Section |
Page |
Final Cut Express User Manual |
1 |
Contents |
3 |
FinalCutExpress4 Documentationand Resources |
25 |
Onscreen Help |
25 |
Onscreen User Manual |
25 |
Release Notes |
25 |
Apple Websites |
26 |
FinalCutExpress Websites |
26 |
Apple Service and Support Website |
26 |
PartI: An Introduction toFinalCutExpress |
27 |
About the PostProduction Workflow |
29 |
The Industry Workflow |
29 |
The Post-Production Workflow |
30 |
Video Formats |
35 |
About Nonlinear and Nondestructive Editing |
35 |
Video Formats Compatible with FinalCutExpress |
36 |
Using Multiple Video Formats in a Sequence |
36 |
Audio Formats Compatible with FinalCutExpress |
36 |
Video Format Basics |
37 |
Video Standards |
37 |
Image Dimensions and Aspect Ratio |
38 |
Frame Rate |
38 |
Scanning Method |
38 |
Understanding Projects, Clips,and Sequences |
39 |
The Building Blocks of Projects |
39 |
What Are Media Files? |
39 |
What Are Clips? |
40 |
What Are Sequences? |
41 |
What Are Projects? |
42 |
What Are Bins? |
43 |
Working with Projects |
43 |
Organizing Your Projects |
44 |
Using More Than One Sequence in a Project |
44 |
Creating and Saving Projects |
44 |
Opening and Closing Projects |
46 |
About the Connection Between Clips and Media Files |
47 |
Relationship Between Source Tapes, Media Files, and Clips |
48 |
Reconnecting Clips to Media Files |
48 |
Filenaming Considerations |
49 |
Avoiding Special Characters |
50 |
Restricting Length of Filenames |
51 |
Using Filename Extensions |
51 |
Adding Times and Dates to FinalCutExpress Project Names |
51 |
Using Multiple Hard Disks |
51 |
PartII: Learning About theFinalCutExpress Interface |
53 |
Overview of the FinalCutExpressInterface |
55 |
Basics of Working in the FinalCutExpress Interface |
55 |
Using Keyboard Shortcuts, Buttons, and Shortcut Menus |
57 |
Using Keyboard Shortcuts |
57 |
Using Button Bars |
57 |
Using Shortcut Menus |
58 |
Learning Commands by Using Tooltips |
58 |
Customizing the Interface |
59 |
Moving and Resizing Windows |
59 |
Working with Tabs and Tabbed Windows |
60 |
Moving Windows |
62 |
Using Different Window Layouts |
62 |
Showing and Positioning the Dock |
62 |
Undoing and Redoing Changes |
63 |
Entering Timecode for Navigation Purposes |
63 |
Browser Basics |
65 |
How You Use the Browser |
65 |
Learning About the Browser |
66 |
Working in the Browser |
67 |
Creating Sequences |
67 |
Selecting Items in the Browser |
67 |
Navigating Within the Browser Using the Keyboard |
68 |
Copying and Deleting Items in the Browser |
68 |
Renaming Clips, Sequences, and Bins |
69 |
Using Columns in he Browser |
69 |
Customizing the Browser Display |
70 |
Choosing Views in the Browser |
70 |
Working with the Browser in List View |
71 |
Working with the Browser in Icon View |
74 |
Setting the Poster Frame |
77 |
Viewer Basics |
79 |
How You Can Use the Viewer |
79 |
Opening a Clip in the Viewer |
80 |
Learning About the Viewer |
81 |
Tabs in the Viewer |
83 |
Video Tab |
83 |
Audio Tabs |
83 |
Filters Tab |
84 |
Motion Tab |
84 |
Controls Tab |
84 |
Transport Controls |
84 |
Playhead Controls |
85 |
Playhead and Scrubber Bar |
85 |
Jog Control |
86 |
Shuttle Control |
86 |
Marking Controls |
87 |
Zoom and View Pop-Up Menus |
88 |
Zoom Pop-Up Menu |
88 |
View Pop-Up Menu |
90 |
Recent Clips and Generator Pop-Up Menus |
91 |
Recent Clips Pop-Up Menu |
91 |
Generator Pop-Up Menu |
91 |
Canvas Basics |
93 |
How You Use the Canvas |
93 |
Opening, Selecting, and Closing Sequences in the Canvas |
94 |
Learning About the Canvas |
95 |
Edit Overlay in the Canvas |
96 |
Transport Controls |
97 |
Playhead Controls |
98 |
Playhead and Scrubber Bar |
98 |
Jog Control |
100 |
Shuttle Control |
100 |
Marking Controls |
100 |
Zoom and View Pop-Up Menus |
101 |
Navigating and Using Timecode intheViewerand Canvas |
103 |
How the Viewer and Canvas Are Different |
103 |
Navigating in the Viewer and Canvas |
103 |
Playing Clips and Sequences |
104 |
Scrubbing, or Moving, Through a Clip or Sequence |
106 |
Shuttling Through a Clip or Sequence |
107 |
Jogging Through a Clip or Sequence |
109 |
Looping Playback |
110 |
Working with Timecode in the Viewer and Canvas |
110 |
Navigating with Timecode in the Viewer and Canvas |
111 |
Dragging Timecode Values |
112 |
Timeline Basics |
113 |
How You Use the Timeline |
113 |
Opening and Closing Sequences in the Timeline |
115 |
Learning About the Timeline |
116 |
Sequence Tabs in the Timeline |
116 |
Editing Controls |
117 |
Vertical Multitrack Controls |
118 |
Horizontal Time Controls |
119 |
Timeline Display Controls |
121 |
Audio Controls |
122 |
Other Miscellaneous Controls |
123 |
Real-Time Effects and the Render Status Bar |
124 |
Sequence Clips in the Timeline |
126 |
Changing Timeline Display Options |
126 |
About Timeline Display Options in the Sequence Settings Window |
127 |
About Timeline Display Controls in the Timeline |
129 |
Timeline Display Options Available from the Track Layout PopUpMenu |
129 |
Navigating in the Timeline |
130 |
Positioning the Playhead Using the Ruler |
130 |
Using Timecode to Navigate in the Timeline |
131 |
Zooming and Scrolling in the Timeline |
131 |
Zooming In and Out of the Timeline |
131 |
Scrolling Horizontally Through a Zoomed-In Timeline |
135 |
Scrolling Vertically Through Multiple Tracks |
136 |
Customizing the Interface |
137 |
Changing Browser and Timeline Text Size |
137 |
Moving and Resizing FinalCutExpress Windows |
137 |
Using Window Layouts |
139 |
Choosing a Window Layout |
139 |
Customizing Window Layouts |
140 |
Working with Shortcut Buttons and Button Bars |
140 |
Adding Shortcut Buttons to a Button Bar |
141 |
Rearranging, Moving, and Copying Shortcut Buttons |
142 |
Changing Shortcut Button Colors |
143 |
Removing Shortcut Buttons |
143 |
Saving and Using Custom Shortcut Button Bars |
143 |
PartIII: Setting Up YourEditingSystem |
145 |
Connecting DV Video Equipment |
147 |
Components of a Basic FinalCutExpress Editing System |
147 |
What Are Input and Output Devices? |
147 |
Setting Up a FinalCutExpress Editing System |
148 |
Connecting Your Camcorder |
149 |
Opening FinalCutExpress and Choosing Your Initial Settings |
149 |
Choosing an Easy Setup |
150 |
Specifying Scratch Disks |
151 |
About Scratch Disk Capture Order |
152 |
When Scratch Disks Become Unavailable |
153 |
Assigning Search Folders for Reconnecting Media Files |
153 |
Confirming Remote Device Control Between FinalCutExpress and Your DV Device |
153 |
About FireWire |
154 |
The Differences Between Apple FireWire and FireWire Basic |
154 |
Determining Your Hard Disk Storage Options |
155 |
Working with Scratch Disks and Hard Disk Drives |
155 |
Data Rates and Storage Devices |
156 |
Determining How Much Space You Need |
156 |
Know Your Shooting Ratio |
156 |
Planning for Additional Media Files |
157 |
Calculating Hard Disk Space Requirements |
157 |
Example Calculation for Disk Space Requirements |
158 |
Choosing a Hard Disk |
159 |
Types of Hard Disk Drives |
160 |
ATA Disk Drives |
160 |
FireWire Disk Drives |
161 |
SCSI Disk Drives |
161 |
Using a RAID or Disk Array |
162 |
Fibre Channel Drive Arrays and RAIDs |
163 |
Storage Area Networks |
164 |
External Video Monitoring |
165 |
Using an External Video Monitor While You Edit |
165 |
Consumer Video Monitors Versus Broadcast Monitors |
166 |
Connecting DV FireWire Devices to an External Monitor |
166 |
Using Digital Cinema Desktop Preview |
167 |
About Digital Cinema Desktop Preview Options |
168 |
Using Digital Cinema Desktop Preview to Monitor Your Video |
169 |
Troubleshooting Digital Cinema Desktop Preview |
170 |
About the Display Quality of External Video |
171 |
Troubleshooting External Video Monitoring Problems |
171 |
PartIV: Capturing andImporting |
173 |
Capturing Your Footage to Disk |
175 |
Overview of the Capturing Process |
175 |
Overview of the Capture Window |
177 |
Transport Controls |
178 |
Jog and Shuttle Controls |
178 |
Marking Controls |
179 |
Capture Tab |
179 |
Capture Bin Controls |
179 |
Logging Fields |
180 |
Using Slate Buttons |
181 |
Marker Controls |
181 |
Capture Buttons |
182 |
Preparing to Capture |
182 |
Organizing and Labeling Your Tapes |
182 |
Choosing Reel Names for Tapes |
182 |
Additional Tape Label Information |
183 |
Logging Your Tapes |
183 |
Choosing a Filenaming Scheme |
184 |
Determining How Much Disk Space You Need |
184 |
Capturing Individual Clips in the Capture Window |
185 |
Automatic Filenaming During Capture |
189 |
Using Capture Now |
190 |
Automatically Creating Subclips Using DV Start/Stop Detection |
192 |
Adding Markers to Clips in the Capture Window |
193 |
Marker Controls in the Capture Window |
193 |
Setting Markers |
194 |
Recapturing Clips |
194 |
Using Capture Project |
195 |
About the Additional Items Found Dialog |
197 |
Finding Your Media Files After Capture |
198 |
Where Are Captured Media Files Stored? |
198 |
Consolidating Media Files to One Folder |
199 |
Modifying a Media File’s Reel Name Property |
200 |
Avoiding Duplicate Timecode Numbers on a Single Tape |
201 |
Logging Tapes with Duplicate Timecode Numbers |
202 |
Avoiding Multiple Occurrences of the Same Timecode Number on a Single Tape |
202 |
Importing Media Files intoYourProject |
205 |
What File Formats Can Be Imported? |
205 |
How Is Importing Different from Capturing? |
206 |
Importing Media Files |
206 |
Tips When Importing |
209 |
About Importing Video Files |
209 |
Opening an iMovie Project in Final Cut Express |
210 |
Importing an iMovie Project Exported as an XML File |
210 |
About Importing Audio Files |
211 |
What Kinds of Audio File Formats Can Be Imported? |
211 |
Choosing Audio File Sample Rate and Bit Depth |
212 |
Mixing Sample Rates and Using Real-Time Sample Rate Conversion |
212 |
Converting Audio Clips to Match Sequence Settings |
213 |
Using Audio CD Tracks in Your Project |
214 |
Importing Still Images and Graphics |
214 |
Converting a Numbered Image Sequence to a QuickTime Movie |
215 |
Importing a Numbered Image Sequence into FinalCutExpress |
216 |
Making Movies from Still Images |
218 |
Ingesting Media Files |
219 |
About File-Based Media |
219 |
Working with AVCHD Footage |
220 |
About AVCHD |
220 |
Transferring AVCHD Footage |
221 |
Sample Media File Workflow |
222 |
Working with the Log and Transfer Window |
224 |
Using the Browse Area |
225 |
Controls in the Browse Area |
226 |
Selecting Clips in the Browse Area |
227 |
Using the Preview Area |
228 |
Transport Controls in the Preview Area |
228 |
Restrictions During Preview |
229 |
Using the Logging Area |
229 |
Using Autofill Cache Logging Information |
230 |
Incrementing Logging Fields |
230 |
Setting Audio and Video Clip Import Settings |
230 |
Using the Transfer Queue |
231 |
Adding Clips to the Transfer Queue for Ingest |
231 |
Organizing Clips in the Transfer Queue |
232 |
Pausing and Stopping Ingest |
232 |
Filenaming and Clip Naming During Ingest |
232 |
Working with HDV |
233 |
About HDV |
233 |
HDV Formats Supported by FinalCutExpress |
234 |
Standard Definition Recording with an HDV Camcorder |
234 |
About MPEG-2 Compression |
234 |
Spatial (Intraframe) Compression |
234 |
Temporal (Interframe) Compression |
235 |
More About Long-GOP Video |
235 |
Editing HDV Using the Apple Intermediate Codec |
235 |
HDV Apple Intermediate Codec Editing Workflow |
236 |
Connecting an HDV Device to Your Computer |
236 |
Choosing an Easy Setup |
237 |
Capturing HDV Video to the Apple Intermediate Codec |
237 |
Capturing Footage with Scene Breaks |
238 |
Editing Video Using the Apple Intermediate Codec |
238 |
Outputting HDV to Tape or Exporting to a QuickTime Movie |
239 |
HDV Format Specifications |
240 |
PartV: Organizing Footage andPreparing to Edit |
243 |
Organizing Footage intheBrowser |
245 |
Using Bins to Organize Your Clips |
245 |
Creating New Bins |
246 |
Opening Bins in the Browser |
247 |
Opening Bins in a Separate Window or Tab |
248 |
Moving Items Between Bins |
251 |
Sorting Items in the Browser Using Column Headings |
253 |
Searching for Clips in the Browser and Finder |
254 |
Revealing a Clip’s Media File in the Finder |
254 |
About Search Options |
255 |
Options for Defining the Scope of a Search |
256 |
Options for Defining the Criteria of a Search |
256 |
Search Commands |
257 |
Searching for Items in the Browser |
257 |
Searching for Multiple Items in the Browser |
258 |
Searching for Unused Clips in Your Project |
258 |
Manipulating Items in the Find Results Window |
259 |
Using Markers |
261 |
Learning About Markers |
261 |
What Can You Do with Markers? |
261 |
Differences Between Sequence and Clip Markers |
262 |
Types of Markers |
263 |
Working with Markers |
264 |
Viewing Markers in the Viewer or Canvas |
264 |
Viewing Markers in the Browser |
264 |
Adding Markers in Clips and Sequences |
264 |
Quickly Adding Markers |
265 |
Adding Markers Along with Detailed Information About Them |
266 |
Adding Chapter, Compression, and Scoring Markers |
267 |
Deleting Markers in Clips and Sequences |
267 |
Navigating with Markers |
269 |
Renaming Markers, Adding Comments, andChangingtheKind of Marker |
270 |
Moving a Marker |
271 |
Aligning Items in the Timeline by Their Markers |
272 |
Extending a Marker’s Duration |
274 |
Editing Markers into Sequences |
275 |
Exporting Markers with Your QuickTime Movies |
275 |
Creating Subclips |
277 |
Learning About Subclips |
277 |
Removing Subclip Limits |
279 |
Master-Affiliate Clip Relationships |
280 |
Techniques for Breaking Large Clips into Subclips |
280 |
Turning Markers into Subclips |
280 |
Creating Subclips Manually |
282 |
Editing with Subclips |
283 |
Automatically Creating Subclips Using DV Start/Stop Detection |
283 |
PartVI: Rough Editing |
287 |
Working with Projects, Clips, andSequences |
289 |
Specifying Preferences Before You Start Editing |
289 |
Working with Projects |
290 |
Working with Multiple Projects in the Browser |
290 |
Choosing Whether the Last Previously Opened Project Openson Launch |
290 |
Viewing and Changing the Properties of a Project |
291 |
Backing Up and Restoring Projects |
291 |
What Is Contained in a Project File |
292 |
Returning to Saved Projects |
292 |
Using the Revert Project Command |
292 |
Automatically Saving Projects with Autosave |
293 |
Learning About the Different Types of Clips |
293 |
Types of Clips |
293 |
About Offline Clips |
294 |
Sequences as Clips |
295 |
Viewing and Changing the Properties of a Clip |
295 |
Changing Clip Properties in the Browser |
295 |
Viewing and Changing Clip Properties intheItemPropertiesWindow |
296 |
Viewing and Modifying Clip Properties |
296 |
Finding a Clip’s Media File |
296 |
Finding a Clip’s Start and End Timecode Values |
297 |
Changing the Properties of Affiliate Clips |
297 |
Creating and Working with Sequences |
297 |
Creating and Deleting Sequences |
297 |
Opening and Closing Sequences |
299 |
Duplicating a Sequence |
300 |
Copying a Sequence into Another Project |
300 |
Nesting a Sequence |
301 |
Basic Sequence and Timeline Settings |
301 |
Why Would You Change Your Sequence Settings? |
302 |
Viewing an Existing Sequence’s Settings |
302 |
The Fundamentals ofAddingClips to a Sequence |
303 |
Creating a Rough Edit |
303 |
Basic Steps Involved in a Rough Edit |
303 |
How Clips Appear in the Timeline |
304 |
Undoing and Redoing Actions |
306 |
Overview of Ways to Add Clips to a Sequence |
306 |
Methods for Adding Clips to Sequences |
307 |
Drag-to-Timeline Editing |
307 |
Three-Point Editing |
307 |
Determining What Parts of Clips You Want in Your Sequence |
309 |
Preparing a Sequence Order in the Browser |
309 |
Sorting to Create a Sequence Order |
309 |
Visually Storyboarding in the Browser |
310 |
Setting Edit Points forClipsandSequences |
313 |
About In and Out Points |
313 |
Learning About the Out Point Inclusive Rule |
314 |
Things to Keep in Mind When Setting an Out Point |
315 |
Setting Clip In and Out Points in the Viewer |
317 |
Specifying an Edit Point Using Timecode |
318 |
Setting In and Out Points to Include a Whole Clip |
319 |
Reviewing Your Edit Points |
319 |
Setting Sequence In and Out Points in the Canvas or Timeline |
320 |
Options for Setting Sequence In and Out Points |
321 |
When No Sequence In or Out Points Are Set |
322 |
When You Set One Sequence In or Out Point |
323 |
When You Set Both Sequence In and Out Points |
325 |
Setting Sequence In and Out Points |
326 |
Setting In and Out Points to Match a Clip or Gap |
327 |
Setting In and Out Points Based on a Selection intheTimeline |
328 |
Navigating to In and Out Points |
330 |
Moving In and Out Points |
331 |
Clearing In and Out Points |
332 |
Working with Tracks intheTimeline |
335 |
Adding and Deleting Tracks |
336 |
Adding Tracks |
336 |
Deleting Tracks |
338 |
Specifying Destination Tracks in the Timeline |
339 |
Understanding Source and Destination Controls |
339 |
Setting Destination Tracks |
340 |
Changing Source and Destination Control Connections |
341 |
Disconnecting Source and Destination Controls |
341 |
Resetting Destination Tracks to the Default State |
343 |
Exceptions to Normal Use of Source and Destination Controls |
343 |
Locking Tracks to Prevent Edits or Changes |
344 |
Disabling Tracks to Hide Content During Playback |
345 |
Customizing Track Display in the Timeline |
346 |
Resizing Timeline Tracks |
346 |
Resizing Tracks by Dragging |
346 |
Resizing All Tracks Using the Track Height Control |
348 |
Resizing All Tracks Using the Track Layout Pop-Up Menu |
348 |
Saving Track Layouts |
349 |
Creating a Static Region in the Timeline |
349 |
Drag-to-Timeline Editing |
353 |
Overview of the Drag-to-Timeline Editing Process |
353 |
Dragging Clips to the Timeline |
354 |
Doing Simple Insert and Overwrite Edits in the Timeline |
355 |
Automatically Adding Tracks to Your Sequence WhileDragging |
358 |
Three-Point Editing |
361 |
Understanding Three-Point Editing |
361 |
Overview of the Three-Point Editing Process |
361 |
Different Ways to Do Three-Point Editing |
362 |
Dragging to the Edit Overlay in the Canvas |
363 |
Using Keyboard Shortcuts |
363 |
About Edit Types in the Edit Overlay |
364 |
Performing the Different Types of Edits |
365 |
Performing an Insert Edit |
365 |
Performing an Insert with Transition Edit |
367 |
Performing an Overwrite Edit |
368 |
Performing an Overwrite with Transition Edit |
370 |
Performing a Replace Edit |
371 |
Superimposing Clips |
377 |
Three-Point Editing Examples |
380 |
Example:Editing a Specific Clip into Your Sequence |
380 |
Example:Editing a Clip into a Gap in Your Sequence |
382 |
Example:Backtiming a Clip into Your Sequence |
383 |
Example:Editing a Clip with No Specified In or Out Points into Your Sequence |
385 |
Finding and Selecting Contentinthe Timeline |
387 |
Understanding What’s Currently Selected |
387 |
Identifying Selections in the Timeline |
388 |
How Selections Are Prioritized in the Timeline |
389 |
Direct Methods for Selecting Content in a Sequence |
389 |
An Introduction to the Selection Tools |
390 |
Selecting Clips |
392 |
Selecting an Individual Clip |
393 |
Selecting a Group of Clips by Dragging |
393 |
Selecting Multiple Clips |
394 |
Deselecting an Item in a Multiple Selection |
394 |
Selecting a Range of Timeline Content |
395 |
Selecting All Clip Items on a Track |
396 |
Selecting All Items on All Tracks Forward or Backward |
397 |
Selecting or Deselecting All Clips in a Sequence |
398 |
Finding and Selecting Based on Search Criteria |
399 |
Selecting a Vertical Range Between In and Out Points |
401 |
Using Auto Select to Specify Tracks for Selections |
402 |
Arranging Clips in the Timeline |
405 |
Snapping to Points in the Timeline |
405 |
Moving Items Within the Timeline |
407 |
Moving by Dragging |
407 |
Moving Clips Numerically |
408 |
Using the Command Key to Drag More Slowly |
410 |
Performing Shuffle Edits |
410 |
Copying and Pasting Clips in the Timeline |
412 |
Copying Clips by Option-Dragging |
412 |
Modifying Selections and Commands Using the Option Key |
413 |
Copying, Cutting, and Pasting Clips in the Timeline |
413 |
Example:Copying and Pasting Audio and Video Clip Items toDifferent Tracks in the Timeline |
416 |
Deleting Clips from a Sequence |
417 |
Deleting with a Lift Edit (Leaving a Gap) |
417 |
Deleting with a Ripple Edit (Leaving No Gap) |
418 |
Finding and Closing Gaps |
420 |
Cutting Clips andAdjustingDurations |
423 |
Performing Basic Cut Edits |
423 |
Cutting Clips in the Timeline |
423 |
Using the Add Edit Command to Cut Clips |
426 |
Joining Through Edits (Splicing Cut Clips Back Together) |
426 |
Changing the Duration of Clips in the Timeline |
427 |
Opening Sequence Clips in the Viewer to Change Durations |
428 |
Linking and Editing VideoandAudio in Sync |
429 |
Linked Sync Relationships Between Video and Audio Clips |
429 |
When Linked Clips Are Moved out of Sync |
430 |
Understanding Sync Relationships Between Multiple Linked Audio Items |
432 |
Linking and Unlinking Video and Audio Clip Items intheTimeline |
434 |
Linking Video and Audio Clip Items |
434 |
Unlinking Video and Audio Clip Items |
435 |
Selecting Individual Clip Items While They Are Linked |
436 |
Getting Clip Items Back in Sync |
437 |
Moving a Clip into Sync |
437 |
Slipping a Clip Item into Sync |
438 |
Moving or Slipping All Clip Items into Sync at Once |
440 |
Establishing a Different Sync Relationship BetweenLinkedClip Items |
441 |
Marking a Clip as In Sync |
442 |
Learning About Linking Behavior in Audio Channel Pairs |
443 |
Split Edits |
445 |
Learning About Split Edits |
445 |
How Split Edits Look in the Viewer and Canvas |
446 |
Setting Up Split Edit Points in the Viewer |
447 |
Setting Up a Split Edit While Playing a Clip |
448 |
Modifying and Clearing Split Edits |
449 |
Split Edit Examples |
451 |
Example:Split Edit in the Viewer and a Simple Edit Point intheCanvas |
451 |
Example:Split Edit in the Viewer and a Single Split Edit Point intheCanvas |
452 |
Example:Simple Edit in the Viewer and a Split Edit in the Canvas |
453 |
Audio Editing Basics |
455 |
The Goals of Audio Editing |
455 |
Using Waveform Displays to Help You Edit Audio |
457 |
Learning About the Audio Controls in the Viewer |
458 |
Editing Audio in the Viewer |
461 |
Opening Audio Clips in the Viewer |
461 |
Viewing Audio Tracks in the Viewer |
462 |
Zooming In or Out of the Waveform Display Area |
463 |
Scrolling Through a Zoomed-In Audio Clip |
464 |
Using the J, K, and L Keys to Hear Subtle Details |
465 |
Turning Off the Audio Scrubbing Sounds |
465 |
About Setting Edit Points for Audio |
466 |
Dragging an Audio Clip to the Canvas, Browser, or Timeline |
466 |
Trimming Audio Clips in the Viewer |
466 |
Editing Audio in the Timeline |
468 |
Timeline Audio Display Options |
468 |
Displaying Waveforms in the Timeline |
468 |
Displaying Overlays and Adjusting the Track Height |
469 |
Zooming In and Out of Waveforms in the Timeline |
470 |
Moving Audio Items from One Track to Another attheSameFrame |
471 |
Using Audio Transitions to Smooth Audible Changes |
471 |
Creating or Separating Stereo Pairs |
472 |
Working with Audio at the Subframe Level |
474 |
Viewing an Audio Clip at Single-Frame Resolution |
474 |
Subframe Synchronization of Audio and Video |
474 |
Examples of Ways to Easily Edit Audio |
476 |
Example:Replacing Unwanted Audio with Room Tone |
476 |
Example:Fixing Awkward Audio Cuts in the Timeline |
479 |
PartVII: Fine-Tuning Your Edit |
481 |
Performing Slip, Slide, Ripple, andRoll Edits |
483 |
About Trimming with Slip, Slide, Ripple, and Roll Tools |
483 |
Sliding Clips in the Timeline |
484 |
Performing Slide Edits Using the Slide Tool |
485 |
Performing Precise Slide Edits Numerically |
486 |
Slipping Clips in the Timeline |
487 |
Performing a Slip Edit Using the Slip Tool |
488 |
Performing Precise Slip Edits Numerically |
489 |
Using the Ripple Tool to Trim an Edit WithoutLeavingaGap |
491 |
Which Clip Items Move in the Timeline After a Ripple Edit? |
492 |
Performing Ripple Edits |
492 |
Performing a Ripple Edit in the Timeline |
493 |
Performing a Ripple Edit in the Viewer |
495 |
About Ripple Edits and Sync Relationships of Clip Items onOther Tracks |
496 |
Doing Ripple Edits on Multiple Tracks at Once |
498 |
Asymmetrical Trimming with the Ripple Tool |
498 |
Tips for Edits Made with the Ripple Tool |
501 |
Using the Roll Tool to Change Where a Cut Occurs |
501 |
Rolling the Position of an Edit Between Two Clips |
502 |
Rolling Edit Points in the Timeline |
503 |
Doing Roll Edits in the Viewer |
506 |
Tips for Using the Roll Tool |
506 |
Learning About Trimming Clips |
507 |
What Is Trimming? |
507 |
Controls That Affect Trim Edits |
509 |
Selecting Edits and Clips to Trim |
510 |
Tools for Selecting Edit Points |
511 |
Selecting Single Edit Points |
512 |
Selecting Multiple Edit Points |
512 |
Trimming Clip In and Out Points |
513 |
Trimming with the Selection Tool |
513 |
Extending and Shortening Clips in the Timeline |
515 |
Trimming Clips in the Viewer |
516 |
Precision Editing Using Timecode |
518 |
Determining What Kind of Edit Occurs When Entering TimecodeNumbers |
518 |
Moving the Playhead in the Timeline Using Timecode |
518 |
Moving Clips Using Timecode |
519 |
Using Timecode to Trim Clips in the Viewer |
520 |
Understanding Alert Messages When Trimming |
521 |
Trimming Clips UsingtheTrimEdit Window |
523 |
Learning About the Trim Edit Window |
523 |
Opening and Closing the Trim Edit Window |
525 |
Controls in the Trim Edit Window |
526 |
Using the Trim Edit Window |
530 |
Playing Incoming and Outgoing Clips intheTrimEditWindow |
531 |
Dynamic Trimming |
531 |
Trimming an Edit in the Trim Edit Window |
531 |
Reviewing and Playing Back Your Edits intheTrimEditWindow |
534 |
Slipping a Clip in the Trim Edit Window |
534 |
Listening to Audio While Trimming |
535 |
Adding Transitions |
537 |
Learning About Transitions |
537 |
Common Types of Transitions |
538 |
Using Transitions in Your Sequences |
539 |
How Transitions Appear in the Timeline |
539 |
Having Handles at Edit Points |
540 |
Aligning a Transition in the Timeline |
540 |
Adding Transitions |
541 |
Adding Transitions with Clips You Add to the Timeline |
541 |
Quickly Adding the Default Transition to Clips inYourSequence |
542 |
Adding Transitions to Clips in Your Sequence |
543 |
Example:Transitioning to or from Black |
544 |
Moving, Copying, and Deleting Transitions |
545 |
Moving a Transition to Another Edit Point |
546 |
Copying and Pasting Transitions |
546 |
Deleting Transitions |
547 |
Modifying Transitions in the Timeline |
547 |
Changing the Duration of a Transition in the Timeline |
547 |
Changing the Alignment of a Transition in the Timeline |
549 |
Changing an Edit Point After Adding a Transition |
549 |
Replacing Transitions |
550 |
Video Transitions That Come with FinalCutExpress |
550 |
Using After Effects Transitions |
555 |
Refining Transitions UsingtheTransition Editor |
557 |
Using the Transition Editor |
557 |
Controls in the Transition Editor |
558 |
Displaying Clips in the Transition Editor |
562 |
Opening and Modifying Transitions in the Transition Editor |
563 |
Applying a Modified Transition Directly to a Sequence intheTimeline |
563 |
Trimming Transitions and the Surrounding Clips |
564 |
About the Two-Up Display in the Canvas |
565 |
Trimming the Duration of a Transition |
565 |
Doing a Roll Edit to Change the Location of a Transition |
566 |
Doing a Ripple Edit to Adjust the Length of a Clip in a Transition |
567 |
Previewing and Rendering Transitions |
568 |
Determining the Render Status of Transitions |
568 |
Previewing Transitions Before Rendering Them |
569 |
Rendering Transitions |
569 |
Sequence-to-Sequence Editing |
571 |
Methods for Editing Clips from One Sequence to Another |
571 |
Opening More Than One Sequence at a Time |
572 |
Copying Clips from One Sequence to Another |
572 |
Nesting Sequences |
576 |
When Do You Nest Sequences? |
576 |
Pros and Cons of Nested Sequences |
576 |
Nesting a Sequence Inside Another Sequence |
577 |
Changing the Duration of a Nested Sequence Ripples Clips AftertheNested Sequence |
577 |
Editing the Content of One Sequence into Another WithoutNesting It |
579 |
Editing Sequence Content Versus Nesting |
579 |
Editing Clips from One Sequence into Another |
580 |
Matching Frames |
585 |
Working with Sequence Clips in the Viewer |
585 |
Opening a Sequence Clip in the Viewer |
586 |
Switching Between the Viewer, Canvas, and Timeline |
587 |
Using the Viewer to Adjust Sequence Clip In and Out Points |
587 |
Using the Viewer to Adjust Motion and Filter Parameters |
588 |
Matching Frames Between Sequence and Master Clips |
588 |
Matching a Frame in the Canvas to Its Master Clip |
589 |
Matching a Frame in the Canvas to Its Media File |
589 |
Matching a Frame in the Viewer to a Sequence Clip intheCanvasor Timeline |
590 |
PartVIII: Audio Mixing |
591 |
Setting Up for Audio Mixing inFinalCutExpress |
593 |
About Digital Audio |
593 |
Sample Rate |
594 |
Bit Depth |
594 |
Audio Signal Flow in FinalCutExpress |
597 |
Configuring External Audio Monitors |
597 |
Connecting Speakers to Your Editing System |
597 |
Setting Monitoring Levels and Muting System Sound Effects |
598 |
Tips for Choosing Speakers and an Amplifier |
599 |
Frequency Response and Dynamic Range |
600 |
Self-Powered Versus Passive Speakers |
600 |
Amplifiers and Signal Levels for Unpowered Speakers |
601 |
Setting Up a Proper Audio Monitoring Environment |
601 |
Speaker Placement and Listening Position |
602 |
Using Headphones |
602 |
Evaluating Levels withAudioMeters |
603 |
About Audio Meters |
603 |
Average and Peak Audio Levels |
603 |
Analog Versus Digital Meters |
604 |
Analog 0dB Versus Digital 0dBFS |
605 |
About the Audio Meters in FinalCutExpress |
606 |
Setting Proper Audio Levels |
606 |
Raising Audio Levels Using Audio Normalization and Gain |
607 |
How Normalization Gain Works in FinalCutExpress |
607 |
How Linked Mono and Stereo Clips Are Normalized |
608 |
Reapplying Normalization Gain |
608 |
Choosing Normalization Gain Versus Audio Level Keyframing |
608 |
Troubleshooting Audio Normalization |
609 |
What Reference Level Should You Use for Mixing and Output? |
609 |
Outputting Bars and Tone at the Head of Your Tape |
610 |
Labeling Your Tapes |
610 |
Mixing Audio intheTimelineandViewer |
611 |
Adjusting Audio Levels in the Timeline and Viewer |
611 |
Adjusting Audio Levels in the Timeline |
611 |
Changing Audio Levels While a Sequence Is Playing |
615 |
Changing Audio Levels in the Viewer |
615 |
Panning Audio in the Timeline and Viewer |
618 |
Panning Audio in the Timeline |
618 |
Changing the Pan of Audio in the Viewer |
619 |
Changing Pan for an Entire Clip |
620 |
Copying, Pasting, and Removing Audio Attributes |
621 |
Adjusting Clip Audio Levels and Pan Using Keyframes |
622 |
Tools for Adjusting Keyframes |
622 |
Using the Option Key to Temporarily Enable Pen Tools |
622 |
Using the Command Key to Gear Down Adjustment Speed |
623 |
Creating, Modifying, and Deleting Keyframes in the Viewer |
623 |
Example:Using Keyframes to Adjust Audio Levels |
628 |
Example:Using Keyframes in the Timeline toAutomateAudio Levels |
629 |
Example:Setting Subframe Audio Level Keyframes toEliminate Clicks |
630 |
Example:Using Keyframes to Control Pan |
633 |
Using the Voice Over Tool |
637 |
About the Voice Over Tool |
637 |
Setting Up Your Computer to Record Voiceover |
637 |
About Microphones and Room Noise |
638 |
Connecting Audio Devices and Configuring Software |
638 |
RAM Requirements When Using the Voice Over Tool |
641 |
Controls in the Voice Over Tool |
641 |
Defining the Recording Duration and Destination Track |
644 |
Setting the Recording Duration |
644 |
Defining the Destination Track |
646 |
Recording a Voiceover |
648 |
Recording a Voiceover Clip |
648 |
Recording Multiple Takes |
650 |
How Audio Recorded with the Voice Over Tool AppearsinYourSequence |
651 |
Using Audio Filters |
653 |
About Audio Filters |
653 |
Overview of Audio Filters |
654 |
Equalization Filters |
654 |
Frequency Ranges and Equalization |
655 |
Equalization Filters Available in FinalCutExpress |
656 |
Using Equalization Filters in FinalCutExpress |
656 |
Gain Filter |
657 |
Compressor/Limiter Filter |
657 |
Expander/Noise Gate Filter |
658 |
Noise Reduction Filters |
659 |
Hum Remover |
659 |
Vocal DeEsser |
660 |
Vocal DePopper |
660 |
Echo and Reverberation Filters |
660 |
Working with Audio Filters |
662 |
Applying Filters to an Audio Clip |
664 |
Modifying and Removing Filters |
667 |
Making Real-Time Audio Filter Adjustments |
668 |
Looping Playback While Making Real-Time Filter Adjustments |
668 |
Automating Audio Filter Parameters with Keyframes |
669 |
Keyframe Controls in the Filters Tab of the Viewer |
669 |
Adjusting Audio Filter Parameter Keyframes |
670 |
Installing Third-Party Audio Units Filters |
673 |
PartIX: Effects and ColorCorrection |
675 |
Using Video Filters |
677 |
Different Ways to Use Filters |
677 |
Applying a Filter to a Clip |
678 |
Applying Multiple Filters to Clips |
681 |
Viewing and Adjusting a Filter’s Parameters |
682 |
Viewing a Filter’s Parameters |
682 |
Controls in the Filters Tab of the Viewer |
683 |
Using Filter Controls |
685 |
Enabling and Rearranging Filters |
689 |
Copying and Pasting a Clip’s Filters |
690 |
Removing Filters from Clips |
691 |
Color Correction |
693 |
What Is Color Correction? |
693 |
Why Color Correct Your Footage? |
694 |
Color Correction Starts During Your Shoot |
695 |
Using a Chip Chart in Production |
696 |
Managing Color During Post-Production |
696 |
Telecine Color Correction |
696 |
Other Advantages of Telecine Transfers |
698 |
Tape-to-Tape Color Correction |
698 |
Color Correction in FinalCutExpress |
699 |
The Color Correction Process |
701 |
The FinalCutExpress Color Correction Filters |
703 |
Using the Color Correction Filters |
703 |
About the Controls in the Color Corrector Filter |
704 |
The Color Corrector Filter |
704 |
General Controls |
705 |
Copy Filter Controls |
706 |
Working with the Copy Filter Controls |
707 |
Menu Commands for the Copy Filter Controls |
710 |
Keyboard Shortcuts for the Copy Filter Controls |
711 |
Color Balance Controls |
711 |
Auto Level and Contrast Controls |
713 |
Level and Saturation Controls |
713 |
Match Hue Controls |
714 |
Example:Using the Color Corrector Filter |
715 |
The Desaturate Highlights and Desaturate Lows Filters |
719 |
Desaturate Highlights and Desaturate Lows Filter Controls |
719 |
Example:Using the Desaturate Highlights Filter |
720 |
Changing Motion Parameters |
723 |
Creating Motion Effects in the Viewer |
723 |
Adjusting Parameters in the Motion Tab |
724 |
Working with Motion Parameters |
724 |
Keyboard Modifiers for Controls in the Motion Tab |
726 |
Controls in the Motion Tab |
726 |
Using the Paste Attributes Command |
728 |
Using Cartesian Geometry to Position Clips |
729 |
Examples Using Motion Settings |
731 |
Example:Using Motion Settings to Create a Multiple Clip Layout |
731 |
Example:Using Additional Motion Settings to Refine the Layout |
739 |
Creating Motion Effects in the Canvas |
741 |
Choosing the Image+Wireframe Mode |
741 |
Manipulating Images in the Canvas |
742 |
Crop and Distort Tools |
742 |
Zooming In to the Canvas |
743 |
Using Wireframe Handles to Transform, Scale, and Rotate |
744 |
Example:Using Motion Parameters and Wireframe Handles |
748 |
Adjusting Parameters forKeyframed Effects |
751 |
Animating Motion Effects Using Keyframes |
751 |
How Keyframing Works |
752 |
Determining the Number of Keyframes to Use |
753 |
Creating Simple Effects with Two Keyframes |
753 |
Using Three Keyframes |
754 |
Using Four or More Keyframes for Complex Effects |
754 |
Keyframing Controls in the Viewer |
754 |
Keyframing Tools in FinalCutExpress |
756 |
Keyboard Modifiers for the Pen Tool |
756 |
Setting Keyframes |
757 |
Adjusting and Deleting Keyframes |
758 |
Moving Between Keyframes |
759 |
Resizing the Keyframe Graph Area |
760 |
Resizing Parameter Display Height and Width |
760 |
Zooming In to the Keyframe Graph Area |
761 |
Adjusting All Opacity Keyframes of a Clip |
763 |
Example:Using Keyframes to Make Opacity Changes |
763 |
Example:Keyframing Opacity in the Timeline |
765 |
Smoothing Keyframes with Bezier Handles |
767 |
Understanding Bezier Handles and Curves |
768 |
One-Sided Bezier Handles |
768 |
Two-Sided Bezier Handles |
769 |
Smoothing Keyframes |
770 |
Creating Keyframed Motion Paths in the Canvas |
771 |
What Are Motion Paths? |
772 |
Creating Motion Paths |
772 |
Adding, Moving, and Deleting Keyframes in Motion Paths |
774 |
Creating Curved Motion Paths Using Bezier Handles |
774 |
Controlling Speed Along a Motion Path |
776 |
Moving an Entire Motion Path in the Canvas |
778 |
Reusing Effect andMotionParameters |
779 |
Copying and Pasting Specific Clip Attributes |
779 |
About the Paste Attributes Dialog |
780 |
Copying and Pasting Clip Attributes |
781 |
Removing Attributes from a Clip |
782 |
Applying Filters Across Multiple Tracks at Once |
783 |
Changing Clip Speed |
785 |
Speed Basics |
785 |
How Changing Speed Affects a Clip’s Duration |
786 |
Performing a Fit to Fill Edit |
786 |
Constant Speed Settings |
789 |
Frame Blending and Reverse Speed |
789 |
Smoothing Slow Motion Using Motion Blur |
790 |
Working with Freeze Frames andStill Images |
791 |
Using Still Images and Graphics in Your Sequences |
791 |
Creating Freeze Frames from a Video Clip |
792 |
Creating a Freeze Frame |
792 |
Setting the Duration of a Freeze Frame |
792 |
Creating Freeze Frames of Embedded LiveType Projects |
792 |
Reconnecting Freeze Frame Clips |
792 |
About Sequence Freeze Frames |
793 |
Exporting Still Images |
793 |
Deinterlacing Still Video Images to Improve Image Quality |
793 |
Considerations Before Creating and Importing Stills |
794 |
Creating Graphics with the Correct Frame Size for Video |
794 |
Working with Graphics Clips of Different Sizes |
795 |
Video Is Not 72 Dots per Inch |
795 |
Bit Depth of Imported Graphics |
796 |
Creating Graphics with the Correct Color Settings for Video |
799 |
Flattening Graphics with Layers |
800 |
Using Alpha Channels |
800 |
Selecting Fonts and Creating Line Art for Video |
800 |
Scaling Images and Video Clips to Match a Sequence |
801 |
Changing the Duration of Still Images |
802 |
Example:Adding Camera Motion to Still Images |
803 |
Compositing and Layering |
807 |
Introduction to Compositing and Layering |
807 |
Methods of Compositing |
808 |
Different Ways to Layer Clips in the Timeline |
808 |
Moving Clips Vertically to Another Track |
809 |
Adjusting Opacity Levels of Clips |
809 |
Working with Composite Modes |
812 |
How Composite Modes Affect Images |
812 |
Applying Composite Modes to Clips |
814 |
Composite Modes in FinalCutExpress |
815 |
About the Examples in This Section |
815 |
Normal |
816 |
Add |
816 |
Subtract |
817 |
Difference |
817 |
Multiply |
818 |
Screen |
819 |
Overlay |
820 |
Hard Light |
821 |
Soft Light |
821 |
Darken |
822 |
Lighten |
823 |
Travel Matte - Alpha |
823 |
Travel Matte - Luma |
824 |
Using Travel Mattes to Hide or Reveal Parts of a Clip |
824 |
Working with Layered Photoshop Files |
826 |
Photoshop Features Supported During Import |
826 |
Updating Photoshop Files in Adobe Photoshop |
826 |
Working with Layered Photoshop Sequences |
827 |
Don’t Add or Delete Layers from an Imported Photoshop File |
828 |
Using Video and Graphics Clips with Alpha Channels |
828 |
Working with Clips That Have Alpha Channels |
829 |
Changing a Clip’s Alpha Channel Type |
830 |
Exchanging Media with Alpha Channels |
832 |
Choosing a Background |
832 |
Temporarily Excluding Clips from Playback or Output |
833 |
Temporarily Disabling a Single Clip |
834 |
Soloing Clips in Multitrack Sequences |
835 |
Keying, Mattes, and Masks |
837 |
Ways to Layer and Isolate Elements in Clips |
837 |
What Are Mattes and How Can You Use Them? |
837 |
What Is Keying and How Can You Use It? |
838 |
What Are Masks and How Are They Used? |
839 |
Alpha Channels and Key, Matte, and Mask Filters |
839 |
Using Keying to Isolate Foreground Elements |
840 |
Shooting Footage That Keys Well |
840 |
Choosing an Appropriate Video Format |
840 |
Using Proper Lighting |
841 |
Overview of Compositing Using the Chroma Keyer Filter |
842 |
Working with the Chroma Keyer Filter |
844 |
Specifying the Type of Controls to Use for the Chroma Keyer Filter |
844 |
Visual Controls in the Chroma Keyer Filter |
846 |
Example:Using the Chroma Keyer Filter |
848 |
Using Mattes to Add or Modify Alpha Channels |
854 |
Matte Filters Available in FinalCutExpress |
854 |
Example:Using the Four-Point Garbage Matte Filter |
854 |
Example:Keyframing Garbage Mattes |
856 |
Using Masks to Replace or Modify Alpha Channels |
857 |
Mask Filters Available in FinalCutExpress |
857 |
Example:Using the Image Mask and Mask Feather Filters |
858 |
Using Generator Clips |
861 |
What Is a Generator Clip? |
861 |
Different Ways to Use Generators in Your Sequence |
862 |
Video and Audio Generators Available inFinalCutExpress |
863 |
Color Bars, Tone, and Other Signal Generators |
863 |
Matte Color and Slug |
864 |
Render |
865 |
Shapes |
867 |
Text |
867 |
Creating and Adding Generators to Sequences |
867 |
Creating Titles |
869 |
How You Can Use Titles in Your Project |
869 |
Installing and Choosing Fonts |
870 |
Making Sure Titles Fit on TV Screens |
871 |
Text Generators Available in FinalCutExpress |
872 |
Creating and Adding a Title Clip |
874 |
Other Options for Creating and Adding Titles |
877 |
Using LiveType to Create Titles for Your Project |
878 |
Importing a LiveType Project into FinalCutExpress |
878 |
PartX: Real Time and Rendering |
879 |
Using RT Extreme |
881 |
Introduction to Real-Time Processing |
881 |
Real-Time Playback Versus Rendering |
882 |
How Real-Time Processing Works |
882 |
How FinalCutExpress Calculates Processor Workload |
882 |
Achieving Real-Time Playback When Processor Power Is Exceeded |
883 |
What Are Dropped Frames? |
884 |
Identifying Which Effects Can Play Back in Real Time |
884 |
About Render Status Bars |
884 |
About Render Status Bar Tooltips |
885 |
Effect Names That Appear in Boldface |
885 |
Changing Real-Time Playback Settings |
886 |
Locations for Changing Real-Time Playback Settings |
886 |
Playback Control Tab in System Settings |
887 |
RT Pop-Up Menu in the Timeline |
887 |
Render Control Tab in Sequence Settings |
887 |
About RealTime Playback Options |
888 |
Safe RT |
888 |
Unlimited RT |
889 |
Play Base Layer Only |
890 |
Beep When Playing Unrendered Audio |
891 |
Playback Video Quality |
891 |
Playback Frame Rate |
891 |
About Dynamic Real-Time Playback |
892 |
Record Settings |
892 |
Still-Image Real-Time Playback |
893 |
Improving Real-Time Performance |
893 |
Reporting Dropped Frames During Playback |
894 |
Factors That Affect Real-Time Performance |
894 |
Real-Time Audio Mixing in FinalCutExpress |
895 |
Calculating the Number of Tracks That Can Be Played Back inReal Time |
896 |
Improving Real-Time Audio Performance |
897 |
Choosing Real-Time Playback Versus Rendering |
898 |
Using RT Extreme for Video Output |
898 |
Rendering and Video ProcessingSettings |
899 |
What Is Rendering? |
899 |
Render Indicators in FinalCutExpress |
900 |
About Render Status Bars in the Timeline |
900 |
Video Render Status Bars |
901 |
Audio Render Status Bars |
902 |
About Item-Level Render Status Bars |
903 |
The Rendering Process |
904 |
Controlling Render Quality |
904 |
Order of Effects Rendering |
904 |
Selecting Clips for Rendering |
904 |
Rendering Segments in a Sequence |
905 |
Render Selection |
905 |
Render All |
907 |
Render Only |
907 |
Rendering Audio Items in a Sequence |
908 |
More About Audio Render Options |
908 |
Using the Mixdown Command |
909 |
Keeping Track of Rendering Progress |
909 |
Temporarily Disabling Rendering |
910 |
Automatic Rendering While You Are Away fromYourComputer |
911 |
Changing Render Settings |
912 |
Using the Render Control Tab |
912 |
Render & Playback Settings |
912 |
Render Settings |
913 |
Changing Render Settings for Sequences |
913 |
Managing Your Render Files |
914 |
Locating Render Files |
914 |
Preserving Render Files |
915 |
Using Nested Sequences to Preserve Render Files |
915 |
Disabling Tracks Affects Render Files |
915 |
Tips for Avoiding Unnecessary Rendering and Reducing Render Time |
916 |
Working with Mixed-Format Sequences |
919 |
About Mixed-Format Sequences |
919 |
Terminology for Discussing Mixed-Format Sequences |
920 |
Determining Whether Clips in a Sequence Will Play Back inReal Time |
920 |
Formats That Support Real-Time Playback |
921 |
Formats That Don’t Support Real-Time Playback |
921 |
Viewing Clip Properties and Sequence Settings |
921 |
Working with Mixed-Format Sequences |
922 |
Conforming Sequence Settings to Match a Clip’s Settings |
922 |
Enabling Automatic Sequence Conform Options |
922 |
Rules for Automatic Sequence Conforming |
922 |
Conforming Clips to Match Sequence Settings |
923 |
When Are Clips Automatically Conformed to a Sequence? |
924 |
Mixing Frame Rates |
924 |
Issues When Working with Mixed Frame Rates |
925 |
Working with Subclips in Mixed-Frame-Rate Sequences |
925 |
Combining Interlaced Footage with Different Field Dominances |
926 |
Using the Shift Fields Filter |
926 |
Mixing Interlaced and Progressive Footage |
927 |
Mixing Footage with Different Codecs |
927 |
Adding Filters and Motion Effects to Mixed-Format Sequences |
928 |
Combining SD and HD Video |
928 |
Downconverting HD Video |
928 |
Letterboxing 16:9 Video in a 4:3 Frame |
929 |
Cropping 16:9 Video to 4:3 |
930 |
Pan and Scan |
931 |
16:9 Anamorphic |
932 |
Upconverting SD Video |
933 |
Rendering MixedFormat Sequences |
933 |
PartXI: Project Management andSettings |
935 |
Backing Up andRestoringProjects |
937 |
Backing Up and Restoring Projects |
937 |
Using the Revert Project Command |
937 |
Using the Autosave Feature |
938 |
Using a “First-In, First-Out” Strategy |
939 |
Restoring Autosaved Projects |
940 |
Opening a Project File After Your Computer IsUnexpectedlyShut Down |
941 |
Archiving Completed Projects |
941 |
Working with MasterandAffiliateClips |
943 |
Using Master and Affiliate Clips |
943 |
Shared and Unique Clip Properties |
944 |
Working with Master Clips |
945 |
Implicit and Explicit Master Clips |
946 |
How Master Clips Connect to Media Files |
946 |
Identifying Master Clips |
946 |
Creating a Master Clip by Duplicating a Master Clip |
946 |
Finding a Clip’s Master Clip |
947 |
Working with Affiliate Clips |
947 |
Creating Independent Clips |
948 |
Changing Independent Clips to Affiliate Clips |
949 |
When Can Independent Clips Become Affiliated with Existing MasterClips? |
950 |
Using Keyboard Shortcuts to Modify Master-Affiliate ClipRelationships |
950 |
Moving Clips Between Projects |
951 |
How Does FinalCutExpress Identify Matching Clips? |
951 |
Resolving Property Differences Between Matching Clips |
952 |
About the Copy Master Clip Dialog |
952 |
Using the Copy Master Clip Dialog |
954 |
Reconnecting Clips andOfflineMedia |
955 |
Finding Your Media Files After Capture |
955 |
Where Are Captured Media Files Stored? |
956 |
Revealing a Clip’s Media File in the Finder |
957 |
Consolidating Media Files to One Folder |
957 |
About the Connections Between Clips and Media Files |
958 |
How the Connection Between Clips and Media Files CanBeBroken |
959 |
Reconnecting Clips to Media Files |
959 |
About the Reconnect Files Dialog |
960 |
Search Order and Speed in the Reconnect Files Dialog |
962 |
Using the Reconnect Files Dialog |
963 |
When FinalCutExpress Reconnects Your Clips |
966 |
About the Offline Files Dialog |
966 |
Information and Controls in the Offline Files Dialog |
967 |
Maintaining Field Dominance, Pixel Aspect Ratio, and Anamorphic Settings When Reconnecting Media ... |
967 |
Reconnecting Media Files Automatically |
968 |
Choosing Settings andPreferences |
969 |
Changing User Preferences |
969 |
General Tab |
970 |
More About Audio Playback Quality |
972 |
Editing Tab |
975 |
Timeline Options Tab |
977 |
Render Control Tab |
977 |
Locating and Deleting the Preferences File |
978 |
Changing System Settings |
978 |
Scratch Disks Tab |
979 |
About Waveform and Thumbnail Cache Files |
979 |
About Waveform Cache Files |
979 |
About Thumbnail Cache Files |
979 |
Search Folders Tab |
980 |
Memory & Cache Tab |
981 |
Playback Control Tab |
982 |
External Editors Tab |
982 |
PartXII: Output |
985 |
Preparing to Output to Tape |
987 |
Output Requirements |
987 |
Methods for Output to Tape in FinalCutExpress |
988 |
Setting Up Your Editing System to Output to Tape |
989 |
Connecting Your Video Equipment and Setting It to VCR Mode |
989 |
Choosing Video and Audio Outputs |
990 |
Selecting Playback Settings |
990 |
Selecting Render Settings |
991 |
Cueing the Videotape |
991 |
Printing to Video andOutputfrom the Timeline |
993 |
Different Ways You Can Output Video fromtheTimeline |
993 |
Printing to Video |
994 |
Automatically Recording with Print to Video |
994 |
Using the Print to Video Command |
995 |
Recording from the Timeline |
997 |
Outputting to VHS Tape |
999 |
Learning About QuickTime |
1001 |
What Is QuickTime? |
1001 |
The QuickTime Suite of Software Applications |
1002 |
QuickTime for Media Authoring |
1002 |
The QuickTime Movie File Format |
1002 |
How Is Information Stored in a QuickTime Movie? |
1003 |
Codecs Supported in QuickTime |
1003 |
Distinguishing Between File Formats and Codecs |
1004 |
Understanding Codec and File Format Naming Conventions |
1004 |
Time in QuickTime Movie File Tracks |
1005 |
How FinalCutExpress Uses QuickTime for Import, Export, andCapture |
1005 |
To Find Out More About QuickTime |
1005 |
Formats Supported by QuickTime |
1006 |
Movie File Formats |
1006 |
Video Codecs Supported Within Video File Formats |
1007 |
Graphics and Still-Image Formats |
1009 |
Audio File Formats |
1010 |
How Do You Export the Files You Need? |
1011 |
The Export QuickTime Movie Command |
1011 |
The Export Using QuickTime Conversion Command |
1012 |
Exporting QuickTime Movies |
1013 |
About the Export QuickTime Movie Command |
1013 |
Choosing the Type of QuickTime Movie to Export |
1014 |
Exporting a Self-Contained Movie Without RecompressingtheMedia |
1015 |
Exporting a QuickTime Movie File |
1015 |
Exporting QuickTime Movies with Markers |
1017 |
Exporting Using QuickTimeConversion |
1019 |
About the Export Using QuickTime Conversion Command |
1019 |
What Is QuickTime and Why Do You Need to Know About It? |
1020 |
Types of File Formats You Can Export with QuickTime |
1020 |
About Color Space Conversion |
1021 |
Exporting a QuickTime Movie File for Web Distribution |
1021 |
Configuring QuickTime Movie Settings |
1023 |
QuickTime Movie Video Settings |
1024 |
QuickTime Movie Sound Settings |
1030 |
Internet Streaming Settings |
1032 |
About QuickTime Aperture Display Modes |
1033 |
Classic Aperture Mode |
1034 |
Clean Aperture Mode |
1034 |
Production Aperture Mode |
1035 |
Encoded Pixels Aperture Mode |
1036 |
Exporting to an Apple Device |
1036 |
Exporting a DV Stream |
1037 |
Exporting an AVI File |
1038 |
Exporting Sequences for DVD |
1041 |
The DVD Creation Process |
1041 |
Video for Standard DVDs |
1042 |
Audio for DVD |
1043 |
About Surround Sound Audio |
1044 |
Adding Chapter and Compression Markers to Your Sequence |
1044 |
More About Chapter Markers |
1045 |
More About Compression and Edit/Cut Markers |
1046 |
Using iDVD |
1047 |
Exporting a QuickTime Movie for DVD Use |
1047 |
Exporting Still Images andImageSequences |
1049 |
Determining the Image Format for Still-Image Export |
1049 |
Resolution of Exported Still Images |
1049 |
Bit Depth of Exported Still Images |
1049 |
Exporting a Single Still Image |
1050 |
Exporting Image Sequences |
1051 |
PartXIII: Appendixes |
1055 |
Video Formats |
1057 |
Characteristics of Video Formats |
1057 |
Storage Medium |
1058 |
Tape Size, Cassette Shape, and Tape Coating |
1058 |
About File-Based Media |
1059 |
Video Standards |
1059 |
Standard Definition Video |
1059 |
High Definition Video |
1060 |
Types of Video Signals |
1060 |
Aspect Ratio of the Video Frame |
1062 |
Letterboxing |
1063 |
Pan and Scan |
1063 |
Anamorphic |
1064 |
Pillarboxing |
1064 |
Frame Dimensions, Number of Lines, and Resolution |
1064 |
Pixel Aspect Ratio |
1066 |
Frame Rate |
1067 |
Scanning Method |
1067 |
About Interlaced Scanning |
1067 |
About Progressive Scanning |
1068 |
About Field Dominance |
1069 |
Setting Field Dominance in FinalCutExpress |
1069 |
Color Recording Method |
1070 |
Video Sample Rate and Bit Depth |
1070 |
Color Sample Ratio |
1071 |
Bit Depth |
1071 |
Perceptual Coding and Gamma |
1072 |
Video Compression |
1072 |
Lossless Codecs |
1073 |
Lossy Codecs |
1074 |
About Uncompressed Video |
1074 |
About MPEG Compression |
1074 |
MPEG-1 |
1078 |
MPEG-2 |
1078 |
MPEG-4 |
1079 |
MPEG-4 Part 10, or H.264 |
1079 |
Video Formats Supported by FinalCutExpress |
1079 |
DV Formats |
1079 |
High Definition Video Formats |
1080 |
Scanning Methods |
1080 |
Compressed High Definition Formats |
1080 |
Uncompressed High Definition Formats |
1081 |
Data Rate Comparisons |
1081 |
A Brief History of Film, Television, and Audio Formats |
1081 |
Frame Rate and Timecode |
1085 |
What Is Frame Rate? |
1085 |
Understanding Flicker and Perceived Frame Rate |
1086 |
Frame Rate Limits:How Many Frames perSecondIsBest? |
1087 |
Recording High Frame Rates for Slow Motion Effects |
1087 |
Recording Slow Frame Rates for Time-Lapse Photography |
1088 |
Examples of How Different Frame Rates Are Used |
1088 |
Choosing a Frame Rate |
1088 |
What Is Timecode? |
1090 |
About Drop Frame and Non-Drop Frame Timecode |
1090 |
More About Drop Frame Timecode and NTSC Frame Rate |
1091 |
The Difference Between Frame Rate and Timecode |
1093 |
Working with Anamorphic16:9Media |
1095 |
About Anamorphic 16:9 Media |
1095 |
About Letterboxing |
1097 |
Why Shoot 16:9 Video? |
1098 |
Recording Anamorphic Video |
1099 |
Capturing Anamorphic Media |
1100 |
Viewing and Editing Anamorphic Media |
1100 |
Specifying Sequence Settings for Anamorphic Media |
1101 |
Changing Clip Properties for Anamorphic Media |
1101 |
Rendering Items That Contain Anamorphic Media |
1102 |
Outputting Anamorphic Video to Tape |
1103 |
Exporting Anamorphic Video to a QuickTime Movie |
1103 |
Solving Common Problems |
1105 |
Resources for Solving Problems |
1105 |
Solutions to Common Problems |
1106 |
Problems with Video Devices |
1106 |
Problems During Playback |
1106 |
Problems with Audio Quality |
1110 |
Other Issues |
1111 |
Contacting AppleCare Support |
1111 |
Index |
1113 |
A |
1113 |
B |
1117 |
C |
1118 |
D |
1123 |
E |
1124 |
F |
1126 |
G |
1128 |
H |
1128 |
I |
1129 |
J |
1130 |
K |
1130 |
L |
1131 |
M |
1132 |
N |
1134 |
O |
1135 |
P |
1136 |
Q |
1138 |
R |
1138 |
S |
1141 |
T |
1145 |
U |
1148 |
V |
1149 |
W |
1152 |
X |
1152 |
Y |
1152 |