Final Cut Pro 6 - O

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offline/online editing

audio in IV-58
copying sequences for IV-113
creating low-resolution copies IV-114
described IV-464
final refinements IV-65
linear tape editing process IV-129
Media Manager settings IV-94
non–Final Cut Pro systems IV-65
OfflineRT IV-61–IV-65
output IV-65
overview IV-57–IV-59
reconnecting media files IV-76
transferring projects IV-66
workflow IV-60

offline angles II-262

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Offline Clip icon IV-35
offline clips II-79, II-284, IV-72, IV-464

audio clips I-327
breaking links to IV-74–IV-76
capturing I-275
described I-36, IV-72, IV-464
finding IV-81
illustrated IV-74
logging and I-310
media management and IV-16
moving and I-37
offline/online workflows IV-17
reconnecting IV-76–IV-83
renaming files and I-58

Offline Files window IV-83–IV-84
Offline Items in Logging Bin option I-275
offline media files

described IV-72
ignoring IV-84
missing files and IV-76
recapturing at full resolution IV-64
XML notations for IV-157

Offline property IV-41
OfflineRT format I-208, I-210, III-638

data rates IV-401
editing IV-61–IV-65

OfflineRT sequence preset IV-114
Offline Status property IV-45
Off option for external video I-225
offset of audio-recording devices III-139–III-140
offsets in multiclips II-253
OMF Audio Export dialog III-197
OMF Export command III-195
OMF format I-22, II-244, II-417

EDLs and IV-129
exporting IV-58
limitations of III-196
size limits III-199
video information in IV-65

Omit search option II-30
Omit Transitions setting IV-136
online editing

described IV-58
final refinements IV-65
finishing process IV-457
Media Manager settings IV-94
non-Final Cut Pro systems IV-65
output IV-65
recapturing full-resolution media IV-64
recapturing sequences for IV-89
sequence presets for IV-64
transferring projects IV-66

online editing suites

components I-161

onscreen help I-10, I-47
“On timecode break” pop-up menu I-290

“On Timecode Break” pop-up menu IV-308
opacity IV-464

adjusting in Timeline III-391–III-418
composite modes and III-394
copying settings III-328
examples of adjusting III-306–III-307

opacity overlay III-306–III-307
opacity overlays I-126, IV-148
Opacity parameter III-259
Opacity slider III-259, III-392
Open command I-34

external editors IV-321
Media Manager IV-91

opening clips

in Motion III-484

opening items

audio clips II-292
bins II-17
clips II-350
customized shortcut button bars I-158
in Soundtrack Pro III-202
multiple sequences II-412
nested sequences II-350
reopening last project II-74
saved window layouts I-146
sequence clips II-428
sequences II-86
transitions II-403

Open Media Framework format. See OMF format
Open playhead sync option II-435
open standards, XML as IV-154
operating systems I-38
optical disks I-235
Optimize Hints for Server option IV-259
Option key III-123
Option key shortcuts

copying items II-196
moving and selecting II-196
split edits II-235

ordered timecode breaks I-289, IV-464
origin point for text III-478
outgoing clips II-342, II-358, II-363, II-398, IV-464
Outline Text generator III-475
out-of-gamut color III-664
out-of-phase sounds III-19
out-of-sync indicators II-215–II-216, IV-464
Out point inclusive rule II-100
Out point property IV-41, IV-47
Out points. See In and Out points
Output Channel shortcut menu III-71
output formats

multiclip exports II-244

output frames III-346
output ports I-162

audio I-189

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MIDI connections III-103

output in post-production process I-20
output process

anamorphic video IV-434
Edit to Tape command IV-190
media management and IV-16
online editing workflow and IV-65
output described IV-464
playback settings IV-193
Print to Video command IV-190
recording from Timeline IV-191

output requirements

Betacam SP output IV-189
Digital Betacam IV-189
DV output IV-189
VHS output IV-189

Outputs pop-up menu IV-369
Out Shift indicator II-363
Oval Iris transition IV-151
Oval transition II-390
overlapping items in Timeline II-215
overlapping timecode II-253, II-259–II-260
Overlay compositing mode III-401

adjusting III-114, III-126, III-174, III-297
audio II-302, III-121
Canvas Edit Overlay II-423
described I-85
displaying II-176, II-302
Edit Overlay I-93
ends of clips II-102
level overlays II-289, III-117
for multiclips II-263
pan overlays II-289, III-121
timecode overlays I-85, II-445

overlays, audio III-188
oversaturated color III-537
oversaturation III-578, III-583
overscan area IV-465
overtones III-20, III-21
overwrite editing IV-465
overwrite edits I-92

angles in multiclips II-266
avoiding nested sequences II-424
as default II-147
described II-148
keyboard shortcuts II-148
performing II-139–II-141, II-153–II-154
in sequences II-414
in Timeline II-139

overwrite with transition edits I-92, II-148, II-149,
II-154–II-155, II-375