Apple Pro Training Series: Final Cut Pro 4

✍ Scribed by Diana Weynand

• Publisher: Peachpit Press
• Year: 2003
• Tongue: English
• Leaves: 1152
• Edition: Pap/DVD
• Category: Library

✦ Synopsis

If you¿re ready to get serious about editing video, you¿ll want Final Cut Pro, and this self-paced, Apple-authorized guide is the best place to start learning it. In Apple Pro Training Series: Final Cut Pro 4, master teacher Diana Weynand delivers a comprehensive course on Apple¿s high-end video editing software. Each chapter represents a complete lesson in some aspect of Final Cut Pro¿with a project for you to complete, a review section to test your knowledge, and bonus exercises to reinforce the lessons.

After getting acquainted with the software¿s interface, you¿ll dive into chapters on marking and editing, inserting and adjusting edits, working with clips on the timeline, and more before moving on to advanced topics like creating transitions and motion effects, and filter and rendering options. All of Final Cut Pro 4¿s powerful new features are covered, including real-time color correction and effects, video signal analysis, and improved previews. The accompanying DVD includes all of the lesson files and materials needed to complete the book¿s projects.

✦ Table of Contents

Final Cut Express User Manual......Page 1
Contents......Page 3
Release Notes......Page 25
Apple Service and Support Website......Page 26
PartI: An Introduction toFinalCutExpress......Page 27
The Industry Workflow......Page 29
The Post-Production Workflow......Page 30
About Nonlinear and Nondestructive Editing......Page 35
Audio Formats Compatible with FinalCutExpress......Page 36
Video Standards......Page 37
Scanning Method......Page 38
What Are Media Files?......Page 39
What Are Clips?......Page 40
What Are Sequences?......Page 41
What Are Projects?......Page 42
Working with Projects......Page 43
Creating and Saving Projects......Page 44
Opening and Closing Projects......Page 46
About the Connection Between Clips and Media Files......Page 47
Reconnecting Clips to Media Files......Page 48
Filenaming Considerations......Page 49
Avoiding Special Characters......Page 50
Using Multiple Hard Disks......Page 51
PartII: Learning About theFinalCutExpress Interface......Page 53
Basics of Working in the FinalCutExpress Interface......Page 55
Using Button Bars......Page 57
Learning Commands by Using Tooltips......Page 58
Moving and Resizing Windows......Page 59
Working with Tabs and Tabbed Windows......Page 60
Showing and Positioning the Dock......Page 62
Entering Timecode for Navigation Purposes......Page 63
How You Use the Browser......Page 65
Learning About the Browser......Page 66
Selecting Items in the Browser......Page 67
Copying and Deleting Items in the Browser......Page 68
Using Columns in he Browser......Page 69
Choosing Views in the Browser......Page 70
Working with the Browser in List View......Page 71
Working with the Browser in Icon View......Page 74
Setting the Poster Frame......Page 77
How You Can Use the Viewer......Page 79
Opening a Clip in the Viewer......Page 80
Learning About the Viewer......Page 81
Audio Tabs......Page 83
Transport Controls......Page 84
Playhead and Scrubber Bar......Page 85
Shuttle Control......Page 86
Marking Controls......Page 87
Zoom Pop-Up Menu......Page 88
View Pop-Up Menu......Page 90
Generator Pop-Up Menu......Page 91
How You Use the Canvas......Page 93
Opening, Selecting, and Closing Sequences in the Canvas......Page 94
Learning About the Canvas......Page 95
Edit Overlay in the Canvas......Page 96
Transport Controls......Page 97
Playhead and Scrubber Bar......Page 98
Marking Controls......Page 100
Zoom and View Pop-Up Menus......Page 101
Navigating in the Viewer and Canvas......Page 103
Playing Clips and Sequences......Page 104
Scrubbing, or Moving, Through a Clip or Sequence......Page 106
Shuttling Through a Clip or Sequence......Page 107
Jogging Through a Clip or Sequence......Page 109
Working with Timecode in the Viewer and Canvas......Page 110
Navigating with Timecode in the Viewer and Canvas......Page 111
Dragging Timecode Values......Page 112
How You Use the Timeline......Page 113
Opening and Closing Sequences in the Timeline......Page 115
Sequence Tabs in the Timeline......Page 116
Editing Controls......Page 117
Vertical Multitrack Controls......Page 118
Horizontal Time Controls......Page 119
Timeline Display Controls......Page 121
Audio Controls......Page 122
Other Miscellaneous Controls......Page 123
Real-Time Effects and the Render Status Bar......Page 124
Changing Timeline Display Options......Page 126
About Timeline Display Options in the Sequence Settings Window......Page 127
Timeline Display Options Available from the Track Layout PopUpMenu......Page 129
Positioning the Playhead Using the Ruler......Page 130
Zooming In and Out of the Timeline......Page 131
Scrolling Horizontally Through a Zoomed-In Timeline......Page 135
Scrolling Vertically Through Multiple Tracks......Page 136
Moving and Resizing FinalCutExpress Windows......Page 137
Choosing a Window Layout......Page 139
Working with Shortcut Buttons and Button Bars......Page 140
Adding Shortcut Buttons to a Button Bar......Page 141
Rearranging, Moving, and Copying Shortcut Buttons......Page 142
Saving and Using Custom Shortcut Button Bars......Page 143
PartIII: Setting Up YourEditingSystem......Page 145
What Are Input and Output Devices?......Page 147
Setting Up a FinalCutExpress Editing System......Page 148
Opening FinalCutExpress and Choosing Your Initial Settings......Page 149
Choosing an Easy Setup......Page 150
Specifying Scratch Disks......Page 151
About Scratch Disk Capture Order......Page 152
Confirming Remote Device Control Between FinalCutExpress and Your DV Device......Page 153
The Differences Between Apple FireWire and FireWire Basic......Page 154
Working with Scratch Disks and Hard Disk Drives......Page 155
Know Your Shooting Ratio......Page 156
Calculating Hard Disk Space Requirements......Page 157
Example Calculation for Disk Space Requirements......Page 158
Choosing a Hard Disk......Page 159
ATA Disk Drives......Page 160
SCSI Disk Drives......Page 161
Using a RAID or Disk Array......Page 162
Fibre Channel Drive Arrays and RAIDs......Page 163
Storage Area Networks......Page 164
Using an External Video Monitor While You Edit......Page 165
Connecting DV FireWire Devices to an External Monitor......Page 166
Using Digital Cinema Desktop Preview......Page 167
About Digital Cinema Desktop Preview Options......Page 168
Using Digital Cinema Desktop Preview to Monitor Your Video......Page 169
Troubleshooting Digital Cinema Desktop Preview......Page 170
Troubleshooting External Video Monitoring Problems......Page 171
PartIV: Capturing andImporting......Page 173
Overview of the Capturing Process......Page 175
Overview of the Capture Window......Page 177
Jog and Shuttle Controls......Page 178
Capture Bin Controls......Page 179
Logging Fields......Page 180
Marker Controls......Page 181
Choosing Reel Names for Tapes......Page 182
Logging Your Tapes......Page 183
Determining How Much Disk Space You Need......Page 184
Capturing Individual Clips in the Capture Window......Page 185
Automatic Filenaming During Capture......Page 189
Using Capture Now......Page 190
Automatically Creating Subclips Using DV Start/Stop Detection......Page 192
Marker Controls in the Capture Window......Page 193
Recapturing Clips......Page 194
Using Capture Project......Page 195
About the Additional Items Found Dialog......Page 197
Where Are Captured Media Files Stored?......Page 198
Consolidating Media Files to One Folder......Page 199
Modifying a Media File’s Reel Name Property......Page 200
Avoiding Duplicate Timecode Numbers on a Single Tape......Page 201
Avoiding Multiple Occurrences of the Same Timecode Number on a Single Tape......Page 202
What File Formats Can Be Imported?......Page 205
Importing Media Files......Page 206
About Importing Video Files......Page 209
Importing an iMovie Project Exported as an XML File......Page 210
What Kinds of Audio File Formats Can Be Imported?......Page 211
Mixing Sample Rates and Using Real-Time Sample Rate Conversion......Page 212
Converting Audio Clips to Match Sequence Settings......Page 213
Importing Still Images and Graphics......Page 214
Converting a Numbered Image Sequence to a QuickTime Movie......Page 215
Importing a Numbered Image Sequence into FinalCutExpress......Page 216
Making Movies from Still Images......Page 218
About File-Based Media......Page 219
About AVCHD......Page 220
Transferring AVCHD Footage......Page 221
Sample Media File Workflow......Page 222
Working with the Log and Transfer Window......Page 224
Using the Browse Area......Page 225
Controls in the Browse Area......Page 226
Selecting Clips in the Browse Area......Page 227
Transport Controls in the Preview Area......Page 228
Using the Logging Area......Page 229
Setting Audio and Video Clip Import Settings......Page 230
Adding Clips to the Transfer Queue for Ingest......Page 231
Filenaming and Clip Naming During Ingest......Page 232
About HDV......Page 233
Spatial (Intraframe) Compression......Page 234
Editing HDV Using the Apple Intermediate Codec......Page 235
Connecting an HDV Device to Your Computer......Page 236
Capturing HDV Video to the Apple Intermediate Codec......Page 237
Editing Video Using the Apple Intermediate Codec......Page 238
Outputting HDV to Tape or Exporting to a QuickTime Movie......Page 239
HDV Format Specifications......Page 240
PartV: Organizing Footage andPreparing to Edit......Page 243
Using Bins to Organize Your Clips......Page 245
Creating New Bins......Page 246
Opening Bins in the Browser......Page 247
Opening Bins in a Separate Window or Tab......Page 248
Moving Items Between Bins......Page 251
Sorting Items in the Browser Using Column Headings......Page 253
Revealing a Clip’s Media File in the Finder......Page 254
About Search Options......Page 255
Options for Defining the Criteria of a Search......Page 256
Searching for Items in the Browser......Page 257
Searching for Unused Clips in Your Project......Page 258
Manipulating Items in the Find Results Window......Page 259
What Can You Do with Markers?......Page 261
Differences Between Sequence and Clip Markers......Page 262
Types of Markers......Page 263
Adding Markers in Clips and Sequences......Page 264
Quickly Adding Markers......Page 265
Adding Markers Along with Detailed Information About Them......Page 266
Deleting Markers in Clips and Sequences......Page 267
Navigating with Markers......Page 269
Renaming Markers, Adding Comments, andChangingtheKind of Marker......Page 270
Moving a Marker......Page 271
Aligning Items in the Timeline by Their Markers......Page 272
Extending a Marker’s Duration......Page 274
Exporting Markers with Your QuickTime Movies......Page 275
Learning About Subclips......Page 277
Removing Subclip Limits......Page 279
Turning Markers into Subclips......Page 280
Creating Subclips Manually......Page 282
Automatically Creating Subclips Using DV Start/Stop Detection......Page 283
PartVI: Rough Editing......Page 287
Specifying Preferences Before You Start Editing......Page 289
Choosing Whether the Last Previously Opened Project Openson Launch......Page 290
Backing Up and Restoring Projects......Page 291
Using the Revert Project Command......Page 292
Types of Clips......Page 293
About Offline Clips......Page 294
Changing Clip Properties in the Browser......Page 295
Finding a Clip’s Media File......Page 296
Creating and Deleting Sequences......Page 297
Opening and Closing Sequences......Page 299
Copying a Sequence into Another Project......Page 300
Basic Sequence and Timeline Settings......Page 301
Viewing an Existing Sequence’s Settings......Page 302
Basic Steps Involved in a Rough Edit......Page 303
How Clips Appear in the Timeline......Page 304
Overview of Ways to Add Clips to a Sequence......Page 306
Three-Point Editing......Page 307
Sorting to Create a Sequence Order......Page 309
Visually Storyboarding in the Browser......Page 310
About In and Out Points......Page 313
Learning About the Out Point Inclusive Rule......Page 314
Things to Keep in Mind When Setting an Out Point......Page 315
Setting Clip In and Out Points in the Viewer......Page 317
Specifying an Edit Point Using Timecode......Page 318
Reviewing Your Edit Points......Page 319
Setting Sequence In and Out Points in the Canvas or Timeline......Page 320
Options for Setting Sequence In and Out Points......Page 321
When No Sequence In or Out Points Are Set......Page 322
When You Set One Sequence In or Out Point......Page 323
When You Set Both Sequence In and Out Points......Page 325
Setting Sequence In and Out Points......Page 326
Setting In and Out Points to Match a Clip or Gap......Page 327
Setting In and Out Points Based on a Selection intheTimeline......Page 328
Navigating to In and Out Points......Page 330
Moving In and Out Points......Page 331
Clearing In and Out Points......Page 332
Working with Tracks intheTimeline......Page 335
Adding Tracks......Page 336
Deleting Tracks......Page 338
Understanding Source and Destination Controls......Page 339
Setting Destination Tracks......Page 340
Disconnecting Source and Destination Controls......Page 341
Exceptions to Normal Use of Source and Destination Controls......Page 343
Locking Tracks to Prevent Edits or Changes......Page 344
Disabling Tracks to Hide Content During Playback......Page 345
Resizing Tracks by Dragging......Page 346
Resizing All Tracks Using the Track Layout Pop-Up Menu......Page 348
Creating a Static Region in the Timeline......Page 349
Overview of the Drag-to-Timeline Editing Process......Page 353
Dragging Clips to the Timeline......Page 354
Doing Simple Insert and Overwrite Edits in the Timeline......Page 355
Automatically Adding Tracks to Your Sequence WhileDragging......Page 358
Overview of the Three-Point Editing Process......Page 361
Different Ways to Do Three-Point Editing......Page 362
Using Keyboard Shortcuts......Page 363
About Edit Types in the Edit Overlay......Page 364
Performing an Insert Edit......Page 365
Performing an Insert with Transition Edit......Page 367
Performing an Overwrite Edit......Page 368
Performing an Overwrite with Transition Edit......Page 370
Performing a Replace Edit......Page 371
Superimposing Clips......Page 377
Example:Editing a Specific Clip into Your Sequence......Page 380
Example:Editing a Clip into a Gap in Your Sequence......Page 382
Example:Backtiming a Clip into Your Sequence......Page 383
Example:Editing a Clip with No Specified In or Out Points into Your Sequence......Page 385
Understanding What’s Currently Selected......Page 387
Identifying Selections in the Timeline......Page 388
Direct Methods for Selecting Content in a Sequence......Page 389
An Introduction to the Selection Tools......Page 390
Selecting Clips......Page 392
Selecting a Group of Clips by Dragging......Page 393
Deselecting an Item in a Multiple Selection......Page 394
Selecting a Range of Timeline Content......Page 395
Selecting All Clip Items on a Track......Page 396
Selecting All Items on All Tracks Forward or Backward......Page 397
Selecting or Deselecting All Clips in a Sequence......Page 398
Finding and Selecting Based on Search Criteria......Page 399
Selecting a Vertical Range Between In and Out Points......Page 401
Using Auto Select to Specify Tracks for Selections......Page 402
Snapping to Points in the Timeline......Page 405
Moving by Dragging......Page 407
Moving Clips Numerically......Page 408
Performing Shuffle Edits......Page 410
Copying Clips by Option-Dragging......Page 412
Copying, Cutting, and Pasting Clips in the Timeline......Page 413
Example:Copying and Pasting Audio and Video Clip Items toDifferent Tracks in the Timeline......Page 416
Deleting with a Lift Edit (Leaving a Gap)......Page 417
Deleting with a Ripple Edit (Leaving No Gap)......Page 418
Finding and Closing Gaps......Page 420
Cutting Clips in the Timeline......Page 423
Joining Through Edits (Splicing Cut Clips Back Together)......Page 426
Changing the Duration of Clips in the Timeline......Page 427
Opening Sequence Clips in the Viewer to Change Durations......Page 428
Linked Sync Relationships Between Video and Audio Clips......Page 429
When Linked Clips Are Moved out of Sync......Page 430
Understanding Sync Relationships Between Multiple Linked Audio Items......Page 432
Linking Video and Audio Clip Items......Page 434
Unlinking Video and Audio Clip Items......Page 435
Selecting Individual Clip Items While They Are Linked......Page 436
Moving a Clip into Sync......Page 437
Slipping a Clip Item into Sync......Page 438
Moving or Slipping All Clip Items into Sync at Once......Page 440
Establishing a Different Sync Relationship BetweenLinkedClip Items......Page 441
Marking a Clip as In Sync......Page 442
Learning About Linking Behavior in Audio Channel Pairs......Page 443
Learning About Split Edits......Page 445
How Split Edits Look in the Viewer and Canvas......Page 446
Setting Up Split Edit Points in the Viewer......Page 447
Setting Up a Split Edit While Playing a Clip......Page 448
Modifying and Clearing Split Edits......Page 449
Example:Split Edit in the Viewer and a Simple Edit Point intheCanvas......Page 451
Example:Split Edit in the Viewer and a Single Split Edit Point intheCanvas......Page 452
Example:Simple Edit in the Viewer and a Split Edit in the Canvas......Page 453
The Goals of Audio Editing......Page 455
Using Waveform Displays to Help You Edit Audio......Page 457
Learning About the Audio Controls in the Viewer......Page 458
Opening Audio Clips in the Viewer......Page 461
Viewing Audio Tracks in the Viewer......Page 462
Zooming In or Out of the Waveform Display Area......Page 463
Scrolling Through a Zoomed-In Audio Clip......Page 464
Turning Off the Audio Scrubbing Sounds......Page 465
Trimming Audio Clips in the Viewer......Page 466
Displaying Waveforms in the Timeline......Page 468
Displaying Overlays and Adjusting the Track Height......Page 469
Zooming In and Out of Waveforms in the Timeline......Page 470
Using Audio Transitions to Smooth Audible Changes......Page 471
Creating or Separating Stereo Pairs......Page 472
Subframe Synchronization of Audio and Video......Page 474
Example:Replacing Unwanted Audio with Room Tone......Page 476
Example:Fixing Awkward Audio Cuts in the Timeline......Page 479
PartVII: Fine-Tuning Your Edit......Page 481
About Trimming with Slip, Slide, Ripple, and Roll Tools......Page 483
Sliding Clips in the Timeline......Page 484
Performing Slide Edits Using the Slide Tool......Page 485
Performing Precise Slide Edits Numerically......Page 486
Slipping Clips in the Timeline......Page 487
Performing a Slip Edit Using the Slip Tool......Page 488
Performing Precise Slip Edits Numerically......Page 489
Using the Ripple Tool to Trim an Edit WithoutLeavingaGap......Page 491
Performing Ripple Edits......Page 492
Performing a Ripple Edit in the Timeline......Page 493
Performing a Ripple Edit in the Viewer......Page 495
About Ripple Edits and Sync Relationships of Clip Items onOther Tracks......Page 496
Asymmetrical Trimming with the Ripple Tool......Page 498
Using the Roll Tool to Change Where a Cut Occurs......Page 501
Rolling the Position of an Edit Between Two Clips......Page 502
Rolling Edit Points in the Timeline......Page 503
Tips for Using the Roll Tool......Page 506
What Is Trimming?......Page 507
Controls That Affect Trim Edits......Page 509
Selecting Edits and Clips to Trim......Page 510
Tools for Selecting Edit Points......Page 511
Selecting Multiple Edit Points......Page 512
Trimming with the Selection Tool......Page 513
Extending and Shortening Clips in the Timeline......Page 515
Trimming Clips in the Viewer......Page 516
Moving the Playhead in the Timeline Using Timecode......Page 518
Moving Clips Using Timecode......Page 519
Using Timecode to Trim Clips in the Viewer......Page 520
Understanding Alert Messages When Trimming......Page 521
Learning About the Trim Edit Window......Page 523
Opening and Closing the Trim Edit Window......Page 525
Controls in the Trim Edit Window......Page 526
Using the Trim Edit Window......Page 530
Trimming an Edit in the Trim Edit Window......Page 531
Slipping a Clip in the Trim Edit Window......Page 534
Listening to Audio While Trimming......Page 535
Learning About Transitions......Page 537
Common Types of Transitions......Page 538
How Transitions Appear in the Timeline......Page 539
Aligning a Transition in the Timeline......Page 540
Adding Transitions with Clips You Add to the Timeline......Page 541
Quickly Adding the Default Transition to Clips inYourSequence......Page 542
Adding Transitions to Clips in Your Sequence......Page 543
Example:Transitioning to or from Black......Page 544
Moving, Copying, and Deleting Transitions......Page 545
Copying and Pasting Transitions......Page 546
Changing the Duration of a Transition in the Timeline......Page 547
Changing an Edit Point After Adding a Transition......Page 549
Video Transitions That Come with FinalCutExpress......Page 550
Using After Effects Transitions......Page 555
Using the Transition Editor......Page 557
Controls in the Transition Editor......Page 558
Displaying Clips in the Transition Editor......Page 562
Applying a Modified Transition Directly to a Sequence intheTimeline......Page 563
Trimming Transitions and the Surrounding Clips......Page 564
Trimming the Duration of a Transition......Page 565
Doing a Roll Edit to Change the Location of a Transition......Page 566
Doing a Ripple Edit to Adjust the Length of a Clip in a Transition......Page 567
Determining the Render Status of Transitions......Page 568
Rendering Transitions......Page 569
Methods for Editing Clips from One Sequence to Another......Page 571
Copying Clips from One Sequence to Another......Page 572
Pros and Cons of Nested Sequences......Page 576
Changing the Duration of a Nested Sequence Ripples Clips AftertheNested Sequence......Page 577
Editing Sequence Content Versus Nesting......Page 579
Editing Clips from One Sequence into Another......Page 580
Working with Sequence Clips in the Viewer......Page 585
Opening a Sequence Clip in the Viewer......Page 586
Using the Viewer to Adjust Sequence Clip In and Out Points......Page 587
Matching Frames Between Sequence and Master Clips......Page 588
Matching a Frame in the Canvas to Its Media File......Page 589
Matching a Frame in the Viewer to a Sequence Clip intheCanvasor Timeline......Page 590
PartVIII: Audio Mixing......Page 591
About Digital Audio......Page 593
Bit Depth......Page 594
Connecting Speakers to Your Editing System......Page 597
Setting Monitoring Levels and Muting System Sound Effects......Page 598
Tips for Choosing Speakers and an Amplifier......Page 599
Self-Powered Versus Passive Speakers......Page 600
Setting Up a Proper Audio Monitoring Environment......Page 601
Using Headphones......Page 602
Average and Peak Audio Levels......Page 603
Analog Versus Digital Meters......Page 604
Analog 0dB Versus Digital 0dBFS......Page 605
Setting Proper Audio Levels......Page 606
How Normalization Gain Works in FinalCutExpress......Page 607
Choosing Normalization Gain Versus Audio Level Keyframing......Page 608
What Reference Level Should You Use for Mixing and Output?......Page 609
Labeling Your Tapes......Page 610
Adjusting Audio Levels in the Timeline......Page 611
Changing Audio Levels in the Viewer......Page 615
Panning Audio in the Timeline......Page 618
Changing the Pan of Audio in the Viewer......Page 619
Changing Pan for an Entire Clip......Page 620
Copying, Pasting, and Removing Audio Attributes......Page 621
Using the Option Key to Temporarily Enable Pen Tools......Page 622
Creating, Modifying, and Deleting Keyframes in the Viewer......Page 623
Example:Using Keyframes to Adjust Audio Levels......Page 628
Example:Using Keyframes in the Timeline toAutomateAudio Levels......Page 629
Example:Setting Subframe Audio Level Keyframes toEliminate Clicks......Page 630
Example:Using Keyframes to Control Pan......Page 633
Setting Up Your Computer to Record Voiceover......Page 637
Connecting Audio Devices and Configuring Software......Page 638
Controls in the Voice Over Tool......Page 641
Setting the Recording Duration......Page 644
Defining the Destination Track......Page 646
Recording a Voiceover Clip......Page 648
Recording Multiple Takes......Page 650
How Audio Recorded with the Voice Over Tool AppearsinYourSequence......Page 651
About Audio Filters......Page 653
Equalization Filters......Page 654
Frequency Ranges and Equalization......Page 655
Using Equalization Filters in FinalCutExpress......Page 656
Compressor/Limiter Filter......Page 657
Expander/Noise Gate Filter......Page 658
Hum Remover......Page 659
Echo and Reverberation Filters......Page 660
Working with Audio Filters......Page 662
Applying Filters to an Audio Clip......Page 664
Modifying and Removing Filters......Page 667
Looping Playback While Making Real-Time Filter Adjustments......Page 668
Keyframe Controls in the Filters Tab of the Viewer......Page 669
Adjusting Audio Filter Parameter Keyframes......Page 670
Installing Third-Party Audio Units Filters......Page 673
PartIX: Effects and ColorCorrection......Page 675
Different Ways to Use Filters......Page 677
Applying a Filter to a Clip......Page 678
Applying Multiple Filters to Clips......Page 681
Viewing a Filter’s Parameters......Page 682
Controls in the Filters Tab of the Viewer......Page 683
Using Filter Controls......Page 685
Enabling and Rearranging Filters......Page 689
Copying and Pasting a Clip’s Filters......Page 690
Removing Filters from Clips......Page 691
What Is Color Correction?......Page 693
Why Color Correct Your Footage?......Page 694
Color Correction Starts During Your Shoot......Page 695
Telecine Color Correction......Page 696
Tape-to-Tape Color Correction......Page 698
Color Correction in FinalCutExpress......Page 699
The Color Correction Process......Page 701
Using the Color Correction Filters......Page 703
The Color Corrector Filter......Page 704
General Controls......Page 705
Copy Filter Controls......Page 706
Working with the Copy Filter Controls......Page 707
Menu Commands for the Copy Filter Controls......Page 710
Color Balance Controls......Page 711
Level and Saturation Controls......Page 713
Match Hue Controls......Page 714
Example:Using the Color Corrector Filter......Page 715
Desaturate Highlights and Desaturate Lows Filter Controls......Page 719
Example:Using the Desaturate Highlights Filter......Page 720
Creating Motion Effects in the Viewer......Page 723
Working with Motion Parameters......Page 724
Controls in the Motion Tab......Page 726
Using the Paste Attributes Command......Page 728
Using Cartesian Geometry to Position Clips......Page 729
Example:Using Motion Settings to Create a Multiple Clip Layout......Page 731
Example:Using Additional Motion Settings to Refine the Layout......Page 739
Choosing the Image+Wireframe Mode......Page 741
Crop and Distort Tools......Page 742
Zooming In to the Canvas......Page 743
Using Wireframe Handles to Transform, Scale, and Rotate......Page 744
Example:Using Motion Parameters and Wireframe Handles......Page 748
Animating Motion Effects Using Keyframes......Page 751
How Keyframing Works......Page 752
Creating Simple Effects with Two Keyframes......Page 753
Keyframing Controls in the Viewer......Page 754
Keyboard Modifiers for the Pen Tool......Page 756
Setting Keyframes......Page 757
Adjusting and Deleting Keyframes......Page 758
Moving Between Keyframes......Page 759
Resizing Parameter Display Height and Width......Page 760
Zooming In to the Keyframe Graph Area......Page 761
Example:Using Keyframes to Make Opacity Changes......Page 763
Example:Keyframing Opacity in the Timeline......Page 765
Smoothing Keyframes with Bezier Handles......Page 767
One-Sided Bezier Handles......Page 768
Two-Sided Bezier Handles......Page 769
Smoothing Keyframes......Page 770
Creating Keyframed Motion Paths in the Canvas......Page 771
Creating Motion Paths......Page 772
Creating Curved Motion Paths Using Bezier Handles......Page 774
Controlling Speed Along a Motion Path......Page 776
Moving an Entire Motion Path in the Canvas......Page 778
Copying and Pasting Specific Clip Attributes......Page 779
About the Paste Attributes Dialog......Page 780
Copying and Pasting Clip Attributes......Page 781
Removing Attributes from a Clip......Page 782
Applying Filters Across Multiple Tracks at Once......Page 783
Speed Basics......Page 785
Performing a Fit to Fill Edit......Page 786
Frame Blending and Reverse Speed......Page 789
Smoothing Slow Motion Using Motion Blur......Page 790
Using Still Images and Graphics in Your Sequences......Page 791
Reconnecting Freeze Frame Clips......Page 792
Deinterlacing Still Video Images to Improve Image Quality......Page 793
Creating Graphics with the Correct Frame Size for Video......Page 794
Video Is Not 72 Dots per Inch......Page 795
Bit Depth of Imported Graphics......Page 796
Creating Graphics with the Correct Color Settings for Video......Page 799
Selecting Fonts and Creating Line Art for Video......Page 800
Scaling Images and Video Clips to Match a Sequence......Page 801
Changing the Duration of Still Images......Page 802
Example:Adding Camera Motion to Still Images......Page 803
Introduction to Compositing and Layering......Page 807
Different Ways to Layer Clips in the Timeline......Page 808
Adjusting Opacity Levels of Clips......Page 809
How Composite Modes Affect Images......Page 812
Applying Composite Modes to Clips......Page 814
About the Examples in This Section......Page 815
Add......Page 816
Difference......Page 817
Multiply......Page 818
Screen......Page 819
Overlay......Page 820
Soft Light......Page 821
Darken......Page 822
Travel Matte - Alpha......Page 823
Using Travel Mattes to Hide or Reveal Parts of a Clip......Page 824
Updating Photoshop Files in Adobe Photoshop......Page 826
Working with Layered Photoshop Sequences......Page 827
Using Video and Graphics Clips with Alpha Channels......Page 828
Working with Clips That Have Alpha Channels......Page 829
Changing a Clip’s Alpha Channel Type......Page 830
Choosing a Background......Page 832
Temporarily Excluding Clips from Playback or Output......Page 833
Temporarily Disabling a Single Clip......Page 834
Soloing Clips in Multitrack Sequences......Page 835
What Are Mattes and How Can You Use Them?......Page 837
What Is Keying and How Can You Use It?......Page 838
Alpha Channels and Key, Matte, and Mask Filters......Page 839
Choosing an Appropriate Video Format......Page 840
Using Proper Lighting......Page 841
Overview of Compositing Using the Chroma Keyer Filter......Page 842
Specifying the Type of Controls to Use for the Chroma Keyer Filter......Page 844
Visual Controls in the Chroma Keyer Filter......Page 846
Example:Using the Chroma Keyer Filter......Page 848
Example:Using the Four-Point Garbage Matte Filter......Page 854
Example:Keyframing Garbage Mattes......Page 856
Mask Filters Available in FinalCutExpress......Page 857
Example:Using the Image Mask and Mask Feather Filters......Page 858
What Is a Generator Clip?......Page 861
Different Ways to Use Generators in Your Sequence......Page 862
Color Bars, Tone, and Other Signal Generators......Page 863
Matte Color and Slug......Page 864
Render......Page 865
Creating and Adding Generators to Sequences......Page 867
How You Can Use Titles in Your Project......Page 869
Installing and Choosing Fonts......Page 870
Making Sure Titles Fit on TV Screens......Page 871
Text Generators Available in FinalCutExpress......Page 872
Creating and Adding a Title Clip......Page 874
Other Options for Creating and Adding Titles......Page 877
Importing a LiveType Project into FinalCutExpress......Page 878
PartX: Real Time and Rendering......Page 879
Introduction to Real-Time Processing......Page 881
How FinalCutExpress Calculates Processor Workload......Page 882
Achieving Real-Time Playback When Processor Power Is Exceeded......Page 883
About Render Status Bars......Page 884
Effect Names That Appear in Boldface......Page 885
Locations for Changing Real-Time Playback Settings......Page 886
Render Control Tab in Sequence Settings......Page 887
Safe RT......Page 888
Unlimited RT......Page 889
Play Base Layer Only......Page 890
Playback Frame Rate......Page 891
Record Settings......Page 892
Improving Real-Time Performance......Page 893
Factors That Affect Real-Time Performance......Page 894
Real-Time Audio Mixing in FinalCutExpress......Page 895
Calculating the Number of Tracks That Can Be Played Back inReal Time......Page 896
Improving Real-Time Audio Performance......Page 897
Using RT Extreme for Video Output......Page 898
What Is Rendering?......Page 899
About Render Status Bars in the Timeline......Page 900
Video Render Status Bars......Page 901
Audio Render Status Bars......Page 902
About Item-Level Render Status Bars......Page 903
Selecting Clips for Rendering......Page 904
Render Selection......Page 905
Render Only......Page 907
More About Audio Render Options......Page 908
Keeping Track of Rendering Progress......Page 909
Temporarily Disabling Rendering......Page 910
Automatic Rendering While You Are Away fromYourComputer......Page 911
Render & Playback Settings......Page 912
Changing Render Settings for Sequences......Page 913
Locating Render Files......Page 914
Disabling Tracks Affects Render Files......Page 915
Tips for Avoiding Unnecessary Rendering and Reducing Render Time......Page 916
About Mixed-Format Sequences......Page 919
Determining Whether Clips in a Sequence Will Play Back inReal Time......Page 920
Viewing Clip Properties and Sequence Settings......Page 921
Rules for Automatic Sequence Conforming......Page 922
Conforming Clips to Match Sequence Settings......Page 923
Mixing Frame Rates......Page 924
Working with Subclips in Mixed-Frame-Rate Sequences......Page 925
Using the Shift Fields Filter......Page 926
Mixing Footage with Different Codecs......Page 927
Downconverting HD Video......Page 928
Letterboxing 16:9 Video in a 4:3 Frame......Page 929
Cropping 16:9 Video to 4:3......Page 930
Pan and Scan......Page 931
16:9 Anamorphic......Page 932
Rendering MixedFormat Sequences......Page 933
PartXI: Project Management andSettings......Page 935
Using the Revert Project Command......Page 937
Using the Autosave Feature......Page 938
Using a “First-In, First-Out” Strategy......Page 939
Restoring Autosaved Projects......Page 940
Archiving Completed Projects......Page 941
Using Master and Affiliate Clips......Page 943
Shared and Unique Clip Properties......Page 944
Working with Master Clips......Page 945
Creating a Master Clip by Duplicating a Master Clip......Page 946
Working with Affiliate Clips......Page 947
Creating Independent Clips......Page 948
Changing Independent Clips to Affiliate Clips......Page 949
Using Keyboard Shortcuts to Modify Master-Affiliate ClipRelationships......Page 950
How Does FinalCutExpress Identify Matching Clips?......Page 951
About the Copy Master Clip Dialog......Page 952
Using the Copy Master Clip Dialog......Page 954
Finding Your Media Files After Capture......Page 955
Where Are Captured Media Files Stored?......Page 956
Consolidating Media Files to One Folder......Page 957
About the Connections Between Clips and Media Files......Page 958
Reconnecting Clips to Media Files......Page 959
About the Reconnect Files Dialog......Page 960
Search Order and Speed in the Reconnect Files Dialog......Page 962
Using the Reconnect Files Dialog......Page 963
About the Offline Files Dialog......Page 966
Maintaining Field Dominance, Pixel Aspect Ratio, and Anamorphic Settings When Reconnecting Media .........Page 967
Reconnecting Media Files Automatically......Page 968
Changing User Preferences......Page 969
General Tab......Page 970
More About Audio Playback Quality......Page 972
Editing Tab......Page 975
Render Control Tab......Page 977
Changing System Settings......Page 978
About Thumbnail Cache Files......Page 979
Search Folders Tab......Page 980
Memory & Cache Tab......Page 981
External Editors Tab......Page 982
PartXII: Output......Page 985
Output Requirements......Page 987
Methods for Output to Tape in FinalCutExpress......Page 988
Connecting Your Video Equipment and Setting It to VCR Mode......Page 989
Selecting Playback Settings......Page 990
Cueing the Videotape......Page 991
Different Ways You Can Output Video fromtheTimeline......Page 993
Automatically Recording with Print to Video......Page 994
Using the Print to Video Command......Page 995
Recording from the Timeline......Page 997
Outputting to VHS Tape......Page 999
What Is QuickTime?......Page 1001
The QuickTime Movie File Format......Page 1002
Codecs Supported in QuickTime......Page 1003
Understanding Codec and File Format Naming Conventions......Page 1004
To Find Out More About QuickTime......Page 1005
Movie File Formats......Page 1006
Video Codecs Supported Within Video File Formats......Page 1007
Graphics and Still-Image Formats......Page 1009
Audio File Formats......Page 1010
The Export QuickTime Movie Command......Page 1011
The Export Using QuickTime Conversion Command......Page 1012
About the Export QuickTime Movie Command......Page 1013
Choosing the Type of QuickTime Movie to Export......Page 1014
Exporting a QuickTime Movie File......Page 1015
Exporting QuickTime Movies with Markers......Page 1017
About the Export Using QuickTime Conversion Command......Page 1019
Types of File Formats You Can Export with QuickTime......Page 1020
Exporting a QuickTime Movie File for Web Distribution......Page 1021
Configuring QuickTime Movie Settings......Page 1023
QuickTime Movie Video Settings......Page 1024
QuickTime Movie Sound Settings......Page 1030
Internet Streaming Settings......Page 1032
About QuickTime Aperture Display Modes......Page 1033
Clean Aperture Mode......Page 1034
Production Aperture Mode......Page 1035
Exporting to an Apple Device......Page 1036
Exporting a DV Stream......Page 1037
Exporting an AVI File......Page 1038
The DVD Creation Process......Page 1041
Video for Standard DVDs......Page 1042
Audio for DVD......Page 1043
Adding Chapter and Compression Markers to Your Sequence......Page 1044
More About Chapter Markers......Page 1045
More About Compression and Edit/Cut Markers......Page 1046
Exporting a QuickTime Movie for DVD Use......Page 1047
Bit Depth of Exported Still Images......Page 1049
Exporting a Single Still Image......Page 1050
Exporting Image Sequences......Page 1051
PartXIII: Appendixes......Page 1055
Characteristics of Video Formats......Page 1057
Tape Size, Cassette Shape, and Tape Coating......Page 1058
Standard Definition Video......Page 1059
Types of Video Signals......Page 1060
Aspect Ratio of the Video Frame......Page 1062
Pan and Scan......Page 1063
Frame Dimensions, Number of Lines, and Resolution......Page 1064
Pixel Aspect Ratio......Page 1066
About Interlaced Scanning......Page 1067
About Progressive Scanning......Page 1068
Setting Field Dominance in FinalCutExpress......Page 1069
Video Sample Rate and Bit Depth......Page 1070
Bit Depth......Page 1071
Video Compression......Page 1072
Lossless Codecs......Page 1073
About MPEG Compression......Page 1074
MPEG-2......Page 1078
DV Formats......Page 1079
Compressed High Definition Formats......Page 1080
A Brief History of Film, Television, and Audio Formats......Page 1081
What Is Frame Rate?......Page 1085
Understanding Flicker and Perceived Frame Rate......Page 1086
Recording High Frame Rates for Slow Motion Effects......Page 1087
Choosing a Frame Rate......Page 1088
About Drop Frame and Non-Drop Frame Timecode......Page 1090
More About Drop Frame Timecode and NTSC Frame Rate......Page 1091
The Difference Between Frame Rate and Timecode......Page 1093
About Anamorphic 16:9 Media......Page 1095
About Letterboxing......Page 1097
Why Shoot 16:9 Video?......Page 1098
Recording Anamorphic Video......Page 1099
Viewing and Editing Anamorphic Media......Page 1100
Changing Clip Properties for Anamorphic Media......Page 1101
Rendering Items That Contain Anamorphic Media......Page 1102
Exporting Anamorphic Video to a QuickTime Movie......Page 1103
Resources for Solving Problems......Page 1105
Problems During Playback......Page 1106
Problems with Audio Quality......Page 1110
Contacting AppleCare Support......Page 1111
A......Page 1113
B......Page 1117
C......Page 1118
D......Page 1123
E......Page 1124
F......Page 1126
H......Page 1128
I......Page 1129
K......Page 1130
L......Page 1131
M......Page 1132
N......Page 1134
O......Page 1135
P......Page 1136
R......Page 1138
S......Page 1141
T......Page 1145
U......Page 1148
V......Page 1149
Z......Page 1152