Apple Final Cut Studio Dokumentacja

Final Cut StudioWorkflows

Before focusing on where workflows diverge in different projects, it’s helpful to take astep back and look at how all workflows are alike. In this ove

For more information about using Compressor to do high-quality format conversion, seeFormat Conversion When Finishing Mixed-Format Sequences. Also see

Handling Closed CaptioningClosed captioning is a subtitling system designed to make television more accessible tothe hearing-impaired. Unlike movie su

Capturing Video with Closed Captioning Using Final Cut ProIf you’re using a video capture card that supports the preservation of closed captioning,clo

• For MPEG-2 elementary stream output: Compressor embeds CEA-608 closed captioningdata in an elementary MPEG-2 video stream so that it can be used for

You can also use a third-party utility. Most subtitling utilities take advantage of theFinal Cut Pro XML Interchange Format to automate the process of

Delivering AudioBecause of the variety of ways that audio can be mixed into various multichannelconfigurations, there are numerous methods for deliver

The most common surround sound formats are described below.• Dolby Digital (also called AC-3): A surround encoding format developed by DolbyLaboratori

• If you’re delivering your video master on an HDCAM SR or D-5 tape, you may berequested to output all six discrete surround channels, plus stereo dow

• Fully filled international tracks: Often, key production sound effects (for example, a doorslamming or footsteps) occur underneath sections of dialo

This chapter discusses how to manage the final output and delivery of your program,including the eventual long-term archiving of your program’s assets

There’s one key decision that you make during ingest that affects editorial development,and later, finishing. This is whether to ingest your program’s

Although these formats are the most common, some networks request masters usingother tape formats. Check ahead to see what’s required.The only applica

• You can encode your program into MPEG-2 media using either Compressor orDVD Studio Pro. If you use Compressor, you have more options for adding clos

Compressor can work with an Apple Qmaster cluster to use multiple processing cores ona single computer and multiple computers on a network to process

Printing to FilmIn any digital intermediate (DI) workflow involving Final Cut Studio, the final deliverableis typically a single, continuous DPX image

Render speed effects as self-contained QuickTime movies before sending to ColorAlthough speed effects are compatible with Final Cut Pro–to–Color round

Doing a Negative ConformIf you’re finishing a film program by conforming the original negative, in advance of doingoptical color timing and film print

• If you’re not using Final Cut Server: In this case, you need to gather all of your program’sassets manually. It’s usually best to move everything to

Stage 4: FinishingAfter a program’s story has been edited and the project’s content is considered complete,it’s time to give the program its final pol

For more information about how Final Cut Pro, Compressor, DVD Studio Pro, and Colorwork together to output to any of these delivery media, see Output

You can focus on being creative, rather than on fixing problemsLastly, working out your post-production strategy in advance lets you avoid problemsbef

How to Approach Workflow DesignTwo of the most important decisions to make are how you want to ingest your mediaand how you’ll output it. These decisi

Quality-Control GuidelinesAn absence of standardization and engineering oversight means that venues hostingweb video usually have extremely permissive

Types of ProgramsProgram types commonly include direct-to-video programming, shorts and featuresintended for film festival exhibition, corporate commu

Workflow SummaryThis is one of the most basic and straightforward workflows you can follow. Your videois ingested into Final Cut Pro using the Log and

Quality-Control GuidelinesBecause programs in this workflow are being delivered for broadcast, tight quality-controlstandards usually apply. (Some net

Copyright © 2009 Apple Inc. All rights reserved.Your rights to the software are governed by theaccompanying software license agreement. The owner orau

Types of ProgramsProgram types include high-end commercial spots, high-end music videos, dramas,made-for-TV movies, and miniseries.Typical Acquisition

Delivery SpecificationsEach network typically has specific required delivery formats, which may include one ormore SD and HD formats. Also, networks u

Acquired on Film for Theatrical ExhibitionThis workflow refers to programs shot on film and then mastered and output for theatricalexhibition via film

• It’s best if you coordinate your efforts with the facility that is printing or mastering thefinal project.Delivery SpecificationsA program’s distrib

Workflow Summary for Digital Intermediate Finishing and Film PrintingIf you intend to use a digital intermediate workflow to finish your program, ther

• Other digital cinema cameras, such as the RED ONE, record 2K and 4K resolution imagedata using a proprietary RAW format. The RED Digital Cinema Came

Workflow SummaryDigital cinema cameras typically shoot tapeless media (although some filmmakers recordto HDCAM SR), so the specific method of ingest d

This chapter covers the myriad ways in which you can ingest media into theFinal Cut Studio applications for editing, motion graphics work, and sound d

However, this is only part of the story. Depending on the type of media you’re ingesting,other applications such as Cinema Tools and Color might play

Importing Information to Aid in CapturingThere are three ways in which you can import organizational information into Final Cut Prothat will help you

Introduction5PrefaceAbout Final Cut Studio Workflows5About the Final Cut Studio Documentation6Additional Resources6Developing a Post-Production Strate

For more information, search for “batch capture list” in Cinema Tools Help.Import Edit Decision ListsYou can also import an Edit Decision List (EDL) i

Ingest at online quality, edit using duplicate offline media, and reconform to onlinemedia for finishingThis strategy is typical for many programs who

Ingest Methods Based on Media TypeThe type of acquisition format you work with determines the ingest method used by thespecific Final Cut Studio appli

During the log and transfer process, you have several options for organizing your media.You can choose specific source media to ingest and add logging

Popular HD formats include DVCPRO HD, HDCAM, HDCAM SR, and D-5.Method of IngestAll tape-based formats are ingested using the Log and Capture window in

If you’re worried you won’t have the time or budget to get access to the deck in thefuture, you can capture at online quality right from the start. Th

• Safety transfer: Safety transfers are extremely conservative, with the camera negativebeing transferred as neutrally as possible. The emphasis is on

Sometimes, to save on tape costs, multiple rolls are transferred to a single 60-minutetape. For 35mm film, each subsequent roll is transferred in 15-m

Another advantage to importing telecine logs is that other logging information, such asfilm type, camera roll, telecine speed, and sometimes even the

Popular FormatsScanned film is typically stored as uncompressed 10-bit logarithmic DPX or Cineon imagesequences. Both DPX and Cineon are RGB color spa

Color Correction82Final Sound Editing, Design, and Mixing90Mastering97Chapter 6What Is Mastering?97Creating Versions of a Program with and Without Tit

The most important piece of information for organizing DPX media is the filename ofeach frame, which includes the frame number that identifies the fra

After you edit your sequence using these converted QuickTime clips, you then export anEDL from Final Cut Pro, which is used to reconform your project

• Importing audio from CDs: You can also directly import tracks copied from audio CDs.It’s important to copy all the tracks you want to use from the C

Popular FormatsFinal Cut Pro and Color support a wide range of image file formats. The most popularinclude TIFF, PICT, TGA, and JPEG. If you’re planni

Popular FormatsWhen you create media in another application that you want to use in Final Cut Pro, it’sbest to use the highest-quality codec that your

Ultimately, good organization will help you and your collaborators spend more timebeing creative. For more information, see:• Organizing Ingested Medi

Create a hierarchy of clearly named binsIt’s important to prevent the Browser from becoming difficult to navigate. You can usebins like folders, to he

Once placed within a shot, these markers can be used for navigation in the Viewer orTimeline. You can also access a menu of every marker within a clip

When you import a telecine log file into Final Cut Pro, all of this information appears inthe Browser, associated with each offline clip, ready for us

This chapter describes different ways in which Final Cut Studio applications can be usedtogether during the editorial development phase of post-produc

The Final Cut Studio Workflows document has been designed to summarize the overallpost-production process and show how the various applications in Fin

Although cutting picture and sound are the heart of this process, editorial developmentalso includes the development of titles and graphics as well as

Import an Edit Decision List from another applicationThe Edit Decision List (EDL) format is one of the oldest and most widely supported projectinterch

Integrating Titles and Broadcast Design Elements During EditingMost editors begin integrating titles and broadcast design elements into their projects

Editing Media from Motion into a Final Cut Pro SequenceIf you’ve already created a Motion project that you want to use in your Final Cut Prosequence,

When you send one or more clips from within a sequence, you have the option (turnedon by default) of immediately embedding a Motion clip in your seque

Compatible Still-Image FormatsAll Final Cut Studio applications that can import graphics files are capable of supportinga wide variety of image format

Compatible Media Formats for Animation and EffectsThe format you choose depends on whether or not you need to preserve regions oftransparency in the m

• Broadcast safe luma and chroma levels: Even if you’ll color correct your images later, it’suseful to keep the maximum broadcast safe levels for colo

The two ways of sending individual clips or groups of clips to Soundtrack Pro aresummarized below. For more information, see the Soundtrack Pro docume

Processing Audio Using an External EditorIf you need to make a change to an audio item that you’ve already imported, you canuse the Open in Editor com

There are many more possible combinations of input and output formats, andFinal Cut Studio can accommodate nearly all of them. The important thing to

You can also work synchronized to picture in GarageBand, but you need to export thescene you want to use as a QuickTime movie first. Dragging a QuickT

Final Cut Studio provides several ways of delivering your program for review during anypart of the organization, editing, or finishing process. This c

Providing a Window Burn for ReferenceWhen providing a review copy to your client, it can be extremely useful to add a timecodewindow burn to the video

Remote Review MethodsFinal Cut Studio provides many ways of delivering clips and edited sequences to remotereviewers. The methods that are appropriate

Create a DVD with DVD Studio ProIf you want to hand off a copy of the program for someone to review from the comfortof home, you can use DVD Studio Pr

This chapter describes how Final Cut Pro, Compressor, Color, and Soundtrack Pro worktogether to let you apply the final polish to your programs.This c

What Is Finishing?Finishing is a catch-all phrase that describes an entire family of related activities. In anutshell, finishing describes the process

• Creating Final Broadcast Design Elements and Effects• Color Correction• Final Sound Editing, Design, and MixingDon’t Feel Obligated to Do Everything

Another possible approach is to upconvert previously recorded compressed media byconnecting the SDI or HD-SDI output from a video deck or camcorder to

Why is it important to upconvert compressed media at the end of the finishing stage?When the time comes to color correct your program, near the end of

Discussion forums are also available to share information about each of the applicationsin Final Cut Studio. To participate, go to:• http://discussion

In some cases, you can mix formats and finish your program using the original mediawithout problems. However, certain combinations of mismatched media

What is the best way to do format conversion using Compressor?If you have one or more clips in your sequence whose frame rates, scanning methods(inter

• Reconforming Tape-Based Media• Reconforming via Telecine Retransfer• Reconforming to DPX or Cineon Film ScansReconforming Offline Duplicates of Onli

Stage 1: Preparing Your Sequence for Media ManagementIn general, it’s a good idea to do a certain amount of preparation to your sequence beforeusing t

Stage 4: Changing the Ingest Options in the Log and Transfer WindowOpen the Log and Transfer window and choose Preferences from the Action pop-upmenu

• “Include render files” checkbox: Off• “Set sequences to” pop-up menu: Typically, you should choose the sequence setting thatcorresponds to the forma

Stage 1: Preparing Your Sequence to Export a Pull ListThere are a few things you can do to better organize your sequence in preparation forexporting a

Stage 3: Having the Film RetransferredThe actual retransfer is fairly simple. This workflow assumes that each camera roll of filmwas originally transf

Stage 1: Preparing Your Final Cut Pro SequenceTo ensure reliability when it comes time to reconform the offline edit of your project inFinal Cut Pro t

To ensure a smooth reconform in Color, you need to request that the timecode thatidentifies each frame of negative (relative to the marker frame at th

The finishing process can also result in changes to sequence resolution that may havean impact on the different kinds of effects clips you may use in

A sequence’s resolution is usually changed in preparation for recapturing or retransferringhigher-resolution media; this change in resolution is neces

• If you click No: The settings of the sequence that Color sends back to Final Cut Pro areidentical to those of the sequence that was originally sent

• Bring attention to specific elements in the frame• Make creative adjustments to stylize the appearance of the imagesIn most post-production workflow

Make Sure You Have the Right Setup for Color CorrectionIf you plan to do your own color correction, it’s important to make sure that you havethe right

Color Correcting a Program in Final Cut ProFinal Cut Pro offers a considerable tool set for color correction. Although the Final Cut Procolor correcti

Tips for Color Correcting in Final Cut ProIn general, color correcting in Final Cut Pro doesn’t require a lot of preparation. Still,there are a few st

Stage 3: Grading and Rendering Your ProgramAfter you send your sequence to Color, you can use its dedicated tool set, in conjunctionwith a control sur

• You should export self-contained QuickTime files for effects clips that you want to colorcorrect in context. Color doesn’t support media like genera

Delivering a Program to Another Facility for GradingYou can deliver your edited program to another facility for grading using third-partyhardware and

This chapter discusses, in broad strokes, the overall workflows and strategies you canemploy for ingesting, editing, finishing, and mastering various

Final Sound Editing, Design, and MixingSound editing, design, and mixing comprise a series of activities that are geared towardpolishing the audio of

Make Sure You Have the Right Setup for MixingIf you plan to do your own sound design and mixing, it’s important to make sure thatyou have the right su

Organize audio clips into tracks according to their typeAudio editing and mixing is a lot easier if you organize the audio clips in an editedsequence

For more information about mixing your sequence right in the Timeline, see theFinal Cut Pro documentation.Soundtrack Pro, on the other hand, is a dedi

Note: It’s typical for the sound mix and color correction of a program to be done at thesame time. As with color correction, it’s most efficient to lo

Stage 4: Sending the Final Mixdown to Final Cut ProWhen you finish with the final mix, there are two ways you can send the mixdown backto Final Cut Pr

Delivering Your Program MaterialsWhen you work with another facility to do the audio, you’re usually asked to provide thefollowing:• A reference video

This chapter provides information about mastering your program. Proper masteringensures that you provide all of the elements needed for delivery to a

• Subtitling and Closed Captioning• Delivering AudioCreating Versions of a Program with and Without TitlesA common requirement, especially from networ

Format ConversionBroadcasters and distributors usually request that you deliver tape masters of your programin multiple formats. Typically, the requir