HD Workflows with Final Cut Studio 2
High-definition video is today's fastest-growing platform for video content, and it's used by professionals and hobbyists alike. The demand to acquire, edit, and deliver HD content is always increasing. In HD Workflows with Final Cut Studio 2, Apple Certified Trainer Larry Jordan delves into the HD workflow. He provides a comprehensive explanation of what HD is, how to work with the many forms it comes in, and how to use the most common formats and codecs. This course is for anyone wishing to learn about HD--from distribution formats and transcoding to hardware requirements and editing in Final Cut Studio. The second half of the training teaches a variety of specific techniques and workflows for successfully handling high-definition video in Final Cut Pro. Exercise files accompany the course.
- Understanding HD terms
- Getting familiar with HD video formats
- Creating an HD workflow
- Capturing HD video both natively and to ProRes
- Ingesting DVCPRO HD video
- Ingesting XDCAM HD/EX video
- Rendering HDV footage more quickly
- Transcoding and downconverting HD video
- Achieving a "film look"
- Exporting and outputting an HD project
What this course covers and how to use it
- [Voiceover] Welcome to working with high-definition video in Final Cut Studio. My name is Larry Jordan. Our goal in this title is to help you understand HD better so you can use it more effectively. Now while the operation of Final Cut Studio is essentially the same regardless of the video format you're editing, working with high-definition requires special consideration during setup, capture, and output. And goodness knows there is terminology and technology to learn. So this title focuses on what you need to know about working with high-def.
If assumes you already have a working knowledge of Final Cut Pro. And if not, it'd probably be better to start with our other titles on the Essential Training in Final Cut. Or, if you're interested in transcoding, take a look at our compressor two and compressor three titles 'cause that'll make a huge difference as well. I can't tell you how many emails I get a day from people who are struggling to figure out what's going on with HD. And the reason it's so confusing I realized as I was putting this title together, there's over 400 different varieties of HD.
Using different frame sizes, frame rates, compression formats, codecs, pixel aspect ratios, scan. It's, and it seems like we're adding about five new formats a month. And that doesn't mean that all those formats can be edited, much less that fact that the cameras can be controlled. It's enough to just drive you nuts. So, here I think is the key point. Unlike standard-def, the high-def video format that you shoot will almost never be the video format that you distribute. You shoot HDV but you don't hand somebody an HDV tape.
You shoot XDCAM but you don't hand them a Blu-ray disk. You shoot one format and you distribute a second. So a knowledge of all these different HD formats is essential 'cause your essentially gonna be working in two sides. The format that you use for acquisition, what you shoot. And the format that you use for editing and distribution. And many times, there's a significant disconnect between those two. So in this title, I'll give you an understanding of basic HD terms and technology. I'll show you how to choose an acquisition format and what the hardware requirements are for Final Cut Studio, including some special hardware that you need for HD.
I'll also give you a sense of what HD workflows are, not just for high-def, but for transcoding. And I'll share with you some thoughts on how to achieve a film look for your videos. Then, we'll get our hands into Final Cut Pro and show how to get HD into Final Cut whether it's HDV, or DVCPRO HD, or XDCAM HD, or XDCAM EX, or uncompressed HD, or even image sequences coming out of 3D studio package. Then we'll talk about ways of optimizing and speeding up our editing and our rendering.
Look for the best ways to output and export our files, and wrap up with a discussion of transcoding as we change from one format to the next. So there's a lot to talk about. If you're a premium member of the lynda.com online training library, or if you're watching this tutorial on a disc, then you have access to the exercise files that I use in this title. If on the other hand, you're a monthly or annual subscriber to lynda.com, then you don't have access to the exercise files, but you can follow along using your own assets.
If you do have the lynda.com premium membership, or you're on a disc, I just wanna illustrate one thing. Copy the exercise file folder to your desktop. Inside it you'll find a projects folder and a media folder. Everything you need is in those two folders. But you need to copy it to your desktop. The web and a DVD is nowhere near fast enough to make this thing work. It's about two gigabytes in size. It'll take a while, but it's gonna make running this project a lot easier.
Well that's sort of the organization of this title. Let's get our self started, and we'll do that by looking at some key terms and technology. That is next.
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