Final Cut Pro 6
Final Cut Pro 6 Help
Final Cut Pro User Manual
Final Cut Pro 6 Help
Final Cut Pro 6 > en_US
Final Cut Pro User Manual
Volume I: Interface, Setup, and Input
Contents
FinalCutPro6 DocumentationandResources
User Manual
Onscreen Help
Onscreen User Manual
Working with High Definition and Broadcast Formats
Release Notes
Information About New Features
Apple Websites
FinalCutPro Websites
Apple Service and Support Website
PartI: An Introduction toFinalCutPro
About the Post-Production Workflow
The Industry Workflow
The Post-Production Workflow
Video Formats and Timecode
About Nonlinear and Nondestructive Editing
Video Formats Compatible with FinalCutPro
Using Multiple Video Formats in a Sequence
Offline and Online Editing
Audio Formats Compatible with FinalCutPro
Video Format Basics
Video Standards
Image Dimensions and Aspect Ratio
Frame Rate
Scanning Method
About Timecode
About Drop Frame and Non-Drop Frame Timecode
How Drop Frame Timecode Works
Understanding Projects, Clips,and Sequences
The Building Blocks of Projects
What Are Media Files?
What Are Clips?
What Are Sequences?
What Are Projects?
What Are Bins?
Working with Projects
Organizing Your Projects
Using More Than One Sequence in a Project
Creating and Saving Projects
Opening and Closing Projects
About the Connection Between Clips and Media Files
Relationship Between Source Tapes, Media Files, and Clips
Reconnecting Clips to Media Files
Filenaming Considerations
Avoiding Special Characters
Restricting Length of Filenames
Using Filename Extensions
Adding Times and Dates to FinalCutPro Project Names
Using Multiple Hard Disks
PartII: Learning About theFinalCutPro Interface
Overview of the FinalCutProInterface
Basics of Working in the FinalCutPro Interface
Using Keyboard Shortcuts, Buttons, and Shortcut Menus
Using Keyboard Shortcuts
Using Button Bars
Using Shortcut Menus
Learning Commands by Using Tooltips
Customizing the Interface
Moving and Resizing Windows
Working with Tabs and Tabbed Windows
Moving Windows
Using Different Window Layouts
Showing and Positioning the Dock
Undoing and Redoing Changes
Entering Timecode for Navigation Purposes
Browser Basics
How You Use the Browser
Learning About the Browser
Working in the Browser
Creating Sequences
Selecting Items in the Browser
Navigating Within the Browser Using the Keyboard
Copying and Deleting Items in the Browser
Renaming Clips, Sequences, and Bins
Using Columns in the Browser
Viewing Columns in Standard or Logging Formats
Creating Custom Column Layouts
Customizing the Browser Display
Choosing Views in the Browser
Working with the Browser in List View
Working with the Browser in Icon View
Setting the Poster Frame
Saving and Using Custom Column Layouts
Viewer Basics
How You Can Use the Viewer
Opening a Clip in the Viewer
Learning About the Viewer
Tabs in the Viewer
Video Tab
Audio Tabs
Filters Tab
Motion Tab
Controls Tab
Transport Controls
Playhead Controls
Playhead and Scrubber Bar
Jog Control
Shuttle Control
Marking Controls
Zoom and View Pop-Up Menus
Zoom Pop-Up Menu
View Pop-Up Menu
Playhead Sync Pop-Up Menu
Recent Clips and Generator Pop-Up Menus
Recent Clips Pop-Up Menu
Generator Pop-Up Menu
Canvas Basics
How You Use the Canvas
Opening, Selecting, and Closing Sequences in the Canvas
Learning About the Canvas
Editing Controls in the Canvas
Edit Overlay
Edit Buttons in the Canvas
Transport Controls
Playhead Controls
Playhead and Scrubber Bar
Jog Control
Shuttle Control
Marking Controls
Zoom and View Pop-Up Menus
Playhead Sync Pop-Up Menu
Navigating and Using Timecode intheViewerand Canvas
How the Viewer and Canvas Are Different
Navigating in the Viewer and Canvas
Playing Clips and Sequences
Scrubbing, or Moving, Through a Clip or Sequence
Shuttling Through a Clip or Sequence
Jogging Through a Clip or Sequence
Looping Playback
Working with Timecode in the Viewer and Canvas
Navigating with Timecode in the Viewer and Canvas
Dragging Timecode Values
About Timecode Overlays and Sync Color Coding
Timeline Basics
How You Use the Timeline
Opening and Closing Sequences in the Timeline
Learning About the Timeline
Sequence Tabs in the Timeline
Editing Controls
Vertical Multitrack Controls
Horizontal Time Controls
Timeline Display Controls
Audio Controls
Other Miscellaneous Controls
Real-Time Effects and the Render Status Bar
Sequence Clips in the Timeline
Changing Timeline Display Options
About Timeline Display Options in the Sequence Settings Window
About Timeline Display Controls in the Timeline
Timeline Display Options Available from the Track Layout PopUpMenu
Options for Displaying Duplicate Frames
Navigating in the Timeline
Positioning the Playhead Using the Ruler
Using Timecode to Navigate in the Timeline
Zooming and Scrolling in the Timeline
Zooming In and Out of the Timeline
Scrolling Horizontally Through a Zoomed-In Timeline
Scrolling Vertically Through Multiple Tracks
Customizing the Interface
Changing Browser and Timeline Text Size
Moving and Resizing FinalCutPro Windows
Using Window Layouts
Choosing a Window Layout
Customizing Window Layouts
Ways to Customize Keyboard Shortcuts
Learning About the Keyboard Layout Window
Assigning Keyboard Shortcuts
Avoiding Keyboard Shortcut Conflicts
Clearing and Restoring Keyboard Layouts
Saving Commands and Keyboard Shortcuts as Text Files
Saving and Loading Keyboard Layouts
Using Different Keyboards and Languages
Working with Shortcut Buttons and Button Bars
Adding Shortcut Buttons to a Button Bar
Rearranging, Moving, and Copying Shortcut Buttons
Changing Shortcut Button Colors
Removing Shortcut Buttons
Saving and Using Custom Shortcut Button Bars
PartIII: Setting Up Your EditingSystem
Connecting DV Video Equipment
Components of a Basic FinalCutPro Editing System
What Are Input and Output Devices?
Setting Up a FinalCutPro Editing System
Connecting Your Camcorder
Opening FinalCutPro and Choosing Your Initial Settings
Choosing an Easy Setup
Specifying Scratch Disks
About Scratch Disk Capture Order
When Scratch Disks Become Unavailable
Assigning Search Folders for Reconnecting Media Files
Confirming Remote Device Control Between FinalCutPro and Your DV Device
About FireWire
The Differences Between Apple FireWire and FireWire Basic
Connecting Professional Videoand Audio Equipment
Components of a Professional FinalCutPro Editing System
Video and Audio Input and Output Devices
Video Device
Audio Device
External Video and Audio Monitors
External Video Monitor
External Audio Speakers
Video and Audio Interfaces
Using a Breakout Box with Video and Audio Interfaces
Scratch Disks
About Video Interfaces, Signals, and Connectors
Video Interfaces
FireWire for DV
FireWire for Uncompressed Digital Video
PCI Video Interface Card
USB Video Interface
Video Signals and Connectors
Composite
S-Video
Component YUV and Component RGB
SCART
FireWire 400
FireWire 800
SDI
HD-SDI
SDTI
VGA
DVI
HDMI
Connecting Professional Video Devices
Connecting Professional SD Video Devices
A Recommended System Using a Third-Party Video Interface
Connecting Professional HD Video Devices
Connecting Professional Component Analog Video Devices
Connecting Consumer Analog Video Devices
Connecting Non-DV Devices to a DV Converter
A Recommended Non-DV-to-DV System Using Serial Device Control
About Audio Interfaces, Signals, and Connectors
Audio Interfaces
Built-in Audio Interfaces
Choosing a Third-Party Audio Interface
USB Audio Interfaces
FireWire for Digital Audio
PCI Audio Interface Card
Analog Audio Connectors and Signal Formats
1/8" Mini Connectors
RCA Connectors
1/4" Tip-Sleeve Connectors
1/4" Tip-Ring-Sleeve Connectors
XLR Connectors
Digital Audio Connectors and Signal Formats
AES/EBU
S/PDIF
Dolby Digital (AC-3)
DTS
TOSLINK
ADAT Lightpipe
TDIF
About Analog Audio Levels
About Units of Analog Audio Measurement
About Balanced Audio Signals
Connecting Professional Audio Devices
Connecting Professional Digital Audio Devices
Connecting Consumer Digital Audio Devices
Connecting Professional Analog Audio Devices
A Recommended Audio System Using a Third-Party Audio Interface
Synchronizing Equipment with a Blackburst Generator
Connecting Remote Device Control
DV FireWire for Device Control
Using RS-422 Serial Remote Device Control
Confirming Remote Device Control Between FinalCutPro and Your Video Device
Choosing a Device Control Preset
Understanding Device Control Status Messages
Switching Device Control Presets When Changing Decks
Determining Your Hard Disk Storage Options
Working with Scratch Disks and Hard Disk Drives
Data Rates and Storage Devices
Determining How Much Space You Need
Know Your Shooting Ratio
Planning for Additional Media Files
Calculating Hard Disk Space Requirements
Sample Calculation for Disk Space Requirements
Choosing a Hard Disk
Types of Hard Disk Drives
ATA Disk Drives
FireWire Disk Drives
SCSI Disk Drives
Using a RAID or Disk Array
Fibre Channel Drive Arrays and RAIDs
Storage Area Networks
External Video Monitoring
Using an External Video Monitor While You Edit
Consumer Video Monitors Versus Broadcast Monitors
Connecting FinalCutPro to an External Video Monitor
Connecting a DV FireWire Device to an External Monitor
Connecting a Third-Party Video Interface to an External Monitor
Choosing Playback and Edit to Tape Output Settings
Controlling When External Video Output Is Updated
Using Digital Cinema Desktop Preview
About Digital Cinema Desktop Preview Options
Digital Cinema Desktop Preview - Main
Digital Cinema Desktop Preview
Digital Cinema Desktop Preview - Full-Screen
Digital Cinema Desktop Preview - Raw
Using Digital Cinema Desktop Preview to Monitor Your Video
Troubleshooting Digital Cinema Desktop Preview
Compensating for Video Latency by Specifying aFrameOffset
Troubleshooting External Video Monitoring Problems
About the Display Quality of External Video
PartIV: Logging, Capturing, andImporting
Overview of Logging andCapturing
What Are Logging and Capturing?
Ways to Log and Capture Footage in FinalCutPro
Learning About the Log and Capture Window
Preview Area
Tabs in the Log and Capture Window
Log and Capture Buttons
Are You Ready to Log and Capture?
Logging Clips
The Importance of Logging
Benefits of Logging
Preparing to Log
Keeping Track of Footage with Reel Names and Timecode
Choosing Reel Names
Choosing Names and Log Information for Clips
Monitoring Video and Audio While Logging
Entering Logging Information and Logging Clips
Overview of Logging Steps
Opening the Log and Capture Window
Inserting a Tape in the VTR
Setting a Logging Bin to Store Logged Clips
Entering a Reel Name for the Current Tape
Setting Clip In and Out Points
Entering a Clip Name and Other Logging Information
Adding Markers to Clips While Logging
Selecting Which Tracks to Capture
Changing Capture Settings
Setting Video and Audio Levels for Analog Video
Logging a Clip
Logging Media Efficiently
Avoiding Duplicate Timecode Numbers on a Single Tape
Logging Tapes with Duplicate Timecode Numbers
Techniques for Avoiding Multiple Occurrences of the Same Timecode Number on a Single Tape
Additional Sources for Logging Information
Capturing Your Footage to Disk
Before You Capture
Different Ways to Capture Footage
Batch Capturing Clips
Before You Batch Capture
Learning About the Batch Capture Dialog
Batch Capturing Selected Clips
Stopping and Restarting the Batch Capture Process
About the Additional Items Found Dialog
Capturing Clips as You Log (Capture Clip)
Capturing Entire Tapes (Capture Now)
Limiting the Duration of the Capture Now Process
Capturing an Entire Tape Using Capture Now
About Automatic Filenaming During Capture Now
Automatically Creating Subclips Using DV Start/Stop Detection
Capturing Footage Without Device Control
Capturing Footage That Doesn’t Have Timecode
Using a Non-Controllable Device for Capture
Capturing Video and Audio Separately
Recapturing Clips
Recapturing Subclips
Recapturing Merged Clips
Capturing Footage with Timecode Breaks
The Importance of Avoiding Timecode Breaks
Capturing Footage Past Timecode Hour 23
How to Avoid Capturing Clips with Timecode Breaks
Using the Make New Clip Option
Renaming Media Files After Capture
Using the Media Manager After Capturing
Capturing Audio
About Capturing Audio
Preparing for Audio Capture
Choosing a Method for Capturing Audio
Capturing Audio-Only Media Files
Capturing Multiple Audio Channels
Setting Up for Capturing Multiple Audio Channels
Multichannel Audio Channel Selection
Dual Mono Versus Stereo Audio
How Multichannel Audio Files Are Stored on Disk
How Multichannel Audio Clips Appear in the Viewer
About Capturing Multiple Audio Channels from DV Devices
Adjusting Analog Audio Levels for Capture
About Audio Peaks
Capturing Audio from an Audio Deck Using Device Control
Capturing from an Audio Device Without Device Control
Transferring Audio to Media That Supports Timecode
Capturing Synchronized Audio Independently from Video
Working with Batch Lists
What Is a Batch List?
How Batch Lists Can Be Used in Your Workflow
Differences Between Batch Lists and Edit Decision Lists
Creating a Batch List
Using Equipment That Displays a Timecode Window
Creating and Logging Window Dubs
Rules to Follow When Creating a Batch List
Using a File Exported from FinalCutPro as a Template foraBatchList
Importing a Batch List
Troubleshooting Batch List Importing
Importing Media Files intoYourProject
What File Formats Can Be Imported?
How Is Importing Different from Capturing?
Importing Media Files
Tips When Importing
About Importing Video Files
About MXF-Based Formats
Importing from a Sony VDU
About Media File Optimization
About Importing Audio Files
What Kinds of Audio File Formats Can Be Imported?
Choosing Audio File Sample Rate and Bit Depth
Choosing Sequence Bit Depth
Mixing Sample Rates and Using Real-Time Sample Rate Conversion
Converting Audio Clips to Match Sequence Settings
Importing Broadcast Wave Files
How FinalCutPro Calculates Broadcast Wave File Timecode ataVideoRate of 29.97 fps
Using Audio CD Tracks in Your Project
Importing Still Images and Graphics
Importing Numbered Image Sequences
Converting a Numbered Image Sequence to a QuickTime Movie
Importing a Numbered Image Sequence into FinalCutPro
Making Movies from Still Images
Volume II: Editing
Contents
PartI: Organizing Footage andPreparing to Edit
Organizing Footage intheBrowser
Using Bins to Organize Your Clips
Creating New Bins
Opening Bins in the Browser
Opening Bins in a Separate Window or Tab
Moving Items Between Bins
Using Labels to Organize Your Clips
About Label Names and Colors
Assigning Labels and Setting Label Names toHelp ManageYour Media
Changing Names of Labels
Sorting Clips by Labels
Sorting Items in the Browser Using Column Headings
Searching for Clips in the Browser and Finder
Revealing a Clip’s Media File in the Finder
About Search Options
Options for Defining the Scope of a Search
Options for Defining the Criteria of a Search
Search Commands
Searching for Items in the Browser
Searching for Multiple Items in the Browser
Searching for Unused Clips in Your Project
Manipulating Items in the Find Results Window
Using Custom Column Layouts in the Find Results Window
Creating Subclips
Learning About Subclips
Removing Subclip Limits
Master-Affiliate Clip Relationships
Techniques for Breaking Large Clips into Subclips
Turning Markers into Subclips
Creating Subclips Manually
Editing with Subclips
Creating Independent Media Files from Subclips AfterCapturing
Merging Clips from Dual System Video and Audio
Working with Dual System Video and Audio
Use Accurately Captured Media to Create Merged Clips
Using Synchronization Points to Create Merged Clips
Duration of Merged Clips
Creating Merged Clips from the Timeline
Changing the Sync of Merged Clips
Using Markers
Learning About Markers
What Can You Do with Markers?
Differences Between Sequence and Clip Markers
Types of Markers
Working with Markers
Viewing Markers in the Viewer or Canvas
Viewing Markers in the Browser
Adding Markers in Clips and Sequences
Quickly Adding Markers
Adding Markers Along with Detailed Information About Them
Adding Chapter, Compression, and Scoring Markers
Deleting Markers in Clips and Sequences
Navigating with Markers
Renaming Markers, Adding Comments, andChangingtheKind of Marker
Moving a Marker
Aligning Items in the Timeline by Their Markers
Extending a Marker’s Duration
Editing Markers into Sequences
Exporting Markers with Your QuickTime Movies
PartII: Rough Editing
Working with Projects, Clips, andSequences
Specifying Preferences Before You Start Editing
Working with Projects
Working with Multiple Projects in the Browser
Choosing Whether the Last Previously Opened Project Openson Launch
Viewing and Changing the Properties of a Project
Backing Up and Restoring Projects
What Is Contained in a Project File
Returning to Saved Projects
Using the Revert Project Command
Automatically Saving Projects with Autosave
Learning About the Different Types of Clips
Types of Clips
About Offline Clips
Sequences as Clips
Viewing and Changing the Properties of a Clip
Changing Clip Properties in the Browser
Viewing and Changing Clip Properties intheItemPropertiesWindow
Viewing and Modifying Clip Properties
Finding a Clip’s Media File
Finding a Clip’s Start and End Timecode Values
Changing the Properties of Affiliate Clips
Creating and Working with Sequences
Creating and Deleting Sequences
Opening and Closing Sequences
Duplicating a Sequence
Copying a Sequence into Another Project
Nesting a Sequence
Basic Sequence and Timeline Settings
Why Would You Change Your Sequence Settings?
Viewing an Existing Sequence’s Settings
The Fundamentals ofAddingClips to a Sequence
Creating a Rough Edit
Basic Steps Involved in a Rough Edit
How Clips Appear in the Timeline
Undoing and Redoing Actions
Overview of Ways to Add Clips to a Sequence
Methods for Adding Clips to Sequences
Drag-to-Timeline Editing
Three-Point Editing
Determining What Parts of Clips You Want in Your Sequence
Preparing a Sequence Order in the Browser
Sorting to Create a Sequence Order
Visually Storyboarding in the Browser
Setting Edit Points forClipsandSequences
About In and Out Points
Learning About the Out Point Inclusive Rule
Things to Keep in Mind When Setting an Out Point
Setting Clip In and Out Points in the Viewer
Specifying an Edit Point Using Timecode
Setting In and Out Points to Include a Whole Clip
Reviewing Your Edit Points
Setting Sequence In and Out Points in the Canvas or Timeline
Options for Setting Sequence In and Out Points
When No Sequence In or Out Points Are Set
When You Set One Sequence In or Out Point
When You Set Both Sequence In and Out Points
Setting Sequence In and Out Points
Setting In and Out Points to Match a Clip or Gap
Setting In and Out Points Based on a Selection intheTimeline
Navigating to In and Out Points
Moving In and Out Points
Clearing In and Out Points
Working with Tracks intheTimeline
Adding and Deleting Tracks
Adding Tracks
Deleting Tracks
Specifying Destination Tracks in the Timeline
Understanding Source and Destination Controls
Setting Destination Tracks
Changing Source and Destination Control Connections
Disconnecting Source and Destination Controls
Resetting Destination Tracks to the Default State
Exceptions to Normal Use of Source and Destination Controls
Locking Tracks to Prevent Edits or Changes
When Working with Clips on Locked Tracks
Disabling Tracks to Hide Content During Playback
Customizing Track Display in the Timeline
Resizing Timeline Tracks
Resizing Tracks by Dragging
Resizing All Tracks Using the Track Height Control
Resizing All Tracks Using the Track Layout Pop-Up Menu
Saving Track Layouts
Creating a Static Region in the Timeline
Drag-to-Timeline Editing
Overview of the Drag-to-Timeline Editing Process
Dragging Clips to the Timeline
Doing Simple Insert and Overwrite Edits in the Timeline
Automatically Adding Tracks to Your Sequence WhileDragging
Three-Point Editing
Understanding Three-Point Editing
Overview of the Three-Point Editing Process
Different Ways to Do Three-Point Editing
Dragging to the Edit Overlay in the Canvas
Using the Edit Buttons in the Canvas
Using Keyboard Shortcuts
About Edit Types in the Edit Overlay
Performing the Different Types of Edits
Performing an Insert Edit
Performing an Insert with Transition Edit
Performing an Overwrite Edit
Performing an Overwrite with Transition Edit
Performing a Replace Edit
Superimposing Clips
Three-Point Editing Examples
Example:Editing a Specific Clip into Your Sequence
Example:Editing a Clip into a Gap in Your Sequence
Example:Backtiming a Clip into Your Sequence
Example:Editing a Clip with No Specified In or Out Points into Your Sequence
Finding and Selecting Content inthe Timeline
Understanding What’s Currently Selected
Identifying Selections in the Timeline
How Selections Are Prioritized in the Timeline
Direct Methods for Selecting Content in a Sequence
An Introduction to the Selection Tools
Selecting Clips
Selecting an Individual Clip
Selecting a Group of Clips by Dragging
Selecting Multiple Clips
Deselecting an Item in a Multiple Selection
Selecting a Range of Timeline Content
Selecting All Clip Items on a Track
Selecting All Items on All Tracks Forward or Backward
Selecting or Deselecting All Clips in a Sequence
Finding and Selecting Based on Search Criteria
Selecting a Vertical Range Between In and Out Points
Using Auto Select to Specify Tracks for Selections
Arranging Clips in the Timeline
Snapping to Points in the Timeline
Moving Items Within the Timeline
Moving by Dragging
Moving Clips Numerically
Using the Command Key to Drag More Slowly
Performing Shuffle Edits
Copying and Pasting Clips in the Timeline
Copying Clips by Option-Dragging
Modifying Selections and Commands Using the Option Key
Copying, Cutting, and Pasting Clips in the Timeline
Example:Copying and Pasting Audio and Video Clip Items toDifferent Tracks in the Timeline
Deleting Clips from a Sequence
Deleting with a Lift Edit (Leaving a Gap)
Deleting with a Ripple Edit (Leaving No Gap)
Finding and Closing Gaps
Color-Coding Clips in the Timeline
Cutting Clips andAdjustingDurations
Performing Basic Cut Edits
Cutting Clips in the Timeline
Using the Add Edit Command to Cut Clips
Joining Through Edits (Splicing Cut Clips Back Together)
Changing the Duration of Clips in the Timeline
Opening Sequence Clips in the Viewer to Change Durations
Linking and Editing VideoandAudio in Sync
Linked Sync Relationships Between Video and Audio Clips
When Linked Clips Are Moved out of Sync
Understanding Sync Relationships BetweenMultipleLinked Audio Items
Linking and Unlinking Video and Audio Clip Items intheTimeline
Linking Video and Audio Clip Items
Unlinking Video and Audio Clip Items
Selecting Individual Clip Items While They Are Linked
Getting Clip Items Back in Sync
Moving a Clip into Sync
Slipping a Clip Item into Sync
Moving or Slipping All Clip Items into Sync at Once
Establishing a Different Sync Relationship BetweenLinkedClip Items
Marking a Clip as In Sync
Learning About Linking Behavior in Audio Channel Pairs
Synchronizing Dual System Recorded Video and Audio
Split Edits
Learning About Split Edits
How Split Edits Look in the Viewer and Canvas
Setting Up Split Edit Points in the Viewer
Setting Up a Split Edit While Playing a Clip
Modifying and Clearing Split Edits
Split Edit Examples
Example:Split Edit in the Viewer and a Simple Edit Point intheCanvas
Example:Split Edit in the Viewer and a Single Split Edit Point intheCanvas
Example:Simple Edit in the Viewer and a Split Edit in the Canvas
Working with Multiclips
About Multiclips
Multiclip Workflow
Creating Multiclips and Multiclip Sequences
Preparing Clips to Be Used as Multiclip Angles
Assigning Angle Numbers to Clips
CinemaTools Clip-Naming Conventions
Deriving Clip Angle Numbers from Reel Names and Filenames
Creating Individual Multiclips
About the Make Multiclip Dialog
Synchronizing Angles in a Multiclip
Creating a Multiclip
Creating Multiclip Sequences
When Should You Use the Make Multiclip Sequence Command?
About the Make Multiclip Sequence Dialog
Creating a Multiclip Sequence
Multiclip Sequence Examples
Identifying and Naming Multiclips in the Browser
Working with Multiclip Angles in the Viewer
Viewing Multiclip Angles in the Viewer
Identifying Active Video and Audio Angles
Viewing Multiclip Overlays
Rearranging and Deleting Multiclip Angles in the Viewer
Adding Angles to a Multiclip in the Viewer
Inserting a New Angle
Inserting a New Angle into Many Multiclips at Once
Overwriting an Angle
Resynchronizing Angles in the Viewer
Editing with Multiclips in Real Time
Using Keyboard Shortcuts and Shortcut Buttons forMulticlipEditing
Editing Multiclips into the Timeline
Switching and Cutting Between Angles
Switching Angles
Cutting Between Angles
Switching and Cutting Video and Audio Items Separately
Switching Angles on Locked Tracks
Editing in Multiclip Playback Mode
Optimizing Real-Time Performance for Multiclip Playback
Viewing Multiclip Playback on an External Video Monitor
Applying Filters, Speed, and Motion Parameters to Multiclips
Applying Filters to the Active Multiclip Angle
Switching Angles with Effects
Collapsing and Expanding a Multiclip
Working with Multiclip Master-Affiliate Relationships
About Angle Master-Affiliate Relationships
About Multiclip Master-Affiliate Relationships
Match Frame Commands Used with Multiclips
Media Management and Project Interchange
Working with Multiclips in the Media Manager
Reconnecting and Recapturing Multiclips
Audio Editing Basics
The Goals of Audio Editing
Using Waveform Displays to Help You Edit Audio
Learning About the Audio Controls in the Viewer
Editing Audio in the Viewer
Opening Audio Clips in the Viewer
Viewing Audio Tracks in the Viewer
Zooming In or Out of the Waveform Display Area
Scrolling Through a Zoomed-In Audio Clip
Using the J, K, and L Keys to Hear Subtle Details
Turning Off the Audio Scrubbing Sounds
About Setting Edit Points for Audio
Dragging an Audio Clip to the Canvas, Browser, or Timeline
Trimming Audio Clips in the Viewer
Editing Audio in the Timeline
Timeline Audio Display Options
Displaying Waveforms in the Timeline
Displaying Overlays and Adjusting the Track Height
Zooming In and Out of Waveforms in the Timeline
Naming Audio Tracks
Moving Audio Items from One Track to Another attheSameFrame
Using Audio Transitions to Smooth Audible Changes
Creating or Separating Stereo Pairs
Working with Audio at the Subframe Level
Viewing an Audio Clip at Single-Frame Resolution
Subframe Synchronization of Audio and Video
Examples of Ways to Easily Edit Audio
Example:Replacing Unwanted Audio with Room Tone
Example:Fixing Awkward Audio Cuts in the Timeline
PartIII: Fine-Tuning Your Edit
Performing Slip, Slide, Ripple, andRoll Edits
About Trimming with Slip, Slide, Ripple, and Roll Tools
Sliding Clips in the Timeline
Performing Slide Edits Using the Slide Tool
Performing Precise Slide Edits Numerically
Slipping Clips in the Timeline
Performing a Slip Edit Using the Slip Tool
Performing Precise Slip Edits Numerically
Using the Ripple Tool to Trim an Edit WithoutLeavingaGap
Which Clip Items Move in the Timeline After a Ripple Edit?
Performing Ripple Edits
Performing a Ripple Edit in the Timeline
Performing a Ripple Edit in the Viewer
About Ripple Edits and Sync Relationships of Clip Items onOther Tracks
Doing Ripple Edits on Multiple Tracks at Once
Asymmetrical Trimming with the Ripple Tool
Tips for Edits Made with the Ripple Tool
Using the Roll Tool to Change Where a Cut Occurs
Rolling the Position of an Edit Between Two Clips
Rolling Edit Points in the Timeline
Doing Roll Edits in the Viewer
Tips for Using the Roll Tool
Learning About Trimming Clips
What Is Trimming?
Controls That Affect Trim Edits
Selecting Edits and Clips to Trim
Tools for Selecting Edit Points
Selecting Single Edit Points
Selecting Multiple Edit Points
Trimming Clip In and Out Points
Trimming with the Selection Tool
Extending and Shortening Clips in the Timeline
Trimming Clips in the Viewer
Precision Editing Using Timecode
Determining What Kind of Edit Occurs When Entering TimecodeNumbers
Moving the Playhead in the Timeline Using Timecode
Moving Clips Using Timecode
Using Timecode to Trim Clips in the Viewer
Understanding Alert Messages When Trimming
Trimming Clips UsingtheTrimEdit Window
Learning About the Trim Edit Window
Opening and Closing the Trim Edit Window
Controls in the Trim Edit Window
Using the Trim Edit Window
Playing Incoming and Outgoing Clips intheTrimEditWindow
Dynamic Trimming
Trimming an Edit in the Trim Edit Window
Reviewing and Playing Back Your Edits intheTrimEditWindow
Slipping a Clip in the Trim Edit Window
Listening to Audio While Trimming
Adding Transitions
Learning About Transitions
Common Types of Transitions
Using Transitions in Your Sequences
How Transitions Appear in the Timeline
Having Handles at Edit Points
Aligning a Transition in the Timeline
Adding Transitions
Adding Transitions with Clips You Add to the Timeline
Quickly Adding the Default Transition to Clips inYourSequence
Adding Transitions to Clips in Your Sequence
Example:Transitioning to or from Black
Using Transitions in Projects to Be Exported as EDLs
Moving, Copying, and Deleting Transitions
Moving a Transition to Another Edit Point
Copying and Pasting Transitions
Deleting Transitions
Modifying Transitions in the Timeline
Changing the Duration of a Transition in the Timeline
Changing the Alignment of a Transition in the Timeline
Changing an Edit Point After Adding a Transition
Replacing Transitions
Working with Default and Favorite Transitions
Changing the Default Transition
Saving a Transition as a Favorite
Deleting Favorite Transitions
Detecting Duplicate Frames over Transitions
Video Transitions That Come with FinalCutPro
Using After Effects Transitions
Refining Transitions UsingtheTransition Editor
Using the Transition Editor
Controls in the Transition Editor
Displaying Clips in the Transition Editor
Opening and Modifying Transitions in the Transition Editor
Applying a Modified Transition Directly to a Sequence intheTimeline
Trimming Transitions and the Surrounding Clips
About the Two-Up Display in the Canvas
Trimming the Duration of a Transition
Doing a Roll Edit to Change the Location of a Transition
Doing a Ripple Edit to Adjust the Length of a Clip in a Transition
Previewing and Rendering Transitions
Determining the Render Status of Transitions
Previewing Transitions Before Rendering Them
Rendering Transitions
Sequence-to-Sequence Editing
Methods for Editing Clips from One Sequence to Another
Opening More Than One Sequence at a Time
Copying Clips from One Sequence to Another
Nesting Sequences
When Do You Nest Sequences?
Pros and Cons of Nested Sequences
How Many Audio Items Does a Nested Sequence Have?
Nesting a Sequence Inside Another Sequence
Making a Section of Clips into a Nested Sequence
Changing the Duration of a Nested Sequence Ripples Clips AftertheNested Sequence
Editing the Content of One Sequence into Another WithoutNesting It
Editing Sequence Content Versus Nesting
Editing Clips from One Sequence into Another
Matching Frames andPlayheadSynchronization
Working with Sequence Clips in the Viewer
Opening a Sequence Clip in the Viewer
Switching Between the Viewer, Canvas, and Timeline
Using the Viewer to Adjust Sequence Clip In and Out Points
Using the Viewer to Adjust Motion and Filter Parameters
Matching Frames Between Sequence and Master Clips
Matching a Frame in the Canvas to Its Master Clip Frame
Matching a Frame in the Canvas to Its Media File Frame
Matching a Frame in the Viewer to a Sequence Clip intheCanvasor Timeline
Synchronizing the Canvas/Timeline Playhead withtheViewer Playhead
Why Synchronize Playheads?
Working with Playhead Sync
Using the Open Playhead Sync Option
Using the Gang Playhead Sync Option
Example:Trimming a Browser Clip by the Duration ofaSequenceClip
Working with Timecode
About Timecode in FinalCutPro
Frame Rate Versus Timecode
Displaying Timecode in FinalCutPro
Choosing a Timecode Display Option
Displaying Timecode Affected by Speed Changes
Choosing Source and Auxiliary Timecode Track Display
Clip Time Versus Source Time
Changing Global Timecode Display Options
Timecode Overlays
Modifying Timecode in Media Files
Using the Modify Timecode Command
Modifying Timecode in the Browser or Item Properties
Modifying the Timecode of Merged Clips
Modifying Sequence Timecode
Working with 60fps Timecode
Working with 24@25fps Timecode
Generating Timecode Window Burns
Volume III: Audio Mixing and Effects
Contents
PartI: Audio Mixing
Audio Fundamentals
What Is Sound?
Fundamentals of a Sound Wave
Frequency Spectrum of Sounds
Measuring Sound Intensity
What Is a Decibel?
Decibel Units
Signal-to-Noise Ratio
Headroom and Distortion
Dynamic Range and Compression
Stereo Audio
Identifying Two-Channel Mono Recordings
Identifying Stereo Recordings
Interleaved Versus Split Stereo Audio Files
Digital Audio
Sample Rate
Bit Depth
Assigning OutputChannels andExternal Audio Monitors
Audio Signal Flow in FinalCutPro
Audio Tracks
Busses
Hardware Outputs
Defining Output Busses by Grouping
Dual Mono Output Groups
Stereo Output Groups
Speakers
Configuring Audio Outputs
Choosing an Audio Interface for Output
Choosing or Switching Audio Outputs
Switching Video and Audio Outputs Simultaneously
About Audio Outputs
About Audio Output Presets
Choosing and Modifying Audio Outputs
Creating and Saving Audio Output Presets
Assigning a Default Audio Output Preset for New Sequences
Assigning Tracks in the Timeline to Audio Outputs
Matching Audio Outputs to Clip Items in the Timeline
How Audio Outputs Are Assigned Automatically
Using the Match Audio Outputs Command
Assigning More Audio Outputs Than Your Hardware Supports
Audio Output Export Settings
Audio Outputs Tab of the Sequence Settings Window
Config Pop-Up Menu
Downmixing Multiple Audio Channels to a Stereo Mix
How Downmixing to Stereo Works
Adjusting a Channel’s Downmix Volume
Downmixing for Stereo Monitoring
Downmixing During Export
Configuring External Audio Monitors
Connecting Speakers to Your Editing System
Monitoring 5.1-Channel Surround Sound
Setting Monitoring Levels and Muting System Sound Effects
Tips for Choosing Speakers and an Amplifier
Frequency Response and Dynamic Range
Self-Powered Versus Passive Speakers
Amplifiers and Signal Levels for Unpowered Speakers
Setting Up a Proper Audio Monitoring Environment
Speaker Placement and Listening Position
Using Headphones
Evaluating Levels withAudioMeters
About Audio Meters
Average and Peak Audio Levels
Analog Versus Digital Meters
Analog 0dB Versus Digital 0dBFS
About Audio Meters in FinalCutPro
Clipping Indicators
Floating Audio Meters
Setting Proper Audio Levels
Setting Levels for Capture
Detecting Audio Peaks
Raising Audio Levels Using Audio Normalization and Gain
How Normalization Gain Works in FinalCutPro
How Linked Mono and Stereo Clips Are Normalized
Reapplying Normalization Gain
Choosing Normalization Gain Versus Audio Level Keyframing
Troubleshooting Audio Normalization
What Reference Level Should You Use for Mixing and Output?
Outputting Bars and Tone at the Head of Your Tape
Labeling Your Tapes
Overview of the Audio Mixer
About the Audio Mixer
Controls in the Audio Mixer
Track Visibility Area
Track Strips Area
Master Area
View Buttons
Record Audio Keyframes Option
Source Pop-Up Menu
Using Audio Mixer Views
Using the Audio Mixer
Making Basic Audio Adjustments with the Audio Mixer
When Audio Mixer Controls Aren’t Available
Using the Mute Button to Silence Audio Tracks
Using the Solo Button to Listen to Individual Tracks
Using Faders to Adjust Audio Levels
Adjusting Levels in Mono Versus Stereo Clips
Adjusting the Master Level of Your Sequence
Making Stereo Pan Adjustments with the Audio Mixer
Pan Controls for Stereo and Dual Mono Audio
About Mono and Stereo Clip Items
How Audio Outputs Affect Panning Sliders
Changing a Clip’s Pan
About Mixer Automation and Keyframe Recording
Specifying Audio Keyframe Recording Resolution
Recording Audio Level and Pan Keyframes
Looping Playback to Mix Each Track
Modifying Recorded Keyframes
Using the Audio Mixer to Record over Previously ExistingAutomation
Modifying Keyframes in the Timeline and Viewer
Deleting Audio Level and Pan Keyframes
Using a Control Surface with the Audio Mixer
Connecting a Control Surface
What Is MIDI?
Choosing an External MIDI Interface
Installing a MIDI Interface
Choosing a Control Surface
Connecting a Control Surface
Configuring FinalCutPro to Work with a Control Surface
How Audio Mixer Tracks Correspond to Control Surface Faders
Arranging Control Surface Order
Working with Fader Banks
Controlling the Audio Mixer with a Control Surface
Preparing to Use a Control Surface
Adjusting Levels, Pan, Mute, and Solo Using a Control Surface
Using Control Surface Transport Controls
Control Surface Commands Supported by FinalCutPro
Recording Audio Mixer Keyframes Using a Control Surface
Mixing Audio intheTimelineandViewer
Adjusting Audio Levels in the Timeline and Viewer
Adjusting Audio Levels in the Timeline
Changing Audio Levels While a Sequence Is Playing
Changing Audio Levels in the Viewer
Panning Audio in the Timeline and Viewer
Panning Audio in the Timeline
Changing the Pan of Audio in the Viewer
Changing Pan for an Entire Clip
Copying, Pasting, and Removing Audio Attributes
Adjusting Clip Audio Levels and Pan UsingKeyframes
Tools for Adjusting Keyframes
Using the Option Key to Temporarily Enable Pen Tools
Using the Command Key to Gear Down Adjustment Speed
Creating, Modifying, and Deleting Keyframes in the Viewer
Example:Using Keyframes to Adjust Audio Levels
Example:Using Keyframes in the Timeline toAutomateAudio Levels
Example:Setting Subframe Audio Level Keyframes toEliminate Clicks
Example:Using Keyframes to Control Pan
Using the Voice Over Tool
About the Voice Over Tool
Setting Up Your Computer to Record Voiceover
About Microphones and Room Noise
Connecting Audio Devices and Configuring Software
RAM Requirements When Using the Voice Over Tool
Controls in the Voice Over Tool
Defining the Recording Duration and Destination Track
Setting the Recording Duration
Defining the Destination Track
Recording a Voiceover
Recording a Voiceover Clip
Recording Multiple Takes
How Audio Recorded with the Voice Over Tool AppearsinYourSequence
Using Audio Filters
About Audio Filters
Overview of Audio Filters
Equalization Filters
Frequency Ranges and Equalization
Equalization Filters Available in FinalCutPro
Using Equalization Filters in FinalCutPro
Gain Filter
Compressor/Limiter Filter
Expander/Noise Gate Filter
Noise Reduction Filters
Hum Remover
Vocal DeEsser
Vocal DePopper
Echo and Reverberation Filters
Working with Audio Filters
Applying Filters to an Audio Clip
Displaying Filter Keyframes in the Timeline
Modifying and Removing Filters
Making Real-Time Audio Filter Adjustments
Looping Playback While Making Real-Time Filter Adjustments
Recording Audio Filter Automation
Automating Audio Filter Parameters with Keyframes
Keyframe Controls in the Filters Tab of the Viewer
Adjusting Audio Filter Parameter Keyframes
Saving a Filter or Transition as a Favorite
Installing Third-Party Audio Units Filters
Tips for Better Audio
Learning to Describe Sound Accurately
Efficiently Using the Frequency Spectrum
Tips for Cutting Dialogue
Tips for Cutting Music
Exporting Audio for MixinginOther Applications
Ways You Can Finish Your Audio
Organizing Your Audio Clips for Multitrack Export
Exporting Audio Tracks to Individual Audio Files
Preparing to Export Audio Tracks as Audio Files
Exporting Audio Tracks as Individual Audio Files
Exporting Audio Output Groups to AIFF Files
Example:Exporting 12 Tracks to Three Stereo Audio Files
Automatic Filenaming During Export to AIFF Files
Preparing to Export Audio to AIFF Files
Using the Export Audio to AIFF(s) Command
Exporting Multichannel QuickTime Files
Exporting OMF Audio Files
Limitations of OMF Exporting in FinalCutPro
Exporting Sequence Audio to an OMF File
OMF Files Have a 2-Gigabyte Limit
Exporting Audio Clip Information to an EDL
Copying Audio to Timecoded Tapes for Logging, Capturing, andEDLExport
Exporting Audio for DVD
Working with SoundtrackPro andLogicPro
Using SoundtrackPro with FinalCutPro
About SoundtrackPro Audio File Projects
Methods for Sending Audio fromFinalCutProtoSoundtrackPro
Sending Individual Audio Clips fromFinalCutProtoSoundtrackPro
Sending Clips from FinalCutPro totheSoundtrackPro FileEditor
Processing a Clip’s Media File with a SoundtrackPro Script
About SoundtrackPro Scripts
Opening a FinalCutPro Clip’s Media File Directly in SoundtrackPro
About the Open in Editor Command
About SoundtrackPro Multitrack Projects
Creating SoundtrackPro Multitrack Projects fromFinalCutPro ClipsorSequences
Sending a FinalCutPro Sequence or Clip Selection toaSoundtrackPro Multitrack Project
Sending a Mixdown Back to FinalCutPro Automatically
Initiating SoundtrackPro Conform with FinalCutPro
About Conforming Manually
Using SoundtrackPro Conform
Using LogicPro with FinalCutPro
Importing FinalCutPro XML Files into LogicPro
Exporting a FinalCutPro XML File and an Audio Mixdown from LogicPro
PartII: Effects
Using Video Filters
Different Ways to Use Filters
Applying a Filter to a Clip
Applying Multiple Filters to Clips
Viewing and Adjusting a Filter’s Parameters
Viewing a Filter’s Parameters
Controls in the Filters Tab of the Viewer
Using Filter Controls
Displaying Filters Bars in the Timeline
Enabling and Rearranging Filters
Copying and Pasting a Clip’s Filters
Removing Filters from Clips
Installing and Managing VideoEffects
Plug-in Formats Supported by FinalCutPro
About FXScript
About FxPlug
Installing Video Filters
Installing FxPlug Plug-ins
Installing FXScript Plug-ins
Loading Plug-ins from a Network Server
Identifying and Organizing Video Effects
Viewing Preferred Effects
Identifying Video Filters in the Filters Tab of the Viewer
Identifying Video Effects in the Find Results Window
Transferring Effects Between Systems
Real-Time Playback and Rendering Plug-ins
Real-Time Playback and Rendering of FXScript Effects
Real-Time Playback and Rendering of FxPlug Effects
Plug-in Restrictions and Troubleshooting
FxPlug Plug-in Restrictions
After Effects Plug-in Restrictions
Video Filters Available in FinalCutPro
FXScript Plug-ins
Blur Filters
Border Filters
Channel Filters
Color Correction Filters
Distort Filters
Image Control Filters
Key Filters
Matte Filters
Perspective Filters
Sharpen Filters
Stylize Filters
Video Filters
FxPlug Plug-ins
Using the Mix Parameter
FxPlug and FXScript Plug-ins with Similar Behavior
Changing Motion Parameters
Creating Motion Effects in the Viewer
Adjusting Parameters in the Motion Tab
Working with Motion Parameters
Keyboard Modifiers for Controls in the Motion Tab
Controls in the Motion Tab
Using the Paste Attributes Command
Using Cartesian Geometry to Position Clips
Examples Using Motion Settings
Example:Using Motion Settings to Create a Multiple Clip Layout
Example:Using Additional Motion Settings to Refine the Layout
Creating Motion Effects in the Canvas
Choosing a Wireframe Mode
Which View Should You Use?
Manipulating Images in the Canvas
Crop and Distort Tools
Zooming In to the Canvas
Using Wireframe Handles to Transform, Scale, and Rotate
Example:Using Motion Parameters and Wireframe Handles
Adjusting Parameters forKeyframed Effects
Animating Motion Effects Using Keyframes
How Keyframing Works
Determining the Number of Keyframes to Use
Creating Simple Effects with Two Keyframes
Using Three Keyframes
Using Four or More Keyframes for Complex Effects
Keyframing Controls in the Viewer
Keyframing Tools in FinalCutPro
Keyboard Modifiers for the Pen Tool
Setting Keyframes
Adjusting and Deleting Keyframes
Moving Between Keyframes
Resizing the Keyframe Graph Area
Resizing Parameter Display Height and Width
Zooming In to the Keyframe Graph Area
Adjusting All Opacity Keyframes of a Clip
Example:Using Keyframes to Make Opacity Changes
Example:Keyframing Opacity in the Timeline
Smoothing Keyframes with Bezier Handles
Understanding Bezier Handles and Curves
One-Sided Bezier Handles
Two-Sided Bezier Handles
Smoothing Keyframes
Creating Keyframed Motion Paths in the Canvas
What Are Motion Paths?
Creating Motion Paths
Adding, Moving, and Deleting Keyframes in Motion Paths
Creating Curved Motion Paths Using Bezier Handles
Controlling Speed Along a Motion Path
Moving an Entire Motion Path in the Canvas
Creating and Applying Motion Favorites
Using the Timeline Keyframe Graph Area
About the Keyframe Graph Area
Customizing the Keyframe Graph Area in the Timeline
Working with the Filters and Motion Bars
Working with the Timeline Keyframe Editor
Reusing Effect andMotionParameters
Copying and Pasting Specific Clip Attributes
About the Paste Attributes Dialog
Copying and Pasting Clip Attributes
Removing Attributes from a Clip
Reapplying the Most Recently Used Effect
Applying Filters Across Multiple Tracks at Once
Creating and Applying Favorite Filters and Transitions
Creating Favorite Filters and Transitions
Organizing and Renaming Favorites
Applying Favorite Filters and Transitions
Changing Clip Speed andTimeRemapping
Speed Basics
How Changing Speed Affects a Clip’s Duration
Performing a Fit to Fill Edit
Constant and Variable Speed Settings
Constant Speed
Variable Speed, or Time Remapping
Frame Blending and Reverse Speed
Smoothing Slow Motion Using Motion Blur
Making Constant Speed Changes
Making Variable Speed Changes
How Time Remapping Works
Where You Can Make Time Remapping Adjustments
Viewing Time Remapping Parameters Applied to Your Clips
Learning to Read Timeline Speed Indicators
Using the Time Remap Tool
Sliding a Frame from Another Time to the Current Playhead Position
Keyboard Modifiers for Variable Speed Adjustments
Sliding a Frame to a New Time in the Clip
Adjusting Time Remapping Keyframes in the Motion Bar
Time Remapping Using the Keyframe Graph
Time Remapping in the Motion Tab
Working with Freeze Frames andStill Images
Using Still Images and Graphics in Your Sequences
Creating Freeze Frames from a Video Clip
Creating a Freeze Frame
Setting the Duration of a Freeze Frame
Creating Freeze Frames of Embedded Motion and LiveType Projects
Reconnecting Freeze Frame Clips
About Sequence Freeze Frames
Exporting Still Images
Deinterlacing Still Video Images to Improve Image Quality
Considerations Before Creating and Importing Stills
Creating Graphics with the Correct Frame Size for Video
Working with Graphics Clips of Different Sizes
Video Is Not 72 Dots per Inch
Bit Depth of Imported Graphics
Scaling a Graphic to Fit the Frame Size
Creating Graphics with the Correct Color Settings for Video
Choosing the Maximum White Sequence Setting
Flattening Graphics with Layers
Using Alpha Channels
Selecting Fonts and Creating Line Art for Video
Scaling Images and Video Clips to Match a Sequence
Changing the Duration of Still Images
Example:Adding Camera Motion to Still Images
Compositing and Layering
Introduction to Compositing and Layering
Methods of Compositing
Different Ways to Layer Clips in the Timeline
Moving Clips Vertically to Another Track
Adjusting Opacity Levels of Clips
Working with Composite Modes
How Composite Modes Affect Images
Applying Composite Modes to Clips
Composite Modes in FinalCutPro
About the Examples in This Section
Normal
Add
Subtract
Difference
Multiply
Screen
Overlay
Hard Light
Soft Light
Darken
Lighten
Travel Matte - Alpha
Travel Matte - Luma
Using Travel Mattes to Hide or Reveal Parts of a Clip
Working with Layered Photoshop Files
Photoshop Features Supported During Import
Updating Photoshop Files in Adobe Photoshop
Working with Layered Photoshop Sequences
Don’t Add or Delete Layers from an Imported Photoshop File
Changing the Frame Rate of Layered Photoshop Sequences
Using Video and Graphics Clips with Alpha Channels
Working with Clips That Have Alpha Channels
Changing a Clip’s Alpha Channel Type
Exchanging Media with Alpha Channels
Viewing RGB and Alpha Channels in the Viewer
Choosing a Background
Superimposing Video When Preparing for EDL Export
Temporarily Excluding Clips from Playback or Output
Temporarily Disabling a Single Clip
Soloing Clips in Multitrack Sequences
Keying, Mattes, and Masks
Ways to Layer and Isolate Elements in Clips
What Are Mattes and How Can You Use Them?
What Is Keying and How Can You Use It?
What Are Masks and How Are They Used?
Alpha Channels and Key, Matte, and Mask Filters
Using Keying to Isolate Foreground Elements
Shooting Footage That Keys Well
Choosing an Appropriate Video Format
Using Proper Lighting
Using the FinalCutPro Video Scopes to Help Correctly Light YourBackground Screen
Overview of Compositing Using the Chroma Keyer Filter
Working with the Chroma Keyer Filter
Specifying the Type of Controls to Use for the Chroma Keyer Filter
Visual Controls in the Chroma Keyer Filter
Example:Using the Chroma Keyer Filter
Using Mattes to Add or Modify Alpha Channels
Matte Filters Available in FinalCutPro
Example:Using the Four-Point Garbage Matte Filter
Example:Keyframing Garbage Mattes
Using Masks to Replace or Modify Alpha Channels
Mask Filters Available in FinalCutPro
Example:Using the Image Mask and Mask Feather Filters
Using Generator Clips
What Is a Generator Clip?
Different Ways to Use Generators in Your Sequence
Video and Audio Generators Available inFinalCutPro
Color Bars, Tone, and Other Signal Generators
Matte Color and Slug
Render
Shapes
Text
FxPlug Generators
Creating and Adding Generators to Sequences
Using the SmoothCam Filter
About the SmoothCam Filter
How the SmoothCam Filter Works
About Queuing and Background Processing
Where Is Motion Analysis Data Stored?
Using the SmoothCam Filter
Applying the SmoothCam Filter
Controlling SmoothCam Motion Analysis
About Motion Analysis States
Checking Motion Analysis Status
Starting and Stopping SmoothCam Motion Analysis
Analyzing All SmoothCam Clips in a Sequence
Reanalyzing Clips
Reprioritizing Clips in the Processing Queue
Adjusting SmoothCam Filter Parameters
About SmoothCam Filter Parameters
Correcting Black Borders Around Your Clip
Factors That Affect SmoothCam Scaling
About the Actual Scale Value
Using the Auto Scale Parameter
Setting Clip In and Out Points toImproveSmoothCamRendering
Avoiding Through Edits
Using QuickTime Reference Movies to Limit Clip Analysis
Rendering and Exporting Clips withtheSmoothCamFilterApplied
Managing Media and Motion Analysis Data
Using the Media Manager
Modifying QuickTime Source Files
Transferring SmoothCam Motion Analysis Data to Motion
Improving SmoothCam Filter Results and Troubleshooting
Making Sure Clips Are Analyzed
Improving SmoothCam Filter Results
Creating Titles
How You Can Use Titles in Your Project
Installing and Choosing Fonts
Making Sure Titles Fit on TV Screens
Text Generators Available in FinalCutPro
Creating and Adding a Title Clip
Other Options for Creating and Adding Titles
Using LiveType to Create Titles for Your Project
Importing a LiveType Project into FinalCutPro
Working with LiveType Clips in FinalCutPro
Making Changes to a LiveType Project AlreadyinFinalCutPro
Exporting Background Video to Use in LiveType
Working with Motion and Shake
Using Motion with FinalCutPro
Importing a Motion Project into FinalCutPro
Making Changes to a Motion Clip in FinalCutPro
Restrictions When Working with Motion Clips in FinalCutPro
Sending FinalCutPro Clips and Sequences to Motion
Selecting Clips or Sequences to Send to Motion
Sending Browser Clips from FinalCutPro to Motion
Sending a Sequence from FinalCutPro to Motion
Sending Selected Sequence Clips from FinalCutPro to Motion
About the Embed Motion Content Option
What Properties Are Exported to Motion?
Rendering Motion Projects for Use in FinalCutPro
Using Shake with FinalCutPro
Sending Clips from FinalCutPro to a Shake Script
The timeRange of Scripts Generated from FinalCutPro
How Imported Clips Are Arranged in Shake
Unsupported Media and Effects
Sending Media from Shake Back to FinalCutPro
Working with Master Templates
About Motion Template Files and Master Templates
Terminology for Master Templates
Working with Master Templates
Previewing Master Templates
Adding Master Templates to a Sequence
Customizing Template Clip Parameters in the Viewer
Modifying Master Templates
Updating All Template Clips That Use the Same Master Template
Updating a Single Template Clip
Updating and Replacing Template Clips Using Drag and Drop
Converting a Template Clip to a Motion Project
Installing Motion Template Files for Use in FinalCutPro
Creating Master Templates in Motion
PartIII: Color Correction andVideo Quality Control
Measuring and Setting VideoLevels
Components of Video Color
RGB Color Model
Y´CBCR Color Model
Luminance
Color Difference Channels
Luma
Blacks, Midtones, and Whites
Chroma
Measuring Video Levels with the FinalCutPro Video Scopes
Opening Video Scopes Tabs
Layout Options in Video Scopes Tabs
Learning to Read the Waveform Monitor
Learning to Read the Vectorscope
Learning to Read the Histogram
Learning to Read the RGB Parade Scope
Choosing Display Options for Video Scopes
Adjusting Scope and Scales Brightness
Additional Video Scope Display Options
Using Video Scopes in Real Time
Choosing Video Scope Accuracy
Video Scope Restrictions and Performance
Preventing Illegal Broadcast Levels
Legal Broadcast Colors
Displaying Excess Luma and Chroma Levels intheViewerandCanvas
Enabling Range Checking
Options in the Range Check Submenu
Using the Broadcast Safe Filter
Clamping and Clipping
Broadcast Safe Filter Controls
About Custom Luminance Limiting andCustomSaturationLimitingControls
Applying the Broadcast Safe Filter to Nested Sequences
Using the RGB Limit Filter
About Illegal RGB Levels
RGB Limit Filter Controls
How the RGB Limit Filter Works
Working with Analog Video
How Analog Video Signals Are Measured
How Digital Video Signals Are Measured in FinalCutPro
Using an External Waveform Monitor and Vectorscope toCalibrate Analog Video Levels
Outputting Accurate Analog Black Levels Using DV FireWire
Using Built-in Video Scopes During Capture
Adjusting Capture Settings with the Log and Capture Video Scopes
Adjusting Capture Settings on Source Tapes Without Color Bars
Using Color Bars forVideoCalibration
About Color Bars
When Should You Use Color Bars?
Using Color Bars to Adjust Brightness and Color onAnalogEquipment
Calibrating Video Monitors with Color Bars
Calibrating Your Broadcast Monitor
Color Correction
Viewing Examples in Color
What Is Color Correction?
Why Color Correct Your Footage?
Color Correction Starts During Your Shoot
Using a Chip Chart in Production
Managing Color During Post-Production
Telecine Color Correction
Other Advantages of Telecine Transfers
Tape-to-Tape Color Correction
Color Correction in FinalCutPro
Color Correction Features in FinalCutPro
Using Scopes Versus Looking at an External Monitor
The Importance of Using a Properly Calibrated Broadcast Monitor
Window Layouts for Color Correction in FinalCutPro
Keyboard Shortcuts to Move Quickly Between Clips
Comparing Two Frames in the Frame Viewer
Displaying Images in the Frame Viewer Tab
Choosing Display Options in the Frame Viewer
The Color Correction Process
The FinalCutPro Color Correction Filters
Using the Color Correction Filters
Controls in the Color Corrector Filters
The Color Corrector and Color Corrector 3-Way Filters
General Controls
Copy Filter Controls
Working with the Copy Filter Controls
Menu Commands for the Copy Filter Controls
Keyboard Shortcuts for the Copy Filter Controls
Color Balance Controls
The Color Corrector Filter Controls
Color Balance Controls in the Color Corrector Filter
Auto Level and Contrast Controls in the ColorCorrectorFilter
Level and Saturation Controls in the Color Corrector Filter
Match Hue Controls in the Color Corrector Filter
Example:Using the Color Corrector Filter
Color Corrector 3-Way Filter Controls
Color Balance Controls in the Color Corrector 3-Way Filter
Using a Trackball with the Color Correction Filters
Auto Level Controls in the Color Corrector 3-Way Filter
Level and Saturation Controls in the Color Corrector 3-Way Filter
Match Hue Controls in the Color Corrector 3-Way Filter
Example:Using the Color Corrector 3-Way Filter
Example:Color Correcting a Three-Shot Sequence for Continuity
Match Hue Controls in the Color Corrector andColorCorrector 3-Way Filters
Using Limit Effect Controls to Control a Match Hue Correction
Match Hue Controls
Example:Using the Match Hue Controls oftheColorCorrector3WayFilter
Using Limit Effect Controls in the Color Corrector andColorCorrector 3-Way Filters
Limit Effect Controls
Using Multiple Filters Together with the Limit Effect Controls
Example:Using the Limit Effect Controls to Change a Specific Color
Example:Using the Limit Effect Controls to Isolate aSpecificColorAgainst Grayscale
The Desaturate Highlights and Desaturate Lows Filters
Desaturate Highlights and Desaturate Lows Filter Controls
Example:Using the Desaturate Highlights Filter
Using Color for Color Correction
PartIV: Real Time and Rendering
Using RT Extreme
Introduction to Real-Time Processing
Real-Time Playback Versus Rendering
How Real-Time Processing Works
How FinalCutPro Calculates Processor Workload
Achieving Real-Time Playback When Processor Power Is Exceeded
What Are Dropped Frames?
Identifying Which Effects Can Play Back in Real Time
About Render Status Bars
About Render Status Bar Tooltips
Effect Names That Appear in Boldface
Changing Real-Time Playback Settings
Locations for Changing Real-Time Playback Settings
Playback Control Tab in System Settings
RT Pop-Up Menu in the Timeline
Render Control Tab in Sequence Settings
About RealTime Playback Options
Safe RT
Unlimited RT
Play Base Layer Only
Beep When Playing Unrendered Audio
Scrub High Quality
Playback Video Quality
Playback Frame Rate
About Dynamic Real-Time Playback
Multiclip Playback
Pulldown Pattern
Gamma Correction
Record Settings
Video Scopes Playback
Still-Image Real-Time Playback
Improving Real-Time Performance
Reporting Dropped Frames During Playback
Factors That Affect Real-Time Performance
Real-Time Audio Mixing in FinalCutPro
Calculating the Number of Tracks ThatCanBePlayedBackinReal Time
Improving Real-Time Audio Performance
Choosing Real-Time Playback Versus Rendering
Supported Real-Time Playback Codecs
Using a Third-Party Video Effects Accelerator Card
Using RT Extreme for Video Output
Viewing Your Composition in the QuickView Tab
Controls in the QuickView Tab
Playback in the QuickView Tab
Rendering and Video ProcessingSettings
What Is Rendering?
Render Indicators in FinalCutPro
About Render Status Bars in the Timeline
Video Render Status Bars
Audio Render Status Bars
About Item-Level Render Status Bars
The Rendering Process
Controlling Render Quality
Order of Effects Rendering
Selecting Clips for Rendering
Rendering Segments in a Sequence
Render Selection
Render All
Render Only
Rendering Audio Items in a Sequence
More About Audio Render Options
Using the Mixdown Command
Keeping Track of Rendering Progress
Temporarily Disabling Rendering
Automatic Rendering While You Are Away fromYourComputer
Changing Render and Video Processing Settings
Using the Render Control Tab
Render & Playback Settings
Render Settings
Changing Render Settings for Sequences
Using the Video Processing Tab
Changing Video Processing Settings
About Color Space and Bit Depth Settings
Rendering Y´CBCR Footage in the RGB Color Space
Choosing RGB Versus Y´CBCR Color Space
Compositing in Y´CBCR and RGB Color Spaces
About Bit Depth and 32-Bit Floating-Point Processing
Maximum RGB White Level Settings
Motion Filtering Quality Pop-Up Menu
How Rotation Affects Motion Filtering Quality
Adjusting Gamma
About Gamma
Nonlinear Coding
About Gamma Correction
Choosing Real-Time Playback Gamma Correction Options
Changing Gamma Settings for Video andImportedStillImages
A Common Gamma Correction Scenario
Supported File Formats
Adjusting Gamma in Imported Still-Image and Video Clips
Managing Your Render Files
Locating Render Files
Using the Render Manager
Preserving Render Files
Using Nested Sequences to Preserve Render Files
Disabling Tracks Affects Render Files
Tips for Avoiding Unnecessary Rendering andReducingRender Time
Working with Mixed-Format Sequences
About Mixed-Format Sequences
Terminology for Discussing Mixed-Format Sequences
Determining Whether Clips in a Sequence WillPlayBackinReal Time
Formats That Support Real-Time Playback
Formats That Don’t Support Real-Time Playback
Viewing Clip Properties and Sequence Settings
Working with Mixed-Format Sequences
Conforming Sequence Settings to Match a Clip’s Settings
Enabling Automatic Sequence Conform Options
Rules for Automatic Sequence Conforming
Conforming Clips to Match Sequence Settings
When Are Clips Automatically Conformed to a Sequence?
Manually Conforming Clips to Match Sequence Settings
Conform to Sequence Versus Scale to Sequence
Choosing High-Quality Scaling Options
Mixing 720x480 Footage and 720x486 Footage
Mixing Frame Rates
Issues When Working with Mixed Frame Rates
Working with Subclips in Mixed-Frame-Rate Sequences
Combining Interlaced Footage with Different Field Dominances
Using the Shift Fields Filter
Mixing Interlaced and Progressive Footage
Mixing Footage with Different Codecs
Nesting Nonmatching Sequences
Adding Filters and Motion Effects to Mixed-Format Sequences
Combining SD and HD Video
Downconverting HD Video
Letterboxing 16:9 Video in a 4:3 Frame
Cropping 16:9 Video to 4:3
Pan and Scan
Creating Artificial Pans in 16:9 Footage
16:9 Anamorphic
Upconverting SD Video
Pillarboxing 4:3 Video in a 16:9 Frame
Upconverting 4:3 Anamorphic Video to 16:9 Video
Rendering MixedFormat Sequences
External Monitoring and Output
Media Management and Project Interchange
Using the Media Manager with Mixed-Format Sequences
Exporting an EDL from a Mixed-Format Sequence
Working with CinemaTools and Mixed-Format Sequences
Volume IV: Media Management and Output
Contents
PartI: Media and Project Management
Media Management
What Is Media Management?
Reasons to Use Media Management
What You Need to Know to Manage Your Media
Media Management Steps in FinalCutPro
Strategies for Media Management
Backing Up andRestoringProjects
Backing Up and Restoring Projects
Using the Revert Project Command
Using the Autosave Feature
Using a “First-In, First-Out” Strategy
Restoring Autosaved Projects
Opening a Project File After Your Computer IsUnexpectedlyShut Down
Archiving Completed Projects
Updating Projects from Previous Versions ofFinalCutPro
Choosing Project Update Options
Updating Projects from FinalCutPro5 or Earlier
Updating Projects from FinalCutProHD (version4.5) or Earlier
Updating Projects from FinalCutPro3.0 or Earlier
Updating Projects from FinalCutPro1.2.1
Keeping a Copy of Your Project in an Older Format
Before Updating Projects
Elements of a FinalCutPro Project
About Clips, Media Files, and Sequences
Media Files
Types of Clips
Clips Described by Their Properties
Sequences
About Icons and Project Elements in the Browser
Clip Properties
Working with MasterandAffiliateClips
Using Master and Affiliate Clips
Shared and Unique Clip Properties
Shared Properties Stored in Master Clips
Media File Properties
Modifiable Media File Properties
Unique Clip Properties
Working with Master Clips
Implicit and Explicit Master Clips
How Master Clips Connect to Media Files
Identifying Master Clips
Creating a Master Clip by Duplicating a Master Clip
Finding a Clip’s Master Clip
Working with Affiliate Clips
Creating Independent Clips
Changing Independent Clips to Affiliate Clips
When Can Independent Clips Become Affiliated withExistingMasterClips?
Using Keyboard Shortcuts to Modify Master-Affiliate ClipRelationships
Moving Clips Between Projects
How Does FinalCutPro Identify Matching Clips?
Resolving Property Differences Between Matching Clips
About the Copy Master Clip Dialog
Using the Copy Master Clip Dialog
Offline and Online Editing
About Offline and Online Editing
How Audio Is Handled in the Offline/Online Editing Process
Offline/Online Editing Workflows
Using the OfflineRT Format in FinalCutPro
Setting Up and Capturing Media to an OfflineRT Format
Capturing or Recompressing Media to an OfflineRT Format
Editing with Offline-Quality (Low-Resolution) Media Files
Using Full-Resolution Graphics in a Low-Resolution, OfflineRTSequence
Creating a Sequence for Recapturing Media at Full Resolution
Which Sequence Preset Should You Choose for Your Online Edit?
Recapturing Full-Resolution Media for Your Sequence
Adding Final Color Correction, Effects, Transitions, and Titles
Output to Tape, MPEG-2 (for DVD), or a QuickTime Movie File
Online Editing on Non–FinalCutPro Editing Systems
Trading Project Files Using Email or the Internet
Reconnecting Clips andOfflineMedia
Finding Your Media Files After Capture
Where Are Captured Media Files Stored?
Revealing a Clip’s Media File in the Finder
Consolidating Media Files to One Folder
About the Connections Between Clips and Media Files
Renaming Media Files and Clips
How the Connection Between Clips and Media Files CanBeBroken
Making Clips Offline
Differences Between Missing and Offline Media Files
Reconnecting Clips to Media Files
About the Reconnect Files Dialog
Search Order and Speed in the Reconnect Files Dialog
Using the Reconnect Files Dialog
When FinalCutPro Reconnects Your Clips
About the Offline Files Dialog
Information and Controls in the Offline Files Dialog
Maintaining Field Dominance, Pixel Aspect Ratio, and Anamorphic Settings When Reconnecting Media
Reconnecting Media Files Automatically
Overview of the Media Manager
Getting Started with the Media Manager
What Can You Do with the Media Manager?
Selecting Items to Process with the Media Manager
Settings and Options in the Media Manager Window
Summary Area
Media Area
Project Area
Media Destination Area
How the Media Manager Processes Selected Items
Processing Steps in the Media Manager
How Independent Clips Are Processed
How Subclips Are Processed
How Clips with Speed Adjustment Are Processed
Limiting How Much Media Is Copied or Deleted
Preserving Media Only for the Selected Item
Preserving Media for the Selected Item and Its Master Clip
Preserving Media for the Selected Item, Its Master Clip, andAllAffiliated Clips
Media File Formats Supported by the Media Manager Support
About Color Space Conversion in the Media Manager
Examples of How to Use theMedia Manager
Using the Media Manager
Example:Removing Unused Media from a Sequence
Example:Duplicating a Sequence and Its Corresponding Media Files
Example:Duplicating a Portion of a Sequence andItsMediaFiles
Example:Copying Several Sequences with New Settings, butWithout Media Files
Example:Recompressing Media Files for an Entire Project forEditing on a Portable Computer
Example:Removing Portions of Media Files AfterCreatingSubclips
Example:Consolidating Media Files into One Folder
Example:Consolidating Your Project and Media Files forArchiving
Diagnostic Tools for Clips
Different Tools for Diagnosing Clips
About the Analyze Movie Command
Using the Analyze Movie Command
Information Reported by the Analyze Movie Command
Finding and Marking Long Frames
Using the Mark Long Frames Command
PartII: Project Interchange
Importing and Exporting EDLs
What Is an EDL?
Learning to Read an EDL
Elements of an EDL
Exporting EDLs
Settings and Options in the EDL Export Dialog
Reviewing an EDL
Using EDL Access for RT-11 Disks
Importing EDLs
Limitations of Importing EDLs
Importing EDLs into FinalCutPro
Problems Importing EDL Files
Settings and Options in the EDL Import Dialog
How Clips from an EDL Are Named
Master Clips Created from EDLs
Recapturing Clips from an Imported EDL
Creating Better EDLs
Limitations of EDLs
EDL Considerations Before Capturing
Maintaining Accurate Timecode
Reel Name Restrictions in EDLs
Unique Reel Names for Each Tape and Timecode Breaks
Choosing a Timecode Track Used for a Clip
Choosing a Sequence Frame Rate
EDL Considerations During Editing
Limit the Number of Edits in Your Sequence
Only Use Transitions in Track V1
Join Through Edits
Keep Track of Duplicate Frames
Limit the Number of Audio Tracks You Use
Don’t Rely on Audio Mix Levels
Avoid Nested Sequences
Avoid Nonstandard Video Transitions
Be Careful Using Still Frames and Speed Settings
Transition Wipe Codes for EDL Export
Using FinalCutPro XML andQuickTime Metadata
What Is the FinalCutPro XML Interchange Format?
About XML
Tags and Elements
Attributes of XML Elements
Whitespace
Document Type Definitions
Working with XML Created in Different Applications
Overview of the FinalCutPro XML Interchange Format
Main FinalCutPro XML Elements
Example:Creating an XML File and Importing It into FinalCutPro
Exporting XML in FinalCutPro
Importing XML into FinalCutPro
Working with Metadata in QuickTime Media
Controlling FinalCutPro with Apple Events
Working with FilmandCinemaTools
An Overview of the Film Editing Process
About the Telecine Process
About Edge Code
About Burned-in Timecode on Video
Importing a Telecine Log to Create a CinemaTools Database
Exporting a Film Cut List
About the CinemaTools Database
Using CinemaTools with FinalCutPro
Creating a New FinalCutPro Project
Importing a Telecine Log to Create a CinemaTools Database
Batch Capturing Video from Tape
Removing 3:2 Pull-Down or Conforming 25fps PAL to 24fps
Standard Reverse Telecine
Removing Advanced Pull-Down
Conforming 25fps Video to 24fps
Synchronizing Clips with the CinemaTools Database
Editing Clips in FinalCutPro
Using Edge Code Overlays and Feet+Frame Rulers
Showing Film-Related Information in the Item Properties Window
Showing Film-Related Information in the Browser
Showing Film-Related Overlays in the Viewer and Canvas
Showing Film-Based Frame Counts
Opening FinalCutPro Clips in CinemaTools
Exporting Film, Change, and Audio Lists
About Film Lists
About Change Lists
About Audio EDLs
How CinemaTools Relates FinalCutPro Sequence Clips toDatabaseRecords
Exporting a Film List
Exporting a Change List
Exporting an Audio EDL
PartIII: Output
Preparing to Output to Tape
Choosing a Videotape Format and Equipment for Output
Output Requirements
Methods for Output to Tape in FinalCutPro
Setting Up Your Editing System to Output to Tape
Connecting Your Video Equipment and Setting It to VCR Mode
Choosing Video and Audio Outputs
Selecting Playback Settings
Selecting Render Settings
Selecting Edit to Tape and Print to Video Preferences
Cueing the Videotape
Calibrating Your Timecode
Choose Device Control and Edit Preview Settings
Preparing Your Videotape with Black and Timecode
Assemble and Insert Editing Using Edit to Tape
Overview of Tape Editing Methods
About Assemble Editing to Tape
About Insert Editing to Tape
About Tracks on Videotape
Requirements for Assemble or Insert Editing to Tape
About the Edit to Tape Window
Video Tab
Mastering Settings Tab
Adding Standard Leader and Trailer Elements
Device Settings Tab
Using the Edit to Tape Window
Performing an Assemble Edit to Tape
Performing an Insert Edit When Editing to Tape
Using Edit to Tape to Output Multichannel Audio
Printing to Video andOutputfrom the Timeline
Different Ways You Can Output Video fromtheTimeline
Printing to Video
Automatically Recording with Print to Video
Using the Print to Video Command
Recording from the Timeline
Outputting to VHS Tape
Learning About QuickTime
What Is QuickTime?
The QuickTime Suite of Software Applications
QuickTime for Media Authoring
The QuickTime Movie File Format
How Is Information Stored in a QuickTime Movie?
Codecs Supported in QuickTime
Distinguishing Between File Formats and Codecs
Understanding Codec and File Format Naming Conventions
Time in QuickTime Movie File Tracks
How FinalCutPro Uses QuickTime for Import, Export, andCapture
To Find Out More About QuickTime
Formats Supported by QuickTime
Movie File Formats
Video Codecs Supported Within Video File Formats
Graphics and Still-Image Formats
Audio File Formats
How Do You Export the Files You Need?
The Export QuickTime Movie Command
The Export Using QuickTime Conversion Command
Exporting QuickTime Movies
About the Export QuickTime Movie Command
Choosing the Type of QuickTime Movie to Export
Exporting a Self-Contained Movie Without RecompressingtheMedia
Determining Processing Color Space During QuickTime Movie Export
Exporting a QuickTime Movie File
Exporting QuickTime Movies with Markers
Exporting Using QuickTimeConversion
About the Export Using QuickTime Conversion Command
What Is QuickTime and Why Do You Need to Know About It?
Types of File Formats You Can Export with QuickTime
About Color Space Conversion
Exporting a QuickTime Movie File for Web Distribution
Configuring QuickTime Movie Settings
QuickTime Movie Video Settings
QuickTime Movie Sound Settings
Internet Streaming Settings
About QuickTime Aperture Display Modes
Classic Aperture Mode
Clean Aperture Mode
Production Aperture Mode
Encoded Pixels Aperture Mode
Exporting a DV Stream
Exporting an AVI File
Exporting Sequences for DVD
The DVD Creation Process
Video for Standard DVDs
Video for High Definition DVDs
HD DVD Editing Formats
About MPEG-2 Video Compression
Audio for DVD
About Surround Sound Audio
Adding Chapter and Compression Markers toYourSequence
More About Chapter Markers
More About Compression and Edit/Cut Markers
About DVD Authoring Applications
Using iDVD
Using DVDStudioPro
Exporting a QuickTime Movie for DVD Use
Using Compressor to Create DVD-Compliant Sources forDVDStudioPro
Using Compressor withFinalCutPro
About Compressor
Video and Audio Encoding
Performing Standards Conversion
Previewing Encoded Video Quality
Creating AC-3 Dolby Digital Audio
Batch Processing and Distributed Processing
Compressor Droplets
Using Compressor with FinalCutPro
Using Compressor as a Standalone Application
When Should You Use Compressor as a Standalone Application?
Using QuickTime Reference Movies
Creating Encoding Jobs in Compressor
Applying Encoder Settings and Submitting Jobs
Exporting with Compressor from FinalCutPro
When Should You Export Directly to Compressor?
About Color Space Conversion in Compressor
Exporting Still Images andImageSequences
Determining the Image Format for Still-Image Export
Resolution of Exported Still Images
Bit Depth of Exported Still Images
Exporting a Single Still Image
Exporting Image Sequences
Batch Exporting ClipsandSequences
Overview of the Batch Exporting Process
Selecting Items in the Browser to Batch Export
Selecting Batch Export Settings
Choosing Export Settings with the Settings Button
Selecting Batch Export Settings from Columns
Doing a Batch Export
Opening Batch Exported Files in the Viewer
Redoing Batch Exports
About Color Space Conversion During Batch Exporting
PartIV: Settings and Preferences
Choosing Settings andPreferences
Changing User Preferences
General Tab
More About Audio Playback Quality
Editing Tab
Labels Tab
Timeline Options Tab
Render Control Tab
Audio Outputs Tab
Locating and Deleting the Preferences File
Changing System Settings
Scratch Disks Tab
About Waveform and Thumbnail Cache Files
About Waveform Cache Files
About Thumbnail Cache Files
Search Folders Tab
Memory & Cache Tab
Playback Control Tab
External Editors Tab
Effect Handling Tab
Audio/Video Settings andEasySetups
The Audio/Video Settings Window
Learning About Audio/Video Presets
Viewing a Summary of the Current Presets
Choosing Easy Setups
Changing Audio/Video Presets
Choosing Individual Presets
Viewing Settings in a Preset
Creating a New Preset
Editing a Preset
Deleting Presets
Creating and Modifying Easy Setups
Creating an Easy Setup
Moving, Deleting, and Restoring an Easy Setup
Example:Creating a Custom Preset and Easy Setup
Installing and Restoring Easy Setups
Loading Settings from a Network Server
Capture Settings and Presets
About Capture Preset Settings
General Settings for Capture Presets
QuickTime Video Settings for Capture Presets
Finding the Maximum Data Rate When Using theLimitDataRateField
Advanced QuickTime Video Settings for Capture Presets
QuickTime Audio Settings for Capture Presets
About Capturing Multiple Audio Channels from DV Devices
Creating a Preset to Capture Audio Only
Device Control SettingsandPresets
About Device Control Presets
Viewing Settings for a Device Control Preset
Settings in the Device Control Preset Editor
What Is a Device Control Protocol?
About Device Control Protocols
Device Control Protocols Supported by FinalCutPro
Using FireWire Device Control
Using Serial Device Control
Timecode Transferred via Serial Device Control
Calibrating Timecode Capture with Serial Device Control
Determining and Entering the Timecode Offset
Using a Non-Controllable Device
Troubleshooting Your Device Control Setup
Sequence Settings and Presets
What Are Sequence Settings?
About Sequence Settings and Presets
General Tab for Sequences
QuickTime Video Settings for Sequences
QuickTime Audio Settings for Sequences
Video Processing Tab for Sequences
Timeline Display, Render, and Audio Output Options
Timeline Options Tab
Render Control Tab
Audio Outputs Tab
Changing Sequence Settings
PartV: Appendixes
Video Formats
Characteristics of Video Formats
Storage Medium
Tape Size, Cassette Shape, and Tape Coating
About File-Based Media
Video Standards
Standard Definition Video
High Definition Video
Types of Video Signals
Aspect Ratio of the Video Frame
Letterboxing
Pan and Scan
Anamorphic
Pillarboxing
Frame Dimensions, Number of Lines, and Resolution
720x486 Versus 720x480
Pixel Aspect Ratio
Frame Rate
Scanning Method
About Interlaced Scanning
About Progressive Scanning
About Field Dominance
Setting Field Dominance in FinalCutPro
Color Recording Method
Video Sample Rate and Bit Depth
Color Sample Ratio
Bit Depth
Perceptual Coding and Gamma
Video Compression
Lossless Codecs
Lossy Codecs
About Uncompressed Video
About MPEG Compression
MPEG-1
MPEG-2
MPEG-4
MPEG-4 Part 10, or H.264
Video Formats Supported by FinalCutPro
DV Formats
24p Video
High Definition Video Formats
Scanning Methods
Compressed High Definition Formats
Uncompressed High Definition Formats
Data Rate Comparisons
A Brief History of Film, Television, and Audio Formats
Frame Rate and Timecode
What Is Frame Rate?
Understanding Flicker and Perceived Frame Rate
Frame Rate Limits:How Many Frames perSecondIsBest?
Recording High Frame Rates for Slow Motion Effects
Recording Slow Frame Rates for Time-Lapse Photography
Examples of How Different Frame Rates Are Used
Choosing a Frame Rate
What Is Timecode?
About Drop Frame and Non-Drop Frame Timecode
More About Drop Frame Timecode and NTSC Frame Rate
The Difference Between Frame Rate and Timecode
Timecode on Tape
Comparison of Various Timecode Formats
Working with 24p Video
What Is 24p Video?
24 Versus 23.98fps
Telecine, Pull-Down, and Reverse Telecine
Standard 3:2 Pull-Down
2:3:3:2 Advanced Pull-Down
2:2:2:4 Pull-Down
720p DVCPROHD Duplicate Frames
Progressive Segmented Frame (PsF) Recording
24 @ 25
24 @ 25Pull-Down
24@25 Repeat
Native 24p
Film, 24p Video, and CinemaTools
Working with 24p NTSC Video
Using an AG-DVX100 NTSC Camcorder withAdvancedPullDown
Working with Anamorphic16:9Media
About Anamorphic 16:9 Media
Why Use 16:9 Anamorphic Video?
Displaying 16:9 Anamorphic Video
About Letterboxing
Recording Anamorphic Video
Capturing Anamorphic Media
Changing Clip Properties for Anamorphic Media
Viewing and Editing Anamorphic Media
Specifying Sequence Settings for Anamorphic Media
Outputting Anamorphic Video to Tape
Exporting 16:9 Anamorphic Video
Calculating the Dimensions for an Exported 16:9 QuickTime Movie
Exporting a 16:9 QuickTime Movie for the Web
Exporting a 16:9 Video File for DVD Distribution
Solving Common Problems
Resources for Solving Problems
Solutions to Common Problems
Problems with Video Devices
Problems During Playback
Problems with Audio Quality
Other Issues
Contacting AppleCare Support
Glossary
Index
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
Final Cut Pro 6
Deutsch
English
Français
日本語