Final Cut Pro 6 - E

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Ease In/Ease Out command III-319
Easy Setups II-89

copying IV-334
customizing IV-327, IV-333
described I-162
editing IV-327
External Video settings IV-192
loading from a network IV-337
making unavailable IV-334
Offline RT Easy Setups IV-61
presets and I-164, IV-327

removing IV-334–IV-336
restoring original IV-336
selecting I-245
selecting different presets in IV-328
video formats and I-24
working with IV-326–IV-327

Echo filter III-160
edge code II-440

verifying IV-181

Edge Feather parameter III-258
Edge Feather slider III-271
Edge Thin slider III-604
Edge Wipe transition II-392, IV-152
edging around keyed subjects III-434, III-438
edit buttons I-93, II-147, IV-202
Edit Decision Lists. See EDLs

anamorphic media IV-432
assemble editing. See assemble editing
asymmetrical edits II-331, II-332–II-334
audio in Timeline II-301–II-305
audio in Viewer II-292–II-294, II-298–II-300
audio-video sync II-226–II-228
audio waveform displays and II-287
backtiming clips II-165, II-168
canceling edits IV-211, IV-215
in Canvas II-145–II-148
changing simple edits to split edits II-234
clip properties II-81
clips into sequences II-165–II-166
clips with transitions II-384
in color spaces III-664
controls in Canvas I-92–I-93
copying clips from other sequences II-412–II-415
cut edits II-207
described IV-456
drag-to-Timeline editing II-95, II-137–II-143
Easy Setups IV-327
edit buttons II-147
editorial process I-19
Edit Overlay I-93
edit points I-96
EDL considerations IV-134, IV-148–IV-150
extend edits II-348–II-349
fit to fill edits II-149, III-338–III-340
“gearing down” II-193
In and Out points II-99–II-104, II-165
insert editing. See insert editing
insert edits II-139, II-148, II-150–II-151, II-413
insert with transition edits II-148, II-151–II-152,
keyboard shortcuts II-148, II-269, II-425
lift edits II-200–II-202
linear editing I-21, IV-18, IV-460
marker information II-60, II-64
master clips IV-48

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match cuts II-335
match frame editing IV-462
media management and IV-15
montages II-241
Multiclip Playback mode II-276–II-278
multiclips II-244, II-269, II-277
multiple clips II-138–II-139
non–Final Cut Pro systems IV-65
nonlinear and nondestructive I-21
nonlinear editing IV-18, IV-464
offline/online editing IV-18, IV-57–IV-59, IV-464
overwrite editing IV-465
overwrite edits II-139–II-141, II-148, II-153–II-155,
overwrite with transition edits II-149, II-154–
II-155, II-375
performing II-237–II-240
preferences IV-309
presets IV-331
preview editing IV-199
previewing edits IV-214
razor blade edits IV-467
replace edits II-149, II-156–II-162, IV-468
resize edits II-350–II-351, II-399, II-405, IV-468
ripple edits II-201–II-202, II-326–II-329, II-366,
II-407, IV-468
roll edits II-334–II-339, II-366, II-399, II-406, IV-468
rough cut I-19
rough edit II-91–II-93
rough editing IV-469
sequence clips II-429
sequences II-425
short edits IV-440
shuffle edits II-194–II-195, IV-470, IV-473
slide edits II-318–II-321, IV-471
slip edits II-117, II-309, II-321–II-325, IV-471
split edits II-231–II-234, II-237–II-240, II-286,
II-313–II-314, II-332, IV-472
straight edits II-207
streamlining EDL exports IV-148–IV-150
subclips and II-41
superimpose edits II-127, II-149, II-162–II-164,
III-389, IV-473
swap edits. See shuffle edits
switching and cutting between angles II-270–
system components I-161
three-point editing II-95, IV-474
through edits I-127, II-210, IV-148
with timecode II-351
timecode in media files II-446–II-450
transferring projects IV-66
trim edits II-299–II-300, II-341–II-342, II-347–
II-348, II-354
types noted in EDLs IV-132
types of edits II-145–II-149

undoing and redoing actions II-94
video latency and I-230
to videotape IV-209–IV-215
videotape editing methods IV-197–IV-200
without In and Out points II-170
XML interchange files IV-157

Editing mode IV-202, IV-213
editing systems IV-140
Editing tab II-369, IV-309
editing timebase IV-361, IV-363, IV-371
Edit Marker dialog II-60, II-64, II-68
Edit Overlay I-91, I-93, II-147, IV-202
edit points III-556

AIFF files and III-185
described IV-456

edit points, moving to I-96
edit points. See In and Out points
Edit Selection tool II-174, II-345
Edit to Tape operations III-640

aborting IV-193
assemble editing IV-210–IV-211
described IV-456
device control and IV-194, IV-209
external monitors and I-222–I-225
insert editing IV-199, IV-212–IV-215
mastering settings IV-205
output options I-224
outputting multichannel audio IV-216–IV-218
overview IV-190
preview editing IV-199
problems with IV-441
requirements IV-200
steps in IV-209–IV-215
troubleshooting IV-441

Edit to Tape window I-79, I-94, IV-201–IV-205
EDL Access application IV-140
EDL Export dialog IV-133, IV-135–IV-139
EDL Import dialog IV-142
EDL Notes setting IV-139
EDLs (Edit Decision Lists)

audio clip information III-199
clip names IV-143
described I-310, IV-129, IV-456
editing considerations IV-148–IV-150
effects and IV-135
elements of IV-131–IV-133
errors during export IV-134
exporting IV-134, IV-135–IV-139
exporting audio information to III-199
exporting for online editing IV-58
exporting sequences as IV-134
export transition codes IV-151–IV-152
Final Cut Pro support I-22
formats IV-135, IV-148
importing IV-140–IV-143
improving IV-148–IV-150

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incorrect timecode in IV-441
Key Level and III-418
Key tracks and III-418
limitations IV-141, IV-144
master clips and IV-47, IV-143
master tape settings IV-139
multiclips and II-244
multiple III-199
nested sequences and II-417, IV-150
notes in IV-133, IV-139
opening IV-140
problems importing IV-444
reading information in IV-130
recapturing clips from IV-143
reel conflicts IV-137
reel names and I-250
reel names in IV-16
reviewing IV-140
RT-11 disk access IV-140
speed settings and IV-150
still frames and IV-150
streamlining exports IV-150
superimposed video and III-418
timecode and III-199
titles IV-131, IV-135
transitions IV-136, IV-148
transitions in II-380
V1 tracks and III-418
V2 tracks and III-418
vs. batch capture lists I-310

EDL Title setting IV-135
Effect Handling tab III-638–III-639, IV-322

animating with keyframes III-255, III-287–III-321
creating favorites III-332
described I-20, IV-456
EDLs and IV-135
motion effects III-282–III-285
multiclips II-279
online editing and IV-65
real-time effects I-122, IV-467
rendering and III-645, III-656, III-676
settings I-78
sound effects III-181
switching angles with II-280
transitions II-377, II-378, II-403

effects filters III-160
Effects menu II-377–II-378
effects stems (E stems) III-185
Effects tab II-279, II-377, II-378, II-403, III-164, III-332–
III-334, III-561
Eight-Point Garbage Matte filter III-248, III-440
electronics-to-electronics mode (E-to-E
mode) IV-225
elements (leader and trailer) IV-206, IV-207
elements (XML) IV-154, IV-158

emailing project files IV-66
embedded flags. See markers
Emboss filter III-251
emptying Trash IV-75
empty tracks II-122
encoding options IV-260
ending points for filters III-222, III-226

described III-22
percussive III-22
sustained III-22

equalization (EQ)

advantages III-178
filters III-154–III-156


analog video calibration III-536
for color calibration III-535
connecting video devices I-182–I-187
consumer devices I-186
Easy Setups and I-162
editing system components I-161
non-controllable devices I-287
non-DV devices I-186
SCSI devices I-215–I-216
setup I-18
synchronizing I-200
warnings I-225

error messages. See alert messages
Error option IV-297
E stems III-185
E-to-E mode (electronics-to-electronics
mode) IV-225
event numbers in EDLs IV-130, IV-131
events in EDLs IV-130
Every Frame option IV-225
Excess Chroma option III-525, III-573, III-583
Excess Luma option III-525
Excess Luma overlay I-85
expanding multiclips II-244, II-281
expansion filters III-158
Explode transition II-390
Export Audio to AIFF(s) command III-190, III-193
Export Image Sequence Settings window IV-288
exporting items

anamorphic video to QuickTime IV-434
audio clip information to EDLs III-199
audio in OMF format III-197–III-199
audio only IV-235
audio tracks as AIFF files III-185–III-194
AVI QuickTime files IV-264–IV-266
avoiding recompression IV-239
batch capture lists I-312
batch exports IV-291–IV-299
clips with compression markers IV-275
for DVD Studio Pro IV-276
DV Stream files IV-263–IV-264

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EDLs IV-134, IV-150, IV-151–IV-152
frames as still images III-367
image sequences IV-287–IV-289
markers as text tracks II-69
multiclips II-244
multiple AIFF files III-193
multitrack projects to Final Cut Pro III-209
nested sequences and II-417
problems with still images III-368
QuickTime audio formats IV-247
QuickTime-compatible movies IV-245–IV-247
QuickTime movies IV-235–IV-236, IV-237–IV-241,
QuickTime movies for iDVD IV-276
reference movies IV-238
sequences IV-275
sequences as batch lists I-312
sequences as EDLs IV-134
sequences as QuickTime movies IV-240–IV-241
sequences for DVD IV-267
still images IV-285–IV-287
window layouts I-145
XML files IV-159

Export Queue window IV-291, IV-292, IV-293–IV-300
Export QuickTime Movie command IV-235, IV-236,
IV-237–IV-241, IV-365
Export Using QuickTime Conversion
command I-324, IV-235, IV-236, IV-245–IV-247,
IV-286, IV-287
Export XML dialog IV-159
exposure III-546, IV-456
extend editing IV-456
extend edits II-348–II-349
extensions IV-296, IV-297
external audio speakers I-173
external editing applications III-407

clearing IV-322
opening a clip in IV-321
specifying IV-322

External Editors tab IV-321
external hard disks I-212
external monitors

connecting I-173
Digital Cinema Desktop Preview feature I-226–
DV FireWire devices and I-221
Edit to Tape operations I-222–I-225
playback operations I-222–I-225
previewing video on I-221
troubleshooting I-231
updating output I-225
video latency I-230
video quality I-232

external sync I-200, I-308
External Sync inputs I-184, I-201

external video IV-191–IV-195
external video monitors II-278, IV-221
Extract filter III-248
eyedropper III-229, III-433, III-579, III-604
eyeline matches IV-456