The remaining space at the top and bottom of the 4 x 3 frame is left empty and is almost always made black I
101. n 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 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 point
102. nd 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 Conten
103. nging 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 e 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 you visual playback quality or maximizing the available effects that can be played back in real time e The Effect Handling tab in the System Settings window allows you to set how real time 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 editing such as during a coffee break or lunch to render open sequences in the Timeline Options in the General tab of the User Preferences window a
104. nsuming film scanning and output stages compared to hybrid digital film methods Appendix High Definition Video Fundamentals 107 108 High Definition Versus Standard Definition Video Formats Whenever a new format is introduced it needs to be distinguished from the formats that already exist Standard definition video wasn t a commonly used term until the latest high definition formats were introduced a few years ago High definition has two slightly different meanings Generally speaking the term high definition describes any image or sound format that is higher resolution than another format Today high definition HD also specifically refers to high definition video formats such as HDCAM DVCPRO HD HDV and the current ATSC HDTV specifications High Definition Formats in Common Use Every major video manufacturer is developing high definition technology As a result many different formats are available to choose from 24P Video Formats that capture complete progressive video frames at 24 frame per second have received a lot of attention lately This is because 24p video specifications are similar to film standards A 24 fps 1920 x 1080 progressively scanned video format closely matches 35mm film theater distribution prints For the first time since the invention of television moviemakers can choose video instead of film without sacrificing significant resolution loss or having to cope with frame rate conversions Now that the techn
105. o converting 16 x 9 to 4 x 3 but it is often necessary when the original widescreen movie was not shot with 4 x 3 in mind This is often the case with older widescreen movies shot prior to mass video rental and distribution since the only viewing venue was in movie theaters capable of showing the complete widescreen images In some complex scenes with multiple characters or centers of visual activity you may have to introduce an artificial camera move a pan to recenter the widescreen action within the 4 x 3 frame Unless this is done subtly the viewer may be distracted by the unnatural movement Note Use the panning technique only when absolutely necessary and make sure the frame rate of the pan you are introducing matches the frame rate of the movie itself Appendix High Definition Video Fundamentals Upconverting Standard Definition Video Upconverting a 4 x 3 aspect ratio image in a 16 x 9 frame results in borders or side panels on the left and right sides of the 4 x 3 image This type of frame is sometimes referred to as pillarboxed If the aspect ratio of the original and destination formats match you can simply scale the original video to the destination size Original Original Destination Destination Upconversion size aspect ratio size aspect ratio method 720 x 480 4x 3 1 33 1280 x 720 16 x 9 1 78 Scale up and 1920 x 1080 pillarbox 720 x 480 16 x 9 1 78 1280 x 720 16 x 9 1 78 Scale up anamorphic squee
106. o 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 18 New Timeline zoom functionality Timeline zoom functionality has been improved You can zoom into the Timeline in any of the following ways e 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 e 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 e 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
107. o in a PAL Environment _ w N 4 5 oO Relating these exercises back to video with frame rates and timecode counts that don t match imagine that the seconds you were accounting for were actually frames of film or video Each mark you made would then indicate a frame passing The frames pass at a constant rate such as 24 fps and are each labeled with a unique identifier or code When the unique codes are counting at the same rate as the frames pass it s easy to tell how much time has passed simply by reading the unique code or timecode on a particular frame However when the unique identifier increments differently than the frame rate the code on each frame no longer accurately represents how much time has passed This is what happens when playing 24 fps video with unique frame codes counting at 25 fps Each frame has a unique label but reading them doesn t accurately convey how much actual time has passed To set your computer clock to display seconds Click the clock displayed on the right side of the menu bar A menu with the following choices appears e View as Analog e View as Digital Open Date amp Time Choose View as Digital Click the clock again and choose Open Date amp Time from the menu The Date amp Time System Preferences window opens In the Date amp Time System Preferences click the Clock tab If it s not already selected select the checkbox labeled Display the time with seconds The
108. o modify the timecode rate of a preexisting sequence Select a sequence in the Browser Choose Modify gt Timecode Adjust add or remove timecode tracks as needed For more information about modifying timecode tracks see Volume Il Chapter 17 Tools for Managing Clips in the Final Cut Pro 4 User s Manual Warning It is not a good idea to choose an independent video rate timebase and timecode rate for your sequence unless you have a good reason High Definition and Film Timecode Options Final Cut Pro provides several special timecode formats for dealing with particular high definition video formats and offline film to video workflows 60 30 Timecode 60 30 timecode is used specifically with 59 94 and 60 fps material Because 30 fps is a more universally accepted timecode rate than 60 fps it can be useful to view your timecode this way Also most DVCPRO HD VTRs display this timecode rate when playing back 60 fps tapes Each 60 30 timecode number represents a pair of video frames with the second frame distinguished by an asterisk When you are using 60 30 timecode Final Cut Pro recognizes asterisks when you type them into timecode fields Typing followed by in 60 30 mode is the same as typing 1 in 60 fps timecode Mapping 60 frames to 30 numbers per second is not a new concept VITC timecode represents each pair of fields in other words each frame with a single timecode number Fields 1 and
109. ochrome 405 line 25 fps interlaced signal tied to European 50Hz electrical frequency 1939 NBC begins regularly scheduled broadcasts of electronic television 441 lines and 30 fps 1941 National Television Systems Committee NTSC standardizes U S commercial television format 525 lines 30 fps tied to U S 60Hz electrical frequency 1945 FCC allocates 13 channels for television broadcasting and moves existing radio channels to 88 108MHz 1946 ENIAC the first electronic computer using 18 000 vacuum tubes is unveiled 1948 Long playing LP phonograph records are introduced 1948 Hollywood switches to nonflammable film 1948 Ampex introduces its first professional audio tape recorder 1948 The transistor is invented 1951 The first commercially available computer UNIVAC I goes on sale 1952 The FCC provides UHF channels 14 through 83 1953 Second NTSC adopts RCA color TV standard 525 lines 29 97 fps interlaced 1953 First CinemaScope anamorphic film is released with 2 66 aspect ratio 1 33 x 2 1955 Stereo tape recording is introduced by EMI Stereosonic Tapes 1956 Ampex introduces its first video recorder using 2 inch reel to reel tape 1961 Stereo radio broadcasts begin 1963 Philips introduces audio cassette tapes 1967 BBC TWO becomes the first British color broadcast network using the PAL system 625 lines 25 fps interlaced 1967 France introduces SECAM 625 lines 25 fps interlaced 1967 The Society of Motion Pict
110. ology is available which medium to use has become more of an aesthetic and budgetary choice Scanning Methods Most high definition formats can record both progressive and interlaced video e Interlaced scanning Odd lines are first drawn onscreen called field 1 followed by the even lines field 2 to complete a single frame Progressive scanning Every line is scanned until a complete frame is drawn There are no fields 24psF Some HD equipment uses a third method to store progressively captured camera images within an interlaced structure on tape This format is called progressive segmented frame psF and it is usually discussed in reference to 24p video This method cleverly adapts existing 1080i50 video 1080 interlaced lines running at 50 fields per second to 1080i48 using both fields to store a single progressive frame While this could be called1080p24 it s technically 1080psF because each progressive frame is stored on tape as two interlaced fields that were actually captured from the camera CCD at the same time Appendix High Definition Video Fundamentals Compressed High Definition Tape Formats Because of the high data rate generated by high definition video cameras most HD formats compress the image data to fit on tape e DVCPRO HD SMPTE D 12 also generally called DV 100 in reference to its bit rate of 100 Mbps D 9 HD an extension of the Digital S format Digital S is also designated SMPTE D9 e D 5 HD
111. ome available from major TV networks more people are purchasing digital television receivers and display devices for home viewing To understand how the industry has arrived at the digital formats of today a historical perspective can be useful A Brief History of Film Television and Audio Formats The timeline below helps to illustrate the constantly evolving list of media formats as well as developmental peaks and valleys 1826 First photograph is taken 1877 Thomas Edison makes the first sound recording of Mary had a little lamb 1888 Heinrich Hertz shows that electricity can travel through space and that radio waves are physically identical to light 1889 35mm film is invented by splitting Eastman Kodak 70mm in half 1 33 aspect ratio 1895 Marconi develops radio transmitter and receiver 1895 Lumi re brothers demonstrate combination camera projector 16 fps 1918 First color motion picture appears 1920 Commercial radio broadcasts begin 1923 16mm film is introduced 1927 First major motion picture with sound is released 1 37 aspect ratio ending the silent movie era 1932 BBC begins official monochrome 30 line video broadcast 103 1934 RCA experiments with 343 line 30 fps television format removing flicker by introducing interlacing 1936 BBC begins broadcasting a high definition mon
112. ond counter resets to zero During the next minute continue writing down the number of each second but add a 1 before each number Your numbers should now look like this 57 58 591011 1213 14 andso on If you can write fast enough you might add a colon for clarity like this 1 0 1 1 1 2 1 3 1 4 all the way to 7 59 Note If writing the colons slows you down skip them The instructions will continue to show them for clarity Continue writing numbers during the next minute this time adding the number 2 before each second counted like this 1 57 1 58 1 59 2 0 2 1 2 2 2 3 2 4 and so on No matter how messy your writing is make sure that you write a unique number at each and every second that is counted on the clock That is the most important part of the exercise Stop writing after three or four minutes Chapter 4 Editing Film With Final Cut Pro in a PAL Environment You can now determine exactly how long you were writing simply by looking at the last number you wrote on the paper As unremarkable as this sounds this is exactly how timecode works A unique number is written alongside each video frame as long as the video is recording Note Although timecode and video frames move much faster many times per second the process is identical to the exercise above So far this experiment has only revealed how regular timecode works To make things more interesting you can do the same experiment again but with
113. onitor Composite DVCPRO HD Amplified speakers Computer HD SDI monitor FireWire VTR Chapter 1 Using DVCPRO HD 45 46 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 720060 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 Wa
114. ootage Edit as necessary Output back to DVCPRO HD tape using Edit to Tape or Print to Video Rough Editing With Low Resolution Offline Quality DVCPRO HD This workflow uses the Media Manager to create low resolution offline quality versions of your media files Ultimately this process requires less disk space than editing at full resolution but each tape captured will initially require enough disk capacity for both full resolution and low resolution versions of your media Media Manager Summary Create a new project containing the items you have selected Recompress media files referenced by the duplicated items Tape D OOO O 12 5 cs capture full resolution moanea B 15 cs ces fB move your cursor over bar graph for more information Project tert 7 f full resolution Recompress media referenced by duplicated ite ola f m compress media using _ OfflineRT HD Photo JPEG 29 97 is be Clip Z Delete unused media from duplicated items l C Use Handi 00 O Recompress Duplicate items A Jud late cll sl Ji media file names on existing file names 3 Duplicate selected items and place into a new project Cli i ip Media Destinatii 5 ER Pro Documents Scratch disk Project enough disk space for both low resolution full and low resolution files Browse This process makes two projects two sets of clips and two sets of media files One proje
115. ou 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 Do one of the following Select a clip in the Browser Select one or more clips in the Timeline Do one of the following Choose Edit gt 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 28 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 ar
116. owser and choose File gt Media Manager In the Media Manager choose the following options then click OK Media Manager Summary T Create a new project containing the items you have selected Delete unused media from the duplicated items Make duplicated items offline Items without a reel name will not be made offline Modified inja move your cursor over bar graph for more information Media Create offline B media referenced by duplicated items Include render file Set sequences to DVCPRO HD 1080i60 E Choose the preset that matches M Delete unused media from duplicated items your original source tapes C Use Handles 00 00 01 00 Include affiliate clips outside selection Base media filenames on existing file names B r Project V Duplicate selected items and place into a new project Media Destination Brow Note If you anticipate additional fine tuning of your edits or if you plan to change the length of transitions such as dissolves and fades you can select the Use Handles checkbox and enter a handle length in seconds and frames to provide extra media at the head and tail of each sequence clip Don t set this value too high or it will significantly increase the amount of media you need to recapture 2 5 second handles are usually adequate for sequences near completion Chapter 1 Using DVCPRO HD 59 3 In the Save dialog choose a name and destinatio
117. p 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 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 subcl
118. p of linked clips in a sequence merged clips and groups of sequence clips that have been opened simultaneously 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 1 4 or Comment A B 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
119. p24 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 Capture Preset Editor Name DVCPRO HD 720p24 48 kHz Description Use this preset when capturing DVCPRO HD 720p material at 24 fps for DVCPRO HD FireWire input and output Width Height Aspect Ratio Frame Size 1280 x 720 HDTV 720p 16 9 B L Anamorphic 16 9 QuickTime Video Settings J Input Firewire ie i 100 ae mss 18 C Limit Data Rate o K Advanced Y f QuickTime Audio Settings Device DVCPRO HD i Select to remove Input _ DVCPRO HD S Rate 48 000 kHz Advanced dupl icate video frames Capture Card Supports Simultaneous Play Through and Capture duri ng ca pture Remove Advanced Pulldown and or Duplicate Frames During Capture From FireWire Sources High Quality Video Play Through 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 Chapter 1 Using DVCPRO HD 720p60 and 60
120. plicate 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 user adjustable con
121. r example if the camera is set to record 15 fps 3 out of every 4 frames are tagged as duplicate and ignored when played back on the frame rate converter Another useful feature of a frame rate converter is that it can output at different frame rates as well so you can record at 60 fps but output your video at 24 fps with a 3 2 pull down Some frame rate converters can also do upconverting and downconverting allowing you to shoot 720p24f variable frame rate footage and output fast and slow motion footage to 1080i24p or 480i standard definition with a letterboxed 3 2 pull down Appendix High Definition Video Fundamentals Recording variable frame rates with DVCPRO HD 720p Used frames B Duplicate frames vihi DVCPRO HD tape 60 fps a BBOBOBEE vel 8 E 8 X x X E x 3 X E a B z amp E3 s Ls Ls ce 5 Ls amp a Ls E e Ea Ls Le E3 Ea Ea Ls Ls DVCPRO HD tape 60 fps i 2 SE 5 JAE IBE 12 ag 15 6 7 19 BE 22 23 24 25 26 27 2 2 o After duplicate frame removal 30 fps DVCPRO HD tape 60 fps After duplicate frame removal 25 fps FETE te lt el et ee eel Piel ele Merle Bt Mere DVCPRO HD tape 60 fps TABEE 6 7 of 12 13 14 s uw 7 19 20 a 2 2
122. raphs 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 gt Arrange gt 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 ad
123. ratch 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 e 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 t
124. ribing a particular variant Always mention the image dimensions frame rate and scanning method Often people in the film and video industries abbreviate HD format names to either the frame rate or image dimensions but not both with the scanning method tagged on to the end for example 24p or 1080i The letter i indicates an interlaced scanning method and the letter p indicates progressive scan Sometimes formats are abbreviated because they are being discussed categorically instead of specifically 24p is commonly discussed as video at the film frame rate but does not go into details such as the image dimensions or the actual frame rate which could be either 24 fps or 23 976 fps Eventually you ll memorize the various frame rates and image dimensions of the common HD formats as well as better understand the contexts in which they are discussed Meanwhile the examples below may help you get started distinguishing HD formats discussed in the film and video industries Determining Frame Rate From Image Dimensions The following example suggests ways of assessing the frame rate of an HD video format when only an image dimension is used in the name 1080i refers to a frame size of 1920 x 1080 and the i indicates that the frames are interlaced But what is the frame rate Since the frame rate isn t specifically expressed in the name 1080i you can usually determine the frame rate based on the particular brand of HD format or the context i
125. rning 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 e Channels 1 and 2 stereo pair e Channels 1 and 2 discrete mono e Channel 1 mono e Channel 2 mono 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 lJ Deleted frames DVCPRO HD tape 59 94 fps 1 f 3 4 5 pi p 10 nfe a af wf f 24 shhh 3132 posg 37 flan ole 144145 46147 48 49 50 51 g z Ls Le E3 msm Ls Ls S Captured in Final Cut Pro 59 94 fps DVCPRO HD tape 59 94 fps Captured in Final Cut Pro 29 97 fps DVCPRO HD tape 59 94 fps Captured in Final Cut Pro 23 98 fps Chapter 1 Using DVCPRO HD 47 The 720p30 and 720
126. rs 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 gt 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 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 a
127. s 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 t
128. s called the clip time For more information on this topic see Displaying Timecode in Final Cut Pro on page 83 If you would prefer to edit your 24 25 fps clips with Final Cut Pro displaying 24 fps timecode instead of 25 fps timecode do the following Open a clip in the Viewer then Control click the Current Timecode field and choose Clip Time from the shortcut menu Note Keep in mind that this setting only changes the way Final Cut Pro displays the timecode for your project Internally Final Cut Pro still tracks the source timecode as 25 fps so that you can export an accurate 25 fps EDL that will be used to create a negative cut list Exercises for Understanding 24 25 fps Timecode Thinking about a movie in which the video frame rate and the timecode rate don t match can be confusing If you find yourself going in circles trying to understand exactly how the frame rate and timecode rate correspond or don t correspond to each other it s important to step back and remember the overall purpose of the 24 25 editing process The Purpose of 24 25 fps Editing 24 25 fps editing allows you to edit film footage at its native 24 fps frame rate using Final Cut Pro and inexpensive PAL video equipment This means you can edit film nonlinearly at a very low cost After you finish editing European film negative cutters expect a 25 fps EDL which is used to conform the original film negative to your final video edit The 24 25
129. s 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 e Volume and panning levels using the fader and pan controls in the Audio Mixer tab e 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 36 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 e 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
130. s 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 Preface Chapter 1 41 41 41 43 45 46 Contents 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 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 48 48 50 50 51 51 51 51 55 55 56 56 60 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 1080160 and 720p60 Video Real Time a
131. settings can be globally adjusted for an entire project in Project Properties Clips that you have already adjusted will retain custom timecode display settings Project Properties for Untitled Project 1 Time Display Timecode i C Reset Time Display Time Mode Source Time 5 View Native Speed Comment Column Headings 1 Master Comment 1 Master Comment 2 2 3 Master Comment 3 4 Master Comment 4 Comer C To choose default timecode display options for the active project 1 In the Browser click the tab of the project for which you want to change timecode display settings 2 Choose Edit gt Project Properties 3 Choose a new timecode display from the Time Display pop up menu 4 Click OK Chapter 5 Viewing and Modifying Timecode 87 wu A U N un BW N To reset the timecode display for all clips in the active project In the Browser click the tab of the project that you want to change timecode display settings for Choose Edit gt Project Properties Choose a timecode display from the Time Display pop up menu Select the Reset Time Display checkbox Click OK To globally set the time mode of all clips in the project to source time clip time and native speed on or off In the Browser click the tab of the project for which you want to change time mode settings Choose Edit gt Project Properties Choose a source time or clip time from the Time Mode pop up menu Sele
132. st production workflow it s critical to understand whether you plan to do rough cutting at native resolution full quality offline editing or rough cutting at lower resolution offline editing that will require high quality recapture of select clips later Offline Capture low resolution Online Capture full resolution Sequence Output Full resolution Sequence Capture and Media Management Workflows Using DVCPRO HD Final Cut Pro allows you to design any post production workflow that suits your project Some of the more commonly used workflows are described below Rough Editing With Native Resolution DVCPRO HD This is the simplest post production workflow for a DVCPRO HD project For cuts only editing there will be no generational quality loss from tape to Final Cut Pro and back Titles effects and dissolves will require some processing of the video signal that is acceptable for most distribution formats but may not be acceptable for high end formats such as major network television broadcast or film output Chapter 1 Using DVCPRO HD A WN wn To capture edit and output a project using native resolution DVCPRO HD video Choose an Easy Setup or capture preset that matches your DVCPRO HD source footage Log footage before capture deciding which clips to capture Capture selected DVCPRO HD footage via FireWire Create a sequence using an Easy Setup or sequence preset that matches your source f
133. sure triangle Type 150 in the Scale number field Open the Distort parameters by clicking the disclosure triangle Type 12 5 in the Aspect Ratio number field Note The aspect ratio value may already be set if you have edited this clip into a high definition sequence Chapter 1 Using DVCPRO HD Similar upconverting can be done by following the steps above and replacing the appropriate numbers with the numbers shown in the table below Original Destination Scale Aspect ratio clip size sequence size Motion tab Motion tab 720 x 480 1280 x 720 150 50 720 x 480 1280 x 720 150 50 anamorphic 720 x 480 1920 x 1080 225 68 75 720 x 480 1920 x 1080 150 12 5 anamorphic 1280 x 720 1920 x 1080 150 12 5 To clear the scale and aspect ratio settings of a clip in the Timeline Open the standard definition sequence clip in the Viewer by double clicking it in the Timeline In the Viewer click the Motion tab Next to the Basic Motion settings click the red x to reset the scale settings or type 100 in the number field labeled Scale Next to the Distort settings click the red x to reset the aspect ratio settings in the number field labeled Aspect Ratio Downconverting High Definition to Standard Definition Video High definition video frames are larger than standard definition frames and they have a wider aspect ratio Any method of converting HD media to SD is known as downconverting It is more common to downconver
134. t an entire HD sequence to SD as opposed to using individual HD clips in an SD sequence but in both cases you need to choose how the higher resolution 16 x 9 HD frame is placed in the lower resolution 4 x 3 frame You can also downconvert your high definition video within Final Cut Pro by nesting your HD sequence within an SD sequence that matches your output format For example if your output format is DV NTSC nest your DVCPRO HD sequence in a DV NTSC sequence Some particular techniques for downconverting HD video to SD are listed below Chapter 1 Using DVCPRO HD 53 54 Pan and Scan You can crop and even perform simple pans by animating the origin parameters in the Motion tab For more information on using the Motion tab and animating parameters see Volume IIl Chapter 2 Creating Motion Effects and Using Keyframes in the Final Cut Pro 4 User s Manual Warning It is difficult to add a convincing pan into a scene that did not originally have one Use this technique sparingly Letterboxing You can scale the entire HD movie by nesting and scaling it into an SD sequence You will have to render the whole sequence before you output Chapter 1 Using DVCPRO HD DVCPRO HD Output in Final Cut Pro DVCPRO HD clips and sequences are recorded to tape via FireWire just like any other DV media For more information about editing to tape see Volume Chapter 15 Editing to Tape in the Final Cut Pro
135. te of a media file don t match For example if you are editing 23 98 fps 24p video that came from 29 97 fps tapes the frame rate of your media files is 23 98 fps but the timecode runs at 30 fps To see 24 fps timecode that matches the video frame rate choose clip time Another example is when you are editing 24 fps clips that came from 25 fps tapes called 24 25 In this case you can choose to look at the original 25 fps timecode source time or have Final Cut Pro display 24 fps timecode clip time Important Clip time does not necessarily correspond to the timecode of the source media file timecode Do not rely on clip time when trying to refer back to original frames from media files or tapes Note For most editing situations there is no difference between source time and clip time To avoid confusion you should usually select source time unless you have a specific reason to use clip time Chapter 5 Viewing and Modifying Timecode Time Displays You can also choose to view your timecode with several possible time displays depending on the frame rate of the media file Non Drop Frame Available for most frame rates e Drop Frame Available only for 29 97 fps NTSC media files 60 30 Available only for 60 and 59 94 fps high definition media files e Frames Available for any frame rate Time display merely affects the way the timecode numbers count whereas source time clip time and View Native Speed actually a
136. tead 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 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 w
137. 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 pull down 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 Preface New
138. 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 01420 Note The period automatically adds 00 to
139. those portions of your sequence 71 72 Editing the LiveType Title Contents Although you can perform normal editing tasks with a LiveType clip the LiveType title contents cannot be adjusted directly within Final Cut Pro LiveType title settings can only be changed in the LiveType application Final Cut Pro provides a quick and easy way to open LiveType clips directly in the LiveType application to make changes to your title To automatically open a LiveType clip from within Final Cut Pro In the Final Cut Pro Browser or within a sequence Control click the LiveType clip in which you want to adjust title settings then choose Open in Editor from the shortcut menu The LiveType project file is automatically opened in the LiveType application In LiveType make any necessary changes to the LiveType title Save and close the LiveType project file Return to Final Cut Pro Final Cut Pro automatically relinks any LiveType clips that reference the LiveType project you just changed In Final Cut Pro you can immediately see the changes to the LiveType title Using this method you do not need to reconnect the LiveType project file each time you alter it outside of Final Cut Pro Note The Creator column in the Final Cut Pro Browser indicates what application is launched when you choose Open in Editor from a clip s shortcut menu For LiveType clips the creator is automatically set to LiveType Chapter 3 Using LiveType Titles in Final Cut
140. to increment the leading number the minute marker from 7 to 2 1 55 1 56 1 57 1 58 2 00 2 01 2 02 2 03 Continue writing for several minutes even if you think you are doing the exercise poorly The most important thing to do is make some kind of mark for each second that passes on the clock and to avoid the number 59 in your counting as explained above Don t stop until you have written for a minimum of three minutes Chapter 4 Editing Film With Final Cut Pro in a PAL Environment 79 The reason this exercise is challenging is because you have to keep track of the count on paper or in your head and ignore the numbers on the clock The first minute is easy After that if you simply copy the numbers on the clock s second counter you won t be doing the exercise properly The first problem with copying the numbers you see on the clock counter is that you will eventually include the 59 which isn t allowed The other more challenging problem is that each minute that you skip another 59 your number count on paper drifts further and further from the clock s number count One way to make the exercise easier is to use a clock or metronome a musical beat counter that flashes 60 times per minute but doesn t show an actual number count This way the numbers on the clock won t throw you off but a steady beat rate is provided to keep you counting in proper time Even if you can t easily complete the second exercise make sure you al
141. trols 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 20 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 create
142. ts Chapter 7 Appendix 95 95 95 96 96 96 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 Contents New Features in Final Cut Pro HD Preface 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 F
143. uence 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 gt 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 14
144. ulated based on a percentage of the first scratch disk selected in the Scratch Disks tab of 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 e 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 93 94 Maximizing Media File Performance for Multiple Stream Real Time Playback Final Cut Pro captures and writes media files to maximize the number of simultaneous streams and real time effects during playback Note The number of playback streams does not necessarily correspond to the number of video tracks in your sequence Instead the number of streams refers to how many simultaneous video files can be read from your scratch disk In rare cases Final Cut Pro alerts you if imported media files cannot be optimized for multiple stream real time playback These files are perfectly fine to use in your Final Cut Pro project Unless you are editing with multiple uncompressed video streams that demand maximum media file performance you can usually leave the files as they are and continue editing normally Since Final Cut Pro always optimizes files when capturing simply recapturing sho
145. uld maximize the file s performance Note If you are editing standard definition DV captured in Final Cut Pro your media files are already optimized Final Cut Pro may not automatically optimize the following e Media files captured or created with a third party codec not supported by Final Cut Pro Some media files captured in early versions of Final Cut Pro To disable the non optimized media warning when importing files into Final Cut Pro Choose Final Cut Pro gt User Preferences Click the General tab Deselect the Warn when importing non optimized media checkbox Final Cut Pro will no longer warn you when it discovers a media file that it cannot automatically optimize Determining the Application That Created a Clip 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 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 Chapter 6 Media and Clip Management 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 Cli
146. ure and Television Engineers SMPTE standardizes timecode 1968 The computer mouse is invented 1970 3 4 inch U Matic video format is introduced 1970 Computer floppy disk is introduced 1971 First permanent IMAX film system is installed 1972 FCC establishes rules for cable TV 1972 The first computer editing system the CMX 300 is introduced 1975 JVC introduces the Video Home System VHS 1977 First pre assembled personal computer the Apple Il is introduced 1982 Sony Fujitsu and Philips introduce audio compact discs CDs 1986 BetacamSP is introduced 1987 The first commercial digital videotape format D 1 is introduced 104 Appendix High Definition Video Fundamentals 1990 General Instrument proposes an all digital HDTV system in the U S 1991 Japan adopts Hi Vision MUSE as the national HDTV standard 16 9 aspect ratio 1 125 scanning lines 30 fps interlaced 1993 Digital Betacam is introduced 1996 DV format is introduced 1997 DVD format is introduced 1997 Advanced Television Systems Committee ATSC digital television standards are adopted by FCC including 18 formats 6 of which are HDTV 1999 Final Cut Pro 1 0 is introduced 2000 DVCPRO HD equipment begins shipping To fully appreciate today s digital high definition video formats consider that some of the earliest television signals circa 1930 had only 30 lines of resolution In the 1940s an electronic television system in
147. uring Edit to Tape operations Using a Mac OS X compatible 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
148. usting high definition image dimensions before importing your graphics into Final Cut Pro Chapter 1 Using DVCPRO HD Generating Color Bars and Tone for 1080160 and 720p60 Video Bars and tone generators are available for use with1080i60 and 720p60 sequences 720p30 and 720p24 sequences can also use 720p60 Bars and Tone Real Time and Rendering High definition video requires more disk space processing power and rendering time than standard definition video Despite the increased demands of high definition video Final Cut Pro supports real time effects whenever possible Media with a lower frame rate and smaller image dimensions such as 720p24 are able to achieve more real time playback than formats like 1080160 Upconverting and Downconverting Combining High Definition and Standard Definition Media in Sequences During the transition from SD to HD video many editors encounter situations where they must mix HD and SD video on the same Timeline or different HD frame sizes in the same sequence For an introduction to converting between high definition and standard definition formats see Downconverting High Definition Video on page 112 and Upconverting Standard Definition Video on page 115 Because Final Cut Pro is resolution independent you are free to add any clips in the Browser to a sequence but clips that do not match the current sequence preset almost always need to be rendered during playback indicated by a red
149. ways make some kind of mark on the paper for each second that passes This is the most critical thing to do so that each second of actual time that passes is accounted for on your piece of paper no matter how scribbled it may have been written The second exercise demonstrates an important concept No matter what you write on paper you are always writing at a rate of 60 times per minute The only difference between the first and second exercise is not how fast you wrote it was the same rate in both cases 60 times per minute but what you wrote since you used a different counting method in each exercise At the end of the first exercise looking at the last number immediately tells you how long you were writing For example if the last number you wrote was 3 14 you know that you were writing for 3 minutes and 14 seconds However in the second exercise if the last number you wrote was 3 14 it would be incorrect to say you were writing for 3 minutes and 14 seconds because you actually skipped a couple of numbers along the way Since you skipped 0 59 1 59 and 2 59 the numbers written on paper are 3 seconds ahead of where the actual clock time was at In other words 3 14 on your paper means you were only writing for 3 minutes and 11 seconds More importantly the numbers themselves don t correspond to how much time passed but each second is accounted for because you wrote something at each second Chapter 4 Editing Film With Final Cut Pr
150. x 9 or 1 78 Standard definition 1 33 1 4x 3 High definition 1 78 1 DVCPRO HD 16 x 9 Standard cinema 1 85 1 Widescreen cinema 2 35 1 Appendix High Definition Video Fundamentals Interlaced and Progressive Scanning Methods DVCPRO HD can record either interlaced or progressive scan images depending on the frame size and format e 1920 x 1080 Interlaced also called 1080i e 1280 x 720 Progressive also called 720p When choosing a scanning method keep in mind the following Progressive frame rates are compatible with computer monitors eliminating interlacing difficulties that motion graphics designers and special effects artists faced for years Interlaced CRTs are still the predominant television display throughout the world All major television systems PAL NTSC and SECAM are interlaced as is the current Japanese HDTV format Hi Vision Muse Native Image Dimensions DVCPRO HD cameras capture two possible Common Image Format CIF image dimensions e 1920 pixels x 1080 pixels e 1280 pixels x 720 pixels Or here this is described using traditional analog terminology 1080 lines each sampled 1920 times e 720 lines each sampled 1280 times Although a DVCPRO HD camera CCD charge coupled device captures full resolution HD images every two or three pixels are averaged together a process known as subsampling so that less pixel information is recorded to tape Therefore the native im
151. yboard 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 16 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
152. zed 1920 x 1080 1280 x 720 16 x 9 1 78 1920 x 1080 16 x 9 1 78 Scale up D q ra N 480 to 1080 i 480 to 720 4x 3 anamorphic video is actually a 16 x 9 image squeezed into a 4 x 3 frame so it can easily be scaled to fit a high definition sequence 480 anamorphic to 1080 a 480 anamorphic to 720 Appendix High Definition Video Fundamentals 115 116 DVCPRO HD Specifications DVCPRO HD is an extension of the DVCPRO 25 and DVCPRO 50 formats DVCPRO HD Tape Format The data rate of DVCPRO HD is fixed at 100 megabits per second or 12 5 megabytes per second The tape speed of DVCPRO HD is double the DVCPRO 50 tape speed and four times the speed of DVCPRO DVCPRO DVCPRO 50 and DVCPRO HD use a metal particle MP tape formulation Some tape sizes are supported only by decks and not by cameras As the data rate is doubled from 25 to 50 to 100 Mbps the recording time is halved in each case Therefore a 63 minute DVCPRO tape stores only 31 minutes of DVCPRO 50 footage or 15 minutes of DVCPRO HD Warning DV sometimes referred to as miniDV and DVCAM use a metal evaporated ME tape formula while DVCPRO uses metal particle tape When in doubt always use cassettes explicitly manufactured for the camera or VTR you intend to use the tapes with Aspect Ratio Regardless of the specific resolution used DVCPRO HD always captures and displays an image with an aspect ratio of 16

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