Apple Final Cut Pro 7 User Manual Page 85
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- Table of contents
- BOOKMARKS
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This chapter covers the following:
• How You Can Use the Viewer (p. 85)
• Opening a Clip in the Viewer (p. 86)
• Learning About the Viewer (p. 87)
• Tabs in the Viewer (p. 90)
• Transport Controls in the Viewer (p. 92)
• Playhead Controls in the Viewer (p. 93)
• Marking Controls in the Viewer (p. 95)
• Zoom and View Pop-Up Menus in the Viewer (p. 96)
• Playhead Sync Pop-Up Menu (p. 99)
• Recent Clips and Generator Pop-Up Menus (p. 100)
The Viewer is used for viewing a clip’s media and preparing clips before editing them
into a sequence.
How You Can Use the Viewer
The Viewer is extremely versatile. You can use the Viewer to:
• Define In and Out edit points for clips before editing them into a sequence
• Adjust audio levels and panning in the Audio tab
• Open clips within sequences to adjust durations, In and Out points, and filter parameters
Note: Changes you make to a clip opened from a sequence are applied to the clip only
in that sequence. If you make changes to a clip opened from the Browser, the changes
appear only in the clip in the Browser.
• Add filters to clips and adjust filters applied to clips
• Adjust the motion parameters of clips to modify or animate such parameters as Scale,
Rotation, Cropping, and Opacity
• Adjust generator clip controls
85
Viewer Basics
6
- 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
- 1963Glossary 1963
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