Apple Final Cut Express HD User Manual

Final Cut Express HDUser Manual

10 Contents367 Finding and Selecting Based on Search Criteria369 Selecting a Vertical Range Between In and Out Points370 Using Auto Select to Specify

1000 Part XII Output Standard Video Compression SettingsDepending on the codec you choose from the Compression type pop-up menu, various options ma

Chapter 72 Exporting QuickTime-Compatible Files 1001 XIIData Rate Data Rate: Automatic: QuickTime adjusts the data rate of your QuickTime movie

1002 Part XII Output Filter SettingsQuickTime filters apply to your entire exported clip or sequence. This is different from applying a filter with

Chapter 72 Exporting QuickTime-Compatible Files 1003 XIIQuickTime Movie Sound SettingsClick Settings to choose an audio format, number of channels,

1004 Part XII Output  Rate: Choose a standard sample rate from the pop-up menu or enter a value to specify the output rate for the audio. Lower s

Chapter 72 Exporting QuickTime-Compatible Files 1005 XIIÂ Fast Start: The QuickTime movie is downloaded like any other graphic or media file. Once

1006 Part XII Output To export a DV Stream file:1 Select a clip or sequence in the Browser or open the sequence in the Timeline.2 Choose File >

Chapter 72 Exporting QuickTime-Compatible Files 1007 XIIExporting an AVI FileAVI is a Windows-compatible movie file format for digital video. This

1008 Part XII Output 7 Click the checkbox next to Video and Sound to include these in your exported file.If there is no audio in your clip or seque

73 100973 Exporting Still Images and Image SequencesAt many points during your project, you may need to export still images of your video for gra

8 1018 Navigating and Using Timecode in the Viewer and CanvasWhile the Viewer and Canvas serve different purposes, navigating and working with ti

1010 Part XII Output Bit Depth of Exported Still ImagesExported still images are always exported using 8 bits per pixel per color channel. For exam

Chapter 73 Exporting Still Images and Image Sequences 1011 XII6 To select custom settings, click Options, and in the Export Image Sequence Settings

1012 Part XII Output Exporting Image SequencesYou can export numbered image sequences in various formats using the Export Using QuickTime Conversio

Chapter 73 Exporting Still Images and Image Sequences 1013 XII7 To select custom settings, click Options, and in the Export Image Sequence Settings

74 101574 Exporting Audio for Mixing in Other ApplicationsIf you plan to send your audio to an audio post-production facility for finishing, you

1016 Part XII Output If you decide to use an outside facility, make sure that you leave the audio in your edited sequence alone, other than editing

Chapter 74 Exporting Audio for Mixing in Other Applications 1017 XIIExporting Audio Tracks to Individual Audio FilesFinal Cut Express HD allows you

1018 Part XII Output Preparing to Export Audio Tracks as Audio FilesBefore you export your sequence’s audio tracks to audio files, you should follo

Chapter 74 Exporting Audio for Mixing in Other Applications 1019 XII4 Press I to mark an In point, press the Right Arrow key on the keyboard to mov

102 Part II Learning About the Final Cut Express HD Interface Playing Clips and SequencesYou use the transport controls in the Viewer and Canvas to

1020 Part XII Output 8 Cut the stereo beep and paste it 2 seconds beyond the beginning and end of each audio track you will export.Step 3: If nece

Chapter 74 Exporting Audio for Mixing in Other Applications 1021 XIIExporting Audio Tracks as Individual Audio FilesWhen you export an audio track

1022 Part XII Output 6 In the Sound Settings dialog, choose the format, number of channels, sample rate, quality, and sample size (bit depth), then

XIIIPart XIII: AppendixesFind specific information on video formats, frame rate and timecode, and solutions to common user problems in this section.Ap

1025AAppendixA Video FormatsThis appendix covers the following:Â Characteristics of Video Formats (p. 1025)Â Types of Video Signals and Connecto

1026 Part XIII Appendixes The scanning method: interlaced fields (2 fields per frame) or progressive (one complete frame at a time). Color reco

Appendix A Video Formats 1027 XIIIThe size of the cassette itself can be varied as well. For example, the BetacamSP format comes in both small and

1028 Part XIII AppendixesHigh Definition VideoIn the late 1990s, high definition video formats were standardized in the United States by the ATSC

Appendix A Video Formats 1029 XIIIThe luma (black-and-white channel) and chroma (color channels) information can be recorded and transmitted severa

Chapter 8 Navigating and Using Timecode in the Viewer and Canvas 103 IITo play a clip or sequence between In and Out points:1 Open a clip in the Vi

1030 Part XIII AppendixesAspect Ratio of the Video FrameThe ratio of horizontal to vertical dimensions of a film or video frame is called the aspe

Appendix A Video Formats 1031 XIIIBelow is a list of commonly used aspect ratios, mostly from the film and television industry, plus a few others f

1032 Part XIII AppendixesCommon video frame sizes are shown in the table below.Width HeightPixel aspect ratioScreen aspect ratioDescription320 240

Appendix A Video Formats 1033 XIIIPixel Aspect RatioA pixel usually refers to a physical picture element on a video display that emanates light. Bu

1034 Part XIII AppendixesNone of this was obvious in the days of linear editing, when video was simply copied from one tape to another, because th

Appendix A Video Formats 1035 XIIIScanning MethodA video frame is made of horizontal lines that are scanned from one side of a display to the other

1036 Part XIII AppendixesAbout Progressive ScanningProgressive scanning is much simpler than interlaced scanning: each line is scanned consecutiv

Appendix A Video Formats 1037 XIIIIn Final Cut Express HD, there are two options for field dominance:Â Upper (field 2 is dominant, so the second fi

1038 Part XIII AppendixesColor Sampling RatioColor sampling ratio refers to the ratio of luma (Y) samples to each color difference sample (CB and

Appendix A Video Formats 1039 XIIIBit DepthThe number of bits used per sample determines how accurately the sample is stored, and how much intensit

104 Part II Learning About the Final Cut Express HD Interface To play every frame of a clip:1 Open a clip in the Viewer or make the Canvas or Timel

1040 Part XIII AppendixesVideo CompressionOnce a video signal is digital, it requires a large amount of storage space and transmission bandwidth.

Appendix A Video Formats 1041 XIIIRun-length encoding is lossless, because all the information is retained after decoding. This technique is partic

1042 Part XIII AppendixesTypes of Video Signals and ConnectorsWhen you capture and output, the type of video signal you use to connect your equipm

Appendix A Video Formats 1043 XIIIS-VideoS-Video, also known as Y/C, is a higher quality video signal used by high-end consumer video equipment. Th

1044 Part XIII AppendixesFireWire (Also Called IEEE 1394a or i.LINK)This is the consumer and professional standard for DV-format digital video. Fi

Appendix A Video Formats 1045 XIIIA Brief History of Film, Television, and Audio FormatsThe timeline below helps to illustrate the constantly evolv

1046 Part XIII Appendixes1953 First CinemaScope, anamorphic film is released with 2.66 aspect ratio (1.33 x 2).1955 Stereo tape recording is intro

1047BAppendixB Frame Rate and TimecodeThis appendix covers the following:Â What Is Frame Rate? (p. 1047)Â Understanding Flicker and Perceived Fr

1048 Part XIII AppendixesEarly television systems selected frame rates based on local electrical standards to avoid electrical interference with t

Appendix B Frame Rate and Timecode 1049 XIIIEarly television systems used a different approach for the same result: increased flicker without incr

Chapter 8 Navigating and Using Timecode in the Viewer and Canvas 105 IIShuttling Through a Clip or SequenceWhile using the scrubber bar is a great

1050 Part XIII AppendixesRecording Slow Frame Rates for Time-Lapse PhotographySlow frame rates are used for time-lapse photography, in which a sce

Appendix B Frame Rate and Timecode 1051 XIIISome digital video formats actually support several frame rates within a single format, allowing variab

1052 Part XIII AppendixesWhat Is Timecode?Timecode is a signal recorded with your video that uniquely identifies every frame of your tape using a

Appendix B Frame Rate and Timecode 1053 XIIIDrop frame timecode compensates for the fact that the NTSC format has a frame rate of 29.97 fps, which

1054 Part XIII AppendixesNow, instead of using a five-letter code to uniquely tag each frame, consider using an address code in the format 00:00:0

Appendix B Frame Rate and Timecode 1055 XIIIDrop frame timecode was invented to compensate for the discrepancy between 29.97 and 30 fps. Every minu

1056 Part XIII AppendixesMost timecode readers can automatically switch between LTC and VITC if they are both available. In Final Cut Express HD,

Appendix B Frame Rate and Timecode 1057 XIII1782 00:01:14:06 00:01:11:07 00:00:59:12 00:00:59:12 0111+06 0285+061783 00:01:14:07 00:01:11:08 00:00:

1058 Part XIII Appendixes1817 00:01:15:17 00:01:12:17 00:01:00:17 00:01:00:19 0113+09 0287+371818 00:01:15:18 00:01:12:18 00:01:00:18 00:01:00:20

1059CAppendixC Working With Anamorphic 16:9 MediaThis appendix covers the following:Â About Anamorphic 16:9 Media (p. 1059)Â Recording Anamorphi

106 Part II Learning About the Final Cut Express HD Interface To begin forward playback at normal (1x) speed:m Press L.To begin reverse playback at

1060 Part XIII AppendixesVideo can also be recorded anamorphically. For example, using a standard definition NTSC camcorder, the recorded video fr

Appendix C Working With Anamorphic 16:9 Media 1061 XIIIAbout LetterboxingWhen 16:9 video is displayed on a standard definition 4:3 monitor, you’ll

1062 Part XIII AppendixesWhy Shoot 16:9 Video?There are three main reasons to shoot 16:9, or anamorphic, video.Achieve a Cinematic LookEven if you

Appendix C Working With Anamorphic 16:9 Media 1063 XIIIRecording Anamorphic VideoAnamorphic video can be acquired in one of three ways:Â Using an a

1064 Part XIII AppendixesCapturing Anamorphic MediaWhen you capture video, Final Cut Express HD uses the settings in the currently selected Easy S

Appendix C Working With Anamorphic 16:9 Media 1065 XIIIThis should be done before adding any 16:9 clips to a 16:9 sequence. If a 16:9 clip is edite

1066 Part XIII AppendixesTo select the Anamorphic property for a clip:1 Open the clip from the Browser, then choose Edit > Item Properties.2 Ma

Appendix C Working With Anamorphic 16:9 Media 1067 XIIIOutputting Anamorphic Video to Tape When outputting an edited sequence to tape using anamorp

1068 Part XIII Appendixes7 In the Compression Settings window, choose a codec from the Compression Type pop-up menu.If you are making a movie for

1069DAppendixD Solving Common ProblemsThis appendix covers the following:Â Resources for Solving Problems (p. 1069)Â Solutions to Common Problem

Chapter 8 Navigating and Using Timecode in the Viewer and Canvas 107 IITo move forward or backward using the jog control:m Drag the jog control to

1070 Part XIII AppendixesSolutions to Common ProblemsThe following section describes common problems and solutions in Final Cut Express HD.Problem

Appendix D Solving Common Problems 1071 XIIIThe audio is not in sync with the video, or you’re experiencing dropped frames in your video.Many audio

1072 Part XIII Appendixes Another source of dropped frames on capture or playback may be fragmented hard disks. In general, it’s preferable to ca

Appendix D Solving Common Problems 1073 XIIIAn error message appears during capture reporting a “Break in the Timecode.” When capturing clips for

1074 Part XIII AppendixesYou experience poor playback and stuttering video when trying to edit. Make sure you are not editing with media which us

Appendix D Solving Common Problems 1075 XIIIProblems Playing a Reference MovieYou’re having problems playing a reference movie. If you encounter p

1077GlossaryGlossary4:3 The aspect ratio for broadcast video. The ratio of the width to the height of the visible area of the video frame, als

1078 Glossary alpha channel An image channel in addition to the R, G, and B color channels that is used to store transparency information for composi

Glossary 1079 audio meter A meter that lets you monitor audio output levels from your computer. You use the audio meters in Final Cut Express HD when

108 Part II Learning About the Final Cut Express HD Interface To enable looped playback:m Choose View > Loop Playback (or press Control-L). If i

1080 Glossary black level An analog video signal’s voltage level for the color black, represented by IRE units. Absolute black, or setup, is represen

Glossary 1081 CG Abbreviation for Character Generator. A specialized hardware device used for creating titles.channel 1 Typically the left audio cha

1082 Glossary color correction A process in which the color of clips used in an edited program is evened out so that all shots in a given scene match

Glossary 1083 crop To mask a specified amount from the total frame size of an image. You can crop the top, left, right, and bottom of an image indepe

1084 Glossary digital A description of data that is stored or transmitted as a sequence of 1s and 0s. Most commonly, refers to binary data represente

Glossary 1085 dual system recording A recording process in which video is captured on one recording device and audio is recorded on another. Dual sys

1086 Glossary exposure The amount of light in video or film images. Exposure affects the overall brightness of the image as well as its perceived con

Glossary 1087 frame blending A process of visually averaging frames together over time to create smoother motion. This is often useful when playing b

1088 Glossary Hi8 An analog videotape format. Introduced as a higher quality version of 8 mm.Histogram A video scope in Final Cut Express HD that di

Glossary 1089 keyframe A special-purpose control that denotes a change in value in a filter or motion parameter. When two keyframes with different va

Chapter 8 Navigating and Using Timecode in the Viewer and Canvas 109 IITo avoid typing zeroes when moving by larger amounts, type a period instead.

1090 Glossary locked track A track whose contents cannot be moved or changed. In the Timeline, a locked track is distinguished by cross-hatched lines

Glossary 1091 match-on-action A cut from one shot to another with similar action in the frame; for example, cutting from a shot of a woman openin

1092 Glossary noise floor The background noise generated by audio equipment during recording, which inadvertently becomes a part of the recording.non

Glossary 1093 out-of-sync indicator In the Timeline, the symbol that appears at the beginning of a clip when a video item moves out of sync with its

1094 Glossary playhead A navigational element in the Viewer and Canvas scrubber bar and in the Timeline. It corresponds to the frame displayed in the

Glossary 1095 recapture To capture a clip’s media file again. Usually done to eliminate unused material in order to capture only the media files nece

1096 Glossary RGB Abbreviation for Red, Green, and Blue. A color space commonly used on computers in which each color is described by the strength of

Glossary 1097 scene A series of shots that take place at the same time in the same location. A series of scenes make up a program.scratch disk The d

1098 Glossary shuttle To drag the slider on the shuttle control to the right to fast-forward and to the left to rewind. Playback speed varies dependi

Glossary 1099 SOT (sound on tape) Audio recorded on analog or digital video formats (audio and video).soundtrack The audio that accompanies a progra

Contents 11Chapter 30 415 Split Edits415 Learning About Split Edits416 How Split Edits Look in the Viewer and Canvas417 Setting Up Split Edit Points i

110 Part II Learning About the Final Cut Express HD Interface To move the playhead typing outside the Current Timecode field:1 Do one of the follow

1100 Glossary stereo, stereo pair Short for stereophonic, in which audio contains two different channels. Stereo pairs are linked and are always edit

Glossary 1101 sync The relationship between the image of a sound being made in a video clip (for example, a person talking) and the corresponding sou

1102 Glossary timecode gap An area of tape with no timecode at all. Timecode gaps usually signify the end of all recorded material on a tape, but tim

Glossary 1103 trimming (1) Precisely adjusting and defining the In and Out points of a clip. (2) Modifying an edit point in the Timeline by moving it

1104 Glossary Voice Over tool Allows you to record audio in Final Cut Express HD while simultaneously playing back a specified section of a sequence

Glossary 1105 Y´CBCR The color space in which many digital video formats store data. Three components are stored for each pixel—one for luma (Y) and

1107IndexIndex% of Blur setting 6941/4" tip-ring connectors 5751/4" tip-ring-sleeve connectors 5751/8" mini connectors 5753D

1108 Index alpha channelsblack 797changing types of 799, 800described 1078editing clips with 798exchanging media and 801in graphics 767image for

Index 1109 amplitude 582audio attributes 609, 649–650, 747audio sweetening 1015background noise 658bit depth 274, 590bit resolution 1004capturin

9 1119 Timeline BasicsThe Timeline shows a graphical representation of your edited sequence, with all of that sequence’s clips laid out in chrono

1110 Index labels 135linked 121linked items 326, 360, 398, 401–402looping playback 107markers 87, 98, 188, 236, 238, 240matching video for 87, 9

Index 1111 rendering 606, 876, 889stereo pairs and 647viewing in Viewer 650Audio Format option 1006audio formatsexporting QuickTime-compatible f

1112 Index gaps in 387, 388–390height 439inserting sync beeps in 1018–1020invisible 951invisible tracks 315labels 600levels 564linking mono tra

Index 1113 bars and tone 600Bars and Tone generator 578, 851base tracks 307Basic 3D filter 684Basic Border filter 676, 677Basic Motion parameter

1114 Index displaying items in 70dragging audio clips to 436icons in 915–916icon view 74–76illustrated 56importing items in 199–203list view 71

Index 1115 marker controls 188marking controls 175transport controls 174capturing processaborting 949audio levels 598Capture Clip button 185capt

1116 Index backtiming 294, 348, 352–353blending 777, 777–779boundaries 395clip names 180compared to media files 901composite modes 781compress

Index 1117 speed 121speed settings 755–756subclips 47, 257–258subclips. See subclipssynthesized. See generatorstail clips 1101thumbnail display

1118 Index customizing 71–73Command key 611“gearing down” with 378, 480selecting items with 362commandsshortcut buttons 140Comment Column Heading

Index 1119 Crop tool 708, 709Cross Dissolve transition 508, 515, 521cross fades 442, 508, 606, 654, 659cross-platform filenames 50Cross Stretch tr

112 Part II Learning About the Final Cut Express HD Interface This shows several items in the Timeline.This shows the same items as they appear in

1120 Index device controlCapture window controls 174capturing video 181–185described 1083Print to Video command and 965status messages 152video c

Index 1121 duplicating. See copyingdurationclips 395, 499, 769clip speed settings and 752, 757described 950, 1085gaps 390incoming clips 500marker

1122 Index insert with transition edits 332, 335–336, 511keyboard shortcuts 331, 549lift edits 385–387linear editing 35, 1089marker information 2

Index 1123 sequences as QuickTime movies 993–994sequences for DVD 971still images 1009–1011Export QuickTime Movie command 989, 991–994Export Using

1124 Index real-time playback 871rearranging 674removing 651, 675rendering and 606, 878, 892, 894settings 84, 668–669sharpen filters 684stereo p

Index 1125 freeze frames 950, 968, 969, 970moving one frame at a time 107moving playhead to 243, 244Out points and 285playing all 104playing back

1126 Index Hhandles 183audio clips 1020Bezier handles 732, 738, 1079clip handles 283, 510, 528described 1087drag handles 527velocity handles 74

Index 1127 Image Stabilizer filter 686iMovie 984, 996, 1005Implode transition 522importing items 32audio files 204–206vs. capturing 200clips wit

1128 Index Jaz drives 154J-cuts 1088See also split editsJFIF format 199, 987jog control 497in Canvas 93, 98in Capture window 174moving one frame

Index 1129 positioning 695layer masks 795layersimported graphics 767Photoshop files 771, 794, 795layouts 1089L-cuts 1089 See also split edits

Chapter 9 Timeline Basics 113 IIOpening and Closing Sequences in the TimelineIn the Timeline and Canvas, tabs represent sequences. Opening a sequen

1130 Index MM+ pointer 924Mac OS, version of 1071, 1075Mac OS Xshowing and positioning the Dock 62Mac OS X Core Audio 568MacPaint format 199, 987

Index 1131 match-on-action 1091Match option 230Match pop-up menu 230Matrix Wipe transition 522Matte Choker filter 680, 683, 810, 811, 822Matte

1132 Index standard definition (SD) 766mono audio 1091linking 413panning 429in Viewer 432mono audio pairs 606monophonic sound 565Mono tabs 4

Index 1133 NName property 913, 916, 930namesclip names 180clips 916files 901finding items by 368markers 241, 245master clips 930matching when r

1134 Index opacity overlays 125Opacity parameter 693Opacity slider 693, 779Open command 46, 925openingexternal editors 957media files 925opening

Index 1135 Particle Noise generator 850, 852partitionsmultiple 153naming 51passive speakers 570passthrough mode 970Paste Attributes dialog 609,

1136 Index moving in Timeline 970moving markers with 245moving to In and Out points 300moving to markers 243, 244moving to Out point 969navigatin

Index 1137 project files 263prompting for new settings 949redoing changes in 63, 278reopening after power failures 907reopening automatically 948

1138 Index real-time audiofilter adjustments 651mixing 600, 876real-time audio mixing 876, 947, 1071real-time effects 158, 1094display quality 87

Index 1139 disabling 890effects 889indicators 880–882manually 884order of 883preferences 949, 952printing to video and 968reasons for 878reduc

114 Part II Learning About the Final Cut Express HD Interface Learning About the TimelineYou can view the content of your sequences in many differe

1140 Index room tone 426, 446–449, 655, 1016, 1096Rotate filter 684rotationcontrols 671motion parameters 692rotating clips 708, 711rotation handl

Index 1141 in thumbnails 73turning off 435Scrub Video tool 75, 1097SCSI cables 159SCSI disk drives 159SCSI interface cards 159SD (standard defin

1142 Index rendering process and 274, 536–537rendering transitions in 122, 880scrolling through 132scrubbing 127searching for items in 367–368sel

Index 1143 snappingmoving clips with snap points 246playhead to markers 244in scrubber bar 96in Timeline 121, 373–374trimming and 479turning on/o

1144 Index audio cuts and 449–450audio editing tips 425changing simple edits to 418clearing 420described 415examples 421–424modifying 419–420pe

Index 1145 subframe keyframes 616–619, 654subframe syncing 658subpixels 861Subtract compositing mode 784Super 16 format 1100Super 8 format 1100s

1146 Index TIFF format 199, 980, 982, 987, 1009, 1101timecode 1052–1058absolute and relative values 488breaks 1073clip duration and 288compared t

Index 1147 snapping in 373–374solo control 120Source and Destination controls 309–313speed indicators 121static regions for tracks 318–319switchi

1148 Index described 507, 1102displaying 509, 533duration 517–518, 533editing clips after applying 519fade-to-black transitions 514handles and 5

Index 1149 two-pops. See sync beepstwo shots 1103Type property 920Typewriter generator 858UuLaw format 199, 988, 997Ultra 160 SCSI disks 159Ultra

Chapter 9 Timeline Basics 115 IIEditing ControlsThe Timeline editing controls determine which tracks are selected and enabled for editing and playb

1150 Index copying and pasting attributes 674–675, 745–748copying to other projects 925copying to other sequences 539, 540–543currently selected

Index 1151 video equipmentcapturing video with 181–185controlling 152external monitors 161, 162troubleshooting 1070video signals 1042–1044video f

1152 Index resizing clips in 487ripple edits in 465roll edits in 475sequence clips in 396, 551–554sequences in 271setting stereo pan/spread in 6

Index 1153 Wipe transition 522wireframe handles 710–713wireframe mode 1104wireframe modes 707–708handles 708Image+Wireframe mode 707Wireframe mo

116 Part II Learning About the Final Cut Express HD Interface  Lock Track control: Prevents a track’s contents from being moved or changed in any

Chapter 9 Timeline Basics 117 IIÂ Unused area: This is the area either above or below the outermost video and audio tracks in your sequence. Ordin

118 Part II Learning About the Final Cut Express HD Interface  Playhead: The playhead displays the current frame location in a sequence. You can

Chapter 9 Timeline Basics 119 IIÂ Zoom slider: Like the Zoom control, the Zoom slider allows you to zoom in and out of a sequence in the Timeline.

12 Contents458 Performing a Slip Edit Using the Slip Tool459 Performing Precise Slip Edits Numerically461 Using the Ripple Tool to Trim an Edit Withou

120 Part II Learning About the Final Cut Express HD Interface Audio Controls Audio Controls button: Click to display the mute and solo buttons to

Chapter 9 Timeline Basics 121 IIÂ Snapping button: Click to turn snapping on and off. This button appears in the Timeline button bar by default. W

122 Part II Learning About the Final Cut Express HD Interface Real-Time Effects and the Render Status Bar Real-Time Effects (RT) pop-up menu: All

Chapter 9 Timeline Basics 123 IIÂ Clip item render bars: Audio clip items can be rendered individually. Clip items in the Timeline display individ

124 Part II Learning About the Final Cut Express HD Interface  Track layout pop-up menu: You can use this pop-up menu to change some Timeline dis

Chapter 9 Timeline Basics 125 IITrack Display Show Keyframe Overlays: Select this option to display opacity overlays (thin black lines) over your

126 Part II Learning About the Final Cut Express HD Interface About Timeline Display Controls in the TimelineSeveral controls in the Timeline allow

Chapter 9 Timeline Basics 127 IINavigating in the TimelineThere are several ways you can navigate through your sequence in the Timeline:Â Move the

128 Part II Learning About the Final Cut Express HD Interface Using Timecode to Navigate in the TimelineThe Current Timecode field shows the curren

Chapter 9 Timeline Basics 129 IITo zoom in and out of the Timeline using the Zoom slider, do one of the following:m Drag the thumb tabs on either s

Contents 13511 Adding Transitions511 Adding Transitions With Clips You Add to the Timeline512 Quickly Adding the Default Transition to Clips in Your S

130 Part II Learning About the Final Cut Express HD Interface To zoom in and out of the Timeline using the Zoom tools:1 Select the Zoom In or Zoom

Chapter 9 Timeline Basics 131 IITo zoom in and out of the Timeline using menu commands or keyboard shortcuts:1 With either the Canvas or the Timeli

132 Part II Learning About the Final Cut Express HD Interface To fit the entire contents of the Timeline into the available window size:m Press Shi

Chapter 9 Timeline Basics 133 IIScrolling Vertically Through Multiple TracksThe tracks in the Timeline are divided by default into two regions, one

10 13510 Customizing the InterfaceFinal Cut Express HD lets you customize the way you work with windows, rearranging them and creating new layout

136 Part II Learning About the Final Cut Express HD Interface Note: You can also resize and move the Tool Bench window, a window used for speciali

Chapter 10 Customizing the Interface 137 IITo resize multiple windows at the same time:1 Move the pointer over the border between the windows you w

138 Part II Learning About the Final Cut Express HD Interface Choosing a Screen LayoutChoose a layout that maximizes your screen real estate in the

Chapter 10 Customizing the Interface 139 IIWorking With Shortcut Buttons and Button BarsShortcut buttons can be created and placed at the top of th

14 ContentsChapter 39 557 Working With Timecode557 About Timecode in Final Cut Express HD557 Displaying Timecode Affected by Speed Changes558 Clip Tim

140 Part II Learning About the Final Cut Express HD Interface Adding Shortcut Buttons to a Button BarButton bars that you set up are automatically

Chapter 10 Customizing the Interface 141 IIRearranging, Moving, and Copying Shortcut ButtonsNew shortcut buttons are placed to the left or right of

142 Part II Learning About the Final Cut Express HD Interface To remove all shortcut buttons from a button bar:m Control-click any shortcut button

IIIPart III: Setting Up Your Editing SystemDesign the editing system that’s right for you. Read this section to learn how to set up your system, speci

11 14511 Connecting Your EquipmentSetting up Final Cut Express HD to capture DV video is as simple as connecting your camcorder to your computer

146 Part III Setting Up Your Editing System To connect your DV camcorder or VTR to your computer:1 Connect the 4-pin connector on one end of your F

Chapter 11 Connecting Your Equipment 147 IIIChoosing an Easy SetupFinal Cut Express HD comes with several predefined Easy Setups based on the most

148 Part III Setting Up Your Editing System Specifying Scratch Disks for Capturing Video and Storing Render FilesA scratch disk is a hard disk, int

Chapter 11 Connecting Your Equipment 149 III3 To set locations for the waveform and thumbnail cache files and the Autosave Vault folder:a Click Set

Contents 15Chapter 43 593 Audio Levels, Meters, and Output Channels593 About Audio Meters593 Average and Peak Audio Levels594 Average Versus Peak Audi

150 Part III Setting Up Your Editing System When Scratch Disks Become UnavailableScratch disks you’ve set might become unavailable. This can happen

Chapter 11 Connecting Your Equipment 151 IIIWhat Is Device Control?Device control enables communication between your VTR or camcorder and Final Cut

152 Part III Setting Up Your Editing System If the proper connections are made from the VTR to the computer, the VTR begins playing, and you see th

12 15312 Determining Your Hard Disk Storage OptionsTo make the most of your Final Cut Express HD editing system, you need to make appropriate cho

154 Part III Setting Up Your Editing System If your hard disk or its connection to your computer does not support the data rate of your video forma

Chapter 12 Determining Your Hard Disk Storage Options 155 IIICalculating Hard Disk Space RequirementsYou can use the table below to estimate how mu

156 Part III Setting Up Your Editing System Choosing a Hard DiskThe disk that contains your computer’s operating system is called the startup disk

Chapter 12 Determining Your Hard Disk Storage Options 157 IIITypes of Hard Disk DrivesThere are several disk drive technologies you can choose. The

158 Part III Setting Up Your Editing System Serial ATA DisksSerial ATA (SATA) disks are newer than parallel ATA disk drives. The disk drive mechani

Chapter 12 Determining Your Hard Disk Storage Options 159 IIISCSI Disk DrivesSCSI disk drives are among the fastest drives available. SCSI (Small C

16 Contents647 Working With Audio Filters648 Applying Filters to an Audio Clip650 Modifying and Removing Filters651 Making Real-Time Audio Filter Adju

160 Part III Setting Up Your Editing System Using a RAID or Disk ArrayYou can improve the transfer speed of individual disks by configuring multipl

13 16113 External Video MonitoringIt’s best to preview your video on an external video monitor to accurately see how your final program will look

162 Part III Setting Up Your Editing System Connecting DV/FireWire Devices to an External MonitorA FireWire DV setup is one of the most common Fin

Chapter 13 External Video Monitoring 163 IIITo connect an external NTSC or PAL monitor to your edit system to monitor DV video while you edit:1 Con

164 Part III Setting Up Your Editing System About Digital Cinema Desktop Preview OptionsYou choose the Digital Cinema Desktop Preview options in th

Chapter 13 External Video Monitoring 165 IIIDigital Cinema Desktop Preview - Full-ScreenThe video is scaled to maximize its size on the display. If

166 Part III Setting Up Your Editing System Troubleshooting Digital Cinema Desktop PreviewIf you experience trouble when using Digital Cinema Deskt

Chapter 13 External Video Monitoring 167 IIIAbout the Display Quality of External VideoThe display quality of your video depends on several factors

IVPart IV: Capturing and ImportingLearn how to capture video and audio files to your hard disk and import media into your Final Cut Express HD project

Contents 17725 Moving Between Keyframes731 Adjusting All Opacity Keyframes of a Clip731 Smoothing Keyframes With Bezier Handles732 Understanding Bezie

14 17114 Capturing Your Footage to DiskCapturing is the process of transferring footage from your original tapes to media files on the computer h

172 Part IV Capturing and Importing LoggingLogging is the process of transcribing the content of your videotapes. The purpose of logging tapes is t

Chapter 14 Capturing Your Footage to Disk 173 IVTo open the Capture window:m Choose File > Capture (or press Command-8). Preview area: This ar

174 Part IV Capturing and Importing Transport ControlsIf you have device control, use these controls to control your camcorder or deck. The transpo

Chapter 14 Capturing Your Footage to Disk 175 IVMarking ControlsUse these controls to set In and Out points for a clip on tape. Mark In (I): This

176 Part IV Capturing and Importing Logging FieldsYou can use the logging fields to add descriptive information and notes to each clip that you cap

Chapter 14 Capturing Your Footage to Disk 177 IVMarker ControlsAs you log, you can set markers within clips to note significant parts for future re

178 Part IV Capturing and Importing Capture ButtonsYou can use one of the buttons in the Capture window when you’re ready to capture your media. C

Chapter 14 Capturing Your Footage to Disk 179 IVAdditional Tape Label InformationFor some projects, the following label information may also be hel

18 Contents794 Working With Layered Photoshop Files794 What Happens When You Import a Multilayered Photoshop File796 Using Video and Graphics Clips Wi

180 Part IV Capturing and Importing Choosing a Filenaming SchemeBefore you start capturing clips, think about the filenaming scheme you want to use

Chapter 14 Capturing Your Footage to Disk 181 IVRound off 4320 MB to 4.5 GB to be on the safe side. This is the amount of disk space you’ll need to

182 Part IV Capturing and Importing 5 Create or specify a capture bin to store your captured clips:Â To create a new capture bin: Click the New Bi

Chapter 14 Capturing Your Footage to Disk 183 IV8 Navigate to the first frame of the clip you want to capture by doing one of the following:Â Use t

184 Part IV Capturing and Importing 13 Enter naming information for the clip by doing the following:a Enter a brief description in the Description

Chapter 14 Capturing Your Footage to Disk 185 IV14 Select the checkboxes next to the fields you want to include in the name of the clip—Description

186 Part IV Capturing and Importing Here are some reasons to use Capture Now:Â Capturing entire tapes causes less wear on the tapes because you onl

Chapter 14 Capturing Your Footage to Disk 187 IV11 Do one of the following:Â If you are capturing an entire tape: Rewind the tape to the beginning

188 Part IV Capturing and Importing Marker Controls in the Capture WindowClick the disclosure triangle next to Markers to see the marker controls.F

Chapter 14 Capturing Your Footage to Disk 189 IVRecapturing ClipsThe Capture Project feature allows you to capture multiple clips at once. This pro

Contents 19Chapter 57 849 Using Built-in Generated Clips849 What Is a Generator Clip?850 Different Ways to Use Generators in Your Sequence851 Graphica

190 Part IV Capturing and Importing 2 In the Capture Project dialog, specify your settings, then click OK.a In the Capture pop-up menu, choose whet

Chapter 14 Capturing Your Footage to Disk 191 IV6 Insert the selected reel into your camcorder or VTR.Make sure that your equipment is properly con

192 Part IV Capturing and Importing Finding Your Media Files After CaptureThe most common question editors have after capturing is: Where did my m

Chapter 14 Capturing Your Footage to Disk 193 IVThe fastest way to find a media file is to use the corresponding clip in the Browser.To reveal a cl

194 Part IV Capturing and Importing 5 Press Delete.This removes the clip from your project but the media file is still on the disk.Important: Beca

Chapter 14 Capturing Your Footage to Disk 195 IVTo modify the reel name properties for multiple clips and media files:1 Make sure the Reel column i

196 Part IV Capturing and Importing Logging Tapes with Duplicate Timecode NumbersIf you have to log tapes that have duplicate timecode numbers, mak

Chapter 14 Capturing Your Footage to Disk 197 IVÂ During production, pay attention to the position of your tape. Camcorders attempt to create conti

15 19915 Importing Media Files Into Your ProjectFinal Cut Express HD can import almost any media file that QuickTime recognizes, allowing you to

K Apple Computer, Inc.© 2006 Apple Computer, Inc. All rights reserved.The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. an

20 Contents891 Auto-Rendering While You Are Away From Your Computer892 Changing Settings in the Render Control Tab893 Preserving Render Files894 Tips

200 Part IV Capturing and Importing Importing Media FilesYou can import single files, a folder, or a group of folders. If you import a group of fol

Chapter 15 Importing Media Files Into Your Project 201 IVTo import a file or folder:1 In the Browser, select a project or bin where you want to sto

202 Part IV Capturing and Importing  Choose File > Import, then choose File or Folder from the submenu. (To import a file, you can also press C

Chapter 15 Importing Media Files Into Your Project 203 IVAbout Importing Video FilesYou can import any QuickTime-compatible media files into Final

204 Part IV Capturing and Importing To import a QuickTime movie file into Final Cut Express HD, follow the steps in “Importing Media Files” on page

Chapter 15 Importing Media Files Into Your Project 205 IVOther common audio sample rates are:Â 44.1 kHz/16-bit: Audio CDs and consumer DAT recorde

206 Part IV Capturing and Importing Important: DV sequences sometimes use 32 kHz/12-bit settings, but these settings are not recommended. As long

16 20716 Working With HDVFinal Cut Express HD supports capturing, editing, and output of HDV media using the Apple Intermediate Codec.This chapte

208 Part IV Capturing and Importing HDV Formats Supported by Final Cut Express HDWithin the HDV specification, several resolutions and frame rates

Chapter 16 Working With HDV 209 IVTemporal (Interframe) CompressionInstead of storing complete frames, temporal compression stores only what has ch

Contents 21930 Master-Affiliate Clip Properties930 Master Clip Properties931 Affiliate Clip Properties931 Media File PropertiesChapter 65 933 Reconnec

210 Part IV Capturing and Importing HDV Apple Intermediate Codec Editing WorkflowWhen you edit using footage encoded with the Apple Intermediate Co

Chapter 16 Working With HDV 211 IVChoosing an Easy SetupFinal Cut Express HD includes Easy Setups for capturing and editing HDV transcoded to the A

212 Part IV Capturing and Importing 5 In the Capture dialog, enter a name for the clip, then click Capture.The capture preview window appears and t

Chapter 16 Working With HDV 213 IVOutputting HDV to Tape or Exporting to a QuickTime MovieAfter you finish editing, you can output your movie to vi

214 Part IV Capturing and Importing You can also use the Export Using Compressor command to create a high-quality MPEG-2 file for use in DVD Studio

Chapter 16 Working With HDV 215 IVScanning MethodsHDV can record either interlaced or progressive scan images, depending on the frame size and form

216 Part IV Capturing and Importing Video CompressionHDV uses MPEG-2 compression with a constant bit rate (CBR). I-, P-, and B-frames are used, cre

VPart V: Organizing Footage and Preparing to EditOrganizing your footage before you edit makes editing go more smoothly. Read this section to learn ho

17 21917 Organizing Footage in the BrowserAfter capturing media to your scratch disks, you can import clips into a project in the Browser and the

22 ContentsChapter 69 971 Exporting Sequences for DVD971 The DVD Creation Process974 Adding Chapter and Compression Markers to Your Sequence977 Export

220 Part V Organizing Footage and Preparing to Edit Bins are unique to project files. Although they behave similarly to folders on your hard disk,

Chapter 17 Organizing Footage in the Browser 221 VTo create a bin by dragging a folder from your hard disk:1 In the Finder, select the folder you w

222 Part V Organizing Footage and Preparing to Edit Opening Bins in a Separate Window or TabTo preserve space on the screen or to avoid scrolling i

Chapter 17 Organizing Footage in the Browser 223 VTo close a bin that’s open in its own window, do one of the following:m Control-click the bin’s t

224 Part V Organizing Footage and Preparing to Edit To turn a bin in its own window into a tab in the Browser:1 Double-click a bin to open it in it

Chapter 17 Organizing Footage in the Browser 225 VTo close a bin’s tab, do one of the following:m Control-click the tab, then choose Close Tab from

226 Part V Organizing Footage and Preparing to Edit m If the bin in which you want to move items has its own window, drag items to that bin’s windo

Chapter 17 Organizing Footage in the Browser 227 VSorting Items in the Browser Using Column HeadingsClicking column headings in the Browser allows

228 Part V Organizing Footage and Preparing to Edit Searching for Clips in the BrowserFinal Cut Express HD provides a number of options for searchi

Chapter 17 Organizing Footage in the Browser 229 VOptions for Defining the Scope of a SearchWhen you are searching for clips, you may sometimes wan

Contents 23Part XIII AppendixesAppendix A 1025 Video Formats1025 Characteristics of Video Formats1026 Storage Medium1026 Tape Size, Cassette Shape, an

230 Part V Organizing Footage and Preparing to Edit Options for Defining the Criteria of a Search More: Click this to refine your search by addin

Chapter 17 Organizing Footage in the Browser 231 VSearching for Items in the BrowserYou can search in all open projects or restrict your search to

232 Part V Organizing Footage and Preparing to Edit Searching for Multiple Items in the BrowserYou can also do a search to find multiple clips at o

Chapter 17 Organizing Footage in the Browser 233 V5 Click Find All.Manipulating Items in the Find Results WindowWhen you do a search for multiple i

234 Part V Organizing Footage and Preparing to Edit To modify an item property for a group of found clips:1 Perform a Find All search.See “Searchin

18 23518 Using MarkersMarkers are reference points you can place within clips or sequences to identify specific frames. You can use them for a va

236 Part V Organizing Footage and Preparing to Edit You can also include markers in QuickTime movies you export. You can:Â Export chapter markers f

Chapter 18 Using Markers 237 VMarkers in clips and sequences are visually different. Â Clip markers appear on individual clips in the Viewer and Ti

238 Part V Organizing Footage and Preparing to Edit  Scoring marker: These markers are used for marking important visual cues to sync music to. T

Chapter 18 Using Markers 239 VBy default, Final Cut Express HD creates a Note marker. The first marker you add is named Marker 1, the second Marker

24 ContentsAppendix D 1069 Solving Common Problems1069 Resources for Solving Problems1070 Solutions to Common Problems1075 Contacting AppleCare Suppor

240 Part V Organizing Footage and Preparing to Edit To quickly add a marker to a sequence clip in the Timeline:1 In the Timeline, do one of the fol

Chapter 18 Using Markers 241 VAdding Markers Along With Detailed Information About ThemIf you like, you can name a marker, add comments, and choose

242 Part V Organizing Footage and Preparing to Edit Adding Chapter, Compression, and Scoring MarkersChapter, compression, and scoring markers can b

Chapter 18 Using Markers 243 VTo delete specific markers in a sequence:1 In the Canvas or Timeline, move the playhead to the sequence marker you wa

244 Part V Organizing Footage and Preparing to Edit To move the playhead to a clip or sequence marker in the Timeline, do one of the following:m Dr

Chapter 18 Using Markers 245 V4 In the Edit Marker dialog, do any of the following, then click OK. In the Name field, rename the marker. In the C

246 Part V Organizing Footage and Preparing to Edit To move a marker in a clip by entering a new timecode value:1 In the Viewer, do one of the foll

Chapter 18 Using Markers 247 VTo align markers in sequence clip items to a sequence marker:1 Add markers to important frames of individual video an

248 Part V Organizing Footage and Preparing to Edit Extending a Marker’s DurationWhen you create a marker in Final Cut Express HD, it is simply a m

Chapter 18 Using Markers 249 VTo shorten a marker that has a duration:1 Position the playhead within the duration of the marker.2 Do one of the fol

25PrefaceFinal Cut Express HD Documentation and ResourcesYou can use Final Cut Express HD to create movies of any budget, style, and format. Fin

19 25119 Creating SubclipsLengthy media files can be unwieldy for editing. If you capture an entire tape as a single media file, you can break th

252 Part V Organizing Footage and Preparing to Edit Final Cut Express HD places new subclips in the same Browser bin as the original clip they came

Chapter 19 Creating Subclips 253 VRemoving Subclip LimitsA subclip, just like a clip, refers to a media file on your scratch disk. The difference b

254 Part V Organizing Footage and Preparing to Edit Manually Breaking Large Clips Into SubclipsThere are a few ways you can create subclips in Fina

Chapter 19 Creating Subclips 255 V3 Do one of the following: Drag the markers outside of the clip and into the Browser. Choose Modify > Make S

256 Part V Organizing Footage and Preparing to Edit The duration of a subclip can also be defined by a marker with extended duration. For more info

Chapter 19 Creating Subclips 257 VAutomatically Creating Subclips Using DV Start/Stop DetectionDV formats allow you to create subclips automaticall

258 Part V Organizing Footage and Preparing to Edit 6 Drag in the Browser to select all the markers.7 Choose Modify > Make Subclip.Note: If you

VIPart VI: Rough EditingLearn the basics of adding, arranging, and synchronizing clips in a sequence to create a rough edit of your movie.Chapter 20

26 Preface Final Cut Express HD Documentation and Resources Onscreen User Manual The Final Cut Express HD User Manual provides comprehensive

20 26120 Working With Projects, Clips, and SequencesA project file contains everything you need to make your completed movie: clips, bins to org

262 Part VI Rough Editing Working With ProjectsBefore you can even capture media, import clips into your project, and edit the clips into one or mo

Chapter 20 Working With Projects, Clips, and Sequences 263 VIÂ Time Mode pop-up menu: Choose whether all clips in the active project are displayed

264 Part VI Rough Editing Returning to Saved ProjectsTwo commands in the File menu can be used to open previously saved files—Revert Project and Re

Chapter 20 Working With Projects, Clips, and Sequences 265 VILearning About the Different Types of ClipsThere are several kinds of clips in Final C

266 Part VI Rough Editing About Offline ClipsIf a media file is modified, moved, or deleted, the Final Cut Express HD clip that connects to that me

Chapter 20 Working With Projects, Clips, and Sequences 267 VIChanging Clip Properties in the BrowserBeing able to change clip properties directly i

268 Part VI Rough Editing Viewing and Changing Clip Properties in the Item Properties WindowIf you find yourself constantly scrolling through the B

Chapter 20 Working With Projects, Clips, and Sequences 269 VIChanging the Properties of Affiliate ClipsBecause master clips and their affiliate cli

IPart I: An Introduction to Final Cut Express HDFind out how Final Cut Express HD fits into the moviemaking process and learn about fundamental concep

270 Part VI Rough Editing Creating and Working With SequencesA sequence is a container for editing clips together in chronological order. A sequenc

Chapter 20 Working With Projects, Clips, and Sequences 271 VIOpening and Closing SequencesYou can only edit clips into a sequence when it is open i

272 Part VI Rough Editing Duplicating a SequenceIf you want to test changes to your edited sequence that are more extensive than a few levels of Un

Chapter 20 Working With Projects, Clips, and Sequences 273 VITo copy a sequence from one project to another by dragging:1 Open the second project.T

274 Part VI Rough Editing When Rendering Is RequiredRendering slows down the creative editing process, so people try to avoid it at all costs. If y

21 27521 The Fundamentals of Adding Clips to a SequenceOnce your clips are captured and organized to your satisfaction in the Browser, you can be

276 Part VI Rough Editing Step 2: Arrange contentThis is where you assemble the clips in the Timeline into the order you want by selecting, moving

Chapter 21 The Fundamentals of Adding Clips to a Sequence 277 VIVideo and audio clip items can be linked or unlinked at any time. For more informat

278 Part VI Rough Editing Undoing and Redoing ActionsAs you begin to edit in Final Cut Express HD, rest easy with the knowledge that you can undo a

Chapter 21 The Fundamentals of Adding Clips to a Sequence 279 VIDrag-to-Timeline EditingThe faster, less precise way of editing content into a sequ

280 Part VI Rough Editing However, if you set In and Out points in a sequence and an In point in your source clip, the Out point of the source clip

Chapter 21 The Fundamentals of Adding Clips to a Sequence 281 VISorting to Create a Sequence OrderThe ability to sort by column information in the

282 Part VI Rough Editing Goes into your sequence like this:To create a storyboard in the Browser:1 Control-click in the Browser, then choose View

22 28322 Setting Edit Points for Clips and SequencesTo specify where a clip should be placed in your sequence, and to select a section of a clip

284 Part VI Rough Editing Learning About the Out Point Inclusive RuleBefore you begin to set In and Out points, it’s important to understand the “O

Chapter 22 Setting Edit Points for Clips and Sequences 285 VIThings to Keep in Mind When Setting an Out PointWhen you want to mark the duration of

286 Part VI Rough Editing To avoid accidentally selecting the first frame of the next clip, do one of the following:m Press the Back Arrow key once

Chapter 22 Setting Edit Points for Clips and Sequences 287 VITo set an In or Out point for a clip in the Viewer:1 Double-click the clip to open it

288 Part VI Rough Editing Specifying an Edit Point Using TimecodeAfter setting an In point, if you want a clip to have a specific duration, you can

Chapter 22 Setting Edit Points for Clips and Sequences 289 VISetting In and Out Points to Include a Whole ClipIf you decide that you want to set In

1 291 About the Post-Production WorkflowNo matter what your project, Final Cut Express HD is the cornerstone of your post-production workflow.Thi

290 Part VI Rough Editing To get a quick sense of what material is around a specific point in your clip, you can use the Play Around Current Frame

Chapter 22 Setting Edit Points for Clips and Sequences 291 VIOptions for Setting Sequence In and Out PointsYou have several options when setting se

292 Part VI Rough Editing When No Sequence In or Out Points Are SetIf you don’t set any In or Out points in the Canvas or Timeline, Final Cut Expre

Chapter 22 Setting Edit Points for Clips and Sequences 293 VIWhen You Set One Sequence In or Out PointIf you set only one In or Out point, that poi

294 Part VI Rough Editing  If you set a sequence Out point, the Out point of the source clip is placed at the sequence Out point, and the clip is

Chapter 22 Setting Edit Points for Clips and Sequences 295 VIWhen You Set Both Sequence In and Out Points Setting both sequence In and Out points l

296 Part VI Rough Editing Setting Sequence In and Out PointsYou can set sequence In and Out points in the Canvas or Timeline. The In and Out points

Chapter 22 Setting Edit Points for Clips and Sequences 297 VISetting In and Out Points to Match a Clip or GapWhen you want to replace one clip with

298 Part VI Rough Editing 3 Do one of the following to set In and Out points: Press X. Click the Mark Clip button in the Canvas. Choose Mark >

Chapter 22 Setting Edit Points for Clips and Sequences 299 VITo set In and Out points based on the current selection in the Timeline:1 Select clip

3 1 Contents Preface 25 Final Cut Express HD Documentation and Resources25 Getting Started 25 Onscreen Help 26 Apple Websites Part I An Introd

30 Part I An Introduction to Final Cut Express HD Step 4: Post-ProductionPost-production is where you organize and assemble your production footag

300 Part VI Rough Editing Navigating to In and Out PointsOften, you’ll want to position the playhead at the beginning or end of a specific clip, ma

Chapter 22 Setting Edit Points for Clips and Sequences 301 VIMoving In and Out PointsYou can always change clip In and Out points by simply setting

302 Part VI Rough Editing To slip both the In and Out points together, do one of the following:m Hold down the Shift key, then drag the In or Out p

Chapter 22 Setting Edit Points for Clips and Sequences 303 VIClearing In and Out PointsIf you want to eliminate one or both edit points to start ov

23 30523 Working With Tracks in the TimelineIn the Timeline, you view your clips horizontally (in chronological order) and also vertically (stack

306 Part VI Rough Editing Adding TracksYou can add tracks to a sequence at any time. You can add tracks one at a time, or you can add multiple vide

Chapter 23 Working With Tracks in the Timeline 307 VITo add multiple tracks to a sequence:1 Choose Sequence > Insert Tracks.2 In the Insert Trac

308 Part VI Rough Editing Deleting TracksYou can delete tracks from a sequence at any time. You can delete tracks one at a time, or you can delete

Chapter 23 Working With Tracks in the Timeline 309 VISpecifying Destination Tracks in the TimelineWhen you edit a source clip into a sequence, you

Chapter 1 About the Post-Production Workflow 31 IHere is an overview of the basic Final Cut Express HD post-production workflow. As you begin your

310 Part VI Rough Editing Setting Destination TracksTo control which sequence track a source clip item is placed in, you connect the Source control

Chapter 23 Working With Tracks in the Timeline 311 VIChanging Source and Destination Control ConnectionsYou can change source and destination track

312 Part VI Rough Editing Disconnected Source controls remain disconnected even when you open a new clip in the Viewer. This is true even if the cl

Chapter 23 Working With Tracks in the Timeline 313 VIResetting Destination Tracks to the Default StateYou can reset Source or Destination controls

314 Part VI Rough Editing Locking Tracks to Prevent Edits or ChangesIf you want to set one or more tracks as temporarily “off limits” to edits or c

Chapter 23 Working With Tracks in the Timeline 315 VIDisabling Tracks to Hide Content During PlaybackYou can disable entire tracks to hide their co

316 Part VI Rough Editing Customizing Track Display in the TimelineYou can modify the way tracks are displayed in the Timeline in several ways:Â Tr

Chapter 23 Working With Tracks in the Timeline 317 VITo resize all video or all audio tracks at once:m Hold down the Option key, then drag a track

318 Part VI Rough Editing Creating a Static Region in the TimelineIf you are working with more tracks than you can see on the screen at once, and y

Chapter 23 Working With Tracks in the Timeline 319 VITo resize a static region in the Timeline:m Drag the dividers or thumb tabs to include tracks

32 Part I An Introduction to Final Cut Express HD Step 1: PlanningPlanning is where you choose your basic workflow, such as offline and online edi

24 32124 Drag-to-Timeline EditingDrag-to-Timeline editing is a quick, intuitive way to move clips from the Browser or Viewer into your sequence.T

322 Part VI Rough Editing In drag-to-Timeline editing, only two steps are involved:Step 1: Set clip In and Out points in the ViewerHere you specif

Chapter 24 Drag-to-Timeline Editing 323 VITo edit multiple clips into a sequence at the same time:1 Select the group of clips you want to edit into

324 Part VI Rough Editing To drag a clip from the Video tab in the Viewer, click anywhere in the video picture in the Viewer and drag. To drag a cl

Chapter 24 Drag-to-Timeline Editing 325 VITo do an insert edit:m Drag the clip to the upper third of a track in the Timeline.To do an overwrite edi

326 Part VI Rough Editing Automatically Adding Tracks to Your Sequence While DraggingYou can drag a source clip to the unused space above or below

Chapter 24 Drag-to-Timeline Editing 327 VIFor example, suppose you have a clip that contains a video clip item and two audio clip items. If you dra

25 32925 Three-Point EditingWhen you’re adding content to a sequence with three-point editing, you only need to set three edit points to tell Fin

Chapter 1 About the Post-Production Workflow 33 IStep 4: EditingThe editing process involves taking the video and audio you’ve captured, along wit

330 Part VI Rough Editing Basic three-point editing follows several main steps:Step 1: Set clip In and Out points in the ViewerSpecify which part

Chapter 25 Three-Point Editing 331 VIDragging to the Edit Overlay in the CanvasWhen you drag a clip from the Browser or Viewer to the image area of

332 Part VI Rough Editing About Edit Types in the Edit OverlayThere are seven choices for placing clips into your sequence for three-point edits. T

Chapter 25 Three-Point Editing 333 VIPerforming the Different Types of EditsThe following section tells you how to perform the most common types of

334 Part VI Rough Editing To perform an insert edit:m Specify the necessary edit points and destination tracks, then do one of the following:Â Drag

Chapter 25 Three-Point Editing 335 VIPerforming an Insert With Transition EditThe insert with transition edit is a quick way to do an insert edit t

336 Part VI Rough Editing The source clip is inserted into the sequence with the default transition.Performing an Overwrite EditSince this is the m

Chapter 25 Three-Point Editing 337 VITo perform an overwrite edit:m Specify the necessary edit points and destination tracks, then do one of the fo

338 Part VI Rough Editing Performing an Overwrite With Transition EditThe overwrite with transition edit is a quick way to do an overwrite edit tha

Chapter 25 Three-Point Editing 339 VIThe clip overwrites other items on the destination tracks for the duration of the edit, and uses the default t

340 Part VI Rough Editing Replace edits follow a few special rules:Â Replace edits use the current playhead positions in the Timeline and the Viewe

Chapter 25 Three-Point Editing 341 VITo replace an entire clip in the Timeline with a clip synchronized to a point in the sequence:1 In the Timelin

342 Part VI Rough Editing To use a replace edit to resync a video clip to an audio clip in another track:1 In the Timeline, choose Mark > Clear

Chapter 25 Three-Point Editing 343 VI4 Without moving the Timeline playhead, press the F key to perform a match frame operation.This opens the mast

344 Part VI Rough Editing Important: Make sure that the clip in the Viewer contains enough media on either side of the playhead to fill the durati

Chapter 25 Three-Point Editing 345 VI5 Do one of the following:Â Drag the clip from the Viewer to the Replace section of the Edit Overlay in the Ca

346 Part VI Rough Editing Superimposing ClipsIn some cases, you may want to place one clip directly above another clip in a different track. This i

Chapter 25 Three-Point Editing 347 VI3 Do one of the following:Â Drag the clip from the Viewer to the Superimpose section of the Edit Overlay in th

348 Part VI Rough Editing Three-Point Editing ExamplesThere are a few key things to keep in mind when you are doing three-point editing:The followi

Chapter 25 Three-Point Editing 349 VI3 In the Canvas or Timeline, move the playhead to the location in your sequence where you want the clip to sta

2 352 Video Formats and TimecodeBefore you begin editing, you need to decide what video format you will capture, edit, and output. The format you

350 Part VI Rough Editing Example: Editing a Clip Into a Gap in Your SequenceYou can also do the reverse of the previous editing example. Suppose

Chapter 25 Three-Point Editing 351 VI4 Choose Mark > Mark Clip (or press X) to set In and Out points around the gap.Note: You must select the A

352 Part VI Rough Editing Example: Backtiming a Clip Into Your SequenceInstead of editing a clip into your sequence using clip In and Out points i

Chapter 25 Three-Point Editing 353 VI4 If you do an overwrite edit, you’ll see that your clip has been edited into the sequence so that the Out poi

354 Part VI Rough Editing 2 In the Timeline, move the playhead to the location in your sequence where you want the clip to start (the sequence In p

26 35526 Finding and Selecting Content in the TimelineWhen you want to arrange, copy, delete, or otherwise manipulate items in a sequence, the fi

356 Part VI Rough Editing Identifying Selections in the TimelineWhen you click a clip in the Timeline, it’s highlighted to indicate it’s selected.E

Chapter 26 Finding and Selecting Content in the Timeline 357 VIHow Selections Are Prioritized in the TimelineWith the exception of editing clips in

358 Part VI Rough Editing The following cannot be selected in the Timeline:Â Filter and motion bars and their keyframes: You can double-click a ba

Chapter 26 Finding and Selecting Content in the Timeline 359 VIÂ Group Selection: Selects multiple contiguous items. This tool automatically selec

36 Part I An Introduction to Final Cut Express HD Video Formats Compatible With Final Cut Express HDLong before editing begins, the most basic deci

360 Part VI Rough Editing Selecting ClipsSelecting individual clips is as straightforward as clicking, as long you are clicking with the right tool

Chapter 26 Finding and Selecting Content in the Timeline 361 VISelecting a Group of Clips by DraggingSometimes the fastest way to select a group of

362 Part VI Rough Editing Selecting Multiple ClipsThe Shift and Command keys allow you to select multiple clip items in the Timeline, either contig

Chapter 26 Finding and Selecting Content in the Timeline 363 VISelecting a Range of Timeline ContentWhen you want to copy, cut, or move an area of

364 Part VI Rough Editing Selecting All Clip Items on a TrackSometimes you may find that you want to select all of the clip items on a track in ord

Chapter 26 Finding and Selecting Content in the Timeline 365 VITo select all clip items after a specified item on a single track:1 Do one of the fo

366 Part VI Rough Editing 2 Click the first clip item on any track that you want to include in the selection.All clip items in all tracks from the

Chapter 26 Finding and Selecting Content in the Timeline 367 VISelecting or Deselecting All Clips in a SequenceTo move or delete all clip items, yo

368 Part VI Rough Editing 4 Enter the text or timecode number you want to search for.5 Choose the type of item to search for from the Search pop-up

Chapter 26 Finding and Selecting Content in the Timeline 369 VISelecting a Vertical Range Between In and Out PointsWhen you want to copy, move, or

Chapter 2 Video Formats and Timecode 37 IVideo StandardsA number of video standards have emerged over the years. Standard definition (SD) video for

370 Part VI Rough Editing Using Auto Select to Specify Tracks for SelectionsAuto Select controls determine which tracks are affected by an operatio

Chapter 26 Finding and Selecting Content in the Timeline 371 VIIf you press the Delete key, only the items on track V1 are deleted.To enable or dis

372 Part VI Rough Editing To enable Auto Select on one track while simultaneously disabling Auto Select on all other tracks:m Option-click the Auto

27 37327 Arranging Clips in the TimelineAfter initial content has been added to the Timeline, the next part of the rough editing phase is assembl

374 Part VI Rough Editing Several elements trigger snapping in the Timeline: Clip boundaries The playhead Markers Keyframes In and Out pointsW

Chapter 27 Arranging Clips in the Timeline 375 VIMoving Items Within the TimelineComposing a sequence usually involves plenty of arranging and rear

376 Part VI Rough Editing To move a clip to a new position by dragging (and do an insert edit):1 In the Timeline, drag the clip to the desired loca

Chapter 27 Arranging Clips in the Timeline 377 VI3 Press Return.The clip moves to the new location if there aren’t any other clip items in the way.

378 Part VI Rough Editing Performing Shuffle EditsA shuffle edit (sometimes referred to as a swap edit) allows you to move a clip item to a differe

Chapter 27 Arranging Clips in the Timeline 379 VITo shuffle a clip item from one position to another:1 Select a clip item you want to move in the T

38 Part I An Introduction to Final Cut Express HD Frame RateThe frame rate of your video determines how quickly frames are recorded and played back

380 Part VI Rough Editing 4 Release the mouse button to place the selected clip at the insertion point.Important: Shuffle edits are only possible

Chapter 27 Arranging Clips in the Timeline 381 VIModifying Selections and Commands Using the Option KeyWhen you’re working with clips in the Timeli

382 Part VI Rough Editing Copying, Cutting, and Pasting Clips in the TimelineWhen you copy and paste clip items from tracks in the Timeline, Final

Chapter 27 Arranging Clips in the Timeline 383 VITo copy (or cut) and paste clip items from one Timeline track to another:1 Select one or more clip

384 Part VI Rough Editing Example: Copying and Pasting Audio and Video Clip Items to Different Tracks in the TimelineTo copy and paste clip items

Chapter 27 Arranging Clips in the Timeline 385 VIDeleting Clips From a SequenceAs you edit, you can delete items from your sequence at any time, pr

386 Part VI Rough Editing 3 Do one of the following: Choose Sequence > Lift. Choose Edit > Cut (or press Command-X) to cut the material, if

Chapter 27 Arranging Clips in the Timeline 387 VITo delete a clip item and close the gap left behind:1 Select the item or range of items you want t

388 Part VI Rough Editing There are two types of gaps: Track gaps: These are empty spaces between two clips in the same track. Gaps: These are

Chapter 27 Arranging Clips in the Timeline 389 VITo close a gap, do one of the following:m Position the playhead anywhere within the gap, then choo

3 393 Understanding Projects, Clips, and SequencesThe basic elements in Final Cut Express HD are projects, clips, and sequences. Once you learn w

390 Part VI Rough Editing To determine the duration of a track gap in the Timeline:1 Option-click the Auto Select control for the track with the ga

28 39128 Cutting Clips and Adjusting DurationsOnce you’ve assembled clips in your sequence, you can easily cut them and adjust their durations.Th

392 Part VI Rough Editing  Razor Blade: Adds an edit point to a sequence clip by cutting a single clip item, along with any clip items linked to

Chapter 28 Cutting Clips and Adjusting Durations 393 VIÂ Razor Blade All: Cuts all clip items on all tracks at the point where you click in the Ti

394 Part VI Rough Editing Joining Through Edits (Splicing Cut Clips Back Together)Whenever you cut a clip item with the razor blade tool, the clip

Chapter 28 Cutting Clips and Adjusting Durations 395 VIChanging the Duration of Clips in the TimelineClips are represented in the Timeline as horiz

396 Part VI Rough Editing Opening Sequence Clips in the Viewer to Change DurationsYou can open a sequence clip in the Viewer to adjust its duration

29 39729 Linking and Editing Video and Audio in Sync Final Cut Express HD allows you to adjust the synchronization relationship between video and

398 Part VI Rough Editing When video and audio clip items are linked in the Timeline:Â The names of the linked clip items are underlined to indicat

Chapter 29 Linking and Editing Video and Audio in Sync 399 VIAn out-of-sync indicator appears whenever the following conditions occur:Â Audio and v

4 Contents Chapter 5 65 Browser Basics65 How You Use the Browser 66 Learning About the Browser 67 Working in the Browser 69 Using Columns in the Brow

40 Part I An Introduction to Final Cut Express HD What Are Clips?Once you have media files on your hard disk, you need a way of working with them i

400 Part VI Rough Editing This also works with multiple instances of clips from the same media file on disk. For example, suppose you have three it

Chapter 29 Linking and Editing Video and Audio in Sync 401 VIUnderstanding Sync Relationships Between Multiple Linked Audio ItemsUp to 24 audio ite

402 Part VI Rough Editing If you then move a second pair of audio items out of sync by a different amount, each audio item that is out of sync from

Chapter 29 Linking and Editing Video and Audio in Sync 403 VITo link unrelated clip items in the Timeline:1 Arrange audio and video clip items in t

404 Part VI Rough Editing 3 Choose Modify > Link (or press Command-L).Note: When you open linked items in the Viewer, each linked mono audio cl

Chapter 29 Linking and Editing Video and Audio in Sync 405 VISelecting Individual Clip Items While They Are LinkedEven when clip items are linked t

406 Part VI Rough Editing Getting Clip Items Back in SyncThere are three ways to get clip items with out-of-sync indicators back into sync:Â Move t

Chapter 29 Linking and Editing Video and Audio in Sync 407 VIIf the item is an anchor item (either the sole video item among linked items, or the t

408 Part VI Rough Editing Slipping a Clip Item Into SyncThis operation leaves the out-of-sync clip item in the same position in your sequence, but

Chapter 29 Linking and Editing Video and Audio in Sync 409 VIMoving or Slipping All Clip Items Into Sync at OnceIn cases where multiple audio items

Chapter 3 Understanding Projects, Clips, and Sequences 41 IWhat Are Sequences?A sequence is a container for editing clips together in chronological

410 Part VI Rough Editing To slip all out-of-sync clip items into sync with the anchor item:1 In the Timeline, Control-click the out-of-sync indica

Chapter 29 Linking and Editing Video and Audio in Sync 411 VIEstablishing a Different Sync Relationship Between Linked Clip Items There are many re

412 Part VI Rough Editing 2 Choose Modify > Mark in Sync.The items are now marked as in sync, although their positions in the Timeline haven’t c

Chapter 29 Linking and Editing Video and Audio in Sync 413 VILearning About Linking Behavior in Audio Channel PairsIn addition to linking video or

30 41530 Split EditsWhen video and audio are cut at the same time, the edit is usually more noticeable. Split edits help to “soften” edits by cre

416 Part VI Rough Editing The resulting edit would look something like this:Split edits can be used in many different situations—in dialogue scenes

Chapter 30 Split Edits 417 VIAs with other types of edits, the Viewer scrubber bar shows edit points in your clip, while the Canvas scrubber bar sh

418 Part VI Rough Editing The resulting combination of video and audio edit points in your scrubber bar should look something like this:Once you’ve

Chapter 30 Split Edits 419 VIModifying and Clearing Split EditsIf you’ve set up a split edit, but you want to adjust or remove any of the edit poin

42 Part I An Introduction to Final Cut Express HD What Are Projects?A project contains all of the clips and sequences you use while editing your mo

420 Part VI Rough Editing The positions of the different edit points you’ve selected don’t change relative to one another, but the selected area of

Chapter 30 Split Edits 421 VISplit Edit ExamplesThe result of your split edit depends on the edit points you set. This section provides several exa

422 Part VI Rough Editing 4 Drag the clip in the Viewer to the Overwrite section of the Edit Overlay in the Canvas.The resulting edit looks like th

Chapter 30 Split Edits 423 VI4 Drag the clip in the Viewer to the Overwrite section of the Edit Overlay in the Canvas.The resulting edit looks like

424 Part VI Rough Editing 4 Drag the clip in the Viewer to the Overwrite section of the Edit Overlay in the Canvas.The resulting edit looks like th

31 42531 Audio Editing BasicsGood audio edits are usually subtle and go unnoticed by the listening audience. After you assemble your video and au

426 Part VI Rough Editing Besides making clean-sounding cuts, there are other reasons to edit the audio in your sequence separately from the video.

Chapter 31 Audio Editing Basics 427 VIUsing Waveform Displays to Help You Edit AudioAs you work in Final Cut Express HD, waveform displays can be v

428 Part VI Rough Editing Use the J, K, and L keys to shuttle through your clips, and learn to listen for the edit points you want. Once you have s

Chapter 31 Audio Editing Basics 429 VIYou can also adjust the volume by typing a number in the dB field to the right of the Level slider. The numbe

Chapter 3 Understanding Projects, Clips, and Sequences 43 IWhat Are Bins?A bin is a folder within a project that can contain clips and sequences, a

430 Part VI Rough Editing  Ruler: When you’re looking at the contents of an audio tab in the Viewer, you’ll see two playheads, both of which are

Chapter 31 Audio Editing Basics 431 VIEditing Audio in the ViewerYou can use the Viewer’s audio tabs to edit the audio of a clip opened from the Br

432 Part VI Rough Editing Viewing Audio Tracks in the ViewerClips with multiple audio items have a separate tab for each mono audio item or pair of

Chapter 31 Audio Editing Basics 433 VIThe scrubber bar in the Viewer always represents the entire duration of the clip in the Viewer. The ruler abo

434 Part VI Rough Editing To zoom in and out of the audio waveform using keyboard shortcuts or menu commands:1 Move the playhead to the position in

Chapter 31 Audio Editing Basics 435 VIUsing the J, K, and L Keys to Hear Subtle DetailsWhen an audio clip is displayed in the Viewer, you hear a fr

436 Part VI Rough Editing Dragging an Audio Clip to the Canvas, Browser, or TimelineTo move an audio clip from the Viewer to the Canvas, Timeline,

Chapter 31 Audio Editing Basics 437 VITo trim a sequence audio clip item in the Viewer:1 Disable linked selection by doing one of the following:Â I

438 Part VI Rough Editing Editing Audio in the TimelineAfter editing a number of clips into a sequence, you can further trim the audio clips direct

Chapter 31 Audio Editing Basics 439 VITurning off audio waveforms speeds up the time it takes to redraw the clips in the Timeline, which can improv

44 Part I An Introduction to Final Cut Express HD Organizing Your ProjectsTypically, you create a new project file for each movie you work on, rega

440 Part VI Rough Editing Zooming In and Out of Waveforms in the TimelineThere are several ways you can zoom in and out of waveform displays in the

Chapter 31 Audio Editing Basics 441 VIMoving Audio Items From One Track to Another at the Same FrameFrom time to time, you’ll want to move an audio

442 Part VI Rough Editing Using Audio Transitions to Smooth Audible ChangesSometimes, a cut in the audio will be quite noticeable despite your best

Chapter 31 Audio Editing Basics 443 VIIf the clip items you want to make into a stereo pair have different durations, the clip items are trimmed to

444 Part VI Rough Editing Working With Audio at the Subframe LevelWhile the smallest unit of video is a single frame, the smallest adjustable unit

Chapter 31 Audio Editing Basics 445 VITo slip an audio clip item by subframe units:1 Open a clip with both video and audio items in the Viewer, the

446 Part VI Rough Editing Examples of Ways to Easily Edit AudioAs you work with audio, you may find it helpful to read through these two examples o

Chapter 31 Audio Editing Basics 447 VITo create a section of room tone from a short pause:1 Find the longest pause you can in the dialogue clip wit

448 Part VI Rough Editing 5 Play the resulting clips. The looping sound should be gone, but if you hear a clicking at the edit point between the tw

Chapter 31 Audio Editing Basics 449 VI3 Move the Canvas or Timeline playhead to the In point.4 Drag your Room Tone sequence into the Viewer, and mo

Chapter 3 Understanding Projects, Clips, and Sequences 45 ITo create a new project:m Choose File > New Project. A new, untitled project appears

450 Part VI Rough Editing 1 Disable linked selection by doing one of the following:Â Click the Linked Selection button (or press Shift-L) so that i

VIIPart VII: Fine-Tuning Your EditLearn how to refine your edit by using trimming tools, adding transitions, and nesting sequences within sequences.Ch

32 45332 Performing Slip, Slide, Ripple, and Roll EditsOnce your rough edit is complete, you will want to fine-tune your edit. The advanced editi

454 Part VII Fine-Tuning Your Edit You can achieve the same results using the Selection tool, but with the Selection tool you sometimes create gap

Chapter 32 Performing Slip, Slide, Ripple, and Roll Edits 455 VIIPerforming Slide Edits by DraggingSelecting a clip with the Slide tool and draggin

456 Part VII Fine-Tuning Your Edit Performing Precise Slide Edits NumericallyIf you need to slide a clip just two or three frames, using the mouse

Chapter 32 Performing Slip, Slide, Ripple, and Roll Edits 457 VIISlipping Clips in the TimelinePerforming a slip edit does not change a clip’s posi

458 Part VII Fine-Tuning Your Edit Performing a Slip Edit Using the Slip ToolYou can perform slip edits in the Viewer or the Timeline.To perform a

Chapter 32 Performing Slip, Slide, Ripple, and Roll Edits 459 VII3 Release the mouse button when the clip is positioned at a range of frames that y

46 Part I An Introduction to Final Cut Express HD Opening and Closing ProjectsYou can open and work on more than one project at a time. When you fi

460 Part VII Fine-Tuning Your Edit Note: You can specify the default number of frames to trim by changing the Multi-Frame Trim Size setting in the

Chapter 32 Performing Slip, Slide, Ripple, and Roll Edits 461 VIIUsing the Ripple Tool to Trim an Edit Without Leaving a GapA ripple edit adjusts a

462 Part VII Fine-Tuning Your Edit Performing Ripple EditsA ripple edit changes the duration of a clip item by shortening or extending its In or Ou

Chapter 32 Performing Slip, Slide, Ripple, and Roll Edits 463 VIIPerforming a Ripple Edit in the TimelineWhen you use the Ripple tool to adjust the

464 Part VII Fine-Tuning Your Edit To do a ripple edit in the Timeline:1 Select the Ripple tool in the Tool palette (or press the R key twice).2 Se

Chapter 32 Performing Slip, Slide, Ripple, and Roll Edits 465 VIIAll clip items after the edit point move either left or right to accommodate the n

466 Part VII Fine-Tuning Your Edit About Ripple Edits and Sync Relationships of Clip Items on Other TracksWhen you perform ripple edits, it is fair

Chapter 32 Performing Slip, Slide, Ripple, and Roll Edits 467 VIIIn the example below, Final Cut Express HD won’t allow you to perform a ripple edi

468 Part VII Fine-Tuning Your Edit Doing Ripple Edits on Multiple Tracks at OnceYou can perform a ripple edit to edit points in multiple tracks to

Chapter 32 Performing Slip, Slide, Ripple, and Roll Edits 469 VII3 Hold down the Command key, then click the In point of an adjacent audio clip.Hol

Chapter 3 Understanding Projects, Clips, and Sequences 47 ITo switch between several open projects:m In the Browser, click a project’s tab.To close

470 Part VII Fine-Tuning Your Edit Note: In this example, Command-clicking the In point of a stereo pair of audio clip items results in adding bot

Chapter 32 Performing Slip, Slide, Ripple, and Roll Edits 471 VIIRolling the Position of an Edit Between Two ClipsUsing the Roll tool, you move the

472 Part VII Fine-Tuning Your Edit Rolling Edit Points in the TimelineThe easiest place to see how a roll edit affects your clips is the Timeline.T

Chapter 32 Performing Slip, Slide, Ripple, and Roll Edits 473 VIIÂ Type + (plus) or – (minus) followed by the number of frames to add or subtract f

474 Part VII Fine-Tuning Your Edit To roll edit points on multiple tracks simultaneously:1 Do one of the following:Â Press the Command key while cl

Chapter 32 Performing Slip, Slide, Ripple, and Roll Edits 475 VIIDoing Roll Edits in the ViewerFinal Cut Express HD allows you to perform roll edit

33 47733 Learning About Trimming ClipsAdjusting a clip’s duration by moving its In or Out point, or moving the edit point between two clips, is c

478 Part VII Fine-Tuning Your Edit You can trim edits anywhere you can adjust a sequence clip’s In and Out points—the Timeline, the Viewer, and the

Chapter 33 Learning About Trimming Clips 479 VIIControls That Affect Trim EditsBefore you perform a trimming operation, make sure to check that the

48 Part I An Introduction to Final Cut Express HD To see a clip’s Source property:1 Select a clip in the Browser by clicking it.2 Choose Edit >

480 Part VII Fine-Tuning Your Edit Locked TracksTrim operations with the Ripple tool will only affect clip items on unlocked tracks. If there are c

Chapter 33 Learning About Trimming Clips 481 VIITools for Selecting Edit PointsThere are two tools in the Tool palette that can be used to select e

482 Part VII Fine-Tuning Your Edit Selecting Single Edit PointsA single edit point refers to a single clip item’s In point or Out point, or two adj

Chapter 33 Learning About Trimming Clips 483 VIIm Select the Edit Selection tool in the Tool palette (or press Command-G), then drag to select edit

484 Part VII Fine-Tuning Your Edit Performing edits using the Selection tool is useful for filling in gaps between two clips and for creating gaps

Chapter 33 Learning About Trimming Clips 485 VIIExtending and Shortening Clips in the TimelineA convenient way to extend or shorten a clip in the T

486 Part VII Fine-Tuning Your Edit 3 Choose Sequence > Extend Edit (or press E). The selected edit point is rolled to the position of the playhe

Chapter 33 Learning About Trimming Clips 487 VIITo trim a clip in the Viewer:1 Open a clip from your sequence in the Viewer. The scrubber bar shows

488 Part VII Fine-Tuning Your Edit Moving the Playhead in the Timeline Using TimecodeYou can move the playhead in the Timeline using absolute timec

Chapter 33 Learning About Trimming Clips 489 VIITo move a clip in your sequence using timecode:1 Select one or more clips in your sequence.2 Do one

Chapter 3 Understanding Projects, Clips, and Sequences 49 IAn offline clip has a red slash through its icon in the Browser. In the Timeline, an off

490 Part VII Fine-Tuning Your Edit Using Timecode to Trim Clips in the ViewerIf you’re trimming a clip in the Viewer, you can use timecode to navig

Chapter 33 Learning About Trimming Clips 491 VIIUnderstanding Alert Messages When TrimmingIf you try to perform an edit that isn’t possible, Final

492 Part VII Fine-Tuning Your Edit Clip CollisionThis message appears when you try to perform an edit that might inadvertently cause unselected cli

34 49334 Trimming Clips Using the Trim Edit WindowYou can trim edits precisely in the Trim Edit window. As you trim, you can play back the sectio

494 Part VII Fine-Tuning Your Edit This window shows a two-up display, with the Out point of the outgoing clip on the left and the In point of the

Chapter 34 Trimming Clips Using the Trim Edit Window 495 VIIOpening and Closing the Trim Edit WindowThe Trim Edit window opens when you select edit

496 Part VII Fine-Tuning Your Edit To close the Trim Edit window, do one of the following:m Move the playhead in the Timeline or Canvas away from t

Chapter 34 Trimming Clips Using the Trim Edit Window 497 VIIÂ Scrubber bar: The scrubber bar runs along the entire width of each of the two viewer

498 Part VII Fine-Tuning Your Edit Playback Controls for Individual ClipsThese controls allow you to move the playhead on either side of the edit p

Chapter 34 Trimming Clips Using the Trim Edit Window 499 VIIOutgoing Clip Area Outgoing clip duration: Displays the total time between the curren

Contents 5 Chapter 10 135 Customizing the Interface135 Changing Browser and Timeline Text Size 135 Moving and Resizing Final Cut Express HD Windows 1

50 Part I An Introduction to Final Cut Express HD Avoiding Special CharactersThe most conservative filenaming conventions provide the most cross-pl

500 Part VII Fine-Tuning Your Edit Incoming Clip Area Incoming clip duration: Displays the total time between the current In and Out points for t

Chapter 34 Trimming Clips Using the Trim Edit Window 501 VIIPlaying Incoming and Outgoing Clips in the Trim Edit WindowIf you are performing a ripp

502 Part VII Fine-Tuning Your Edit 3 Choose a ripple or roll edit by doing one of the following:Â Click the left image to trim the outgoing clip wi

Chapter 34 Trimming Clips Using the Trim Edit Window 503 VII4 Trim the edit point by doing any of the following:Â Click the trim buttons or use the

504 Part VII Fine-Tuning Your Edit Reviewing and Playing Back Your Edits in the Trim Edit WindowTo play the edit using the transport controls, do o

Chapter 34 Trimming Clips Using the Trim Edit Window 505 VIIListening to Audio While TrimmingWhen you play back the outgoing or incoming clip in th

506 Part VII Fine-Tuning Your Edit To listen to all sequence audio tracks while using the J, K, and L keys in the Trim Edit window:1 Choose Final C

35 50735 Adding TransitionsYou can add cross dissolves and other transitions between cuts to make your program more interesting. You can also add

508 Part VII Fine-Tuning Your Edit Video made this process faster and easier. By electronically mixing two video signals together, you could watch

Chapter 35 Adding Transitions 509 VIIUsing Transitions in Your SequencesTransitions, especially dissolves, generally give the viewer an impression

Chapter 3 Understanding Projects, Clips, and Sequences 51 IRestricting Length of FilenamesAlthough current file systems such as HFS+ (used by Mac O

510 Part VII Fine-Tuning Your Edit Having Handles at Edit PointsClips must have handles if you want to transition between them. Handles are additio

Chapter 35 Adding Transitions 511 VIIÂ Centered on the cut: Choose this alignment if you want the cut point between the two clips to be the midpoi

512 Part VII Fine-Tuning Your Edit Quickly Adding the Default Transition to Clips in Your SequenceYou can quickly add the default transition betwee

Chapter 35 Adding Transitions 513 VIITo change the position of the transition, see “Changing the Alignment of a Transition in the Timeline” on page

514 Part VII Fine-Tuning Your Edit To add a transition from the Effects tab in the Browser:m Drag a transition from the Effects tab in the Browser

Chapter 35 Adding Transitions 515 VIITo fade to or from black:m Add a cross dissolve transition to one of the following:Â The beginning of the firs

516 Part VII Fine-Tuning Your Edit Moving a Transition to Another Edit PointYou can move a transition from one edit point to another. The transitio

Chapter 35 Adding Transitions 517 VIIDeleting TransitionsTransitions that you’ve added to your sequence can easily be removed.To delete a transitio

518 Part VII Fine-Tuning Your Edit To change a transition’s duration in the Timeline by dragging:1 Select the Selection tool, then move the pointer

Chapter 35 Adding Transitions 519 VIIChanging the Alignment of a Transition in the TimelineTransitions can either start on, center on, or end on an

520 Part VII Fine-Tuning Your Edit Replacing TransitionsIf you change your mind about which transition you want in an edit, it’s easy to change it.

Chapter 35 Adding Transitions 521 VIIDissolveAdditive Dissolve Adds the two clips so that the first clip fades out and the second fades in.Cross Di

522 Part VII Fine-Tuning Your Edit Chroma Key Combines two sources by replacing all the pixels of the first source that are the specified color wit

Chapter 35 Adding Transitions 523 VIIMulti Spin Slide Boxes of the first clip spin and zoom out to reveal the second clip. You can adjust the spin

524 Part VII Fine-Tuning Your Edit Using After Effects TransitionsFinal Cut Express HD supports After Effects plug-ins that have been specifically

36 52536 Refining Transitions Using the Transition EditorUse the Transition Editor to precisely modify a transition and preview it before you ren

526 Part VII Fine-Tuning Your Edit Controls in the Transition EditorWhen you double-click a transition in the Timeline or the Effects tab of the Br

Chapter 36 Refining Transitions Using the Transition Editor 527 VIIAlignment ButtonsThe selected button indicates the current alignment of your tra

528 Part VII Fine-Tuning Your Edit RulerThe ruler displays a close-up view of the frames surrounding the transition in your sequence. The ruler and

Chapter 36 Refining Transitions Using the Transition Editor 529 VIIDragging the transition bar from the middle results in a roll edit, which moves

IIPart II: Learning About the Final Cut Express HD InterfaceGet familiar with the Browser, Viewer, Canvas, and Timeline, and learn how to customize th

530 Part VII Fine-Tuning Your Edit Reset ButtonClick this to reset all of a transition’s parameters to the default values.Custom ParametersMany tra

Chapter 36 Refining Transitions Using the Transition Editor 531 VIIOpening and Modifying Transitions in the Transition EditorWhen you open a transi

532 Part VII Fine-Tuning Your Edit Applying a Modified Transition Directly to a Sequence in the TimelineAfter you modify a transition’s settings in

Chapter 36 Refining Transitions Using the Transition Editor 533 VIIAbout the Two-Up Display in the CanvasYou can drag the pointer in the Transition

534 Part VII Fine-Tuning Your Edit Doing a Roll Edit to Change the Location of a TransitionIf you move the pointer over the middle of a transition

Chapter 36 Refining Transitions Using the Transition Editor 535 VIIDoing a Ripple Edit to Adjust the Length of a Clip in a TransitionEven when a tr

536 Part VII Fine-Tuning Your Edit Previewing and Rendering TransitionsMany transitions can play back in real-time, depending on your system and th

Chapter 36 Refining Transitions Using the Transition Editor 537 VIIPreviewing Transitions Before Rendering ThemIf you have to render your transitio

37 53937 Sequence to Sequence EditingYou can edit from one sequence to another, either by nesting one sequence into another, or by actually editi

540 Part VII Fine-Tuning Your Edit Opening More Than One Sequence at a TimeTo copy, edit, or nest a sequence into another sequence, the destination

Chapter 37 Sequence to Sequence Editing 541 VII4 Do one of the following:Â To do an insert edit, drag the clips where you want them to appear in th

542 Part VII Fine-Tuning Your Edit  To do an overwrite edit, drag the clips where you want them to appear in the other sequence, positioning the p

Chapter 37 Sequence to Sequence Editing 543 VII5 In the Timeline for the second sequence, do one of the following:Â Position the playhead where you

544 Part VII Fine-Tuning Your Edit Nesting SequencesFinal Cut Express HD allows you to treat sequences as clips. You can open sequences in the View

Chapter 37 Sequence to Sequence Editing 545 VIIHow Many Audio Items Does a Nested Sequence Have?When you nest one sequence inside of another, the n

546 Part VII Fine-Tuning Your Edit To copy and paste a sequence into another sequence:1 In the Browser, copy the sequence by doing one of the follo

Chapter 37 Sequence to Sequence Editing 547 VIIYou open sequence B and add two more clips to the end of it, extending its duration from 10 to 15 se

548 Part VII Fine-Tuning Your Edit If you drag Sequence A into the Canvas to edit it into Sequence B, the resulting nested sequence typically has o

Chapter 37 Sequence to Sequence Editing 549 VIITo edit all content from one sequence into another using the Canvas Edit Overlay:1 Open your destina

4 554 Overview of the Final Cut Express HD InterfaceThe Final Cut Express HD interface has four main windows and a Tool palette. This chapter inc

550 Part VII Fine-Tuning Your Edit 3 In the Browser, select the sequence you want to copy clips from (the source sequence).4 Do one of the followin

38 55138 Matching FramesYou can use the frame displayed in the Canvas to open the matching frame of a master clip in the Viewer. You can also ope

552 Part VII Fine-Tuning Your Edit Opening a Sequence Clip in the ViewerWhen you open a sequence clip in the Viewer, you can work with it directly

Chapter 38 Matching Frames 553 VIISwitching Between the Viewer, Canvas, and TimelineWhen you work with sequence clips in the Viewer, you can quickl

554 Part VII Fine-Tuning Your Edit To make a ripple, roll, slip, or duration change to a sequence clip in the Viewer:1 Open the sequence clip in th

Chapter 38 Matching Frames 555 VIIMatching a Frame in the Canvas to Its Master ClipSometimes you’ll want to view the master clip that a sequence cl

556 Part VII Fine-Tuning Your Edit Important: If you open a source media file in the Viewer and drag it to the Browser, a new master clip is creat

39 55739 Working With TimecodeTimecode provides a unique address for each video frame on your tapes. Timecode is the vital organizational link be

558 Part VII Fine-Tuning Your Edit For example, if you adjust a clip’s speed by 200%, Final Cut Express HD plays the media file at twice the normal

VIIIPart VIII: Audio MixingFind instructions for connecting audio equipment and using the Final Cut Express HD audio mixing tools to complete your mov

56 Part II Learning About the Final Cut Express HD Interface Before working in a window in Final Cut Express HD, you must make sure it’s the curren

40 56140 Overview of Audio MixingAudio mixing is the process of blending the sounds of your movie together by adding filters and adjusting levels

562 Part VIII Audio Mixing Audio Mixing FeaturesYou can use Final Cut Express HD to create a finished audio mix for your movie in the following way

Chapter 40 Overview of Audio Mixing 563 VIIIÂ Sound effects: Sound effects enhance the believability or mood of a scene. You can purchase stock so

564 Part VIII Audio Mixing Cleaning Up AudioOnce you’ve organized your audio tracks by sound category and properly placed your sound effects and mu

Chapter 40 Overview of Audio Mixing 565 VIIIMaking the Final MixDuring the final mix, you choose exactly how to balance dialogue, effects, and musi

566 Part VIII Audio Mixing Adjusting PanPanning allows you to control the placement of each sound in your mix. Using pan controls, you can position

41 56741 Setting Up Audio EquipmentThe built-in audio port on your computer can be acceptable for rough editing, but for a professional sound mix

568 Part VIII Audio Mixing Choosing an Audio InterfaceAn audio interface provides high-quality audio input and output between your computer and aud

Chapter 41 Setting Up Audio Equipment 569 VIIIChoosing Speakers and an Amplifier for MonitoringProfessional audio engineers mix by listening, so th

Chapter 4 Overview of the Final Cut Express HD Interface 57 IIUsing Keyboard Shortcuts, Buttons, and Shortcut MenusFinal Cut Express HD offers seve

570 Part VIII Audio Mixing Amplifiers and Signal LevelsAudio speakers require signals with higher voltage than consumer and professional equipment

Chapter 41 Setting Up Audio Equipment 571 VIII∏ Tip: A much cheaper alternative to building new walls is to mount angled pieces of material to the

572 Part VIII Audio Mixing Audio Cables, Connectors, and Signal LevelsWhen connecting audio devices, you use cables with the appropriate connector

Chapter 41 Setting Up Audio Equipment 573 VIIIWhen the signal arrives at its destination, the inverted signal is put back in phase and both signals

574 Part VIII Audio Mixing Microphone, Instrument, and Line LevelAudio equipment can output line level at –10 dBV (consumer level), +4 dBm/dBu (pro

Chapter 41 Setting Up Audio Equipment 575 VIII1/8" Mini ConnectorsThese are very small, unbalanced audio connectors. Many computers have 1/8&q

576 Part VIII Audio Mixing XLR ConnectorsThese are the most common professional audio connectors. They almost always carry a balanced signal. Many

Chapter 41 Setting Up Audio Equipment 577 VIIISetting Monitoring Levels and Muting System Sound EffectsWhen you mix your audio, it’s important to m

578 Part VIII Audio Mixing To route Mac OS X alerts and sound effects through your computer’s built-in speakers:1 Choose Apple menu > System Pre

42 57942 Audio FundamentalsTo successfully create your movie soundtrack, it’s important to learn about the basic properties of sound and digital

58 Part II Learning About the Final Cut Express HD Interface For more information on using and customizing button bars, see Chapter 10, “Customizin

580 Part VIII Audio Mixing Fundamentals of a Sound WaveThe simplest kind of sound wave is a sine wave. Audio sine waves rarely exist in the natural

Chapter 42 Audio Fundamentals 581 VIIIFrequency Spectrum of SoundsWith the exception of pure sine waves, which rarely exist in nature, sounds are m

582 Part VIII Audio Mixing Measuring Sound IntensityOur ears are remarkably sensitive to vibrations in the air. The threshold of human hearing is a

Chapter 42 Audio Fundamentals 583 VIIIIn practice, a bel is a bit too large to use for measuring sound, so a one-tenth unit called the decibel is u

584 Part VIII Audio Mixing Signal-to-Noise RatioEvery electrical system produces a certain amount of low-level electrical activity called noise. Th

Chapter 42 Audio Fundamentals 585 VIIIDynamic RangeDynamic range is the difference between the quietest and loudest sound in your mix. A mix that c

586 Part VIII Audio Mixing When used sparingly, compression can help you bring up the overall level of your mix to compete with noise in the listen

Chapter 42 Audio Fundamentals 587 VIIIIdentifying Two-Channel Mono RecordingsWhen you are working with two-channel audio, it is important to be abl

588 Part VIII Audio Mixing Here are some tips for distinguishing stereo from dual mono recordings:Â Stereo recordings must have two independent tra

Chapter 42 Audio Fundamentals 589 VIIISample RateThe sample rate is the number of times an analog signal is measured—or sampled—per second. You can

Chapter 4 Overview of the Final Cut Express HD Interface 59 IILearning Commands by Using TooltipsWhen you move the pointer over a control in Final

590 Part VIII Audio Mixing Bit DepthUnlike analog signals, which have an infinite range of volume levels, digital audio samples use binary numbers

Chapter 42 Audio Fundamentals 591 VIII When the number of bits per sample is increased, each sample can more accurately represent the audio sig

43 59343 Audio Levels, Meters, and Output ChannelsYou use audio meters to keep levels consistent throughout your movie and to make sure audio sig

594 Part VIII Audio Mixing The most important distinction is the difference between an audio clip’s peaks and its average loudness:Â Peaks are shor

Chapter 43 Audio Levels, Meters, and Output Channels 595 VIIIAnalog Versus Digital MetersThe way you set your levels with a digital meter is differ

596 Part VIII Audio Mixing About Audio Meters in Final Cut Express HDFinal Cut Express HD uses a peak audio meter, which responds very quickly to t

Chapter 43 Audio Levels, Meters, and Output Channels 597 VIIIFloating Audio MetersThe floating audio meters display the output levels of the Viewer

598 Part VIII Audio Mixing Setting Proper Audio LevelsWhen you work with audio, you need to make sure you set proper levels during capture, mixing,

Chapter 43 Audio Levels, Meters, and Output Channels 599 VIIIIf you set the reference level of the Final Cut Express HD floating audio meter to –20

6 Contents 180 Choosing a Filenaming Scheme 180 Determining How Much Disk Space You Need 181 Capturing Individual Clips in the Capture Window 185 Usi

60 Part II Learning About the Final Cut Express HD Interface To resize windows in Final Cut Express HD:m Drag the border in the desired direction t

600 Part VIII Audio Mixing Outputting Bars and Tone at the Head of Your TapeWhen you output your program to a tape for duplication or delivery to a

44 60144 Mixing Audio in the Timeline and ViewerYou can control audio levels and pan in the Timeline or in the Viewer. You can also make adjustme

602 Part VIII Audio Mixing To display audio waveforms in the Timeline:1 Open a sequence in the Timeline, then choose Sequence > Settings.2 Click

Chapter 44 Mixing Audio in the Timeline and Viewer 603 VIIITo adjust keyframes in the Timeline:m Place the Selection tool directly over a keyframe,

604 Part VIII Audio Mixing To select a range of keyframes to modify:m Use the Range Selection tool to select a group of keyframes. You can now move

Chapter 44 Mixing Audio in the Timeline and Viewer 605 VIIIChanging Audio Levels in the ViewerYou can control the audio levels and placement of sou

606 Part VIII Audio Mixing Whether or not the audio item in the Viewer is a stereo pair also affects how volume and pan levels are set. If you ope

Chapter 44 Mixing Audio in the Timeline and Viewer 607 VIIITo adjust the volume by using the Modify menu:1 Select one or more clips in the Timeline

608 Part VIII Audio Mixing Changing the Pan of Audio in the ViewerTo adjust the stereo placement of your sound, you can change the pan of your audi

Chapter 44 Mixing Audio in the Timeline and Viewer 609 VIIITo adjust pan by entering a numeric value:1 Enter a new value in the Pan field.To enter

Chapter 4 Overview of the Final Cut Express HD Interface 61 IITo make a tab active:m Click the tab.To close a tab, do one of the following:m Contro

610 Part VIII Audio Mixing Adjusting Clip Levels and Pan Using KeyframesInstead of setting the volume or pan of an entire clip to the same level, y

Chapter 44 Mixing Audio in the Timeline and Viewer 611 VIIIUsing the Option Key to Temporarily Enable Pen ToolsWhen using the Selection tool, holdi

612 Part VIII Audio Mixing To set additional keyframes:1 Move the playhead to another point in the clip where you want to set a keyframe.2 Do one o

Chapter 44 Mixing Audio in the Timeline and Viewer 613 VIIITo adjust a section of an overlay in the middle of four keyframes:m Move the pointer ove

614 Part VIII Audio Mixing To delete a keyframe, do one of the following:m Move the playhead to the position of the keyframe you want to delete, th

Chapter 44 Mixing Audio in the Timeline and Viewer 615 VIIIExample: Using Keyframes to Adjust Audio LevelsYou need at least two keyframes to make

616 Part VIII Audio Mixing Example: Using Keyframes in the Timeline to Automate Audio LevelsSuppose you’ve edited a music clip and a clip with a v

Chapter 44 Mixing Audio in the Timeline and Viewer 617 VIIIThen, releasing the Option key, you can drag the area in the middle of each group of fou

618 Part VIII Audio Mixing To set and adjust subframe keyframes:1 Open the clip in the Viewer and click the Audio tab.2 Move the playhead to the ed

Chapter 44 Mixing Audio in the Timeline and Viewer 619 VIII5 Click the Level Keyframe button to mark four keyframes in a row.The two inner keyframe

62 Part II Learning About the Final Cut Express HD Interface Moving WindowsThere are several ways you can move windows in Final Cut Express HD. You

620 Part VIII Audio Mixing Example: Using Keyframes to Control PanSetting keyframes to change pan dynamically works the same way as it does with l

Chapter 44 Mixing Audio in the Timeline and Viewer 621 VIII4 Now, move the playhead to a position after the car sound effect has finished playing.5

45 62345 Using the Voice Over ToolThe Voice Over tool lets you record a single audio track directly into a sequence while you watch it. You can u

624 Part VIII Audio Mixing Setting Up Your Computer to Record VoiceoverYou can set up your computer to use the Voice Over tool in a studio, or set

Chapter 45 Using the Voice Over Tool 625 VIIIConnecting Audio Devices and Configuring SoftwareSetting up your computer to record voiceover involves

626 Part VIII Audio Mixing Step 4: Choose an audio track and duration for your voiceoverIn the Browser, select and open the sequence to which you

Chapter 45 Using the Voice Over Tool 627 VIIIRAM Requirements When Using the Voice Over ToolThe Voice Over tool stores audio in RAM during recordin

628 Part VIII Audio Mixing Playback and Recording Controls and Status Area Record/Stop: Click this button to begin the audio recording and Timeli

Chapter 45 Using the Voice Over Tool 629 VIIIAudio File Target: This line displays the sequence name and track number where audio recorded with t

Chapter 4 Overview of the Final Cut Express HD Interface 63 IITo arrange Final Cut Express HD windows and make room for the Dock:1 If desired, chan

630 Part VIII Audio Mixing  Input: If the audio input device you’re using has multiple inputs, this pop-up menu lets you select which one you use

Chapter 45 Using the Voice Over Tool 631 VIIIDefining the Recording Duration and Destination TrackBefore using the Voice Over tool, you need to spe

632 Part VIII Audio Mixing  If no Out point is set, the end of the sequence is used, defined by the end of the last clip in the Timeline.If Final

Chapter 45 Using the Voice Over Tool 633 VIIIDefining the Destination TrackAudio that you record using the Voice Over tool is placed in the audio t

634 Part VIII Audio Mixing In the next example, all three audio tracks already have audio edited onto them, and the audio channel 2 Source control

Chapter 45 Using the Voice Over Tool 635 VIIIIn the example below, tracks V1, A1, and A2 contain the video and audio for an interview clip. Tracks

636 Part VIII Audio Mixing Recording a VoiceoverAfter you’ve set up your microphone and audio interface, and the duration and destination audio tra

Chapter 45 Using the Voice Over Tool 637 VIIIRecording Multiple TakesEach time you record a clip using the Voice Over tool, the audio channel 2 des

638 Part VIII Audio Mixing How Audio Recorded With the Voice Over Tool Appears in Your SequenceAudio is recorded during the pre- and post-roll each

46 639 46 Using Audio Filters Audio filters are used for a variety of purposes, from audio cleanup to special effects. Filter parameters can b

64 Part II Learning About the Final Cut Express HD Interface Entering Timecode for Navigation PurposesTimecode allows you to navigate through your

640 Part VIII Audio Mixing Overview of Audio FiltersFilters in Final Cut Express HD are always nondestructive, meaning they are applied to clips bu

Chapter 46 Using Audio Filters 641 VIIIFrequency Ranges and EqualizationThe entire range of human hearing, from 20 Hz to 20,000 Hz, can be broken i

642 Part VIII Audio Mixing Using Equalization (EQ) Filters in Final Cut Express HDAll of the Final Cut Express HD EQ filters use a combination of t

Chapter 46 Using Audio Filters 643 VIIIThe Compressor/Limiter filter has five controls:Â Threshold: This parameter defines how loud the signal mus

644 Part VIII Audio Mixing Unlike a compressor, which affects the loud parts of a signal, expansion affects the quiet parts of the signal:Â Thresho

Chapter 46 Using Audio Filters 645 VIIIÂ Gain: This filter lets you set how much of the signal you’re attenuating. By default, it’s set to the max

646 Part VIII Audio Mixing Both echo and reverb filter settings are described below:Â Effect Mix: This slider determines how much of the “dry,” or

Chapter 46 Using Audio Filters 647 VIIIWorking With Audio FiltersFilters can be added to any audio clip in a project. You can add filters individua

648 Part VIII Audio Mixing Applying Filters to an Audio ClipApplying audio filters to clips in Final Cut Express HD is easy.To apply an audio filte

Chapter 46 Using Audio Filters 649 VIIITo apply multiple filters to a clip in a sequence, do one of the following:m Continue to apply more filters

5 655 Browser BasicsThe Browser is where you organize all of the clips in your project.This chapter covers the following:Â How You Use the Browse

650 Part VIII Audio Mixing 5 In the Paste Attributes dialog, select these options:Â Scale Attribute Times: Shrinks or stretches the keyframes of y

Chapter 46 Using Audio Filters 651 VIIIIn addition to adjusting individual settings for each filter, you can also enable and disable the filters wi

652 Part VIII Audio Mixing Looping Playback While Making Real-Time Filter AdjustmentsOrdinarily, playing back your sequence clip in the Viewer play

47 65347 Tips for Better AudioRead through the sections in this chapter for tips on cutting dialogue, cutting music, and keeping your tracks orga

654 Part VIII Audio Mixing Efficiently Using the Frequency SpectrumIt’s fairly obvious that the most important sound in the mix should have the hig

Chapter 47 Tips for Better Audio 655 VIIIUse keyframes to eliminate microphone pops in a voiceover recording.Although you can use the Vocal DePoppe

656 Part VIII Audio Mixing For example, suppose an actor was supposed to say, “Get those cats out of that tree,” and instead said, “Get dose cats o

Chapter 47 Tips for Better Audio 657 VIIIChange the pace of off-camera dialogue.As long as the speaker is off camera, you can do other things as we

658 Part VIII Audio Mixing Edit in sound to handle a loud background noise at an edit point.If you’re cutting from one clip to another, but there’s

Chapter 47 Tips for Better Audio 659 VIIICheckerboard the audio segments you’re using to create better cross fading.Instead of using cross fades to

66 Part II Learning About the Final Cut Express HD Interface Learning About the BrowserBy default, you view items in the Browser in icon view, whic

660 Part VIII Audio Mixing Organizing Your Tracks As you edit audio into your sequences, it’s important to keep your tracks organized. Not only

IXPart IX: EffectsLearn how to use the powerful effects capabilities of Final Cut Express HD to enhance your project. Add filters, create motion effec

48 66348 Video FiltersOnce you have clips in a sequence, you can apply filters to process and modify the visual content of your clips. This chapt

664 Part IX Effects  Create and manipulate transparency effects: Use filters like the Chroma Keyer or Garbage Matte to create and manipulate the

Chapter 48 Video Filters 665 IXIn most cases, you apply filters to individual clips in sequences, not to master clips in the Browser. There may be

666 Part IX Effects To apply a filter to part of a clip in a sequence:1 Select the Range Selection tool in the Tool palette (or press the G key thr

Chapter 48 Video Filters 667 IXTo apply multiple filters to a clip in a sequence, do one of the following:m Apply filters to a clip one at a time (

668 Part IX Effects To view the filters applied to a clip, do one of the following:m Open a clip into the Viewer, then click the Filters tab.m If a

Chapter 48 Video Filters 669 IXÂ Reset button: The Reset button is in the Name bar, under the Nav column. Click to delete all keyframes for the co

Chapter 5 Browser Basics 67 IIWorking in the BrowserBefore you can work in the Browser, it must be the currently selected, or active, window. Other

670 Part IX Effects SlidersBy default, sliders only show whole integer values. To adjust the corresponding value to within two decimal places of pr

Chapter 48 Video Filters 671 IX3 Click anywhere in the Canvas to choose that coordinate.∏ Tip: You can also drag in the Canvas, and then release t

672 Part IX Effects Color controlsThe color controls give you several ways to select a color value. Â Disclosure triangle: Click to display slider

Chapter 48 Video Filters 673 IXDisplaying Filter Bars in the TimelineOnce you’ve added filters to one or more clips, you can choose whether or not

674 Part IX Effects To rearrange the order of filters in the Filters tab:m Drag a filter up or down in the list to change the order in which filter

Chapter 48 Video Filters 675 IX5 In the Paste Attributes dialog, select the Filters checkbox under Video Attributes.6 Choose any other options, the

676 Part IX Effects Video Filters Available in Final Cut Express HDThere are numerous filters that come with Final Cut Express HD. The following ta

Chapter 48 Video Filters 677 IXChannel FiltersChannel filters allow you to manipulate the color and alpha channels of clips in your sequence to cre

678 Part IX Effects Distort FiltersThe Final Cut Express HD Distort filters are design-oriented filters that create texture effects.Filter ResultBu

Chapter 48 Video Filters 679 IXImage Control FiltersImage Control filters let you manipulate the levels of black, white, and color in your clips. T

68 Part II Learning About the Final Cut Express HD Interface Copying and Deleting Items in the BrowserCopying or duplicating a clip creates an affi

680 Part IX Effects Key FiltersKey filters are generally used to key out background areas of video in order to isolate foreground elements to compo

Chapter 48 Video Filters 681 IXDifference Matte Compares two clips and keys out areas that are similar. A View pop-up menu allows you to look at th

682 Part IX Effects Matte FiltersMatte filters can be used by themselves to mask out areas of a clip, or to create alpha channel information for a

Chapter 48 Video Filters 683 IXMatte Choker Usually used in conjunction with a keying filter to manipulate the edges of the key. The Edge Thin slid

684 Part IX Effects Perspective FiltersPerspective filters allow you to move your clips spatially within their frames. To move a filter spatially u

Chapter 48 Video Filters 685 IXStylize FiltersStylize filters can be used to create an assortment of visual effects.Filter ResultAnti-alias Blurs t

686 Part IX Effects Video FiltersVideo filters are generally used to solve specific problems with clips in your sequence, although there are design

Chapter 48 Video Filters 687 IXStrobe Lowers the apparent frame rate of a clip in your sequence by freezing the frames of the clip for a specified

49 68949 Changing Motion ParametersEvery video and graphics clip in a project has a set of parameters that can be edited in the Motion tab of the

Chapter 5 Browser Basics 69 IIRenaming a clip automatically renames all affiliated clips in the current project, because there is only a single Nam

690 Part IX Effects Adjusting Parameters in the Motion TabMotion parameters are located in the Motion tab of the Viewer. When you first edit a clip

Chapter 49 Changing Motion Parameters 691 IXTo enable the Drop Shadow or Motion Blur attribute:m Click the checkbox next to Drop Shadow or Motion B

692 Part IX Effects Controls in the Motion TabThe following section describes the attributes and related parameters in the Motion tab in the Viewer

Chapter 49 Changing Motion Parameters 693 IXDistort Parameters Upper Left, Upper Right, Lower Right, Lower Left: You can change the shape of a cl

694 Part IX Effects Motion Blur ParametersMotion blur affects any clip that has motion, whether it’s a moving subject in a video clip, or keyframed

Chapter 49 Changing Motion Parameters 695 IXUsing Cartesian Geometry to Position ClipsFinal Cut Express HD compositing features use simple Cartesia

696 Part IX Effects For example, suppose the center point of the clip on track V2 is –218, –119. This puts the clip 218 pixels to the left and 119

Chapter 49 Changing Motion Parameters 697 IXExamples Using Motion SettingsThe following two examples demonstrate how you can use motion settings to

698 Part IX Effects 3 From the Browser, open the first clip you want to arrange in the background of your composition, then edit it into the sequen

Chapter 49 Changing Motion Parameters 699 IX6 Drag the Rotation dial control to the left so that it reads –28.A negative value rotates the clip to

Contents 7 Part V Organizing Footage and Preparing to Edit Chapter 17 219 Organizing Footage in the Browser219 Using Bins to Organize Your Clips 220

70 Part II Learning About the Final Cut Express HD Interface Customizing the Browser DisplayThere are various ways you can display items in the Bro

700 Part IX Effects Clicking in the Canvas with the crosshair moves the x and y values of that clip’s center point to the pixel you clicked. In thi

Chapter 49 Changing Motion Parameters 701 IX10 Check the Basic Motion box, then click OK.The two clips occupy the same position in the Canvas with

702 Part IX Effects 12 In the left number field of the Center parameter (the x coordinate), delete the – (minus sign), then press Return.Note: The

Chapter 49 Changing Motion Parameters 703 IX14 Using the same sequence In and Out points that you’ve been using, set the destination track of your

704 Part IX Effects 17 Choose View > Show Title Safe.∏ Tip: Viewing title safe boundaries is especially important when creating work that will

Chapter 49 Changing Motion Parameters 705 IXExample 2: Using Additional Motion Settings to Refine the LayoutIn this example, the Crop, Feather, Op

706 Part IX Effects 7 Drag the Top and Bottom sliders in the Crop parameter to the right until they are set to 5. Now, you’ll add a drop shadow to

Chapter 49 Changing Motion Parameters 707 IX11 Open the background clip on track V1, then click its Motion tab. Click the Opacity parameter’s discl

708 Part IX Effects To put the Canvas into a wireframe mode, do one of the following:m Choose View > Image+Wireframe.m Press W to put the Canvas

Chapter 49 Changing Motion Parameters 709 IXCrop and Distort ToolsThe Crop and Distort tools can be used to manipulate images directly in the Canva

Chapter 5 Browser Basics 71 IIWorking With the Browser in List ViewWhen items are displayed as a list, the Browser displays information about the i

710 Part IX Effects Using Wireframe Handles to Transform, Scale, and RotateIn many instances, you may find that dragging the handles of a selected

Chapter 49 Changing Motion Parameters 711 IXTo move a clip:1 Select a clip in the Timeline.2 Select the Selection tool in the Tool palette, then dr

712 Part IX Effects To scale and rotate a clip:m Command-drag a corner handle.To distort the shape of a clip:1 Select a clip in the Timeline.2 Sele

Chapter 49 Changing Motion Parameters 713 IXTo crop a clip:1 Select a clip in the Timeline.2 Select the Crop tool in the Tool palette, then do one

714 Part IX Effects Example: Using Motion Parameters and Wireframe HandlesIn this example, you’ll put a graphic on the side of a building as if it

Chapter 49 Changing Motion Parameters 715 IX3 In the Canvas or Timeline, position the playhead over the clip you just edited into track V1, then se

716 Part IX Effects 5 In the Timeline, select the image, then choose Image+Wireframe from the View pop-up menu in the Canvas.6 With the Selection t

Chapter 49 Changing Motion Parameters 717 IX8 Select the Distort tool in the Tool palette, then drag each of the four corners of the sign graphic u

50 71950 Adjusting Parameters for Keyframed EffectsAutomated audio level adjustments, opacity changes between layers, shifting color values, and

72 Part II Learning About the Final Cut Express HD Interface To hide a column:m Control-click the column heading, then choose Hide Column from the

720 Part IX Effects Since you can add keyframes to filters and generators, as well as motion settings, the information presented in this chapter ca

Chapter 50 Adjusting Parameters for Keyframed Effects 721 IXDetermining the Number of Keyframes to UseThe complexity of the changes in your effects

722 Part IX Effects Keyframing Tools in Final Cut Express HDThree tools in the Tool palette allow you to add, modify, or remove keyframes on a para

Chapter 50 Adjusting Parameters for Keyframed Effects 723 IXSetting KeyframesUntil you create at least one keyframe for a parameter (or setting) of

724 Part IX Effects To add more keyframes:1 Move the playhead to another point in the clip where you want to set a keyframe.2 Do one of the followi

Chapter 50 Adjusting Parameters for Keyframed Effects 725 IXTo move a keyframe forward or backward in time:1 Click the clip keyframes control in th

726 Part IX Effects Example: Using Keyframes to Make Opacity ChangesThis example illustrates how you can use Final Cut Express HD to dynamically a

Chapter 50 Adjusting Parameters for Keyframed Effects 727 IX5 In the current timecode field of the Viewer, enter 01:00:02:00 to move the playhead.6

728 Part IX Effects 8 In the keyframe graph area, move the pointer to the left of the two keyframes on the Opacity value graph line. When the point

Chapter 50 Adjusting Parameters for Keyframed Effects 729 IX12 To complete this sequence, fade the topmost layer out again by adding one last keyfr

Chapter 5 Browser Basics 73 IITo scrub, or move, through a thumbnail:m Drag the thumbnail image in the direction you want to view.Note: You can al

730 Part IX Effects 3 Move the pointer over the opacity overlay (located directly on top of the clip on track V2). When it turns into the Adjust Li

Chapter 50 Adjusting Parameters for Keyframed Effects 731 IX5 Release the Option key, then drag each of the opacity overlay segments between keyfra

732 Part IX Effects For example, if you space keyframes 2 seconds apart in the Rotate setting, the resulting rotation lasts 2 seconds. If you apply

Chapter 50 Adjusting Parameters for Keyframed Effects 733 IXOne-Sided Bezier HandlesThe first and last keyframes of a group have one-sided Bezier h

734 Part IX Effects Smoothing KeyframesSmoothing a keyframe, or adding Bezier handles to it, makes the change from one keyframe’s value to the next

Chapter 50 Adjusting Parameters for Keyframed Effects 735 IXCreating Keyframed Motion Paths in the CanvasYou can create motion for a clip by reposi

736 Part IX Effects ∏ Tip: To move the playhead relative to these keyframes, you can view your clip’s keyframes in the Motion tab of the Viewer. T

Chapter 50 Adjusting Parameters for Keyframed Effects 737 IX7 Move the playhead to the position where you want to add your next keyframe.8 Drag the

738 Part IX Effects Creating Curved Motion Paths Using Bezier HandlesWhen you add a keyframe to a motion path, it’s a Bezier point (also known as a

Chapter 50 Adjusting Parameters for Keyframed Effects 739 IXTo resize one side of a Bezier curve independently of the other:m Hold down the Shift k

74 Part II Learning About the Final Cut Express HD Interface Working With the Browser in Icon ViewIn large, medium, or small icon view, you arrange

740 Part IX Effects To remove Bezier handles from a keyframe in a motion path, do one of the following:m Control-click a keyframe in the Viewer, th

Chapter 50 Adjusting Parameters for Keyframed Effects 741 IXTo vary the acceleration of this clip along its motion path, you must first add Bezier

742 Part IX Effects To slow down a clip’s motion at the beginning and speed it up as it nears the next keyframe:m Drag the velocity handle away fro

Chapter 50 Adjusting Parameters for Keyframed Effects 743 IXMoving an Entire Motion Path in the CanvasIf you’re happy with the shape of a motion pa

51 74551 Reusing Effect and Motion ParametersIf you frequently use a particular transition or filter with specific settings, you can copy and pas

746 Part IX Effects About the Paste Attributes DialogYou select which attributes to paste by using the Paste Attributes dialog. The following optio

Chapter 51 Reusing Effect and Motion Parameters 747 IXÂ Filters: Adds the parameter values and keyframes for all filters from the clip you copied.

748 Part IX Effects To paste the attributes of a copied clip into another clip:1 In the Timeline, select a clip whose attributes you want to paste

Chapter 51 Reusing Effect and Motion Parameters 749 IXApplying Filters Across Multiple Tracks at OnceWhen working with multiple layers of video or

Chapter 5 Browser Basics 75 IITo scrub through clips in large icon view:1 Do one of the following:Â Select the Scrub Video tool in the Tool palette

52 75152 Changing Clip SpeedYou can adjust a clip’s speed parameters to create fast- or slow-motion effects.This chapter covers the following:Â S

752 Part IX Effects How Changing Speed Affects a Clip’s DurationA change in a clip’s speed can affect the duration of the clip. If you choose 50 pe

Chapter 52 Changing Clip Speed 753 IXFor example, suppose you want to replace a 5-second shot of a lizard with a 3-second shot of a desert landscap

754 Part IX Effects 5 Do one of the following: Drag the clip from the Viewer to the Fit to Fill section of the Edit Overlay in the Canvas. Press

Chapter 52 Changing Clip Speed 755 IXSpeed SettingsApplying a constant speed change to a clip alters the entire clip’s playback speed by the same p

756 Part IX Effects Note: While clips using frame blending can play in real time at preview quality, frame blending on a field-per-field basis is

Chapter 52 Changing Clip Speed 757 IXMaking Speed ChangesThe simplest speed change you can make to a clip is a constant speed change. You do this u

53 75953 Working With Still Images and PhotographsYou can use still images and photographs in your movie to previsualize scenes, create motion gr

76 Part II Learning About the Final Cut Express HD Interface Automatically Arranging Clips in Icon ViewWhen you’re in icon view in the Browser, you

760 Part IX Effects Creating Freeze Frame Stills From a Video ClipFinal Cut Express HD makes it easy to grab a freeze frame whenever you need to, w

Chapter 53 Working With Still Images and Photographs 761 IXConsiderations Before Creating and Importing StillsBefore you start creating graphics an

762 Part IX Effects Creating Graphics With the Correct Frame Size for VideoWhen you’re preparing to import graphics into Final Cut Express HD, it’s

Chapter 53 Working With Still Images and Photographs 763 IXBit Depth of Imported GraphicsFinal Cut Express HD can import graphics with a bit depth

764 Part IX Effects Understanding Digital SD Video Non-Square PixelsWhen creating graphics for standard definition video, you need to consider the

Chapter 53 Working With Still Images and Photographs 765 IXTo create graphics that look correct when output to video:1 In your graphics application

766 Part IX Effects Pixel Aspect Ratios in SD Video Signals Versus Computer DisplaysStandard definition (SD) video images use pixels with a non-squ

Chapter 53 Working With Still Images and Photographs 767 IXCreating Graphics With the Correct Color Settings for VideoYou should be aware that the

768 Part IX Effects Selecting Fonts and Creating Line Art for VideoWhen creating line art or selecting a font to use for a broadcast video image, y

Chapter 53 Working With Still Images and Photographs 769 IXTo scale an imported graphic in a sequence:1 Edit the image into the sequence in the Tim

Chapter 5 Browser Basics 77 IISetting the Poster FrameThe poster frame is the picture that represents a clip in icon view in the Browser. When you

770 Part IX Effects Example: Adding Camera Motion to Still ImagesYou’ve probably seen documentaries that show a graceful camera pan or tilt across

Chapter 53 Working With Still Images and Photographs 771 IXIf the final destination of your sequence will be standard definition (SD) video, then a

772 Part IX Effects Step 5: Position and keyframe the image at the pan start and end pointsThe Center parameter determines where the image appears

Chapter 53 Working With Still Images and Photographs 773 IXWhile you may see only a rough approximation of the final camera move effect, you can st

54 77554 Compositing and LayeringCompositing is the process of stacking and blending multiple video or graphics clips over one another in a seque

776 Part IX Effects Methods of CompositingOnce you’ve layered clips in the Timeline, there are several ways you can adjust how each one blends with

Chapter 54 Compositing and Layering 777 IXWhen you layer clips, the clip in the topmost track in the Timeline is the one that appears during playba

778 Part IX Effects When you blend multiple clips together using the Opacity parameter, it’s important to be aware of the color range, the amount o

Chapter 54 Compositing and Layering 779 IXTo adjust the opacity of a clip (with no keyframes) in the Motion tab:1 Do one of the following:Â Double-

780 Part IX Effects Working With Composite ModesFinal Cut Express HD composite modes determine how the brightness and color of one clip visually in

Chapter 54 Compositing and Layering 781 IXApplying Composite Modes to ClipsApplying different composite modes to layered clips in a sequence is eas

782 Part IX Effects Composite Modes in Final Cut Express HDThe following section describes how composite modes affect two layers in a sequence.Abou

Chapter 54 Compositing and Layering 783 IXNormalNormal is the default composite mode for clips. When a clip uses Normal composite mode, you can sti

784 Part IX Effects SubtractSubtract darkens all overlapping colors. Whites in the foreground image go black, while whites in the background image

Chapter 54 Compositing and Layering 785 IXMultiplyLike Darken, Multiply emphasizes the darkest parts of each overlapping image, except that midrang

786 Part IX Effects ScreenLike Lighten, Screen also emphasizes the lightest parts of each overlapping image, except that the midrange color values

Chapter 54 Compositing and Layering 787 IXOverlayWhites and blacks in the foreground image become translucent, and interact with the color values o

788 Part IX Effects Hard LightWhites and blacks in the foreground image block the background image. Whites and blacks in the background image, on t

Chapter 54 Compositing and Layering 789 IXSoft LightSoft Light is similar to the Overlay composite mode. Whites and blacks in the foreground image

6 796 Viewer BasicsThe Viewer is used for viewing a clip’s media and preparing clips before editing them into a sequence. This chapter covers the

790 Part IX Effects DarkenDarken emphasizes the darkest parts of each overlapping image. Whites in either image allow the overlapping image to show

Chapter 54 Compositing and Layering 791 IXLightenLighten emphasizes the lightest parts of each overlapping image. Every pixel in each image is comp

792 Part IX Effects Travel Matte - LumaThe Travel Matte - Luma composite mode does the same thing as the Travel Matte - Alpha composite mode, but t

Chapter 54 Compositing and Layering 793 IXTo create a travel matte:1 Place the clip you want to appear in the background of your composite on track

794 Part IX Effects Working With Layered Photoshop FilesYou can create multilayered graphics in Adobe Photoshop for use in a composited Final Cut E

Chapter 54 Compositing and Layering 795 IXWhen you import a layered Photoshop file into Final Cut Express HD, the file becomes a sequence in your p

796 Part IX Effects Using Video and Graphics Clips With Alpha ChannelsOrdinary video clips have three channels of information for red, green, and b

Chapter 54 Compositing and Layering 797 IXTypes of Alpha Channels Recognized in Final Cut Express HDFinal Cut Express HD recognizes three kinds of

798 Part IX Effects Working With Clips That Have Alpha ChannelsYou can edit clips that have alpha channels into your sequence as you would any othe

Chapter 54 Compositing and Layering 799 IXImporting Clips With Alpha ChannelsSome clips and images you import may have alpha channels. Ordinary vid

8 Contents272 Copying a Sequence Into Another Project273 Nesting a Sequence273 Basic Sequence and Timeline SettingsChapter 21 275 The Fundamentals of

80 Part II Learning About the Final Cut Express HD Interface  Adjust generator clip controlsGenerators are special clips that can be generated by

800 Part IX Effects To change the alpha channel type of a clip using the Item Properties window:1 Do one of the following:Â Select a clip in the Br

Chapter 54 Compositing and Layering 801 IXChanging Canvas and Viewer Background ColorsWhen working with clips that have an alpha channel, you can c

802 Part IX Effects There are several backgrounds to choose from. Black White Checkerboard 1 Checkerboard 2 Red Green BlueTo choose a backgr

Chapter 54 Compositing and Layering 803 IXTemporarily Disabling a Single ClipIf, instead of disabling an entire track, you only want to disable a s

804 Part IX Effects Soloing Clips in Multitrack SequencesWhen working with multiple tracks you may find it helpful to quickly demo one clip within

55 80555 Keying, Mattes, and MasksYou can isolate specific elements of clips from the background and combine those elements with other clips by u

806 Part IX Effects In Final Cut Express HD, a matte is a customizable, polygonal shape used to make part of a clip transparent. By outlining part

Chapter 55 Keying, Mattes, and Masks 807 IXWhat Are Masks and How Are They Used?A mask is an image that is used to create areas of transparency in

808 Part IX Effects Using Keying to Isolate Foreground ElementsThere are two different methods used for keying: chroma keying and luma keying. Chr

Chapter 55 Keying, Mattes, and Masks 809 IXIf you must apply compression during capture, you can still pull good keys from clips with as much as a

Chapter 6 Viewer Basics 81 IITo open a clip in the Viewer from the Browser, do one of the following:m In the Browser, double-click the clip. m Drag

810 Part IX Effects Overview of Compositing Using the Chroma Keyer FilterWhile you can use one of several different filters for keying, you often u

Chapter 55 Keying, Mattes, and Masks 811 IXStep 3: Eliminate fringing with the Matte Choker filterAfter keying out as much of the background as yo

812 Part IX Effects Step 6: Crop out elements using the Garbage Matte filterIf there are “unkeyable elements” other than your foreground subject t

Chapter 55 Keying, Mattes, and Masks 813 IXWorking With the Chroma Keyer FilterDespite its name, the Chroma Keyer actually uses a combination of ch

814 Part IX Effects  Enable/Disable checkbox: Make sure there’s a checkmark in this checkbox for the controls you want to use. This lets you add

Chapter 55 Keying, Mattes, and Masks 815 IXÂ Select Color button (the eyedropper): When you click this button, the pointer turns into an eyedroppe

816 Part IX Effects Example: Using the Chroma Keyer FilterThe following example illustrates a typical use of the Chroma Keyer filter.1 Edit the gr

Chapter 55 Keying, Mattes, and Masks 817 IX5 Next, you want to expand the keyed area to include regions of the background that weren’t immediately

818 Part IX Effects Note: You should remove the majority of the green screen using the top handles, but stop at the point where there’s still some

Chapter 55 Keying, Mattes, and Masks 819 IX8 An optional step at this point is to use the Softening slider to blur the edges of the foreground subj

82 Part II Learning About the Final Cut Express HD Interface Learning About the ViewerThe following is a quick summary of the Viewer controls. For

820 Part IX Effects 10 If you’re satisfied with your key, but there is some color from the background that is spilling onto the edges of your foreg

Chapter 55 Keying, Mattes, and Masks 821 IX13 Finally, you’re ready to insert the background image. Make sure that the clip you’re editing into you

822 Part IX Effects Using Mattes to Add or Modify Alpha ChannelsYou can use the matte filters to create a new alpha channel or add to or subtract f

Chapter 55 Keying, Mattes, and Masks 823 IX3 Move the pointer to the Canvas (it turns into a crosshair pointer), then click to change the location

824 Part IX Effects The Choke slider adjusts the overall size of the matte, without changing the shape; the Feather slider blurs the edges of the m

Chapter 55 Keying, Mattes, and Masks 825 IXÂ Mask Shape: Allows you to create an alpha channel in a clip that consists of a simple shape—a diamond

826 Part IX Effects 3 Choose Luminance from the Channel pop-up menu. Note: When using a clip’s luminance to define transparency, white is used for

56 82756 Color Correcting Clips Final Cut Express HD includes powerful color correction features that let you analyze clips in your project and p

828 Part IX Effects Why Color Correct Your Footage?There are a number of reasons why you may want to color correct your footage:Â Make sure that ke

Chapter 56 Color Correcting Clips 829 IXÂ Achieve a “look”: The process of color correction is not simply one of making all the video in your piec

Chapter 6 Viewer Basics 83 II Zoom pop-up menu: This lets you enlarge or shrink the image that appears in the Viewer. View pop-up menu: This al

830 Part IX Effects Color Correction in Final Cut Express HDWith Final Cut Express HD, you have professional color correction tools at your disposa

Chapter 56 Color Correcting Clips 831 IXChrominance (Chroma)Chroma (also referred to as chrominance) describes all the different color values in yo

832 Part IX Effects WhitesIn the Final Cut Express HD color correction filters, most of the controls that you use to correct your clips affect the

Chapter 56 Color Correcting Clips 833 IXThe Color Correction ProcessAs mentioned earlier, color correction has several goals. To outline the proces

834 Part IX Effects The overall process of color correcting different shots in a scene to match one another involves five steps.Step 1: Pick the m

Chapter 56 Color Correcting Clips 835 IXLooking at the PictureThe only piece of information you have as you color-correct your clips is the visual

836 Part IX Effects Using the Color Corrector FilterAll the Final Cut Express HD color correction filters are located in the Color Correction bin,

Chapter 56 Color Correcting Clips 837 IXThe Color Corrector FilterThe Color Corrector filter employs a graphical interface designed specifically fo

838 Part IX Effects If you hold down the Shift key while dragging a color balance control indicator, the angle of the control indicator is constrai

Chapter 56 Color Correcting Clips 839 IXThe Color Corrector filter has one Color Balance control that lets you manipulate the whites in a clip, and

84 Part II Learning About the Final Cut Express HD Interface Filters TabYou use this tab to adjust parameters for any video or audio filters you’ve

840 Part IX Effects  Auto White Level button: Click this button to analyze your clip and find the maximum level of white in the frame. The Whites

Chapter 56 Color Correcting Clips 841 IXHue Matching Controls in the Color Corrector FilterThe Hue Matching controls allow you to adjust the hue of

842 Part IX Effects 6 Since the image is underexposed, adjust the Mids slider to bring more detail out of the shadows. Moving the Mids slider to th

Chapter 56 Color Correcting Clips 843 IXSince the picture was tinted into the blues, when you click the eyedropper on part of the white bedspread,

844 Part IX Effects 9 Click anywhere in the Balance control and drag to move the balance control indicator relative to its previous position. Since

Chapter 56 Color Correcting Clips 845 IXHue Matching ControlsThe Hue Matching controls work well as a starting point to help you quickly match the

846 Part IX Effects Example: Using the Hue Matching Controls of the Color Corrector FilterThis example shows how to use the Hue Matching controls

Chapter 56 Color Correcting Clips 847 IX3 Once the contrast has been adjusted the way you want it, click the Select Auto-balance Color button (the

848 Part IX Effects 6 Move the pointer into the Canvas where clip 2 is displayed. When the pointer becomes an eyedropper, click a highlight in the

57 84957 Using Built-in Generated Clips Final Cut Express HD can generate several types of clips for you to use in your sequences, including bars

Chapter 6 Viewer Basics 85 IIÂ Play Around Current Frame (\): Plays the selected clip “around” the current playhead position. When you click this

850 Part IX Effects Different Ways to Use Generators in Your SequenceIn creating composites and other effects, you may find some of the Final Cut E

Chapter 57 Using Built-in Generated Clips 851 IXGraphical Video and Audio Generators Available in Final Cut Express HDNot sure what each generator

852 Part IX Effects Highlight (Render > Highlight)Generates a simulated specular highlight band. The Center point control determines the locati

Chapter 57 Using Built-in Generated Clips 853 IXCreating and Adding Generated Clips to SequencesAll the Final Cut Express HD generators can be acce

854 Part IX Effects 2 Click the Controls tab to view that generator’s parameters, and adjust the controls to suit your purposes.All generators have

58 85558 Creating TitlesTitles, including opening and closing credits and those used in the lower part of the screen, are important elements in y

856 Part IX Effects Installing and Choosing FontsIf there are special fonts you want to install to use in Final Cut Express HD, you need to install

Chapter 58 Creating Titles 857 IXTo display the title safe boundaries, do one of the following:m Choose View > Show Title Safe, so a checkmark a

858 Part IX Effects Creating and Adding a Title ClipWhen you’re creating a title clip for a sequence, you can create a basic title or specify more

Chapter 58 Creating Titles 859 IXTo create a title clip:1 Select a text generator by doing one of the following:Â Click the Video or Audio tab in t

86 Part II Learning About the Final Cut Express HD Interface To move the playhead to the next In or Out point, or Media End:m Press the Down arrow

860 Part IX Effects 4 If you wish, specify additional settings.Note: Different text generators have different controls. Â Text: Enter your title

Chapter 58 Creating Titles 861 IX Tracking: Use the slider to adjust the space between letters, or enter a value in the number field. Leading:

862 Part IX Effects Other Options for Creating and Adding TitlesIf a title you have in mind is something you can’t create with the available text g

XPart X: Real Time and RenderingLearn how to maximize the real-time playback capabilities of Final Cut Express HD and render effects that cannot be pl

59 86559 Using RT ExtremeRT Extreme is the real-time effects architecture that allows you to play back multiple video layers, video and audio fil

866 Part X Real Time and Rendering How Many Effects Can Be Played in Real Time?Each filter, motion parameter, or effect that you apply to a clip ma

Chapter 59 Using RT Extreme 867 XPlayback video quality and frame rate can be controlled independently. For example, if you need to see every frame

868 Part X Real Time and Rendering About Unlimited Real-Time PlaybackIf you’d rather lower the playback quality of your video to increase the numbe

Chapter 59 Using RT Extreme 869 XPlaying Only the Base Layer of a SequenceYou can improve real-time performance by using the Play Base Layer Only f

Chapter 6 Viewer Basics 87 II Marking Controls Marking controls let you set In and Out points, add markers and keyframes, and navigate to match

870 Part X Real Time and Rendering About External Video MonitoringIf you enable DV output via FireWire, real-time playback is disabled.Available Re

Chapter 59 Using RT Extreme 871 XÂ Transitions, filters, and motion effects: Most of the built-in transitions and filters can be used in real time

872 Part X Real Time and Rendering About Render Status BarsThere are two render status bars in the Timeline above the ruler. The upper one is for v

Chapter 59 Using RT Extreme 873 XIdentifying Which Effects Can Be Processed in Real TimeFinal Cut Express HD shows all video transitions and filter

874 Part X Real Time and Rendering Settings and Options in the RT Pop-Up Menu and Playback Control TabThe following section describes the settings

Chapter 59 Using RT Extreme 875 XÂ Playback Video Quality: Some codecs, such as DV, allow you to choose from several resolutions during playback.

876 Part X Real Time and Rendering Real-Time Audio Mixing in Final Cut Express HDFinal Cut Express HD can mix and play back eight audio tracks in a

60 87760 RenderingWhen you apply more effects to a clip than your computer can process in real time, you need to render temporary media files to

878 Part X Real Time and Rendering Reasons for RenderingAny time Final Cut Express HD must perform more calculations than your computer can handle

Chapter 60 Rendering 879 XRender Indicators in Final Cut Express HDFinal Cut Express HD shows you which parts of your sequence need to be rendered

88 Part II Learning About the Final Cut Express HD Interface Zoom and View Pop-Up MenusThe two pop-up menus near the top of the Viewer let you quic

880 Part X Real Time and Rendering Video Render Status BarsThe color of the video render bar above the Timeline ruler indicates whether the items b

Chapter 60 Rendering 881 XAudio Render Status BarsThe color of the audio render bar above the Timeline ruler indicates whether the items below need

882 Part X Real Time and Rendering About Item-Level Render BarsAn audio clip item in the Timeline may display an individual render bar within the c

Chapter 60 Rendering 883 XThe Rendering ProcessWhen you render effects in a sequence, they’re rendered in the following order:Â The top-layer video

884 Part X Real Time and Rendering Selectively Rendering Parts of a SequenceThere are several ways to selectively render specific parts of your seq

Chapter 60 Rendering 885 XCommands for Rendering EffectsThree submenus contain commands to control which effects are rendered in one or more select

886 Part X Real Time and Rendering Render All SubmenuThe commands in the Render All submenu render all the clips corresponding to the selected Time

Chapter 60 Rendering 887 XRendering One or More SequencesYou can use any of the above commands to render all effects or a subset of effects in one

888 Part X Real Time and Rendering Rendering Part of a SequenceIf you’ve added a transition or an effect to a clip and want to render just that par

Chapter 60 Rendering 889 XRendering Audio Items in a SequenceThe following commands allow you to render audio items when required for real-time pla

Chapter 6 Viewer Basics 89 IINote: When playing back media with the Viewer scaled to 100 percent, both fields of interlaced video are displayed. I

890 Part X Real Time and Rendering Temporarily Disabling RenderingNormally, Final Cut Express HD attempts to calculate all the effects applied to t

Chapter 60 Rendering 891 XAuto-Rendering While You Are Away From Your ComputerThe Auto Render option allows you to take advantage of idle computer

892 Part X Real Time and Rendering Changing Settings in the Render Control TabEach sequence has its own group of render and playback settings, loca

Chapter 60 Rendering 893 XChanging Render Options for SequencesIf you change the render control options for new or existing sequences, you will aff

894 Part X Real Time and Rendering Using Nested Sequences to Preserve Render FilesYou can preserve render files for a sequence or for audio clips w

Chapter 60 Rendering 895 XÂ Disable the rendering and playback of filters, frame blending, and motion blur individually, or collectively in the Ren

XIPart XI: Project Management and SettingsFinal Cut Express HD features tools that help you keep track of your footage from the first phase of post-pr

61 89961 Media ManagementSuccessful editing requires effective media management. You should pick a media management strategy before you begin you

Contents 9314 Locking Tracks to Prevent Edits or Changes315 Disabling Tracks to Hide Content During Playback316 Customizing Track Display in the Timel

90 Part II Learning About the Final Cut Express HD Interface Recent Clips and Generator Pop-Up MenusThe two pop-up menus near the lower-right corne

900 Part XI Project Management and Settings The flexibility and power of media management in Final Cut Express HD stems from one simple fact: A cl

Chapter 61 Media Management 901 XIWhat You Need to Know to Manage Your MediaTo effectively keep track of or manage your media, you must have a good

902 Part XI Project Management and Settings Step 3: Transferring your project to another Final Cut Express HD systemClips represent media files ev

62 90362 Backing Up and Restoring ProjectsRoutine backups are a critical part of the editing process. If necessary, you can go back to earlier ve

904 Part XI Project Management and Settings Using the Autosave FeatureAutosave routinely saves copies of your project while you work. If something

Chapter 62 Backing Up and Restoring Projects 905 XIIf you have more than one hard disk, you can routinely save your normal project file on one disk

906 Part XI Project Management and Settings Restoring Autosaved ProjectsIf you’re working on your project and decide you want to go back to an earl

Chapter 62 Backing Up and Restoring Projects 907 XIOpening a Project File After Your Computer Is Unexpectedly Powered OffIf your computer is abrupt

908 Part XI Project Management and Settings Creating an Archive of a Finished ProjectFor long-term archiving, you should save both the project file

Chapter 62 Backing Up and Restoring Projects 909 XIUpdating Projects From Previous Versions of Final Cut Express HDAlmost every version of Final Cu

7 917 Canvas BasicsThe Canvas provides an environment for viewing your edited sequence, and works in tandem with the Timeline while you edit.This

910 Part XI Project Management and Settings Updating Projects From Final Cut Express HD (version 3) or EarlierScaling QualityProjects created in Fi

63 91163 Elements of a Final Cut Express HD ProjectWhen you are organizing your project and media files, it can be helpful to have a detailed und

912 Part XI Project Management and Settings Types of ClipsDifferent types of clips are distinguished by the type of media files they refer to. For

Chapter 63 Elements of a Final Cut Express HD Project 913 XIClips Defined By Relationship to Other ClipsA master clip is the first instance of a cl

914 Part XI Project Management and Settings Clips Defined By Media File ConnectionAn offline clip is any clip whose media file cannot be located, o

Chapter 63 Elements of a Final Cut Express HD Project 915 XIAbout Icons and Project Elements in the BrowserIcons appear next to the name of each pr

916 Part XI Project Management and Settings Clip PropertiesA clip has many properties, or characteristics, some of which you can customize, and som

Chapter 63 Elements of a Final Cut Express HD Project 917 XIAnamorphic A checkmark in this property indicates that the media file’s pixel data was

918 Part XI Project Management and Settings Duration Shows the duration between a clip’s In and Out points. Speed adjustments to a clip affect a cl

Chapter 63 Elements of a Final Cut Express HD Project 919 XIOffline A checkmark indicates a clip is offline, meaning no media file exists in the lo

92 Part II Learning About the Final Cut Express HD Interface Before you can work in the Canvas, it must be the currently selected, or active, windo

920 Part XI Project Management and Settings Source Shows the file path of the clip’s media file on disk. For example:Scratch Disk:Capture Scratch:D

64 92164 Working With Master and Affiliate ClipsMaster-affiliate clip relationships make it easy to manage multiple uses of media files in your p

922 Part XI Project Management and Settings When several clips are independent, they may all refer to the same media file, but they refer to it

Chapter 64 Working With Master and Affiliate Clips 923 XICreating Master and Affiliate ClipsBesides capturing and importing clips into a project, t

924 Part XI Project Management and Settings Creating Affiliate Clips From Master ClipsAs you edit in Final Cut Express HD, you create affiliate cli

Chapter 64 Working With Master and Affiliate Clips 925 XIBreaking the Relationship Between an Affiliated Clip and Its MasterOnce the relationship b

926 Part XI Project Management and Settings Independent ClipsIndependent clips do not share properties with any other clips. They are neither maste

Chapter 64 Working With Master and Affiliate Clips 927 XITo create new master clips for an entire sequence of independent clips:1 Do one of the fol

928 Part XI Project Management and Settings Using Keyboard Shortcuts to Modify Master-Affiliate RelationshipsThe Master Clip command in the Modify

Chapter 64 Working With Master and Affiliate Clips 929 XIFinding a Clip’s Master ClipUsing the Reveal Master Clip command, you can identify the mas

Chapter 7 Canvas Basics 93 IILearning About the CanvasThe following is a summary of the controls in the Canvas. Tabs: Each tab in the Canvas repr

930 Part XI Project Management and Settings Master-Affiliate Clip PropertiesMost clip properties reside in a master clip, and all the affiliate cli

Chapter 64 Working With Master and Affiliate Clips 931 XIAffiliate Clip PropertiesThe following clip properties are unique to each affiliate clip,

65 93365 Reconnecting Clips and Offline MediaWhenever a clip’s media file is modified outside of Final Cut Express HD, the connection between the

934 Part XI Project Management and Settings A clip connects to a media file via the clip’s Source property, which contains the location of the medi

Chapter 65 Reconnecting Clips and Offline Media 935 XIReconnecting Clips to Media FilesClips in your project don’t have to be offline for you to us

936 Part XI Project Management and Settings About the Reconnect Files DialogThe Reconnect Files dialog has the following features:Files To Connect

Chapter 65 Reconnecting Clips and Offline Media 937 XISearch Locations AreaThis area allows you to choose which folders are searched when Final Cut

938 Part XI Project Management and Settings Locate and Search Buttons Locate: Click this button to manually navigate to a media file for the clip

Chapter 65 Reconnecting Clips and Offline Media 939 XIUsing the Reconnect Files DialogThe Reconnect Files dialog has many options, depending on the

94 Part II Learning About the Final Cut Express HD Interface  Editing controls: The edit buttons and the Edit Overlay allow you to perform differ

940 Part XI Project Management and Settings 5 Do one of the following:Â Choose a directory path from the Search Folders pop-up menu, then select th

Chapter 65 Reconnecting Clips and Offline Media 941 XISeveral options can help you find your clip. Show pop-up menu: If this option is set to All

942 Part XI Project Management and Settings 8 Click Try Again to search for a different media file to connect to the clip. Otherwise, click Continu

Chapter 65 Reconnecting Clips and Offline Media 943 XIAbout the Offline Files DialogThe Offline Files dialog appears each time you open a project w

66 94566 Choosing Settings and PreferencesFinal Cut Express HD has numerous settings and preferences that allow you to customize your system for

946 Part XI Project Management and Settings  Timeline Options Tab (p. 951): These are the default display options used when a new sequence is cre

Chapter 66 Choosing Settings and Preferences 947 XIReal-Time Audio and Video Options Real-time Audio Mixing: Enter a number in this field to spec

948 Part XI Project Management and Settings  Limit real-time video to N MB/s: Final Cut Express HD uses this number to limit how many video strea

Chapter 66 Choosing Settings and Preferences 949 XIAutosave Options Autosave Vault: The Autosave option saves a copy of each open project at regu

Chapter 7 Canvas Basics 95 IIEdit OverlayThe Edit Overlay appears only when you drag clips from the Browser or Viewer to the image area of the Canv

950 Part XI Project Management and Settings Editing TabThe preferences in this tab affect editing behaviors in Final Cut Express HD.Default Timing

Chapter 66 Choosing Settings and Preferences 951 XIÂ Preview Post-roll: This value is used by the Play Around Current control and the Trim Edit wi

952 Part XI Project Management and Settings Render Control TabThis tab is used to set default render options for new sequences. You can choose the

Chapter 66 Choosing Settings and Preferences 953 XITo open System Settings:m Choose Final Cut Express HD > System Settings.The System Settings w

954 Part XI Project Management and Settings To add or replace a search folder:1 Choose Final Cut Express HD > System Settings, then click the Se

Chapter 66 Choosing Settings and Preferences 955 XIMemory & Cache TabThe settings in this tab affect memory usage in Final Cut Express HD.Memor

956 Part XI Project Management and Settings Thumbnail Cache SettingsThe thumbnail cache stores the clip thumbnails displayed in the Timeline and th

Chapter 66 Choosing Settings and Preferences 957 XIExternal Editors TabFinal Cut Express HD allows you to directly open clips’ media files in other

958 Part XI Project Management and Settings To set an external editor:1 Choose Final Cut Express HD > System Settings, then click the External E

XIIPart XII: OutputLearn how to output your completed movie to videotape or DVD, or export to any QuickTime-compatible video format.Chapter 67 Prepar

96 Part II Learning About the Final Cut Express HD Interface  Play Around Current Frame (\): Plays the selected sequence “around” the current pla

67 96167 Preparing to Output to TapeTape is still the most common means of acquisition, output, and transfer for professional projects. Final Cut

962 Part XII Output How to Output to Tape in Final Cut Express HDThere are two main ways you can output your video from Final Cut Express HD to tap

Chapter 67 Preparing to Output to Tape 963 XIISetting Up Your Editing System to Output to TapeBefore you output to tape, you need to set up your vi

68 96568 Printing To Video and Output From the TimelineYou can output your sequence to videotape using the Print to Video command, or simply reco

966 Part XII Output Printing to VideoThe Print to Video command doesn’t allow you to set In or Out points on your tape. Instead, you manually press

Chapter 68 Printing To Video and Output From the Timeline 967 XIITo print to videotape:1 Select the desired sequence or clip in the Browser, or ope

968 Part XII Output 5 When you’ve finished setting options, click OK. Transitions and effects that require rendering, along with any added elements

Chapter 68 Printing To Video and Output From the Timeline 969 XII3 In the Timeline, move the playhead to where you want to start recording in your

Chapter 7 Canvas Basics 97 IITo move the playhead to the beginning of your sequence:m Press Home on your keyboard.To move the playhead to the end o

970 Part XII Output  Every Frame: Plays back every frame of the sequence, whether or not rendering is required. If there are transitions or effec

69 97169 Exporting Sequences for DVDMaking a DVD of your movie is a great way to show and distribute it. Video DVDs contain high-quality media an

972 Part XII Output There are essentially three phases to creating a DVD:Â Create and edit your source material. In addition to the main Final Cut

Chapter 69 Exporting Sequences for DVD 973 XIIÂ Add compression and chapter markers in Final Cut Express HD to help control the encode quality and

974 Part XII Output Audio for iDVD ProjectsiDVD projects can have a single audio stream for each menu, slideshow, and movie. All audio used in iDVD

Chapter 69 Exporting Sequences for DVD 975 XIIMore About Chapter MarkersYou can add chapter markers so that DVD authoring applications can create a

976 Part XII Output More About Compression MarkersCompression markers identify areas of abrupt change in your sequence, such as a cut from a black

Chapter 69 Exporting Sequences for DVD 977 XIIExporting QuickTime Movies for iDVDiDVD only imports standard QuickTime movies as video sources. This

70 97970 Learning About QuickTimeFinal Cut Express HD uses QuickTime technology as a foundation for media file storage and as an import and expor

98 Part II Learning About the Final Cut Express HD Interface Jog ControlTo move forward or backward in your sequence very precisely, use the jog co

980 Part XII Output The QuickTime Suite of Software ApplicationsWhen someone mentions QuickTime, people often think of the free media player develo

Chapter 70 Learning About QuickTime 981 XIIHow Is Information Stored in a QuickTime Movie?QuickTime movie files store media data in separate tracks

982 Part XII Output The QuickTime framework supports codecs that are commonly used today as well as codecs that were once popular. When you go to e

Chapter 70 Learning About QuickTime 983 XII AIFF and WAVE: These are audio file formats that contain uncompressed audio data. DV: There are sev

984 Part XII Output Formats Supported by QuickTimeQuickTime supports a lot of media formats and codecs, with many more coming all the time. Some ex

Chapter 70 Learning About QuickTime 985 XIIVideo Codecs Supported Within Video File FormatsA video codec is an algorithm for encoding video images

986 Part XII Output Apple M-JPEGThere are two Apple M-JPEG codecs, M-JPEG A and M-JPEG B. These are variable data rate codecs similar to the ones u

Chapter 70 Learning About QuickTime 987 XIIGraphics and Still Image Formats BMP: Standard bit-mapped graphics format used on Windows computers.Â

988 Part XII Output Audio File Formats AAC or .mp4: Advanced Audio Coding. This format is a continuation of the MP3 audio format, improving quali

Chapter 70 Learning About QuickTime 989 XIIHow Do You Export the Files You Need?There are two commands in Final Cut Express HD that you use to outp

Chapter 7 Canvas Basics 99 IIÂ Add Motion Keyframe (Control-K): Click to add a keyframe to the current clip at the position of the playhead. This

990 Part XII Output The Export Using QuickTime Conversion CommandUnlike the Export QuickTime Movie command, which only exports to a QuickTime movie

71 99171 Exporting QuickTime MoviesYou can export your finished sequence to a QuickTime movie. Markers can also be included for use in other appl

992 Part XII Output Choosing the Type of QuickTime Movie to ExportYou can create two kinds of QuickTime movies with the Export QuickTime Movie comm

Chapter 71 Exporting QuickTime Movies 993 XIIExporting a QuickTime Movie FileYou can use the Export QuickTime Movie command whenever you want to ex

994 Part XII Output 8 To export a QuickTime movie with all video, audio, and rendered media in a self-contained file, select the Make Movie Self-Co

72 99572 Exporting QuickTime-Compatible FilesWhen you need to export video, audio, or still image files for use in other applications, you can us

996 Part XII Output Types of QuickTime-Compatible File FormatsWith the Export Using QuickTime Conversion command, you can choose to export almost a

Chapter 72 Exporting QuickTime-Compatible Files 997 XIIStill Image File Formats and Image Sequences Still Image: This choice allows you to select

998 Part XII Output 7 Choose a preset compression setting from the Use pop-up menu.8 To set additional video, audio, and Internet streaming setting

Chapter 72 Exporting QuickTime-Compatible Files 999 XII9 When you’ve finished selecting your options, click OK.10 When you’re ready to export, clic