Apple Final Cut Pro 6 Bedienungsanleitung

Final Cut Pro 6User Manual

9PrefaceFinal Cut Pro 6 Documentation and ResourcesYou can use Final Cut Pro to create movies of any budget, style, and format. Final Cut Pro co

8 998 Navigating and Using Timecode in the Viewer and CanvasWhile the Viewer and Canvas serve different purposes, navigating and working with tim

IIPart II: EffectsLearn how to use the powerful effects capabilities of Final Cut Pro to enhance your project. Add filters, create motion effects, gen

12 21712 Using Video FiltersOnce you have clips in a sequence, you can apply filters to process and modify the visual content of your clips. This

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

Chapter 12 Using Video Filters 219 IITo apply a filter to a clip in a sequence, do one of the following:m Select one or more clips in the Timeline,

220 Part II Effects m Open a sequence clip in the Viewer, then do one of the following:Â Choose Effects > Video Filters, then choose a filter fr

Chapter 12 Using Video Filters 221 IITo apply a filter to part of a clip in a sequence:1 Select the Range Selection tool in the Tool palette (or pr

222 Part II Effects To reposition the filter Start and End points:m In the keyframe graph area, drag the Start or End point of the filter to the ne

Chapter 12 Using Video Filters 223 IIm Shift-click or Command-click to select multiple filters in the Effects tab of the Browser, then drag them to

224 Part II Effects Controls in the Filters Tab of the ViewerThere are various controls you can use to manipulate filters in Final Cut Pro. While e

100 Part II Learning About the Final Cut Pro Interface Playing Clips and SequencesYou use the transport controls in the Viewer and Canvas to play f

Chapter 12 Using Video Filters 225 IIÂ Current Timecode field: This field displays the position of the playhead in the keyframe graph area. When y

226 Part II Effects  Keyframe graph ruler: The keyframe graph ruler corresponds to the duration of the clip or the location of a clip in a sequen

Chapter 12 Using Video Filters 227 IISlidersBy default, sliders only show whole integer values. To adjust the corresponding value to within two dec

228 Part II Effects Point ControlPoint controls are used to specify locations in the Canvas. To define a new location with x and y coordinates:1 In

Chapter 12 Using Video Filters 229 IITo reset the dial to its previous setting while adjusting a parameter:m Drag the pointer all the way out of th

230 Part II Effects To use a clip as a parameter in a filter:m Drag any clip from your project to the clip well in the Filters tab. ∏ Tip: Final C

Chapter 12 Using Video Filters 231 IIEnabling and Rearranging FiltersYou can turn a filter on or off without removing it from a clip. This is usefu

232 Part II Effects To use the Paste Attributes command to paste filters into a clip:1 Select a clip in the Timeline that has a filter (or filters)

13 23313 Installing and Managing Video EffectsFinal Cut Pro includes numerous video filters for a wide range of applications. You can also expand

234 Part II Effects About FXScriptFXScript effects are text files written in FXScript, a scripting language for creating Final Cut Pro filters and

Chapter 8 Navigating and Using Timecode in the Viewer and Canvas 101 IITo play a clip or sequence between In and Out points:1 Open a clip in the Vi

Chapter 13 Installing and Managing Video Effects 235 IIInstalling FxPlug Plug-insFinal Cut Pro searches the following folders for FxPlug plug-ins i

236 Part II Effects Identifying and Organizing Video EffectsEffects in Final Cut Pro are organized into categories in the Effects tab of the Browse

Chapter 13 Installing and Managing Video Effects 237 IITo choose which effects are displayed in the Effects tab and the Effects menu:1 Choose Windo

238 Part II Effects Transferring Effects Between SystemsIf you have a project that uses particular FxPlug plug-ins, you need to install those plug-

Chapter 13 Installing and Managing Video Effects 239 IIUsing very high-resolution clips or turning on high-precision rendering in your sequence set

240 Part II Effects Plug-in Restrictions and TroubleshootingThe following section explains plug-in limitations you should be aware of before incorp

Chapter 13 Installing and Managing Video Effects 241 IIVideo Filters Available in Final Cut ProThis section lists and describes the video filters a

242 Part II Effects Border FiltersBorder filters let you create borders using the total frame of your clips.Channel FiltersChannel filters allow yo

Chapter 13 Installing and Managing Video Effects 243 IIColor Correction FiltersColor correction filters let you adjust the black, white, and midton

244 Part II Effects Distort FiltersThe Final Cut Pro Distort filters are design-oriented filters that create texture effects.Filter ResultBumpmap O

102 Part II Learning About the Final Cut Pro Interface To play every frame of a clip:1 Open a clip in the Viewer or make the Canvas or Timeline act

Chapter 13 Installing and Managing Video Effects 245 IIImage Control FiltersImage Control filters let you manipulate the levels of black, white, an

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

Chapter 13 Installing and Managing Video Effects 247 IIDifference Matte Compares two clips and keys out areas that are similar. A View pop-up menu

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

Chapter 13 Installing and Managing Video Effects 249 IIMatte Choker Usually used in conjunction with a key filter to manipulate the edges of the ke

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

Chapter 13 Installing and Managing Video Effects 251 IIStylize FiltersStylize filters can be used to create an assortment of visual effects.Filter

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

Chapter 13 Installing and Managing Video Effects 253 IIFxPlug Plug-insFxPlug plug-ins are included when you install Motion as part of the Final Cut

Chapter 8 Navigating and Using Timecode in the Viewer and Canvas 103 IIShuttling Through a Clip or SequenceWhile using the scrubber bar is a great

14 25514 Changing Motion ParametersEvery video and graphics clip in a project has a set of parameters that can be edited in the Motion tab of the

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

Chapter 14 Changing Motion Parameters 257 IITo enable the Drop Shadow or Motion Blur attribute:m Select the checkbox next to Drop Shadow or Motion

258 Part II Effects Controls in the Motion TabThe following section describes the attributes and related parameters in the Motion tab of the Viewer

Chapter 14 Changing Motion Parameters 259 IIDistort ParametersChange a clip’s Distort parameters to alter the rectangular shape of a clip or to giv

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

Chapter 14 Changing Motion Parameters 261 IIUsing Cartesian Geometry to Position ClipsFinal Cut Pro compositing features use simple Cartesian geome

262 Part II Effects To move a clip down:m Enter a positive value for the clip’s y coordinate.To move a clip up:m Enter a negative value for the cli

Chapter 14 Changing Motion Parameters 263 IIExamples Using Motion SettingsThe following two examples demonstrate how you can use motion settings to

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

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

Chapter 14 Changing Motion Parameters 265 II6 Drag the Rotation Angle control (the dial) to the left so that it reads “–28.”A negative value rotate

266 Part II Effects Note: For more information about using basic geometry to position clips, see “Using Cartesian Geometry to Position Clips” on p

Chapter 14 Changing Motion Parameters 267 II10 Select the Basic Motion checkbox, then click OK.The two clips occupy the same position in the Canvas

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

Chapter 14 Changing Motion Parameters 269 II14 Using the same sequence In and Out points that you’ve been using, set the destination track of your

270 Part II Effects 17 Choose View > Show Title Safe.∏ Tip: Viewing title safe and action safe boundaries is especially important when creating

Chapter 14 Changing Motion Parameters 271 IIExample: Using Additional Motion Settings to Refine the LayoutIn this example, the Crop, Opacity, and

272 Part II Effects 6 In the Paste Attributes dialog, select the Scale Attribute Times and Crop checkboxes, leaving all other options unselected, t

Chapter 14 Changing Motion Parameters 273 II9 To apply these settings to the other two clips, select the clip on track V4 in the Timeline, then cho

274 Part II Effects Creating Motion Effects in the CanvasIn the previous section, you learned about default motion parameters for clips and how to

Chapter 8 Navigating and Using Timecode in the Viewer and Canvas 105 IITo move forward or backward using the jog control:m Drag the jog control to

Chapter 14 Changing Motion Parameters 275 IIManipulating Images in the CanvasWhen a clip is selected in the Timeline or Canvas (and you are in a wi

276 Part II Effects Using the Selection, Crop, and Distort tools in the Tool palette, you can drag a clip’s handles directly in the Canvas to creat

Chapter 14 Changing Motion Parameters 277 IIZooming In to the CanvasIn the Canvas, you can choose a magnification level to help you work with your

278 Part II Effects Using Wireframe Handles to Transform, Scale, and RotateIn many instances, you may find that dragging the handles of a selected

Chapter 14 Changing Motion Parameters 279 IITo move a clip:1 Select a clip in the Timeline.2 Select the Selection tool in the Tool palette, then dr

280 Part II Effects To scale and rotate a clip:m Command-drag a Scale/Distort handle.To distort the shape of a clip:1 Select a clip in the Timeline

Chapter 14 Changing Motion Parameters 281 IITo crop a clip:1 Select a clip in the Timeline.2 Select the Crop tool in the Tool palette, then do one

282 Part II Effects Example: Using Motion Parameters and Wireframe HandlesIn this example, you’ll put a graphic on the side of a building as if it

Chapter 14 Changing Motion Parameters 283 II3 In the Canvas or Timeline, position the playhead over the clip you just edited into track V1, then se

284 Part II Effects 5 In the Timeline, select the image, then choose Image+Wireframe from the View pop-up menu in the Canvas.6 With the Selection t

106 Part II Learning About the Final Cut Pro Interface To enable looped playback:m Choose View > Loop Playback (or press Control-L). If it’s alr

Chapter 14 Changing Motion Parameters 285 II8 Select the Distort tool in the Tool palette, then drag each of the four corners of the sign graphic u

15 28715 Adjusting Parameters for Keyframed EffectsAutomated audio level adjustments, opacity changes between layers, shifting color values, and

288 Part II Effects Many clip parameters can be keyframed: Opacity Motion settings Generators  Filters Audio level Pan settingsBecause you ca

Chapter 15 Adjusting Parameters for Keyframed Effects 289 IIAdding additional keyframes increases the complexity of the effect, but the area in bet

290 Part II Effects Using Three Keyframes With three keyframes, you can create more complex effects, such as a curved motion path. In the example b

Chapter 15 Adjusting Parameters for Keyframed Effects 291 IIKeyframing Controls in the ViewerYou can use various controls for keyframing motion eff

292 Part II Effects  Keyframe graph area: Shows all the values and keyframes associated with parameters currently displayed in the Viewer. Keyfr

Chapter 15 Adjusting Parameters for Keyframed Effects 293 IIKeyframing Tools in Final Cut ProThree tools in the Tool palette allow you to add, modi

294 Part II Effects Setting KeyframesUntil you create at least one keyframe for a parameter of a clip, changes you make to that parameter affect th

Chapter 8 Navigating and Using Timecode in the Viewer and Canvas 107 IINavigating with Timecode in the Viewer and CanvasYou can move the playhead a

Chapter 15 Adjusting Parameters for Keyframed Effects 295 IITo set keyframes from the Viewer or Canvas, do one of the following:m To add a keyframe

296 Part II Effects To add more keyframes:1 Move the playhead to another point in the clip where you want to set a keyframe.2 Do one of the followi

Chapter 15 Adjusting Parameters for Keyframed Effects 297 IITo adjust a parameter value between two keyframes:m Move the pointer over the section o

298 Part II Effects m Control-click the keyframe you want to remove, then choose Clear from the shortcut menu.To delete keyframes for all of an att

Chapter 15 Adjusting Parameters for Keyframed Effects 299 IIResizing the Keyframe Graph AreaFor precise keyframe adjustments, you can resize the di

300 Part II Effects To adjust the width of the keyframe graph area:m Drag the lower-right corner of the Viewer to the right to adjust its width.To

Chapter 15 Adjusting Parameters for Keyframed Effects 301 IITo zoom using the zoom tools:1 Select the Zoom In or Zoom Out tool in the Tool palette.

302 Part II Effects To scroll along the entire duration of your clip:m Drag the center of the Zoom slider to the left or to the right. To change th

Chapter 15 Adjusting Parameters for Keyframed Effects 303 II1 Edit two clips of equal duration into your sequence, each on its own video track. Not

304 Part II Effects 6 Click the keyframe button for the Opacity parameter to create a keyframe at the new position of the playhead.Because it takes

108 Part II Learning About the Final Cut Pro Interface To move the playhead forward relative to its current position:m Enter + (plus), then a timec

Chapter 15 Adjusting Parameters for Keyframed Effects 305 II9 Move the playhead to 01:00:04:00, then add another opacity keyframe.Because you can’t

306 Part II Effects Example: Keyframing Opacity in the TimelineThere is a faster way to create the Opacity parameter keyframes you created in the

Chapter 15 Adjusting Parameters for Keyframed Effects 307 II4 Now, use a shortcut to create all the keyframes you need on the overlay at once. Hold

308 Part II Effects For example, if you space keyframes 2 seconds apart in the Rotation parameter, the resulting rotation lasts 2 seconds. If you a

Chapter 15 Adjusting Parameters for Keyframed Effects 309 IIOne-Sided Bezier HandlesThe first and last keyframes of a group have one-sided Bezier h

310 Part II Effects Smoothing KeyframesSmoothing a keyframe, or adding Bezier handles to it, makes the change from one keyframe’s value to the next

Chapter 15 Adjusting Parameters for Keyframed Effects 311 IITo change the angle between one side of a Bezier curve and the other:m Hold down the Co

312 Part II Effects What Are Motion Paths?The simplest motion path is a straight line defined by two center keyframes. Once the first keyframe is d

Chapter 15 Adjusting Parameters for Keyframed Effects 313 IICreating Motion PathsThe simplest way to make changes to a clip’s motion path is by man

314 Part II Effects Adding, Moving, and Deleting Keyframes in Motion PathsYou can edit a motion path directly in the Canvas by adding, dragging, or

10 Preface Final Cut Pro 6 Documentation and Resources Note: The four-volume user manual is also available onscreen; see the next section, “Onscre

Chapter 8 Navigating and Using Timecode in the Viewer and Canvas 109 IIAbout Timecode Overlays and Sync Color CodingIn the Viewer, timecode overlay

Chapter 15 Adjusting Parameters for Keyframed Effects 315 IIBezier handles on motion paths in the Canvas work the same way as they do for keyframes

316 Part II Effects To change the angle between one side of a Bezier curve and the other:m Hold down the Command key as you drag a Bezier handle. R

Chapter 15 Adjusting Parameters for Keyframed Effects 317 IIControlling Speed Along a Motion PathThe speed at which a clip travels along a motion p

318 Part II Effects To vary the acceleration of this clip along its motion path, you must first add Bezier handles to the keyframes you want to adj

Chapter 15 Adjusting Parameters for Keyframed Effects 319 IITo slow down a clip’s motion at the beginning and speed it up as it nears the next keyf

320 Part II Effects Moving an Entire Motion Path in the CanvasIf you’re happy with the shape of a motion path, but you want to move it to a differe

Chapter 15 Adjusting Parameters for Keyframed Effects 321 IITo change the name of a motion favorite:1 Select the motion favorite in the Favorites b

322 Part II Effects Using the Timeline Keyframe Graph AreaOnce motion settings have been applied to a clip in your sequence, you can use the Clip K

Chapter 15 Adjusting Parameters for Keyframed Effects 323 IIÂ Keyframe editor: For clips with applied effects, the keyframe editor shows you motio

324 Part II Effects Working with the Filters and Motion BarsThe filters and motion bars are useful for seeing at a glance the keyframes of one or m

110 Part II Learning About the Final Cut Pro Interface Information Displayed by Timecode OverlaysTimecode overlays give you an “at-a-glance” view o

Chapter 15 Adjusting Parameters for Keyframed Effects 325 IIWorking with the Timeline Keyframe EditorThe keyframe editor allows you to edit the key

16 32716 Reusing Effect and Motion ParametersIf you frequently use a particular transition or filter with specific settings, you can save it as a

328 Part II Effects About the Paste Attributes DialogYou select which attributes to paste by using the Paste Attributes dialog. The following optio

Chapter 16 Reusing Effect and Motion Parameters 329 IIÂ Filters: Adds the parameter values and keyframes for all filters from the clip you copied.

330 Part II Effects To paste the attributes of a copied clip into another clip:1 In the Timeline, select a clip whose attributes you want to paste

Chapter 16 Reusing Effect and Motion Parameters 331 IIReapplying the Most Recently Used EffectFinal Cut Pro remembers the last effect you applied s

332 Part II Effects 2 Do either of the following: If you want the filter to apply to whole clips: Position the playhead over those clips. If you

Chapter 16 Reusing Effect and Motion Parameters 333 IIWithin the Favorites bin in the Effects tab, you can organize your favorites into separate bi

334 Part II Effects To modify a transition in a sequence before making it a favorite:1 Double-click a transition in a sequence in the Timeline to o

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

Chapter 16 Reusing Effect and Motion Parameters 335 IIEach selected filter appears in the Favorites bin in the Effects tab.Organizing and Renaming

336 Part II Effects To organize favorite transitions and filters into sub-bins:1 Click your project’s tab in the Browser.2 Create a new bin and giv

17 33717 Changing Clip Speed and Time RemappingYou can adjust a clip’s speed parameters to create fast- or slow-motion effects. With time remappi

338 Part II Effects How Changing Speed Affects a Clip’s DurationA change in a clip’s speed can affect the duration of the clip. If you choose 50 pe

Chapter 17 Changing Clip Speed and Time Remapping 339 IIYou can also use the fit to fill edit with multiple clips. When you do so, each successive

340 Part II Effects 5 Do one of the following: Drag the clip from the Viewer to the Fit to Fill section of the Edit Overlay in the Canvas. Click

Chapter 17 Changing Clip Speed and Time Remapping 341 IIConstant and Variable Speed SettingsYou can make two kinds of speed changes to a clip—const

342 Part II Effects All constant speed changes between 1 and 200 percent can be played in real time, even with frame blending turned on. For more i

Chapter 17 Changing Clip Speed and Time Remapping 343 IINote: While clips using frame blending can play in real time at preview quality, frame ble

344 Part II Effects Making Constant Speed ChangesThe simplest speed change you can make to a clip is a constant speed change. You do this using the

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

Chapter 17 Changing Clip Speed and Time Remapping 345 IIMaking Variable Speed ChangesVariable speed changes are made by assigning a frame in a clip

346 Part II Effects Under most circumstances, a clip plays back frames from its media file in chronological order. If you have a 300-frame clip, it

Chapter 17 Changing Clip Speed and Time Remapping 347 IIThe Y AxisThe y axis represents the frame numbers of a clip’s media file. For example, if a

348 Part II Effects Where You Can Make Time Remapping AdjustmentsThere are four places in Final Cut Pro where you can make variable speed adjustmen

Chapter 17 Changing Clip Speed and Time Remapping 349 IIÂ Speed indicator area: Speed indicators show you the speed of clips in your sequence usin

350 Part II Effects Learning to Read Timeline Speed IndicatorsThe Timeline includes speed indicators to show you the speed of clips in your sequenc

Chapter 17 Changing Clip Speed and Time Remapping 351 IITimeline speed indicators show you the relative playback speed of clips in your sequence. F

352 Part II Effects If you make a clip play backward by selecting the Reverse checkbox in the Speed dialog, the speed indicators turn red to show t

Chapter 17 Changing Clip Speed and Time Remapping 353 IIIf parts of a clip are set to 100 percent speed, but other parts are set to fast-forward or

354 Part II Effects Sliding a Frame from Another Time to the Current Playhead PositionClicking a clip with the Time Remap tool moves the playhead t

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

Chapter 17 Changing Clip Speed and Time Remapping 355 II∏ Tip: By holding down the Shift key before clicking a clip with the Time Remap tool, you

356 Part II Effects Sliding a Frame to a New Time in the ClipOption-clicking a clip with the Time Remap tool enables you to grab the frame at that

Chapter 17 Changing Clip Speed and Time Remapping 357 IITo drag a source frame to a new time:1 Select the Time Remap tool in the Tool palette (or p

358 Part II Effects 3 When you’ve found the source frame in the clip that you want to remap to another time, hold down the Option key and drag the

Chapter 17 Changing Clip Speed and Time Remapping 359 II2 Control-click the motion bar, then choose Time Remap > Time Graph from the shortcut me

360 Part II Effects  Linear time (100 percent speed): This is represented by a straight, upward-sloping diagonal line, in which one frame of a vi

Chapter 17 Changing Clip Speed and Time Remapping 361 IIÂ Freeze frame (0 percent speed): So far, all these graphs have illustrated forward-playin

362 Part II Effects When you put all this together, you can start to understand what is happening in more complex time remapping keyframe graphs. F

Chapter 17 Changing Clip Speed and Time Remapping 363 IITime Remap Parameters Setting: This pop-up menu allows you to choose between constant and

364 Part II Effects To see how speed settings affect the timecode view, try the following:1 Open a clip in the Viewer.2 Choose Modify > Speed (o

114 Part II Learning About the Final Cut Pro Interface Learning About the TimelineYou can view the content of your sequences in many different ways

18 36518 Working with Freeze Frames and Still ImagesYou can use still images and photographs in your movie to previsualize scenes, create motion

366 Part II Effects Creating Freeze Frames from a Video ClipFinal Cut Pro makes it easy to create a freeze frame from a video clip. No additional m

Chapter 18 Working with Freeze Frames and Still Images 367 IICreating Freeze Frames of Embedded Motion and LiveType ProjectsWhen you create a freez

368 Part II Effects Considerations Before Creating and Importing StillsBefore you start creating graphics and importing still images for video, the

Chapter 18 Working with Freeze Frames and Still Images 369 IICreating Graphics with the Correct Frame Size for VideoWhen you’re preparing to import

370 Part II Effects Bit Depth of Imported GraphicsFinal Cut Pro can import graphics with a bit depth of up to 16 bits per pixel per color channel,

Chapter 18 Working with Freeze Frames and Still Images 371 IIÂ If your graphic is taller than it is wide: There are gray borders to the right and

372 Part II Effects See “Pixel Aspect Ratios in SD Video Signals Versus Computer Displays” on page 373 for more background information on this topi

Chapter 18 Working with Freeze Frames and Still Images 373 IIFrame Size Chart for Creating GraphicsUse the chart below to determine the frame size

374 Part II Effects SD NTSC pixels are taller than computer pixels and SD PAL pixels are wider than computer pixels. As a result, a 720 x 480 pixel

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

Chapter 18 Working with Freeze Frames and Still Images 375 IICreating Graphics with the Correct Color Settings for VideoYou should be aware that th

376 Part II Effects Flattening Graphics with LayersMultilayer graphics can be useful for compositing and complex graphics, but most of the time you

Chapter 18 Working with Freeze Frames and Still Images 377 IIScaling Images and Video Clips to Match a SequenceWhenever you edit a still-image clip

378 Part II Effects Note: You can add the illusion of camera motion to still images, as is often done in documentaries, by subtly keyframing the S

Chapter 18 Working with Freeze Frames and Still Images 379 IIm Double-click a clip in the Browser to open it in the Viewer, then enter a value in t

380 Part II Effects Step 1: Prepare and import your still image into Final Cut ProThere are two key things to be aware of before you import the im

Chapter 18 Working with Freeze Frames and Still Images 381 IIStep 2: Edit the still image into your sequenceThe still image appears as a clip in t

382 Part II Effects 2 Choose Fit All from the Zoom pop-up menu.Note: If your final movie will be shown on a television monitor, it’s a good idea t

Chapter 18 Working with Freeze Frames and Still Images 383 II3 Control-click the Add Motion Keyframe button in the Canvas, then choose Center from

384 Part II Effects 5 Move the image in the Canvas to the ending position. You don’t need to add a keyframe this time because, once a single keyfra

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

Chapter 18 Working with Freeze Frames and Still Images 385 IITo smooth the speed at the starting and ending points of a motion path:1 Choose Mark &

19 38719 Compositing and LayeringCompositing is the process of stacking and blending multiple video or graphics clips over one another in a seque

388 Part II Effects Methods of CompositingOnce you’ve layered clips in the Timeline, you can adjust how each one blends with the layers below using

Chapter 19 Compositing and Layering 389 IIDifferent Ways to Layer Clips in the TimelineThere are several ways you can layer clips in the Timeline.Â

390 Part II Effects Adjusting Opacity Levels of ClipsEvery video clip has an Opacity parameter that allows you to change the clip’s level of transp

Chapter 19 Compositing and Layering 391 IITo adjust the opacity of a clip (with no keyframes) in the Timeline:1 In the Timeline, click the Clip Ove

392 Part II Effects To adjust the opacity of a clip (with no keyframes) in the Motion tab:1 Double-click the sequence clip you want to adjust to op

Chapter 19 Compositing and Layering 393 IIWorking with Composite ModesFinal Cut Pro composite modes determine how the brightness and color of one c

394 Part II Effects Important: Final Cut Pro composite modes work in conjunction with a clip’s Opacity parameter. The composite mode you select de

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

Chapter 19 Compositing and Layering 395 II3 Move the playhead over these two clips to see the interaction between the two clips in the Canvas.You c

396 Part II Effects Composite Modes in Final Cut ProThe following section describes how composite modes affect two layers in a sequence.About the E

Chapter 19 Compositing and Layering 397 IINormalNormal is the default composite mode for clips. When a clip uses Normal composite mode, you can sti

398 Part II Effects SubtractSubtract darkens all overlapping colors. Whites in the foreground image go black, while whites in the background image

Chapter 19 Compositing and Layering 399 IIMultiplyMultiply emphasizes the darkest parts of each overlapping image, except that midrange color value

400 Part II Effects ScreenScreen emphasizes the lightest parts of each overlapping image, except that the midrange color values of both images are

Chapter 19 Compositing and Layering 401 IIOverlayWhites and blacks in the foreground image become translucent and interact with the color values of

402 Part II Effects Hard LightWhites and blacks in the foreground image block overlapping areas in the background image. Whites and blacks in the b

Chapter 19 Compositing and Layering 403 IISuggested uses: The Soft Light composite mode is useful for softly tinting a background image by mixing

404 Part II Effects LightenLighten emphasizes the lightest parts of each overlapping image. Every pixel in each image is compared, and the lightest

118 Part II Learning About the Final Cut Pro Interface  Current Timecode field: Indicates the timecode position of the playhead. Typing a new tim

Chapter 19 Compositing and Layering 405 IITravel Matte - LumaThe Travel Matte - Luma composite mode does the same thing as the Travel Matte - Alpha

406 Part II Effects To create a travel matte:1 Place the clip you want to have appear in the background of your composite on track V1 in the Timeli

Chapter 19 Compositing and Layering 407 IIWorking with Layered Photoshop FilesYou can create multilayer graphics in Adobe Photoshop for use in a co

408 Part II Effects Working with Layered Photoshop SequencesWhen you import a layered Photoshop file into Final Cut Pro, all the layers of the sour

Chapter 19 Compositing and Layering 409 IIChanging the Frame Rate of Layered Photoshop SequencesWhen you import a layered Photoshop file, the resul

410 Part II Effects To manually change the frame rate of a layered Photoshop sequence:1 Select the layered Photoshop sequence in the Browser, then

Chapter 19 Compositing and Layering 411 IIImportant: When you import a clip with an alpha channel that contains no data, the clip appears white. T

412 Part II Effects Changing a Clip’s Alpha Channel TypeWhen you import an image file, Final Cut Pro identifies the type of alpha channel and sets

Chapter 19 Compositing and Layering 413 IIÂ Black: Also known as premultiplied (with black). Most other alpha channels, especially channels that a

414 Part II Effects To change the alpha channel type of a clip in the Browser:m Control-click in the Alpha column in the Browser, then choose a new

Preface Final Cut Pro 6 Documentation and Resources 11 Apple WebsitesThere are a variety of discussion boards, forums, and educational resources re

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

Chapter 19 Compositing and Layering 415 IIViewing RGB and Alpha Channels in the ViewerWhen you’re working in the Viewer, it can sometimes be helpfu

416 Part II Effects  Alpha+RGB: This option lets you see a representation of the alpha channel overlaid on top of the RGB channels that constitut

Chapter 19 Compositing and Layering 417 IIChoosing a BackgroundWhen working with clips that have an alpha channel, you can choose different backgro

418 Part II Effects Temporarily Excluding Clips from Playback or OutputIn the process of fine-tuning effects in a sequence or experimenting with mu

Chapter 19 Compositing and Layering 419 IITemporarily Disabling a Single ClipIf, instead of disabling an entire track, you only want to disable a s

420 Part II Effects Soloing Clips in Multitrack SequencesWhen working with multiple tracks, you may find it helpful to quickly demo one clip within

20 42120 Keying, Mattes, and MasksYou can isolate specific elements of clips from the background and combine those elements with other clips by u

422 Part II Effects In Final Cut Pro, a matte is a customizable, polygonal shape used to make part of a clip transparent. By outlining part of an i

Chapter 20 Keying, Mattes, and Masks 423 IIWhat Are Masks and How Are They Used?A mask is an image that is used to create areas of transparency in

424 Part II Effects Using Keying to Isolate Foreground ElementsThere are two different methods used for keying: chroma keying and luma keying. Chro

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

Chapter 20 Keying, Mattes, and Masks 425 IIIf you must apply compression during capture, you can still pull good keys from clips with as much as a

426 Part II Effects Using the Final Cut Pro Video Scopes to Help Correctly Light Your Background ScreenBecause the Waveform Monitor shows you all v

Chapter 20 Keying, Mattes, and Masks 427 IIOverview of Compositing Using the Chroma Keyer FilterAlthough you can use one of several different filte

428 Part II Effects Step 3: Eliminate fringing with the Matte Choker filterAfter keying out as much of the background as you can without touching

Chapter 20 Keying, Mattes, and Masks 429 IIStep 6: Crop out elements using the Garbage Matte filterIf there are “unkeyable elements” other than yo

430 Part II Effects Working with the Chroma Keyer FilterDespite its name, the Chroma Keyer actually uses a combination of chroma and luma keying to

Chapter 20 Keying, Mattes, and Masks 431 IITo use the standard numeric controls, do one of the following:m In the Chroma Keyer tab, click the Numer

432 Part II Effects Visual Controls in the Chroma Keyer FilterThe following controls appear in the Chroma Keyer tab in the Viewer. Enable/Disable

Chapter 20 Keying, Mattes, and Masks 433 IIÂ Saturation control: Allows you to adjust the degree and range of saturation that contributes to defin

434 Part II Effects  Invert Selection button: Click this button to invert the key you’ve defined. For example, suppose you’ve set up a key based

Chapter 9 Timeline Basics 121 IIOther Miscellaneous Controls Snapping button: Click to turn snapping on and off. This button appears in the Timel

Chapter 20 Keying, Mattes, and Masks 435 II4 Click the Select Color eyedropper to pick a color in the clip to key, move the pointer to the Canvas (

436 Part II Effects You can perform this step as many times as you need to. The goal is to eliminate as much of the background as you can without a

Chapter 20 Keying, Mattes, and Masks 437 II7 Depending on how the edges of your foreground subject look, you may want to make adjustments using the

438 Part II Effects 9 If you still see light fringing at this point, or if you were forced to use settings so extreme in the Chroma Keyer that some

Chapter 20 Keying, Mattes, and Masks 439 II13 Finally, you’re ready to insert the background image. Make sure that the clip you’re editing into you

440 Part II Effects Using Mattes to Add or Modify Alpha ChannelsYou can use the matte filters to create a new alpha channel or add to or subtract f

Chapter 20 Keying, Mattes, and Masks 441 II3 Move the pointer to the Canvas (the pointer turns into a crosshair pointer), then click to change the

442 Part II Effects The Choke slider adjusts the overall size of the matte, without changing the shape; the Feather slider blurs the edges of the m

Chapter 20 Keying, Mattes, and Masks 443 II3 Move the playhead to the last frame of the clip, then readjust the Point 1, Point 2, Point 3, and Poin

444 Part II Effects  Mask Shape: Allows you to create an alpha channel in a clip that consists of a simple shape—a diamond, oval, rectangle, or r

122 Part II Learning About the Final Cut Pro Interface  Stereo pair indicators (within clip items): Two pairs of triangles indicate that two audi

Chapter 20 Keying, Mattes, and Masks 445 II5 Choose Luminance from the Channel pop-up menu. Note: When using a clip’s luma to define transparency,

21 44721 Using Generator ClipsFinal Cut Pro can generate several types of clips for you to use in your sequences, including bars and tone, placeh

448 Part II Effects Different Ways to Use Generators in Your SequenceIn creating composites and other effects, you may find some of the Final Cut P

Chapter 21 Using Generator Clips 449 IIVideo and Audio Generators Available in Final Cut ProFinal Cut Pro supports both FXScript and FxPlug generat

450 Part II Effects Matte Color and SlugYou use the Color and Slug generators to create colored backgrounds or black.Generator Result Usage informa

Chapter 21 Using Generator Clips 451 IIRenderYou can use the Render generators to create backgrounds filled with gradient shades of color or grays.

452 Part II Effects Noise (From the Generator pop-up menu, choose Render > Noise.)Generates random pixel noise, similar to static. Â The random

Chapter 21 Using Generator Clips 453 IIShapesYou can use the Shape generators to create shapes of different colors and sizes that can appear in bac

454 Part II Effects To create a generator and add it to a sequence:1 Do one of the following:Â Click the Video or Audio tab in the Viewer, then cho

Chapter 9 Timeline Basics 123 IIÂ Render status bar: This bar at the top of the Timeline indicates which parts of the sequence have been rendered

22 45522 Using the SmoothCam FilterYou can smooth the motion of handheld and shaky shots by applying the SmoothCam filter.This chapter covers the

456 Part II Effects About Queuing and Background Processing When you apply the SmoothCam filter to a clip, the clip is automatically submitted to t

Chapter 22 Using the SmoothCam Filter 457 IIApplying the SmoothCam FilterThe SmoothCam filter is available in both the Effects tab and the Effects

458 Part II Effects Checking Motion Analysis StatusYou can check a clip’s motion analysis status in four locations:Â Overlays in the Canvas or View

Chapter 22 Using the SmoothCam Filter 459 IIThe SmoothCam Browser ColumnThe SmoothCam clip property can be shown in a Browser column, displaying ea

460 Part II Effects To submit clips to the SmoothCam Analysis processing queue:1 Make sure the SmoothCam column is shown in the Browser.2 Select on

Chapter 22 Using the SmoothCam Filter 461 IIReanalyzing ClipsIf necessary, you can reanalyze a clip whose status is “Analysis completed.”To analyze

462 Part II Effects Adjusting SmoothCam Filter ParametersYou can adjust controls for the SmoothCam filter in the Filters tab in the Viewer, just as

Chapter 22 Using the SmoothCam Filter 463 IICamera Motion Smoothness ParametersYou can control the “steadiness” of your shot using three independen

464 Part II Effects Factors That Affect SmoothCam ScalingYou can control how much the SmoothCam filter scales your clip in several ways, depending

124 Part II Learning About the Final Cut Pro Interface Clip items can be linked so that they can be selected and edited together. This allows you t

Chapter 22 Using the SmoothCam Filter 465 IIUsing the Auto Scale ParameterIn some cases, you may prefer to reduce the automatic scaling that the Sm

466 Part II Effects For example, if your footage starts with a fast pan and then settles into a relatively stable shot, set the clip In point after

Chapter 22 Using the SmoothCam Filter 467 II5 Import the QuickTime reference movie you just created, then apply the SmoothCam filter to the clip.6

468 Part II Effects Managing Media and Motion Analysis DataIf you use the Media Manager QuickTime export commands with sequences or clips using the

Chapter 22 Using the SmoothCam Filter 469 IIImproving SmoothCam Filter Results and TroubleshootingWhen you use the SmoothCam filter, keep the follo

23 47123 Creating TitlesTitles, including opening and closing credits and titles used in the lower part of the screen, are important elements in

472 Part II Effects Installing and Choosing FontsIf there are special fonts you want to install to use in Final Cut Pro, you need to install the Tr

Chapter 23 Creating Titles 473 IIMaking Sure Titles Fit on TV ScreensIf you plan to show your work on a TV screen or monitor at any time, you’ll wa

474 Part II Effects Text Generators Available in Final Cut ProThe table below describes each text generator and includes tips about settings for ea

Chapter 9 Timeline Basics 125 IITo change Timeline display options in the Sequence Settings window:m Select a sequence in the Browser or Timeline,

Chapter 23 Creating Titles 475 IIOutline Text Generates static text with an outline. This generator allows carriage returns. Â Text Graphic and Lin

476 Part II Effects Creating and Adding a Title ClipWhen you’re creating a title clip for a sequence, you can create a basic title or specify more

Chapter 23 Creating Titles 477 IITo create a title clip:1 Select a text generator by doing one of the following:Â Click the Video or Audio tab in t

478 Part II Effects 4 If you wish, specify additional settings.Note: Different text generators have different controls. Â Text: Enter your title

Chapter 23 Creating Titles 479 II Tracking: Use the slider to adjust the space between letters, or enter a value in the number field. Leading:

480 Part II Effects Other Options for Creating and Adding TitlesIf a title you have in mind is something you can’t create with the available text g

Chapter 23 Creating Titles 481 IIWorking with LiveType Clips in Final Cut ProWhen you import a LiveType project, Final Cut Pro creates a LiveType c

482 Part II Effects Exporting Background Video to Use in LiveTypeIf you want to create a title for a segment of your Final Cut Pro sequence, it’s h

24 48324 Working with Motion and ShakeYou can add Motion projects directly to sequences in Final Cut Pro and send Final Cut Pro sequence clips di

484 Part II Effects Importing a Motion Project into Final Cut ProYou can import Motion projects into Final Cut Pro to quickly add motion graphics,

126 Part II Learning About the Final Cut Pro Interface  Audio Track Labels: Choose whether audio tracks are labeled as individual audio tracks (A

Chapter 24 Working with Motion and Shake 485 IITo make sure a Motion clip automatically reconnects to an updated Motion project, do one of the foll

486 Part II Effects Selecting Clips or Sequences to Send to MotionThe Send To Motion Project command behaves slightly differently depending on your

Chapter 24 Working with Motion and Shake 487 IISending Browser Clips from Final Cut Pro to MotionWhen you send Browser clips from Final Cut Pro to

488 Part II Effects What Properties Are Exported to Motion?When you send sequence clips to Motion, the following properties are retained in the exp

Chapter 24 Working with Motion and Shake 489 IISending Clips from Final Cut Pro to a Shake ScriptYou can send two kinds of selections to Shake from

490 Part II Effects 5 Select the Launch Shake checkbox if you want the newly created Shake script to open automatically so you can start working on

Chapter 24 Working with Motion and Shake 491 IIIf you want to change the temporal position of clips after they are imported into Shake, you should

25 49325 Working with Master TemplatesMaster templates created in Motion allow you to quickly customize design elements such as titles and openin

494 Part II Effects But that’s just the beginning. The real power of master templates becomes clear when you have lots of titles or graphics in you

Chapter 9 Timeline Basics 127 IIÂ Show Through Edits: A through edit is an edit composed of two adjacent frames that have the same reel number and

Chapter 25 Working with Master Templates 495 IIWorking with Master TemplatesHere is the basic workflow for using master templates in Final Cut Pro:

496 Part II Effects Adding Master Templates to a SequenceYou can add master templates to your sequence from four different locations within Final C

Chapter 25 Working with Master Templates 497 II6 In the Master Template area, select a master template to preview it in the preview area.7 To edit

498 Part II Effects To open the Controls tab for a template clip in a sequence:1 In the Timeline, move the playhead over the template clip item you

Chapter 25 Working with Master Templates 499 IIModifying Speed and Template Clip TimingFor simple timing adjustments, you can apply speed changes t

500 Part II Effects All template clips in your project that refer to the modified Motion template file are updated with the changes you made in Mot

Chapter 25 Working with Master Templates 501 IIUpdating and Replacing Template Clips Using Drag and DropYou can easily replace template clips in yo

502 Part II Effects To link all instances of a particular template in a sequence or project to a new master template:1 Open the new master template

Chapter 25 Working with Master Templates 503 IITo convert a template clip to a Motion project clip:1 Control-click a template clip in your sequence

128 Part II Learning About the Final Cut Pro Interface Clip KeyframesYou can click the Clip Keyframes control to display the keyframe graph area—ad

IIIPart III: Color Correction and Video Quality ControlLearn how to maintain video quality throughout the post-production process and color correct yo

26 50726 Measuring and Setting Video LevelsFeatures such as the real-time video scopes and the Broadcast Safe filter help you precisely analyze a

508 Part III Color Correction and Video Quality Control The RGB color model is additive, which means the red, green, and blue channels combine to c

Chapter 26 Measuring and Setting Video Levels 509 IIIColor Difference ChannelsThe color channels, CB and CR, are derived by subtracting Y from the

510 Part III Color Correction and Video Quality Control Blacks, Midtones, and WhitesIn the Final Cut Pro color correction filters, most of the cont

Chapter 26 Measuring and Setting Video Levels 511 IIIChromaChroma describes the color values in your clips, ranging from the absence of color to th

512 Part III Color Correction and Video Quality Control Measuring Video Levels with the Final Cut Pro Video ScopesThe Final Cut Pro video scopes wo

Chapter 26 Measuring and Setting Video Levels 513 IIILayout Options in Video Scopes TabsYou can choose which scopes and which video source appear i

514 Part III Color Correction and Video Quality Control With the Waveform Monitor set to display saturation, you can compare the relative saturatio

Chapter 9 Timeline Basics 129 IIÂ Keyframe editor: The keyframe editor shows you keyframe graph lines for motion or filter parameters. These graph

Chapter 26 Measuring and Setting Video Levels 515 IIILearning to Read the VectorscopeThe Vectorscope shows you the distribution of color in your im

516 Part III Color Correction and Video Quality Control The color targets of the Vectorscope scale match the colors in the color balance controls o

Chapter 26 Measuring and Setting Video Levels 517 IIILearning to Read the HistogramThe Histogram shows you the relative distribution of all luma va

518 Part III Color Correction and Video Quality Control The shape of the Histogram graph is also good for determining the amount of contrast in an

Chapter 26 Measuring and Setting Video Levels 519 IIIThe RGB Parade scope is useful for comparing the relative levels of red, green, and blue betwe

520 Part III Color Correction and Video Quality Control Adjusting Scope and Scales BrightnessThe following controls allow you to control brightness

Chapter 26 Measuring and Setting Video Levels 521 IIIAdditional Video Scope Display OptionsYou can access the following additional video scope disp

522 Part III Color Correction and Video Quality Control Using Video Scopes in Real TimeDepending on the format of your video and the processing cap

Chapter 26 Measuring and Setting Video Levels 523 IIIVideo Scope Restrictions and PerformanceThe following list describes limitations when using th

524 Part III Color Correction and Video Quality Control If your program has been accepted for broadcast, you can usually get a set of guidelines sp

130 Part II Learning About the Final Cut Pro Interface Timeline Display Options Available from the Track Layout Pop-Up MenuYou can use the Track La

Chapter 26 Measuring and Setting Video Levels 525 IIIEnabling Range CheckingTurning on one of the range-checking options gives you immediate feedba

526 Part III Color Correction and Video Quality Control Using the Broadcast Safe FilterThe Broadcast Safe filter provides a quick way to reduce lum

Chapter 26 Measuring and Setting Video Levels 527 IIILuma/Chroma Mode Pop-Up MenuChoose one of the presets in this pop-up menu to decide the maximu

528 Part III Color Correction and Video Quality Control Custom Saturation Limiting Controls Enable: Select or deselect the checkbox to enable or

Chapter 26 Measuring and Setting Video Levels 529 IIIAbout Custom Luminance Limiting and Custom Saturation Limiting ControlsThe following section g

530 Part III Color Correction and Video Quality Control In the following example, the Clamp Above parameter removes details above a value of 100. T

Chapter 26 Measuring and Setting Video Levels 531 IIIUsing the RGB Limit FilterThe RGB Limit filter has controls to prevent illegal RGB levels whil

532 Part III Color Correction and Video Quality Control RGB Limit Filter ControlsThe following section describes the controls in the RGB Limit filt

Chapter 26 Measuring and Setting Video Levels 533 IIIHow the RGB Limit Filter WorksThe RGB Limit filter processes your video in 32-bit floating-poi

534 Part III Color Correction and Video Quality Control Working with Analog VideoIf you need to output video to an analog format, make sure you und

Chapter 9 Timeline Basics 131 IIÂ Duplicate frames indicator: If you use a clip more than once within a single edited sequence, the duplicated fra

Chapter 26 Measuring and Setting Video Levels 535 IIIUsing an External Waveform Monitor and Vectorscope to Calibrate Analog Video LevelsThe scopes

536 Part III Color Correction and Video Quality Control If you output to analog tape using the built-in FireWire interface of your computer with a

Chapter 26 Measuring and Setting Video Levels 537 IIIUsing Built-in Video Scopes During CaptureIf you are capturing analog video footage using a th

538 Part III Color Correction and Video Quality Control 4 To display the ideal targets for color bars, Control-click in the Waveform Monitor or the

Chapter 26 Measuring and Setting Video Levels 539 III6 Adjust the clip’s hue and saturation using the Vectorscope for reference.The Vectorscope is

540 Part III Color Correction and Video Quality Control The Flesh Tone line is only meant to be an approximation; it’s more important that the shot

Chapter 26 Measuring and Setting Video Levels 541 IIIUsing Color Bars to Adjust Brightness and Color on Analog EquipmentBroadcast video professiona

542 Part III Color Correction and Video Quality Control Calibrating Your Broadcast MonitorMonitors are calibrated using SMPTE standard color bars.

Chapter 26 Measuring and Setting Video Levels 543 III6 Now, turn the contrast all the way up so that this bar becomes bright, and then turn it back

544 Part III Color Correction and Video Quality Control 8 Press the “blue only” button on the front of your monitor.Note: This button is usually a

132 Part II Learning About the Final Cut Pro Interface Control-click a clip with duplicate frames to see a shortcut menu with the following option:

27 54527 Color CorrectionFinal Cut Pro includes powerful color correction features that let you analyze clips in your project and perform color c

546 Part III Color Correction and Video Quality Control Why Color Correct Your Footage?There are a number of reasons why you may want to color corr

Chapter 27 Color Correction 547 IIIÂ Achieve a “look”: The process of color correction is not simply one of making all the video in your piece mat

548 Part III Color Correction and Video Quality Control Managing Color During Post-ProductionThe way you manage color in your program depends on wh

Chapter 27 Color Correction 549 IIIThe goals of color correction at this stage depend on the length of the project. Short projects, commercials, s

550 Part III Color Correction and Video Quality Control Tape-to-Tape Color CorrectionWith projects shot on videotape, the color correction process

Chapter 27 Color Correction 551 IIIColor Correction in Final Cut ProWith as much control as they afford, telecine sessions tend to be expensive, es

552 Part III Color Correction and Video Quality Control Window Layouts and Keyboard Shortcuts Window layouts: Final Cut Pro includes several wind

Chapter 27 Color Correction 553 IIIWindow Layouts for Color Correction in Final Cut ProThere are two window layouts that are especially convenient

554 Part III Color Correction and Video Quality Control Keyboard Shortcuts to Move Quickly Between ClipsWhen color correcting one clip to match ano

Chapter 9 Timeline Basics 133 IIPositioning the Playhead Using the RulerMoving the playhead in the Timeline ruler works in the same way as moving t

Chapter 27 Color Correction 555 IIIComparing Two Frames in the Frame ViewerYou can use the Frame Viewer to visually compare multiple frames from th

556 Part III Color Correction and Video Quality Control To open the Frame Viewer tab:m Choose Tools > Frame Viewer (or press Option-7).You can c

Chapter 27 Color Correction 557 III Next Edit: Displays the frame of the In point one edit forward. 2nd Edit Forward: Displays the frame of the

558 Part III Color Correction and Video Quality Control To turn off the split screen:m Choose None from the right Frame Viewer pop-up menu. The edi

Chapter 27 Color Correction 559 IIIStep 1: Pick the master shot of a scene to use as the basis for color correctionIf you’re color correcting a sc

560 Part III Color Correction and Video Quality Control The way this works is that each color correction filter has a set of Limit Effect controls

Chapter 27 Color Correction 561 IIIThe Final Cut Pro Color Correction FiltersThere are a number of filters you can use to adjust the blacks, whites

562 Part III Color Correction and Video Quality Control Once applied, color correction filters appear in the Filters tab of a clip that’s opened in

Chapter 27 Color Correction 563 IIIThe Color Corrector and Color Corrector 3-Way FiltersThe Color Corrector and Color Corrector 3-way filters emplo

564 Part III Color Correction and Video Quality Control Copy Filter ControlsThe Copy Filter controls give you an easy way to copy color correction

134 Part II Learning About the Final Cut Pro Interface Zooming and Scrolling in the TimelineBeing able to navigate quickly to any point in your seq

Chapter 27 Color Correction 565 IIIWorking with the Copy Filter ControlsThe Copy Filter controls are designed to help you color correct sequences t

566 Part III Color Correction and Video Quality Control To copy color correction filter settings forward to another clip:1 Double-click a sequence

Chapter 27 Color Correction 567 III“Copy From” RuleIf the current clip has multiple filters and you’re copying from a clip with multiple filters, F

568 Part III Color Correction and Video Quality Control “Copy To” RuleIf the current clip has multiple filters and you’re copying to a clip with mu

Chapter 27 Color Correction 569 IIIKeyboard Shortcuts for the Copy Filter ControlsThe Copy Filter controls have keyboard equivalents, described her

570 Part III Color Correction and Video Quality Control If you hold down the Shift key while dragging a color balance indicator, the angle of the i

Chapter 27 Color Correction 571 IIIColor Balance Controls in the Color Corrector FilterYou use the controls in the Color Corrector tab to balance t

572 Part III Color Correction and Video Quality Control  Balance Reset button: Click this button to reset the Balance control to its default sett

Chapter 27 Color Correction 573 IIILevel and Saturation Controls in the Color Corrector FilterThe level sliders allow you to adjust the levels of t

574 Part III Color Correction and Video Quality Control Match Hue Controls in the Color Corrector FilterThe Match Hue controls allow you to adjust

Chapter 9 Timeline Basics 135 IITo zoom in and out of the Timeline using the Zoom control:m Click or drag the Zoom control to view the Timeline at

Chapter 27 Color Correction 575 III5 Choose Window > Arrange > Color Correction.This displays the Video Scopes tab in the Tool Bench window.

576 Part III Color Correction and Video Quality Control Moving the Mids slider to the right moves the distribution of midtones farther to the right

Chapter 27 Color Correction 577 IIIRemember, don’t select an area that’s overexposed, like a light source or a shiny highlight. This does not give

578 Part III Color Correction and Video Quality Control Note: When using the Auto-Balance eyedropper, it’s important to recognize that the color t

Chapter 27 Color Correction 579 IIIColor Corrector 3-Way Filter ControlsThe Color Corrector 3-way filter gives you more subtle control over the col

580 Part III Color Correction and Video Quality Control  Blacks Reset button: Click this button to reset the Blacks control to its default settin

Chapter 27 Color Correction 581 IIIAuto Level Controls in the Color Corrector 3-Way FilterUsing the Auto Level controls and the Whites, Mids, and B

582 Part III Color Correction and Video Quality Control Level and Saturation Controls in the Color Corrector 3-Way FilterThe level sliders allow yo

Chapter 27 Color Correction 583 IIIÂ Saturation slider: This slider raises or lowers the overall saturation, or intensity of color, in the affecte

584 Part III Color Correction and Video Quality Control The following example shows you how to use the Color Corrector 3-way filter to adjust a cli

136 Part II Learning About the Final Cut Pro Interface Note: When the Zoom In or Zoom Out tool is selected, pressing the Option key temporarily ch

Chapter 27 Color Correction 585 III6 From the Layout pop-up menu of the Video Scopes tab, choose All to make sure that all the scopes are available

586 Part III Color Correction and Video Quality Control ∏ Tip: One of the key differences between film and video is that video preserves much more

Chapter 27 Color Correction 587 IIIBecause the clip was tinted toward the reds, when you click the eyedropper in the white piece of scenery outside

588 Part III Color Correction and Video Quality Control 10 Click the Blacks Auto-Balance eyedropper.11 Click the eyedropper in an area of the pictu

Chapter 27 Color Correction 589 III12 Click the Mids Auto-Balance eyedropper, then click the eyedropper in an area of the chip chart that’s suppose

590 Part III Color Correction and Video Quality Control A before-and-after comparison of this change illustrates the effect.While making these adju

Chapter 27 Color Correction 591 III14 Drag the Saturation slider to increase or decrease the saturation.Be careful when you do this. A common mista

592 Part III Color Correction and Video Quality Control Example: Color Correcting a Three-Shot Sequence for ContinuityNow that you’ve examined the

Chapter 27 Color Correction 593 III4 In the Timeline, move the playhead to the first clip of the scene (for this example, the master shot) to open

594 Part III Color Correction and Video Quality Control 7 In the Timeline, position the playhead over the second clip so that it opens in the Viewe

Chapter 9 Timeline Basics 137 IITo zoom in and out of the Timeline using menu commands or keyboard shortcuts:1 With either the Canvas or the Timeli

Chapter 27 Color Correction 595 IIIAs you compare adjacent clips in your sequence, remember to pay attention to the video scopes. With Final Cut Pr

596 Part III Color Correction and Video Quality Control Using information from the Video Scopes tab, you can adjust the Whites and Mids sliders to

Chapter 27 Color Correction 597 IIIMatch Hue Controls in the Color Corrector and Color Corrector 3-Way FiltersThe Match Hue controls provide a way

598 Part III Color Correction and Video Quality Control  Match Hue eyedropper: Clicking the Match Hue eyedropper turns the pointer into an eyedro

Chapter 27 Color Correction 599 IIIExample: Using the Match Hue Controls of the Color Corrector 3-Way FilterThis example shows how to use the Matc

600 Part III Color Correction and Video Quality Control As with any color correction, the first step is to adjust the contrast of clip 2 to match t

Chapter 27 Color Correction 601 IIIThe Match Color indicator fills with this color to let you know it’s been selected, and either the Whites, Mids,

602 Part III Color Correction and Video Quality Control 7 With the Whites Auto-Balance eyedropper selected, move the pointer into the Canvas where

Chapter 27 Color Correction 603 IIIUsing Limit Effect Controls in the Color Corrector and Color Corrector 3-Way FiltersThe Limit Effect controls ar

604 Part III Color Correction and Video Quality Control  Saturation (Sat) control: Allows you to adjust the degree and range of saturation that c

138 Part II Learning About the Final Cut Pro Interface To fit the entire contents of the Timeline into the available window size:m Press Shift-Z.Th

Chapter 27 Color Correction 605 IIIÂ View Final/Matte/Source button: This button has three states:Â Final: The default state (a gold key against

606 Part III Color Correction and Video Quality Control Example: Using the Limit Effect Controls to Change a Specific ColorThis example shows you

Chapter 27 Color Correction 607 III3 To make the pants pink, rotate the Hue control toward magenta.You can also use the View Final/Matte/Source but

608 Part III Color Correction and Video Quality Control 5 Move the top handles in the Luma control to select a primary luma range to affect, then a

Chapter 27 Color Correction 609 IIIExample: Using the Limit Effect Controls to Isolate a Specific Color Against GrayscaleThis example shows you ho

610 Part III Color Correction and Video Quality Control 2 Click the Invert Selection button to reverse the key created by the Limit Effect controls

Chapter 27 Color Correction 611 IIIDesaturate Highlights and Desaturate Lows Filter ControlsThe following section describes controls in the Desatur

612 Part III Color Correction and Video Quality Control Example: Using the Desaturate Highlights FilterIn this example, the use of a color correct

Chapter 27 Color Correction 613 IIIUsing Color for Color CorrectionTo work on your project in a dedicated color correction environment, you can sen

614 Part III Color Correction and Video Quality Control Step 3: Send your sequence to ColorIf Color is installed on the same computer as Final Cut

IPart I: An Introduction to Final Cut ProFind out how Final Cut Pro fits into the moviemaking process and learn about fundamental concepts of digital

Chapter 9 Timeline Basics 139 IIScrolling Vertically Through Multiple TracksThe tracks in the Timeline are divided by default into two regions, one

IVPart IV: Real Time and RenderingLearn how to maximize the real-time playback capabilities of Final Cut Pro and render effects that cannot be played

28 61728 Using RT ExtremeRT Extreme is the real-time effects architecture that allows you to play back multiple video layers, video and audio fil

618 Part IV Real Time and Rendering For basic editing tasks, Final Cut Pro handles real-time processing automatically, keeping you focused on the c

Chapter 28 Using RT Extreme 619 IVFinal Cut Pro analyzes a sequence to determine the processor workload required for playback. Different portions o

620 Part IV Real Time and Rendering Identifying Which Effects Can Play Back in Real TimeThe real-time status of effects can be identified in severa

Chapter 28 Using RT Extreme 621 IVAbout Render Status Bar TooltipsIf you position the pointer over a render bar, a tooltip appears with information

622 Part IV Real Time and Rendering A real-time effect appears in boldface based on:Â The video format used by the currently selected sequence. Vid

Chapter 28 Using RT Extreme 623 IVPlayback Control Tab in System SettingsThe Playback Control tab is located in the System Settings window. It show

624 Part IV Real Time and Rendering Because the settings in the RT pop-up menu and the Playback Control tab are almost identical, it is often more

Chapter 28 Using RT Extreme 625 IVAbout Real-Time Playback OptionsThe following options, most of which are available in both the RT pop-up menu and

626 Part IV Real Time and Rendering Unlimited RTChoosing this option tells Final Cut Pro to play as many frames as possible when your effects excee

Chapter 28 Using RT Extreme 627 IVPlay Base Layer OnlyThe Play Base Layer Only option takes a unique approach to playing back processor-intensive s

628 Part IV Real Time and Rendering Beep When Playing Unrendered AudioThis option is available only in the Playback Control tab of the System Setti

Chapter 28 Using RT Extreme 629 IVPlayback Frame RateThe more you reduce the number of frames Final Cut Pro calculates each second, the more effect

630 Part IV Real Time and Rendering Multiclip PlaybackThis option allows you to watch all angles of multiclip play at once in the Viewer while you

Chapter 28 Using RT Extreme 631 IVThe following two patterns are available when your sequence has a frame rate of 24 fps and you choose a 25 fps ex

632 Part IV Real Time and Rendering Still-Image Real-Time PlaybackStill images and imported graphics can also play back in real time. The number of

Chapter 28 Using RT Extreme 633 IVÂ Render any clips whose render status bars indicate they can’t be played in real time before you play them back.

634 Part IV Real Time and Rendering  Memory bus speed: Computers with a faster memory bus allow better real-time performance because data can be

10 14110 Customizing the InterfaceFinal Cut Pro lets you customize the way you work with windows, rearranging them and creating new layouts. You

Chapter 28 Using RT Extreme 635 IVCalculating the Number of Tracks That Can Be Played Back in Real TimeThe number of tracks Final Cut Pro attempts

636 Part IV Real Time and Rendering Improving Real-Time Audio PerformanceYou can optimize real-time audio performance in the following ways:Â Rende

Chapter 28 Using RT Extreme 637 IVChoosing Real-Time Playback Versus RenderingHere are some practical examples of when you might use real-time play

638 Part IV Real Time and Rendering Supported Real-Time Playback CodecsRT Extreme is not capable of playing back all video codecs. The processor sp

Chapter 28 Using RT Extreme 639 IVTo choose software or hardware real-time effects processing for clips using a particular codec:1 Choose Final Cut

640 Part IV Real Time and Rendering Using RT Extreme for Video OutputBy default, Final Cut Pro renders video at full quality before you perform Edi

Chapter 28 Using RT Extreme 641 IVControls in the QuickView TabThis section describes the controls in the QuickView tab (which appears in the Tool

642 Part IV Real Time and Rendering Playback in the QuickView TabQuickView playback relies, in part, on the amount of memory allocated to Final Cut

Chapter 28 Using RT Extreme 643 IVIf neither In nor Out point is set in the Timeline:Final Cut Pro uses the position of the playhead, caching half

142 Part II Learning About the Final Cut Pro Interface Note: You can also resize and move the Tool Bench window, a window used for specialized edi

29 64529 Rendering and Video Processing SettingsWhen you apply more effects to a clip than your computer can process in real time, you need to re

646 Part IV Real Time and Rendering Rendering is generally required for:Â The use of filters, transitions, generators, or any combination of effect

Chapter 29 Rendering and Video Processing Settings 647 IVVideo Render Status BarsThe color of the video render status bar above the Timeline ruler

648 Part IV Real Time and Rendering Audio Render Status BarsThe color of the audio render bar above the Timeline ruler indicates whether the items

Chapter 29 Rendering and Video Processing Settings 649 IVAbout Item-Level Render Status BarsAn audio clip item in the Timeline may display an indiv

650 Part IV Real Time and Rendering There are two advantages to item-level (audio clip item) rendering:Â Item-level rendering reduces the processor

Chapter 29 Rendering and Video Processing Settings 651 IVSelecting Clips for RenderingInstead of rendering an entire sequence, it is often useful t

652 Part IV Real Time and Rendering Render SelectionIf you’ve selected one or more items in the Timeline, or defined a region of the Timeline using

Chapter 29 Rendering and Video Processing Settings 653 IVTo render a section of a sequence:1 Do one of the following:Â In the Timeline, select one

654 Part IV Real Time and Rendering Render AllThe commands in the Render All submenu render all the clips in a sequence corresponding to the select

Chapter 10 Customizing the Interface 143 IITo resize multiple windows at the same time:1 Move the pointer over the border between the windows you w

Chapter 29 Rendering and Video Processing Settings 655 IV4 Choose Sequence > Render All > Both.5 If your project has not yet been saved, Fina

656 Part IV Real Time and Rendering Rendering Audio Items in a SequenceThe following commands allow you to render audio items when required for rea

Chapter 29 Rendering and Video Processing Settings 657 IVUsing the Mixdown CommandSometimes, you may have so many audio items edited into a sequenc

658 Part IV Real Time and Rendering Temporarily Disabling RenderingNormally, Final Cut Pro attempts to calculate all the effects applied to the fra

Chapter 29 Rendering and Video Processing Settings 659 IVThree options determine what parts of your opened sequences are rendered and when:Â “Start

660 Part IV Real Time and Rendering Using the Render Control TabEach sequence has its own render and playback settings, located in the Render Contr

Chapter 29 Rendering and Video Processing Settings 661 IVRender SettingsThe Render Control tab provides the following render settings:Â Frame Rate:

662 Part IV Real Time and Rendering To change render control settings for an existing sequence:1 Open the Sequence Settings window for a particular

Chapter 29 Rendering and Video Processing Settings 663 IVChanging Video Processing SettingsYou can change video processing settings for an individu

664 Part IV Real Time and Rendering Rendering Y´CBCR Footage in the RGB Color SpaceWhen super-white Y´CBCR values are converted to RGB, any values

144 Part II Learning About the Final Cut Pro Interface To choose a window layout:m Choose Window > Arrange, then choose an option from the subme

Chapter 29 Rendering and Video Processing Settings 665 IVRender in 8-bit YUVMost codecs supported by Final Cut Pro use 8 bits per color sample, so

666 Part IV Real Time and Rendering Maximum RGB White Level SettingsWhen you add graphics or generator clips created in the RGB color space (for ex

Chapter 29 Rendering and Video Processing Settings 667 IVChoosing Super-WhiteIf you aren’t concerned about broadcast-legal limits and you want your

668 Part IV Real Time and Rendering Adjusting GammaFinal Cut Pro provides gamma control adjustments for RGB video and still-image formats.About Gam

Chapter 29 Rendering and Video Processing Settings 669 IVChoosing Real-Time Playback Gamma Correction OptionsWhenever you watch your video on a com

670 Part IV Real Time and Rendering In general, Final Cut Pro assumes the following:Â RGB-encoded media (such as TIFF or the Apple Animation codec)

Chapter 29 Rendering and Video Processing Settings 671 IVTo choose the gamma value applied to an imported file:1 Choose Final Cut Pro > User Pre

672 Part IV Real Time and Rendering To view the Gamma Level column in the Browser:m Control-click in any column in the Browser, then choose Show Ga

Chapter 29 Rendering and Video Processing Settings 673 IVInside the Render Files folder, Final Cut Pro creates a folder for each project with rende

674 Part IV Real Time and Rendering In the Render Manager, render files are organized into folders by project and sequence; filenames show whether

Chapter 10 Customizing the Interface 145 IICreating Custom LayoutsTwo custom layouts are presented at the top of the Arrange menu and cannot be ren

Chapter 29 Rendering and Video Processing Settings 675 IV2 Click in the Remove column to delete specific render files. Clicking an item that inclu

676 Part IV Real Time and Rendering Tips for Avoiding Unnecessary Rendering and Reducing Render TimeHere are some suggestions to avoid rendering:Â

Chapter 29 Rendering and Video Processing Settings 677 IVHere are some tips for reducing the amount of time it takes to render your sequence:Â Lowe

30 67930 Working with Mixed-Format SequencesFinal Cut Pro allows you to mix formats in the Timeline so you can combine and play back footage with

680 Part IV Real Time and Rendering Determining Whether Clips in a Sequence Will Play Back in Real TimeWhen a sequence contains a clip whose media

Chapter 30 Working with Mixed-Format Sequences 681 IVFormats That Don’t Support Real-Time PlaybackMedia with codecs, frame rates, or image dimensio

682 Part IV Real Time and Rendering Working with Mixed-Format SequencesThis section describes timesaving features for working with mixed-format seq

Chapter 30 Working with Mixed-Format Sequences 683 IVTo automatically conform sequence settings to the settings of the first clip added to the sequ

684 Part IV Real Time and Rendering When Are Clips Automatically Conformed to a Sequence?Most of the time, Final Cut Pro automatically conforms cli

146 Part II Learning About the Final Cut Pro Interface To use a saved layout, do one of the following:m Choose Window > Arrange, then choose a s

Chapter 30 Working with Mixed-Format Sequences 685 IVChoosing High-Quality Scaling OptionsTo ensure the highest quality, you should always choose t

686 Part IV Real Time and Rendering Mixing Frame RatesClips with any Final Cut Pro–supported frame rate can be added to a sequence and played back

Chapter 30 Working with Mixed-Format Sequences 687 IVWorking with Subclips in Mixed-Frame-Rate SequencesIn cases where a subclip’s frame rate and a

688 Part IV Real Time and Rendering Using the Shift Fields FilterWhen you add a clip to a sequence, Final Cut Pro checks the field dominance settin

Chapter 30 Working with Mixed-Format Sequences 689 IVMixing Footage with Different CodecsA codec, or compressor, is the algorithm used to compress

690 Part IV Real Time and Rendering Adding Filters and Motion Effects to Mixed-Format SequencesYou can add filters to nonmatching clips and adjust

Chapter 30 Working with Mixed-Format Sequences 691 IVLetterboxing 16:9 Video in a 4:3 FrameTo preserve the aspect ratio of widescreen movies on a 4

692 Part IV Real Time and Rendering Cropping 16:9 Video to 4:3If you keep both 16:9 and 4:3 aspect ratios in mind during the shoot, making sure imp

Chapter 30 Working with Mixed-Format Sequences 693 IVPan and ScanThe pan and scan method crops 16:9 clips within a 4:3 frame, but each clip can be

694 Part IV Real Time and Rendering 16:9 AnamorphicYou can use this method to preserve the 16:9 aspect ratio of HD video when scaling down to SD vi

Chapter 10 Customizing the Interface 147 IILearning About the Keyboard Layout WindowThe Keyboard Layout window allows you to view current keyboard

Chapter 30 Working with Mixed-Format Sequences 695 IVUpconverting SD VideoUpconverting a 4:3 aspect ratio image to a 16:9 frame results in borders

696 Part IV Real Time and Rendering To pillarbox a 4:3 clip within a 16:9 sequence:1 Create a sequence with a 16:9 aspect ratio. For example, choos

Chapter 30 Working with Mixed-Format Sequences 697 IVRendering Mixed-Format SequencesFor the highest-quality output, you should always render any s

698 Part IV Real Time and Rendering Media Management and Project InterchangeWorking with mixed formats in a sequence can present unique media manag

Volume IVMedia Management and Output

K Apple Inc.Copyright © 2007 Apple Inc. All rights reserved.Your rights to the software are governed by the accompanying software license agreement. T

31 ContentsPart I Media and Project ManagementChapter 1 13 Media Management13 What Is Media Management?14 Reasons to Use Media Management15 What

4 Contents53 Moving Clips Between Projects54 How Does Final Cut Pro Identify Matching Clips?54 Resolving Property Differences Between Matching ClipsCh

Contents 5Chapter 9 121 Diagnostic Tools for Clips121 Different Tools for Diagnosing Clips12 2 About the Analyze Movie Command12 2 Using the Analyze M

6 ContentsChapter 12 163 Working with Film and Cinema Tools163 An Overview of the Film Editing Process164 About the Telecine Process165 Importing a Te

148 Part II Learning About the Final Cut Pro Interface Command List AreaBy default, commands are listed by menu set (such as File and Edit) and com

Contents 7220 Automatically Recording with Print to Video221 Using the Print to Video Command223 Recording from the Timeline225 Outputting to VHS Tape

8 ContentsChapter 21 285 Exporting Still Images and Image Sequences285 Determining the Image Format for Still-Image Export286 Exporting a Single Still

Contents 9331 Editing a Preset332 Deleting Presets332 Creating and Modifying Easy Setups333 Creating an Easy Setup334 Moving, Deleting, and Restoring

10 Contents389 Video Sample Rate and Bit Depth391 Video Compression398 Video Formats Supported by Final Cut Pro399 DV Formats399 24p Video399 High Def

IPart I: Media and Project ManagementFinal Cut Pro features project and media management tools that help you keep track of your footage from the first

1 131 Media ManagementSuccessful editing requires effective media management. You should pick a media management strategy before you begin your p

14 Part I Media and Project Management  Logging clip information without media: You can modify clip properties such as log notes, comments, label

Chapter 1 Media Management 15 IWhat You Need to Know to Manage Your MediaTo effectively keep track of or manage your media, you must have a good un

16 Part I Media and Project Management Step 3: Recapture mediaSuppose you cleaned up your hard disk by having Final Cut Pro delete a lot of media

Chapter 10 Customizing the Interface 149 IITo assign keyboard shortcuts to commands:1 Choose Tools > Keyboard Layout > Customize.The Keyboard

Chapter 1 Media Management 17 IClip Name ConventionsClips can get their names several ways. If you log clips individually, a clip name is derived f

18 Part I Media and Project Management Using Multiple Workstations with a Storage Area NetworkStorage area networks (SANs) allow you to connect mul

2 192 Backing Up and Restoring ProjectsRoutine backups are a critical part of the editing process. If necessary, you can go back to earlier versi

20 Part I Media and Project Management Using the Autosave FeatureAutosave routinely saves copies of your project while you work. If something goes

Chapter 2 Backing Up and Restoring Projects 21 IIf you have more than one hard disk, you can routinely save your normal project file on one disk an

22 Part I Media and Project Management Restoring Autosaved ProjectsIf you’re working on your project and decide you want to go back to an earlier a

Chapter 2 Backing Up and Restoring Projects 23 IOpening a Project File After Your Computer Is Unexpectedly Shut DownIf your computer is abruptly sh

24 Part I Media and Project Management Depending on the duration of your original footage, the captured media files that you used for your project

Chapter 2 Backing Up and Restoring Projects 25 ITo update projects created in earlier versions of Final Cut Pro:1 Open a project created using an e

26 Part I Media and Project Management Shift Fields FilterProjects created in versions earlier than Final Cut Pro 6 must be updated when they conta

150 Part II Learning About the Final Cut Pro Interface 6 Click a command in the list to select it, then do one of the following:Â Press the key or

Chapter 2 Backing Up and Restoring Projects 27 IUpdating Projects from Final Cut Pro 3.0 or EarlierClips in projects created with Final Cut Pro 4 a

28 Part I Media and Project Management If you upgrade a project or sequence created in Final Cut Pro 1.2.1 and the codec used for the sequence is n

Chapter 2 Backing Up and Restoring Projects 29 IBefore Updating ProjectsBefore updating projects from earlier versions of Final Cut Pro and Final C

3 313 Elements of a Final Cut Pro ProjectWhen you are organizing your project and media files, it can be helpful to have a detailed understanding

32 Part I Media and Project Management Types of ClipsDifferent types of clips are distinguished by the type of media files they refer to. For examp

Chapter 3 Elements of a Final Cut Pro Project 33 IA multiclip allows you to sync multiple clips together as angles within a single clip. The main r

34 Part I Media and Project Management The following properties are not shared between master and affiliate clips: Comment A–B In point Out poin

Chapter 3 Elements of a Final Cut Pro Project 35 IAbout Icons and Project Elements in the BrowserIcons appear next to the name of each project elem

36 Part I Media and Project Management Clip PropertiesA clip has many properties, or characteristics, some of which you can customize, and some of

Chapter 10 Customizing the Interface 151 IITo quickly reassign the keyboard shortcuts for a command:1 Choose Tools > Keyboard Layout > Custom

Chapter 3 Elements of a Final Cut Pro Project 37 IName of property DescriptionName Name of the clip.During logging, the name property is usually cr

38 Part I Media and Project Management Aux TC 1-2 Aux 1 and Aux 2 are additional timecode tracks that can be created in a QuickTime media file for

Chapter 3 Elements of a Final Cut Pro Project 39 IDescription Displays descriptive text about a clip (from the Description field in the Logging tab

40 Part I Media and Project Management Last Modified Indicates the date and time a clip’s media file was modified, or the last time a sequence was

Chapter 3 Elements of a Final Cut Pro Project 41 IMedia End The timecode address that refers to the last frame of the media file, and thus the Out

42 Part I Media and Project Management Source Shows the file path of the clip’s media file on disk. For example:Scratch Disk:Capture Scratch:Dining

4 434 Working with Master and Affiliate ClipsMaster-affiliate clip relationships make it easy to manage multiple uses of media files in your proj

44 Part I Media and Project Management Master-affiliate clip relationships help you to:Â Keep track of which clips in your project use the same med

Chapter 4 Working with Master and Affiliate Clips 45 IBecause there is only one Name property shared between a master clip and its affiliates, you

46 Part I Media and Project Management Media File PropertiesSome clip properties are derived from the media file itself. Master clips refer to thes

152 Part II Learning About the Final Cut Pro Interface Clearing and Restoring Keyboard LayoutsAt any time, you can clear the keyboard layout, remov

Chapter 4 Working with Master and Affiliate Clips 47 IUnique Clip PropertiesThe following clip properties are unique to each affiliate clip and uni

48 Part I Media and Project Management  Use the Duplicate as New Master Clip command: This allows you to duplicate a master clip in the Browser a

Chapter 4 Working with Master and Affiliate Clips 49 IIdentifying Master ClipsMaster clips can exist only in the Browser; a sequence cannot contain

50 Part I Media and Project Management Working with Affiliate ClipsAs you edit in Final Cut Pro, you create affiliate clips in any of the following

Chapter 4 Working with Master and Affiliate Clips 51 ICreating Independent ClipsYou can break the connection between an affiliate clip and its mast

52 Part I Media and Project Management To create new master clips for an entire sequence of independent clips:1 Do one of the following to define t

Chapter 4 Working with Master and Affiliate Clips 53 IUsing Keyboard Shortcuts to Modify Master-Affiliate Clip RelationshipsThe master clip command

54 Part I Media and Project Management How Does Final Cut Pro Identify Matching Clips?Internally, each master clip in a project has a unique number

Chapter 4 Working with Master and Affiliate Clips 55 IAbout the Copy Master Clip DialogThe Copy Master Clip dialog appears when you move or copy ma

56 Part I Media and Project Management Apply to All Added Clips with Clip Property ConflictsIf you are moving or copying multiple clips from one pr

Chapter 10 Customizing the Interface 153 IITo save commands and keyboard shortcuts as a text file:1 Choose Tools > Keyboard Layout, then choose

5 575 Offline and Online EditingFinal Cut Pro allows you to do offline editing with low-resolution copies of your media files, and then recapture

58 Part I Media and Project Management Offline EditingEditing with low-resolution copies of your media files allows you to fit more media on your s

Chapter 5 Offline and Online Editing 59 IThe audio mixing phase is analogous to the video online edit session: the goal is to produce a continuous,

60 Part I Media and Project Management Offline/Online Editing WorkflowsThe offline/online editing process in Final Cut Pro consists of the followin

Chapter 5 Offline and Online Editing 61 IStep 5: Add final color correction, effects, transitions, and titlesOnce you have full-resolution footage

62 Part I Media and Project Management Capturing or Recompressing Media to an OfflineRT FormatOnce you’ve selected the appropriate Easy Setup, you

Chapter 5 Offline and Online Editing 63 ICreating a Sequence for Recapturing Media at Full ResolutionOnce you’ve finished editing your project, you

64 Part I Media and Project Management You can now transfer the project containing your new sequence to a Final Cut Pro system capable of recapturi

Chapter 5 Offline and Online Editing 65 IAdding Final Color Correction, Effects, Transitions, and TitlesAn online edit session focuses on the quali

66 Part I Media and Project Management Trading Project Files Using Email or the InternetBecause the connection between clips and media files is so

154 Part II Learning About the Final Cut Pro Interface To load a customized keyboard layout:1 Copy the keyboard layout file to your computer.The de

Chapter 5 Offline and Online Editing 67 ITo create a cross-platform-compatible zip archive of your project(s):1 In the Finder, select the Final Cut

6 696 Reconnecting Clips and Offline MediaWhenever a clip’s media file is modified outside of Final Cut Pro, the connection between the clip and

70 Part I Media and Project Management Where Are Captured Media Files Stored?To determine where your media files are stored, you should first check

Chapter 6 Reconnecting Clips and Offline Media 71 IRevealing a Clip’s Media File in the FinderThe fastest way to find a media file is to use the co

72 Part I Media and Project Management 5 Press Delete.This removes the clip from your project, but the media file is still on the disk.Important:

Chapter 6 Reconnecting Clips and Offline Media 73 IEach time you move from Final Cut Pro to another application and then back again, Final Cut Pro

74 Part I Media and Project Management How the Connection Between Clips and Media Files Can Be BrokenThere are several reasons the connection betwe

Chapter 6 Reconnecting Clips and Offline Media 75 ITo make one or more files offline:1 In the Browser or Timeline, select the clips or sequences yo

76 Part I Media and Project Management Reconnecting Clips to Media FilesClips in your project don’t have to be offline for you to use the Reconnect

Chapter 10 Customizing the Interface 155 IIWorking with Shortcut Buttons and Button BarsShortcut buttons can be created and placed at the top of th

Chapter 6 Reconnecting Clips and Offline Media 77 IAbout the Reconnect Files DialogThe Reconnect Files dialog has the following features:Files To C

78 Part I Media and Project Management Search Locations AreaThis area allows you to choose which folders are searched when Final Cut Pro looks for

Chapter 6 Reconnecting Clips and Offline Media 79 ILocate and Search Buttons Locate: Click this button to manually navigate to a media file for t

80 Part I Media and Project Management Using the Reconnect Files DialogThe Reconnect Files dialog has many options, depending on the types of clips

Chapter 6 Reconnecting Clips and Offline Media 81 I5 Do one of the following:Â Choose a directory path from the Search Folders pop-up menu, then se

82 Part I Media and Project Management Several options can help you find your clip. Show pop-up menu: If this option is set to All Files, you can

Chapter 6 Reconnecting Clips and Offline Media 83 I8 Click Try Again to search for a different media file to connect to the clip. Otherwise, click

84 Part I Media and Project Management Information and Controls in the Offline Files DialogThe Offline Files dialog shows a summary of how many med

Chapter 6 Reconnecting Clips and Offline Media 85 IReconnecting Media Files AutomaticallyIf you process your media files outside of Final Cut Pro,

156 Part II Learning About the Final Cut Pro Interface To create a shortcut button in the button bar of a window:1 Make sure the window you want to

7 877 Overview of the Media ManagerThe Media Manager helps you move, copy, delete, and process your project’s media files, automatically updating

88 Part I Media and Project Management What Can You Do with the Media Manager?The Media Manager can duplicate an existing project, or individual it

Chapter 7 Overview of the Media Manager 89 IÂ Recompress media files with different image dimensions and compression settingsThe Recompress option

90 Part I Media and Project Management  One or more clip items in a sequence: If a sequence is open in the Timeline and the Timeline is active, y

Chapter 7 Overview of the Media Manager 91 ITo open the Media Manager:m Select items in the Browser or in a sequence, and then do one of the follow

92 Part I Media and Project Management  Original: This bar shows the total disk space used by the media files associated with your current select

Chapter 7 Overview of the Media Manager 93 IMedia Pop-Up MenuThe choices in this pop-up menu represent the main Media Manager tasks. All other opti

94 Part I Media and Project Management  Create Offline: This option is very different from the others because no media files are created or proce

Chapter 7 Overview of the Media Manager 95 ISelecting this option allows you to retain not only the media for clips in your sequences, but also med

96 Part I Media and Project Management Use Handles CheckboxThis option modifies the “Delete unused media” option described above so that less media

Chapter 10 Customizing the Interface 157 IITo rearrange shortcut buttons in a button bar:m In the button bar, drag shortcut buttons where you want

Chapter 7 Overview of the Media Manager 97 I“Base Media File Names on” Pop-Up MenuThis pop-up menu determines how clips are named when they’re segm

98 Part I Media and Project Management Media Destination AreaThis area displays the location where media files are placed after copying, moving, or

Chapter 7 Overview of the Media Manager 99 I5 Media files are copied or moved to the selected destination. If the “Delete unused media” option is s

100 Part I Media and Project Management How Independent Clips Are ProcessedEven if you don’t maintain proper master-affiliate relationships in your

Chapter 7 Overview of the Media Manager 101 IHow Clips with Speed Adjustment Are ProcessedWhen the Media Manager encounters a clip with a speed adj

102 Part I Media and Project Management Preserving Media Only for the Selected ItemIf you want to use the Media Manager to create a copy of Sequenc

Chapter 7 Overview of the Media Manager 103 I4 Select “Delete unused media from selected items.”5 Select “Include master clips outside the selectio

104 Part I Media and Project Management Media File Formats Supported by the Media Manager SupportThe Media Manager supports most media file formats

8 1058 Examples of How to Use the Media ManagerThe best way to learn about the Media Manager is to perform some of the common tasks described in

106 Part I Media and Project Management Step 1: Select clips or sequences in your projectBefore you can use the Media Manager, you must select ite

158 Part II Learning About the Final Cut Pro Interface Saving and Using Custom Shortcut Button BarsYou can manually save the shortcut button bars t

Chapter 8 Examples of How to Use the Media Manager 107 I2 Do one of the following: Choose File > Media Manager. Control-click one of the selec

108 Part I Media and Project Management 8 When you’re ready to continue, click OK.If you chose to create a duplicate project, Final Cut Pro prompts

Chapter 8 Examples of How to Use the Media Manager 109 IA progress bar displays the state of completion of your Media Manager operation. For inform

110 Part I Media and Project Management 1 In the Browser, select the desired sequence.2 In the Media Manager, choose the following options, then cl

Chapter 8 Examples of How to Use the Media Manager 111 IExample: Duplicating a Sequence and Its Corresponding Media FilesIn this example, a sequen

112 Part I Media and Project Management Example: Duplicating a Portion of a Sequence and Its Media FilesThe Media Manager lets you copy selected c

Chapter 8 Examples of How to Use the Media Manager 113 IExample: Copying Several Sequences with New Settings, but Without Media FilesThere are sev

114 Part I Media and Project Management Note: Selecting “Include master clips outside selection” and “Include affiliate clips outside selection” c

Chapter 8 Examples of How to Use the Media Manager 115 I2 In the Media Manager, choose the following options, then click OK.Example: Removing Port

116 Part I Media and Project Management 3 Select all of the subclips that you created from the master clip you just deleted.Important: The media f

1 151 About the Post-Production WorkflowNo matter what your project, Final Cut Pro is the cornerstone of your post-production workflow.This chapt

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

Chapter 8 Examples of How to Use the Media Manager 117 IExample: Consolidating Media Files into One FolderSometimes the media files for a project

118 Part I Media and Project Management 3 Make sure the Browser window is active. In the Media Manager, choose the following options, then click OK

Chapter 8 Examples of How to Use the Media Manager 119 IExample: Consolidating Your Project and Media Files for ArchivingMany people like to archi

120 Part I Media and Project Management 3 Make sure the Browser window is still active. In the Media Manager, choose the following options, then cl

9 1219 Diagnostic Tools for ClipsIf you need detailed information about a clip’s media file, you can use the diagnostic tools in Final Cut Pro to

122 Part I Media and Project Management  Mark Audio Peaks: Clipping occurs in captured audio if any part of the recorded signal goes above 0 dBFS

Chapter 9 Diagnostic Tools for Clips 123 ITo analyze any QuickTime media file on your hard disk:1 Choose Tools > Analyze Movie > File.2 Choos

124 Part I Media and Project Management Information Reported by the Analyze Movie CommandThe Analyze Movie command provides the following informati

Chapter 9 Diagnostic Tools for Clips 125 IFor files with a timecode track:Â Track Name: The track name of the timecode track. (Some QuickTime file

126 Part I Media and Project Management To find and mark long frames:1 Do one of the following: Select one or more clips in the Browser. From the

IIPart II: Project InterchangeLearn how to move projects and media files between editing systems and other media applications.Chapter 10 Importing an

10 12910 Importing and Exporting EDLsEdit Decision Lists (EDLs) are useful for transferring edit information between editing systems. This chapte

130 Part II Project Interchange Learning to Read an EDLAn EDL contains the same basic clip information as a Final Cut Pro sequence, but the present

Chapter 10 Importing and Exporting EDLs 131 IIElements of an EDLThe elements of an EDL are described in the following sections.Title and Sequence T

132 Part II Project Interchange Edit (or Transition) TypeAn EDL can represent several kinds of video edits, or transitions. A cut requires a single

Chapter 10 Importing and Exporting EDLs 133 IIOn tape-to-tape edit systems, the tapes containing the two shots are loaded in two video decks—VTR A

134 Part II Project Interchange Exporting EDLsYou can export an EDL from any selected sequence. You can only export one sequence to an EDL at a tim

Chapter 10 Importing and Exporting EDLs 135 II∏ Tip: You should also output your original sequence to tape, DVD, or QuickTime movie. Bring this ta

136 Part II Project Interchange Target Video Track OnlyThis option allows you to select whether or not your EDL includes keying events when you hav

11 16111 Connecting DV Video EquipmentSetting up Final Cut Pro to capture DV video is as simple as connecting your camcorder to your computer wit

Chapter 10 Importing and Exporting EDLs 137 IIReel ConflictsIf you create a transition between two clips from the same reel in your sequence, Final

138 Part II Project Interchange  Pre-read Edits: Some high-end digital video decks can actually perform transitions by using the master tape as o

Chapter 10 Importing and Exporting EDLs 139 IIÂ File or Clip Names: This pop-up menu allows you to include either the file or clip names as a not

140 Part II Project Interchange Reviewing an EDLAfter you’ve exported an EDL, you should open the text file to compare it to your original sequence

Chapter 10 Importing and Exporting EDLs 141 IILimitations of Importing EDLsNot everything that can be done in another editing application shows up

142 Part II Project Interchange When you import an EDL, a sequence is created in your current project tab, along with a bin that contains master cl

Chapter 10 Importing and Exporting EDLs 143 IIHow Clips from an EDL Are NamedClips imported from an EDL are named in one of two ways. If the EDL wa

144 Part II Project Interchange Creating Better EDLsIf you plan to export an EDL during your project, read the following clip and media management

Chapter 10 Importing and Exporting EDLs 145 IIEDL Considerations Before CapturingBefore capturing your media files, make sure you:Â Calibrate the t

146 Part II Project Interchange Unique Reel Names for Each Tape and Timecode BreaksEvery tape that you capture from should have a unique reel name

162 Part III Setting Up Your Editing System Setting Up a Final Cut Pro Editing SystemThis section explains how to set up a DV editing system. Even

Chapter 10 Importing and Exporting EDLs 147 IITo change a clip’s reel name in the Browser:1 Select a clip, then Control-click in the Reel column.Al

148 Part II Project Interchange EDL Considerations During EditingWhile you edit, keep the following guidelines in mind to ensure successful EDL exp

Chapter 10 Importing and Exporting EDLs 149 IIKeep Track of Duplicate FramesYou can use the Final Cut Pro duplicate frames indicators to keep track

150 Part II Project Interchange Avoid Nested SequencesNested sequences, or sequences within a sequence, should not be used if you are exporting an

Chapter 10 Importing and Exporting EDLs 151 IITransition Wipe Codes for EDL ExportIn an EDL, each type of wipe transition shape has a unique code.

152 Part II Project Interchange Split Slide 3Swap Slide 2Cross Stretch 1Squeeze 3Squeeze and Stretch 3Stretch 3Band Wipe 23Center Wipe 4Checker Wip

11 15311 Using Final Cut Pro XML and QuickTime MetadataUsing the Final Cut Pro XML Interchange Format, you can generate Final Cut Pro project fil

154 Part II Project Interchange About XMLXML, or eXtensible Markup Language, is a markup language. Markup languages clarify the content in a docume

Chapter 11 Using Final Cut Pro XML and QuickTime Metadata 155 IIXML was designed to be extensible—you can define any tags and hierarchical rules th

156 Part II Project Interchange WhitespaceWhitespace in a document includes multiple spaces, tab characters, carriage returns, newline characters,

Chapter 11 Connecting DV Video Equipment 163 IIIConnecting Your CamcorderThe following illustration demonstrates how to connect your DV camcorder t

Chapter 11 Using Final Cut Pro XML and QuickTime Metadata 157 IIOverview of the Final Cut Pro XML Interchange FormatThe Final Cut Pro XML Interchan

158 Part II Project Interchange An explanation of the sample code above follows.Every Final Cut Pro XML file requires the first three elements:Â &l

Chapter 11 Using Final Cut Pro XML and QuickTime Metadata 159 II4 Choose Format > Make Plain Text (or press Command-Shift-T).This ensures that y

160 Part II Project Interchange 3 Choose the version of the Final Cut Pro XML Interchange Format you want to export.In most cases, you should c

Chapter 11 Using Final Cut Pro XML and QuickTime Metadata 161 IIWorking with Metadata in QuickTime MediaFinal Cut Pro allows you to add, store, and

12 16312 Working with Film and Cinema ToolsYou can use Final Cut Pro with Cinema Tools to edit film and 24 fps–based projects.This chapter covers

164 Part II Project Interchange About the Telecine ProcessDuring a telecine session, sections of film rolls are transferred to videotape or directl

Chapter 12 Working with Film and Cinema Tools 165 IIAbout Burned-in Timecode on VideoMost telecine facilities offer the ability to permanently supe

166 Part II Project Interchange About the Cinema Tools DatabaseA Cinema Tools database is the heart of any Final Cut Pro film editing project. The

164 Part III Setting Up Your Editing System If you always use the same type of camcorder or video deck, you may never have to change your Easy Setu

Chapter 12 Working with Film and Cinema Tools 167 IICreating a New Final Cut Pro ProjectIn almost all cases, you will edit your film project using

168 Part II Project Interchange To import a telecine log file into Final Cut Pro:1 Choose File > Import > Cinema Tools Telecine Log.The Impor

Chapter 12 Working with Film and Cinema Tools 169 IIBatch Capturing Video from TapeOnce you have imported the telecine log file, you have offline c

170 Part II Project Interchange Standard Reverse TelecineThe telecine process adds duplicate video fields to make 24 fps film footage fit within 29

Chapter 12 Working with Film and Cinema Tools 171 IINote: Many of these video camcorders also have a traditional 3:2 pull-down mode. If your goal

172 Part II Project Interchange About 24 @ 25 TimecodeConforming 25 fps video to 24 fps does not alter the 25 fps timecode of your PAL footage, so

Chapter 12 Working with Film and Cinema Tools 173 IISynchronizing Clips with the Cinema Tools DatabaseWhen you import a telecine log file into your

174 Part II Project Interchange 5 Do one of the following:Â If the database shown in the Database field is the correct one, click OK. The Database

Chapter 12 Working with Film and Cinema Tools 175 IIÂ Effects and transitions in your sequence must be re-created optically or digitally on film. Y

176 Part II Project Interchange Showing Film-Related Overlays in the Viewer and CanvasYou can configure the Viewer and Canvas overlays to show a cl

Chapter 11 Connecting DV Video Equipment 165 IIIThe selected Easy Setup applies to all new projects and sequences. Settings for existing sequences

Chapter 12 Working with Film and Cinema Tools 177 IITo change the timecode display of the Timeline, Viewer, or Canvas:m Control-click a timecode fi

178 Part II Project Interchange Exporting Film, Change, and Audio ListsOnce you finish editing a sequence in Final Cut Pro, you can export a film c

Chapter 12 Working with Film and Cinema Tools 179 IIExporting a Film ListFollowing are the steps used to export a film list. See the Cinema Tools U

180 Part II Project Interchange  To export an XML-format film list file: Choose File > Export > Cinema Tools XML Film Lists. The Export XML

Chapter 12 Working with Film and Cinema Tools 181 IIAfter exporting a film list, you should compare the edge code (key numbers or ink numbers) in t

182 Part II Project Interchange When you select film lists in the Settings section of the Export Change List dialog, the change list file will incl

Chapter 12 Working with Film and Cinema Tools 183 IIIt is critical that the value in the Sound Timecode field in the Detail View window correspond

184 Part II Project Interchange Once you select the database, Cinema Tools starts matching events in the sequence to records in the database in the

IIIPart III: OutputLearn how to output your completed movie to videotape or DVD, or export to any QuickTime-compatible video format.Chapter 13 Prepar

166 Part III Setting Up Your Editing System 2 To specify a disk or a folder on a hard disk as a scratch disk:a Click Set. b In the dialog that appe

13 18713 Preparing to Output to TapeTape is still the most common means of acquisition, output, and transfer for professional projects. Final Cut

188 Part III Output The most common output formats include:Â DV: The DV format family includes DV, DVCAM, DVCPRO, DVCPRO 50, and DVCPRO HD. DV for

Chapter 13 Preparing to Output to Tape 189 IIIOutput RequirementsRequirements for Full-Resolution DV Output Media files captured with a DV capture

190 Part III Output Methods for Output to Tape in Final Cut ProThere are three main ways you can output your video from Final Cut Pro to tape:Â Edi

Chapter 13 Preparing to Output to Tape 191 IIIRecording to Tape Directly from the TimelineThis method allows you to record whatever signal is curre

192 Part III Output Connecting Your Video Equipment and Setting It to VCR ModeMake sure your VTR or camcorder is connected to your computer and tur

Chapter 13 Preparing to Output to Tape 193 IIISelecting Playback SettingsWhen you want to output your program to video, you can choose whether to r

194 Part III Output Cueing the VideotapeWhen you use the Print to Video command, or when you output directly from the Timeline, make sure you cue t

Chapter 13 Preparing to Output to Tape 195 IIIIf you plan to do a series of insert edits to output your whole program onto tape, you must use a tap

Chapter 11 Connecting DV Video Equipment 167 IIIAbout Scratch Disk Capture OrderFinal Cut Pro lets you specify up to 12 scratch disks at one time.

14 19714 Assemble and Insert Editing Using Edit to TapeThe Edit to Tape window provides precision control over output to tape. Both assemble and

198 Part III Output Three methods of electronic editing exist, each with increasing precision and quality:Â Hard (or crash) recording: This method

Chapter 14 Assemble and Insert Editing Using Edit to Tape 199 IIIAbout Assemble Editing to TapeAn assemble edit records all video, audio, timecode,

200 Part III Output Requirements for Assemble or Insert Editing to TapeBefore you can edit to tape:Â Your video equipment must support either Fire

Chapter 14 Assemble and Insert Editing Using Edit to Tape 201 IIIAbout the Edit to Tape WindowIn most window layouts in Final Cut Pro, the Edit to

202 Part III Output  Mode: Choose an option—Mastering or Editing. Mastering: This is the default mode. The mastering mode is useful if you want

Chapter 14 Assemble and Insert Editing Using Edit to Tape 203 IIIÂ Mark In: Click this button, or press I, to set the frame on your tape where rec

204 Part III Output To record-enable an audio track, choose it from this pop-up menu and a checkmark appears next to it. Choose it a second time to

Chapter 14 Assemble and Insert Editing Using Edit to Tape 205 IIIÂ Play Around Current Frame: This is based on the preview pre-roll and preview po

206 Part III Output Leader Elements Color Bars: Adds color bars and a 1 kilohertz (kHz) reference tone, preset to –12 decibels (dB). Color bars a

168 Part III Setting Up Your Editing System Confirming Remote Device Control Between Final Cut Pro and Your DV DeviceDevice control enables communi

Chapter 14 Assemble and Insert Editing Using Edit to Tape 207 IIIMedia Elements and OptionsThese are options for the clip or sequence you are outpu

208 Part III Output Adding Standard Leader and Trailer ElementsIf you’re outputting your clip or sequence for delivery to a post-production house,

Chapter 14 Assemble and Insert Editing Using Edit to Tape 209 IIIÂ Device Control: Choose a device control preset that matches your particular vid

210 Part III Output To do an assemble edit:1 Choose File > Edit to Tape. In most layouts, the Edit to Tape window appears on top of the Canvas.2

Chapter 14 Assemble and Insert Editing Using Edit to Tape 211 III6 If you are including leader elements using Mastering mode, click the Mastering S

212 Part III Output Performing an Insert Edit When Editing to TapeAn insert edit allows you to edit individual video or audio tracks to tape, setti

Chapter 14 Assemble and Insert Editing Using Edit to Tape 213 III4 If you haven’t already done so, set In and Out points for your clip or sequence

214 Part III Output 6 Select the destination video and audio tracks to be edited to in the Edit to Tape window. When performing an insert edit, you

Chapter 14 Assemble and Insert Editing Using Edit to Tape 215 III9 To edit your sequence or clip to tape, drag it from the Browser or Viewer to the