#FINAL CUT PRO EDITING TIMEBASE SETTING 720P#
#FINAL CUT PRO EDITING TIMEBASE SETTING INSTALL#
#FINAL CUT PRO EDITING TIMEBASE SETTING FULL#
#FINAL CUT PRO EDITING TIMEBASE SETTING DOWNLOAD#
#FINAL CUT PRO EDITING TIMEBASE SETTING MAC#

Although the Varicams can shoot at many frame rates, there are only a few compatible frame rates that can match Final Cut capture and sequence presets. Next let's look at an acceptable timebase for Final Cut, in other words what frame rate you will be cutting with. It will then show up as an option in Final Cut (we'll cover this in a minute). This file will allow you to properly convert footage shot as slow or fast motion so that it plays as intended.

#FINAL CUT PRO EDITING TIMEBASE SETTING INSTALL#

As it states on Apple's web site, this updates QuickTime components used by Final Cut Pro HD.Ģ Frame Rate Converter for Final Cut Pro HDĭownload and install this file. One thing this fixes is a strange double-image on an externally connected monitor. If you are using the Panasonic 1200A deck (AJ-HD1200A) which allows you to use FireWire for input and output, then this file is important.

#FINAL CUT PRO EDITING TIMEBASE SETTING DOWNLOAD#

Click on the link, download the file and install it. It will bring up a result for DVCProHD Components 1.1. Included are links that are active at the time of this writing.

#FINAL CUT PRO EDITING TIMEBASE SETTING FULL#

Even if you have Final Cut Pro HD, you still need these files for full functionality with this format. There are two files you need to install that are essential when working with Panasonic DVCPRO HD footage with Final Cut. To put this in perspective, if we had gone the direction of a hi definition capture card, working at 'uncompressed' resolution capturing through HD SDI, we would have had to handle files with data rates exceeding 100Mb/sec, as opposed to the mere 5.5 Mb/sec of this new route.

#FINAL CUT PRO EDITING TIMEBASE SETTING 720P#

With the aid of a color correction session also done in Final Cut, our final output was done from Final Cut via a FireWire cable back to 720p on tape. Because of this, there was no need for a traditional offline/online, in other words no need in the end to re-capture at a better quality or transferring to another machine to create the final mastered video. The media files were somewhat small and had low data rates, around 5.5 Mb/sec for 24p, so there was easily enough room on our drives for a meager 20 hours of footage at full resolution. In other words, we brought in the footage into Final Cut at full recorded quality, working with the format in its native resolution. Additionally, we worked at online resolution for the whole edit. With the above equipment, we could work with hi definition footage in Final Cut without a lot of extra expensive equipment. No striping of drives was needed on the G4 or G5. We used an external SATA array purchased from ProMax. Hard drives for media when working on a G5: An internal or external SATA drive is plenty fast enough.Hard drives for media when working on a G4: A good FireWire 400 drive is plenty fast enough for 24p footage.For critical hi definition monitoring, like for color correction, connect a BNC cable from the HD SDI Out on the 1200A deck to HD SDI In on a hi def monitor.

#FINAL CUT PRO EDITING TIMEBASE SETTING MAC#

Install two files on your Mac found on Panasonic and Apple's web sites.Use a 6 to 6 pin FireWire 400 cable from computer to tape deck for capturing from, outputting to, and controlling the deck from within Final Cut.Use Panasonic AJ-HD1200A deck to input/output material into Final Cut over a FireWire cable.Overall, the amount of equipment needed in post production is minimal. Others were gracious with their experiences, but other things we had to pick up along the way. Overall, it worked as advertised, it looked great, it was a simple workflow, and everyone was happy, but there was a bit of a learning curve. In fact, you'll find working with this footage in Final Cut much like working with DV.Ī few months ago, I photographed and edited a documentary with a DVCPRO HD Varicam (720p/24) and Final Cut. There is no need for a specialized capture card or extremely fast and expensive hard drives. Editing storage and final mastering are possible on even the most modest of systems. One of the main selling points of Final Cut Pro HD (version 4.5) is the ability to easily work with hi definition footage shot in the Panasonic DVCPRO HD format using the Varicam camera, so named because it allows for multiple frame rates when shooting.Īnd best of all, this footage can flow into your computer with ease via a simple FireWire cable connected to a tape deck.

Workflow With Panasonic HD and Final Cut Pro HD

Final cut pro editing timebase setting