Apple Final Cut Pro X (10.0.9) - Manual (Page 459)

Glossary 459
Apple ProRes 4444 This Apple ProRes codec offers the best quality for 4:4:4:4 sources and for
workflows involving alpha channels. It features full-resolution, mastering-quality 4:4:4:4 RGBA
color, perceptually indistinguishable from the original material with excellent multigeneration
performance. It also features a mathematically lossless alpha channel (up to 16 bits) with
real-time playback, a high-quality solution for storing and exchanging motion graphics and
composites, and direct encoding of, and decoding to, both RGB and Y'CbCr pixel formats. This
codec has a remarkably low data rate compared to uncompressed 4:4:4 HD (the target data rate
is approximately 330 Mbps for 4:4:4 sources at 1920 x 1080 and 29.97 fps). See also Apple ProRes.
Apple ProRes 422 (HQ) This Apple ProRes codec preserves visual quality at the same high
level as Apple ProRes 4444, but for 4:2:2 image sources. With widespread adoption across the
video post-production industry, Apple ProRes 422 (HQ) offers visually lossless preservation of
the highest-quality professional HD video that a (single-link) HD-SDI signal can carry. This codec
supports full-width, 4:2:2 video sources at 10-bit pixel depths, while remaining visually lossless
through many generations of decoding and reencoding. The target data rate of Apple ProRes
422 (HQ) is approximately 220 Mbps at 1920 x 1080 and 29.97 fps. See also Apple ProRes.
Apple ProRes 422 This Apple ProRes codec offers nearly all the benefits of Apple ProRes
422 (HQ), but at 66 percent of the data rate for even better multistream, real-time editing
performance. See also Apple ProRes.
Apple ProRes 422 (LT) With a target data rate that is roughly 70 percent of the data rate of
Apple ProRes 422 and 30 percent smaller file sizes than Apple ProRes 422, this Apple ProRes
codec is perfect for environments where storage capacity and bandwidth are at a premium. See
also Apple ProRes.
Apple ProRes 422 (Proxy) This Apple ProRes codec is intended for use in offline workflows that
require low data rates but full-resolution video. The target data rate is roughly 30 percent of the
data rate of Apple ProRes 422. See also Apple ProRes.
aspect ratio A film or video frame’s width-to-height ratio on any viewing screen. Standard-
definition (SD) video (used for regular television screens) has an aspect ratio of 4:3. High-
definition (HD) video has an aspect ratio of 16:9.
Audio Animation Editor You can show the Audio Animation Editor for clips in the Timeline
to adjust effect parameters, create fade-ins or fade-outs, or change effects over time
using keyframes.
audio components Audio files can contain a single audio channel or multiple audio channels.
Final Cut Pro automatically groups audio channels into audio components according to how the
channels are configured for the clip. In Final Cut Pro, you can expand the audio portion of clips to
view and edit audio components down to the individual channel level.
audio sample rate The number of times an audio signal is measured, or sampled, per second. A
higher sample rate produces higher-quality audio and larger file sizes, and a lower sample rate
produces lower-quality audio and smaller file sizes.
Audio Units The standard real-time audio filter format for audio applications used with OS X.
audio waveforms Audio waveforms are visual representations of the actual sound. An audio
waveform’s amplitude and length change according to the underlying sound’s volume and
duration. A short, loud sound such as a drum beat has a sharp, peaked waveform, whereas low-
level crowd noise has a lower, more uniform waveform. These properties make it easier to find
specific edit points when trimming clips or keyframing effects.