Home » Apple Manuals » Computer Software » Apple MA261Z/A » Manual Viewer

Apple MA261Z/A User Manual - Page 1036

About Progressive Scanning, About Field Dominance, Setting Field Dominance in Final Cut Express HD

UPC - 885909087914

Add to My Manuals
Save this manual to your list of manuals

Page 1036 highlights

About Progressive Scanning Progressive scanning is much simpler than interlaced scanning: each line is scanned consecutively until a complete frame is drawn. Computer monitors and many recent high definition televisions use progressive scanning. Here are some significant facts about interlaced and progressive scanning methods: Â Interlacing provides twice the perceived frame rate with only half the recording or transmission requirements. Â Progressive scanning is preferred when interlacing artifacts (such as thin flickering horizontal lines) would be unacceptable. Progressive images are often considered more film-like because there are no flickering interlacing artifacts. Â Computer displays are almost always scanned progressively. Â NTSC and PAL televisions always use interlaced scanning. Â Many high definition video cameras can record progressive frames. Â Video destined for computer-only use, such as web video, should always be made progressive. About Field Dominance Field dominance is an issue when recording and playing back interlaced video material. With progressive video, there is only one way to play back a video frame: Start at line 1 and scan until you reach the last line. With interlaced video, the video player must choose whether to scan the odd lines first, or the even lines. In other words, each time a frame is displayed, which field should be played first, field 1 or 2? This is totally dependent on which field was recorded first. Each field is a snapshot in time, so if field 1 is recorded earlier in time than field 2, field 1 must be played back before field 2. If the wrong field order is chosen, each frame's fields plays backward in time, even though each frame as a whole still moves forward. The effect is a very noticeable stutter happening 60 (NTSC) or 50 (PAL) times a second. Each piece of video equipment and each video format has a preferred field dominance. This prevents you from editing two field 2s back to back, and makes sure that each field is played back in the right order. Setting Field Dominance in Final Cut Express HD In Final Cut Express HD, the field dominance of clips must match the sequence field dominance. Otherwise, the fields stutter during playback because each pair of fields plays back in the wrong order. For example, DV NTSC and DV PAL always have a field dominance of Lower (Even). If you're working in a sequence and you see that imported clips are flickering, check to make sure the field dominance of those additional clips matches the field dominance of your edited sequence. Important: You need to change the Field Dominance setting of your projects and sequences only if you change your video hardware setup. 1036 Part XIII Appendixes

Section	Page
Final Cut Express HD User Manual	1
Contents	3
Final Cut Express HD Documentation and Resources	25
Getting Started	25
Onscreen Help	25
Onscreen User Manual	26
Information About New Features	26
Apple Websites	26
Final Cut Express HD Websites	26
Apple Service and Support Website	26
Part I: An Introduction to Final Cut Express HD	27
About the Post-Production Workflow	29
The Industry Workflow	29
The Post-Production Workflow	30
Video Formats and Timecode	35
About Nonlinear and Nondestructive Editing	35
Video Formats Compatible With Final Cut Express HD	36
Using Multiple Video Formats	36
Audio Formats Compatible With Final Cut Express HD	36
Video Format Basics	36
Video Standards	37
Image Dimensions and Aspect Ratio	37
Frame Rate	38
Scanning Method	38
Understanding Projects, Clips, and Sequences	39
The Building Blocks of Projects	39
What Are Media Files?	39
What Are Clips?	40
What Are Sequences?	41
What Are Projects?	42
What Are Bins?	43
Working With Projects	43
Organizing Your Projects	44
Using More Than One Sequence in a Project	44
Creating and Saving Projects	44
Opening and Closing Projects	46
About the Connection Between Clips and Media Files	47
Relationship Between Source Tapes, Media Files, and Clips	48
Reconnecting Clips to Media Files	48
Filenaming Considerations	49
Avoiding Special Characters	50
Restricting Length of Filenames	51
Using Filename Extensions	51
Adding Times and Dates to Final Cut Express HD Project Names	51
Using Multiple Hard Disks	51
Part II: Learning About the Final Cut Express HD Interface	53
Overview of the Final Cut Express HD Interface	55
Basics of Working in the Final Cut Express HD Interface	55
Using Keyboard Shortcuts, Buttons, and Shortcut Menus	57
Using Keyboard Shortcuts	57
Using Button Bars	57
Using Shortcut Menus	58
Learning Commands by Using Tooltips	59
Customizing the Interface	59
Moving and Resizing Windows	59
Working With Tabs and Tabbed Windows	60
Moving Windows	62
Using Different Screen Layouts	62
Showing and Positioning the Dock	62
Undoing and Redoing Changes	63
Entering Timecode for Navigation Purposes	64
Browser Basics	65
How You Use the Browser	65
Learning About the Browser	66
Working in the Browser	67
Creating Sequences	67
Selecting Items in the Browser	67
Navigating Within the Browser Using the Keyboard	67
Copying and Deleting Items in the Browser	68
Renaming Clips, Sequences, and Bins	68
Using Columns in the Browser	69
Customizing the Browser Display	70
Choosing Views in the Browser	70
Working With the Browser in List View	71
Working With the Browser in Icon View	74
Setting the Poster Frame	77
Viewer Basics	79
How You Can Use the Viewer	79
Opening a Clip in the Viewer	80
Learning About the Viewer	82
Tabs in the Viewer	83
Video Tab	83
Audio Tabs	83
Filters Tab	84
Motion Tab	84
Controls Tab	84
Transport (or Playback) Controls	84
Playhead Controls	85
Playhead and Scrubber Bar	85
Jog Control	86
Shuttle Control	86
Marking Controls	87
Zoom and View Pop-Up Menus	88
Zoom Pop-Up Menu	88
View Pop-Up Menu	89
Recent Clips and Generator Pop-Up Menus	90
Recent Clips Pop-Up Menu	90
Generator Pop-Up Menu	90
Canvas Basics	91
How You Use the Canvas	91
Opening, Selecting, and Closing Sequences in the Canvas	92
Learning About the Canvas	93
Editing Controls in the Canvas	94
Edit Overlay	95
Transport (or Playback) Controls	95
Playhead Controls	96
Playhead and Scrubber Bar	96
Jog Control	98
Shuttle Control	98
Marking Controls	98
Zoom and View Pop-Up Menus	99
Navigating and Using Timecode in the Viewer and Canvas	101
How the Viewer and Canvas Are Different	101
Navigating in the Viewer and Canvas	101
Playing Clips and Sequences	102
Scrubbing, or Moving, Through a Clip or Sequence	104
Shuttling Through a Clip or Sequence	105
Jogging Through a Clip or Sequence	106
Looping Playback	107
Working With Timecode in the Viewer and Canvas	108
Navigating With Timecode in the Viewer and Canvas	108
Dragging Timecode Values	110
Timeline Basics	111
How You Use the Timeline	111
Opening and Closing Sequences in the Timeline	113
Learning About the Timeline	114
Sequence Tabs in the Timeline	114
Editing Controls	115
Vertical Multitrack Controls	116
Horizontal Time Controls	117
Timeline Display Controls	119
Audio Controls	120
Other Miscellaneous Controls	120
Real-Time Effects and the Render Status Bar	122
Sequence Clips in the Timeline	123
Changing Timeline Display Options	123
About Timeline Display Options in the Sequence Settings Window	124
About Timeline Display Controls in the Timeline	126
Timeline Display Options Available From the Track Layout PopUp Menu	126
Navigating in the Timeline	127
Positioning the Playhead Using the Ruler	127
Using Timecode to Navigate in the Timeline	128
Zooming and Scrolling in the Timeline	128
Zooming In and Out of the Timeline	128
Scrolling Horizontally Through a Zoomed-In Timeline	132
Scrolling Vertically Through Multiple Tracks	133
Customizing the Interface	135
Changing Browser and Timeline Text Size	135
Moving and Resizing Final Cut Express HD Windows	135
Using Screen Layouts	137
Choosing a Screen Layout	138
Customizing Screen Layouts	138
Working With Shortcut Buttons and Button Bars	139
Adding Shortcut Buttons to a Button Bar	140
Rearranging, Moving, and Copying Shortcut Buttons	141
Changing Shortcut Button Colors	141
Removing Shortcut Buttons	141
Saving and Using Custom Shortcut Button Bars	142
Part III: Setting Up Your Editing System	143
Connecting Your Equipment	145
Connecting Your Camcorder	145
Connecting an External Video Monitor and Audio Speakers	146
Opening Final Cut Express HD and Choosing Your Initial Settings	146
What Is an Easy Setup?	146
Choosing an Easy Setup	147
Specifying Scratch Disks for Capturing Video and Storing Render Files	148
When Scratch Disks Become Unavailable	150
Assigning Search Folders for Reconnecting Media Files	150
What Is FireWire?	150
The Differences Between Apple FireWire and FireWire Basic	151
What Is Device Control?	151
Choosing a Device Control Preset	151
Understanding Device Control Status Messages	152
Determining Your Hard Disk Storage Options	153
Working With Scratch Disks and Hard Disk Drives	153
Data Rates and Storage Devices	153
Determining How Much Space You Need	154
Know Your Shooting Ratio	154
Planning for Additional Media Files	154
Calculating Hard Disk Space Requirements	155
Example Calculation for Disk Space Requirements	155
Choosing a Hard Disk	156
Types of Hard Disk Drives	157
ATA Disk Drives	157
FireWire Disk Drives	158
SCSI Disk Drives	159
Using a RAID or Disk Array	160
External Video Monitoring	161
Using an External Video Monitor While You Edit	161
Consumer Video Monitors Versus Broadcast Monitors	162
Connecting DV/FireWire Devices to an External Monitor	162
Using Digital Cinema Desktop Preview	163
About Digital Cinema Desktop Preview Options	164
Using Digital Cinema Desktop Preview to Monitor Your Video	165
Troubleshooting Digital Cinema Desktop Preview	166
About the Display Quality of External Video	167
Troubleshooting External Video Monitoring Problems	167
Part IV: Capturing and Importing	169
Capturing Your Footage to Disk	171
Overview of the Capturing Process	171
Overview of the Capture Window	172
Transport Controls	174
Jog and Shuttle Controls	174
Marking Controls	175
Capture Tab	175
Capture Bin Controls	175
Logging Fields	176
Using Slate Buttons	177
Marker Controls	177
Capture Buttons	178
Preparing to Capture	178
Organizing and Labeling Your Tapes	178
Choosing Reel Names for Tapes	178
Additional Tape Label Information	179
Logging Your Tapes	179
Choosing a Filenaming Scheme	180
Determining How Much Disk Space You Need	180
Capturing Individual Clips in the Capture Window	181
Automatic Filenaming During Capture	184
Using Capture Now	185
Adding Markers to Clips in the Capture Window	187
Marker Controls in the Capture Window	188
Setting Markers	188
Recapturing Clips	189
Using Capture Project	189
About the Additional Items Found Dialog	191
Finding Your Media Files After Capture	192
Where Are Captured Media Files Stored?	192
Consolidating Media Files to One Folder	193
Modifying a Media File’s Reel Name Property	194
Avoiding Duplicate Timecode Numbers on a Single Tape	195
Logging Tapes with Duplicate Timecode Numbers	196
Avoiding Multiple Occurrences of the Same Timecode Number on a Single Tape	196
Importing Media Files Into Your Project	199
What File Formats Can Be Imported?	199
How Is Importing Different From Capturing?	200
Importing Media Files	200
Tips When Importing	203
About Importing Video Files	203
About Importing Audio Files	204
What Kinds of Audio File Formats Can Be Imported?	204
Choosing Audio File Sample Rate and Bit Depth	204
Mixing Sample Rates and Using Real-Time Sample Rate Conversion	205
Converting Audio Clips to Match Sequence Settings	205
Using Audio CD Tracks in Your Project	206
Working With HDV	207
About HDV	207
HDV Formats Supported by Final Cut Express HD	208
Standard Definition Recording With an HDV Camcorder	208
About MPEG-2 Compression	208
Spatial (Intraframe) Compression	208
Temporal (Interframe) Compression	209
More About Long-GOP Video	209
Editing HDV Using Apple Intermediate Codec	209
HDV Apple Intermediate Codec Editing Workflow	210
Connecting an HDV Device to Your Computer	210
Choosing an Easy Setup	211
Capturing HDV Video to the Apple Intermediate Codec	211
Capturing Footage With Scene Breaks	212
Editing Video Using the Apple Intermediate Codec	212
Outputting HDV to Tape or Exporting to a QuickTime Movie	213
HDV Format Specifications	214
Part V: Organizing Footage and Preparing to Edit	217
Organizing Footage in the Browser	219
Using Bins to Organize Your Clips	219
Creating New Bins	220
Opening Bins in the Browser	221
Opening Bins in a Separate Window or Tab	222
Moving Items Between Bins	225
Sorting Items in the Browser Using Column Headings	227
Searching for Clips in the Browser	228
About Search Options	228
Options for Defining the Scope of a Search	229
Options for Defining the Criteria of a Search	230
Search Commands	230
Searching for Items in the Browser	231
Searching for Multiple Items in the Browser	232
Searching for Unused Clips in Your Project	232
Manipulating Items in the Find Results Window	233
Using Markers	235
Learning About Markers	235
What Can You Do With Markers?	235
Differences Between Sequence and Clip Markers	236
Types of Markers	237
Working With Markers	238
Viewing Markers in the Viewer or Canvas	238
Viewing Markers in the Browser	238
Adding Markers in Clips and Sequences	238
Deleting Markers in Clips and Sequences	242
Navigating With Markers	243
Renaming Markers, Adding Comments, and Changing the Kind of Marker	244
Moving a Marker	245
Aligning Items in the Timeline by Their Markers	246
Extending a Marker’s Duration	248
Editing Markers Into Sequences	249
Exporting Markers With Your QuickTime Movies	249
Creating Subclips	251
Learning About Subclips	251
Removing Subclip Limits	253
Master-Affiliate Clip Relationships	253
Manually Breaking Large Clips Into Subclips	254
Turning Markers Into Subclips	254
Creating Subclips Manually	256
Editing With Subclips	256
Automatically Creating Subclips Using DV Start/Stop Detection	257
Part VI: Rough Editing	259
Working With Projects, Clips, and Sequences	261
Specifying Preferences Before You Start Editing	261
Working With Projects	262
Working With Multiple Projects in the Browser	262
Choosing Whether the Last Previously Opened Project Opens on Launch	262
Viewing and Changing the Properties of a Project	262
Backing Up and Restoring Projects	263
What Is Contained in a Project File	263
Returning to Saved Projects	264
Using the Revert Project Command	264
Automatically Saving Projects With Autosave	264
Learning About the Different Types of Clips	265
Types of Clips	265
About Offline Clips	266
Sequences as Clips	266
Viewing and Changing the Properties of a Clip	266
Changing Clip Properties in the Browser	267
Viewing and Changing Clip Properties in the Item Properties Window	268
Viewing and Modifying Clip Properties	268
Finding a Clip’s Media File	268
Changing the Properties of Affiliate Clips	269
Creating and Working With Sequences	270
Creating and Deleting Sequences	270
Opening and Closing Sequences	271
Duplicating a Sequence	272
Copying a Sequence Into Another Project	272
Nesting a Sequence	273
Basic Sequence and Timeline Settings	273
When Rendering Is Required	274
Viewing an Existing Sequence’s Settings	274
The Fundamentals of Adding Clips to a Sequence	275
Creating a Rough Edit	275
Basic Steps Involved in a Rough Edit	275
How Clips Appear in the Timeline	276
Undoing and Redoing Actions	278
Overview of Ways to Add Clips to a Sequence	278
Methods for Adding Clips to Sequences	278
Determining What Parts of Clips You Want in Your Sequence	280
Preparing a Sequence Order in the Browser	280
Sorting to Create a Sequence Order	281
Visually Storyboarding in the Browser	281
Setting Edit Points for Clips and Sequences	283
About In and Out Points	283
Learning About the Out Point Inclusive Rule	284
Things to Keep in Mind When Setting an Out Point	285
Setting Clip In and Out Points in the Viewer	286
Specifying an Edit Point Using Timecode	288
Setting In and Out Points to Include a Whole Clip	289
Reviewing Your Edit Points	289
Setting Sequence In and Out Points in the Canvas or Timeline	290
Options for Setting Sequence In and Out Points	291
When No Sequence In or Out Points Are Set	292
When You Set One Sequence In or Out Point	293
When You Set Both Sequence In and Out Points	295
Setting Sequence In and Out Points	296
Setting In and Out Points to Match a Clip or Gap	297
Setting In and Out Points Based on a Selection in the Timeline	298
Navigating to In and Out Points	300
Moving In and Out Points	301
Clearing In and Out Points	303
Working With Tracks in the Timeline	305
Adding and Deleting Tracks	305
Adding Tracks	306
Deleting Tracks	308
Specifying Destination Tracks in the Timeline	309
Understanding Source and Destination Controls	309
Setting Destination Tracks	310
Changing Source and Destination Control Connections	311
Disconnecting Source and Destination Controls	311
Resetting Destination Tracks to the Default State	313
Exceptions to Normal Use of Source and Destination Controls	313
Locking Tracks to Prevent Edits or Changes	314
Disabling Tracks to Hide Content During Playback	315
Customizing Track Display in the Timeline	316
Resizing Timeline Tracks	316
Resizing Tracks by Dragging	316
Resizing All Tracks Using the Track Height Control	317
Resizing All Tracks Using the Track Layout Pop-Up Menu	317
Creating a Static Region in the Timeline	318
Drag-to-Timeline Editing	321
Overview of the Drag-to-Timeline Editing Process	321
Dragging Clips to the Timeline	322
Doing Simple Insert and Overwrite Edits in the Timeline	323
Automatically Adding Tracks to Your Sequence While Dragging	326
Three-Point Editing	329
Understanding Three-Point Editing	329
Overview of the Three-Point Editing Process	329
Different Ways to Do Three-Point Editing	330
Dragging to the Edit Overlay in the Canvas	331
Using Keyboard Shortcuts	331
About Edit Types in the Edit Overlay	332
Performing the Different Types of Edits	333
Performing an Insert Edit	333
Performing an Insert With Transition Edit	335
Performing an Overwrite Edit	336
Performing an Overwrite With Transition Edit	338
Performing a Replace Edit	339
Superimposing Clips	346
Three-Point Editing Examples	348
Example: Editing a Specific Clip Into Your Sequence	348
Example: Editing a Clip Into a Gap in Your Sequence	350
Example: Backtiming a Clip Into Your Sequence	352
Example: Editing a Clip With No Specified In or Out Points Into Your Sequence	353
Finding and Selecting Content in the Timeline	355
Understanding What’s Currently Selected	355
Identifying Selections in the Timeline	356
How Selections Are Prioritized in the Timeline	357
Direct Methods for Selecting Content in a Sequence	357
An Introduction to the Selection Tools	358
Selecting Clips	360
Selecting an Individual Clip	360
Selecting a Group of Clips by Dragging	361
Selecting Multiple Clips	362
Deselecting an Item in a Multiple Selection	362
Selecting a Range of Timeline Content	363
Selecting All Clip Items on a Track	364
Selecting All Items on All Tracks Forward or Backward	365
Selecting or Deselecting All Clips in a Sequence	367
Finding and Selecting Based on Search Criteria	367
Selecting a Vertical Range Between In and Out Points	369
Using Auto Select to Specify Tracks for Selections	370
Arranging Clips in the Timeline	373
Snapping to Points in the Timeline	373
Moving Items Within the Timeline	375
Moving by Dragging	375
Moving Clips Numerically	376
Using the Command Key to Drag More Slowly	378
Performing Shuffle Edits	378
Copying and Pasting Clips in the Timeline	380
Copying Clips by Option-Dragging	380
Modifying Selections and Commands Using the Option Key	381
Copying, Cutting, and Pasting Clips in the Timeline	382
Example: Copying and Pasting Audio and Video Clip Items to Different Tracks in the Timeline	384
Deleting Clips From a Sequence	385
Deleting With a Lift Edit (Leaving a Gap)	385
Deleting With a Ripple Edit (Leaving No Gap)	386
Finding and Closing Gaps	387
Cutting Clips and Adjusting Durations	391
Performing Basic Cut Edits	391
Cutting Clips in the Timeline	391
Using the Add Edit Command to Cut Clips	393
Joining Through Edits (Splicing Cut Clips Back Together)	394
Changing the Duration of Clips in the Timeline	395
Opening Sequence Clips in the Viewer to Change Durations	396
Linking and Editing Video and Audio in Sync	397
Linked Sync Relationships Between Video and Audio Clips	397
When Linked Clips Are Moved Out of Sync	398
Understanding Sync Relationships Between Multiple Linked Audio Items	401
Linking and Unlinking Video and Audio Clip Items in the Timeline	402
Linking Video and Audio Clip Items	402
Unlinking Video and Audio Clip Items	404
Selecting Individual Clip Items While They Are Linked	405
Getting Clip Items Back in Sync	406
Moving a Clip Into Sync	406
Slipping a Clip Item Into Sync	408
Moving or Slipping All Clip Items Into Sync at Once	409
Establishing a Different Sync Relationship Between Linked Clip Items	411
Marking a Clip as In Sync	411
Learning About Linking Behavior in Audio Channel Pairs	413
Split Edits	415
Learning About Split Edits	415
How Split Edits Look in the Viewer and Canvas	416
Setting Up Split Edit Points in the Viewer	417
Setting Up a Split Edit While Playing a Clip	418
Modifying and Clearing Split Edits	419
Split Edit Examples	421
Example: Split Edit in the Viewer and a Simple Edit Point in the Canvas	421
Example: Split Edit in the Viewer and a Single Split Edit Point in the Canvas	422
Example: Simple Edit in the Viewer and a Split Edit in the Canvas	423
Audio Editing Basics	425
The Goals of Audio Editing	425
Using Waveform Displays to Help You Edit Audio	427
Learning About the Audio Controls in the Viewer	428
Editing Audio in the Viewer	431
Opening Audio Clips in the Viewer	431
Viewing Audio Tracks in the Viewer	432
Zooming In or Out of the Waveform Display Area	432
Scrolling Through a Zoomed-In Audio Clip	434
Using the J, K, and L Keys to Hear Subtle Details	435
Turning Off the Audio Scrubbing Sounds	435
About Setting Edit Points for Audio	435
Dragging an Audio Clip to the Canvas, Browser, or Timeline	436
Trimming Audio Clips in the Viewer	436
Editing Audio in the Timeline	438
Timeline Audio Display Options	438
Displaying Waveforms in the Timeline	438
Displaying Overlays and Adjusting the Track Height	439
Zooming In and Out of Waveforms in the Timeline	440
Moving Audio Items From One Track to Another at the Same Frame	441
Using Audio Transitions to Smooth Audible Changes	442
Creating or Separating Stereo Pairs	442
Working With Audio at the Subframe Level	444
Viewing an Audio Clip at Single-Frame Resolution	444
Subframe Synchronization of Audio and Video	444

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
439
440
441
442
443
444
445
446
447
448
449
450
451
452
453
454
455
456
457
458
459
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
486
487
488
489
490
491
492
493
494
495
496
497
498
499
500
501
502
503
504
505
506
507
508
509
510
511
512
513
514
515
516
517
518
519
520
521
522
523
524
525
526
527
528
529
530
531
532
533
534
535
536
537
538
539
540
541
542
543
544
545
546
547
548
549
550
551
552
553
554
555
556
557
558
559
560
561
562
563
564
565
566
567
568
569
570
571
572
573
574
575
576
577
578
579
580
581
582
583
584
585
586
587
588
589
590
591
592
593
594
595
596
597
598
599
600
601
602
603
604
605
606
607
608
609
610
611
612
613
614
615
616
617
618
619
620
621
622
623
624
625
626
627
628
629
630
631
632
633
634
635
636
637
638
639
640
641
642
643
644
645
646
647
648
649
650
651
652
653
654
655
656
657
658
659
660
661
662
663
664
665
666
667
668
669
670
671
672
673
674
675
676
677
678
679
680
681
682
683
684
685
686
687
688
689
690
691
692
693
694
695
696
697
698
699
700
701
702
703
704
705
706
707
708
709
710
711
712
713
714
715
716
717
718
719
720
721
722
723
724
725
726
727
728
729
730
731
732
733
734
735
736
737
738
739
740
741
742
743
744
745
746
747
748
749
750
751
752
753
754
755
756
757
758
759
760
761
762
763
764
765
766
767
768
769
770
771
772
773
774
775
776
777
778
779
780
781
782
783
784
785
786
787
788
789
790
791
792
793
794
795
796
797
798
799
800
801
802
803
804
805
806
807
808
809
810
811
812
813
814
815
816
817
818
819
820
821
822
823
824
825
826
827
828
829
830
831
832
833
834
835
836
837
838
839
840
841
842
843
844
845
846
847
848
849
850
851
852
853
854
855
856
857
858
859
860
861
862
863
864
865
866
867
868
869
870
871
872
873
874
875
876
877
878
879
880
881
882
883
884
885
886
887
888
889
890
891
892
893
894
895
896
897
898
899
900
901
902
903
904
905
906
907
908
909
910
911
912
913
914
915
916
917
918
919
920
921
922
923
924
925
926
927
928
929
930
931
932
933
934
935
936
937
938
939
940
941
942
943
944
945
946
947
948
949
950
951
952
953
954
955
956
957
958
959
960
961
962
963
964
965
966
967
968
969
970
971
972
973
974
975
976
977
978
979
980
981
982
983
984
985
986
987
988
989
990
991
992
993
994
995
996
997
998
999
1,000
1,001
1,002
1,003
1,004
1,005
1,006
1,007
1,008
1,009
1,010
1,011
1,012
1,013
1,014
1,015
1,016
1,017
1,018
1,019
1,020
1,021
1,022
1,023
1,024
1,025
1,026
1,027
1,028
1,029
1,030
1,031
1,032
1,033
1,034
1,035
1,036
1,037
1,038
1,039
1,040
1,041
1,042
1,043
1,044
1,045
1,046
1,047
1,048
1,049
1,050
1,051
1,052
1,053
1,054
1,055
1,056
1,057
1,058
1,059
1,060
1,061
1,062
1,063
1,064
1,065
1,066
1,067
1,068
1,069
1,070
1,071
1,072
1,073
1,074
1,075
1,076
1,077
1,078
1,079
1,080
1,081
1,082
1,083
1,084
1,085
1,086
1,087
1,088
1,089
1,090
1,091
1,092
1,093
1,094
1,095
1,096
1,097
1,098
1,099
1,100
1,101
1,102
1,103
1,104
1,105
1,106
1,107
1,108
1,109
1,110
1,111
1,112
1,113
1,114
1,115
1,116
1,117
1,118
1,119
1,120
1,121
1,122
1,123
1,124
1,125
1,126
1,127
1,128
1,129
1,130
1,131
1,132
1,133
1,134
1,135
1,136
1,137
1,138
1,139
1,140
1,141
1,142
1,143
1,144
1,145
1,146
1,147
1,148
1,149
1,150
1,151
1,152
1,153

Match case Limit results 1 per page

1036

Part XIII

Appendixes

About Progressive Scanning

Progressive scanning is much simpler than interlaced scanning:

each line is scanned

consecutively until a complete frame is drawn. Computer monitors and many recent

high definition televisions use progressive scanning.

Here are some significant facts about interlaced and progressive scanning methods:

Interlacing provides twice the perceived frame rate with only half the recording or

transmission requirements.

Progressive scanning is preferred when interlacing artifacts (such as thin flickering

horizontal lines) would be unacceptable. Progressive images are often considered

more film-like because there are no flickering interlacing artifacts.

Computer displays are almost always scanned progressively.

NTSC and PAL televisions always use interlaced scanning.

Many high definition video cameras can record progressive frames.

Video destined for computer-only use, such as web video, should always be

made progressive.

About Field Dominance

Field dominance is an issue when recording and playing back interlaced video material.

With progressive video, there is only one way to play back a video frame:

Start at line 1

and scan until you reach the last line. With interlaced video, the video player must

choose whether to scan the odd lines first, or the even lines. In other words, each time

a frame is displayed, which field should be played first, field 1 or 2? This is totally

dependent on which field was recorded first.

Each field is a snapshot in time, so if field 1 is recorded earlier in time than field 2, field

1 must be played back before field 2. If the wrong field order is chosen, each frame’s

fields plays backward in time, even though each frame as a whole still moves forward.

The effect is a very noticeable stutter happening 60 (NTSC) or 50 (PAL) times a second.

Each piece of video equipment and each video format has a preferred field dominance.

This prevents you from editing two field 2s back to back, and makes sure that each

field is played back in the right order.

Setting Field Dominance in Final Cut Express HD

In Final Cut Express HD, the field dominance of clips must match the sequence field

dominance. Otherwise, the fields stutter during playback because each pair of fields

plays back in the wrong order. For example, DV NTSC and DV PAL always have a field

dominance of Lower (Even). If you’re working in a sequence and you see that imported

clips are flickering, check to make sure the field dominance of those additional clips

matches the field dominance of your edited sequence.

Important:

You need to change the Field Dominance setting of your projects and

sequences only if you change your video hardware setup.