Apple Final Cut Pro 5 User Manual Page 63
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62 Part II Learning About the Final Cut Pro Interface
Working With the Browser in List View
When items are displayed as a list, the Browser displays information about the items in
columns. You can customize these columns in several ways. You can:
 Rearrange, resize, hide, and show individual columns
 Sort clips by columns
 View a predefined set of standard columns or a set of columns designed for logging
 Change the Master Comment column headings
 Display, hide, and scrub (move) through thumbnails of clips
To rearrange a column:
m Drag the column heading to the new location.
To resize a column:
m Drag the right edge of the column heading to the desired width.
As you drag a column,
the pointer changes to
a rectangle.
The pointer between two
columns changes to a
Resize pointer, indicating
a column can be resized.
- 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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