L
Label 2 property II-24, IV-39, IV-45
Label property II-24, IV-39, IV-45
labels IV-315, IV-460
audio levels III-68
audiotape III-68
audio tracks I-126
clips II-23–II-26
color-coding II-23, II-206
customizing II-26
defaults II-23
names II-23–II-28
preferences II-24–II-26
reels I-249
sorting clips by II-26
tapes I-250
in Timeline I-121
Labels tab II-26, IV-315
languages I-154
Last Modified property IV-40, IV-46
latency I-228, I-230
layered clips
composite mode settings and III-394
motion settings III-263
positioning III-261
layer masks III-408
layers
imported graphics III-376
multiclip layouts III-263
Photoshop files III-380, III-407, III-408
layout of video scopes III-513
layouts IV-460
L-cuts IV-460
See also split edits
leader elements IV-206, IV-208
leading III-479
left output channel III-125
length, compared to duration IV-310
length. See duration
Length option IV-297
Length property IV-40
Less search option II-30
letterboxing I-227
letterbox video IV-429, IV-434
level controls III-573, III-582–III-583
Level Keyframe button II-290, III-123
Level keyframe navigation buttons II-290, III-123
level keyframes III-188
deleting III-99
modifying III-98
recording III-93
recording with control surfaces III-108
level overlay II-289, III-117
levels
audio III-23
average and peak levels III-57
instrument level I-196
monitors III-52
Levels attribute III-121
Levels filter III-245
Level slider II-290, III-117
Levels of Undo setting II-73, IV-305
lift editing IV-460
lift edits II-200–II-201
Lighten compositing mode III-404
lighting
color temperature III-587
keying and III-425
Limit Data Rate to N KBytes/sec option IV-344
Limit Effect controls
color against grayscale effects III-609
color correction III-603–III-605
description III-560
examples of using III-606–III-610
hue matching III-597
multiple filters and III-605
Linear command III-319
linear cross fades III-196, III-198
linear editing IV-18, IV-129, IV-460
linear time in time graph III-360
Line In setting IV-346
lines
per frame IV-383
in video frames IV-382
Link command II-219
linked clip items I-121, II-142
linked clips IV-461
audio-video sync II-213–II-214
dual system audio recordings II-229
multiple audio items linked to video II-217–II-218
selecting II-176
linked selection
editing audio and II-298
ripple edits and II-330
turning off II-332
Viewer tabs II-212
Linked Selection button I-121, II-221, II-299, II-343,
IV-461
link indicators I-121, IV-461
linking items
audio channel pairs II-228–II-229
breaking links II-220
clip items to merge II-50
in Timeline II-218–II-220
video and audio items II-219–II-220
links
broken IV-74
between clips and source media IV-74
linking items IV-460
list view I-61, I-62–I-66
Index
515
LiveType
freeze frame of project III-367
opening clips in III-481
using with Final Cut Pro III-480–III-482
LiveType titles III-480
loading
keyboard shortcut layouts I-146, I-153
window layouts I-146
Load option IV-253
Load Sequence Preset button IV-371
locked bin icon IV-36
locked items
pen tools and IV-314
presets IV-329
tracks IV-461
Locked option IV-264
locked tracks II-128–II-129, II-204, II-276, II-343
locking items
keyboard shortcut layouts I-147
playheads in multiple windows I-87
Lock Track control I-116, II-128, II-204, II-343, IV-461
log and capture buttons I-239
Log and Capture window IV-461
batch captures I-276–I-278
controls in I-79, I-94
logging I-253
marking controls I-242
Preview area I-240, I-252
settings I-239–I-244
transport controls I-241
logarithmic sliders III-227
Log Bin button I-255
Log Bin controls I-255
Log Clip button I-244, I-255
Log Clip dialog I-266
logging
batch capture lists I-310
benefits of I-248
capturing media while logging I-267, I-279–I-280
changing clip settings I-265
described I-18, I-235
duplicate timecode numbers I-267–I-269
entering data I-242, I-259–I-261
importance of I-247
In and Out points I-257
incrementing numbers I-259
keyboard shortcuts for I-267
Log and Capture window settings I-239–I-244
logging bin I-255–I-256
logging clips I-266–I-267
log notes I-261
marking while logging I-262–I-263
monitoring video and audio during I-252
preparing for I-245, I-249
reel names I-250, I-256
selecting tracks to capture I-263–I-265
shooting scripts and I-269
steps in I-253
techniques I-236–I-238
tips for I-267
window dubs. See window burns I-311
logging angle numbers II-243
logging bin I-255–I-256
adding clips to I-266
batch capturing and I-275
logging bins IV-461
logging columns I-60
logging process
clips IV-146
described IV-461
media management and IV-15
Logging tab I-242, I-253, I-262
Logic Control XT control surface III-101
Logic Pro III-213–III-214
Log Note field I-261
Log Note property IV-40, IV-45
long frame markers II-56
long frames IV-125–IV-126
See also dropped frames
longitudinal timecode (LTC) IV-414
longitudinal timecode. See LTC (longitudinal
timecode)
long-term archiving IV-23
looped playback IV-224, IV-461
looping playback I-105, II-368
audio tracks III-96–III-98
filter adjustments and III-170
looping sequences IV-224
Loop setting IV-207
lossless compression IV-233, IV-251, IV-391, IV-392
lossy compression IV-391, IV-393
loudness
average III-58
Lower 3rd text generator III-474
low-range frequencies III-155
low-resolution media
capturing IV-17
offline/online editing IV-57, IV-60
low-resolution render files III-650
LTC (longitudinal timecode) IV-352, IV-356, IV-413,
IV-414, IV-461
luma IV-379, IV-389, IV-461
adjusting III-542
blacks, mids, and whites ranges III-510
broadcast legal levels III-523–III-525
broadcast safe controls III-527
described III-509
in Histogram III-517
overlays I-85
luma clamping III-664
Luma control III-433, III-604
luma key IV-461
516
Index
Luma Key filter III-247
luma keying III-422, III-424, III-430
luminance. See also luma
luminance gain III-535
Luminance Map transition II-390, IV-151