Volume I
Interface, Setup,
and Input
-
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
Comments to this Manuals