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Apple M8987B/A User Manual - Page 206

How Is Importing Different from Capturing?, Importing Media Files

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Â Graphics and still images: BMP, FlashPix, GIF, JPEG/JFIF, MacPaint (PNTG), Photoshop (layered), PICS, PICT, PNG, QuickTime Image File, SGI, TARGA (TGA), and TIFF For more information, see Chapter 51, "Working with Freeze Frames and Still Images," on page 791. Â Numbered image sequences: Numbered image sequences allow you to store a movie's frames as individual graphics files. Compositing applications and film transfer equipment often use this format. Final Cut Express does not convert image sequences into a single clip, but instead creates individual clips for each graphics file you import. How Is Importing Different from Capturing? Importing is different from capturing in the following ways: Â Capturing: When you capture, you transfer and often convert footage from an external video or audio device to your scratch disk. Â Importing: You import files when they are already stored on your scratch disk. Importing media files creates clips in your project; these clips refer back to the media files on disk. Since capturing creates media files, you can always import captured media files into your project at any time. Importing Media Files You can import single files, a folder, or a group of folders. If you import a group of folders that contain folders inside one another, Final Cut Express imports all files in each folder and subfolder that are in formats it recognizes; incompatible file types are ignored. Folders imported into your project appear as bins in the Browser. If you import a group of folders, Final Cut Express creates bins and organizes the files in the same hierarchy as on your hard disk. However, unlike with clips and media files, there is no further relationship between bins and folders after you import. Changing the name or location of a bin in your project has no effect on the folders in the Finder, and vice versa. 206 Part IV Capturing and Importing

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

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206

Part IV

Capturing and Importing

Graphics and still images:

BMP, FlashPix, GIF, JPEG/JFIF, MacPaint (PNTG), Photoshop

(layered), PICS, PICT, PNG, QuickTime Image File, SGI, TARGA (TGA), and TIFF

For more information, see Chapter 51, “

Working with Freeze Frames and Still Images

,”

on page 791.

Numbered image sequences:

Numbered image sequences allow you to store a movie’s

frames as individual graphics files. Compositing applications and film transfer

equipment often use this format. Final Cut Express does not convert image sequences

into a single clip, but instead creates individual clips for each graphics file you import.

Importing Media Files

You can import single files, a folder, or a group of folders. If you import a group of folders

that contain folders inside one another, Final Cut Express imports all files in each folder

and subfolder that are in formats it recognizes; incompatible file types are ignored.

Folders imported into your project appear as bins in the Browser. If you import a group

of folders, Final Cut Express creates bins and organizes the files in the same hierarchy as

on your hard disk. However, unlike with clips and media files, there is no further

relationship between bins and folders after you import. Changing the name or location

of a bin in your project has no effect on the folders in the Finder, and vice versa.

How Is Importing Different from Capturing?

Importing is different from capturing in the following ways:

Capturing:

When you capture, you transfer and often convert footage from an

external video or audio device to your scratch disk.

Importing:

You import files when they are already stored on your scratch disk.

Importing media files creates clips in your project; these clips refer back to the

media files on disk.

Since capturing creates media files, you can always import captured media files into

your project at any time.