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When Shooting Digital Video<br />
Figure 2.7 Actor Ethan Wilcox on the set of Success. Note the two window burns, one for 23.98 NDF<br />
and one for 29.97 NDF. When the SD 29.97 video is played, the upper window is frame-by-frame<br />
correct, when played at 23.98 FPS the lower window is correct.<br />
The aspect ratio will also change—unless you tell the post house not to—the original 16 × 9 will be<br />
letterboxed on the 4 × 3 down converts. As with 29.97 workfl ow, you capture on your own system<br />
and on your own time, so this saves money. However this workfl ow is a bit more complicated than<br />
simply capturing from the original HD tape at lower resolution. In spite of the added complexity,<br />
this is the preferred system on most projects.<br />
Because with both of these options you will recapture in online, it is essential to properly name and<br />
number your tapes in the capture settings. As with the fi lm workfl ows, a cutting log can be created<br />
in Excel or a Word program.<br />
If you did not record and capture audio on the camera tapes, you are ready to import audio and sync<br />
in Final Cut Pro. See Chapter 3 on audio capture.<br />
Capturing in ProRes 422<br />
ProRes 422 is the newest innovation from Apple available in Final Cut Pro 6. ProRes 422 is a 10-bit<br />
HD codec that looks almost like uncompressed HD while producing a fi le size smaller than DV50.<br />
ProRes 422 takes advantage of the multicore processor design in Mac Pro computers, the amount of<br />
real-time playback increases as the number of processors goes up. And this real-time playback works<br />
from fi rewire drives, not expensive RAID arrays. This also means that for facilities that share the<br />
same media via network from RAID, they can deliver even more streams of video to more editors.<br />
And because this codec is independent of the production format, it can be used with any format not<br />
supported in Final Cut Pro. There are two versions of the codec: standard and HQ. When the computer<br />
is equipped with an HD-SDI card, capture from any HD-SDI source is possible in real time.<br />
This makes it possible to capture to drive in ProRes 422 directly from camera or telecine.<br />
One of the most valuable tools to use with ProRes 422 is the AJA ioHD (see Figure 2.8). This device<br />
encodes ProRes 422 in hardware and sends the data via fi rewire 800 to Final Cut Pro. The AJA ioHD<br />
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