Final Cut Pro 6 - Contents

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Contents

Part I

Audio Mixing

Chapter 1

17

Audio Fundamentals

17

What Is Sound?

18

Fundamentals of a Sound Wave

20

Frequency Spectrum of Sounds

22

Measuring Sound Intensity

24

Signal-to-Noise Ratio

25

Headroom and Distortion

25

Dynamic Range and Compression

26

Stereo Audio

28

Digital Audio

29

Sample Rate

29

Bit Depth

Chapter 2

33

Assigning Output Channels and External Audio Monitors

33

Audio Signal Flow in Final Cut Pro

34

Audio Tracks

35

Busses

35

Hardware Outputs

36

Defining Output Busses by Grouping

37

Speakers

37

Configuring Audio Outputs

37

Choosing an Audio Interface for Output

40

About Audio Outputs

40

About Audio Output Presets

41

Choosing and Modifying Audio Outputs

42

Creating and Saving Audio Output Presets

42

Assigning a Default Audio Output Preset for New Sequences

43

Assigning Tracks in the Timeline to Audio Outputs

43

Matching Audio Outputs to Clip Items in the Timeline

45

Assigning More Audio Outputs Than Your Hardware Supports

45

Audio Output Export Settings

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4

Contents

45

Audio Outputs Tab of the Sequence Settings Window

46

Config Pop-Up Menu

47

Downmixing Multiple Audio Channels to a Stereo Mix

47

How Downmixing to Stereo Works

48

Adjusting a Channel’s Downmix Volume

48

Downmixing for Stereo Monitoring

49

Downmixing During Export

50

Configuring External Audio Monitors

50

Connecting Speakers to Your Editing System

50

Monitoring 5.1-Channel Surround Sound

52

Setting Monitoring Levels and Muting System Sound Effects

53

Tips for Choosing Speakers and an Amplifier

55

Setting Up a Proper Audio Monitoring Environment

Chapter 3

57

Evaluating Levels with Audio Meters

57

About Audio Meters

57

Average and Peak Audio Levels

58

Analog Versus Digital Meters

60

About Audio Meters in Final Cut Pro

62

Setting Proper Audio Levels

63

Setting Levels for Capture

63

Detecting Audio Peaks

65

Raising Audio Levels Using Audio Normalization and Gain

67

What Reference Level Should You Use for Mixing and Output?

68

Outputting Bars and Tone at the Head of Your Tape

Chapter 4

69

Overview of the Audio Mixer

69

About the Audio Mixer

70

Controls in the Audio Mixer

78

Using Audio Mixer Views

Chapter 5

81

Using the Audio Mixer

81

Making Basic Audio Adjustments with the Audio Mixer

82

Using the Mute Button to Silence Audio Tracks

84

Using the Solo Button to Listen to Individual Tracks

85

Using Faders to Adjust Audio Levels

88

Adjusting the Master Level of Your Sequence

89

Making Stereo Pan Adjustments with the Audio Mixer

89

Pan Controls for Stereo and Dual Mono Audio

91

Changing a Clip’s Pan

91

About Mixer Automation and Keyframe Recording

92

Specifying Audio Keyframe Recording Resolution

93

Recording Audio Level and Pan Keyframes

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Contents

5

96

Looping Playback to Mix Each Track

98

Modifying Recorded Keyframes

99

Deleting Audio Level and Pan Keyframes

100

Using a Control Surface with the Audio Mixer

100

Connecting a Control Surface

106

Controlling the Audio Mixer with a Control Surface

108

Recording Audio Mixer Keyframes Using a Control Surface

Chapter 6

111

Mixing Audio in the Timeline and Viewer

111

Adjusting Audio Levels in the Timeline and Viewer

111

Adjusting Audio Levels in the Timeline

115

Changing Audio Levels in the Viewer

118

Panning Audio in the Timeline and Viewer

118

Panning Audio in the Timeline

119

Changing the Pan of Audio in the Viewer

120

Changing Pan for an Entire Clip

121

Copying, Pasting, and Removing Audio Attributes

122

Adjusting Clip Audio Levels and Pan Using Keyframes

122

Tools for Adjusting Keyframes

123

Creating, Modifying, and Deleting Keyframes in the Viewer

128

Example: Using Keyframes to Adjust Audio Levels

129

Example: Using Keyframes in the Timeline to Automate Audio Levels

130

Example: Setting Subframe Audio Level Keyframes to Eliminate Clicks

133

Example: Using Keyframes to Control Pan

Chapter 7

137

Using the Voice Over Tool

137

About the Voice Over Tool

137

Setting Up Your Computer to Record Voiceover

141

Controls in the Voice Over Tool

145

Defining the Recording Duration and Destination Track

149

Recording a Voiceover

Chapter 8

153

Using Audio Filters

153

About Audio Filters

154

Overview of Audio Filters

154

Equalization Filters

157

Gain Filter

157

Compressor/Limiter Filter

158

Expander/Noise Gate Filter

159

Noise Reduction Filters

160

Echo and Reverberation Filters

162

Working with Audio Filters

164

Applying Filters to an Audio Clip

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6

Contents

167

Displaying Filter Keyframes in the Timeline

168

Modifying and Removing Filters

169

Making Real-Time Audio Filter Adjustments

172

Automating Audio Filter Parameters with Keyframes

176

Saving a Filter or Transition as a Favorite

176

Installing Third-Party Audio Units Filters

Chapter 9

177

Tips for Better Audio

177

Learning to Describe Sound Accurately

177

Efficiently Using the Frequency Spectrum

178

Tips for Cutting Dialogue

181

Tips for Cutting Music

Chapter 10

183

Exporting Audio for Mixing in Other Applications

183

Ways You Can Finish Your Audio

184

Organizing Your Audio Clips for Multitrack Export

185

Exporting Audio Tracks to Individual Audio Files

186

Preparing to Export Audio Tracks as Audio Files

189

Exporting Audio Tracks as Individual Audio Files

190

Exporting Audio Output Groups to AIFF Files

191

Example: Exporting 12 Tracks to Three Stereo Audio Files

192

Automatic Filenaming During Export to AIFF Files

193

Preparing to Export Audio to AIFF Files

193

Using the Export Audio to AIFF(s) Command

195

Exporting Multichannel QuickTime Files

195

Exporting OMF Audio Files

196

Limitations of OMF Exporting in Final Cut Pro

197

Exporting Sequence Audio to an OMF File

199

Exporting Audio Clip Information to an EDL

200

Exporting Audio for DVD

Chapter 11

201

Working with Soundtrack Pro and Logic Pro

201

Using Soundtrack Pro with Final Cut Pro

201

About Soundtrack Pro Audio File Projects

202

Methods for Sending Audio from Final Cut Pro to Soundtrack Pro

202

Sending Individual Audio Clips from Final Cut Pro to Soundtrack Pro

207

About Soundtrack Pro Multitrack Projects

208

Creating Soundtrack Pro Multitrack Projects from Final Cut Pro Clips or Sequences

211

Initiating Soundtrack Pro Conform with Final Cut Pro

213

Using Logic Pro with Final Cut Pro

214

Importing Final Cut Pro XML Files into Logic Pro

214

Exporting a Final Cut Pro XML File and an Audio Mixdown from Logic Pro

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Contents

7

Part II

Effects

Chapter 12

217

Using Video Filters

217

Different Ways to Use Filters

218

Applying a Filter to a Clip

222

Applying Multiple Filters to Clips

223

Viewing and Adjusting a Filter’s Parameters

230

Displaying Filters Bars in the Timeline

231

Enabling and Rearranging Filters

231

Copying and Pasting a Clip’s Filters

232

Removing Filters from Clips

Chapter 13

233

Installing and Managing Video Effects

233

Plug-in Formats Supported by Final Cut Pro

234

About FXScript

234

About FxPlug

234

Installing Video Filters

235

Installing FxPlug Plug-ins

235

Installing FXScript Plug-ins

235

Loading Plug-ins from a Network Server

236

Identifying and Organizing Video Effects

236

Viewing Preferred Effects

237

Identifying Video Filters in the Filters Tab of the Viewer

237

Identifying Video Effects in the Find Results Window

238

Transferring Effects Between Systems

238

Real-Time Playback and Rendering Plug-ins

238

Real-Time Playback and Rendering of FXScript Effects

238

Real-Time Playback and Rendering of FxPlug Effects

240

Plug-in Restrictions and Troubleshooting

240

FxPlug Plug-in Restrictions

240

After Effects Plug-in Restrictions

241

Video Filters Available in Final Cut Pro

241

FXScript Plug-ins

253

FxPlug Plug-ins

Chapter 14

255

Changing Motion Parameters

255

Creating Motion Effects in the Viewer

256

Adjusting Parameters in the Motion Tab

261

Using Cartesian Geometry to Position Clips

263

Examples Using Motion Settings

274

Creating Motion Effects in the Canvas

274

Choosing a Wireframe Mode

275

Manipulating Images in the Canvas

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Contents

277

Zooming In to the Canvas

278

Using Wireframe Handles to Transform, Scale, and Rotate

282

Example: Using Motion Parameters and Wireframe Handles

Chapter 15

287

Adjusting Parameters for Keyframed Effects

287

Animating Motion Effects Using Keyframes

288

How Keyframing Works

289

Determining the Number of Keyframes to Use

291

Keyframing Controls in the Viewer

293

Keyframing Tools in Final Cut Pro

294

Setting Keyframes

296

Adjusting and Deleting Keyframes

298

Moving Between Keyframes

299

Resizing the Keyframe Graph Area

302

Adjusting All Opacity Keyframes of a Clip

302

Example: Using Keyframes to Make Opacity Changes

306

Example: Keyframing Opacity in the Timeline

307

Smoothing Keyframes with Bezier Handles

308

Understanding Bezier Handles and Curves

310

Smoothing Keyframes

311

Creating Keyframed Motion Paths in the Canvas

312

What Are Motion Paths?

313

Creating Motion Paths

314

Adding, Moving, and Deleting Keyframes in Motion Paths

314

Creating Curved Motion Paths Using Bezier Handles

317

Controlling Speed Along a Motion Path

320

Moving an Entire Motion Path in the Canvas

320

Creating and Applying Motion Favorites

322

Using the Timeline Keyframe Graph Area

322

About the Keyframe Graph Area

323

Customizing the Keyframe Graph Area in the Timeline

Chapter 16

327

Reusing Effect and Motion Parameters

327

Copying and Pasting Specific Clip Attributes

328

About the Paste Attributes Dialog

329

Copying and Pasting Clip Attributes

330

Removing Attributes from a Clip

331

Reapplying the Most Recently Used Effect

331

Applying Filters Across Multiple Tracks at Once

332

Creating and Applying Favorite Filters and Transitions

333

Creating Favorite Filters and Transitions

335

Organizing and Renaming Favorites

336

Applying Favorite Filters and Transitions

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Contents

9

Chapter 17

337

Changing Clip Speed and Time Remapping

337

Speed Basics

338

How Changing Speed Affects a Clip’s Duration

338

Performing a Fit to Fill Edit

341

Constant and Variable Speed Settings

341

Constant Speed

342

Variable Speed, or Time Remapping

342

Frame Blending and Reverse Speed

344

Making Constant Speed Changes

345

Making Variable Speed Changes

345

How Time Remapping Works

348

Where You Can Make Time Remapping Adjustments

348

Viewing Time Remapping Parameters Applied to Your Clips

350

Learning to Read Timeline Speed Indicators

353

Using the Time Remap Tool

358

Adjusting Time Remapping Keyframes in the Motion Bar

359

Time Remapping Using the Keyframe Graph

362

Time Remapping in the Motion Tab

Chapter 18

365

Working with Freeze Frames and Still Images

365

Using Still Images and Graphics in Your Sequences

366

Creating Freeze Frames from a Video Clip

367

Exporting Still Images

368

Considerations Before Creating and Importing Stills

378

Changing the Duration of Still Images

379

Example: Adding Camera Motion to Still Images

Chapter 19

387

Compositing and Layering

387

Introduction to Compositing and Layering

388

Methods of Compositing

389

Different Ways to Layer Clips in the Timeline

390

Adjusting Opacity Levels of Clips

393

Working with Composite Modes

393

How Composite Modes Affect Images

394

Applying Composite Modes to Clips

396

Composite Modes in Final Cut Pro

405

Using Travel Mattes to Hide or Reveal Parts of a Clip

407

Working with Layered Photoshop Files

407

Updating Photoshop Files in Adobe Photoshop

408

Working with Layered Photoshop Sequences

409

Changing the Frame Rate of Layered Photoshop Sequences

410

Using Video and Graphics Clips with Alpha Channels

411

Working with Clips That Have Alpha Channels

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Contents

412

Changing a Clip’s Alpha Channel Type

415

Viewing RGB and Alpha Channels in the Viewer

417

Choosing a Background

418

Temporarily Excluding Clips from Playback or Output

419

Temporarily Disabling a Single Clip

420

Soloing Clips in Multitrack Sequences

Chapter 20

421

Keying, Mattes, and Masks

421

Ways to Layer and Isolate Elements in Clips

421

What Are Mattes and How Can You Use Them?

422

What Is Keying and How Can You Use It?

423

What Are Masks and How Are They Used?

424

Using Keying to Isolate Foreground Elements

424

Shooting Footage That Keys Well

427

Overview of Compositing Using the Chroma Keyer Filter

430

Working with the Chroma Keyer Filter

440

Using Mattes to Add or Modify Alpha Channels

440

Matte Filters Available in Final Cut Pro

440

Example: Using the Four-Point Garbage Matte Filter

442

Example: Keyframing Garbage Mattes

443

Using Masks to Replace or Modify Alpha Channels

443

Mask Filters Available in Final Cut Pro

444

Example: Using the Image Mask and Mask Feather Filters

Chapter 21

447

Using Generator Clips

447

What Is a Generator Clip?

448

Different Ways to Use Generators in Your Sequence

449

Video and Audio Generators Available in Final Cut Pro

453

Creating and Adding Generators to Sequences

Chapter 22

455

Using the SmoothCam Filter

455

About the SmoothCam Filter

455

How the SmoothCam Filter Works

456

About Queuing and Background Processing

456

Where Is Motion Analysis Data Stored?

456

Using the SmoothCam Filter

457

Applying the SmoothCam Filter

457

Controlling SmoothCam Motion Analysis

462

Adjusting SmoothCam Filter Parameters

465

Setting Clip In and Out Points to Improve SmoothCam Rendering

467

Rendering and Exporting Clips with the SmoothCam Filter Applied

468

Managing Media and Motion Analysis Data

468

Using the Media Manager

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11

468

Modifying QuickTime Source Files

468

Transferring SmoothCam Motion Analysis Data to Motion

469

Improving SmoothCam Filter Results and Troubleshooting

469

Making Sure Clips Are Analyzed

469

Improving SmoothCam Filter Results

Chapter 23

471

Creating Titles

471

How You Can Use Titles in Your Project

472

Installing and Choosing Fonts

473

Making Sure Titles Fit on TV Screens

474

Text Generators Available in Final Cut Pro

476

Creating and Adding a Title Clip

480

Other Options for Creating and Adding Titles

480

Using LiveType to Create Titles for Your Project

Chapter 24

483

Working with Motion and Shake

483

Using Motion with Final Cut Pro

484

Importing a Motion Project into Final Cut Pro

484

Making Changes to a Motion Clip in Final Cut Pro

485

Restrictions When Working with Motion Clips in Final Cut Pro

485

Sending Final Cut Pro Clips and Sequences to Motion

488

Rendering Motion Projects for Use in Final Cut Pro

488

Using Shake with Final Cut Pro

489

Sending Clips from Final Cut Pro to a Shake Script

490

How Imported Clips Are Arranged in Shake

491

Sending Media from Shake Back to Final Cut Pro

Chapter 25

493

Working with Master Templates

493

About Motion Template Files and Master Templates

495

Working with Master Templates

499

Modifying Master Templates

502

Converting a Template Clip to a Motion Project

503

Installing Motion Template Files for Use in Final Cut Pro

503

Creating Master Templates in Motion

Part III

Color Correction and Video Quality Control

Chapter 26

507

Measuring and Setting Video Levels

507

Components of Video Color

507

RGB Color Model

508

Y´C

B

C

R

Color Model

512

Measuring Video Levels with the Final Cut Pro Video Scopes

512

Opening Video Scopes Tabs

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Contents

513

Layout Options in Video Scopes Tabs

513

Learning to Read the Waveform Monitor

515

Learning to Read the Vectorscope

517

Learning to Read the Histogram

518

Learning to Read the RGB Parade Scope

519

Choosing Display Options for Video Scopes

522

Using Video Scopes in Real Time

522

Choosing Video Scope Accuracy

523

Video Scope Restrictions and Performance

523

Preventing Illegal Broadcast Levels

524

Displaying Excess Luma and Chroma Levels in the Viewer and Canvas

526

Using the Broadcast Safe Filter

531

Using the RGB Limit Filter

534

Working with Analog Video

534

How Analog Video Signals Are Measured

534

How Digital Video Signals Are Measured in Final Cut Pro

535

Using an External Waveform Monitor and Vectorscope to Calibrate Analog Video Levels

535

Outputting Accurate Analog Black Levels Using DV FireWire

537

Using Built-in Video Scopes During Capture

540

Using Color Bars for Video Calibration

540

About Color Bars

541

Using Color Bars to Adjust Brightness and Color on Analog Equipment

541

Calibrating Video Monitors with Color Bars

Chapter 27

545

Color Correction

545

What Is Color Correction?

546

Why Color Correct Your Footage?

547

Color Correction Starts During Your Shoot

548

Managing Color During Post-Production

551

Color Correction Features in Final Cut Pro

552

Using Scopes Versus Looking at an External Monitor

553

Window Layouts for Color Correction in Final Cut Pro

554

Keyboard Shortcuts to Move Quickly Between Clips

555

Comparing Two Frames in the Frame Viewer

558

The Color Correction Process

561

The Final Cut Pro Color Correction Filters

563

The Color Corrector and Color Corrector 3-Way Filters

563

General Controls

564

Copy Filter Controls

569

Color Balance Controls

570

The Color Corrector Filter Controls

579

Color Corrector 3-Way Filter Controls

597

Match Hue Controls in the Color Corrector and Color Corrector 3-Way Filters

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Contents

13

603

Using Limit Effect Controls in the Color Corrector and Color Corrector 3-Way Filters

610

The Desaturate Highlights and Desaturate Lows Filters

611

Desaturate Highlights and Desaturate Lows Filter Controls

612

Example: Using the Desaturate Highlights Filter

613

Using Color for Color Correction

Part IV

Real Time and Rendering

Chapter 28

617

Using RT Extreme

617

Introduction to Real-Time Processing

618

How Real-Time Processing Works

620

Identifying Which Effects Can Play Back in Real Time

622

Changing Real-Time Playback Settings

622

Locations for Changing Real-Time Playback Settings

625

About Real-Time Playback Options

632

Still-Image Real-Time Playback

632

Improving Real-Time Performance

633

Reporting Dropped Frames During Playback

633

Factors That Affect Real-Time Performance

634

Real-Time Audio Mixing in Final Cut Pro

635

Calculating the Number of Tracks That Can Be Played Back in Real Time

636

Improving Real-Time Audio Performance

637

Choosing Real-Time Playback Versus Rendering

638

Supported Real-Time Playback Codecs

638

Using a Third-Party Video Effects Accelerator Card

640

Using RT Extreme for Video Output

640

Viewing Your Composition in the QuickView Tab

641

Controls in the QuickView Tab

642

Playback in the QuickView Tab

Chapter 29

645

Rendering and Video Processing Settings

645

What Is Rendering?

646

Render Indicators in Final Cut Pro

646

About Render Status Bars in the Timeline

649

About Item-Level Render Status Bars

650

The Rendering Process

650

Controlling Render Quality

650

Order of Effects Rendering

651

Selecting Clips for Rendering

651

Rendering Segments in a Sequence

656

Rendering Audio Items in a Sequence

657

Using the Mixdown Command

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Contents

657

Keeping Track of Rendering Progress

658

Temporarily Disabling Rendering

658

Automatic Rendering While You Are Away from Your Computer

659

Changing Render and Video Processing Settings

660

Using the Render Control Tab

662

Using the Video Processing Tab

668

Adjusting Gamma

668

About Gamma

668

Nonlinear Coding

668

About Gamma Correction

669

Choosing Real-Time Playback Gamma Correction Options

669

Changing Gamma Settings for Video and Imported Still Images

672

Managing Your Render Files

672

Locating Render Files

673

Using the Render Manager

675

Preserving Render Files

676

Tips for Avoiding Unnecessary Rendering and Reducing Render Time

Chapter 30

679

Working with Mixed-Format Sequences

679

About Mixed-Format Sequences

680

Determining Whether Clips in a Sequence Will Play Back in Real Time

680

Formats That Support Real-Time Playback

681

Formats That Don’t Support Real-Time Playback

681

Viewing Clip Properties and Sequence Settings

682

Working with Mixed-Format Sequences

682

Conforming Sequence Settings to Match a Clip’s Settings

683

Conforming Clips to Match Sequence Settings

686

Mixing Frame Rates

687

Combining Interlaced Footage with Different Field Dominances

689

Mixing Footage with Different Codecs

689

Nesting Nonmatching Sequences

690

Adding Filters and Motion Effects to Mixed-Format Sequences

690

Combining SD and HD Video

690

Downconverting HD Video

695

Upconverting SD Video

697

Rendering Mixed-Format Sequences

697

External Monitoring and Output

698

Media Management and Project Interchange

698

Using the Media Manager with Mixed-Format Sequences

698

Exporting an EDL from a Mixed-Format Sequence

698

Working with Cinema Tools and Mixed-Format Sequences

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I

Part I: