Apple Final Cut Pro 5 User Manual Page 23
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22 Part I An Introduction to Final Cut Pro
Video Formats Compatible With Final Cut Pro
Long before editing begins, the most basic decision you need to make is which format
to shoot with. The format you choose affects the equipment needed for editorial work,
as well as how the finished product will look.
Final Cut Pro uses QuickTime technology, allowing you to use almost any digital video
format available. This flexibility ensures that your Final Cut Pro editing system always
works with the latest video formats.
 DV editing: Final Cut Pro supports DV video natively, using your computer’s built-in
FireWire port for capture and output. DVCAM, DVCPRO, DVCPRO 50, and DVCPRO HD
are also natively supported. Therefore, your system requires no additional hardware
to edit DV material on your computer. You can capture, edit, and output the exact
same data that is recorded on tape, resulting in no quality loss.
 Broadcast and high definition video formats: Final Cut Pro supports the latest
broadcast and high definition video formats With appropriate equipment, you can
capture, edit, and output uncompressed SD and HD formats such as Digital Betacam,
D5-HD and HDCAM.
 Project interchange: Support for project interchange formats allows Final Cut Pro to
integrate into existing broadcast and postproduction systems. Final Cut Pro is
compatible with formats such as EDL, OMF, and the Final Cut Pro XML Interchange
Format. For more information, see Volume IV, Chapter 10, “Importing and Exporting
EDLs.” You can also refer to Volume IV, Chapter 11, “Exporting Audio for Mixing in
Other Applications.” For information on the Final Cut Pro XML Interchange Format,
see Volume IV, Chapter 12, “Importing and Exporting Final Cut Pro XML.”
 QuickTime-compatible files: Because Final Cut Pro uses QuickTime technology, almost
any QuickTime-compatible file format can be imported and exported. This allows you
to import files created in video editing, motion graphics, and photo editing
applications. For a list of all formats that you can import, see Volume IV, Chapter 17,
“Learning About QuickTime.”
Using Multiple Video Formats
You may find it necessary to use source material from a variety of formats in your
project (for example, Betacam SP and DV-format video clips). If so, be aware that in
Final Cut Pro, clips with settings that don’t match your sequence settings (such as
image dimensions or frame rate) need to be rendered before they can be played back.
To avoid time-consuming rendering, try to use the same video format throughout your
project, or convert footage that doesn’t match by exporting media in the proper
format, or transferring to the proper tape format prior to capture.
- 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
- Â 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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