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Apple M8562Z/A User Manual - Page 295

About Audio Peaks, Capturing Audio From an Audio Deck Using Device Control

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About Audio Peaks When you capture audio, clipping occurs if any part of the audio signal goes over 0 dBFS. Because 0 dBFS is the maximum digital level possible, all levels that would have been above 0 dBFS are set to the maximum audio level, causing clipping. Due to the nature of digital audio recording, such clipped audio typically results in a crackly, brittle-sounding clip that is unsuitable for use. All occurrences of clipped audio appear as 0 dBFS peaks. Excessive peaks indicate that your audio was recorded at unsuitable levels. Final Cut Pro alerts you when an audio channel is peaking by lighting up its peak indicator in the Clip Settings tab of the Log and Capture window. If the peak indicator is lit, you should reduce the gain for that channel on your audio interface. If you have already captured a clip and it has peaks in the audio, you can either recapture the audio at a better level or edit the audio appropriately to avoid the peaks. You can use the Mark Audio Peaks command to identify audio peaks in clips or sequences. It's then up to you to decide whether to avoid using those sections of audio or rerecord them. For detailed information about the Mark Audio Peaks command, see Volume IV, Chapter 9, "Diagnostic Tools for Clips." Capturing Audio From an Audio Deck Using Device Control Final Cut Pro allows you to capture audio from a device-controllable audio deck such as a professional DAT (digital audio tape) decks or a digital multitrack recorder. This is mainly useful when capturing audio that was acquired via dual system recording, in which video and audio were recorded simultaneously to different devices. As with capturing video, your audio tapes must have timecode recorded on them or you cannot set In and Out points for capture. Audio decks may be controllable if they use one of the standard device control protocols (typically, RS-422) supported by Final Cut Pro. If you're planning to capture dual system audio using device control, make sure that your audio deck is genlocked with the audio or video interface you are using for capture. For more information on connecting a device-controllable audio deck to your computer, see "Connecting Audio Devices" on page 204. For more information on capturing synchronized audio, see Volume IV, Chapter 24, "Capture Settings and Presets." 294 Part IV Logging, Capturing, and Importing

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

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294

Part IV

Logging, Capturing, and Importing

Capturing Audio From an Audio Deck Using Device Control

Final Cut Pro allows you to capture audio from a device-controllable audio deck such as

a professional DAT (digital audio tape) decks or a digital multitrack recorder. This is

mainly useful when capturing audio that was acquired via dual system recording, in

which video and audio were recorded simultaneously to different devices.

As with capturing video, your audio tapes must have timecode recorded on them or

you cannot set In and Out points for capture. Audio decks may be controllable if they

use one of the standard device control protocols (typically, RS-422) supported by

Final Cut Pro.

If you’re planning to capture dual system audio using device control, make sure that your

audio deck is genlocked with the audio or video interface you are using for capture. For

more information on connecting a device-controllable audio deck to your computer, see

“

Connecting Audio Devices

” on page 204. For more information on capturing

synchronized audio, see Volume IV, Chapter 24, “Capture Settings and Presets.”

About Audio Peaks

When you capture audio, clipping occurs if any part of the audio signal goes over

0 dBFS. Because 0 dBFS is the maximum digital level possible, all levels that would

have been above 0 dBFS are set to the maximum audio level, causing clipping. Due to

the nature of digital audio recording, such clipped audio typically results in a crackly,

brittle-sounding clip that is unsuitable for use. All occurrences of clipped audio

appear as 0 dBFS peaks. Excessive peaks indicate that your audio was recorded at

unsuitable levels.

Final Cut Pro alerts you when an audio channel is peaking by lighting up its peak

indicator in the Clip Settings tab of the Log and Capture window. If the peak indicator

is lit, you should reduce the gain for that channel on your audio interface.

If you have already captured a clip and it has peaks in the audio, you can either

recapture the audio at a better level or edit the audio appropriately to avoid the

peaks. You can use the Mark Audio Peaks command to identify audio peaks in clips or

sequences. It’s then up to you to decide whether to avoid using those sections of

audio or rerecord them. For detailed information about the Mark Audio Peaks

command, see Volume IV, Chapter 9, “Diagnostic Tools for Clips.”