Final Cut Pro X (8) Flashcards
When it comes to video transitions, ____ __ ____
less is more
The Share pop-up menu includes several preset ___________ for many popular delivery platforms
destinations
Apple ProRes
A lossy video compression format developed by Apple Inc. for use in post production. ProRes is a line of intermediate codecs, which means they are intended for use during video editing, and not for practical end-user viewing. The benefit of an intermediate codec is that it retains higher quality than end-user codecs while still requiring much less expensive disk systems compared to uncompressed video. It is comparable to Avid’s DNxHD codec or CineForm which offer similar bitrates which are also intended to be used as intermediate codecs. ProRes 422 is a DCT-based intra-frame-only codec and is therefore simpler to decode than distribution-oriented formats like H.264.
Key features
4K, 2K, HD (up to 1920×1080), & SD resolutions
4:2:2 chroma subsampling
10-bit sample depth
I frame-only encoding
Variable bitrate (VBR) encoding
Normal 147 Mbit/s and High-Quality 220 Mbit/s as well as ProRes (LT) 100Mbit/s for HD resolution at 60i
Normal 42 Mbit/s and High-Quality 63 Mbit/s for SD resolution at 29.97
ProRes 422 (Proxy) is a 36 Mbit/s proxy media version of HD video for editing offline.
Fast encoding and decoding (both at full size and half size)
H.264
H.264/MPEG-4 Part 10 or AVC (Advanced Video Coding) is a video compression format that is currently one of the most commonly used formats for the recording, compression, and distribution of video content. The final drafting work on the first version of the standard was completed in May 2003, and various extensions of its capabilities have been added in subsequent editions.
H.264/MPEG-4 AVC is a block-oriented motion-compensation-based video compression standard developed by the ITU-T Video Coding Experts Group (VCEG) together with the ISO/IEC JTC1 Moving Picture Experts Group (MPEG). The project partnership effort is known as the Joint Video Team (JVT). The ITU-T H.264 standard and the ISO/IEC MPEG-4 AVC standard (formally, ISO/IEC 14496-10 – MPEG-4 Part 10, Advanced Video Coding) are jointly maintained so that they have identical technical content.
H.264 is perhaps best known as being one of the video encoding standards for Blu-ray Discs; all Blu-ray Disc players must be able to decode H.264. It is also widely used by streaming internet sources, such as videos from Vimeo, YouTube, and the iTunes Store, web software such as the Adobe Flash Player and Microsoft Silverlight, and also various HDTV broadcasts over terrestrial (ATSC, ISDB-T, DVB-T or DVB-T2), cable (DVB-C), and satellite (DVB-S and DVB-S2).
H.264 is typically used for lossy compression in the strict mathematical sense, although the amount of loss may sometimes be imperceptible (and it is possible in some rare usage cases to create truly lossless encodings using it).
Applications
Further information: List of video services using H.264/MPEG-4 AVC
The H.264 video format has a very broad application range that covers all forms of digital compressed video from low bit-rate Internet streaming applications to HDTV broadcast and Digital Cinema applications with nearly lossless coding. With the use of H.264, bit rate savings of 50% or more are reported. For example, H.264 has been reported to give the same Digital Satellite TV quality as current MPEG-2 implementations with less than half the bitrate, with current MPEG-2 implementations working at around 3.5 Mbit/s and H.264 at only 1.5 Mbit/s. To ensure compatibility and problem-free adoption of H.264/AVC, many standards bodies have amended or added to their video-related standards so that users of these standards can employ H.264/AVC.
Both the Blu-ray Disc format and the now-discontinued HD DVD format include the H.264/AVC High Profile as one of 3 mandatory video compression formats.
The Digital Video Broadcast project (DVB) approved the use of H.264/AVC for broadcast television in late 2004.
The Advanced Television Systems Committee (ATSC) standards body in the United States approved the use of H.264/AVC for broadcast television in July 2008, although the standard is not yet used for fixed ATSC broadcasts within the United States.[4][5] It has also been approved for use with the more recent ATSC-M/H (Mobile/Handheld) standard, using the AVC and SVC portions of H.264.[6]
AVCHD is a high-definition recording format designed by Sony and Panasonic that uses H.264 (conforming to H.264 while adding additional application-specific features and constraints).
AVC-Intra is an intraframe-only compression format, developed by Panasonic.
XAVC is a recording format designed by Sony that uses level 5.2 of H.264/MPEG-4 AVC, which is the highest level supported by that video standard. XAVC can support 4K resolution (4096 × 2160 and 3840 × 2160) at up to 60 frames per second (fps). Sony has announced that cameras that support XAVC include two CineAlta cameras—the Sony PMW-F55 and Sony PMW-F5. The Sony PMW-F55 can record XAVC with 4K resolution at 30 fps at 300 Mbit/s and 2K resolution at 30 fps at 100 Mbit/s. XAVC can record 4K resolution at 60 fps with 4:2:2 chroma subsampling at 600 Mbit/s.
The CCTV (Closed Circuit TV) and Video Surveillance markets have included the technology in many products.
Canon and Nikon DSLRs use H.264 video wrapped in QuickTime MOV containers as the native recording format.
Compressor
Compressor is a video and audio media compression and encoding application for use with Final Cut Studio and Logic Studio on Mac OS X. It can be used with Qmaster for clustering.
With the release of Final Cut Pro X and Motion 5, Compressor was upgraded to version 4 and is available to purchase separately on the Mac App Store for $49.99.[2]
Features
Compressor is used for encoding MPEG-1, MPEG-2 for DVD, QuickTime .mov, MPEG-4 (Simple Profile), MPEG-4 H.264 and optional (third Party and often commercial) QuickTime Exporter Components to export to Windows Media, for example. Among its other features is the ability to convert from NTSC to PAL and vice versa, and the ability to ‘upconvert’ from Standard Definition video to High Definition video with feature detail detection to prevent serious quality losses.
Compressor is mainly used to encode Final Cut Pro projects into the necessary DVD MPEG-2 format. Filters can be applied to video during the conversion process, and the video can be cropped.
Deselect All (Shortcut)
Command-Shift-A
Enable/Disable Clip
V
Click the _____ button to the right of the Inspector button on the far right of the Toolbar. This is the farthest right button on the Toolbar
Share
720p
720p (aka HD) is a progressive HDTV signal format with 720 horizontal lines and an aspect ratio (AR) of 16:9 (1.78:1). All major HDTV broadcasting standards (such as SMPTE 292M) include a 720p format which has a resolution of 1280x720; however, there are other formats, including HDV Playback and AVCHD for camcorders, which use 720p images with the standard HDTV resolution.
The number 720 stands for the 720 horizontal scan lines of image display resolution (also known as 720 pixels of vertical resolution), while the letter p stands for progressive scan (i.e. non-interlaced). When broadcast at 60 frames per second, 720p features the highest temporal (motion) resolution possible under the ATSC and DVB standards. The term assumes a widescreen aspect ratio of 16:9, thus implying a resolution of 1280 px × 720 px (0.9 megapixels).
720i (720 lines interlaced) is an erroneous term found in numerous sources and publications. Typically, it is a typographical error in which the author is referring to the 720p HDTV format. However, in some cases it is incorrectly presented as an actual alternative format to 720p. In fact, no proposed or existing broadcast standard permits 720 interlaced lines in a video frame at any frame rate.
Comparison with 1080i
Progressive scanning reduces the need to prevent flicker by anti-aliasing single high contrast horizontal lines. It is also easier to perform high-quality 50↔60 Hz conversion and slow-motion clips with progressive video.
A 720p60 (720p at 60 Hz) video has advantage over 480i and 1080i60 (29.97/30 frame/s, 59.94/60 Hz) in that it comparably reduces the number of 3:2 artifacts introduced during transfer from 24 frame/s film. However, 576i and 1080i50 (25 frame/s, 50 Hz), which are common in Europe, generally do not suffer from pull down artifacts as film frames are simply played at 25 frames and the audio pitch corrected by 25/24ths. As a result, 720p60 is used for US broadcasts while European HD broadcasts often use 1080i50 (25 frame/s, 50 Hz), with a horizontal resolution of 1920 or 1440 depending on bandwidth constraints. However, some European broadcasters do use the 720p50 format, such as German broadcasters ARD and ZDF, the Flemish Broadcasting Company (VRT) in Belgium, the Norwegian Broadcasting Corporation (NRK) and Spanish Radio and Television Corporation (TVE HD). Arte, a dual-language French-German channel produced in collaboration by ARD, ZDF and France Télévisions, broadcasts in German at 720p50 but in French at 1080i50.
progressive scanning
Progressive scanning (alternatively referred to as noninterlaced scanning) is a way of displaying, storing, or transmitting moving images in which all the lines of each frame are drawn in sequence. This is in contrast to interlaced video used in traditional analog television systems where only the odd lines, then the even lines of each frame (each image called a video field) are drawn alternately, so that only half the number of actual image frames are used to produce video.
The system was originally known as “sequential scanning” when it was used in the Baird 240 line television transmissions from Alexandra Palace, United Kingdom in 1936. It was also used in Baird’s experimental transmissions using 30 lines in the 1920s.
Progressive scanning is universally used in computing.
Example of interline twitter
Interline twitter, demonstrated using the Indian Head test card.
This rough animation compares progressive scan with interlace scan, also demonstrating the interline twitter effect associated with interlacing. On the left there are two progressive scan images. In the middle there are two interlaced images and on the right there are two images with line doublers. The original resolutions are above and the ones with spatial anti-aliasing are below. The interlaced images use half the bandwidth of the progressive ones. The images in the center column precisely duplicate the pixels of the ones on the left, but interlacing causes details to twitter. Real interlaced video blurs such details to prevent twittering, but as seen in the pictures of the lower row, such softening (or anti-aliasing) comes at the cost of image clarity. A line doubler shown in the bottom center picture cannot restore the previously interlaced image to the full quality of the progressive image shown in the top left one.
Note: Because the refresh rate has been slowed down by a factor of three, and the resolution is less than half a resolution of a typical interlaced video, the flicker in the simulated interlaced portions and also the visibility of the black lines in these examples are exaggerated. Also, the images above are based on what it would look like on a monitor that does not support interlaced scan, such as a PC monitor or an LCD or plasma-based television set, with the interlaced images displayed using the same mode as the progressive images.
Usage in storing or transmitting
Progressive scan is used for scanning and storing film-based material on DVDs, for example, as 480p24 or 576p25 formats. Progressive scan was included in the Grand Alliance’s technical standard for HDTV in the early 1990s. It was agreed that all film transmission by HDTV would be broadcast with progressive scan in the US. Even if a signal is sent interlaced, an HDTV will convert it to progressive scan.
Usage in TVs, video projectors, and monitors[edit]
Progressive scan is used for most Cathode ray tube (CRT) computer monitors, all LCD computer monitors, and most HDTVs as the display resolutions are progressive by nature. Other CRT-type displays, such as SDTVs, typically display interlaced video only.
Some TVs and most video projectors have one or more progressive scan inputs. Before HDTV became common, some high end displays supported 480p (480 horizontal lines of resolution with progressive scan). This allowed these displays to be used with devices that output progressive scan like progressive scan DVD players and certain video game consoles. HDTVs support the progressively scanned resolutions of 480p and 720p. The 1080p displays are usually more expensive than the comparable lower resolution HDTV models. At the debut of the 2010s UHD TVs had emerged on the consumer market, also using progressive resolutions, but usually sold with prohibitive prices - 4k HDTVs or were still in prototype stage - 8k HDTVs. Computer monitors can use even greater display resolutions.
The disadvantage of progressive scan is that it requires higher bandwidth than interlaced video that has the same frame size and vertical refresh rate. Because of this 1080p is not used for broadcast. For explanations of why interlacing was originally used, see interlaced video. For an in-depth explanation of the fundamentals and advantages/disadvantages of converting interlaced video to a progressive format, see deinterlacing.
Advantages of progressive scan[edit]
The main advantage with progressive scan is that motion appears smoother and more realistic. There is an absence of visual artifacts associated with interlaced video of the same line rate, such as interline twitter. Frames have no interlace artifacts and can be captured for use as still photos.
With progressive scan there is no necessity in intentional blurring (sometimes referred to as anti-aliasing) of video to reduce interline twitter and eye strain. In the case of most media such as DVD movies and video games, the video is blurred during the authoring process itself to subdue interline twitter when played back on interlace displays. As a consequence, recovering the sharpness of the original video is impossible when the video is viewed progressively. A user-intuitive solution to this is when display hardware and video games come equipped with options to blur the video at will, or to keep it at its original sharpness. This allows the viewer to achieve the desired image sharpness with both interlaced and progressive displays. An example of a video game with this feature is Super Smash Bros. Brawl, where a “Deflicker” option exists. Ideally, “Deflicker” would be turned on when played on an interlaced display to reduce interline twitter, and off when played on a progressive display for maximum image clarity.
It also offers clearer and faster results for scaling to higher resolutions than its equivalent interlaced video, such as upconverting 480p to display on a 1080p HDTV. HDTVs not based on CRT technology cannot natively display interlaced video, therefore interlaced video must be deinterlaced before it is scaled and displayed. Deinterlacing can result in noticeable visual artifacts and/or input lag between the video source and the display device.
To open Quicktime Inspector in Quicktime (Shortcut)
Command-I
From the “___ __ ________” pop-up menu, choose “Open With Quicktime Player.”
Add to playlist
If the Open With option lists another application, choose _____ from the Open With list, select Quicktime Player from the Application folder, and then click Open
Other
The __________ _____ button displays the progress of the share
Background Tasks
16:9
16:9 is an aspect ratio with a width of 16 units and height of 9. Since 2009, it has become the most common aspect ratio for sold televisions and computer monitors and is also the international standard format of HDTV, Full HD, non-HD digital television and analog widescreen television.
While 16:9 was initially selected as a compromise format, the subsequent popularity of HDTV broadcast has solidified 16:9 as perhaps the most important video aspect ratio in use. Most 4:3 video is now recorded using a “shoot and protect” technique that keeps the main action within a 16:9 inner rectangle to facilitate HD broadcast. Conversely it is quite common to use a technique known as center-cutting, to approach the challenge of presenting material shot (typically 16:9) to both a HD and legacy 4:3 audience simultaneously without having to compromise image size for either audience. Content creators frame critical content or graphics to fit within the 1.33 raster space. This has similarities to a filming technique called Open matte.
In 2011 Bennie Budler, product manager of IT products at Samsung South Africa, confirmed that monitors capable of 1920×1200 resolutions aren’t being manufactured anymore. “It is all about reducing manufacturing costs. The new 16:9 aspect ratio panels are more cost effective to manufacture locally than the previous 16:10 panels”. Since computer displays are advertised by their diagonal measure, for monitors with the same display area, a wide screen monitor will have a larger diagonal measure, thus sounding more impressive. Within limits, the amount of information that can be displayed, and the cost of the monitor depend more on area than on diagonal measure.
In March 2011 the 16:9 resolution 1920×1080 became the most common used resolution among Steam’s users. The earlier most common resolution was 1680×1050 (16:10).
Properties
16:9 is the only widescreen aspect ratio natively supported by the DVD format. Anamorphic DVD transfers store the information as 5:4 (PAL) or 3:2 (NTSC) square pixels, which is set to expand to either 16:9 or 4:3, which the television or video player handles. For example, a PAL DVD with a full frame image may contain a video resolution of 720×576 (5:4 ratio), but a video player software will stretch this to 1024×576 square pixels with a 16:9 flag in order to recreate the correct aspect ratio.
DVD producers can also choose to show even wider ratios such as 1.85:1 and 2.39:1 within the 16:9 DVD frame by hard matting or adding black bars within the image itself. Some films which were made in a 1.85:1 aspect ratio, such as the U.S.-Italian co-production Man of La Mancha and Kenneth Branagh’s Much Ado About Nothing, fit quite comfortably onto a 1.77:1 HDTV screen and have been issued anamorphically enhanced on DVD without the black bars. Many digital video cameras have the capability to record in 16:9.
Super 16 mm film is frequently used for television production due to its lower cost, lack of need for soundtrack space on the film itself, and aspect ratio similar to 16:9.
Common resolutions
Common resolutions for 16:9 are 640×360, 854×480, 960×540, 1024×576, 1280×720, 1366×768, 1600×900, 1920×1080, 2048×1152, 2560×1440, 2880x1620, 3840×2160 4096×2304, 7680×4320 and 15360×8640
8640p commonly referred to as 16K is 15360×8640, 4320p commonly referred to as 8K is 7680×4320, 2160p (Ultra HD) commonly referred to as 4k resolution is 3840×2160, 1080p (Full HD) is 1920×1080, and 720p (HD) is 1280×720. An 8K resolution is 7680 × 4320 pixels which, like the 4k resolution, is considered Ultra HD.
