Final Cut Pro 6 - V

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V1 tracks IV-148
V2 tracks IV-148
validating XML documents IV-156
variable speed IV-476
variable speed settings

adjusting keyframes in the motion bar III-358–
compared to constant III-341

described III-342
in the Motion tab III-362
Time Remap parameters III-260, III-363
Time Remap tool III-353–III-358
tools III-348–III-363
understanding III-337, III-345–III-348
using the Time Graph III-359–III-362

VCR mode IV-192, IV-355
VCRs (videocassette recorders) IV-476
VDUs (Video Disk Units) IV-476
Vectorscope III-512, III-515–III-516, III-521, IV-477
vectorscopes III-535, III-537–III-540
velocity. See speed
velocity. See speed of clips
velocity handles III-318, III-319, IV-477
Venetian Blind Wipe transition II-392, IV-152
ventilation I-216
versions of projects, reopening IV-23
vertical interval timecode (VITC) IV-352, IV-356,
IV-413, IV-414
vertical ranges of clips II-184
vertical scroll bars I-117
VGA interfaces I-181
VHS systems

described IV-477
output IV-188
printing to VHS tape IV-225
requirements IV-189


analog I-24
aspect ratio I-24
basics III-507–III-553
calibration III-540
capture presets IV-341–IV-343
capturing synchronized audio I-307
color bars III-540
display quality I-232
dual audio recordings and II-229
file formats I-315
fonts and III-376
formats II-90, III-424
frame rates I-24
image dimensions I-24
importing I-315, I-320–I-322
interlaced IV-459
latency I-230
letterbox video IV-429, IV-434
levels III-536
line art and III-376
linking items II-218–II-220
matching for clips I-82, I-97
matching for sequences I-82, I-97
M-JPEG I-208
monitoring during logging I-252

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non-interlaced IV-463

See also progressive video scanning

playback IV-442
problems with IV-439–IV-440
quality of I-178
QuickTime-compatible IV-245–IV-247
QuickTime settings IV-249–IV-254, IV-341–IV-343
split edits II-232
standards I-23
stuttering IV-442
superimposed video III-418
syncing with audio. See audio-video sync
tape formats I-22–I-25
timecode I-110
tracks. See video tracks
uncompressed I-208, IV-233

video artifacts. See artifacts
“Video card not supported for RT Effects”
message IV-439
video cards II-90

analog-to-digital I-179
analog-to-digital capture I-219
capture presets and IV-339
connecting I-176
connecting analog equipment to I-182–I-184
effect handling settings IV-322
external video monitors I-219
for capturing IV-340
gamma correction III-669
play through IV-340
third-party IV-188, IV-339, IV-398
video interface cards I-176

videocassette recorders. See VCRs, video decks
video clips

adding to sequences II-91, II-94
affiliate clips. See affiliate clips
alpha channels III-410, III-411
analyzing IV-122–IV-125
anamorphic media and IV-431–IV-432
animation. See animation
applying multiple filters III-222
arranging in storyboard II-97–II-98, II-138–II-139
automatic filenaming I-283
backtiming II-109, II-165, II-168–II-169
basics III-507–III-553
batch capturing I-272–I-279
batch exporting IV-291–IV-299
batch lists I-309, I-310
boundaries II-211
capturing I-236–I-238
changing settings after logging I-265
clip names I-249, I-251, I-259–I-261, I-273
color-coding II-206
color correction. See color correction
compared to media files IV-15
compression markers and IV-275

conflicting properties IV-52
connections to media files IV-72
copying I-57
copying and pasting II-196–II-199
copying and pasting attributes III-231–III-232,
copying portions of IV-112
copying to other sequences II-411, II-412–II-415
currently selected II-172
cutting II-207–II-209
deleting I-58
described I-28, II-78
deselecting II-178
displaying in Transition Editor II-402
dragging to Timeline II-127, II-137–II-143
duplicate frames I-132
duplicate names I-273
duration II-104, II-211, II-351, II-407
DV video and fuzziness IV-442
editing into sequences II-165–II-166
editing multiple clips II-138–II-139
in EDLs IV-130, IV-135
exporting audio from IV-235
exporting to QuickTime IV-236
filenames I-251, I-273
filters. See video filters
frame rates I-278
freeze frames III-366
ganging playhead II-436
generator clips I-74
handles I-258, I-276, II-99, II-374
head clips IV-458
heads and tails II-374
hiding portions of III-405
In and Out points I-82, I-97, I-242, I-257, II-96,
II-99–II-104, II-112, II-113, II-165, II-165–II-170
incoming and outgoing II-342, II-358, II-363,
II-364, II-398
independent clips I-319
independent clips. See independent clips
jogging through I-104
keyboard shortcuts III-554
keyframes I-82, I-97
labels I-121, I-141, II-23–II-26
linked I-121
linked clip items II-142
linked clips II-176, II-214, II-218
links to source media IV-74–IV-76
logging I-236–I-238, I-247, I-259–I-261, I-266–
I-267, IV-146
looping playback I-105
managing. See media management
manipulating in Canvas III-274–III-275
markers I-82, I-97, I-262, II-54, II-57, II-59
marking while logging I-262–I-263

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master clips. See master clips
matching audio for I-82, I-97
media files and I-35–I-37, I-286
media files for II-28, II-83
merged clips I-35
merged clips. See merged clips
modifying timecode in II-446–II-449
motion parameters III-256
motion paths for III-311
moving II-66, II-190–II-193, II-351, II-353
moving playhead I-95
multiclip layouts III-263
multiclips. See multiclips
names IV-17, IV-97, IV-139, IV-143
naming conventions II-245
in nested sequences II-419–II-420
notes about I-261
offline clips I-36, II-79, IV-72
opacity III-302–III-307, III-392
opening I-74–I-75, I-100, II-350, II-428
opening in external editors IV-321
organizing II-15–II-26, II-138–II-139
playhead controls I-80–I-81, I-95–I-96
playing I-79, I-94, I-100, I-103–I-104
properties II-80–II-84, IV-36–IV-42
recapturing I-275, I-288, I-294, IV-143
recently used I-88, IV-305
reconnecting to files I-36
redoing changes in II-94
reel names I-256
in reference movies IV-238
removing from sequences II-200–II-202
renaming I-58
renaming in Final Cut Pro XML Interchange
Format IV-157
render bars III-620
rendering separately III-652
replacing II-157–II-158
replacing sections of II-161–II-162
rerendering IV-241
resyncing II-159, II-222–II-226
ripple edits II-334
scaling III-377
scrubbing through I-67–I-68, I-102
searching for II-28–II-34
selecting II-171–II-182, II-184–II-185, II-344–II-346
selecting for Media Manager IV-89, IV-106
selecting in Browser I-55
selecting tracks to capture I-263
sequence clips IV-470
shuttling through I-103–I-104
sliding II-318–II-320
sliding frames to new times III-356
slipping II-369
snapping to points II-189–II-190
soloing III-420

sorting II-27–II-28, II-97
source tapes I-36
speed settings I-121, III-337–III-338, IV-101
split In and Out points II-114
start and end timecode II-84
subclips I-35, I-283–I-285, I-288
synced items I-110
tail clips IV-474
thumbnail display I-125
timecode I-110
timecode breaks in I-290, I-291
timecode tracks IV-147
in Timeline II-92
transferring projects to other systems IV-16
transitions II-373–II-380
trimming II-184–II-185, II-344–II-351, II-404–II-407
types of IV-31–IV-33
unused II-32
variable speed settings and III-341
varying speed I-103–I-104
video filters IV-139
XML elements for IV-158

video codecs. See codecs
video connectors I-178–I-179
video decks

analog I-185
audio mapping IV-218
calibrating timecode IV-357
capturing video with I-279–I-280
connecting video monitor through I-219
controlling I-205
device control I-287, IV-354–IV-355
logging tapes with I-310
manual use of IV-360
multiple decks I-205
Print to Video command IV-222
problems with I-203, IV-438, IV-442
recording from Timeline IV-223–IV-225
recording to IV-200
settings IV-192
setup I-162
smooth recording speed IV-224

Video Disk Units (VDUs) IV-476
video DVD-compliant formats IV-268
video equipment

analog I-185
attaching to computer I-162
capturing clips manually I-286
capturing video with I-279–I-280
connecting devices I-182–I-187, I-225
consumer devices I-186
controlling I-205
described I-172
device control I-287
DV audio channels I-301
Easy Setups for IV-192

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external monitors I-219, I-221, II-278
input and output devices I-172
inputs I-162
logging tapes I-310
switching I-205
synchronizing I-200
troubleshooting I-203, IV-438
video signals I-178–I-182
video switchers II-268
warnings I-225

video filter icon IV-36
video filters I-128, II-279, III-241–III-252, IV-144

advantages of III-217
After Effects filters III-240
applying III-218–III-222
categories III-224
copying and pasting into clips III-231–III-232
filter bars III-230
FxPlug plug-ins III-234–III-235
FXScript III-234, III-235
keyframing III-218
multiple filters III-222, III-605
rearranging III-231
removing III-232
settings III-223–III-226
using controls III-226–III-230

Video Format option IV-264
video formats III-424

characteristics IV-375–IV-393
data rates IV-401
Final Cut Pro-supported IV-398–IV-401
frame rates IV-385
high definition video IV-399–IV-401
history of IV-401–IV-403
supported IV-398–IV-401

video frames IV-375, IV-382
video generator icon IV-35
videographers IV-477
video inputs I-162
Video Insert control IV-203
video interfaces I-189

advantages I-174
choosing I-175–I-177
PCI cards I-176
settings I-224
setup I-162
switching I-231

video latency I-230
video levels

analog video III-536
capture settings I-266
measurements III-536

Video Levels setting IV-139
video monitors

vs. broadcast monitors I-220
color and I-219

connecting I-173, I-219
NTSC video monitors I-219
PAL video monitors I-220

video monitors. See broadcast monitors
Video Processing tab III-659, III-662–III-667, IV-365
video rates II-448, II-449
video render bars I-123, I-320
video render status bar III-647
video scopes IV-477

display options III-519–III-521
Histogram III-517–III-518
in Final Cut Pro III-512–III-523
in real time III-522
Parade scope III-518–III-519
Vectorscope III-515–III-516
Waveform Monitor III-513–III-514

Video Scopes tab III-551, III-552, IV-477

opening in the Tool Bench III-512
options III-513

video signals I-178–I-182, IV-378
video switchers II-268, IV-477
Video tab I-76, IV-201, IV-201–IV-205

as acquisition media I-235
archiving IV-24
assemble editing to tape IV-199
audio on I-23
blacking IV-194–IV-195
blacking tapes I-268
capturing entire tapes I-281–I-285
color correction III-550
cueing IV-194, IV-213
device control presets IV-354
duplicate timecode numbers I-267–I-269
dynamic range III-67
editing methods IV-197–IV-200
Edit to Tape operations IV-190, IV-201–IV-218
equipment choices IV-187
formats IV-187, IV-398
labeling I-249, I-250
labeling audio levels III-68
master IV-139
organizing IV-146–IV-147
output requirements IV-189
output settings IV-191
outputting to I-219
playback settings IV-193
printing to VHS IV-225
Print to Video operations IV-190, IV-219, IV-220–
recording from Timeline IV-191
recording to IV-191–IV-195, IV-197–IV-218,
reel names I-256
source IV-146–IV-147
television broadcast I-219

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timecode on IV-413
tracks on IV-200
types of IV-376
unique reel names IV-146–IV-147
write-protection tab IV-194

videotape recorders. See VTRs
videotape timecode II-440
video tracks

See also audio tracks, tracks
adding I-116
adding to sequences II-142
analyzing IV-123, IV-124
applying filters to multiple tracks III-331
capturing I-243
compression IV-266
described II-120, IV-477
destination tracks II-123–II-126
disabling I-116
disabling in clips III-418–III-420
display size I-129
dragging clips into II-127
for DVDs IV-269
editing to tape operations IV-203
in EDLs IV-131, IV-136
invisible IV-313
locking I-116, II-128–II-129
number of I-125
in QuickTime movies IV-229, IV-241
resizing II-131
scrolling through I-139
selecting all clips on II-180
selecting for capture I-263–I-265
soloing III-420
Source controls I-115
source tracks II-125
switching angles II-274
in Timeline I-115, I-116

video transition icon IV-36
video transitions. See transitions
Vid Rate property II-448, IV-42, IV-46
View buttons III-70, III-77, IV-477

activating I-74
adjusting audio levels III-115–III-118
audio controls II-289–II-291
audio level controls III-78
clips in II-298, II-350–II-351
closing I-74
compared to Canvas I-99
controls in I-75–I-76, I-79–I-81
creating motion effects in III-263–III-273
described I-73–I-76, IV-477
editing audio in II-292–II-294, II-298–II-300
Filters tab III-224–III-226
illustrated I-44
In and Out point settings II-103–II-104

markers in II-53–II-54, II-56
match frame operations II-431
moving and resizing window I-141
moving playhead in III-174
multichannel audio clips in I-301
multiclips in II-261–II-267
navigating in I-99–I-106
opening I-74
opening clips in III-324
opening exported files in IV-299
overlapping IV-439
Playhead Sync pop-up menu I-86, I-98
playing clips in I-100–I-102
resizing clips in II-351
ripple edits in II-329
roll edits in II-339
sequence clips in II-212, II-427–II-430
sequences in II-86
setting stereo pan/spread in III-119–III-121
source clips in I-115
split edits in II-232, II-233–II-234, II-237–II-240
switching to Canvas or Timeline II-429
synchronizing playhead in windows II-434–II-437
tabs I-49, I-75, I-77–I-79
timecode overlays I-109
trimming clips in II-298–II-300, II-342
turning off audio scrubbing in II-297
“Unrendered” message III-648
uses I-73–I-74
using timecode in I-107–I-110
viewing alpha channels in III-415–III-416
viewing filters in III-168
viewing RGB channels in III-415–III-416
View pop-up menu I-83
working with keyframes in III-99, III-123–III-127,
working with markers in II-53–II-54
Zoom pop-up menu I-83

View Final/Matte/Source button III-605
View Finder filter III-252
View menu I-222, II-212, II-428
View Native Speed command III-363
View Native Speed option II-75, II-442
View pop-up menu I-85, I-98

Canvas I-85, I-98
Viewer I-76, I-83, I-92

visibility of audio tracks III-71
visibility of tracks IV-313
visible timecode. See window burns
VITC (vertical interval timecode) IV-352, IV-356,
IV-413, IV-414, IV-478
Vocal DeEsser filter III-160
Vocal DePopper filter III-160

audio equipment for III-138–III-141
audio-recording devices for III-138

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audio track placement III-147–III-149, III-151
eliminating microphone pops III-178
handles III-152
memory requirements III-141
multiple takes III-151
recording III-137–III-151

Voice Over tab III-141
Voice Over tool III-137–III-152, IV-478

controls III-141–III-144
defining the destination track III-147–III-149
defining the recording duration III-145–III-146
memory requirements III-141
opening III-141
using to correct for latency III-139, III-143

voiceover tracks III-185
voices III-20, III-154

See also audio
adjusting computer’s volume III-52
adjusting for clips II-290, III-114–III-115, III-117–
changing in Timeline III-129–III-130
speaker settings III-53

V-split button III-557
V tracks IV-131, IV-148
VTR mode IV-192
VTRs (video tape recorders) IV-478

analog I-185
connecting I-172, I-184
external monitors and I-221
non-DV devices I-187
timecode window I-310

VU meters IV-478
V Wipe transition II-392, IV-152