Section |
Page |
Final Cut Pro User Manual |
1 |
Volume I: Interface, Setup, and Input |
2 |
Contents |
4 |
Final Cut Pro 5 Documentation and Resources |
10 |
Getting Started |
10 |
User Manual |
10 |
Onscreen Help |
11 |
Onscreen User Manual |
11 |
Working With High Definition and Broadcast Formats |
11 |
Information About Known Issues and Third-Party Hardware and Software |
11 |
Information About New Features |
12 |
Apple Websites |
12 |
Final Cut Pro Websites |
12 |
Apple Service and Support Website |
12 |
Part I: An Introduction to Final Cut Pro |
14 |
About the Postproduction Workflow |
16 |
The Industry Workflow |
16 |
The Postproduction Workflow |
17 |
Video Formats and Timecode |
22 |
About Nonlinear and Nondestructive Editing |
22 |
Video Formats Compatible With Final Cut Pro |
23 |
Using Multiple Video Formats |
23 |
Offline and Online Editing |
24 |
Audio Formats Compatible With Final Cut Pro |
24 |
Video Format Basics |
24 |
Video Standards |
25 |
Image Dimensions and Aspect Ratio |
25 |
Frame Rate |
26 |
Scanning Method |
26 |
About Timecode |
26 |
About Drop Frame and Non-Drop Frame Timecode |
27 |
How Drop Frame Timecode Works |
27 |
Understanding Projects, Clips, and Sequences |
28 |
The Building Blocks of Projects |
28 |
What Are Media Files? |
28 |
What Are Clips? |
29 |
What Are Sequences? |
30 |
What Are Projects? |
31 |
What Are Bins? |
32 |
Working With Projects |
33 |
Organizing Your Projects |
33 |
Using More Than One Sequence in a Project |
33 |
Creating and Saving Projects |
33 |
Opening and Closing Projects |
35 |
About the Connection Between Clips and Media Files |
36 |
Relationship Between Source Tapes, Media Files, and Clips |
37 |
Reconnecting Clips to Media Files |
37 |
Filenaming Considerations |
38 |
Avoiding Special Characters |
39 |
Restricting Length of Filenames |
40 |
Using Filename Extensions |
40 |
Adding Times and Dates to Final Cut Pro Project Names |
40 |
Using Multiple Hard Disks |
40 |
Part II: Learning About the Final Cut Pro Interface |
42 |
Overview of the Final Cut Pro Interface |
44 |
Basics of Working in the Final Cut Pro Interface |
44 |
Using Keyboard Shortcuts, Buttons, and Shortcut Menus |
46 |
Using Keyboard Shortcuts |
46 |
Using Button Bars |
47 |
Using Shortcut Menus |
47 |
Learning Commands by Using Tooltips |
48 |
Customizing the Interface |
49 |
Moving and Resizing Windows |
49 |
Working With Tabs and Tabbed Windows |
50 |
Moving Windows |
51 |
Using Different Screen Layouts |
52 |
Showing and Positioning the Dock |
52 |
Undoing and Redoing Changes |
52 |
Entering Timecode for Navigation Purposes |
53 |
Browser Basics |
54 |
How You Use the Browser |
54 |
Learning About the Browser |
55 |
Working in the Browser |
56 |
Creating Sequences |
56 |
Selecting Items in the Browser |
56 |
Navigating Within the Browser Using the Keyboard |
58 |
Copying and Deleting Items in the Browser |
58 |
Renaming Clips, Sequences, and Bins |
59 |
Using Columns in the Browser |
60 |
Viewing Columns in Standard or Logging Formats |
61 |
Creating Custom Column Layouts |
61 |
Customizing the Browser Display |
61 |
Choosing Views in the Browser |
62 |
Working With the Browser in List View |
63 |
Working With the Browser in Icon View |
67 |
Setting the Poster Frame |
70 |
Saving and Using Custom Column Layouts |
71 |
Viewer Basics |
72 |
How You Can Use the Viewer |
72 |
Opening a Clip in the Viewer |
73 |
Learning About the Viewer |
74 |
Tabs in the Viewer |
76 |
Video Tab |
76 |
Audio Tabs |
76 |
Filters Tab |
77 |
Motion Tab |
77 |
Controls Tab |
78 |
Transport (or Playback) Controls |
78 |
Playhead Controls |
79 |
Playhead and Scrubber Bar |
79 |
Jog Control |
80 |
Shuttle Control |
80 |
Marking Controls |
81 |
Zoom and View Pop-Up Menus |
82 |
Zoom Pop-Up Menu |
82 |
View Pop-Up Menu |
84 |
Playhead Sync Pop-Up Menu |
85 |
Recent Clips and Generator Pop-Up Menus |
86 |
Recent Clips Pop-Up Menu |
87 |
Generator Pop-Up Menu |
87 |
Canvas Basics |
88 |
How You Use the Canvas |
88 |
Opening, Selecting, and Closing Sequences in the Canvas |
89 |
Learning About the Canvas |
90 |
Editing Controls in the Canvas |
91 |
Edit Overlay |
92 |
Edit Buttons in the Canvas |
92 |
Transport (or Playback) Controls |
93 |
Playhead Controls |
94 |
Playhead and Scrubber Bar |
94 |
Jog Control |
95 |
Shuttle Control |
95 |
Marking Controls |
96 |
Zoom and View Pop-Up Menus |
97 |
Playhead Sync Pop-Up Menu |
97 |
Navigating and Using Timecode in the Viewer and Canvas |
98 |
How the Viewer and Canvas Are Different |
98 |
Navigating in the Viewer and Canvas |
98 |
Playing Clips and Sequences |
99 |
Scrubbing, or Moving, Through a Clip or Sequence |
101 |
Shuttling Through a Clip or Sequence |
102 |
Jogging Through a Clip or Sequence |
103 |
Looping Playback |
104 |
Working With Timecode in the Viewer and Canvas |
105 |
Navigating With Timecode in the Viewer and Canvas |
106 |
Dragging Timecode Values |
107 |
About Timecode Overlays and Sync Color Coding |
107 |
Timeline Basics |
110 |
How You Use the Timeline |
110 |
Opening and Closing Sequences in the Timeline |
112 |
Learning About the Timeline |
113 |
Sequence Tabs in the Timeline |
113 |
Editing Controls |
114 |
Vertical Multitrack Controls |
115 |
Horizontal Time Controls |
116 |
Timeline Display Controls |
118 |
Audio Controls |
119 |
Other Miscellaneous Controls |
120 |
Real-Time Effects and the Render Status Bar |
121 |
Sequence Clips in the Timeline |
123 |
Changing Timeline Display Options |
123 |
About Timeline Display Options in the Sequence Settings Window |
124 |
About Timeline Display Controls in the Timeline |
129 |
Timeline Display Options Available From the Track Layout PopUp Menu |
130 |
Options for Displaying Duplicate Frames |
130 |
Navigating in the Timeline |
132 |
Positioning the Playhead Using the Ruler |
133 |
Using Timecode to Navigate in the Timeline |
133 |
Zooming and Scrolling in the Timeline |
134 |
Zooming In and Out of the Timeline |
134 |
Scrolling Horizontally Through a Zoomed-In Timeline |
138 |
Scrolling Vertically Through Multiple Tracks |
139 |
Customizing the Interface |
140 |
Changing Browser and Timeline Text Size |
140 |
Moving and Resizing Final Cut Pro Windows |
140 |
Using Screen Layouts |
142 |
Choosing a Screen Layout |
142 |
Customizing Screen Layouts |
143 |
Ways to Customize Keyboard Shortcuts |
145 |
Learning About the Keyboard Layout Window |
146 |
Assigning Keyboard Shortcuts |
147 |
Avoiding Keyboard Shortcut Conflicts |
150 |
Clearing and Restoring Keyboard Layouts |
151 |
Saving Commands and Keyboard Shortcuts as Text Files |
152 |
Saving and Loading Keyboard Layouts |
152 |
Using Different Keyboards and Languages |
153 |
Working With Shortcut Buttons and Button Bars |
154 |
Adding Shortcut Buttons to a Button Bar |
154 |
Rearranging, Moving, and Copying Shortcut Buttons |
155 |
Changing Shortcut Button Colors |
156 |
Removing Shortcut Buttons |
156 |
Saving and Using Custom Shortcut Button Bars |
157 |
Part III: Setting Up Your Editing System |
158 |
Overview of Setting Up |
160 |
The Setup Process |
160 |
Connecting Video and Audio Input and Output to Your Computer |
161 |
Connecting an External Video Monitor and Audio Speakers |
161 |
Choosing an Easy Setup to Configure Final Cut Pro |
162 |
Choosing a Scratch Disk Location for Captured and Render Files |
162 |
Designing Your Editing System |
164 |
Components of a Final Cut Pro DV Editing System |
164 |
Video and Audio Input and Output Devices |
165 |
Video Interfaces |
166 |
Audio Interfaces |
167 |
Using a Breakout Box With Video and Audio Interfaces |
168 |
Device Control Interfaces |
169 |
Scratch Disks |
169 |
Connecting DV Video Equipment and Specifying Initial Settings |
170 |
Connecting Your Camcorder |
170 |
Opening Final Cut Pro and Choosing Your Initial Settings |
171 |
Choosing an Easy Setup |
171 |
Specifying Scratch Disks for Capturing Video and Storing Render Files |
172 |
When Scratch Disks Become Unavailable |
175 |
Assigning Search Folders for Reconnecting Media Files |
175 |
Using a Storage Area Network for Media Storage |
175 |
What Is FireWire? |
176 |
The Differences Between Apple FireWire and FireWire Basic |
176 |
What Is Device Control? |
177 |
Choosing a Device Control Preset |
177 |
Understanding Device Control Status Messages |
178 |
Switching Device Control Presets When Changing Decks |
179 |
Determining Your Hard Disk Storage Options |
180 |
Working With Scratch Disks and Hard Disk Drives |
180 |
Data Rates and Storage Devices |
181 |
Determining How Much Space You Need |
182 |
Know Your Shooting Ratio |
182 |
Planning for Additional Media Files |
183 |
Calculating Hard Disk Space Requirements |
183 |
Example Calculation for Disk Space Requirements |
184 |
Choosing a Hard Disk |
184 |
Types of Hard Disk Drives |
185 |
ATA Disk Drives |
186 |
FireWire Disk Drives |
187 |
SCSI Disk Drives |
187 |
Using a RAID or Disk Array |
188 |
Fibre Channel Drive Arrays and RAIDS |
189 |
Storage Area Networks (SAN) |
190 |
Connecting Professional and NonDV Equipment |
192 |
Why Use Third-Party Interfaces? |
192 |
Choosing a Video Interface |
193 |
Connecting Professional Video Devices |
195 |
Connecting Professional Standard Definition Video Devices |
196 |
A Recommended System Using a Third-Party Video Interface |
196 |
Connecting Professional High Definition Video Devices |
198 |
Connecting Professional Component Analog Video Devices |
199 |
Connecting Consumer Analog Video Devices |
199 |
Connecting Non-DV Devices to a DV Converter |
200 |
A Recommended Non-DV–to–DV System Using Serial Device Control |
200 |
Choosing an Audio Interface |
202 |
Connecting Audio Devices |
205 |
A Recommended Audio System Using a Third-Party Audio Interface |
205 |
Connecting Professional Digital Audio |
206 |
Connecting Consumer Digital Audio |
206 |
Connecting Professional Analog Audio |
206 |
Establishing Device Control |
207 |
Using Serial 9-Pin Connectors for Device Control |
207 |
Synchronizing Equipment With a Blackburst Generator |
207 |
External Video Monitoring |
210 |
Using an External Video Monitor While You Edit |
210 |
Consumer Video Monitors Versus Broadcast Monitors |
211 |
Connecting DV/FireWire Devices to an External Monitor |
212 |
Previewing Standard Definition Video on an External Monitor |
212 |
Previewing High Definition Video on an External Monitor |
213 |
Choosing Playback and Edit to Tape Output Settings |
214 |
Using Digital Cinema Desktop Preview |
217 |
About Digital Cinema Desktop Preview Options |
217 |
Using Digital Cinema Desktop Preview to Monitor Your Video |
219 |
Troubleshooting Digital Cinema Desktop Preview |
220 |
Compensating for Video Latency by Specifying a Frame Offset |
221 |
About the Display Quality of External Video |
222 |
Troubleshooting External Video Monitoring Problems |
222 |
Controlling When External Video Output Is Updated |
223 |
Part IV: Logging, Capturing, and Importing |
224 |
Overview of Logging and Capturing |
226 |
What Are Logging and Capturing? |
226 |
Ways to Log and Capture Footage in Final Cut Pro |
227 |
Learning About the Log and Capture Window |
230 |
Preview Area |
231 |
Tabs in the Log and Capture Window |
233 |
Log and Capture Buttons |
235 |
Are You Ready to Log and Capture? |
236 |
Logging Clips |
238 |
The Importance of Logging |
238 |
Benefits of Logging |
239 |
Preparing to Log |
240 |
Keeping Track of Footage With Reel Names and Timecode |
240 |
Choosing Reel Names |
241 |
Choosing Names and Log Information for Clips |
242 |
Monitoring Video and Audio While Logging |
243 |
Entering Logging Information and Logging Clips |
244 |
Overview of Logging Steps |
244 |
Opening the Log and Capture Window |
244 |
Inserting a Tape in the VTR |
245 |
Setting a Logging Bin to Store Logged Clips |
246 |
Entering a Reel Name for the Current Tape |
247 |
Setting Clip In and Out Points |
248 |
Entering a Clip Name and Other Logging Information |
250 |
Adding Markers to Clips While Logging |
252 |
Selecting Which Tracks to Capture |
254 |
Changing Capture Settings |
256 |
Setting Video and Audio Levels for Analog Video |
257 |
Logging a Clip |
257 |
Logging Media Efficiently |
258 |
Avoiding Duplicate Timecode Numbers on a Single Tape |
258 |
Logging Tapes With Duplicate Timecode Numbers |
259 |
Techniques for Avoiding Multiple Occurrences of the Same Timecode Number on a Single Tape |
259 |
Additional Sources for Logging Information |
260 |
Capturing Your Footage to Disk |
262 |
Before You Capture |
262 |
Different Ways to Capture Footage |
263 |
Batch Capturing Clips |
263 |
Before You Batch Capture |
264 |
Learning About the Batch Capture Dialog |
265 |
Batch Capturing Selected Clips |
267 |
Stopping and Restarting the Batch Capture Process |
269 |
About the Additional Items Found Dialog |
270 |
Capturing Clips as You Log (Capture Clip) |
271 |
Capturing Entire Tapes (Capture Now) |
272 |
Capturing an Entire Tape Using Capture Now |
273 |
About Automatic Filenaming During Capture Now |
274 |
Automatically Creating Subclips Using DV Start/Stop Detection |
274 |
Capturing Footage Without Device Control |
277 |
Capturing Footage That Doesn’t Have Timecode |
277 |
Using a Non-Controllable Device for Capture |
278 |
Recapturing Clips |
279 |
Recapturing Subclips |
279 |
Recapturing Merged Clips |
279 |
Capturing Footage With Timecode Breaks |
280 |
The Importance of Avoiding Timecode Breaks |
280 |
How to Avoid Capturing Clips With Timecode Breaks |
281 |
Using the Make New Clip Option |
282 |
Using the Media Manager After Capturing |
284 |
Capturing Audio |
286 |
About Capturing Audio |
286 |
Preparing for Audio Capture |
287 |
Choosing a Method for Capturing Audio |
287 |
Capturing Audio-Only Media Files |
288 |
Capturing Multiple Audio Channels |
288 |
Setting Up for Capturing Multiple Audio Channels |
288 |
Multichannel Audio Channel Selection |
289 |
Dual Mono Versus Stereo Audio |
291 |
How Multichannel Audio Clips Appear in the Viewer |
292 |
How Multichannel Audio Files Are Stored on Disk |
292 |
About Capturing Multiple Audio Channels From DV Devices |
293 |
Adjusting Analog Audio Levels for Capture |
293 |
About Audio Peaks |
295 |
Capturing Audio From an Audio Deck Using Device Control |
295 |
Capturing From an Audio Device Without Device Control |
297 |
Transferring Audio to Media That Supports Timecode |
297 |
Capturing Synchronized Audio Independently From Video |
297 |
Working With Batch Lists |
300 |
What Is a Batch List? |
300 |
How Batch Lists Can Be Used in Your Workflow |
301 |
Differences Between Batch Lists and Edit Decision Lists |
301 |
Creating a Batch List |
301 |
Using Equipment That Displays a Timecode Window |
301 |
Creating and Logging Window Dubs |
302 |
Rules to Follow When Creating a Batch List |
302 |
Using a File Exported From Final Cut Pro as a Template for a Batch List |
303 |
Importing a Batch List |
304 |
Troubleshooting Batch List Importing |
305 |
Importing Media Files Into Your Project |
306 |
What File Formats Can Be Imported? |
306 |
How Is Importing Different From Capturing? |
307 |
Importing Media Files |
307 |
Tips When Importing |
311 |
About Importing Video Files |
311 |
About MXF-Based Formats |
312 |
Importing From a Sony VDU |
313 |
About Media File Optimization |
313 |
About Importing Audio Files |
314 |
What Kinds of Audio File Formats Can Be Imported? |
314 |
Choosing Audio File Sample Rate and Bit Depth |
314 |
Mixing Sample Rates and Using Real-Time Sample Rate Conversion |
315 |
Converting Audio Clips to Match Sequence Settings |
315 |
Using Audio CD Tracks in Your Project |
316 |
Importing Still Images and Graphics |
317 |
Importing Numbered Image Sequences |
317 |
Converting a Numbered Image Sequence Into a QuickTime Movie |
318 |
Importing a Numbered Image Sequence Into Final Cut Pro |
319 |
Making Movies From Still Images |
321 |
Using Color Bars for Video Calibration |
322 |
Using Color Bars |
322 |
When Should You Use Color Bars? |
323 |
Calibrating Brightness and Color on Analog Equipment |
323 |
How Digital Video Levels Are Measured in Final Cut Pro |
324 |
How Analog Video Levels Are Measured |
325 |
Measuring Analog Video During Output |
326 |
What Is Setup? |
326 |
Using the Waveform Monitor and Vectorscope |
326 |
Adjusting Color on Source Tapes Without Color Bars |
329 |
“Legal” Broadcast Colors |
330 |
Outputting Accurate DV Black Levels Using FireWire |
331 |
Using an External Waveform Monitor and Vectorscope to Calibrate Analog Video Levels |
331 |
Calibrating Video Monitors With Color Bars |
332 |
Calibrating Your Broadcast Monitor |
333 |
Volume II: Editing |
336 |
Contents |
338 |
Part I: Organizing Footage and Preparing to Edit |
348 |
Organizing Footage in the Browser |
350 |
Using Bins to Organize Your Clips |
350 |
Creating New Bins |
351 |
Opening Bins in the Browser |
352 |
Opening Bins in a Separate Window or Tab |
353 |
Moving Items Between Bins |
356 |
Using Labels to Organize Your Clips |
358 |
About Label Names and Colors |
358 |
Assigning Labels and Setting Label Names to Help Manage Your Media |
359 |
Changing Names of Labels |
361 |
Sorting Clips by Labels |
361 |
Sorting Items in the Browser Using Column Headings |
362 |
Searching for Clips in the Browser and Finder |
363 |
Revealing a Clip’s Media File in the Finder |
363 |
About Search Options |
363 |
Options for Defining the Scope of a Search |
364 |
Options for Defining the Criteria of a Search |
365 |
Search Commands |
365 |
Searching for Items in the Browser |
366 |
Searching for Multiple Items in the Browser |
366 |
Searching for Unused Clips in Your Project |
367 |
Manipulating Items in the Find Results Window |
367 |
Using Custom Column Layouts in the Find Results Window |
369 |
Creating Subclips |
370 |
Learning About Subclips |
370 |
Removing Subclip Limits |
373 |
Master-Affiliate Clip Relationships |
373 |
Techniques for Breaking Large Clips Into Subclips |
374 |
Turning Markers Into Subclips |
374 |
Creating Subclips Manually |
376 |
Editing With Subclips |
376 |
Creating Independent Media Files From Subclips After Capturing |
377 |
Merging Clips From Dual System Video and Audio |
380 |
Working With Dual System Video and Audio |
380 |
Use Accurately Captured Media to Create Merged Clips |
381 |
Using Synchronization Points to Create Merged Clips |
381 |
Duration of Merged Clips |
383 |
Creating Merged Clips From the Timeline |
385 |
Changing the Sync of Merged Clips |
386 |
Using Markers |
388 |
Learning About Markers |
388 |
What Can You Do With Markers? |
388 |
Differences Between Sequence and Clip Markers |
389 |
Types of Markers |
390 |
Working With Markers |
391 |
Viewing Markers in the Viewer or Canvas |
391 |
Viewing Markers in the Browser |
392 |
Adding Markers in Clips and Sequences |
392 |
Quickly Adding Markers |
393 |
Adding Markers Along With Detailed Information About Them |
394 |
Adding Chapter, Compression, and Scoring Markers |
395 |
Deleting Markers in Clips and Sequences |
395 |
Navigating With Markers |
397 |
Renaming Markers, Adding Comments, and Changing the Kind of Marker |
399 |
Moving a Marker |
399 |
Aligning Items in the Timeline by Their Markers |
401 |
Extending a Marker’s Duration |
402 |
Editing Markers Into Sequences |
404 |
Exporting Markers With Your QuickTime Movies |
404 |
Part II: Rough Editing |
406 |
Working With Projects, Clips, and Sequences |
408 |
Specifying Preferences Before You Start Editing |
408 |
Working With Projects |
409 |
Working With Multiple Projects in the Browser |
409 |
Choosing Whether the Last Previously Opened Project Opens on Launch |
409 |
Viewing and Changing the Properties of a Project |
410 |
Backing Up and Restoring Projects |
411 |
What Is Contained in a Project File |
411 |
Returning to Saved Projects |
411 |
Using the Revert Project Command |
411 |
Automatically Saving Projects With Autosave |
412 |
Learning About the Different Types of Clips |
412 |
Types of Clips |
413 |
About Offline Clips |
414 |
Sequences as Clips |
415 |
Viewing and Changing the Properties of a Clip |
415 |
Changing Clip Properties in the Browser |
415 |
Viewing and Changing Clip Properties in the Item Properties Window |
417 |
Viewing and Modifying Clip Properties |
417 |
Finding a Clip’s Media File |
418 |
Finding a Clip’s Start and End Timecode Values |
418 |
Changing the Properties of Affiliate Clips |
419 |
Creating and Working With Sequences |
420 |
Creating and Deleting Sequences |
420 |
Opening and Closing Sequences |
421 |
Duplicating a Sequence |
422 |
Copying a Sequence Into Another Project |
423 |
Nesting a Sequence |
424 |
Basic Sequence and Timeline Settings |
424 |
When Rendering Is Required |
425 |
Why Would You Change Your Sequence Settings? |
425 |
Viewing an Existing Sequence’s Settings |
426 |
The Fundamentals of Adding Clips to a Sequence |
428 |
Creating a Rough Edit |
428 |
Basic Steps Involved in a Rough Edit |
428 |
How Clips Appear in the Timeline |
429 |
Undoing and Redoing Actions |
431 |
Overview of Ways to Add Clips to a Sequence |
431 |
Methods for Adding Clips to Sequences |
431 |
Determining What Parts of Clips You Want in Your Sequence |
433 |
Preparing a Sequence Order in the Browser |
433 |
Sorting to Create a Sequence Order |
434 |
Visually Storyboarding in the Browser |
434 |
Setting Edit Points for Clips and Sequences |
436 |
About In and Out Points |
436 |
Learning About the Out Point Inclusive Rule |
437 |
Things to Keep in Mind When Setting an Out Point |
438 |
Setting Clip In and Out Points in the Viewer |
440 |
Specifying an Edit Point Using Timecode |
441 |
Setting In and Out Points to Include a Whole Clip |
442 |
Reviewing Your Edit Points |
442 |
Setting Sequence In and Out Points in the Canvas or Timeline |
443 |
Options for Setting Sequence In and Out Points |
444 |
When No Sequence In or Out Points Are Set |
445 |
When You Set One Sequence In or Out Point |
446 |
When You Set Both Sequence In and Out Points |
448 |
Setting Sequence In and Out Points |
449 |
Setting In and Out Points to Match a Clip or Gap |
450 |
Setting In and Out Points Based on a Selection in the Timeline |
451 |
Navigating to In and Out Points |
453 |
Moving In and Out Points |
454 |
Clearing In and Out Points |
455 |
Working With Tracks in the Timeline |
458 |
Adding and Deleting Tracks |
458 |
Adding Tracks |
459 |
Deleting Tracks |
461 |
Specifying Destination Tracks in the Timeline |
462 |
Understanding Source and Destination Controls |
462 |
Setting Destination Tracks |
463 |
Changing Source and Destination Control Connections |
464 |
Disconnecting Source and Destination Controls |
464 |
Resetting Destination Tracks to the Default State |
466 |
Exceptions to Normal Use of Source and Destination Controls |
466 |
Locking Tracks to Prevent Edits or Changes |
467 |
When Working With Clips on Locked Tracks |
468 |
Disabling Tracks to Hide Content During Playback |
468 |
Customizing Track Display in the Timeline |
469 |
Resizing Timeline Tracks |
470 |
Resizing Tracks by Dragging |
470 |
Resizing All Tracks Using the Track Height Control |
471 |
Resizing All Tracks Using the Track Layout Pop-Up Menu |
471 |
Saving Track Layouts |
472 |
Creating a Static Region in the Timeline |
472 |
Drag-to-Timeline Editing |
476 |
Overview of the Drag-to-Timeline Editing Process |
476 |
Dragging Clips to the Timeline |
477 |
Doing Simple Insert and Overwrite Edits in the Timeline |
478 |
Automatically Adding Tracks to Your Sequence While Dragging |
481 |
Three-Point Editing |
484 |
Understanding Three-Point Editing |
484 |
Overview of the Three-Point Editing Process |
484 |
Different Ways to Do Three-Point Editing |
485 |
Dragging to the Edit Overlay in the Canvas |
486 |
Using the Edit Buttons in the Canvas |
486 |
Using Keyboard Shortcuts |
487 |
About Edit Types in the Edit Overlay |
487 |
Performing the Different Types of Edits |
488 |
Performing an Insert Edit |
489 |
Performing an Insert With Transition Edit |
490 |
Performing an Overwrite Edit |
492 |
Performing an Overwrite With Transition Edit |
493 |
Performing a Replace Edit |
495 |
Superimposing Clips |
501 |
Three-Point Editing Examples |
504 |
Example: Editing a Specific Clip Into Your Sequence |
504 |
Example: Editing a Clip Into a Gap in Your Sequence |
506 |
Example: Backtiming a Clip Into Your Sequence |
507 |
Example: Editing a Clip With No Specified In or Out Points Into Your Sequence |
509 |
Finding and Selecting Content in the Timeline |
510 |
Understanding What’s Currently Selected |
510 |
Identifying Selections in the Timeline |
511 |
How Selections Are Prioritized in the Timeline |
512 |
Direct Methods for Selecting Content in a Sequence |
512 |
An Introduction to the Selection Tools |
513 |
Selecting Clips |
515 |
Selecting an Individual Clip |
516 |
Selecting a Group of Clips by Dragging |
516 |
Selecting Multiple Clips |
517 |
Deselecting an Item in a Multiple Selection |
518 |
Selecting a Range of Timeline Content |
519 |
Selecting All Clip Items on a Track |
520 |
Selecting All Items on All Tracks Forward or Backward |
521 |
Selecting or Deselecting All Clips in a Sequence |
523 |
Finding and Selecting Based on Search Criteria |
523 |
Selecting a Vertical Range Between In and Out Points |
525 |
Using Auto Select to Specify Tracks for Selections |
526 |
Arranging Clips in the Timeline |
530 |
Snapping to Points in the Timeline |
530 |
Moving Items Within the Timeline |
531 |
Moving by Dragging |
532 |
Moving Clips Numerically |
533 |
Using the Command Key to Drag More Slowly |
534 |
Performing Shuffle Edits |
535 |
Copying and Pasting Clips in the Timeline |
537 |
Copying Clips by Option-Dragging |
537 |
Modifying Selections and Commands Using the Option Key |
537 |
Copying, Cutting, and Pasting Clips in the Timeline |
538 |
Example: Copying and Pasting Audio and Video Clip Items to Different Tracks in the Timeline |
540 |
Deleting Clips From a Sequence |
541 |
Deleting With a Lift Edit (Leaving a Gap) |
541 |
Deleting With a Ripple Edit (Leaving No Gap) |
542 |
Finding and Closing Gaps |
544 |
Color-Coding Clips in the Timeline |
547 |
Cutting Clips and Adjusting Durations |
548 |
Performing Basic Cut Edits |
548 |
Cutting Clips in the Timeline |
548 |
Using the Add Edit Command to Cut Clips |
551 |
Joining Through Edits (Splicing Cut Clips Back Together) |
551 |
Changing the Duration of Clips in the Timeline |
552 |
Opening Sequence Clips in the Viewer to Change Durations |
553 |
Linking and Editing Video and Audio in Sync |
554 |
Linked Sync Relationships Between Video and Audio Clips |
554 |
When Linked Clips Are Moved Out of Sync |
555 |
Understanding Sync Relationships Between Multiple Linked Audio Items |
558 |
Linking and Unlinking Video and Audio Clip Items in the Timeline |
559 |
Linking Video and Audio Clip Items |
559 |
Unlinking Video and Audio Clip Items |
561 |
Selecting Individual Clip Items While They Are Linked |
562 |
Getting Clip Items Back in Sync |
563 |
Moving a Clip Into Sync |
563 |
Slipping a Clip Item Into Sync |
564 |
Moving or Slipping All Clip Items Into Sync at Once |
566 |
Establishing a Different Sync Relationship Between Linked Clip Items |
568 |
Marking a Clip as In Sync |
568 |
Learning About Linking Behavior in Audio Channel Pairs |
570 |
Synchronizing Dual System Recorded Video and Audio |
571 |
Split Edits |
572 |
Learning About Split Edits |
572 |
How Split Edits Look in the Viewer and Canvas |
573 |
Setting Up Split Edit Points in the Viewer |
574 |
Setting Up a Split Edit While Playing a Clip |
575 |
Modifying and Clearing Split Edits |
576 |
Split Edit Examples |
578 |
Example: Split Edit in the Viewer and a Simple Edit Point in the Canvas |
578 |
Example: Split Edit in the Viewer and a Single Split Edit Point in the Canvas |
579 |
Example: Simple Edit in the Viewer and a Split Edit in the Canvas |
580 |
Working With Multiclips |
582 |
About Multiclips |
582 |
Multiclip Workflow |
584 |
Creating Multiclips and Multiclip Sequences |
585 |
Preparing Clips to Be Used as Multiclip Angles |
586 |
Assigning Angle Numbers to Clips |
586 |
Cinema Tools Clip-Naming Conventions |
586 |
Deriving Clip Angle Numbers From Reel Names and Filenames |
587 |
Creating Individual Multiclips |
588 |
About the Make Multiclip Dialog |
588 |
Synchronizing Angles in a Multiclip |
589 |
Creating a Multiclip |
591 |
Creating Multiclip Sequences |
592 |
When Should You Use the Make Multiclip Sequence Command? |
592 |
About the Make Multiclip Sequence Dialog |
593 |
Creating a Multiclip Sequence |
595 |
Multiclip Sequence Examples |
597 |
Identifying and Naming Multiclips in the Browser |
601 |
Working With Multiclip Angles in the Viewer |
602 |
Viewing Multiclip Angles in the Viewer |
602 |
Identifying Active Video and Audio Angles |
603 |
Viewing Multiclip Overlays |
604 |
Rearranging and Deleting Multiclip Angles in the Viewer |
605 |
Adding Angles to a Multiclip in the Viewer |
606 |
Resynchronizing Angles in the Viewer |
607 |
Editing With Multiclips in Real Time |
608 |
Using Keyboard Shortcuts and Shortcut Buttons for Multiclip Editing |
608 |
Editing Multiclips Into the Timeline |
609 |
Switching and Cutting Between Angles |
610 |
Switching Angles |
612 |
Cutting Between Angles |
613 |
Switching and Cutting Video and Audio Items Separately |
614 |
Editing in Multiclip Playback Mode |
616 |
Optimizing Real-Time Performance for Multiclip Playback |
618 |
Viewing Multiclip Playback on an External Video Monitor |
618 |
Applying Filters, Speed, and Motion Parameters to Multiclips |
619 |
Applying Filters to the Active Multiclip Angle |
619 |
Switching Angles With Effects |
620 |
Collapsing and Expanding a Multiclip |
621 |
Multiclip Master-Affiliate Relationships |
621 |
Match Frame Commands Used With Multiclips |
622 |
Media Management and Project Interchange |
623 |
Working With Multiclips in the Media Manager |
623 |
Reconnecting and Recapturing Multiclips |
623 |
Audio Editing Basics |
624 |
The Goals of Audio Editing |
624 |
Using Waveform Displays to Help You Edit Audio |
626 |
Learning About the Audio Controls in the Viewer |
627 |
Editing Audio in the Viewer |
630 |
Opening Audio Clips in the Viewer |
630 |
Viewing Audio Tracks in the Viewer |
631 |
Zooming In or Out of the Waveform Display Area |
632 |
Scrolling Through a Zoomed-In Audio Clip |
634 |
Using the J, K, and L Keys to Hear Subtle Details |
635 |
Turning Off the Audio Scrubbing Sounds |
635 |
About Setting Edit Points for Audio |
635 |
Dragging an Audio Clip to the Canvas, Browser, or Timeline |
636 |
Trimming Audio Clips in the Viewer |
636 |
Editing Audio in the Timeline |
639 |
Timeline Audio Display Options |
639 |
Displaying Waveforms in the Timeline |
639 |
Displaying Overlays and Adjusting the Track Height |
640 |
Zooming In and Out of Waveforms in the Timeline |
641 |
Naming Audio Tracks |
642 |
Moving Audio Items From One Track to Another at the Same Frame |
642 |
Using Audio Transitions to Smooth Audible Changes |
643 |
Creating or Separating Stereo Pairs |
644 |
Working With Audio at the Subframe Level |
646 |
Viewing an Audio Clip at Single-Frame Resolution |
646 |
Subframe Synchronization of Audio and Video |
646 |
Examples of Ways to Easily Edit Audio |
648 |
Example: Replacing Unwanted Audio With Room Tone |
648 |
Example: Fixing Awkward Audio Cuts in the Timeline |
651 |
Part III: Fine-Tuning Your Edit |
654 |
Performing Slip, Slide, Ripple, and Roll Edits |
656 |
About Trimming With Slip, Slide, Ripple, and Roll Tools |
656 |
Sliding Clips in the Timeline |
656 |
Performing Slide Edits by Dragging |
658 |
Performing Precise Slide Edits Numerically |
659 |
Slipping Clips in the Timeline |
660 |
Performing a Slip Edit Using the Slip Tool |
661 |
Performing Precise Slip Edits Numerically |
663 |
Using the Ripple Tool to Trim an Edit Without Leaving a Gap |
664 |
Which Clip Items Move in the Timeline After a Ripple Edit? |
665 |
Performing Ripple Edits |
665 |
Performing a Ripple Edit in the Timeline |
665 |
Performing a Ripple Edit in the Viewer |
668 |
About Ripple Edits and Sync Relationships of Clip Items on Other Tracks |
669 |
Doing Ripple Edits on Multiple Tracks at Once |
671 |
Asymmetrical Trimming With the Ripple Tool |
671 |
Tips for Edits Made With the Ripple Tool |
673 |
Using the Roll Tool to Change Where a Cut Occurs |
673 |
Rolling the Position of an Edit Between Two Clips |
674 |
Rolling Edit Points in the Timeline |
675 |
Doing Roll Edits in the Viewer |
678 |
Tips for Using the Roll Tool |
678 |
Learning About Trimming Clips |
680 |
What Is Trimming? |
680 |
Controls That Affect Trim Edits |
682 |
Selecting Edits and Clips to Trim |
683 |
Tools for Selecting Edit Points |
683 |
Selecting Single Edit Points |
684 |
Selecting Multiple Edit Points |
685 |
Trimming Clip In and Out Points |
686 |
Trimming With the Selection Tool |
686 |
Extending and Shortening Clips in the Timeline |
687 |
Trimming Clips in the Viewer |
689 |
Precision Editing Using Timecode |
690 |
Determining What Kind of Edit Occurs When Entering Timecode Numbers |
690 |
Moving the Playhead in the Timeline Using Timecode |
690 |
Moving Clips Using Timecode |
691 |
Using Timecode to Trim Clips in the Viewer |
692 |
Understanding Alert Messages When Trimming |
693 |
Trimming Clips Using the Trim Edit Window |
696 |
Learning About the Trim Edit Window |
696 |
Opening and Closing the Trim Edit Window |
698 |
Controls in the Trim Edit Window |
699 |
Using the Trim Edit Window |
703 |
Playing Incoming and Outgoing Clips in the Trim Edit Window |
704 |
Dynamic Trimming |
704 |
Trimming an Edit in the Trim Edit Window |
704 |
Reviewing and Playing Back Your Edits in the Trim Edit Window |
707 |
Slipping a Clip in the Trim Edit Window |
707 |
Listening to Audio While Trimming |
708 |
Adding Transitions |
710 |
Learning About Transitions |
710 |
Common Types of Transitions |
711 |
Using Transitions in Your Sequences |
712 |
How Transitions Appear in the Timeline |
712 |
Having Handles at Edit Points |
713 |
Aligning a Transition in the Timeline |
713 |
Adding Transitions |
714 |
Adding Transitions With Clips You Add to the Timeline |
714 |
Quickly Adding the Default Transition to Clips in Your Sequence |
715 |
Adding Transitions to Clips in Your Sequence |
716 |
Example: Transitioning To or From Black |
718 |
Using Transitions in Projects to Be Exported as EDLs |
719 |
Moving, Copying, and Deleting Transitions |
719 |
Moving a Transition to Another Edit Point |
719 |
Copying and Pasting Transitions |
720 |
Deleting Transitions |
721 |
Modifying Transitions in the Timeline |
721 |
Changing the Duration of a Transition in the Timeline |
721 |
Changing the Alignment of a Transition in the Timeline |
723 |
Changing an Edit Point After Adding a Transition |
723 |
Replacing Transitions |
724 |
Working With Default and Favorite Transitions |
724 |
Changing the Default Transition |
725 |
Saving a Transition as a Favorite |
725 |
Deleting Favorite Transitions |
726 |
Detecting Duplicate Frames Over Transitions |
726 |
Video Transitions That Come With Final Cut Pro |
727 |
Using After Effects Transitions |
731 |
Refining Transitions Using the Transition Editor |
732 |
Using the Transition Editor |
732 |
Controls in the Transition Editor |
733 |
Displaying Clips in the Transition Editor |
739 |
Opening and Modifying Transitions in the Transition Editor |
739 |
Applying a Modified Transition Directly to a Sequence in the Timeline |
740 |
Trimming Transitions and the Surrounding Clips |
741 |
About the Two-Up Display in the Canvas |
741 |
Trimming the Duration of a Transition |
742 |
Doing a Roll Edit to Change the Location of a Transition |
743 |
Doing a Ripple Edit to Adjust the Length of a Clip in a Transition |
743 |
Previewing and Rendering Transitions |
745 |
Determining the Render Status of Transitions |
745 |
Previewing Transitions Before Rendering Them |
746 |
Rendering Transitions |
746 |
Sequence to Sequence Editing |
748 |
Methods for Editing Clips From One Sequence to Another |
748 |
Opening More Than One Sequence at a Time |
749 |
Copying Clips From One Sequence to Another |
749 |
Nesting Sequences |
753 |
When Do You Nest Sequences? |
753 |
Pros and Cons of Nested Sequences |
753 |
How Many Audio Items Does a Nested Sequence Have? |
754 |
Nesting a Sequence Inside Another Sequence |
754 |
Making a Section of Clips Into a Nested Sequence |
755 |
Changing the Duration of a Nested Sequence Ripples Clips After the Nested Sequence |
757 |
Editing the Content of One Sequence Into Another Without Nesting It |
758 |
Editing Sequence Content Versus Nesting |
758 |
Editing Clips From One Sequence Into Another |
759 |
Matching Frames and Playhead Synchronization |
762 |
Working With Sequence Clips in the Viewer |
762 |
Opening a Sequence Clip in the Viewer |
763 |
Switching Between the Viewer, Canvas, and Timeline |
764 |
Using the Viewer to Adjust Sequence Clip In and Out Points |
764 |
Using the Viewer to Adjust Motion and Filter Parameters |
765 |
Matching Frames Between Sequence and Master Clips |
765 |
Matching Frames Between a Sequence Clip and Its Master Clip |
766 |
Matching Frames Between a Sequence Clip and Its Media File in the Viewer |
767 |
Matching a Master Clip to a Sequence Clip in the Canvas or Timeline |
768 |
Synchronizing the Canvas/Timeline Playhead With the Viewer Playhead |
769 |
Why Synchronize Playheads? |
769 |
Working With Playhead Sync |
769 |
Using the Open Playhead Sync Option |
770 |
Using the Gang Playhead Sync Option |
771 |
Example: Trimming a Browser Clip by the Duration of a Sequence Clip |
771 |
Working With Timecode |
774 |
About Timecode in Final Cut Pro |
774 |
Frame Rate Versus Timecode |
775 |
Displaying Timecode in Final Cut Pro |
775 |
Choosing a Timecode Display Option |
775 |
Displaying Timecode Affected by Speed Changes |
777 |
Choosing Source and Auxiliary Timecode Track Display |
777 |
Clip Time Versus Source Time |
778 |
Changing Global Timecode Display Options |
779 |
Timecode Overlays |
780 |
Modifying Timecode in Media Files |
781 |
Using the Modify Timecode Command |
782 |
Modifying Timecode in the Browser or Item Properties |
783 |
Modifying the Timecode of Merged Clips |
784 |
Modifying Sequence Timecode |
784 |
Working With 60 fps Timecode |
786 |
Working With 24 @ 25 fps Timecode |
786 |
Generating Timecode Window Burns |
787 |
Volume III: Audio Mixing and Effects |
788 |
Contents |
790 |
Part I: Audio Mixing |
800 |
Overview of Audio Mixing |
802 |
Audio Finishing Features in Final Cut Pro |
802 |
Mixing Your Audio in Other Applications |
803 |
Monitoring Audio on External Speakers |
803 |
Overview of Audio Sweetening in Final Cut Pro |
804 |
Categories of Postproduction Audio |
804 |
Creating Additional Tracks for Audio Sweetening |
804 |
Using Sequence Markers for Sound Effects and Musical Cues |
805 |
Cleaning Up Audio |
805 |
Adding Audio Filters |
805 |
Setting Appropriate Volume Levels for Audio Clips in Sequences |
806 |
Making Premixes (Stem Mixes) |
806 |
Making the Final Mix |
806 |
Determining the Number of Output Channels/Speakers |
807 |
Adjusting Audio Levels |
808 |
Adjusting Pan |
808 |
Mixing to Call Attention to Important Audio |
809 |
Setting Up Audio Equipment |
810 |
Choosing External Audio Monitoring Components |
810 |
Choosing an Audio Interface |
811 |
Choosing Speakers and an Amplifier for Monitoring |
812 |
Frequency Response and Dynamic Range |
812 |
Amplifiers and Signal Levels |
813 |
Self-Powered Versus Passive Speakers |
813 |
Matching Your Mixing and Screening Environments |
813 |
Setting Up a Proper Audio Monitoring Environment |
814 |
Speaker Placement and Listening Position |
814 |
Using Headphones |
814 |
Audio Cables, Connectors, and Signal Levels |
815 |
About Balanced Audio Signals |
815 |
Microphone, Instrument, and Line Level |
817 |
Signal Differences Between Pro and Consumer Equipment |
817 |
Audio Connectors |
817 |
Configuring External Audio Monitors |
819 |
Connecting Speakers to Your Editing System |
819 |
Setting Monitoring Levels and Muting System Sound Effects |
821 |
Audio Fundamentals |
824 |
What Is Sound? |
824 |
Fundamentals of a Sound Wave |
825 |
Frequency Spectrum of Sounds |
826 |
Measuring Sound Intensity |
827 |
What Is a Decibel? |
827 |
Decibel Units |
828 |
Signal-to-Noise Ratio |
829 |
Headroom and Distortion |
829 |
Dynamic Range |
830 |
Stereo Audio |
831 |
Identifying Two-Channel Mono Recordings |
832 |
Identifying Stereo Recordings |
832 |
Interleaved Versus Split Stereo Audio Files |
833 |
Digital Audio |
833 |
Sample Rate |
834 |
Bit Depth |
835 |
Audio Levels, Meters, and Output Channels |
838 |
About Audio Meters |
838 |
Average and Peak Audio Levels |
838 |
Average Versus Peak Audio Meters |
839 |
Analog Versus Digital Meters |
840 |
0 dB (Analog) Versus 0 dBFS (Digital) |
841 |
What Does 0 dB Mean? |
841 |
About Audio Meters in Final Cut Pro |
842 |
Clip Indicators |
843 |
Floating Audio Meters |
844 |
Audio Peak Detection |
844 |
Setting Proper Audio Levels |
845 |
Setting Levels for Capture |
845 |
What Reference Level Should You Use for Mixing? |
845 |
Outputting Bars and Tone at the Head of Your Tape |
847 |
Labeling Your Tapes |
847 |
Working With Multiple Audio Output Channels |
848 |
About Audio Output Presets |
848 |
Choosing and Creating Audio Output Presets |
849 |
Downmixing Multiple Audio Channels to a Stereo Mix |
851 |
Stereo Versus Dual Mono Audio |
852 |
Overview of the Audio Mixer |
854 |
About the Audio Mixer |
854 |
Controls in the Audio Mixer |
855 |
Track Visibility Area |
856 |
Track Strips Area |
857 |
Master Area |
860 |
View Buttons |
862 |
Record Audio Keyframes Option |
862 |
Source Pop-Up Menu |
863 |
Using Audio Mixer Views |
864 |
Using the Audio Mixer |
866 |
Making Basic Audio Adjustments With the Audio Mixer |
866 |
When Audio Mixer Controls Aren’t Available |
867 |
Using the Mute Button to Silence Audio Tracks |
867 |
Using the Solo Button to Listen to Individual Tracks |
869 |
Using Faders to Adjust Audio Levels |
870 |
Adjusting Levels in Mono Versus Stereo Clips |
871 |
Adjusting the Master Level of Your Sequence |
873 |
Making Stereo Pan Adjustments With the Audio Mixer |
874 |
Stereo Versus Dual Mono Output Channels |
874 |
Stereo Versus Dual Mono Audio Clips |
874 |
Changing a Clip’s Pan |
875 |
About Mixer Automation and Keyframe Recording |
876 |
Specifying Audio Keyframe Recording Resolution |
877 |
Recording Audio Level and Pan Keyframes |
877 |
Looping Playback to Mix Each Track |
881 |
Tips for Working With Stereo |
883 |
Modifying Recorded Keyframes |
883 |
Using the Audio Mixer to Record Over Previously Existing Automation |
884 |
Modifying Keyframes in the Timeline and Viewer |
884 |
Deleting Audio Level and Pan Keyframes |
885 |
Using a Control Surface With the Audio Mixer |
885 |
Connecting a Control Surface |
886 |
What is MIDI? |
886 |
Choosing an External MIDI Interface |
886 |
Installing a MIDI Interface |
886 |
Choosing a Control Surface |
886 |
Installing a Control Surface |
887 |
Configuring Final Cut Pro to Work With a Control Surface |
887 |
Using a Control Surface With the Audio Mixer |
891 |
Preparing to Use a Control Surface |
891 |
Adjusting Levels, Pan, Mute, and Solo Using a Control Surface |
892 |
Using Control Surface Transport Controls |
892 |
Control Surface Commands Supported by Final Cut Pro |
893 |
Recording Audio Mixer Keyframes Using a Control Surface |
893 |
Mixing Audio in the Timeline and Viewer |
896 |
Adjusting Audio Levels in the Timeline and Viewer |
896 |
Adjusting Audio Levels in the Timeline |
896 |
Changing Volume Levels While a Sequence Is Playing |
900 |
Changing Audio Levels in the Viewer |
901 |
Panning Audio in the Timeline and Viewer |
904 |
Panning Audio in the Timeline |
904 |
Changing the Pan of Audio in the Viewer |
905 |
Changing Pan for an Entire Clip |
906 |
Copying, Pasting, and Removing Audio Attributes |
907 |
Adjusting Clip Levels and Pan Using Keyframes |
908 |
Tools for Adjusting Keyframes |
908 |
Using the Option Key to Temporarily Enable Pen Tools |
909 |
Using the Command Key to “Gear Down” Adjustment Speed |
909 |
Creating, Modifying, and Deleting Keyframes in the Viewer |
909 |
Example: Using Keyframes to Adjust Audio Levels |
914 |
Example: Using Keyframes in the Timeline to Automate Audio Levels |
915 |
Example: Setting Subframe Audio Level Keyframes to Eliminate Clicks |
916 |
Example: Using Keyframes to Control Pan |
919 |
Using the Voice Over Tool |
922 |
About the Voice Over Tool |
922 |
Setting Up Your Computer to Record Voiceover |
923 |
About Microphones and Room Noise |
923 |
Connecting Audio Devices and Configuring Software |
924 |
RAM Requirements When Using the Voice Over Tool |
926 |
Controls in the Voice Over Tool |
926 |
Defining the Recording Duration and Destination Track |
930 |
Setting the Recording Duration |
930 |
Defining the Destination Track |
932 |
Recording a Voiceover |
935 |
Recording Multiple Takes |
936 |
How Audio Recorded With the Voice Over Tool Appears in Your Sequence |
937 |
Using Audio Filters |
938 |
About Audio Filters |
938 |
Overview of Audio Filters |
939 |
Equalization (EQ) Filters |
939 |
Frequency Ranges and Equalization |
940 |
Using Equalization (EQ) Filters in Final Cut Pro |
941 |
Compression |
941 |
Expansion |
942 |
Noise Reduction Filters |
943 |
Hum Remover |
943 |
Vocal DeEsser |
944 |
Vocal DePopper |
944 |
Echo and Reverb Filters |
944 |
Working With Audio Filters |
946 |
Applying Filters to an Audio Clip |
948 |
Displaying Filter Keyframes in the Timeline |
951 |
Modifying and Removing Filters |
952 |
Making Real-Time Audio Filter Adjustments |
953 |
Looping Playback While Making Real-Time Filter Adjustments |
953 |
Recording Audio Filter Automation |
954 |
Automating Audio Filter Parameters With Keyframes |
955 |
Controls in the Filters Tab |
956 |
Adjusting Audio Filter Parameters |
956 |
Saving a Filter or Transition as a Favorite |
960 |
Installing Third-Party Audio Units Filters |
960 |
When Audio Filters Are Missing |
960 |
Tips for Better Audio |
962 |
Learning to Describe Sound Accurately |
962 |
Efficiently Using the Frequency Spectrum |
962 |
Tips for Cutting Dialogue |
963 |
Tips for Cutting Music |
966 |
Organizing Your Tracks |
968 |
Part II: Effects |
970 |
Video Filters |
972 |
Different Ways to Use Filters |
972 |
Keyframing Filter Parameters |
973 |
Applying a Filter to a Clip |
973 |
Applying Multiple Filters to Clips |
977 |
Viewing and Adjusting a Filter’s Parameters |
979 |
Controls in the Filters Tab of the Viewer |
979 |
Using Filter Controls |
982 |
Displaying Filter Bars in the Timeline |
986 |
Enabling and Rearranging Filters |
987 |
Copying and Pasting a Clip’s Filters |
988 |
Removing Filters From Clips |
989 |
Using After Effects Filters |
989 |
Video Filters Available in Final Cut Pro |
990 |
Blur Filters |
990 |
Border Filters |
991 |
Channel Filters |
991 |
Color Correction Filters |
992 |
Distort Filters |
993 |
Image Control Filters |
994 |
Key Filters |
995 |
Matte Filters |
997 |
Perspective Filters |
999 |
Sharpen Filters |
999 |
Stylize Filters |
1000 |
Video Filters |
1001 |
Changing Motion Parameters |
1004 |
Creating Motion Effects in the Viewer |
1004 |
Adjusting Parameters in the Motion Tab |
1005 |
Keyboard Modifiers for Controls in the Motion Tab |
1007 |
Controls in the Motion Tab |
1007 |
Using the Paste Attributes Command |
1009 |
Using Cartesian Geometry to Position Clips |
1010 |
Examples Using Motion Settings |
1012 |
Example 1: Using Motion Settings to Create a Multiclip Layout |
1012 |
Example 2: Using Additional Motion Settings to Refine the Layout |
1020 |
Creating Motion Effects in the Canvas |
1023 |
Choosing a Wireframe Mode |
1023 |
Which View Should You Use? |
1024 |
Manipulating Images in the Canvas |
1024 |
Crop and Distort Tools |
1025 |
Zooming In to the Canvas |
1026 |
Using Wireframe Handles to Transform, Scale, and Rotate |
1027 |
Example: Using Motion Parameters and Wireframe Handles |
1031 |
Adjusting Parameters for Keyframed Effects |
1036 |
Animating Motion Effects Using Keyframes |
1036 |
How Keyframing Works |
1037 |
Determining the Number of Keyframes to Use |
1038 |
Keyframing Controls in the Viewer |
1040 |
Keyframing Tools in Final Cut Pro |
1042 |
Keyboard Modifiers for the Pen Tool |
1042 |
Setting Keyframes |
1043 |
Adjusting and Deleting Keyframes |
1045 |
Moving Between Keyframes |
1047 |
Zooming In to the Keyframe Graph |
1048 |
Example: Using Keyframes to Make Opacity Changes |
1050 |
Example: Keyframing Opacity in the Timeline |
1053 |
Smoothing Keyframes With Bezier Handles |
1055 |
Understanding Bezier Handles and Curves |
1056 |
Smoothing Keyframes |
1058 |
Creating Keyframed Motion Paths in the Canvas |
1059 |
What Are Motion Paths? |
1060 |
Creating Motion Paths |
1061 |
Adding, Moving, and Deleting Keyframes in Motion Paths |
1062 |
Creating Curved Motion Paths Using Bezier Handles |
1062 |
Controlling Speed Along a Motion Path |
1065 |
Moving an Entire Motion Path in the Canvas |
1068 |
Creating and Applying Motion Favorites |
1068 |
Using the Timeline Keyframe Graph Area |
1070 |
About the Keyframe Graph Area |
1070 |
Customizing the Keyframe Graph Area in the Timeline |
1071 |
Working With the Filter and Motion Bars |
1072 |
Working With the Timeline Keyframe Editor |
1073 |
Reusing Effect and Motion Parameters |
1074 |
Copying and Pasting Specific Clip Attributes |
1074 |
About the Paste Attributes Dialog |
1075 |
Copying and Pasting Clip Attributes |
1077 |
Removing Attributes From a Clip |
1078 |
Reapplying the Most Recently Used Effect |
1078 |
Applying Filters Across Multiple Tracks at Once |
1079 |
Creating and Applying Favorite Filters and Transitions |
1080 |
Creating Favorite Filters and Transitions |
1081 |
Organizing and Renaming Favorites |
1083 |
Applying Favorite Filters and Transitions |
1084 |
Previewing Effects and Comparing Frames |
1086 |
Comparing Two Frames in the Frame Viewer |
1086 |
Displaying Images in the Frame Viewer Tab |
1087 |
Choosing Display Options in the Frame Viewer |
1089 |
Viewing Your Composition in the QuickView Tab |
1090 |
Controls in the QuickView Tab |
1090 |
Playback in the QuickView Tab |
1091 |
Changing Clip Speed and Time Remapping |
1094 |
Speed Basics |
1094 |
How Changing Speed Affects a Clip’s Duration |
1095 |
Performing a Fit to Fill Edit |
1095 |
Constant and Variable Speed Settings |
1098 |
Constant Speed |
1098 |
Variable Speed (or Time Remapping) |
1098 |
Differences Between Constant and Variable Speed Changes |
1099 |
Frame Blending and Reverse Speed |
1099 |
Smoothing Slow Motion Using Motion Blur |
1100 |
Making Constant Speed Changes |
1101 |
Making Variable Speed Changes |
1102 |
How Time Remapping Works |
1102 |
Where You Can Make Time Remapping Adjustments |
1105 |
Viewing Time Remapping Parameters Applied to Your Clips |
1105 |
Learning to Read Timeline Speed Indicators |
1107 |
Using the Time Remap Tool |
1110 |
Sliding a Frame From Another Time to the Current Playhead Position |
1110 |
Keyboard Modifiers for Variable Speed Adjustments |
1112 |
Sliding a Frame to a New Time in the Clip |
1113 |
Adjusting Time Remap Keyframes in the Motion Bar |
1115 |
Time Remapping Using the Time Graph |
1116 |
Time Remapping in the Motion Tab |
1119 |
How Timecode Is Affected by Speed Settings |
1120 |
Working With Still Images and Photographs |
1122 |
Using Still Images and Graphics in Your Sequences |
1122 |
Creating Freeze Frame Stills From a Video Clip |
1123 |
If a Still Image Appears Fuzzy on Export |
1124 |
Considerations Before Creating and Importing Stills |
1124 |
Creating Graphics With the Correct Frame Size for Video |
1125 |
Working With Graphics Clips of Different Resolutions |
1125 |
Video Is Not 72 Dots per Inch |
1126 |
Bit Depth of Imported Graphics |
1126 |
Scaling a Graphic to Fit the Frame Size |
1126 |
Creating Graphics With the Correct Color Settings for Video |
1130 |
Choosing the Maximum White Sequence Setting |
1131 |
Flattening Graphics With Layers |
1131 |
Using Alpha Channels |
1131 |
Selecting Fonts and Creating Line Art for Video |
1132 |
Scaling Images and Video Clips to Match a Sequence |
1132 |
Changing the Duration of Still Images |
1134 |
Example: Adding Camera Motion to Still Images |
1135 |
Compositing and Layering |
1142 |
Compositing Strategies and Modes |
1142 |
What Can You Do With Compositing? |
1143 |
Different Ways to Layer Clips in the Timeline |
1144 |
Moving Clips Vertically to Another Track |
1144 |
Adjusting Opacity Levels of Clips |
1145 |
Working With Composite Modes |
1148 |
Applying Composite Modes to Clips |
1148 |
Composite Modes in Final Cut Pro |
1150 |
Using Travel Mattes to Hide or Reveal Parts of a Clip |
1154 |
Working With Layered Photoshop Files |
1155 |
What Happens When You Import a Multilayered Photoshop File |
1156 |
Don’t Add or Delete Layers From an Imported Photoshop File |
1157 |
Using Video and Graphics Clips With Alpha Channels |
1158 |
Types of Alpha Channels Recognized in Final Cut Pro |
1158 |
Working With Clips That Have Alpha Channels |
1160 |
Importing Clips With Alpha Channels |
1161 |
Changing a Clip’s Alpha Channel Type |
1161 |
Exchanging Media With Alpha Channels |
1163 |
Options for Displaying Alpha Channel Information |
1164 |
Superimposing Video When Preparing for EDL Export |
1165 |
Viewing RGB and Alpha Channels in the Viewer |
1166 |
Choosing a Background |
1167 |
Temporarily Excluding Clips From Playback or Output |
1168 |
Temporarily Disabling a Single Clip |
1169 |
Soloing Clips in Multitrack Sequences |
1170 |
Keying, Mattes, and Masks |
1172 |
Ways to Layer and Isolate Elements in Clips |
1172 |
What Are Mattes and How Can You Use Them? |
1172 |
What Is Keying and How Can You Use It? |
1173 |
What Are Masks and How Are They Used? |
1174 |
Alpha Channels and Key, Matte, and Mask Filters |
1174 |
Using Keying to Isolate Foreground Elements |
1175 |
Shooting Footage That Keys Well |
1175 |
Choosing an Appropriate Video Format |
1175 |
Use Proper Lighting |
1176 |
Using the Final Cut Pro Video Scopes to Help Correctly Light Your Background Screen |
1177 |
Overview of Compositing Using the Chroma Keyer Filter |
1178 |
Working With the Chroma Keyer Filter |
1180 |
Specifying the Type of Controls to Use for the Chroma Keyer Filter |
1181 |
Visual Controls in the Chroma Keyer Filter |
1183 |
Example: Using the Chroma Keyer Filter |
1185 |
Using Mattes to Add or Modify Alpha Channels |
1191 |
Matte Filters Available in Final Cut Pro |
1191 |
Example: Using the Four-Point Garbage Matte Filter |
1191 |
Example: Keyframing Garbage Mattes |
1193 |
Using Masks to Replace or Modify Alpha Channels |
1194 |
Mask Filters Available in Final Cut Pro |
1194 |
Example: Using the Image Mask and Mask Feather Filters |
1195 |
Color Correcting Clips |
1198 |
Viewing Examples in Color |
1198 |
What Is Color Correction? |
1198 |
Why Color Correct Your Footage? |
1199 |
Color Correction Starts During Your Shoot |
1200 |
Using a Chip Chart in Production |
1201 |
Managing Color During Postproduction |
1201 |
Telecine Color Correction |
1201 |
Other Advantages to Telecine Transfers |
1203 |
Tape-to-Tape Color Correction |
1203 |
Color Correction in Final Cut Pro |
1204 |
Tools for Measuring Color and Brightness in Final Cut Pro |
1204 |
Measuring and Evaluating Video |
1205 |
Luma (Luminance) |
1205 |
Chrominance (Chroma) |
1206 |
Blacks, Mids, and Whites |
1207 |
Illegal Broadcast Levels |
1208 |
The Importance of Using a Properly Calibrated Broadcast Monitor |
1208 |
Displaying Excess Luma and Chroma Levels in the Viewer and Canvas |
1209 |
Enabling Range Checking |
1209 |
Options in the Range Check Submenu |
1210 |
Screen Layouts for Color Correction in Final Cut Pro |
1210 |
Working With Final Cut Pro Video Scopes |
1211 |
Viewing the Different Video Scopes |
1211 |
Options in the Video Scopes Tab of the Tool Bench |
1212 |
Viewing and Choosing Display Options for Video Scopes |
1213 |
Learning to Read the Waveform Monitor |
1214 |
Learning to Read the Vectorscope |
1216 |
Learning to Read the Histogram |
1218 |
Learning to Read the Parade Scope |
1219 |
How the Final Cut Pro Scopes Work |
1220 |
The Color Correction Process |
1221 |
Using Scopes Versus Looking at the Picture |
1223 |
Keyboard Shortcuts to Move Quickly Between Clips |
1224 |
The Final Cut Pro Color Correction Filters |
1224 |
Using the Color Corrector Filters |
1225 |
Controls in the Color Corrector Filters |
1225 |
The Color Corrector and Color Corrector 3-Way Filters |
1226 |
General Controls |
1226 |
Copy Filter Controls |
1227 |
Working With the Copy Filter Controls |
1228 |
Menu Commands for the Copy Filter Controls |
1230 |
Keyboard Shortcuts for the Copy Filter Controls |
1230 |
Color Balance Controls |
1231 |
The Color Corrector Filter Controls |
1232 |
Color Balance Controls in the Color Corrector Filter |
1232 |
Auto Level and Contrast Controls in the Color Corrector Filter |
1233 |
Level and Saturation Controls in the Color Corrector Filter |
1234 |
Hue Matching Controls in the Color Corrector Filter |
1235 |
Example: Using the Color Corrector Filter |
1235 |
Color Corrector 3-Way Filter Controls |
1240 |
Color Balance Controls in the Color Corrector 3-Way Filter |
1240 |
Using a Trackball With the Color Correction Filters |
1242 |
Auto Level and Contrast Controls in the Color Corrector 3-Way Filter |
1242 |
Level and Saturation Controls in the Color Corrector 3-Way Filter |
1243 |
Hue Matching Controls in the Color Corrector 3-Way Filter |
1244 |
Example: Using the Color Corrector 3-Way Filter |
1244 |
Example: Color Correcting a Three-Shot Sequence for Continuity |
1253 |
Hue Matching Controls in the Color Corrector and Color Corrector 3-Way Filters |
1258 |
Using Limit Effect Controls to Control a Hue Matching Correction |
1258 |
Hue Matching Controls |
1259 |
Example: Using the Hue Matching Controls of the Color Corrector 3-Way Filter |
1260 |
Limit Effect Controls in the Color Corrector and Color Corrector 3-Way Filters |
1263 |
Limit Effect Controls |
1264 |
Using Multiple Filters Together With the Limit Effect Controls |
1265 |
Example: Using the Limit Effect Controls to Change a Specific Color |
1266 |
Example: Using the Limit Effect Controls to Isolate a Specific Color Against Grayscale |
1269 |
The Desaturate Highlights and Desaturate Lows Filters |
1270 |
Desaturate Highlights and Desaturate Lows Filters Controls |
1271 |
Example: Using the Desaturate Highlights Filter |
1272 |
The Broadcast Safe Filter |
1273 |
Using Built-in Generated Clips |
1276 |
What Is a Generator Clip? |
1276 |
Different Ways to Use Generators in Your Sequence |
1277 |
Graphical Video and Audio Generators Available in Final Cut Pro |
1278 |
Creating and Adding Generated Clips to Sequences |
1280 |
Creating Titles |
1282 |
How You Can Use Titles in Your Project |
1282 |
Installing and Choosing Fonts |
1283 |
Making Sure Titles Fit on TV Screens |
1284 |
Text Generators Available in Final Cut Pro |
1285 |
Creating and Adding a Title Clip |
1287 |
Other Options for Creating and Adding Titles |
1290 |
Using LiveType to Create Titles for Your Project |
1291 |
Importing a LiveType Project Into Final Cut Pro |
1291 |
Working With LiveType and Motion Clips in Final Cut Pro |
1292 |
Part III: Real Time and Rendering |
1294 |
Using RT Extreme |
1296 |
Introduction to Real-Time Processing Using RT Extreme |
1296 |
How Many Effects Can Be Played in Real Time? |
1297 |
About Real-Time Playback Quality |
1297 |
About Dynamic Real-Time Playback |
1298 |
About Safe Real-Time Playback |
1299 |
About Unlimited Real-Time Playback |
1300 |
Playing Only the Base Layer of a Sequence |
1301 |
About External Video Monitoring |
1302 |
Maximizing Real-Time Playback Performance |
1302 |
Available Real-Time Effects |
1303 |
Supported RT Extreme Playback Codecs |
1304 |
Display Quality and Accuracy of RT Extreme |
1304 |
What Is Gamma Correction? |
1304 |
More About Gamma Correction |
1305 |
Choosing Gamma Correction Options in Final Cut Pro |
1305 |
Using Real-Time Controls in Final Cut Pro |
1306 |
About Render Status Bars |
1306 |
Identifying Which Effects Can Be Processed in Real Time |
1307 |
Setting Real-Time Playback Options |
1308 |
Settings and Options in the RT Pop-Up Menu and Playback Control Tab |
1310 |
Using RT Extreme for Video Output |
1315 |
Real-Time Audio Mixing in Final Cut Pro |
1316 |
Calculating the Number of Tracks Played Back in Real Time |
1316 |
Improving Real Time Audio Performance |
1317 |
Choosing Real-Time Playback Versus Rendering |
1318 |
Using a Third-Party Video Effects Accelerator Card |
1319 |
Rendering |
1320 |
What Is Rendering? |
1320 |
Reasons for Rendering |
1321 |
Render Indicators in Final Cut Pro |
1322 |
About Render Status Bars in the Timeline |
1322 |
Video Render Status Bars |
1323 |
Audio Render Status Bars |
1324 |
About Item-Level Render Bars |
1325 |
Item Render Status Bars |
1325 |
The Rendering Process |
1326 |
Rendering Effects in Sequences |
1326 |
Selectively Rendering Parts of a Sequence |
1327 |
Commands for Rendering Effects |
1328 |
More About Audio Render Options |
1330 |
Rendering One or More Sequences |
1331 |
Rendering Part of a Sequence |
1332 |
Rendering Audio Items in a Sequence |
1333 |
Using the Mixdown Command |
1333 |
Temporarily Disabling Rendering |
1334 |
Auto-Rendering While You Are Away From Your Computer |
1335 |
Changing Render Settings |
1336 |
Overview of Video Processing Settings |
1336 |
About Color Space |
1336 |
About Video Bit Depth |
1337 |
About Color Space Conversion |
1338 |
About Maximum White Levels |
1338 |
About Rec-601 and Rec-709 Color Standards |
1339 |
Y´CBCR Rendering and Color Bars |
1340 |
About Settings in the Video Processing Tab |
1340 |
Changing Settings in the Video Processing Tab |
1343 |
Changing Settings in the Render Control Tab |
1344 |
Changing Render Options for Sequences |
1345 |
Managing Your Render Files |
1346 |
Locating Render Files |
1346 |
Using the Render Manager |
1347 |
Preserving Render Files |
1349 |
Using Nested Sequences to Preserve Render Files |
1349 |
Disabling Tracks Affects Render Files |
1349 |
Tips for Avoiding Unnecessary Rendering |
1350 |
Reducing Render Time |
1351 |
Volume IV: Media Management and Output |
1352 |
Contents |
1354 |
Part I: Media and Project Management |
1362 |
Media Management |
1364 |
What Is Media Management? |
1364 |
Reasons to Use Media Management |
1366 |
What You Need to Know to Manage Your Media |
1366 |
Media Management Steps in Final Cut Pro |
1367 |
Strategies for Media Management |
1368 |
Backing Up and Restoring Projects |
1370 |
Backing Up and Restoring Projects |
1370 |
Using the Revert Project Command |
1371 |
Using the Autosave Feature |
1371 |
How Autosave Works |
1371 |
Using a “First-In, First-Out” Strategy |
1373 |
Restoring Autosaved Projects |
1373 |
Opening a Project File After Your Computer Is Unexpectedly Powered Off |
1374 |
Archiving Completed Projects |
1375 |
Creating an Archive of a Finished Project |
1375 |
Updating Projects From Previous Versions of Final Cut Pro |
1376 |
Before Updating Projects |
1376 |
Updating Projects |
1377 |
Updating Projects From Final Cut Pro HD 4.5 or Earlier |
1378 |
Updating Projects From Final Cut Pro 3.0 so That Clips Have Master-Affiliate Relationships |
1378 |
Updating Projects or Sequences From Final Cut Pro 1.2.1 |
1379 |
Elements of a Final Cut Pro Project |
1380 |
About Clips, Media Files, and Sequences |
1380 |
Media Files |
1380 |
Types of Clips |
1381 |
Clips Described By Their Properties |
1382 |
Sequences |
1383 |
About Icons and Project Elements in the Browser |
1384 |
Clip Properties |
1385 |
Working With Master and Affiliate Clips |
1392 |
Using Master and Affiliate Clips |
1392 |
How Master Clips Connect to Media Files |
1393 |
Identifying Master Clips |
1393 |
Creating Master and Affiliate Clips |
1394 |
Creating a Master Clip by Duplicating a Master Clip |
1394 |
Creating Affiliate Clips From Master Clips |
1395 |
Creating Affiliate Clips From Other Affiliate Clips |
1395 |
Breaking the Relationship Between an Affiliated Clip and Its Master |
1396 |
Independent Clips |
1397 |
The Difference Between Independent and Master Clips |
1397 |
Creating Master Clips for Independent Clips |
1397 |
When Can Independent Clips Become Affiliated With Existing Master Clips? |
1399 |
Finding a Clip’s Master Clip |
1399 |
Master-Affiliate Relationships With Subclips, Merged Clips, and Freeze Frames |
1399 |
Master-Affiliate Clip Properties |
1400 |
Master Clip Properties |
1400 |
Affiliate Clip Properties |
1401 |
Media File Properties |
1401 |
Offline and Online Editing |
1402 |
About Offline/Online Editing |
1402 |
How Audio Is Handled in the Offline/Online Editing Process |
1403 |
Offline/Online Editing Workflows |
1405 |
Using the OfflineRT Format in Final Cut Pro |
1406 |
Setting Up and Capturing Media to an OfflineRT Format |
1407 |
Capturing or Recompressing Media to an OfflineRT Format |
1407 |
Editing With Offline-Quality (Low-Resolution) Media Files |
1408 |
Using Full-Resolution Graphics in a Low-Resolution, OfflineRT Sequence |
1408 |
Creating a Sequence for Recapturing Media at Full Resolution |
1408 |
Which Sequence Preset Should You Choose for Your Online Edit? |
1410 |
Recapturing Full-Resolution Media for Your Sequence |
1410 |
Adding Final Color Correction, Effects, Transitions, and Titles |
1411 |
Output to Tape, MPEG-2 (for DVD), or a QuickTime Movie File |
1411 |
Online Editing on Non–Final Cut Pro Editing Systems |
1411 |
Trading Project Files Using Email or the Internet |
1412 |
Reconnecting Clips and Offline Media |
1414 |
About the Connections Between Clips and Media Files |
1415 |
How the Connection Between Clips and Media Files Can Be Broken |
1416 |
Making Clips Offline |
1417 |
Differences Between “Missing” and Offline Media Files |
1418 |
Reconnecting Clips to Media Files |
1419 |
About the Reconnect Files Dialog |
1419 |
Search Order and Speed in the Reconnect Files Dialog |
1421 |
Using the Reconnect Files Dialog |
1422 |
When Final Cut Pro Reconnects Your Clips |
1425 |
About the Offline Files Dialog |
1426 |
Overview of the Media Manager |
1428 |
Getting Started With the Media Manager |
1428 |
What Can You Do With the Media Manager? |
1429 |
Selecting Items to Process With the Media Manager |
1430 |
Settings and Options in the Media Manager Window |
1431 |
Summary Area |
1432 |
Media Area |
1432 |
Project Area |
1437 |
Media Destination Area |
1438 |
How the Media Manager Processes Selected Items |
1438 |
Processing Steps in the Media Manager |
1438 |
How Independent Clips Are Processed |
1440 |
How Subclips Are Processed |
1440 |
How Clips With Speed Adjustment Are Processed |
1440 |
Limiting How Much Media Is Copied or Deleted |
1441 |
Preserving Media Only for the Selected Item |
1441 |
Preserving Media for the Selected Item and Its Master Clip |
1442 |
Preserving Media for the Selected Item, Its Master Clip, and All Affiliated Clips |
1443 |
Examples of How to Use the Media Manager |
1444 |
Using the Media Manager |
1445 |
Example: Removing Unused Media From a Sequence |
1448 |
Example: Duplicating a Sequence and Its Corresponding Media Files |
1449 |
Example: Duplicating a Portion of a Sequence and Its Media Files |
1450 |
Example: Copying Several Sequences With New Settings, but Without Media Files |
1451 |
Example: Recompressing Media Files for an Entire Project for Editing on a PowerBook |
1452 |
Example: Removing Portions of Media Files After Creating Subclips |
1454 |
Example: Consolidating Media Files Into One Folder |
1455 |
Example: Consolidating Your Project and Media Files for Archiving |
1457 |
Diagnostic Tools for Clips |
1460 |
Different Tools for Diagnosing Clips |
1460 |
About the Analyze Movie Command |
1461 |
Using the Analyze Movie Command |
1462 |
Information Reported by the Analyze Movie Command |
1463 |
Finding and Marking Long Frames |
1464 |
Using the Mark Long Frames Command |
1464 |
Detecting Audio Peaks |
1466 |
Part II: Project Interchange |
1468 |
Importing and Exporting EDLs |
1470 |
What Is an EDL? |
1470 |
Learning to Read an EDL |
1471 |
Elements of an EDL |
1472 |
Exporting EDLs |
1475 |
Settings and Options in the EDL Export Dialog |
1476 |
Reviewing an EDL |
1482 |
Using EDL Access for RT-11 Disks |
1482 |
Importing Edit Decision Lists (EDLs) |
1483 |
Limitations of Importing EDLs |
1483 |
Importing EDLs in Final Cut Pro |
1483 |
Problems Importing EDL Files |
1484 |
Settings and Options in the EDL Import Dialog |
1484 |
How Clips From an EDL Are Named |
1485 |
Master Clips Created From EDLs |
1485 |
Recapturing Clips From an Imported EDL |
1486 |
Creating Better EDLs |
1486 |
Limitations of EDLs |
1486 |
EDL Considerations Before Capturing |
1487 |
Maintaining Accurate Timecode |
1487 |
Reel Name Restrictions in EDLs |
1487 |
Unique Reel Names for Each Tape and Timecode Breaks |
1488 |
Choosing a Timecode Track Used for a Clip |
1489 |
Choosing a Sequence Frame Rate |
1489 |
EDL Considerations During Editing |
1490 |
Limit the Number of Edits in Your Sequence |
1490 |
Only Use Transitions in Track V1 |
1490 |
Join Through Edits |
1490 |
Keep Track of Duplicate Frames |
1491 |
Limit the Number of Audio Tracks You Use |
1491 |
Don’t Rely on Audio Mix Levels |
1491 |
Avoid Nested Sequences |
1492 |
Avoid Nonstandard Video Transitions |
1492 |
Be Careful Using Still Frames and Speed Settings |
1492 |
Transition Wipe Codes for EDL Export |
1493 |
Exporting Audio for Mixing in Other Applications |
1496 |
Ways You Can Finish Your Audio |
1496 |
Organizing Your Audio Clips for Multi-Track Export |
1497 |
Exporting Audio Tracks to Individual Audio Files |
1498 |
Preparing to Export Audio Tracks as Audio Files |
1499 |
Exporting Audio Tracks as Individual Audio Files |
1502 |
Exporting Audio Output Groups to AIFF(s) |
1503 |
Automatic Filenaming During Export to AIFF(s) |
1505 |
Exporting a Downmix |
1505 |
Preparing to Export Audio to AIFF(s) |
1506 |
Using the Export Audio to AIFF(s) Command |
1506 |
Exporting Multichannel QuickTime Files |
1508 |
Exporting OMF Audio Files |
1509 |
Limitations of OMF Exporting in Final Cut Pro |
1510 |
Exporting Sequence Audio to an OMF File |
1510 |
OMF Files Have a Two-Gigabyte Limit |
1511 |
Exporting Audio Clip Information to an EDL |
1512 |
Copying Audio to Timecoded Tapes for Logging, Capturing, and EDL Export |
1512 |
Importing and Exporting Final Cut Pro XML |
1514 |
About XML |
1514 |
Tags and Elements |
1515 |
Attributes of XML Elements |
1516 |
Whitespace |
1517 |
Document Type Definitions |
1517 |
Working With XML Created in Different Applications |
1517 |
Overview of the Final Cut Pro XML Interchange Format |
1518 |
Main Final Cut Pro XML Elements |
1519 |
Example: Creating an XML file and Importing It Into Final Cut Pro |
1520 |
Exporting XML in Final Cut Pro |
1521 |
Importing XML Into Final Cut Pro |
1522 |
Part III: Output |
1524 |
Preparing to Output to Tape |
1526 |
Choosing a Videotape Format and Equipment for Output |
1526 |
Output Requirements |
1528 |
Methods for Output to Tape in Final Cut Pro |
1529 |
Setting Up Your Editing System to Output to Tape |
1530 |
Connecting Your Video Equipment and Setting it to VCR Mode |
1531 |
Choosing Video and Audio Outputs |
1531 |
Selecting Playback Settings |
1532 |
Selecting Render Settings |
1532 |
Selecting Edit to Tape and Print to Video Preferences |
1533 |
Cueing the Videotape |
1533 |
Calibrating Your Timecode |
1533 |
Choose Device Control and Edit Preview Settings |
1534 |
Preparing Your Videotape With Black and Timecode |
1534 |
Assemble and Insert Editing Using Edit to Tape |
1536 |
Overview of Tape Editing Methods |
1536 |
About Assemble Editing to Tape |
1538 |
About Insert Editing to Tape |
1538 |
About Tracks on Videotape |
1539 |
Requirements for Assemble or Insert Editing to Tape |
1539 |
About the Edit to Tape Window |
1540 |
Video Tab |
1540 |
Mastering Settings Tab |
1544 |
Adding Standard Leader and Trailer Elements |
1546 |
Device Settings Tab |
1547 |
Using the Edit to Tape Window |
1548 |
Performing an Assemble Edit to Tape |
1548 |
Performing an Insert Edit When Editing to Tape |
1550 |
Using Edit to Tape to Output Multichannel Audio |
1555 |
Choosing Audio Mapping for Multichannel Audio Output |
1555 |
Printing To Video and Output From the Timeline |
1558 |
Different Ways You Can Output Video From the Timeline |
1558 |
Printing to Video |
1559 |
Automatically Recording With Print to Video |
1559 |
Using the Print to Video Command |
1560 |
Recording From the Timeline |
1562 |
Outputting to VHS Tape |
1564 |
Exporting Sequences for DVD |
1566 |
The DVD Creation Process |
1566 |
Video for DVD |
1568 |
About the MPEG Format |
1569 |
Audio for DVD |
1569 |
About Surround Sound Audio |
1570 |
Adding Chapter and Compression Markers to Your Sequence |
1571 |
More About Chapter Markers |
1571 |
More About Compression Markers |
1572 |
About the DVD Authoring Applications |
1573 |
Using iDVD |
1573 |
Using DVD Studio Pro |
1574 |
Using Compressor |
1574 |
Exporting a QuickTime Movie for DVD Use |
1575 |
Creating DVD-Compliant Sources for DVD Studio Pro |
1575 |
Launching Compressor Within Final Cut Pro |
1575 |
Using Compressor as a Standalone Application |
1576 |
Launching the QuickTime Encoder Within Final Cut Pro |
1576 |
Learning About QuickTime |
1578 |
What Is QuickTime? |
1578 |
The QuickTime Suite of Software Applications |
1579 |
QuickTime for Media Authoring |
1579 |
The QuickTime Movie File Format |
1579 |
How Is Information Stored in a QuickTime Movie? |
1580 |
Codecs Supported in QuickTime |
1580 |
Distinguishing Between File Formats and Codecs |
1581 |
Understanding Codec and File Format Naming Conventions |
1581 |
Time in QuickTime Movie File Tracks |
1582 |
How Final Cut Pro Uses QuickTime for Import, Export, and Capture |
1582 |
To Find Out More About QuickTime |
1582 |
Formats Supported by QuickTime |
1583 |
Movie File Formats |
1583 |
Video Codecs Supported Within Video File Formats |
1584 |
Graphics and Still Image Formats |
1586 |
Audio File Formats |
1587 |
How Do You Export the Files You Need? |
1587 |
The Export QuickTime Movie Command |
1588 |
The Export Using QuickTime Conversion Command |
1588 |
Exporting QuickTime Movies |
1590 |
About the Export QuickTime Movie Command |
1590 |
Choosing the Type of QuickTime Movie to Export |
1591 |
Exporting a Self-Contained Movie Without Recompressing the Media |
1592 |
Exporting a QuickTime Movie File |
1592 |
Exporting QuickTime-Compatible Files |
1596 |
About the Export Using QuickTime Conversion Command |
1596 |
What Is QuickTime and Why Do I Need to Know About It? |
1596 |
Types of QuickTime-Compatible File Formats |
1597 |
Exporting a QuickTime Movie File for Web Distribution |
1598 |
QuickTime Movie Video Settings |
1600 |
QuickTime Movie Sound Settings |
1604 |
Prepare for Internet Streaming |
1606 |
Exporting a DV Stream |
1607 |
Exporting an AVI File |
1608 |
Exporting Still Images and Image Sequences |
1612 |
Determining the Image Format for Still Image Export |
1612 |
Resolution of Exported Still Images |
1613 |
Bit Depth of Exported Still Images |
1613 |
Exporting a Single Still Image |
1613 |
Exporting Image Sequences |
1615 |
Batch Exporting Clips and Sequences |
1618 |
Overview of the Batch Exporting Process |
1618 |
Selecting Items in the Browser to Batch Export |
1619 |
Selecting Batch Export Settings |
1621 |
Choosing Export Settings With the Settings Button |
1621 |
Selecting Batch Export Settings From Columns |
1624 |
Doing a Batch Export |
1626 |
Opening Batch Exported Files in the Viewer |
1627 |
Redoing Batch Exports |
1628 |
Part IV: Settings and Preferences |
1630 |
Choosing Settings and Preferences |
1632 |
Changing User Preferences |
1632 |
General Tab |
1633 |
More About Audio Playback Quality |
1635 |
Editing Tab |
1638 |
Labels Tab |
1643 |
Timeline Options Tab |
1644 |
Render Control Tab |
1644 |
Audio Outputs Tab |
1644 |
Locating and Trashing the Preferences File |
1644 |
Changing System Settings |
1645 |
Scratch Disks Tab |
1645 |
Search Folders Tab |
1646 |
Missing Search Folders |
1647 |
Memory & Cache Tab |
1647 |
Playback Control Tab |
1648 |
External Editors Tab |
1649 |
Effect Handling Tab |
1651 |
Audio/Video Settings and Easy Setups |
1652 |
The Audio/Video Settings Window |
1652 |
Learning About Audio/Video Presets |
1652 |
Viewing a Summary of the Current Presets |
1654 |
Changing Your Easy Setup and Presets |
1654 |
Selecting a Different Easy Setup |
1655 |
Changing Audio/Video Presets |
1655 |
Choosing Individual Presets |
1656 |
Viewing Settings in a Preset |
1657 |
Creating a New Preset |
1658 |
Editing a Preset |
1659 |
Deleting Presets |
1660 |
Creating Custom Easy Setups |
1660 |
Moving, Deleting, and Restoring an Easy Setup |
1661 |
Example: Creating a Custom Preset and Easy Setup |
1663 |
Installing Third-Party Easy Setups and Presets |
1664 |
Loading Easy Setups Over a Network |
1664 |
Capture Settings and Presets |
1666 |
About Capture Preset Settings |
1666 |
General Settings for Capture Presets |
1667 |
QuickTime Video Settings for Capture Presets |
1668 |
Finding the Maximum Data Rate When Using the Limit Data Rate Field |
1669 |
Advanced QuickTime Video Settings for Capture Presets |
1670 |
QuickTime Audio Settings for Capture Presets |
1671 |
Creating a Preset to Capture Audio Only |
1672 |
Device Control Settings and Presets |
1674 |
About Device Control Presets |
1674 |
Viewing Settings for a Device Control Preset |
1675 |
Settings in the Device Control Preset Editor |
1675 |
What Is a Device Control Protocol? |
1676 |
About Device Control Protocols |
1679 |
Device Control Protocols Supported by Final Cut Pro |
1680 |
Using FireWire Device Control |
1680 |
Using Serial Device Control |
1681 |
Timecode Transferred Via Serial Device Control |
1682 |
Using a Non-Controllable Device |
1682 |
Calibrating Timecode Capture With Serial Device Control |
1683 |
Determining and Entering the Timecode Offset |
1683 |
Troubleshooting Your Device Control Setup |
1685 |
Sequence Settings and Presets |
1686 |
What Are Sequence Settings? |
1686 |
About Sequence Settings and Presets |
1687 |
General Tab for Sequences |
1687 |
QuickTime Video Settings for Sequences |
1689 |
QuickTime Audio Settings for Sequences |
1689 |
Video Processing Tab for Sequences |
1690 |
Timeline Display, Render, and Audio Output Options |
1691 |
Timeline Options Tab |
1691 |
Render Control Tab |
1691 |
Audio Outputs Tab |
1693 |
Changing Sequence Settings |
1695 |
Part V: Appendixes |
1698 |
Video Formats |
1700 |
Characteristics of Video Formats |
1700 |
Storage Medium |
1702 |
Tape Size, Cassette Shape, and Tape Coating |
1702 |
Video Standards |
1703 |
Standard Definition Video |
1703 |
High Definition Video |
1703 |
Type of Video Signal |
1704 |
Aspect Ratio of the Video Frame |
1705 |
Frame Dimensions, Number of Lines, and Resolution |
1706 |
720 x 486 Versus 720 x 480 |
1707 |
Pixel Aspect Ratio |
1708 |
Frame Rate |
1709 |
Scanning Method |
1709 |
About Interlaced Scanning |
1709 |
About Progressive Scanning |
1710 |
About Field Dominance |
1711 |
Setting Field Dominance in Final Cut Pro |
1711 |
Color Recording Method |
1712 |
Video Sampling Rate and Color Sampling Ratio |
1712 |
Color Sampling Ratio |
1713 |
Bit Depth |
1714 |
Video Compression |
1715 |
Lossless Codecs |
1715 |
Lossy Codecs |
1716 |
Uncompressed Video |
1716 |
Video Formats Supported by Final Cut Pro |
1717 |
DV Formats |
1717 |
24p Video |
1717 |
High Definition Video Formats |
1718 |
Scanning Methods |
1718 |
24psF Segmented Frame Recording |
1718 |
Compressed High Definition Tape Formats |
1719 |
Uncompressed High Definition Tape Formats |
1719 |
Data Rate Comparisons |
1720 |
Types of Video Signals and Connectors |
1720 |
Composite |
1721 |
S-Video |
1721 |
Component YUV (Y´CBCR) and Component RGB |
1722 |
FireWire (Also Called IEEE 1394a or i.LINK) |
1722 |
FireWire 800 (Also Called IEEE 1394b) |
1723 |
SDI (Serial Digital Interface) |
1723 |
HD-SDI (High Definition Serial Digital Interface) |
1723 |
SDTI (Serial Digital Transport Interface) |
1723 |
SCART |
1724 |
A Brief History of Film, Television, and Audio Formats |
1724 |
Frame Rate and Timecode |
1728 |
What Is Frame Rate? |
1728 |
Understanding Flicker and Perceived Frame Rate |
1730 |
Persistence of Vision |
1730 |
Frame Rate Limits: How Many Frames per Second Is Best? |
1731 |
Recording High Frame Rates for Slow Motion Effects |
1731 |
Recording Slow Frame Rates for Time-Lapse Photography |
1731 |
Examples of How Different Frame Rates Are Used |
1732 |
Choosing a Frame Rate |
1732 |
What Is Timecode? |
1734 |
About Drop Frame and Non-Drop Frame Timecode |
1734 |
More About Drop Frame Timecode and NTSC Frame Rate |
1735 |
The Difference Between Frame Rate and Timecode |
1736 |
Timecode on Tape |
1737 |
Comparison of Various Timecode Formats |
1738 |
Working With Anamorphic 16:9 Media |
1742 |
About Anamorphic 16:9 Media |
1742 |
About Letterboxing |
1744 |
Why Shoot 16:9 Video? |
1745 |
Recording Anamorphic Video |
1746 |
Capturing Anamorphic Media |
1747 |
Viewing and Editing Anamorphic Media |
1748 |
Specifying Sequence Settings for Anamorphic Media |
1748 |
Changing Clip Properties for Anamorphic Media |
1749 |
Rendering Items That Contain Anamorphic Media |
1750 |
Outputting Anamorphic Video to Tape |
1750 |
Exporting Anamorphic Video to a QuickTime Movie |
1751 |
Solving Common Problems |
1752 |
Resources for Solving Problems |
1752 |
Solutions to Common Problems |
1753 |
Problems With Video Devices |
1753 |
Problems During Playback |
1753 |
General Performance Issues |
1758 |
Problems With Audio Quality |
1758 |
Problems Playing a Reference Movie |
1759 |
Problems Importing an EDL or Batch Capture List |
1759 |
Contacting AppleCare Support |
1759 |
Glossary |
1760 |
Index |
1796 |
A |
1796 |
B |
1804 |
C |
1807 |
D |
1814 |
E |
1818 |
F |
1822 |
G |
1825 |
H |
1826 |
I |
1827 |
J |
1829 |
K |
1829 |
L |
1830 |
M |
1832 |
N |
1837 |
O |
1838 |
P |
1840 |
Q |
1844 |
R |
1845 |
S |
1848 |
T |
1856 |
U |
1861 |
V |
1862 |
W |
1867 |
X |
1868 |
Y |
1868 |