Apple Final Cut Pro 7 User Manual

Final Cut Pro 7User Manual

Cutting Clips and Adjusting Durations583Chapter 39Performing Basic Cut Edits583Changing the Duration of Clips in the Timeline587Opening Sequence Clips

The following playhead sync modes are available from the Playhead Sync pop-up menu:• Sync Off: The Viewer and Canvas playheads move independently of e

This chapter covers the following:• Learning to Describe Sound Accurately (p. 1001)• Efficiently Using the Frequency Spectrum (p. 1001)• Tips for Cutt

Tips for Cutting DialogueHere are some tips and tricks for taking care of routine dialogue editing problems.Use cross fades to smooth out problem edit

When you do this kind of edit, watch out for the beginnings and endings of words.Sometimes people run words together if they speak quickly. If you’re

Each take is shot from a slightly different angle, and there’s one visual take that you likemore than the others, even though the dialogue in it isn’t

Use the natural beginnings and endings of music clips for your editsInstead of fading a piece of music in and out of a sequence at random points, try

When you cut from a picture to music, don’t always cut on the beatSometimes, lining up a video edit on a significant beat in the music can have fantas

This chapter covers the following:• Using Soundtrack Pro with Final Cut Pro (p. 1007)• Sending Individual Audio Clips from Final Cut Pro to Soundtrack

• If you need a complete audio post-production solution for your movie, including soundediting, sweetening, and mixing: You can send multiple Final Cu

Sending Clips from Final Cut Pro to the Soundtrack Pro File EditorWhen you send an audio clip from Final Cut Pro to the Soundtrack Pro File Editor, aS

Recent Clips Pop-Up MenuThis pop-up menu shows recently used clips. A clip is not added to this list when firstopened in the Viewer, only when another

A Soundtrack Pro audio file project is created and opened in the Soundtrack Pro FileEditor. The Final Cut Pro clip is reconnected to the new Soundtrac

5 Click OK.6 A Soundtrack Pro audio file project is created for each clip selected in Final Cut Pro. EachSoundtrack Pro audio file project is then ope

4 Select one of the following options:• Yes: Creates a Soundtrack Pro audio file project for each clip and then prompts you fora location to save thes

To open a Final Cut Pro audio clip’s media file directly in the Soundtrack Pro File Editor1 Control-click the audio clip in either the Final Cut Pro B

2 Do one of the following:• Choose File > Send To > Soundtrack Pro Multitrack Project.• Control-click the selection and choose Send To > Soun

Sending a Mixdown Back to Final Cut Pro AutomaticallyWhen you create a Soundtrack Pro multitrack project from within Final Cut Pro, all of thesequence

In Final Cut Pro, the Import XML dialog appears.6 Use the Destination pop-up menu to choose your original project, then click OK.A copy of your origin

3 Choose File > Export.4 Save the mixdown file with the same name, in the same file format, and in the samelocation as the previous mixdown file.5

2 Do one of the following:• Choose File > Send To > Soundtrack Pro Multitrack Project.• Control-click the selection and choose Send To > Soun

Note: Only projects that have embedded Final Cut Pro clip metadata (projects sent fromFinal Cut Pro or opened via XML documents) appear in this dialog

To import an XML file into Final Cut Pro1 In Final Cut Pro, choose File > Import > XML.2 Locate the XML file, then click Choose.A sequence conta

This chapter covers the following:• Different Ways to Use Filters (p. 1021)• Applying a Filter to a Clip (p. 1022)• Applying Multiple Filters to Clips

• Create and manipulate transparency effects: Use filters like the Chroma Keyer or GarbageMatte to create and manipulate the alpha channel information

To apply a filter to a clip in a sequenceDo one of the following:µSelect one or more clips in the Timeline, choose Effects > Video Filters, then ch

• Drag a filter from the Effects tab of the Browser directly into the Viewer...to the sequence clipin the Viewer.Drag the filter fromthe Browser...Yo

The filter is applied to the selected part of the clip only. When you open this clip in theViewer, filter Start and End points appear in the keyframe

Once multiple filters are applied to a clip, you can change the order in which they takeeffect by dragging them up and down the list in the Filters ta

To view the filters applied to a clipDo one of the following:µOpen a clip in the Viewer, then click the Filters tab.µIf a sequence clip is already ope

Controls in the Filters Tab of the ViewerThere are various controls you can use to manipulate filters in Final Cut Pro. Althougheach filter has its ow

• Disclosure triangle: Click to show and hide all of the controls for a filter.• Parameter controls: Each filter has its own set of parameter controls

This chapter covers the following:• How You Use the Canvas (p. 103)• Opening, Selecting, and Closing Sequences in the Canvas (p. 104)• Learning About

• Keyframe graph ruler: The keyframe graph ruler corresponds to the duration of the clipor the location of a clip in a sequence:• If a clip is opened

SlidersBy default, sliders show only whole integer values.Typical sliderNumeric value ofthe slider settingTo adjust the corresponding value to within

Logarithmic sliders are useful for parameters that have a huge range of possible values,with a particular range at the top or at the bottom being more

To gear down the dial’s movement for a more precise valueµPress the Command key while adjusting the control.To reset the dial to its previous setting

Clip WellSome filters, such as the Bumpmap filter, contain a clip well that allows you to use videofrom any clip in your project as a parameter for th

To show or hide filters barsDo one of the following:µClick the Clip Keyframes control in the Timeline.µChoose Sequence > Settings, then click the T

Copying and Pasting a Clip’s FiltersWhen you copy a clip from the Timeline, you also copy all of that clip’s settings, includingfilters applied to tha

µSelect the filter, then choose Edit > Cut.µControl-click a filter, then choose Cut from the shortcut menu.µSelect the filter in the Filters tab, t

This chapter covers the following:• Plug-in Formats Supported by Final Cut Pro (p. 1039)• Installing Video Filters (p. 1040)• Identifying and Organizi

Before you can work in the Canvas, it must be the currently selected, or active, window.Otherwise, any commands or keyboard shortcuts you use may perf

About FxPlugFxPlug is an image-processing plug-in architecture developed by Apple. FxPlug makesit possible for any plug-in developer to develop hardwa

Important: You should not install filters in this folder yourself.Installing FXScript Plug-insFXScript plug-ins that you create yourself or purchase f

• Preferred: Shows whether an effect is preferred or not. You can turn this property onand off by clicking in the column next to the effect. You can a

Transferring Effects Between SystemsIf you have a project that uses particular FxPlug plug-ins, you need to install those plug-inson each machine wher

When you enable high-precision rendering in your sequence settings, some systems witholder graphics cards may be able to play back clips with FxPlug p

• If your computer has a graphics card with 128 MB or less of video RAM (VRAM), someFxPlug plug-ins installed with Motion are not available in Final C

This chapter covers the following:• FXScript Plug-ins (p. 1047)• FxPlug Plug-ins (p. 1058)Final Cut Pro includes numerous video filters for a wide ran

ResultFilterCreates the illusion that the image is moving toward you or awayfrom you. A pop-up menu lets you choose whether the blur movesin or out. T

ResultFilterPerforms an arithmetic operation on the clip and a second specifiedclip. You can choose the operator and the channel from pop-upmenus.Comp

Learning About the CanvasThe following is a summary of the controls in the Canvas.Controls in the Top Part of the CanvasThe top part of the Canvas has

ResultFilterDistorts the clip as if it were wrapped around a cylindrical object.You can adjust the Radius and Center sliders to affect theappearance o

ResultFilterAllows you to adjust the amounts of red, green, and blue in a clipindependently. Select whether this filter affects the highlights (bright

ResultFilterKeys the blue or green area of a clip and uses the selected color asa transparency mask for compositing foreground elements againsta backg

ResultFilterSimilar to a chroma (color) key, except that a luma key creates amatte based on the brightest or darkest areas of an image. Keyingout a lu

ResultFilterProduces a matte around the clip, similar to a luma key. A Viewpop-up menu allows you to look at the source of the clip (with nokey applie

ResultFilterBlurs the four edges of the clip individually by the specified amountto create an old-fashioned vignetting effect. Each of the four edgeso

ResultFilterIncreases the contrast between adjacent pixels to increase theperception of sharpness in the image. When overused, can resultin a harsh, g

Video FiltersVideo filters are generally used to solve specific problems with clips in your sequence,although there are design-oriented filters in thi

FxPlug Plug-insFxPlug plug-ins are included as part of the Final Cut Studio installation process.Final Cut Pro may not support some FXPlug plug-ins. S

This chapter covers the following:• Creating Motion Effects in the Viewer (p. 1059)• Adjusting Parameters in the Motion Tab (p. 1060)• Using Cartesian

• Current Timecode field: This field displays the timecode of the frame at the currentposition of the playhead. You can enter timecode numbers here to

Note: Audio parameters can be keyframed as well. For more information, see “AutomatingAudio Filter Parameters with Keyframes.”Adjusting Parameters in

Drop Shadow and Motion Blur must be enabled before you can adjust their parameters.To enable the Drop Shadow or Motion Blur attributeµSelect the check

Controls in the Motion TabThe following section describes the attributes and related parameters in the Motion tabof the Viewer.Distort attributeBasic

Basic Motion ParametersThe Basic Motion parameters allow you to add motion to a clip—changing the scale,rotating a clip, moving the center point, and

Distort ParametersChange a clip’s Distort parameters to alter the rectangular shape of a clip or to give it adifferent aspect ratio.• Upper Left, Uppe

Motion Blur allows you to create or exaggerate motion blur in ordinary video clips. Forexample, if you apply motion blur to a clip in which someone is

Using the Paste Attributes CommandAs you composite multiple clips together in Final Cut Pro, it’s important to take advantageof whatever shortcuts you

To move a clip to the leftµEnter a negative value for the clip’s x coordinate.To move a clip downµEnter a positive value for the clip’s y coordinate.T

When you copy and paste these attributes to the clip on track V3, the clip appears inexactly the same place. However, if you change its x coordinate f

Note: If you don’t use a background layer (such as a graphic, video clip, or Final Cut Progenerator clip), all layered clips appear against black by d

Editing Controls in the CanvasYou can perform five basic types of edits in the Canvas to place a clip displayed in theViewer into the current sequence

3 From the Browser, open the first clip you want to arrange in the background of yourcomposition, then edit it into the sequence using a superimpose e

5 Click the Basic Motion disclosure triangle to reveal the Basic Motion parameters, thendrag the Scale slider to 38 (or enter “38” in the Scale number

7 Select the point control for the Center parameter and move the pointer to the Canvas(the pointer changes to a crosshair), then click in the upper-le

8 In the Timeline, specify track V2 as the current destination track (click the V2 Destinationcontrol). Then, using a superimpose edit, edit in a seco

10 Select the Basic Motion checkbox, then click OK.This setting is the only attribute you wantto copy.The two clips occupy the same position in the Ca

Note: The x and y coordinates of a clip in the Canvas are based on the offset betweenthat clip’s center point and the center point of the Canvas. See

16 Click the Basic Motion disclosure triangle to reveal the Basic Motion parameters, thenadjust the Scale slider to 66, so that this clip is 66 percen

Viewing the title safe and action safe boundaries, you see that you’re within the area thatis viewable on most television monitors.Enter “37” here to

3 Drag the Edge Feather slider to the right until it’s set to 64.A soft border appears around the clip inthe Canvas.Next, you’ll apply the same amount

7 Drag the Top and Bottom sliders in the Crop attribute to the right until they are set to 5.The resulting changeto the clip is displayedin the Canvas

Edit OverlayThe Edit Overlay appears only when you drag clips from the Browser or Viewer to theimage area of the Canvas. The Edit Overlay appears tran

10 In the Paste Attributes dialog, select the Drop Shadow checkbox, then click OK.Both selected clips now display a drop shadow.Finally, you want to d

Creating Motion Effects in the CanvasMotion settings of sequence clips can also be manipulated directly in the Canvas. If youwant to adjust a clip’s m

Which View Should You Use?There are several view and background options you can specify that make it easier towork with composited layers in your sequ

Using the Selection, Crop, and Distort tools in the Tool palette, you can drag a clip’shandles directly in the Canvas to create various effects.• Cent

Note: The zoom level you specify changes the display size of the image only and doesn’taffect the frame size of your edited sequence.To zoom in to the

2 Select the Selection tool in the Tool palette, then do one of the following:• To scale the clip proportionally: Drag a Scale/Distort handle.Drag a S

2 Select the Selection tool in the Tool palette, then drag any edge of the selected clip’sborder in an arc around the clip’s center point.Drag any edg

Tip: To shorten one side and lengthen the other side of an image, hold down the Shiftkey while dragging.Hold down the Shift key as you drag to change

• To constrain the rectangle’s aspect ratio: Hold down the Shift key while dragging a corner.Shift-drag a corner with the Crop tool to maintain the as

2 Import a graphics file (such as a PICT file) of a sign into your project, then open it in theViewer.This shows the graphic you’ll place on the sideo

Transport Controls in the CanvasTransport (or playback) controls let you play sequences in the Canvas, as well as movethe playhead in the Timeline. Th

5 In the Timeline, select the image, then choose Image+Wireframe from the View pop-upmenu in the Canvas.The selected layer in track V2 is outlinedin t

8 Select the Distort tool in the Tool palette, then drag each of the four corners of the signgraphic until they match the perspective of the side of t

This chapter covers the following:• Animating Motion Effects Using Keyframes (p. 1093)• Smoothing Keyframes with Bezier Handles (p. 1113)• Creating Ke

• Audio levels• Pan settings• SpeedBecause you can add keyframes to filters and generators as well as motion settings, theinformation presented in thi

Adding additional keyframes increases the complexity of the effect, but the area inbetween each pair of keyframes in your clip is still smoothly inter

Using Three KeyframesWith three keyframes, you can create more complex effects, such as a curved motionpath. In the example below, the position of the

Keyframing Controls in the ViewerYou can use various controls for keyframing motion effects. Although motion effects,filters, and generator clips have

• Keyframe graph ruler: Corresponds to the duration of the clip or the location of a clipin a sequence:• If a clip is opened from the Browser: The key

Keyframing Tools in Final Cut ProThree tools in the Tool palette allow you to add, modify, or remove keyframes on aparameter’s keyframe graph line in

Using Waveform Displays to Help You Edit Audio662Learning About the Audio Controls in the Viewer664Editing Audio in the Viewer668Editing Audio in the

Playhead Controls in the CanvasThe Canvas provides a number of controls for moving the playhead in a sequence quicklyand easily.Inactive videoInactive

Note: For some parameters, you must click the parameter’s disclosure triangle to viewits keyframes in the keyframe graph area.To better adjust and vie

To set keyframes from the Viewer or CanvasDo one of the following:µTo add a keyframe to all of the selected clip’s motion settings at once, click the

To add more keyframes1 Move the playhead to another point in the clip where you want to set a keyframe.2 Do one of the following:• Adjust the appropri

To adjust a parameter value between two keyframesµMove the pointer over the section of the parameter’s keyframe graph line between thetwo keyframes (t

Note: This is also a good way to delete keyframes directly in the opacity and level overlaysof a clip in the Timeline.To delete keyframes for all of a

2 When the pointer turns into a Resize pointer, drag to resize the parameter display height.Drag up to make the parameter display height shorter, or d

To zoom using the Zoom sliderµDrag the left or right thumb tab on the side of the Zoom slider. While zooming, the visiblearea of the keyframe graph st

When the keyframe graph is zoomed in or out to the maximum level possible, the plusand minus signs on the zoom tools disappear.With a zoom tool select

To dynamically adjust opacity over time1 Edit two clips of equal duration into your sequence, each in its own video track.Note: The clip you want to a

5 In the Current Timecode field of the Motion tab, enter “01:00:02:00” to move the playhead.Entering the new timecode valuemoves the playheadto this l

Final Cut Pro looks for the previous edit, In point, or Out point. If overlays are turned onin the View menu, an L-shaped icon appears in the Canvas,

8 In the keyframe graph area, move the pointer to the left of the two keyframes on theOpacity keyframe graph line. When the pointer turns into the Adj

The shape of the Opacity parameter’s keyframe graph line leaves the opacity of the toplayer at 50 percent for 1 second, and then the topmost layer fad

3 Position the pointer over the opacity overlay (located directly on top of the clip on trackV2). When the pointer turns into the Adjust Line Segment

• To adjust a keyframe using the Selection tool: Position the pointer so that it’s directlyover a keyframe. When the pointer turns into a crosshair, d

Understanding Bezier Handles and CurvesWhen adjusting the Bezier handles that are attached to a smoothed clip, there are severalkinds of curves you ca

Two-Sided Bezier HandlesKeyframes that are in between other keyframes have two-sided Bezier handles. Thesehandles are normally locked together, so tha

You cannot use Bezier handles to smooth these types of keyframes, because thekeyframe graph line cannot display multiple parameter values (such as x a

When you release both keys, the new relative length and angle of the two handles arelocked.Hold down the Command and Shiftkeys to change the length an

For example, suppose you define a center keyframe for a video clip at the x and ycoordinates of –160, 100. You then move the playhead 3 seconds later

Creating Motion PathsThe simplest way to make changes to a clip’s motion path is by manipulating it directlyin the Canvas while in Image+Wireframe mod

Marking Controls in the CanvasMarking controls let you set In and Out points, add markers and keyframes, and navigateto matching frames in master or a

Adding, Moving, and Deleting Keyframes in Motion PathsYou can edit a motion path directly in the Canvas by adding, dragging, or deletingkeyframes. The

Creating Curved Motion Paths Using Bezier HandlesWhen you add a keyframe to a motion path, it’s a Bezier point (also known as a cornerpoint) by defaul

To resize one side of a Bezier handle independently of the otherµHold down the Shift key as you drag a Bezier handle. Release the Shift key to lock th

To remove Bezier handles from a keyframe in a motion pathDo one of the following:µControl-click a keyframe with Bezier handles in the Canvas, then cho

To vary the acceleration of this clip along its motion path, you must first add Bezier handlesto the keyframes you want to adjust (see “Creating Curve

To slow down a clip’s motion at the beginning and speed it up as it nears the nextkeyframeµDrag the velocity handle away from the selected keyframe.Dr

To move selected motion paths1 In the Canvas, do one of the following:• Choose View > Image+Wireframe.• Choose View > Wireframe.2 Hold down the

When you apply a motion favorite to a clip in your sequence, it’s not like applying a filter.There is no special object (such as a filter) that is att

The keyframe graph area can be divided into four parts relating to motion, filter, andspeed parameter settings applied to your clips.Video motion bar(

• Speed indicator area: Speed indicators show you the speed of clips in your sequenceusing tick marks. The spacing and color of these tick marks indic

Zoom and View Pop-Up Menus in the CanvasThe two pop-up menus near the top of the Canvas let you quickly select the magnificationlevel and a viewing fo

• Hide All: Hides all keyframes associated with an attribute.To move a clip’s keyframe forward or backward in the TimelineµUse the Selection tool to d

2 Control-click in the keyframe editor area beneath the clip you want to work on, thenchoose the filter or motion parameter you want to display from t

This chapter covers the following:• Copying and Pasting Specific Clip Attributes (p. 1133)• Applying Favorite Filters and Transitions (p. 1138)If you

About the Paste Attributes DialogYou select which attributes to paste by using the Paste Attributes dialog.The following options are available in the

For example, suppose that two clips, Clip A and Clip B, both have a Gaussian Blur filterapplied. Clip A has a Radius parameter value of 100, and Clip

• Control-click the clip or clips you’ve selected in the Timeline, then choose PasteAttributes from the shortcut menu.5 In the Paste Attributes dialog

To apply the most recently used video transitionµChoose Effects > Video Transitions > Last - [Name of Transition].Applying Filters Across Multip

Applying Favorite Filters and TransitionsOften you may find yourself using the same filter or transition several times in a sequence.Rather than manua

Creating Favorite Filters and TransitionsThe steps for creating favorite filters and transitions are essentially the same. You cancreate a favorite by

4 Make any adjustments to the keyframes or values of the filter parameters.5 Select one or more filters in the filter list by doing one of the followi

3 Enter a new name, then press Return.Enter the new name for your favorite transition.To organize favorite transitions and filters into sub-bins1 Clic

This chapter covers the following:• Speed Basics (p. 1143)• Using the Change Speed Dialogs (p. 1145)• Using the Speed Tool (p. 1152)• Making Speed Cha

Constant Speed Changes on Entire ClipsApplying a constant speed change to an entire clip alters the entire clip’s playback speedby the same percentage

Variable Speed ChangesApplying variable speed to a clip allows you to dynamically alter the speed of a clip overtime, in forward or reverse motion. Va

Note: The Change Speed dialog affects the speed for an entire clip. The Change SpeedSegment dialog affects the speed for a single speed segment, a sec

• Start buttons: Use these buttons to affect the rate of change in speed at the beginningof a clip or speed segment.CustomCurve From StartCurve Center

• Curve to End button: Applies a smooth change in speed to the end of a clip or speedsegment. This is a quick and simple way to add a Bezier handle to

Applying Speed Effects with the Change Speed DialogFollow the steps below to create speed effects with the Change Speed dialog or theChange Speed Segm

This chapter covers the following:• Navigating in the Viewer and Canvas (p. 115)• Working with Timecode in the Viewer and Canvas (p. 121)While the Vie

To change the speed of an individual speed segment using the Change Speed Segmentdialog1 Make sure both of the following are true:• The clip is in the

The Change Speed Segment dialog appears.5 Use any of the controls in the Change Speed Segment dialog to create the speed effectyou want.For detailed i

Frame Blending, Optical Flow, and Motion BlurDuplicating frames to create slow motion can result in a strobing, jittery effect. To minimizethis, you c

Dragging an edit point with the Speed tool slows down one clip while speeding up theadjacent clip. No clips move in the Timeline as a result; only the

In the example above, the clip on the left is being adjusted to nearly twice its originalspeed while the clip on the right is being slowed to 82% of i

As you drag, the clip displays the adjusted speed as a percentage of its default (original)speed.Making Speed Changes in the TimelineYou can apply var

The keyframe graph area is displayed below each clip in the Timeline. You can use thiskeyframe graph area to view and edit keyframes for applied effec

2 In the speed indicator area, drag a speed keyframe to the left or to the right.The tick marks in the speed indicator area update in real time as you

• RemoveSpeed: Removes all clip speed changes and restores a clip to its original, defaultspeed.• Change Speed Segment: Opens the Change Speed Segment

• If maintaining video and audio sync is a priority, select both the video and the (synced)audio and apply constant speed changes only. Applying varia

To play a clip in the Viewer or a sequence in the Canvas1 Open a clip in the Viewer or make the Canvas or Timeline active.2 Do one of the following:•

• If maintaining video and audio sync is a priority, select both the video and the (synced)audio and apply constant speed changes only. Applying varia

Timeline speed indicators show you the relative playback speed of clips in your sequence.For example, suppose you have a 10-second clip in your sequen

If you make a clip play backward by selecting the Reverse checkbox in the Change Speeddialogs, the speed indicators turn red to show that playback is

Using the Speed Parameter in the Motion TabWhile the various speed adjustment methods allow you to make speed adjustments toclips quickly, you can als

Note: This is true regardless of the In and Out points you set for the clip. Even if the cliphas an In point at frame 100 and an Out point at frame 20

Speed and the Keyframe GraphThe following illustrations show how changes to the keyframe graph affect the speed ofa clip in the Timeline. In each grap

• Freeze frame (0 percent speed): So far, all these graphs have illustrated forward-playingclips, represented by a line that slopes upward. A freeze f

Making Speed Adjustments in the Speed Keyframe Graph AreaYou can add speed keyframes and make precise speed adjustments in the Speed keyframegraph are

A fit to fill edit changes the speed of a clip in the Viewer so that its duration matches theduration between the sequence In and Out points. Because

4 Set In and Out points to define the portion of your source clip that you want to edit intoyour sequence to fill the duration set in step 1.Set In an

2 Do one of the following:• Choose Mark > Play > To Out (or press Shift-P).• Command-click the Play button.You can also play around the current

The material in the Viewer overwrites any material already between the sequence In andOut points you specified. The speed of the source clip changes t

The speed effects are applied to the multiclip. The Change Speed dialog adjusts both thevideo and any linked audio. Depending on the settings you chos

This chapter covers the following:• Using Still Images and Graphics in Your Sequences (p. 1173)• Creating Freeze Frames from a Video Clip (p. 1174)• E

You can also apply traditional camera stand (or motion camera) moves to a still image(as is often done in documentaries) by setting motion effect keyf

About Sequence Freeze FramesUnlike a freeze frame of a clip, a sequence freeze frame will not update if you subsequentlychange the sequence the freeze

Creating Graphics with the Correct Frame Size for VideoWhen you’re preparing to import graphics into Final Cut Pro, it’s important to be awareof the i

Video Is Not 72 Dots per InchThere is a myth in video graphic design: Because some older computer displays used 72pixels per inch, all video created o

If the aspect ratio of your imported graphic doesn’t match that of your edited sequence,the graphic will not exactly fit the dimensions of the Canvas

Note: There is no accepted standard for the exact aspect ratio of non-square SD videopixels. Different manufacturers may assume different pixel aspect

As you scrub through your clip or sequence, audio also plays back more quickly, but itdoesn’t play back smoothly—it will seem to stutter (not speed up

Frame Size Chart for Creating GraphicsUse the chart below to determine the frame size you need for creating graphics. Forexample, if you’re working in

SD NTSC pixels are taller than computer pixels and SD PAL pixels are wider than computerpixels. As a result, a 720 x 480 pixel image looks different (

If you output graphic images with colors that go outside the “legal” range for video, thecolors will appear oversaturated and may “bleed” into other p

Using Alpha ChannelsAlpha channels are an implicit fourth channel in some graphics file formats that are usedto reveal only certain parts of your stil

If the frame size of your graphic doesn’t match the frame size of your edited sequenceand you want to correct this, you can do so easily.To scale an i

Note: This setting only affects graphics imported after you change this setting. Previouslyimported graphics still retain the same In and Out points.T

Important: To create moving graphics with acceptable quality, the horizontal and verticaldimensions of your still image must be greater than the frame

If the final destination of your sequence will be SD video, then any scanned images,digital photographs, and HD video images with higher resolution wo

Stage 4: Preparing the Viewer and Canvas SettingsTo see the image as it will appear within the frame during playback, you need to makea couple of adju

2 Move the position of the image in the Canvas to the starting position of the pan.Starting positionAdd MotionKeyframe button3 Control-click the Add M

Dragging to the right moves the clip or sequence forward; dragging to the left movesthe clip or sequence in reverse. The farther you drag the slider f

You don’t need to add a keyframe this time because, once a single keyframe has beenadded to a parameter, new keyframes are automatically added each ti

This causes the clip to start moving slowly and then ramp up to full speed.4 Choose Mark > Next > Keyframe (or press Shift-K) to navigate to the

This chapter covers the following:• Introduction to Compositing and Layering (p. 1193)• Working with Composite Modes (p. 1198)• Composite Modes in Fin

Methods of CompositingOnce you’ve layered clips in the Timeline, you can adjust how each one blends with thelayers below using the following methods:•

You can use a superimpose edit to quickly stack a source clip on top of any clips alreadyedited into your sequence in the Timeline in preparation for

• Open the clip in the Viewer and specify the Opacity parameter’s value in the Motiontab.The Opacity parameter in the Motion tab and the opacity overl

Note: The overlay appears as a black line if the clip is not selected and as a white line ifthe clip is selected.The pointer changes to the Adjust Lin

3 Adjust the opacity by doing one of the following:• Drag the Opacity slider to the right or left.• Click the arrows at the right and left of the Opac

Important: Final Cut Pro composite modes work in conjunction with a clip’s Opacityparameter. The composite mode you select determines how the color va

Applying a Modified Transition Directly to a Sequence in the Timeline785Trimming Transitions and the Surrounding Clips785Previewing and Rendering Tran

To move the playhead one frame at a timeµHold down the K key, then press J or L.To move the playhead at below 1/3x speedµHold down the K key, then pre

To view or change a clip’s composite mode1 Control-click a clip in the Timeline, then choose Composite Mode from the shortcut menu.All composite modes

About the Examples in This SectionMost of the examples in this section combine the following two reference images tocreate a third composite image. Th

The order of two clips affected by the Add composite mode does not matter.Suggested uses: The Add composite mode is useful for using one image to sele

DifferenceThe Difference composite mode is similar to the Subtract composite mode, except thatareas of the image that would be severely darkened by th

ScreenScreen emphasizes the lightest parts of each overlapping image, except that the midrangecolor values of both images are mixed together more even

The visible result is that darker color values in the background image intensify overlappingareas in the foreground image, while lighter color values

The order of two clips affected by the Hard Light composite mode is important.Boxes clip on top Monkey clip on topSoft LightThe Soft Light composite m

DarkenDarken emphasizes the darkest parts of each overlapping image. Whites in either imageallow the overlapping image to show through completely. Lig

Travel Matte - AlphaWhen you apply the Travel Matte - Alpha composite mode to a selected clip, the alphachannel from the clip below is applied to the

Because travel mattes use information in one layer to affect another, if the alpha channel,black, or white elements of that layer move, then the resul

Looping PlaybackNormally, playback of a clip or sequence starts at the current playhead position and stopsat the end of the clip or sequence. If you t

Working with Layered Photoshop FilesYou can create multilayer graphics in Adobe Photoshop for use in a compositedFinal Cut Pro sequence. This allows y

If you want to import a layered Photoshop file as a single clip, you must flatten the imagein Photoshop and then import the file into Final Cut Pro.Th

Changing the Frame Rate of Layered Photoshop SequencesWhen you import a layered Photoshop file, the resulting sequence has the frame rate ofthe curren

Using Video and Graphics Clips with Alpha ChannelsOrdinary video clips have three channels of information for red, green, and blue. An alphachannel is

For example: You have a title graphic that was created in Photoshop, so it has an alphachannel already set up. When you import it into Final Cut Pro,

The Item Properties window appears.2 Control-click the Alpha row in the Clip column, then choose the alpha channel type fromthe shortcut menu.• None/I

2 Choose Modify > Alpha Type, then choose a new alpha channel type from the submenu.To change the alpha channel type of a clip in the BrowserµContr

There are several channel viewing options in the View menu and the View pop-up menuin the Viewer.• RGB: This is the default color option; it shows the

To choose an alpha channel display optionDo one of the following:µChoose View > Channels, then choose an option from the submenu.µChoose an alpha c

• Red• Green• BlueNote: Red, Green, and Blue backgrounds are available from the submenu only whenchoosing View > Background.To choose a background

Note: Clicking the icon to the left of each field highlights the entire field so you can enternew numbers.Control-clicking the Timecode Duration and C

Temporarily Disabling a Single ClipIf, instead of disabling an entire track, you only want to disable a single clip temporarily,you can do so. While a

2 Select the clip that you want to solo.3 Choose Sequence > Solo Selected Item(s) (or press Control-S).All clips in other tracks that overlap the s

To turn clip enabling on or off for a clip (or other item) in the Timeline1 Select the clip in the Timeline.2 Choose Modify > Clip Enable.You can a

This chapter covers the following:• Ways to Layer and Isolate Elements in Clips (p. 1223)• Using Keying to Isolate Foreground Elements (p. 1226)• Over

In Final Cut Pro, a matte is a customizable, polygonal shape used to make part of a cliptransparent. By outlining part of an image with a matte, you c

What Are Masks and How Are They Used?A mask is an image that is used to create areas of transparency in another image. Forexample, the luma in one cli

Using Keying to Isolate Foreground ElementsThere are two different methods used for keying: chroma keying and luma keying. Chromakeying is a method of

With a high-quality DV camera and good lighting, it’s possible to pull a reasonable keyusing DV clips, but you cannot expect the kind of subtleties ar

Using Video Scopes to Help Correctly Light Your Background ScreenBecause the Waveform Monitor shows you all variations in brightness in the video fram

Use 4:1:1 Color Smoothing with NTSC or PAL DV-25 video sources. (The exception is PALmini-DV/DVCAM, which uses 4:2:0 color sampling.) Use 4:2:2 Color

• Make the Canvas active.2 Click the Current Timecode field (or the icon to the left of it) to highlight the field.3 Enter a new timecode value, then

Stage 4: Readjusting the Chroma Keyer Filter’s SettingsWhen keying, additional filters you add usually affect the overall results of previouslyapplied

Stage 8: Performing Additional Adjustments to the Background LayerFinally, you should spend some time working on the appearance of the background laye

The visual controls appear in the Chroma Keyer tab.Visual interface ofthe Chroma KeyerCopy Filter controlsNote: The visual controls also include sever

µClick the Filters tab.Standard numeric interface of theChroma KeyerVisual Controls in the Chroma Keyer FilterThe following controls appear in the Chr

• Color Range control: Allows you to fine-tune the range of color that you want to keyon.Bottom handlesColor gradientTop handles• Top handles: Let you

Clicking this button and then Shift-clicking with the eyedropper in the Viewer or Canvasallows you to select another region of the background screen t

Tip: If you edit the clip into track V2 of the Timeline, you’ll have room to insert anotherclip as the new composited background.2 Apply the Chroma Ke

5 Click the Select Color eyedropper, and in the Canvas, Shift-click another region of thebackground you want to key out to enlarge the region of trans

Note: You should remove the majority of the green screen using the top handles, butstop at the point where there’s still some fringing around the area

7 Depending on how the edges of your foreground subject look, you may want to makeadjustments using the Edge Thin slider. The Edge Thin slider allows

About Timecode Overlays and Sync Color CodingIn the Viewer, timecode overlays display the source timecode for each clip item. In theCanvas, timecode o

9 If you still see light fringing at this point, or if you were forced to use settings so extremein the Chroma Keyer that some of your foreground subj

13 Finally, you’re ready to insert the background image. Make sure that the clip you’re editinginto your sequence to use as the background image appea

Using Mattes to Add or Modify Alpha ChannelsYou can use the matte filters to create a new alpha channel or add to or subtract from aclip’s existing al

3 Move the pointer to the Canvas (the pointer turns into a crosshair pointer), then click tochange the location of the matte corner defined by Point 1

The Choke slider adjusts the overall size of the matte, without changing the shape; theFeather slider blurs the edges of the matte.The finished matte

3 Move the playhead to the last frame of the clip, then readjust the Point 1, Point 2, Point3, and Point 4 point controls to fit the new position of t

• Mask Shape: Allows you to create an alpha channel in a clip that consists of a simpleshape—a diamond, oval, rectangle, or round rectangle. The solid

Note: When using a clip’s luma to define transparency, white is used for 100 percentopacity, and black is used for 100 percent transparency.The clip n

This chapter covers the following:• What Is a Generator Clip? (p. 1249)• Different Ways to Use Generators in Your Sequence (p. 1249)• Video and Audio

Information Displayed by Timecode OverlaysTimecode overlays give you an “at-a-glance” view of a wide variety of information aboutyour clip in the View

Some generators, such as the Slug, Matte, and Particle Noise generators, fill the entireframe size of your sequence. Others, like the text filters, ar

Usage informationResultGenerator• The color controls allow you to specify the color.• You can create colored backgrounds behindother layered clips in

Usage informationResultGenerator• A pop-up menu allows you tospecify a linear or radialgradient.• The Start control allows youto set the point in the

Usage informationResultGenerator• The random noise can beadjusted to appear in varyinglevels across every channel ofthe clip, including the alpha,red,

Usage informationResultGenerator• You can adjust the Size sliderto set how large the shapesare.• The Shape pop-up menuallows you to choose whatshape t

Usage informationResultGeneratorFor more information, see“Creating Titles.”Generates text for titles, credits,and so on.Text (From the Generatorpop-up

2 Click the Controls tab to view that generator’s parameters, and adjust the controls to suityour purposes.Click the Controls tab to show the paramete

This chapter covers the following:• About the SmoothCam Filter (p. 1257)• Working with the SmoothCam Filter (p. 1258)• Managing Media and Motion Analy

The processing queue is a background process, which means that you can continue towork in Final Cut Pro while your computer analyzes clips in the back

About Motion Analysis StatesA clip’s motion must be analyzed before you can see the results of the SmoothCam filter.You can monitor the progress of mo

For example, if the clip items on tracks V1, A1, and A2 all refer to the same media file,and they all have the same timecode number at the current pla

The Background Processes WindowThe Background Processes window displays the name, queue number, and progress ofmotion analysis for each clip in the pr

To remove clips from the SmoothCam Analysis processing queue1 Make sure the SmoothCam column is shown in the Browser.2 Select one or more clips in the

• Analyze all clips in a sequence using the SmoothCam Browser column: Sequences have aSmoothCam property just as individual clips do. However, a seque

Adjusting SmoothCam Filter ParametersYou can adjust controls for the SmoothCam filter in the Filters tab in the Viewer, just asyou would adjust parame

• Scale Smooth: Forward or backward camera or lens movement (z axis)xTranslationyxRotationyxScaleyzEach parameter can be set to a value between 0.0 an

• Change your clip In and Out points to limit the SmoothCam filter to a portion of theclip without abrupt visual changes or severe camera movement. Th

Setting Clip In and Out Points to Improve SmoothCam RenderingThe results of the SmoothCam filter are determined by the media between a clip’s In andOu

Using QuickTime Reference Movies to Limit Clip AnalysisOne way to limit which frames are analyzed is to create QuickTime reference movies thatcontain

Managing Media and Motion Analysis DataIf you use the Media Manager QuickTime export commands with sequences or clips usingthe SmoothCam filter, motio

• You stopped the processing queue before the clip was analyzed.• The processing queue is paused, so the clip has not yet been analyzed.• You ran out

This chapter covers the following:• How You Use the Timeline (p. 127)• Opening and Closing Sequences in the Timeline (p. 129)• Learning About the Time

This chapter covers the following:• How You Can Use Titles in Your Project (p. 1271)• Installing and Choosing Fonts (p. 1272)• Making Sure Titles Fit

Installing and Choosing FontsIf there are special fonts you want to install to use in Final Cut Pro, you need to install theTrueType version of those

Note: When working with video that has 16:9 aspect ratio, the Title Safe indicators andAction Safe indicators also show tick marks to indicate the lim

Tips for making settingsResultText generator• You can adjust the overallspacing of the text with theSpacing slider, and thelocation of the text as it

Tips for making settingsResultText generator• Text Graphic and Line Graphicclip wells allow you to fill thetext or the outline with theimage of a clip

Tips for making settingsResultText generator• The font, size, style,alignment, and color of thegenerated text can bemodified. These controlsmodify the

To create a title clip1 Select a text generator by doing one of the following:• Click the Video or Audio tab in the Viewer, then choose a text generat

• Font: Choose a font from the Font pop-up menu.• Size: Change the font size by entering a value or dragging the slider to the left or right.• Alignme

Once you’ve created your text generator clip, you can add it to your sequence. For morespecific information, see “The Fundamentals of Adding Clips to

The Timeline window below shows several items in the Timeline.Playhead Out pointCurrent Timecode fieldIn pointSequence tabThis image shows the same it

This chapter covers the following:• Using Motion with Final Cut Pro (p. 1281)• Using Shake with Final Cut Pro (p. 1286)You can add Motion projects dir

Importing a Motion project into Final Cut Pro creates a Motion clip (also called an embeddedMotion project) that you can edit in the same way as any o

Restrictions When Working with Motion Clips in Final Cut ProWhen working with Motion projects in Final Cut Pro, keep the following restrictions andlim

2 Choose File > Send To > Motion Project.3 In the dialog that appears:a Choose a location and enter a name for the new Motion project.b If you w

About the Embed Motion Content OptionThe Embed Motion Content option is available only when you send selected sequenceclips to a new Motion project. T

Using Shake with Final Cut ProShake is a powerful visual effects application with features such as motion tracking,rotoscoping, and node-based composi

5 Select the Launch Shake checkbox if you want the newly created Shake script to openautomatically so you can start working on it.Important: This requ

Important: Audio clips from the original QuickTime files are not imported into Shake.Video timing changes you make in Shake can cause audio sync probl

This chapter covers the following:• About Motion Template Files and Master Templates (p. 1289)• Working with Master Templates (p. 1290)• Modifying Mas

Opening and Closing Sequences in the TimelineIn the Timeline and Canvas, tabs represent sequences. Opening a sequence opens theTimeline and the Canvas

But that's just the beginning. The real power of master templates becomes clear whenyou have lots of titles or graphics in your sequence that nee

Stage 2: Adding Master Templates to a SequenceSee “Adding Master Templates to a Sequence” for information on the different ways youcan add master temp

Adding Master Templates to a SequenceYou can add master templates to your sequence from four different locations withinFinal Cut Pro. Try out the foll

7 To edit the selected master template into your sequence, click one of the following:• Overwrite: A template clip is added to your sequence with an o

Tip: Holding down the Command and Option keys after you begin dragging a mastertemplate from the Viewer to the Timeline or Canvas causes the newly cre

Modifying Master TemplatesThere are two ways you can change the basic design of template clip:• Open in Editor command: Allows you to change a templat

To modify a single template clip in a sequence1 Select a template clip in your sequence, then choose View > Open Copy in Editor.A Save dialog appea

For more information about adding master templates to a sequence, see “Adding MasterTemplates to a Sequence.”2 Keeping the mouse button held down, dra

2 In the dialog that appears, choose a location and enter a name for the new Motion project.3 If you want the new Motion project to immediately open i

This chapter covers the following:• RGB Color Model (p. 1299)• Y′CBCR Color Model (p. 1300)• Measuring Video Levels with the Final Cut Pro Video Scope

Configuring External Audio Monitors857Evaluating Levels with Audio Meters865Chapter 54About Audio Meters865Setting Proper Audio Levels870Overview of t

Learning About the TimelineYou can view the content of your sequences in many different ways in the Timeline. Trackheight, clip opacity and audio leve

The RGB color model is additive, which means the red, green, and blue channels combineto create all the available colors in the system. When all three

Color Difference ChannelsThe color channels, CBand CR, are derived by subtracting Y from the R and B signals andare sometimes referred to generally as

Blacks, Midtones, and WhitesIn the Final Cut Pro color correction filters, most of the controls that you use to correctyour clips are divided into con

ChromaChroma describes the color values in your clips, ranging from the absence of color to themaximum levels of color that can be represented. Chroma

Measuring Video Levels with the Final Cut Pro Video ScopesThe Final Cut Pro video scopes work similarly to the standard scopes that you’d find inany o

Layout Options in Video Scopes TabsYou can choose which scopes and which video source appear in each Video Scopes tabby using the following controls:•

Learning to Read the Waveform MonitorThe Waveform Monitor shows you the relative levels of luma and chroma saturation inthe clip currently being exami

With the Waveform Monitor set to display saturation, you can compare the relativesaturation levels of two clips by comparing the thickness of their di

Learning to Read the VectorscopeThe Vectorscope shows you the distribution of color in your image on a circular scale.The color in your video is repre

The color targets of the Vectorscope scale match the colors in the color balance controlsof the Final Cut Pro color correction filters. If the hues of

Editing ControlsThe Timeline editing controls determine which tracks are selected and turned on forediting and playback.Destination controlTrack Visib

Learning to Read the HistogramThe Histogram shows you the relative distribution of all luma values in the video frameat a glance, from black to super-

The shape of the Histogram graph is also good for determining the amount of contrastin an image. A low-contrast image has few pixels in the extreme bl

The RGB Parade scope is useful for comparing the relative levels of red, green, and bluebetween two clips. If one clip has more blue than another, the

To change the display or scales brightness of a video scope1 In the Video Scopes tab, click the Display Brightness or Scales Brightness button aboveth

• Saturation: This option is available in the Waveform Monitor only. With saturationturned off, the waveforms display only the luma of the selected vi

• All Lines Except Top & Bottom: Displays every line except the top nine and bottom ninelines, which are reserved for signals such as closed capti

For this reason, as you are performing color correction on clips in your edited sequence,you need to make sure that the luma and chroma levels of your

Displaying Excess Luma and Chroma Levels in the Viewer andCanvasThe Final Cut Pro range-checking options (in the Range Check submenu of the Viewmenu)

• Both: With this option turned on, red zebra stripes indicate both areas of the framewith luma above 100 percent and areas of the frame with illegal

Broadcast Safe Filter ControlsThe following section describes controls in the Broadcast Safe filter.Custom Luminance Limiting controlsCustom Saturatio

• Lock Track control: Prevents a track’s contents from being moved or changed in anyway. Overlays in locked tracks can also be protected by deselectin

• Clamp Above: All luma values above this parameter value are clamped to the parametervalue. The lower you set this value, the more clipping occurs at

The Max. RGB Output Level slider goes between 75 and 125; 100 is the default setting.If you want to reduce RGB levels, set the slider to a value below

In the following diagram, the Clamp Above parameter removes details above a value of100. Then, the Max. Output parameter compresses the clamped values

Motion parameters, transitions, and compositing modes can alter the results of theBroadcast Safe filter applied to individual clips. In these cases, i

RGB Limit Filter ControlsThe following section describes the controls in the RGB Limit filter.Minimum RGB Limiting controlsMaximum RGB Limiting contro

The RGB Limit filter affects only RGB-equivalent values above the Clamp Levels Aboveparameter value and below the Clamp Levels Below parameter value.

How Digital Video Signals Are Measured in Final Cut ProThe Final Cut Pro Waveform Monitor displays Y′CBCR values as percentages instead of bitvalues b

Outputting Accurate Analog Black Levels Using DV FireWireOutputting analog video from Final Cut Pro requires a video interface with adigital-to-analog

• The signal from the proc amp is connected to a video monitor and then to a waveformmonitor, where you can measure to make sure the proc amp is adjus

The Waveform Monitor and Vectorscope appear below the Log and Capture window. Onthe left is the Waveform Monitor, which displays the brightness levels

More tracks can be added at any time. Additional audio tracks can be used for addingmusic or sound effects, or for organizational purposes. Additional

Different third-party video interfaces have different controls for adjusting the video signalbeing captured.• If your video interface uses Brightness

Regardless of race, the hues of human flesh tones, when recorded to videotape andmeasured on a vectorscope, fall along a fairly narrow range (although

When Should You Use Color Bars?Analog devices always need to be calibrated and adjusted, even if only by minute degrees.This is because heat, age, noi

To calibrate your monitor1 Connect a color bar or test pattern generator to the monitor you’re using.Alternatively, you can use one of the built-in co

Note: The contrast control adjusts how much the RGB signals are scaled.When monitor brightness and contrast are properly adjusted, this strip should b

Note: NTSC and PAL video have brightness and contrast levels that are very differentfrom those of RGB computer displays. Broadcast video viewed on a c

This chapter covers the following:• Why Color Correct Your Footage? (p. 1337)• Color Correction Starts During Your Shoot (p. 1339)• Managing Color Dur

• Balance all the shots in a scene to match: Most edited programs incorporate footagefrom a variety of sources, shot in multiple locations over the co

Color Correction Starts During Your ShootIt’s important to remember that the process of determining the overall look of your videobegins when your sce

• Unused area: This is the area either above or below the outermost video and audiotracks in your sequence. Ordinarily, this area is blank, but if you

Managing Color During Post-ProductionThe way you manage color in your program depends on whether your source video wastransferred from film or shot on

After the second color correction pass, the color-corrected selects are reassembled tomatch the original edit, and the project is mastered to tape.Per

Once the edit has been locked and the final master tape created, the tape can be takento an online suite capable of tape-to-tape color correction. The

Every video project consists of a series of scenes. Although scenes may differ in color andtone—one scene taking place at night, the next one happenin

Stage 3: Adding Additional Color Correction as NecessaryIt’s important to remember that you don’t have to do everything with a single applicationof a

This chapter covers the following:• Color Correction Features in Final Cut Pro (p. 1345)• Using Scopes Versus Looking at an External Monitor (p. 1346)

• Frame Viewer windows: You can use Frame Viewer windows to compare the color ofadjacent sequence clips in a single frame. See “Comparing Two Frames i

Window Layouts for Color Correction in Final Cut ProThere are two window layouts that are especially convenient for color correction inFinal Cut Pro:•

Controls in the Frame Viewer TabBy default, the Frame Viewer tab displays the previous clip from the selected sequence.As you play a sequence, the Fra

You can customize the contents of the Frame Viewer tab using the following controls:• Frame Viewer pop-up menus: Two pop-up menus near the bottom cont

• Current Timecode field: Indicates the timecode position of the playhead. Typing a newtimecode number moves the playhead (as in the Viewer and Canvas

• Swap: Alternates the content in each frame and switches the two Frame Viewerpop-up menus accordingly.• H-Split: Splits the screen horizontally. (Cli

This chapter covers the following:• The Final Cut Pro Color Correction Filters (p. 1351)• The Color Corrector Filter (p. 1353)• The Color Corrector 3-

• Broadcast Safe and RGB Limit: The Broadcast Safe filter gives you a fast method fordealing with clips that have luma and chroma levels that exceed t

For more information about adding, adjusting, and removing filters, see “Using VideoFilters.”Using a Trackball with the Color Corrector FiltersAdditio

• Visual button (appears when viewing the numeric controls): Click this button to view thevisual controls for that filter in the color correction tab.

• Copy From 1st Clip Back: Copies the settings from the color correction filter of the sametype that’s applied to the clip immediately behind the curr

Because the third shot in this sequence is another segment of the media used in the firstshot, it needs the same color correction settings. Use the Co

Another way to use these controls is to select all the clips in the scene you’re working onand then apply the color correction filter to all of them.

“Copy To” RuleIf the current clip has multiple filters and you’re copying to a clip with multiple filters,Final Cut Pro copies the current filter’s se

The angle of distribution of red, green, and blue in all the color balance controlscorresponds to the angles of those colors in the Vectorscope. The d

• Zoom slider: Like the Zoom control, the Zoom slider allows you to zoom in and out ofa sequence in the Timeline. Dragging the thumb tabs on either si

You use the controls in the Color Corrector tab to balance the whites and change huesdisplayed in a clip.Balance Reset button Hue controlAuto-Balance

• Balance Reset button: Click this button to reset the Balance control to its default settingsand restore your clip to its original color mix. Holding

• Mids slider: Drag this slider to adjust the average distribution of values in betweenwhite and black in the affected clip. To move the slider in inc

Using Limit Effect Controls to Control a Match Hue CorrectionColor corrections made using the Match Hue controls affect a clip’s entire image, not jus

Note: With a match color selected, the functionality of the Whites, Blacks, and Midscontrols is unaffected. Only the functionality of the Auto-Balance

• Bottom handles: Allow you to define the tolerance of your key. These handlescorrespond to the Chroma Softness control in the numeric filter controls

• Invert Selection button: Click this button to invert the key you’ve defined. For example,if you’ve set up a key based on the color of a green car an

• Keyframe controls: A set of three keyframe controls allows you to keyframe all of thesettings in a color correction filter at once. To keyframe indi

If the filter being copied from is keyframed, the values from the last keyframe are appliedto the current clip. If the first clip behind the currently

Because the third shot in this sequence is another segment of the media used in the firstshot, it needs the same color correction settings. Use the Co

Audio ControlsThe following controls affect vertically working with audio in the tracks.Mute controlSolo controlAudio Controls button• Audio Controls

Another way to use these controls is to select all the clips in the scene you’re working onand then apply the color correction filter to all of them.

“Copy To” RuleIf the current clip has multiple filters and you’re copying to a clip with multiple filters,Final Cut Pro copies the current filter’s se

Color balance controls are color wheels that allow you to change the mix of red, green,and blue that falls within the area of a specific range of luma

Unlike other controls in Final Cut Pro, a color balance control doesn’t “gear down” whenyou hold down the Command key while manipulating the color bal

• Mids Auto-Balance eyedropper: Clicking the Mids Auto-Balance eyedropper turns thepointer into an eyedropper when it’s moved into the Video tab of th

Auto Level Controls in the Color Corrector 3-Way FilterUsing the Auto Level controls and the Whites, Mids, and Blacks sliders to maximize thecontrast

Level and Saturation Controls in the Color Corrector 3-Way FilterThe level sliders allow you to adjust the levels of the whites, midtones, and blacks

Note: Be very careful when raising the saturation of a clip using this slider. It is veryeasy to raise the saturation too high, resulting in saturatio

The Match Hue controls work well as a starting point to help you quickly match the overallcolor balance of two shots; however, you’ll probably want to

For example, suppose you have a scene with people wearing different-colored shirts.After the shoot, you decide you want to change the color of one of

Other Miscellaneous ControlsFollowing are other controls within the Timeline.Linked Selection buttonSnapping button• Snapping button: Click to turn sn

• Luma control: Allows you to adjust the degree and range of luma that contributes todefining your key. The top and bottom handles work the same as th

Using Multiple Filters Together with the Limit Effect ControlsYou can use the Limit Effect controls to layer multiple color correction filters onto a

Desaturate Highlights and Desaturate Lows Filter ControlsThe following section describes controls in the Desaturate Highlights and DesaturateLows filt

RBG Balance Filter ControlsThe following section describes controls in the RGB Balance filter.• Red Highlights: Allows you to adjust the values of the

This chapter covers the following:• Example: Using the Color Corrector Filter (p. 1386)• Example: Using the Color Corrector 3-Way Filter (p. 1390)• Ex

Example: Using the Color Corrector FilterThe following example shows you how to use the Color Corrector filter to adjust a clipthat’s incorrectly colo

Now you’re ready to begin adjusting the image.Choose All so thatall video scopes are available for you to use.7 Click the Auto Contrast button to maxi

Now it’s time to address the color. In the example, the white cat is tinted green becausethe video camera was white-balanced incorrectly.9 To compensa

Because the picture was tinted into the blues, when you click the eyedropper in part ofthe white bedspread, the color balance indicator moves into a m

• Stereo pair indicators (within clip items): Two pairs of triangles indicate that two audioclip items are linked as a stereo pair. If you select an a

In general, using the Auto-Balance eyedropper will get you close to where you need tobe quickly and easily. However, to achieve the look you really wa

The following example shows you how to use the Color Corrector 3-way filter to adjusta clip that was both underexposed and shot with an incorrect whit

6 From the Layout pop-up menu of the Video Scopes tab, choose All to make sure that allthe scopes are available.Choose All so thatall video scopes are

Tip: One of the key differences between film and video is that video preserves muchmore information in the shadows of an underexposed image than film

Because the clip was tinted toward the reds, when you click the eyedropper in the whitepiece of scenery outside the window, the Whites color balance i

10 Click the Blacks Auto-Balance eyedropper.Click the eyedropper near the Blacks control.11 Click the eyedropper in an area of the picture that’s supp

After you’ve used the Auto-Balance eyedroppers to achieve a properly balanced image,it’s time to fine-tune the color balance. To really get the look y

While making these adjustments, it’s a good idea to use the Flesh Tone line in theVectorscope to show you how accurately the color of the actor’s face

In this example, the corrections applied so far have caused the image to be slightlyoversaturated. This is especially apparent in the red third of the

To color correct a three-shot sequence1 Apply the appropriate color correction filter to all the shots in the sequence.This makes it easy to use the C

Applying Filters to an Audio Clip969Displaying Filter Keyframes in the Timeline971Modifying and Removing Filters973Automating Audio Filter Parameters

• Render status bar: This bar at the top of the Timeline indicates which parts of thesequence have been rendered at the current render quality. The to

Note: Make sure that the playhead in the Timeline is over the first clip so that you cansee your adjustments output to your broadcast monitor as you m

7 In the Timeline, position the playhead over the second clip so that it opens in the Viewer.Move the playhead so it’s in the second clip.There are th

As you compare adjacent clips in your sequence, remember to pay attention to the videoscopes. With Final Cut Pro set to the Multiple Edits layout, you

Using information from the Video Scopes tab, you can adjust the Whites and Mids slidersto make the two spikes of the Histogram match more closely, so

Example: Using the Color Corrector 3-Way Filter Match HueControlsThis example shows how to use the Match Hue controls of the Color Corrector 3-wayfilt

As with any color correction, the first step is to adjust the contrast of clip 2 to match thatof clip 1 as closely as possible. In this case, raising

The Match Color indicator fills with this color to let you know it’s been selected, and eitherthe Whites, Mids, or Blacks Auto-Balance eyedropper is h

7 With the Whites Auto-Balance eyedropper selected, move the pointer into the Canvaswhere clip 2 is displayed. When the pointer becomes an eyedropper,

Example: Using the Limit Effect Controls to Isolate a SpecificColor Against GrayscaleThis example shows you how to use the Limit Effect controls of th

2 Click the Invert Selection button to reverse the key created by the Limit Effect controls.Invert Selection buttonThe bicycle remains red and the bac

Clip items can be linked so that they can be selected and edited together. This allowsyou to keep clip items that came from the same Browser clip toge

To use the Limit Effect controls to change a specific color1 With the Color Corrector filter already applied, click the Select Color eyedropper.Click

You can also use the View Final/Matte/Source button (the key) to view the key itself as agrayscale image while you make changes. Adjusting the Limit E

5 Move the top handles in the Luma control to select a primary luma range to affect, thenadjust the bottom handles to adjust the tolerance.Widen the r

Example: Using the Desaturate Highlights FilterIn this example, the use of a color correction filter to bring color detail out of the bluesof a diving

This chapter covers the following:• Using Color for Color Correction (p. 1415)To work on your project in a dedicated color correction environment, you

• Lastly, if you want to use Color to correct clips such as generators, still images, orimported Motion projects, you should export them as self-conta

This chapter covers the following:• Introduction to Real-Time Processing (p. 1417)• Locations for Changing Real-Time Playback Settings (p. 1422)• Abou

Being able to see your sequence play back in real time, regardless of the quality, is oftenmore important than seeing full-quality video. By default,

Final Cut Pro analyzes a sequence to determine the processor workload required forplayback. Different portions of a sequence may require different amo

To change Timeline display options in the Sequence Settings windowµSelect a sequence in the Browser or Timeline, choose Sequence > Sequence Setting

What Are Dropped Frames?Dropped frames are frames that are unintentionally skipped during playback, eitherbecause the hard disk cannot keep up with th

About Render Status Bar TooltipsIf you position the pointer over a render bar, a tooltip appears with information aboutthe real-time or render status

• The capabilities of the currently selected video effects accelerator card (if you are usingone for real-time video processing)Note: The number of ef

RT Pop-Up Menu in the TimelineThis menu only shows you real-time options available for the current sequence. Forexample, pull-down pattern options onl

To change a real-time playback setting in the RT pop-up menuµMake sure a sequence is open in the Timeline, then choose an option from the RT pop-upmen

Safe RTThe Safe RT mode guarantees that effects are played back at the quality and frame rateyou specify and that no frames are dropped during playbac

Red render bars in Safe RT mode become orange in Unlimited RT mode, indicating thatFinal Cut Pro may drop frames during these segments to achieve real

• Clips with compositing modes applied can never play back in real time, so they areignored and only clips on lower-numbered tracks are displayed. Of

Scrub High QualityWhen this option is selected, video displayed in the Canvas is shown at full quality whenyou scrub or when the video is stopped. If

About Dynamic Real-Time PlaybackTo maximize the number of effects you can see during real-time playback, you can chooseto have Final Cut Pro automatic

Track DisplayThe Track Display settings allow you to customize many aspects of how tracks appear inthe Timeline.• Show Keyframe Overlays: Select this

The following three pull-down patterns are available when your sequence has a framerate of 23.98 fps and you choose 29.97 fps external video output.•

Full QualityWhen this option is selected, video is always output to tape at the highest quality. Areasof your sequence that won’t play back at full re

Improving Real-Time PerformanceIf the processing demands of all applied effects exceed the capabilities of your system,you have several options to imp

• Graphics card speed and memory: Many video filters in Final Cut Pro use your computer’sgraphics card to process effects, leaving the computer proces

Different filters and transitions affect real-time playback to varying degrees. If Final Cut Procan’t mix all the tracks in a sequence in real time, y

Improving Real-Time Audio PerformanceYou can optimize real-time audio performance in the following ways:• Render video effects prior to mixing: Playin

2 In the Playback Video Quality section of the RT pop-up menu, choose High, so there’s acheckmark next to it.This option may force you to render your

To see a complete list of real-time codecs supported by your systemµChoose Final Cut Pro > System Settings, then click the Effect Handling tab.Usin

• Other: If a video effects accelerator card is installed that is capable of real-time effectsprocessing for a particular codec, it appears in this po

Controls in the QuickView TabThis section describes the controls in the QuickView tab (which appears in the Tool Benchwindow).Range sliderResolution p

• Show Through Edits: A through edit is an edit composed of two adjacent frames thathave the same reel number and subsequent timecode numbers. For exa

Playback in the QuickView TabQuickView playback relies, in part, on the amount of memory allocated to Final Cut Pro.Based on this allocation, Final Cu

If neither an In nor an Out point is set in the Timeline, Final Cut Pro uses the position ofthe playhead, caching half of the duration specified by th

This chapter covers the following:• What Is Rendering? (p. 1443)• About Render Status Bars in the Timeline (p. 1444)• About Item-Level Render Status B

• High-quality final output. Real-time effects that play back at preview quality mustultimately be rendered for high-quality video output.• Video clip

DescriptionRender statusBar colorIndicates a real-time effect that’s capable ofplayback and output to video at full quality withno rendering required.

Audio Render Status BarsThe color of the audio render bar above the Timeline ruler indicates whether the itemsbelow need to be rendered.DescriptionRen

About Item-Level Render Status BarsAn audio clip item in the Timeline may display an individual render bar within the clipitem itself; this indicates

By default, render files are created at full quality, but you can speed up rendering bychoosing lower-quality options in the Render Control tab and th

Rendering Segments in a SequenceFinal Cut Pro has three render submenus—Render Selection, Render All, and RenderOnly—that allow you to customize which

Clip KeyframesYou can click the Clip Keyframes control to display the keyframe graph area—additionalspace below each video and audio track in which to

If you’ve added a transition or an effect to a clip and want to render just that part of thesequence, use the Render Selection command.To render a sec

Render AllThe commands in the Render All submenu render all the clips in a sequence correspondingto the selected render categories, regardless of what

Note: All frames that have already been rendered remain written to disk, even if renderingis canceled.Render OnlyThe items in the Render Only submenu

More About Audio Render OptionsTwo of the audio render options create render files in very specific ways.• Item Level: Renders the audio items that ne

Keeping Track of Rendering ProgressThe amount of rendering time depends on the type and number of effects that areapplied. When you render, a status w

The Viewer and Canvas both go black. A message appears at the top of both windowssaying “The Caps Lock key is on; rendering is disabled.” Press the Ca

• If the Render RT Segments checkbox is selected, all sections of the Timeline with agreen render bar are rendered.• If the Render pop-up menu is set

Note: The Render Control tabs of the User Preferences and Sequence Settings windowshave identical settings. Changes made to the Render Control tab of

• Codec: This pop-up menu affects rendering of native HDV and XDCAM HD sequences.Choose whether render files are created in the native codec of your s

Changing Settings in the Video Processing TabThe Video Processing tab determines how clips’ media files are processed and renderedwithin your sequence

• Speed indicators: Speed indicators show you the speed of clips in your sequence usingtick marks. The spacing and color of these tick marks indicate

Compositing in Y′CBCRand RGB Color SpacesMany compositing operations in Final Cut Pro work the same way in Y′CBCR as they do inRGB. However, in some c

Always Render in RGBIf your sequence uses an RGB video codec such as Photo JPEG or Animation, this optionis always selected. However, if your sequence

About Bit Depth and 32-Bit Floating-Point ProcessingFinal Cut Pro supports high-resolution video processing of Y′CBCRsequences by performingcalculatio

Choosing WhiteIf you are creating video for broadcast, you need to make sure that any Y′CBCR levels inyour sequence are reduced to 100 percent (8-bit

Adjusting GammaFinal Cut Pro provides gamma control adjustments for RGB video and still-image formats.About GammaGamma is an implicit or explicit tran

Choosing Real-Time Playback Gamma Correction OptionsWhenever you watch your video on a computer display (such as video displayed in theCanvas, the Vie

A Common Gamma Correction ScenarioOne of the most common situations that requires you to change the Gamma Levelproperty of a clip is when you are rend

• 2.2: Choose this option when importing media files created on a system whose displaygamma was set to 2.2, or created by an application in which you

Managing Your Render FilesRendering produces render files that are actual media files stored on your hard disk, thesame as your captured media. Video

Using the Render ManagerThe Render Manager allows you to manage the render files associated with the sequencesin your projects. Render files are creat

• Clip labelsThis pop-up menu also allows you to save, choose, or restore custom track layouts. Thismenu can hold up to 40 custom track layouts.To cha

The Render Manager dialog appears. All projects that refer to render files on the currentrender scratch disk are displayed. This includes all items in

Important: Deleted render files cannot be restored with the Undo command.Preserving Render FilesWhen you make changes to effects, composited media, an

• When you change the In and Out points of a clip with filters applied, you may need torerender the adjusted areas. To avoid constantly rerendering, y

This chapter covers the following:• About Mixed-Format Sequences (p. 1473)• Determining Whether Clips in a Sequence Will Play Back in Real Time (p. 14

You can use mixed-format sequences to:• Combine standard definition (SD) and high definition (HD) footage in one sequence• Mix PAL and NTSC footage in

• Your computer has enough processing power to handle the real-time playback of boththe clip and sequence formats. For example, if you are using a por

Conforming Sequence Settings to Match a Clip’s SettingsAlthough Final Cut Pro can play back mixed-format sequences, you should still try tomatch clip

A dialog appears asking if you want to conform your sequence settings to the clip settings.4 Do one of the following:• Click Yes to conform the sequen

2 Select “Always scale clips to sequence size,” then click OK.3 Edit one or more clips into your sequence.Each edited clip’s Scale and Aspect Ratio pa

2 Choose Sequence > Settings, then click the Video Processing tab.3 Choose Best from the Motion Filtering Quality pop-up menu.4 Click OK.Tip: To de

Each separate instance of duplicated frames is color-coded differently. There are sixdifferent colors used to indicate separate sets of duplicated fra

Issues When Working with Mixed Frame RatesWhen you add a clip to a sequence and the frame rates don’t match, Final Cut Pro placesthe clip as accuratel

Note: A clip’s Field Dominance property can also be Not Set, which means that the clip’smedia file is likely interlaced but Final Cut Pro couldn’t det

Mixing Footage with Different CodecsA codec, or compressor, is the algorithm used to compress video to a smaller size andthen decode the video for pla

Adding Filters and Motion Effects to Mixed-Format SequencesYou can add filters to nonmatching clips and adjust their motion parameters just as youwoul

If a film or video was shot to be exclusively viewed in a widescreen venue, this techniqueis usually the best approach for downconversion. However, th

Cropping 16:9 Video to 4:3If you keep both 16:9 and 4:3 aspect ratios in mind during the shoot, making sureimportant action stays within the 4:3 cente

Pan and ScanThe pan and scan method crops 16:9 clips within a 4:3 frame, but each clip can be uniquelycropped to focus on a particular portion of the

Creating Artificial Pans in 16:9 FootageIn some complex scenes with multiple characters or centers of visual activity, an artificialcamera move (a pan

Upconverting SD VideoUpconverting a 4:3 aspect ratio image to a 16:9 frame results in borders (or side panels)on the left and right sides of the 4:3 i

For more information, see “Scaling Images and Video Clips to Match a Sequence.”Upconverting 4:3 Anamorphic Video to 16:9 Video4:3 anamorphic video is

You can Control-click a clip with duplicate frames to see a shortcut menu with the DupeFrames option. Choose this option to see a list of all clips th

For example, if your computer has sufficient power, you can:• Output an HD sequence via DV FireWire• View a DV or OfflineRT sequence via an SDI video

Working with Cinema Tools and Mixed-Format SequencesMixed-format sequences are not recommended for use with Cinema Tools. Mixed-formatsequence playbac

This chapter covers the following:• What Is Media Management? (p. 1493)• Reasons to Use Media Management (p. 1494)• What You Need to Know to Manage Yo

• Logging clip information without media: You can modify clip properties such as lognotes, comments, labels, and even In and Out points without the as

What You Need to Know to Manage Your MediaTo effectively keep track of or manage your media, you must have a good understandingof the following:• The

Stage 3: Recapturing MediaSuppose you cleaned up your hard disk by having Final Cut Pro delete a lot of media files,but you realized that there were a

Clip Name ConventionsClips can get their names in several ways. If you log clips individually, a clip name isderived from a combination of the descrip

Using Another Linear or Nonlinear SystemIf you plan to do final color correction, effects, and broadcast specifications on anon–Final Cut Pro system,

This chapter covers the following:• Backing Up and Restoring Projects (p. 1499)• Archiving Completed Projects (p. 1503)• About Updating Projects from

Installing and Managing Video Effects1039Chapter 64Plug-in Formats Supported by Final Cut Pro1039Installing Video Filters1040Identifying and Organizin

To scrub through a sequence in the TimelineµDrag the playhead in the Timeline ruler.PlayheadTo jump to a specific location in the TimelineµClick the d

By default, autosave files are stored in the followinglocation:/Users/username/Documents/Final Cut Pro Documents/Autosave Vault/.To turn on autosave1

Once autosave is selected, new autosaved versions of your project are created accordingto the time specified in the “Save a copy every N minutes” fiel

The number of items in the pop-up menu for a project depends on the settings in theAutosave Vault options in the General tab of the User Preferences w

Archiving Completed ProjectsAfter living and breathing a project for months or years, it may be hard to imagine you’llever want to look at it or touch

About Updating Projects from Previous Versions of Final Cut ProAlmost every version of Final Cut Pro has new features that require the project format

Choosing Project Update OptionsIf you open an older project file, most necessary updates happen automatically. However,Final Cut Pro asks you to choos

Updating Projects from Final Cut Pro 5 or EarlierHere are some things to keep in mind when updating projects created with Final Cut Pro 5or earlier ve

Improved Color Accuracy When Rendering High Definition SequencesIf you open an old project containing any rendered high definition sequences, or if yo

• Remove existing render files: This deletes all render files on the scratch disk for thesequences in this project. If you keep existing render files,

This chapter covers the following:• About Clips, Media Files, and Sequences (p. 1509)• About Icons and Project Elements in the Browser (p. 1513)• Clip

Zooming and Scrolling in the TimelineBeing able to navigate quickly to any point in your sequence is critical to efficient editingand storytelling, an

Types of ClipsDifferent types of clips are distinguished by the type of media files they refer to. Forexample, an audio clip is simply a clip that rep

Important: A merged clip is considered offline even if only one of its media files cannotbe found. Reconnecting and recapturing merged clips may take

• In point• Out point• Duration• Description• Film Safe• Composite mode• Reverse Alpha• ThumbnailAn independent clip is a sequence clip that has no ma

About Icons and Project Elements in the BrowserIcons appear next to the name of each project element in the Browser. The followingtable explains what

DescriptionNameIconA container for clips edited together inchronological order.SequenceA container, similar to a folder, used to organizeclips, sequen

DescriptionName of propertyName of the clip.During logging, the name property is usually created automaticallyfrom a combination of the Description, S

DescriptionName of propertyAux 1 and Aux 2 are additional timecode tracks that can be createdin a QuickTime media file for any clip in your project. T

DescriptionName of propertyDisplays descriptive text about a clip (from the Description field inthe Logging tab of the Log and Capture window). This i

DescriptionName of propertyIndicates the date and time a clip’s media file was modified, or thelast time a sequence was edited. In the case of clips,

DescriptionName of propertyA checkmark indicates a clip is offline, meaning no media file existsin the location of the clip’s Source file path, or the

To zoom in and out of the Timeline using the Zoom controlµClick or drag the Zoom control to view the Timeline at a different time scale while keepinge

DescriptionName of propertyShows the file path of the clip’s media file on disk. For example:Scratch Disk:Capture Scratch:Dining:Interview Clip.mov. T

This chapter covers the following:• About Using Master and Affiliate Clips (p. 1521)• Shared and Unique Clip Properties (p. 1522)• Working with Master

To simplify media management, Final Cut Pro uses a single master clip to control multiplecopies of a clip. The primary purpose of a master clip is to

For example, if you import a QuickTime movie file named Apple into Final Cut Pro, amaster clip named Apple is created in your project. Each time you e

Note: Several properties stored directly in a clip’s media file are also considered to beshared properties. For details, see “Modifiable Media File Pr

Unique Clip PropertiesThe following clip properties are unique to each affiliate clip and unique to the masterclip as well. These properties are not s

• Use the Duplicate as New Master Clip command: This allows you to duplicate a masterclip in the Browser as a new, unrelated master clip. The new mast

2 Choose Edit > Item Properties > Logging Info.If there’s a checkmark by the Master Clip property, the clip is a master clip.Creating a Master C

• Drag a sequence clip to the Browser: Assuming the dragged clip is an affiliate clip and amaster clip already exists in the new Browser, an affiliate

Important: Because breaking the master-affiliate clip relationship can lead to morecomplex media management, you should break the relationship only wh

Note: When the Zoom In or Zoom Out tool is selected, pressing the Option key temporarilychanges it to the opposite tool.Drag the Zoom In toolto expand

• If no preexisting master clip matches an independent clip in your project: A new masterclip is created for each independent clip that doesn’t match

Because this is actually one command whose behavior adjusts depending on the typeof clip selected, there is only a single button, called Make/Break Ma

Resolving Property Differences Between Matching ClipsSuppose you are editing a project and you send a copy to an assistant editor to work ona particul

A fourth option, described below, allows you to apply the option you choose to all clipsadded to your project.Use Properties from the Clip You Are Add

Using the Copy Master Clip DialogThe options in the Copy Master Clip dialog determine the relationship between new clipsadded to a project and existin

This chapter covers the following:• About Offline and Online Editing (p. 1535)• Offline/Online Editing Workflows (p. 1537)• Using the OfflineRT Format

Edit Decision List or Other Project Interchange FileWhen the edit is complete, you can export all of your edit decisions for use on anotherediting sys

To transfer your sequence audio to an audio post-production application, you need toexport two things.• Audio clip information: In and Out points, loc

Important: It is important to understand the difference between clips and media fileswhen performing this step. This option creates a new sequence wit

• For more information about sending to Compressor, see the Compressor User Manual,available in Compressor Help.Using the OfflineRT Format in Final Cu

This reduces the amount of detail but shows more of your edited sequence until theentire sequence fits into the Timeline. You can zoom out further to

About Offline Editing with Apple ProResMany of the offline editing techniques described in this chapter also apply to other videocodecs and formats. I

Capturing or Recompressing Media to an OfflineRT FormatOnce you’ve selected the appropriate Easy Setup, you can capture OfflineRT clips usingyour camc

To create a duplicate of your sequence with online-quality settings1 In the Browser, select your sequence.2 Choose File > Media Manager.3 Choose “C

You can now transfer the project containing your new sequence to a Final Cut Pro systemcapable of reingesting and finishing your project at full quali

2 Choose Preferences from the Action pop-up menu (the menu with the gear icon).3 When the Import Preferences dialog appears, choose the setting in the

Transferring your sequence to a non–Final Cut Pro system requires an intermediate projectinterchange format. Some examples of non–Final Cut Pro online

4 From the “Set sequences to” pop-up menu, choose the sequence preset that matchesthe media on the editing system you are sending to.5 Click OK.6 Choo

Even if you aren’t sure what settings the other person’s media files are set to, you cansend the recipient your original project without using the Med

This chapter covers the following:• Finding Your Media Files After Capture (p. 1549)• About the Connections Between Clips and Media Files (p. 1551)• R

Scrolling Horizontally Through a Zoomed-In TimelineIt’s easy to zoom far enough into your sequence that you are only seeing a small fractionof the who

• Audio Render FilesFinal Cut Pro uses the Capture Scratch folder to store captured media files. However, it isstill one level deeper in the hierarchy

and clips captured after the name change are stored here:/Volumes/Media/Capture Scratch/Hard to Trace Version 2/This can make it difficult to manage y

A clip connects to a media file via the clip’s Source property, which contains the locationof the media file as a file path. If a clip cannot locate i

Each media file corresponding to one of the selected clips is renamed to match the clipname. Each media file’s file extension is preserved in the file

When you play back offline clips, a Media Offline message is displayed until these clipsare either reconnected or recaptured.This type of message appe

3 Select an option in the Make Offline dialog, then click OK.Click an option.• Leave Them on the Disk: Select this option to disconnect clips from the

Differences Between Missing and Offline Media FilesFinal Cut Pro considers any clip without a media file to be offline. However, the status ofthe clip

About the Reconnect Files DialogThe Reconnect Files dialog has the following features:Click Connect to reconnect all clips listed in the Files Located

Search Locations AreaThis area allows you to choose which folders are searched when Final Cut Pro looks formedia files.• Skip File: Click this button

Search Order and Speed in the Reconnect Files DialogFinal Cut Pro searches folders in the order they appear in the Search Folders pop-up menu.To make

Scrolling Vertically Through Multiple TracksThe tracks in the Timeline are divided by default into two regions, one for audio tracksand one for video

Using the Reconnect Files DialogThe Reconnect Files dialog has many options, depending on the types of clips you arereconnecting and the number of vol

• To specify that all folders in the Search Folders pop-up menu be searched: Deselect theSearch Single Location option.6 Do one of the following:• To

• Search: Shows the path of the media file referenced to the current clip beingreconnected. If more than one match is found, you can use this pop-up m

When Final Cut Pro Reconnects Your ClipsIn certain circumstances, Final Cut Pro checks to make sure all of the media files thatcorrespond to clips in

• Continue: Click this button to leave all specified clips offline. The file paths in the Sourceproperties of all clips selected in the Forget Files l

Warning: Be cautious when you select this option, particularly in a shared environment(such as an Xsan environment) in which media drives are shared f

This chapter covers the following:• What Can You Do with the Media Manager? (p. 1567)• Selecting Items to Process with the Media Manager (p. 1569)• Se

• Delete unused portions of media from your hard disk: You can break your media files intosmaller files by using the “Delete unused media from selecte

Selecting Items to Process with the Media ManagerBefore you can use the Media Manager, you need to select which clips, bins, sequences,or clip items i

This chapter covers the following:• Changing Browser and Timeline Text Size (p. 157)• Moving and Resizing Final Cut Pro Windows (p. 157)• Using Window

Settings and Options in the Media Manager WindowThe Media Manager has a number of options, many of which affect one another. Someoptions become unavai

Summary AreaThe Summary area at the top of the Media Manager describes what operation is aboutto be performed and shows how much hard disk space the r

Media AreaThis area is where you choose what you want to do to the media files on disk that arereferenced by your selection—copy, move, recompress at

• Use Existing: This option allows you to use the currently existing media that’s linkedto the selected items. If you delete unused media using this o

• When this option is deselected: The master clips in the new project are based only onthe media used by the items you selected before opening the Med

• Use Handles checkbox: This option modifies the “Delete unused media” option describedabove so that less media is deleted from a media file. Handles

• “Base media file names on” pop-up menu: This pop-up menu determines how clips arenamed when they’re segmented as a result of the “Delete unused medi

Media Destination AreaThis area displays the location where media files are placed after copying, moving, orrecompressing. Click the Browse button to

For example: You originally captured a ten-minute clip and used four sections of thisclip’s media file in your project; two of them overlap and the ot

How Independent Clips Are ProcessedEven if you don’t maintain proper master-affiliate relationships in your project by usingindependent clips, the Med

Note: You can also resize and move the Tool Bench window, a window used for specializedediting, including audio mixing and recording voiceovers.Defaul

Limiting How Much Media Is Copied or DeletedWhen you select clips to process with the Media Manager, keep in mind that those itemsmay be affiliated wi

The resulting media file contains only the first ten seconds of the original media file, whichis sufficient for re-creating Sequence A, but not for re

5 Select “Include master clips outside the selection.” This option preserves the media referredto by the master clip’s In and Out points, so the maste

This chapter covers the following:• Media Manager Workflow (p. 1583)• Using the Media Manager (p. 1584)• Example: Removing Unused Media from a Sequenc

Stage 2: Choosing Options in the Media Manager WindowOnce you’ve selected items in your project, open the Media Manager window and chooseoptions for p

If one of the items you selected contains no media (for example, if an empty sequenceis part of your selection), a message gives you the option to con

10 If you are presented with requests for additional information, make the appropriateselections:• Additional Items Found dialog: When you use the Med

Example: Removing Unused Media from a SequenceA common Media Manager operation is to remove parts of media files that are not usedin the sequence. For

2 In the Media Manager, choose the following options, then click OK.Make sure this isnot selected.Choose “Use existing” from this pop-up menu.Click he

2 In the Media Manager, choose the following options, then click OK.Specify these options to include only media used in the sequence.Make sure this op

To resize multiple windows at the same time1 Move the pointer over the border between the windows you want to resize.The pointer changes to the Resize

To duplicate a portion of a sequence and its media files1 In the Timeline, select the part of the sequence you want to duplicate.These clip items are

• When you’re working with a remote editor who already has the media files and youneed to email the offline sequences without the media files.To copy

Note: Selecting “Include master clips outside selection” and “Include affiliate clips outsideselection” creates master clips that preserve the most me

2 In the Media Manager, choose the following options, then click OK.Click here to choosea location for the recompressed media files. If your portable

Because the Media Manager tries to preserve media referenced by clips in your project,it is necessary to delete the original master clip (which refers

The Media Manager creates a new media file for each selected subclip and reconnectseach subclip to the new media file. The original media file is dele

3 Make sure the Browser window is active. In the Media Manager, choose the followingoptions, then click OK.Handles are optional.Click Browse and selec

If you want to reduce the required disk space, you can limit your selection to individualsequences and tell the Media Manager to copy only the parts o

3 Make sure the Browser window is still active. In the Media Manager, choose the followingoptions, then click OK.Choose Copy from this pop-up menu.Han

This chapter covers the following:• Different Tools for Diagnosing Clips (p. 1599)• About the Analyze Movie Command (p. 1600)• Finding and Marking Lon

Working with Freeze Frames and Still Images1173Chapter 70Using Still Images and Graphics in Your Sequences1173Creating Freeze Frames from a Video Clip

To choose a window layoutµChoose Window > Arrange, then choose an option from the submenu.• Audio Mixing: This places the Viewer, Canvas, and Tool

• Mark Audio Peaks: Clipping occurs in captured audio if any part of the recorded signalgoes above 0 dBFS. Since 0 dBFS is the maximum digital level p

2 Choose a QuickTime file on your disk that you want to analyze, then click Choose.Locate the file youwant to analyze,then click Choose.To analyze a c

Information Reported by the Analyze Movie CommandThe Analyze Movie command provides the following information.Video track informationAudio track infor

• Sample: The sampling rate of the audio track in kilohertz (kHz).Information for Files with a Timecode Track• Track Name: The track name of the timec

Markers are placed at each long frame. Long frame markers have an internal label, or tag,so that Final Cut Pro can distinguish them from other markers

This chapter covers the following:• About EDLs (p. 1605)• Exporting EDLs (p. 1610)• Importing EDLs (p. 1617)• EDL Considerations Before Capturing (p.

Learning to Read an EDLAn EDL contains the same basic clip information as a Final Cut Pro sequence, but thepresentation is very different. Because EDL

Title and Sequence Timecode FormatThe first line of an EDL contains the title of the sequence. In NTSC sequences, the secondline displays whether the

A dissolve from a Final Cut Pro sequence is shown below in EDL format.001002VC02:10:42:13 02:11:16:18 01:00:00:00 01:00:34:05001002VD024 02:18:32:07 0

Split edits, where the video and audio have separate In and Out points, require threelines.SPLIT: VIDEO DELAY= 00:00:02:00004002AAC02:18:30:07 02:18:5

The resolution you choose will become the minimum resolution for that particular windowlayout.2 In Final Cut Pro, arrange any combination of the four

* CLIP FILTER: COLOR CORRECTOR 3-WAY* AUDIO LEVEL AT 02:10:43:07 IS -INF DB(REEL 002 A1)* AUDIO LEVEL AT 02:10:51:16 IS +0.00 DB(REEL 002 A1)Limitatio

For more information, see “Settings and Options in the EDL Import Dialog.”4 Choose a location and enter a name for the file, then click Save.Note: If

Note: Changing the EDL title does not change the filename of the exported EDL.Format Pop-Up MenuThis menu allows you to choose which format your EDL i

This option is useful for exporting separate EDLs, one at a time, for each video track aboveV1.When this option is deselected, Final Cut Pro includes

Reel ConflictsIf you create a transition between two clips from the same reel in your sequence,Final Cut Pro considers this to be a reel conflict, bec

Pre-Read EditsSome high-end digital video decks can actually perform transitions by using the mastertape as one of the sources. A digital VTR with the

• Commentspop-up menu: Choose one of the comments columns in the Browser (MasterComments 1–4 or Comments A–B) to include in the EDL. This is a useful

To open an Edit Decision List1 Choose File > Open.2 Locate the EDL file, select it, then click Open.Importing EDLsImporting EDLs into Final Cut Pro

2 Specify your import options, then click OK.Specify the optionsyou want.3 Locate and select the EDL, then click Open.When you import an EDL, a sequen

• Handle Size: Specify the number of additional frames you want to capture on eitherside of each clip. You should always add handles when recapturing

2 In the Open dialog, navigate to the location where the window layout is located, selectit, then click Open.Ways to Customize Keyboard ShortcutsYou c

Note: You need all the original source tapes associated with the EDL before starting thecapture process.Clips from your imported EDL remain offline un

Reel name charactersReel name lengthSystemUppercase alphabetical characters; numbers;underscore (_)6 charactersSony 9100When you export an EDL, Final

If you entered the wrong reel name when you logged a clip, you can change the reelname in the Browser or in the Item Properties window.To change a cli

EDL Considerations During EditingWhile you edit, keep the following guidelines in mind to ensure successful EDL export:• Limit the number of edits in

Join Through EditsA through edit is defined as two adjacent clips from the same continuous piece of a mediafile. The timecode numbers of the first cli

Don’t Rely on Audio Mix LevelsMixed audio levels, represented by audio overlays in the Timeline, can be exported asnotes in the EDL for the online edi

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

EDL wipe number equivalentFinal Cut Pro transition1Spin Slide3Split Slide2Swap Slide1Cross Stretch3Squeeze3Squeeze and Stretch3Stretch23Band Wipe4Cent

This chapter covers the following:• What Is the Final Cut Pro XML Interchange Format? (p. 1629)• About XML (p. 1630)• Overview of the Final Cut Pro XM

Command List AreaBy default, commands are listed by menu set (such as File and Edit) and command groupfunction (such as Audio and Capture commands). Y

About XMLXML, or eXtensible Markup Language, is a markup language. Markup languages clarifythe content in a document by tagging the elements of the do

Most markup languages have a limited set of tags and rules about how the elements canbe ordered hierarchically. For example, an HTML document can have

</clip>WhitespaceWhitespace in a document includes multiple spaces, tab characters, carriage returns,newline characters, and so on. An XML parse

Overview of the Final Cut Pro XML Interchange FormatThe Final Cut Pro XML Interchange Format was designed to describe every element in aFinal Cut Pro

<rate><ntsc>TRUE</ntsc><timebase>30</timebase></rate></clip></xmeml>An explanation of the sample code

Note: This example assumes you are using TextEdit, the built-in text editing applicationthat comes with Mac OS X. TextEdit is located in the Applicati

Important: If your workflow involves exporting and importing XML files, do not customizecolumn names in Final Cut Pro. Doing so may result in the loss

The XML import options are described in detail in the Final Cut Pro XML developerdocumentation. For more information, visit the Apple Applications pag

This chapter covers the following:• About iChat Theater Preview and Final Cut Pro (p. 1639)• Initiating an iChat Theater Preview Session (p. 1642)• Us

Keyboard AreaThe currently selected keyboard layout appears here and includes the following features.An icon for the default command is shown on each

• To hold a video chat session in which you and your iChat buddy can chat and see eachother, both computers must have a video camera, such as the Appl

Note: Your iChat window may look slightly different from the illustrations shown here,depending on the version of Mac OS X that you are using on your

For optimal playback performance during an iChat video session:• Ensure that you’re using a stable network connection with sufficient bit rate for vid

Once you’ve established a video iChat session, you’re ready to use Final Cut Pro tobroadcast your video to remote viewers.Note: You can actually choos

When you’ve completed reviewing your clips and sequences, you stop the iChat TheaterPreview session. Final Cut Pro stops streaming video from the View

This chapter covers the following:• An Overview of the Film Editing Process (p. 1645)• About Using Cinema Tools with Final Cut Pro (p. 1648)• Creating

The following information provides an overview of the film editing process, identifyingthe parts played by Final Cut Pro and Cinema Tools.About the Te

About Burned-in Timecode on VideoMost telecine facilities offer the ability to permanently superimpose, or burn in, edge codeand timecode numbers over

About the Cinema Tools DatabaseA Cinema Tools database is the heart of any Final Cut Pro film editing project. The databaseis similar to a spreadsheet

Creating a New Final Cut Pro ProjectIn almost all cases, you will edit your film project using a 24 fps (or 23.98 fps in mostNTSC-based workflows) edi

Assigning Keyboard ShortcutsSpecifying shortcuts for commands is easy. You don’t have to set up the entire keyboardwith your preferred shortcuts—you c

The Import a Cinema Tools Telecine Log dialog appears.Select the telecine log file to import.Choose to either createa new database or import the file

5 Click Open to import the selected telecine log file into the selected Cinema Tools database.Batch Capturing Video from TapeOnce you have imported th

Standard Reverse TelecineThe telecine process adds duplicate video fields to make 24 fps film footage fit within29.97 fps video. The film-to-NTSC vide

Conforming 25 fps Video to 24 fpsIn countries that use PAL video, film is sped up by four percent (from 24 to 25 fps) andthen transferred to PAL video

Creating 24 @ 25 Sequences and Easy SetupsTo properly edit 24 @ 25 clips, you need to create a sequence with an editing timebaseof 24 fps and set the

You can select clips that are already connected to the database and need their informationupdated or clips that are not yet connected to the database.

Cinema Tools first checks the database for existing records without connected clips andattempts to match the records with clip names (based on scene a

To see film-related information in the Item Properties window1 Select the clip in the Browser.2 Do one of the following:• Choose Edit > Item Proper

The Project Properties dialog appears.3 Choose Feet+Frame from the Time Display pop-up menu.4 Choose the film standard from the Default Film Standard

To open a clip in Cinema Tools from Final Cut Pro1 Select a clip or a group of clips in the Browser.2 Choose View > Open in Cinema Tools.The clip o

• Enter the name of the command in the search field. (Commands that match aredisplayed automatically.)If you enter “edit,” all commands that include t

How Cinema Tools Relates Final Cut Pro Sequence Clips to DatabaseRecordsWhen you are creating a film list from Final Cut Pro, Cinema Tools has two met

The Export Film Lists dialog appears.• To export an XML-format film list file: Choose File > Export > Cinema Tools XML FilmLists.The Export XML

Important: Give the program file a name that clearly identifies the sequence and theversion, so that you can easily locate it later when you need to e

3 In the Export Change List dialog that appears, configure the settings, then click OK.These lists provide information aboutthe changes.These lists pr

Exporting an Audio EDLCinema Tools can export an audio EDL as long as its database contains accurate soundinformation (an audio timecode number that c

Once you select the database, Cinema Tools starts matching events in the sequence torecords in the database in the following ways:• For each edit invo

This chapter covers the following:• Choosing a Videotape Format and Equipment for Output (p. 1667)• Output Requirements (p. 1668)• Methods for Output

For example, if you are outputting to Digital Betacam, you should be editing with avideo codec that supports uncompressed video and is compatible with

Requirements for Full-Resolution Betacam SP OutputFull-resolution Betacam SP output requires the following:• Media files captured with a high-resoluti

• If the key combination is already used by another command: In this case, a messageappears asking if you want to reassign it. Click Yes. The keyboard

Print to VideoIn most cases, the Print to Video command doesn’t use device control, so it is useful whenyour deck can’t be controlled remotely (such a

Setting Up Your Editing System to Output to TapeBefore you output to tape, you need to set up your video devices and Final Cut Pro settingsand prefere

If none of your Easy Setups matches your video and audio configuration, you can choosethe correct settings in the A/V Devices tab of the Audio/Video S

Stage 5: Selecting Edit to Tape and Print to Video PreferencesIf you like, turn on two preferences relating to tape and playback operations.• Abort ET

3 In the Edit to Tape window, click the Black and Code button.Click this button to black your tape.4 If your video equipment supports timecode generat

Stage 8: Calibrating Your TimecodeYou must calibrate the timecode signal of your device before editing. This is particularlyimportant when you are usi

This chapter covers the following:• Overview of Tape Editing Methods (p. 1677)• About the Edit to Tape Window (p. 1680)• Using the Edit to Tape Window

• Assemble edits: Assemble edits use a pre-roll time before the edit In point to let theVTR motor get up to speed and continue recording a consistent

Important: DV devices do not support insert editing because the tracks are too narrowto be precisely replaced. DVCAM and DVCPRO formats support insert

Avoiding Keyboard Shortcut ConflictsCertain keyboard shortcuts may not work in certain Final Cut Pro windows. For example,if you press an alphanumeric

For details about the capabilities of your video equipment, check the documentationthat came with it. For more information about equipment requirement

Video TabThe Video tab allows you to control and record onto the tape in your camcorder or deck.You can cue the tape and set In and Out points using t

• Black and Code: Automatically records a black signal on a videotape, with silent audioand continuous control and timecode tracks, from the beginning

Destination Track ControlsThese controls allow you to specify which tracks on tape are edited to when performingan insert edit. In addition to video a

Sixteen audio channel indicators in the Audio Insert pop-up menu indicate which audiotracks are record-enabled on your VTR. The color of an audio chan

• Fast Forward: Moves the videotape forward. You can also press the L key repeatedlyto go through a range of speeds.Mastering Settings TabYou can add

Leader ElementsYou can set the following leader element options:• Color Bars: Adds color bars and a 1 kilohertz (kHz) reference tone, preset to –12 de

Media Elements and OptionsThese are options for the clip or sequence you are outputting to tape.• Print: You can choose to output the entire clip or s

DurationLeader elementMaster tape timecode10 secondsCountdown with 2-pop00:59:50:00Duration depends on movieProgram start01:00:00:00After all leader e

Performing an Assemble Edit to TapeAssemble editing begins recording the signal on tape at the predetermined timecode Inpoint. For details, see “About

At some point, you may decide that you want to restore all of the keyboard shortcuts totheir original default settings.To restore the default keyboard

4 If you haven’t already done so, set In and Out points for your clip or sequence in theViewer, if you don’t want to output the entire clip or sequenc

Transitions and effects that require rendering, along with any added elements, are renderedautomatically prior to output. A dialog shows you the rende

2 Choose Editing or Mastering mode from the pop-up menu in the top center of the window.For more information about the Editing and Mastering modes, se

If you’re in Editing mode: Use the transport controls in the Edit to Tape window to cuethe tape and set an In point, an Out point, or both, depending

8 To preview how your edit will appear on tape, drag your clip or sequence to the Previewsection of the Edit Overlay in the Edit to Tape window, or cl

10 In the dialog that appears, click OK to start recording.The videotape cues to the pre-roll point before the In point, plays until the In point isre

Audio mappingChannels available forinsertion on deckRecording device2 channels2 channelsSony UVW-1800Sony BVW-70 (Betacam SP)4 channels4 channelsSony

For more information on configuring the audio outputs of sequences, see “AssigningOutput Channels and External Audio Monitors.”4 Assign each audio tra

This chapter covers the following:• Different Ways You Can Output Video from the Timeline (p. 1699)• Printing to Video (p. 1700)• Recording from the T

Managing Media and Motion Analysis Data1268Improving SmoothCam Filter Results and Troubleshooting1268Creating Titles1271Chapter 75How You Can Use Titl

2 In the Save dialog, enter a new name for the layout if you want and choose where tosave it, then click Save.The default name is Custom Keyboard Layo

Printing to VideoUnlike the Edit to Tape command, the Print to Video command doesn’t allow you to setIn or Out points on your tape. Instead, you manua

To print to videotape1 Select the sequence or clip in the Browser, or open your sequence and make the Canvasor Timeline active.2 To output part of a s

To insert closed caption data in the output video, select the “Insert closed captioningdata from file” checkbox and click the Open button to locate th

To record directly from the Timeline1 If you want to add elements before or after your program (such as showing black), addthem directly to the Timeli

When looping is turned on, your sequence will loop endlessly without stopping. Theremay be a slight pause after each loop. If you need a smooth loop,

One way to output to VHS is to simply output to whatever tape format corresponds toyour sequence and then make a dub from that tape to a VHS tape. The

This chapter covers the following:• What Is QuickTime? (p. 1707)• The QuickTime Suite of Software Applications (p. 1708)• The QuickTime Movie File For

There are various resources for learning more about QuickTime technology andarchitecture.For general information about QuickTime, go to http://www.app

How Is Information Stored in a QuickTime Movie?QuickTime movie files store media data in separate tracks. You create a QuickTime moviefile by adding t

Working with Shortcut Buttons and Button BarsShortcut buttons can be created and placed at the top of the main windows inFinal Cut Pro—the Browser, Vi

The QuickTime framework supports codecs that are commonly used today as well ascodecs that were once popular. When you go to export a QuickTime movie

• DV: There are several DV codecs available for NTSC, PAL, and other varieties such asDVCPRO HD. A DV camcorder uses a DV codec to turn full-resolutio

MPEG-4MPEG-4 is an open standard video format intended for cross-platform, Internet, andmultimedia delivery of video and audio content.QuickTime Movie

Apple M-JPEGThere are two Apple M-JPEG codecs, M-JPEG A and M-JPEG B. These are variable datarate codecs similar to the ones used by video capture car

• Photo JPEG: An extremely popular file format because it can create highly compressedyet good-looking graphics files. You can choose grayscale or col

• uLaw: File format developed by Sun that provides logarithmic encoding for a largerdynamic range than normal 8-bit samples. Approximately equivalent

If you want to export your movie in a format that is not natively supported by Final Cut Pro,such as a QuickTime movie file with a video codec used fo

The Share feature is an easy, “one-click” way to send your work to clients, friends, andother audiences without any advanced knowledge of transcoding,

For more information, see “Using Share to Create MobileMe Output” and “MobileMeAction Drawer.”• YouTube: Create a video file suitable for viewing on Y

About the Share WindowThe central tool for the Share feature is the Share window. For a given Share exportsession, you can add or remove any number of

To create a shortcut button in the button bar of a window1 Make sure the window you want to add the shortcut button to is displayed. If you’readding a

• Filename field: Share automatically enters a filename in this field for the output mediafile. The first part of the filename is based on the Final C

These settings are accessed in an action drawer, which appears to the right of the Sharewindow when you select the action checkbox for an output type.

Blu-ray Action DrawerUse this drawer to enter information and settings for the Blu-ray disc you want to burn.• Output Device pop-up menu: Use this pop

• Use Chapter Marker Text as Subtitles checkbox: Select this checkbox to have marker textappear as subtitles. This is particularly useful if you are u

• When Disc Loads pop-up menu: Use this pop-up menu to choose what happens whenthe disc loads in the player.• Show Menu: Choose this option to show th

• “Hide Movie on my Web Gallery page” checkbox: Select this checkbox to limit viewing tothe movie you are publishing. In other words, viewers will not

YouTube Action DrawerUse this drawer to enter information about movies you want to publish to a YouTubeaccount on the web.Important: You must complete

Apple ProRes and QuickTime H.264 Action DrawersThe action drawers for the two Apple ProRes outputs and the QuickTime H.264 outputare identical and con

The Share window opens.3 Use the Destination Folder pop-up menu or the Choose button to navigate to your chosendestination folder for the output media

• Media between a clip’s or a sequence’s In and Out pointsShare always respects any In and Out points.For information about group selections, see “Typ

To rearrange shortcut buttons in a button barµIn the button bar, drag shortcut buttons where you want them to appear.To add a spacer to a button barµC

The Share window opens with a single output representing the group selection you madein step 1.4 Use the Destination Folder pop-up menu or the Choose

• A group of sequences and/or Browser clips as a single source• One or more bins in the Browser, each containing any combination of multiple clipsor s

• Source Number: Chapter marker names are Source 1, Source 2, Source 3, and so on.• Chapter Number: Chapter marker names are Chapter 1, Chapter 2, Cha

The Share window opens with a single output representing the group selection you madein step 1.6 Use the Destination Folder pop-up menu or the Choose

2 Use the Output Type pop-up menu in the output you just created to assign a specificoutput type.To remove an output from the Share windowµIn the Shar

There are two ways you can use the Share feature with Compressor:• Use the Send to Compressor feature to open the Share export session in Compressor.•

See “Types of Group Selections” for more information on the possible types of selections.2 Choose File > Share.The Share window opens.3 Use the Des

Use the Add to Playlist pop-up menu to add the output media file to a particular playlistin your iTunes media library.Note: The first time you use Sha

The action drawer opens.If you do not select the Create Blu-ray Disc checkbox, Share writes the output media filesto the specified destination without

3 Use the Destination Folder pop-up menu or the Choose button to navigate to your chosendestination folder for the output media files.4 In the Output

Note: In the case of the Timeline, which contains default shortcut buttons, choose Remove> All / Restore Defaults from the submenu.Saving and Using

For more information about these items, see “DVD Action Drawer.”8 Do one of the following:• Click Export.The Transcoding Progress window appears and t

6 Optionally, you can select the Add to iTunes Library checkbox to have Share automaticallyadd the output media file to an iTunes playlist.The action

3 Use the Destination Folder pop-up menu or the Choose button to navigate to your chosendestination folder for the output media files.4 In the Output

Note: The first time you use Share, this pop-up menu is empty. To populate this menuwith playlists from your iTunes library, choose Refresh from the A

5 Confirm the output filename in the Filename field.You can double-click the filename to edit it.6 Optionally, you can select the Publish to MobileMe

See “Types of Group Selections” for more information on the possible types of selections.2 Choose File > Share.The Share window opens.3 Use the Des

7 To automatically upload the output media file to a YouTube account, enter the accountinformation in the appropriate fields.For information about the

4 In the Output Type pop-up menu, choose Apple ProRes 422.5 Confirm the output filename in the Filename field.You can double-click the filename to edi

8 Do one of the following:• Click Export.The Transcoding Progress window appears and the output media file is processed.Click the Cancel button in thi

You can double-click the filename to edit it.6 Optionally, you can select the Open with QuickTime Player checkbox to have Shareautomatically open the

Note: When you restore a button bar or use a saved shortcut button bar, all existingshortcut buttons in all windows are replaced by those you are load

2 Choose File > Share.The Share window opens.3 Use the Destination Folder pop-up menu or the Choose button to navigate to your chosendestination fo

QuickTime Player is the default application.7 Optionally, use the “Open with” pop-up menu to either confirm QuickTime Player orchoose a different appl

The Settings table opens, containing both Apple settings and any available customsettings.5 Do either of the following:• Select a setting or settings

This chapter covers the following:• About the Export QuickTime Movie Command (p. 1753)• Choosing the Type of QuickTime Movie to Export (p. 1754)• Expo

Choosing the Type of QuickTime Movie to ExportYou can create two kinds of QuickTime movies with the Export QuickTime Moviecommand—a self-contained mov

Exporting a Self-Contained Movie Without Recompressing the MediaIf you choose to export a self-contained movie, you have the option to not recompresst

3 Click the Render Control tab and select the appropriate rendering options for the outputquality you want.For more information on these settings, see

9 Choose Audio and Video, Audio Only, or Video Only from the Include pop-up menu.Important: An audio track in a QuickTime movie file takes up disk spa

Exporting QuickTime Movies with MarkersFinal Cut Pro can export the following marker types for use in other Final Cut Studioapplications:• Chapter mar

• All Markers: The All Markers option exports each type of marker in your clip or sequenceto a separate QuickTime text track. Final Cut Studio applica

This chapter covers the following:• About the Export Using QuickTime Conversion Command (p. 1761)• Types of File Formats You Can Export with QuickTime

Types of File Formats You Can Export with QuickTimeWith the Export Using QuickTime Conversion command, you can choose to export almostany file format

• uLaw: This is an audio format developed for Sun computers.• System 7 Sound: This is a sound format used on older Mac computers.About Color Space Con

The preset compression settings use the H.264 codec and target a range of downloadand streaming speeds...or choose customvideo and audio settings by

A dialog shows you the progress of the export. To cancel your export, press Esc or clickCancel.Note: Whenever you use the Export Using QuickTime Conve

Standard Video Compression SettingsThe Standard Video Compression Settings dialog appears when you click Settings in theVideo area of the Movie Settin

• Key Frames: Key frames are available if your selected codec uses temporal compression.Most video frames in close proximity have a high percentage of

• Restrict to N kbits/sec: When available, you can use this field to set the number ofkilobytes per second (KB/sec.) required to deliver your media fi

Filter SettingsThese options are available when you click Filter in the Video area of the Movie Settingsdialog. QuickTime filters apply to your entire

This chapter covers the following:• Components of a Basic Final Cut Pro Editing System (p. 177)• Setting Up a Final Cut Pro Editing System (p. 178)• C

Depending on the option you choose, width and height fields may also appear. Thefollowing options are available in the Dimensions pop-up menu:• Curren

Important: These options do not take into account the effect of pixel aspect ratio whendetermining what aspect ratio to preserve. For example, if you

• Fit within dimensions: Changes the shortest dimension of the exported movie (usuallythe height) so that the source sequence or clip fits within the

Important: If there is no audio in your clip or sequence, deselect the Sound checkbox inthe Movie Settings dialog. Otherwise, blank audio tracks are c

• Linear PCM Settings: These options are only available when you choose Linear PCMfrom the Format pop-up menu.• Sample size: Choose a bit depth for yo

If you choose Hinted Streaming, click Settings to specify additional export settings.• Make Movie Self-Contained: Select this checkbox to export a Qui

4 In the Properties window, select the main movie track (not the video or sound tracks).5 Click Presentation, then choose an aperture mode from the “C

In this mode, the video track is cropped to the Clean aperture mode and scaled accordingto the track’s pixel aspect ratio. For example, a 4:3 DV NTSC

Encoded Pixels Aperture ModeContent typically appears the same as in Classic aperture mode. The video track is notcropped to the Clean aperture mode a

6 To customize settings, click Options.• DV Format: Choose a DV format, such as DVCPRO 50, here.• Video Format: Choose the video standard, scan mode,

Setting Up a Final Cut Pro Editing SystemThis section explains how to set up a basic editing system. Even if you are building a morecomplex editing sy

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

The video compression settings here are similar to the QuickTime movie file compressionsettings, although fewer codecs are supported. For more details

This chapter covers the following:• The DVD Creation Process (p. 1783)• Adding Chapter and Compression Markers to Your Sequence (p. 1788)• About DVD A

Stage 2: Encoding Your Video and Audio to DVD-Video Compliant FormatsVideo DVDs require that all video and audio conform to DVD MPEG-2 specifications.

• Add compression and chapter markers in Final Cut Pro to help control the encodingquality and make creating chapter selection menus easier. MPEG enco

Starting with DVCPRO HD or Uncompressed SourcesBecause the DVCPRO HD format and uncompressed HD video result in large file sizes,files in these format

The ability of Final Cut Pro to natively edit HDV sources makes this workflow an attractiveway to create DVD projects using HD assets.About MPEG-2 Vid

Important: When you create DVDs, your audio must have either a 48 kHz or 96 kHz samplerate. If you use the 44.1 kHz sample rate found on standard audi

• Edit/Cut markers: Also known as automatic compression markers—these markers areautomatically generated by Final Cut Pro at each cut or transition po

Connecting Your CamcorderThe following illustration demonstrates how to connect a camcorder to the FireWire porton your computer, so that you can capt

More About Compression and Edit/Cut MarkersCompression markers identify areas of abrupt visual changes in video, such as a cut froma dark room to a br

About DVD Authoring ApplicationsWhether you intend to use iDVD or DVD Studio Pro will affect how you export your moviesfrom Final Cut Pro. When you ar

In most cases, you will leave the Setting pop-up menu at Current Settings and includeboth audio and video. If you have created any markers, choose DVD

This chapter covers the following:• About Compressor (p. 1793)• Using Compressor with Final Cut Pro (p. 1794)• Using Compressor as a Standalone Applic

Previewing Video OutputCompressor includes a Preview window with a split screen so you can compare yoursource video with the result of the effects and

Using Compressor as a Standalone ApplicationYou can use Compressor as a standalone encoding application to submit QuickTimemovie files at any time, re

To open Compressor1 In the Finder, choose Go > Applications.The frontmost Finder window displays the Applications folder on your computer.2 Navigat

Sending from Final Cut Pro to CompressorYou can export a Browser clip or sequence directly from Final Cut Pro to Compressor byusing the Export Using C

About Color Space Conversion in CompressorWhen you use the Send to Compressor command, super-white values in Y′CBCRfootageare preserved. Also, standar

This chapter covers the following:• Determining the Image Format for Still-Image Export (p. 1799)• Exporting a Single Still Image (p. 1800)• Exporting

Color Correction Filters1351Chapter 81The Final Cut Pro Color Correction Filters1351The Color Corrector Filter1353The Color Corrector 3-Way Filter1366

Choosing an Easy SetupFinal Cut Pro comes with predefined Easy Setups based on the most common videoformats and devices, such as DV NTSC and DV PAL. T

Exporting a Single Still ImageExporting a still image from Final Cut Pro is easy. First you create the still image, and thenyou export it to the graph

Custom settings allow you to choose any graphics file format supported by QuickTime.You can also make particular adjustments to the compression method

6 Choose a setting from the Use pop-up menu.Choose an export setting from the pop-up menu.If none of the options you need are listed in the Use pop-up

Each file of the image sequence is named in the form of “Filename 001.ext,” where“Filename” is the name you gave, the number (001) is the number of th

This chapter covers the following:• Overview of the Batch Exporting Process (p. 1805)• Selecting Items in the Browser to Batch Export (p. 1805)• Selec

To place clips, sequences, and bins in the Export Queue1 In the Browser, select clips, bins, and sequences you want to export.Select the items you wan

3 To change the name of a bin in the Export Queue, click the bin’s name once to select it,wait a moment, then click the name a second time. Type a new

You can specify export settings for a bin by selecting a bin and clicking the Settings buttonor by selecting options in individual columns in the Expo

3 Choose a QuickTime-compatible file format from the Format pop-up menu.Choose a format here.These are the same file format choices available when usi

Note: Make sure you choose a device control preset that uses FireWire so Final Cut Procan control your camcorder or deck. Both the DV-NTSC and DV-PAL

6 Click Set Naming Options, choose the type of file extensions you want, then click OK.Select or deselect checkboxes to specifyfile extensions for the

9 Select the Use Item In/Out checkbox to export only the media between the current Inand Out points. If this is not selected, all of the media in the

• Settings: Displays the preset settings chosen for this export bin from the Settings pop-upmenu in the Batch Export window. You can Control-click to

If you want to export all items in the Export Queue, deselect all items.Select the bin youwant to export.Then click Export.2 Click Export.A dialog sho

The status of the selected item must be Done.Select an item to view.Then click View Exported.Each item appears in a separate Viewer window.To add batc

To change the status of items in the Export QueueµControl-click in the Status column of the item you want to change, then choose a statusfrom the shor

This chapter covers the following:• Changing User Preferences (p. 1817)• Changing System Settings (p. 1829)Final Cut Pro has numerous settings and pre

The User Preferences window is divided into several tabs.Note: The Timeline Options, Render Control, and Audio Outputs tabs contain the defaultprefere

General TabThis tab contains fundamental preferences relating to application launch, creation of newprojects and sequences, and automatically schedule

If this is the first time you’ve opened Final Cut Pro, this window appears automaticallyafter you’ve chosen an Easy Setup.2 To specify a disk or a fol

Real-Time Audio and Video Options• Real-time Audio Mixing: Enter a number in this field to specify how many audio trackscan be mixed in real time. The

Interface Options• Show Tooltips: Select this option to automatically display descriptions of interfaceelements and their corresponding keyboard short

• Report dropped frames during playback: If you select this option, a message appears ifany frames are dropped during playback from the Viewer, Canvas

For more information, see “Rendering and Video Processing Settings.”Editing TabThe preferences in this tab affect editing behaviors in Final Cut Pro.D

For more information, see “Viewer Basics.” The setting is also applicable in the TrimEdit window; see “Trimming Clips Using the Trim Edit Window.”Dupe

When the handle size setting is set to ten frames, five additional frames on either sideof the duplicate frames are displayed.Five additional frames b

The example below shows a sequence that contains two instances of clip A, where tenof the frames from Clip A are used twice.The same ten frames from t

Trim Edit Window Options• Dynamic Trimming: Select Dynamic Trimming to allow edit points in the Trim Editwindow to automatically follow the position o

• Peaks Only: Records only a minimum number of keyframes necessary to approximatethe levels you recorded when moving a channel strip’s fader or pannin

Render Control TabThis tab is used to set default render options for new sequences. You can choose thedefault frame rate and resolution settings used

6 Specify additional settings for capturing and exporting files:• Minimum AllowableFree Space On ScratchDisks: Enter a value to set the minimum spacey

The System Settings window is divided into several tabs:• Scratch Disks tab: For details, see “Scratch Disks Tab.”• Search Folders tab: For details, s

The specified disk is listed next to the Set button, along with the amount of available diskspace.About Waveform Cache FilesA waveform cache file cont

2 Do one of the following:• Click the last Set button to add a new search folder.• Click Set next to an existing search folder to replace it.The Choos

Memory Usage SettingsUse these fields to decide how much of the RAM in your computer is available forFinal Cut Pro to use. Your computer’s available R

Playback Control TabPlayback Control settings affect all sequences and projects currently open. These settingsalso appear in the RT pop-up menu in the

In some cases, a clip’s Creator property determines what application will open it, such asMotion clips. However, for generic media types such as audio

This chapter covers the following:• The Audio/Video Settings Window (p. 1837)• Choosing Easy Setups (p. 1839)• Changing Audio/Video Presets (p. 1841)•

There are several kinds of presets, each accessible from the corresponding tab in theAudio/Video Settings window:• Capture presets: These determine th

Viewing a Summary of the Current PresetsThe Summary tab of the Audio/Video Settings window shows the currently selectedcapture, sequence, and device c

Assigning Search Folders for Reconnecting Media FilesAfter you specify which volumes and folders you want to use to capture media, you maywant to assi

You choose Easy Setups from the Use pop-up menu in the Easy Setup dialog. The list ofoptions in the Use pop-up menu can be long because of the large n

Note: If your VTR is not currently connected, you may see a warning because Final Cut Prodoes not detect the external video or audio device that the A

If you’re unsure which preset to choose, you can view a preset’s settings. For moreinformation, see “Viewing Settings in a Preset.”If none of the exis

If you click in the far left column, you may change the current preset.Select the preset whose settings you want to view.This icon indicates a preset

3 Click a preset you want to use as a starting point for creating a new preset, then clickDuplicate.Click the preset youwant to duplicate soit’s highl

Editing a PresetYou can edit any preset that is not locked.To edit a preset1 Choose Final Cut Pro > Audio/Video Settings, then click the tab for th

3 Select the preset you want to delete, then click Delete.Click the appropriate preset tab.Then click Delete.Click the preset you want to delete.• If

To create a custom Easy Setup1 Choose Final Cut Pro > Audio/Video Settings.2 In the Summary tab, choose the presets you want.For more information,

3 Locate the custom Easy Setup file you want to delete.Files are located by default at /Library/Application Support/Final Cut Pro SystemSupport/Custom

c Change the description to “Use this preset when controlling your Betacam SP deckusing RS-422 serial device control.”d Choose Sony RS-422 from the Pr

About FireWireFireWire (also called IEEE 1394a or i.LINK) is the consumer and professional standard forDV-format digital video. DV devices typically u

Installing and Restoring Easy SetupsFinal Cut Pro places several Easy Setup files on your hard disk during installation. If youmove any of these Easy

This chapter covers the following:• About Capture Preset Settings (p. 1851)• Creating a Preset to Capture Audio Only (p. 1857)A capture preset is a gr

General Settings for Capture PresetsThe Capture Preset Editor has the following options.• Name: The name of the capture preset appears in the Audio/Vi

Choose from the following options.• Digitizer: Choose the video interface you want to use for capture. If you’re using FireWirebut don’t have a FireWi

• Advanced: Click this button to set additional QuickTime video settings, if necessary foryour video hardware. For detailed information, see “Advanced

• Frames per second: Choose a value to specify the number of frames captured per second.This value is the same as the FPS field in the QuickTime Video

QuickTime Audio Settings for Capture PresetsFinal Cut Pro uses the built-in QuickTime architecture of Mac OS X to capture incomingaudio.• Device: Choo

About Capturing Multiple Audio Channels from DV DevicesDV video devices can record up to four tracks of audio, depending on the sample rateand bit dep

3 In the Capture Preset Editor, adjust the following settings, then click OK.Enter a name and appropriate description for your audiocapture preset.Cho

This chapter covers the following:• About Device Control Presets (p. 1859)• Device Control Protocols Supported by Final Cut Pro (p. 1863)• Using FireW

2 Click the preset you want to modify, then click Edit.Settings in the Device Control Preset EditorThe following section describes the settings in the

• Audio Mapping: This pop-up menu determines how many audio tracks are available inthe Audio Insert pop-up menu in the Edit to Tape window. You should

• Default Timecode: This option affects the timecode mode (drop frame or non-dropframe) of fields in the Log and Capture window when no device is conn

Enter a number to compensate for delays between the start of playback and the startof recording on your deck when editing to tape. This is normally se

The following is a list of the device control protocols you can use in Final Cut Pro. Not allprotocols are compatible with all features. See the docum