Final Cut Pro 6 - C

492

Index

split edits in II-232
switching to Timeline or Viewer II-429
synchronizing playhead with Viewer II-434–II-437
tabs I-49, I-90
timecode overlays I-109
Timeline and I-111
two-up display in II-405
“Unrendered” message III-648
using timecode in I-107–I-110
View pop-up menu I-85, I-98
wireframe handles III-278–III-285
wireframe modes III-274–III-276
zoom controls III-277–III-278
Zoom pop-up menu I-98

Canvas Edit Overlay II-423
capstans IV-200
Capture Batch button I-244, I-275
capture buttons I-239
capture cards. See video cards
Capture Clip button I-244, I-255, I-279–I-280
Capture Now button I-244, I-281–I-285, I-306
Capture Offset field IV-353
Capture option IV-209
Capture pop-up menu I-275
Capture Preset Editor IV-339, IV-343, IV-347
Capture Preset pop-up menu I-276
capture presets I-244, IV-339–IV-347

advanced settings IV-343
batch capturing I-273
capturing audio only IV-346–IV-347
described IV-324, IV-339
DV audio channels and I-302
general settings IV-340
QuickTime settings IV-341–IV-345
selecting I-244, I-276
third-party video cards and IV-339

Capture Presets tab IV-340
Capture property IV-38
Capture Settings tab I-244, I-266
Capture Status property IV-45
capturing process

aborting I-290, IV-308
audio I-295–I-308
audio/video files captured separately I-166
audio and video levels I-266
audio levels III-63
batch capturing I-272–I-279
calibrating timecode IV-357
Capture Clip button I-279–I-280
capture settings IV-194
capturing audio IV-346–IV-347, IV-443
capturing entire tapes I-280–I-285
capturing video I-271–I-294
capturing while logging I-267
changing settings I-266
copying capture settings III-329

data rates I-208
described I-18, I-235, IV-450
device control and I-279–I-280
EDL considerations IV-145
exporting EDLs and IV-147
frame rates and I-278
hard disk requirements I-210
high-resolution media files IV-60
vs. importing I-316
Log and Capture window settings I-239–I-244
low-resolution media files IV-60
manual video capture I-286–I-287
media management and IV-15
Media Manager and I-294
multiple video decks I-205
OfflineRT format IV-62
preparing for I-245
presets IV-324
problems with IV-443
recapturing clips I-288
resolution and I-286
selecting tracks for I-263–I-265
subclips and I-283
synchronized audio and video I-307
techniques I-236–I-238, I-272–I-287
timecode breaks and I-289–I-293
using non-controllable devices I-286–I-287
video cards IV-340
video DVDs and IV-269

cards. See video interfaces
Cartesian geometry III-261
cassette shapes for videotape IV-376
CCDs (charge-coupled devices) IV-430
CD audio I-327
.cdda extension I-315, I-327, IV-235
CD players I-199
CD-RW drives I-209
center handles III-276
center points IV-450

clips III-258
layers III-261

Center Split Slide transition II-391, IV-151
Center Wipe transition II-392, IV-152
CG (Character Generator) IV-450
change list (Cinema Tools)

exporting IV-181–IV-182
saving program files IV-180

Channel Blur filter III-242
Channel Compositor transition II-390
Channel Grouped option III-46, IV-365
Channel Map transition II-390, IV-151
Channel number display IV-369
Channel Offset filter III-242
channels IV-139, IV-451

alpha channels I-328, III-376, III-410, IV-233
assigning audio tracks to output channels III-193

Index

493

audio alert messages III-39
audio channel 1 IV-450
audio channel 2 IV-450
bit depth and IV-390
capture presets IV-346
channel filters III-242
channel strips III-72
DV devices and I-301
meters I-298
mono and stereo audio I-264
multichannel audio capture I-199, I-296, IV-346
number of III-39
selecting for capture I-297
shortcut menu III-71

Channels option IV-257
chapter markers II-55, II-60, II-62, IV-243, IV-269,
IV-273, IV-274
chapter tracks (QuickTime movies) IV-274
Character Generator (CG) IV-450
checkerboard backgrounds I-86
Checkerboard Wipe transition II-392, IV-152
Checker Wipe transition II-392, IV-152
chip chart III-548, IV-451
Choke slider III-442
chroma IV-379, IV-389, IV-451

broadcast legal levels III-523–III-525
described III-511

chroma gain III-535
Chroma Keyer filter

chroma keying process III-424
controls III-226
described III-246
examples of using III-427–III-429, III-434–III-438
lighting background screens III-426
numeric controls III-431
settings III-432–III-434
transparency effects III-218
visual controls III-430, III-432–III-434

Chroma Keyer tab III-430
chroma keying III-422
chroma keying. See blue screening, green screening
Chroma Key transition II-390
chroma levels III-542
chrominance. See chroma
Cinema Tools II-245, III-630, IV-163–IV-184

opening clips from Final Cut Pro IV-177

Cinema Tools clips IV-36
Clamp Above slider III-527, III-528
clamped color conversions III-664
Clear Long Frame Markers command IV-121, IV-126
Clear Peak Marks command III-64, IV-122
Clear Split command II-236
click sounds

eliminating III-130
subframe keyframes and III-178

“Clip Collision” message II-193, II-334, II-351, II-356

clip control III-229
Clip Enable command III-419
clip icon IV-35
clip indicators in audio meters III-61
clip items

copying into sequences I-29
described II-78, II-120, IV-34
illustrated II-92
linked I-121
linked items II-142
selecting for Media Manager IV-90
in sequence clips II-78

Clip Keyframes control I-119, I-128, I-129, III-167,
III-230, III-312, III-322, III-350
Clip Name option IV-139
Clip Overlays control I-119, I-126, I-129, II-302, III-99,
III-111, III-391
clipped audio I-302, I-304

indicators III-61, III-76

clipped color conversions III-664
clipping distortion IV-451
clipping indicators in audio meters I-298, III-76
clips

adding to sequences II-91, II-94–II-96
affiliate clips I-57
affiliate clips. See affiliate clips
alpha channels and III-410–III-418
analyzing IV-122–IV-125
anamorphic media and IV-431–IV-432
anchor points III-258
arranging in storyboard II-97–II-98, II-138–II-139
attributes III-327–III-330
audio. See audio clips
backgrounds III-417
backtiming II-109, II-165, II-168–II-169
batch capturing I-272–I-279, I-310
batch exporting IV-291–IV-299
batch lists I-309
blending III-389, III-390–III-418
boundaries II-211
capturing audio I-295–I-308
capturing process I-236–I-238
changing settings after logging I-265
clip names I-249, I-251, I-259–I-261, I-273
color-coding II-206
compared to media files IV-15
composite modes III-394, III-395
compression markers and IV-275
conflicting properties IV-52
connections to media files IV-72
controls I-80–I-81, I-95–I-96
copying I-57, II-196–II-199, II-411, II-412–II-415
copying and pasting attributes III-231–III-232,
III-261, III-327–III-330
copying portions of IV-112
cropping III-281

494

Index

currently selected clips II-172
cutting II-207–II-209
deleting from projects I-58
described I-28, IV-451
deselecting II-178
disabling audio/video tracks in III-419–III-420
displaying in Transition Editor II-402
distorting shape III-280
dragging to Timeline II-127, II-137–II-143
duplicate frames I-132
duplicate names I-273
duration II-104, II-211, II-351, II-407, III-378
DV video and fuzziness IV-442
editing III-411
editing into sequences II-165–II-166
editing multiple clips II-138–II-139
in EDLs IV-130, IV-135
exporting audio from IV-235
exporting to QuickTime IV-236
filenames I-251, I-273, I-283
filters III-218–III-232, IV-139
frame rates I-278
ganging playhead options II-436
generator clips I-74, III-447–III-454
handles I-258, I-276, II-99, II-374
head clips IV-458
heads and tails II-374
hiding portions of III-405
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
independent clips I-319, II-41, II-430
independent clips. See independent clips
jogging through I-104
keyframe effects and III-289–III-307
keyframes I-82, I-97
keyframes in III-124–III-125
labels I-121
labels for II-23–II-26
layering in the Timeline III-389
linked clip items II-142
linked clips I-121, II-176, II-214
links to source media IV-74–IV-76
listing recently used I-88
logging I-236–I-238, I-247, I-259–I-261, I-266–
I-267, IV-146
looping playback I-105
making invisible III-419
managing. See media management
manipulating in the Canvas III-274–III-285
markers I-82, I-97, I-262, II-54, II-55, II-57, II-59
marking while logging I-262–I-263
master clips I-57
master clips. See master clips
matching audio for I-82, I-97
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, I-289
merged clips. See merged clips
modifying timecode in II-446–II-449
motion paths for III-311
motion path speed III-317–III-319
motion settings III-256–III-258
moving II-66, II-190–II-193, II-351, II-353, III-261–
III-262, III-279, III-389
moving between III-554
moving playhead I-95
multiclip layouts III-263
multiclips. See multiclips
names IV-17, IV-97, IV-139, IV-143
naming conventions II-245
in nested sequences II-419–II-420
notes about I-261
offline clips I-36, II-79
opacity III-302–III-307, III-390–III-392
opening I-74–I-75, I-100, II-298, II-350, II-428
opening in external editors IV-321
opening using Timeline motion bars III-324
organizing II-15–II-26, II-138–II-139
outgoing and incoming II-342, II-358, II-363,
II-364, II-398
pan III-118–III-121, III-133–III-135
parameters III-289–III-307
playback speed III-338–III-340, III-344
playing I-79, I-94, I-100–I-106
playing in reverse III-343, III-344
properties II-80–II-84, IV-36–IV-42
recapturing I-275, I-288, I-294, IV-143
recently accessed IV-305
reconnecting to files I-36
Redo command I-52, II-94
reel names I-256
removing attributes III-330
removing from sequences II-200–II-202
renaming I-58
renaming in XML Interchange Format IV-157
replacing II-157–II-158
replacing sections of II-161–II-162
rerendering IV-241
resizing name labels I-141
resyncing II-222–II-226
ripple edits II-334
rotating III-279
scaling III-278, III-280
scrubbing 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 for Media Manager IV-89, IV-106
selecting in Browser I-55
selecting multiple clips II-178
selecting tracks to capture I-263–I-265
sequence clips I-123, II-350, II-427–II-430, IV-470

Index

495

shown in Timeline III-419
shuttling through I-103–I-104
sliding II-318–II-320
sliding frames to new times III-356
slipping II-369
snapping to points II-189–II-190
sorting II-27–II-28, II-97
source tapes I-36
speed adjustments IV-101
speed of IV-477
speed settings I-121, III-337–III-363
start and end timecode II-84
subclips I-35, I-283–I-285, I-288
subclips. See subclips
synced clip items I-110
synthesized. See generator clips
tail clips IV-474
thumbnail display I-125
timecode I-110
timecode breaks in I-290, I-291
timecode display II-442
timecode tracks IV-147
in Timeline II-92
title clips III-476
transferring projects to other systems IV-16
transitions II-373–II-380
trimming II-184–II-185, II-344–II-351, II-404–II-407
types of II-78–II-80, IV-31–IV-33
undoing changes in I-52, II-94
unused II-32
varying speeds I-103–I-104
video. See video clips
volume II-290, III-111–III-115, III-128–III-130
XML elements for IV-158

Clip Settings tab I-243, I-264, I-296
clip time II-75, II-443, II-445
clock-based counters IV-352
Clock Wipe transition II-392, IV-152
Close Project command I-34
closing gaps II-202–II-204
closing items

projects I-34
sequences I-90, I-113

CMX 340 format IV-145
CMX 3600 format IV-130, IV-145
CMYK color space IV-451
codecs

See also names of specific codecs
artifacts and IV-233, IV-234
in capture presets IV-341
compared to file formats IV-230
data rates IV-401
described IV-232, IV-451
lossless IV-233, IV-392
lossy IV-393
output formats and IV-188

quality setting IV-342
QuickTime support IV-229
real-time effects III-638
selecting IV-250
sequence presets and IV-364
temporal compression and IV-251
third-party IV-234
uncompressed codecs IV-232
video codecs IV-232
for video file exchange IV-234
video formats and IV-376
video quality and IV-233–IV-234
video quality resolution settings III-628
Y´CbCr color space support IV-28
YUV processing and IV-28

codecs for imported files I-320
collapsing multiclips II-281
“Collision” message II-334, II-356
color

adjusting without color bars III-539
bit depth III-370
broadcast colors III-375
broadcast safe III-524, III-544
calibrating broadcast monitors with III-541–
III-544
color coding in Timeline II-206
computer display vs. broadcast video
monitor III-375
computer monitors and I-219
computer vs. broadcast video III-544
conversions III-664
correction I-220
distorted III-375
drop shadows III-259
duplicate frames, color-coding I-131
external monitors and I-220
filter controls III-229
fonts III-478
gradients III-432
in render status bars I-123, III-647
selecting III-229
shortcut buttons I-157
sync color coding I-109, I-110
video levels III-537
video monitors and I-219

Color Balance controls III-559, III-569–III-570, III-571–
III-572, III-579–III-581
Color Balance filter III-245
color balance process III-546, IV-451
color bars IV-206, IV-451

calibrating broadcast monitors with III-541–
III-544
calibrating video signals with III-541
described III-540
in Waveform Monitor III-537

Color Bars setting (Master Settings tab) IV-206

496

Index

color calibration

broadcast monitors III-541–III-544

color conversions III-664
color correction I-220, IV-65, IV-451

basic steps III-558–III-560
broadcast safe correction III-526–III-530
chip charts III-548
comparing colors III-594
comparing two clips III-552
desaturation filters III-610–III-612
described III-545–III-547
during filming III-547
examples of III-574–III-578, III-583–III-596, III-599–
III-602, III-606–III-610, III-612
keying process and III-429
Match Hue controls III-597–III-602
post-production III-548–III-551
primary color correction III-559, III-561
projects shot on film III-548–III-550
projects shot on videotape III-550
screen layouts III-553
tape-to-tape III-550
telecines III-548–III-550
tools for III-551
uses for III-545–III-547
using a chip chart III-548

color correction filters III-243, III-561

See also specific filter names
in Final Cut Pro III-561–III-562
location of III-561
trackball and III-581

Color Correction window layout I-144
Color Corrector 3-way filter III-226, III-243, III-559,
III-561, III-579–III-610

color balance controls III-569
examples of using III-583–III-596, III-599–III-602
settings III-563–III-570, III-579–III-583, III-603–
III-605
visual controls III-562, III-579–III-583, III-603–
III-605

Color Corrector filter II-279, III-243, III-559, III-561,
III-563–III-578, III-592–III-610

Color Balance controls III-569
examples of using III-574–III-578, III-592–III-596
settings III-563–III-573, III-603–III-605
visual controls III-562, III-570–III-573, III-603–
III-605

color depth IV-452
color gradients III-432
colorists III-551, IV-452
Color Key filter III-246
Color Matte generator III-450
Color Offset filter III-242
color picker III-229, III-478

color ranges

Chroma Keyer filter III-432
limiting effects III-603

color recording methods IV-375, IV-388
colors

of labels II-23

color sampling IV-376, IV-389
Color Smoothing - 4:1:1 filter III-246
Color Smoothing - 4:2:2 filter III-246
Color Smoothing filter III-427
color space II-90, III-507–III-511

CMYK IV-451
conversion III-664
described III-507
RGB I-179, IV-29, IV-468
settings III-662
updating projects and IV-27–IV-28, IV-28
Y´CbCr IV-29

color spill III-428, III-438
color subcarrier frequency IV-379
columns

in Browser I-59–I-60, I-62–I-66, IV-36–IV-42
customizing I-60, I-62–I-66
in Export Queue window IV-297–IV-298
hiding I-312
logging columns I-60
showing I-312
standard columns I-60

Command key III-123

“gearing down” with II-193, II-344
selecting items with II-178

commands

display settings I-148
keyboard shortcuts I-148
shortcut buttons I-156

Comment Column Headings option II-75
Comment columns in Browser I-66
Comment property IV-34, IV-38, IV-47
comments

columns in Browser I-66
in logging I-261

comments in markers II-60, II-62, II-64, II-183
common sync sources I-200
Component analog video

formats I-185

Component RGB I-179
Component video I-179, IV-452
Component YUV I-179, IV-379, IV-388
Composite Arithmetic filter III-218
Composite Mode property IV-34, IV-47
composite modes

See also specific composite mode name
in Final Cut Pro III-396–III-406
opacity and III-394
viewing or changing a clip’s III-395

Index

497

Composite property IV-38
Composite recording method IV-388
Composite video

capture interfaces I-186
inputs I-200
outputs I-219

Composite video signals I-178, IV-379, IV-452
compositing IV-452

Chroma Keyer filter and III-427
composite modes III-387, III-393–III-406
described III-387
examples III-263–III-273
Photoshop files and III-407
strategies III-387–III-392
using external editing applications III-407
Y´CbCr/RGB color space and III-664

compositing modes

Add III-397
Lighten III-404
Normal III-397
Overlay III-401
Screen III-400

Compound Arithmetic filter III-242
compressed high definition tape formats IV-400
compression

artifacts IV-275
audio III-190, IV-257
audio filters III-157
audio mixing III-26
batch IV-448
capture presets IV-343, IV-344
capturing process IV-341
described IV-452
keying quality and III-424
overview IV-391–IV-393
quality and IV-232, IV-233
QuickTime movies I-330
QuickTime settings IV-250, IV-364
sound waves and III-17
spatial IV-252
temporal IV-251
third-party IV-238
video tracks IV-266

compression markers II-55, II-60, II-62, IV-243, IV-269,
IV-273, IV-275
compression settings II-90
Compression tab IV-344
Compressor II-60
Compressor/Limiter filter III-158
Compressor application IV-275, IV-279–IV-284
Compressor option IV-341
Compressor property IV-38, IV-46
compressors. See codecs
computers

connecting monitor to I-219

Digital Cinema Desktop Preview feature I-226–
I-228

condenser microphones III-138
confirming log information I-261
conflicting clip properties IV-52
connections, checking I-231
connectors I-192–I-193

BNC connector I-178
BNC connectors I-179
FireWire technology and I-169, I-180
Genlock connectors I-179
HD-SDI connectors I-181
PCI cards I-176
RCA connectors I-178
SCART connectors I-179
SDI connectors I-180
S-Video connectors I-178
USB-to-serial adapters I-182
video equipment I-175–I-182, I-182–I-187

constant speed settings III-341, III-344
consumer devices

audio capacity I-323
audio devices I-199
connecting I-186
stereo systems I-221

consumer equipment

audio quality III-31
compared to professional I-196
television sets III-553

content of clips, copying III-328
contextual menus. See shortcut menus
contiguous clips II-178
contrast III-542, IV-452

adjusting III-572, III-581
filters III-245
in Histogram III-518

Contrast slider III-538
Controls tab I-79
control surfaces

Audio Mixer and III-106–III-109
connecting III-100
deleting III-103
described III-100
fader banks III-105
installing III-101
modifying configuration III-103
multiple control surfaces III-105
transport controls III-107

Control Surfaces Configuration dialog III-101, III-102
control tooltips. See tooltips
control tracks IV-200
conversation scenes II-232
converting sample rates I-323
Copy command I-57, II-414
Copy Filter controls III-564–III-569