Apple Final Cut Pro 5 User Manual

Final Cut Pro 5User ManualAlienGS Homepage.qxp copy 3/15/05 9:13 AM Page 1

9PrefaceFinal Cut Pro 5 Documentation and ResourcesYou can use Final Cut Pro to create movies of any budget, style, and format. Final Cut Pro co

Chapter 8 Navigating and Using Timecode in the Viewer and Canvas 99 IITo play a clip or sequence between In and Out points:1 Open a clip in the Vie

Chapter 11 Video Filters 213 IIStylize FiltersStylize filters can be used to create an assortment of visual effects.Filter ResultAnti-alias Blurs t

214 Part II Project Interchange Video FiltersVideo filters are generally used to solve specific problems with clips in your sequence, although ther

Chapter 11 Video Filters 215 IIStrobe Lowers the apparent frame rate of a clip in your sequence by freezing the frames of the clip for a specified

12 21712 Changing Motion ParametersEvery video and graphics clip in a project has a set of parameters that can be edited in the Motion tab of the

218 Part II Project Interchange Adjusting Parameters in the Motion TabMotion parameters are located in the Motion tab of the Viewer. When you first

Chapter 12 Changing Motion Parameters 219 IITo enable the Drop Shadow or Motion Blur attribute:m Click the checkbox next to Drop Shadow or Motion B

220 Part II Project Interchange Controls in the Motion TabThe following section describes the attributes and related parameters in the Motion tab i

Chapter 12 Changing Motion Parameters 221 IIOpacity Parameter Opacity slider: Increases or decreases the transparency of a clip. Drop Shadow Para

222 Part II Project Interchange The amount of blur that appears in either case depends on the speed of the moving subject. The faster the subject m

100 Part II Learning About the Final Cut Pro Interface To play every frame of a clip:1 Open a clip in the Viewer or make the Canvas or Timeline act

Chapter 12 Changing Motion Parameters 223 IIUsing Cartesian Geometry to Position ClipsFinal Cut Pro compositing features use simple Cartesian geome

224 Part II Project Interchange For example, suppose the center point of the clip on track V2 is –218, –119. This puts the clip 218 pixels to the l

Chapter 12 Changing Motion Parameters 225 IIExamples Using Motion SettingsThe following two examples demonstrate how you can use motion settings to

226 Part II Project Interchange 3 From the Browser, open the first clip you want to arrange in the background of your composition, then edit it int

Chapter 12 Changing Motion Parameters 227 II6 Drag the Rotation dial control to the left so that it reads –28.A negative value rotates the clip to

228 Part II Project Interchange Clicking in the Canvas with the crosshair moves the x and y values of that clip’s center point to the pixel you cli

Chapter 12 Changing Motion Parameters 229 II10 Check the Basic Motion box, then click OK.The two clips occupy the same position in the Canvas with

230 Part II Project Interchange 12 In the left number field of the Center parameter (the x coordinate), delete the – (minus sign), then press Retur

Chapter 12 Changing Motion Parameters 231 II14 Using the same sequence In and Out points that you’ve been using, set the destination track of your

232 Part II Project Interchange 17 Choose View > Show Title Safe.∏ Tip: Viewing title safe boundaries is especially important when creating wor

Chapter 8 Navigating and Using Timecode in the Viewer and Canvas 101 IIShuttling Through a Clip or SequenceWhile using the scrubber bar is a great

Chapter 12 Changing Motion Parameters 233 IIExample 2: Using Additional Motion Settings to Refine the LayoutIn this example, the Crop, Feather, Op

234 Part II Project Interchange 6 In the Paste Attributes dialog, check the Scale Attribute Times and Crop boxes, leaving all other options uncheck

Chapter 12 Changing Motion Parameters 235 II9 To apply these settings to the other two clips, select the clip on track V4 in the Timeline, then cho

236 Part II Project Interchange Creating Motion Effects in the CanvasIn the previous section, you learned about default motion parameters for clips

Chapter 12 Changing Motion Parameters 237 IIManipulating Images in the CanvasWhen a clip is selected in the Timeline or Canvas (and you are in a wi

238 Part II Project Interchange Using the Selection, Crop, and Distort tools in the Tool palette, you can drag a clip’s handles directly in the Can

Chapter 12 Changing Motion Parameters 239 IIZooming In to the CanvasIn the Canvas, you can choose a magnification level to help you work with your

240 Part II Project Interchange Using Wireframe Handles to Transform, Scale, and RotateIn many instances, you may find that dragging the handles of

Chapter 12 Changing Motion Parameters 241 IITo move a clip:1 Select a clip in the Timeline.2 Select the Selection tool in the Tool palette, then dr

242 Part II Project Interchange To scale and rotate a clip:m Command-drag a corner handle.To distort the shape of a clip:1 Select a clip in the Tim

102 Part II Learning About the Final Cut Pro Interface To begin forward playback at normal (1x) speed:m Press L.To begin reverse playback at normal

Chapter 12 Changing Motion Parameters 243 IITo crop a clip:1 Select a clip in the Timeline.2 Select the Crop tool in the Tool palette, then do one

244 Part II Project Interchange Example: Using Motion Parameters and Wireframe HandlesIn this example, you’ll put a graphic on the side of a build

Chapter 12 Changing Motion Parameters 245 II3 In the Canvas or Timeline, position the playhead over the clip you just edited into track V1, then se

246 Part II Project Interchange 5 In the Timeline, select the image, then choose Image+Wireframe from the View pop-up menu in the Canvas.6 With the

Chapter 12 Changing Motion Parameters 247 II8 Select the Distort tool in the Tool palette, then drag each of the four corners of the sign graphic u

13 24913 Adjusting Parameters for Keyframed EffectsAutomated audio level adjustments, opacity changes between layers, shifting color values, and

250 Part II Project Interchange Many clip parameters can be keyframed: Opacity Motion settings Generators  Filters Volume level Pan settingsS

Chapter 13 Adjusting Parameters for Keyframed Effects 251 IIAdding additional keyframes increases the complexity of the effect, but the area in bet

252 Part II Project Interchange Using Three Keyframes With three keyframes, you can create more complex effects, such as a curved motion path. In t

Chapter 8 Navigating and Using Timecode in the Viewer and Canvas 103 IITo move forward or backward using the jog control:m Drag the jog control to

Chapter 13 Adjusting Parameters for Keyframed Effects 253 IIKeyframing Controls in the ViewerYou can use various controls for keyframing motion eff

254 Part II Project Interchange  Keyframe graph area: Shows all the values and keyframes associated with parameters currently displayed in the Vi

Chapter 13 Adjusting Parameters for Keyframed Effects 255 IIKeyframing Tools in Final Cut ProThree tools in the Tool palette allow you to add, modi

256 Part II Project Interchange Setting KeyframesUntil you create at least one keyframe for a parameter (or setting) of a clip, changes you make to

Chapter 13 Adjusting Parameters for Keyframed Effects 257 IITo set keyframes from the Viewer or Canvas:m To add a keyframe to all of the selected c

258 Part II Project Interchange To create additional space in the keyframe graph:1 Drag the Motion tab from the Viewer to the Timeline.The Motion t

Chapter 13 Adjusting Parameters for Keyframed Effects 259 IIm Move the pointer over the keyframe you want to modify (it becomes a crosshair), then

260 Part II Project Interchange To delete a keyframe, do one of the following:m Move the playhead to the keyframe you want to remove, then click th

Chapter 13 Adjusting Parameters for Keyframed Effects 261 IIZooming In to the Keyframe GraphFor a more detailed view of the keyframes you’re settin

262 Part II Project Interchange To zoom using the zoom tools:1 Select the Zoom In or Zoom Out tool in the Tool palette.2 Do one of the following:Â

104 Part II Learning About the Final Cut Pro Interface To enable looped playback:m Choose View > Loop Playback (or press Control-L). If it’s alr

Chapter 13 Adjusting Parameters for Keyframed Effects 263 IITo change the duration of the keyframe graph ruler:m Click or drag the Zoom control. Â

264 Part II Project Interchange 4 To adjust the opacity of the entire clip, do one of the following:Â Drag the Opacity slider to the left until the

Chapter 13 Adjusting Parameters for Keyframed Effects 265 II8 In the keyframe graph area, move the pointer to the left of the two keyframes on the

266 Part II Project Interchange 12 To complete this sequence, fade the topmost layer out again by adding one last keyframe. Move the playhead to 01

Chapter 13 Adjusting Parameters for Keyframed Effects 267 II∏ Tip: If you’re having problems getting the value of the overlay to be exactly 50, ho

268 Part II Project Interchange Smoothing Keyframes With Bezier HandlesThe keyframes of some motion settings and filter controls (but not audio vol

Chapter 13 Adjusting Parameters for Keyframed Effects 269 IIUnderstanding Bezier Handles and CurvesWhen adjusting the Bezier handles that are attac

270 Part II Project Interchange Two-Sided Bezier handlesKeyframes that are in between other keyframes have two-sided Bezier handles. These handles

Chapter 13 Adjusting Parameters for Keyframed Effects 271 IISmoothing KeyframesSmoothing a keyframe, or adding Bezier handles to it, makes the chan

272 Part II Project Interchange To change the angle between one side of a Bezier curve and the other:m Hold down the Command key as you drag a Bezi

Chapter 8 Navigating and Using Timecode in the Viewer and Canvas 105 IINavigating With Timecode in the Viewer and CanvasYou can move the playhead a

Chapter 13 Adjusting Parameters for Keyframed Effects 273 IIWhat Are Motion Paths?The simplest motion path is a straight line defined by two center

274 Part II Project Interchange Creating Motion PathsThe simplest way to make changes to a clip’s motion path is by manipulating it directly in the

Chapter 13 Adjusting Parameters for Keyframed Effects 275 IIAdding, Moving, and Deleting Keyframes in Motion PathsYou can edit a motion path direct

276 Part II Project Interchange Bezier handles on motion paths in the Canvas work the same way as they do for keyframes in the Motion tab, except t

Chapter 13 Adjusting Parameters for Keyframed Effects 277 IITo change the angle between one side of a Bezier curve and the other:m Hold down the Co

278 Part II Project Interchange Controlling Speed Along a Motion PathThe speed at which a clip travels along a motion path is determined by two fac

Chapter 13 Adjusting Parameters for Keyframed Effects 279 IITo vary the acceleration of this clip along its motion path, you must first add Bezier

280 Part II Project Interchange To slow down a clip’s motion at the beginning and speed it up as it nears the next keyframe:m Drag the velocity han

Chapter 13 Adjusting Parameters for Keyframed Effects 281 IIMoving an Entire Motion Path in the CanvasIf you’re happy with the shape of a motion pa

282 Part II Project Interchange To change the name of a motion favorite:1 Select the motion favorite in the Favorites bin of the Effects tab of the

106 Part II Learning About the Final Cut Pro Interface To move the playhead typing outside the Current Timecode field:1 Do one of the following:Â D

Chapter 13 Adjusting Parameters for Keyframed Effects 283 IIUsing the Timeline Keyframe Graph AreaOnce motion parameters have been applied to a cli

284 Part II Project Interchange  Keyframe editor: The keyframe editor shows you motion or filter parameters’ value graph lines and keyframes bene

Chapter 13 Adjusting Parameters for Keyframed Effects 285 IIWorking With the Filter and Motion BarsThe filter and motion bars are useful for seeing

286 Part II Project Interchange Working With the Timeline Keyframe EditorThe keyframe editor allows you to edit the keyframe graph lines belonging

14 28714 Reusing Effect and Motion ParametersIf you frequently use a particular transition or filter with specific settings, you can save it as a

288 Part II Project Interchange About the Paste Attributes DialogYou select which attributes to paste by using the Paste Attributes dialog. The fol

Chapter 14 Reusing Effect and Motion Parameters 289 IIÂ Filters: Adds the parameter values and keyframes for all filters from the clip you copied.

290 Part II Project Interchange Copying and Pasting Clip AttributesWhen you paste clip attributes into other clips, the following rules apply:Â All

Chapter 14 Reusing Effect and Motion Parameters 291 IIRemoving Attributes From a ClipIf you ever want to remove particular attributes from a clip,

292 Part II Project Interchange Applying Filters Across Multiple Tracks at OnceWhen working with multiple layers of video or audio in the Timeline,

Chapter 8 Navigating and Using Timecode in the Viewer and Canvas 107 IIViewing Timecode OverlaysTimecode overlay display is overridden by the Show

Chapter 14 Reusing Effect and Motion Parameters 293 IICreating and Applying Favorite Filters and TransitionsOften you may find yourself using the s

294 Part II Project Interchange Creating Favorite Filters and TransitionsThe steps for creating favorite filters and transitions are essentially th

Chapter 14 Reusing Effect and Motion Parameters 295 IITo create a favorite filter from the Filters tab in the Viewer:1 Choose Window > Effects (

296 Part II Project Interchange Organizing and Renaming FavoritesWhen you create a favorite, you may want to rename it, particularly if you modifie

Chapter 14 Reusing Effect and Motion Parameters 297 IIApplying Favorite Filters and TransitionsYou can apply filters and transitions from the Favor

15 29915 Previewing Effects and Comparing FramesThe Frame Viewer and QuickView tabs are useful for comparing content in different frames or quick

300 Part II Project Interchange Displaying Images in the Frame Viewer TabThe default view of the Frame Viewer tab consists of the previous edit fro

Chapter 15 Previewing Effects and Comparing Frames 301 IIYou can customize the contents of the Frame Viewer tab using the following controls:Â Fram

302 Part II Project Interchange Choosing Display Options in the Frame ViewerThe following section describes how to view and adjust split screen dis

108 Part II Learning About the Final Cut Pro Interface  Video and audio timecode numbers: In the center of the Canvas and Viewer are lists of tim

Chapter 15 Previewing Effects and Comparing Frames 303 IIViewing Your Composition in the QuickView TabThe QuickView tab provides an alternate way t

304 Part II Project Interchange  Resolution pop-up menu: Choose Full, Half, or Quarter as your viewing resolution in the QuickView window. This s

Chapter 15 Previewing Effects and Comparing Frames 305 IIIf an In point is set in the Timeline but no Out point is set:Final Cut Pro caches video f

16 30716 Changing Clip Speed and Time RemappingYou can adjust a clip’s speed parameters to create fast- or slow-motion effects. With time remappi

308 Part II Project Interchange How Changing Speed Affects a Clip’s DurationA change in a clip’s speed can affect the duration of the clip. If you

Chapter 16 Changing Clip Speed and Time Remapping 309 IIYou can also use the fit to fill edit with multiple clips. When you do so, each successive

310 Part II Project Interchange 5 Do one of the following:Â Drag the clip from the Viewer to the Fit to Fill section of the Edit Overlay in the Can

Chapter 16 Changing Clip Speed and Time Remapping 311 IIConstant and Variable Speed SettingsYou can make two kinds of speed changes to a clip—const

312 Part II Project Interchange Differences Between Constant and Variable Speed ChangesThere are three main differences between constant and variab

10 Preface Final Cut Pro 5 Documentation and Resources  Volume 3—Audio Mixing and Effects: Provides instructions for mixing audio and enhancing y

9 1099 Timeline BasicsThe Timeline shows a graphical representation of your edited sequence, with all of that sequence’s clips laid out in chrono

Chapter 16 Changing Clip Speed and Time Remapping 313 IINote: While clips using frame blending can play in real time at preview quality, frame ble

314 Part II Project Interchange Making Constant Speed ChangesThe simplest speed change you can make to a clip is a constant speed change. You do th

Chapter 16 Changing Clip Speed and Time Remapping 315 IIMaking Variable Speed ChangesTime remapping allows you to make variable speed changes in cl

316 Part II Project Interchange For example, consider the following examples when using a 300-frame clip:Â Instead of playing frames 1–300 from the

Chapter 16 Changing Clip Speed and Time Remapping 317 IIWhen you choose a value for the keyframe on the y axis, you are choosing a frame from the c

318 Part II Project Interchange Where You Can Make Time Remapping AdjustmentsThere are four places in Final Cut Pro where you can make variable spe

Chapter 16 Changing Clip Speed and Time Remapping 319 IIÂ Speed indicator area: Speed indicators show you the speed of clips in your sequence usin

320 Part II Project Interchange Learning to Read Timeline Speed IndicatorsThe Timeline includes speed indicators to show you the speed of clips in

Chapter 16 Changing Clip Speed and Time Remapping 321 IITo view the speed indicators in the Timeline keyframe graph area:m Control-click the Clip K

322 Part II Project Interchange If you make a clip play backward by selecting the Reverse checkbox in the Speed dialog, the speed indicators turn r

110 Part II Learning About the Final Cut Pro Interface This shows several items in the Timeline.This shows the same items as they appear in the Can

Chapter 16 Changing Clip Speed and Time Remapping 323 IIIf parts of a clip are set to 100-percent speed, but other parts are set to fast-forward or

324 Part II Project Interchange For example, clicking a clip at 01:00:02:00 in the Timeline with the Time Remap tool places the playhead at that fr

Chapter 16 Changing Clip Speed and Time Remapping 325 II4 With the mouse button still held down, drag left or right to begin moving a frame from an

326 Part II Project Interchange Sliding a Frame to a New Time in the ClipOption-clicking a clip with the Time Remap tool enables you to grab the fr

Chapter 16 Changing Clip Speed and Time Remapping 327 II3 When you’ve found the source frame in the clip that you want to remap to another time, ho

328 Part II Project Interchange Adjusting Time Remap Keyframes in the Motion BarOnce you’ve created one or more time remap keyframes, you can readj

Chapter 16 Changing Clip Speed and Time Remapping 329 IITime Remapping Using the Time GraphWhile the Time Remap tool allows you to make speed adjus

330 Part II Project Interchange  Fast-forward (greater than 100% speed): Fast-forward speed can be seen as a steeper line, in which several frame

Chapter 16 Changing Clip Speed and Time Remapping 331 IIÂ Acceleration/deceleration: Finally, the most powerful feature of the time graph is the a

332 Part II Project Interchange Time Remapping in the Motion TabYou can also make adjustments to a clip’s speed using the time graph in the Time Re

Chapter 9 Timeline Basics 111 IIOpening and Closing Sequences in the TimelineIn the Timeline and Canvas, tabs represent sequences. Opening a sequen

Chapter 16 Changing Clip Speed and Time Remapping 333 IITime Graph Output Parameters Time: A timecode value showing the clip’s current playhead p

334 Part II Project Interchange 5 Control-click the current timecode field, then deselect View Native Speed from the shortcut menu.Note: When View

17 33517 Working With Still Images and PhotographsYou can use still images and photographs in your movie to previsualize scenes, create motion gr

336 Part II Project Interchange Creating Freeze Frame Stills From a Video ClipFinal Cut Pro makes it easy to grab a freeze frame whenever you need

Chapter 17 Working With Still Images and Photographs 337 IIConsiderations Before Creating and Importing StillsBefore you start creating graphics an

338 Part II Project Interchange Creating Graphics With the Correct Frame Size for VideoWhen you’re preparing to import graphics into Final Cut Pro,

Chapter 17 Working With Still Images and Photographs 339 IIBit Depth of Imported GraphicsFinal Cut Pro can import graphics with a bit depth up to 1

340 Part II Project Interchange  If your graphic is taller than it is wide, there are gray borders to the right and left of the image in the Viewe

Chapter 17 Working With Still Images and Photographs 341 IISince every non-square video frame size has an equivalent square frame size that will lo

342 Part II Project Interchange 3 Do one of the following: Save your image from the graphics program into your media folder on disk. In your grap

112 Part II Learning About the Final Cut Pro Interface Learning About the TimelineYou can view the content of your sequences in many different ways

Chapter 17 Working With Still Images and Photographs 343 IISD NTSC pixels are taller than computer pixels and SD PAL pixels are wider than computer

344 Part II Project Interchange Choosing the Maximum White Sequence SettingWhen you edit a graphics clip into a sequence, if the “Process maximum w

Chapter 17 Working With Still Images and Photographs 345 IISelecting Fonts and Creating Line Art for VideoWhen creating line art or selecting a fon

346 Part II Project Interchange To scale an image within a sequence to exactly fit the sequence dimensions:1 Select one or more clips in the sequen

Chapter 17 Working With Still Images and Photographs 347 IIChanging the Duration of Still ImagesOnce an image is edited into your sequence, it has

348 Part II Project Interchange Example: Adding Camera Motion to Still ImagesYou’ve probably seen documentaries that show a graceful camera pan or

Chapter 17 Working With Still Images and Photographs 349 IIIf the final destination of your sequence will be standard definition (SD) video, then a

350 Part II Project Interchange Step 4: Prepare the Viewer and Canvas settingsTo see the image size and position as it will appear within the fram

Chapter 17 Working With Still Images and Photographs 351 II1 Move the playhead to the time when you want the image pan to start.2 Move the position

352 Part II Project Interchange 5 Move the image in the Canvas to the ending position. You don’t need to add a keyframe this time because, once a s

Chapter 9 Timeline Basics 113 IIEditing ControlsThe Timeline editing controls determine which tracks are selected and enabled for editing and playb

Chapter 17 Working With Still Images and Photographs 353 IITo create a more realistic camera move, you may also want to smooth the motion at the be

18 35518 Compositing and LayeringCompositing is the process of stacking and blending multiple video or graphics clips over one another in a seque

356 Part II Project Interchange Audio items linked to video items you’ve layered in the Timeline are also stacked, one on top of another. You can h

Chapter 18 Compositing and Layering 357 IIDifferent Ways to Layer Clips in the TimelineThere are several ways you can layer clips in the Timeline.Â

358 Part II Project Interchange Adjusting Opacity Levels of ClipsEvery visual clip in a project has a level of transparency, or opacity parameter,

Chapter 18 Compositing and Layering 359 IITo adjust the opacity of a clip (with no keyframes) in the Timeline:1 In the Timeline, click the Clip Ove

360 Part II Project Interchange To adjust the opacity of a clip (with no keyframes) in the Motion tab:1 Do one of the following:Â Double-click the

Chapter 18 Compositing and Layering 361 IIWorking With Composite ModesFinal Cut Pro composite modes are settings that determine how the colors of o

362 Part II Project Interchange 3 Move the playhead over these two clips to see the interaction between the two clips in the Canvas.You can quickly

114 Part II Learning About the Final Cut Pro Interface  Auto Select control: Enabling the Auto Select controls of specific tracks in the Timeline

Chapter 18 Compositing and Layering 363 IIComposite Modes in Final Cut Pro Normal: Displays the clip without any changes. This is the default of

364 Part II Project Interchange  Multiply: Compares the color values for each pixel of the selected clip with those of the clip beneath it in the

Chapter 18 Compositing and Layering 365 IIÂ Overlay: Wherever the color value is more than 128, Screen is applied. Wherever the color value is les

366 Part II Project Interchange  Darken: Compares the color values for each pixel of the selected clip with those of the clip beneath it in the T

Chapter 18 Compositing and Layering 367 IINote: When the travel matte is on track V1, Final Cut Pro uses black as the default background.Using Tra

368 Part II Project Interchange 3 Place the main clip that you want masked on track V3, directly above the matte layer.4 Select the main clip on tr

Chapter 18 Compositing and Layering 369 IIWhat Happens When You Import a Multilayered Photoshop FileFinal Cut Pro lets you import multilayered Phot

370 Part II Project Interchange The sequence Final Cut Pro creates has the same number of layers as there are in the imported file. The background

Chapter 18 Compositing and Layering 371 IIUsing Video and Graphics Clips With Alpha ChannelsOrdinary video clips have three channels of information

372 Part II Project Interchange  Straight: Typically generated by a 3D animation or compositing program, straight alpha channels contain only the

Chapter 9 Timeline Basics 115 IIÂ Unused area: This is the area either above or below the outermost video and audio tracks in your sequence. Ordin

Chapter 18 Compositing and Layering 373 IIWorking With Clips That Have Alpha ChannelsYou can edit clips that have alpha channels into your sequence

374 Part II Project Interchange Importing Clips With Alpha ChannelsSome clips and images you import may have alpha channels. Ordinary video clips h

Chapter 18 Compositing and Layering 375 IITo change or reverse the alpha channel type of a clip using the Item Properties window:1 Do one of the fo

376 Part II Project Interchange To reverse a clip’s alpha channel:1 Select a clip in the Timeline, Browser, or Viewer.2 Do one of the following:Â C

Chapter 18 Compositing and Layering 377 IIOptions for Displaying Alpha Channel InformationSeveral options in the View pop-up menus of the Viewer an

378 Part II Project Interchange Displaying backgroundsWhen working with clips that have an alpha channel, you can choose different backgrounds to m

Chapter 18 Compositing and Layering 379 IIViewing RGB and Alpha Channels in the ViewerWhen you’re working in the Viewer, it can sometimes be helpfu

380 Part II Project Interchange  Alpha+RGB: This option lets you see a representation of the alpha channel overlaid on top of the RGB channels th

Chapter 18 Compositing and Layering 381 IIThere are several backgrounds to choose from. Black White Checkerboard 1 Checkerboard 2 Red GreenÂ

382 Part II Project Interchange Temporarily Disabling a Single ClipIf, instead of disabling an entire track, you only want to disable a single clip

116 Part II Learning About the Final Cut Pro Interface  Playhead: The playhead displays the current frame location in a sequence. You can also us

Chapter 18 Compositing and Layering 383 IISoloing Clips in Multitrack SequencesWhen working with multiple tracks you may find it helpful to quickly

19 38519 Keying, Mattes, and MasksYou can isolate specific elements of clips from the background and combine those elements with other clips by u

386 Part II Project Interchange In Final Cut Pro, a matte is a customizable, polygonal shape used to make part of a clip transparent. By outlining

Chapter 19 Keying, Mattes, and Masks 387 IIWhat Are Masks and How Are They Used?A mask is an image that is used to create areas of transparency in

388 Part II Project Interchange Using Keying to Isolate Foreground ElementsThere are two different methods used for keying: chroma keying and luma

Chapter 19 Keying, Mattes, and Masks 389 IIIf you must apply compression during capture, you can still pull good keys from clips with as much as a

390 Part II Project Interchange Using the Final Cut Pro Video Scopes to Help Correctly Light Your Background ScreenSince the Waveform Monitor shows

Chapter 19 Keying, Mattes, and Masks 391 IIOverview of Compositing Using the Chroma Keyer FilterWhile you can use one of several different filters

392 Part II Project Interchange A second Matte Choker filter can also be applied to fill holes in the foreground subject that appear as a result of

Chapter 9 Timeline Basics 117 IIÂ Zoom slider: Like the Zoom control, the Zoom slider allows you to zoom in and out of a sequence in the Timeline.

Chapter 19 Keying, Mattes, and Masks 393 IIStep 8: Perform additional adjustments to the background layerFinally, you should spend some time worki

394 Part II Project Interchange Specifying the Type of Controls to Use for the Chroma Keyer FilterThe Chroma Keyer has a set of visual controls, as

Chapter 19 Keying, Mattes, and Masks 395 IITo use the standard numeric controls, do one of the following:m In the Chroma Keyer tab, click the Numer

396 Part II Project Interchange Visual Controls in the Chroma Keyer Filter Enable/Disable checkbox: Make sure there’s a checkmark in this checkbo

Chapter 19 Keying, Mattes, and Masks 397 IIÂ Sat control: Allows you to adjust the degree and range of saturation that contributes to defining you

398 Part II Project Interchange  Invert Selection button: Click this button to invert the key you’ve defined. For example, suppose you’ve set up

Chapter 19 Keying, Mattes, and Masks 399 II4 Click the Select Color button to pick a color in the clip to key, move the pointer to the Canvas (it t

400 Part II Project Interchange You can perform this step as many times as you need to. The goal is to eliminate as much of the background as you c

Chapter 19 Keying, Mattes, and Masks 401 II7 Depending on how the edges of your foreground subject look, you may want to make adjustments using the

402 Part II Project Interchange 9 If you still see light fringing at this point, or if you were forced to use settings so extreme in the Chroma Key

118 Part II Learning About the Final Cut Pro Interface Audio Controls Audio Controls button: Click to display the mute and solo buttons to the le

Chapter 19 Keying, Mattes, and Masks 403 II13 Finally, you’re ready to insert the background image. Make sure that the clip you’re editing into you

404 Part II Project Interchange Using Mattes to Add or Modify Alpha ChannelsYou can use the matte filters to create a new alpha channel or add to o

Chapter 19 Keying, Mattes, and Masks 405 II3 Move the pointer to the Canvas (it turns into a crosshair pointer), then click to change the location

406 Part II Project Interchange 6 You can also adjust the Choke and Feather sliders. The Choke slider adjusts the overall size of the matte, withou

Chapter 19 Keying, Mattes, and Masks 407 IIKeyframes are created automatically when you make these adjustments. The change of the matte’s shape and

408 Part II Project Interchange Example: Using the Image Mask and Mask Feather FiltersIn the following example, a still image is used to create an

Chapter 19 Keying, Mattes, and Masks 409 II4 Apply the Mask Feather filter to the clip you want to blur.5 Open this clip into the Viewer, then clic

20 41120 Color Correcting Clips Final Cut Pro includes powerful color correction features that let you analyze clips in your project and perform

412 Part II Project Interchange Why Color Correct Your Footage?There are a number of reasons why you may want to color correct your footage:Â Make

Preface Final Cut Pro 5 Documentation and Resources 11 Information About New FeaturesFor information about features that have been added or enhance

Chapter 9 Timeline Basics 119 IIOther Miscellaneous Controls Snapping button: Click to turn snapping on and off. This button appears in the Timel

Chapter 20 Color Correcting Clips 413 IIÂ Achieve a “look”: The process of color correction is not simply one of making all the video in your piec

414 Part II Project Interchange Managing Color During PostproductionThe way you manage color in your program depends on whether your source video w

Chapter 20 Color Correcting Clips 415 IIThe goals of color correction at this stage depend on the length of the project. Short projects, commercia

416 Part II Project Interchange Tape-to-Tape Color CorrectionWith projects shot on videotape, the color correction process tends to be a little sim

Chapter 20 Color Correcting Clips 417 IIColor Correction in Final Cut ProWith as much control as they afford, telecine sessions tend to be expensiv

418 Part II Project Interchange Measuring and Evaluating VideoBefore you can effectively perform color correction using the Final Cut Pro color cor

Chapter 20 Color Correcting Clips 419 IIChrominance (Chroma)Chroma (also referred to as chrominance) describes all the different color values in yo

420 Part II Project Interchange Blacks, Mids, and WhitesIn the Final Cut Pro color correction filters, most of the controls that you use to correct

Chapter 20 Color Correcting Clips 421 IIIllegal Broadcast LevelsBroadcast facilities have limits on the maximum values of luma and chroma that are

422 Part II Project Interchange Displaying Excess Luma and Chroma Levels in the Viewer and CanvasThe Final Cut Pro range-checking options (in the R

120 Part II Learning About the Final Cut Pro Interface  Stereo pair indicators (within clip items): Two pairs of triangles indicate that two audi

Chapter 20 Color Correcting Clips 423 IIOptions in the Range Check Submenu Excess Luma: If you choose this option, red zebra stripes appear in al

424 Part II Project Interchange Working With Final Cut Pro Video ScopesThe video scopes in Final Cut Pro—the Waveform Monitor, Vectorscope, and Par

Chapter 20 Color Correcting Clips 425 II2 Choose the type of scopes you want to view from the Layout menu.For more information, see the next sectio

426 Part II Project Interchange Viewing and Choosing Display Options for Video ScopesVarious options in the video scopes are designed to help you b

Chapter 20 Color Correcting Clips 427 IIÂ Include Black: This option is available in the Histogram only. Turning this option on scales the Histogr

428 Part II Project Interchange With the Waveform Monitor set to display saturation, you can also compare the relative saturation levels of two cli

Chapter 20 Color Correcting Clips 429 IILearning to Read the VectorscopeThe Vectorscope shows you the overall distribution of color in your image a

430 Part II Project Interchange The color targets of the Vectorscope scale match the colors in the Color Balance controls of the Final Cut Pro colo

Chapter 20 Color Correcting Clips 431 IILearning to Read the HistogramThe Histogram display shows you the relative strength of all luminance values

432 Part II Project Interchange The shape of the Histogram is also good for determining the amount of contrast in an image. A low-contrast image ha

Chapter 9 Timeline Basics 121 IIÂ Render status bar: This bar at the top of the Timeline indicates which parts of the sequence have been rendered

Chapter 20 Color Correcting Clips 433 IIThe Parade scope is very useful for comparing the relative levels of reds, greens, and blues between two cl

434 Part II Project Interchange The Color Correction ProcessAs mentioned earlier, color correction has several goals. To outline the process of col

Chapter 20 Color Correcting Clips 435 IIStep 3: Add additional color correction as necessaryIt’s important to remember that you don’t have to do e

436 Part II Project Interchange Using Scopes Versus Looking at the PictureThere are two pieces of information that you have available to work with

Chapter 20 Color Correcting Clips 437 IIKeyboard Shortcuts to Move Quickly Between ClipsThe Final Cut Pro Color Correction FiltersThere are four fi

438 Part II Project Interchange The two main color correction filters in Final Cut Pro that you’ll use to perform primary color correction are the

Chapter 20 Color Correcting Clips 439 IIThe Color Corrector and Color Corrector 3-Way FiltersThe Color Corrector and Color Corrector 3-way filters

440 Part II Project Interchange Copy Filter ControlsThe Copy Filter controls give you an easy way to copy color correction filters and filter setti

Chapter 20 Color Correcting Clips 441 IIWorking With the Copy Filter ControlsThe Copy Filter controls are designed to help you color correct sequen

442 Part II Project Interchange If the previous clip doesn’t have the same number of filters, the Copy From buttons copy settings from the first av

122 Part II Learning About the Final Cut Pro Interface Sequence Clips in the TimelineClip items in a sequence are often called sequence clips, with

Chapter 20 Color Correcting Clips 443 IIMenu Commands for the Copy Filter ControlsSome Copy Filter controls have equivalents in the Copy Filters su

444 Part II Project Interchange Color Balance ControlsColor Balance controls are color wheels that allow you to change the mix of red, green, and b

Chapter 20 Color Correcting Clips 445 IIThe Color Corrector Filter ControlsThe Color Corrector filter controls are deceptively easy considering the

446 Part II Project Interchange When using the Whites auto-balance control, don’t select an area that’s overexposed, such as a light source or a sh

Chapter 20 Color Correcting Clips 447 IILevel and Saturation Controls in the Color Corrector FilterThe Level sliders allow you to adjust the Whites

448 Part II Project Interchange Hue Matching Controls in the Color Corrector FilterThe Hue Matching controls allow you to adjust the hue of the cur

Chapter 20 Color Correcting Clips 449 II5 Choose Window > Arrange > Color Correction.This displays the Video Scopes tab in the Tool Bench. Wh

450 Part II Project Interchange 8 Since the image is underexposed, adjust the Mids slider to bring more detail out of the shadows. Moving the Mids

Chapter 20 Color Correcting Clips 451 IIThe Color Corrector filter automatically adjusts the Balance control to compensate for whatever tint exists

452 Part II Project Interchange Note: When using the Whites Select Auto-balance Color button, it’s important to recognize that the color temperatu

Chapter 9 Timeline Basics 123 IIÂ Track layout pop-up menu: You can use this pop-up menu to change some Timeline display options, as well as save,

Chapter 20 Color Correcting Clips 453 IIColor Corrector 3-Way Filter ControlsThe Color Corrector 3-way filter gives you more subtle control over th

454 Part II Project Interchange  Mids Balance control: Drag in the Mids Balance control to move the balance control indicator and change the mix

Chapter 20 Color Correcting Clips 455 IIAuto Level and Contrast Controls in the Color Corrector 3-Way FilterUsing the Auto Contrast controls and th

456 Part II Project Interchange Level and Saturation Controls in the Color Corrector 3-Way FilterThe Level sliders allow you to adjust the Whites,

Chapter 20 Color Correcting Clips 457 IINote: Be very careful when raising the saturation of a clip using this control. It is very easy to raise t

458 Part II Project Interchange 1 Move the playhead in the Timeline over the clip you’re working on so that you can see your changes output to vide

Chapter 20 Color Correcting Clips 459 IIThe Blacks and Whites sliders automatically adjust themselves to achieve the best numeric distribution base

460 Part II Project Interchange 8 To begin to compensate for this, click the Whites Select Auto-balance Color button (the eyedropper).Note: When t

Chapter 20 Color Correcting Clips 461 IIYou can see the correction in the Canvas.Note: When using the auto-balance control, it’s important to reco

462 Part II Project Interchange 11 Click the eyedropper in an area of the picture that’s supposed to be unsaturated black. Again, depending on the

124 Part II Learning About the Final Cut Pro Interface General OptionsThese are basic display options you can change at any time. Several options,

Chapter 20 Color Correcting Clips 463 IIAfter you’ve used the auto-balance controls to achieve a properly balanced image, it’s time to fine-tune it

464 Part II Project Interchange While making these adjustments, it’s a good idea to use the flesh tone target in the Vectorscope to show you how ac

Chapter 20 Color Correcting Clips 465 IIIn this example, even with all the correction we’ve applied, the image is still a little oversaturated. Thi

466 Part II Project Interchange Example: Color Correcting a Three-Shot Sequence for ContinuityNow that you’ve examined the specifics of using the

Chapter 20 Color Correcting Clips 467 II4 In the Timeline, move the playhead to the first clip of the scene (for this example, the master shot) to

468 Part II Project Interchange 7 In the Timeline, position the playhead over the second clip so that it opens in the Viewer. There are three appro

Chapter 20 Color Correcting Clips 469 IIAs you compare adjacent clips in your sequence, remember to pay attention to the video scopes. With Final C

470 Part II Project Interchange Using information from the Video Scopes tab, you can adjust the Whites and the Mids sliders to make the two spikes

Chapter 20 Color Correcting Clips 471 IIHue Matching Controls in the Color Corrector and Color Corrector 3-Way FiltersThe Hue Matching controls pro

472 Part II Project Interchange Hue Matching ControlsThe Hue Matching controls work well as a starting point to help you quickly match the overall

Chapter 9 Timeline Basics 125 IITrack Display Show Keyframe Overlays: Select this option to display opacity overlays (thin black lines) over your

Chapter 20 Color Correcting Clips 473 IIExample: Using the Hue Matching Controls of the Color Corrector 3-Way FilterThis example shows how to use

474 Part II Project Interchange 4 Once the contrast has been adjusted the way you want it, click the Select Auto-balance Color button (the eyedropp

Chapter 20 Color Correcting Clips 475 II6 Now, in the Color Corrector 3-way tab in the Viewer, click the highlighted Whites auto-balance button.Whi

476 Part II Project Interchange 8 The Whites Balance control changes, dipping into the blues to compensate for the overly warm lighting. The color

Chapter 20 Color Correcting Clips 477 IILimit Effect ControlsYou can use the color value, saturation, and luminance of your clip together or separa

478 Part II Project Interchange  Select Color button (the eyedropper): When you click this button, the pointer turns into an eyedropper you can u

Chapter 20 Color Correcting Clips 479 IIExample: Using the Limit Effect Controls to Change a Specific ColorThis example shows you how to use the L

480 Part II Project Interchange Now, you’ll make a hue adjustment so that you can see the area you’re trying to isolate. 3 To make the pants pink,

Chapter 20 Color Correcting Clips 481 IIIf you need to readjust the range of hues between these handles, drag in the color gradient and move the ra

482 Part II Project Interchange Example: Using the Limit Effect Controls to Isolate a Specific Color Against GrayscaleThis example shows you how t

126 Part II Learning About the Final Cut Pro Interface  Show Through Edits: A through edit is an edit composed of two adjacent frames that have t

Chapter 20 Color Correcting Clips 483 II2 Click the Invert Selection button to reverse the key created by the Limit Effect controls.The Desaturate

484 Part II Project Interchange The Desaturate Highlights and Desaturate Lows filters are actually the same filter, but with different default sett

Chapter 20 Color Correcting Clips 485 IIExample: Using the Desaturate Highlights FilterIn this example, the use of a color correction filter to br

486 Part II Project Interchange The Broadcast Safe FilterThe Broadcast Safe filter gives you a fast way to deal with clips that have luminance and

Chapter 20 Color Correcting Clips 487 IILuminance Limiting controls Enable: Click here to enable or disable the Luminance Limiting controls. Dese

21 48921 Using Built-in Generated Clips Final Cut Pro can generate several types of clips for you to use in your sequences, including bars and to

490 Part II Project Interchange Different Ways to Use Generators in Your SequenceIn creating composites and other effects, you may find some of the

Chapter 21 Using Built-in Generated Clips 491 IIGraphical Video and Audio Generators Available in Final Cut ProNot sure what each generator does or

492 Part II Project Interchange Gradient (Render > Gradient)Generates a predefined gradient based on a direction you choose from the Gradient Ty

Chapter 9 Timeline Basics 127 IIClip KeyframesYou can click the Clip Keyframes control to display the keyframe graph area—additional space below ea

Chapter 21 Using Built-in Generated Clips 493 IICreating and Adding Generated Clips to SequencesAll the Final Cut Pro generators can be accessed ei

494 Part II Project Interchange 2 Click the Controls tab to view that generator’s parameters, and adjust the controls to suit your purposes.All gen

22 49522 Creating TitlesTitles, including opening and closing credits and those used in the lower part of the screen, are important elements in y

496 Part II Project Interchange Installing and Choosing FontsIf there are special fonts you want to install to use in Final Cut Pro, you need to in

Chapter 22 Creating Titles 497 IIMaking Sure Titles Fit on TV ScreensIf you plan to show your work on a TV screen or monitor at any time, you’ll wa

498 Part II Project Interchange Text Generators Available in Final Cut ProThe table below describes each Text generator and includes tips about set

Chapter 22 Creating Titles 499 IIScrolling Text Generates text that scrolls up the screen, like credits at the end of a movie. The Scrolling Text g

500 Part II Project Interchange Creating and Adding a Title ClipWhen you’re creating a title clip for a sequence, you can create a basic title or s

Chapter 22 Creating Titles 501 II3 In the Text field, type the text that will appear in your movie.4 If you wish, specify additional settings.Note:

502 Part II Project Interchange  Origin: Origin refers to the center of the text. The definition of the Origin determines where the text appears

128 Part II Learning About the Final Cut Pro Interface  Keyframe editor: The keyframe editor shows you keyframe graph lines for motion or filter

Chapter 22 Creating Titles 503 IITo add the title clip to your sequence:1 In your sequence in the Timeline, set your destination track.If you place

504 Part II Project Interchange Using LiveType to Create Titles for Your ProjectWhen you want to create more dynamic and unique titles, LiveType ma

Chapter 22 Creating Titles 505 IIWorking With LiveType and Motion Clips in Final Cut ProIn Final Cut Pro, imported LiveType and Motion project clip

IIIPart III: Real Time and RenderingLearn how to maximize the real-time playback capabilities of Final Cut Pro and render effects that cannot be playe

23 50923 Using RT ExtremeRT Extreme is the real-time effects architecture that allows you to play back multiple video layers, video and audio fil

510 Part III Output RT Extreme supports features such as dynamic real-time, multiclip, and native MPEG-2-based video playback. Real-time effects ar

Chapter 23 Using RT Extreme 511 IIIAbout Dynamic Real-Time PlaybackTo maximize performance during playback, you can choose to have Final Cut Pro au

512 Part III Output About Safe Real-Time PlaybackThe Safe RT mode guarantees that effects are played back at the quality and frame rate you specify

Chapter 9 Timeline Basics 129 IITimeline Display Options Available From the Track Layout Pop-Up MenuYou can use the Track Layout pop-up menu in the

Chapter 23 Using RT Extreme 513 IIIAbout Unlimited Real-Time PlaybackIf you’d rather lower the playback quality of your video to increase the numbe

514 Part III Output Playing Only the Base Layer of a SequenceYou can improve real-time performance by using the Play Base Layer Only feature. When

Chapter 23 Using RT Extreme 515 IIIAbout External Video MonitoringIf you enable external video monitoring (such as DV output via FireWire), this ad

516 Part III Output Available Real-Time EffectsVideo transitions and filters that can play back in real time appear in boldface type in the Effects

Chapter 23 Using RT Extreme 517 IIISupported RT Extreme Playback CodecsRT Extreme is not capable of playing back all video codecs. The CPU speed an

518 Part III Output Choosing Gamma Correction Options in Final Cut ProIf your computer’s graphics card supports gamma correction, Final Cut Pro use

Chapter 23 Using RT Extreme 519 IIIUsing Real-Time Controls in Final Cut ProReal-time playback and status are controlled and displayed in several d

520 Part III Output Note: Even though they may also indicate real-time playback status, these bars are usually referred to as render bars. In othe

Chapter 23 Using RT Extreme 521 IIINote: Video formats that have higher system requirements for real-time playback result in fewer effects display

522 Part III Output  The RT (real-time) pop-up menu in the Timeline: This menu only shows you options available for the current sequence. For exa

130 Part II Learning About the Final Cut Pro Interface  Duplicate frames indicator: If you use a clip more than once within a single edited seque

Chapter 23 Using RT Extreme 523 IIISettings and Options in the RT Pop-Up Menu and Playback Control TabThe following section describes the settings

524 Part III Output  Unlimited RT: Selecting this option tells Final Cut Pro to play as many frames as possible when your effects exceed the proc

Chapter 23 Using RT Extreme 525 IIIÂ Playback Video Quality: Some codecs, such as DV, allow you to choose from several resolutions during playback.

526 Part III Output The following three pull-down patterns are available when your sequence has an editing timebase of 23.98 fps and you choose 29.

Chapter 23 Using RT Extreme 527 IIIÂ 2:2:2:4: This is a good choice if you are editing 23.98 fps video and want to preview video with as many real

528 Part III Output  Gamma Correction: This pop-up menu is only available in the Playback Control tab (not the RT pop-up menu) on older systems w

Chapter 23 Using RT Extreme 529 IIIReal-Time Audio Mixing in Final Cut ProFinal Cut Pro can mix and play back multiple audio tracks in a sequence i

530 Part III Output 7 Play back the sequence.If your system cannot support the number of tracks in the sequence, you see a “dropped frames” warning

Chapter 23 Using RT Extreme 531 IIIChoosing Real-Time Playback Versus RenderingHere are some practical examples of using real time versus rendering

532 Part III Output Using a Third-Party Video Effects Accelerator CardInstead of using RT Extreme, you may want to use a supported third-party vide

Chapter 9 Timeline Basics 131 IIControl-click a clip with duplicate frames to see a shortcut menu with the following option:Â Dupe Frames: Choose

24 53324 RenderingWhen you apply more effects to a clip than your computer can process in real time, you need to render temporary media files to

534 Part III Output Reasons for RenderingAny time Final Cut Pro must perform more calculations than your computer can handle in real time, you need

Chapter 24 Rendering 535 IIIRender Indicators in Final Cut ProFinal Cut Pro shows you which parts of your sequence need to be rendered by using ren

536 Part III Output Video Render Status BarsThe color of the video render bar above the Timeline ruler indicates whether the items below need to be

Chapter 24 Rendering 537 IIIAudio Render Status BarsThe color of the audio render bar above the Timeline ruler indicates whether the items below ne

538 Part III Output About Item-Level Render BarsAn audio clip item in the Timeline may display an individual render bar within the clip itself; thi

Chapter 24 Rendering 539 IIIThe Rendering ProcessWhen you render effects in a sequence, they’re rendered in the following order:Â The top-layer vid

540 Part III Output Selectively Rendering Parts of a SequenceThere are several ways to selectively render specific parts of your sequences. Select

Chapter 24 Rendering 541 IIICommands for Rendering EffectsThree submenus contain commands to control which effects are rendered in one or more sele

542 Part III Output  Audio: Renders only the audio items in the selected region of the sequence. Select one or both of the options that appear be

132 Part II Learning About the Final Cut Pro Interface Positioning the Playhead Using the RulerMoving the playhead in the Timeline ruler works in t

Chapter 24 Rendering 543 IIIRender Only SubmenuThe commands in the Render Only submenu operate either on a selected region of the Timeline, or on t

544 Part III Output Rendering One or More SequencesYou can use any of the above commands to render all effects or a subset of effects in one or mor

Chapter 24 Rendering 545 IIIRendering Part of a SequenceIf you’ve added a transition or an effect to a clip and want to render just that part of th

546 Part III Output Rendering Audio Items in a SequenceThe following commands allow you to render audio items when required for real-time playback.

Chapter 24 Rendering 547 IIITemporarily Disabling RenderingNormally, Final Cut Pro attempts to calculate all the effects applied to the frame at th

548 Part III Output Auto-Rendering While You Are Away From Your ComputerThe Auto Render option allows you to take advantage of idle computer time w

Chapter 24 Rendering 549 IIIChanging Render SettingsEach sequence has rendering options you can change in the following locations:Â Video Processin

550 Part III Output About Video Bit DepthEach pixel uses a certain number of bits to store the intensity of a color channel. For example, a typical

Chapter 24 Rendering 551 IIIAbout Color Space ConversionEach color space has a certain range, or gamut, of colors that can be represented. Some col

552 Part III Output Rendering Y´CBCR Footage in RGBWhen super-white Y´CBCR values are converted to RGB, any values above 235 are mapped to 255. Any

Chapter 9 Timeline Basics 133 IIZooming and Scrolling in the TimelineBeing able to navigate quickly to any point in your sequence is critical to ef

Chapter 24 Rendering 553 IIIImportant: While using the Super-White setting will match the super-white levels recorded by some consumer camcorders,

554 Part III Output Color Space and Bit Depth Precision Options Always Render in RGB: Forces codecs that normally process color using the Y´CBCR

Chapter 24 Rendering 555 IIIProcess Maximum White Pop-Up MenuFinal Cut Pro can process maximum white in one of two ways, depending on your capture

556 Part III Output Motion Filtering Quality Pop-Up Menu Normal: This option uses standard scaling and transformation algorithms, and yields medi

Chapter 24 Rendering 557 IIIChanging Settings in the Render Control TabEach sequence has its own group of render and playback settings, located in

558 Part III Output Render Settings Frame Rate: You can use this pop-up menu to reduce the frame rate of rendered effects, dramatically speeding

Chapter 24 Rendering 559 IIIManaging Your Render FilesRendering produces render files that are actual media files stored on your hard disk, the sam

560 Part III Output Using the Render ManagerThe Render Manager allows you to manage the render files associated with the sequences in your projects

Chapter 24 Rendering 561 IIITo delete render files:1 Choose Tools > Render Manager.The Render Manager dialog appears. All projects that referenc

562 Part III Output Preserving Render FilesWhen you make changes to effects, composited media, and other edits that have already been rendered, the

134 Part II Learning About the Final Cut Pro Interface To zoom in and out of the Timeline using the Zoom control:m Click or drag the Zoom control t

Chapter 24 Rendering 563 IIITips for Avoiding Unnecessary RenderingYou can do several things to avoid rendering. Â Edit the majority of your projec

564 Part III Output Reducing Render TimeHere are some tips for reducing the amount of time it takes to render your sequence:Â Lower the frame rate

Volume IVMedia Managementand OutputAlienUM Title V4.qxp 3/17/05 1:47 PM Page 1

 Apple Computer, Inc.© 2005 Apple Computer, Inc. All rights reserved.The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. an

31 ContentsPart I Media and Project ManagementChapter 1 13 Media Management13 What Is Media Management?15 Reasons to Use Media Management15 What

4 Contents42 Identifying Master Clips43 Creating Master and Affiliate Clips45 Breaking the Relationship Between an Affiliated Clip and Its Master46 In

Contents 5Chapter 9 109Diagnostic Tools for Clips109 Different Tools for Diagnosing Clips11 0 About the Analyze Movie Command111 Using the Analyze Mov

6 Contents155 Using the Export Audio to AIFF(s) Command157 Exporting Multichannel QuickTime Files158 Exporting OMF Audio Files159 Limitations of OMF E

Contents 7Chapter 16 215 Exporting Sequences for DVD215 The DVD Creation Process220 Adding Chapter and Compression Markers to Your Sequence222 About t

8 ContentsPart IV Settings and PreferencesChapter 22 281 Choosing Settings and Preferences281 Changing User Preferences282 General Tab287 Editing Tab2

Chapter 9 Timeline Basics 135 IIDrag the Zoom In tool to expand the sequence.This shows the above sequence zoomed in, so you can see more details w

Contents 9324 Settings in the Device Control Preset Editor328 About Device Control Protocols329 Device Control Protocols Supported by Final Cut Pro329

10 Contents372 SDI (Serial Digital Interface)372 HD-SDI (High Definition Serial Digital Interface)372 SDTI (Serial Digital Transport Interface)373 SCA

IPart I: Media and Project ManagementFinal Cut Pro features project and media management tools that help you keep track of your footage from the first

1 131 Media ManagementSuccessful editing requires two things: storytelling skills and effective media management. You should pick a media manage

14 Part I Media and Project Management The flexibility and power of media management in Final Cut Pro stems from one simple fact: A clip and its m

Chapter 1 Media Management 15 IReasons to Use Media ManagementComputers are very effective for sorting and organizing information, much more so tha

16 Part I Media and Project Management Media Management Steps in Final Cut ProLogging, capturing, making subclips, and processing your media are al

Chapter 1 Media Management 17 IStep 5: The final cut (online edit) and outputting to tapeWhen you are finished with your edit, you can use the Med

18 Part I Media and Project Management Working With Full-Resolution Media Versus an Offline/Online WorkflowYou can capture and edit your media at f

136 Part II Learning About the Final Cut Pro Interface To zoom in and out of the Timeline using menu commands or keyboard shortcuts:1 With either t

2 192 Backing Up and Restoring ProjectsRoutine backups are a critical part of the editing process. If necessary, you can go back to earlier versi

20 Part I Media and Project Management Using the Revert Project CommandSometimes you may make a series of trial changes to a project. What if you d

Chapter 2 Backing Up and Restoring Projects 21 ITo change the location of the Autosave Vault folder:1 Choose Final Cut Pro > System Settings, th

22 Part I Media and Project Management Restoring Autosaved ProjectsIf you’re working on your project and decide you want to go back to an earlier a

Chapter 2 Backing Up and Restoring Projects 23 ITo restore a previously autosaved project:1 Click a project’s tab in the Browser or Timeline to mak

24 Part I Media and Project Management Archiving Completed ProjectsAfter living and breathing a project for months or years, it may be hard to imag

Chapter 2 Backing Up and Restoring Projects 25 IUpdating Projects From Previous Versions of Final Cut ProYou can open and use projects created with

26 Part I Media and Project Management Updating ProjectsYou can open and use projects created with earlier versions of Final Cut Pro and Final Cut

Chapter 2 Backing Up and Restoring Projects 27 IUpdating Projects From Final Cut Pro HD 4.5 or EarlierWhen updating projects from Final Cut Pro HD

28 Part I Media and Project Management Updating Projects or Sequences From Final Cut Pro 1.2.1Older versions of Final Cut Pro and the Apple DV-NTSC

Chapter 9 Timeline Basics 137 IITo fit the entire contents of the Timeline into the available window size:m Press Shift-Z.The zoom factor changes s

3 293 Elements of a Final Cut Pro ProjectWhen you are organizing your project and media files, it can be helpful to have a detailed understanding

30 Part I Media and Project Management Types of ClipsDifferent types of clips are distinguished by the type of media files they refer to. For examp

Chapter 3 Elements of a Final Cut Pro Project 31 IA multiclip allows you to sync multiple clips together as angles within a single clip. The main r

32 Part I Media and Project Management The following properties are not shared between master and affiliate clips: Comment A–B In point Out poin

Chapter 3 Elements of a Final Cut Pro Project 33 IAbout Icons and Project Elements in the BrowserIcons appear next to the name of each project elem

34 Part I Media and Project Management Clip PropertiesA clip has many properties, or characteristics, some of which you can customize, and some of

Chapter 3 Elements of a Final Cut Pro Project 35 IYou can view and modify clip properties in the following locations: Browser columns Item Proper

36 Part I Media and Project Management Aux TC 1-2 Aux 1 and Aux 2 are additional timecode tracks that can be created in a QuickTime media file for

Chapter 3 Elements of a Final Cut Pro Project 37 IData Rate Shows how much data a clip’s media file requires per second of playback. This value is

38 Part I Media and Project Management Last Modified Indicates the date and time a clip’s media file was modified, or the last time a sequence was

138 Part II Learning About the Final Cut Pro Interface Scrolling Vertically Through Multiple TracksThe tracks in the Timeline are divided by defaul

Chapter 3 Elements of a Final Cut Pro Project 39 IMedia End The timecode address that refers to the last frame of the media file, and thus the Out

40 Part I Media and Project Management Source Shows the file path of the clip’s media file on disk. For example:Scratch Disk:Capture Scratch:Dining

4 414 Working With Master and Affiliate ClipsMaster-affiliate clip relationships make it easy to manage multiple uses of media files in your proj

42 Part I Media and Project Management When several clips are independent, they may all refer to the same media file, but they refer to it independ

Chapter 4 Working With Master and Affiliate Clips 43 ICreating Master and Affiliate ClipsBesides capturing and importing clips into a project, ther

44 Part I Media and Project Management Creating Affiliate Clips From Master ClipsAs you edit in Final Cut Pro, you create affiliate clips in a sequ

Chapter 4 Working With Master and Affiliate Clips 45 IBreaking the Relationship Between an Affiliated Clip and Its MasterOnce the relationship betw

46 Part I Media and Project Management Independent ClipsIndependent clips do not share properties with any other clips. They are neither master cli

Chapter 4 Working With Master and Affiliate Clips 47 ITo create a master clip from an independent clip in a sequence:m Drag a clip from the sequenc

48 Part I Media and Project Management .Finding a Clip’s Master ClipUsing the Reveal Master Clip command, you can identify the master clip of any c

IPart I: An Introduction to Final Cut ProFind out how Final Cut Pro fits into the moviemaking process and learn about fundamental concepts of digital

10 13910 Customizing the InterfaceFinal Cut Pro lets you customize the way you work with windows, rearranging them and creating new layouts. You

Chapter 4 Working With Master and Affiliate Clips 49 IMaster-Affiliate Clip PropertiesMost clip properties reside in a master clip, and all the aff

50 Part I Media and Project Management Affiliate Clip PropertiesThe following clip properties are unique to each affiliate clip, and unique to the

5 515 Offline and Online EditingFinal Cut Pro allows you to do offline editing with low-resolution copies of your media files, and then recapture

52 Part I Media and Project Management Offline EditingEditing with low-resolution copies of your media files allows you to fit more media on your s

Chapter 5 Offline and Online Editing 53 IThe audio mixing phase is analogous to the video online edit session: The goal is to produce a continuous

54 Part I Media and Project Management Offline/Online Editing WorkflowsThe offline/online editing process in Final Cut Pro consists of the followin

Chapter 5 Offline and Online Editing 55 IStep 4: Recapture necessary media at full resolutionYou bring your finished, full-resolution sequence to

56 Part I Media and Project Management Setting Up and Capturing Media to an OfflineRT FormatBefore you capture, you need to choose an appropriate O

Chapter 5 Offline and Online Editing 57 IEditing With Offline-Quality (Low-Resolution) Media FilesYou edit your OfflineRT sequence just as you woul

58 Part I Media and Project Management To create a duplicate of your sequence with online-quality settings:1 In the Browser, select your sequence.2

140 Part II Learning About the Final Cut Pro Interface Note: You can also resize and move the Tool Bench window, a window used for specialized edi

Chapter 5 Offline and Online Editing 59 IYou can now transfer the project containing your new sequence to a Final Cut Pro system capable of recaptu

60 Part I Media and Project Management Adding Final Color Correction, Effects, Transitions, and TitlesAn online edit session focuses on the quality

Chapter 5 Offline and Online Editing 61 IÂ Other nonlinear editing systems: These are systems similar to Final Cut Pro, such as Avid, Media 100, a

62 Part I Media and Project Management To create a cross-platform-compatible zip archive of your project(s):1 In the Finder, select the Final Cut P

6 636 Reconnecting Clips and Offline MediaWhenever a clip’s media file is modified outside of Final Cut Pro, the connection between the clip and

64 Part I Media and Project Management About the Connections Between Clips and Media FilesFinal Cut Pro is very flexible about the connection betwe

Chapter 6 Reconnecting Clips and Offline Media 65 IHow the Connection Between Clips and Media Files Can Be BrokenThere are several reasons the conn

66 Part I Media and Project Management Making Clips OfflineYou can deliberately make clips in your project offline. This breaks the connection betw

Chapter 6 Reconnecting Clips and Offline Media 67 IÂ Delete Them from the Disk: Select this option to disconnect clips from their media and immedi

68 Part I Media and Project Management Reconnecting Clips to Media FilesClips in your project don’t have to be offline for you to use the Reconnect

Chapter 10 Customizing the Interface 141 IITo resize multiple windows at the same time:1 Move the pointer over the border between the windows you w

Chapter 6 Reconnecting Clips and Offline Media 69 IFiles To Connect ListThis displays a list of clips organized by clip status:Â Online Files: Thi

70 Part I Media and Project Management  Search Folders pop-up menu: When the Search Single Location checkbox is deselected, Final Cut Pro searche

Chapter 6 Reconnecting Clips and Offline Media 71 IÂ Search: Click this button to start searching for media files that match the highlighted clip.

72 Part I Media and Project Management The first item in the Files to Connect list is highlighted. The currently highlighted clip is the clip whose

Chapter 6 Reconnecting Clips and Offline Media 73 ISeveral options can help you find your clip. Show pop-up menu: If this option is set to All Fi

74 Part I Media and Project Management 7 Click Try Again to search for a different media file to connect to the clip. Otherwise, click Continue to

Chapter 6 Reconnecting Clips and Offline Media 75 IAbout the Offline Files DialogThe Offline Files dialog appears each time you open a project whos

7 777 Overview of the Media ManagerThe Media Manager helps you move, copy, delete, and process your project’s media files, automatically updating

78 Part I Media and Project Management What Can You Do With the Media Manager?The Media Manager can duplicate an existing project, or individual it

142 Part II Learning About the Final Cut Pro Interface To choose a screen layout:m Choose Window > Arrange, then choose an option from the subme

Chapter 7 Overview of the Media Manager 79 IYou can use the “Create offline” option in the Media Manager to duplicate a sequence with different vid

80 Part I Media and Project Management  Any combination of the above: The Media Manager can handle a diverse range of selections, such as a bin a

Chapter 7 Overview of the Media Manager 81 ISummary AreaThe Summary area at the top describes what operation is about to be performed and shows how

82 Part I Media and Project Management Media Pop-Up MenuThe choices in this pop-up menu represent the main Media Manager tasks. All other options i

Chapter 7 Overview of the Media Manager 83 IÂ Create Offline: This option is very different from the others because no media files are created or

84 Part I Media and Project Management Selecting this option allows you to retain not only the media for clips in your sequences, but also media de

Chapter 7 Overview of the Media Manager 85 IUse Handles CheckboxThis option modifies the “Delete unused media” option described above so that less

86 Part I Media and Project Management “Base Media File Names on” Pop-Up MenuThis pop-up menu determines how clips are named when they’re segmented

Chapter 7 Overview of the Media Manager 87 IMedia Destination AreaThis area displays the location where media files are placed after copying, movin

88 Part I Media and Project Management For example, suppose that you originally captured a ten-minute clip and used four sections of this clip’s me

Chapter 10 Customizing the Interface 143 IICreating Custom LayoutsTwo custom layouts are presented at the top of the Arrange menu and cannot be ren

Chapter 7 Overview of the Media Manager 89 IHow Independent Clips Are ProcessedEven if you don’t maintain proper master-affiliate relationships in

90 Part I Media and Project Management Limiting How Much Media Is Copied or DeletedWhen you select clips to process with the Media Manager, keep in

Chapter 7 Overview of the Media Manager 91 I5 Deselect “Include master clips outside the selection.” This option ignores additional media referred

92 Part I Media and Project Management Preserving Media for the Selected Item, Its Master Clip, and All Affiliated ClipsIf you want to create a cop

8 938 Examples of How to Use the Media ManagerThe best way to learn about the Media Manager is to perform some of the common tasks described in t

94 Part I Media and Project Management Using the Media ManagerThere are three main steps to working with the Media Manager:Â Select items in your p

Chapter 8 Examples of How to Use the Media Manager 95 I2 Do one of the following: Choose File > Media Manager. Control-click one of the select

96 Part I Media and Project Management 8 When you’re ready to continue, click OK.If you chose to create a duplicate project, Final Cut Pro prompts

Chapter 8 Examples of How to Use the Media Manager 97 IA progress bar displays the state of completion of your Media Manager operation. For informa

98 Part I Media and Project Management 2 In the Media Manager, choose the following options, then click OK.Note: If the clips in your sequence are

144 Part II Learning About the Final Cut Pro Interface To use a saved layout, do one of the following:m Choose Window > Arrange, then choose a s

Chapter 8 Examples of How to Use the Media Manager 99 I2 In the Media Manager, choose the following options, then click OK.Example: Duplicating a

100 Part I Media and Project Management 2 In the Media Manager, choose the following options, then click OK.Example: Copying Several Sequences Wit

Chapter 8 Examples of How to Use the Media Manager 101 I2 In the Media Manager, choose the following options, then click OK.Note: Selecting “Inclu

102 Part I Media and Project Management 1 In the Browser, select all items in the project.2 In the Media Manager, choose the following options, the

Chapter 8 Examples of How to Use the Media Manager 103 IExample: Removing Portions of Media Files After Creating SubclipsA common logging and capt

104 Part I Media and Project Management 5 In the Media Manager, make the following selections:6 Click OK.The Media Manager creates a new media file

Chapter 8 Examples of How to Use the Media Manager 105 I2 In the Browser, select all items in the project. 3 Make sure the Browser window is active

106 Part I Media and Project Management Example: Consolidating Your Project and Media Files for ArchivingMany people like to archive their finishe

Chapter 8 Examples of How to Use the Media Manager 107 I3 Make sure the Browser window is still active. In the Media Manager, choose the following

Chapter 10 Customizing the Interface 145 IILearning About the Keyboard Layout WindowThe Keyboard Layout window allows you to view current keyboard

9 1099 Diagnostic Tools for ClipsIf you need detailed information about a clip’s media file, you can use the diagnostic tools in Final Cut Pro to

110 Part I Media and Project Management  Mark Long Frames: The frame rate of a media file determines the duration of each frame. Long frames are

Chapter 9 Diagnostic Tools for Clips 111 IUsing the Analyze Movie CommandThe Analyze Movie command displays track and media properties of a QuickTi

112 Part I Media and Project Management Information Reported by the Analyze Movie CommandThe Analyze Movie command provides the following informati

Chapter 9 Diagnostic Tools for Clips 113 IFor files with an audio track:Â Track Number and Size: The track number of the audio track (multichannel

114 Part I Media and Project Management To find and mark long frames:1 Do one of the following: Select one or more clips in the Browser. From the

Chapter 9 Diagnostic Tools for Clips 115 IDetecting Audio PeaksWhen you capture audio, clipping occurs if any part of the audio signal goes over 0

116 Part I Media and Project Management  If you selected clips in the Timeline, markers appear in both the Timeline and Canvas. You can clear audi

IIPart II: Project InterchangeLearn how to move projects and media files between editing systems and other media applications.Chapter 10 Importing an

146 Part II Learning About the Final Cut Pro Interface Command List AreaBy default, commands are listed by menu set (such as File and Edit) and com

10 11910 Importing and Exporting EDLsEdit Decision Lists (EDLs) are useful for transferring edit information between editing systems. This chapte

120 Part II Project Interchange Learning to Read an EDLAn EDL contains the same basic clip information as a Final Cut Pro sequence, but the present

Chapter 10 Importing and Exporting EDLs 121 IIElements of an EDLThe elements of an EDL are described in the following sections.Title and Sequence T

122 Part II Project Interchange Edit (or Transition) TypeAn EDL can represent several kinds of video edits, or transitions. A cut requires a single

Chapter 10 Importing and Exporting EDLs 123 IIOn tape-to-tape edit systems, the tapes containing the two shots are loaded in two video decks—VTR A

124 Part II Project Interchange Exporting EDLsYou can export an EDL from any selected sequence. You can only export one sequence to an EDL at a tim

Chapter 10 Importing and Exporting EDLs 125 IIIf your sequence exceeds the maximum number of events for the format you specified, Final Cut Pro cre

126 Part II Project Interchange Sorting Pop-Up MenuThis menu allows you to choose the order in which your sequence clips are sorted in the exported

Chapter 10 Importing and Exporting EDLs 127 IIWhen this option is deselected, Final Cut Pro includes keying (K) events. Video track V1 is treated a

128 Part II Project Interchange Reel ConflictsIf you create a transition between two clips from the same reel in your sequence, Final Cut Pro consi

Chapter 10 Customizing the Interface 147 IITo assign keyboard shortcuts to commands:1 Choose Tools > Keyboard Layout > Customize.The Keyboard

Chapter 10 Importing and Exporting EDLs 129 IIÂ Pre-read Edits: Some high-end digital video decks can actually perform transitions by using the ma

130 Part II Project Interchange EDL NotesEDL notes are useful for including details about your Final Cut Pro sequence, even though the information

Chapter 10 Importing and Exporting EDLs 131 IIReviewing an EDLAfter you’ve exported an EDL, you should open the text file to compare it to your ori

132 Part II Project Interchange Importing Edit Decision Lists (EDLs)Importing EDLs into Final Cut Pro is becoming less common as more full-featured

Chapter 10 Importing and Exporting EDLs 133 IITo import an Edit Decision List:1 Choose File > Import > EDL.2 Specify your import options, the

134 Part II Project Interchange  Handle Size: Specify the number of additional frames you want to capture on either side of each clip. You should

Chapter 10 Importing and Exporting EDLs 135 IIRecapturing Clips From an Imported EDLUnless you already have the corresponding media files on your h

136 Part II Project Interchange ∏ Tip: If you need to modify a sequence to prepare it for EDL export, duplicate the sequence and work on the copy

Chapter 10 Importing and Exporting EDLs 137 IIUnique Reel Names for Each Tape and Timecode BreaksEvery tape that you capture from should have a uni

138 Part II Project Interchange To change a clip’s reel name in the Browser:1 Select a clip, then Control-click in the Reel column.All reel names u

148 Part II Learning About the Final Cut Pro Interface 6 Click a command in the list to select it, then do one of the following:Â Press the key or

Chapter 10 Importing and Exporting EDLs 139 IIEDL Considerations During EditingWhile you edit, keep the following guidelines in mind to ensure succ

140 Part II Project Interchange Keep Track of Duplicate FramesYou can use the Final Cut Pro duplicate frames indicators to keep track of whether yo

Chapter 10 Importing and Exporting EDLs 141 IIAvoid Nested SequencesNested sequences, or sequences within a sequence, should not be used if you are

Transition Wipe Codes for EDL ExportIn an EDL, each type of wipe transition shape has a unique code. This code is used to tell a video switcher which

Chapter 10 Importing and Exporting EDLs 143 IISplit Slide 3Swap Slide 2Cross Stretch 1Squeeze 3Squeeze and Stretch 3Stretch 3Band Wipe 23Center Wip

11 14511 Exporting Audio for Mixing in Other ApplicationsIf you plan to send your audio to an audio postproduction facility for finishing, you ca

146 Part II Project Interchange If you decide to use an outside facility, make sure that you leave the audio in your edited sequence alone, other t

Chapter 11 Exporting Audio for Mixing in Other Applications 147 IIExporting Audio Tracks to Individual Audio FilesIf you have a lot of source audio

148 Part II Project Interchange Preparing to Export Audio Tracks as Audio FilesBefore you export your sequence’s audio tracks to audio files, you s

Chapter 10 Customizing the Interface 149 IITo quickly reassign the keyboard shortcuts for a command:1 Choose Tools > Keyboard Layout > Custom

Chapter 11 Exporting Audio for Mixing in Other Applications 149 II4 Press I to mark an In point, press the Right Arrow key on the keyboard to move

150 Part II Project Interchange 8 Cut the stereo beep and paste it 2 seconds beyond the beginning and end of each audio track you will export.Step

Chapter 11 Exporting Audio for Mixing in Other Applications 151 IIExporting Audio Tracks as Individual Audio FilesWhen you export an audio track in

152 Part II Project Interchange 6 In the Sound Settings dialog, choose the format, number of channels, sample rate, quality, and sample size (bit d

Chapter 11 Exporting Audio for Mixing in Other Applications 153 IIHere’s a typical example illustrating how you might export multichannel audio fro

154 Part II Project Interchange In this situation, using the Export Audio to AIFF(s) option creates three separate stereo AIFF files. Each file cor

Chapter 11 Exporting Audio for Mixing in Other Applications 155 IIPreparing to Export Audio to AIFF(s)If your edited sequence has only a single pai

156 Part II Project Interchange 4 Choose a sample rate, sample bit depth, and channel configuration from the pop-up menus. Rate: Lower sample rat

Chapter 11 Exporting Audio for Mixing in Other Applications 157 IIExporting Multichannel QuickTime FilesFinal Cut Pro supports capture, import, and

158 Part II Project Interchange Exporting OMF Audio FilesOMF—or Open Media Framework—is a cross-platform file format for exchanging video and audio

150 Part II Learning About the Final Cut Pro Interface Clearing and Restoring Keyboard LayoutsAt any time, you can clear the keyboard layout, remov

Chapter 11 Exporting Audio for Mixing in Other Applications 159 IILimitations of OMF Exporting in Final Cut ProBefore you export an OMF file, consi

160 Part II Project Interchange 4 In the OMF Audio Export dialog, choose the desired options, then click OK. Sample Rate: Choose an option that s

Chapter 11 Exporting Audio for Mixing in Other Applications 161 IIExporting Audio Clip Information to an EDLSome audio postproduction software can

162 Part II Project Interchange Once you’ve copied all of your non-timecoded audio material onto timecoded formats, you can log and capture your au

12 16312 Importing and Exporting Final Cut Pro XMLUsing the Final Cut Pro XML Interchange Format, the possibilities for exchanging project data a

164 Part II Project Interchange XML, or eXtensible Markup Language, is a markup language. Markup languages clarify the content in a document by tag

Chapter 12 Importing and Exporting Final Cut Pro XML 165 IIXML was designed to be extensible—you can define any tags and hierarchical rules that fi

166 Part II Project Interchange WhitespaceWhitespace in a document includes multiple spaces, tab characters, carriage returns, newline characters,

Chapter 12 Importing and Exporting Final Cut Pro XML 167 IIOverview of the Final Cut Pro XML Interchange FormatThe Final Cut Pro XML Interchange Fo

168 Part II Project Interchange Main Final Cut Pro XML ElementsThis section describes some of the main elements of the Final Cut Pro XML Interchang

Chapter 10 Customizing the Interface 151 IISaving Commands and Keyboard Shortcuts as Text FilesYou can save commands and their keyboard shortcuts i

Chapter 12 Importing and Exporting Final Cut Pro XML 169 IIExample: Creating an XML file and Importing It Into Final Cut ProFinal Cut Pro always e

170 Part II Project Interchange if you receive an error message, you should reopen your XML file in TextEdit to make sure you entered the sample co

Chapter 12 Importing and Exporting Final Cut Pro XML 171 IIImporting XML Into Final Cut ProYou can generate Final Cut Pro XML interchange files wit

IIIPart III: OutputLearn how to output your completed movie to videotape or DVD, or export to any QuickTime-compatible video format.Chapter 13 Prepar

13 17513 Preparing to Output to TapeTape is still the most common means of acquisition, output, and transfer for professional projects. Final Cut

176 Part III Output  Uncompressed digital and professional analog video formats: These are formats such as Betacam SP (analog), Digital Betacam,

Chapter 13 Preparing to Output to Tape 177 IIIOutput RequirementsRequirements for full-resolution DV output Media files captured with a DV capture

178 Part III Output Methods for Output to Tape in Final Cut ProThere are three main ways you can output your video from Final Cut Pro to tape:Â Edi

152 Part II Learning About the Final Cut Pro Interface To load a customized keyboard layout:1 Copy the keyboard layout file to your computer.The de

Chapter 13 Preparing to Output to Tape 179 IIIRecording to Tape Directly From the TimelineThis method allows you to record whatever signal is curre

180 Part III Output Connecting Your Video Equipment and Setting it to VCR ModeMake sure your VTR or camcorder is connected to your computer and tur

Chapter 13 Preparing to Output to Tape 181 IIISelecting Playback SettingsWhen you want to output your program to video, you can choose whether to r

182 Part III Output Selecting Edit to Tape and Print to Video PreferencesIf you like, turn on two preferences relating to tape and playback operati

Chapter 13 Preparing to Output to Tape 183 IIIChoose Device Control and Edit Preview SettingsIf necessary, specify device control and input (“captu

184 Part III Output To prepare a tape with black and timecode:1 Insert a videotape into your camcorder or deck.2 Choose File > Edit to Tape.3 In

14 18514 Assemble and Insert Editing Using Edit to TapeThe Edit to Tape window provides precision control over output to tape. Both assemble and

186 Part III Output Three methods of electronic editing exist, each with increasing precision and quality:Â Hard (or crash) recording: This method

Chapter 14 Assemble and Insert Editing Using Edit to Tape 187 IIIAbout Assemble Editing to TapeAn assemble edit records all video, audio, timecode,

188 Part III Output Requirements for Assemble or Insert Editing to TapeBefore you can edit to tape:Â Your video equipment must support either Fire

Chapter 10 Customizing the Interface 153 IIWorking With Shortcut Buttons and Button BarsShortcut buttons can be created and placed at the top of th

Chapter 14 Assemble and Insert Editing Using Edit to Tape 189 IIIAbout the Edit to Tape WindowIn most window layouts in Final Cut Pro, the Edit to

190 Part III Output  Mode: Choose an option—Mastering or Editing. Mastering: This is the default mode. The mastering mode is useful if you want

Chapter 14 Assemble and Insert Editing Using Edit to Tape 191 IIIÂ Mark In: Click this button, or press I, to set the frame on your tape where rec

192 Part III Output  Audio Insert: This pop-up menu allows you to individually record-enable audio tracks on tape when insert editing. The number

Chapter 14 Assemble and Insert Editing Using Edit to Tape 193 IIIÂ Play Around Current Frame: This is based on the preview pre-roll and preview po

194 Part III Output Leader Elements Color Bars: Adds color bars and a 1 kilohertz (kHz) reference tone, preset to –12 decibels (dB). Color bars a

Chapter 14 Assemble and Insert Editing Using Edit to Tape 195 IIITrailer Trailer: Adds a black trailer at the end of your sequence or clip or at

196 Part III Output Device Settings TabThe Device Settings tab is a convenient location for choosing a device control preset that’s compatible with

Chapter 14 Assemble and Insert Editing Using Edit to Tape 197 IIIUsing the Edit to Tape WindowThe following section describes how to perform an ass

198 Part III Output 4 If you haven’t already done so, set In and Out points for your clip or sequence in the Viewer, if you don’t want to output th

154 Part II Learning About the Final Cut Pro Interface To create a shortcut button in the button bar of a window:1 Make sure the window you want to

Chapter 14 Assemble and Insert Editing Using Edit to Tape 199 IIITransitions and effects that require rendering, along with any added elements, are

200 Part III Output To perform an insert edit:1 Choose File > Edit to Tape.In most layouts, the Edit to Tape window appears on top of the Canvas

Chapter 14 Assemble and Insert Editing Using Edit to Tape 201 III5 Set In and Out points on your tape where you want your clip or sequence recorded

202 Part III Output 6 Select the destination video and audio tracks to be edited to in the Edit to Tape window. When performing an insert edit, you

Chapter 14 Assemble and Insert Editing Using Edit to Tape 203 III9 To edit your sequence or clip to tape, drag it from the Browser or Viewer to the

204 Part III Output Using Edit to Tape to Output Multichannel AudioFinal Cut Pro is capable of outputting up to eight tracks of audio when performi

Chapter 14 Assemble and Insert Editing Using Edit to Tape 205 IIIIn Final Cut Pro, you can specify an audio mapping by selecting or creating a devi

15 20715 Printing To Video and Output From the TimelineYou can output your sequence to videotape using the Print to Video command, or simply reco

208 Part III Output  Record from the Timeline: You can use this method at any time to record the video output of Final Cut Pro to tape, providing

Chapter 10 Customizing the Interface 155 IITo rearrange shortcut buttons in a button bar:m In the button bar, drag shortcut buttons where you want

Chapter 15 Printing To Video and Output From the Timeline 209 IIITo automatically start a camcorder or deck recording during Print to Video:1 Choos

210 Part III Output 3 Choose File > Print to Video.4 Select elements you want to print along with your sequence or clip.All selected elements ar

Chapter 15 Printing To Video and Output From the Timeline 211 IIIRecording From the TimelineThe easiest way to output to tape is to enable external

212 Part III Output 3 In the Timeline, move the playhead to where you want to start recording in your sequence. The first frame will be recorded im

Chapter 15 Printing To Video and Output From the Timeline 213 IIIFor more information about these settings, see “Default Timing Options” on page 28

16 21516 Exporting Sequences for DVDMaking a DVD of your movie is a great way to show and distribute it. Video DVDs contain high-quality media an

216 Part III Output There are essentially four phases to creating a DVD:Â Create and edit your source material. In addition to the main Final Cut P

Chapter 16 Exporting Sequences for DVD 217 IIIVideo for DVDAll DVD video must be MPEG-1 or MPEG-2 encoded, using specific frame dimensions, frame r

218 Part III Output Audio for DVDEach DVD track can have up to eight audio streams. Each audio stream is independent of the others—only one can pla

156 Part II Learning About the Final Cut Pro Interface Saving and Using Custom Shortcut Button BarsYou can manually save the shortcut button bars t

Chapter 16 Exporting Sequences for DVD 219 IIIVideo DVDs support several audio formats:Â AIFF (uncompressed): Provides the highest quality mono or

220 Part III Output Adding Chapter and Compression Markers to Your SequenceOnce you have your edited sequence or program finished, you can add mark

Chapter 16 Exporting Sequences for DVD 221 IIIWhen a movie or sequence with at least one chapter marker is exported, the exported QuickTime movie h

222 Part III Output In most cases, the compression markers that are placed automatically by Final Cut Pro will suffice. However, in areas of abrupt

Chapter 16 Exporting Sequences for DVD 223 IIIUsing DVD Studio ProDVD Studio Pro can import either standard QuickTime movies or DVD-compliant sourc

224 Part III Output Exporting a QuickTime Movie for DVD UseThe process of exporting your movie is the same, whether you plan to use iDVD or DVD Stu

Chapter 16 Exporting Sequences for DVD 225 IIIUsing Compressor as a Standalone ApplicationThis approach is similar to launching Compressor within F

17 22717 Learning About QuickTimeFinal Cut Pro uses QuickTime technology as a foundation for media file storage and as an import and export engin

228 Part III Output The QuickTime Suite of Software ApplicationsWhen someone mentions QuickTime, people often think of the free media player develo

IIIPart III: Setting Up Your Editing SystemDesign the editing system that’s right for you. Read this section to learn how to set up your system, speci

Chapter 17 Learning About QuickTime 229 IIIHow Is Information Stored in a QuickTime Movie?QuickTime movie files store media data in separate tracks

230 Part III Output The QuickTime framework supports codecs that are commonly used today as well as codecs that were once popular. When you go to e

Chapter 17 Learning About QuickTime 231 IIIÂ DV: There are several DV codecs available for NTSC, PAL, and other varieties such as DVCPRO HD. A DV

232 Part III Output Formats Supported by QuickTimeQuickTime supports a lot of media formats and codecs, with many more coming all the time. Some ex

Chapter 17 Learning About QuickTime 233 IIIVideo Codecs Supported Within Video File FormatsA video codec is an algorithm for encoding video images

234 Part III Output Apple M-JPEGThere are two Apple M-JPEG codecs, M-JPEG A and M-JPEG B. These are variable data rate codecs similar to the ones u

Chapter 17 Learning About QuickTime 235 IIIGraphics and Still Image Formats BMP: Standard bit-mapped graphics format used on Windows computers.Â

236 Part III Output Audio File Formats AAC or .mp4: Advanced audio coding. This format is a continuation of the MP3 audio format, improving quali

Chapter 17 Learning About QuickTime 237 IIIThe Export Using QuickTime Conversion command gives you more flexibility, particularly in terms of the t

18 23918 Exporting QuickTime MoviesYou can export your sequence to a QuickTime movie using any of the available sequence presets. Markers can als

240 Part III Output Choosing the Type of QuickTime Movie to ExportYou can create two kinds of QuickTime movies with the Export QuickTime Movie comm

Chapter 18 Exporting QuickTime Movies 241 IIIExporting a Self-Contained Movie Without Recompressing the MediaIf you choose to export a self-contain

242 Part III Output 5 Choose a location and enter a name for the file. 6 Choose the compression setting you want to use from the Setting pop-up men

Chapter 18 Exporting QuickTime Movies 243 III8 Choose which markers you want to export as text tracks inside the movie file. The markers exported d

19 24519 Exporting QuickTime-Compatible FilesWhen you need to export video, audio, or still image files for use in other applications, you can us

246 Part III Output Types of QuickTime-Compatible File FormatsWith the Export Using QuickTime Conversion command, you can choose to export almost a

Chapter 19 Exporting QuickTime-Compatible Files 247 IIIAudio File FormatsFor information on exporting any of these formats, see Chapter 11, “Export

248 Part III Output 7 Choose a preset compression setting from the Use pop-up menu.8 To set additional video, audio, and Internet streaming setting

1 151 About the Postproduction WorkflowNo matter what your project, Final Cut Pro is the cornerstone of your postproduction workflow.This chapter

11 15911 Overview of Setting UpSetting up your Final Cut Pro editing system involves both hardware installation and software configuration. Regar

Chapter 19 Exporting QuickTime-Compatible Files 249 III9 When you’ve finished selecting your options, click OK.10 When you’re ready to export, clic

250 Part III Output Standard Video Compression SettingsDepending on the codec you choose from the Compression type pop-up menu, various options may

Chapter 19 Exporting QuickTime-Compatible Files 251 IIIData Rate Data Rate: Automatic: QuickTime adjusts the data rate of your QuickTime movie a

252 Part III Output Filter SettingsQuickTime filters apply to your entire exported clip or sequence. This is different from applying a filter withi

Chapter 19 Exporting QuickTime-Compatible Files 253 IIIQuickTime Movie Sound SettingsClick Settings to choose an audio format, number of channels,

254 Part III Output  Rate: Choose a standard sample rate from the pop-up menu or enter a value to specify the output rate for the audio. Lower sa

Chapter 19 Exporting QuickTime-Compatible Files 255 IIIPrepare for Internet StreamingIf you’re outputting QuickTime files for streaming over the In

256 Part III Output Exporting a DV StreamA DV Stream file is just like the DV video and audio data recorded on DV tape. This file format is used wi

Chapter 19 Exporting QuickTime-Compatible Files 257 III Audio Format: Choose your options. Locked: Conforms the audio tracks to the “locked aud

Each setting in this list is a predefined group of codecs and settings. If your needs are more specific, skip ahead to step 6.6 To customize settings,

160 Part III Setting Up Your Editing System Connecting Video and Audio Input and Output to Your ComputerIf you are using DV video, this means conne

Chapter 19 Exporting QuickTime-Compatible Files 259 III9 Click Settings in the Audio section to adjust compression settings used for the audio trac

20 26120 Exporting Still Images and Image SequencesAt many points during your project, you may need to export still images of your video for grap

262 Part III Output Resolution of Exported Still ImagesExported still images are 72 dpi. This number cannot be changed during export, and is irrele

Chapter 20 Exporting Still Images and Image Sequences 263 III5 Choose a file format from the Use pop-up menu. Disregard the frame rate (frames per

264 Part III Output Exporting Image SequencesYou can export numbered image sequences in various formats using the Export Using QuickTime Conversion

Chapter 20 Exporting Still Images and Image Sequences 265 III7 Click Options, and in the Export Image Sequence Settings window, choose your setting

21 26721 Batch Exporting Clips and SequencesYou can set up Final Cut Pro to export multiple clips and sequences at one time using the Batch Expor

268 Part III Output Follow these steps to do a batch export. Steps are described in detail on the following pages.Step 1: Select the clips, sequen

Chapter 11 Overview of Setting Up 161 IIIChoosing an Easy Setup to Configure Final Cut ProEasy Setups are software configurations that define captu

Chapter 21 Batch Exporting Clips and Sequences 269 III3 To change the name of a bin in the Export Queue, click the bin’s name once to select it, wa

270 Part III Output Selecting Batch Export SettingsItems in the Export Queue window do not have individual export settings. Instead, each bin in th

Chapter 21 Batch Exporting Clips and Sequences 271 IIIIn the Batch window, you can select settings for all items in the bin.2 Click Set Destination

272 Part III Output 4 Choose preset settings from the Settings pop-up menu.The preset settings you see depend on the format you’ve selected.Note:

Chapter 21 Batch Exporting Clips and Sequences 273 III8 If you chose QuickTime Movie from the Format pop-up menu, the Recompress All Frames and Mak

274 Part III Output  Length: Displays the total length of the clip or sequence, regardless of In or Out points. Destination: The path to the fo

Chapter 21 Batch Exporting Clips and Sequences 275 IIIDoing a Batch ExportAfter you’ve selected the clips and sequences you want to export and orga

276 Part III Output Opening Batch Exported Files in the ViewerAfter your sequences and clips have been exported, you can open them in the Viewer. T

Chapter 21 Batch Exporting Clips and Sequences 277 IIIRedoing Batch ExportsIf items in the Export Queue were canceled or stopped because of errors,

IVPart IV: Settings and PreferencesLearn how to customize Final Cut Pro for the particular needs of your project and editing environment.Chapter 22 C

22 28122 Choosing Settings and PreferencesFinal Cut Pro has numerous settings and preferences that allow you to customize your system for particu

282 Part IV Settings and Preferences  Timeline Options Tab (p. 293): These are the default display options used when a new sequence is created. T

Chapter 22 Choosing Settings and Preferences 283 IVÂ List Recent Clips: This value determines how many clip names appear in the Recent Clips pop-u

284 Part IV Settings and Preferences  Limit real-time video to N MB/s: Final Cut Pro uses this number to limit how many video streams can play ba

Chapter 22 Choosing Settings and Preferences 285 IVInterface Options Show Tooltips: Select this option to automatically display descriptions of i

286 Part IV Settings and Preferences Capture and Playback Options Sync audio capture to video source if present: Select this option in the follow

Chapter 22 Choosing Settings and Preferences 287 IVText Size Options Browser Text Size: This pop-up menu allows you to choose how small or large

288 Part IV Settings and Preferences Default Timing Options Still/Freeze Duration: This value determines the duration for imported graphics and f

12 16312 Designing Your Editing SystemIn addition to your computer and software, a Final Cut Pro editing system can include external video and au

Chapter 22 Choosing Settings and Preferences 289 IVIn the following example, the sequence contains ten duplicate frames. Below, the handle size set

290 Part IV Settings and Preferences  Threshold: This allows you to set a minimum number of frames that must be duplicated before a duplicate fra

Chapter 22 Choosing Settings and Preferences 291 IVTrim Edit Window Options Dynamic Trimming: Select Dynamic Trimming to allow edit points in the

292 Part IV Settings and Preferences You can choose the resolution of keyframe recording (in other words, how often audio level and panning keyfram

Chapter 22 Choosing Settings and Preferences 293 IVTimeline Options TabThis tab is used to set default options for new sequences. This is where you

294 Part IV Settings and Preferences Changing System SettingsSettings apply to capture, sequence, rendering, real time, output, hardware, and forma

Chapter 22 Choosing Settings and Preferences 295 IVSearch Folders TabWhen reconnecting clips to media files, Final Cut Pro uses the folders assigne

296 Part IV Settings and Preferences To remove a search folder:m Click Clear next to the search folder you want to remove from the list.Missing Sea

Chapter 22 Choosing Settings and Preferences 297 IVÂ Still Cache: This specifies the amount of RAM used to hold still images for real-time playbac

298 Part IV Settings and Preferences External Editors TabFinal Cut Pro allows you to directly open clips’ media files in other applications. This t

164 Part III Setting Up Your Editing System Video and Audio Input and Output DevicesTo capture and output media, you need to connect video decks, c

Chapter 22 Choosing Settings and Preferences 299 IVIn some cases, a clip’s Creator property determines what application will open it, such as LiveT

300 Part IV Settings and Preferences Effect Handling TabThe Effect Handling tab allows you to assign real-time effects processing to third-party vi

23 30123 Audio/Video Settings and Easy SetupsAudio/Video settings allow you to customize your Final Cut Pro system to work with particular video

302 Part IV Settings and Preferences There are several kinds of presets, each accessible from the corresponding tab in the Audio/Video settings win

Chapter 23 Audio/Video Settings and Easy Setups 303 IVViewing a Summary of the Current PresetsThe Summary tab in the Audio/Video Settings window sh

304 Part IV Settings and Preferences Selecting a Different Easy SetupFinal Cut Pro comes with Easy Setups for the most commonly used video formats

Chapter 23 Audio/Video Settings and Easy Setups 305 IVChoosing Individual PresetsIf a preset doesn’t suit your needs, you can choose another one in

306 Part IV Settings and Preferences Viewing Settings in a PresetBelow each pop-up menu in the Summary tab of the Audio/Video Settings window, ther

Chapter 23 Audio/Video Settings and Easy Setups 307 IVCreating a New PresetIf none of the existing presets is exactly what you need or want, you ca

308 Part IV Settings and Preferences The newly created preset becomes the currently selected preset and appears in the appropriate preset pop-up me

Chapter 12 Designing Your Editing System 165 IIIVideo InterfacesTo connect video devices to your computer for capturing and outputting video, your

Chapter 23 Audio/Video Settings and Easy Setups 309 IVDeleting PresetsYou may decide to delete a preset that you’ve created. Before you delete it,

310 Part IV Settings and Preferences To create a custom Easy Setup:1 Choose Final Cut Pro > Audio/Video Settings.2 In the Summary tab, choose th

Chapter 23 Audio/Video Settings and Easy Setups 311 IVTo move an Easy Setup to another Final Cut Pro editing system:m Copy the Easy Setup file from

312 Part IV Settings and Preferences Example: Creating a Custom Preset and Easy SetupThe following example shows how to create a custom Easy Setup

Chapter 23 Audio/Video Settings and Easy Setups 313 IV6 Click the Summary tab.The Device Control Preset pop-up menu is now set to the newly created

24 31524 Capture Settings and PresetsA capture preset is a group of settings that determine how media is captured from an external media device (

316 Part IV Settings and Preferences To view or edit a capture preset:1 Choose Final Cut Pro > Audio/Video Settings, then click the Capture Pres

Chapter 24 Capture Settings and Presets 317 IVÂ Remove Advanced Pulldown and/or Duplicate Frames During Capture From FireWire Sources: Some camcor

318 Part IV Settings and Preferences  FPS (Frames per second): Choose a value to specify the number of frames captured per second. For a list of

166 Part III Setting Up Your Editing System Audio InterfacesWhen capturing and outputting audio, your computer needs an audio interface. The audio

Chapter 24 Capture Settings and Presets 319 IVAdvanced QuickTime Video Settings for Capture PresetsThe QuickTime Video Settings in the Capture Pres

320 Part IV Settings and Preferences  Limit data rate to N KBytes/sec.: Some codecs allow you to enter a target data rate for your compressed Qui

Chapter 24 Capture Settings and Presets 321 IVIf you choose None, the Input and Format pop-up menus are not available. If you’re using FireWire but

322 Part IV Settings and Preferences To create a device-controllable, audio-only capture preset:1 Choose Final Cut Pro > Audio/Video Settings, t

25 32325 Device Control Settings and PresetsA device control preset communicates transport commands and timecode between Final Cut Pro and suppor

324 Part IV Settings and Preferences Viewing Settings for a Device Control PresetSettings in a device control preset are used during logging, captu

Chapter 25 Device Control Settings and Presets 325 IVÂ If you’re using FireWire: Choose Apple FireWire or Apple FireWire Basic, depending on your

326 Part IV Settings and Preferences  Time Source: Some tape formats can have more than one kind of timecode track. You can choose which track yo

Chapter 25 Device Control Settings and Presets 327 IVÂ Use Deck Search Mechanism: Select this option to use a deck’s internal search mechanism to

328 Part IV Settings and Preferences  Pre-roll and Post-roll: Because VTRs and audio players are mechanical devices, it takes a few seconds for t

Chapter 12 Designing Your Editing System 167 IIIFireWire for Digital AudioInstead of using a PCI card, many manufacturers now offer audio interface

Chapter 25 Device Control Settings and Presets 329 IVDevice Control Protocols Supported by Final Cut ProThe following is a list of the device contr

330 Part IV Settings and Preferences Video devices vary greatly in their adherence to FireWire specifications for device control. For this reason,

Chapter 25 Device Control Settings and Presets 331 IVTimecode Transferred Via Serial Device ControlFinal Cut Pro can use two kinds of timecode sent

332 Part IV Settings and Preferences Calibrating Timecode Capture With Serial Device ControlUnless you are capturing a DV video format via FireWire

Chapter 25 Device Control Settings and Presets 333 IV2 Capture a clip of video from a tape with LTC (Longitudinal TimeCode) or VITC (Vertical Inter

334 Part IV Settings and Preferences 4 Enter a number of frames in the Capture Offset field, then click OK.Enter a negative number if the clip’s ti

26 33526 Sequence Settings and PresetsSettings for sequences are found in several windows throughout Final Cut Pro. These settings are used when

336 Part IV Settings and Preferences About Sequence Settings and PresetsA sequence preset has two tabs: the General and Video Processing tabs.Note

Chapter 26 Sequence Settings and Presets 337 IVÂ Pixel Aspect Ratio: Choose a pixel aspect ratio that matches the format you are working with. The

338 Part IV Settings and Preferences QuickTime Video Settings for SequencesFinal Cut Pro uses the built-in QuickTime architecture of Mac OS X to de

168 Part III Setting Up Your Editing System Device Control InterfacesDevice control is used to remotely control video and audio devices and to tran

Chapter 26 Sequence Settings and Presets 339 IV Depth: Choose the bit depth used for each sample. 8-bit: This bit depth is useful for highly co

340 Part IV Settings and Preferences Timeline Display, Render, and Audio Output OptionsWhen you create a new sequence, the timeline display, render

Chapter 26 Sequence Settings and Presets 341 IVRender and playback settings Filters: If this option is not selected, all filters are ignored duri

342 Part IV Settings and Preferences Audio Outputs TabThe settings in this tab allow you to define the number of audio output channels available fo

Chapter 26 Sequence Settings and Presets 343 IVThe Audio Outputs tab has the following settings:Â Outputs pop-up menu: This pop-up menu allows you

344 Part IV Settings and Preferences Changing Sequence SettingsYou can change individual settings for a sequence, such as image height or codec, or

Chapter 26 Sequence Settings and Presets 345 IV3 Click the Load Sequence Preset button.4 Choose a new preset from the pop-up menu in the Select Seq

VPart V: AppendixesFind specific information on video formats, frame rate and timecode, and solutions to common user problems in this section.Appendix

16 Part I An Introduction to Final Cut Pro Step 4: PostproductionPostproduction is where you organize and assemble your production footage, puttin

13 16913 Connecting DV Video Equipment and Specifying Initial SettingsSetting up Final Cut Pro to capture DV video is as simple as connecting you

349AAppendixA Video FormatsThis appendix covers the following:Â Characteristics of Video Formats (p. 349)Â Video Formats Supported by Final Cut

350 Part V AppendixesVideo formats can be characterized by the following factors:Â The medium used to store the video information. This is primari

Appendix A Video Formats 351 VStorage MediumVideo—especially digital video—can be stored on more than just videotape. The characteristics of the st

352 Part V AppendixesVideo StandardsFor the last 50 years, there have been two major signal types recorded on video tape: NTSC and PAL. With the

Appendix A Video Formats 353 VThere are an increasing number of HD tape formats available. Most HD formats only support a subset of the options sho

354 Part V Appendixes Composite: The luma (Y´) and chroma (C) signals are combined into a single, composite video signal for broadcast. The chro

Appendix A Video Formats 355 VAspect ratio can be expressed as absolute dimensions (4 x 3), a ratio (4:3), a fraction (4/3), or as the decimal equi

356 Part V AppendixesCommon video frame sizes are shown in the table below.Width HeightPixel aspect ratioScreen aspect ratioDescription320240 1:1

Appendix A Video Formats 357 VPixel Aspect RatioA pixel usually refers to a physical picture element on a video display that emanates light. But a

358 Part V AppendixesThese days, the biggest challenge comes when exchanging graphics between applications that use different pixel aspect ratios,

170 Part III Setting Up Your Editing System To connect your DV camcorder or VTR to your computer:1 Connect the 4-pin connector on one end of your F

Appendix A Video Formats 359 VBecause the fields are changing at twice the frame rate, there is less perceived flicker than if each frame was scann

360 Part V AppendixesAbout Field DominanceField dominance is an issue when recording and playing back interlaced video material. With progressive

Appendix A Video Formats 361 VColor Recording MethodThe color recording method of a video format may be either RGB, component (Y´CBCR), S-Video (Y/

362 Part V AppendixesColor Sampling RatioColor sampling ratio refers to the ratio of luma (Y) samples to each color difference sample (CB and CR).

Appendix A Video Formats 363 VBit DepthThe number of bits used per sample determines how accurately the sample is stored, and how much intensity va

364 Part V AppendixesVideo CompressionOnce a video signal is digital, it requires a large amount of storage space and transmission bandwidth. To r

Appendix A Video Formats 365 VRun-length encoding is lossless, because all the information is retained after decoding. This technique is particular

366 Part V AppendixesVideo Formats Supported by Final Cut ProFinal Cut Pro supports any video format that uses an installed QuickTime codec. Quick

Appendix A Video Formats 367 VHigh Definition Video FormatsFinal Cut Pro supports capture, editing, and output of high definition video. If you use

368 Part V AppendixesCompressed High Definition Tape FormatsBecause of the high data rate generated by high definition video cameras, most HD form

Chapter 13 Connecting DV Video Equipment and Specifying Initial Settings 171 IIITo choose an Easy Setup:1 Choose Final Cut Pro > Easy Setup.If t

Appendix A Video Formats 369 VData Rate ComparisonsThe following table is useful when preparing to capture video to a particular codec on your hard

370 Part V AppendixesCompositeComposite is the lowest common denominator of video signals. A composite signal runs all color and brightness inform

Appendix A Video Formats 371 VComponent YUV (Y´CBCR) and Component RGBProfessional video equipment, such as Betacam SP decks, has component YUV vid

372 Part V AppendixesFireWire 800 (Also Called IEEE 1394b)This is the next generation of FireWire after IEEE 1394a, a higher bandwidth version cap

Appendix A Video Formats 373 VSCARTConsumer PAL equipment sometimes has a special connector called a SCART connector. A SCART connector has multipl

1946 ENIAC, the first electronic computer, using 18,000 vacuum tubes, is unveiled.1948 Long-playing (LP) phonograph records are introduced.1948 Hollyw

Appendix A Video Formats 375 V1996 DV format is introduced.1997 D VD format is introduced.1997 Advanced Television Systems Committee (ATSC) digital

377BAppendixB Frame Rate and TimecodeThis appendix covers the following:Â What Is Frame Rate? (p. 377)Â Understanding Flicker and Perceived Fram

378 Part V AppendixesRecording and playback speed are usually the same, though they do not have to be. For example, if you film a rubber ball boun

172 Part III Setting Up Your Editing System Important: Final Cut Pro lets you specify up to 12 scratch disks at one time. Make sure you choose the

Appendix B Frame Rate and Timecode 379 VUnderstanding Flicker and Perceived Frame RateMovie screens are not constantly illuminated, although when y

380 Part V AppendixesFrame Rate Limits: How Many Frames per Second Is Best?When recording an object in motion, there are practical reasons to lim

Appendix B Frame Rate and Timecode 381 VExamples of How Different Frame Rates Are UsedFilm is especially flexible in that it can be photographed an

382 Part V AppendixesSome digital video formats actually support several frame rates within a single format, allowing variable frame rate video re

Appendix B Frame Rate and Timecode 383 VWhat Is Timecode?Timecode is a signal recorded with your video that uniquely identifies every frame of your

384 Part V AppendixesYou can think of dropframe timecode like leap years on the calendar. In the case of leap year, an extra day is added every 4

Appendix B Frame Rate and Timecode 385 VIf you edit an hour-long program on NTSC video, the 30 fps timecode will indicate the last frame of the pro

386 Part V AppendixesTimecode on TapeThere are several kinds of timecode recorded on videotape, each stored in a different part of the video signa

Appendix B Frame Rate and Timecode 387 VComparison of Various Timecode FormatsThis table compares 24, 25, 30 fps drop frame and non-drop frame time

388 Part V Appendixes1801 00:01:15:01 00:01:12:01 00:01:00:01 00:01:00:03 0112+09 0287+211802 00:01:15:02 00:01:12:02 00:01:00:02 00:01:00:04 0112

Chapter 13 Connecting DV Video Equipment and Specifying Initial Settings 173 III3 To capture video and audio to separate files, select the “Capture

Appendix B Frame Rate and Timecode 389 V1835 00:01:16:11 00:01:13:10 00:01:01:05 00:01:01:07 0114+11 0290+111836 00:01:16:12 00:01:13:11 00:01:01:0

391CAppendixC Working With Anamorphic 16:9 MediaThis appendix covers the following:Â About Anamorphic 16:9 Media (p. 391)Â Recording Anamorphic

392 Part V AppendixesVideo can also be recorded anamorphically. Using a standard definition camcorder, the recorded video frame is still 720 x 480

Appendix C Working With Anamorphic 16:9 Media 393 VAbout LetterboxingWhen 16:9 video is displayed on a standard definition 4:3 monitor, you’ll see

394 Part V AppendixesWhy Shoot 16:9 Video?There are three main reasons to shoot 16:9, or anamorphic, video.Achieve a Cinematic LookEven if you end

Appendix C Working With Anamorphic 16:9 Media 395 VRecording Anamorphic VideoAnamorphic video can be acquired in one of three ways:Â Using an anamo

396 Part V AppendixesCapturing Anamorphic MediaWhen you capture video, Final Cut Pro uses the settings in the currently selected capture preset. I

Appendix C Working With Anamorphic 16:9 Media 397 VViewing and Editing Anamorphic MediaFinal Cut Pro has the ability to properly display anamorphic

398 Part V AppendixesChanging Clip Properties for Anamorphic MediaIf you’ve captured anamorphic media but didn’t use a capture preset that had the

174 Part III Setting Up Your Editing System To remove a scratch disk:1 Choose Final Cut Pro > System Settings, then click the Scratch Disks tab.

Appendix C Working With Anamorphic 16:9 Media 399 VRendering Items That Contain Anamorphic MediaThere are several things to keep in mind before you

400 Part V AppendixesExporting Anamorphic Video to a QuickTime MovieInstead of outputting to tape, you may want to export your sequence as a Quick

401DAppendixD Solving Common ProblemsThis appendix covers the following:Â Resources for Solving Problems (p. 401)Â Solutions to Common Problems

402 Part V AppendixesSolutions to Common ProblemsThe following section describes common problems and solutions in Final Cut Pro.Problems With Vide

Appendix D Solving Common Problems 403 VYour external NTSC or PAL monitor is displaying an orange frame with the message “Video card not supported

404 Part V Appendixes Another source of dropped frames on capture or playback may be fragmented hard disks. In general, it’s preferable to captur

Appendix D Solving Common Problems 405 VAfter editing to tape, you don’t see the material you edited when you play back the tape. The Edit to Tape

406 Part V AppendixesDV video clips look fuzzy on the computer’s monitor. Older Power Mac G4 computers cannot process and properly play back DV i

Appendix D Solving Common Problems 407 VGeneral Performance IssuesFinal Cut Pro seems to be working slowly. The amount of memory available to Fina

408 Part V AppendixesProblems Playing a Reference MovieYou’re having problems playing a reference movie. If you encounter playback problems with

Chapter 13 Connecting DV Video Equipment and Specifying Initial Settings 175 IIIWhat Is FireWire?FireWire (also called IEEE 1394a or i.LINK) is the

409GlossaryGlossary2:2:2:4 pull-down An efficient but low-quality pull-down method, primarily useful for previewing the output of real-time eff

410 Glossary 16 mm A film format for film and television presentations, which has a 4:3 aspect ratio.24-bit resolution A bit depth used for high-qua

Glossary 411 ambience A type of sound. Ambient audio includes background room noise, traffic noise, and atmospheric sound effects.analog A signal th

412 Glossary audio clip A media clip containing audio tracks.audio meter A meter that lets you monitor audio output levels from your computer. You u

Glossary 413 Betacam SP A high-end, standard definition component analog video format. Supports four tracks of analog audio.Betacam SX A standard de

414 Glossary B-roll A term used to describe alternate footage shot to intercut with the primary shots used in a program. B-roll is frequently used fo

Glossary 415 chroma keying See blue or green screening.clip An item in a Final Cut Pro project representing video, audio, or graphics media files on

416 Glossary composite video An analog video signal that combines all chroma and luma information into a single waveform running through a single cab

Glossary 417 decibel (dB) Unit of measurement for sound levels; a logarithmic scale used to describe the loudness of sound as perceived by the human

418 Glossary digitize To convert an analog video signal into a digital video format. A method of capturing video. See also capture.disabled track A

176 Part III Setting Up Your Editing System What Is Device Control?Device control enables communication between your VTR or camcorder and Final Cut

Glossary 419 dual system recording A recording process in which video is captured on one recording device and audio is recorded on another. Dual syst

420 Glossary editing The process of combining and arranging audio, video, effects, transitions, and graphics in a sequence to produce a program.edit

Glossary 421 finishing The process of reassembling the clips used in the final edit of a program at their highest quality. Finishing may involve reca

422 Glossary ganged The behavior of the playheads in the Viewer and Canvas when they’re locked together, so that they move as one.gaps Locations in

Glossary 423 image sequence A movie exported as a series of numbered image files, stored in a folder. Each image file contains one frame of video. Th

424 Glossary keyframe A special-purpose control that denotes a change in value in a filter or motion parameter. When two keyframes with different val

Glossary 425 Linking button A button in the upper-right corner of the Timeline that turns the linked selection option on and off.Lock Track control

426 Glossary master clip A clip in the Browser which controls the relationship to a media file for all other affiliated clips in your project.Masteri

Glossary 427 mixing The process of adjusting the volume levels of all audio clips in an edited sequence, including the production audio, music, sound

428 Glossary NTSC format The video standard defined by the National Television Standards Committee, the organization that originally defined North Am

Chapter 13 Connecting DV Video Equipment and Specifying Initial Settings 177 IIITo confirm the communication between your VTR and Final Cut Pro:1 C

Glossary 429 P2 (Professional Plug-in) A compact solid-state memory card designed for professional and broadcast media gathering. Since they have no

430 Glossary preset A saved group of settings, such as capture, device control, and sequence settings. Presets determine properties such as frame rat

Glossary 431 range checking Options that enable zebra striping to immediately warn you of areas of a clip’s image that may stray outside of the broad

432 Glossary Resize pointer A cross-shaped pointer with small arrows pointing left and right that indicate the directions in which an edit point can

Glossary 433 sampling The process of measuring an analog signal and converting it into a digital value. For example, the sampling rate of an audio st

434 Glossary SGI An uncompressed image file format popular on the IRIX operating system on SGI workstations. Stores images with millions of colors+.

Glossary 435 slug A generator in Final Cut Pro used to create black video in a sequence. A slug can be used to represent a video clip that has not ye

436 Glossary split edit An edit in which the video or audio items of a clip ends up being longer than the other; for example, the sound is longer tha

Glossary 437 Super 16 A film format for widescreen presentations, with a 15:9 (1.66) aspect ratio. Super 16 is frequently used when shooting a projec

438 Glossary thumbnail The first frame of a clip, shown as a tiny picture for reference. In Final Cut Pro, the thumbnail is, by default, the first fr

178 Part III Setting Up Your Editing System  Tape Trouble: This indicates that your tape may be jamming. It’s important to immediately stop playb

Glossary 439 Tool Bench A window in Final Cut Pro that contains interface elements that you can use to supplement information displayed in the Viewer

440 Glossary underscan To display the entire video frame on a video monitor, so that no part of the frame is masked. Computers display underscan vide

Glossary 441 video scopes Tools you can use to evaluate the color and brightness values of video clips in the Viewer, Canvas, or Timeline. Video scop

442 Glossary widescreen Any movie presentation that has an aspect ratio wider than 4:3. In movie theaters, 1.85 is considered standard and 2.40 is co

Glossary 443 zebra stripes Animated diagonal “marching lines” that are superimposed over areas of an image that are very near or exceed the broadcast

445IndexIndex% of Blur setting III-2221/4" tip-ring connectors III-311/4" tip-ring-sleeve connectors III-311/8" mini connector

446 Index Adjust Line Segment pointer III-116, III-259, III-359, IV-410Adobe Photoshop files. See Photoshop filesADR (automatic dialogue replacement)

Index 447 analog-to-DV systems I-195–I-197analog video I-24, I-325, IV-370calibrating equipment I-322color calibration I-331connecting equipment

448 Index Assemble Edit button IV-198assemble editing IV-197–IV-199blacking tapes and IV-183described IV-186, IV-411editing to tape IV-178, IV-18

Chapter 1 About the Postproduction Workflow 17 IHere is an overview of the basic Final Cut Pro postproduction workflow. As you begin your project,

14 17914 Determining Your Hard Disk Storage OptionsTo make the most of your Final Cut Pro editing system, you need to make appropriate choices ab

Index 449 synchronized audio I-296syncing with video. See audio-video synctimecode I-108, I-294tracks. See audio trackstransferring to timecoded med

450 Index properties II-80–II-85quality II-290recapturing I-265, I-278, I-283recently used I-86reconnecting to files I-36redoing changes in II-9

Index 451 noise reduction filters III-156–III-157OMF files and IV-159parameters III-168postproduction and IV-146real-time adjustments III-166–III

452 Index rendering video effects and III-530resampling for III-543stem mixes III-19tips for working with stereo III-96Audio Mixing screen layout

Index 453 scrolling through I-138scrolling vertically through II-137–II-139selecting II-178, II-185–II-188, II-191–II-193selecting all clips on II

454 Index bandsequalization and III-152frequency ranges III-39Band Slide transition II-394, IV-142Band Wipe transition II-395, IV-143bars and tone

Index 455 ignoring in Histogram III-427black, fading to or from II-383black and code IV-183–IV-184Black and Code button IV-184, IV-190Black and Co

456 Index selecting items for Batch Export IV-268selecting items for Media Manager IV-79sequences in II-98–II-100sorting items in II-27–II-28, II-

Index 457 capture cards. See video cardsCapture Clip button I-234, I-245, I-270Capture Now button I-234, I-272–I-275, I-296Capture Offset field IV-

458 Index number of III-33selecting for capture I-288shortcut menu III-69stereo III-44Channels option IV-253chapter markers II-55, II-60, II-62,

180 Part II Learning About the Final Cut Pro Interface Data Rates and Storage DevicesThe data rate of the video you capture depends on the format o

Index 459 cropping III-243currently selected clips II-176cutting II-213–II-215deleting from projects I-58described I-28, IV-415deselecting II-18

460 Index searching for II-28–II-34selecting II-175–II-188, II-190, II-348–II-350selecting for Media Manager IV-79, IV-94selecting in Browser I-55

Index 461 video monitors and I-209color balance III-412Color Balance controls III-434, III-444, III-445–III-446, III-453–III-455Color Balance filte

462 Index connectors I-194formats I-198Component RGB IV-371Component video IV-371, IV-415Component YUV IV-353, IV-361, IV-371Composite Arithmetic

Index 463 transport controls III-105Control Surfaces Configuration dialog III-99, III-100control tooltips I-47control tracks IV-188conversation sc

464 Index data ratesanalog video equipment IV-318capture presets IV-318, IV-320comparison chart IV-369described IV-416scratch disks IV-284target

Index 465 non-DV devices I-199Print to Video command and IV-207protocols for IV-329serial devices IV-330–IV-331, IV-334settings IV-183status mess

466 Index Document Type Definitions (DTDs) IV-166, IV-168Dolby Digital AC-3 format IV-219Dolby Digital sound III-20, III-58DOS file format IV-131d

Index 467 DVCAM format IV-175, IV-187, IV-366, IV-419Final Cut Pro support I-22FireWire DV interface and I-192DV codec III-24, III-517DV codecsQui

468 Index Edge Thin slider III-477Edge Wipe transition II-395, IV-143edging around keyed subjects III-398, III-402edit buttons I-91, II-151, IV-19

Chapter 14 Determining Your Hard Disk Storage Options 181 IIIIf your hard disk or its connection to your computer does not support the data rate of

Index 469 XML interchange files IV-167Editing mode IV-190, IV-201editing systems IV-131Editing tab II-373, IV-287editing timebase IV-335, IV-337,

470 Index encoding options IV-255ending points for filters III-190, III-194equalization (EQ)advantages III-176filters III-18, III-152–III-154equip

Index 471 FFade In, Fade Out transition II-393fade-ins II-376, II-393fade-outs II-376, II-393fader banks III-103faders IV-420adjusting III-83–II

472 Index keying filters III-208–III-209looping real-time playback III-166–III-167masks III-407–III-409matte filters III-210–III-211, III-404–III-

Index 473 flattening audio IV-150flattening layers in images III-344, III-349, III-369FLC files IV-246Flesh Tone line III-430, IV-421flesh tones

474 Index frequency rangesdescribed III-38, III-39equalization and III-152, III-153frequency response III-25fringing around keyed subjects III-391

Index 475 scaling III-339space requirements I-182still images IV-261–IV-265still image sequences IV-264as titles III-503video output and III-340

476 Index frame rates IV-382OfflineRT format and IV-55high definition video. See HD videohigh definition video formatpixel shape III-340stills from

Index 477 replace edits II-160–II-166resetting II-118, II-119reviewing II-107ripple edits II-329, II-408–II-409roll edits II-338selecting clips a

478 Index ITU-RBT 709 color standard III-552Jjam syncing timecode I-259Jaws Wipe transition II-396, IV-143Jaz drives I-181J-cuts IV-423See also s

182 Part II Learning About the Final Cut Pro Interface Planning for Additional Media FilesIn addition to space for captured files and project files

Index 479 favorite motion effects III-281filter keyframes III-164Garbage Matte filters and III-406–III-407generator clips and III-490graphs IV-42

480 Index Level keyframe navigation buttons II-293level keyframe navigation buttons III-122level keyframes IV-150deleting III-98modifying III-96r

Index 481 changing clip settings I-254clips IV-137described I-19, I-225, IV-425duplicate timecode numbers I-257–I-259entering data I-232, I-249–I

482 Index audio scoring markers IV-243chapter markers II-55, II-60, IV-217, IV-220, IV-220–IV-221, IV-243clip markers II-54comments in II-60compre

Index 483 Match pop-up menu II-30Matrix Wipe transition II-394Matte Choker filter III-208, III-211, III-391, III-404Matte generator III-490mattes

484 Index Media Start and Media End fields II-446Media Start and Media End points II-40, II-107Media Start and Media End properties II-83Media Star

Index 485 panning II-293in Viewer II-296mono audio channels I-254, I-288, I-290mono audio pairs III-115mono channels IV-152mono clips III-88mono

486 Index MPEG formats IV-228MPEG I-frames II-55MPEG standards IV-427M stems III-181multichannel audio I-253, I-287, I-291, I-292, IV-204, IV-321

Index 487 navigationin Browser I-57in Canvas I-97–I-103controls for IV-190–IV-191in Edit to Tape window IV-190–IV-193Log and Capture window contro

488 Index logging and I-300media management and IV-16moving and I-37offline/online workflows IV-18reconnecting IV-68–IV-74renaming files and I-5

Chapter 14 Determining Your Hard Disk Storage Options 183 IIIExample Calculation for Disk Space RequirementsSuppose you want to create a music vide

Index 489 output ports I-160audio III-24MIDI connections III-101output in postproduction process I-20output processanamorphic video IV-399Edit to

490 Index parent sequences II-418, II-423partial reveals III-367Particle Noise generator III-490, III-492partitionsmultiple I-179naming I-39passi

Index 491 problems during IV-113–IV-114, IV-402–IV-406, IV-408quality I-83QuickView tab III-304–III-305real-time effects quality III-510real-time

492 Index premixes (stem mixes) III-19preproduction in moviemaking process I-15Pre-read Edits setting IV-129pre-roll frames I-281pre-roll header f

Index 493 multiple open projects II-74narratives I-241opening I-34organizing I-32, II-15–II-26project files II-76prompting for new settings IV-2

494 Index chapter tracks IV-221described IV-228QuickTime Pro I-317–I-318, IV-228QuickTime settings IV-249–IV-255audio IV-253–IV-254, IV-320–IV-32

Index 495 recording processdevice control presets IV-328output to VHS tape IV-213Print to Video command IV-207, IV-208–IV-210real-time effects and

496 Index order of III-539preferences IV-287, IV-293printing to video and IV-181, IV-199, IV-203, IV-210, IV-211quality levels for IV-181quality o

Index 497 asymmetrical trimming II-336–II-338clips with transitions II-388closing gaps II-207–II-208indicators in Trim Edit window II-364performin

498 Index Save Normally option I-318Save option IV-252Save Project command I-33Save Window Layout command I-143saving items IV-20–IV-23, IV-285au

184 Part II Learning About the Final Cut Pro Interface Depending on what kind of computer you are using, you may be able to use internal and extern

Index 499 forward or backward in tracks II-186linked items II-227Option key shortcuts II-202for trim edits II-348–II-350selecting items in Browser

500 Index parent sequences II-418playback options IV-212playing I-77, I-92presets IV-302, IV-344–IV-345prompting for new settings IV-285reconnect

Index 501 Shake files I-306Shapes generator III-493Sharpen filter III-212Shift key II-182shooting ratios I-32, I-181shooting scripts I-259shortc

502 Index Sony RS-422 protocol IV-329Sony Video Disk Units I-312Sony VISCA protocol IV-329sorting itemsbins II-27–II-28in Browser II-27–II-28clip

Index 503 Spill Suppressor - Blue filter III-209, III-392Spill Suppressor - Green filter III-209, III-392Spin3D transition II-392, IV-142Spinback3D

504 Index real-time playback III-516resolution III-338–III-340scaling III-339, III-345sequences IV-264as titles III-503STML text IV-246Stop butt

Index 505 linking items II-224marking clips as in sync II-233merged clips II-226multiple audio items II-223–II-224out-of-sync indicators II-220–I

506 Index in batch lists I-301blacking video IV-184breaks IV-137, IV-405Browser columns for II-446calibrating IV-136, IV-182, IV-327, IV-332–IV-3

Index 507 Auto Select controls I-114, II-191–II-193Canvas and I-109changing pan in III-117clips in II-94, II-295color-coding and II-212copying an

508 Index using the Time Graph III-329–III-331Time Remap tool III-323–III-327Timer option IV-326time scales in keyframe graphs III-263times in fil

Chapter 14 Determining Your Hard Disk Storage Options 185 IIIATA Disk DrivesThere are two kinds of ATA disks:Â Parallel (Ultra) ATA disks: These a

Index 509 video. See video tracksvoiceover tracks III-181working with regions I-138, II-137–II-139Track Size option I-124Tracks property IV-40trac

510 Index trim edits in II-346, II-369–II-371using II-368–II-372Trim Forward and Trim Backward buttons II-362, II-366trimmingSee also trim editsale

Index 511 unused media II-29, II-42deleting IV-78described IV-16Media Manager settings IV-84removing with Media Manager IV-97Up button in Log Bin

512 Index video cards II-90analog-to-digital IV-371analog-to-digital capture I-209capture presets and IV-315connecting I-165connecting analog equ

Index 513 offline IV-64offline clips I-36, II-79opacity III-263–III-267, III-360opening I-72–I-73, I-98, II-354, II-428opening in external editors

514 Index video filter icon IV-34video filters II-284, III-203–III-215, IV-135advantages of III-185After Effects filters III-202applying III-186–

Index 515 videotape timecode II-439video tracksSee also audio tracks, tracksadding I-114adding to sequences II-146analyzing IV-111, IV-112applying

516 Index Voice Over tab III-139Voice Over tool III-135–III-150, IV-441controls III-139–III-142defining the destination track III-145–III-147defin

Index 517 handles III-238Image+Wireframe mode III-236, III-237RGB mode III-237Wireframe mode III-236wireframes I-83Wireframe setting I-83wireles

186 Part II Learning About the Final Cut Pro Interface FireWire Disk DrivesWhile not recommended for all systems, FireWire disk drives can be effec

Chapter 14 Determining Your Hard Disk Storage Options 187 IIINote: Active terminators have an indicator light that goes on when the SCSI chain is

188 Part II Learning About the Final Cut Pro Interface When you create or purchase a disk array, there are two important considerations:Â Compatibi

18 Part I An Introduction to Final Cut Pro Step 1: PlanningPlanning is where you choose your basic workflow, such as offline and online editing (f

Chapter 14 Determining Your Hard Disk Storage Options 189 IIIStorage Area Networks (SAN)A storage area network (SAN) consists of one or more disk a

15 19115 Connecting Professional and Non-DV EquipmentYou can design a Final Cut Pro editing system that uses more than just your computer’s built

192 Part III Setting Up Your Editing System Choosing a Video InterfaceFinal Cut Pro allows you to use a wide variety of video interfaces for captur

Chapter 15 Connecting Professional and Non-DV Equipment 193 IIIPCI Video Interface Card With Breakout BoxMany PCI cards aren’t big enough to fit al

194 Part III Setting Up Your Editing System USB Video InterfaceUSB video interfaces cannot support the high data rates required for professional vi

Chapter 15 Connecting Professional and Non-DV Equipment 195 III4 Make sure a capture preset that matches your video format or video interface has b

196 Part III Setting Up Your Editing System The following illustration shows a typical SD setup:The following are basic instructions for connecting

Chapter 15 Connecting Professional and Non-DV Equipment 197 III6 To genlock your video interface with your camcorder or deck:a Connect one of the b

198 Part III Setting Up Your Editing System Connecting Professional Component Analog Video DevicesThe most prevalent component analog video format

Volume IInterface, Setup,and InputAlienUM Title V1.qxp 3/17/05 1:48 PM Page 1

Chapter 1 About the Postproduction Workflow 19 IStep 3: Logging and capturingLogging is the process of identifying which shots on tape you want to

Chapter 15 Connecting Professional and Non-DV Equipment 199 IIIConnecting Non-DV Devices to a DV ConverterYou can use a DV converter to convert a d

200 Part III Setting Up Your Editing System The following illustration shows a typical non-DV–to–DV setup:To connect video and audio outputs from y

Chapter 15 Connecting Professional and Non-DV Equipment 201 IIIChoosing an Audio InterfaceFinal Cut Pro supports any audio interface that is compat

202 Part III Setting Up Your Editing System PCI Audio Interface Card With Built-in ConnectorsSome PCI audio interface cards have audio connectors a