Stage 1: Installing Sony XDCAM Transfer Software Final Cut Pro requires Sony software to mount XDCAM devices, ingest media from them, and export Final Cut Pro sequences back to MXF-wrapped footage. You can download the XDCAM Transfer (PDZ-KP1) software from the Sony website. Optionally, you can use the Log and Transfer window to ingest XDCAM EX media. This option requires the XDCAM EX Log and Transfer plug-in software, available.

For more information about using the Log and Transfer window, see “About the Log and Transfer Window” in the Final Cut Pro 7 User Manual. Complete instructions for using the Sony XDCAM Transfer software and the corresponding XDCAM import and export plug-ins are included with the software. • Make sure the Extended Menu option is enabled on the deck by following the steps above. • Disconnect the FireWire cable between the deck and your computer. • Press the System Menu button. • Rotate the jog dial until i.LINK MODE (menu 215) is selected. • Hold down the Shuttle button to display the i.LINK MODE options.

Xdcam Hd 422 Codec Download Premiere Cs6. QuickTime Codec (Decode Only. XDCAM HD 422 Memory Camcorders and. 22 camcorder to Mac.

• While holding down the Shuttle button, rotate the jog dial until FAM (PC REMOTE) is selected, then release the Shuttle button. • Press the Set button to save your settings.

• Connect the deck to your computer with a FireWire cable. The disk appears mounted on your computer desktop. You can also enable remote device control on a Sony PDW-F70 XDCAM HD deck and then connect it to transfer XDCAM HD footage.

• Disconnect the FireWire cable between the deck and your computer. • On the deck, press the Menu button. • With SETUP MENU selected, press the Right button to display the SETUP MENU options.

• Press the Down button until INTERFACE SELECT is selected, then press the Right button to display the INTERFACE SELECT options. • Press the Up or Down button until FAM (PC REMOTE) is selected. • Press the Set button to save your settings. • When the deck asks you to confirm your settings, press the Set button. • Connect the deck to your computer with a FireWire cable. Stage 3: Ingesting XDCAM Media Use the Sony XDCAM Transfer (PDZ-KP1) software and import plug-in to ingest XDCAM, XDCAM HD, or XDCAM EX media from MXF-wrapped or MPEG-4-wrapped media to QuickTime-wrapped media on your scratch disk.

For more information, see. Optionally, you can use the Log and Transfer window to ingest XDCAM EX media. This option requires the XDCAM EX Log and Transfer plug-in software, available. For more information about using the Log and Transfer window, see “About the Log and Transfer Window” in the Final Cut Pro 7 User Manual. Important: Although it is possible to copy MXF or MPEG-4 media directly to your scratch disk, Final Cut Pro won’t recognize the MXF files. Use the Sony XDCAM Transfer software instead.

Stage 4: Choosing an Easy Setup To edit DVCAM or IMX footage ingested from an XDCAM device, simply choose a corresponding DV or IMX Easy Setup and begin editing. For more information about IMX, see.

To edit XDCAM HD or XDCAM EX footage, you must first ingest your XDCAM HD or XDCAM EX footage to QuickTime media files on your scratch disk. Telcordia Sr 332 Handbook Of North. Then you can simply choose the XDCAM HD or XDCAM EX Easy Setup that corresponds to your footage and edit as you would with any other native format in Final Cut Pro.

Note: Final Cut Pro renders and exports LP (18 Mbps VBR) XDCAM HD footage using the 35 Mbps (HQ) codec, so you cannot export back to the 18 Mbps VBR LP format. However, 18 Mbps VBR LP XDCAM HD footage is ingested at a data rate of 18 Mbps, so it still requires less disk space during ingest than the 35 Mbps format. Final Cut Pro also includes support for real-time playback of XDCAM HD variable frame rate footage. Stage 5: Choosing a Render File Format for XDCAM HD or XDCAM EX Sequences When you create an XDCAM HD or XDCAM EX sequence, you can choose to create render files using either the native MPEG-2 codec of your sequence or an Apple ProRes codec. Rendering native MPEG-2 creates small render files that conserve disk space, but rendering takes longer than for other formats because of the interframe compression this format uses. If native rendering is slowing down the pace of your editing, you can choose to render segments of your native XDCAM HD or XDCAM EX sequences using an Apple ProRes codec. Because Final Cut Pro supports mixed-format sequences, you can play back the entire sequence, including the Apple ProRes codec files, in real time.

In this slight variation of the native Sony XDCAM editing workflow, you continue to edit using a native sequence, but any render files will be in an Apple ProRes codec. The advantages to using an Apple ProRes codec as the rendering codec are: • Apple ProRes codecs use I-frame–only (intraframe) encoding, providing faster rendering and real-time playback performance.

• Apple ProRes codecs have a generous color sample ratio and bit depth, allowing for higher-quality rendering of visual effects. The advantages to rendering natively are: • Conforming for export or output to XDCAM HD or XDCAM EX formats happens faster because the render files are already in the necessary format. If you aren’t outputting to XDCAM HD or XDCAM EX formats, this may not be an advantage.

• Native XDCAM HD or XDCAM EX render files are smaller than those generated by other HD I-frame-only codecs. Stage 6: Editing XDCAM Media Natively For the most part, editing native XDCAM HD or XDCAM EX footage is identical to editing any other format in Final Cut Pro. However, because of the GOP structure of MPEG-2 media, edits in XDCAM HD and XDCAM EX sequences require some additional processing during playback and output. The additional processing happens automatically, but it is a good idea to understand why it is necessary.

When you edit two XDCAM HD or XDCAM EX clips together in a sequence, the GOP pattern is typically broken. In particular, cutting an XDCAM HD or XDCAM EX clip can remove the I-frame that subsequent P- and B-frames rely on for picture information. When this happens, Final Cut Pro must preserve the I-frame for these other frames to refer to, even though the I-frame is no longer displayed in the sequence. Final Cut Pro reconforms the broken GOPs in the vicinity of the edit and leaves the subsequent GOPs unchanged. This requires additional processing power and memory not necessary for I-frame-only editing (such as DV editing). During playback, this process happens in real time. For output and export, Final Cut Pro reencodes (or conforms) the areas of your sequence that require new I-frames or GOPs.

To save time during rendering and editing, you can set up your native XDCAM HD or XDCAM EX sequence to render using an Apple ProRes codec. Using an Apple ProRes codec also produces high-quality 4:2:2 render files that, in some cases, may be higher quality than rendering back to native XDCAM HD or XDCAM EX. For more information, see. Stage 8: Outputting to XDCAM Media and Other Formats If you want to export a finished sequence or clip from Final Cut Pro back to an MXF file containing XDCAM or XDCAM HD footage, or an MP4 file containing XDCAM EX footage, you need to use the XDCAM export plug-in included with the Sony XDCAM Transfer (PDZ-KP1) software. For more information, see and. Note: Exported XDCAM sequences must have four mono audio outputs assigned, regardless of how many tracks the sequence contains. Optionally, you can export your sequence as a QuickTime movie, export your sequence to Compressor, or send your sequence to Color for finishing.

You can also use the Share feature to quickly create and deliver output media files in iPod, iPhone, Apple TV, MobileMe, DVD, Blu-ray Disc, YouTube, and Apple ProRes formats. For more information about using Compressor, see the Compressor User Manual. For more information about the Share feature, see “Using Share” in the Final Cut Pro 7 User Manual. For more information about Color, see the Color User Manual.

For more information about workflows, see Final Cut Studio Workflows, available.

Avid Codec Guide Avid Media Composer and Symphony ship with a wide range of old and modern codecs. They can also be free of charge for systems without Avid products installed. SD codecs Avid DV - SD codec used when exporting DV material Avid MPEG2 50 - SD codec for MPEG 30, 40 or 50 material Avid Meridien Compressed - SD codec for compressed material Avid Meridien Uncompressed - SD codec used for 1:1 OMF outputs Meridien Compressed has various compression ratios ranging from 2:1 (36 Mbps) to 35:1 (12 Mbps). SD / HD codecs Avid 1:1x * - 8-bit lossless 4:2:2 codec that produces very large file sizes Avid Packed - Essentially the same as 1:1x except it supports 10-bit media Avid RGBPacked - RGB version of the Packed codec Avid DV100 - HD codec used for exporting DV100 media * x normally refers to 10-bit codecs but in the case of Avid 1:1x it was used to designate MXF during the transition away from OMF DNxHD Codecs DNxHD is the most likely codec to be used in Media Composer.

Each variant is named according to bitrate and bit depth, so for example DNxHD 120 means it's a 120 Mb/s 8-bit codec and DNxHD 185x means it's a 185 Mb/s 10-bit codec (the x indicates 10-bit). Office Suite Pro 7 Apk Product Key. Offline Codecs DNxHD 36 DNxHD 60 DNxHD 80 DNxHD 90 Medium Quality Codecs DNxHD 100 DNxHD 115 DNxHD 120 Mastering Codecs DNxHD 145 DNxHD 175 DNxHD 185 DNxHD 185x DNxHD 220 DNxHD 220x DNxHD 440 DNxHD 440x Similar Bitrate Codecs Try to choose a codec that matches the bitrate of your acquisition format.

All codec bitrates are calculated at 23.98 fps. DNxHD 36 - DV, IMX40, XDCAM EX, XDCAM HD DNxHD 60 - DV50, IMX50, Apple Intermediate @ 1080, XDCAM HD422 DNxHD 100 - AVC Intra 100, Cineform 444 @ 720, Digibeta DNxHD 115 - Cineform 422 @ 1080 DNxHD 120 - DVCPRO HD, Motion JPEG @ 1080 DNxHD 145 - HDCAM DNxHD 220 - Sony SR Lite DNxHD 440 - Uncompressed 422 10-bit @ 720, Sony SR SQ, HDCAM SR Approximate ProRes equivalents All codec bitrates are calculated at 1080p 23.98 fps. ProRes Proxy - DNxHD 36 ProRes LT - DNxHD 80 ProRes 422 - DNxHD 115 ProRes HQ - DNxHD 175x ProRes 4444 - DNxHD 440x (444) (although ProRes 444 is actually closer in bandwidth to DNxHD 220) Other variants Avid Media Composer 6 and higher can also wrap ProRes in an MXF wrapper. This is only available on the Mac version of Media Composer.

Calculating storage space Our will calculate storage space for some of these but our and calculators have more options and codecs.