Panasonic AG-HPX370 Using P2 HD with Final Cut Pro 7 - Page 14

Remember that AVC-Intra and DVCPRO HD Native modes do not stream over FireWire. So 24PN and 30PN will not work with Log & Capture. It is also possible to access the Scopes tools within Log and Capture to analyze video on the waveform and vectorscope. WORKING WITH P2 MEDIA IN FCP: Once clips have been properly imported into the FCP browser, editing is just as with any other source media. FCP does work on an open format timeline but it is a good idea to set sequence presets to the most widely used format within a project. In general, FCP does a very good job of mixing different frame sizes, but mixing frame rates can potentially introduce artifacts except where you want to over and under crank. The following image shows a sample browser from a multi-camera shoot where the first letter in the clip name identifies the camera angle, the first number identifies the scene and the four digit number following the "T" identifies the take number. If you ever have any doubt regarding frame rate or format of a clip, simply scroll to the right in the browser as shown in this image to see frame size, video rate and compressor. Here is a last reminder that when working with AVC-Intra files, they will show up in the browser with a AVC-Intra compressor setting, but when they are dropped to a timeline a render bar will appear above any clips. The AVC-Intra clips will play back fine within the timeline allowing for basic use as in print to video, but any effects, compositing, color grading or output from the timeline (other than Print to Video) requires a full re-render to the timeline settings. CONCLUSION: We've covered the basic tenets of working with P2 in FCP in this document. The beauty of working with FCP is the ability to get up and running in a relatively quick time without worrying too much about details and settings. With the parameters that we covered in this paper, most users should be off to a good start. But be sure to do several trial runthroughs of any anticipated workflows. Panasonic's P2 system offers one of the most reliable means of acquisition, and when coupled with a well-organized workflow involving Final Cut Pro it is extremely efficient. Good luck and happy shooting! ABOUT THE AUTHOR: Hal Long works as a Director and Cinematographer through Henry Films, Los Angeles (www.henryfilms.com). His work has received Emmy nominations and won numerous commercial awards and film festivals worldwide. He has recently directed spots for Cadillac, Qwest and Subaru. 14