-
Final Cut Pro 5
1
-
User Manual
1
-
Volume I
2
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Interface, Setup
2
-
Documentation and Resources
10
-
Onscreen Help
11
-
Apple Websites
12
-
Part I: An Introduction
14
-
About the Postproduction
16
-
Workflow
16
-
The Postproduction Workflow
17
-
Video Formats and Timecode
22
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Using Multiple Video Formats
23
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Video Format Basics
24
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How Drop Frame Timecode Works
27
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Understanding Projects
28
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Clips, and Sequences
28
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What Are Clips?
29
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What Are Sequences?
30
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What Are Projects?
31
-
What Are Bins?
32
-
Working With Projects
33
-
Opening and Closing Projects
35
-
To switch between
36
-
Filenaming Considerations
38
-
Avoiding Special Characters
39
-
Using Filename Extensions
40
-
Using Multiple Hard Disks
40
-
Part II: Learning About
42
-
Overview of the
44
-
Final Cut Pro Interface
44
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Using Keyboard Shortcuts
46
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Using Button Bars
47
-
Using Shortcut Menus
47
-
This tooltip appears when
48
-
Moving Windows
51
-
Undoing and Redoing Changes
52
-
Browser Basics
54
-
Learning About the Browser
55
-
Working in the Browser
56
-
Hold the Option key
58
-
Enter a new name for the
59
-
Using Columns in the Browser
60
-
Choosing Views in the Browser
62
-
Before using the
69
-
Arrange command
69
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After using the
69
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Setting the Poster Frame
70
-
Viewer Basics
72
-
Opening a Clip in the Viewer
73
-
Learning About the Viewer
74
-
Tabs in the Viewer
76
-
Filters Tab
77
-
Motion Tab
77
-
Controls Tab
78
-
Playhead Controls
79
-
Jog Control
80
-
Shuttle Control
80
-
Marking Controls
81
-
Zoom and View Pop-Up Menus
82
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Displaying native
83
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Display pixel as square
83
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View Pop-Up Menu
84
-
Playhead Sync Pop-Up Menu
85
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Chapter 6 Viewer Basics 85
86
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Recent Clips Pop-Up Menu
87
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Generator Pop-Up Menu
87
-
Canvas Basics
88
-
Learning About the Canvas
90
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Edit Overlay
92
-
Edit Buttons in the Canvas
92
-
97
98
-
Playing Clips and Sequences
99
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To move around, drag the
101
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> Moves through
102
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. Moves through
102
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Looping Playback
104
-
Current Timecode field
105
-
Timecode Duration field
105
-
Dragging Timecode Values
107
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Timeline Basics
110
-
Learning About the Timeline
113
-
Editing Controls
114
-
Vertical Multitrack Controls
115
-
Horizontal Time Controls
116
-
Timeline Display Controls
118
-
Audio Controls
119
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Other Miscellaneous Controls
120
-
Audio waveform
126
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Without audio
126
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Through edit
127
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Track Height
129
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Clip Overlays
129
-
Pop-Up Menu
130
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Duplicate frames
131
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Different colors indicate
131
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Navigating in the Timeline
132
-
Playhead
133
-
Drag the Zoom control
135
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Before zooming in
137
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The playhead remains
137
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After zooming in
137
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Position of playhead
138
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One-minute increment
138
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Scroll bar
139
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Customizing the Interface
140
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Default Two Up layout
141
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Layout after making the
141
-
Browser and Timeline
141
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Using Screen Layouts
142
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Customizing Screen Layouts
143
-
Assigning Keyboard Shortcuts
147
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If you enter “edit,” all
148
-
The keyboard shortcut
149
-
Removing Shortcut Buttons
156
-
Part III: Setting Up Your
158
-
Overview of Setting Up
160
-
Designing Your Editing System
164
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Video Interfaces
166
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Audio Interfaces
167
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USB or FireWire
168
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FireWire
168
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Device Control Interfaces
169
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Scratch Disks
169
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FireWire cable
170
-
Connecting Your Camcorder
170
-
Choosing an Easy Setup
171
-
What Is FireWire?
176
-
What Is Device Control?
177
-
Device status
178
-
Determining Your Hard Disk
180
-
Storage Options
180
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Know Your Shooting Ratio
182
-
Choosing a Hard Disk
184
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Types of Hard Disk Drives
185
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ATA Disk Drives
186
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FireWire Disk Drives
187
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SCSI Disk Drives
187
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Using a RAID or Disk Array
188
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Fiberchannel
189
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Storage Area Networks (SAN)
190
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Connecting Professional
192
-
Choosing a Video Interface
193
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USB interface
195
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Choosing an Audio Interface
202
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Connecting Audio Devices
205
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Establishing Device Control
207
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External Video Monitoring
210
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” on page 220
219
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Part IV: Logging, Capturing
224
-
Overview of Logging
226
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Log and capture
230
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Preview area
230
-
Logging, Clip Settings, and
230
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Capture Settings tabs
230
-
Preview Area
231
-
Log and Capture Buttons
235
-
Logging Clips
238
-
Benefits of Logging
239
-
Preparing to Log
240
-
Choosing Reel Names
241
-
Overview of Logging Steps
244
-
Inserting a Tape in the VTR
245
-
The slate icon appears
247
-
Enter the Out point
249
-
Enter the In point
249
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Changing Capture Settings
256
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Logging a Clip
257
-
Logging Media Efficiently
258
-
Before You Capture
262
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Batch Capturing Clips
263
-
Before You Batch Capture
264
-
Detection
274
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A marker appears in front
275
-
Markers for a clip
275
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All of the material
276
-
If you aren’t using device
278
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Capture window is
278
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Recapturing Clips
279
-
Capturing Audio
286
-
Preparing for Audio Capture
287
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Dual Mono Versus Stereo Audio
291
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VU meter
294
-
Final Cut Pro
294
-
About Audio Peaks
295
-
Choose the appropriate
296
-
Make sure you choose
296
-
Reference video
298
-
Working With Batch Lists
300
-
Creating a Batch List
301
-
01:20:00;15
302
-
Importing a Batch List
304
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Importing Media Files
306
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Into Your Project
306
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Clips you drag directly
310
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Browser)
310
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About Importing Video Files
311
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About MXF-Based Formats
312
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Importing From a Sony VDU
313
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About Media File Optimization
313
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About Importing Audio Files
314
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Choose a save option
319
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Choose a place
319
-
If you wish, enter a name
319
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Drag the clips to
320
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Using Color Bars
322
-
What Is Setup?
326
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Waveform Monitor
327
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Vectorscope
327
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Choose Targets from
328
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“Legal” Broadcast Colors
330
-
When monitor brightness and
334
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Volume II
336
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© 2005 SuperEgo Records
337
-
Part II Rough Editing
339
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Contents 5
340
-
6 Contents
341
-
Contents 9
344
-
Contents 11
346
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Part I: Organizing Footage
348
-
Organizing Footage
350
-
Creating New Bins
351
-
Opening Bins in the Browser
352
-
Drag the bin’s tab above
355
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The bin now has its own
355
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Moving Items Between Bins
356
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You can also move
357
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About Label Names and Colors
358
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These are the various
359
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Select the clips
360
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Then Control-click
360
-
Changing Names of Labels
361
-
Sorting Clips by Labels
361
-
About Search Options
363
-
Search Commands
365
-
A list of unused clips is
367
-
Results window
367
-
Control-click in a
368
-
Then click here
369
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Select items you want
369
-
Creating Subclips
370
-
Numbered subclips are
371
-
A new subclip appears in
372
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Removing Subclip Limits
373
-
Turning Markers Into Subclips
374
-
Creating Subclips Manually
376
-
Editing With Subclips
376
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After Capturing
377
-
Video and Audio
380
-
Duration of Merged Clips
383
-
A line appears
385
-
The new merged
386
-
Using Markers
388
-
Types of Markers
390
-
Working With Markers
391
-
Chapter 4 Using Markers 57
392
-
Quickly Adding Markers
393
-
Chapter 4 Using Markers 59
394
-
Chapter 4 Using Markers 61
396
-
Navigating With Markers
397
-
Chapter 4 Using Markers 63
398
-
Moving a Marker
399
-
Chapter 4 Using Markers 65
400
-
Extending a Marker’s Duration
402
-
Enter the desired
403
-
Chapter 4 Using Markers 69
404
-
Part II: Rough Editing
406
-
73
408
-
Choose a time
410
-
You can change the
410
-
Comment column headings
410
-
Returning to Saved Projects
411
-
About Offline Clips
414
-
Sequences as Clips
415
-
Control-click a column
416
-
82 Part II Rough Editing
417
-
Finding a Clip’s Media File
418
-
84 Part II Rough Editing
419
-
Enter a new name
420
-
Opening and Closing Sequences
421
-
Duplicating a Sequence
422
-
88 Part II Rough Editing
423
-
Nesting a Sequence
424
-
When Rendering Is Required
425
-
The Fundamentals
428
-
94 Part II Rough Editing
429
-
Undoing and Redoing Actions
431
-
98 Part II Rough Editing
433
-
100 Part II Rough Editing
435
-
Setting Edit Points
436
-
102 Part II Rough Editing
437
-
The Out point includes
438
-
104 Part II Rough Editing
439
-
Mark Out button (O)
440
-
Mark In button (I)
440
-
106 Part II Rough Editing
441
-
Reviewing Your Edit Points
442
-
108 Part II Rough Editing
443
-
110 Part II Rough Editing
445
-
In point
446
-
The new clip begins at
446
-
112 Part II Rough Editing
447
-
In and Out points are
448
-
The new clip’s duration is
448
-
114 Part II Rough Editing
449
-
Move the playhead
450
-
Auto Select is enabled for
450
-
116 Part II Rough Editing
451
-
Select the desired clips
452
-
118 Part II Rough Editing
453
-
Moving In and Out Points
454
-
Clearing In and Out Points
455
-
Working With Tracks
458
-
Adding Tracks
459
-
Deleting Tracks
461
-
Setting Destination Tracks
463
-
130 Part II Rough Editing
465
-
132 Part II Rough Editing
467
-
134 Part II Rough Editing
469
-
Resizing Timeline Tracks
470
-
136 Part II Rough Editing
471
-
Saving Track Layouts
472
-
138 Part II Rough Editing
473
-
To eliminate audio tracks
474
-
Drag-to-Timeline Editing
476
-
142 Part II Rough Editing
477
-
144 Part II Rough Editing
479
-
While Dragging
481
-
Three-Point Editing
484
-
150 Part II Rough Editing
485
-
Performing an Insert Edit
489
-
Before an insert edit
490
-
After an insert edit
490
-
New clip is inserted
490
-
156 Part II Rough Editing
491
-
Performing an Overwrite Edit
492
-
158 Part II Rough Editing
493
-
Performing a Replace Edit
495
-
162 Part II Rough Editing
497
-
The video track should
498
-
164 Part II Rough Editing
499
-
In and Out points define the
500
-
Superimposing Clips
501
-
DBefore edit
502
-
168 Part II Rough Editing
503
-
Three-Point Editing Examples
504
-
170 Part II Rough Editing
505
-
In and Out points
506
-
172 Part II Rough Editing
507
-
You can use this method
507
-
Into Your Sequence
509
-
175
510
-
176 Part II Rough Editing
511
-
178 Part II Rough Editing
513
-
Selecting Clips
515
-
Selecting an Individual Clip
516
-
Selecting Multiple Clips
517
-
184 Part II Rough Editing
519
-
All clips in V1
520
-
186 Part II Rough Editing
521
-
188 Part II Rough Editing
523
-
Choose additional
524
-
190 Part II Rough Editing
525
-
Before deleting
526
-
192 Part II Rough Editing
527
-
Option-click the control
528
-
Auto Select
528
-
195
530
-
196 Part II Rough Editing
531
-
Moving by Dragging
532
-
Moving Clips Numerically
533
-
Clip Collision message
534
-
Performing Shuffle Edits
535
-
202 Part II Rough Editing
537
-
Copied clip items
538
-
Pasted clip items
538
-
204 Part II Rough Editing
539
-
206 Part II Rough Editing
541
-
Selected clip items
542
-
After a lift edit, a gap is
542
-
208 Part II Rough Editing
543
-
Finding and Closing Gaps
544
-
210 Part II Rough Editing
545
-
In and Out points set
546
-
Auto Select control
546
-
Cutting Clips
548
-
214 Part II Rough Editing
549
-
The Razor Blade All
550
-
216 Part II Rough Editing
551
-
218 Part II Rough Editing
553
-
Linking and Editing
554
-
Video and Audio in Sync
554
-
220 Part II Rough Editing
555
-
Audio moved away
556
-
Audio moved back
556
-
222 Part II Rough Editing
557
-
224 Part II Rough Editing
559
-
226 Part II Rough Editing
561
-
Moving a Clip Into Sync
563
-
230 Part II Rough Editing
565
-
Before syncing
566
-
After syncing
566
-
232 Part II Rough Editing
567
-
Between Linked Clip Items
568
-
234 Part II Rough Editing
569
-
236 Part II Rough Editing
571
-
Split Edits
572
-
238 Part II Rough Editing
573
-
Chapter 15 Split Edits 239
574
-
240 Part II Rough Editing
575
-
Chapter 15 Split Edits 241
576
-
242 Part II Rough Editing
577
-
Split Edit Examples
578
-
244 Part II Rough Editing
579
-
Chapter 15 Split Edits 245
580
-
246 Part II Rough Editing
581
-
Working With Multiclips
582
-
248 Part II Rough Editing
583
-
Multiclip Workflow
584
-
250 Part II Rough Editing
585
-
252 Part II Rough Editing
587
-
254 Part II Rough Editing
589
-
Overlapping timecode
590
-
Creating a Multiclip
591
-
Creating Multiclip Sequences
592
-
258 Part II Rough Editing
593
-
Creating a Multiclip Sequence
595
-
Multiclip Sequence Examples
597
-
Timecode offset
598
-
264 Part II Rough Editing
599
-
266 Part II Rough Editing
601
-
4-up view 9-up view
602
-
View pop-up menu
602
-
268 Part II Rough Editing
603
-
Viewing Multiclip Overlays
604
-
270 Part II Rough Editing
605
-
Drag a clip to an
606
-
Insert New Angle
606
-
272 Part II Rough Editing
607
-
274 Part II Rough Editing
609
-
Before the switch, the
610
-
After the switch
610
-
276 Part II Rough Editing
611
-
Switching Angles
612
-
Cutting Between Angles
613
-
Individual audio items
614
-
Video item
614
-
280 Part II Rough Editing
615
-
282 Part II Rough Editing
617
-
284 Part II Rough Editing
619
-
Switching Angles With Effects
620
-
286 Part II Rough Editing
621
-
288 Part II Rough Editing
623
-
Audio Editing Basics
624
-
290 Part II Rough Editing
625
-
Waveforms for a stereo
626
-
292 Part II Rough Editing
627
-
294 Part II Rough Editing
629
-
Editing Audio in the Viewer
630
-
296 Part II Rough Editing
631
-
Stereo audio tab
632
-
Audio track a1
632
-
Audio track a2
632
-
298 Part II Rough Editing
633
-
300 Part II Rough Editing
635
-
Use the drag hand to
636
-
302 Part II Rough Editing
637
-
New Out point set
638
-
The Out point of audio
638
-
Original Out point
638
-
Editing Audio in the Timeline
639
-
306 Part II Rough Editing
641
-
Naming Audio Tracks
642
-
308 Part II Rough Editing
643
-
310 Part II Rough Editing
645
-
312 Part II Rough Editing
647
-
The long pause in your
648
-
314 Part II Rough Editing
649
-
316 Part II Rough Editing
651
-
Sliding Clips in the Timeline
656
-
Before edit
657
-
After edit
657
-
The timecode entry field
659
-
You slip items using
660
-
The duration of the
661
-
The sequence clip’s In and
661
-
Out points move together
661
-
Drag point
662
-
Entire length of media
662
-
Without Leaving a Gap
664
-
Performing Ripple Edits
665
-
These clips move left
668
-
This clip shortens
668
-
Roll edits are done
674
-
Selected edit point
675
-
Edit being rolled
676
-
After the roll edit, the
676
-
Tips for Using the Roll Tool
678
-
Learning About Trimming Clips
680
-
Click here to turn linked
682
-
Click here to turn
682
-
Selection tool
683
-
Selecting Single Edit Points
684
-
Multiple edit points
685
-
One edit per track is
685
-
This clip lengthens
688
-
Trimming Clips in the Viewer
689
-
Timecode Numbers
690
-
Moving Clips Using Timecode
691
-
Media Limit message
693
-
Trimming Clips
696
-
Using the Trim Edit Window
696
-
Outgoing clip
697
-
Incoming clip
697
-
Green bar
697
-
Go to Previous Edit
700
-
Go to Next Edit
700
-
Play Around Edit Loop
700
-
Play In to Out
700
-
Dynamic Trimming
704
-
Adding Transitions
710
-
Common Types of Transitions
711
-
A transition between
712
-
The center line
712
-
Having Handles at Edit Points
713
-
The added transition
716
-
Drag the transition to
720
-
Deleting Transitions
721
-
Before a roll edit
723
-
After a roll edit with the
723
-
Replacing Transitions
724
-
The transition now
725
-
Deleting Favorite Transitions
726
-
The white dots indicate
727
-
Sequence Settings window
728
-
Refining Transitions
732
-
Using the Transition Editor
732
-
Alignment buttons
734
-
Recent Clips pop-up
734
-
Drag hand
734
-
The start of an edge
736
-
The middle of an edge
736
-
Drag the hand from the
740
-
Transition Editor to an
740
-
Canvas to help you determine
743
-
Rendering Transitions
746
-
Sequence to Sequence Editing
748
-
4 Do one of the following:
750
-
Nesting Sequences
753
-
This nested sequence
756
-
After the Nested Sequence
757
-
Without Nesting It
758
-
A highlighted area shows
761
-
Matching Frames
762
-
Sprocket holes
763
-
The current frame in the
767
-
Viewer matches the
767
-
With the Viewer Playhead
769
-
Playhead Sync pop-up
770
-
The playhead is moved
772
-
Working With Timecode
774
-
Frame Rate Versus Timecode
775
-
Clip Time Versus Source Time
778
-
Timecode Overlays
780
-
The Modify Timecode dialog
782
-
Modifying Sequence Timecode
784
-
Working With 60 fps Timecode
786
-
Volume III
788
-
Audio Mixing
788
-
Part II Effects
793
-
Part I: Audio Mixing
800
-
Overview of Audio Mixing
802
-
Cleaning Up Audio
805
-
Adding Audio Filters
805
-
Making the Final Mix
806
-
Adjusting Audio Levels
808
-
Adjusting Pan
808
-
Setting Up Audio Equipment
810
-
Flat Not flat
812
-
Amplifiers and Signal Levels
813
-
Using Headphones
814
-
About Balanced Audio Signals
815
-
Inverted signal
816
-
(inverted again)
816
-
Combined signals
816
-
(noise eliminated)
816
-
Audio Connectors
817
-
Choose an
819
-
Click here to select
819
-
Audio Fundamentals
824
-
Fundamentals of a Sound Wave
825
-
Frequency Spectrum of Sounds
826
-
Measuring Sound Intensity
827
-
Decibel Units
828
-
Signal-to-Noise Ratio
829
-
Headroom and Distortion
829
-
Dynamic Range
830
-
Stereo Audio
831
-
Identifying Stereo Recordings
832
-
Digital Audio
833
-
Sample Rate
834
-
2 bit1 bit
836
-
16 bit4 bit
836
-
Audio Levels, Meters
838
-
Analog Versus Digital Meters
840
-
What Does 0 dB Mean?
841
-
Yellow peak level
842
-
Clip Indicators
843
-
Audio Peak Detection
844
-
Setting Proper Audio Levels
845
-
Labeling Your Tapes
847
-
About Audio Output Presets
848
-
Stereo Versus Dual Mono Audio
852
-
Overview of the Audio Mixer
854
-
Controls in the Audio Mixer
855
-
Track Visibility Area
856
-
Track Strips Area
857
-
Acceptable range
859
-
Clipping range
859
-
Master Area
860
-
View Buttons
862
-
Record Audio Keyframes Option
862
-
Source Pop-Up Menu
863
-
Using Audio Mixer Views
864
-
These tracks
865
-
Using the Audio Mixer
866
-
Mute button in the
868
-
Audio Mixer
868
-
Timeline
868
-
Audio Controls button
868
-
Solo button in the Audio
869
-
Solo button in the
869
-
Audio controls button
869
-
Changes made to faders
870
-
...affect only the audio
870
-
Changing a Clip’s Pan
875
-
Place the pointer over
879
-
Modifying Recorded Keyframes
883
-
Existing Automation
884
-
Click one or both of
885
-
Connecting a Control Surface
886
-
Installing a Control Surface
887
-
Tracks 1–8
889
-
Tracks 9–16
889
-
Mixing Audio
896
-
Volume level overlay
897
-
Change in volume level
897
-
The keyframe appears as
898
-
Enter a new value
902
-
Adjust Line Segment
903
-
Panning Audio in the Timeline
904
-
Pan slider
905
-
Enter a value in one
906
-
The pointer turns into an
907
-
Adjust Line Segment pointer
907
-
As you drag, a box displays
907
-
Tools for Adjusting Keyframes
908
-
Level Keyframe
909
-
Pan Keyframe button
909
-
Reset button
909
-
A keyframe appears at the
910
-
Keyframe being moved
912
-
Keyframes set
915
-
Lowered levels
915
-
Adjust the slope of
916
-
When you’ve zoomed
917
-
The problem samples
918
-
The overlay looks
918
-
Using the Voice Over Tool
922
-
Microphone
924
-
USB audio
924
-
PowerBook
924
-
Headphones
924
-
20-second point
925
-
The newly recorded
933
-
Recording a Voiceover
935
-
Recording Multiple Takes
936
-
Appears in Your Sequence
937
-
Using Audio Filters
938
-
Overview of Audio Filters
939
-
Compression
941
-
Expansion
942
-
Noise Reduction Filters
943
-
Echo and Reverb Filters
944
-
Working With Audio Filters
946
-
Drag a filter from
948
-
...to the Timeline
948
-
Select several filters
949
-
...then drag them to the
949
-
In and Out points in the
954
-
Controls in the Filters Tab
956
-
Trash can icon
959
-
Tips for Better Audio
962
-
Tips for Cutting Dialogue
963
-
Tips for Cutting Music
966
-
Instead of placing audio
967
-
... do this
967
-
Organizing Your Tracks
968
-
Part II: Effects
970
-
Applying a Filter to a Clip
973
-
... to the sequence clip
975
-
Drag the Start or End
977
-
The End point dragged
977
-
Select multiple filters
978
-
Then, drag the filters
978
-
Keyframe navigation
980
-
Keyframe button
980
-
Keyframe graph ruler
981
-
Keyframe graph area
981
-
Filter Start and
981
-
End points
981
-
Section of clip not used
981
-
Using Filter Controls
982
-
Double-sided
983
-
Logarithmic slider
983
-
Point control
984
-
X and y coordinates
984
-
Angle control
984
-
Clip control
986
-
Filter bar for a video track
986
-
Clip Keyframes button
986
-
To copy a clip’s filter
988
-
Removing Filters From Clips
989
-
Using After Effects Filters
989
-
Blur Filters
990
-
Border Filters
991
-
Channel Filters
991
-
Color Correction Filters
992
-
Distort Filters
993
-
Image Control Filters
994
-
Key Filters
995
-
Settings window
996
-
Matte Filters
997
-
Perspective Filters
999
-
Sharpen Filters
999
-
Stylize Filters
1000
-
Video Filters
1001
-
Changing Motion Parameters
1004
-
Basic motion parameters
1005
-
Distort attribute
1005
-
Motion Blur parameters
1006
-
Drop Shadow parameters
1006
-
Some parameters must
1006
-
Controls in the Motion Tab
1007
-
Canvas center point
1010
-
-360 pixels +360 pixels
1010
-
-240 pixels
1010
-
+240 pixels
1010
-
Initial background layer
1012
-
Sequence In and
1012
-
Out points
1012
-
Motion settings for the
1020
-
A soft border appears
1020
-
Both selected clips now
1022
-
The background clip
1022
-
Choosing a Wireframe Mode
1023
-
Which View Should You Use?
1024
-
Crop and Distort Tools
1025
-
Zooming In to the Canvas
1026
-
Drag a corner handle
1027
-
Shift-drag a corner
1027
-
Use the Distort tool to
1034
-
Adjusting Parameters
1036
-
How Keyframing Works
1037
-
Zoom control
1041
-
Zoom slider
1041
-
Timecode
1041
-
Pen Smooth tool
1042
-
Pen tool
1042
-
Pen Delete tool
1042
-
Setting Keyframes
1043
-
As you drag, a box
1046
-
Drag the area up or down
1046
-
Moving Between Keyframes
1047
-
Thumb tabs on either
1048
-
Layer the clips, with one
1050
-
Create five keyframes at
1054
-
1-second intervals
1054
-
Two keyframes with
1055
-
Bezier handle on one
1055
-
Smoothing Keyframes
1058
-
What Are Motion Paths?
1060
-
Creating Motion Paths
1061
-
Press Shift, then drag to
1063
-
Tic marks farther apart
1065
-
Tic marks closer together
1065
-
The pointer changes
1068
-
About the Keyframe Graph Area
1070
-
Drag the resize pointer
1073
-
Keyframe Editor Resize
1073
-
Reusing Effect
1074
-
Checkboxes are available
1078
-
Auto Select controls
1079
-
Enter the new name for
1083
-
Previewing Effects
1086
-
Controls in the QuickView Tab
1090
-
Playback in the QuickView Tab
1091
-
Changing Clip Speed
1094
-
Performing a Fit to Fill Edit
1095
-
Set In and Out points
1096
-
Constant Speed
1098
-
Making Constant Speed Changes
1101
-
Making Variable Speed Changes
1102
-
Last frame of clip
1104
-
First frame of clip
1104
-
Length of clip’s media
1104
-
Motion bar (blue)
1105
-
Speed indicator area
1105
-
Speed tooltips
1105
-
Keyframe editor
1105
-
Speed indicators
1107
-
Clip Keyframes control
1107
-
At normal speed, the
1108
-
Slow speed
1108
-
Fast speed
1108
-
Reverse indicators
1109
-
Variable indicators
1109
-
Using the Time Remap Tool
1110
-
Time Remap
1111
-
To scrub through a clip in
1114
-
Shift key, then click a clip
1114
-
Slow motion
1116
-
Linear time
1116
-
Fast forward
1117
-
Reverse speed
1117
-
Acceleration
1118
-
Time Remap parameters
1119
-
Time Graph Output
1119
-
Working With Still Images
1122
-
3000 x 2000
1125
-
720 x 480
1125
-
Video Is Not 72 Dots per Inch
1126
-
720 X 486 Broadcast
1129
-
(720 X 480 DV)
1129
-
640 X 480
1129
-
Looks right
1130
-
Looks wrong
1130
-
Using Alpha Channels
1131
-
Enter a new duration in
1134
-
Enter a new duration here
1134
-
4000 X 3000
1135
-
Set the Scale
1136
-
Starting position
1138
-
Center parameter
1138
-
Ending keyframe
1139
-
Drag the velocity
1140
-
Compositing and Layering
1142
-
Opacity is used to blend
1145
-
Working With Composite Modes
1148
-
The matte clip
1154
-
The main clip to be
1155
-
Photoshop File
1156
-
Control-click in the Alpha
1162
-
Dark areas are
1163
-
White areas are solid
1163
-
Alpha channel display
1164
-
Background display
1164
-
Choosing a Background
1167
-
Soloed clip item
1170
-
Overlapping clip items on
1170
-
Keying, Mattes, and Masks
1172
-
A four-point matte outlining
1173
-
Use Proper Lighting
1176
-
Your Background Screen
1177
-
Visual interface of
1181
-
Copy Filter controls
1181
-
Select Color button
1184
-
Invert Selection button
1184
-
The image is cropped
1189
-
The background image now
1190
-
The background image is
1190
-
Click the Point 1 crosshair
1191
-
The finished matte image
1193
-
Create keyframes for
1193
-
The four points are
1193
-
The clip’s image remains
1196
-
Color Correcting Clips
1198
-
Telecine Color Correction
1201
-
Tape-to-Tape Color Correction
1203
-
Luma (Luminance)
1205
-
Chrominance (Chroma)
1206
-
Blacks, Mids, and Whites
1207
-
Illegal Broadcast Levels
1208
-
Enabling Range Checking
1209
-
The Tool Bench appears
1211
-
The shortcut menu in
1213
-
This dip in the
1214
-
An image with high
1215
-
An image with low
1215
-
Red of clothing
1216
-
Blue of background
1216
-
Distribution of blues
1216
-
Low-contrast image
1219
-
High-contrast image
1219
-
High blue levels
1219
-
This image contains
1220
-
The Color Correction Process
1221
-
A color correction tab
1225
-
Click this to view that
1225
-
General Controls
1226
-
Copy Filter Controls
1227
-
Color Balance Controls
1231
-
Level sliders
1233
-
Auto Black Level button
1233
-
Saturation control
1233
-
Auto White Level button
1233
-
Auto Contrast button
1233
-
Choose All so that all
1236
-
The balance control
1238
-
After color correction
1238
-
Before color correction
1238
-
Blacks Reset button
1240
-
Blacks Select
1240
-
Auto-balance Color
1240
-
Color Balance controls
1240
-
Auto White
1242
-
Level button
1242
-
Auto Black
1242
-
This example shows how
1244
-
Move the Mids
1246
-
... so more detail comes
1246
-
Click the eyedropper near
1248
-
Click the eyedropper
1249
-
Before After
1249
-
Adjust the Mids
1250
-
Balance control to
1250
-
Before adjusting
1252
-
After adjusting
1252
-
Multiple Edits layout
1253
-
Move the playhead so it’s
1255
-
Split-screen mode
1255
-
The Multiple Edits
1256
-
Second clip
1256
-
First clip
1256
-
Hue Matching Controls
1259
-
The Hue Matching controls
1260
-
Click a highlight
1261
-
The color balance of both
1263
-
Limit Effect Controls
1264
-
The bicycle remains red and
1270
-
Highlight Desaturation
1271
-
Lows Desaturation
1271
-
The Broadcast Safe Filter
1273
-
What Is a Generator Clip?
1276
-
Some generators
1280
-
Click the Controls tab to
1281
-
Creating Titles
1282
-
Installing and Choosing Fonts
1283
-
Chapter 23 Using RT Extreme
1294
-
Chapter 24 Rendering
1294
-
Using RT Extreme
1296
-
510 Part III Output
1297
-
About Safe Real-Time Playback
1299
-
Orange video render bars
1300
-
514 Part III Output
1301
-
Available Real-Time Effects
1303
-
What Is Gamma Correction?
1304
-
More About Gamma Correction
1305
-
About Render Status Bars
1306
-
520 Part III Output
1307
-
522 Part III Output
1309
-
Settings in the Real-Time
1310
-
Effects (RT) pop-up menu
1310
-
524 Part III Output
1311
-
526 Part III Output
1313
-
528 Part III Output
1315
-
530 Part III Output
1317
-
532 Part III Output
1319
-
Rendering
1320
-
Reasons for Rendering
1321
-
Chapter 24 Rendering 535
1322
-
Video Render Status Bars
1323
-
Audio Render Status Bars
1324
-
About Item-Level Render Bars
1325
-
The Rendering Process
1326
-
540 Part III Output
1327
-
Chapter 24 Rendering 541
1328
-
542 Part III Output
1329
-
Chapter 24 Rendering 543
1330
-
544 Part III Output
1331
-
Rendering Part of a Sequence
1332
-
Using the Mixdown Command
1333
-
Chapter 24 Rendering 547
1334
-
548 Part III Output
1335
-
Changing Render Settings
1336
-
About Video Bit Depth
1337
-
About Color Space Conversion
1338
-
About Maximum White Levels
1338
-
552 Part III Output
1339
-
Rendering and Color Bars
1340
-
554 Part III Output
1341
-
Chapter 24 Rendering 555
1342
-
556 Part III Output
1343
-
Chapter 24 Rendering 557
1344
-
558 Part III Output
1345
-
Managing Your Render Files
1346
-
Using the Render Manager
1347
-
Chapter 24 Rendering 561
1348
-
Preserving Render Files
1349
-
Chapter 24 Rendering 563
1350
-
Reducing Render Time
1351
-
Volume IV
1352
-
Media Management
1352
-
© 2004 Jean-Paul Bonjour;
1353
-
© 2004 Eric Escobar
1353
-
Contents
1354
-
4 Contents
1355
-
Part II Project Interchange
1356
-
Part III Output
1357
-
Contents 7
1358
-
8 Contents
1359
-
Part VAppendixes
1360
-
10 Contents
1361
-
Part I: Media and Project
1362
-
Management
1362
-
Backing Up
1370
-
Using the Autosave Feature
1371
-
ProjectName_MM-DD-YY_HHMM
1372
-
Restoring Autosaved Projects
1373
-
Is Unexpectedly Powered Off
1374
-
Archiving Completed Projects
1375
-
Before Updating Projects
1376
-
Updating Projects
1377
-
Elements of a
1380
-
Final Cut Pro Project
1380
-
Types of Clips
1381
-
Sequences
1383
-
Clip Properties
1385
-
 Browser columns
1386
-
Working With
1392
-
Master and Affiliate Clips
1392
-
Identifying Master Clips
1393
-
Independent Clips
1397
-
Finding a Clip’s Master Clip
1399
-
Master Clip Properties
1400
-
Affiliate Clip Properties
1401
-
Media File Properties
1401
-
Offline and Online Editing
1402
-
OfflineRT Sequence
1408
-
ClipClip Clip
1413
-
Desktop
1413
-
Editing System
1413
-
Reconnecting Clips
1414
-
These are offline clips
1415
-
Can Be Broken
1416
-
Making Clips Offline
1417
-
Select the files you
1422
-
You can select which
1426
-
Overview of the Media Manager
1428
-
Summary Area
1432
-
Media Area
1432
-
Project Area
1437
-
Media Destination Area
1438
-
How Subclips Are Processed
1440
-
Examples of How to Use
1444
-
Using the Media Manager
1445
-
A message appears if
1446
-
Decide what you want to
1447
-
Select the sequence
1448
-
Media Files
1449
-
After Creating Subclips
1454
-
Press Command-A
1457
-
Diagnostic Tools for Clips
1460
-
Locate the file you want
1462
-
Video track information
1463
-
Audio track information
1463
-
Timecode track
1463
-
File information
1463
-
A long frame marker
1465
-
Detecting Audio Peaks
1466
-
For a clip in a sequence
1467
-
Part II: Project Interchange
1468
-
Importing and Exporting EDLs
1470
-
Learning to Read an EDL
1471
-
Elements of an EDL
1472
-
Exporting EDLs
1475
-
Reviewing an EDL
1482
-
Limitations of Importing EDLs
1483
-
Problems Importing EDL Files
1484
-
Creating Better EDLs
1486
-
Maintaining Accurate Timecode
1487
-
Enter a reel name here
1488
-
Join Through Edits
1490
-
Avoid Nested Sequences
1492
-
Exporting Audio for
1496
-
Mixing in Other Applications
1496
-
Choose the Bars and
1499
-
Tone setting for NTSC or
1499
-
PAL, depending on your
1499
-
This shows the sync beep
1501
-
All other tracks are
1502
-
Make sure just the
1502
-
Exporting a Downmix
1505
-
Exporting OMF Audio Files
1509
-
Disabled tracks are
1510
-
Select the desired
1511
-
Importing and Exporting
1514
-
Final Cut Pro XML
1514
-
Tags and Elements
1515
-
Attributes of XML Elements
1516
-
Whitespace
1517
-
Document Type Definitions
1517
-
Part III: Output
1524
-
Preparing to Output to Tape
1526
-
176 Part III Output
1527
-
Output Requirements
1528
-
178 Part III Output
1529
-
180 Part III Output
1531
-
Selecting Playback Settings
1532
-
Selecting Render Settings
1532
-
Cueing the Videotape
1533
-
Calibrating Your Timecode
1533
-
184 Part III Output
1535
-
Assemble and Insert Editing
1536
-
Using Edit to Tape
1536
-
186 Part III Output
1537
-
About Insert Editing to Tape
1538
-
About Tracks on Videotape
1539
-
About the Edit to Tape Window
1540
-
190 Part III Output
1541
-
192 Part III Output
1543
-
Mastering Settings Tab
1544
-
194 Part III Output
1545
-
Device Settings Tab
1547
-
Using the Edit to Tape Window
1548
-
198 Part III Output
1549
-
200 Part III Output
1551
-
202 Part III Output
1553
-
Drag the clip or
1554
-
Or click the Insert
1554
-
Edit button
1554
-
204 Part III Output
1555
-
Printing To Video and Output
1558
-
From the Timeline
1558
-
Printing to Video
1559
-
Mark In and Out
1560
-
210 Part III Output
1561
-
Recording From the Timeline
1562
-
212 Part III Output
1563
-
Outputting to VHS Tape
1564
-
Exporting Sequences for DVD
1566
-
216 Part III Output
1567
-
Video for DVD
1568
-
Audio for DVD
1569
-
About the MPEG Format
1569
-
About Surround Sound Audio
1570
-
More About Chapter Markers
1571
-
Using iDVD
1573
-
Using DVD Studio Pro
1574
-
Using Compressor
1574
-
224 Part III Output
1575
-
Learning About QuickTime
1578
-
QuickTime for Media Authoring
1579
-
Codecs Supported in QuickTime
1580
-
230 Part III Output
1581
-
Movie File Formats
1583
-
234 Part III Output
1585
-
Audio File Formats
1587
-
Exporting QuickTime Movies
1590
-
240 Part III Output
1591
-
Recompressing the Media
1592
-
242 Part III Output
1593
-
A dialog shows you the
1594
-
245
1596
-
246 Part III Output
1597
-
248 Part III Output
1599
-
250 Part III Output
1601
-
252 Part III Output
1603
-
254 Part III Output
1605
-
Exporting a DV Stream
1607
-
Exporting an AVI File
1608
-
Exporting Still Images
1612
-
262 Part III Output
1613
-
Exporting Image Sequences
1615
-
Batch Exporting
1618
-
Clips and Sequences
1618
-
268 Part III Output
1619
-
If you want, enter a new
1620
-
270 Part III Output
1621
-
Select the
1622
-
272 Part III Output
1623
-
Select the options
1624
-
274 Part III Output
1625
-
Doing a Batch Export
1626
-
276 Part III Output
1627
-
Redoing Batch Exports
1628
-
Choosing Settings
1632
-
General Tab
1633
-
Editing Tab
1638
-
Labels Tab
1643
-
Timeline Options Tab
1644
-
Render Control Tab
1644
-
Audio Outputs Tab
1644
-
Changing System Settings
1645
-
Search Folders Tab
1646
-
Memory & Cache Tab
1647
-
Playback Control Tab
1648
-
External Editors Tab
1649
-
The path is
1650
-
Effect Handling Tab
1651
-
Audio/Video Settings
1652
-
Changing Audio/Video Presets
1655
-
Choosing Individual Presets
1656
-
Viewing Settings in a Preset
1657
-
Creating a New Preset
1658
-
Editing a Preset
1659
-
Deleting Presets
1660
-
Creating Custom Easy Setups
1660
-
Capture Settings and Presets
1666
-
Rate Field
1669
-
Click Compression
1670
-
Specify the
1670
-
Device Control Settings
1674
-
” on page 332
1678
-
Using FireWire Device Control
1680
-
Using Serial Device Control
1681
-
’ll need to compensate for
1684
-
Enter an appropriate
1684
-
then click OK
1685
-
Sequence Settings and Presets
1686
-
General Tab for Sequences
1687
-
Changing Sequence Settings
1695
-
Part V: Appendixes
1698
-
Video Formats
1700
-
350 Part V Appendixes
1701
-
Storage Medium
1702
-
Video Standards
1703
-
Type of Video Signal
1704
-
354 Part V Appendixes
1705
-
720 x 486 Versus 720 x 480
1707
-
Pixel Aspect Ratio
1708
-
Frame Rate
1709
-
Scanning Method
1709
-
About Progressive Scanning
1710
-
About Field Dominance
1711
-
Color Recording Method
1712
-
Color Sampling Ratio
1713
-
Bit Depth
1714
-
Video Compression
1715
-
Lossy Codecs
1716
-
Uncompressed Video
1716
-
DV Formats
1717
-
24p Video
1717
-
High Definition Video Formats
1718
-
Data Rate Comparisons
1720
-
Composite
1721
-
Component YUV (Y´C
1722
-
) and Component RGB
1722
-
372 Part V Appendixes
1723
-
SCART connector
1724
-
Frame Rate and Timecode
1728
-
378 Part V Appendixes
1729
-
Persistence of Vision
1730
-
380 Part V Appendixes
1731
-
Choosing a Frame Rate
1732
-
01:32:15:28
1734
-
Timecode on Tape
1737
-
Anamorphic 16:9 Media
1742
-
392 Part V Appendixes
1743
-
About Letterboxing
1744
-
Why Shoot 16:9 Video?
1745
-
Recording Anamorphic Video
1746
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Capturing Anamorphic Media
1747
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Check this box
1748
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398 Part V Appendixes
1749
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400 Part V Appendixes
1751
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Solving Common Problems
1752
-
Solutions to Common Problems
1753
-
404 Part V Appendixes
1755
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406 Part V Appendixes
1757
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General Performance Issues
1758
-
Problems With Audio Quality
1758
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Contacting AppleCare Support
1759
-
Glossary
1760
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410 Glossary
1761
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Glossary 411
1762
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412 Glossary
1763
-
Glossary 413
1764
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414 Glossary
1765
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Glossary 415
1766
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416 Glossary
1767
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Glossary 417
1768
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418 Glossary
1769
-
Glossary 419
1770
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420 Glossary
1771
-
Glossary 421
1772
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422 Glossary
1773
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Glossary 423
1774
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424 Glossary
1775
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Glossary 425
1776
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426 Glossary
1777
-
Glossary 427
1778
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428 Glossary
1779
-
Glossary 429
1780
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430 Glossary
1781
-
Glossary 431
1782
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432 Glossary
1783
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Glossary 433
1784
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434 Glossary
1785
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Glossary 435
1786
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436 Glossary
1787
-
Glossary 437
1788
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438 Glossary
1789
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Glossary 439
1790
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440 Glossary
1791
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Glossary 441
1792
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442 Glossary
1793
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Glossary 443
1794
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445
1796
-
446 Index
1797
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Index 447
1798
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448 Index
1799
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Index 449
1800
-
450 Index
1801
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Index 451
1802
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452 Index
1803
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Index 453
1804
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454 Index
1805
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Index 455
1806
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456 Index
1807
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Index 457
1808
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458 Index
1809
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Index 459
1810
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460 Index
1811
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Index 461
1812
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462 Index
1813
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Index 463
1814
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464 Index
1815
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Index 465
1816
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466 Index
1817
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Index 467
1818
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468 Index
1819
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Index 469
1820
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470 Index
1821
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Index 471
1822
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472 Index
1823
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Index 473
1824
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474 Index
1825
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Index 475
1826
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476 Index
1827
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Index 477
1828
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478 Index
1829
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Index 479
1830
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480 Index
1831
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Index 481
1832
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482 Index
1833
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Index 483
1834
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484 Index
1835
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Index 485
1836
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486 Index
1837
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Index 487
1838
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488 Index
1839
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Index 489
1840
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490 Index
1841
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Index 491
1842
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492 Index
1843
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Index 493
1844
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494 Index
1845
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Index 495
1846
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496 Index
1847
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Index 497
1848
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498 Index
1849
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Index 499
1850
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500 Index
1851
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Index 501
1852
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502 Index
1853
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Index 503
1854
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504 Index
1855
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Index 505
1856
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506 Index
1857
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Index 507
1858
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508 Index
1859
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Index 509
1860
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510 Index
1861
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Index 511
1862
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512 Index
1863
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Index 513
1864
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514 Index
1865
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Index 515
1866
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516 Index
1867
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Index 517
1868
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