This is from the apple Site. I copied it in fear of it being lost forever.
What are the benefits of native HDV editing?
Native HDV editing offers these benefits:
1. Preservation of the camera-original quality of the source video (no generation
loss on capture).
2. Real-time capture (no waiting for transcoding, as on some non-native systems).
3. Smaller files (non-native files are often four times larger).
4. Zero encoding loss when going back to tape for frames not modified in the
editing process.
5. Higher-quality output than competitors when going back to tape for frames that
have been modified by the editing process.
Are we really editing native HDV?
Adding native HDV editing capabilities to Final Cut Pro was a typical project for Apple: Take something insanely difficult and make it stunningly simple. To Final Cut Pro users, editing HDV is just as easy as editing regular DV.
Editing native HDV (long GOP MPEG-2) poses significant challenges for any software vendor. MPEG-2 was not designed as an “editable” format, and most nonlinear editing applications are not able to work with HDV in the native format. In fact, some of our competitors doubt that we are actually editing native HDV!
It’s easy to see that we’re editing HDV natively in Final Cut Pro 5. Select any captured HDV clip and view the data rate and codec through the Item Properties command. Adding support for native HDV editing in Final Cut Pro required work from many different teams at Apple—everybody from our advanced codec engineering group
to the QuickTime team, and of course, the Final Cut engineering teams worked on
various components to bring this solution to market.
Unlike other native MPEG-2 editing solutions, Final Cut Pro 5 lets you make cuts and
edits on any frame—other systems sometimes limit you to cutting on Groups of
Pictures (GOPs) boundaries.
How is long GOP MPEG-2 HDV different than regular video codecs?
Most codecs, like DV for example, compress the contents of individual frames. Each frame is a single compressed picture called an “I-frame.” I-frame codecs work well for editing software like Final Cut Pro because you can park at, cut on, and view any frame.
High-definition video encoded using an I-frame codec would be too large to store on
the MiniDV tapes that HDV uses.
Long GOP MPEG-2 achieves smaller file sizes by creating GOPs that include different
types of frames that rely on each other to complete the image. For example, a Sony
HDV 1080i camera uses GOPs that are 15 frames long. The first frame of a GOP contains
the only I-frame (complete picture). The rest of the GOP is made up of bidirectional (B)
and predictive (P) frames. To see a B or P frame, the system must construct the image
by reading multiple frames, starting with the first frame of the GOP.
This process allows for great encoding efficiency and very small files (about 3.5 MBps, the same as regular DV). It also means that working with HDV in its native long GOP MPEG-2 format is difficult; each frame of video the user sees has to be constructed by reading numerous other frames in the GOP.
Technology FAQ
Native HDV Editing with Final Cut Pro 5
Page 3
3
How are native and non-native workflows different?
Is it true that HDV render times are longer?
The long GOP MPEG-2 encoding used for HDV is computationally intensive and does take longer to process than I-frame-only codecs. Many people are comparing the render times with DV, which is a standard-definition format. This comparison is not fair since HDV contains more than four times the number of pixels than DV. It is more appropriate to compare HDV render times with other compressed high-definition formats, such as DVCPRO HD.
The native workflow used in Final Cut Studio reencodes (renders) only the frames that have been changed by the editing process. The rest of the frames are sent back to tape as is, with zero loss. Non-native solutions must reencode the entire timeline when outputting to tape, meaning they have to render significantly more material than you would if you were using Final Cut Pro 5.
How does the quality of a native HDV workflow compare with the
competition?
Apple performed a series of internal tests against the leading Windows-based NLE, Adobe Premiere Pro. A round-trip from camera to hard disk and back is one cycle. We measured PSNR for five cycles; PSNR is a measurement that tells us how much the image has changed. Higher numbers are better.
The first table compares the native HDV workflow of Final Cut Pro 5 with both iMovie
HD/Final Cut Express HD and the Adobe Premiere Pro intermediate workflow. iMovie
HD and Final Cut Express HD both use Apple’s own intermediate codec. Adobe
Premiere Pro uses the CineForm intermediate codec. If there are no edits (that is a clip
comes in and goes out in its entirety), then no reencoding is necessary. The Final Cut
Pro reencoding error is zero pixel levels (or infinite PSNR).
The second table shows the native HDV workflow of Final Cut Pro 5 with a forced
reencode of HDV compared with the other workflows. Even in this case, when we
force Final Cut Pro 5 to reencode the HDV video, the results are clear: After five cycles,
Final Cut Pro 5 shows 43.9dB, an average of 1.6 pixel value errors from the original,
whereas Adobe Premiere Pro shows 35.7dB, with an average of 4.2 pixel value errors
from the original.
How does HDV hold up for visual effects work?
The HDV format is a 4:2:0 codec. This number is a reference to the sampling rate of
the luminance (Y) component and two color components (B-Y), (R-Y). In HDV, the
vertical and horizontal color resolutions are only half that of the luminance resolution.
Professional production studios have standardized on 4:2:2.
HDV holds up considerably well for visual effects work, despite its reduced color space. Final Cut Pro 5 delivers exceptional image quality by compositing and applying effects in uncompressed 4:4:4 color before reencoding the final images back to the sequence’s format (HDV, in this case). For output back to HDV tape or HD-DVD, this
process preserves the maximum possible quality.
Customers who need higher-quality mastering have the option of transoding HDV into a professional 4:2:2 format, such as DVCPRO HD or even fully uncompressed 10-bit HD. Final Cut Pro 5 configurations that support additional high-definition workflows are available from Apple resellers.
AT NOTE:
WOW! This takes my breath away! All this, for $937 delivered Canon HV20 camera!
I'm psyched! I'll let you know a workflow in a few days.
Best, Anthony @ GoSluggo.com
What are the benefits of native HDV editing?
Native HDV editing offers these benefits:
1. Preservation of the camera-original quality of the source video (no generation
loss on capture).
2. Real-time capture (no waiting for transcoding, as on some non-native systems).
3. Smaller files (non-native files are often four times larger).
4. Zero encoding loss when going back to tape for frames not modified in the
editing process.
5. Higher-quality output than competitors when going back to tape for frames that
have been modified by the editing process.
Are we really editing native HDV?
Adding native HDV editing capabilities to Final Cut Pro was a typical project for Apple: Take something insanely difficult and make it stunningly simple. To Final Cut Pro users, editing HDV is just as easy as editing regular DV.
Editing native HDV (long GOP MPEG-2) poses significant challenges for any software vendor. MPEG-2 was not designed as an “editable” format, and most nonlinear editing applications are not able to work with HDV in the native format. In fact, some of our competitors doubt that we are actually editing native HDV!
It’s easy to see that we’re editing HDV natively in Final Cut Pro 5. Select any captured HDV clip and view the data rate and codec through the Item Properties command. Adding support for native HDV editing in Final Cut Pro required work from many different teams at Apple—everybody from our advanced codec engineering group
to the QuickTime team, and of course, the Final Cut engineering teams worked on
various components to bring this solution to market.
Unlike other native MPEG-2 editing solutions, Final Cut Pro 5 lets you make cuts and
edits on any frame—other systems sometimes limit you to cutting on Groups of
Pictures (GOPs) boundaries.
How is long GOP MPEG-2 HDV different than regular video codecs?
Most codecs, like DV for example, compress the contents of individual frames. Each frame is a single compressed picture called an “I-frame.” I-frame codecs work well for editing software like Final Cut Pro because you can park at, cut on, and view any frame.
High-definition video encoded using an I-frame codec would be too large to store on
the MiniDV tapes that HDV uses.
Long GOP MPEG-2 achieves smaller file sizes by creating GOPs that include different
types of frames that rely on each other to complete the image. For example, a Sony
HDV 1080i camera uses GOPs that are 15 frames long. The first frame of a GOP contains
the only I-frame (complete picture). The rest of the GOP is made up of bidirectional (B)
and predictive (P) frames. To see a B or P frame, the system must construct the image
by reading multiple frames, starting with the first frame of the GOP.
This process allows for great encoding efficiency and very small files (about 3.5 MBps, the same as regular DV). It also means that working with HDV in its native long GOP MPEG-2 format is difficult; each frame of video the user sees has to be constructed by reading numerous other frames in the GOP.
Technology FAQ
Native HDV Editing with Final Cut Pro 5
Page 3
3
How are native and non-native workflows different?
Is it true that HDV render times are longer?
The long GOP MPEG-2 encoding used for HDV is computationally intensive and does take longer to process than I-frame-only codecs. Many people are comparing the render times with DV, which is a standard-definition format. This comparison is not fair since HDV contains more than four times the number of pixels than DV. It is more appropriate to compare HDV render times with other compressed high-definition formats, such as DVCPRO HD.
The native workflow used in Final Cut Studio reencodes (renders) only the frames that have been changed by the editing process. The rest of the frames are sent back to tape as is, with zero loss. Non-native solutions must reencode the entire timeline when outputting to tape, meaning they have to render significantly more material than you would if you were using Final Cut Pro 5.
How does the quality of a native HDV workflow compare with the
competition?
Apple performed a series of internal tests against the leading Windows-based NLE, Adobe Premiere Pro. A round-trip from camera to hard disk and back is one cycle. We measured PSNR for five cycles; PSNR is a measurement that tells us how much the image has changed. Higher numbers are better.
The first table compares the native HDV workflow of Final Cut Pro 5 with both iMovie
HD/Final Cut Express HD and the Adobe Premiere Pro intermediate workflow. iMovie
HD and Final Cut Express HD both use Apple’s own intermediate codec. Adobe
Premiere Pro uses the CineForm intermediate codec. If there are no edits (that is a clip
comes in and goes out in its entirety), then no reencoding is necessary. The Final Cut
Pro reencoding error is zero pixel levels (or infinite PSNR).
The second table shows the native HDV workflow of Final Cut Pro 5 with a forced
reencode of HDV compared with the other workflows. Even in this case, when we
force Final Cut Pro 5 to reencode the HDV video, the results are clear: After five cycles,
Final Cut Pro 5 shows 43.9dB, an average of 1.6 pixel value errors from the original,
whereas Adobe Premiere Pro shows 35.7dB, with an average of 4.2 pixel value errors
from the original.
How does HDV hold up for visual effects work?
The HDV format is a 4:2:0 codec. This number is a reference to the sampling rate of
the luminance (Y) component and two color components (B-Y), (R-Y). In HDV, the
vertical and horizontal color resolutions are only half that of the luminance resolution.
Professional production studios have standardized on 4:2:2.
HDV holds up considerably well for visual effects work, despite its reduced color space. Final Cut Pro 5 delivers exceptional image quality by compositing and applying effects in uncompressed 4:4:4 color before reencoding the final images back to the sequence’s format (HDV, in this case). For output back to HDV tape or HD-DVD, this
process preserves the maximum possible quality.
Customers who need higher-quality mastering have the option of transoding HDV into a professional 4:2:2 format, such as DVCPRO HD or even fully uncompressed 10-bit HD. Final Cut Pro 5 configurations that support additional high-definition workflows are available from Apple resellers.
AT NOTE:
WOW! This takes my breath away! All this, for $937 delivered Canon HV20 camera!
I'm psyched! I'll let you know a workflow in a few days.
Best, Anthony @ GoSluggo.com
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