Apple Final Cut Pro 7 User Manual Page 100
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- Table of contents
- BOOKMARKS
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The following playhead sync modes are available from the Playhead Sync pop-up menu:
• Sync Off: The Viewer and Canvas playheads move independently of each another. This
is the default behavior.
• Open: As the playhead moves through your sequence, the clip that appears at the
current position of the playhead is automatically opened in the Viewer. Playhead sync
between the Viewer and Canvas is maintained so the same frame is always open in
both windows. This method is useful when you need to quickly adjust filters for a
number of clips in a sequence, such as for color correction. Multiclip playback mode
also turns on this playhead sync mode, so you can view multiple camera angles in the
Viewer while you watch the active angle in the Canvas.
• Gang: This mode allows you to establish an arbitrary synchronization between the
Viewer and Canvas/Timeline playheads. Each time you choose this mode, the current
position of each playhead is used to set the sync relationship. For more information
on ganging, see “Matching Frames and Playhead Synchronization.”
Recent Clips and Generator Pop-Up Menus
The two pop-up menus near the lower-right corner of the Viewer let you quickly choose
source clips and generators.
Generator
pop-up menu
Recent Clips
pop-up menu
100 Chapter 6 Viewer Basics
- Final Cut Pro 7 1
- Contents 3
- 4 Contents 4
- 5Contents 5
- 6 Contents 6
- 7Contents 7
- 8 Contents 8
- 9Contents 9
- 10 Contents 10
- 11Contents 11
- 12 Contents 12
- 13Contents 13
- 14 Contents 14
- 15Contents 15
- 16 Contents 16
- 17Contents 17
- 18 Contents 18
- 19Contents 19
- 20 Contents 20
- 21Contents 21
- 22 Contents 22
- 23Contents 23
- 24 Contents 24
- 25Contents 25
- Welcome to Final Cut Pro 27
- Additional Resources 28
- About the Post-Production 29
- Workflow 29
- The Post-Production Workflow 30
- Video Formats and Timecode 35
- Video Format Basics 37
- How Drop Frame Timecode Works 40
- What Are Clips? 42
- What Are Sequences? 43
- What Are Projects? 43
- What Are Bins? 44
- Creating and Saving Projects 46
- Opening and Closing Projects 47
- To switch between 48
- Filenaming Considerations 50
- Using Filename Extensions 51
- Using Multiple Hard Disks 52
- Overview of the Final Cut Pro 53
- Interface 53
- Using Keyboard Shortcuts 55
- Using Button Bars 56
- Using Shortcut Menus 56
- Moving and Resizing Windows 58
- The Effects tab is 60
- Browser and appears 60
- Moving Windows 61
- Undoing and Redoing Changes 62
- Current Timecode field 63
- Browser Basics 65
- Learning About the Browser 66
- Working in the Browser 67
- Drag over multiple clips 68
- 69Chapter 5 Browser Basics 69
- 70 Chapter 5 Browser Basics 70
- Using Columns in the Browser 71
- 72 Chapter 5 Browser Basics 72
- Choosing Views in the Browser 73
- 74 Chapter 5 Browser Basics 74
- To display a hidden column 75
- 76 Chapter 5 Browser Basics 76
- 77Chapter 5 Browser Basics 77
- 78 Chapter 5 Browser Basics 78
- 79Chapter 5 Browser Basics 79
- 80 Chapter 5 Browser Basics 80
- Setting the Poster Frame 81
- 82 Chapter 5 Browser Basics 82
- 83Chapter 5 Browser Basics 83
- Viewer Basics 85
- 86 Chapter 6 Viewer Basics 86
- 87Chapter 6 Viewer Basics 87
- 88 Chapter 6 Viewer Basics 88
- 89Chapter 6 Viewer Basics 89
- Tabs in the Viewer 90
- Filters Tab 91
- Motion Tab 91
- Controls Tab 92
- 93Chapter 6 Viewer Basics 93
- Jog Control in the Viewer 94
- Shuttle Control in the Viewer 94
- 95Chapter 6 Viewer Basics 95
- 96 Chapter 6 Viewer Basics 96
- 97Chapter 6 Viewer Basics 97
- 98 Chapter 6 Viewer Basics 98
- Playhead Sync Pop-Up Menu 99
- 100 Chapter 6 Viewer Basics 100
- Recent Clips Pop-Up Menu 101
- Generator Pop-Up Menu 101
- Canvas Basics 103
- 104 Chapter 7 Canvas Basics 104
- Learning About the Canvas 105
- 106 Chapter 7 Canvas Basics 106
- 107Chapter 7 Canvas Basics 107
- Edit Overlay 108
- Edit Buttons in the Canvas 108
- 109Chapter 7 Canvas Basics 109
- 110 Chapter 7 Canvas Basics 110
- Jog Control in the Canvas 111
- Shuttle Control in the Canvas 111
- 112 Chapter 7 Canvas Basics 112
- 113Chapter 7 Canvas Basics 113
- Playing Clips and Sequences 115
- To move around, drag 118
- To move precisely 120
- Looping Playback 121
- Dragging Timecode Values 123
- Timeline Basics 127
- 128 Chapter 9 Timeline Basics 128
- 129Chapter 9 Timeline Basics 129
- Learning About the Timeline 130
- Editing Controls 131
- Vertical Multitrack Controls 132
- 133Chapter 9 Timeline Basics 133
- Horizontal Time Controls 134
- 135Chapter 9 Timeline Basics 135
- Timeline Display Controls 136
- Audio Controls 137
- Other Miscellaneous Controls 138
- 139Chapter 9 Timeline Basics 139
- 140 Chapter 9 Timeline Basics 140
- 141Chapter 9 Timeline Basics 141
- 142 Chapter 9 Timeline Basics 142
- 143Chapter 9 Timeline Basics 143
- 144 Chapter 9 Timeline Basics 144
- 145Chapter 9 Timeline Basics 145
- 146 Chapter 9 Timeline Basics 146
- 147Chapter 9 Timeline Basics 147
- 148 Chapter 9 Timeline Basics 148
- Navigating in the Timeline 149
- 150 Chapter 9 Timeline Basics 150
- 151Chapter 9 Timeline Basics 151
- 152 Chapter 9 Timeline Basics 152
- 153Chapter 9 Timeline Basics 153
- 154 Chapter 9 Timeline Basics 154
- 155Chapter 9 Timeline Basics 155
- 156 Chapter 9 Timeline Basics 156
- Customizing the Interface 157
- Default Two Up layout 158
- Layout after making the 158
- Browser and Timeline 158
- Using Window Layouts 159
- Customizing Window Layouts 160
- Assigning Keyboard Shortcuts 165
- Removing Shortcut Buttons 173
- Connecting DV Video Equipment 177
- Connecting Your Camcorder 179
- Choosing an Easy Setup 180
- Specifying Scratch Disks 181
- Your DV Device 184
- About FireWire 185
- Audio Equipment 187
- Video and Audio Interfaces 189
- Scratch Disks 190
- Video Interfaces 191
- Video Signals and Connectors 193
- SCART connector 195
- FireWire 400 (4-pin) 195
- FireWire 400 (6-pin) 195
- FireWire 800 (9-pin) 195
- BNC connector 196
- VGA connector 196
- DVI connector 197
- HDMI connector 197
- Audio Interfaces 202
- TOSLINK optical 203
- Audio or video device 203
- USB Audio Interfaces 204
- FireWire for Digital Audio 205
- Mono miniplug connector 207
- Stereo miniplug connector 207
- RCA connector 207
- XLR connector 208
- About Analog Audio Levels 209
- Combined signals 212
- (noise eliminated) 212
- Video Device 216
- Device status 217
- Determining Your Hard Disk 219
- Storage Options 219
- Know Your Shooting Ratio 221
- Choosing a Hard Disk 223
- Types of Hard Disk Drives 224
- FireWire Disk Drives 225
- SCSI Disk Drives 226
- Using a RAID or Disk Array 227
- Storage Area Networks 228
- External Video Monitoring 231
- About the A/V Devices Tab 235
- The Importance of Logging 248
- Benefits of Logging 249
- Preparing to Log 249
- Choosing Reel Names 250
- About Capturing Footage 253
- About the Log and Capture 255
- Log and capture buttons 256
- Preview area 256
- Logging 256
- Clip Settings, and 256
- Capture Settings tabs 256
- Logging Bin Controls 260
- Logging from Tape 263
- Inserting a Tape in the VTR 266
- The slate icon appears 268
- Enter the Out point 270
- Enter the In point 270
- Changing Capture Settings 276
- Logging a Clip 277
- Logging Media Efficiently 278
- Capturing Video from Tape 279
- Capturing Entire Tapes 280
- A marker appears in front 284
- Markers for a clip 284
- Batch Capturing Clips 285
- Before You Batch Capture 286
- Working with Batch Lists 293
- Creating a Batch List 294
- 01:20:00;15 295
- Importing a Batch List 296
- Clips from the batch list 297
- Capturing Audio from Tape 299
- Dual Mono Versus Stereo Audio 304
- VU meter 307
- About Audio Peaks 308
- Choose the appropriate 309
- Make sure you choose 309
- Advanced Topics in Capturing 313
- Tape-Based Media 313
- If you aren’t using 314
- Recapturing Clips 315
- Recapturing Subclips 316
- Recapturing Merged Clips 316
- Overview of Transferring 323
- File-Based Media 323
- Logging area 324
- Transfer Queue area 324
- File-Based Media Terminology 325
- About the Log and Transfer 329
- Increment button 337
- Autofill pop-up menu 337
- Logging fields 337
- One mono channel 338
- Two audio channels 338
- Logging File-Based Media 341
- Entering Logging Information 343
- Applying Valid Filenames 345
- Transferring File-Based Media 349
- Mounting Media Devices 351
- Choosing a Destination Codec 353
- Selecting Clips 354
- Previewing Clips 355
- Naming Clips During Transfer 357
- Incrementing Logging Fields 357
- Using Automatic Transfer 360
- Retransferring Clip Media 364
- Archiving to a Folder 368
- Archiving to a Disk Image 368
- Importing Media Files 372
- 2 Do one of the following: 373
- About Importing Video Files 375
- About MXF-Based Formats 376
- Importing from a Sony VDU 376
- About Importing Audio Files 377
- Choosing Sequence Bit Depth 379
- Choose a save option 385
- Choose a place to save 385
- If you wish, enter a name 385
- Drag the clips 386
- Bins help you organize 389
- Creating New Bins 390
- Opening Bins in the Browser 391
- Double-click the bin 392
- Do one of the following: 392
- Drag the bin’s tab above 393
- The bin now has its own 393
- Moving Items Between Bins 394
- You can also move 395
- About Label Names and Colors 396
- These are the various 397
- Changing Names of Labels 398
- Sorting Clips by Labels 399
- About Search Options 401
- A list of unused clips is 405
- Results window 405
- Control-click in a 406
- Then click here 407
- Select items you want 407
- Creating Subclips 409
- Numbered subclips are 410
- A new subclip appears 411
- In and Out points you set 411
- Removing Subclip Limits 412
- Turning Markers into Subclips 413
- All of the material 414
- Creating Subclips Manually 415
- Editing with Subclips 416
- Video and Audio 419
- Duration of Merged Clips 422
- Merged clip 423
- Working with Projects 428
- About Offline Clips 433
- Sequences as Clips 434
- Control-click a column 435
- Enter the new 435
- Enter a new name 438
- Opening and Closing Sequences 439
- Duplicating a Sequence 440
- Nesting a Sequence 442
- Creating a Rough Edit 445
- Video clip item 446
- Audio clip items 446
- An underline indicates 446
- Undoing and Redoing Actions 448
- (3) Clip In point 450
- (4) Clip Out point 450
- (inferred) 450
- (1 and 2) Sequence 450
- In and Out points 450
- 1 2 3 4 5 452
- Arrange the clips in 452
- Using Markers 453
- What Can You Do with Markers? 454
- 455Chapter 32 Using Markers 455
- Types of Markers 456
- Marker Colors and Labels 456
- 457Chapter 32 Using Markers 457
- 458 Chapter 32 Using Markers 458
- 459Chapter 32 Using Markers 459
- Quickly Adding Markers 460
- 461Chapter 32 Using Markers 461
- 462 Chapter 32 Using Markers 462
- 463Chapter 32 Using Markers 463
- 464 Chapter 32 Using Markers 464
- Navigating with Markers 465
- Modifying Markers 466
- Moving Markers 467
- 468 Chapter 32 Using Markers 468
- 469Chapter 32 Using Markers 469
- 470 Chapter 32 Using Markers 470
- Extending a Marker’s Duration 471
- 472 Chapter 32 Using Markers 472
- 473Chapter 32 Using Markers 473
- In point 476
- The Out point includes 476
- The Out point ends at 478
- Clip Out point overlay 478
- Sequence Out point 478
- Mark Out button (O) 479
- Mark In button (I) 479
- Mark Clip button 480
- Reviewing Your Edit Points 481
- The new clip begins at 484
- Out point 485
- The new clip ends at the 485
- Out point that you set 485
- Mark In button 487
- Mark Out button 487
- Move the playhead over 488
- Auto Select is enabled 488
- In and Out points are set 489
- Select the desired clips 490
- In and Out points are 490
- Timecode Duration field 492
- In the Browser, enter 492
- Hold down the Shift 493
- In point or Out point 493
- Slip tool 493
- Working with Tracks in the 495
- Timeline 495
- Deleting Tracks 498
- Setting Destination Tracks 499
- V1, A1, and A2 500
- Disconnected Source 503
- Connected Source 503
- Resizing Timeline Tracks 507
- Drag a boundary 508
- Timeline patch panel 508
- Saving Track Layouts 509
- Drag the center slider to 511
- To eliminate audio tracks 511
- Drag-to-Timeline Editing 513
- Drag to select the 514
- Overwrite edit area 515
- (lower two-thirds) 515
- Insert edit area 515
- (upper third) 515
- Drag hand 515
- Drag a clip to the lower 517
- Dragging a clip to the 518
- Three-Point Editing 521
- Performing an Insert Edit 525
- Insert section of the Edit 526
- Overlay in the Canvas 526
- Insert button 526
- Insert with 528
- Transition button 528
- Insert with Transition 528
- Performing an Overwrite Edit 529
- Overwrite button 530
- Overwrite section of 530
- Overwrite with 532
- Overwrite with Transition 532
- Performing a Replace Edit 533
- Replace button 535
- Replace section of 535
- The video track should 536
- In and Out points define the 538
- Superimposing Clips 539
- Before a superimpose edit 541
- After a superimpose edit 541
- Three-Point Editing Examples 542
- Move the playhead to the 543
- The new clip starts where 543
- Move the playhead into 544
- The new clip fills the gap 545
- Sequence 546
- The selected clip 549
- The highlight indicates 550
- Auto Select is turned on 550
- A cyan border indicates 554
- Drag to select clips 554
- Noncontiguous selection 555
- Range Selection tool 556
- Drag with the Range 556
- Selection tool to select 556
- Enter text or a timecode 560
- Choose additional 560
- Auto Select is enabled for 562
- Before deleting 562
- After deleting; only 563
- Auto Select control 563
- Option-click the control 564
- Moving by Dragging 566
- Moving Clips Numerically 567
- The number of 568
- Clip items to be moved 568
- Clip Collision message 568
- Performing Shuffle Edits 569
- Finding and Closing Gaps 578
- Track gap 579
- In and Out points set 581
- Keyboard ShortcutLabelColor 582
- Command-Option-6B-RollGreen 582
- Cutting Clips and Adjusting 583
- Durations 583
- The Razor Blade tool lets 584
- The Razor Blade All tool 585
- Linking and Editing Video and 589
- Audio in Sync 589
- Audio moved away 591
- Audio moved back 591
- Names of linked clip 596
- Moving a Clip into Sync 598
- Before syncing 601
- After syncing 601
- Marking a Clip as In Sync 602
- not the 603
- Split Edits 607
- 608 Chapter 41 Split Edits 608
- 609Chapter 41 Split Edits 609
- 610 Chapter 41 Split Edits 610
- 611Chapter 41 Split Edits 611
- 612 Chapter 41 Split Edits 612
- Split Edit Examples 613
- 614 Chapter 41 Split Edits 614
- 615Chapter 41 Split Edits 615
- 616 Chapter 41 Split Edits 616
- Working with Multiclips 617
- About Multiclips 618
- Multiclip Workflow 619
- Creating a Multiclip 625
- Creating Multiclip Sequences 626
- Offset value 628
- Creating a Multiclip Sequence 630
- Timecode offset 633
- Minimum Overlap Is 100% 635
- 4-up view 9-up view 637
- View pop-up menu 637
- Viewing Multiclip Overlays 639
- Drag a clip to an angle 641
- New Angle 641
- Angle Affiliates 642
- Switching Angles 647
- Cutting Between Angles 648
- Cut Video to Angle 649
- 1–4 buttons 649
- Angle with effects 655
- Switching Angles with Effects 656
- Audio Editing Basics 661
- Waveforms for a stereo 663
- Waveform display area 666
- Level overlay line 666
- Pan overlay line 666
- Reset button 667
- Editing Audio in the Viewer 668
- Mono (a1) and (a2) tabs 669
- Stereo audio tab 670
- Audio track A1 670
- Audio track A2 670
- Zoom control Zoom slider 671
- Use the drag hand to 673
- Audio selected 674
- Linked Selection button 674
- The audio opens in 675
- New Out point set 675
- Editing Audio in the Timeline 676
- Naming Audio Tracks 679
- A wide playhead bar in 684
- The long pause in your 685
- Paste the pause section 686
- Roll Edits 691
- Sliding Clips in the Timeline 692
- You slide items using 693
- The clip moves to a new 693
- This clip is longer 694
- This clip’s duration 694
- This clip is shorter 694
- The timecode entry field 695
- You slip items using 695
- These clips move left 704
- This clip shortens 704
- Tips for Using the Roll Tool 710
- Edit being rolled 711
- After the roll edit, the 711
- Learning About Trimming Clips 715
- Click here to turn linked 717
- Click here to turn 717
- Selecting Single Edit Points 719
- Multiple edit points 720
- Trimming Clips in the Viewer 724
- Moving Clips Using Timecode 727
- Media Limit message 729
- Outgoing clip 732
- Incoming clip 732
- Green bar 732
- Go to Previous Edit 735
- Go to Next Edit 735
- Play Around Edit Loop 735
- Next FramePrevious Frame 736
- Dynamic Trimming 737
- Using the Trim Edit Window 739
- Adding Transitions 747
- Common Types of Transitions 748
- Having Handles at Edit Points 749
- A transition starting 750
- A transition centered 750
- A transition ending 751
- Select an edit point 752
- The added transition 753
- Deleting Transitions 758
- Enter a new 760
- Replacing Transitions 761
- Deleting Favorite Transitions 763
- 3D Simulation 765
- Dissolve 765
- Page Peel 766
- QuickTime 766
- Using Alpha Transitions 769
- parameter allows you 771
- , you can time the 774
- Transition Editor 777
- Tab with the name 778
- Effects (specific 778
- Alignment buttons 779
- Recent Clips 779
- Reverse Transition button 783
- Rendering Transitions 790
- Sequence-to-Sequence Editing 791
- 4 Do one of the following: 793
- Nesting Sequences 795
- When Do You Nest Sequences? 796
- This nested sequence 799
- Nested sequence B 800
- Adding clips to sequence B 800
- Nesting It 801
- Using the Command key 802
- A highlighted area shows 804
- Matching Frames and Playhead 805
- Synchronization 805
- Sprocket holes 806
- The current frame in the 809
- Viewer matches the 809
- Playhead 811
- Playhead Sync pop-up 812
- The Out point is the 813
- Working with Timecode 815
- Frame Rate Versus Timecode 816
- Clip Time Versus Source Time 819
- Timecode Overlays 821
- Timecode Viewer 821
- The Modify Timecode 824
- Modifying Sequence Timecode 825
- Working with 60 fps Timecode 827
- Audio Fundamentals 829
- Fundamentals of a Sound Wave 830
- Frequency Spectrum of Sounds 831
- Measuring Sound Intensity 833
- What Is a Decibel? 834
- Decibel Units 834
- Signal-to-Noise Ratio 835
- Headroom and Distortion 835
- Dynamic Range and Compression 836
- Stereo Audio 837
- Identifying Stereo Recordings 838
- Digital Audio 839
- Sine Square 841
- 2-bit1-bit 841
- 16-bit4-bit 841
- Assigning Output Channels and 843
- External Audio Monitors 843
- Audio Tracks 844
- Hardware Outputs 845
- Configuring Audio Outputs 847
- Choose an audio output 851
- Audio Output Export Settings 853
- Config Pop-Up Menu 854
- All output channels are 856
- Downmix button 856
- Downmixing During Export 857
- Evaluating Levels with Audio 865
- Analog Versus Digital Meters 866
- Yellow peak level 868
- Red clipping 869
- Setting Proper Audio Levels 870
- Setting Levels for Capture 871
- Detecting Audio Peaks 871
- 20 dBTheatrical Dolby Digital 875
- 12 dBAverage videotape 875
- 6 dBTelevision broadcast 875
- Labeling Your Tapes 876
- Overview of the Audio Mixer 877
- Track Visibility Area 878
- Output Channel 879
- Track Strips Area 880
- Master Area 882
- View Buttons 884
- Record Audio Keyframes Option 884
- Using Audio Mixer Views 885
- These tracks are hidden 887
- Using the Audio Mixer 889
- Mute button in the 890
- Audio Mixer 890
- Mute button 891
- Audio Controls button 891
- Solo button in 892
- Solo button 892
- Changes made to faders 893
- ...affect only the audio 893
- Changing a Clip’s Pan 898
- Place the pointer over 902
- Modifying Recorded Keyframes 905
- Select one or both 907
- What Is MIDI? 908
- Installing a MIDI Interface 908
- Choosing a Control Surface 908
- Connecting a Control Surface 908
- Tracks 1–8 911
- Tracks 9–16 911
- Working with Fader Banks 912
- Clip Overlays 918
- Change in audio 918
- Audio level overlay 918
- The keyframe appears as 919
- Enter a new value 923
- Adjust Line Segment 924
- Panning Audio in the Timeline 925
- Tools for Adjusting Keyframes 928
- Working with Keyframes 930
- Pen tool 931
- Keyframe being moved 933
- Release the mouse 933
- With the Delete Point 934
- Keyframes set 936
- Lowered level 936
- Adjust the slope of 937
- When you’ve zoomed in 938
- The problem samples 939
- The overlay looks 939
- Using the Voice Over Tool 943
- 20-second point 947
- First frame of the ending 947
- The newly recorded 954
- Recording a Voiceover 955
- Recording Multiple Takes 957
- Placed in Timeline 958
- Out pointIn point5-second 958
- 2-second 958
- Using Audio Filters 959
- Overview of Audio Filters 960
- Equalization Filters 962
- Gain Filter 964
- Compressor/Limiter Filter 965
- Expander/Noise Gate Filter 966
- Noise Reduction Filters 966
- Hum Remover 967
- Vocal DeEsser 967
- Vocal DePopper 967
- Echo filter settings 968
- Reverberation filter 968
- Drag a filter from 969
- ...to the Timeline 969
- ...then drag them to 970
- Select several filters in 970
- Click here to create 975
- The Pen tool lets you 975
- Trash can icon 977
- In and Out points in the 979
- Exporting Audio for Mixing in 983
- Other Applications 983
- Choose the Bars and 987
- Tone generator that 987
- This shows the sync 989
- All other tracks 990
- Make sure just the audio 990
- Exporting Audio to AIFF Files 994
- Exporting OMF Audio Files 995
- Disabled tracks are 997
- Exporting Audio for DVD 999
- Tips for Better Audio 1001
- Tips for Cutting Dialogue 1002
- Tips for Cutting Music 1004
- Instead of 1005
- ...do this 1005
- Logic Pro 1007
- Soundtrack Pro 1008
- About Soundtrack Pro Scripts 1011
- About Conforming Manually 1017
- Using Soundtrack Pro Conform 1017
- Using Video Filters 1021
- Applying a Filter to a Clip 1022
- List of video filters 1023
- Different Blur filters 1023
- Drag the filter from 1023
- ...to a clip in the Timeline 1023
- Viewing a Filter’s Parameters 1026
- Using Filter Controls 1030
- Angle control 1032
- Clip well 1034
- Filters bar for 1034
- Clip Keyframes control 1034
- Move the selected filter 1035
- Removing Filters from Clips 1036
- Installing and Managing Video 1039
- Installing Video Filters 1040
- Installing FXScript Plug-ins 1041
- Viewing Preferred Effects 1041
- FxPlug Plug-in Restrictions 1044
- Video Filters Available in 1047
- Final Cut Pro 1047
- Border Filters 1048
- Channel Filters 1048
- Color Correction Filters 1049
- Distort Filters 1049
- Image Control Filters 1050
- Key Filters 1051
- Matte Filters 1053
- Perspective Filters 1055
- Sharpen Filters 1055
- Stylize Filters 1056
- Video Filters 1057
- FxPlug Plug-ins 1058
- Changing Motion Parameters 1059
- Distort attribute 1060
- Basic Motion parameters 1060
- Some parameters must 1061
- Drop Shadow parameters 1061
- Motion Blur parameters 1061
- Controls in the Motion Tab 1062
- –360 pixels +360 pixels 1066
- –240 pixels 1066
- +240 pixels 1066
- Canvas center point 1066
- Initial background layer 1069
- Sequence In and 1069
- Out points 1069
- The two clips are now 1075
- The fourth clip is now 1075
- Both selected clips now 1080
- The background clip 1080
- Selected clip in 1081
- Image+Wireframe mode 1081
- Choose one of the 1081
- Which View Should You Use? 1082
- Zooming In to the Canvas 1083
- Magnification levels 1084
- Use the Distort tool to 1091
- Adjusting Parameters for 1093
- Keyframed Effects 1093
- How Keyframing Works 1094
- Two keyframes let you 1095
- Timecode field 1098
- Setting Keyframes 1099
- Add Motion Keyframe 1101
- Choose a motion 1101
- As you drag, a box 1102
- Drag the area up or 1103
- Control-click a keyframe 1103
- Moving Between Keyframes 1104
- Zoom slider 1106
- Thumb tabs on either 1106
- Zoom In tool 1106
- Zoom Out tool 1106
- With a zoom tool selected 1107
- Zoom control 1107
- A box displays the opacity 1112
- Create five keyframes 1112
- Smoothing Keyframes 1115
- What Are Motion Paths? 1117
- Creating Motion Paths 1119
- The pointer changes 1126
- Drag the Resize pointer up 1131
- Editor Resize column 1131
- Reusing Effect and Motion 1133
- Parameters 1133
- Checkboxes are available 1136
- Auto Select controls 1137
- The Favorites bin holds 1138
- It can be organized with 1138
- Enter the new name for 1141
- Changing Clip Speed 1143
- (now 20 seconds long) 1144
- Using the Speed Tool 1152
- Motion bar (blue) 1160
- Speed indicators 1160
- At normal speed, the 1161
- Slow speed Fast speed 1161
- Reverse-speed indicators 1162
- Last frame of clip 1163
- First frame of clip 1163
- Length of clip’s media file 1163
- (in frames) 1163
- Linear time 1165
- Slow motion 1165
- Fast-forward 1165
- Reverse speed 1166
- Acceleration 1166
- Performing a Fit to Fill Edit 1167
- Before edit 1168
- After edit 1168
- Still Images 1173
- Creating a Freeze Frame 1174
- Exporting Still Images 1175
- Video Is Not 72 Dots per Inch 1177
- Gray borders appear 1178
- 1 Refers to ITU-R BT.601 1180
- Looks right 1181
- Looks wrong 1181
- Using Alpha Channels 1183
- Enter a new duration in 1185
- Enter a new duration here 1185
- 4000 x 3000 1186
- 720 x 480 1186
- Still image 1186
- Set the Scale parameter 1187
- Starting position 1189
- Add Motion 1189
- Keyframe button 1189
- Center parameter 1189
- Ending keyframe 1190
- Drag the velocity 1191
- Compositing and Layering 1193
- Methods of Compositing 1194
- Opacity is used to blend 1195
- Clip Overlays control 1196
- The opacity overlay can 1196
- Working with Composite Modes 1198
- All composite modes 1200
- Boxes clip Monkey clip 1201
- Subtract 1202
- Difference 1203
- Multiply 1203
- Hard Light 1205
- Soft Light 1206
- Travel Matte - Alpha 1208
- Travel Matte - Luma 1208
- An imported Photoshop 1210
- Control-click in the Alpha 1215
- Dark areas are 1216
- White areas are solid 1216
- Choosing a Background 1218
- Clip item with 1221
- Overlapping clip 1221
- Keying, Mattes, and Masks 1223
- A four-point matte outlining 1224
- Using Proper Lighting 1227
- Bright areas appear 1228
- Shadows appear as small 1228
- Three sliders at the bottom 1235
- Before clicking with the 1236
- The image is cropped 1240
- Click the Point 1 point 1242
- The finished matte image 1244
- Click keyframe buttons 1244
- Create keyframes for 1244
- The clip now has a 1247
- The clip’s image remains 1247
- Using Generator Clips 1249
- Matte Color and Slug 1250
- FxPlug Generators 1255
- Click the Controls tab to 1256
- Using the SmoothCam Filter 1257
- Applying the SmoothCam Filter 1258
- About Motion Analysis States 1259
- Number of clips in the 1260
- Pause/Resume button 1260
- Stop button 1260
- Reanalyzing Clips 1262
- Camera Motion 1263
- Smoothness parameters 1263
- Analysis status 1263
- Scale parameters 1263
- Remove the rapid 1266
- Remove the person 1266
- Using the Media Manager 1268
- Creating Titles 1271
- Installing and Choosing Fonts 1272
- Working with Motion and Shake 1281
- Unsupported Media and Effects 1288
- Working with Master Templates 1289
- Previewing Master Templates 1291
- Modifying Master Templates 1295
- Measuring and Setting Video 1299
- Color Model 1300
- Color Difference Channels 1301
- Blacks, Midtones, and Whites 1302
- Opening Video Scopes Tabs 1304
- This dip in the waveform 1306
- An image with high saturation 1307
- An image with low saturation 1307
- Red of clothing 1308
- Blue of background 1308
- Distribution of blues 1308
- High blue levels 1311
- This image contains 1312
- The shortcut menu in 1312
- Choosing Video Scope Accuracy 1314
- Legal Broadcast Colors 1316
- Turning on Range Checking 1317
- Clamping and Clipping 1318
- Using the RGB Limit Filter 1323
- RGB Limit Filter Controls 1324
- Working with Analog Video 1325
- Analog Video Levels 1326
- Waveform Monitor Vectorscope 1329
- Choose Targets from the 1329
- About Color Bars 1331
- , green, and blue signals 1333
- About Color Correction 1337
- Example of a chip chart used 1339
- Telecine Color Correction 1340
- Tape-to-Tape Color Correction 1341
- Color Correction Features 1345
- To move the split screen 1350
- The Color Corrector Filter 1353
- Drag Filter 1354
- Copy To 2nd Clip Forward 1354
- Copy To 1st Clip Forward 1354
- Copy From 1st Clip Back 1354
- Copy From 2nd Clip Back 1354
- This render bar indicates 1355
- A render bar over the 1356
- Previous clip 1357
- Copy From 1357
- 1st Clip Back 1357
- Current clip 1357
- Next clip 1358
- Color balance indicator 1359
- Shift key 1359
- Level sliders 1361
- Auto Black Level button 1361
- Saturation slider 1361
- Auto White Level button 1361
- Auto Contrast button 1361
- Invert Selection button 1365
- Select Color eyedropper 1365
- Keyframe controls 1366
- Enable/Disable checkbox 1366
- Numeric button 1366
- Blacks Reset button 1373
- Blacks Auto-Balance 1373
- Color balance controls 1373
- RGB Balance Filter 1382
- RBG Balance Filter Controls 1383
- Color Correction Examples 1385
- Click the eyedropper 1388
- Click in a white area 1388
- The color balance 1389
- Click the Color Corrector 1391
- 3-way tab to view the 1391
- Click the eyedropper in 1393
- The Whites color balance 1394
- Before After 1394
- Adjust the Mids control 1396
- AfterBefore 1396
- Flesh Tone line 1397
- Before adjusting 1398
- After adjusting the 1398
- Multiple Edits layout 1399
- Move the playhead so it’s 1401
- Split-screen mode 1401
- The Multiple Edits 1402
- Second clip 1402
- First clip 1402
- Controls 1404
- Click a highlight 1405
- Highlighted eyedropper 1406
- Match Color indicator 1406
- Click the Whites 1406
- Auto-Balance 1406
- Click a highlight in clip 2 1407
- Color Against Grayscale 1408
- Color Correction with Color 1415
- Using RT Extreme 1417
- What Are Dropped Frames? 1420
- A tooltip tells you the 1421
- Real-time effects appear 1421
- Many of the same 1422
- RT pop-up menu 1423
- Settings in the 1424
- Unlimited RT 1425
- Play Base Layer Only 1426
- Scrub High Quality 1428
- Playback Video Quality 1428
- Playback Frame Rate 1428
- Multiclip Playback 1429
- Pull-down Pattern 1429
- Gamma Correction 1430
- Record Settings 1430
- Video Scopes Playback 1431
- Controls in the QuickView Tab 1439
- Playback in the QuickView Tab 1440
- Settings 1443
- Video Render Status Bars 1444
- Audio Render Status Bars 1446
- The Rendering Process 1447
- Order of Effects Rendering 1448
- Selecting Clips for Rendering 1448
- Video and audio 1449
- In and Out points for the 1450
- Using the Mixdown Command 1453
- This message appears 1455
- Render Settings 1457
- Color space and 1459
- Maximum RGB white 1459
- Motion filtering quality 1459
- Compositing in Y′C 1460
- Adjusting Gamma 1464
- Choosing a Gamma Setting 1466
- Managing Your Render Files 1468
- Using the Render Manager 1469
- Tips for Reducing Render Time 1471
- Working with Mixed-Format 1473
- Sequences 1473
- Mixing Frame Rates 1479
- Using the Shift Fields Filter 1481
- Nesting Nonmatching Sequences 1482
- Combining SD and HD Video 1483
- Downconverting HD Video 1483
- 1080 to 480 1484
- 720 to 480 1484
- Cropping 16:9 Video to 4:3 1485
- Pan and Scan 1486
- 16:9 Anamorphic 1487
- Upconverting SD Video 1488
- 480 anamorphic to 1080 1489
- 480 anamorphic to 720 1489
- Media Management 1493
- Reel Name Conventions 1496
- Clip Name Conventions 1497
- Media Filename Conventions 1497
- Using the Autosave Feature 1499
- Autosave files for 1500
- Restoring Autosaved Projects 1501
- Choose the project file 1502
- Archiving Completed Projects 1503
- Before Updating Projects 1504
- Click here to update 1505
- Media Files 1509
- Types of Clips 1510
- Clip Properties 1514
- Media File Properties 1524
- Working with Master Clips 1525
- Identifying Master Clips 1526
- Working with Affiliate Clips 1527
- Creating Independent Clips 1528
- Moving Clips Between Projects 1531
- Offline and Online Editing 1535
- Online Editing 1536
- These are offline clips 1552
- Making Clips Offline 1554
- Click an option 1555
- Select the files you want 1560
- You can select which 1563
- Overview of the Media Manager 1567
- Move the pointer 1571
- Specify additional 1572
- Choose what you 1572
- How Subclips Are Processed 1579
- Media Manager Workflow 1583
- A message appears 1585
- Decide what you want to 1586
- Select the sequence 1587
- Computer 1592
- Subclips 1593
- Press Command-A or 1595
- Archiving 1596
- Diagnostic Tools for Clips 1599
- Locate the file you 1601
- Video track information 1602
- Audio track information 1602
- Timecode track 1602
- File information 1602
- A long frame marker 1604
- Importing and Exporting EDLs 1605
- Learning to Read an EDL 1606
- Elements of an EDL 1606
- Exporting EDLs 1610
- Reviewing an EDL 1616
- Importing EDLs 1617
- Problems Importing EDL Files 1618
- Maintaining Accurate Timecode 1620
- 6 charactersSony 9100 1621
- Join Through Edits 1624
- Avoid Nested Sequences 1625
- Using Final Cut Pro XML and 1629
- QuickTime Metadata 1629
- About XML 1630
- Attributes of XML Elements 1631
- Whitespace 1632
- Document Type Definitions 1632
- Remote Previewing with iChat 1639
- Using iChat Theater Preview 1643
- Working with Film and 1645
- Cinema Tools 1645
- About the Telecine Process 1646
- Exporting a Film Cut List 1647
- Standard Reverse Telecine 1652
- Removing Advanced Pull-Down 1652
- About Film Lists 1659
- About Change Lists 1659
- About Audio EDLs 1659
- Exporting a Film List 1660
- Exporting a Change List 1662
- Exporting an Audio EDL 1664
- Preparing to Output to Tape 1667
- Output Requirements 1668
- Make sure the external 1671
- Stage 7: Cueing the Videotape 1674
- Edit to Tape 1677
- About Insert Editing to Tape 1678
- About Tracks on Videotape 1679
- About the Edit to Tape Window 1680
- Video Tab 1681
- PlayStop 1684
- Fast Forward 1684
- Play In to Out 1684
- Play Around Current 1684
- Mastering Settings Tab 1685
- Using the Edit to Tape Window 1688
- The preview option is 1689
- DV equipment 1689
- Choose a mode from this 1689
- Audio Insert 1695
- Printing to Video 1700
- Recording from the Timeline 1702
- Move the playhead 1703
- Outputting to VHS Tape 1704
- Learning About QuickTime 1707
- Codecs Supported in QuickTime 1709
- Movie File Formats 1711
- Audio File Formats 1714
- Using Share 1717
- 1718 Chapter 104 Using Share 1718
- About the Share Window 1719
- Post-Transcoding Actions 1720
- 1721Chapter 104 Using Share 1721
- 1722 Chapter 104 Using Share 1722
- 1723Chapter 104 Using Share 1723
- 1724 Chapter 104 Using Share 1724
- 1725Chapter 104 Using Share 1725
- 1726 Chapter 104 Using Share 1726
- 1727Chapter 104 Using Share 1727
- 1728 Chapter 104 Using Share 1728
- 1729Chapter 104 Using Share 1729
- Types of Group Selections 1730
- 1731Chapter 104 Using Share 1731
- 1732 Chapter 104 Using Share 1732
- Creating Multiple Outputs 1733
- Using Share with Compressor 1734
- Sending Outputs to Compressor 1735
- 1736 Chapter 104 Using Share 1736
- 1737Chapter 104 Using Share 1737
- 1738 Chapter 104 Using Share 1738
- 1739Chapter 104 Using Share 1739
- 1740 Chapter 104 Using Share 1740
- 1741Chapter 104 Using Share 1741
- 1742 Chapter 104 Using Share 1742
- 1743Chapter 104 Using Share 1743
- 1744 Chapter 104 Using Share 1744
- 1745Chapter 104 Using Share 1745
- 1746 Chapter 104 Using Share 1746
- 1747Chapter 104 Using Share 1747
- 1748 Chapter 104 Using Share 1748
- 1749Chapter 104 Using Share 1749
- 1750 Chapter 104 Using Share 1750
- 1751Chapter 104 Using Share 1751
- 1752 Chapter 104 Using Share 1752
- Exporting QuickTime Movies 1753
- Reference movie 1754
- Original media files 1754
- A dialog shows you the 1757
- Exporting Using QuickTime 1761
- Conversion 1761
- About Color Space Conversion 1763
- Key frame 1767
- Delta frames 1767
- Select a filter in this list 1769
- Click a disclosure triangle 1769
- Adjust settings for the 1769
- 16:9 within 1772
- 320 x 180 (16:9) 1772
- Internet Streaming Settings 1774
- Classic Aperture Mode 1776
- Clean Aperture Mode 1776
- Production Aperture Mode 1777
- Exporting a DV Stream 1778
- Exporting an AVI File 1779
- Exporting Sequences for DVD 1783
- Video for Standard DVDs 1784
- HD DVD Editing Formats 1785
- Audio for DVD 1787
- About Surround Sound Audio 1788
- More About Chapter Markers 1789
- Using iDVD 1791
- Using DVD Studio Pro 1791
- DVD Studio Pro 1792
- Using Compressor with 1793
- Previewing Video Output 1794
- Compressor Droplets 1794
- Move the playhead to 1800
- Choose a setting from 1800
- Exporting Image Sequences 1801
- A file is saved for each 1803
- Batch Exporting Clips and 1805
- If you want, enter a 1807
- Select the bin that 1808
- Then click Settings 1808
- Choose a format here 1809
- Doing a Batch Export 1812
- Redoing Batch Exports 1814
- Changing User Preferences 1817
- General Tab 1819
- About Audio Playback Quality 1819
- Editing Tab 1823
- These ten frames are used 1824
- Five additional frames 1825
- ...and here 1825
- Ten duplicate frames 1825
- Labels Tab 1828
- Timeline Options Tab 1828
- Changing System Settings 1829
- Scratch Disks Tab 1830
- Search Folders Tab 1831
- Memory & Cache Tab 1832
- Playback Control Tab 1834
- External Editors Tab 1834
- Effect Handling Tab 1835
- Audio/Video Settings and Easy 1837
- Choosing Easy Setups 1839
- Changing Audio/Video Presets 1841
- Viewing Settings in a Preset 1842
- Creating a New Preset 1843
- Editing a Preset 1845
- Deleting Presets 1845
- Creating an Easy Setup 1846
- Capture Settings and Presets 1851
- Click Compression 1854
- Specify the settings 1854
- Device Control Settings and 1859
- Using FireWire Device Control 1864
- Using Serial Device Control 1865
- Sequence Settings and Presets 1871
- General tab 1872
- General Tab for Sequences 1873
- Render Control Tab 1878
- Audio Outputs Tab 1879
- Audio Outputs tab 1880
- Changing Sequence Settings 1881
- Solving Problems 1883
- Problems During Playback 1884
- Problems with Audio Quality 1888
- Contacting AppleCare Support 1889
- Video Formats 1891
- 1892 Appendix B Video Formats 1892
- Storage Medium 1893
- Video Standards 1894
- Types of Video Signals 1895
- 1896 Appendix B Video Formats 1896
- Letterboxing 1898
- Anamorphic 1899
- Pillarboxing 1899
- Number of Lines 1899
- Pixels per Line 1900
- Pixel Aspect Ratio 1901
- Frame Rate 1902
- Scanning Method 1902
- About Interlaced Scanning 1903
- About Progressive Scanning 1903
- Color Recording Method 1904
- Color Sample Ratio 1905
- Bit Depth 1906
- Video Compression 1907
- Lossless Codecs 1908
- Lossy Codecs 1909
- About Uncompressed Video 1909
- About MPEG Compression 1909
- 1910 Appendix B Video Formats 1910
- 1911Appendix B Video Formats 1911
- 1912 Appendix B Video Formats 1912
- 1913Appendix B Video Formats 1913
- MPEG-4 Part 10, or H.264 1914
- DV Formats 1914
- 24p Video 1915
- High Definition Video Formats 1915
- Data Rate Comparisons 1916
- Frame Rate and Timecode 1919
- One second 1920
- Choosing a Frame Rate 1922
- 01:32:15:28 1924
- Timecode on Tape 1927
- 1799 and 1800 1928
- Working with 24p Video 1931
- 24 Versus 23.98 fps 1932
- Standard 3:2 Pull-Down 1932
- A A B B B C C D D D 1934
- A A B B C C D D 1934
- 2:3:3:2 Advanced Pull-Down 1936
- A A B B C D D 1937
- A A B B B C C C D D 1937
- 2:2:2:4 Pull-Down 1938
- A B B C C DCC CCB 1940
- 24 @ 25 Pull-Down 1941
- Working with 24p NTSC Video 1942
- Pull-Down 1943
- Stage 3: Editing at 23.98 fps 1944
- Working with Anamorphic 16:9 1945
- Recording Anamorphic Video 1946
- Capturing Anamorphic Media 1947
- Select this checkbox 1950
- Anamorphic option 1950
- Glossary 1955
- 1956 Glossary 1956
- 1957Glossary 1957
- 1958 Glossary 1958
- 1959Glossary 1959
- 1960 Glossary 1960
- 1961Glossary 1961
- 1962 Glossary 1962
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