Focus Enhancements. Chapter 1: Camera and Format Settings. Page 2. Chapter 2: DTE Settings for NLE s.. Page 8

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1 Focus Enhancements FS-5 and DTE Quick Start FAQ: Chapter 1: Camera and Format Settings. Page 2 Canon XL-H1 & XL-H1s... Page 3 Canon XH-A1 & XH-G1... Page 4 Sony Z1.... Page 5 JVC GY-HD 100/200/ Page 6 Panasonic HVX Page 7 Chapter 2: DTE Settings for NLE s.. Page 8 Chapter 3: Setting Up To Record.. Page 9 Part One: Record Format.. Page 10 Part Two: DTE Formats.... Page 11 Part Three: Control Mode..... Page 12 Part Four: Timecode Mode....Page 13 Chapter 4: Getting DTE Clips into Non-Linear Editor Systems.Page 14 Final Cut Pro.... Page 15 Avid Media Composer... Page 22 Premiere Pro.... Page 26 Edius.... Page 29 1

2 Chapter 1: Camera and Format Settings Before any action is taken with the FS-5, first the camera settings and format selection must be decided. The FS-5 and other Focus products are designed to work with DV and HD cameras with FireWire output. Question # 1: What camera is being used with the FS-5? CanonXL-H1 / Canon XL-H1s Page 3 Canon XH-G1 / Canon XH-A1 Page 4 Sony Z1 Page 5 JVC GY-HD101 / GY-HD201, GY-HD250 Page 6 Panasonic HVX 200 Page 7 Notes: These are the cameras currently tested by Focus Enhancements and confirmed working with the FS-5 and other Focus DTE products. All cameras not listed that have a FireWire out should also work with the FS-5 and other DTE products. Since most camera menu systems are similar according to the camera brand, use the camera guides for the camera brand to seek out the similar menu settings. Knowing the camera settings and format will be important for the user to understand BEFORE using the FS-5. For any information about the camera not mention here, please have the user refer to the camera manual. 2

3 Focus Enhancements DTE Camera Guide Camera: Canon XL-H1 and XL-H1s Formats: HD: 1080/60, 1080/30, 1080/24 (NTSC) 1080/50, 1080/25 (PAL) SD: 480/60, 480/30, 480/24 (NTSC) 576/50, 576/25 (PAL) Focus Units: FS-5 HD: 1080/60, 1080/50 SD: 480/60, 480/30, 480/24 FS-CV HD: 1080/60, 1080/30, 1080/24 & 1080/50, 1080/25 SD: 480/60, 480/30, 480/24 & 576/50, 576/25 FS-C HD: 1080/60, 1080/30, 1080/24 & 1080/50, 1080/25 SD: 480/60, 480/30, 480/24 & 576/50, 576/25 Canon External Mode Setting: To use EXTERNAL MODE and trigger to both a tape and to the FS-5, the camera settings must be adjusted. The DV CONTROL must be switched to ON before any External Camera Triggers can be performed. On the Canon Camera: Press the MENU button From the Main Menu Go to and select SYSTEM SETUP From the System Setup Menu select DV CONTROL Switch DV CONTROL to ON Canon Timecode Settings: To receive TIMECODE from the camera, the camera must be placed in FREE RUN mode. On The Canon Camera: From the Main Menu Go to SINAL SETUP TIME CODE Switch COUNT UP to FREE RUN (Rec Run is also an option) To set the FS-5 to record the Timecode from the camera: On the FS-5 Go to the OPERATION MENU On the TIMECODE setting, set to EXT TC Note: EXT TC on the FS-5 will record all timecode from the camera (the same Free Run Timecode just set) 3

4 Focus Enhancements DTE Camera Guide Camera: Canon XH-G1 and XH-A1 Formats: HD: 1080/60, 1080/30, 1080/24 (NTSC) 1080/50, 1080/25 (PAL) SD: 480/60, 480/30, 480/24 (NTSC) 576/50, 576/25 (PAL) Focus Units: FS-5 HD: 1080/60, 1080/50 SD: 480/60, 480/30, 480/24 FS-CV HD: 1080/60, 1080/30, 1080/24 & 1080/50, 1080/25 SD: 480/60, 480/30, 480/24 & 576/50, 576/25 FS-C HD: 1080/60, 1080/30, 1080/24 & 1080/50, 1080/25 SD: 480/60, 480/30, 480/24 & 576/50, 576/25 Canon External Mode Setting: To use EXTERNAL MODE and trigger to both a tape and to the FS-5, the camera settings must be adjusted. The DV CONTROL must be switched to ON before any External Camera Triggers can be performed. On the Canon Camera: Press the MENU button From the Main Menu Go to and select SYSTEM SETUP From the System Setup Menu select DV CONTROL Switch DV CONTROL to ON Canon Timecode Settings: To receive TIMECODE from the camera, the camera must be placed in FREE RUN mode. On The Canon Camera: From the Main Menu Go to SINAL SETUP TIME CODE Switch COUNT UP to FREE RUN (Rec Run is also an option) To set the FS-5 to record the Timecode from the camera: On the FS-5 Go to the OPERATION MENU On the TIMECODE setting, set to EXT TC Note: EXT TC on the FS-5 will record all timecode from the camera (the same Free Run Timecode just set) 4

5 Focus Enhancements DTE Camera Guide Camera: Sony Z1 Formats: HD: 1080/60, 1080/30, 1080/24 (NTSC) 1080/50, 1080/25 (PAL) SD: 480/60, 480/30, 480/24 (NTSC) 576/50, 576/25 (PAL) Focus Units: FS-5 HD: 1080/60, 1080/50 SD: 480/60, 480/24, 576/50, 576/25 FS-4 HD HD: 1080/60, 1080/50 SD: 480/60, 480/24, 576/50, 576/25 Sony External Mode Setting: To use EXTERNAL MODE and trigger to both a tape and to the FS-5, the camera settings must be adjusted. The EXT REC CTL must be switched to SYNCHRO before any External Camera Triggers can be performed. On The Sony Camera: --Go to MENU IN/OUT REC EXT REC CTRL --Set to SYNCHRONOUS Sony Timecode Settings: To receive TIMECODE from the camera, the camera must be placed in FREE RUN mode. On The Sony Camera: Press MENU Select TC/UB SET Select TC RUN Set TC RUN to FREE RUN To set the FS-5 to record the Timecode from the camera: On the FS-5 Go to the OPERATION MENU On the TIMECODE setting, set to EXT TC Note: EXT TC will record all timecode from the camera (the same Free Run Timecode just set) 5

6 Focus Enhancements DTE Camera Guide Camera: JVC GY-HD101, JVC GY-HD201, JVC GY-HD250 Formats: HD: 720/60, 720/30, 720/24 (NTSC) 720/50, 720/25 (PAL) SD: 480/60, 480/30, 480/24 (NTSC) 576/50, 576/25 (PAL) Focus Units: FS-5 HD: 720/60, 720/50 SD: 480/60, 480/30, 480/24 & 576/50, 576/25 MR-HD HD: 720/60, 720/30, 720/24 & 720/50, 720/25 SD: 480/60, 480/30, 480/24 & 576/50, 576/25 DR-HD100 HD: 720/60, 720/30, 720/24 & 720/50, 720/25 SD: 480/60, 480/30, 480/24 & 576/50, 576/25 JVC External Mode Setting: To use EXTERNAL MODE and trigger to both a tape and to the FS-5, the camera settings must be adjusted. The 1394 REC TRIGGER must be switched to SYNCHRO before any External Triggers can be performed. On The JVC Camera: Select MENU Go to OTHERS NEXT PAGE 1394 REC TRIGGER Set to SYNCRO Timecode Settings: To receive TIMECODE from the camera, the camera must be placed in FREE RUN mode. On The JVC Camera: On the side of the camera, the panel section under the pull-out window viewfinder Look for: TC GENE Set to: FREE To set the FS-5 to record the Timecode from the camera: On the FS-5 Go to the OPERATION MENU On the TIMECODE setting, set to EXT TC 6

7 Focus Enhancements DTE Camera Guide Camera: Panasonic HVX200 Formats: HD: 1080/60, 1080/30, 1080/24 (NTSC) & 1080/50, 1080/25 (PAL) HD: 720/60, 720/30, 720/30 PN, 720/24 PN, 720/24 (NTSC) & 720/50, 720/25 (PAL) SD: 480/60, 480/30, 480/24 (NTSC) & 576/50, 576/25 (PAL) Focus Units: FS-100 DVCPRO HD: 1080/60, 1080/30, 1080/24, 1080/50, 1080/25 DVCPRO HD: 720/60, 720/30, 720/30 PN, 720/24 PN, 720/24, 720/50, 720/25 DVCPRO 50: 480/60, 480/30, 480/24, 576/50, 576/25 DVCPRO/DV: 480/60, 480/30, 480/24, 576/50, 576/25 Panasonic External Mode Setting: To use EXTERNAL MODE and trigger to both a tape and to the FS-5, the camera settings must be adjusted. --Go to MENU OTHER FUNCTIONS 1394 CONTROL Set to EXT Timecode Settings: To receive TIMECODE from the camera, the camera must be placed in FREE RUN mode. On The Panasonic Camera: Press MENU Go to RECORDING SETUP Select TCG Set TCG to FREE RUN To set the FS-5 to record the Timecode from the camera: On the FS-5 Go to the OPERATION MENU On the TIMECODE setting, set to EXT TC Using VFR (Veritable Frame Mode) with the FS-100: Veritable Frame Mode (VFR) allows the user to shoot in a high speed or slow motion mode. This can only be done with the camera in 720/30 or 720/24 mode and with the FS-100 set to P2 PN or QT PN. 1. Panasonic camera must be set to FILM CAM --Go to MENU SCENE FILE OPERATION TYPE --Change VIDEO CAM to FILM CAM --Choose the VFR Frame Rate you want to shoot in: 12, 18, 20, 22, 24, 26, 30, 32, 36, 48, Set the Panasonic camera to either 720/30 or 720/24 Note: Do NOT set the camera to 720/30 PN or 720/24 PN w/fs Set the FS-100 to either QUICKTIME PN or P2 PN mode. 4. Set the FS-100 to VFR Mode --Go to SETUP VFR Mode --Select either 24p or 30p (depending on your camera setting) Important Note: To shoot in normal Non-VFR mode, the Panasonic camera setting must be returned to VIDEO CAM and the FS-100 VFR Mode setting must be set to OFF. 7

8 Chapter 2: DTE (Direct-To-Edit) Settings for NLE s (Non-Linear Editors) The FS-5 and Focus DTE products are designed with the exclusive feature of Direct-To-Edit (DTE) files. This allows the user to record in any format that is compatible with any Non-Linear Editing system. How to select a DTE file to record to: Each Non-Linear Editor accepts its own file format. The FS-5 is designed to cover any format for any NLE. FS-5 HD File: Type: For use with: QT Quicktime Final Cut Pro MXF Avid Avid Composer 3.0 M2T M2T Edius Pro, Premiere Pro FS-5 SD File: Type: For use with: RAW DV DV Edius Pro, Premiere Pro AVI TYPE 1 AVI 1 Edius, Premiere Pro AVI TYPE 2 AVI 2 Premiere Pro, Edius Pro Canopus AVI Canopus Edius Pro, Premiere Pro MATROX AVI Matrox Edius Pro, Premiere Pro QT Quicktime Final Cut Pro, Premiere Pro MXF Avid Avid Composer 3.0 FS-4 SD File: Type: For use with: AVI 2 24p AVI 2 Premiere Pro Quicktime 24p Quicktime Final Cut Pro AVID OMF Avid Avid MXF OPA Avid Avid FS-100 HD File: Type: For use with: P2 Panasonic P2 Final Cut Pro, Avid, Edius, Premiere Pro P2-PN Panasonic P2 Final Cut Pro, Avid, Edius, Premiere Pro Quicktime Quicktime Final Cut Pro, Premiere Pro Quicktime PN Quicktime Final Cut Pro, Premiere Pro FS-100 SD File: Type: For use with: P2 Panasonic P2 Final Cut Pro, Avid, Edius, Premiere Pro 8

9 Chapter 3: Setting Up To Record Setting up the FS-5 to record requires understanding the settings on the Camera and Non-Linear Editor. Once those settings have been confirmed, the FS-5 can be quickly set up for quick use. Once the settings on the FS-5 are set, there is no need to change them, unless you require a format or NLE change. PART 1: RECORD FORMAT HDV = High Definition = 1080 or 720 formats SD = Standard Definition = 480 or 576 formats --Choose HDV for recording with 1080 or 720 formats. --Choose DV for recording with 480 (NTSC) or 576 (PAL) formats. It does not matter if the settings are for 1080/60, 1080/30 or 1080/24 they are all HD settings. On the FS-5: From the Main Menu screen Push the Right keypad button once to get to OPERATION Menu Screen Push down on the keypad and highlight REC FORMAT Push the center button to select the POP UP MENU On the POP UP MENU select either DV or HDV On the FS-4, FS-C, DR-HD100: From the Main Menu screen Push the Right key twice to get to HDD MODE Menu Screen Push down on the keypad to select either DV RECORDER or HD RECORDER You will now see a small next to your selection. On the FS-100: Exclusive to the FS-100 is the auto detect feature. When the FS-100 is connected to the Panasonic camera through the FireWire cable, the FS-100 will automatically detect the format the Panasonic HVX 200 camera is set to. However, if the user wishes to check the setting or set it themselves, they can. From the Main Menu screen Push the Right key twice to get to HDD MODE Menu Screen Push down on the keypad to select either: DVCPROHD For all HD recordings. DCVPRO50 For all DVCPRO 50 SD recordings. DVCPRO/DV For all DVCPRO or DV SD recordings. You will now see a small next to your selection. Once the FS-5 (or Focus device) has been set to HD or SD, you are ready to set the DTE format. 9

10 Chapter 3: Setting Up To Record (cont.) PART 2: DTE FORMATS DTE formats refer to the Direct-To-Edit file format chosen on the FS-5 to record the clips. This file format is based on the Non-Linear Editing system that will perform the editing of clips. Each NLE has their own file format(s) that they will accept. Please refer to the chart in Chapter 2 to select the proper DTE format. On the FS-5: From the Main Menu screen Push the Right keypad button once to get to OPERATION Menu Screen Push down on the keypad and highlight DTE FORMAT Push the center button to select the POP UP MENU On the POP UP MENU select the desired DTE format. You will now see the name of selected DTE format in the Menu listings. --HD formats include: Quicktime, MXF, M2T --DV formats include: Raw DV, Avi 1, Avi 2, Matrox, Canopus, Quicktime, MXF On the FS-4, FS-C, DR-HD100, FS-100: From the Main Menu screen Push the Right key three times to get to HD/DV FORMATS Menu Screen Push down on the keypad to select the DTE format. You will now see a small next to your selection. FS-C/DR-HD100/FS-4 HD formats include: M2T, Quicktime FS-C/DR-HD100/FS-4 SD formats include: Raw DV, Avi 1, Avi 2, Matrox, Canopus, Quicktime, MXF, Quicktime, Avid OMF, Quicktime 24p, Avi 2 24p, Pinnacle FS-100 HD formats include: FS-100 DVCPRO 50 SD formats include: FS-100 DVCPRO/DV formats include: P2, P2-PN, Quicktime, QT-PN P2, Quicktime, Raw DV Raw DV, Avi 1, Avi 2, Canopus, Matrox, P2, Quicktime, Avid, Quicktime 24p, Avi 2 24p, Pinnacle. Note: If the FS-5 is set to HD, then only the HD file formats will be available to select. If the FS-5 is set to SD, then only the SD file formats will be available to select. 10

11 Chapter 3: Setting Up To Record (cont.) PART 3: CONTROL MODE The FS-5 and other Focus DTE products allow multiple options for controlling the recording On/Off. This gives the user the option to control the FS-5 directly with the camera or by using the controls on the FS-5. Note: Controlling the FS-5 with the camera is limited to STARTING and STOPPING recordings. All other feature controls must be made on the FS-5 unit. --Choose NORMAL to control the FS-5 with the Record button on the FS-5 unit. --Choose EXTERNAL to control the FS-5 with the camera trigger (for cameras with DV control) --Choose SYNCRO to control the FS-5 with the camera trigger (for certain DV cameras only) Note: Focus recommends using the EXTERNAL control mode with most cameras. On the FS-5: From the Main Menu screen Push the Right keypad button once to get to OPERATION Menu Screen Push down on the keypad and highlight CONTROL Push the center button to select the POP UP MENU On the POP UP MENU select the desired CONTROL format. You will now see the name of selected CONTROL format in the Menu listings. Important Note: The EXTERNAL control function for the FS-5 will only work if the camera s settings have been properly set. Please refer to the CAMERA GUIDE section to learn how to properly set the camera model to accept external commands from the FS-5 device. On the FS-4, FS-C, DR-HD100, FS-100: From the Main Menu screen Push the Left key once to get to CONTROL Menu Screen Push down on the keypad to select the CONTROL MODE desired. You will now see a small next to your selection. --Choose LOCAL to control the FS-Unit with the Record button on the FS-Unit. --Choose JVC GY-HD to control the DR-HD100 with JVC cameras (Only on DR-HD100 units) --Choose SYNCRO SLAVE to control the FS-5 with the camera trigger (for certain DV cameras only) --Choose TAPELSSS to control the FS-Unit with the camera trigger for camera with no tape. Once the proper CONTROL MODE has been set, when the camera trigger is pressed once the FS-5 will begin recording a new clip. When the camera trigger is pressed a second time the FS-5 will go into REC/PAUSE where it will remain until the next camera trigger, which will begin recording a new clip on the FS-5. 11

12 Chapter 3: Setting Up To Record (cont.) PART 4: TIMECODE MODE Timecode is a series of numbers attached to the video clip used to identify each frame of footage. These numbers are not visible on the clip, but are actually embedded into the clip and can only be seen by a camera s viewfinder or in a display window of an Non-Linear Editing system. The same Timecode from the camera can be recorded to both TAPE and the FS-5 unit. To set your CAMERA in TIMECODE MODE, please refer to the CAMERA GUIDES in Chapter 1. FOCUS RECOMMENDS: Focus Enhancements recommends that the FREE RUN timecode mode be used on all cameras. This means that the camera will continually run the timecode even when not recording. When recording starts, the FREE RUN timecode will be added to the TAPE and FS-5 device. When the recording stops, the FREE RUN timecode will continue to roll (or count up) on the camera. Examples of Timecode Modes on the FS-5: --Choose EXT TC to receive timecode directly from the camera. ***Recommended Setting*** --Choose FREE RUN to receive timecode from the FS-5. --Choose REC RUN to receive timecode from the FS-5. --Choose REGEN to receive timecode from the FS-5. On the FS-5: From the Main Menu screen Push the Right keypad button once to get to OPERATION Menu Screen Push down on the keypad and highlight TIMECODE Push the center button to select the POP UP MENU On the POP UP MENU select the desired TIMECODE format. You will now see the name of selected TIMECODE format in the Menu listings. Note: For more information about FREE RUN, REC RUN and REGEN modes of timecode on the FS-5, please refer to the FS-5 User Guide for a detailed example of each setting. 12

13 Chapter 3: Setting Up To Record (cont.) PART 5: MODE This refers to the MODE the FS-5 is set to for operational use. The FS-5 has two modes of operation: --Choose REC/PLAY to use the FS-5 with a camera to record and playback clips through the camera. --Choose HDD to mount the FS-5 to a computer through the USB port. How to mount the FS-5 to a computer: There are two ways to mount the FS-5 to a computer. MOUNT MODE # 1: 1. Connect a USB cable to the FS-5 and to the computer. 2. On the OPERATION MENU screen, switch MODE from REC/PLAY to HDD. On the FS-5: From the Main Menu screen Push the Right keypad button once to get to OPERATION Menu Screen Push down on the keypad and highlight MODE Push the center button to select the POP UP MENU On the POP UP MENU select the desired MODE format. You will now see the name of selected MODE format in the Menu listings. 3. Once HDD has been selected, the FS-5 will now export the database and mount to your computer. 4. When finished, make sure to safely dismount the FS-5 from your computer and press EXIT on the FS-5. MOUNT MODE # 2: Quick Mount 1. Connect a USB cable to the FS-5 and to the computer. 2. On the MAIN MENU screen, press the F3 (DV/DD) button once. 3. The FS-5 will now export the database and mount to your computer. 4. When finished, make sure to safely dismount the FS-5 from your computer and press EXIT on the FS-5. On the FS-4, FS-C, DR-HD100, FS-100: 1. Connect a FireWire cable to the FS-Unit and to the computer. 2. From the Main Menu screen Push the Right key twice to get to HDD MODE Menu Screen 3. Push down on the keypad to select DD DRIVE 4. Press Right once on the keypad 5. A new Menu Screen appears press ENABLE once 5. The FS-Unit will now mount to the computer Note: If the FAILED message appears, make sure the FireWire cable is plugged into the COMPUTER/IO port. Quick Mount for the FS-4, FS-C, DR-HD100, FS-100: 1. From the Main Menu screen Push the Left key five times to get to FUNCTIONS Menu Screen 2. Push down on the keypad to select the FC DV/DD. You will now see a small next to your selection. 3. Now on the MAIN MENU, you will see DD over the FC button. 4. To mount, just connect the FireWire cable to the FS-Unit and the computer and press FC DD button once. 5. A new Menu Screen appears press ENABLE once. The FS-Unit will now mount to the computer. 13

14 Chapter 4: Getting DTE Clips into Non-Linear Editor Systems This section will describe the process for getting the Focus DTE clips into the desired NLE system. Each NLE system has a unique way to Import clips into the project. The advantage of Focus DTE clips is they can immediately be imported into the NLE directly after recording. No capture or render necessary. This section will cover four of the most popular NLE systems. If the NLE import process for a NLE system is not included here, it will be up to the customer to read the manual materials for the NLE to learn the import process for the desired NLE. PART 1: Final Cut Pro Page 15 PART 2: Avid..Page 22 PART 3: Premiere Pro.Page 26 PART 4: Edius.Page 29 Note: Even with updates for the NLE system, the import process should not change. Note: When using the MXF, Avid or P2 formats, the ORGANIZE function must be run BEFORE mounting. 14

15 FINAL CUT PRO Mount the FS-5 (or other) unit to the computer. For the purpose of the example, the FS-100 is used. Open FINAL CUT PRO The first thing to do is CREATE A TIMELINE WITH THE PROPER CLIP SETTING Note: Each time Final Cut Pro is opened and a new TIMELINE is selected (File New Timeline) the TIMELINE SETTINGS are automatically the settings of the last timeline created. If the old settings are different from your new clip a NEW TIMELINE SEQUENCE must be created. 1. On the top MENU SCREEN Go to FINAL CUT PRO AUDIO VIDEO SETTINGS 2. The AUDIO/VIDEO SETTINGS window will open. Here you will find 3 Settings to conform to the settings of your clip. a. Sequence Preset this is the setting for your timeline (example: 1080/60, 1080/24, DV NTSC 48) b. Capture Preset this is for capturing clips in AV/C mode. c. Device Control Preset this is for controlling the camera device. 15

16 a. Set the SEQUENCE PRESET to conform to your clip camera settings: DVCPROHD 1080/60 a. Set the CAPTURE SEQUENCE to match the Sequence Preset (for Capturing Clips only) b. Set the DEVICE CONTROL to match the Sequence Preset (for EXTERNAL AV/C MODE use only) 16

17 Note: For most editing with the FS-100 (and others), the CAPTURE PRESET and DEVICE CONTROL PRESET settings will not be used in the IMPORT and EDITING functions. However, it is a good idea to make sure the settings all match when making the original SEQUENCE PRESET. 3. Now on the TOP MENU Select: FILE NEW - SEQUENCE A new UTTITLED SEQUENCE will appear in the BIN. At this time, NAME THE SEQUENCE. 4. Double-Click on the SEQUENCE ICON and it will open up at the bottom, ready for use. Now let s IMPORT some DTE clips into FINAL CUT PRO. FOR QUICKTIME CLIPS: 1. From the TOP PULL DOWN MENU select FILE IMPORT a. Choose FILE if you want to Import a single file or files. b. Choose FOLDER if you want to Import the entire contents of a folder. 17

18 2. With the CHOOSE A FILE box open, navigate to the FS-100 FOLDER containing the clips. 3. Once the FOLDER has been selected, now HIGHLIGHT ALL THE QUICKTIME CLIPS and select CHOOSE. 4. Now you will see all the selected CLIPS in the BIN. 5. Grab the CLIPS and DRAG INTO THE TIMELINE. You are now ready to EDIT the QUICKTIME clips in the timeline sequence. To IMPORT the FOLDER, select: FILE IMPORT FOLDER The FOLDER from the FS-100 will now be located in the BIN, with all the clips inside. 18

19 FOR P2 CLIPS: Final Cut Pro Note: If using P2 clips, make sure to use the ORGANIZE P2 function first, before mounting the FS-100. P2 clips cannot be directly imported into the Final Cut Pro timeline the must first go through a conversion process. Apple has designed a program for this located in the LOG AND TRANSFER function. 1. Select: FILE LOG AND TRANSFER A new window will appear, this is the P2 LOG and TRANSFER WINDOW 19

20 With the FS-100 mounted and the P2 clips ORGANIZED, the Log and Transfer window AUTOMATICALLY SEARCHES FOR THE CONTENTS FOLDER and will present all the clips as a SINGLE CLIP in the Log and Transfer Bin. If the CONTENTS folder is not automatically found by the program, it can be located manually. a. Select the FOLDER + ICON at the top of the screen in the Log and Transfer Window This will open a navigation window that will allow you to select the CONTENTS folder from the FS-100. Note: Only HIGHLIGHT the CONTENTS folder (not the VIDEO folder this is not Edius) b. Select OPEN and the files will automatically be carried over to the Log and Transfer Bin. c. Now the Files are ready to be transferred. Select the ADD SELECTION TO QUEUE button. d. The transfer process will begin. 20

21 ALSO One advantage of the Log and Transfer window is the ability to only convert a specified section of the clip. If only 20 seconds of a 20 minute clip is wanted for transfer, use the IN and OUT MARKERS on the VIEWER WINDOW to select the start and end of the clip. Once completed, select ADD CLIP TO QUEUE. This is the button to set the IN marker This is the button to set the OUT marker This is the button to use after the In and Out points have been set and the clip is ready for Transfer. 2. Once the transfer process is complete, the finished clip will now appear in the BIN with a new name. 3. Drop the clip into the proper timeline and begin editing. 21

22 AVID: 1. Mount the FS-100, P2 Camera or Hardrive with MXF clips to computer. 2. Open C: AVID MEDIA FILES > MXF > 1 The 1 folder is where you will place ALL THE MXF CLIPS 3. DRAG ALL MFX clips into the 1 folder 4. Open AVID 22

23 5. Select Project Settings: For 720/30 use the 720/ setting 6. In Avid, select TOOLS then scroll down and select MEDIA TOOLS a new window opens 23

24 In the MEDIA TOOL DISPLAY, there are two windows on the Left and Right 7. In the MEDIA TOOLS DISPLAY, there are two windows on the LEFT and RIGHT 8. In the MEDIA DRIVES window (on the left) select (highlight) the NEW PROJECT and CONVERTED 9. Hit OK 10. Now a new MEDIA TOOL window will open and inside are your files. 24

25 11. DRAG the VIDEO FILES from the MEDIA TOOL WINDOW into the SUPER BIN 12. To put the files in the proper order, just RIGHT CLICK on the START HEADING (above the time numbers) and you will find the SORT ACCENDING selection. 13. DRAG the VIDEO FILES onto the AVID TIMELINE and you are ready to edit. 25

26 PREMIERE PRO: 1. Mount the FS-100 (or other) unit to the computer Note: If using P2 clips, make sure to use the ORGANIZE P2 function first, before mounting. 2. Open PREMIERE PRO 3 you will now see the WELCOME SCREEN 3. On the Welcome Screen, SELECT the NEW PROJECT icon 4. Now it s time to select the proper TIMELINE SETTING (aka Project Setting) Here you will notice the LOAD PRESET options. Locate the proper settings to correspond with the format the clips were recorded. (Example: 1080/60, 1080/30, 1080/24, 720/60, 720/30, 720/24). If the setting required is not available (Example: 720/25) then a CUSTOM SETTING must be created. At the top, select CUSTOM SETTINGS and a new window appears. Find the TIMEBASE setting and change to the proper frame/rate. Name the new setting and select OK to save. 26

27 Note: For P2 clips, the DVCPROHD settings will be used. Once the proper setting is HIGHLIGHTED, now select OK. Now the NEW PROJECT opens. Next step is get the clips IMPORTED into the project. 5. From the top pull-down menu, select FILE - IMPORT Using the LOOK IN feature, now the proper FS-100 (FS08300 (F:)) harddrive must be selected. Note: For P2 clips, a series of folders must be indentified. First the CONTENTS. Then the VIDEO. It is inside this VIDEO folder that the video portions of the clips are located. Note: When finally IMPORTED into Premiere Pro, the AUDIO will also be included. 27

28 6. Once the VIDEO folder has been selected, HIGHLIGHT ONLY THE FIRST CLIP Note: Do not select all the clips at this stage. Only the first clip. Premiere Pro will read the.xml Info located in the DATA folder and automatically MERGE all the clips into a single clip. 7. You will now notice this GENERATING PEAK FILE meter at work. Allow it to continue generating each clip. When completed, the file is now ready to be placed into the TIMELINE. 8. The finished clip will be renamed FS DEFAULT CLIP NAME XXXXX. Now you can select the clip and drag it into the timeline for editing. 28

29 EDIUS 4.0 Mount the FS-100 (or other) unit to the computer Note: If using P2 clips, make sure to use the ORGANIZE P2 function first, before mounting. Open EDIUS 4 you will now see the PROJECT SETTINGS SCREEN 9. On this screen, SELECT the NEW PRESET icon 10. Now it s time to select the proper TIMELINE SETTING (aka Project Setting and New Preset) Locate the proper settings to correspond with the format the clips were recorded. (Example: 1080/60, 1080/30, 1080/24, 720/60, 720/30, 720/24). Once the proper setting is HIGHLIGHTED, now select OK. 29

30 11. A new BOX will appear asking you to NAME the NEW PRESET. Give it a name and hit OK. Now the NEW PROJECT opens. Next step is get the clips IMPORTED into the project. 12. Once the NEW PROJECT is opened, to open the BIN press B on the keyboard. This BIN is where all the IMPORTED CLIPS will be collected. At any time you can press B on the keyboard to make this pop-up box appear. 30

31 13. At the top of the BIN, notice the ICON of the FOLDER w/ UP ARROW This is the ADD FOLDER BUTTON. CLICK on the ADD FOLDER BUTTON to open the IMPORT SCREEN WINDOW 14. Using the navigation window, SELECT the FS-100 unit displayed as: FS (E:) The navigation flow will follow this route: a. SELECT CONTENTS FOLDER b. SELECT VIDEO FOLDER c. SELECT CLIPS 31

32 Once all the VIDEO CLIPS have been HIGHLIGHTED select OPEN Now the VIDEO CLIPS will appear in the BIN: CLIPS in the BIN are now ready to be DRAGGED INTO THE TIMELINE: At this time, the VIDEO portion of the clip is on the timeline and ready to edit. But what about the audio? The audio must now be IMPORTED in the same way the video files were Welcome To Edius Repeat steps 7 8, this time IMPORTING the AUDIO FILES into the BIN. 32

33 15. Drag the AUDIO CLIPS into the timeline (corresponding with their matching VIDEO) Note: P2 clips can contain 4 separate AUDIO FILES 00, 01, 02, 03 Each audio file must be dragged into the timeline. There is NO AUTOMATIC FUNCTION to do this procedure. It must be completed by the user. Note: The VERY FIRST CLIP IN THE BIN will actually be the last clip of the sequence. If you SELECT all the AUDIO FILES together and attempt to drag into the timeline all at once, you will discover that EDIUS places the contents on the timeline in a HORIZONAL manner not vertical. This means that ALL THE AUDIO TRACKS will actually be placed on the same single audio track. When using EDIUS, a proper amount of pre-work is involved to prepare the clips for editing in the timeline sequence. 33