Wacom SD-311E Manuel d'utilisateur télécharger pdf (Page 50)

COMPUTER VIDEO

APPLE

1071

FINAL CUT STUDIO 2 / FINAL CUT PRO 6

(212) 444-6601• 1-800-947-9901• Quick Dial 831

Emmy Award-Winning

Editing Software

The first choice of professional editors worldwide, Final Cut Pro 6

delivers high-performance digital nonlinear editing, native

support for virtually any video format, and facility-class

extensibility and interoperability. Its workflow extends through

the other Final Cut Studio applications and Final Cut Server for

even more power. Whether you’re working solo or collaborating

with a team, Final Cut Pro gives you more creative options and

technical control than ever before.

Wide Format Support

With native support for virtually any format, Final Cut Pro 6 lets you edit virtually anything with the highest possible quality. Edit everything from un-

compressed SD to HDV, DVCPRO HD, and uncompressed HD — as well as Panasonic P2 and Sony XDCAM HD/EX tapeless formats. Or use ProRes 422,

Apple’s post-production format, for uncompressed HD quality at SD file sizes. Mix and match a wide range of formats and even frame rates in the open

format Timeline. If you edit film, use the redesigned interface in Cinema Tools 4 to work faster than ever, with customizable lists that let you combine

timecode and keycode in a single document.

◆ Mix and match source material in a wide

range of formats and even different frame

rates. Just drag your footage into the Time-

line. Freely edit a combination

of HD and SD,

including NTSC and PAL, all in real time. Of-

fers real-time scaling and playback for video

in various camera-native formats as well as

Apple ProRes 422. Watch the QuickTour

◆ Edit virtually anything natively, so you get pristine quality from the

first cut to the final output. No need to transcode video from camera-

native formats — no matter whether it’s coming from a DV, HDV, or

DVCPRO HD camera. Output will always be as stunning as the original

source. Final Cut Pro 6 supports a wide range of standard definition

and high-definition formats.

◆ ProRes 422 post-production format offers uncompressed HD quality

at SD file sizes. Use ProRes 422 when collaborating on an Xsan storage

network, when working with non-native camera formats, or to preserve

maximum quality for composites and demanding color grading work.

◆ Use the Log and Transfer function in Final Cut Pro for ingesting

Panasonic P2 files or Sony’s free XDCAM Transfer software for

ingesting 18-, 25-, and 35Mbps XDCAM HD/EX footage. Preview shots

before you bring them in, add In and Out points, and incorporate

metadata before you transfer files to save time when you get to the

edit. Ingest tapeless files in the background at high speeds while you

continue to edit or preview other material.

◆ With support for the Apple Intermediate Codec, Final Cut Pro 6 can

import and work with media and projects from the most recent

versions of iMovie HD and Final Cut Express HD.

Cinema Tools 4 for Film

Cinema Tools 4 offers convenience for traditional film workflows. Deeply integrated with Final Cut Pro 6, it features a streamlined interface that lets

you work quickly and easily. The film lists produced by Cinema Tools 4 are completely customizable and can include both timecode and keycode in

the same list. Easily export your lists as XML and import them into industry-standard tracking systems used to pull film negatives. You can even output

beautifully formatted, easy-to-read PDF lists to use for reference or to share with clients.

◆ Manage keycode and timecode data

associated with your projects shot on film or

scanned to DPX or Cineon files. Cinema Tools

is a database application that tracks clips and

sequences back to their original film frames

or scanned files for final finishing. Export film

lists with timecode and keycode in both PDF

and XML formats. Use the pulldown removal

functions to turn 29.97 video into 23.98 and

modify 25fps footage to edit at true 24 fps.

◆ To edit film footage digitally, you convert

footage to digital video, using a film-to-tape

telecine process. Transfer film footage to any

of a wide range of SD and HD video formats

supported by Final Cut Pro 6. Then edit the

same way you would cut original video, using

the 24p frame rate required for film. Cinema

Tools 4 tracks the edits and outputs the

information you need to conform the original

camera negative for your final film out.

◆ In digital editing, you can use the same clip

repeatedly without creating physical

copies. Cinema Tools includes a list of

digital dupes in the cut list. This information

helps filmmakers reduce costs by

eliminating unwanted dupes. Dupes that

remain in the list alert the negative cutter

that additional copies of the film footage

are required. The cut list identifies optical

effects as well.

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Wacom SD-311E Manuel d'utilisateur Page 50

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