Section |
Page |
Final Cut Express HD User Manual |
1 |
Contents |
3 |
Final Cut Express HD Documentation and Resources |
25 |
Getting Started |
25 |
Onscreen Help |
25 |
Onscreen User Manual |
26 |
Information About New Features |
26 |
Apple Websites |
26 |
Final Cut Express HD Websites |
26 |
Apple Service and Support Website |
26 |
Part I: An Introduction to Final Cut Express HD |
27 |
About the Post-Production Workflow |
29 |
The Industry Workflow |
29 |
The Post-Production Workflow |
30 |
Video Formats and Timecode |
35 |
About Nonlinear and Nondestructive Editing |
35 |
Video Formats Compatible With Final Cut Express HD |
36 |
Using Multiple Video Formats |
36 |
Audio Formats Compatible With Final Cut Express HD |
36 |
Video Format Basics |
36 |
Video Standards |
37 |
Image Dimensions and Aspect Ratio |
37 |
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 Final Cut Express HD Project Names |
51 |
Using Multiple Hard Disks |
51 |
Part II: Learning About the Final Cut Express HD Interface |
53 |
Overview of the Final Cut Express HD Interface |
55 |
Basics of Working in the Final Cut Express HD 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 |
59 |
Customizing the Interface |
59 |
Moving and Resizing Windows |
59 |
Working With Tabs and Tabbed Windows |
60 |
Moving Windows |
62 |
Using Different Screen Layouts |
62 |
Showing and Positioning the Dock |
62 |
Undoing and Redoing Changes |
63 |
Entering Timecode for Navigation Purposes |
64 |
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 |
67 |
Copying and Deleting Items in the Browser |
68 |
Renaming Clips, Sequences, and Bins |
68 |
Using Columns in the 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 |
82 |
Tabs in the Viewer |
83 |
Video Tab |
83 |
Audio Tabs |
83 |
Filters Tab |
84 |
Motion Tab |
84 |
Controls Tab |
84 |
Transport (or Playback) 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 |
89 |
Recent Clips and Generator Pop-Up Menus |
90 |
Recent Clips Pop-Up Menu |
90 |
Generator Pop-Up Menu |
90 |
Canvas Basics |
91 |
How You Use the Canvas |
91 |
Opening, Selecting, and Closing Sequences in the Canvas |
92 |
Learning About the Canvas |
93 |
Editing Controls in the Canvas |
94 |
Edit Overlay |
95 |
Transport (or Playback) Controls |
95 |
Playhead Controls |
96 |
Playhead and Scrubber Bar |
96 |
Jog Control |
98 |
Shuttle Control |
98 |
Marking Controls |
98 |
Zoom and View Pop-Up Menus |
99 |
Navigating and Using Timecode in the Viewer and Canvas |
101 |
How the Viewer and Canvas Are Different |
101 |
Navigating in the Viewer and Canvas |
101 |
Playing Clips and Sequences |
102 |
Scrubbing, or Moving, Through a Clip or Sequence |
104 |
Shuttling Through a Clip or Sequence |
105 |
Jogging Through a Clip or Sequence |
106 |
Looping Playback |
107 |
Working With Timecode in the Viewer and Canvas |
108 |
Navigating With Timecode in the Viewer and Canvas |
108 |
Dragging Timecode Values |
110 |
Timeline Basics |
111 |
How You Use the Timeline |
111 |
Opening and Closing Sequences in the Timeline |
113 |
Learning About the Timeline |
114 |
Sequence Tabs in the Timeline |
114 |
Editing Controls |
115 |
Vertical Multitrack Controls |
116 |
Horizontal Time Controls |
117 |
Timeline Display Controls |
119 |
Audio Controls |
120 |
Other Miscellaneous Controls |
120 |
Real-Time Effects and the Render Status Bar |
122 |
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 |
126 |
Timeline Display Options Available From the Track Layout PopUp Menu |
126 |
Navigating in the Timeline |
127 |
Positioning the Playhead Using the Ruler |
127 |
Using Timecode to Navigate in the Timeline |
128 |
Zooming and Scrolling in the Timeline |
128 |
Zooming In and Out of the Timeline |
128 |
Scrolling Horizontally Through a Zoomed-In Timeline |
132 |
Scrolling Vertically Through Multiple Tracks |
133 |
Customizing the Interface |
135 |
Changing Browser and Timeline Text Size |
135 |
Moving and Resizing Final Cut Express HD Windows |
135 |
Using Screen Layouts |
137 |
Choosing a Screen Layout |
138 |
Customizing Screen Layouts |
138 |
Working With Shortcut Buttons and Button Bars |
139 |
Adding Shortcut Buttons to a Button Bar |
140 |
Rearranging, Moving, and Copying Shortcut Buttons |
141 |
Changing Shortcut Button Colors |
141 |
Removing Shortcut Buttons |
141 |
Saving and Using Custom Shortcut Button Bars |
142 |
Part III: Setting Up Your Editing System |
143 |
Connecting Your Equipment |
145 |
Connecting Your Camcorder |
145 |
Connecting an External Video Monitor and Audio Speakers |
146 |
Opening Final Cut Express HD and Choosing Your Initial Settings |
146 |
What Is an Easy Setup? |
146 |
Choosing an Easy Setup |
147 |
Specifying Scratch Disks for Capturing Video and Storing Render Files |
148 |
When Scratch Disks Become Unavailable |
150 |
Assigning Search Folders for Reconnecting Media Files |
150 |
What Is FireWire? |
150 |
The Differences Between Apple FireWire and FireWire Basic |
151 |
What Is Device Control? |
151 |
Choosing a Device Control Preset |
151 |
Understanding Device Control Status Messages |
152 |
Determining Your Hard Disk Storage Options |
153 |
Working With Scratch Disks and Hard Disk Drives |
153 |
Data Rates and Storage Devices |
153 |
Determining How Much Space You Need |
154 |
Know Your Shooting Ratio |
154 |
Planning for Additional Media Files |
154 |
Calculating Hard Disk Space Requirements |
155 |
Example Calculation for Disk Space Requirements |
155 |
Choosing a Hard Disk |
156 |
Types of Hard Disk Drives |
157 |
ATA Disk Drives |
157 |
FireWire Disk Drives |
158 |
SCSI Disk Drives |
159 |
Using a RAID or Disk Array |
160 |
External Video Monitoring |
161 |
Using an External Video Monitor While You Edit |
161 |
Consumer Video Monitors Versus Broadcast Monitors |
162 |
Connecting DV/FireWire Devices to an External Monitor |
162 |
Using Digital Cinema Desktop Preview |
163 |
About Digital Cinema Desktop Preview Options |
164 |
Using Digital Cinema Desktop Preview to Monitor Your Video |
165 |
Troubleshooting Digital Cinema Desktop Preview |
166 |
About the Display Quality of External Video |
167 |
Troubleshooting External Video Monitoring Problems |
167 |
Part IV: Capturing and Importing |
169 |
Capturing Your Footage to Disk |
171 |
Overview of the Capturing Process |
171 |
Overview of the Capture Window |
172 |
Transport Controls |
174 |
Jog and Shuttle Controls |
174 |
Marking Controls |
175 |
Capture Tab |
175 |
Capture Bin Controls |
175 |
Logging Fields |
176 |
Using Slate Buttons |
177 |
Marker Controls |
177 |
Capture Buttons |
178 |
Preparing to Capture |
178 |
Organizing and Labeling Your Tapes |
178 |
Choosing Reel Names for Tapes |
178 |
Additional Tape Label Information |
179 |
Logging Your Tapes |
179 |
Choosing a Filenaming Scheme |
180 |
Determining How Much Disk Space You Need |
180 |
Capturing Individual Clips in the Capture Window |
181 |
Automatic Filenaming During Capture |
184 |
Using Capture Now |
185 |
Adding Markers to Clips in the Capture Window |
187 |
Marker Controls in the Capture Window |
188 |
Setting Markers |
188 |
Recapturing Clips |
189 |
Using Capture Project |
189 |
About the Additional Items Found Dialog |
191 |
Finding Your Media Files After Capture |
192 |
Where Are Captured Media Files Stored? |
192 |
Consolidating Media Files to One Folder |
193 |
Modifying a Media File’s Reel Name Property |
194 |
Avoiding Duplicate Timecode Numbers on a Single Tape |
195 |
Logging Tapes with Duplicate Timecode Numbers |
196 |
Avoiding Multiple Occurrences of the Same Timecode Number on a Single Tape |
196 |
Importing Media Files Into Your Project |
199 |
What File Formats Can Be Imported? |
199 |
How Is Importing Different From Capturing? |
200 |
Importing Media Files |
200 |
Tips When Importing |
203 |
About Importing Video Files |
203 |
About Importing Audio Files |
204 |
What Kinds of Audio File Formats Can Be Imported? |
204 |
Choosing Audio File Sample Rate and Bit Depth |
204 |
Mixing Sample Rates and Using Real-Time Sample Rate Conversion |
205 |
Converting Audio Clips to Match Sequence Settings |
205 |
Using Audio CD Tracks in Your Project |
206 |
Working With HDV |
207 |
About HDV |
207 |
HDV Formats Supported by Final Cut Express HD |
208 |
Standard Definition Recording With an HDV Camcorder |
208 |
About MPEG-2 Compression |
208 |
Spatial (Intraframe) Compression |
208 |
Temporal (Interframe) Compression |
209 |
More About Long-GOP Video |
209 |
Editing HDV Using Apple Intermediate Codec |
209 |
HDV Apple Intermediate Codec Editing Workflow |
210 |
Connecting an HDV Device to Your Computer |
210 |
Choosing an Easy Setup |
211 |
Capturing HDV Video to the Apple Intermediate Codec |
211 |
Capturing Footage With Scene Breaks |
212 |
Editing Video Using the Apple Intermediate Codec |
212 |
Outputting HDV to Tape or Exporting to a QuickTime Movie |
213 |
HDV Format Specifications |
214 |
Part V: Organizing Footage and Preparing to Edit |
217 |
Organizing Footage in the Browser |
219 |
Using Bins to Organize Your Clips |
219 |
Creating New Bins |
220 |
Opening Bins in the Browser |
221 |
Opening Bins in a Separate Window or Tab |
222 |
Moving Items Between Bins |
225 |
Sorting Items in the Browser Using Column Headings |
227 |
Searching for Clips in the Browser |
228 |
About Search Options |
228 |
Options for Defining the Scope of a Search |
229 |
Options for Defining the Criteria of a Search |
230 |
Search Commands |
230 |
Searching for Items in the Browser |
231 |
Searching for Multiple Items in the Browser |
232 |
Searching for Unused Clips in Your Project |
232 |
Manipulating Items in the Find Results Window |
233 |
Using Markers |
235 |
Learning About Markers |
235 |
What Can You Do With Markers? |
235 |
Differences Between Sequence and Clip Markers |
236 |
Types of Markers |
237 |
Working With Markers |
238 |
Viewing Markers in the Viewer or Canvas |
238 |
Viewing Markers in the Browser |
238 |
Adding Markers in Clips and Sequences |
238 |
Deleting Markers in Clips and Sequences |
242 |
Navigating With Markers |
243 |
Renaming Markers, Adding Comments, and Changing the Kind of Marker |
244 |
Moving a Marker |
245 |
Aligning Items in the Timeline by Their Markers |
246 |
Extending a Marker’s Duration |
248 |
Editing Markers Into Sequences |
249 |
Exporting Markers With Your QuickTime Movies |
249 |
Creating Subclips |
251 |
Learning About Subclips |
251 |
Removing Subclip Limits |
253 |
Master-Affiliate Clip Relationships |
253 |
Manually Breaking Large Clips Into Subclips |
254 |
Turning Markers Into Subclips |
254 |
Creating Subclips Manually |
256 |
Editing With Subclips |
256 |
Automatically Creating Subclips Using DV Start/Stop Detection |
257 |
Part VI: Rough Editing |
259 |
Working With Projects, Clips, and Sequences |
261 |
Specifying Preferences Before You Start Editing |
261 |
Working With Projects |
262 |
Working With Multiple Projects in the Browser |
262 |
Choosing Whether the Last Previously Opened Project Opens on Launch |
262 |
Viewing and Changing the Properties of a Project |
262 |
Backing Up and Restoring Projects |
263 |
What Is Contained in a Project File |
263 |
Returning to Saved Projects |
264 |
Using the Revert Project Command |
264 |
Automatically Saving Projects With Autosave |
264 |
Learning About the Different Types of Clips |
265 |
Types of Clips |
265 |
About Offline Clips |
266 |
Sequences as Clips |
266 |
Viewing and Changing the Properties of a Clip |
266 |
Changing Clip Properties in the Browser |
267 |
Viewing and Changing Clip Properties in the Item Properties Window |
268 |
Viewing and Modifying Clip Properties |
268 |
Finding a Clip’s Media File |
268 |
Changing the Properties of Affiliate Clips |
269 |
Creating and Working With Sequences |
270 |
Creating and Deleting Sequences |
270 |
Opening and Closing Sequences |
271 |
Duplicating a Sequence |
272 |
Copying a Sequence Into Another Project |
272 |
Nesting a Sequence |
273 |
Basic Sequence and Timeline Settings |
273 |
When Rendering Is Required |
274 |
Viewing an Existing Sequence’s Settings |
274 |
The Fundamentals of Adding Clips to a Sequence |
275 |
Creating a Rough Edit |
275 |
Basic Steps Involved in a Rough Edit |
275 |
How Clips Appear in the Timeline |
276 |
Undoing and Redoing Actions |
278 |
Overview of Ways to Add Clips to a Sequence |
278 |
Methods for Adding Clips to Sequences |
278 |
Determining What Parts of Clips You Want in Your Sequence |
280 |
Preparing a Sequence Order in the Browser |
280 |
Sorting to Create a Sequence Order |
281 |
Visually Storyboarding in the Browser |
281 |
Setting Edit Points for Clips and Sequences |
283 |
About In and Out Points |
283 |
Learning About the Out Point Inclusive Rule |
284 |
Things to Keep in Mind When Setting an Out Point |
285 |
Setting Clip In and Out Points in the Viewer |
286 |
Specifying an Edit Point Using Timecode |
288 |
Setting In and Out Points to Include a Whole Clip |
289 |
Reviewing Your Edit Points |
289 |
Setting Sequence In and Out Points in the Canvas or Timeline |
290 |
Options for Setting Sequence In and Out Points |
291 |
When No Sequence In or Out Points Are Set |
292 |
When You Set One Sequence In or Out Point |
293 |
When You Set Both Sequence In and Out Points |
295 |
Setting Sequence In and Out Points |
296 |
Setting In and Out Points to Match a Clip or Gap |
297 |
Setting In and Out Points Based on a Selection in the Timeline |
298 |
Navigating to In and Out Points |
300 |
Moving In and Out Points |
301 |
Clearing In and Out Points |
303 |
Working With Tracks in the Timeline |
305 |
Adding and Deleting Tracks |
305 |
Adding Tracks |
306 |
Deleting Tracks |
308 |
Specifying Destination Tracks in the Timeline |
309 |
Understanding Source and Destination Controls |
309 |
Setting Destination Tracks |
310 |
Changing Source and Destination Control Connections |
311 |
Disconnecting Source and Destination Controls |
311 |
Resetting Destination Tracks to the Default State |
313 |
Exceptions to Normal Use of Source and Destination Controls |
313 |
Locking Tracks to Prevent Edits or Changes |
314 |
Disabling Tracks to Hide Content During Playback |
315 |
Customizing Track Display in the Timeline |
316 |
Resizing Timeline Tracks |
316 |
Resizing Tracks by Dragging |
316 |
Resizing All Tracks Using the Track Height Control |
317 |
Resizing All Tracks Using the Track Layout Pop-Up Menu |
317 |
Creating a Static Region in the Timeline |
318 |
Drag-to-Timeline Editing |
321 |
Overview of the Drag-to-Timeline Editing Process |
321 |
Dragging Clips to the Timeline |
322 |
Doing Simple Insert and Overwrite Edits in the Timeline |
323 |
Automatically Adding Tracks to Your Sequence While Dragging |
326 |
Three-Point Editing |
329 |
Understanding Three-Point Editing |
329 |
Overview of the Three-Point Editing Process |
329 |
Different Ways to Do Three-Point Editing |
330 |
Dragging to the Edit Overlay in the Canvas |
331 |
Using Keyboard Shortcuts |
331 |
About Edit Types in the Edit Overlay |
332 |
Performing the Different Types of Edits |
333 |
Performing an Insert Edit |
333 |
Performing an Insert With Transition Edit |
335 |
Performing an Overwrite Edit |
336 |
Performing an Overwrite With Transition Edit |
338 |
Performing a Replace Edit |
339 |
Superimposing Clips |
346 |
Three-Point Editing Examples |
348 |
Example: Editing a Specific Clip Into Your Sequence |
348 |
Example: Editing a Clip Into a Gap in Your Sequence |
350 |
Example: Backtiming a Clip Into Your Sequence |
352 |
Example: Editing a Clip With No Specified In or Out Points Into Your Sequence |
353 |
Finding and Selecting Content in the Timeline |
355 |
Understanding What’s Currently Selected |
355 |
Identifying Selections in the Timeline |
356 |
How Selections Are Prioritized in the Timeline |
357 |
Direct Methods for Selecting Content in a Sequence |
357 |
An Introduction to the Selection Tools |
358 |
Selecting Clips |
360 |
Selecting an Individual Clip |
360 |
Selecting a Group of Clips by Dragging |
361 |
Selecting Multiple Clips |
362 |
Deselecting an Item in a Multiple Selection |
362 |
Selecting a Range of Timeline Content |
363 |
Selecting All Clip Items on a Track |
364 |
Selecting All Items on All Tracks Forward or Backward |
365 |
Selecting or Deselecting All Clips in a Sequence |
367 |
Finding and Selecting Based on Search Criteria |
367 |
Selecting a Vertical Range Between In and Out Points |
369 |
Using Auto Select to Specify Tracks for Selections |
370 |
Arranging Clips in the Timeline |
373 |
Snapping to Points in the Timeline |
373 |
Moving Items Within the Timeline |
375 |
Moving by Dragging |
375 |
Moving Clips Numerically |
376 |
Using the Command Key to Drag More Slowly |
378 |
Performing Shuffle Edits |
378 |
Copying and Pasting Clips in the Timeline |
380 |
Copying Clips by Option-Dragging |
380 |
Modifying Selections and Commands Using the Option Key |
381 |
Copying, Cutting, and Pasting Clips in the Timeline |
382 |
Example: Copying and Pasting Audio and Video Clip Items to Different Tracks in the Timeline |
384 |
Deleting Clips From a Sequence |
385 |
Deleting With a Lift Edit (Leaving a Gap) |
385 |
Deleting With a Ripple Edit (Leaving No Gap) |
386 |
Finding and Closing Gaps |
387 |
Cutting Clips and Adjusting Durations |
391 |
Performing Basic Cut Edits |
391 |
Cutting Clips in the Timeline |
391 |
Using the Add Edit Command to Cut Clips |
393 |
Joining Through Edits (Splicing Cut Clips Back Together) |
394 |
Changing the Duration of Clips in the Timeline |
395 |
Opening Sequence Clips in the Viewer to Change Durations |
396 |
Linking and Editing Video and Audio in Sync |
397 |
Linked Sync Relationships Between Video and Audio Clips |
397 |
When Linked Clips Are Moved Out of Sync |
398 |
Understanding Sync Relationships Between Multiple Linked Audio Items |
401 |
Linking and Unlinking Video and Audio Clip Items in the Timeline |
402 |
Linking Video and Audio Clip Items |
402 |
Unlinking Video and Audio Clip Items |
404 |
Selecting Individual Clip Items While They Are Linked |
405 |
Getting Clip Items Back in Sync |
406 |
Moving a Clip Into Sync |
406 |
Slipping a Clip Item Into Sync |
408 |
Moving or Slipping All Clip Items Into Sync at Once |
409 |
Establishing a Different Sync Relationship Between Linked Clip Items |
411 |
Marking a Clip as In Sync |
411 |
Learning About Linking Behavior in Audio Channel Pairs |
413 |
Split Edits |
415 |
Learning About Split Edits |
415 |
How Split Edits Look in the Viewer and Canvas |
416 |
Setting Up Split Edit Points in the Viewer |
417 |
Setting Up a Split Edit While Playing a Clip |
418 |
Modifying and Clearing Split Edits |
419 |
Split Edit Examples |
421 |
Example: Split Edit in the Viewer and a Simple Edit Point in the Canvas |
421 |
Example: Split Edit in the Viewer and a Single Split Edit Point in the Canvas |
422 |
Example: Simple Edit in the Viewer and a Split Edit in the Canvas |
423 |
Audio Editing Basics |
425 |
The Goals of Audio Editing |
425 |
Using Waveform Displays to Help You Edit Audio |
427 |
Learning About the Audio Controls in the Viewer |
428 |
Editing Audio in the Viewer |
431 |
Opening Audio Clips in the Viewer |
431 |
Viewing Audio Tracks in the Viewer |
432 |
Zooming In or Out of the Waveform Display Area |
432 |
Scrolling Through a Zoomed-In Audio Clip |
434 |
Using the J, K, and L Keys to Hear Subtle Details |
435 |
Turning Off the Audio Scrubbing Sounds |
435 |
About Setting Edit Points for Audio |
435 |
Dragging an Audio Clip to the Canvas, Browser, or Timeline |
436 |
Trimming Audio Clips in the Viewer |
436 |
Editing Audio in the Timeline |
438 |
Timeline Audio Display Options |
438 |
Displaying Waveforms in the Timeline |
438 |
Displaying Overlays and Adjusting the Track Height |
439 |
Zooming In and Out of Waveforms in the Timeline |
440 |
Moving Audio Items From One Track to Another at the Same Frame |
441 |
Using Audio Transitions to Smooth Audible Changes |
442 |
Creating or Separating Stereo Pairs |
442 |
Working With Audio at the Subframe Level |
444 |
Viewing an Audio Clip at Single-Frame Resolution |
444 |
Subframe Synchronization of Audio and Video |
444 |
Examples of Ways to Easily Edit Audio |
446 |
Example: Replacing Unwanted Audio With Room Tone |
446 |
Example: Fixing Awkward Audio Cuts in the Timeline |
449 |
Part VII: Fine-Tuning Your Edit |
451 |
Performing Slip, Slide, Ripple, and Roll Edits |
453 |
About Trimming With Slip, Slide, Ripple, and Roll Tools |
453 |
Sliding Clips in the Timeline |
453 |
Performing Slide Edits by Dragging |
455 |
Performing Precise Slide Edits Numerically |
456 |
Slipping Clips in the Timeline |
457 |
Performing a Slip Edit Using the Slip Tool |
458 |
Performing Precise Slip Edits Numerically |
459 |
Using the Ripple Tool to Trim an Edit Without Leaving a Gap |
461 |
Which Clip Items Move in the Timeline After a Ripple Edit? |
462 |
Performing Ripple Edits |
462 |
Performing a Ripple Edit in the Timeline |
463 |
Performing a Ripple Edit in the Viewer |
465 |
About Ripple Edits and Sync Relationships of Clip Items on Other Tracks |
466 |
Doing Ripple Edits on Multiple Tracks at Once |
468 |
Asymmetrical Trimming With the Ripple Tool |
468 |
Tips for Edits Made With the Ripple Tool |
470 |
Using the Roll Tool to Change Where a Cut Occurs |
470 |
Rolling the Position of an Edit Between Two Clips |
471 |
Rolling Edit Points in the Timeline |
472 |
Doing Roll Edits in the Viewer |
475 |
Tips for Using the Roll Tool |
475 |
Learning About Trimming Clips |
477 |
What Is Trimming? |
477 |
Controls That Affect Trim Edits |
479 |
Selecting Edits and Clips to Trim |
480 |
Tools for Selecting Edit Points |
481 |
Selecting Single Edit Points |
482 |
Selecting Multiple Edit Points |
482 |
Trimming Clip In and Out Points |
483 |
Trimming With the Selection Tool |
483 |
Extending and Shortening Clips in the Timeline |
485 |
Trimming Clips in the Viewer |
486 |
Precision Editing Using Timecode |
487 |
Determining What Kind of Edit Occurs When Entering Timecode Numbers |
487 |
Moving the Playhead in the Timeline Using Timecode |
488 |
Moving Clips Using Timecode |
488 |
Using Timecode to Trim Clips in the Viewer |
490 |
Understanding Alert Messages When Trimming |
491 |
Trimming Clips Using the Trim Edit Window |
493 |
Learning About the Trim Edit Window |
493 |
Opening and Closing the Trim Edit Window |
495 |
Controls in the Trim Edit Window |
496 |
Using the Trim Edit Window |
500 |
Playing Incoming and Outgoing Clips in the Trim Edit Window |
501 |
Dynamic Trimming |
501 |
Trimming an Edit in the Trim Edit Window |
501 |
Reviewing and Playing Back Your Edits in the Trim Edit Window |
504 |
Slipping a Clip in the Trim Edit Window |
504 |
Listening to Audio While Trimming |
505 |
Adding Transitions |
507 |
Learning About Transitions |
507 |
Common Types of Transitions |
508 |
Using Transitions in Your Sequences |
509 |
How Transitions Appear in the Timeline |
509 |
Having Handles at Edit Points |
510 |
Aligning a Transition in the Timeline |
510 |
Adding Transitions |
511 |
Adding Transitions With Clips You Add to the Timeline |
511 |
Quickly Adding the Default Transition to Clips in Your Sequence |
512 |
Adding Transitions to Clips in Your Sequence |
513 |
Example: Transitioning To or From Black |
514 |
Moving, Copying, and Deleting Transitions |
515 |
Moving a Transition to Another Edit Point |
516 |
Copying and Pasting Transitions |
516 |
Deleting Transitions |
517 |
Modifying Transitions in the Timeline |
517 |
Changing the Duration of a Transition in the Timeline |
517 |
Changing the Alignment of a Transition in the Timeline |
519 |
Changing an Edit Point After Adding a Transition |
519 |
Replacing Transitions |
520 |
Video Transitions That Come With Final Cut Express HD |
520 |
Using After Effects Transitions |
524 |
Refining Transitions Using the Transition Editor |
525 |
Using the Transition Editor |
525 |
Controls in the Transition Editor |
526 |
Displaying Clips in the Transition Editor |
530 |
Opening and Modifying Transitions in the Transition Editor |
531 |
Applying a Modified Transition Directly to a Sequence in the Timeline |
532 |
Trimming Transitions and the Surrounding Clips |
532 |
About the Two-Up Display in the Canvas |
533 |
Trimming the Duration of a Transition |
533 |
Doing a Roll Edit to Change the Location of a Transition |
534 |
Doing a Ripple Edit to Adjust the Length of a Clip in a Transition |
535 |
Previewing and Rendering Transitions |
536 |
Determining the Render Status of Transitions |
536 |
Previewing Transitions Before Rendering Them |
537 |
Rendering Transitions |
537 |
Sequence to Sequence Editing |
539 |
Methods for Editing Clips From One Sequence to Another |
539 |
Opening More Than One Sequence at a Time |
540 |
Copying Clips From One Sequence to Another |
540 |
Nesting Sequences |
544 |
When Do You Nest Sequences? |
544 |
Pros and Cons of Nested Sequences |
544 |
How Many Audio Items Does a Nested Sequence Have? |
545 |
Nesting a Sequence Inside Another Sequence |
545 |
Changing the Duration of a Nested Sequence Ripples Clips After the Nested Sequence |
546 |
Editing the Content of One Sequence Into Another Without Nesting It |
547 |
Editing Sequence Content Versus Nesting |
547 |
Editing Clips From One Sequence Into Another |
548 |
Matching Frames |
551 |
Working With Sequence Clips in the Viewer |
551 |
Opening a Sequence Clip in the Viewer |
552 |
Switching Between the Viewer, Canvas, and Timeline |
553 |
Using the Viewer to Adjust Sequence Clip In and Out Points |
553 |
Using the Viewer to Adjust Motion and Filter Parameters |
554 |
Matching Frames Between Sequence and Master Clips |
554 |
Matching a Frame in the Canvas to Its Master Clip |
555 |
Matching a Frame in the Canvas to Its Media File |
555 |
Matching a Frame in the Viewer to a Sequence Clip in the Canvas or Timeline |
556 |
Working With Timecode |
557 |
About Timecode in Final Cut Express HD |
557 |
Frame Rate Versus Timecode |
557 |
Displaying Timecode Affected by Speed Changes |
557 |
Clip Time Versus Source Time |
558 |
Changing Global Timecode Display Options |
558 |
Part VIII: Audio Mixing |
559 |
Overview of Audio Mixing |
561 |
Audio Finishing Features in Final Cut Express HD |
561 |
Mixing Your Audio in Other Applications |
562 |
Monitoring Audio on External Speakers |
562 |
Overview of Audio Sweetening in Final Cut Express HD |
562 |
Categories of Post-Production Audio |
562 |
Creating Additional Tracks for Audio Sweetening |
563 |
Using Sequence Markers for Sound Effects and Musical Cues |
563 |
Cleaning Up Audio |
564 |
Adding Audio Filters |
564 |
Setting Appropriate Volume Levels for Audio Clips in Sequences |
564 |
Making the Final Mix |
565 |
Determining the Number of Output Channels/Speakers |
565 |
Adjusting Audio Levels |
565 |
Adjusting Pan |
566 |
Mixing to Call Attention to Important Audio |
566 |
Setting Up Audio Equipment |
567 |
Choosing External Audio Monitoring Components |
567 |
Choosing an Audio Interface |
568 |
Choosing Speakers and an Amplifier for Monitoring |
569 |
Frequency Response and Dynamic Range |
569 |
Amplifiers and Signal Levels |
570 |
Self-Powered Versus Passive Speakers |
570 |
Matching Your Mixing and Screening Environments |
570 |
Setting Up a Proper Audio Monitoring Environment |
570 |
Speaker Placement and Listening Position |
571 |
Using Headphones |
571 |
Audio Cables, Connectors, and Signal Levels |
572 |
About Balanced Audio Signals |
572 |
Microphone, Instrument, and Line Level |
574 |
Signal Differences Between Pro and Consumer Equipment |
574 |
Audio Connectors |
574 |
Configuring External Audio Monitors |
576 |
Connecting Speakers to Your Editing System |
576 |
Setting Monitoring Levels and Muting System Sound Effects |
577 |
Audio Fundamentals |
579 |
What Is Sound? |
579 |
Fundamentals of a Sound Wave |
580 |
Frequency Spectrum of Sounds |
581 |
Measuring Sound Intensity |
582 |
What Is a Decibel? |
582 |
Decibel Units |
583 |
Signal-to-Noise Ratio |
584 |
Headroom and Distortion |
584 |
Dynamic Range |
585 |
Stereo Audio |
586 |
Identifying Two-Channel Mono Recordings |
587 |
Identifying Stereo Recordings |
587 |
Interleaved Versus Split Stereo Audio Files |
588 |
Digital Audio |
588 |
Sample Rate |
589 |
Bit Depth |
590 |
Audio Levels, Meters, and Output Channels |
593 |
About Audio Meters |
593 |
Average and Peak Audio Levels |
593 |
Average Versus Peak Audio Meters |
594 |
Analog Versus Digital Meters |
595 |
0 dB (Analog) Versus 0 dBFS (Digital) |
596 |
What Does 0 dB Mean? |
596 |
About Audio Meters in Final Cut Express HD |
596 |
Floating Audio Meters |
597 |
Clip Indicators |
597 |
Avoiding Audio Clipping |
597 |
Setting Proper Audio Levels |
598 |
Setting Levels for Capture |
598 |
What Reference Level Should You Use for Mixing? |
598 |
Outputting Bars and Tone at the Head of Your Tape |
600 |
Labeling Your Tapes |
600 |
Stereo Versus Dual Mono Audio |
600 |
Mixing Audio in the Timeline and Viewer |
601 |
Adjusting Audio Levels in the Timeline |
601 |
Changing Volume Levels While a Sequence Is Playing |
604 |
Changing Audio Levels in the Viewer |
605 |
Panning Audio in the Timeline and Viewer |
607 |
Panning Audio in the Timeline |
607 |
Changing the Pan of Audio in the Viewer |
608 |
Changing Pan for an Entire Clip |
608 |
Copying, Pasting, and Removing Audio Attributes |
609 |
Adjusting Clip Levels and Pan Using Keyframes |
610 |
Tools for Adjusting Keyframes |
610 |
Using the Option Key to Temporarily Enable Pen Tools |
611 |
Using the Command Key to “Gear Down” Adjustment Speed |
611 |
Creating, Modifying, and Deleting Keyframes in the Viewer |
611 |
Example: Using Keyframes to Adjust Audio Levels |
615 |
Example: Using Keyframes in the Timeline to Automate Audio Levels |
616 |
Example: Setting Subframe Audio Level Keyframes to Eliminate Clicks |
617 |
Example: Using Keyframes to Control Pan |
620 |
Using the Voice Over Tool |
623 |
About the Voice Over Tool |
623 |
Setting Up Your Computer to Record Voiceover |
624 |
About Microphones and Room Noise |
624 |
Connecting Audio Devices and Configuring Software |
625 |
RAM Requirements When Using the Voice Over Tool |
627 |
Controls in the Voice Over Tool |
627 |
Defining the Recording Duration and Destination Track |
631 |
Setting the Recording Duration |
631 |
Defining the Destination Track |
633 |
Recording a Voiceover |
636 |
Recording Multiple Takes |
637 |
How Audio Recorded With the Voice Over Tool Appears in Your Sequence |
638 |
Using Audio Filters |
639 |
About Audio Filters |
639 |
Overview of Audio Filters |
640 |
Equalization (EQ) Filters |
640 |
Frequency Ranges and Equalization |
641 |
Using Equalization (EQ) Filters in Final Cut Express HD |
642 |
Compression |
642 |
Expansion |
643 |
Noise Reduction Filters |
644 |
Hum Remover |
644 |
Vocal DeEsser |
645 |
Vocal DePopper |
645 |
Echo and Reverb Filters |
645 |
Working With Audio Filters |
647 |
Applying Filters to an Audio Clip |
648 |
Modifying and Removing Filters |
650 |
Making Real-Time Audio Filter Adjustments |
651 |
Looping Playback While Making Real-Time Filter Adjustments |
652 |
Tips for Better Audio |
653 |
Learning to Describe Sound Accurately |
653 |
Efficiently Using the Frequency Spectrum |
654 |
Tips for Cutting Dialogue |
654 |
Tips for Cutting Music |
658 |
Organizing Your Tracks |
660 |
Part IX: Effects |
661 |
Video Filters |
663 |
Different Ways to Use Filters |
663 |
Keyframing Filter Parameters |
664 |
Applying a Filter to a Clip |
664 |
Applying Multiple Filters to Clips |
666 |
Viewing and Adjusting a Filter’s Parameters |
667 |
Controls in the Filters Tab of the Viewer |
668 |
Using Filter Controls |
669 |
Displaying Filter Bars in the Timeline |
673 |
Enabling and Rearranging Filters |
673 |
Copying and Pasting a Clip’s Filters |
674 |
Removing Filters From Clips |
675 |
Video Filters Available in Final Cut Express HD |
676 |
Blur Filters |
676 |
Border Filters |
676 |
Channel Filters |
677 |
Color Correction Filters |
677 |
Distort Filters |
678 |
Image Control Filters |
679 |
Key Filters |
680 |
Matte Filters |
682 |
Perspective Filters |
684 |
Sharpen Filters |
684 |
Stylize Filters |
685 |
Video Filters |
686 |
Changing Motion Parameters |
689 |
Creating Motion Effects in the Viewer |
689 |
Adjusting Parameters in the Motion Tab |
690 |
Keyboard Modifiers for Controls in the Motion Tab |
692 |
Controls in the Motion Tab |
692 |
Using the Paste Attributes Command |
694 |
Using Cartesian Geometry to Position Clips |
695 |
Examples Using Motion Settings |
697 |
Example 1: Using Motion Settings to Create a Layout With Multiple Clips |
697 |
Example 2: Using Additional Motion Settings to Refine the Layout |
705 |
Creating Motion Effects in the Canvas |
707 |
Choosing a Wireframe Mode |
707 |
Manipulating Images in the Canvas |
708 |
Crop and Distort Tools |
709 |
Zooming In to the Canvas |
709 |
Using Wireframe Handles to Transform, Scale, and Rotate |
710 |
Example: Using Motion Parameters and Wireframe Handles |
714 |
Adjusting Parameters for Keyframed Effects |
719 |
Animating Motion Effects Using Keyframes |
719 |
How Keyframing Works |
720 |
Determining the Number of Keyframes to Use |
721 |
Keyframing Tools in Final Cut Express HD |
722 |
Keyboard Modifiers for the Pen Tool |
722 |
Setting Keyframes |
723 |
Adjusting and Deleting Keyframes |
724 |
Moving Between Keyframes |
725 |
Example: Using Keyframes to Make Opacity Changes |
726 |
Adjusting All Opacity Keyframes of a Clip |
731 |
Smoothing Keyframes With Bezier Handles |
731 |
Understanding Bezier Handles and Curves |
732 |
Smoothing Keyframes |
734 |
Creating Keyframed Motion Paths in the Canvas |
735 |
What Are Motion Paths? |
735 |
Creating Motion Paths |
736 |
Adding, Moving, and Deleting Keyframes in Motion Paths |
737 |
Creating Curved Motion Paths Using Bezier Handles |
738 |
Controlling Speed Along a Motion Path |
740 |
Moving an Entire Motion Path in the Canvas |
743 |
Reusing Effect and Motion Parameters |
745 |
Copying and Pasting Specific Clip Attributes |
745 |
About the Paste Attributes Dialog |
746 |
Copying and Pasting Clip Attributes |
747 |
Removing Attributes From a Clip |
748 |
Applying Filters Across Multiple Tracks at Once |
749 |
Changing Clip Speed |
751 |
Speed Basics |
751 |
How Changing Speed Affects a Clip’s Duration |
752 |
Performing a Fit to Fill Edit |
752 |
Speed Settings |
755 |
Frame Blending and Reverse Speed |
755 |
Smoothing Slow Motion Using Motion Blur |
756 |
Making Speed Changes |
757 |
Working With Still Images and Photographs |
759 |
Using Still Images and Graphics in Your Sequences |
759 |
Creating Freeze Frame Stills From a Video Clip |
760 |
Deinterlacing Still Video Images to Improve Image Quality |
761 |
Considerations Before Creating and Importing Stills |
761 |
Creating Graphics With the Correct Frame Size for Video |
762 |
Working With Graphics Clips of Different Resolutions |
762 |
Video Is Not 72 Dots per Inch |
763 |
Bit Depth of Imported Graphics |
763 |
Scaling a Graphic to Fit the Frame Size |
763 |
Creating Graphics With the Correct Color Settings for Video |
767 |
Flattening Graphics With Layers |
767 |
Using Alpha Channels |
767 |
Selecting Fonts and Creating Line Art for Video |
768 |
Scaling Images and Video Clips to Match a Sequence |
768 |
Changing the Duration of Still Images |
769 |
Example: Adding Camera Motion to Still Images |
770 |
Compositing and Layering |
775 |
Introduction to Compositing and Layering |
775 |
Methods of Compositing |
776 |
Different Ways to Layer Clips in the Timeline |
776 |
Moving Clips Vertically to Another Track |
777 |
Adjusting Opacity Levels of Clips |
777 |
Working With Composite Modes |
780 |
How Composite Modes Affect Images |
780 |
Applying Composite Modes to Clips |
781 |
Composite Modes in Final Cut Express HD |
782 |
About the Examples in This Section |
782 |
Normal |
783 |
Add |
783 |
Subtract |
784 |
Difference |
784 |
Multiply |
785 |
Screen |
786 |
Overlay |
787 |
Hard Light |
788 |
Soft Light |
789 |
Darken |
790 |
Lighten |
791 |
Travel Matte - Alpha |
791 |
Travel Matte - Luma |
792 |
Using Travel Mattes to Hide or Reveal Parts of a Clip |
792 |
Working With Layered Photoshop Files |
794 |
What Happens When You Import a Multilayered Photoshop File |
794 |
Don’t Add or Delete Layers From an Imported Photoshop File |
796 |
Using Video and Graphics Clips With Alpha Channels |
796 |
Types of Alpha Channels Recognized in Final Cut Express HD |
797 |
Working With Clips That Have Alpha Channels |
798 |
Importing Clips With Alpha Channels |
799 |
Changing a Clip’s Alpha Channel Type |
799 |
Exchanging Media With Alpha Channels |
801 |
Changing Canvas and Viewer Background Colors |
801 |
Temporarily Excluding Clips From Playback or Output |
802 |
Temporarily Disabling a Single Clip |
803 |
Soloing Clips in Multitrack Sequences |
804 |
Keying, Mattes, and Masks |
805 |
Ways to Layer and Isolate Elements in Clips |
805 |
What Are Mattes and How Can You Use Them? |
805 |
What Is Keying and How Can You Use It? |
806 |
What Are Masks and How Are They Used? |
807 |
Alpha Channels and Key, Matte, and Mask Filters |
807 |
Using Keying to Isolate Foreground Elements |
808 |
Shooting Footage That Keys Well |
808 |
Choosing an Appropriate Video Format |
808 |
Use Proper Lighting |
809 |
Overview of Compositing Using the Chroma Keyer Filter |
810 |
Working With the Chroma Keyer Filter |
813 |
Specifying the Type of Controls to Use for the Chroma Keyer Filter |
813 |
Visual Controls in the Chroma Keyer Filter |
813 |
Example: Using the Chroma Keyer Filter |
816 |
Using Mattes to Add or Modify Alpha Channels |
822 |
Matte Filters Available in Final Cut Express HD |
822 |
Example: Using the Four-Point Garbage Matte Filter |
822 |
Using Masks to Replace or Modify Alpha Channels |
824 |
Mask Filters Available in Final Cut Express HD |
824 |
Example: Using the Image Mask and Mask Feather Filters |
825 |
Color Correcting Clips |
827 |
What Is Color Correction? |
827 |
Why Color Correct Your Footage? |
828 |
Color Correction Starts During Your Shoot |
829 |
Color Correction in Final Cut Express HD |
830 |
Measuring and Evaluating Video |
830 |
Luma (Luminance) |
830 |
Chrominance (Chroma) |
831 |
Whites |
832 |
Illegal Broadcast Levels |
832 |
The Importance of Using a Properly Calibrated Broadcast Monitor |
833 |
The Color Correction Process |
833 |
Looking at the Picture |
835 |
Keyboard Shortcuts to Move Quickly Between Clips |
835 |
Using the Color Corrector Filter |
836 |
Controls in the Color Corrector Filter |
836 |
The Color Corrector Filter |
837 |
General Controls |
837 |
Color Balance Controls |
837 |
The Color Corrector Filter Controls |
838 |
Color Balance Controls in the Color Corrector Filter |
838 |
Auto Level and Contrast Controls in the Color Corrector Filter |
839 |
Level and Saturation Controls in the Color Corrector Filter |
840 |
Hue Matching Controls in the Color Corrector Filter |
841 |
Example: Using the Color Corrector Filter |
841 |
Hue Matching Controls in the Color Corrector |
844 |
Hue Matching Controls |
845 |
Example: Using the Hue Matching Controls of the Color Corrector Filter |
846 |
Using Built-in Generated Clips |
849 |
What Is a Generator Clip? |
849 |
Different Ways to Use Generators in Your Sequence |
850 |
Graphical Video and Audio Generators Available in Final Cut Express HD |
851 |
Creating and Adding Generated Clips to Sequences |
853 |
Creating Titles |
855 |
How You Can Use Titles in Your Project |
855 |
Installing and Choosing Fonts |
856 |
Making Sure Titles Fit on TV Screens |
856 |
Text Generators Available in Final Cut Express HD |
857 |
Creating and Adding a Title Clip |
858 |
Other Options for Creating and Adding Titles |
862 |
Part X: Real Time and Rendering |
863 |
Using RT Extreme |
865 |
Introduction to Real-Time Processing Using RT Extreme |
865 |
How Many Effects Can Be Played in Real Time? |
866 |
About Dynamic Real-Time Playback |
866 |
About Safe Real-Time Playback |
867 |
About Unlimited Real-Time Playback |
868 |
Playing Only the Base Layer of a Sequence |
869 |
About External Video Monitoring |
870 |
Maximizing Real-Time Playback Performance |
870 |
Available Real-Time Effects |
870 |
Display Quality and Accuracy of RT Extreme |
871 |
Using Real-Time Controls in Final Cut Express HD |
871 |
About Render Status Bars |
872 |
Identifying Which Effects Can Be Processed in Real Time |
873 |
Setting Real-Time Playback Options |
873 |
Settings and Options in the RT Pop-Up Menu and Playback Control Tab |
874 |
Real-Time Audio Mixing in Final Cut Express HD |
876 |
Improving Real Time Audio Performance |
876 |
Rendering |
877 |
What Is Rendering? |
877 |
Reasons for Rendering |
878 |
Render Indicators in Final Cut Express HD |
879 |
About Render Status Bars in the Timeline |
879 |
Video Render Status Bars |
880 |
Audio Render Status Bars |
881 |
About Item-Level Render Bars |
882 |
Item Render Status Bars |
882 |
The Rendering Process |
883 |
Rendering Effects in Sequences |
883 |
Selectively Rendering Parts of a Sequence |
884 |
Commands for Rendering Effects |
885 |
More About Audio Render Options |
887 |
Rendering One or More Sequences |
887 |
Rendering Part of a Sequence |
888 |
Rendering Audio Items in a Sequence |
889 |
Using the Mixdown Command |
889 |
Temporarily Disabling Rendering |
890 |
Auto-Rendering While You Are Away From Your Computer |
891 |
Changing Settings in the Render Control Tab |
892 |
Changing Render Options for Sequences |
893 |
Preserving Render Files |
893 |
Using Nested Sequences to Preserve Render Files |
894 |
Disabling Tracks Affects Render Files |
894 |
Tips for Avoiding Unnecessary Rendering |
894 |
Reducing Render Time |
895 |
Part XI: Project Management and Settings |
897 |
Media Management |
899 |
What Is Media Management? |
899 |
Reasons to Manage your Media |
900 |
What You Need to Know to Manage Your Media |
901 |
Media Management Steps in Final Cut Express HD |
901 |
Strategies for Media Management |
902 |
Backing Up and Restoring Projects |
903 |
Backing Up and Restoring Projects |
903 |
Using the Revert Project Command |
903 |
Using the Autosave Feature |
904 |
How Autosave Works |
904 |
Using a “First-In, First-Out” Strategy |
905 |
Restoring Autosaved Projects |
906 |
Opening a Project File After Your Computer Is Unexpectedly Powered Off |
907 |
Archiving Completed Projects |
907 |
Creating an Archive of a Finished Project |
908 |
Updating Projects From Previous Versions of Final Cut Express HD |
909 |
Choosing Project Update Options |
909 |
Updating Projects From Final Cut Express HD (version 3) or Earlier |
910 |
Updating Projects From Final Cut Express 2 or Earlier |
910 |
Elements of a Final Cut Express HD Project |
911 |
About Clips, Media Files, and Sequences |
911 |
Media Files |
911 |
Types of Clips |
912 |
Clips Described By Their Properties |
912 |
Sequences |
914 |
About Icons and Project Elements in the Browser |
915 |
Clip Properties |
916 |
Working With Master and Affiliate Clips |
921 |
Using Master and Affiliate Clips |
921 |
How Master Clips Connect to Media Files |
922 |
Identifying Master Clips |
922 |
Creating Master and Affiliate Clips |
923 |
Creating a Master Clip by Duplicating a Master Clip |
923 |
Creating Affiliate Clips From Master Clips |
924 |
Creating Affiliate Clips From Other Affiliate Clips |
924 |
Breaking the Relationship Between an Affiliated Clip and Its Master |
925 |
Independent Clips |
926 |
The Difference Between Independent and Master Clips |
926 |
Creating Master Clips for Independent Clips |
926 |
When Can Independent Clips Become Affiliated With Existing Master Clips? |
928 |
Using Keyboard Shortcuts to Modify Master-Affiliate Relationships |
928 |
Finding a Clip’s Master Clip |
929 |
Master-Affiliate Relationships With Subclips and Freeze Frames |
929 |
Master-Affiliate Clip Properties |
930 |
Master Clip Properties |
930 |
Affiliate Clip Properties |
931 |
Media File Properties |
931 |
Reconnecting Clips and Offline Media |
933 |
About the Connections Between Clips and Media Files |
933 |
How the Connection Between Clips and Media Files Can Be Broken |
934 |
Differences Between “Missing” and Offline Media Files |
935 |
Reconnecting Clips to Media Files |
935 |
About the Reconnect Files Dialog |
936 |
Search Order and Speed in the Reconnect Files Dialog |
938 |
Using the Reconnect Files Dialog |
939 |
When Final Cut Express HD Reconnects Your Clips |
942 |
About the Offline Files Dialog |
943 |
Choosing Settings and Preferences |
945 |
Changing User Preferences |
945 |
General Tab |
946 |
More About Audio Playback Quality |
947 |
Editing Tab |
950 |
Timeline Options Tab |
951 |
Render Control Tab |
952 |
Locating and Trashing the Preferences File |
952 |
Changing System Settings |
952 |
Scratch Disks Tab |
953 |
Search Folders Tab |
953 |
Missing Search Folders |
954 |
Memory & Cache Tab |
955 |
Playback Control Tab |
956 |
External Editors Tab |
957 |
Part XII: Output |
959 |
Preparing to Output to Tape |
961 |
Output Requirements |
961 |
How to Output to Tape in Final Cut Express HD |
962 |
Setting Up Your Editing System to Output to Tape |
963 |
Connecting Your Video Equipment and Setting it to VCR Mode |
963 |
Selecting Preferences |
963 |
Cueing the Videotape |
963 |
Printing To Video and Output From the Timeline |
965 |
Different Ways You Can Output Video From the Timeline |
965 |
Printing to Video |
966 |
Automatically Recording With Print to Video |
966 |
Using the Print to Video Command |
966 |
Recording From the Timeline |
968 |
Outputting to VHS Tape |
970 |
Exporting Sequences for DVD |
971 |
The DVD Creation Process |
971 |
Video for Standard DVDs |
972 |
About the MPEG Format |
973 |
Audio for iDVD Projects |
974 |
Adding Chapter and Compression Markers to Your Sequence |
974 |
More About Chapter Markers |
975 |
More About Compression Markers |
976 |
Exporting QuickTime Movies for iDVD |
977 |
Learning About QuickTime |
979 |
What Is QuickTime? |
979 |
The QuickTime Suite of Software Applications |
980 |
QuickTime for Media Authoring |
980 |
The QuickTime Movie File Format |
980 |
How Is Information Stored in a QuickTime Movie? |
981 |
Codecs Supported in QuickTime |
981 |
Distinguishing Between File Formats and Codecs |
982 |
Understanding Codec and File Format Naming Conventions |
982 |
Time in QuickTime Movie File Tracks |
983 |
How Final Cut Express HD Uses QuickTime for Import, Export, and Capture |
983 |
To Find Out More About QuickTime |
983 |
Formats Supported by QuickTime |
984 |
Movie File Formats |
984 |
Video Codecs Supported Within Video File Formats |
985 |
Graphics and Still Image Formats |
987 |
Audio File Formats |
988 |
How Do You Export the Files You Need? |
989 |
The Export QuickTime Movie Command |
989 |
The Export Using QuickTime Conversion Command |
990 |
Exporting QuickTime Movies |
991 |
About the Export QuickTime Movie Command |
991 |
Choosing the Type of QuickTime Movie to Export |
992 |
Exporting a QuickTime Movie File |
993 |
Exporting QuickTime-Compatible Files |
995 |
About the Export Using QuickTime Conversion Command |
995 |
What Is QuickTime and Why Do I Need to Know About It? |
996 |
Types of QuickTime-Compatible File Formats |
996 |
Exporting a QuickTime Movie File for Web Distribution |
997 |
QuickTime Movie Video Settings |
999 |
QuickTime Movie Sound Settings |
1003 |
Prepare for Internet Streaming |
1004 |
Exporting a DV Stream |
1005 |
Exporting an AVI File |
1007 |
Exporting Still Images and Image Sequences |
1009 |
Determining the Image Format for Still Image Export |
1009 |
Resolution of Exported Still Images |
1009 |
Bit Depth of Exported Still Images |
1010 |
Exporting a Single Still Image |
1010 |
Exporting Image Sequences |
1012 |
Exporting Audio for Mixing in Other Applications |
1015 |
Ways You Can Finish Your Audio |
1015 |
Organizing Your Audio Clips for Multi-Track Export |
1016 |
Exporting Audio Tracks to Individual Audio Files |
1017 |
Preparing to Export Audio Tracks as Audio Files |
1018 |
Exporting Audio Tracks as Individual Audio Files |
1021 |
Part XIII: Appendixes |
1023 |
Video Formats |
1025 |
Characteristics of Video Formats |
1025 |
Storage Medium |
1026 |
Tape Size, Cassette Shape, and Tape Coating |
1026 |
Video Standards |
1027 |
Standard Definition Video |
1027 |
High Definition Video |
1028 |
Type of Video Signal |
1028 |
Aspect Ratio of the Video Frame |
1030 |
Frame Dimensions, Number of Lines, and Resolution |
1031 |
720 x 486 Versus 720 x 480 |
1033 |
Pixel Aspect Ratio |
1033 |
Frame Rate |
1034 |
Scanning Method |
1035 |
About Interlaced Scanning |
1035 |
About Progressive Scanning |
1036 |
About Field Dominance |
1036 |
Setting Field Dominance in Final Cut Express HD |
1036 |
Color Recording Method |
1037 |
Video Sampling Rate and Color Sampling Ratio |
1037 |
Color Sampling Ratio |
1038 |
Bit Depth |
1039 |
Video Compression |
1040 |
Lossless Codecs |
1040 |
Lossy Codecs |
1041 |
Uncompressed Video |
1041 |
Types of Video Signals and Connectors |
1042 |
Composite |
1042 |
S-Video |
1043 |
Component YUV (Y´CBCR) and Component RGB |
1043 |
FireWire (Also Called IEEE 1394a or i.LINK) |
1044 |
FireWire 800 (Also Called IEEE 1394b) |
1044 |
SCART |
1044 |
A Brief History of Film, Television, and Audio Formats |
1045 |
Frame Rate and Timecode |
1047 |
What Is Frame Rate? |
1047 |
Understanding Flicker and Perceived Frame Rate |
1048 |
Persistence of Vision |
1048 |
Frame Rate Limits: How Many Frames per Second Is Best? |
1049 |
Recording High Frame Rates for Slow Motion Effects |
1049 |
Recording Slow Frame Rates for Time-Lapse Photography |
1050 |
Examples of How Different Frame Rates Are Used |
1050 |
Choosing a Frame Rate |
1050 |
What Is Timecode? |
1052 |
About Drop Frame and Non-Drop Frame Timecode |
1052 |
More About Drop Frame Timecode and NTSC Frame Rate |
1053 |
The Difference Between Frame Rate and Timecode |
1055 |
Timecode on Tape |
1055 |
Comparison of Various Timecode Formats |
1056 |
Working With Anamorphic 16:9 Media |
1059 |
About Anamorphic 16:9 Media |
1059 |
About Letterboxing |
1061 |
Why Shoot 16:9 Video? |
1062 |
Recording Anamorphic Video |
1063 |
Capturing Anamorphic Media |
1064 |
Viewing and Editing Anamorphic Media |
1064 |
Specifying Sequence Settings for Anamorphic Media |
1064 |
Changing Clip Properties for Anamorphic Media |
1065 |
Rendering Items That Contain Anamorphic Media |
1066 |
Outputting Anamorphic Video to Tape |
1067 |
Exporting Anamorphic Video to a QuickTime Movie |
1067 |
Solving Common Problems |
1069 |
Resources for Solving Problems |
1069 |
Solutions to Common Problems |
1070 |
Problems With Video Devices |
1070 |
Problems During Playback |
1070 |
General Performance Issues |
1074 |
Problems With Audio Quality |
1074 |
Problems Playing a Reference Movie |
1075 |
Contacting AppleCare Support |
1075 |
Glossary |
1077 |
Index |
1107 |
A |
1107 |
B |
1112 |
C |
1114 |
D |
1119 |
E |
1121 |
F |
1123 |
G |
1125 |
H |
1126 |
I |
1126 |
J |
1127 |
K |
1128 |
L |
1128 |
M |
1130 |
N |
1133 |
O |
1133 |
P |
1134 |
Q |
1137 |
R |
1137 |
S |
1140 |
T |
1145 |
U |
1149 |
V |
1149 |
W |
1152 |
X |
1153 |
Y |
1153 |