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Chapter 12 Connecting Professional Video and Audio Equipment 181
III
HD-SDI
High Definition Serial Digital Interface (HD-SDI) is a higher-bandwidth version of SDI
designed for the extremely high data rates required by uncompressed HD video. Like
SDI, HD-SDI is capable of sending both video and audio through a single connection.
The following decks have HD-SDI interfaces: DVCPRO HD, D-5 HD, and HDCAM decks.
Some devices provide even higher data rates by pairing two HD-SDI channels together
(known as dual-link HD-SDI). Uncompressed HD RGB video and other digital cinema
formats can be transmitted using dual-link HD-SDI.
SDTI
Serial Digital Transport Interface (SDTI) is based on SDI, allowing native video formats
to be sent in real time within an SDI video stream. SDTI does not define a specific video
signal format but instead uses the structure of SDI to carry any kind of data. This allows
video facilities to use their existing SDI patchbays and routers to transfer other native
video formats, or transfer any kind of data. For example, some DV decks can transfer
DV via SDTI, which means native DV can be transferred long distances over existing
coaxial cable instead of the usual FireWire connection. Other formats, such as HDCAM
and MPEG, can also be transferred via packets within an SDTI transport stream.
VGA
VGA interfaces use a 15-pin D-subminiature connector to transfer analog RGB video and
sync information between computers and computer CRT displays or video projectors.
This connector and signal format is being replaced by newer display formats such as
DVI and HDMI. However, adapters are available to convert between DVI and VGA.
DVI
Digital Visual Interface (DVI) transfers full-resolution analog or digital signals between
computers or HD video devices and flat-panel displays or projectors. DVI connectors
have up to 24 pins plus four additional pins for analog signals. Not all devices use all
pins, so read the documentation included with your equipment before purchasing
DVI cables and making connections.
VGA connector
DVI connector
- Final Cut Pro 6 1
- User Manual 1
- Volume I 2
- Interface, Setup 2
- Documentation and Resources 10
- Onscreen Help 11
- Apple Websites 12
- Part I: An Introduction 14
- About the Post-Production 16
- Workflow 16
- The Post-Production Workflow 17
- Video Formats and Timecode 22
- Video Format Basics 24
- How Drop Frame Timecode Works 27
- Understanding Projects 28
- Clips, and Sequences 28
- What Are Clips? 29
- What Are Sequences? 30
- What Are Projects? 31
- Working with Projects 32
- Organizing Your Projects 33
- Creating and Saving 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
- Using Keyboard Shortcuts 46
- 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
- To display thumbnails: 65
- The thumbnail you’re 66
- Control-click a Comment 67
- Enter the new 67
- Thumbnails of 68
- Video clip with audio 68
- Audio clip 68
- Before using the 70
- Arrange command 70
- After using the 70
- Setting the Poster Frame 71
- Viewer Basics 74
- Opening a Clip in the Viewer 75
- Learning About the Viewer 76
- Tabs in the Viewer 78
- Filters Tab 79
- Motion Tab 79
- Transport Controls 80
- Playhead Controls 81
- Jog Control 82
- Shuttle Control 82
- Marking Controls 83
- Zoom and View Pop-Up Menus 84
- View Pop-Up Menu 86
- Playhead Sync Pop-Up Menu 87
- Chapter 6 Viewer Basics 87 88
- Recent Clips Pop-Up Menu 89
- Generator Pop-Up Menu 89
- Canvas Basics 90
- Learning About the Canvas 92
- Edit Overlay 94
- Edit Buttons in the Canvas 94
- 99 100
- Playing Clips and Sequences 101
- To move around, drag the 103
- { Moves through 104
- “ Moves through 104
- Looping Playback 106
- Current Timecode field 107
- Timecode Duration field 107
- Dragging Timecode Values 109
- Timeline Basics 112
- Learning About the Timeline 115
- Editing Controls 116
- Vertical Multitrack Controls 117
- Horizontal Time Controls 118
- Zoom control 119
- Timeline Display Controls 120
- Audio Controls 121
- Other Miscellaneous Controls 122
- Speed change is shown 123
- Stereo pair indicator 123
- RT pop-up menu 123
- Click here to view 125
- Track Layout 125
- Settings in the 126
- Timeline Options tab 126
- Audio waveform 127
- Without audio 127
- Through edit 128
- Pop-Up Menu 131
- Duplicate frames 132
- Different colors indicate 132
- Navigating in the Timeline 133
- Playhead 134
- Drag the Zoom control 136
- Before zooming in 138
- The playhead remains 138
- After zooming in 138
- Position of playhead 139
- One-minute increment 139
- Scroll bar 140
- Customizing the Interface 142
- Default Two Up layout 143
- Layout after making the 143
- Browser and Timeline 143
- Using Window Layouts 144
- Customizing Window Layouts 145
- Assigning Keyboard Shortcuts 149
- If you enter “edit,” all 150
- The keyboard shortcut 151
- Removing Shortcut Buttons 158
- Part III: Setting Up Your 160
- Editing System 160
- Connecting DV Video Equipment 162
- Connecting Your Camcorder 164
- Specifying Scratch Disks 166
- About FireWire 170
- Connecting Professional 172
- Video and Audio Equipment 172
- Video Device 173
- Audio Device 173
- Video and Audio Interfaces 174
- Scratch Disks 175
- Video Interfaces 176
- PCI Video Interface Card 177
- USB Video Interface 178
- Video Signals and Connectors 179
- R, or red CB, or blue 180
- FireWire 400 181
- FireWire 800 181
- VGA connector 182
- DVI connector 182
- HDMI connector 183
- Audio Interfaces 188
- Built-in Audio Interfaces 189
- USB Audio Interfaces 191
- FireWire for Digital Audio 191
- PCI Audio Interface Card 192
- 1/8" Mini Connectors 193
- RCA Connectors 193
- XLR Connectors 194
- Dolby Digital (AC-3) 195
- ADAT Lightpipe 196
- About Analog Audio Levels 197
- Combined signals 199
- (noise eliminated) 199
- Computer 201
- Analog or digital VTR 201
- Breakout box 201
- Blackburst 201
- Device status 205
- Determining Your Hard Disk 208
- Storage Options 208
- Know Your Shooting Ratio 210
- Choosing a Hard Disk 213
- Types of Hard Disk Drives 214
- FireWire Disk Drives 215
- SCSI Disk Drives 216
- Using a RAID or Disk Array 217
- Computer Disk array 218
- Storage Area Networks 219
- External Video Monitoring 220
- FireWire 222
- Composite 222
- Graphics 227
- ” on page 230 229
- Part IV: Logging, Capturing 234
- Overview of Logging 236
- Log and capture 240
- Preview area 240
- Logging, Clip Settings, and 240
- Capture Settings tabs 240
- Preview Area 241
- Log and Capture Buttons 245
- Logging Clips 248
- Benefits of Logging 249
- Preparing to Log 250
- Choosing Reel Names 251
- Overview of Logging Steps 254
- Inserting a Tape in the VTR 255
- The slate icon appears 257
- Enter the Out point 259
- Enter the In point 259
- Changing Capture Settings 267
- Logging a Clip 267
- Logging Media Efficiently 268
- Number on a Single Tape 269
- Before You Capture 272
- Batch Capturing Clips 273
- Before You Batch Capture 274
- A marker appears in front 285
- Markers for a clip 285
- All of the material 286
- If you aren’t using device 288
- Capture window is 288
- Recapturing Clips 289
- Recapturing Merged Clips 290
- Pre-roll 292
- Timecode break 292
- 10 second gap 294
- Reel 012 294
- Desert Scene-005 294
- Reel 012-B 294
- Desert Scene-006 294
- Capturing Audio 296
- Dual Mono Versus Stereo Audio 301
- Generic 304
- VU meter 304
- Final Cut Pro 304
- About Audio Peaks 305
- Choose the appropriate 306
- Make sure you choose 306
- Working with Batch Lists 310
- Creating a Batch List 311
- 01:20:00;15 312
- Importing a Batch List 313
- Clips from the batch list 314
- Importing Media Files 316
- Tips When Importing 320
- About Importing Video Files 321
- Importing from a Sony VDU 322
- About Media File Optimization 322
- About Importing Audio Files 323
- Choosing Sequence Bit Depth 324
- Choose a save option 331
- Choose a place 331
- If you wish, enter a name 331
- Drag the clips to 333
- Volume II 334
- Part II Rough Editing 337
- Contents 5 338
- 6 Contents 339
- Contents 9 342
- Contents 11 344
- Part I: Organizing Footage 346
- Organizing Footage 348
- Creating New Bins 349
- Opening Bins in the Browser 350
- Browser 353
- Moving Items Between Bins 354
- You can also move 355
- About Label Names and Colors 356
- Manage Your Media 357
- Select the clips 358
- Then Control-click 358
- Changing Names of Labels 359
- Sorting Clips by Labels 359
- About Search Options 361
- Search Commands 363
- A list of unused clips is 365
- Results window 365
- Control-click in a 366
- Then click here 367
- Select items you want 367
- Creating Subclips 368
- Numbered subclips are 369
- A new subclip appears in 370
- Removing Subclip Limits 371
- Turning Markers into Subclips 372
- Creating Subclips Manually 374
- Editing with Subclips 374
- After Capturing 375
- Video and Audio 378
- Duration of Merged Clips 381
- A line appears 383
- The new merged 384
- Using Markers 386
- Types of Markers 388
- Working with Markers 389
- Chapter 4 Using Markers 57 390
- Quickly Adding Markers 391
- Chapter 4 Using Markers 59 392
- Chapter 4 Using Markers 61 394
- Navigating with Markers 395
- Chapter 4 Using Markers 63 396
- Moving a Marker 398
- Enter the new time here 399
- Chapter 4 Using Markers 67 400
- Extending a Marker’s Duration 401
- Chapter 4 Using Markers 69 402
- Part II: Rough Editing 404
- 73 406
- Choose a time 408
- You can change the 408
- Comment column headings 408
- Returning to Saved Projects 409
- About Offline Clips 412
- Sequences as Clips 413
- Enter the desired 414
- Control-click a column 414
- 82 Part II Rough Editing 415
- Finding a Clip’s Media File 416
- 84 Part II Rough Editing 417
- Enter a new name 418
- Opening and Closing Sequences 419
- Duplicating a Sequence 420
- 88 Part II Rough Editing 421
- Nesting a Sequence 422
- 90 Part II Rough Editing 423
- The Fundamentals 424
- 92 Part II Rough Editing 425
- Undoing and Redoing Actions 427
- Drag-to-Timeline Editing 428
- Three-Point Editing 428
- 96 Part II Rough Editing 429
- 98 Part II Rough Editing 431
- Setting Edit Points 432
- 100 Part II Rough Editing 433
- The Out point includes 434
- 102 Part II Rough Editing 435
- Mark Out button (O) 436
- Mark In button (I) 436
- 104 Part II Rough Editing 437
- Reviewing Your Edit Points 438
- 106 Part II Rough Editing 439
- 108 Part II Rough Editing 441
- Out point 442
- The new clip ends at the 442
- Out point that you set 442
- 110 Part II Rough Editing 443
- Mark In button 444
- Mark Out button 444
- 112 Part II Rough Editing 445
- Mark Clip button 446
- In and Out points are set 446
- 114 Part II Rough Editing 447
- Moving In and Out Points 449
- Clearing In and Out Points 450
- 118 Part II Rough Editing 451
- Working with Tracks 452
- Adding and Deleting Tracks 453
- Deleting Tracks 455
- Setting Destination Tracks 457
- 126 Part II Rough Editing 459
- 128 Part II Rough Editing 461
- 130 Part II Rough Editing 463
- Resizing Timeline Tracks 464
- 132 Part II Rough Editing 465
- Saving Track Layouts 466
- 134 Part II Rough Editing 467
- To eliminate audio tracks 468
- 138 Part II Rough Editing 471
- 140 Part II Rough Editing 473
- While Dragging 475
- 146 Part II Rough Editing 479
- Performing an Insert Edit 483
- A B C 484
- 152 Part II Rough Editing 485
- Performing an Overwrite Edit 486
- 154 Part II Rough Editing 487
- Performing a Replace Edit 489
- 158 Part II Rough Editing 491
- The video track should 492
- 160 Part II Rough Editing 493
- In and Out points define the 494
- Superimposing Clips 495
- D Before edit 496
- 164 Part II Rough Editing 497
- Three-Point Editing Examples 498
- 166 Part II Rough Editing 499
- In point 500
- Move the playhead 500
- In and Out points 500
- 168 Part II Rough Editing 501
- 170 Part II Rough Editing 503
- 171 504
- 172 Part II Rough Editing 505
- 174 Part II Rough Editing 507
- Selecting Clips 509
- Drag to select the 510
- Selecting Multiple Clips 511
- 180 Part II Rough Editing 513
- Select All Tracks Forward 514
- Select All Tracks 514
- Backward 514
- 182 Part II Rough Editing 515
- Choose additional 516
- 184 Part II Rough Editing 517
- 186 Part II Rough Editing 519
- After deleting; only 520
- Auto Select control 520
- 188 Part II Rough Editing 521
- 189 522
- 190 Part II Rough Editing 523
- Moving by Dragging 524
- Moving Clips Numerically 525
- Clip Collision message 526
- Performing Shuffle Edits 527
- 196 Part II Rough Editing 529
- Copied clip items 530
- Pasted clip items 530
- 198 Part II Rough Editing 531
- 200 Part II Rough Editing 533
- A B C D 534
- A C D 534
- Finding and Closing Gaps 535
- Track gap 536
- 204 Part II Rough Editing 537
- In and Out points set 538
- Cutting Clips 540
- 208 Part II Rough Editing 541
- The Razor Blade All 542
- 210 Part II Rough Editing 543
- 212 Part II Rough Editing 545
- Linking and Editing 546
- Video and Audio in Sync 546
- 214 Part II Rough Editing 547
- Audio moved away 548
- Audio moved back 548
- 216 Part II Rough Editing 549
- Audio Items 550
- 218 Part II Rough Editing 551
- 220 Part II Rough Editing 553
- Moving a Clip into Sync 555
- 224 Part II Rough Editing 557
- Before syncing 558
- After syncing 558
- Between Linked Clip Items 559
- Marking a Clip as In Sync 560
- 228 Part II Rough Editing 561
- Split Edits 564
- 232 Part II Rough Editing 565
- Chapter 15 Split Edits 233 566
- 234 Part II Rough Editing 567
- Chapter 15 Split Edits 235 568
- 236 Part II Rough Editing 569
- Split Edit Examples 570
- 238 Part II Rough Editing 571
- Chapter 15 Split Edits 239 572
- 240 Part II Rough Editing 573
- Working with Multiclips 574
- 242 Part II Rough Editing 575
- Multiclip Workflow 576
- 244 Part II Rough Editing 577
- 246 Part II Rough Editing 579
- Timecode 580
- 248 Part II Rough Editing 581
- Overlapping timecode 582
- Creating a Multiclip 583
- Creating Multiclip Sequences 584
- 252 Part II Rough Editing 585
- Creating a Multiclip Sequence 587
- Multiclip Sequence Examples 589
- Timecode offset 590
- 258 Part II Rough Editing 591
- 260 Part II Rough Editing 593
- 4-up view 9-up view 594
- View pop-up menu 594
- 262 Part II Rough Editing 595
- Viewing Multiclip Overlays 596
- 264 Part II Rough Editing 597
- Inserting a New Angle 598
- Overwriting an Angle 599
- 268 Part II Rough Editing 601
- 270 Part II Rough Editing 603
- Switching Angles 605
- Cutting Between Angles 606
- 274 Part II Rough Editing 607
- 276 Part II Rough Editing 609
- 278 Part II Rough Editing 611
- Angle with effects 612
- Switching Angles with Effects 613
- 282 Part II Rough Editing 615
- 284 Part II Rough Editing 617
- Audio Editing Basics 618
- The Goals of Audio Editing 619
- Waveforms for a stereo 620
- 288 Part II Rough Editing 621
- 290 Part II Rough Editing 623
- Editing Audio in the Viewer 625
- Mono (a1) and (a2) tabs 626
- 294 Part II Rough Editing 627
- Zoom slider 628
- 296 Part II Rough Editing 629
- 298 Part II Rough Editing 631
- 300 Part II Rough Editing 633
- Editing Audio in the Timeline 634
- 302 Part II Rough Editing 635
- Zoom In tool 636
- Naming Audio Tracks 637
- 306 Part II Rough Editing 639
- 308 Part II Rough Editing 641
- A wide playhead bar in 642
- 310 Part II Rough Editing 643
- Paste the pause section 644
- 312 Part II Rough Editing 645
- 314 Part II Rough Editing 647
- 317 650
- Sliding Clips in the Timeline 651
- You slide items using 652
- The clip moves to a new 652
- The duration of the 655
- The sequence clip’s In and 655
- Out points move together 655
- Drag point 656
- Entire length of media 656
- The timecode entry field 657
- Without Leaving a Gap 658
- Performing Ripple Edits 659
- These clips move left 662
- This clip shortens 662
- Selected edit point 669
- Edit being rolled 670
- After the roll edit, the 670
- Tips for Using the Roll Tool 672
- Learning About Trimming Clips 674
- Click here to turn linked 676
- Click here to turn 676
- Selection tool 677
- Selecting Single Edit Points 678
- Multiple edit points 679
- One edit per track is 679
- This clip lengthens 682
- Trimming Clips in the Viewer 683
- Timecode Numbers 684
- Moving Clips Using Timecode 686
- Media Limit message 688
- Trimming Clips 690
- Using the Trim Edit Window 690
- Outgoing clip 691
- Incoming clip 691
- Green bar 691
- Go to Previous Edit 694
- Go to Next Edit 694
- Play Around Edit Loop 694
- Play In to Out 694
- Dynamic Trimming 698
- Adding Transitions 704
- Common Types of Transitions 705
- A transition between 706
- The center line 706
- Having Handles at Edit Points 707
- The added transition 710
- Drag the transition to 714
- Deleting Transitions 715
- Before a roll edit 717
- After a roll edit with the 717
- Replacing Transitions 718
- The transition now 719
- Deleting Favorite Transitions 720
- Refining Transitions 728
- Using the Transition Editor 728
- Alignment buttons 730
- Recent Clips 730
- Drag hand 730
- The start of an edge 732
- The middle of an edge 732
- Reset button 735
- Canvas to help you determine 739
- Rendering Transitions 742
- Sequence-to-Sequence Editing 744
- Nesting Sequences 749
- After the Nested Sequence 753
- Nested sequence B 754
- Adding clips to sequence B 754
- Without Nesting It 755
- A highlighted area shows 758
- Matching Frames 760
- Sprocket holes 761
- The current frame in the 765
- Viewer matches the 765
- Why Synchronize Playheads? 767
- Working with Playhead Sync 767
- Playhead Sync pop-up 768
- The playhead is moved 770
- Working with Timecode 772
- Frame Rate Versus Timecode 773
- Clip Time Versus Source Time 776
- Timecode Overlays 778
- The Modify Timecode dialog 780
- Modifying Sequence Timecode 782
- Working with 60 fps Timecode 784
- Volume III 786
- Audio Mixing 786
- Part II Effects 792
- 12 Contents 797
- Contents 13 798
- 14 Contents 799
- Part I: Audio Mixing 800
- Audio Fundamentals 802
- Fundamentals of a Sound Wave 803
- In phase 804
- Separate signals 804
- Mixed signals 804
- Out of phase 804
- Frequency Spectrum of Sounds 805
- Measuring Sound Intensity 807
- What Is a Decibel? 808
- Signal-to-Noise Ratio 809
- Headroom and Distortion 810
- Dynamic Range and Compression 810
- Stereo Audio 811
- Identifying Stereo Recordings 812
- Digital Audio 813
- Sample Rate 814
- 30 Part I Audio Mixing 815
- 2-bit1-bit 816
- 16-bit4-bit 816
- Assigning Output Channels 818
- Audio Tracks 819
- Hardware Outputs 820
- Dual Mono Output Groups 821
- Configuring Audio Outputs 822
- 38 Part I Audio Mixing 823
- About Audio Outputs 825
- About Audio Output Presets 825
- 42 Part I Audio Mixing 827
- Choose an audio output 828
- 44 Part I Audio Mixing 829
- Audio Output Export Settings 830
- Config Pop-Up Menu 831
- 48 Part I Audio Mixing 833
- Downmixing During Export 834
- 50 Part I Audio Mixing 835
- 52 Part I Audio Mixing 837
- 54 Part I Audio Mixing 839
- Using Headphones 841
- Evaluating Levels 842
- Analog Versus Digital Meters 843
- Original Too much gain 844
- Clipping remains 844
- 60 Part I Audio Mixing 845
- Clipping Indicators 846
- Floating Audio Meters 846
- Setting Proper Audio Levels 847
- Setting Levels for Capture 848
- Detecting Audio Peaks 848
- 64 Part I Audio Mixing 849
- 0 dBFS 0 dBFS 0 dBFS 850
- Reapplying Normalization Gain 851
- Average videotape 12 dB 852
- Television broadcast 6 dB 852
- Labeling Your Tapes 853
- Overview of the Audio Mixer 854
- Controls in the Audio Mixer 855
- Track Visibility Area 856
- Track Strips Area 857
- 74 Part I Audio Mixing 859
- Master Area 860
- 76 Part I Audio Mixing 861
- View Buttons 862
- Record Audio Keyframes Option 862
- Using Audio Mixer Views 863
- 80 Part I Audio Mixing 865
- Using the Audio Mixer 866
- 82 Part I Audio Mixing 867
- Mute button in 868
- Audio Controls button 868
- 84 Part I Audio Mixing 869
- Changes made to faders 870
- ...affect only the audio 870
- 86 Part I Audio Mixing 871
- 88 Part I Audio Mixing 873
- 90 Part I Audio Mixing 875
- Changing a Clip’s Pan 876
- 92 Part I Audio Mixing 877
- 94 Part I Audio Mixing 879
- Place the pointer over 880
- 96 Part I Audio Mixing 881
- Playback stopped here 882
- Modifying Recorded Keyframes 883
- Connecting a Control Surface 885
- Installing a MIDI Interface 886
- Choosing a Control Surface 886
- 102 Part I Audio Mixing 887
- 104 Part I Audio Mixing 889
- Working with Fader Banks 890
- 106 Part I Audio Mixing 891
- 108 Part I Audio Mixing 893
- Mixing Audio 896
- 112 Part I Audio Mixing 897
- The keyframe appears as 898
- 114 Part I Audio Mixing 899
- 116 Part I Audio Mixing 901
- Enter a new value 902
- Adjust Line Segment 902
- Panning Audio in the Timeline 903
- Pan slider 904
- 120 Part I Audio Mixing 905
- The pointer turns into an 906
- Adjust Line Segment pointer 906
- As you drag, a box displays 906
- Tools for Adjusting Keyframes 907
- Level Keyframe 908
- Pan Keyframe button 908
- 124 Part I Audio Mixing 909
- 126 Part I Audio Mixing 911
- 128 Part I Audio Mixing 913
- Keyframes set 914
- 130 Part I Audio Mixing 915
- When you’ve zoomed 916
- 132 Part I Audio Mixing 917
- 134 Part I Audio Mixing 919
- Using the Voice Over Tool 922
- 138 Part I Audio Mixing 923
- 140 Part I Audio Mixing 925
- 142 Part I Audio Mixing 927
- 144 Part I Audio Mixing 929
- 146 Part I Audio Mixing 931
- 148 Part I Audio Mixing 933
- Recording a Voiceover 934
- 150 Part I Audio Mixing 935
- Recording Multiple Takes 936
- Appears in Your Sequence 937
- Using Audio Filters 938
- Overview of Audio Filters 939
- 156 Part I Audio Mixing 941
- Gain Filter 942
- Compressor/Limiter Filter 942
- Expander/Noise Gate Filter 943
- Noise Reduction Filters 944
- Vocal DeEsser 945
- Vocal DePopper 945
- Working with Audio Filters 947
- 164 Part I Audio Mixing 949
- Select several filters 950
- ...then drag them 950
- 166 Part I Audio Mixing 951
- 168 Part I Audio Mixing 953
- 170 Part I Audio Mixing 955
- 172 Part I Audio Mixing 957
- The Pen tool lets you 958
- 174 Part I Audio Mixing 959
- Trash can icon 960
- 176 Part I Audio Mixing 961
- Tips for Better Audio 962
- Tips for Cutting Dialogue 963
- 180 Part I Audio Mixing 965
- Tips for Cutting Music 966
- 182 Part I Audio Mixing 967
- Exporting Audio for 968
- Mixing in Other Applications 968
- 184 Part I Audio Mixing 969
- 186 Part I Audio Mixing 971
- 188 Part I Audio Mixing 973
- All other tracks are 974
- Make sure just the audio 974
- 190 Part I Audio Mixing 975
- 192 Part I Audio Mixing 977
- 194 Part I Audio Mixing 979
- Exporting OMF Audio Files 980
- 196 Part I Audio Mixing 981
- Disabled tracks are 982
- 198 Part I Audio Mixing 983
- Exporting Audio for DVD 985
- Working with Soundtrack Pro 986
- Methods for Sending Audio 987
- 204 Part I Audio Mixing 989
- About Soundtrack Pro Scripts 990
- 206 Part I Audio Mixing 991
- 208 Part I Audio Mixing 993
- 210 Part I Audio Mixing 995
- About Conforming Manually 997
- Using Soundtrack Pro Conform 997
- 214 Part I Audio Mixing 999
- Part II: Effects 1000
- Using Video Filters 1002
- Applying a Filter to a Clip 1003
- List of video filters 1004
- Different Blur filters 1004
- Drag the filter from 1004
- ...to a clip in the Timeline 1004
- 220 Part II Effects 1005
- 222 Part II Effects 1007
- Viewing a Filter’s Parameters 1008
- 224 Part II Effects 1009
- Using Filter Controls 1011
- 228 Part II Effects 1013
- 230 Part II Effects 1015
- Removing Filters from Clips 1017
- Installing and Managing 1018
- Video Effects 1018
- Installing Video Filters 1019
- Installing FxPlug Plug-ins 1020
- Installing FXScript Plug-ins 1020
- Viewing Preferred Effects 1021
- 238 Part II Effects 1023
- FxPlug Plug-in Restrictions 1025
- FXScript Plug-ins 1026
- Border Filters 1027
- Channel Filters 1027
- Color Correction Filters 1028
- Distort Filters 1029
- Image Control Filters 1030
- Key Filters 1031
- Sequence Settings window 1032
- Matte Filters 1033
- Perspective Filters 1035
- Sharpen Filters 1035
- Stylize Filters 1036
- Video Filters 1037
- FxPlug Plug-ins 1038
- Changing Motion Parameters 1040
- 256 Part II Effects 1041
- Some parameters must 1042
- Motion Blur parameters 1042
- Drop Shadow parameters 1042
- Controls in the Motion Tab 1043
- 260 Part II Effects 1045
- Canvas center point 1046
- –360 pixels +360 pixels 1046
- –240 pixels 1046
- +240 pixels 1046
- 262 Part II Effects 1047
- Initial background layer 1048
- Sequence In and 1048
- Out points 1048
- 264 Part II Effects 1049
- 266 Part II Effects 1051
- 268 Part II Effects 1053
- 270 Part II Effects 1055
- Motion settings for the 1056
- A soft border appears 1056
- 272 Part II Effects 1057
- Both selected clips now 1058
- The background clip now 1058
- Choosing a Wireframe Mode 1059
- Which View Should You Use? 1060
- Crop and Distort Tools 1061
- Zooming In to the Canvas 1062
- 278 Part II Effects 1063
- 280 Part II Effects 1065
- 282 Part II Effects 1067
- 284 Part II Effects 1069
- Use the Distort tool to 1070
- Adjusting Parameters 1072
- How Keyframing Works 1073
- Using Three Keyframes 1075
- 292 Part II Effects 1077
- Smooth Point tool 1078
- Pen tool 1078
- Pen Delete tool 1078
- Setting Keyframes 1079
- Add Motion Keyframe 1080
- Choose a motion 1080
- 296 Part II Effects 1081
- Drag the area up or down 1082
- Moving Between Keyframes 1083
- 300 Part II Effects 1085
- 302 Part II Effects 1087
- 304 Part II Effects 1089
- 306 Part II Effects 1091
- Create five keyframes at 1092
- 1-second intervals 1092
- 308 Part II Effects 1093
- One-Sided Bezier Handles 1094
- Two-Sided Bezier Handles 1094
- Smoothing Keyframes 1095
- What Are Motion Paths? 1097
- Creating Motion Paths 1098
- 314 Part II Effects 1099
- Press Shift, then drag to 1100
- 316 Part II Effects 1101
- Tick marks farther apart 1102
- Tick marks closer together 1102
- 318 Part II Effects 1103
- 320 Part II Effects 1105
- About the Keyframe Graph Area 1107
- 324 Part II Effects 1109
- Drag the Resize pointer up 1110
- Editor Resize column 1110
- Reusing Effect 1112
- 328 Part II Effects 1113
- 330 Part II Effects 1115
- Auto Select controls 1116
- 332 Part II Effects 1117
- 334 Part II Effects 1119
- 336 Part II Effects 1121
- Changing Clip Speed 1122
- Performing a Fit to Fill Edit 1123
- Set In and Out points 1124
- 340 Part II Effects 1125
- Constant Speed 1126
- 342 Part II Effects 1127
- Making Constant Speed Changes 1129
- Making Variable Speed Changes 1130
- 346 Part II Effects 1131
- Last frame of clip 1132
- First frame of clip 1132
- Length of clip’s media 1132
- 348 Part II Effects 1133
- 350 Part II Effects 1135
- At normal speed, the 1136
- Slow speed 1136
- Fast speed 1136
- 352 Part II Effects 1137
- Using the Time Remap Tool 1138
- 354 Part II Effects 1139
- 356 Part II Effects 1141
- 358 Part II Effects 1143
- Click here to make the 1144
- Speed indicators 1144
- Linear time 1145
- Slow motion 1145
- Fast-forward 1145
- Reverse speed 1146
- Acceleration 1146
- 362 Part II Effects 1147
- 364 Part II Effects 1149
- Working with Freeze Frames 1150
- Creating a Freeze Frame 1151
- Exporting Still Images 1152
- 368 Part II Effects 1153
- 3000 x 2000 1154
- 720 x 480 1154
- Video Is Not 72 Dots per Inch 1155
- Gray borders appear on the 1156
- 372 Part II Effects 1157
- Refers to ITU-R BT.601 1158
- 374 Part II Effects 1159
- Using Alpha Channels 1161
- 378 Part II Effects 1163
- Enter a new duration here 1164
- 380 Part II Effects 1165
- Set the Scale 1166
- 382 Part II Effects 1167
- Center parameter 1168
- 384 Part II Effects 1169
- Drag the velocity 1170
- Ending keyframe 1170
- Compositing and Layering 1172
- Methods of Compositing 1173
- 390 Part II Effects 1175
- 392 Part II Effects 1177
- Working with Composite Modes 1178
- 394 Part II Effects 1179
- 396 Part II Effects 1181
- Subtract 1183
- Difference 1183
- Multiply 1184
- 400 Part II Effects 1185
- Hard Light 1187
- Soft Light 1187
- Travel Matte - Alpha 1189
- Travel Matte - Luma 1190
- 406 Part II Effects 1191
- 408 Part II Effects 1193
- 410 Part II Effects 1195
- 412 Part II Effects 1197
- Control-click in the Alpha 1198
- 414 Part II Effects 1199
- 416 Part II Effects 1201
- Choosing a Background 1202
- 418 Part II Effects 1203
- 420 Part II Effects 1205
- Keying, Mattes, and Masks 1206
- 422 Part II Effects 1207
- 424 Part II Effects 1209
- Using Proper Lighting 1210
- Your Background Screen 1211
- 428 Part II Effects 1213
- 430 Part II Effects 1215
- 432 Part II Effects 1217
- Select Color eyedropper 1218
- Invert Selection button 1218
- 434 Part II Effects 1219
- 436 Part II Effects 1221
- 438 Part II Effects 1223
- 440 Part II Effects 1225
- 442 Part II Effects 1227
- The four points are 1228
- 444 Part II Effects 1229
- The clip now has a 1230
- Border.tif clip 1230
- The clip’s image remains 1230
- Using Generator Clips 1232
- 448 Part II Effects 1233
- Matte Color and Slug 1235
- FxPlug Generators 1238
- 454 Part II Effects 1239
- Using the SmoothCam Filter 1240
- Applying the SmoothCam Filter 1242
- 458 Part II Effects 1243
- 460 Part II Effects 1245
- Reanalyzing Clips 1246
- 462 Part II Effects 1247
- Black border 1248
- About the Actual Scale Value 1249
- Avoiding Through Edits 1251
- Using the Media Manager 1253
- Creating Titles 1256
- Installing and Choosing Fonts 1257
- 478 Part II Effects 1263
- 480 Part II Effects 1265
- 482 Part II Effects 1267
- Working with Motion and Shake 1268
- 484 Part II Effects 1269
- 486 Part II Effects 1271
- 490 Part II Effects 1275
- Unsupported Media and Effects 1276
- Working with Master Templates 1278
- 494 Part II Effects 1279
- 496 Part II Effects 1281
- 498 Part II Effects 1283
- Modifying Master Templates 1284
- 500 Part II Effects 1285
- 502 Part II Effects 1287
- Part III: Color Correction 1290
- Measuring and Setting 1292
- Video Levels 1292
- Color Model 1293
- Color Difference Channels 1294
- Blacks, Midtones, and Whites 1295
- Colors toward the outer 1296
- Opening Video Scopes Tabs 1297
- Red of clothing 1300
- Blue of background 1300
- Distribution of blues 1300
- High blue levels 1303
- This image contains 1304
- The shortcut menu in the 1304
- Waveform Monitor 1304
- Choosing Video Scope Accuracy 1307
- Legal Broadcast Colors 1309
- Enabling Range Checking 1310
- Clamping and Clipping 1311
- Options in the Luma/ 1312
- Chroma Mode pop-up 1312
- Using the RGB Limit Filter 1316
- RGB Limit Filter Controls 1317
- Working with Analog Video 1319
- PCI card 1320
- Input A 1320
- Input B 1320
- Vectorscope 1322
- Choose Targets from 1323
- About Color Bars 1325
- , green, and blue signals 1327
- When monitor brightness and 1328
- Color Correction 1330
- Telecine Color Correction 1333
- Tape-to-Tape Color Correction 1335
- The Color Correction Process 1343
- General Controls 1348
- Copy Filter Controls 1349
- Copy From 1352
- 1st Clip Back 1352
- button 1352
- Current clip 1352
- Previous clip 1352
- Next clip 1353
- Color Balance Controls 1354
- Color balance indicator 1355
- Shift key 1355
- Balance Reset button 1356
- Hue control 1356
- Auto-Balance eyedropper 1356
- Hue Reset button 1356
- Balance control 1356
- Level sliders 1357
- Auto Black Level button 1357
- Saturation slider 1357
- Auto White Level button 1357
- Auto Contrast button 1357
- Choose All so that all 1360
- The color balance 1362
- After color correction 1362
- Before color correction 1362
- Blacks Reset button 1364
- Blacks Auto-Balance 1364
- Color balance controls 1364
- Auto White 1366
- Level button 1366
- Auto Black 1366
- Click the eyedropper 1371
- Click the eyedropper in 1371
- The Whites color balance 1372
- Before After 1373
- Adjust the Mids control 1374
- Flesh Tone line 1375
- Before adjusting 1376
- After adjusting the 1376
- Multiple Edits layout 1377
- Move the playhead so it’s 1379
- Split-screen mode 1379
- The Multiple Edits 1380
- Second clip 1380
- First clip 1380
- Match Hue Controls 1382
- Click a highlight 1385
- Highlighted eyedropper 1386
- Match Color indicator 1386
- Click the Whites 1386
- Limit Effect Controls 1388
- The bicycle remains red 1395
- Highlight Desaturation 1396
- Lows Desaturation 1396
- Chapter 28 Using RT Extreme 1400
- Using RT Extreme 1402
- About Render Status Bars 1405
- What Are Dropped Frames? 1405
- A tooltip tells you the 1406
- Real-time effects appear 1406
- Many of the same settings 1408
- Red render bars indicate 1410
- Unlimited RT 1411
- Play Base Layer Only 1412
- Scrub High Quality 1413
- Playback Video Quality 1413
- Playback Frame Rate 1414
- Multiclip Playback 1415
- Pulldown Pattern 1415
- Gamma Correction 1416
- Record Settings 1416
- Video Scopes Playback 1416
- Controls in the QuickView Tab 1426
- Playback in the QuickView Tab 1427
- Rendering and Video 1430
- Processing Settings 1430
- Render bars in the 1431
- Timeline: the upper 1431
- Video Render Status Bars 1432
- Audio Render Status Bars 1433
- Bar color Description 1434
- The Rendering Process 1435
- Selecting Clips for Rendering 1436
- Render Selection 1437
- In and Out points for the 1438
- Render All 1439
- Render Only 1440
- Using the Mixdown Command 1442
- This message appears in 1443
- Using the Render Control Tab 1445
- Render Settings 1446
- Color space and bit 1447
- Maximum RGB white 1447
- Motion filtering quality 1447
- Adjusting Gamma 1453
- Supported File Formats 1455
- Managing Your Render Files 1457
- Using the Render Manager 1458
- Preserving Render Files 1460
- Working with Mixed-Format 1464
- Sequences 1464
- Will Play Back in Real Time 1465
- Mixing Frame Rates 1471
- Using the Shift Fields Filter 1473
- Nesting Nonmatching Sequences 1474
- Combining SD and HD Video 1475
- 720 to 480 1476
- 1080 to 480 1476
- Cropping 16:9 Video to 4:3 1477
- Pan and Scan 1478
- 16:9 Anamorphic 1479
- Upconverting SD Video 1480
- 480 anamorphic to 1080 1481
- 480 anamorphic to 720 1481
- Volume IV 1484
- Media Management 1484
- K Apple Inc 1485
- Contents 1486
- 4 Contents 1487
- Part II Project Interchange 1488
- Part III Output 1489
- Contents 7 1490
- 8 Contents 1491
- Part V Appendixes 1492
- 10 Contents 1493
- Part I: Media and Project 1494
- Management 1494
- Backing Up 1502
- Using the Autosave Feature 1503
- ProjectName_MM-DD-YY_HHMM 1504
- Restoring Autosaved Projects 1505
- Archiving Completed Projects 1506
- Click here to update 1508
- Before Updating Projects 1512
- Media Files 1514
- Types of Clips 1515
- Clip Properties 1519
- Working with 1526
- Master and Affiliate Clips 1526
- Media File Properties 1529
- Working with Master Clips 1530
- Identifying Master Clips 1532
- Finding a Clip’s Master Clip 1532
- Working with Affiliate Clips 1533
- Creating Independent Clips 1534
- Moving Clips Between Projects 1536
- Offline and Online Editing 1540
- OfflineRT Sequence 1545
- Clip Clip Clip 1550
- Reconnecting Clips 1552
- These are offline clips 1555
- Can Be Broken 1557
- Making Clips Offline 1557
- Click an option 1558
- Select the files you 1563
- You can select which 1566
- Overview of the Media Manager 1570
- Summary Area 1574
- Media Area 1575
- Project Area 1580
- Media Destination Area 1581
- How Subclips Are Processed 1583
- Examples of How to Use 1588
- A message appears 1590
- Decide what you want 1591
- Press Command-A 1597
- After Creating Subclips 1598
- Diagnostic Tools for Clips 1604
- Locate the file you 1606
- Video track information 1607
- Audio track information 1607
- Timecode track 1607
- File information 1607
- A long frame marker 1609
- Part II: Project Interchange 1610
- Importing and Exporting EDLs 1612
- Learning to Read an EDL 1613
- Elements of an EDL 1614
- Exporting EDLs 1617
- Importing EDLs 1623
- Limitations of Importing EDLs 1624
- Problems Importing EDL Files 1625
- Clips from your imported 1626
- EDL remain offline until 1626
- Creating Better EDLs 1627
- Maintaining Accurate Timecode 1628
- Enter a reel name here 1629
- Join Through Edits 1631
- Avoid Nested Sequences 1633
- Using Final Cut Pro XML 1636
- About XML 1637
- Attributes of XML Elements 1638
- Whitespace 1639
- Document Type Definitions 1639
- 160 Part II 1643
- Project Interchange 1643
- Film and Cinema Tools 1646
- About the Telecine Process 1647
- Exporting a Film Cut List 1648
- Standard Reverse Telecine 1653
- Removing Advanced Pull-Down 1653
- About Film Lists 1661
- About Change Lists 1661
- About Audio EDLs 1661
- Exporting a Film List 1662
- Exporting a Change List 1664
- Exporting an Audio EDL 1665
- Part III: Output 1668
- Preparing to Output to Tape 1670
- 188 Part III Output 1671
- Output Requirements 1672
- 190 Part III Output 1673
- 192 Part III Output 1675
- Selecting Playback Settings 1676
- Selecting Render Settings 1676
- Cueing the Videotape 1677
- Calibrating Your Timecode 1677
- Click this button 1678
- Assemble and Insert Editing 1680
- Using Edit to Tape 1680
- 198 Part III Output 1681
- About Insert Editing to Tape 1682
- About Tracks on Videotape 1683
- About the Edit to Tape Window 1684
- 202 Part III Output 1685
- 204 Part III Output 1687
- Mastering Settings Tab 1688
- 206 Part III Output 1689
- Device Settings Tab 1691
- Using the Edit to Tape Window 1692
- 210 Part III Output 1693
- Drag the clip or 1694
- Or click the Assemble 1694
- Edit button 1694
- 212 Part III Output 1695
- 214 Part III Output 1697
- Drag the clip or sequence 1698
- Or click the Insert 1698
- 216 Part III Output 1699
- 218 Part III Output 1701
- Printing to Video 1702
- Mark In and Out 1704
- 222 Part III Output 1705
- Recording from the Timeline 1706
- 224 Part III Output 1707
- Outputting to VHS Tape 1708
- Learning About QuickTime 1710
- QuickTime for Media Authoring 1711
- Codecs Supported in QuickTime 1712
- 230 Part III Output 1713
- Movie File Formats 1715
- 234 Part III Output 1717
- Audio File Formats 1718
- 236 Part III Output 1719
- Exporting QuickTime Movies 1720
- 238 Part III Output 1721
- 240 Part III Output 1723
- A dialog shows you the 1724
- 242 Part III Output 1725
- Exporting Using 1728
- QuickTime Conversion 1728
- 246 Part III Output 1729
- About Color Space Conversion 1730
- 248 Part III Output 1731
- 250 Part III Output 1733
- Key frame 1734
- Delta frames 1734
- 252 Part III Output 1735
- Select a filter in this list 1736
- Click a disclosure triangle 1736
- Adjust settings for the 1736
- 254 Part III Output 1737
- 1280 x 720 (16:9) 1738
- 16:9 letterboxed within 1738
- 320 x 240 (4:3) 1738
- 256 Part III Output 1739
- 258 Part III Output 1741
- Internet Streaming Settings 1742
- 260 Part III Output 1743
- Classic Aperture Mode 1744
- Clean Aperture Mode 1744
- Production Aperture Mode 1745
- Exporting a DV Stream 1746
- Exporting an AVI File 1747
- 266 Part III Output 1749
- Exporting Sequences for DVD 1750
- 268 Part III Output 1751
- Video for Standard DVDs 1752
- HD DVD Editing Formats 1753
- Audio for DVD 1755
- About Surround Sound Audio 1756
- More About Chapter Markers 1757
- Using iDVD 1759
- Using DVD Studio Pro 1759
- Using Compressor 1762
- Compressor Droplets 1763
- 282 Part III Output 1765
- 284 Part III Output 1767
- 286 Part III Output 1769
- Exporting Image Sequences 1770
- 288 Part III Output 1771
- A file is saved for each 1772
- Batch Exporting 1774
- Clips and Sequences 1774
- 292 Part III Output 1775
- If you want, enter a new 1776
- 294 Part III Output 1777
- Choose a format here 1778
- 296 Part III Output 1779
- Doing a Batch Export 1781
- The status of an item 1782
- Select an item to view 1782
- Then click View Exported 1782
- Redoing Batch Exports 1783
- Choosing Settings 1786
- General Tab 1787
- Editing Tab 1792
- Labels Tab 1798
- Timeline Options Tab 1798
- Render Control Tab 1798
- Changing System Settings 1799
- Scratch Disks Tab 1800
- Search Folders Tab 1801
- Memory & Cache Tab 1802
- Playback Control Tab 1803
- External Editors Tab 1804
- Effect Handling Tab 1805
- Audio/Video Settings 1806
- Choosing Easy Setups 1809
- Changing Audio/Video Presets 1810
- After you change a 1811
- Easy Setup is customized 1811
- Viewing Settings in a Preset 1812
- Creating a New Preset 1813
- Editing a Preset 1814
- Deleting Presets 1815
- Creating an Easy Setup 1816
- Capture Settings and Presets 1822
- Click Compression 1827
- Specify the 1827
- Device Control 1832
- Settings and Presets 1832
- ” on page 357 1836
- Using FireWire Device Control 1838
- Using Serial Device Control 1839
- 1 Do one of the following: 1841
- ’ll need to compensate for 1841
- Sequence Settings and Presets 1844
- General Tab for Sequences 1845
- Audio Outputs Tab 1851
- Changing Sequence Settings 1853
- Part V: Appendixes 1856
- Video Formats 1858
- Storage Medium 1859
- Video Standards 1860
- Types of Video Signals 1861
- ; R-Y, B-Y; and U,V 1862
- 380 Part V Appendixes 1863
- Letterboxing 1864
- Anamorphic 1865
- Pillarboxing 1865
- Pixel Aspect Ratio 1867
- Frame Rate 1868
- Scanning Method 1869
- About Progressive Scanning 1870
- About Field Dominance 1870
- Color Recording Method 1871
- Color Sample Ratio 1872
- Bit Depth 1873
- Video Compression 1874
- Lossless Codecs 1875
- Lossy Codecs 1876
- About Uncompressed Video 1876
- About MPEG Compression 1876
- 394 Part V Appendixes 1877
- 396 Part V Appendixes 1879
- MPEG-4 Part 10, or H.264 1881
- DV Formats 1882
- 24p Video 1882
- High Definition Video Formats 1882
- Scanning Methods 1883
- Data Rate Comparisons 1884
- Frame Rate and Timecode 1888
- 406 Part V Appendixes 1889
- Choosing a Frame Rate 1891
- 01:32:15:28 1893
- Timecode on Tape 1896
- Working with 24p Video 1900
- Standard 3:2 Pull-Down 1901
- 24 Versus 23.98 fps 1901
- ABCDA DABCDABCDABCDABCD 1902
- 2:3:3:2 Advanced Pull-Down 1903
- 2:2:2:4 Pull-Down 1904
- 422 Part V Appendixes 1905
- 24 @ 25 Pull-Down 1906
- 24 @ 25 Repeat 1907
- Native 24p 1907
- Working with 24p NTSC Video 1908
- 426 Part V Appendixes 1909
- Anamorphic 16:9 Media 1910
- 428 Part V Appendixes 1911
- About Letterboxing 1912
- Recording Anamorphic Video 1913
- Capturing Anamorphic Media 1914
- 432 Part V Appendixes 1915
- Select this checkbox 1916
- Anamorphic option 1916
- 434 Part V Appendixes 1917
- 436 Part V Appendixes 1919
- Solving Common Problems 1920
- Solutions to Common Problems 1921
- 440 Part V Appendixes 1923
- 442 Part V Appendixes 1925
- Problems with Audio Quality 1926
- Contacting AppleCare Support 1927
- Glossary 1928
- 446 Glossary 1929
- Glossary 447 1930
- 448 Glossary 1931
- Glossary 449 1932
- 450 Glossary 1933
- Glossary 451 1934
- 452 Glossary 1935
- Glossary 453 1936
- 454 Glossary 1937
- Glossary 455 1938
- 456 Glossary 1939
- Glossary 457 1940
- 458 Glossary 1941
- Glossary 459 1942
- 460 Glossary 1943
- Glossary 461 1944
- 462 Glossary 1945
- Glossary 463 1946
- 464 Glossary 1947
- Glossary 465 1948
- 466 Glossary 1949
- Glossary 467 1950
- 468 Glossary 1951
- Glossary 469 1952
- 470 Glossary 1953
- Glossary 471 1954
- 472 Glossary 1955
- Glossary 473 1956
- 474 Glossary 1957
- Glossary 475 1958
- 476 Glossary 1959
- Glossary 477 1960
- 478 Glossary 1961
- Glossary 479 1962
- 480 Glossary 1963
- 481 1964
- 482 Index 1965
- Index 483 1966
- 484 Index 1967
- Index 485 1968
- 486 Index 1969
- Index 487 1970
- 488 Index 1971
- Index 489 1972
- 490 Index 1973
- Index 491 1974
- 492 Index 1975
- Index 493 1976
- 494 Index 1977
- Index 495 1978
- 496 Index 1979
- Index 497 1980
- 498 Index 1981
- Index 499 1982
- 500 Index 1983
- Index 501 1984
- 502 Index 1985
- Index 503 1986
- 504 Index 1987
- Index 505 1988
- 506 Index 1989
- Index 507 1990
- 508 Index 1991
- Index 509 1992
- 510 Index 1993
- Index 511 1994
- 512 Index 1995
- Index 513 1996
- 514 Index 1997
- Index 515 1998
- 516 Index 1999
- Index 517 2000
- 518 Index 2001
- Index 519 2002
- 520 Index 2003
- Index 521 2004
- 522 Index 2005
- Index 523 2006
- 524 Index 2007
- Index 525 2008
- 526 Index 2009
- Index 527 2010
- 528 Index 2011
- Index 529 2012
- 530 Index 2013
- Index 531 2014
- 532 Index 2015
- Index 533 2016
- 534 Index 2017
- Index 535 2018
- 536 Index 2019
- Index 537 2020
- 538 Index 2021
- Index 539 2022
- 540 Index 2023
- Index 541 2024
- 542 Index 2025
- Index 543 2026
- 544 Index 2027
- Index 545 2028
- 546 Index 2029
- Index 547 2030
- 548 Index 2031
- Index 549 2032
- 550 Index 2033
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