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Io HD Installation and Operation Manual — Workflow General Notes
Workflow General Notes
The previously discussed codecs are used in different ways based on project
characteristics. Some codecs create very high-quality offline files at low data rates for
projects that will ultimately be delivered in uncompressed format via an offline/online
process. Other projects may use these compressed formats to create final masters.
AJA provides Final Cut Pro Easy Setups with the Io HD, creating settings that can be
used in a “capture once-use in many steps” type of process. For example, you might
use the same files for editing, digital dailies for review from a digital projector, and
location footage for viewing and editing your work on your laptop. You can even
create screening cuts of the project for approval and audience testing. And, you can do
all these tasks with the same QuickTime file using the Io HD and the Apple ProRes
422 codec.
Mixing and Matching Formats in Final Cut
Final Cut Studio 2 (Final Cut Pro 6) now lets users mix different formats on the
project timeline. The Apple ProRes 422 is a perfect codec for doing just that, since
you can first ingest with it and then edit your media with its I-frame-only encoding
(which maintains great quality). Ingested media maintains quality during editing,
playback, and mastering to tape.
A well thought out offline/online workflow should be mapped out before starting any
project. It makes sense to capture media into your system at the highest quality level
you expect to use in Final Cut to eliminate re-rendering and ensure the best results for
mastering. It’s also best to work with one format consistently for each timeline to
obtain the highest level of efficiency and the optimum system throughput.
However, if changes need to be made to the project workflow after the project has
begun, the Io HD gives users easy tools that can capture to a common codec with its
hardware based upconversion, downconversion and crossconversion capabilities.
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