Apple Final Cut Pro 5 - Manual (Page 1369)

18 Part I Media and Project Management
Working With Full-Resolution Media Versus an Offline/Online Workflow
You can capture and edit your media at full resolution, or you can use an offline/online
workflow where you capture and edit at low-resolution, and then recapture at full
resolution for your final edit.
Working With Multiple Editing Workstations and Trading Project Files
If you are working on the same project on multiple editing systems, you need multiple
copies of your media files. All systems can have identical copies of full-resolution
media, or some can have low-resolution media (such as PowerBooks) while others use
full-resolution files. Project files can be transferred from one system to another and
clips are reconnected to local media files.
Using Multiple Workstations With a Storage Area Network (SAN)
Storage area networks allow you to connect multiple computers to a centralized media
storage device, so everyone is working with exactly the same media files instead of
multiple copies. You can build a SAN using Xserve RAIDs, Apple Xsan software, and a
fibre channel card installed in each computer.
Online Editing on a Final Cut Pro System Versus Another Linear
or Nonlinear System
If you plan to do final color correction, effects, and broadcast specifications on a non-
Final Cut Pro system, consider how you will deliver your sequence and media. You need
to pick a project interchange format that the online editing system recognizes. For
example, many Avid and ProTools systems recognize AAF and OMF files; other
postproduction tools recognize the Final Cut Pro XML Interchange Format; and linear
tape-to-tape edit suites use EDL files. Media can be delivered on tape for recapturing
into a nonlinear system, or for editing onto the master tape in a tape-to-tape suite. In
many cases it is faster to recapture tapes than to transcode digital files from a
Final Cut Pro-compatible codec to a format the online system recognizes.