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Apple Final Cut Pro 5 User Manual Page 136
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Chapter 9
Timeline Basics
135
II
Drag the Zoom In
to
ol to expand the
sequence.
T
his shows the above
sequence zoomed in,
so you can see more
details within the
sequence.
1
2
...
131
132
133
134
135
136
137
138
139
140
141
...
185
186
Final Cut Pro 5
1
User Manual
1
Volume I
2
Interface, Setup
2
Documentation and Resources
10
Onscreen Help
11
Apple Websites
12
Part I: An Introduction
14
About the Postproduction
16
Workflow
16
The Postproduction Workflow
17
Video Formats and Timecode
22
Using Multiple Video Formats
23
Video Format Basics
24
How Drop Frame Timecode Works
27
Understanding Projects
28
Clips, and Sequences
28
What Are Clips?
29
What Are Sequences?
30
What Are Projects?
31
What Are Bins?
32
Working With Projects
33
Opening and Closing Projects
35
To switch between
36
Filenaming Considerations
38
Avoiding Special Characters
39
Using Filename Extensions
40
Using Multiple Hard Disks
40
Part II: Learning About
42
Overview of the
44
Final Cut Pro Interface
44
Using Keyboard Shortcuts
46
Using Button Bars
47
Using Shortcut Menus
47
This tooltip appears when
48
Moving Windows
51
Undoing and Redoing Changes
52
Browser Basics
54
Learning About the Browser
55
Working in the Browser
56
Hold the Option key
58
Enter a new name for the
59
Using Columns in the Browser
60
Choosing Views in the Browser
62
Before using the
69
Arrange command
69
After using the
69
Setting the Poster Frame
70
Viewer Basics
72
Opening a Clip in the Viewer
73
Learning About the Viewer
74
Tabs in the Viewer
76
Filters Tab
77
Motion Tab
77
Controls Tab
78
Playhead Controls
79
Jog Control
80
Shuttle Control
80
Marking Controls
81
Zoom and View Pop-Up Menus
82
Displaying native
83
Display pixel as square
83
View Pop-Up Menu
84
Playhead Sync Pop-Up Menu
85
Chapter 6 Viewer Basics 85
86
Recent Clips Pop-Up Menu
87
Generator Pop-Up Menu
87
Canvas Basics
88
Learning About the Canvas
90
Edit Overlay
92
Edit Buttons in the Canvas
92
97
98
Playing Clips and Sequences
99
To move around, drag the
101
> Moves through
102
. Moves through
102
Looping Playback
104
Current Timecode field
105
Timecode Duration field
105
Dragging Timecode Values
107
Timeline Basics
110
Learning About the Timeline
113
Editing Controls
114
Vertical Multitrack Controls
115
Horizontal Time Controls
116
Timeline Display Controls
118
Audio Controls
119
Other Miscellaneous Controls
120
Audio waveform
126
Without audio
126
Through edit
127
Track Height
129
Clip Overlays
129
Pop-Up Menu
130
Duplicate frames
131
Different colors indicate
131
Navigating in the Timeline
132
Playhead
133
Drag the Zoom control
135
Before zooming in
137
The playhead remains
137
After zooming in
137
Position of playhead
138
One-minute increment
138
Scroll bar
139
Customizing the Interface
140
Default Two Up layout
141
Layout after making the
141
Browser and Timeline
141
Using Screen Layouts
142
Customizing Screen Layouts
143
Assigning Keyboard Shortcuts
147
If you enter “edit,” all
148
The keyboard shortcut
149
Removing Shortcut Buttons
156
Part III: Setting Up Your
158
Overview of Setting Up
160
Designing Your Editing System
164
Video Interfaces
166
Audio Interfaces
167
USB or FireWire
168
FireWire
168
Device Control Interfaces
169
Scratch Disks
169
FireWire cable
170
Connecting Your Camcorder
170
Choosing an Easy Setup
171
What Is FireWire?
176
What Is Device Control?
177
Device status
178
Determining Your Hard Disk
180
Storage Options
180
Know Your Shooting Ratio
182
Choosing a Hard Disk
184
Types of Hard Disk Drives
185
ATA Disk Drives
186
FireWire Disk Drives
187
SCSI Disk Drives
187
Using a RAID or Disk Array
188
Fiberchannel
189
Storage Area Networks (SAN)
190
Connecting Professional
192
Choosing a Video Interface
193
USB interface
195
Choosing an Audio Interface
202
Connecting Audio Devices
205
Establishing Device Control
207
External Video Monitoring
210
” on page 220
219
Part IV: Logging, Capturing
224
Overview of Logging
226
Log and capture
230
Preview area
230
Logging, Clip Settings, and
230
Capture Settings tabs
230
Preview Area
231
Log and Capture Buttons
235
Logging Clips
238
Benefits of Logging
239
Preparing to Log
240
Choosing Reel Names
241
Overview of Logging Steps
244
Inserting a Tape in the VTR
245
The slate icon appears
247
Enter the Out point
249
Enter the In point
249
Changing Capture Settings
256
Logging a Clip
257
Logging Media Efficiently
258
Before You Capture
262
Batch Capturing Clips
263
Before You Batch Capture
264
Detection
274
A marker appears in front
275
Markers for a clip
275
All of the material
276
If you aren’t using device
278
Capture window is
278
Recapturing Clips
279
Capturing Audio
286
Preparing for Audio Capture
287
Dual Mono Versus Stereo Audio
291
VU meter
294
Final Cut Pro
294
About Audio Peaks
295
Choose the appropriate
296
Make sure you choose
296
Reference video
298
Working With Batch Lists
300
Creating a Batch List
301
01:20:00;15
302
Importing a Batch List
304
Importing Media Files
306
Into Your Project
306
Clips you drag directly
310
Browser)
310
About Importing Video Files
311
About MXF-Based Formats
312
Importing From a Sony VDU
313
About Media File Optimization
313
About Importing Audio Files
314
Choose a save option
319
Choose a place
319
If you wish, enter a name
319
Drag the clips to
320
Using Color Bars
322
What Is Setup?
326
Waveform Monitor
327
Vectorscope
327
Choose Targets from
328
“Legal” Broadcast Colors
330
When monitor brightness and
334
Volume II
336
© 2005 SuperEgo Records
337
Part II Rough Editing
339
Contents 5
340
6 Contents
341
Contents 9
344
Contents 11
346
Part I: Organizing Footage
348
Organizing Footage
350
Creating New Bins
351
Opening Bins in the Browser
352
Drag the bin’s tab above
355
The bin now has its own
355
Moving Items Between Bins
356
You can also move
357
About Label Names and Colors
358
These are the various
359
Select the clips
360
Then Control-click
360
Changing Names of Labels
361
Sorting Clips by Labels
361
About Search Options
363
Search Commands
365
A list of unused clips is
367
Results window
367
Control-click in a
368
Then click here
369
Select items you want
369
Creating Subclips
370
Numbered subclips are
371
A new subclip appears in
372
Removing Subclip Limits
373
Turning Markers Into Subclips
374
Creating Subclips Manually
376
Editing With Subclips
376
After Capturing
377
Video and Audio
380
Duration of Merged Clips
383
A line appears
385
The new merged
386
Using Markers
388
Types of Markers
390
Working With Markers
391
Chapter 4 Using Markers 57
392
Quickly Adding Markers
393
Chapter 4 Using Markers 59
394
Chapter 4 Using Markers 61
396
Navigating With Markers
397
Chapter 4 Using Markers 63
398
Moving a Marker
399
Chapter 4 Using Markers 65
400
Extending a Marker’s Duration
402
Enter the desired
403
Chapter 4 Using Markers 69
404
Part II: Rough Editing
406
73
408
Choose a time
410
You can change the
410
Comment column headings
410
Returning to Saved Projects
411
About Offline Clips
414
Sequences as Clips
415
Control-click a column
416
82 Part II Rough Editing
417
Finding a Clip’s Media File
418
84 Part II Rough Editing
419
Enter a new name
420
Opening and Closing Sequences
421
Duplicating a Sequence
422
88 Part II Rough Editing
423
Nesting a Sequence
424
When Rendering Is Required
425
The Fundamentals
428
94 Part II Rough Editing
429
Undoing and Redoing Actions
431
98 Part II Rough Editing
433
100 Part II Rough Editing
435
Setting Edit Points
436
102 Part II Rough Editing
437
The Out point includes
438
104 Part II Rough Editing
439
Mark Out button (O)
440
Mark In button (I)
440
106 Part II Rough Editing
441
Reviewing Your Edit Points
442
108 Part II Rough Editing
443
110 Part II Rough Editing
445
In point
446
The new clip begins at
446
112 Part II Rough Editing
447
In and Out points are
448
The new clip’s duration is
448
114 Part II Rough Editing
449
Move the playhead
450
Auto Select is enabled for
450
116 Part II Rough Editing
451
Select the desired clips
452
118 Part II Rough Editing
453
Moving In and Out Points
454
Clearing In and Out Points
455
Working With Tracks
458
Adding Tracks
459
Deleting Tracks
461
Setting Destination Tracks
463
130 Part II Rough Editing
465
132 Part II Rough Editing
467
134 Part II Rough Editing
469
Resizing Timeline Tracks
470
136 Part II Rough Editing
471
Saving Track Layouts
472
138 Part II Rough Editing
473
To eliminate audio tracks
474
Drag-to-Timeline Editing
476
142 Part II Rough Editing
477
144 Part II Rough Editing
479
While Dragging
481
Three-Point Editing
484
150 Part II Rough Editing
485
Performing an Insert Edit
489
Before an insert edit
490
After an insert edit
490
New clip is inserted
490
156 Part II Rough Editing
491
Performing an Overwrite Edit
492
158 Part II Rough Editing
493
Performing a Replace Edit
495
162 Part II Rough Editing
497
The video track should
498
164 Part II Rough Editing
499
In and Out points define the
500
Superimposing Clips
501
DBefore edit
502
168 Part II Rough Editing
503
Three-Point Editing Examples
504
170 Part II Rough Editing
505
In and Out points
506
172 Part II Rough Editing
507
You can use this method
507
Into Your Sequence
509
175
510
176 Part II Rough Editing
511
178 Part II Rough Editing
513
Selecting Clips
515
Selecting an Individual Clip
516
Selecting Multiple Clips
517
184 Part II Rough Editing
519
All clips in V1
520
186 Part II Rough Editing
521
188 Part II Rough Editing
523
Choose additional
524
190 Part II Rough Editing
525
Before deleting
526
192 Part II Rough Editing
527
Option-click the control
528
Auto Select
528
195
530
196 Part II Rough Editing
531
Moving by Dragging
532
Moving Clips Numerically
533
Clip Collision message
534
Performing Shuffle Edits
535
202 Part II Rough Editing
537
Copied clip items
538
Pasted clip items
538
204 Part II Rough Editing
539
206 Part II Rough Editing
541
Selected clip items
542
After a lift edit, a gap is
542
208 Part II Rough Editing
543
Finding and Closing Gaps
544
210 Part II Rough Editing
545
In and Out points set
546
Auto Select control
546
Cutting Clips
548
214 Part II Rough Editing
549
The Razor Blade All
550
216 Part II Rough Editing
551
218 Part II Rough Editing
553
Linking and Editing
554
Video and Audio in Sync
554
220 Part II Rough Editing
555
Audio moved away
556
Audio moved back
556
222 Part II Rough Editing
557
224 Part II Rough Editing
559
226 Part II Rough Editing
561
Moving a Clip Into Sync
563
230 Part II Rough Editing
565
Before syncing
566
After syncing
566
232 Part II Rough Editing
567
Between Linked Clip Items
568
234 Part II Rough Editing
569
236 Part II Rough Editing
571
Split Edits
572
238 Part II Rough Editing
573
Chapter 15 Split Edits 239
574
240 Part II Rough Editing
575
Chapter 15 Split Edits 241
576
242 Part II Rough Editing
577
Split Edit Examples
578
244 Part II Rough Editing
579
Chapter 15 Split Edits 245
580
246 Part II Rough Editing
581
Working With Multiclips
582
248 Part II Rough Editing
583
Multiclip Workflow
584
250 Part II Rough Editing
585
252 Part II Rough Editing
587
254 Part II Rough Editing
589
Overlapping timecode
590
Creating a Multiclip
591
Creating Multiclip Sequences
592
258 Part II Rough Editing
593
Creating a Multiclip Sequence
595
Multiclip Sequence Examples
597
Timecode offset
598
264 Part II Rough Editing
599
266 Part II Rough Editing
601
4-up view 9-up view
602
View pop-up menu
602
268 Part II Rough Editing
603
Viewing Multiclip Overlays
604
270 Part II Rough Editing
605
Drag a clip to an
606
Insert New Angle
606
272 Part II Rough Editing
607
274 Part II Rough Editing
609
Before the switch, the
610
After the switch
610
276 Part II Rough Editing
611
Switching Angles
612
Cutting Between Angles
613
Individual audio items
614
Video item
614
280 Part II Rough Editing
615
282 Part II Rough Editing
617
284 Part II Rough Editing
619
Switching Angles With Effects
620
286 Part II Rough Editing
621
288 Part II Rough Editing
623
Audio Editing Basics
624
290 Part II Rough Editing
625
Waveforms for a stereo
626
292 Part II Rough Editing
627
294 Part II Rough Editing
629
Editing Audio in the Viewer
630
296 Part II Rough Editing
631
Stereo audio tab
632
Audio track a1
632
Audio track a2
632
298 Part II Rough Editing
633
300 Part II Rough Editing
635
Use the drag hand to
636
302 Part II Rough Editing
637
New Out point set
638
The Out point of audio
638
Original Out point
638
Editing Audio in the Timeline
639
306 Part II Rough Editing
641
Naming Audio Tracks
642
308 Part II Rough Editing
643
310 Part II Rough Editing
645
312 Part II Rough Editing
647
The long pause in your
648
314 Part II Rough Editing
649
316 Part II Rough Editing
651
Sliding Clips in the Timeline
656
Before edit
657
After edit
657
The timecode entry field
659
You slip items using
660
The duration of the
661
The sequence clip’s In and
661
Out points move together
661
Drag point
662
Entire length of media
662
Without Leaving a Gap
664
Performing Ripple Edits
665
These clips move left
668
This clip shortens
668
Roll edits are done
674
Selected edit point
675
Edit being rolled
676
After the roll edit, the
676
Tips for Using the Roll Tool
678
Learning About Trimming Clips
680
Click here to turn linked
682
Click here to turn
682
Selection tool
683
Selecting Single Edit Points
684
Multiple edit points
685
One edit per track is
685
This clip lengthens
688
Trimming Clips in the Viewer
689
Timecode Numbers
690
Moving Clips Using Timecode
691
Media Limit message
693
Trimming Clips
696
Using the Trim Edit Window
696
Outgoing clip
697
Incoming clip
697
Green bar
697
Go to Previous Edit
700
Go to Next Edit
700
Play Around Edit Loop
700
Play In to Out
700
Dynamic Trimming
704
Adding Transitions
710
Common Types of Transitions
711
A transition between
712
The center line
712
Having Handles at Edit Points
713
The added transition
716
Drag the transition to
720
Deleting Transitions
721
Before a roll edit
723
After a roll edit with the
723
Replacing Transitions
724
The transition now
725
Deleting Favorite Transitions
726
The white dots indicate
727
Sequence Settings window
728
Refining Transitions
732
Using the Transition Editor
732
Alignment buttons
734
Recent Clips pop-up
734
Drag hand
734
The start of an edge
736
The middle of an edge
736
Drag the hand from the
740
Transition Editor to an
740
Canvas to help you determine
743
Rendering Transitions
746
Sequence to Sequence Editing
748
4 Do one of the following:
750
Nesting Sequences
753
This nested sequence
756
After the Nested Sequence
757
Without Nesting It
758
A highlighted area shows
761
Matching Frames
762
Sprocket holes
763
The current frame in the
767
Viewer matches the
767
With the Viewer Playhead
769
Playhead Sync pop-up
770
The playhead is moved
772
Working With Timecode
774
Frame Rate Versus Timecode
775
Clip Time Versus Source Time
778
Timecode Overlays
780
The Modify Timecode dialog
782
Modifying Sequence Timecode
784
Working With 60 fps Timecode
786
Volume III
788
Audio Mixing
788
Part II Effects
793
Part I: Audio Mixing
800
Overview of Audio Mixing
802
Cleaning Up Audio
805
Adding Audio Filters
805
Making the Final Mix
806
Adjusting Audio Levels
808
Adjusting Pan
808
Setting Up Audio Equipment
810
Flat Not flat
812
Amplifiers and Signal Levels
813
Using Headphones
814
About Balanced Audio Signals
815
Inverted signal
816
(inverted again)
816
Combined signals
816
(noise eliminated)
816
Audio Connectors
817
Choose an
819
Click here to select
819
Audio Fundamentals
824
Fundamentals of a Sound Wave
825
Frequency Spectrum of Sounds
826
Measuring Sound Intensity
827
Decibel Units
828
Signal-to-Noise Ratio
829
Headroom and Distortion
829
Dynamic Range
830
Stereo Audio
831
Identifying Stereo Recordings
832
Digital Audio
833
Sample Rate
834
2 bit1 bit
836
16 bit4 bit
836
Audio Levels, Meters
838
Analog Versus Digital Meters
840
What Does 0 dB Mean?
841
Yellow peak level
842
Clip Indicators
843
Audio Peak Detection
844
Setting Proper Audio Levels
845
Labeling Your Tapes
847
About Audio Output Presets
848
Stereo Versus Dual Mono Audio
852
Overview of the Audio Mixer
854
Controls in the Audio Mixer
855
Track Visibility Area
856
Track Strips Area
857
Acceptable range
859
Clipping range
859
Master Area
860
View Buttons
862
Record Audio Keyframes Option
862
Source Pop-Up Menu
863
Using Audio Mixer Views
864
These tracks
865
Using the Audio Mixer
866
Mute button in the
868
Audio Mixer
868
Timeline
868
Audio Controls button
868
Solo button in the Audio
869
Solo button in the
869
Audio controls button
869
Changes made to faders
870
...affect only the audio
870
Changing a Clip’s Pan
875
Place the pointer over
879
Modifying Recorded Keyframes
883
Existing Automation
884
Click one or both of
885
Connecting a Control Surface
886
Installing a Control Surface
887
Tracks 1–8
889
Tracks 9–16
889
Mixing Audio
896
Volume level overlay
897
Change in volume level
897
The keyframe appears as
898
Enter a new value
902
Adjust Line Segment
903
Panning Audio in the Timeline
904
Pan slider
905
Enter a value in one
906
The pointer turns into an
907
Adjust Line Segment pointer
907
As you drag, a box displays
907
Tools for Adjusting Keyframes
908
Level Keyframe
909
Pan Keyframe button
909
Reset button
909
A keyframe appears at the
910
Keyframe being moved
912
Keyframes set
915
Lowered levels
915
Adjust the slope of
916
When you’ve zoomed
917
The problem samples
918
The overlay looks
918
Using the Voice Over Tool
922
Microphone
924
USB audio
924
PowerBook
924
Headphones
924
20-second point
925
The newly recorded
933
Recording a Voiceover
935
Recording Multiple Takes
936
Appears in Your Sequence
937
Using Audio Filters
938
Overview of Audio Filters
939
Compression
941
Expansion
942
Noise Reduction Filters
943
Echo and Reverb Filters
944
Working With Audio Filters
946
Drag a filter from
948
...to the Timeline
948
Select several filters
949
...then drag them to the
949
In and Out points in the
954
Controls in the Filters Tab
956
Trash can icon
959
Tips for Better Audio
962
Tips for Cutting Dialogue
963
Tips for Cutting Music
966
Instead of placing audio
967
... do this
967
Organizing Your Tracks
968
Part II: Effects
970
Applying a Filter to a Clip
973
... to the sequence clip
975
Drag the Start or End
977
The End point dragged
977
Select multiple filters
978
Then, drag the filters
978
Keyframe navigation
980
Keyframe button
980
Keyframe graph ruler
981
Keyframe graph area
981
Filter Start and
981
End points
981
Section of clip not used
981
Using Filter Controls
982
Double-sided
983
Logarithmic slider
983
Point control
984
X and y coordinates
984
Angle control
984
Clip control
986
Filter bar for a video track
986
Clip Keyframes button
986
To copy a clip’s filter
988
Removing Filters From Clips
989
Using After Effects Filters
989
Blur Filters
990
Border Filters
991
Channel Filters
991
Color Correction Filters
992
Distort Filters
993
Image Control Filters
994
Key Filters
995
Settings window
996
Matte Filters
997
Perspective Filters
999
Sharpen Filters
999
Stylize Filters
1000
Video Filters
1001
Changing Motion Parameters
1004
Basic motion parameters
1005
Distort attribute
1005
Motion Blur parameters
1006
Drop Shadow parameters
1006
Some parameters must
1006
Controls in the Motion Tab
1007
Canvas center point
1010
-360 pixels +360 pixels
1010
-240 pixels
1010
+240 pixels
1010
Initial background layer
1012
Sequence In and
1012
Out points
1012
Motion settings for the
1020
A soft border appears
1020
Both selected clips now
1022
The background clip
1022
Choosing a Wireframe Mode
1023
Which View Should You Use?
1024
Crop and Distort Tools
1025
Zooming In to the Canvas
1026
Drag a corner handle
1027
Shift-drag a corner
1027
Use the Distort tool to
1034
Adjusting Parameters
1036
How Keyframing Works
1037
Zoom control
1041
Zoom slider
1041
Timecode
1041
Pen Smooth tool
1042
Pen tool
1042
Pen Delete tool
1042
Setting Keyframes
1043
As you drag, a box
1046
Drag the area up or down
1046
Moving Between Keyframes
1047
Thumb tabs on either
1048
Layer the clips, with one
1050
Create five keyframes at
1054
1-second intervals
1054
Two keyframes with
1055
Bezier handle on one
1055
Smoothing Keyframes
1058
What Are Motion Paths?
1060
Creating Motion Paths
1061
Press Shift, then drag to
1063
Tic marks farther apart
1065
Tic marks closer together
1065
The pointer changes
1068
About the Keyframe Graph Area
1070
Drag the resize pointer
1073
Keyframe Editor Resize
1073
Reusing Effect
1074
Checkboxes are available
1078
Auto Select controls
1079
Enter the new name for
1083
Previewing Effects
1086
Controls in the QuickView Tab
1090
Playback in the QuickView Tab
1091
Changing Clip Speed
1094
Performing a Fit to Fill Edit
1095
Set In and Out points
1096
Constant Speed
1098
Making Constant Speed Changes
1101
Making Variable Speed Changes
1102
Last frame of clip
1104
First frame of clip
1104
Length of clip’s media
1104
Motion bar (blue)
1105
Speed indicator area
1105
Speed tooltips
1105
Keyframe editor
1105
Speed indicators
1107
Clip Keyframes control
1107
At normal speed, the
1108
Slow speed
1108
Fast speed
1108
Reverse indicators
1109
Variable indicators
1109
Using the Time Remap Tool
1110
Time Remap
1111
To scrub through a clip in
1114
Shift key, then click a clip
1114
Slow motion
1116
Linear time
1116
Fast forward
1117
Reverse speed
1117
Acceleration
1118
Time Remap parameters
1119
Time Graph Output
1119
Working With Still Images
1122
3000 x 2000
1125
720 x 480
1125
Video Is Not 72 Dots per Inch
1126
720 X 486 Broadcast
1129
(720 X 480 DV)
1129
640 X 480
1129
Looks right
1130
Looks wrong
1130
Using Alpha Channels
1131
Enter a new duration in
1134
Enter a new duration here
1134
4000 X 3000
1135
Set the Scale
1136
Starting position
1138
Center parameter
1138
Ending keyframe
1139
Drag the velocity
1140
Compositing and Layering
1142
Opacity is used to blend
1145
Working With Composite Modes
1148
The matte clip
1154
The main clip to be
1155
Photoshop File
1156
Control-click in the Alpha
1162
Dark areas are
1163
White areas are solid
1163
Alpha channel display
1164
Background display
1164
Choosing a Background
1167
Soloed clip item
1170
Overlapping clip items on
1170
Keying, Mattes, and Masks
1172
A four-point matte outlining
1173
Use Proper Lighting
1176
Your Background Screen
1177
Visual interface of
1181
Copy Filter controls
1181
Select Color button
1184
Invert Selection button
1184
The image is cropped
1189
The background image now
1190
The background image is
1190
Click the Point 1 crosshair
1191
The finished matte image
1193
Create keyframes for
1193
The four points are
1193
The clip’s image remains
1196
Color Correcting Clips
1198
Telecine Color Correction
1201
Tape-to-Tape Color Correction
1203
Luma (Luminance)
1205
Chrominance (Chroma)
1206
Blacks, Mids, and Whites
1207
Illegal Broadcast Levels
1208
Enabling Range Checking
1209
The Tool Bench appears
1211
The shortcut menu in
1213
This dip in the
1214
An image with high
1215
An image with low
1215
Red of clothing
1216
Blue of background
1216
Distribution of blues
1216
Low-contrast image
1219
High-contrast image
1219
High blue levels
1219
This image contains
1220
The Color Correction Process
1221
A color correction tab
1225
Click this to view that
1225
General Controls
1226
Copy Filter Controls
1227
Color Balance Controls
1231
Level sliders
1233
Auto Black Level button
1233
Saturation control
1233
Auto White Level button
1233
Auto Contrast button
1233
Choose All so that all
1236
The balance control
1238
After color correction
1238
Before color correction
1238
Blacks Reset button
1240
Blacks Select
1240
Auto-balance Color
1240
Color Balance controls
1240
Auto White
1242
Level button
1242
Auto Black
1242
This example shows how
1244
Move the Mids
1246
... so more detail comes
1246
Click the eyedropper near
1248
Click the eyedropper
1249
Before After
1249
Adjust the Mids
1250
Balance control to
1250
Before adjusting
1252
After adjusting
1252
Multiple Edits layout
1253
Move the playhead so it’s
1255
Split-screen mode
1255
The Multiple Edits
1256
Second clip
1256
First clip
1256
Hue Matching Controls
1259
The Hue Matching controls
1260
Click a highlight
1261
The color balance of both
1263
Limit Effect Controls
1264
The bicycle remains red and
1270
Highlight Desaturation
1271
Lows Desaturation
1271
The Broadcast Safe Filter
1273
What Is a Generator Clip?
1276
Some generators
1280
Click the Controls tab to
1281
Creating Titles
1282
Installing and Choosing Fonts
1283
Chapter 23 Using RT Extreme
1294
Chapter 24 Rendering
1294
Using RT Extreme
1296
510 Part III Output
1297
About Safe Real-Time Playback
1299
Orange video render bars
1300
514 Part III Output
1301
Available Real-Time Effects
1303
What Is Gamma Correction?
1304
More About Gamma Correction
1305
About Render Status Bars
1306
520 Part III Output
1307
522 Part III Output
1309
Settings in the Real-Time
1310
Effects (RT) pop-up menu
1310
524 Part III Output
1311
526 Part III Output
1313
528 Part III Output
1315
530 Part III Output
1317
532 Part III Output
1319
Rendering
1320
Reasons for Rendering
1321
Chapter 24 Rendering 535
1322
Video Render Status Bars
1323
Audio Render Status Bars
1324
About Item-Level Render Bars
1325
The Rendering Process
1326
540 Part III Output
1327
Chapter 24 Rendering 541
1328
542 Part III Output
1329
Chapter 24 Rendering 543
1330
544 Part III Output
1331
Rendering Part of a Sequence
1332
Using the Mixdown Command
1333
Chapter 24 Rendering 547
1334
548 Part III Output
1335
Changing Render Settings
1336
About Video Bit Depth
1337
About Color Space Conversion
1338
About Maximum White Levels
1338
552 Part III Output
1339
Rendering and Color Bars
1340
554 Part III Output
1341
Chapter 24 Rendering 555
1342
556 Part III Output
1343
Chapter 24 Rendering 557
1344
558 Part III Output
1345
Managing Your Render Files
1346
Using the Render Manager
1347
Chapter 24 Rendering 561
1348
Preserving Render Files
1349
Chapter 24 Rendering 563
1350
Reducing Render Time
1351
Volume IV
1352
Media Management
1352
© 2004 Jean-Paul Bonjour;
1353
© 2004 Eric Escobar
1353
Contents
1354
4 Contents
1355
Part II Project Interchange
1356
Part III Output
1357
Contents 7
1358
8 Contents
1359
Part VAppendixes
1360
10 Contents
1361
Part I: Media and Project
1362
Management
1362
Backing Up
1370
Using the Autosave Feature
1371
ProjectName_MM-DD-YY_HHMM
1372
Restoring Autosaved Projects
1373
Is Unexpectedly Powered Off
1374
Archiving Completed Projects
1375
Before Updating Projects
1376
Updating Projects
1377
Elements of a
1380
Final Cut Pro Project
1380
Types of Clips
1381
Sequences
1383
Clip Properties
1385
 Browser columns
1386
Working With
1392
Master and Affiliate Clips
1392
Identifying Master Clips
1393
Independent Clips
1397
Finding a Clip’s Master Clip
1399
Master Clip Properties
1400
Affiliate Clip Properties
1401
Media File Properties
1401
Offline and Online Editing
1402
OfflineRT Sequence
1408
ClipClip Clip
1413
Desktop
1413
Editing System
1413
Reconnecting Clips
1414
These are offline clips
1415
Can Be Broken
1416
Making Clips Offline
1417
Select the files you
1422
You can select which
1426
Overview of the Media Manager
1428
Summary Area
1432
Media Area
1432
Project Area
1437
Media Destination Area
1438
How Subclips Are Processed
1440
Examples of How to Use
1444
Using the Media Manager
1445
A message appears if
1446
Decide what you want to
1447
Select the sequence
1448
Media Files
1449
After Creating Subclips
1454
Press Command-A
1457
Diagnostic Tools for Clips
1460
Locate the file you want
1462
Video track information
1463
Audio track information
1463
Timecode track
1463
File information
1463
A long frame marker
1465
Detecting Audio Peaks
1466
For a clip in a sequence
1467
Part II: Project Interchange
1468
Importing and Exporting EDLs
1470
Learning to Read an EDL
1471
Elements of an EDL
1472
Exporting EDLs
1475
Reviewing an EDL
1482
Limitations of Importing EDLs
1483
Problems Importing EDL Files
1484
Creating Better EDLs
1486
Maintaining Accurate Timecode
1487
Enter a reel name here
1488
Join Through Edits
1490
Avoid Nested Sequences
1492
Exporting Audio for
1496
Mixing in Other Applications
1496
Choose the Bars and
1499
Tone setting for NTSC or
1499
PAL, depending on your
1499
This shows the sync beep
1501
All other tracks are
1502
Make sure just the
1502
Exporting a Downmix
1505
Exporting OMF Audio Files
1509
Disabled tracks are
1510
Select the desired
1511
Importing and Exporting
1514
Final Cut Pro XML
1514
Tags and Elements
1515
Attributes of XML Elements
1516
Whitespace
1517
Document Type Definitions
1517
Part III: Output
1524
Preparing to Output to Tape
1526
176 Part III Output
1527
Output Requirements
1528
178 Part III Output
1529
180 Part III Output
1531
Selecting Playback Settings
1532
Selecting Render Settings
1532
Cueing the Videotape
1533
Calibrating Your Timecode
1533
184 Part III Output
1535
Assemble and Insert Editing
1536
Using Edit to Tape
1536
186 Part III Output
1537
About Insert Editing to Tape
1538
About Tracks on Videotape
1539
About the Edit to Tape Window
1540
190 Part III Output
1541
192 Part III Output
1543
Mastering Settings Tab
1544
194 Part III Output
1545
Device Settings Tab
1547
Using the Edit to Tape Window
1548
198 Part III Output
1549
200 Part III Output
1551
202 Part III Output
1553
Drag the clip or
1554
Or click the Insert
1554
Edit button
1554
204 Part III Output
1555
Printing To Video and Output
1558
From the Timeline
1558
Printing to Video
1559
Mark In and Out
1560
210 Part III Output
1561
Recording From the Timeline
1562
212 Part III Output
1563
Outputting to VHS Tape
1564
Exporting Sequences for DVD
1566
216 Part III Output
1567
Video for DVD
1568
Audio for DVD
1569
About the MPEG Format
1569
About Surround Sound Audio
1570
More About Chapter Markers
1571
Using iDVD
1573
Using DVD Studio Pro
1574
Using Compressor
1574
224 Part III Output
1575
Learning About QuickTime
1578
QuickTime for Media Authoring
1579
Codecs Supported in QuickTime
1580
230 Part III Output
1581
Movie File Formats
1583
234 Part III Output
1585
Audio File Formats
1587
Exporting QuickTime Movies
1590
240 Part III Output
1591
Recompressing the Media
1592
242 Part III Output
1593
A dialog shows you the
1594
245
1596
246 Part III Output
1597
248 Part III Output
1599
250 Part III Output
1601
252 Part III Output
1603
254 Part III Output
1605
Exporting a DV Stream
1607
Exporting an AVI File
1608
Exporting Still Images
1612
262 Part III Output
1613
Exporting Image Sequences
1615
Batch Exporting
1618
Clips and Sequences
1618
268 Part III Output
1619
If you want, enter a new
1620
270 Part III Output
1621
Select the
1622
272 Part III Output
1623
Select the options
1624
274 Part III Output
1625
Doing a Batch Export
1626
276 Part III Output
1627
Redoing Batch Exports
1628
Choosing Settings
1632
General Tab
1633
Editing Tab
1638
Labels Tab
1643
Timeline Options Tab
1644
Render Control Tab
1644
Audio Outputs Tab
1644
Changing System Settings
1645
Search Folders Tab
1646
Memory & Cache Tab
1647
Playback Control Tab
1648
External Editors Tab
1649
The path is
1650
Effect Handling Tab
1651
Audio/Video Settings
1652
Changing Audio/Video Presets
1655
Choosing Individual Presets
1656
Viewing Settings in a Preset
1657
Creating a New Preset
1658
Editing a Preset
1659
Deleting Presets
1660
Creating Custom Easy Setups
1660
Capture Settings and Presets
1666
Rate Field
1669
Click Compression
1670
Specify the
1670
Device Control Settings
1674
” on page 332
1678
Using FireWire Device Control
1680
Using Serial Device Control
1681
’ll need to compensate for
1684
Enter an appropriate
1684
then click OK
1685
Sequence Settings and Presets
1686
General Tab for Sequences
1687
Changing Sequence Settings
1695
Part V: Appendixes
1698
Video Formats
1700
350 Part V Appendixes
1701
Storage Medium
1702
Video Standards
1703
Type of Video Signal
1704
354 Part V Appendixes
1705
720 x 486 Versus 720 x 480
1707
Pixel Aspect Ratio
1708
Frame Rate
1709
Scanning Method
1709
About Progressive Scanning
1710
About Field Dominance
1711
Color Recording Method
1712
Color Sampling Ratio
1713
Bit Depth
1714
Video Compression
1715
Lossy Codecs
1716
Uncompressed Video
1716
DV Formats
1717
24p Video
1717
High Definition Video Formats
1718
Data Rate Comparisons
1720
Composite
1721
Component YUV (Y´C
1722
) and Component RGB
1722
372 Part V Appendixes
1723
SCART connector
1724
Frame Rate and Timecode
1728
378 Part V Appendixes
1729
Persistence of Vision
1730
380 Part V Appendixes
1731
Choosing a Frame Rate
1732
01:32:15:28
1734
Timecode on Tape
1737
Anamorphic 16:9 Media
1742
392 Part V Appendixes
1743
About Letterboxing
1744
Why Shoot 16:9 Video?
1745
Recording Anamorphic Video
1746
Capturing Anamorphic Media
1747
Check this box
1748
398 Part V Appendixes
1749
400 Part V Appendixes
1751
Solving Common Problems
1752
Solutions to Common Problems
1753
404 Part V Appendixes
1755
406 Part V Appendixes
1757
General Performance Issues
1758
Problems With Audio Quality
1758
Contacting AppleCare Support
1759
Glossary
1760
410 Glossary
1761
Glossary 411
1762
412 Glossary
1763
Glossary 413
1764
414 Glossary
1765
Glossary 415
1766
416 Glossary
1767
Glossary 417
1768
418 Glossary
1769
Glossary 419
1770
420 Glossary
1771
Glossary 421
1772
422 Glossary
1773
Glossary 423
1774
424 Glossary
1775
Glossary 425
1776
426 Glossary
1777
Glossary 427
1778
428 Glossary
1779
Glossary 429
1780
430 Glossary
1781
Glossary 431
1782
432 Glossary
1783
Glossary 433
1784
434 Glossary
1785
Glossary 435
1786
436 Glossary
1787
Glossary 437
1788
438 Glossary
1789
Glossary 439
1790
440 Glossary
1791
Glossary 441
1792
442 Glossary
1793
Glossary 443
1794
445
1796
446 Index
1797
Index 447
1798
448 Index
1799
Index 449
1800
450 Index
1801
Index 451
1802
452 Index
1803
Index 453
1804
454 Index
1805
Index 455
1806
456 Index
1807
Index 457
1808
458 Index
1809
Index 459
1810
460 Index
1811
Index 461
1812
462 Index
1813
Index 463
1814
464 Index
1815
Index 465
1816
466 Index
1817
Index 467
1818
468 Index
1819
Index 469
1820
470 Index
1821
Index 471
1822
472 Index
1823
Index 473
1824
474 Index
1825
Index 475
1826
476 Index
1827
Index 477
1828
478 Index
1829
Index 479
1830
480 Index
1831
Index 481
1832
482 Index
1833
Index 483
1834
484 Index
1835
Index 485
1836
486 Index
1837
Index 487
1838
488 Index
1839
Index 489
1840
490 Index
1841
Index 491
1842
492 Index
1843
Index 493
1844
494 Index
1845
Index 495
1846
496 Index
1847
Index 497
1848
498 Index
1849
Index 499
1850
500 Index
1851
Index 501
1852
502 Index
1853
Index 503
1854
504 Index
1855
Index 505
1856
506 Index
1857
Index 507
1858
508 Index
1859
Index 509
1860
510 Index
1861
Index 511
1862
512 Index
1863
Index 513
1864
514 Index
1865
Index 515
1866
516 Index
1867
Index 517
1868
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