Final Cut Pro 6 - A

482

Index

AES/EBU digital audio channels I-198
affiliate clips I-57

copied clips and II-415
creating IV-47, IV-50
described II-78, IV-33
locating masters IV-49
master clips and IV-15
match frame commands II-283
Media Manager and IV-101
multiclips and II-281–II-282
properties II-84, IV-47
sequence clips and II-430–II-433
Source property IV-48
subclips and II-38
updating older projects and IV-27

After Effects filters III-240, IV-29
After Effects transitions II-393
AGP graphics cards I-226
AIFC format I-315, IV-235
.aif extension IV-296
AIFF files III-185–III-194

audio file formats I-315, IV-235
described IV-446
edit points and III-185
exporting IV-59, IV-247
exporting audio tracks as III-185–III-194
exporting multiple files III-193
as Macintosh format III-189
as QuickTime-compatible IV-228
uncompressed AIFF IV-272

alert messages

“Break in the Timecode” IV-441
changing transition durations II-383
“Clip Collision” message II-193, II-334, II-351,
II-356
during EDL export IV-134
“Insufficient content for edit” message II-110,
II-157, II-355
“Media Limit” message II-355
“Media Offline” IV-74
“No shortcut” IV-297
“Servo Can’t Lock” IV-441
“Video card not supported for RT Effects” IV-439

alert sounds, muting III-52
aligning text III-478
aligning transitions II-374, II-384
alignment IV-447
All Frames option, for external video I-225
All Items in Logging Bin option I-275
Alpha+RGB mode I-86, III-416
alpha channels I-86, I-328

black III-413
changing types of III-413, III-414
described IV-446
editing clips with III-411
exchanging media and III-414

in graphics III-376
image formats IV-234
keying filters and III-423
masks and III-423, III-443
mattes and III-423, III-440
premultiplied black III-413
QuickTime movie files and III-410
reversing III-412, III-414
straight III-412
uncompressed movies IV-233
using graphics and video clips with III-410–III-418
video codecs and IV-233, IV-234
viewing in Viewer III-415–III-416
white III-413

Alpha Compositor transition (Channel
Compositor) II-390
Alpha mode III-415
Alpha property IV-37, IV-46
Alpha Type menu III-413, III-414
Alternate Take label II-206
ambience II-287, IV-447
ambience tracks III-185
amplified speakers III-53
amplifiers III-54
amplitude

described III-18
measuring III-22

analog audio

capturing I-188
connecting equipment I-199
levels I-303

analog audio meters III-58
analog Composite video output IV-188
analog devices

data rates IV-343
FireWire and IV-355

analog-to-digital capture cards I-178, I-219, IV-342
analog-to-digital converters I-185
analog-to-DV converters I-187
analog-to-DV systems I-182–I-184
analog video I-24, I-178

calibrating equipment III-540
connecting equipment I-182–I-184, I-185
consumer devices I-186
levels III-534
measuring during output III-536

analog videotape IV-189, IV-414
analog waveforms IV-447
Analyze Movie command IV-121, IV-122–IV-125
Anamorphic 16:9 setting for sequences IV-363,
IV-431–IV-432, IV-433
anamorphic Easy Setups IV-61
anamorphic lens IV-430
Anamorphic property IV-37, IV-45, IV-363, IV-432
anamorphic video III-373, IV-445

advantages IV-428

Index

483

capturing IV-340
described IV-447
editing IV-432
exporting to QuickTime IV-434
recording IV-430
rendering IV-434
viewing IV-432

anchor items II-217, II-223, II-225, IV-447
anchor points III-258, IV-447
Angle control IV-447
Angle property II-245, II-246, IV-37
angles I-260

active angles II-262, II-270
adding to multiclips II-264–II-267
angle numbers II-243, II-245, II-246, II-263
audio-only II-262
in Browser II-260
collapsing and expanding II-281
deleting II-264
described II-241
drop shadows III-259
filters II-279
media management II-284
Media Manager settings IV-97
motion paths III-316
moving II-263
Multiclip Playback mode II-276–II-278
multiclips and IV-35
names II-263
offline II-262
playback quality II-278
reconnecting and recapturing II-284
resynchronizing II-267
rotating clips III-228
switching and cutting between II-270–II-274
switching tracks II-274
switching with effects II-280
synchronizing in multiclips II-247
in Viewer II-261–II-267

animating still images I-332
animation

with keyframes III-287–III-321

animation, frame counters and II-441
Animation codec IV-27, IV-233
annotating clips I-261
Anti-alias filter III-251
A-only edit IV-447
Aperture image libraries I-332
AppleCare Knowledge Base IV-437
AppleCare Support IV-437, IV-444
Apple FireWire Basic protocol IV-354
Apple FireWire NTSC option I-223
Apple FireWire PAL option I-223
Apple FireWire protocol IV-354
Apple Intermediate Codec III-638
Apple M-JPEG codecs IV-233

Apple Pixlet Video codec IV-393
archiving projects IV-23–IV-24

on DVDs IV-267
Media Manager processes IV-119
zip archives IV-66

Arithmetic filter III-242
A-roll editing IV-447
Around option IV-224
Arrange command I-69, I-144
artifacts

analog video and I-178
compression artifacts IV-275
exported freeze frames III-368
graphics clips III-369
Motion J-PEG and IV-233
recording speed and IV-224
video codecs and IV-233, IV-234

aspect proportions of text III-479
Aspect Ratio parameter III-377
aspect ratios IV-445, IV-447

desktop preview and I-227
distorting clips III-259
imported files I-320
list of IV-381
pixel aspect ratio III-377, IV-363, IV-375, IV-384
pixel shape III-371
video frames I-24, IV-380

Assemble Edit button IV-211
assemble editing IV-210–IV-211

blacking tapes and IV-195
described IV-198, IV-447
editing to tape IV-190, IV-199
requirements IV-200

asymmetrical trimming II-331, II-332–II-334
ATA disks I-213
A tracks IV-131
ATSC (Advanced Television Standards
Committee) IV-378
Attack Time control III-158, III-159
attenuating audio signals III-158
attenuating signals IV-369, IV-447
attributes (XML) IV-155, IV-158
Aud Format property IV-37, IV-46
audio III-177–III-185

acoustic environments III-161
amplitude III-22
analog levels I-303
angles (multiclips) II-262
audio attributes III-121, III-165–III-166, III-329
audio-only media files I-296
audio sweetening III-183
background noise III-181
bit depth I-323, III-29, IV-258
capture presets IV-345–IV-347
capturing I-295–I-308, IV-346–IV-347, IV-443
channel indicators IV-448

484

Index

channels IV-139, IV-368–IV-369
clipped I-302, I-304, III-63
clips. See audio clips
controls I-127
cross fades II-305, III-178, III-182
decibels III-23
describing to sound designers III-177
digital audio overview III-28–III-31
discrete audio II-293
distortion III-25
downmixing III-47
dual system recordings II-229
dynamic range III-25
editing out problems with III-178–III-181
expansion filter III-158
exporting III-185–III-199
exporting an EDL IV-182–IV-184
exporting audio only IV-235
exporting OMF format III-197–III-199
exporting sequences IV-364
file space requirements I-210
filters II-279
flattening III-189
formats II-90
frame offset settings I-228
frequencies III-20
gain I-302–I-304
headroom III-25
imported video file settings I-320
importing I-322–I-327
inadequate channel warnings I-225
interfaces IV-345
laybacks IV-59
levels II-289
levels of IV-139
matching for clips and sequences I-82, I-97
mixdown audio III-636, III-657
mixed levels IV-149
mixing I-19, I-144
monitoring during logging I-252
mono and stereo channels I-122, I-264
multichannel audio IV-216–IV-218
muting II-369
output rate IV-258
output settings IV-368–IV-369
peak markers II-56
peaks I-304
pops/clicks in III-129–III-132, III-178
problems with III-178–III-181, IV-439–IV-440,
IV-443
professional vs. consumer equipment III-31
quality IV-364, IV-443
QuickTime settings IV-257–IV-258, IV-345–IV-346
real-time effects and III-627
recording keyframes IV-314
reference tone I-302–I-303, III-68

rendering III-116, III-649, III-656
resampling III-649, III-656
room tone II-287, II-310–II-313, III-178
sample rate conversion IV-306
sample rates I-323–I-325, III-29, III-649
scrubbing through clips and I-102
settings I-77
signal-to-noise ratio III-24
sound, described III-17
sound bytes IV-471
sound effects III-181, III-185, IV-471
sound recordists IV-472
soundtracks IV-471
sound waves III-18
stereo III-26–III-28
stereo pairs II-228, II-294, II-306–II-307
surround sound IV-273
synchronized audio I-307
syncing with video. See audio-video sync
timecode I-110, I-304
tracks. See audio tracks
transferring to timecoded media I-306
trim settings and IV-313
unrendered III-628, III-634, III-648, IV-223
voiceover. See voiceover

Audio/Video Settings window I-222, IV-323–IV-325,
IV-329–IV-336, IV-340, IV-350
audio/video sync (A/V sync)

genlocking and IV-308
preferences IV-308
problems with IV-439–IV-440

Audio Attributes option III-166
Audio capture checkbox I-298
Audio CD Data format I-315
audio CD format I-23, I-323, I-327, IV-235
audio channels

discrete audio II-293
inadequate I-225
multiple channel capture I-199
nested sequences II-417
recording as QuickTime media files I-264
sequence settings and II-90
stereo pairs I-122, II-228, II-294, II-306–II-307
viewing multichannel clips I-301

audio clip icon IV-35
audio clips

See also clips; video clips
adding to sequences II-91, II-94
applying filters to III-164–III-166
audio-only angles II-262
audio post-production and IV-59
audio-video sync II-213–II-218
automatic filenaming I-283
average loudness III-58
avoiding overlap of III-188
backtiming II-109, II-165, II-168–II-169

Index

485

boundaries II-211
capturing I-295–I-308
clip names I-249, I-251, I-259–I-261, I-273
color-coding II-206
controls I-127
copying I-57
copying and pasting II-196–II-199
copying to other sequences II-411, II-412–II-415
currently-selected II-172
cutting II-207–II-209
deleting I-58
described I-28, II-78, IV-32, IV-448
deselecting II-178
displaying in Transition Editor II-402
dragging to Browser II-298
dragging to Timeline II-127, II-137–II-143
duration II-104, II-211, II-351, II-407
editing II-165–II-166, II-292–II-305
editing multiple clips II-138–II-139
exporting to EDLs III-199
filenames I-251, I-273
filters II-279
ganging playhead II-436
handles I-258, I-276, II-99, II-374, III-152, III-198
heads and tails II-374
In and Out points I-82, I-97, I-242, I-257, II-96,
II-99–II-104, II-112, II-113, II-165, II-165–II-170,
II-286, II-297
incoming and outgoing II-342, II-358, II-363,
II-364, II-398
independent clips I-319, II-41, II-430
jogging through I-104
keyboard shortcuts II-295, II-297
keyframes I-82, I-97
labels I-121, I-141, II-23–II-26
levels III-85
linked I-121
linked items II-142, II-176, II-214, II-217–II-218
logging I-247, I-259–I-261, I-266–I-267
looping playback I-105
markers I-82, I-97, I-262, II-54, II-57, II-59
marking while logging I-262–I-263
matching video for I-82, I-97
media files and I-35–I-37, I-286
media files for II-28, II-83
merged clips I-35
merged clips. See merged clips
modifying timecode in II-446–II-449
moving II-66, II-190–II-193, II-351, II-353
moving clips between tracks II-304–II-305
moving playhead I-95
multichannel clips I-301
muting II-369
naming conventions II-245
in nested sequences II-417, II-419–II-420
notes about I-261

offline/online editing flow and IV-58
offline clips I-36, II-79
opening I-74–I-75, I-100, II-292, II-298, II-350,
II-428
organizing II-15–II-26, II-138–II-139
overlays I-126, II-302
pan adjustments III-73, III-89–III-91
pasting audio attributes III-165–III-166, III-327–
III-330
peak markers II-56
peaks III-58
playback quality IV-305
playing I-79, I-94, I-100, I-103–I-104
playing in Trim Edit Window II-369–II-370
properties II-80–II-84
quality II-287
recapturing I-275, I-288, I-294
recently used I-88
reconnecting to files I-36
redoing changes in II-94
removing from sequences II-200–II-202
renaming I-58
render bars III-620
rendering I-123, III-656
rendering in nested sequences II-420
rendering separately III-652
render status III-648
replacing II-157–II-158
replacing sections of II-161–II-162
resolution II-308
resyncing II-159, II-222–II-226
ripple edits II-334
scrolling through II-296
scrubbing II-297
scrubbing through I-67–I-68, I-102
searching for II-28–II-34
selecting II-171–II-182, II-184–II-185, II-344–II-346
selecting all II-180, II-182
selecting in Browser I-55
selecting multiple clips II-178
selecting tracks to capture I-263
settings I-322
shuttling through I-103–I-104
sliding II-318–II-320
slipping II-369
snapping to points II-189–II-190
sorting II-27–II-28, II-97
speed settings I-121
split edits II-232
split In and Out points II-114
start and end timecode II-84
stereo pairs I-122
stereo vs. dual mono III-90
subclips I-35, I-288
subframe audio operations II-305–II-309
synced items I-110

486

Index

syncing. See audio-video sync
timecode I-110
timecode breaks in I-291
in Timeline II-92, II-301
transitions II-305, II-373–II-380
trimming II-184–II-185, II-298–II-300, II-344–II-351,
II-404–II-407
trim points II-344–II-346
types of II-78
unused II-32
using with different video clips III-180
variable speed settings and III-341
varying speed I-103–I-104
Viewer controls II-289–II-291
volume II-289, II-290
waveform displays II-287–II-292
zoom controls II-294–II-296

Audio command III-118
Audio Controls button I-120, I-121
audio cues III-144
audio decks IV-347
audio EDLs

exporting IV-182–IV-184

audio equipment I-189, I-196

connecting I-172, I-198–I-199
connectors I-192–I-193
control surfaces III-100
device control I-304–I-305
input and output devices I-172
monitor choices III-53
monitor setup III-50–III-53
non-device control equipment I-306
professional vs. consumer I-196
recording quality III-31
sample clocks I-307
sample rate and bit depth I-323
setup I-162
signals and cables I-196–I-198
speakers III-53
synchronizing I-200
for voiceover III-138–III-141
warnings I-225

audio files

conversion I-323–I-325
file formats I-23
formats. See audio formats
formats that can be imported I-315
names III-192
sample rates I-323–I-325

audio filter icon IV-36
audio filters III-153–III-161

See also filters; specific filter names
applying III-164–III-166
applying multiple filters III-165
Audio Units filters III-176
categories III-154–III-161

changing order of III-169
compression filters III-157
controls III-163
copying/pasting between clips III-165–III-166,
III-329
displaying in Timeline III-167
EDLs and IV-144
effects filters III-160
enabling/disabling III-169
equalization (EQ) filters III-154–III-156
expansion filters III-158
favorite filters III-176
keyframing III-172–III-175
noise reduction filters III-159–III-160
parameters III-172
postproduction and III-184
real-time adjustments III-169–III-170
recording automation III-170
removing III-169, III-188
rendering III-116, III-636
stereo pairs and III-162
viewing in Viewer III-168

Audio Format option (DV Export settings) IV-264
audio formats

exporting QuickTime-compatible format IV-247
file formats IV-235
history of IV-401–IV-403
for video DVDs IV-272

Audio Insert control IV-203
Audio Interchange File Format. See AIFF files
audio interfaces

advantages I-174
output presets and III-45
selecting III-38
setting up III-138
setup I-162
types of I-187–I-191

Audio Keyframe Recording preference III-92
audio levels

adjusting I-302–I-304, III-62–III-68, III-85–III-88,
III-115–III-118
adjusting in Timeline III-111–III-115
adjusting in Viewer III-115–III-118
capture settings I-266
clipping indicators III-76
controlling III-113, III-129–III-130
copying settings III-329
eliminating clicks III-130
faders III-73, III-85–III-88
keyframes and III-113, III-116, III-122–III-128,
III-129–III-130, IV-314
labeling tapes III-68
measuring III-23
mixed III-60–III-61, III-128, IV-149
monitoring III-57–III-61
peaks I-304

Index

487

recording settings III-93–III-96
reference tones III-68
settings I-243, III-62–III-68
subframe III-130
track meters III-74

Audio Levels setting IV-139
audio mapping IV-139, IV-351
Audio Mapping setting IV-139, IV-351
audio meters I-44, I-298, IV-448

analog III-58
clipping indicators III-61, III-76
decibels III-23, III-24
digital III-58
floating audio meters III-61
Master meter III-76
overview III-60–III-62
types of III-60–III-62

Audio Mixer III-81–III-100, IV-448

controls III-70–III-78
controls unavailable III-82
control surfaces and III-100, III-106–III-109
customizing track views III-78–III-80
faders III-85–III-88
making basic adjustments with III-81–III-88
making pan adjustments with III-89–III-91
mixer automation III-91, III-91–III-100
mute button III-82–III-83
opening III-70
organizing tracks in III-78–III-80, III-184
overview III-69, III-81
recording audio filter automation III-171
recording level and pan keyframes III-93–III-96
recording over automation III-98
solo button III-84
track level meters III-73
views in III-78–III-80

audio mixing I-19, I-144

32-bit resolution III-74
audio levels III-57–III-61, III-111–III-115, III-128,
IV-149
Audio Mixer. See Audio Mixer
audio sweetening III-183
audio tracks III-634, IV-305
bars and reference tone III-68
compression III-26
control surfaces and III-106–III-109
downmixing III-47
EDLs and IV-149
eliminating clicks III-130
filters. See audio filters
looping playback III-96–III-98
mixer automation III-91
postproduction facilities III-183
real-time audio mixing III-634, III-636, IV-305,
IV-439
reference levels III-67

rendering video effects and III-636
resampling for III-656

Audio Mixing window layout I-144
audio monitors I-173

levels III-52
setting up III-55

audio-only angles II-262
audio output presets III-41
Audio Outputs Preset Editor III-42
Audio Outputs tab I-225, III-41, IV-316, IV-368
audio overlays III-188

adjusting pan or spread III-121
adjusting volume III-117

audio peak markers III-64
audio peaks I-304, III-63–III-64
Audio Playback Quality setting I-323
audio post-production III-183

applications IV-59

Audio property IV-37
audio quality IV-364
audio render status bar I-123, III-648
audio scoring markers IV-243
audio signals

cables and I-196–I-198
formats I-189

Audio tab I-77, II-292
audiotape III-68
audio tracks

adding I-116
adding to sequences II-120–II-121, II-142
analyzing IV-123, IV-124
applying filters to multiple tracks III-331
assigning to output channels III-193
audio CD tracks I-327
audio mapping IV-139, IV-351
in Audio Mixer III-70
Auto Select controls II-185–II-188
blank IV-257
capturing I-243
categories III-185
cleaning up III-177–III-185
compressing IV-257
control surfaces and III-104
deleting from sequences II-122
described II-120, IV-448
destination tracks II-123–II-127
disabled III-196
disabling II-129
disabling in clips III-418–III-420
disconnecting Source and Destination
controls II-125
displaying controls I-127
displaying or hiding III-80
display options II-130, II-293
display size I-129
dragging clips into II-127

488

Index

DVD tracks IV-272
editing to tape operations IV-203
empty IV-257, IV-265
exporting AIFF files III-185–III-194
exporting downmixes III-192
exporting individual files III-189
exporting OMF files III-195–III-198
finding items in II-184
gaps in II-202, II-203–II-205
height II-302
inserting sync beeps in III-186–III-188
invisible tracks II-129–II-130, IV-313
labels I-126, III-68
layouts II-133
level meters III-74
linking mono tracks II-229
locked tracks II-126, II-128–II-129, II-343
locking I-116, IV-264
looping playback III-96–III-98
moving audio clips between II-304–II-305
multichannel audio files I-300
in multiclips II-242
muting III-72, III-82–III-83
names II-304, III-71, III-72
number of I-125
offsets II-143
organizing III-78, III-184
pasting clips onto II-196–II-199
playing in Trim Edit window II-369–II-370
in QuickTime movies IV-229, IV-241
real-time mixing III-634, IV-305, IV-439
render status III-648
resizing in Timeline II-131–II-132
ripple edits II-332
roll edits II-338
scrolling through I-139
scrolling vertically through II-133–II-135
selecting II-174, II-180–II-182, II-185–II-188
selecting all clips on II-180
selecting for capture I-263–I-265
selecting items forward or backward on II-181
selection tools II-180–II-182
separation II-143
in sequences II-85
soloing III-73, III-84
Source controls I-115
stereo pairs II-229
stereo recordings III-28
switching angles II-274
in Timeline I-116
track strips in Audio Mixer III-78–III-80
views of III-78–III-80
visibility III-71
voiceover III-139, III-143, III-147
waveforms II-301
working with regions II-133–II-135

audio transition icon IV-36
audio transitions

adding II-378
default II-377, II-386
saving as favorites II-386
swapping II-385
types of II-372

Audio Units plug-ins III-154, III-176, IV-448
Audio-Video Interleaved format. See AVI format
audio-video sync (A/V sync) II-213–II-228

asymmetrical edits and II-333
marking clips in sync II-227–II-228
moving items into sync II-222–II-228
moving items out of sync II-215–II-216
multiple linked audio items II-217–II-218
reasons for breaking sync II-226
replace edits and II-159
selecting linked items II-221
slipping clips into sync II-223
subframe synchronization II-308–II-309

Aud Rate property IV-37, IV-46
AU format I-315
Auto-Balance eyedropper III-571
Auto Black Level button III-572, III-581
Auto Contrast button III-572, III-581
Auto Contrast controls III-572, III-581, III-582
“Automatically edit new multiclip(s)” option II-254
automatic filenaming I-283
Automatic Save Every setting II-73, IV-307
automation. See mixer automation
auto-recording feature IV-354
Auto Rendering feature III-658, III-677
Auto Render option IV-309, IV-448
autosave feature II-77, IV-20–IV-22

autosave files IV-20–IV-22
first-in, first-out strategy IV-21
power failures and IV-23

autosave files I-39
Autosave Vault II-73, II-77, IV-20–IV-22
Auto Select controls I-116, III-331

copying clips from sequences II-414
copying operations and II-198
destination of pasted clips II-123
specifying tracks II-185–II-188
Timeline selections II-172
track precedence II-112

Auto White Level button III-572, III-581
auxiliary sources in EDLs IV-131
auxiliary timecode tracks II-47, II-249, II-443
Aux TC checkboxes (Modify Timecode
command) II-448
Aux TC properties IV-38
Aux TC tracks. See auxiliary timecode tracks
Aux timecode tracks IV-99, IV-147
average audio levels III-57, III-59, III-68
average loudness IV-448