Final Cut Pro 6 - M

Index

517

match frame commands II-283
Media Manager settings IV-96, IV-101
multiclips and II-281–II-282
properties II-84, IV-45
sequence clips and II-430–II-433
Source property IV-48
subclips and II-35, II-38
updating older projects and IV-27

Master Comment properties IV-40, IV-45
Master fader controls III-76, III-88
Master Gain control I-298
Mastering mode IV-202, IV-211, IV-213, IV-214,
IV-462
Mastering Settings tab IV-201, IV-205
Master mute button III-75
Master property IV-40
master shots III-559, IV-462
master tapes IV-130, IV-139, IV-462
Master Template Browser III-495, III-496
master templates

described III-493–III-494
modifying III-499–III-502
previewing III-495
using III-495–III-499

Match Color indicator III-598
match cuts (matching on action) II-335
Match Frame button I-82
match frame editing IV-462
match frame operations

multiclips II-283
opening media files II-432
replace edits II-160
sequence clips II-431, II-433

match frames I-82, I-97
Match Hue controls III-583, III-597–III-602
Match Hue eyedropper III-598
matching criteria for searches II-30
match-on-action IV-462
Match option II-30
Match pop-up menu II-30
Matrix Wipe transition II-390
Matte Choker filter III-246, III-249, III-427, III-428,
III-440
Matte generator III-448
mattes III-440–III-443, IV-462

alpha channels and III-423, III-440
described III-421
filters III-248–III-249
Garbage Matte filters III-440
Matte Choker filter III-440

media

described IV-462
importing I-315–I-327
labeling II-23–II-26
logging I-266–I-267
managing I-237

organizing II-15–II-26
playing at varying speeds I-103–I-104
source media IV-472

Media 100 systems IV-65
Media Alignment settings II-247, II-253
Media area (Media Manager) IV-92
Media Destination area (Media Manager) IV-98
media elements IV-207
Media End column in Browser I-311
Media End header I-311
Media End points. See Media Start and Media End
points
Media End property IV-41, IV-46
media files

analyzing IV-122
archiving IV-119
audio media files IV-59
automatic filenaming I-283
capturing I-18, I-235
capturing audio only I-296
clips and I-35–I-37
compared to clips IV-15
connections to clips IV-72
consolidating into one location IV-117
copying IV-111, IV-112
creating for subclips II-42, IV-115
described I-27
dragging to Timeline I-319
duplicate names I-273
file formats vs. codecs IV-230
filenames I-37
finding files for clips II-28, II-83
found during batch capture I-278
importing into Final Cut Pro I-315–I-319
locations I-35
logging I-235
managing I-294
Media Manager operations and IV-92, IV-107
modifying timecode in II-446–II-450
multiclips II-245, II-284
names II-246, IV-17
network sharing IV-18
offline IV-72
organizing I-319
properties IV-46
QuickTime media files IV-31
recapturing process and I-288
recompressing IV-114
reconnecting IV-76–IV-83, IV-89
reconnecting clips to II-79
reconnecting to clips I-36
search folder settings IV-318
for sequence clips II-432
shooting ratio I-209
source tapes I-36
subclips and II-38

518

Index

timecode tracks II-447

“Media limit” message II-355
media management

See also Media Manager
critical techniques IV-15
described IV-13–IV-14
independent sequence clips and II-433
reasons for using IV-14
steps IV-15–IV-16
strategies IV-16–IV-18
subclips and II-42

Media Manager I-294

angles and II-244
deleting items IV-98–IV-99
effective media management and IV-14
examples of processes IV-109–IV-120
independent clips and IV-100
limiting copies and deletions IV-101
multiclips in II-284
opening IV-91
overview IV-88, IV-105–IV-109
processing options IV-98–IV-99
recapturing media at full resolution IV-63
selecting items to process IV-89
settings IV-90–IV-98
speed adjustments and IV-101
stopping processes IV-108
subclip media files and II-42
subclips and IV-100
transferring projects IV-66

“Media Offline” message IV-74
Media options IV-207
Media setting IV-207
Media Start and Media End fields II-446
Media Start and Media End points II-40, II-105
Media Start and Media End properties II-84
Media Start column in Browser I-311
Media Start heading, in batch lists I-311
Media Start property IV-40, IV-46
memory

allocated to Final Cut Pro IV-444
described IV-467
Undo levels and IV-305
voiceover requirements III-141

Memory & Cache tab IV-319–IV-320
memory cards I-321
menus on DVDs IV-267
merged clips I-35

changing II-51
creating II-46–II-48, II-50–II-51
described I-35, II-45–II-46, II-79, IV-32, IV-462
dual system audio II-229
duration II-48–II-49
as master clips IV-47
recapturing I-289
resyncing II-51

synchronization points II-46
sync relationships and II-213, II-220
timecode and II-449

messages. See alert messages
messages. See see alert messages or warnings
metadata I-283
microphones II-308, III-138, III-178, IV-346
MIDI interface

connecting control surfaces III-101
control surfaces and III-100
described III-100
installing III-101
selecting III-101

midrange frequencies (sound) III-20, III-155
Mids Auto-Balance eyedropper III-580
Mids balance control III-580
Mids Reset button III-580
Mids slider III-573, III-576, III-582
midtones III-510, IV-462
MiniDisc recorders I-199
mini-DV camcorders I-323
mini-DV cassettes IV-462
mini-DV devices

format IV-146
insert editing and IV-199, IV-212

Minimum Overlap option II-253, II-259–II-260
Mirror filter III-250
“Mirror on desktop” option IV-440
“Missing DV Audio” setting IV-345
missing files

compared to offline IV-76
ignoring IV-84

Mixdown Audio checkbox (Nest Items
window) II-420
Mixdown command III-636, III-656, III-657
mixed-format sequences

described III-679
working with III-682–III-690

mixer automation IV-463

audio filters and III-170
control surfaces and III-108
deleting III-99
described III-91
keyframes in Timeline III-129
looping playback III-96–III-98
modifying III-98–III-99
recording audio filter automation III-170–III-171
recording fader and panning automation III-96–
III-98
recording keyframes III-95
setting keyframe preferences III-92

mixing audio I-19, I-144
mixing down. See downmixes
mixing process IV-463
M-JPEG codecs I-182, I-208, I-210, IV-233, IV-269,
IV-401

Index

519

modem adapters I-202
Mode pop-up menu IV-202
modifier keys I-149
Modify Timecode dialog II-447–II-448, IV-36
“monitor out” outputs IV-358
monitors

4:3 monitors IV-434
audio III-50–III-53, III-55
calibrating III-541
Digital Cinema Desktop Preview feature I-226–
I-228
external video monitors I-173
levels III-52
problems with IV-438, IV-442
real-time effects and III-629
record monitors IV-467
refresh rates and IV-439
resolution I-145
source monitors IV-472
standard definition (SD) III-373

mono audio IV-463

linking II-229
panning II-290
in Viewer II-293

mono audio channels I-264, I-297, I-300, III-190
mono audio pairs III-116
Mono tabs II-293
montage editing II-241, IV-463
More option for searches II-30
Motion III-493

freeze frame of project III-367
opening clips in III-484

motion analysis data III-468
motion bars I-128, II-174, III-324

displaying III-350
speed setting display III-349
variable speed settings III-348, III-358

Motion Blur

rendering III-676
smoothing slow motion III-343

Motion Blur effect IV-367, IV-463
Motion Blur parameter III-257, III-260
motion-camera techniques III-365
Motion clips III-502–III-503
motion control cameras III-379
motion effects I-78

animating with keyframes III-287–III-307
controls III-258–III-261
copying III-328
creating in Canvas III-274–III-285
described III-255
examples of using III-263–III-273, III-282–III-285
favorites III-320–III-321, III-332
keyframe controls III-291
motion parameters III-256–III-261
rendering options III-662

settings III-256–III-258, III-263–III-273, III-282–
III-285
speed III-337–III-363
still images III-379–III-385

Motion Filtering Quality pop-up menu III-667
Motion JPEG. See M-JPEG codecs
Motion JPEG codecs. See M-JPEG codecs
motion keyframes I-82
motion parameters I-129, II-279, III-256–III-261,
IV-144

described III-255
rendering and III-645

motion paths III-290, III-311–III-319, IV-463

adding keyframes to III-314
controlling speed III-317–III-319
creating III-313–III-316
curving with Bezier handles III-314–III-316
deleting keyframes in III-314
described III-312
moving III-320
moving keyframes in III-314

Motion project files III-502
motion settings I-78
Motion tab I-78, II-279, III-256–III-273

adjusting clip opacity in III-392
examples of using III-263–III-273
keyboard modifiers III-258
keyframe controls III-291–III-301
settings III-256–III-273
variable speed settings III-348, III-362
working with keyframes in III-294–III-298

Motion template files

described III-493–III-494
installing III-503

Move into Sync command II-222
Move Others into Sync command II-225
.mov extension IV-228, IV-296
Movie Analysis window IV-123
moviemaking process

shooting ratios I-32
workflow I-15–I-16

movies

See also QuickTime movie files
animation movies IV-233
AVI movies IV-264–IV-266
exporting IV-237–IV-241
reference movies I-330, IV-238–IV-241, IV-259,
IV-442
self-contained movies I-330, IV-238–IV-241,
IV-259
uncompressed movies IV-233

moving items

angles in multiclips II-263
audio clips to other tracks II-304
back into sync II-222–II-226
between bins II-21