Apple Final Cut Pro 7 - Manual (Page 1490)

For example, if your computer has sufficient power, you can:
• Output an HD sequence via DV FireWire
• View a DV or OfflineRT sequence via an SDI video output on a third-party video interface
• Downconvert an HD sequence to an SD video output
Some specific examples of supported real-time video output configurations include:
• A DV NTSC sequence output to DV FireWire, where the sequence contains 1080i60
HDV and 720p30 DVCPRO HD clips
• A 1080i60 HDV sequence output to DV FireWire, where the sequence contains DV NTSC
and DVCPRO HD 720p30 clips
Media Management and Project Interchange
Working with mixed formats in a sequence can present unique media management
challenges. The following section describes limitations in the following areas when working
with mixed-format sequences:
• Using the Media Manager
• Exporting EDLs
• Using Cinema Tools
Using the Media Manager with Mixed-Format Sequences
When you process media associated with a mixed-format sequence, keep in mind that
Final Cut Pro bases most of its functions on the frame rate of the sequence, not the media
file. If you are simply using the Media Manager to copy or move a sequence and its
associated media, your media is merely duplicated. However, if you choose options such
as Delete Unused Media or Recompress, you should check your results to make sure
nonmatching image dimensions, frame rates, and codecs did not cause unexpected
results. Processing mixed-format sequence clips with speed changes through the Media
Manager may also cause unexpected results.
Exporting an EDL from a Mixed-Format Sequence
All clips in an exported EDL are assumed to have the same frame rate as the sequence.
When you export an EDL from a mixed-format sequence, source timecode In and Out
points are shown at the sequence frame rate, not the source timecode rate. As a result,
you may not be able to use an EDL exported from a mixed-format sequence for recapturing
footage.
1490 Chapter 86 Working with Mixed-Format Sequences