Final Cut Pro 6 - M

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M+ pointer IV-50
Mackie control surface III-101
Mac OS, version of IV-439, IV-444
Mac OS X

showing and positioning the Dock I-51

Mac OS X Core Audio I-189
MacPaint format I-316, IV-234
macroblocks IV-384
Macromedia Flash format I-315
magnetic tape characteristics IV-376
magnifying views. See zoom controls
Make File Names Unique option IV-142
Make Independent Clip command IV-51
Make Master Clip command IV-48, IV-50
Make Movie Self-Contained option I-330, IV-238,
IV-259, IV-298
Make Multiclip dialog II-243, II-247
Make Multiclip Sequence dialog II-243, II-252–II-254
Make New Clip option I-290, I-291
Make Offline command IV-75
Make Subclip command II-37
map transitions II-390
Mark Audio Peaks command I-304, III-63, IV-122
Mark Clip button I-82
marker icon IV-35
marker list for logged clips I-262

adding to clips or sequences II-57, II-59
adding while logging I-262–I-263
audio scoring markers IV-243
chapter markers II-55, II-60, IV-243, IV-269, IV-273,
clip markers II-54
comments in II-60
compression markers II-55, II-60, IV-243, IV-269,
IV-273, IV-275
controls for I-82, I-97
deleting II-60, II-61
described II-53–II-54, IV-462
displaying II-56
editing into sequences II-69
exporting II-60
extending duration of II-68–II-69
finding items by II-183
moving II-65
moving clips with II-66
moving frame to II-63
moving playhead to I-96, II-62, II-63

QuickTime movie files and II-54
renaming II-57, II-60, II-64
scoring markers II-55, II-60
sequence markers II-54
setting for clips I-82, I-97
setting for sequences I-82, I-97
in subclips I-283–I-285
timecode and II-65
in Timeline I-96
turning into subclips II-39
types of II-55
viewing in Browser II-69
working with I-283–I-285, II-53–II-54

Mark In and Mark Out buttons I-258, II-103, II-111,
II-363, II-364
Mark In button IV-203, IV-213
marking clips as in sync II-227
marking controls IV-203

Canvas I-82, I-97
device control I-242
Log and Capture window I-242
Logging tab I-262
Viewer I-76, I-82

Mark in Sync command II-227–II-228, II-286
Mark Long Frames command IV-121, IV-125
Mark Out button IV-203, IV-213
Mark Selection command II-114
Mark Split command II-233
markup languages, XML as IV-154
Mask Feather filter III-248, III-444–III-445
masks III-443–III-445, IV-462

alpha channels and III-423, III-443
described III-423
examples of using III-444
Image Mask filter III-443
masking portions of clips III-405
Mask Shape filter III-444
Soft Edges filter III-444

Mask Shape filter III-218, III-248, III-444
Master, Audio Merged option IV-135
Master area (Audio Mixer) III-70, III-75
Master audio meters III-60, III-76
Master Clip property IV-49
master clips I-57, III-218

affiliate clips and IV-15, IV-50
copied clips and II-415
creating IV-47, IV-51–IV-52
creating from pasted sequences II-89
described II-78, IV-33, IV-462
duplicating IV-49
editing IV-48
identifying IV-49
importing EDLs and IV-143
independent clips and IV-52
locating IV-49

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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,
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,
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


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
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

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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

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–
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,

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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

4:3 monitors IV-434
audio III-50–III-53, III-55
calibrating III-541
Digital Cinema Desktop Preview feature I-226–
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–
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,

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


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,
self-contained movies I-330, IV-238–IV-241,
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

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Browser columns I-62
clips III-261, III-279
frames to new time slots III-354, III-356
In and Out points II-116
media files into one location IV-117
in Media Manager IV-93
playhead in Timeline II-352
to scratch disks IV-88
shortcut buttons I-156
sliding clips II-318
split edit points II-235
transitions II-380
windows I-50, I-141

MP3 format IV-228, IV-235, IV-272
MPEG-1 format IV-269, IV-397
MPEG-1 Layer 2 audio IV-272
MPEG-1 Layer 3 audio. See MP3 format
MPEG-2 compression IV-393
MPEG-2 format I-321, IV-232, IV-269, IV-271, IV-397–
MPEG-4 format I-315, IV-232, IV-235, IV-246, IV-398
MPEG compression markers II-54
MPEG formats IV-228
MPEG standards IV-393–IV-398, IV-463
M stems (Music stems) III-185
multichannel audio I-296, I-301, IV-346
multiclip grouping area II-253
multiclip icon IV-35
multiclip playback III-630
Multiclip Playback mode II-244, II-276–II-278

adding angles II-264–II-267
angle numbers II-245
in Browser II-260
collapsing and expanding II-244, II-281
creating II-247–II-249
deleting angles II-264
described II-79, II-241, IV-32, IV-33
dragging into Timeline II-140
editing II-269, II-277
exporting II-244
filters II-279
keyboard shortcuts II-269
limitations and requirements II-242
master-affiliate relationships II-281–II-282
as master clips IV-47
match frame commands II-283
media management II-284
Media Manager settings IV-97
motion parameters II-279
moving angles II-263
Multiclip Playback mode II-276–II-278
offline II-284
overlays II-263
playback quality II-278
recapturing II-284

reconnecting to media II-284
resynchronizing angles II-267
sequences II-251–II-260
speed adjustments II-279
switching angles II-270–II-272, II-280
synchronizing angles II-247, II-255
in Viewer II-261–II-267
workflow II-243–II-244

Multi-Frame Trim Size field IV-313
multiple camera shoots

multiclips and II-243
video switchers II-268

multiple clips, selecting II-178
Multiple Edits window layout I-144, III-594
Multi Spin Slide transition II-391, IV-151
multitrack audio recorders I-172
multitrack projects

creating from Final Cut Pro clips/
sequences III-208–III-211


music stems III-185
tips for cutting III-181–III-182
tracks III-185

Musical Instrument Digital Interface. See MIDI
musical sounds III-21, III-22
music synchronization II-308
mute button I-120, III-72, III-82–III-83

entire sequences III-75
mute controls III-81
system sounds III-52
tracks III-72

muting audio II-369
MXF-based formats I-320