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title: WWDC2003 Session 005
framework: wwdc
role: article
path: wwdc/wwdc2003-005
---

# WWDC2003 Session 005

## Transcript

Kind: captions Language: en good afternoon thanks for joining us this afternoon I'm Brett halle I'm the director of probity engineering today we're going to spend a few minutes and talk about how to interface professional video hardware to Final Cut Pro for one of the big challenges in the video production space is you know how to get rly get all that data into the computer and an effective way whether it be video and audio and all the various pieces and then when you're dealing with that much data be it you know standard definition or high definition how do you manipulate it and manage it and then display it and do things like effects and in a very highly efficient and in quick way to talk about how that is done and how you can produce products that we can work with their final cut pro 4 i'd like to invite Ken Carson the Final Cut Pro engineering lead to talk about this good afternoon if you we just released final cut for a couple weeks ago came out we introduced it at NAB this year and with that we've really shown our commitment to the high end space for video production whole suite of tools and today we're here talking about how we can interface hardware with our application and what you can do to help us produce even better tools for the industry so we'll be covering a number of topics here there's a good number of you in the audience who know more about this than I do at this point having developed a number of products for us then there's a bunch of you probably new to this and i'll be trying to split the difference between those of you who know it all on those of you who don't know much about it so we'll be describing two kinds of video hardware this works with final cut those that just do the input and output as opposed to those that do a lot of effects processing on board beyond what the host computer could do we talking about our key extreme which is our new software model for effects processing and we'll be talking about the AV playback architecture which is all built around quick time as an extension to that we then use an enabler file the RT enabler to like Final Cut know about the capabilities we'll cover that and talk about the opportunities for the developers that are with our product following that he'll have geo come up and talk about the uncompressed codecs that we've developed and released with this version and the pro io protocol and drivers step that we've developed so with final cut for actually all versions of Final Cut really it's built in QuickTime that provides a lot of flexibility for how it works what kind of hardware can be attached to it as opposed to everything coming from us and you get what we provide you can handle with through quicktime a wide range of resolutions we can handle for example 320 240 jpeg all the way up to HD online using hardware solutions software versions so you by computer Final Cut Pro that alone is enough to let you work with software versions for example we offline our T the DV and firewire out for DV adding on Hardware gives you the ability to perform SD and HD and that can either be the i/o or accelerated versions it's a little history on how it affects has come about within Final Cut final caught one came out in the spring of 99 and the ability to do real-time effects was a real obvious missing piece there so version 2 took a little while to get there we released the first version with final cut of with real-time effects based on quicktime that model we were using hardware acceleration for for Molly effects later that year we released final cut 3 which introduced the g4 real-time effect for that we took the model that we had developed with for hardware with QuickTime and applied a software engine and attorney that replacing the hardware that would have done the decompression and the effect with software so that you don't need to add any additional hardware just to do a simple effect and this spring we introduced final cut for with the Archie extreme model which really enhances what we can do in software we are now handling full-frame images different resolutions a lot more effect and expanded to be able to use the video out from our software effect in version 3 there was no monitoring and external devices and we've also extended to come the number of effects that are available for the hardware developers as well so to go back through the two different kinds of the video hardware this is a really big distinction that you can build a board that has a lot of processing power built into it and perform the effects in the hardware and if you don't go with the system like that you can provide a lot of capabilities just not possible in the base CPU on the other hand you can also build a system that just provides the video I oh um she take just the computer and the software the computers come with firewire so if you're working as DV you're all set but if you're trying to work in standard definition or HD video there is no plug in the back of a macintosh lets you connect direct here video monitors or tape decks so you have to have a piece of hardware in between there that hardware can be as simple as just doing the conversion from the uncompressed video to the analog and digital video world I'm going to go through some of what's new in our key effects are in which are too extreme so one of the things that we've got in there that's with the new affect all of the effects scripts are now capable of being real time with the exception of those that read particular frames back so that's a very small set of them so the sex scripts is the language scripting language that all of our effects had been written in if you're familiar with the program the effects builder tool is built into the application you can see all of all of these scripts are written another aspect of the new effect in version four is a variable-speed effect so it's lets you do keyframe speed real-time speed and variable rate speed we've taken advantage of OpenGL to do a number of our effects processing for those of you been catching some of the OpenGL sessions you can see that there's a lot of capability out there and in the GPU and we're taking advantage of that now we added beyond version 3 we have in version 3 we had just to offline RT and DV as our file formats that were supported for real time in version four we've added uncompressed formats as well at this point we are only enabling those when you connect a hardware board to them since there is no io directly available for the uncompressed format internally on the video processing that we do is generally y UV based in this version we've optimized it's that we're using the combination of 422 processing and 4444 processing based on the effects being performed to get you the best performance another feature that's been added is real-time 32 full down insertion so with cinema tools bundled in the application and the advent of these new cameras that are shooting like the panasonic dvx 100 put 24 FPS data onto a TV ntsc tape we can capture that 24 FPS data out of that do true 24 FPS editing and playback reinserting the 32 full down so that you can display it out to an NTSC device so I'm going to come over and demo a few things and highlight what's unique in this version that the hardware developers are going to need to know how to get to so I've got that sequence here you can see the various tracks and video and audio I'll just play through it once and then describe a few things that are going on in here so you can see that the effects being performed here none of this is rendered now first off over here in the RT pop up we've got a number of settings this being DV we've enabled a choice of qualities to perform for playback if I switch up the high quality will see that more of the things in the timeline will not be real time so if you look at the colors over here the section being red indicates that it doesn't think it's real time in the screen it thinks is I switched to high quality because this other clip is now beyond what we can guarantee will be real time and software but we've also added another feature called unlimited RT now this removes the time constraints that we have but in here for figuring out what possible on a particular machine and in general we have to be pretty conservative with those estimates because you know different machines you have different kinds of disk systems if you have short clips it's possible to play through something that's more complicated but if you try extending that clip it won't work so in the normal model that we use we are pretty conservative about it and if I play through this section where we've got multiple clips later layered on top you can see that even in full frame it is real time and we weren't getting dropping any frames I want to highlight the different render bar colors that we've got up here a change from version 3 over here in the left we've got this section with the cross dissolve that's for being for performed in real time now that I'm in full resolution that's coming out in a kind of grayish green color because this is full quality there's no advantage to rendering this if I switch back to the medium quality mode you'll see it as bright green which is what we used to use for the real-time effect over here this section now that I'm in unlimited RT this shows up as orange to show you that it's beyond what we think is really going to work correctly but we'll let you do it and the section over here is yellow this is a proxy effect so a proxy effective em scrubbing through you can see it this has a soft edge on it but we're not able to perform that part in real time so we're showing it in yellow and as it plays you see is being performed with a hard edge one of the things that we've gotten this version is the ability to work with multiple codecs that handle the same format so over here in a system settings under effects handling we've got on the left side a list of all of the formats that have enabler entries saying that they can be real time in some form and then over on the right there's a pop-up that lists the different manufacturers who are providing drivers for that format so this is an ntsc DV sequence so we're using the Final Cut Pro codecs and I added an abler that would list a couple others here so that if I choose another Kodak or choose none and come back here we're going to see that the timeline changes from all those being real time to being red requiring rendering because nothing is going to perform those effects this was a problem in particular previously with TV where a couple of different vendors had TV drivers and we we would disable our TV if we found one of them installed and they needed external control panels to turn on and off their versions in order to turn ours on and I'm expecting that was version for a lot of people are going to be providing uncompressed solutions that are going to be overlapping down here and this will let people within the applications which who's going to be running the effect one other thing that I wanted to highlight our here as a new feature is the floating-point rendering now we don't do floating-point processing in real time but the option is over here in the video processing tab to choose to use the floating point of rendering engine if you for ten bit uncompressed video you'll want to do this as a way to preserve the image quality otherwise you'll be going through 8-bit paths alright so let's go back to the slide so one of the important things to remember about Archie extreme and using software effects is that they'll just keep getting better in fact what we've got here you know this is a dual g4 1.42 gig machine but you can imagine that with what's been introduced here at the show with g5 and with the software improvements in Panther that the capability of the system will just keep improving on the hardware side all the things we've been adding for software effects really translate as well so for example the variable speed effects are available for the hardware and in addition is the ability to mix formats in a sequence that we've added which is can be enabled with the hardware products at this point previously if you had more tried to set up a sequence for say uncompressed and you want to drop a DD clip into it you would need to render that in order to play it back even if it was possible for you to decompress it in real time we weren't able to get the data cube properly without a glitch in between the formats in this version we're able to do that using the new filter that we've developed which I'll get into later so on the floating point rendering this is 128 bits per pixel so it's 32 bits per channel we're doing this with y UV plus alpha and it's what we call the r4 FL format this is a variation on the our 408 format which we use internally for our y UV plus alpha image processing our for weight is 8-bit pretty much based on the standard 60 one style of y UV but it's a fully sampled 444 format and this with 32 bits per channel is using approximately the same layout of course video tape machines at this point don't handle 32 bits per pixel they top out at around 10 so as a more efficient format for storing that kind of data there's the b210 format so these b210 is storing attendance / channel Paxton it's four pixels and five bytes 530 to go towards something like that now we've developed a lot of optimized code for doing the conversion between our for FL and V 2 10 and 2 the UI formats and we're making that available to the developers so that we get consistent results and we thought about leaving it on all on our side and having the interface read data from either to the UI or p210 format and doing the conversion on our side where it'd be a lot simpler but it means that there's one more buffer copy going on if we let give you the code to you you can put it in your components and the buffer copy on the decompress can be doing the translation at the same time now one of the other advantages of using the QuickTime format in between here is that our developers can write drivers to do any format they want you're not restricted to the end of each of 10 or to the UI formats that we've devolved for uncompressed you can come up with a 16 bit per channel format if you'd like or you can come up with other more highly compressed formats as well so here's block diagram shows how was performing the effects now this is pretty much the QuickTime model is how you do things on the left hand side we've got the video path and then the center is the audio path so the video goes through the QuickTime movie then you've got the codecs that process that and send out to the hardware and the hardware interface is to the external roads you tape machines or monitors the piece is shown in gold are the parts that you would be writing the blue parts are part of the system software and the application final cuts up there at the top the audio pass in the middle is sort of the same in the quick standard QuickTime model the audio would be driven directly off the quicktime movie within Final Cut it's kind of a roundabout path in the QuickTime movie is being called driving at all but it's going back to your final cut to provide the data directly to core audio so that we get the multi-channel output at this point now standard real time effects that you'll be using first three that'll talk about are based are effects the quicktime is defined so those composites halfa gain and cross dissolve the composite is selected within the Final Cut interface through the layering of tracks if you've got more than one layer video they get combined through the composite effect alpha gain is really the opacity filter so that takes a full hundred percent opaque track and add some capacity to that so that if you then layer it on top of something else it's blending into the background and the cross is also on transition lets you take two clips put them next to each other and cross the gulf between them so building your effects off of the standard quicktime codecs makes it a lot simpler to develop these and this is really the core set of being able to do anything in real time in addition to those we've developed a set within Final Cut the providing enhanced capabilities so for example in version 3 we introduced color correction filter and provided real-time effects to correspond to that so we've defined the color math and that's available as well and built a filter that performs this an effect script that provides the UI to control us a speed filter but to define variable rate speed and play it back in real time now this can be done either as a single track where we're just holding frames and playing them out in the new duration or you can also do a dual track playback and blend the results so in a dual track version we provide you the frame that's a little bit before the point in time that we really want to be showing and the frame that's a little after that point in time and you can blend the two based on the ratio of how far it is away from the optimal time the RT data filter is something we developed as a way to get around the problem i was describing before about using multiple formats and tricular in one sequence and this also simplifies the development of the playback as well because in the standard QuickTime model a you're playing normal video without effects on it you're going to get a call per frame to be decompressing each of them frames and then handling it and passing it through when you're performing in effect effect is really treated as one frame of very long duration or one sample really and you're responsible for producing all the in-between frames based on the timing provided with this data filter you can construct a seat well Final Cut will construct the sequence for you so that everything in the movie is flowing through the effects model that if you have no other effects you always have the data filter at the base it also provides a way for us to pass off some data that is otherwise not easy for you to get for example what's the frame rate it's one of those tricky things for quick times so flexible that they don't really care what the frame rate is but in the video world the frame rate really matters and doesn't change your hardware really needs to know what it is and sometimes it's not as obvious as it should be when you're trying to figure it out based on the QuickTime movie so we can give you that directly through this the our key skills effect lets you include skills in the sequencing real-time stills are set up so that we render them when we construct the movie and put them into Ram so it on playback there's no delay accessing them from disk or creating them if their generators and the interface provides the ability to control how much for the applications memory you're going to dedicate to steal cash and we've got a lot of code in there to handle releasing and reallocating the stills as you switch the sequences in the front of course if you if you're using more stills and fit in memory and you're switching it's got to be regenerating each time you switch tabs so there's a price to that and then the motion effect implements the controls that are in the Final Cut motion tab so this gives you the ability to do scaling centering rotation cropping distort drop shadow those are the sorts of things that are in it in the motion effect well when we take the effects that you've described in the Final Cut timeline and convert that into a QuickTime movie we have to break down the hierarchy of the effects as they're going to be processed so this is an example where we've got a moving still over cross dissolve of two color corrected DD sources so in the upper left we've got the still effect which is essentially a generator in the QuickTime model because there are no sources to that then below that you can see that the two video streams which feed the color correction effect those two color correctors growing the cross dissolve and the motion on still with the motion goes through being composite on top but within the quicktime movie structure it actually looks a lot more like our timeline and that you've got a base video track and then you've got tracks for the various sources so over in the movie world you're going to see just the composite there and the two TV sources so for example the composite that's over there on the right is the only thing that you would really see directly in the movie and when they try to play back the movie Krypton goes around and asks all of the installed components to handle that format for that particular effect in this case the composite blend effect they're looking for anybody that can handle that and if you're writing these components your component should say you can but when that happens you're then responsible for handling all the things that are below it so you need to examine the tree make sure that it's all stuff that you understand and then you have to expand that out and mask that to whatever hardware or software components you have that can perform these pieces okay the capture architecture is very much like playback architecture just a few pieces that are replaced data is flowing the other direction you've got the sequence grabber that's really driving the QuickTime side of things with and then the pieces that you need to write is the video digitizer and the core audio device so in the audio side it's flowing through the sound manager and core audio again the audio is the Center path and videos on the left and as usual device control is off to the side as a separate path that really in most cases won't affect anything that you'd be writing that the application would talk straight to the devices through something like a USB to serial converter or if you're using a firewire protocol could be ABC control so again this is pretty much the standard quicktime model for how to do things in which you're trying to figure out how to write to quicktime drivers there's a lot of information available in the quicktime website and I oak it layer for how to talk to the hardware's is also standard for the device drivers but there are some things that you need to know to work with final cut that are a little different one of them is that getting the AV sync on playback accurately suppose you made it to the QuickTime session yesterday afternoon Sean Michelle was describing the new api's that'll make this a little better in the next version of quicktime unfortunately that's not part of final cut for at this point but we will be switching to that at some point but as it stands now since the audio in the video are running through those two separate paths that we saw their independent and you have to do some work to make sure that they come back together and are in perfect sync when you play back on the playback side is pretty straightforward in that as playback begins the first frame of audio that you receive in the first frame of video that receive should be lined up even though they come at separate times we know and you know that those are the two things that need to be played together to begin the playback for capture it's a similar sort of problem and that's not yet addressed in the new version of quicktime so the way we've worked around that one is to have you insert a known pattern into the audio since the audio streaming before the actual video frames start to appear you just insert on caught we provide a call to give you the pattern to use you insert that into your audio to up until the point where you begin to capture and once again in your drivers you know exactly which video frame they're starting to capture with and what audio corresponds to that so when you get to that first frame of audio that corresponds that first frame of video that you are capturing stop inserting our pattern put in the real video the real audio stream and will after the capture walk through look the audio at the beginning strip off all apart that matches the pattern and line up that the next sample of audio at the beginning of the video and as I said the VTR control would generally be through external devices like USB now one of the other areas that is different from the standard quicktime model is the archie neighbor this is what's used to let final cut know the capabilities of your RT system these are implemented as FX scripts using FX script language and their run as startup scripts as opposed to the normal scripts that are interpreted and run to perform effects in real time the first important aspect of if enabler is the effect mapping now what the effect mapping accomplishes for us is ability to use the same filters and UI and effect scripts for real time as we use for not real time that means that the users don't need to learn different sets of filters or choose different filters depending on their hardware configuration they just edit the same way they always do and within this effect mapping your script will define which of our software FX scripts you've got hardware or other acceleration for and through the suspect mapping we scribe what of what quicktime components of yours get called in place of effects scripts one of the big advantages of that as i said is that you've got only one set of filters and effects that people need to learn to use but another aspect of that is that you can take the project file that you built on a high end system with lots of hardware you can move it over to say a powerbook and work pork on a portable system which doesn't have access to your hardware and the filters in fact still perform correctly because they were all built off with the effects scripts we just fall back to the effects scripts you can see the right result and it works out that way to somebody could be developing their projects in offline mode without the hardware and then going into an online sweet and using the new features and capabilities that you've developed get things in real time second biggest aspects of the RT enabler is effect costing now the effect costing is necessary to be able to predict before we play it back whether something is going to require render Ino can be played in real time now first glance that seems like a simple problem but in fact it's not at all obvious when you get to the middle ground as to whether something real well perform in real time or not you know if you've got a piece of hardware that's got three physical decoders on it you can pretty well guarantee that a fourth stream of video is not going to work that's pretty simple aspect of the costing but if if you're doing it in software or a lot of the hardware these days is more general purpose and it's more a matter of how many other things is it trying to do that limits the capabilities so we've got two models that we can use one of them is based on a time budget and the other is a resource budget and you can use the two of them at the same time so the resource budget is like the example I had where you've got you know physical key compressors and you can't handle more than three streams of video so you can put a limit saying you can only do three on the other hand the time budget is a model where you describe how long each of the effects takes and how much total time you're you're willing to take to perform the effects and before we construct the QuickTime movie we run through it add it all up and see whether all the pieces exceeds the limit that you've set and if it exceeds the limit we'll put up the red render bar scene sorry this needs rendering we can't do that in real time otherwise we'll give you the green render bar and see it play it play back in real time so a couple of changes that we made in version four to the enablers one of these is the providing the name the manufacturer name to show up in the effects handling tab so if you don't add the new entry to the enabler over there where I showed you on the effects handling tab so we don't know what to provide as as a name we'll just put the manufacturer for CC which isn't very useful to your customers another enhancement that we made to it on if you looked at the Final Cut enabler there's one that's inside of our application you can see that it's a pretty big file and we've added some commands that help save the redundancy make it easier to write the pieces and maintain the code here putting in there and for example if you're defining every all of the capabilities for DV ntsc DV you don't have to duplicate all that again to do pal and with the new commands it's pretty easy to just duplicate and until it what's different rather than repeat a lot of the data another new thing that we've added in this version is a debugging enabler which spews data to counsel about what's going on while we're interpreting the effects and figuring out what we're going to be building in the QuickTime movie one of the trickiest things has been when you build your effect you've got all your components installed you think everything's set up and you put it all together and you get a red render bar it's like okay why isn't it real time there's a lot of reasons it could not be real time and short of you getting together with us using your debugger and our debugger it's been pretty tricky to figure out some of these cases this way we're providing more information about what we're doing on our side what we thought didn't work then this is going to help a lot and we'd like feedback on other sorts of things that we can be putting in here that'll help you out so here's an example a very simple example of what's necessary to enable video out and the uncompressed software path in version four so the first first line is setting the enable to the UI effects flag and that enables software processing of uncompressed video in real time within the application the second switch the enable software RT video out flag lets us call your video out with our software effect so this makes on the RT enabler looks simple and if you're building just an i/o device this is all you really need to be able to do you college effects processing will be handled through our software we've already got a complex in a blur that describes how to do all of the effects that we perform in this case the parameters one at the beginning of the enable software or key video out is a description of what the relative cost of your video audio is compared to our standard versions so you need to do a little profiling to see what scale factor to put in there so that our costing works out right but otherwise it's pretty straightforward so the opportunities in the area to support Final Cut hardware acceleration always going to be able to provide more effects better quality in the FT world you know there's a sinewave for example now is can do a number of streams of full quality T on SD with wide variety of the effects that we have in Final Cut in the HD world the bandwidth requirements make hardware real necessity still it's a number of products already that provide three to pull down in real time from the video outs so we're playing it back as though it's 24 and they provide a spigot that converts that to 34 playback another aspect of what you can do with hardware is provide other kinds of codecs so you know mpeg-2 motion jpeg there's no Bigfoot night who knows you can do whatever you want so with rt extreme that really demands a an IO style of device is you're going to use the software effects built into final cut all you need to provide is the interface to the video hardware that can you be done either through pci or firewire this number of boards out there now that are doing this with PCI geo is going to be talking about how you can do this with fire right now one of the things that you know this the i/o device provides is a way to connect if he cares but another aspect is to give you true color monitoring on ntsc or pal video devices another big area of opportunities this isn't exactly hardware-specific but affects scripts and after effects plugins fit into the effects model within Final Cut nicely so to get back to HD this is really the biggest opportunity area that I see coming up and that as Archie extreme gets faster and faster taking over the SD video world is within sight we're not there is still a lot that Hardware can do in that area but in HD it's going to be a while there isn't anything that's going to get you high quality HD out of the computer as it is today advantage it's the same basic architecture of SD it's just bigger wider higher faster and of course the new hardware that we've been introducing the g5 with pci x will assist you with the high bandwidth needs in this area and the extra raid is a good way to get a lot of data quickly off of the hard disk all right i'd like to introduce javonni agnoli to take over and talk about the uncompressed codecs that we've developed [Applause] hi nan ok my name is jovanna Golan I'm going to be talking about two things today the first is going to be the uncompressed 42 codecs that we've included in final cut for release I'm also going to be talking about pralaya after that so in that 40 release of final cut we've added standard 8 and 10 bit uncompressed ycbcr 42 codecs and these are also available to developers for inclusion in their products say you wanted to you know ship a pci board that work with after effects the main reason we did these codecs is so that we could facilitate the exchange of uncompressed data and remove the need for vendor specific codecs we saw a lot of problems with developers I mean not users final cut users trying to exchange uncompressed data and they needed to go and send their friend who wanted to read the data the the vendor specific coded codec that had created it of course these codecs are tuned to take advantage of the latest hardware we've done a lot of work to improve the speed of them by writing some altivec code and another big one with these codecs is that final cut for supports them natively so the format's of these codecs are pretty straightforward and they've been around for quite a while actually they were originally described by Chris perazzi in December 99 in QT ice floe 19 and that put the link up here so you guys can check it out and we commonly refer to the Codex by there for cc's so Ken's talked about the two of you on the beach in 10 code that's essentially what we're talking about here AP a-- and Timbit uncompressed ycbcr codex have a lot of capabilities but things that you guys are most interested in is what they compress and decompress too and the tube you I codec supports the are 48 and a v4 late FCP formats as well as 32-bit a RGB and to view why the candidate adds support for the SCP are for FL which is the 32-bit floating-point format and be 64 a which is the after effects 16-bit RGB format we also support the QT gamma level API is in these codecs and so if you have a destination pixmap that has a different gamma than the source image will do the gamma conversion for you and as I said before they've been optimized for the latest hardware so the main reason we're telling you about this is because we want you to use these codecs and just you know the benefits are highest quality it's uncompressed is not a lossy codec we want to get a common file format among our user base so that we can ease the interchange of data among their users which we believe will improve the use of workflow dramatically and it's also important that you support these formats if you intend to use RT extreme because art extreme is tuned for these codecs we use the two voi format internally to render so if it has to do a conversion to another format that's an extra copy there that means loss of performance and best of all you're getting free optimized code and can't get better than that we're going to give these codecs to you to distribute if you'd like and that means less work for used as a developer you can focus on doing something cool with your hardware instead of writing codex so the next thing I'm going to talk about is pro I'll which is I don't know a new way of getting audio and video in and out of the Macintosh and first I want to talk a little bit about the philosophy behind pro I oh and why we went about doing this as can talk previously we see this trend of ever-increasing processing power in the CPU and GPU and decreasing cost of storage and so that led us to developing RT extreme which takes advantage of those capabilities in the host machine and with that we we needed a mechanism for easily getting audio and video in and out of the Mac primarily interfacing with professional devices such as high-end be TRS and cameras and so when we went and try to figure out what kind of bus we were going to use week's decided on fire wire because of its easy plug-and-play capabilities and it's also really simple instead of like having to plug in pci card or whatnot you just plug it in similar to DV camera so what is a pro I architecture it's basically got two parts we have a data transfer protocol specification and we also have firewire unit specifications and the data transfer protocol specification mainly deals with how to send uncompressed audio and video over the 1394 a bus and so in that uncompressed stream we're sending synchronized audio and video the video can be an to see or PAL eight or ten bit ycbcr 42 video and we also send the eight channels of uncompressed audio which can be 16 or 24 bit and you know a variety of sample rates and that all comes out to about 200 30 megabits per second and then once we add like protocol and packetization on top of that we're really pushing the limits of the 1394 a spec but we we believe that it was important to fit all this into the foreigner megabit per second spec versus just because of the wide variety of machines out there that have these connections on them so getting back to the protocol specification also covers things like activation and the framing of the data and some flow control techniques and the second part of the architecture is the firewire unit specification and if you know anything about firewire but there's a lot of resources on the web a unit specification kind of allows the device to define its capabilities on the bus and so we have three units there's the AV unit which is the it does most of the heavy lifting it's handles all the transfer of uncompressed audio and video and we have a serial unit which handles allows us to transmit rs422 over the firewire so this is really useful for debt control and the third unit we've put into the architectures the firmware upgrade unit which allows you to upgrade your device at some later date so if you want to upgrade the firmware its there's a unit that allows you to do that so what are the developer opportunities with pro I oh well what we're trying to get is Pete you developers to develop pralaya devices we really think that there's a broad market for these things and it really you know we have a lot of success with the first devices today so you can develop an analog only device that would you know convert component or composite signals XLR into into digital media digital data and send it over the fire war bus or you could develop a digital i/o device that would take in SD I is a data etc or you could do a device that did both or maybe have an idea of some other connection that we haven't thought of and we'd be happy to talk to you about that and you know update the specifications to include that so the first pro I'd of pro io device that is out there today is the aja io and it's kind of the Cadillac of devices and I just put this up here as an example to show you what these devices look like basically we have a bunch of analog and digital connections pretty much anything a professional video user could want to connect to their existing VTR s or cameras and then you see there's a in the lower middle part of the screen there there's a firewire connection that's the bus connection to the mac so we've basically you know capturing data or playing back data through all these different connections and then transferring it over the firewire bus to the Mac there's also rs-422 connection there for deck control which is you're in the pro video space you know is absolutely necessary so along with the architecture we're also providing drivers the the prior driver release is a standard set of quick quick time drivers for pro io devices so if you make a device that follows the spec it should work with these drivers in that set of quicktime drivers there's a beaded and day-out plugin for capture of audio and video and also be out and VL transfer codec in clock claudio how plug in output device for playback and it's basically the quicktime driver set these need to interrupt with any quicktime capable application so the idea is that these are drivers should work not just with final cut but with other applications as well additionally we support the final cut specific API is it can talked about earlier the cover a B sink and a deck control and those are you know where the Final Cut themes of course we do the extra bit to support our app in addition there's a apple firewire serial driver which allows you to send zero data over the fire our bus to the pro i/o device and of course all the system optimized for the latest hardware lots of good altivec loops etc and best of all is out there right now is released yesterday I took Ken's capture architecture diagram and kind of grayed out all the non pro I Oh parts and just to show you what we're providing in the driver package and also what you as a developer need to do if you look down there there's the pro hardware that's what developers need to develop end and then you can look and see the we provide a pro IOV ditch and oil pro I oh I'll plug in to get audio and video into final cut or any quicktime enabled application and then we also have the Apple file or co-driver to beat the control and all those talks through the eye-fi our family which you know sends queries across the firewire bus so playback is very similar we have transfer coda it could be out clocks and video out and we have a cow plugins and audio out and again they communicate through the eye-fi our family to the pro io hardware and there's the Apple file or seal driver there for any debt control so obviously I can't tell you how to build a device right here so if you want more information on uncompressed 42 Kodak licensing or pro io licensing or I want to take part in an upcoming pro io kitchen you should contact jeff lowe because our WOD our representative and he will help get you the right information i think i'm going to call bread up it's going to wrap up for us yep [Applause] so we spent some time going over all the various ways that you can be approaching get involved in developing hardware for final cut for we strongly encourage you view that there's a number of other sessions that you can get involved in some of them coming up here the or we have happened early in the week and if you've missed them they should be on the DVD but we will have a session tomorrow for dealing with plugins and encourage you to do that if you're interested in creating for example effects scripts or things like after effects modules things like that though we'll be talking about the various plug-in models there and we will have a feedback form for final cut on friday afternoon at five it's already mentioned just flows the guy if you're interested in in any of the professional film and video area he can help you as mentioned we will be having a kitchen later this year to get into details about actually how to make fun of these devices and what the protocols and a wire protocols and so far there's a number of places you can get more information and obviously you can take while the scribble all this down but i believe all this information is up on the web for you but there in addition to the kind of standard stuff that's out there in terms video formats you if you haven't had a chance there's quicktime sessions and audio sessions and i'll get sessions that will be you know very important for you in terms of a driver development you