Apple Final Cut Express 4 Bedienungsanleitung

Final Cut Express 4User Manual

10 Contents377 Superimposing Clips380 Three-Point Editing Examples380 Example: Editing a Specific Clip into Your Sequence382 Example: Editing a Clip

100 Part II Learning About the Final Cut Express Interface Jog ControlTo move forward or backward in your sequence very precisely, use the jog cont

65 100165 Learning About QuickTimeFinal Cut Express uses QuickTime technology as a foundation for media file storage and as an import and export

1002 Part XII Output The QuickTime Suite of Software ApplicationsWhen someone mentions QuickTime, people often think of the free media player devel

Chapter 65 Learning About QuickTime 1003 XIIHow Is Information Stored in a QuickTime Movie?QuickTime movie files store media data in separate track

1004 Part XII Output The QuickTime framework supports codecs that are commonly used today as well as codecs that were once popular. When you go to

Chapter 65 Learning About QuickTime 1005 XII AIFF and WAVE: These are audio file formats that contain uncompressed audio data. DV: There are se

1006 Part XII Output Formats Supported by QuickTimeQuickTime supports a lot of media formats and codecs, with many more coming all the time. Some e

Chapter 65 Learning About QuickTime 1007 XIIVideo Codecs Supported Within Video File FormatsA video codec is an algorithm for encoding video images

1008 Part XII Output Apple M-JPEGThere are two Apple M-JPEG codecs, M-JPEG A and M-JPEG B. These are variable data rate codecs similar to the ones

Chapter 65 Learning About QuickTime 1009 XIIGraphics and Still-Image Formats BMP: Standard bit-mapped graphics format used on Windows computers.Â

Chapter 7 Canvas Basics 101 IIÂ Add Motion Keyframe (Control-K): Click to add a keyframe to the current clip at the position of the playhead. This

1010 Part XII Output Audio File Formats AAC or .mp4: Advanced audio coding. This format is a continuation of the MP3 audio format, improving qual

Chapter 65 Learning About QuickTime 1011 XIIHow Do You Export the Files You Need?There are two commands in Final Cut Express that you use to output

1012 Part XII Output The Export Using QuickTime Conversion CommandUnlike the Export QuickTime Movie command, which only exports to a QuickTime movi

66 101366 Exporting QuickTime MoviesYou can export your sequence to a QuickTime movie using any of the available sequence presets. Markers can al

1014 Part XII Output Choosing the Type of QuickTime Movie to ExportYou can create two kinds of QuickTime movies with the Export QuickTime Movie com

Chapter 66 Exporting QuickTime Movies 1015 XIIExporting a Self-Contained Movie Without Recompressing the MediaIf you choose to export a self-contai

1016 Part XII Output 7 Choose a location and enter a name for the file.8 Choose Audio and Video, Audio Only, or Video Only from the Include pop-up

Chapter 66 Exporting QuickTime Movies 1017 XIIExporting QuickTime Movies with MarkersFinal Cut Express can export the following marker types for us

67 101967 Exporting Using QuickTime ConversionWhen you need to export video, audio, or still-image files for use in other applications, you can u

1020 Part XII Output Types of File Formats You Can Export with QuickTimeWith the Export Using QuickTime Conversion command, you can choose to expor

Chapter 67 Exporting Using QuickTime Conversion 1021 XIIStill-Image File Formats and Image Sequences Still-Image: This choice allows you to selec

1022 Part XII Output To export a QuickTime movie file:1 Choose Sequence > Settings, then click the Render Control tab.2 Select the appropriate r

Chapter 67 Exporting Using QuickTime Conversion 1023 XII8 To customize video, audio, and Internet streaming settings, click Options. Note: Unless

1024 Part XII Output QuickTime Movie Video SettingsYou can choose the following settings for the video track of your exported QuickTime movie. Set

Chapter 67 Exporting Using QuickTime Conversion 1025 XIIMotion Area Frame Rate: Define the frame rate of your exported movie. You should always m

1026 Part XII Output Data Rate Area Data Rate: These options allow you to specify the data rate for your QuickTime video. Automatic: The select

Chapter 67 Exporting Using QuickTime Conversion 1027 XIIFilter SettingsThese options are available when you click Filter in the Video area of the M

1028 Part XII Output Depending on the option you choose, width and height fields may also appear. The following options are available in the Dimens

Chapter 67 Exporting Using QuickTime Conversion 1029 XIIPreserve Aspect RatioWhen the “Preserve aspect ratio using” checkbox is selected, the aspec

8 1038 Navigating and Using Timecode in the Viewer and CanvasWhile the Viewer and Canvas serve different purposes, navigating and working with ti

1030 Part XII Output  Fit within dimensions: Changes the shortest dimension of the exported movie (usually the height) so that the source sequenc

Chapter 67 Exporting Using QuickTime Conversion 1031 XIIÂ Format: To reduce file size and download bandwidth, choose a codec to compress the audio

1032 Part XII Output  Linear PCM Settings: These options are only available when you choose Linear PCM from the Format pop-up menu.  Sample size

Chapter 67 Exporting Using QuickTime Conversion 1033 XIIIf you choose Hinted Streaming, click Settings to specify additional export settings. Make

1034 Part XII Output To change the aperture display mode of a QuickTime movie:1 Make sure a QuickTime Pro registration code is entered in the Regis

Chapter 67 Exporting Using QuickTime Conversion 1035 XIIIn this mode, the video track is cropped to the Clean aperture mode and scaled according to

1036 Part XII Output Encoded Pixels Aperture ModeContent typically appears the same as in Classic aperture mode. The video track is not cropped to

Chapter 67 Exporting Using QuickTime Conversion 1037 XIITo export a movie for use on an iPod, iPhone, or Apple TV device:1 Select the project or se

1038 Part XII Output 6 To customize settings, click Options. DV Format: Choose a DV format here. Video Format: Choose the video standard, scan

Chapter 67 Exporting Using QuickTime Conversion 1039 XIITo export an AVI file:1 Select a clip or sequence in the Browser, or open a sequence in the

104 Part II Learning About the Final Cut Express Interface Playing Clips and SequencesYou use the transport controls in the Viewer and Canvas to pl

1040 Part XII Output 8 Click Settings in the Video area to adjust the compression settings used for the video tracks.The video compression settings

68 104168 Exporting Sequences for DVDMaking a DVD of your movie is a great way to show and distribute it. Video DVDs contain high-quality media a

1042 Part XII Output There are four phases to creating a DVD:Step 1: Create and edit your source materialIn addition to the main movie created in

Chapter 68 Exporting Sequences for DVD 1043 XIIHere are some guidelines to help you maintain high quality:Â Capture and edit your video at the fram

1044 Part XII Output Adding Chapter and Compression Markers to Your SequenceOnce you have finished editing your sequence or program, you can add ma

Chapter 68 Exporting Sequences for DVD 1045 XIIMore About Chapter MarkersYou can add chapter markers so that DVD authoring applications can create

1046 Part XII Output More About Compression and Edit/Cut MarkersCompression markers identify areas of abrupt visual changes in video, such as a cut

Chapter 68 Exporting Sequences for DVD 1047 XIIUsing iDVDiDVD only imports standard QuickTime movies as video sources. This means that if you inten

69 104969 Exporting Still Images and Image SequencesAt many points during your project, you may need to export still images of your video for gra

Chapter 8 Navigating and Using Timecode in the Viewer and Canvas 105 IITo play a clip or sequence between In and Out points:1 Open a clip in the Vi

1050 Part XII Output Exporting a Single Still ImageExporting a still image from Final Cut Express is easy. First, you create the still image and th

Chapter 69 Exporting Still Images and Image Sequences 1051 XII6 To select custom settings, click Options, and in the Export Image Sequence Settings

1052 Part XII Output 4 Choose a location and enter a name for the file.Note: You may want to create a new folder for the sequence of numbered imag

Chapter 69 Exporting Still Images and Image Sequences 1053 XII9 When you’re ready to export, click Save.A dialog shows you the progress of the expo

XIIIPart XIII: AppendixesFind specific information on video formats, frame rate and timecode, and solutions to common user problems in this section.Ap

1057AAppendixA Video FormatsThis appendix covers the following:Â Characteristics of Video Formats (p. 1057)Â Video Formats Supported by Final Cu

1058 Part XIII Appendixes Color sampling: For component digital formats, the ratio of color samples to black-and-white (or luma) samples (for ex

Appendix A Video Formats 1059 XIIIAbout File-Based MediaHistorically, video footage has been recorded on videotape. As digital acquisition quickly

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

1060 Part XIII AppendixesHigh Definition VideoIn the late 1990s, HD video formats were standardized in the United States by the Advanced Televisio

Appendix A Video Formats 1061 XIIIThe luma (black-and-white channel) and chroma (color channels) information can be recorded and transmitted severa

1062 Part XIII AppendixesAspect Ratio of the Video FrameThe ratio of horizontal to vertical dimensions of a film or video frame is called the aspe

Appendix A Video Formats 1063 XIIIBelow is a list of commonly used aspect ratios, mostly from the film and television industry, plus a few others f

1064 Part XIII AppendixesAnamorphicAnamorphic techniques use special lenses or electronics to squeeze a widescreen image to fit in a narrower aspe

Appendix A Video Formats 1065 XIIIPixels (Samples) per LineIn digital video formats, each line is sampled a number of times. In an attempt to creat

1066 Part XIII AppendixesPixel Aspect RatioA pixel usually refers to a physical picture element that emanates light on a video display. But a pixe

Appendix A Video Formats 1067 XIIIThese days, the biggest challenge comes when exchanging graphics between applications that use different pixel as

1068 Part XIII AppendixesBecause the fields are changing at twice the frame rate, there is less perceived flicker than if each frame was scanned p

Appendix A Video Formats 1069 XIIIAbout Field DominanceField dominance is an issue when recording and playing back interlaced video material. With

Chapter 8 Navigating and Using Timecode in the Viewer and Canvas 107 IIShuttling Through a Clip or SequenceWhile using the scrubber bar is a great

1070 Part XIII AppendixesColor Recording MethodThe color recording method of a video format may be either RGB, Y´CBCR (component), Y/C (S-Video),

Appendix A Video Formats 1071 XIIIColor Sample RatioColor sample ratio refers to the ratio of luma (Y´) samples to each color difference sample (CB

1072 Part XIII AppendixesVideo signal bit depth is usually described per channel. For example, DV and DVCPRO HD use 8 bits per color component (in

Appendix A Video Formats 1073 XIIISome simple methods of data compression are:Â Throw away pixels at regular intervals: This essentially scales th

1074 Part XIII AppendixesLossy CodecsMost video codecs are necessarily lossy, because it is usually impractical to store and transmit uncompressed

Appendix A Video Formats 1075 XIIIInterframe CompressionInstead of storing complete frames, temporal compression stores only what has changed from

1076 Part XIII AppendixesGOP Length Longer GOP lengths encode video more efficiently by reducing the number of I-frames but are less desirable dur

Appendix A Video Formats 1077 XIIIOpen and Closed GOPs An open GOP allows the B-frames from one GOP to refer to an I- or P-frame in an adjacent GOP

1078 Part XIII AppendixesMPEG-1MPEG-1 is the earliest format specification in the family of MPEG formats. Because of its low bit rate, MPEG-1 has

Appendix A Video Formats 1079 XIIIMPEG-2 supports the same audio layers as MPEG-1 but also includes support for multichannel audio. MPEG-2 Part 7 a

108 Part II Learning About the Final Cut Express Interface To begin forward playback at normal (1x) speed:m Press L.To begin reverse playback at no

1080 Part XIII AppendixesHigh Definition Video FormatsFor HD formats, you need an appropriate third-party capture interface and hard disks with su

Appendix A Video Formats 1081 XIIIUncompressed High Definition FormatsHD requires extremely high data rates (around 1.4 Gbps). There are no camcord

1082 Part XIII Appendixes1895 Lumière brothers demonstrate combination camera/projector (16 fps).1918 First color motion picture appears.1920 Comm

Appendix A Video Formats 1083 XIII1968 The computer mouse is invented.1970 3/4-inch U-Matic video format is introduced.1970 Computer floppy disk is

1085BAppendixB Frame Rate and TimecodeThis appendix covers the following:Â What Is Frame Rate? (p. 1085)Â Understanding Flicker and Perceived Fr

1086 Part XIII AppendixesBecause film cameras are relatively simple compared to video cameras, they allow shooting and playing back with a wide ra

Appendix B Frame Rate and Timecode 1087 XIIIEarly television systems used a different approach for the same result: increased flicker without incre

1088 Part XIII AppendixesRecording Slow Frame Rates for Time-Lapse PhotographySlow frame rates are used for time-lapse photography, in which a sce

Appendix B Frame Rate and Timecode 1089 XIIISome digital video formats actually support several frame rates within a single format, allowing variab

Chapter 8 Navigating and Using Timecode in the Viewer and Canvas 109 IIJogging Through a Clip or SequenceTo move through a clip or sequence more pr

1090 Part XIII AppendixesWhat Is Timecode?Timecode is a signal recorded with your video that uniquely identifies every frame of your tape using a

Appendix B Frame Rate and Timecode 1091 XIIIDrop frame timecode compensates for the fact that the NTSC format has a frame rate of 29.97 fps, which

1092 Part XIII AppendixesNow, instead of using a five-letter code to uniquely tag each frame, consider using an address code in the format 00:00:0

Appendix B Frame Rate and Timecode 1093 XIIIIf you edit an hour-long program on NTSC video, the 30 fps timecode will indicate the last frame of the

1095CAppendixC Working with Anamorphic 16:9 MediaThis appendix covers the following:Â About Anamorphic 16:9 Media (p. 1095)Â Recording Anamorphi

1096 Part XIII AppendixesVideo can also be recorded anamorphically. For example, using a standard definition NTSC camcorder, the recorded video fr

Appendix C Working with Anamorphic 16:9 Media 1097 XIIIAbout LetterboxingWhen 16:9 video is displayed on a standard definition 4:3 monitor, you’ll

1098 Part XIII AppendixesWhy Shoot 16:9 Video?There are three main reasons to shoot 16:9, or anamorphic, video.Achieve a Cinematic LookEven if you

Appendix C Working with Anamorphic 16:9 Media 1099 XIIIRecording Anamorphic VideoAnamorphic video can be acquired in one of three ways:Â Using an a

Contents 11Chapter 30 429 Linking and Editing Video and Audio in Sync429 Linked Sync Relationships Between Video and Audio Clips430 When Linked Clips

110 Part II Learning About the Final Cut Express Interface Looping PlaybackNormally, playback of a clip or sequence starts at the current playhead

1100 Part XIII AppendixesCapturing Anamorphic MediaWhen you capture video, Final Cut Express uses the settings in the currently selected Easy Setu

Appendix C Working with Anamorphic 16:9 Media 1101 XIIISpecifying Sequence Settings for Anamorphic MediaWhen you use anamorphic media in a sequence

1102 Part XIII AppendixesThe Anamorphic column in the Browser also lets you select this option for clips and sequences. Rendering Items That Conta

Appendix C Working with Anamorphic 16:9 Media 1103 XIIIOutputting Anamorphic Video to Tape When outputting an edited sequence to tape using anamorp

1104 Part XIII Appendixes7 In the Compression Settings window, choose a codec from the Compression Type pop-up menu.If you are making a movie for

1105 D Appendix D Solving Common Problems This appendix covers the following:Â Resources for Solving Problems (p. 1105)Â Solutions to Common P

1106 Part XIII AppendixesSolutions to Common ProblemsThe following section describes common problems and solutions in Final Cut Express.Problems w

Appendix D Solving Common Problems 1107 XIIIYour external NTSC or PAL monitor is displaying an orange frame with the message “Video card not suppor

1108 Part XIII Appendixes Another source of dropped frames on capture or playback may be fragmented hard disks. In general, it’s preferable to ca

Appendix D Solving Common Problems 1109 XIIIAn error message appears during capture reporting a “Break in the Timecode.” When capturing clips for

Chapter 8 Navigating and Using Timecode in the Viewer and Canvas 111 IINavigating with Timecode in the Viewer and CanvasYou can move the playhead a

1110 Part XIII AppendixesYou’re having problems playing a reference movie. If you encounter playback problems with a reference movie, export the

Appendix D Solving Common Problems 1111 XIII Other Issues If you experience the following issues, try these solutions. Final Cut Express seems

1113 Index Index % of Blur setting 728DV-25 formatdata rates 1563D simulation transitions 5503G format 10203GPP and 3GPP2 devices 10203-p

1114 Index Alpha Type menu 831ambience 456amplified speakers 599amplifiers 600analog audio meters 604analog-to-digital capture cards 165analog v

Index 1115 Audio CD Data format 205audio CD format 36, 212, 214, 1010audio channelsdiscrete audio 462stereo pairs 124, 443, 462, 472–473audio clip

1116 Index sample rate and bit depth 212setup 148speakers 599for voiceover 638–641audio filesconversion 212–213file formats 36formats that can b

Index 1117 render status 902resizing in Timeline 346–348ripple edits 498roll edits 505scrolling through 136scrolling vertically through 349–351s

1118 Index renaming 69searching 255–257sorting 253–254bit depthdigital audio 594imported audio files 212imported graphics 796imported video file

Index 1119 illustrated 56keyframed motion paths in 771–777markers in 262–264match frame operations 590moving and resizing window 137navigating in

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

1120 Index arranging in storyboard 310–311, 354–355attributes 779–782audio. See audio clipsbackgrounds 832backtiming 324, 380, 383–384blending 80

Index 1121 in Timeline 304title clips 874trimming 401, 510–517, 564–567types of 293–295undoing changes in 63, 306unused 258varying speeds 107–1

1122 Index viewing or changing a clip’s 814composite recording method 1070composite video signals 1061compositingChroma Keyer filter and 842compos

Index 1123 DD-5 HD 36D-5 HD format 1080D-9 format 1080D-9 HD format 1080Data Rate option 1026data ratescomparison chart 1081scratch disks 972da

1124 Index dragging files to Timeline 208dragging itemsclips in Timeline 407“gearing down” 410Option-dragging 412sequences 301drag hand 356, 460

Index 1125 asymmetrical edits 497, 498–501audio/video sync 441–443audio in Timeline 468–471audio in Viewer 461–462, 466–467audio waveform displays

1126 Index QuickTime movies 1011–1012, 1013–1016, 1019–1033QuickTime movies for Apple devices 1036–1037QuickTime movies for iDVD 1047reference movi

Index 1127 Filters tab 84, 683–685, 703Final 606Final Cut Expressbasic interface 55–56customizing interface 137–144editing system components 147f

1128 Index Ggainadjusting frequency ranges 656reducing 658voiceover 643gaps 420–422closing with ripple edits 418creating with lift edits 417–418

Index 1129 outputting to tape 239HDV camcorders 234HDV devicesconnecting to computer 236–237HDV formatsabout 1074, 1080Final Cut Express support

9 1139 Timeline BasicsThe Timeline shows a graphical representation of your edited sequence, with all of that sequence’s clips laid out in chrono

1130 Index setting 87, 95, 100, 317–318, 320–329slipping 332split edits 445–450split In and Out points 329three-point editing 361, 380timecode se

Index 1131 adjusting 613, 671, 758animating motion effects with 751–767audio filters 670–672audio levels and 977Bezier handles and 767–771, 775,

1132 Index linking itemsaudio channel pairs 443–444breaking links 435in Timeline 434–435video and audio items 434–435linksbroken 959between clips

Index 1133 Soft Edges filter 858Mask Shape filter 678, 858Master Clip property 946master clips 68, 678affiliate clips and 947copied clips and 57

1134 Index Mono tabs 462More option for searches 256Motionfreeze frame of project 792motion bars 390Motion Blurrendering 916smoothing slow motion

Index 1135 with timecode values 131in Timeline 116–121, 130–136in Viewer 103–109near-field monitors 602nested sequencesavoiding 579–583creating

1136 Index described 90displaying 393, 469ends of clips 316level overlays 458, 617pan overlays 458, 621oversaturation 718overwrite edits 96avoi

Index 1137 playbackdisabling clips 833dropped frames and 974keyboard controls 84, 97looping 110, 668, 998options 998playing clips in reverse 789

1138 Index project files 292projectsadding bins to 246archiving 941–942autosaving open projects 289backing up and restoring 291–293changing prope

Index 1139 Random Edge Wipe transition 554Range Selection tool 391, 395, 680Rate option 1031, 1038Ratio slider 658, 659Razor Blade All tool 425Ra

114 Part II Learning About the Final Cut Express Interface This shows several items in the Timeline.This shows the same items as they appear in the

1140 Index reference movies and 1014render files. See render filessequences 905–911settings 912–913testing 917tips 916unrendered effects 997rend

Index 1141 SSafe RT mode 888, 892sample rate conversion 972sample rates 1031, 1038conversion 212, 972digital audio 594DVD audio 1043imported vid

1142 Index Select Track Forward tool 392, 397, 421Select Track tool 392, 396, 397self-contained movies 216, 1014–1016, 1033self-powered speakers 5

Index 1143 keyframing 754–762memory and cache 981–982motion 84, 724–741, 748–750paste attributes 691playback quality 982QuickTime 1023–1033Quick

1144 Index source time 291Space bar 104in Trim Edit window 528space on hard disks 177, 184spaces in button bars 142spacing, text 876speakersampl

Index 1145 stoppingplayback 104storage disks. See scratch disksstorage medium for video formats 1058storyboards 310–311, 354–355straight alpha chan

1146 Index hiding 72poster frames 77scrubbing through 73, 982thumb tabs 119TIFF format 206, 214, 1002, 1004, 1009, 1049timecode 1090–1093absolut

Index 1147 speed indicators 123static regions for tracks 349–351switching to Canvas or Viewer 587tabs 60Track Height controls 348, 469transitions

1148 Index overwrite with transition edits 370–371, 541previewing 569properties 562rendering 568–569, 899, 916replacing 550reversing direction 5

Index 1149 uncompressed video 1007, 1074Undo command 63, 289, 306, 971Unlimited RT mode 916unlinking linked items 435“unrendered” message 902unus

Chapter 9 Timeline Basics 115 IIOpening and Closing Sequences in the TimelineIn the Timeline and Canvas, tabs represent sequences. Opening a sequen

1150 Index manipulating in Canvas 741–742markers 87, 100, 194, 262, 264, 266master clips. See master clipsmatching audio for 87, 100media files for

Index 1151 output requirements 987output settings 989outputting to 165playback settings 990printing to VHS 999Print to Video operations 988, 993

1152 Index Wwarnings. See alert messagesWAVE format 205, 1002, 1005waveform displays 83, 128waveformsaudio levels and 603in audio tracks 468displa

116 Part II Learning About the Final Cut Express Interface Learning About the TimelineYou can view the content of your sequences in many different

Chapter 9 Timeline Basics 117 IIEditing ControlsThe Timeline editing controls determine which tracks are selected and enabled for editing and playb

118 Part II Learning About the Final Cut Express Interface  Lock Track control: Prevents a track’s contents from being moved or changed in any wa

Chapter 9 Timeline Basics 119 IIÂ Unused area: This is the area either above or below the outermost video and audio tracks in your sequence. Ordin

12 Contents472 Creating or Separating Stereo Pairs474 Working with Audio at the Subframe Level474 Subframe Synchronization of Audio and Video476 Examp

120 Part II Learning About the Final Cut Express Interface  Playhead: The playhead displays the current frame location in a sequence. You can als

Chapter 9 Timeline Basics 121 IIÂ Zoom slider: Like the Zoom control, the Zoom slider allows you to zoom in and out of a sequence in the Timeline.

122 Part II Learning About the Final Cut Express Interface Audio Controls Audio Controls button: Click to display the mute and solo buttons to th

Chapter 9 Timeline Basics 123 IIOther Miscellaneous Controls Snapping button: Click to turn snapping on and off. This button appears in the Timel

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

Chapter 9 Timeline Basics 125 IIÂ Render status bar: This bar at the top of the Timeline indicates which parts of the sequence have been rendered

126 Part II Learning About the Final Cut Express Interface Sequence Clips in the TimelineClip items in a sequence are often called sequence clips,

Chapter 9 Timeline Basics 127 IIAbout Timeline Display Options in the Sequence Settings WindowYou can access almost all of the Timeline display opt

128 Part II Learning About the Final Cut Express Interface Track Display Show Keyframe Overlays: Select this option to display opacity overlays (

Chapter 9 Timeline Basics 129 IIAbout Timeline Display Controls in the TimelineSeveral controls in the Timeline allow you to change the display of

Contents 13526 Controls in the Trim Edit Window530 Using the Trim Edit Window531 Playing Incoming and Outgoing Clips in the Trim Edit Window531 Dynami

130 Part II Learning About the Final Cut Express Interface Navigating in the TimelineThere are several ways you can navigate through your sequence

Chapter 9 Timeline Basics 131 IIUsing Timecode to Navigate in the TimelineThe Current Timecode field shows the current position of the playhead. If

132 Part II Learning About the Final Cut Express Interface To zoom in and out of the Timeline using the Zoom slider, do one of the following:m Drag

Chapter 9 Timeline Basics 133 IITo zoom in and out of the Timeline using the Zoom tools:1 Select the Zoom In or Zoom Out tool in the Tool palette.2

134 Part II Learning About the Final Cut Express Interface To zoom in and out of the Timeline using menu commands or keyboard shortcuts:1 With eith

Chapter 9 Timeline Basics 135 IITo fit the entire contents of the Timeline into the available window size:m Press Shift-Z.The zoom factor changes s

136 Part II Learning About the Final Cut Express Interface Scrolling Vertically Through Multiple TracksThe tracks in the Timeline are divided by de

10 13710 Customizing the InterfaceFinal Cut Express lets you customize the way you work with windows, rearranging them and creating new layouts.

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

Chapter 10 Customizing the Interface 139 IITo resize multiple windows at the same time:1 Move the pointer over the border between the windows you w

14 Contents576 Nesting Sequences579 Editing the Content of One Sequence into Another Without Nesting ItChapter 39 585 Matching Frames585 Working with

140 Part II Learning About the Final Cut Express Interface Customizing Window LayoutsIf none of the existing layouts meet your needs, you can creat

Chapter 10 Customizing the Interface 141 IIShortcut buttons display the icon of the command they perform, providing you with a visual cue to their

142 Part II Learning About the Final Cut Express Interface A shortcut button with an icon for the specified operation now appears in the window. As

Chapter 10 Customizing the Interface 143 IIChanging Shortcut Button ColorsYou can change the color of individual buttons in a button bar.To change

144 Part II Learning About the Final Cut Express Interface To save a shortcut button bar:1 Do one of the following:Â Choose Tools > Button Bars

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

11 14711 Connecting DV Video EquipmentSetting up Final Cut Express to capture DV video is as simple as connecting your camcorder to your computer

148 Part III Setting Up Your Editing System Setting Up a Final Cut Express Editing SystemThis section explains how to set up a DV editing system. E

Chapter 11 Connecting DV Video Equipment 149 IIIConnecting Your CamcorderThe following illustration demonstrates how to connect your DV camcorder t

Contents 15619 Changing the Pan of Audio in the Viewer620 Changing Pan for an Entire Clip621 Copying, Pasting, and Removing Audio Attributes622 Adjust

150 Part III Setting Up Your Editing System Choosing an Easy SetupFinal Cut Express comes with predefined Easy Setups based on the most common vide

Chapter 11 Connecting DV Video Equipment 151 IIISpecifying Scratch DisksA scratch disk is a hard disk, internal or external to your computer, where

152 Part III Setting Up Your Editing System 3 Select the checkboxes corresponding to the type of files you want to store on each scratch disk: Vide

Chapter 11 Connecting DV Video Equipment 153 IIIWhen Scratch Disks Become UnavailableScratch disks you’ve set can become unavailable for a number o

154 Part III Setting Up Your Editing System If Final Cut Express has communication problems with your DV device, try the following:m Make sure your

12 15512 Determining Your Hard Disk Storage OptionsTo make the most of your Final Cut Express editing system, you need to make appropriate choice

156 Part III Setting Up Your Editing System Data Rates and Storage DevicesThe data rate of the video you capture depends on the format of the sourc

Chapter 12 Determining Your Hard Disk Storage Options 157 IIIPlanning for Additional Media FilesIn addition to space for captured files and project

158 Part III Setting Up Your Editing System Example Calculation for Disk Space RequirementsSuppose you want to create a music video that’s approxim

Chapter 12 Determining Your Hard Disk Storage Options 159 IIIChoosing a Hard DiskThe disk that contains your computer’s operating system is called

16 Contents690 Copying and Pasting a Clip’s Filters691 Removing Filters from ClipsChapter 46 693 Color Correction693 What Is Color Correction?694 Why

160 Part III Setting Up Your Editing System Types of Hard Disk DrivesThere are several disk drive technologies you can choose. The type appropriate

Chapter 12 Determining Your Hard Disk Storage Options 161 IIISerial ATA DisksSerial ATA (SATA) disks are newer than parallel ATA disk drives. The d

162 Part III Setting Up Your Editing System SCSI disks can be installed internally or connected externally. Many users prefer external SCSI disk dr

Chapter 12 Determining Your Hard Disk Storage Options 163 IIIIf you require rock-solid data integrity, consider purchasing a RAID, or Redundant Arr

164 Part III Setting Up Your Editing System For all its advantages, a Fibre Channel disk array requires more setup than the other storage options p

13 16513 External Video MonitoringIt’s best to preview your video on an external video monitor to accurately see how your final program will look

166 Part III Setting Up Your Editing System Connecting DV FireWire Devices to an External MonitorA DV FireWire setup is one of the most common Fin

Chapter 13 External Video Monitoring 167 IIITo connect an external NTSC or PAL monitor to your edit system to monitor DV video while you edit:1 Con

168 Part III Setting Up Your Editing System About Digital Cinema Desktop Preview OptionsYou choose the Digital Cinema Desktop Preview options in th

Chapter 13 External Video Monitoring 169 IIIDigital Cinema Desktop Preview - Full-ScreenThe video is scaled to maximize its size on the display. If

Contents 17763 Adjusting All Opacity Keyframes of a Clip763 Example: Using Keyframes to Make Opacity Changes765 Example: Keyframing Opacity in the T

170 Part III Setting Up Your Editing System Troubleshooting Digital Cinema Desktop PreviewIf you experience trouble when using Digital Cinema Deskt

Chapter 13 External Video Monitoring 171 IIIAbout the Display Quality of External VideoThe display quality of your video depends on several factors

IVPart IV: Capturing and ImportingLearn how to capture video and audio files to your hard disk and import media into your Final Cut Express project.Ch

14 17514 Capturing Your Footage to DiskCapturing is the process of transferring footage from your original tapes to media files on the computer h

176 Part IV Capturing and Importing LoggingLogging is the process of transcribing the content of your videotapes. The purpose of logging tapes is t

Chapter 14 Capturing Your Footage to Disk 177 IVOverview of the Capture WindowWhen you want to transfer footage from your tapes to your Final Cut E

178 Part IV Capturing and Importing  Current Timecode field: Displays the timecode number of the currently displayed frame of your source tape. Y

Chapter 14 Capturing Your Footage to Disk 179 IVMarking ControlsUse these controls to set In and Out points for a clip on tape. Mark In (I): This

18 Contents826 Working with Layered Photoshop Files826 Updating Photoshop Files in Adobe Photoshop827 Working with Layered Photoshop Sequences828 Usin

180 Part IV Capturing and Importing Logging FieldsYou can use the logging fields to add descriptive information and notes to each clip that you cap

Chapter 14 Capturing Your Footage to Disk 181 IVMarker ControlsAs you log, you can set markers within clips to note significant parts for future re

182 Part IV Capturing and Importing Capture ButtonsYou can use one of the buttons in the Capture window when you’re ready to capture your media. C

Chapter 14 Capturing Your Footage to Disk 183 IVAdditional Tape Label InformationFor some projects, the following label information may also be hel

184 Part IV Capturing and Importing Choosing a Filenaming SchemeBefore you start capturing clips, think about the filenaming scheme you want to use

Chapter 14 Capturing Your Footage to Disk 185 IVFor example, if you want to create a music video that’s approximately four minutes long using DV vi

186 Part IV Capturing and Importing To capture individual clips:1 Choose a scratch disk in the Scratch Disks tab of System Settings.For more inform

Chapter 14 Capturing Your Footage to Disk 187 IV7 In the Reel field, enter the name of the tape by doing one of the following:Â Enter the name or n

188 Part IV Capturing and Importing 12 To adjust clip In and Out points using timecode, do one of the following:Â Enter a timecode number for the I

Chapter 14 Capturing Your Footage to Disk 189 IV14 Select the checkboxes next to the fields you want to include in the name of the clip—Description

Contents 19Part X Real Time and RenderingChapter 56 881 Using RT Extreme881 Introduction to Real-Time Processing882 How Real-Time Processing Works884

190 Part IV Capturing and Importing 15 If you wish, you can select the Prompt checkbox to confirm the clip name after you click the Capture Clip bu

Chapter 14 Capturing Your Footage to Disk 191 IVTo capture a clip or an entire tape using Capture Now:1 Choose Final Cut Express > System Settin

192 Part IV Capturing and Importing 13 Click the Capture Now button.Final Cut Express begins capturing your media file to your scratch disk. The Me

Chapter 14 Capturing Your Footage to Disk 193 IVIf you want to give any of the markers a more descriptive name, simply click the marker in the Brow

194 Part IV Capturing and Importing Setting MarkersYou can set as many markers as you like. Markers appear in a list and can be edited and deleted.

Chapter 14 Capturing Your Footage to Disk 195 IVUsing Capture ProjectThe Capture Project button captures the media files for whatever clips, bins,

196 Part IV Capturing and Importing 2 In the Capture Project dialog, specify your settings, then click OK.a In the Capture pop-up menu, choose whet

Chapter 14 Capturing Your Footage to Disk 197 IV6 Insert the selected reel into your camcorder or VTR.Make sure that your equipment is properly con

198 Part IV Capturing and Importing Finding Your Media Files After CaptureThe most common question editors have after capturing is: Where did my m

Chapter 14 Capturing Your Footage to Disk 199 IVTo summarize, captured media files aren’t really stored directly in the folder you choose as a scra

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

20 ContentsChapter 58 919 Working with Mixed-Format Sequences919 About Mixed-Format Sequences920 Determining Whether Clips in a Sequence Will Play Bac

200 Part IV Capturing and Importing To consolidate media files into a single folder immediately after capture:1 In the Browser, select a clip that

Chapter 14 Capturing Your Footage to Disk 201 IVTo modify a single clip and media file’s reel name property:1 Make sure the Reel column is visible

202 Part IV Capturing and Importing Worse, during logging and capturing, neither Final Cut Express nor the VTR will necessarily navigate to the pro

Chapter 14 Capturing Your Footage to Disk 203 IVHere are some techniques for avoiding reset timecode counters when shooting with consumer DV camcor

15 20515 Importing Media Files into Your ProjectFinal Cut Express can import almost any media file that QuickTime recognizes, allowing you to int

206 Part IV Capturing and Importing  Graphics and still images: BMP, FlashPix, GIF, JPEG/JFIF, MacPaint (PNTG), Photoshop (layered), PICS, PICT,

Chapter 15 Importing Media Files into Your Project 207 IVTo import a file or folder:1 In the Browser, select a project or bin where you want to sto

208 Part IV Capturing and Importing  Choose File > Import, then choose File or Folder from the submenu. (To import a file, you can also press C

Chapter 15 Importing Media Files into Your Project 209 IVAbout Importing Video FilesYou can import any QuickTime-compatible media files into Final

Contents 21959 How the Connection Between Clips and Media Files Can Be Broken959 Reconnecting Clips to Media Files966 When Final Cut Express Reconnect

210 Part IV Capturing and Importing Opening an iMovie Project in Final Cut ExpressYou can open and edit projects created with iMovie using Final Cu

Chapter 15 Importing Media Files into Your Project 211 IVAbout Importing Audio FilesFinal Cut Express allows you to import audio files from other m

212 Part IV Capturing and Importing Choosing Audio File Sample Rate and Bit DepthFinal Cut Express can import audio with any bit depth and sample r

Chapter 15 Importing Media Files into Your Project 213 IVConverting Audio Clips to Match Sequence SettingsIf you are working with preexisting audio

214 Part IV Capturing and Importing Using Audio CD Tracks in Your ProjectMac OS X recognizes each track on a standard audio CD as an individual AIF

Chapter 15 Importing Media Files into Your Project 215 IVConverting a Numbered Image Sequence to a QuickTime MovieYou can use QuickTime Pro to conv

216 Part IV Capturing and Importing 6 Choose a location and enter a name for the file.7 Choose an option for how you want to save the movie, then c

Chapter 15 Importing Media Files into Your Project 217 IV4 Import all the image files associated with the numbered image sequence you want to use i

218 Part IV Capturing and Importing Making Movies from Still ImagesYou can use one of the methods above to create your own animations as visual ele

16 21916 Ingesting Media FilesFinal Cut Express allows you to transfer footage recorded on non-tape-based media to your computer.This chapter cov

22 ContentsChapter 66 1013 Exporting QuickTime Movies1013 About the Export QuickTime Movie Command1014 Choosing the Type of QuickTime Movie to Export1

220 Part IV Capturing and Importing Working with AVCHD FootageYou can use the Log and Transfer window to transfer footage recorded with an AVCHD ca

Chapter 16 Ingesting Media Files 221 IVPanasonic Camcorder AVCHD Quality LevelsTransferring AVCHD FootageYou can transfer AVCHD footage to your scr

222 Part IV Capturing and Importing Sample Media File WorkflowWhen you transfer clips using the Log and Transfer window, Final Cut Express automati

Chapter 16 Ingesting Media Files 223 IVTo ingest media files using the Log and Transfer window:1 In the Finder, mount the volumes holding your foot

224 Part IV Capturing and Importing Working with the Log and Transfer WindowYou use the Log and Transfer window to ingest media files. The Log and

Chapter 16 Ingesting Media Files 225 IVUsing the Browse AreaThe Browse area allows you to view the contents of any mounted volumes and select clips

226 Part IV Capturing and Importing Controls in the Browse AreaThe Browse area contains the following controls:Â Add Folder button: Click to add a

Chapter 16 Ingesting Media Files 227 IVÂ Clip properties: Most clip properties are read-only, but you can change some properties, such as Name, Sc

228 Part IV Capturing and Importing Using the Preview AreaThe Preview area allows you to view your clips to determine how much of each clip’s media

Chapter 16 Ingesting Media Files 229 IVTo move from clip to clip within the selected clips in the Browse area, do one of the following:m Click the

Contents 231079 Video Formats Supported by Final Cut Express1079 DV Formats1080 High Definition Video Formats1081 Data Rate Comparisons1081 A Brief Hi

230 Part IV Capturing and Importing Using Autofill Cache Logging InformationUnlike the fields in the Capture window, the fields in the Logging area

Chapter 16 Ingesting Media Files 231 IVUsing the Transfer QueueThe Transfer Queue shows a list of clips currently queued for ingest. The status of

232 Part IV Capturing and Importing Organizing Clips in the Transfer QueueThe Status column displays the ingest status of each clip in the Transfer

17 23317 Working with HDV Final Cut Express supports capturing, editing, and output of HDV media using the Apple Intermediate Codec.This chapter

234 Part IV Capturing and Importing HDV Formats Supported by Final Cut ExpressWithin the HDV specification, several resolutions and frame rates are

Chapter 17 Working with HDV 235 IVTemporal (Interframe) CompressionInstead of storing complete frames, temporal compression stores only what has ch

236 Part IV Capturing and Importing HDV Apple Intermediate Codec Editing WorkflowWhen you edit using footage encoded with the Apple Intermediate Co

Chapter 17 Working with HDV 237 IVChoosing an Easy SetupFinal Cut Express includes Easy Setups for capturing and editing HDV transcoded to the Appl

238 Part IV Capturing and Importing To capture HDV footage to the Apple Intermediate Codec:1 Click in the Browser to make it active, then choose Fi

Chapter 17 Working with HDV 239 IVOutputting HDV to Tape or Exporting to a QuickTime MovieAfter you finish editing, you can output your movie to vi

240 Part IV Capturing and Importing HDV Format SpecificationsHDV has the following format specifications.Storage MediumHDV is recorded on standard

Chapter 17 Working with HDV 241 IVScanning MethodsHDV can record either interlaced or progressive scan images, depending on the frame size and form

242 Part IV Capturing and Importing Video CompressionHDV uses MPEG-2 compression with a constant bit rate (CBR). I-, P-, and B-frames are used, cre

VPart V: Organizing Footage and Preparing to EditOrganizing your footage before you edit makes editing go more smoothly. Read this section to learn ho

18 24518 Organizing Footage in the BrowserAfter capturing media to your scratch disks, you can import clips into a project in the Browser and the

246 Part V Organizing Footage and Preparing to Edit Bins are unique to project files. Although they behave similarly to folders on your hard disk,

Chapter 18 Organizing Footage in the Browser 247 VTo create a bin by dragging a folder from your hard disk:1 In the Finder, select the folder you w

248 Part V Organizing Footage and Preparing to Edit Opening Bins in a Separate Window or TabTo preserve space on the screen or to avoid scrolling i

Chapter 18 Organizing Footage in the Browser 249 VTo close a bin that’s open in its own window, do one of the following:m Control-click the bin’s t

25PrefaceFinal Cut Express 4 Documentation and ResourcesYou can use Final Cut Express to create movies of any budget, style, and format. Final C

250 Part V Organizing Footage and Preparing to Edit To turn a bin in its own window into a tab in the Browser:1 Double-click a bin to open it in it

Chapter 18 Organizing Footage in the Browser 251 VTo close a bin’s tab, do one of the following:m Control-click the tab, then choose Close Tab from

252 Part V Organizing Footage and Preparing to Edit m If the bin in which you want to move items has its own window, drag items to that bin’s windo

Chapter 18 Organizing Footage in the Browser 253 VSorting Items in the Browser Using Column HeadingsClicking column headings in the Browser allows

254 Part V Organizing Footage and Preparing to Edit 5 To switch between descending and ascending sort order in the secondary columns, click the arr

Chapter 18 Organizing Footage in the Browser 255 VAbout Search OptionsYou can use the Find command to search for items in a project by any property

256 Part V Organizing Footage and Preparing to Edit Options for Defining the Scope of a SearchWhen you are searching for clips, you may sometimes w

Chapter 18 Organizing Footage in the Browser 257 VÂ Matching pop-up menu: Choose a matching option to further refine how your criteria are used: S

258 Part V Organizing Footage and Preparing to Edit Searching for Multiple Items in the BrowserYou can also do a search to find multiple clips at o

Chapter 18 Organizing Footage in the Browser 259 VManipulating Items in the Find Results WindowWhen you do a search for multiple items, Final Cut E

26 Preface Final Cut Express 4 Documentation and Resources Apple WebsitesThere are a variety of discussion boards, forums, and educational resource

260 Part V Organizing Footage and Preparing to Edit To see where found items are in the Browser:m Select the desired items in the Find Results wind

19 26119 Using MarkersMarkers are reference points you can place within clips or sequences to identify specific frames. You can use them for a va

262 Part V Organizing Footage and Preparing to Edit You can also include markers in QuickTime movies you export. You can:Â Export chapter markers f

Chapter 19 Using Markers 263 VMarkers in clips and sequences are visually different. Â Clip markers appear on individual clips in the Viewer and Ti

264 Part V Organizing Footage and Preparing to Edit Working with MarkersYou can create markers, add comments to them, and delete them at any point

Chapter 19 Using Markers 265 VQuickly Adding MarkersIf you want to quickly add markers to clips or sequences, and you don’t care about the names, y

266 Part V Organizing Footage and Preparing to Edit Note: You can only add markers to sequence clips in the Timeline if the clip is selected and t

Chapter 19 Using Markers 267 V4 In the Edit Marker window, do any of the following, then click OK. In the Name field, rename the marker. In the C

268 Part V Organizing Footage and Preparing to Edit To delete specific markers in a clip in the Viewer or Timeline:1 Move the playhead to the marke

Chapter 19 Using Markers 269 VTo keep a marker but remove chapter, compression, or scoring annotations:1 In the Viewer, Canvas, or Timeline, move t

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

270 Part V Organizing Footage and Preparing to Edit To move the playhead to a clip or sequence marker in the Timeline, do one of the following:m Dr

Chapter 19 Using Markers 271 V4 In the Edit Marker dialog, do any of the following, then click OK. In the Name field, rename the marker. In the C

272 Part V Organizing Footage and Preparing to Edit To move a marker in a clip by entering a new timecode value:1 In the Viewer, do one of the foll

Chapter 19 Using Markers 273 VTo align markers in sequence clip items to a sequence marker:1 Add markers to important frames of individual video an

274 Part V Organizing Footage and Preparing to Edit Extending a Marker’s DurationWhen you create a marker in Final Cut Express, it is simply a mark

Chapter 19 Using Markers 275 VTo shorten a marker that has a duration:1 Position the playhead within the duration of the marker.2 Do one of the fol

20 27720 Creating SubclipsLengthy media files can be unwieldy for editing. If you capture an entire tape as a single media file, you can break th

278 Part V Organizing Footage and Preparing to Edit Final Cut Express places new subclips in the same Browser bin as the original clip they came fr

Chapter 20 Creating Subclips 279 VTo open the original media file from which a subclip came:1 Open the subclip in the Viewer.2 Find the frame you w

280 Part V Organizing Footage and Preparing to Edit Master-Affiliate Clip RelationshipsWhen you create a new subclip, it has master clip status. Wh

Chapter 20 Creating Subclips 281 VTo turn a clip’s markers into subclips:1 Click a clip’s disclosure triangle in the Browser to reveal its markers.

282 Part V Organizing Footage and Preparing to Edit How Markers Determine Subclip DurationsWhen you drag markers out of a clip, a subclip is create

Chapter 20 Creating Subclips 283 VEditing with SubclipsYou can edit with subclips in the same way as with any other clips. You can even add markers

284 Part V Organizing Footage and Preparing to Edit 5 Click the disclosure triangle to view the clip’s markers.If you want to give any of the marke

Chapter 20 Creating Subclips 285 V7 Choose Modify > Make Subclip.Note: If you gave your markers new names, your subclips will use them.The subc

VIPart VI: Rough EditingLearn the basics of adding, arranging, and synchronizing clips in a sequence to create a rough edit of your movie. If you are

21 28921 Working with Projects, Clips, and SequencesA project file contains everything you need to make your completed movie: clips, bins to org

1 291 About the Post-Production WorkflowNo matter what your project, Final Cut Express is the cornerstone of your post-production workflow.This c

290 Part VI Rough Editing Working with ProjectsBefore you can even capture media, import clips into your project, and edit the clips into one or mo

Chapter 21 Working with Projects, Clips, and Sequences 291 VIViewing and Changing the Properties of a ProjectEach project has a set of properties,

292 Part VI Rough Editing What Is Contained in a Project FileProject files contain the following items and information:Â Clips, including notes, co

Chapter 21 Working with Projects, Clips, and Sequences 293 VIAutomatically Saving Projects with AutosaveWhile you’re working, you may find it neces

294 Part VI Rough Editing  Master clip: When you log, capture, or import a media file into Final Cut Express, a master clip is created. Master cl

Chapter 21 Working with Projects, Clips, and Sequences 295 VISequences as ClipsSequences are special containers for clips arranged in chronological

296 Part VI Rough Editing To change the properties of multiple clips in a Browser column:1 Select the desired clips.For more information, see Chapt

Chapter 21 Working with Projects, Clips, and Sequences 297 VIFinding a Clip’s Start and End Timecode ValuesBy definition, a clip’s Media Start and

298 Part VI Rough Editing To create a new sequence in the current project:1 Do one of the following: Choose File > New > Sequence. Control-

Chapter 21 Working with Projects, Clips, and Sequences 299 VIOpening and Closing SequencesYou can only edit clips into a sequence when it is open i

3 1 Contents Preface 25 Final Cut Express 4 Documentation and Resources25 Onscreen Help 26 Apple Websites Part I An Introduction to Final Cut

30 Part I An Introduction to Final Cut Express Step 4: Post-productionPost-production is where you organize and assemble your production footage,

300 Part VI Rough Editing Duplicating a SequenceIf you want to test changes to your edited sequence that are more extensive than a few levels of Un

Chapter 21 Working with Projects, Clips, and Sequences 301 VITo copy a sequence from one project to another by dragging:1 Open the second project.T

302 Part VI Rough Editing Why Would You Change Your Sequence Settings?Although the instances are rare, there are a few situations that may prompt y

22 30322 The Fundamentals of Adding Clips to a SequenceOnce your clips are captured and organized to your satisfaction in the Browser, you can be

304 Part VI Rough Editing Step 2: Arrange clipsThis is where you assemble the clips in the Timeline into the order you want by selecting, moving,

Chapter 22 The Fundamentals of Adding Clips to a Sequence 305 VISince the audio and video items of each edited clip are linked, selecting the video

306 Part VI Rough Editing Undoing and Redoing ActionsAs you begin to edit in Final Cut Express, rest easy with the knowledge that you can undo acti

Chapter 22 The Fundamentals of Adding Clips to a Sequence 307 VIMethods for Adding Clips to SequencesThere are two basic approaches to placing clip

308 Part VI Rough Editing For example, if you set In and Out points in a source clip and an In point in a sequence, the Out point in the sequence i

Chapter 22 The Fundamentals of Adding Clips to a Sequence 309 VIDetermining What Parts of Clips You Want in Your SequenceTo specify what part of a

Chapter 1 About the Post-Production Workflow 31 IStep 1: PlanningPlanning is where you choose your basic workflow, such as offline and online edit

310 Part VI Rough Editing Visually Storyboarding in the BrowserIf you display your clips in icon view in the Browser, you see a thumbnail of each c

Chapter 22 The Fundamentals of Adding Clips to a Sequence 311 VITo create a storyboard in the Browser:1 Control-click in the Browser, then choose V

23 31323 Setting Edit Points for Clips and SequencesTo specify where a clip should be placed in your sequence, and to select a section of a clip

314 Part VI Rough Editing Learning About the Out Point Inclusive RuleBefore you begin to set In and Out points, it’s important to understand the “O

Chapter 23 Setting Edit Points for Clips and Sequences 315 VIThings to Keep in Mind When Setting an Out PointWhen you want to mark the duration of

316 Part VI Rough Editing To avoid accidentally selecting the first frame of the next clip, do one of the following:m Press the Back Arrow key once

Chapter 23 Setting Edit Points for Clips and Sequences 317 VISetting Clip In and Out Points in the ViewerWhen you set In and Out points for a clip

318 Part VI Rough Editing To set an In or Out point while playing a clip:1 Position the playhead at the beginning of the clip.2 Press the Space bar

Chapter 23 Setting Edit Points for Clips and Sequences 319 VISetting In and Out Points to Include a Whole ClipIf you decide that you want to set In

32 Part I An Introduction to Final Cut Express Step 2: Setting upIn this phase, you set up your editing system by installing and connecting the ha

320 Part VI Rough Editing To view your clip from the position of the playhead to the clip’s Out point:1 Position the playhead where you want to sta

Chapter 23 Setting Edit Points for Clips and Sequences 321 VIOptions for Setting Sequence In and Out PointsYou have several options when setting se

322 Part VI Rough Editing When No Sequence In or Out Points Are SetIf you don’t set any In or Out points in the Canvas or Timeline, Final Cut Expre

Chapter 23 Setting Edit Points for Clips and Sequences 323 VIWhen You Set One Sequence In or Out PointIf you set only one In or Out point, that poi

324 Part VI Rough Editing  If you set a sequence Out point, the Out point of the source clip is placed at the sequence Out point, and the clip is

Chapter 23 Setting Edit Points for Clips and Sequences 325 VIWhen You Set Both Sequence In and Out Points Setting both sequence In and Out points l

326 Part VI Rough Editing Setting Sequence In and Out PointsYou can set sequence In and Out points in the Canvas or Timeline. The In and Out points

Chapter 23 Setting Edit Points for Clips and Sequences 327 VISetting In and Out Points to Match a Clip or GapWhen you want to replace one clip with

328 Part VI Rough Editing 3 Do one of the following to set In and Out points: Press X. Click the Mark Clip button in the Canvas. Choose Mark >

Chapter 23 Setting Edit Points for Clips and Sequences 329 VITo set In and Out points based on the current selection in the Timeline:1 Select clip

Chapter 1 About the Post-Production Workflow 33 IStep 5: Mixing audioOnce your movie is edited and the picture is “locked,” meaning the duration o

330 Part VI Rough Editing Navigating to In and Out PointsOften, you’ll want to position the playhead at the beginning or end of a specific clip, ma

Chapter 23 Setting Edit Points for Clips and Sequences 331 VIMoving In and Out PointsYou can always change clip In and Out points by simply setting

332 Part VI Rough Editing To slip both the In and Out points together, do one of the following:m Hold down the Shift key, then drag the In or Out p

Chapter 23 Setting Edit Points for Clips and Sequences 333 VITo clear an Out point, do one of the following:m Press Option-O.m Option-click the Mar

24 33524 Working with Tracks in the TimelineIn the Timeline, you view your clips horizontally (in chronological order) and also vertically (stack

336 Part VI Rough Editing Adding and Deleting TracksIn Final Cut Express, sequences can have up to 99 video and 99 audio tracks. Tracks contain cli

Chapter 24 Working with Tracks in the Timeline 337 VI To add multiple tracks to a sequence:1 Choose Sequence > Insert Tracks. 2 In the Inser

338 Part VI Rough Editing Deleting TracksYou can delete tracks from a sequence at any time. You can delete tracks one at a time, or you can delete

Chapter 24 Working with Tracks in the Timeline 339 VISpecifying Destination Tracks in the TimelineWhen you edit a source clip into a sequence, you

340 Part VI Rough Editing Setting Destination TracksTo control which sequence track a source clip item is placed in, you connect the Source control

Chapter 24 Working with Tracks in the Timeline 341 VIChanging Source and Destination Control ConnectionsYou can change source and destination track

342 Part VI Rough Editing Disconnected Source controls remain disconnected even when you open a new clip in the Viewer. This is true even if the cl

Chapter 24 Working with Tracks in the Timeline 343 VIResetting Destination Tracks to the Default StateYou can reset Source or Destination controls

344 Part VI Rough Editing Locking Tracks to Prevent Edits or ChangesIf you want to set one or more tracks as temporarily “off limits” to edits or c

Chapter 24 Working with Tracks in the Timeline 345 VIDisabling Tracks to Hide Content During PlaybackYou can disable entire tracks to hide their co

346 Part VI Rough Editing Customizing Track Display in the TimelineYou can modify the way tracks are displayed in the Timeline in several ways:Â Tr

Chapter 24 Working with Tracks in the Timeline 347 VITo resize a single track in the Timeline:m If it’s a video track: Drag the upper boundary of

348 Part VI Rough Editing Resizing All Tracks Using the Track Height ControlWhen you use the Track Height control to resize tracks, you resize all

Chapter 24 Working with Tracks in the Timeline 349 VISaving Track LayoutsOnce you’ve created a custom track layout for your sequence, you can save

2 352 Video FormatsBefore you begin editing, you need to decide what video format you will capture, edit, and output. The format you choose deter

350 Part VI Rough Editing To create a static region for video and audio tracks:1 Drag the upper thumb tab in the vertical scroll bar up to create a

Chapter 24 Working with Tracks in the Timeline 351 VITo move the static region up or down in the Timeline:m Drag the center slider in the static re

25 35325 Drag-to-Timeline EditingDrag-to-Timeline editing is a quick, intuitive way to move clips from the Browser or Viewer into your sequence.T

354 Part VI Rough Editing In drag-to-Timeline editing, only two steps are involved:Step 1: Set clip In and Out points in the ViewerHere you specif

Chapter 25 Drag-to-Timeline Editing 355 VITo edit multiple clips into a sequence at the same time:1 Select the group of clips you want to edit into

356 Part VI Rough Editing To drag a clip from the Video tab in the Viewer, click anywhere in the video picture in the Viewer and drag. To drag a cl

Chapter 25 Drag-to-Timeline Editing 357 VITo do an insert edit:m Drag the clip to the upper third of a track in the Timeline.To do an overwrite edi

358 Part VI Rough Editing Automatically Adding Tracks to Your Sequence While DraggingYou can drag a source clip to the unused space above or below

Chapter 25 Drag-to-Timeline Editing 359 VIFor example, suppose you have a clip that contains a video clip item and two audio clip items. If you dra

36 Part I An Introduction to Final Cut Express Video Formats Compatible with Final Cut ExpressLong before editing begins, the most basic decision y

26 36126 Three-Point EditingWhen you’re adding content to a sequence with three-point editing, you only need to set three edit points to tell Fin

362 Part VI Rough Editing Basic three-point editing follows several main steps:Step 1: Set clip In and Out points in the ViewerSpecify which part

Chapter 26 Three-Point Editing 363 VIDragging to the Edit Overlay in the CanvasWhen you drag a clip from the Browser or Viewer to the image area of

364 Part VI Rough Editing About Edit Types in the Edit OverlayThere are seven choices for placing clips into your sequence for three-point edits. T

Chapter 26 Three-Point Editing 365 VIPerforming the Different Types of EditsThe following section tells you how to perform the most common types of

366 Part VI Rough Editing To perform an insert edit:m Specify the necessary edit points and destination tracks, then do one of the following:Â Drag

Chapter 26 Three-Point Editing 367 VIPerforming an Insert with Transition EditThe insert with transition edit is a quick way to do an insert edit t

368 Part VI Rough Editing The source clip is inserted into the sequence with the default transition.Performing an Overwrite EditSince this is the m

Chapter 26 Three-Point Editing 369 VITo perform an overwrite edit:m Specify the necessary edit points and destination tracks, then do one of the fo

Chapter 2 Video Formats 37 IVideo Format BasicsMost video formats are described by the following characteristics: Standard Image dimensions and a

370 Part VI Rough Editing Performing an Overwrite with Transition EditThe overwrite with transition edit is a quick way to do an overwrite edit tha

Chapter 26 Three-Point Editing 371 VIThe clip overwrites other items on the destination tracks for the duration of the edit, and uses the default t

372 Part VI Rough Editing Replace edits follow a few special rules:Â Replace edits use the current playhead positions in the Timeline and the Viewe

Chapter 26 Three-Point Editing 373 VITo replace an entire clip in the Timeline with a clip synchronized to a point in the sequence:1 In the Timelin

374 Part VI Rough Editing To use a replace edit to resync a video clip to an audio clip in another track:1 In the Timeline, choose Mark > Clear

Chapter 26 Three-Point Editing 375 VI4 Without moving the Timeline playhead, press the F key to perform a match frame operation.This opens the mast

376 Part VI Rough Editing Important: Make sure that the clip in the Viewer contains enough media on either side of the playhead to fill the durati

Chapter 26 Three-Point Editing 377 VIThe selected area in the sequence is replaced by the source clip. Final Cut Express automatically calculates t

378 Part VI Rough Editing Likewise, if you perform a superimpose edit with several source clips at once, all of those clips are stacked on top of o

Chapter 26 Three-Point Editing 379 VIThe clip in the Viewer is placed in the track above the destination track, starting at the beginning of the cl

38 Part I An Introduction to Final Cut Express Image Dimensions and Aspect RatioThe horizontal and vertical pixel dimensions of your format determi

380 Part VI Rough Editing Three-Point Editing ExamplesThere are a few key things to keep in mind when you are doing three-point editing:The followi

Chapter 26 Three-Point Editing 381 VI3 In the Canvas or Timeline, move the playhead to the location in your sequence where you want the clip to sta

382 Part VI Rough Editing Example: Editing a Clip into a Gap in Your SequenceYou can also do the reverse of the previous editing example. Suppose

Chapter 26 Three-Point Editing 383 VI5 If you do an overwrite edit, you’ll see that your clip, defined by the In and Out points in your sequence, h

384 Part VI Rough Editing 3 In the Timeline, move the playhead to the point in your edited sequence where you want your clip to end, and set an Out

Chapter 26 Three-Point Editing 385 VIExample: Editing a Clip with No Specified In or Out Points into Your SequenceIf you don’t specify In or Out p

27 38727 Finding and Selecting Content in the TimelineWhen you want to arrange, copy, delete, or otherwise manipulate items in a sequence, the fi

388 Part VI Rough Editing Identifying Selections in the TimelineWhen you click a clip in the Timeline, it’s highlighted to indicate it’s selected.E

Chapter 27 Finding and Selecting Content in the Timeline 389 VIHow Selections Are Prioritized in the TimelineWith the exception of editing clips in

3 393 Understanding Projects, Clips, and SequencesThe basic elements in Final Cut Express are projects, clips, and sequences. Once you learn what

390 Part VI Rough Editing The following cannot be selected in the Timeline:Â Filter and motion bars and their keyframes: You can double-click a ba

Chapter 27 Finding and Selecting Content in the Timeline 391 VIThese are the selection tools, in order of appearance:Â Selection: Selects individu

392 Part VI Rough Editing  Select Track Forward: Selects all the items in a track after the selection point you click. Selected items are ready f

Chapter 27 Finding and Selecting Content in the Timeline 393 VISelecting an Individual ClipThis is the simplest kind of selection you can make in t

394 Part VI Rough Editing Selecting Multiple ClipsThe Shift and Command keys allow you to select multiple clip items in the Timeline, either contig

Chapter 27 Finding and Selecting Content in the Timeline 395 VISelecting a Range of Timeline ContentWhen you want to copy, cut, or move an area of

396 Part VI Rough Editing Selecting All Clip Items on a TrackSometimes you may find that you want to select all of the clip items on a track in ord

Chapter 27 Finding and Selecting Content in the Timeline 397 VITo select all clip items after a specified item on a single track:1 Do one of the fo

398 Part VI Rough Editing All clip items in all tracks from the point you click onward (either forward or backward) are selected, as well as any it

Chapter 27 Finding and Selecting Content in the Timeline 399 VIFinding and Selecting Based on Search CriteriaIn a large sequence you may want to lo

4 Contents Chapter 5 65 Browser Basics65 How You Use the Browser 66 Learning About the Browser 67 Working in the Browser 69 Using Columns in he Brows

40 Part I An Introduction to Final Cut Express What Are Clips?Once you have media files on your hard disk, you need a way of working with them in F

400 Part VI Rough Editing 5 Choose the type of item to search for from the Search pop-up menu. Â Names/Markers: Search for the text in clip names,

Chapter 27 Finding and Selecting Content in the Timeline 401 VISelecting a Vertical Range Between In and Out PointsWhen you want to copy, move, or

402 Part VI Rough Editing Using Auto Select to Specify Tracks for SelectionsAuto Select controls determine which tracks are affected by an operatio

Chapter 27 Finding and Selecting Content in the Timeline 403 VIIf you press the Delete key, only the items on track V1 are deleted.To enable or dis

404 Part VI Rough Editing To enable Auto Select on one track while simultaneously disabling Auto Select on all other tracks:m Option-click the Auto

28 40528 Arranging Clips in the TimelineAfter initial content has been added to the Timeline, the next part of the rough editing phase is assembl

406 Part VI Rough Editing Several elements trigger snapping in the Timeline: Clip boundaries The playhead Markers Keyframes In and Out pointsW

Chapter 28 Arranging Clips in the Timeline 407 VIMoving Items Within the TimelineComposing a sequence usually involves plenty of arranging and rear

408 Part VI Rough Editing To move a clip to a new position by dragging (and do an insert edit):1 In the Timeline, drag the clip to the desired loca

Chapter 28 Arranging Clips in the Timeline 409 VINote: Don’t click in the Current Timecode field before you do this, or you’ll move the playhead i

Chapter 3 Understanding Projects, Clips, and Sequences 41 IWhat Are Sequences?A sequence is a container for editing clips together in chronological

410 Part VI Rough Editing Performing Shuffle EditsA shuffle edit (sometimes referred to as a swap edit) allows you to move a clip item to a differe

Chapter 28 Arranging Clips in the Timeline 411 VITo shuffle a clip item from one position to another:1 Select a clip item you want to move in the T

412 Part VI Rough Editing 4 Release the mouse button to place the selected clip at the insertion point.Important: Shuffle edits are only possible

Chapter 28 Arranging Clips in the Timeline 413 VICopying, Cutting, and Pasting Clips in the TimelineWhen you copy and paste clip items from tracks

414 Part VI Rough Editing To copy (or cut) and paste clip items within the same Timeline tracks:1 Select one or more clip items in the Timeline.2 D

Chapter 28 Arranging Clips in the Timeline 415 VI3 Option-click the Auto Select control for the track you want to paste clip items into. (If no Aut

416 Part VI Rough Editing Example: Copying and Pasting Audio and Video Clip Items to Different Tracks in the TimelineTo copy and paste clip items

Chapter 28 Arranging Clips in the Timeline 417 VIDeleting Clips from a SequenceAs you edit, you can delete items from your sequence at any time, pr

418 Part VI Rough Editing 3 Do one of the following: Choose Sequence > Lift. Choose Edit > Cut (or press Command-X) to cut the material, if

Chapter 28 Arranging Clips in the Timeline 419 VITo delete a clip item and close the gap left behind:1 Select the item or range of items you want t

42 Part I An Introduction to Final Cut Express What Are Projects?A project contains all of the clips and sequences you use while editing your movie

420 Part VI Rough Editing Finding and Closing GapsAs you edit, cut, paste, and move items around in Final Cut Express, empty spaces (called gaps) m

Chapter 28 Arranging Clips in the Timeline 421 VITo close a gap, do one of the following:m Position the playhead anywhere within the gap, then choo

422 Part VI Rough Editing To determine the duration of a track gap in the Timeline:1 Option-click the Auto Select control for the track with the ga

29 42329 Cutting Clips and Adjusting DurationsOnce you’ve assembled clips in your sequence, you can easily cut them and adjust their durations.Th

424 Part VI Rough Editing  Razor Blade: Adds an edit point to a sequence clip by cutting a single clip item, along with any clip items linked to

Chapter 29 Cutting Clips and Adjusting Durations 425 VIÂ Razor Blade All: Cuts all clip items on all tracks at the point where you click in the Ti

426 Part VI Rough Editing Using the Add Edit Command to Cut ClipsThe Add Edit command in the Sequence menu (Control-V) is similar to the Razor Blad

Chapter 29 Cutting Clips and Adjusting Durations 427 VIChanging the Duration of Clips in the TimelineClips are represented in the Timeline as horiz

428 Part VI Rough Editing Opening Sequence Clips in the Viewer to Change DurationsYou can open a sequence clip in the Viewer to adjust its duration

30 42930 Linking and Editing Video and Audio in Sync Final Cut Express allows you to adjust the synchronization relationship between video and au

Chapter 3 Understanding Projects, Clips, and Sequences 43 IWhat Are Bins?A bin is a folder within a project that can contain clips and sequences, a

430 Part VI Rough Editing When video and audio clip items are linked in the Timeline:Â The names of the linked clip items are underlined to indicat

Chapter 30 Linking and Editing Video and Audio in Sync 431 VIAn out-of-sync indicator appears whenever the following conditions occur:Â Audio and v

432 Part VI Rough Editing If you move the audio item to the left, so that it overlaps the first video item, out-of-sync indicators appear. The same

Chapter 30 Linking and Editing Video and Audio in Sync 433 VIIn the following example, three stereo pairs of audio items are linked to a single vid

434 Part VI Rough Editing Linking and Unlinking Video and Audio Clip Items in the TimelineYou can link additional clip items to already linked item

Chapter 30 Linking and Editing Video and Audio in Sync 435 VI3 Choose Modify > Link (or press Command-L).Note: When you open linked items in th

436 Part VI Rough Editing Selecting Individual Clip Items While They Are LinkedEven when clip items are linked together, you may want to perform an

Chapter 30 Linking and Editing Video and Audio in Sync 437 VIGetting Clip Items Back in SyncThere are three ways to get clip items with out-of-sync

438 Part VI Rough Editing If the item is an anchor item (either the sole video item among linked items, or the topmost audio item if there is no vi

Chapter 30 Linking and Editing Video and Audio in Sync 439 VITo slip an out-of-sync clip item into sync using the out-of-sync indicator shortcut me

44 Part I An Introduction to Final Cut Express Organizing Your ProjectsTypically, you create a new project file for each movie you work on, regardl

440 Part VI Rough Editing Moving or Slipping All Clip Items into Sync at OnceIn cases where multiple audio items are out of sync by varying amounts

Chapter 30 Linking and Editing Video and Audio in Sync 441 VITo slip all out-of-sync clip items into sync with the anchor item:1 In the Timeline, C

442 Part VI Rough Editing Marking a Clip as In SyncIf you’ve moved a selected clip item out of sync deliberately and you want to permanently change

Chapter 30 Linking and Editing Video and Audio in Sync 443 VIIf you select just the audio and move it out of sync, out-of-sync indicators appear.Th

444 Part VI Rough Editing If a clip contains two mono audio channels:Â In the Timeline, each mono audio item is treated like any other linked item.

31 44531 Split EditsWhen video and audio are cut at the same time, the edit is usually more noticeable. Split edits help to “soften” edits by cre

446 Part VI Rough Editing The resulting edit would look something like this:Split edits can be used in many different situations—in dialogue scenes

Chapter 31 Split Edits 447 VIAs with other types of edits, the Viewer scrubber bar shows edit points in your clip, while the Canvas scrubber bar sh

448 Part VI Rough Editing The resulting combination of video and audio edit points in your scrubber bar should look something like this:Once you’ve

Chapter 31 Split Edits 449 VIModifying and Clearing Split EditsIf you’ve set up a split edit, but you want to adjust or remove any of the edit poin

Chapter 3 Understanding Projects, Clips, and Sequences 45 ITo create a new project:m Choose File > New Project. A new, untitled project appears

450 Part VI Rough Editing The positions of the different edit points you’ve selected don’t change relative to one another, but the selected area of

Chapter 31 Split Edits 451 VISplit Edit ExamplesThe result of your split edit depends on the edit points you set. This section provides several exa

452 Part VI Rough Editing 4 Drag the clip in the Viewer to the Overwrite section of the Edit Overlay in the Canvas.The resulting edit looks like th

Chapter 31 Split Edits 453 VI3 Set a single split video In point in the Canvas or Timeline at the place where you want the video of your source cli

454 Part VI Rough Editing 3 Set up a split edit in the Canvas or Timeline at the place where you want your source clip to appear.4 Drag the clip in

32 45532 Audio Editing BasicsGood audio edits are usually subtle and go unnoticed by the listening audience. After you assemble your video and au

456 Part VI Rough Editing Make sure your audio edit points aren’t noticeable.Editing audio clips in a sequence mainly involves finding good edit po

Chapter 32 Audio Editing Basics 457 VIUsing Waveform Displays to Help You Edit AudioAs you work in Final Cut Express, waveform displays can be very

458 Part VI Rough Editing Use the J, K, and L keys to shuttle through your clips, and learn to listen for the edit points you want. Once you have s

Chapter 32 Audio Editing Basics 459 VIÂ Level slider: This slider adjusts the amplitude, or volume, of the currently selected audio clip between +

46 Part I An Introduction to Final Cut Express Opening and Closing ProjectsYou can open and work on more than one project at a time. When you finis

460 Part VI Rough Editing  Pan Keyframe button: The keyframe button to the right of the Pan slider places a keyframe at the current playhead loca

Chapter 32 Audio Editing Basics 461 VIÂ Zoom control: Using this control, you can expand or contract the ruler, decreasing or increasing the amoun

462 Part VI Rough Editing To open an audio clip item from the Timeline:1 Do one of the following:Â Double-click an audio clip item in your sequence

Chapter 32 Audio Editing Basics 463 VIZooming In or Out of the Waveform Display AreaNavigating through audio clips in the Viewer is largely the sam

464 Part VI Rough Editing To zoom in and out of the audio waveform using the Zoom slider, do one of the following:m Drag the thumb tabs on either s

Chapter 32 Audio Editing Basics 465 VITo scroll horizontally through a zoomed-in clip in the Viewer, do one of the following:m Drag the Zoom slider

466 Part VI Rough Editing About Setting Edit Points for AudioYou set edit points in the audio tabs of the Viewer in the same way that you set edit

Chapter 32 Audio Editing Basics 467 VITo trim a sequence audio clip item in the Viewer:1 Disable linked selection by doing one of the following:Â I

468 Part VI Rough Editing Editing Audio in the TimelineAfter editing a number of clips into a sequence, you can further trim the audio clips direct

Chapter 32 Audio Editing Basics 469 VIDisplaying Overlays and Adjusting the Track HeightIf you want to display waveforms in the Timeline, you may w

Chapter 3 Understanding Projects, Clips, and Sequences 47 ITo switch between several open projects:m In the Browser, click a project’s tab.To close

470 Part VI Rough Editing Zooming In and Out of Waveforms in the TimelineThere are several ways you can zoom in and out of waveform displays in the

Chapter 32 Audio Editing Basics 471 VIMoving Audio Items from One Track to Another at the Same FrameFrom time to time, you’ll want to move an audio

472 Part VI Rough Editing Creating or Separating Stereo PairsAlthough stereo pairs are meant to be used for intrinsically stereo audio like music o

Chapter 32 Audio Editing Basics 473 VIIf the clip items you want to make into a stereo pair have different durations, the clip items are trimmed to

474 Part VI Rough Editing Working with Audio at the Subframe LevelWhile the smallest unit of video is a single frame, the smallest adjustable unit

Chapter 32 Audio Editing Basics 475 VITo slip an audio clip item by subframe units:1 Open a clip with both video and audio items in the Viewer, the

476 Part VI Rough Editing Examples of Ways to Easily Edit AudioAs you work with audio, you may find it helpful to read through these two examples o

Chapter 32 Audio Editing Basics 477 VITo create a section of room tone from a short pause:1 Find the longest pause you can in the dialogue clip wit

478 Part VI Rough Editing 5 Play the resulting clips. The looping sound should be gone, but if you hear a clicking at the edit point between the tw

Chapter 32 Audio Editing Basics 479 VI4 Drag your Room Tone sequence into the Viewer, and move the Viewer playhead to the start of the section of r

48 Part I An Introduction to Final Cut Express To see a clip’s Source property:1 Select a clip in the Browser by clicking it.2 Choose Edit > Ite

480 Part VI Rough Editing 1 Disable linked selection by doing one of the following:Â Click the Linked Selection button (or press Shift-L) so that i

VIIPart VII: Fine-Tuning Your EditLearn how to refine your edit by using trimming tools, adding transitions, nesting sequences within sequences, and s

33 48333 Performing Slip, Slide, Ripple, and Roll EditsOnce your rough edit is complete, you will want to fine-tune your edit. The advanced editi

484 Part VII Fine-Tuning Your Edit Sliding Clips in the TimelinePerforming a slide edit allows you to move a clip’s position in the Timeline betwee

Chapter 33 Performing Slip, Slide, Ripple, and Roll Edits 485 VIITo perform a slide edit, you can drag a clip with the Slide tool. For precision ad

486 Part VII Fine-Tuning Your Edit 3 Release the mouse button.Performing Precise Slide Edits NumericallyIf you need to slide a clip just two or thr

Chapter 33 Performing Slip, Slide, Ripple, and Roll Edits 487 VIINote: You can specify the default number of frames to trim by changing the Multi-

488 Part VII Fine-Tuning Your Edit Note: To slip a clip, it must have handles on both sides, meaning that there must be additional media available

Chapter 33 Performing Slip, Slide, Ripple, and Roll Edits 489 VIIAt the same time, the Canvas displays the frames at the In point and the Out point

Chapter 3 Understanding Projects, Clips, and Sequences 49 IAn offline clip has a red slash through its icon in the Browser. In the Timeline, an off

490 Part VII Fine-Tuning Your Edit Note: You can specify the default number of frames to trim by changing the Multi-Frame Trim Size setting in the

Chapter 33 Performing Slip, Slide, Ripple, and Roll Edits 491 VIIUsing the Ripple Tool to Trim an Edit Without Leaving a GapA ripple edit adjusts a

492 Part VII Fine-Tuning Your Edit Performing Ripple EditsA ripple edit changes the duration of a clip item by shortening or extending its In or Ou

Chapter 33 Performing Slip, Slide, Ripple, and Roll Edits 493 VIIPerforming a Ripple Edit in the TimelineWhen you use the Ripple tool to adjust the

494 Part VII Fine-Tuning Your Edit To do a ripple edit in the Timeline:1 Select the Ripple tool in the Tool palette (or press the R key twice).2 Se

Chapter 33 Performing Slip, Slide, Ripple, and Roll Edits 495 VIIWhile you adjust the clip with the Ripple tool, the Canvas shows a two-up display

496 Part VII Fine-Tuning Your Edit About Ripple Edits and Sync Relationships of Clip Items on Other TracksWhen you perform ripple edits, it is fair

Chapter 33 Performing Slip, Slide, Ripple, and Roll Edits 497 VIIIn the example below, Final Cut Express won’t allow you to perform a ripple edit b

498 Part VII Fine-Tuning Your Edit Doing Ripple Edits on Multiple Tracks at OnceYou can perform a ripple edit to edit points in multiple tracks to

Chapter 33 Performing Slip, Slide, Ripple, and Roll Edits 499 VIITo create a split edit using asymmetrical editing:1 Select the Ripple tool.2 Hold

Contents 5 Chapter 10 137 Customizing the Interface137 Changing Browser and Timeline Text Size 137 Moving and Resizing Final Cut Express Windows 13 9

50 Part I An Introduction to Final Cut Express Avoiding Special CharactersThe most conservative filenaming conventions provide the most cross-platf

500 Part VII Fine-Tuning Your Edit 4 Use the Ripple tool to trim the above selection.The video and audio edit points move in opposite directions, c

Chapter 33 Performing Slip, Slide, Ripple, and Roll Edits 501 VIIUsing the Roll Tool to Change Where a Cut OccursA roll edit adjusts the Out point

502 Part VII Fine-Tuning Your Edit Rolling the Position of an Edit Between Two ClipsUsing the Roll tool, you move the Out point of the outgoing cli

Chapter 33 Performing Slip, Slide, Ripple, and Roll Edits 503 VIIRolling Edit Points in the TimelineThe easiest place to see how a roll edit affect

504 Part VII Fine-Tuning Your Edit  Type + (plus) or – (minus) followed by the number of frames to add or subtract from the current edit, then pre

Chapter 33 Performing Slip, Slide, Ripple, and Roll Edits 505 VIITo roll edit points on multiple tracks simultaneously:1 Do one of the following:Â

506 Part VII Fine-Tuning Your Edit Doing Roll Edits in the ViewerFinal Cut Express allows you to perform roll edits in the Viewer by setting In or

34 50734 Learning About Trimming ClipsAdjusting a clip’s duration by moving its In or Out point, or moving the edit point between two clips, is c

508 Part VII Fine-Tuning Your Edit You can trim edits anywhere you can adjust a sequence clip’s In and Out points—the Timeline, the Viewer, and the

Chapter 34 Learning About Trimming Clips 509 VIIControls That Affect Trim EditsBefore you perform a trimming operation, make sure to check that the

Chapter 3 Understanding Projects, Clips, and Sequences 51 IRestricting Length of FilenamesAlthough current file systems such as HFS+ (used by Mac O

510 Part VII Fine-Tuning Your Edit Locked TracksTrim operations with the Ripple tool will only affect clip items on unlocked tracks. If there are c

Chapter 34 Learning About Trimming Clips 511 VIITools for Selecting Edit PointsThere are two tools in the Tool palette that can be used to select e

512 Part VII Fine-Tuning Your Edit Selecting Single Edit PointsA single edit point refers to a single clip item’s In point or Out point, or two adj

Chapter 34 Learning About Trimming Clips 513 VIIm Select the Edit Selection tool in the Tool palette (or press Command-G), then drag to select edit

514 Part VII Fine-Tuning Your Edit Performing edits using the Selection tool is useful for filling in gaps between two clips and for creating gaps

Chapter 34 Learning About Trimming Clips 515 VIIExtending and Shortening Clips in the TimelineA convenient way to extend or shorten a clip in the T

516 Part VII Fine-Tuning Your Edit 3 Choose Sequence > Extend Edit (or press E). The selected edit point is rolled to the position of the playhe

Chapter 34 Learning About Trimming Clips 517 VIIWhen a sequence clip is opened in the Viewer, the scrubber bar shows sprocket holes to indicate tha

518 Part VII Fine-Tuning Your Edit Precision Editing Using TimecodeMost of the editing and trimming tools in the Timeline can be used numerically i

Chapter 34 Learning About Trimming Clips 519 VIIMoving Clips Using TimecodeYou can move one or more selected clips in the Timeline using timecode,

520 Part VII Fine-Tuning Your Edit Using Timecode to Trim Clips in the ViewerIf you’re trimming a clip in the Viewer, you can use timecode to navig

Chapter 34 Learning About Trimming Clips 521 VIIUnderstanding Alert Messages When TrimmingIf you try to perform an edit that isn’t possible, Final

522 Part VII Fine-Tuning Your Edit Clip CollisionThis message appears when you try to perform an edit that might inadvertently cause unselected cli

35 52335 Trimming Clips Using the Trim Edit WindowYou can trim edits precisely in the Trim Edit window. As you trim, you can play back the sectio

524 Part VII Fine-Tuning Your Edit This window shows a two-up display, with the Out point of the outgoing clip on the left and the In point of the

Chapter 35 Trimming Clips Using the Trim Edit Window 525 VIIOpening and Closing the Trim Edit WindowThe Trim Edit window opens when you select edit

526 Part VII Fine-Tuning Your Edit To close the Trim Edit window, do one of the following:m Move the playhead in the Timeline or Canvas away from t

Chapter 35 Trimming Clips Using the Trim Edit Window 527 VIIÂ Scrubber bar: The scrubber bar runs along the entire width of each of the two viewer

528 Part VII Fine-Tuning Your Edit Playback Controls for Individual ClipsThese controls allow you to move the playhead on either side of the edit p

Chapter 35 Trimming Clips Using the Trim Edit Window 529 VIIOutgoing Clip Area Outgoing clip duration: Displays the total time between the curren

IIPart II: Learning About the Final Cut Express InterfaceGet familiar with the Browser, Viewer, Canvas, and Timeline, and learn how to customize the F

530 Part VII Fine-Tuning Your Edit Incoming Clip Area Incoming clip duration: Displays the total time between the current In and Out points for t

Chapter 35 Trimming Clips Using the Trim Edit Window 531 VIIPlaying Incoming and Outgoing Clips in the Trim Edit WindowIf you are performing a ripp

532 Part VII Fine-Tuning Your Edit 3 Choose a ripple or roll edit by doing one of the following:Â Click the left image to trim the outgoing clip wi

Chapter 35 Trimming Clips Using the Trim Edit Window 533 VII4 Trim the edit point by doing any of the following:Â Click the trim buttons or use the

534 Part VII Fine-Tuning Your Edit Reviewing and Playing Back Your Edits in the Trim Edit WindowTo play the edit using the transport controls, do o

Chapter 35 Trimming Clips Using the Trim Edit Window 535 VIIListening to Audio While TrimmingWhen you play back the outgoing or incoming clip in th

536 Part VII Fine-Tuning Your Edit To hear only the selected audio tracks in the Timeline while using the J, K, and L keys in the Trim Edit window:

36 53736 Adding TransitionsYou can add cross dissolves and other transitions between cuts to make your program more interesting. You can also add

538 Part VII Fine-Tuning Your Edit Video made this process faster and easier. By mixing two video signals together, you could watch a dissolve imme

Chapter 36 Adding Transitions 539 VIIUsing Transitions in Your SequencesTransitions, especially dissolves, generally give the viewer an impression

540 Part VII Fine-Tuning Your Edit Having Handles at Edit PointsClips must have handles if you want to transition between them. Handles are additio

Chapter 36 Adding Transitions 541 VIIÂ Centered on the cut: Choose this alignment if you want the cut point between the two clips to be the midpoi

542 Part VII Fine-Tuning Your Edit Quickly Adding the Default Transition to Clips in Your SequenceYou can quickly add the default transition betwee

Chapter 36 Adding Transitions 543 VIITo change the position of the transition, see “Changing the Alignment of a Transition in the Timeline” on page

544 Part VII Fine-Tuning Your Edit To add a transition from the Effects tab in the Browser:m Drag a transition from the Effects tab in the Browser

Chapter 36 Adding Transitions 545 VIITo fade to or from black:m Add a cross dissolve transition to one of the following:Â The beginning of the firs

546 Part VII Fine-Tuning Your Edit Moving a Transition to Another Edit PointYou can move a transition from one edit point to another. The transitio

Chapter 36 Adding Transitions 547 VIIDeleting TransitionsTransitions that you’ve added to your sequence can easily be removed.To delete a transitio

548 Part VII Fine-Tuning Your Edit To change a transition’s duration in the Timeline by dragging:1 Select the Selection tool, then move the pointer

Chapter 36 Adding Transitions 549 VIIChanging the Alignment of a Transition in the TimelineTransitions can either start on, center on, or end on an

4 554 Overview of the Final Cut Express InterfaceThe Final Cut Express interface has four main windows and a Tool palette. This chapter covers th

550 Part VII Fine-Tuning Your Edit Replacing TransitionsIf you change your mind about which transition you want in an edit, it’s easy to change it.

Chapter 36 Adding Transitions 551 VIIDissolveAdditive Dissolve Adds the two clips so that the first clip fades out and the second fades in.Cross Di

552 Part VII Fine-Tuning Your Edit QuickTimeQuickTime includes a set of built-in video effects listed here, some of which are implementations of st

Chapter 36 Adding Transitions 553 VIISlideBand Slide Bands of the first clip slide in parallel directions to reveal the second clip. You can adjust

554 Part VII Fine-Tuning Your Edit WipeBand Wipe Wipes a band across the first clip to reveal the second. You can specify the number of bands and t

Chapter 36 Adding Transitions 555 VIIUsing After Effects TransitionsFinal Cut Express supports After Effects plug-ins that have been specifically d

37 55737 Refining Transitions Using the Transition EditorUse the Transition Editor to precisely modify a transition and preview it before you ren

558 Part VII Fine-Tuning Your Edit Controls in the Transition EditorWhen you double-click a transition in the Timeline or the Effects tab of the Br

Chapter 37 Refining Transitions Using the Transition Editor 559 VIIAlignment ButtonsThe selected button indicates the current alignment of your tra

56 Part II Learning About the Final Cut Express Interface Before working in a window in Final Cut Express, you must make sure it’s the currently se

560 Part VII Fine-Tuning Your Edit RulerThe ruler displays a close-up view of the frames surrounding the transition in your sequence. The ruler and

Chapter 37 Refining Transitions Using the Transition Editor 561 VIIDragging the transition bar from the middle results in a roll edit, which moves

562 Part VII Fine-Tuning Your Edit To reverse the direction of an effect, click the Reverse Transition button. If you reverse the direction for the

Chapter 37 Refining Transitions Using the Transition Editor 563 VIIOpening and Modifying Transitions in the Transition EditorWhen you open a transi

564 Part VII Fine-Tuning Your Edit To apply a modified transition directly to your sequence in the Timeline:m Drag the transition’s drag hand to an

Chapter 37 Refining Transitions Using the Transition Editor 565 VIIAbout the Two-Up Display in the CanvasYou can drag the pointer in the Transition

566 Part VII Fine-Tuning Your Edit Doing a Roll Edit to Change the Location of a TransitionIf you move the pointer over the middle of a transition

Chapter 37 Refining Transitions Using the Transition Editor 567 VIIDoing a Ripple Edit to Adjust the Length of a Clip in a TransitionEven when a tr

568 Part VII Fine-Tuning Your Edit Previewing and Rendering TransitionsMany transitions can play back in real-time, depending on your system and th

Chapter 37 Refining Transitions Using the Transition Editor 569 VIIPreviewing Transitions Before Rendering ThemIf you have to render your transitio

Chapter 4 Overview of the Final Cut Express Interface 57 IIUsing Keyboard Shortcuts, Buttons, and Shortcut MenusFinal Cut Express offers several me

38 57138 Sequence-to-Sequence EditingYou can edit from one sequence to another, either by nesting one sequence into another, or by actually editi

572 Part VII Fine-Tuning Your Edit There are a few different ways to add content from one sequence to another:Â Copying and pasting clips from one

Chapter 38 Sequence-to-Sequence Editing 573 VII4 Do one of the following:Â To do an insert edit, drag the clips where you want them to appear in th

574 Part VII Fine-Tuning Your Edit  To do an overwrite edit, drag the clips where you want them to appear in the other sequence, positioning the p

Chapter 38 Sequence-to-Sequence Editing 575 VII5 In the Timeline for the second sequence, do one of the following:Â Position the playhead where you

576 Part VII Fine-Tuning Your Edit Nesting SequencesFinal Cut Express allows you to treat sequences as clips. You can open sequences in the Viewer

Chapter 38 Sequence-to-Sequence Editing 577 VIINesting a Sequence Inside Another SequenceYou can edit the contents of a sequence, render it, and th

578 Part VII Fine-Tuning Your Edit This is quite helpful, since otherwise you’d end up with gaps in your parent sequence whenever you change the le

Chapter 38 Sequence-to-Sequence Editing 579 VIIEditing the Content of One Sequence into Another Without Nesting ItInstead of nesting one sequence i

58 Part II Learning About the Final Cut Express Interface Using Shortcut MenusShortcut menus (also called contextual menus) are available in nearly

580 Part VII Fine-Tuning Your Edit If you hold down the Command key while dragging Sequence A into the Canvas, you’ll edit the clips contained with

Chapter 38 Sequence-to-Sequence Editing 581 VIITo edit all content from one sequence into another using the Canvas Edit Overlay:1 Open your destina

582 Part VII Fine-Tuning Your Edit To edit all content from one sequence into another using keyboard shortcuts:1 Open your destination sequence (wh

Chapter 38 Sequence-to-Sequence Editing 583 VII4 Keeping the mouse button held down, press the Command key. 5 Keeping the Command key held down, re

39 58539 Matching FramesYou can use the frame displayed in the Canvas to open the matching frame of a master clip in the Viewer. You can also ope

586 Part VII Fine-Tuning Your Edit Opening a Sequence Clip in the ViewerWhen you open a sequence clip in the Viewer, you can work with it directly

Chapter 39 Matching Frames 587 VIISwitching Between the Viewer, Canvas, and TimelineWhen you work with sequence clips in the Viewer, you can quickl

588 Part VII Fine-Tuning Your Edit To make a ripple, roll, slip, or duration change to a sequence clip in the Viewer:1 Open the sequence clip in th

Chapter 39 Matching Frames 589 VIIMatching a Frame in the Canvas to Its Master ClipSometimes you’ll want to view the master clip that a sequence cl

Chapter 4 Overview of the Final Cut Express Interface 59 IICustomizing the InterfaceFinal Cut Express allows you to customize the interface in seve

590 Part VII Fine-Tuning Your Edit Important: If you open a source media file in the Viewer and drag it to the Browser, a new master clip is creat

VIIIPart VIII: Audio MixingLearn how to connect audio equipment and use the Final Cut Express audio mixing tools to complete your movie’s soundtrack.C

40 59340 Setting Up for Audio Mixing in Final Cut ExpressThis chapter introduces basic concepts for mixing audio and configuring your audio syste

594 Part VIII Audio Mixing Sample RateThe sample rate is the number of times an analog signal is measured—or sampled—per second. You can also think

Chapter 40 Setting Up for Audio Mixing in Final Cut Express 595 VIII When a sample is made, the audio level of the analog signal often falls in

596 Part VIII Audio Mixing When the number of bits per sample is increased, each sample can more accurately represent the audio signal.To avoid rou

Chapter 40 Setting Up for Audio Mixing in Final Cut Express 597 VIIIAudio Signal Flow in Final Cut ExpressWhen you play a sequence, you also need t

598 Part VIII Audio Mixing Setting Monitoring Levels and Muting System Sound EffectsWhen you mix your audio, it’s important to monitor using a cons

Chapter 40 Setting Up for Audio Mixing in Final Cut Express 599 VIIITo route Mac OS X alert sounds and sound effects through your computer’s built-

6 Contents 182 Preparing to Capture 182 Organizing and Labeling Your Tapes 183 Logging Your Tapes 184 Choosing a Filenaming Scheme 184 Determining Ho

60 Part II Learning About the Final Cut Express Interface Working with Tabs and Tabbed WindowsThe Viewer and Browser contain tabs that let you acce

600 Part VIII Audio Mixing Frequency Response and Dynamic RangeThe quality of speakers varies greatly depending on their purpose as well as their p

Chapter 40 Setting Up for Audio Mixing in Final Cut Express 601 VIIIAmplifiers and Signal Levels for Unpowered SpeakersUnpowered speakers require s

602 Part VIII Audio Mixing Speaker Placement and Listening PositionMost video editing suites use near-field monitors, which are speakers designed t

41 60341 Evaluating Levels with Audio MetersYou use audio meters to keep levels consistent throughout your movie and to make sure audio signals n

604 Part VIII Audio Mixing The most important distinction is the difference between an audio clip’s peaks and its average loudness:Â Peaks are shor

Chapter 41 Evaluating Levels with Audio Meters 605 VIIIImportant: Final Cut Express can handle digital audio levels above 0 dBFS by internally usi

606 Part VIII Audio Mixing About the Audio Meters in Final Cut ExpressFinal Cut Express uses floating audio meters that display the output levels o

Chapter 41 Evaluating Levels with Audio Meters 607 VIIIÂ Audio gain and normalization: Before cutting and mixing multiple audio sources together,

608 Part VIII Audio Mixing To apply normalization gain to audio clip items in a sequence:1 Select one or more audio clip items in a sequence.2 Choo

Chapter 41 Evaluating Levels with Audio Meters 609 VIIITroubleshooting Audio NormalizationThere are a few issues to be aware of when you use the Ga

Chapter 4 Overview of the Final Cut Express Interface 61 IITo make a tab appear in its own window:m Drag the tab out of its parent window (Browser,

610 Part VIII Audio Mixing How much dynamic range you allow in your audio mix depends on its ultimate destination. If you’re editing a program for

42 61142 Mixing Audio in the Timeline and ViewerYou can control audio levels and pan in the Timeline and the Viewer. You can make adjustments to

612 Part VIII Audio Mixing To display clip overlays in the Timeline:1 Open a sequence in the Timeline, then choose Sequence > Settings.2 Click t

Chapter 42 Mixing Audio in the Timeline and Viewer 613 VIIITo add a keyframe to the audio level overlay of a clip in the Timeline:1 Do one of the f

614 Part VIII Audio Mixing To adjust a section of a clip’s overlay in the middle of four keyframes:m Drag just that section up or down, as if you w

Chapter 42 Mixing Audio in the Timeline and Viewer 615 VIIIChanging Audio Levels in the ViewerYou can control the audio levels and placement of sou

616 Part VIII Audio Mixing How these controls affect the level of your clip depends on whether or not you’ve set keyframes for either audio level o

Chapter 42 Mixing Audio in the Timeline and Viewer 617 VIIITo adjust the audio level using the Level slider:m Drag the Level slider to the left or

618 Part VIII Audio Mixing To adjust the audio level by using the Modify menu:1 Select one or more clips in the Timeline, or place the Canvas or Ti

Chapter 42 Mixing Audio in the Timeline and Viewer 619 VIIIChanging the Pan of Audio in the ViewerTo adjust the stereo placement of your sound, you

62 Part II Learning About the Final Cut Express Interface Moving WindowsThere are several ways you can move windows in Final Cut Express. You can m

620 Part VIII Audio Mixing Changing Pan for an Entire ClipWhen you edit a new clip into a sequence, the default stereo value depends on what kind o

Chapter 42 Mixing Audio in the Timeline and Viewer 621 VIIITo adjust pan by dragging the pan overlay:1 In the waveform display area of the Viewer,

622 Part VIII Audio Mixing Adjusting Clip Audio Levels and Pan Using KeyframesInstead of setting the audio level or pan of an entire clip to the sa

Chapter 42 Mixing Audio in the Timeline and Viewer 623 VIIIUsing the Command Key to Gear Down Adjustment SpeedIn Final Cut Express, items you drag

624 Part VIII Audio Mixing Until you create at least one audio level or pan keyframe in your audio clip, changes you make affect the level or stere

Chapter 42 Mixing Audio in the Timeline and Viewer 625 VIIITo set additional keyframes:1 Move the playhead to another point in the clip where you w

626 Part VIII Audio Mixing To adjust a section of an overlay in the middle of four keyframes:m Move the pointer over the section you want to adjust

Chapter 42 Mixing Audio in the Timeline and Viewer 627 VIIITo delete a keyframe, do one of the following:m Move the playhead to the position of the

628 Part VIII Audio Mixing Example: Using Keyframes to Adjust Audio LevelsYou need at least two keyframes to make any dynamic change from one audi

Chapter 42 Mixing Audio in the Timeline and Viewer 629 VIIIExample: Using Keyframes in the Timeline to Automate Audio LevelsSuppose you’ve edited

Chapter 4 Overview of the Final Cut Express Interface 63 IIUndoing and Redoing ChangesYou can undo changes you make in your projects, sequences, an

630 Part VIII Audio Mixing Then, releasing the Option key, you can drag the area in the middle of each group of four keyframes down, to lower the l

Chapter 42 Mixing Audio in the Timeline and Viewer 631 VIIITo set and adjust subframe audio level keyframes:1 Open the clip in the Viewer and click

632 Part VIII Audio Mixing 5 Click the Level Keyframe button and reposition the playhead to place two keyframes at the beginning of the click and t

Chapter 42 Mixing Audio in the Timeline and Viewer 633 VIIIExample: Using Keyframes to Control PanSetting keyframes to change pan dynamically work

634 Part VIII Audio Mixing 3 Drag the Pan slider all the way to the left, so that the sound starts playing out of the left speaker.4 Now, move the

Chapter 42 Mixing Audio in the Timeline and Viewer 635 VIII5 Drag the Pan slider all the way to the right, so that the sound ends playing out of th

43 63743 Using the Voice Over ToolThe Voice Over tool lets you record a single audio track directly into a sequence while you watch it. You can u

638 Part VIII Audio Mixing Connecting Audio Devices and Configuring SoftwareSetting up your computer to record voiceover involves several steps.Ste

Chapter 43 Using the Voice Over Tool 639 VIIIImportant: If you select a DV camcorder as your recording device and External Video is enabled in the

64 Part II Learning About the Final Cut Express Interface For example, if you enter 01221419, Final Cut Express interprets it as 01:22:14:19. This

640 Part VIII Audio Mixing To determine the offset of your audio recording device:1 In the Timeline, set the In point of your sequence at 10 second

Chapter 43 Using the Voice Over Tool 641 VIIIRAM Requirements When Using the Voice Over ToolThe Voice Over tool stores audio in RAM during recordin

642 Part VIII Audio Mixing  Status area: Displays the recording status of the Voice Over tool, along with a progress bar that indicates the perce

Chapter 43 Using the Voice Over Tool 643 VIIIInput Area Level: This audio meter displays the input audio levels coming in via the chosen audio in

644 Part VIII Audio Mixing Headphones Area Volume: Use this slider to adjust the level of audio that plays through the headphone port while the V

Chapter 43 Using the Voice Over Tool 645 VIIIÂ If no In point is set: The position of the playhead defines the In point, and recording continues t

646 Part VIII Audio Mixing Defining the Destination TrackAudio that you record using the Voice Over tool is placed in the audio track connected to

Chapter 43 Using the Voice Over Tool 647 VIIIIn the next example, all three audio tracks already have audio edited onto them, and the a2 Source con

648 Part VIII Audio Mixing In the example below, tracks V1, A1, and A2 contain the video and audio for an interview clip. Tracks A3 and A4 contain

Chapter 43 Using the Voice Over Tool 649 VIIITo record a voiceover (or any other single-channel audio source):1 Choose Tools > Voice Over. In th

5 655 Browser BasicsThe Browser is where you organize all of the clips in your project.This chapter covers the following:Â How You Use the Browse

650 Part VIII Audio Mixing Recording Multiple TakesEach time you record a clip using the Voice Over tool, the a2 destination track automatically mo

Chapter 43 Using the Voice Over Tool 651 VIIIHow Audio Recorded with the Voice Over Tool Appears in Your SequenceAudio is recorded during the pre-

44 65344 Using Audio FiltersAudio filters are used for a variety of purposes, from audio cleanup to special effects. Filter parameters can be cop

654 Part VIII Audio Mixing Overview of Audio FiltersFilters in Final Cut Express are always nondestructive, meaning they are applied to clips but n

Chapter 44 Using Audio Filters 655 VIIIFrequency Ranges and EqualizationThe entire range of human hearing, from 20 Hz to 20,000 Hz, can be broken i

656 Part VIII Audio Mixing Equalization Filters Available in Final Cut ExpressThe following equalization filters are included with Final Cut Expres

Chapter 44 Using Audio Filters 657 VIIIGain FilterUnlike other audio filters in Final Cut Express, the Gain filter is applied automatically to sele

658 Part VIII Audio Mixing The Compressor/Limiter filter has five controls:Â Threshold: This parameter defines how loud the signal must be before

Chapter 44 Using Audio Filters 659 VIIIUnlike a compressor, which affects the loud parts of a signal, expansion affects the quiet parts of the sign

66 Part II Learning About the Final Cut Express Interface Learning About the BrowserBy default, you view items in the Browser in icon view, which l

660 Part VIII Audio Mixing  Gain: This slider lets you set how much of the signal you’re attenuating. By default, it’s set to the maximum value o

Chapter 44 Using Audio Filters 661 VIIIBoth Echo and Reverberation filter settings are described below:Â Effect Mix: This slider determines how mu

662 Part VIII Audio Mixing Working with Audio FiltersFilters can be added to any audio clip in a project. You can add filters individually or in gr

Chapter 44 Using Audio Filters 663 VIIIAll filters have several controls in common:Â Parameter disclosure triangle: This allows you to show or hid

664 Part VIII Audio Mixing Applying Filters to an Audio ClipApplying audio filters to clips in Final Cut Express is easy.To apply an audio filter t

Chapter 44 Using Audio Filters 665 VIIITo apply multiple filters to a clip in a sequence, do one of the following:m Continue to apply more filters

666 Part VIII Audio Mixing To copy filters from one clip and paste them into another:1 Select a clip in the Timeline with a filter applied to it.2

Chapter 44 Using Audio Filters 667 VIIIModifying and Removing FiltersTo modify filters in a sequence, open the clip to which the filter is applied

668 Part VIII Audio Mixing Making Real-Time Audio Filter AdjustmentsYou may find it easier to make adjustments to an audio filter while the clip it

Chapter 44 Using Audio Filters 669 VIII3 Choose View > Loop Playback to enable looped playback. 4 To loop playback, choose Mark > Play > I

Chapter 5 Browser Basics 67 IIWorking in the BrowserBefore you can work in the Browser, it must be the currently selected, or active, window. Other

670 Part VIII Audio Mixing Adjusting Audio Filter Parameter KeyframesYou can add keyframes to audio filter parameters using the Selection and Pen t

Chapter 44 Using Audio Filters 671 VIIITo move the playhead in the Viewer from one keyframe to another, do one of the following:m Click the left or

672 Part VIII Audio Mixing To delete a keyframe, do one of the following:m Move the playhead to the keyframe you want to delete, then click that pa

Chapter 44 Using Audio Filters 673 VIIIInstalling Third-Party Audio Units FiltersIf you install third-party Audio Units filters, they will be avail

IXPart IX: Effects and Color CorrectionLearn how to use the powerful effects capabilities of Final Cut Express to enhance your project. Add filters, c

45 67745 Using Video FiltersOnce you have clips in a sequence, you can apply filters to process and modify the visual content of your clips. This

678 Part IX Effects and Color Correction  Create and manipulate transparency effects: Use filters like the Chroma Keyer or Garbage Matte to creat

Chapter 45 Using Video Filters 679 IXTo apply a filter to a clip in a sequence, do one of the following:m Select one or more clips in the Timeline,

68 Part II Learning About the Final Cut Express Interface Navigating Within the Browser Using the KeyboardYou can navigate to items in the Browser

680 Part IX Effects and Color Correction To apply a filter to part of a clip in a sequence:1 Select the Range Selection tool in the Tool palette (o

Chapter 45 Using Video Filters 681 IXTo reposition the filter Start and End points:m In the keyframe graph area, drag the Start or End point of the

682 Part IX Effects and Color Correction m Shift-click or Command-click to select multiple filters in the Effects tab of the Browser, then drag the

Chapter 45 Using Video Filters 683 IXControls in the Filters Tab of the ViewerThere are various controls you can use to manipulate filters in Final

684 Part IX Effects and Color Correction  Current Timecode field: This field displays the position of the playhead in the keyframe graph area. Wh

Chapter 45 Using Video Filters 685 IXÂ Keyframe graph ruler: The keyframe graph ruler corresponds to the duration of the clip or the location of a

686 Part IX Effects and Color Correction SlidersBy default, sliders only show whole integer values. To adjust the corresponding value to within two

Chapter 45 Using Video Filters 687 IXPoint ControlPoint controls are used to specify locations in the Canvas. To define a new location with x and y

688 Part IX Effects and Color Correction To gear down the dial’s movement for a more precise value:m Press the Command key while adjusting the cont

Chapter 45 Using Video Filters 689 IXClip WellSome filters, such as the Bumpmap filter, contain a clip well that allows you to use video from any c

Chapter 5 Browser Basics 69 II Renaming Clips, Sequences, and Bins You can rename items within Final Cut Express. Renaming clips does not chang

690 Part IX Effects and Color Correction To rearrange the order of filters in the Filters tab:m Drag a filter up or down in the list to change the

Chapter 45 Using Video Filters 691 IXTo use the Paste Attributes command to paste filters into a clip:1 Select a clip in the Timeline that has a fi

46 69346 Color CorrectionFinal Cut Express includes powerful color correction features that let you analyze clips in your project and perform col

694 Part IX Effects and Color Correction Why Color Correct Your Footage?There are a number of reasons why you may want to color correct your footag

Chapter 46 Color Correction 695 IXÂ Achieve a “look”: The process of color correction is not simply one of making all the video in your piece matc

696 Part IX Effects and Color Correction Managing Color During Post-ProductionThe way you manage color in your program depends on whether your sour

Chapter 46 Color Correction 697 IXThe goals of color correction at this stage depend on the length of the project. Short projects, commercials, sp

698 Part IX Effects and Color Correction Tape-to-Tape Color CorrectionWith projects shot on videotape, the color correction process tends to be a l

Chapter 46 Color Correction 699 IXColor Correction in Final Cut ExpressWith as much control as they afford, telecine sessions tend to be expensive,

Contents 7 238 Editing Video Using the Apple Intermediate Codec239 Outputting HDV to Tape or Exporting to a QuickTime Movie240 HDV Format Specificati

70 Part II Learning About the Final Cut Express Interface Customizing the Browser DisplayThere are various ways you can display items in the Browse

700 Part IX Effects and Color Correction Keyboard shortcut FunctionTemporarily moves the playhead to the Out point of the clip two edits back.Tempo

Chapter 46 Color Correction 701 IXThe Color Correction ProcessAs mentioned earlier, color correction has several goals. To outline the process of c

702 Part IX Effects and Color Correction Step 3: Add additional color correction as necessaryIt’s important to remember that you don’t have to do

Chapter 46 Color Correction 703 IXThe Final Cut Express Color Correction FiltersThere are a number of filters you can use to adjust the blacks, whi

704 Part IX Effects and Color Correction About the Controls in the Color Corrector FilterAs with all other filters, clicking the disclosure triangl

Chapter 46 Color Correction 705 IXGeneral Controls There are several basic controls in the top-left corner of the filter. Numeric button (appears

706 Part IX Effects and Color Correction Copy Filter ControlsThe Copy Filter controls give you an easy way to copy the Color Corrector filter and f

Chapter 46 Color Correction 707 IXWorking with the Copy Filter ControlsThe Copy Filter controls are designed to help you color correct sequences th

708 Part IX Effects and Color Correction To copy Color Corrector filter settings forward to another clip:1 Double-click a sequence clip with the Co

Chapter 46 Color Correction 709 IX“Copy From” RuleIf the current clip has multiple filters and you’re copying from a clip with multiple filters, Fi

Chapter 5 Browser Basics 71 IIWorking with the Browser in List ViewWhen items are displayed as a list, the Browser displays information about the i

710 Part IX Effects and Color Correction “Copy To” RuleIf the current clip has multiple filters and you’re copying to a clip with multiple filters,

Chapter 46 Color Correction 711 IXKeyboard Shortcuts for the Copy Filter ControlsThe Copy Filter controls have keyboard equivalents, described here

712 Part IX Effects and Color Correction The Color Corrector filter has a Balance control that lets you manipulate the whites in a clip, as well as

Chapter 46 Color Correction 713 IXÂ Hue control: Rotate the Hue control to change the overall hue of the affected clip. Â Hue Reset button: Click

714 Part IX Effects and Color Correction  Blacks slider: Drag this slider to adjust the minimum level of black in the affected clip, deepening or

Chapter 46 Color Correction 715 IXÂ Match Hue eyedropper: Clicking the Match Hue eyedropper turns the pointer into an eyedropper when it’s moved i

716 Part IX Effects and Color Correction 5 Click the Auto Contrast button to maximize the range from white to black in your clip. The Whites and Bl

Chapter 46 Color Correction 717 IXRemember, don’t select an area that’s overexposed, like a light source or a shiny highlight. This does not give y

718 Part IX Effects and Color Correction Note: When using the Auto-Balance eyedropper, it’s important to recognize that the color temperature of t

Chapter 46 Color Correction 719 IXThe Desaturate Highlights and Desaturate Lows FiltersSometimes, the use of the Color Corrector filter results in

72 Part II Learning About the Final Cut Express Interface To hide a column:m Control-click the column heading, then choose Hide Column from the sho

720 Part IX Effects and Color Correction Highlight Desaturation Controls Enable: Allows you to enable or disable the Highlight Desaturation contr

Chapter 46 Color Correction 721 IX1 Move the Apply Above slider to the left to gradually include more of the brightest areas of the picture in the

47 72347 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

724 Part IX Effects and Color Correction Adjusting Parameters in the Motion TabMotion parameters are located in the Motion tab of the Viewer. When

Chapter 47 Changing Motion Parameters 725 IXTo enable the Drop Shadow or Motion Blur attribute:m Select the checkbox next to Drop Shadow or Motion

726 Part IX Effects and Color Correction Controls in the Motion TabThe following section describes the attributes and related parameters in the Mot

Chapter 47 Changing Motion Parameters 727 IXDistort ParametersChange a clip’s Distort parameters to alter the rectangular shape of a clip or to giv

728 Part IX Effects and Color Correction Motion Blur ParametersMotion blur affects any clip that has motion, whether it’s a moving subject in a vid

Chapter 47 Changing Motion Parameters 729 IXUsing Cartesian Geometry to Position ClipsFinal Cut Express compositing features use simple Cartesian g

Chapter 5 Browser Basics 73 IITo scrub, or move, through a thumbnail:m Drag the thumbnail image in the direction you want to view.Note: You can al

730 Part IX Effects and Color Correction To move a clip up:m Enter a negative value for the clip’s y coordinate.For example, suppose the center poi

Chapter 47 Changing Motion Parameters 731 IXExamples Using Motion SettingsThe following two examples demonstrate how you can use motion settings to

732 Part IX Effects and Color Correction 3 From the Browser, open the first clip you want to arrange in the background of your composition, then ed

Chapter 47 Changing Motion Parameters 733 IX6 Drag the Rotation Angle control (the dial) to the left so that it reads “–28.”A negative value rotate

734 Part IX Effects and Color Correction Note: For more information about using basic geometry to position clips, see “Using Cartesian Geometry to

Chapter 47 Changing Motion Parameters 735 IX10 Select the Basic Motion checkbox, then click OK.The two clips occupy the same position in the Canvas

736 Part IX Effects and Color Correction 12 In the left number field of the Center parameter (the x coordinate), delete the minus sign (–), then pr

Chapter 47 Changing Motion Parameters 737 IX14 Using the same sequence In and Out points that you’ve been using, set the destination track of your

738 Part IX Effects and Color Correction 17 Choose View > Show Title Safe.∏ Tip: Viewing title safe and action safe boundaries is especially im

Chapter 47 Changing Motion Parameters 739 IXExample: Using Additional Motion Settings to Refine the LayoutIn this example, the Crop, Opacity, and

74 Part II Learning About the Final Cut Express Interface Working with the Browser in Icon ViewIn large, medium, or small icon view, you arrange yo

740 Part IX Effects and Color Correction 7 Drag the Top and Bottom sliders in the Crop attribute to the right until they are set to 5. Now, you’ll

Chapter 47 Changing Motion Parameters 741 IX11 Open the background clip on track V1, then click its Motion tab. Click the Opacity disclosure triang

742 Part IX Effects and Color Correction To put the Canvas into Image+Wireframe mode, do one of the following:m Choose View > Image+Wireframe.m

Chapter 47 Changing Motion Parameters 743 IXZooming In to the CanvasIn the Canvas, you can choose a magnification level to help you work with your

744 Part IX Effects and Color Correction Using Wireframe Handles to Transform, Scale, and RotateIn many instances, you may find that dragging the h

Chapter 47 Changing Motion Parameters 745 IXTo move a clip:1 Select a clip in the Timeline.2 Select the Selection tool in the Tool palette, then dr

746 Part IX Effects and Color Correction To scale and rotate a clip:m Command-drag a Scale/Distort handle.To distort the shape of a clip:1 Select a

Chapter 47 Changing Motion Parameters 747 IXTo crop a clip:1 Select a clip in the Timeline.2 Select the Crop tool in the Tool palette, then do one

748 Part IX Effects and Color Correction Example: Using Motion Parameters and Wireframe HandlesIn this example, you’ll put a graphic on the side o

Chapter 47 Changing Motion Parameters 749 IX3 In the Canvas or Timeline, position the playhead over the clip you just edited into track V1, then se

Chapter 5 Browser Basics 75 IITo scrub through clips in large icon view:1 Do one of the following:Â Select the Scrub Video tool in the Tool palette

750 Part IX Effects and Color Correction 6 With the Selection tool selected, hold down the Shift key, then drag one of the corners of the sign grap

48 75148 Adjusting Parameters for Keyframed EffectsAutomated audio level adjustments, opacity changes between layers, shifting color values, and

752 Part IX Effects and Color Correction Many clip parameters can be keyframed: Opacity Motion settings Generators  Filters Audio level Pan s

Chapter 48 Adjusting Parameters for Keyframed Effects 753 IXAdding additional keyframes increases the complexity of the effect, but the area in bet

754 Part IX Effects and Color Correction Using Three Keyframes With three keyframes, you can create more complex effects, such as a curved motion p

Chapter 48 Adjusting Parameters for Keyframed Effects 755 IXÂ Keyframe button: Click to place a keyframe for the corresponding parameter in the ke

756 Part IX Effects and Color Correction  Zoom slider: Lets you zoom in and out of the duration displayed by the keyframe graph ruler. Drag the t

Chapter 48 Adjusting Parameters for Keyframed Effects 757 IXSetting KeyframesUntil you create at least one keyframe for a parameter of a clip, chan

758 Part IX Effects and Color Correction Adjusting and Deleting KeyframesAfter you add keyframes to a parameter, you can adjust keyframes to produc

Chapter 48 Adjusting Parameters for Keyframed Effects 759 IXAs you drag, a box shows the timecode duration of the change you’re making.To delete a

76 Part II Learning About the Final Cut Express Interface Automatically Arranging Clips in Icon ViewWhen you’re in icon view in the Browser, you ca

760 Part IX Effects and Color Correction Resizing the Keyframe Graph AreaFor precise keyframe adjustments, you can resize the display height and wi

Chapter 48 Adjusting Parameters for Keyframed Effects 761 IXTo adjust the width of the keyframe graph area:m Drag the lower-right corner of the Vie

762 Part IX Effects and Color Correction To zoom using keyboard shortcuts:1 With the keyframe graph area open, place the playhead at the location i

Chapter 48 Adjusting Parameters for Keyframed Effects 763 IXTo scroll along the entire duration of your clip:m Drag the center of the Zoom slider t

764 Part IX Effects and Color Correction 1 Edit two clips of equal duration into your sequence, each on its own video track. Note: The clip you wa

Chapter 48 Adjusting Parameters for Keyframed Effects 765 IX8 In the keyframe graph area, move the pointer to the left of the two keyframes on the

766 Part IX Effects and Color Correction 3 Position the pointer over the opacity overlay (located directly on top of the clip on track V2). When th

Chapter 48 Adjusting Parameters for Keyframed Effects 767 IX5 Release the Option key, then drag each of the opacity overlay segments between keyfra

768 Part IX Effects and Color Correction Understanding Bezier Handles and CurvesWhen adjusting the Bezier handles that are attached to a smoothed c

Chapter 48 Adjusting Parameters for Keyframed Effects 769 IXTwo-Sided Bezier HandlesKeyframes that are in between other keyframes have two-sided Be

Chapter 5 Browser Basics 77 IISetting the Poster FrameThe poster frame is the picture that represents a clip in icon view in the Browser. When you

770 Part IX Effects and Color Correction Smoothing KeyframesSmoothing a keyframe, or adding Bezier handles to it, makes the change from one keyfram

Chapter 48 Adjusting Parameters for Keyframed Effects 771 IXTo change the angle between one side of a Bezier curve and the other:m Hold down the Co

772 Part IX Effects and Color Correction What Are Motion Paths?The simplest motion path is a straight line defined by two center keyframes. Once th

Chapter 48 Adjusting Parameters for Keyframed Effects 773 IX5 In the Canvas, drag the clip’s center point and position the clip at the starting poi

774 Part IX Effects and Color Correction Adding, Moving, and Deleting Keyframes in Motion PathsYou can edit a motion path directly in the Canvas by

Chapter 48 Adjusting Parameters for Keyframed Effects 775 IXTo add Bezier handles to a keyframe in a motion path:m Select the Smooth Point tool in

776 Part IX Effects and Color Correction Controlling Speed Along a Motion PathThe speed at which a clip travels along a motion path is determined b

Chapter 48 Adjusting Parameters for Keyframed Effects 777 IXTo speed up a clip’s motion at the beginning and slow it down as it nears the next keyf

778 Part IX Effects and Color Correction Moving an Entire Motion Path in the CanvasIf you’re happy with the shape of a motion path, but you want to

49 77949 Reusing Effect and Motion ParametersYou can copy the attributes of specific clips and paste them on other clips as an efficient method o

780 Part IX Effects and Color Correction About the Paste Attributes DialogYou select which attributes to paste by using the Paste Attributes dialog

Chapter 49 Reusing Effect and Motion Parameters 781 IXÂ Filters: Adds the parameter values and keyframes for all filters from the clip you copied.

782 Part IX Effects and Color Correction To paste the attributes of a copied clip into another clip:1 In the Timeline, select a clip whose attribut

Chapter 49 Reusing Effect and Motion Parameters 783 IXApplying Filters Across Multiple Tracks at OnceWhen working with multiple layers of video or

50 78550 Changing Clip SpeedYou can adjust a clip’s speed parameters to create fast- or slow-motion effects. This chapter covers the following:Â

786 Part IX Effects and Color Correction How Changing Speed Affects a Clip’s DurationA change in a clip’s speed can affect the duration of the clip

Chapter 50 Changing Clip Speed 787 IXFor example, suppose you want to replace a 5-second shot of a lizard with a 3-second shot of a desert landscap

788 Part IX Effects and Color Correction 5 Do one of the following:Â Drag the clip from the Viewer to the Fit to Fill section of the Edit Overlay i

Chapter 50 Changing Clip Speed 789 IXConstant Speed SettingsApplying a constant speed change to a clip alters the entire clip’s playback speed by t

6 796 Viewer BasicsThe Viewer is used for viewing a clip’s media and preparing clips before editing them into a sequence. This chapter covers the

790 Part IX Effects and Color Correction The simplest speed change you can make to a clip is a constant speed change. You do this using the Speed d

51 79151 Working with Freeze Frames and Still ImagesYou can use still images and photographs in your movie to previsualize scenes, create motion

792 Part IX Effects and Color Correction Creating Freeze Frames from a Video ClipFinal Cut Express makes it easy to create a freeze frame from a vi

Chapter 51 Working with Freeze Frames and Still Images 793 IXAbout Sequence Freeze FramesUnlike a freeze frame of a clip, a sequence freeze frame w

794 Part IX Effects and Color Correction Considerations Before Creating and Importing StillsBefore you start creating graphics and importing still

Chapter 51 Working with Freeze Frames and Still Images 795 IXWorking with Graphics Clips of Different SizesIf you import a graphic or still image w

796 Part IX Effects and Color Correction Bit Depth of Imported GraphicsFinal Cut Express can import graphics with a bit depth of up to 16 bits per

Chapter 51 Working with Freeze Frames and Still Images 797 IXSince every non-square video frame size has an equivalent square frame size that will

798 Part IX Effects and Color Correction Frame Size Chart for Creating GraphicsUse the chart below to determine the frame size you need for creatin

Chapter 51 Working with Freeze Frames and Still Images 799 IXSD NTSC pixels are taller than computer pixels and SD PAL pixels are wider than comput

8 ContentsPart VI Rough EditingChapter 21 289 Working with Projects, Clips, and Sequences290 Working with Projects290 Working with Multiple Projects i

80 Part II Learning About the Final Cut Express Interface  Adjust generator clip controlsGenerators are special clips that can be generated by Fin

800 Part IX Effects and Color Correction Flattening Graphics with LayersMultilayer graphics can be useful for compositing and complex graphics, but

Chapter 51 Working with Freeze Frames and Still Images 801 IXScaling Images and Video Clips to Match a SequenceWhenever you edit a still-image clip

802 Part IX Effects and Color Correction If you want to zoom in to and out of an image, such as a scanned map or photograph, you should use an imag

Chapter 51 Working with Freeze Frames and Still Images 803 IXTo change a clip’s duration, do one of the following:m In the Browser, double-click in

804 Part IX Effects and Color Correction Step 1: Prepare and import your still image into Final Cut ExpressThere are two key things to be aware of

Chapter 51 Working with Freeze Frames and Still Images 805 IXStep 3: Open the image clip in the Motion tab of the Viewer1 Double-click the clip in

806 Part IX Effects and Color Correction 4 Move the playhead to the time when you want the pan to end. 5 Move the image in the Canvas to the ending

52 80752 Compositing and LayeringCompositing is the process of stacking and blending multiple video or graphics clips over one another in a seque

808 Part IX Effects and Color Correction Methods of CompositingOnce you’ve layered clips in the Timeline, you can adjust how each one blends with t

Chapter 52 Compositing and Layering 809 IXÂ Perform a superimpose edit.You can use a superimpose edit to quickly stack a source clip on top of any

Chapter 6 Viewer Basics 81 IITo open a sequence clip in the Viewer from the Timeline or Canvas, do one of the following:m In the Timeline, double-c

810 Part IX Effects and Color Correction There are two ways you can adjust a clip’s opacity:Â Drag the opacity overlay of a clip in the Timeline.Â

Chapter 52 Compositing and Layering 811 IXNote: The overlay appears as a black line if the clip is not selected and as a white line if the clip is

812 Part IX Effects and Color Correction 3 Adjust the opacity by doing one of the following: Drag the Opacity slider to the right or left. Click

Chapter 52 Compositing and Layering 813 IXThese value ranges can be described as blacks, midrange values, or whites. These regions are loosely illu

814 Part IX Effects and Color Correction Applying Composite Modes to ClipsApplying different composite modes to layered clips in a sequence is easy

Chapter 52 Compositing and Layering 815 IXComposite Modes in Final Cut ExpressThe following section describes how composite modes affect two layers

816 Part IX Effects and Color Correction NormalNormal is the default composite mode for clips. When a clip uses Normal composite mode, you can stil

Chapter 52 Compositing and Layering 817 IXSubtractSubtract darkens all overlapping colors. Whites in the foreground image go black, while whites in

818 Part IX Effects and Color Correction MultiplyMultiply emphasizes the darkest parts of each overlapping image, except that midrange color values

Chapter 52 Compositing and Layering 819 IXScreenScreen emphasizes the lightest parts of each overlapping image, except that the midrange color valu

82 Part II Learning About the Final Cut Express Interface  Tabs: There are five tabs that can be shown in the Viewer—Video, Audio, Filters, Motio

820 Part IX Effects and Color Correction OverlayWhites and blacks in the foreground image become translucent and interact with the color values of

Chapter 52 Compositing and Layering 821 IXHard LightWhites and blacks in the foreground image block overlapping areas in the background image. Whit

822 Part IX Effects and Color Correction Suggested uses: The Soft Light composite mode is useful for softly tinting a background image by mixing i

Chapter 52 Compositing and Layering 823 IXLightenLighten emphasizes the lightest parts of each overlapping image. Every pixel in each image is comp

824 Part IX Effects and Color Correction Travel Matte - LumaThe Travel Matte - Luma composite mode does the same thing as the Travel Matte - Alpha

Chapter 52 Compositing and Layering 825 IXTo create a travel matte:1 Place the clip you want to have appear in the background of your composite on

826 Part IX Effects and Color Correction Working with Layered Photoshop FilesYou can create multilayer graphics in Adobe Photoshop for use in a com

Chapter 52 Compositing and Layering 827 IXWorking with Layered Photoshop SequencesWhen you import a layered Photoshop file into Final Cut Express,

828 Part IX Effects and Color Correction Using Video and Graphics Clips with Alpha ChannelsOrdinary video clips have three channels of information

Chapter 52 Compositing and Layering 829 IXImportant: When you import a clip with an alpha channel that contains no data, the clip appears white. T

Chapter 6 Viewer Basics 83 IITabs in the ViewerEach tab in the Viewer provides a specific set of editing functions: Video, Audio, Filters, Motion,

830 Part IX Effects and Color Correction Changing a Clip’s Alpha Channel TypeWhen you import an image file, Final Cut Express identifies the type o

Chapter 52 Compositing and Layering 831 IXÂ Black: Also known as premultiplied (with black). Most other alpha channels, especially channels that a

832 Part IX Effects and Color Correction Choosing a BackgroundWhen working with clips that have an alpha channel, you can choose different backgrou

Chapter 52 Compositing and Layering 833 IXThere are several backgrounds to choose from. Black White Checkerboard 1 Checkerboard 2 Red GreenÂ

834 Part IX Effects and Color Correction Temporarily Disabling a Single ClipIf, instead of disabling an entire track, you only want to disable a si

Chapter 52 Compositing and Layering 835 IXSoloing Clips in Multitrack SequencesWhen working with multiple tracks, you may find it helpful to quickl

53 83753 Keying, Mattes, and MasksYou can isolate specific elements of clips from the background and combine those elements with other clips by u

838 Part IX Effects and Color Correction In Final Cut Express, a matte is a customizable, polygonal shape used to make part of a clip transparent.

Chapter 53 Keying, Mattes, and Masks 839 IXWhat Are Masks and How Are They Used?A mask is an image that is used to create areas of transparency in

84 Part II Learning About the Final Cut Express Interface Filters TabYou use this tab to adjust parameters for any video or audio filters you’ve ap

840 Part IX Effects and Color Correction Using Keying to Isolate Foreground ElementsThere are two different methods used for keying: chroma keying

Chapter 53 Keying, Mattes, and Masks 841 IXWith a high-quality DV camera and good lighting, it’s possible to pull a reasonable key using DV clips,

842 Part IX Effects and Color Correction Overview of Compositing Using the Chroma Keyer FilterAlthough you can use one of several different filters

Chapter 53 Keying, Mattes, and Masks 843 IXA second Matte Choker filter can also be applied to fill holes in the foreground subject that appear as

844 Part IX Effects and Color Correction Step 8: Perform additional adjustments to the background layerFinally, you should spend some time working

Chapter 53 Keying, Mattes, and Masks 845 IXThe visual controls appear in the Chroma Keyer tab.Note: The visual controls also include several Copy

846 Part IX Effects and Color Correction Visual Controls in the Chroma Keyer FilterThe following controls appear in the Chroma Keyer tab in the Vie

Chapter 53 Keying, Mattes, and Masks 847 IXÂ Saturation control: Allows you to adjust the degree and range of saturation that contributes to defin

848 Part IX Effects and Color Correction  Invert Selection button: Click this button to invert the key you’ve defined. For example, suppose you’v

Chapter 53 Keying, Mattes, and Masks 849 IX4 Click the Select Color eyedropper to pick a color in the clip to key, move the pointer to the Canvas (

Chapter 6 Viewer Basics 85 IIÂ Play Around Current Frame (\): Plays the selected clip “around” the current playhead position. When you click this

850 Part IX Effects and Color Correction You can perform this step as many times as you need to. The goal is to eliminate as much of the background

Chapter 53 Keying, Mattes, and Masks 851 IX7 Depending on how the edges of your foreground subject look, you may want to make adjustments using the

852 Part IX Effects and Color Correction 9 If you still see light fringing at this point, or if you were forced to use settings so extreme in the C

Chapter 53 Keying, Mattes, and Masks 853 IX13 Finally, you’re ready to insert the background image. Make sure that the clip you’re editing into you

854 Part IX Effects and Color Correction Using Mattes to Add or Modify Alpha ChannelsYou can use the matte filters to create a new alpha channel or

Chapter 53 Keying, Mattes, and Masks 855 IX3 Move the pointer to the Canvas (the pointer turns into a crosshair pointer), then click to change the

856 Part IX Effects and Color Correction The Choke slider adjusts the overall size of the matte, without changing the shape; the Feather slider blu

Chapter 53 Keying, Mattes, and Masks 857 IX3 Move the playhead to the last frame of the clip, then readjust the Point 1, Point 2, Point 3, and Poin

858 Part IX Effects and Color Correction  Mask Shape: Allows you to create an alpha channel in a clip that consists of a simple shape—a diamond,

Chapter 53 Keying, Mattes, and Masks 859 IX5 Choose Luminance from the Channel pop-up menu. Note: When using a clip’s luma to define transparency,

86 Part II Learning About the Final Cut Express Interface To move the playhead to the next In or Out point, or Media End:m Press the Down arrow key

54 86154 Using Generator ClipsFinal Cut Express can generate several types of clips for you to use in your sequences, including bars and tone, pl

862 Part IX Effects and Color Correction Different Ways to Use Generators in Your SequenceIn creating composites and other effects, you may find so

Chapter 54 Using Generator Clips 863 IXVideo and Audio Generators Available in Final Cut ExpressThe following tables explain the generators availab

864 Part IX Effects and Color Correction Matte Color and SlugYou use the Color and Slug generators to create colored backgrounds or black.Generator

Chapter 54 Using Generator Clips 865 IXRenderYou can use the Render generators to create backgrounds filled with gradient shades of color or grays.

866 Part IX Effects and Color Correction Noise (From the Generator pop-up menu, choose Render > Noise.)Generates random pixel noise, similar to

Chapter 54 Using Generator Clips 867 IXShapesYou can use the Shape generators to create shapes of different colors and sizes that can appear in bac

868 Part IX Effects and Color Correction To create a generator and add it to a sequence:1 Do one of the following:Â Click the Video or Audio tab in

55 86955 Creating TitlesTitles, including opening and closing credits and titles used in the lower part of the screen, are important elements in

Chapter 6 Viewer Basics 87 IIMarking ControlsMarking controls let you set In and Out points, add markers and keyframes, and navigate to matching fr

870 Part IX Effects and Color Correction Installing and Choosing FontsIf there are special fonts you want to install to use in Final Cut Express, y

Chapter 55 Creating Titles 871 IXMaking Sure Titles Fit on TV ScreensIf you plan to show your work on a TV screen or monitor at any time, you’ll wa

872 Part IX Effects and Color Correction Text Generators Available in Final Cut ExpressThe table below describes each text generator and includes t

Chapter 55 Creating Titles 873 IXOutline Text Generates static text with an outline. This generator allows carriage returns. Â Text Graphic and Lin

874 Part IX Effects and Color Correction Creating and Adding a Title ClipWhen you’re creating a title clip for a sequence, you can create a basic t

Chapter 55 Creating Titles 875 IXTo create a title clip:1 Select a text generator by doing one of the following:Â Click the Video or Audio tab in t

876 Part IX Effects and Color Correction  Font Color: Choose the color of your font by doing one of the following: Disclosure triangle: Click t

Chapter 55 Creating Titles 877 IXTo add the title clip to your sequence:1 In your sequence in the Timeline, set your destination track.If you place

878 Part IX Effects and Color Correction Using LiveType to Create Titles for Your ProjectWhen you want to create more dynamic and unique titles tha

XPart X: Real Time and RenderingLearn how to maximize the real-time playback capabilities of Final Cut Express and render effects that cannot be playe

88 Part II Learning About the Final Cut Express Interface Zoom and View Pop-Up MenusThe two pop-up menus near the top of the Viewer let you quickly

56 88156 Using RT ExtremeRT Extreme is the real-time effects architecture that allows you to play back multiple video layers, video and audio fil

882 Part X Real Time and Rendering For basic editing tasks, Final Cut Express handles real-time processing automatically, keeping you focused on th

Chapter 56 Using RT Extreme 883 XFinal Cut Express analyzes a sequence to determine the processor workload required for playback. Different portion

884 Part X Real Time and Rendering Identifying Which Effects Can Play Back in Real TimeThe real-time status of effects can be identified in several

Chapter 56 Using RT Extreme 885 XAbout Render Status Bar TooltipsIf you position the pointer over a render bar, a tooltip appears with information

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

Chapter 56 Using RT Extreme 887 XPlayback Control Tab in System SettingsThe Playback Control tab is located in the System Settings window. It shows

888 Part X Real Time and Rendering To open the Render Control tab:1 Select a sequence or click in the Timeline window to make it active.2 Choose Se

Chapter 56 Using RT Extreme 889 XUnlimited RTChoosing this option tells Final Cut Express to play as many frames as possible when your effects exce

Chapter 6 Viewer Basics 89 IIÂ Fit All: This is similar to the Fit to Window command, but this command takes into account clips whose borders exte

890 Part X Real Time and Rendering Play Base Layer OnlyThe Play Base Layer Only option takes a unique approach to playing back processor-intensive

Chapter 56 Using RT Extreme 891 XBeep When Playing Unrendered AudioThis option is available only in the Playback Control tab of the System Settings

892 Part X Real Time and Rendering Record SettingsWhen using the Print to Video command, you can control the quality of video being output independ

Chapter 56 Using RT Extreme 893 XStill-Image Real-Time PlaybackStill images and imported graphics can also play back in real time. The number of st

894 Part X Real Time and Rendering  Render any clips whose render status bars indicate they can’t be played in real time before you play them back

Chapter 56 Using RT Extreme 895 XÂ Hard disk speed: The faster your hard disk can read data, the more video data Final Cut Express can access in r

896 Part X Real Time and Rendering Calculating the Number of Tracks That Can Be Played Back in Real TimeThe number of tracks Final Cut Express atte

Chapter 56 Using RT Extreme 897 XImproving Real-Time Audio PerformanceYou can optimize real-time audio performance in the following ways:Â Render v

898 Part X Real Time and Rendering Choosing Real-Time Playback Versus RenderingHere are some practical examples of when you might use real-time pla

57 89957 Rendering and Video Processing SettingsWhen you apply more effects to a clip than your computer can process in real time, you need to re

Contents 9320 Setting Sequence In and Out Points in the Canvas or Timeline321 Options for Setting Sequence In and Out Points326 Setting Sequence In an

90 Part II Learning About the Final Cut Express Interface Important: Clips may not play back smoothly if you zoom in on them so far that part of t

900 Part X Real Time and Rendering Rendering is generally required for:Â The use of filters, transitions, generators, or any combination of effects

Chapter 57 Rendering and Video Processing Settings 901 XVideo Render Status BarsThe color of the video render status bar above the Timeline ruler i

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

Chapter 57 Rendering and Video Processing Settings 903 XAbout Item-Level Render Status BarsAn audio clip item in the Timeline may display an indivi

904 Part X Real Time and Rendering The Rendering ProcessWhen you are ready to render, you need to choose render quality settings for your sequence

Chapter 57 Rendering and Video Processing Settings 905 XRendering Segments in a SequenceFinal Cut Express has three render submenus—Render Selectio

906 Part X Real Time and Rendering To render a section of a sequence:1 Do one of the following:Â In the Timeline, select one or more clips or trans

Chapter 57 Rendering and Video Processing Settings 907 XRender AllThe commands in the Render All submenu render all the clips in a sequence corresp

908 Part X Real Time and Rendering Rendering Audio Items in a SequenceThe following commands allow you to render audio items when required for real

Chapter 57 Rendering and Video Processing Settings 909 XUsing the Mixdown CommandSometimes, you may have so many audio items edited into a sequence

Chapter 6 Viewer Basics 91 IIRecent Clips and Generator Pop-Up MenusThe two pop-up menus near the lower-right corner of the Viewer let you quickly

910 Part X Real Time and Rendering Temporarily Disabling RenderingNormally, Final Cut Express attempts to calculate all the effects applied to the

Chapter 57 Rendering and Video Processing Settings 911 XAutomatic Rendering While You Are Away from Your ComputerThe Auto Render option allows you

912 Part X Real Time and Rendering Changing Render SettingsEach sequence has render options you can change in the Render Control tab of the Sequenc

Chapter 57 Rendering and Video Processing Settings 913 XRender SettingsThe Render Control tab provides the following render settings:Â Frame Rate:

914 Part X Real Time and Rendering Managing Your Render FilesRendering produces render files that are actual media files stored on your hard disk,

Chapter 57 Rendering and Video Processing Settings 915 XPreserving Render FilesWhen you make changes to effects, composited media, and other edits

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

Chapter 57 Rendering and Video Processing Settings 917 XHere are some tips for reducing the amount of time it takes to render your sequence:Â Lower

58 91958 Working with Mixed-Format SequencesFinal Cut Express allows you to mix formats in the Timeline so you can combine and play back footage

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

Chapter 58 Working with Mixed-Format Sequences 921 XFormats That Support Real-Time PlaybackFor a list of formats supported by the Final Cut Express

922 Part X Real Time and Rendering Working with Mixed-Format SequencesThis section describes timesaving features for working with mixed-format sequ

Chapter 58 Working with Mixed-Format Sequences 923 XTo automatically conform sequence settings to the settings of the first clip added to the seque

924 Part X Real Time and Rendering When Are Clips Automatically Conformed to a Sequence?Most of the time, Final Cut Express automatically conforms

Chapter 58 Working with Mixed-Format Sequences 925 XIf a clip’s media file frame rate is faster than the sequence frame rate:Final Cut Express drop

926 Part X Real Time and Rendering Combining Interlaced Footage with Different Field DominancesField dominance determines the order in which fields

Chapter 58 Working with Mixed-Format Sequences 927 XMixing Interlaced and Progressive FootageThe scanning method of a clip or sequence is determine

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

Chapter 58 Working with Mixed-Format Sequences 929 XLetterboxing 16:9 Video in a 4:3 FrameTo preserve the aspect ratio of widescreen movies on a 4:

7 937 Canvas BasicsThe Canvas provides an environment for viewing your edited sequence, and works in tandem with the Timeline while you edit.This

930 Part X 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 impo

Chapter 58 Working with Mixed-Format Sequences 931 XPan and ScanThe pan and scan method crops 16:9 clips within a 4:3 frame, but each clip can be u

932 Part X 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 vid

Chapter 58 Working with Mixed-Format Sequences 933 XUpconverting SD VideoUpconverting a 4:3 aspect ratio image to a 16:9 frame results in borders (

XIPart XI: Project Management and SettingsFinal Cut Express features project management tools that help you keep track of your footage. You can also c

59 93759 Backing Up and Restoring ProjectsRoutine backups are a critical part of the editing process. If necessary, you can go back to earlier ve

938 Part XI Project Management and Settings Using the Autosave FeatureAutosave routinely saves copies of your project while you work. If something

Chapter 59 Backing Up and Restoring Projects 939 XIIf you have more than one hard disk, you can routinely save your normal project file on one disk

94 Part II Learning About the Final Cut Express Interface Before you can work in the Canvas, it must be the currently selected, or active, window.

940 Part XI Project Management and Settings Restoring Autosaved ProjectsIf you’re working on your project and decide you want to go back to an earl

Chapter 59 Backing Up and Restoring Projects 941 XIOpening a Project File After Your Computer Is Unexpectedly Shut DownIf your computer is abruptly

942 Part XI Project Management and Settings Depending on the duration of your original footage, the captured media files that you used for your pro

60 94360 Working with Master and Affiliate ClipsMaster-affiliate clip relationships make it easy to manage multiple uses of media files in your p

944 Part XI Project Management and Settings Master-affiliate clip relationships help you to:Â Keep track of which clips in your project use the sam

Chapter 60 Working with Master and Affiliate Clips 945 XIBecause there is only one Name property shared between a master clip and its affiliates, y

946 Part XI Project Management and Settings Implicit and Explicit Master ClipsSuppose you have a sequence that contains a lot of copies of the same

Chapter 60 Working with Master and Affiliate Clips 947 XIFinding a Clip’s Master ClipUsing the Reveal Master Clip command, you can identify the mas

948 Part XI Project Management and Settings To create a master clip from an affiliate clip in the Browser, do one of the following:m Select an affi

Chapter 60 Working with Master and Affiliate Clips 949 XIChanging Independent Clips to Affiliate ClipsIf you have a sequence of independent clips,

Chapter 7 Canvas Basics 95 IILearning About the CanvasThe following is a summary of the controls in the Canvas. Tabs: Each tab in the Canvas repr

950 Part XI Project Management and Settings Using Keyboard Shortcuts to Modify Master-Affiliate Clip RelationshipsThe master clip command in the Mo

Chapter 60 Working with Master and Affiliate Clips 951 XIMoving Clips Between ProjectsFor certain workflows, you may need to create multiple projec

952 Part XI Project Management and Settings Resolving Property Differences Between Matching ClipsSuppose you are editing a project and you send a c

Chapter 60 Working with Master and Affiliate Clips 953 XIA fourth option, described below, allows you to apply the option you choose to all clips a

954 Part XI Project Management and Settings Using the Copy Master Clip DialogThe options in the Copy Master Clip dialog determine the relationship

61 95561 Reconnecting Clips and Offline MediaWhenever a clip’s media file is modified outside of Final Cut Express, the connection between the cl

956 Part XI Project Management and Settings Where Are Captured Media Files Stored?To determine where your media files are stored, you should first

Chapter 61 Reconnecting Clips and Offline Media 957 XIRevealing a Clip’s Media File in the FinderThe fastest way to find a media file is to use the

958 Part XI Project Management and Settings 6 Switch back to the Finder and move the media file to the folder where you want to keep all the media

Chapter 61 Reconnecting Clips and Offline Media 959 XIHow the Connection Between Clips and Media Files Can Be BrokenThere are several reasons the c

96 Part II Learning About the Final Cut Express Interface  Zoom pop-up menu: This lets you enlarge or shrink the image that appears in the Canvas

960 Part XI Project Management and Settings About the Reconnect Files DialogThe Reconnect Files dialog has the following features:Files To Connect

Chapter 61 Reconnecting Clips and Offline Media 961 XISearch Locations AreaThis area allows you to choose which folders are searched when Final Cut

962 Part XI Project Management and Settings Locate and Search Buttons Locate: Click this button to manually navigate to a media file for the clip

Chapter 61 Reconnecting Clips and Offline Media 963 XIUsing the Reconnect Files DialogThe Reconnect Files dialog has many options, depending on the

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

Chapter 61 Reconnecting Clips and Offline Media 965 XI7 When the correct media file is selected, click Choose to add the media file to the Files Lo

966 Part XI Project Management and Settings When Final Cut Express Reconnects Your ClipsIn certain circumstances, Final Cut Express checks to make

Chapter 61 Reconnecting Clips and Offline Media 967 XIInformation and Controls in the Offline Files DialogThe Offline Files dialog shows a summary

968 Part XI Project Management and Settings Reconnecting Media Files AutomaticallyIf you process your media files outside of Final Cut Express, Fin

62 96962 Choosing Settings and PreferencesFinal Cut Express has numerous settings and preferences that allow you to customize your system for par

Chapter 7 Canvas Basics 97 IIVariations of overwrite and insert, called overwrite with transition and insert with transition, add the default trans

970 Part XI Project Management and Settings  General Tab (p. 970): Settings in this tab control a variety of features, such as warning dialogs du

Chapter 62 Choosing Settings and Preferences 971 XIÂ Levels of Undo: Enter a value to specify the number of actions that can be undone. The maximu

972 Part XI Project Management and Settings  Limit real-time video to N MB/s: Final Cut Express uses this number to limit how many video streams

Chapter 62 Choosing Settings and Preferences 973 XIInterface Options Show Tooltips: Select this option to automatically display descriptions of i

974 Part XI Project Management and Settings Capture and Playback Options Report dropped frames during playback: If you select this option, a mess

Chapter 62 Choosing Settings and Preferences 975 XIEditing TabThe preferences in this tab affect editing behaviors in Final Cut Express.Default Tim

976 Part XI Project Management and Settings  Preview Pre-roll: This value is used by the Play Around Current control and the Trim Edit window to

Chapter 62 Choosing Settings and Preferences 977 XIVisibility, Track Locking, and Audio Keyframe Options Warn if visibility change deletes render

978 Part XI Project Management and Settings Locating and Deleting the Preferences FileIf you are having trouble with Final Cut Express, one common

Chapter 62 Choosing Settings and Preferences 979 XIScratch Disks TabYou use the Scratch Disks tab to choose where you want to save captured video a

98 Part II Learning About the Final Cut Express Interface  Play Around Current Frame (\): Plays the selected sequence “around” the current playhe

980 Part XI Project Management and Settings Search Folders TabWhen reconnecting clips to media files, Final Cut Express uses the folders assigned i

Chapter 62 Choosing Settings and Preferences 981 XITo remove a search folder:m Click Clear next to the search folder you want to remove from the li

982 Part XI Project Management and Settings Thumbnail Cache SettingsThe thumbnail cache stores the clip thumbnails displayed in the Timeline and th

Chapter 62 Choosing Settings and Preferences 983 XIIn some cases, a clip’s Creator property determines what application will open it, such as LiveT

XIIPart XII: OutputLearn how to output your completed movie to videotape or DVD, or export to any QuickTime-compatible video format.Chapter 63 Prepar

63 98763 Preparing to Output to TapeTape is still the most common means of acquisition, output, and transfer for professional projects. Final Cut

988 Part XII Output Methods for Output to Tape in Final Cut ExpressThere are two main ways you can output your video from Final Cut Express to tape

Chapter 63 Preparing to Output to Tape 989 XIIRecording to Tape Directly from the TimelineThis method allows you to record whatever signal is curre

Chapter 7 Canvas Basics 99 IITo move the playhead to the beginning of your sequence:m Press Home on your keyboard.To move the playhead to the end o

990 Part XII Output Choosing Video and Audio OutputsMake sure that the A/V devices settings of your Easy Setup match the configuration of your exte

Chapter 63 Preparing to Output to Tape 991 XIISelecting Render SettingsThe currently selected render quality is used to render any transitions, fil

64 99364 Printing to Video and Output from the TimelineYou can output your sequence to videotape using the Print to Video command, or simply reco

994 Part XII Output Printing to VideoThe Print to Video command doesn’t allow you to set In or Out points on your tape. Instead, you manually press

Chapter 64 Printing to Video and Output from the Timeline 995 XIIUsing the Print to Video CommandMake sure you’ve read and followed the instruction

996 Part XII Output 4 Select elements you want to print along with your sequence or clip.All selected elements are sent to tape in the order listed

Chapter 64 Printing to Video and Output from the Timeline 997 XIIRecording from the TimelineThe easiest way to output to tape is to enable external

998 Part XII Output 3 In the Timeline, move the playhead to where you want to start recording in your sequence. The first frame will be recorded im

Chapter 64 Printing to Video and Output from the Timeline 999 XIIÂ Every Frame: Plays back every frame of the sequence, whether or not rendering i