HD
Table Of Contents
- Final Cut Express HD User Manual
- Contents
- Final Cut Express HD Documentation and Resources
- Part I: An Introduction to Final Cut Express HD
- Part II: Learning About the Final Cut Express HD Interface
- Overview of the Final Cut Express HD Interface
- Browser Basics
- Viewer Basics
- Canvas Basics
- Navigating and Using Timecode in the Viewer and Canvas
- Timeline Basics
- Customizing the Interface
- Part III: Setting Up Your Editing System
- Connecting Your Equipment
- Determining Your Hard Disk Storage Options
- External Video Monitoring
- Part IV: Capturing and Importing
- Capturing Your Footage to Disk
- Overview of the Capturing Process
- Overview of the Capture Window
- Preparing to Capture
- Capturing Individual Clips in the Capture Window
- Using Capture Now
- Adding Markers to Clips in the Capture Window
- Recapturing Clips
- Finding Your Media Files After Capture
- Modifying a Media File’s Reel Name Property
- Avoiding Duplicate Timecode Numbers on a Single Tape
- Importing Media Files Into Your Project
- Working With HDV
- Capturing Your Footage to Disk
- Part V: Organizing Footage and Preparing to Edit
- Organizing Footage in the Browser
- Using Markers
- Learning About Markers
- Working With Markers
- Viewing Markers in the Viewer or Canvas
- Viewing Markers in the Browser
- Adding Markers in Clips and Sequences
- Deleting Markers in Clips and Sequences
- Navigating With Markers
- Renaming Markers, Adding Comments, and Changing the Kind of Marker
- Moving a Marker
- Aligning Items in the Timeline by Their Markers
- Extending a Marker’s Duration
- Editing Markers Into Sequences
- Exporting Markers With Your QuickTime Movies
- Creating Subclips
- Part VI: Rough Editing
- Working With Projects, Clips, and Sequences
- Specifying Preferences Before You Start Editing
- Working With Projects
- Learning About the Different Types of Clips
- Viewing and Changing the Properties of a Clip
- Creating and Working With Sequences
- The Fundamentals of Adding Clips to a Sequence
- Setting Edit Points for Clips and Sequences
- About In and Out Points
- Setting Clip In and Out Points in the Viewer
- Setting Sequence In and Out Points in the Canvas or Timeline
- Navigating to In and Out Points
- Moving In and Out Points
- Clearing In and Out Points
- Working With Tracks in the Timeline
- Drag-to-Timeline Editing
- Three-Point Editing
- Finding and Selecting Content in the Timeline
- Understanding What’s Currently Selected
- Direct Methods for Selecting Content in a Sequence
- Finding and Selecting Based on Search Criteria
- Selecting a Vertical Range Between In and Out Points
- Using Auto Select to Specify Tracks for Selections
- Arranging Clips in the Timeline
- Cutting Clips and Adjusting Durations
- Linking and Editing Video and Audio in Sync
- Linked Sync Relationships Between Video and Audio Clips
- Linking and Unlinking Video and Audio Clip Items in the Timeline
- Selecting Individual Clip Items While They Are Linked
- Getting Clip Items Back in Sync
- Establishing a Different Sync Relationship Between Linked Clip Items
- Learning About Linking Behavior in Audio Channel Pairs
- Split Edits
- Audio Editing Basics
- The Goals of Audio Editing
- Using Waveform Displays to Help You Edit Audio
- Learning About the Audio Controls in the Viewer
- Editing Audio in the Viewer
- Opening Audio Clips in the Viewer
- Viewing Audio Tracks in the Viewer
- Zooming In or Out of the Waveform Display Area
- Scrolling Through a Zoomed-In Audio Clip
- Using the J, K, and L Keys to Hear Subtle Details
- Turning Off the Audio Scrubbing Sounds
- About Setting Edit Points for Audio
- Dragging an Audio Clip to the Canvas, Browser, or Timeline
- Trimming Audio Clips in the Viewer
- Editing Audio in the Timeline
- Creating or Separating Stereo Pairs
- Working With Audio at the Subframe Level
- Examples of Ways to Easily Edit Audio
- Working With Projects, Clips, and Sequences
- Part VII: Fine-Tuning Your Edit
- Performing Slip, Slide, Ripple, and Roll Edits
- About Trimming With Slip, Slide, Ripple, and Roll Tools
- Sliding Clips in the Timeline
- Slipping Clips in the Timeline
- Using the Ripple Tool to Trim an Edit Without Leaving a Gap
- Using the Roll Tool to Change Where a Cut Occurs
- Learning About Trimming Clips
- Trimming Clips Using the Trim Edit Window
- Adding Transitions
- Refining Transitions Using the Transition Editor
- Sequence to Sequence Editing
- Matching Frames
- Working With Timecode
- Performing Slip, Slide, Ripple, and Roll Edits
- Part VIII: Audio Mixing
- Overview of Audio Mixing
- Setting Up Audio Equipment
- Audio Fundamentals
- Audio Levels, Meters, and Output Channels
- Mixing Audio in the Timeline and Viewer
- Using the Voice Over Tool
- Using Audio Filters
- Tips for Better Audio
- Part IX: Effects
- Video Filters
- Different Ways to Use Filters
- Applying a Filter to a Clip
- Applying Multiple Filters to Clips
- Viewing and Adjusting a Filter’s Parameters
- Displaying Filter Bars in the Timeline
- Enabling and Rearranging Filters
- Copying and Pasting a Clip’s Filters
- Removing Filters From Clips
- Video Filters Available in Final Cut Express HD
- Changing Motion Parameters
- Adjusting Parameters for Keyframed Effects
- Reusing Effect and Motion Parameters
- Changing Clip Speed
- Working With Still Images and Photographs
- Using Still Images and Graphics in Your Sequences
- Creating Freeze Frame Stills From a Video Clip
- Considerations Before Creating and Importing Stills
- Creating Graphics With the Correct Frame Size for Video
- Working With Graphics Clips of Different Resolutions
- Video Is Not 72 Dots per Inch
- Bit Depth of Imported Graphics
- Scaling a Graphic to Fit the Frame Size
- Creating Graphics With the Correct Color Settings for Video
- Flattening Graphics With Layers
- Using Alpha Channels
- Selecting Fonts and Creating Line Art for Video
- Scaling Images and Video Clips to Match a Sequence
- Changing the Duration of Still Images
- Compositing and Layering
- Introduction to Compositing and Layering
- Adjusting Opacity Levels of Clips
- Working With Composite Modes
- Working With Layered Photoshop Files
- Using Video and Graphics Clips With Alpha Channels
- Temporarily Excluding Clips From Playback or Output
- Keying, Mattes, and Masks
- Color Correcting Clips
- Using Built-in Generated Clips
- Creating Titles
- Video Filters
- Part X: Real Time and Rendering
- Using RT Extreme
- Rendering
- What Is Rendering?
- Render Indicators in Final Cut Express HD
- The Rendering Process
- Rendering Effects in Sequences
- Commands for Rendering Effects
- Rendering One or More Sequences
- Rendering Part of a Sequence
- Rendering Audio Items in a Sequence
- Using the Mixdown Command
- Temporarily Disabling Rendering
- Auto-Rendering While You Are Away From Your Computer
- Changing Settings in the Render Control Tab
- Preserving Render Files
- Tips for Avoiding Unnecessary Rendering
- Part XI: Project Management and Settings
- Media Management
- Backing Up and Restoring Projects
- Elements of a Final Cut Express HD Project
- Working With Master and Affiliate Clips
- Using Master and Affiliate Clips
- How Master Clips Connect to Media Files
- Identifying Master Clips
- Creating Master and Affiliate Clips
- Breaking the Relationship Between an Affiliated Clip and Its Master
- Independent Clips
- Using Keyboard Shortcuts to Modify Master-Affiliate Relationships
- Finding a Clip’s Master Clip
- Master-Affiliate Relationships With Subclips and Freeze Frames
- Master-Affiliate Clip Properties
- Using Master and Affiliate Clips
- Reconnecting Clips and Offline Media
- Choosing Settings and Preferences
- Part XII: Output
- Preparing to Output to Tape
- Printing To Video and Output From the Timeline
- Exporting Sequences for DVD
- Learning About QuickTime
- Exporting QuickTime Movies
- Exporting QuickTime-Compatible Files
- Exporting Still Images and Image Sequences
- Exporting Audio for Mixing in Other Applications
- Part XIII: Appendixes
- Video Formats
- Characteristics of Video Formats
- Types of Video Signals and Connectors
- A Brief History of Film, Television, and Audio Formats
- Frame Rate and Timecode
- Working With Anamorphic 16:9 Media
- Solving Common Problems
- Video Formats
- Glossary
- Index
Appendix B Frame Rate and Timecode 1057
XIII
1782 00:01:14:06 00:01:11:07 00:00:59:12 00:00:59:12 0111+06 0285+06
1783 00:01:14:07 00:01:11:08 00:00:59:13 00:00:59:13 0111+07 0285+07
1784 00:01:14:08 00:01:11:09 00:00:59:14 00:00:59:14 0111+08 0285+08
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1792 00:01:14:16 00:01:11:17 00:00:59:22 00:00:59:22 0112+00 0285+16
1793 00:01:14:17 00:01:11:18 00:00:59:23 00:00:59:23 0112+01 0285+17
1794 00:01:14:18 00:01:11:19 00:00:59:24 00:00:59:24 0112+02 0285+18
1795 00:01:14:19 00:01:11:20 00:00:59:25 00:00:59:25 0112+03 0285+19
1796 00:01:14:20 00:01:11:21 00:00:59:26 00:00:59:26 0112+04 0285+20
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1800 00:01:15:00 00:01:12:00 00:01:00:00 00:01:00:02 0112+08 0287+20
1801 00:01:15:01 00:01:12:01 00:01:00:01 00:01:00:03 0112+09 0287+21
1802 00:01:15:02 00:01:12:02 00:01:00:02 00:01:00:04 0112+10 0287+22
1803 00:01:15:03 00:01:12:03 00:01:00:03 00:01:00:05 0112+11 0287+23
1804 00:01:15:04 00:01:12:04 00:01:00:04 00:01:00:06 0112+12 0287+24
1805 00:01:15:05 00:01:12:05 00:01:00:05 00:01:00:07 0112+13 0287+25
1806 00:01:15:06 00:01:12:06 00:01:00:06 00:01:00:08 0112+14 0287+26
1807 00:01:15:07 00:01:12:07 00:01:00:07 00:01:00:09 0112+15 0287+27
1808 00:01:15:08 00:01:12:08 00:01:00:08 00:01:00:10 0113+00 0287+28
1809 00:01:15:09 00:01:12:09 00:01:00:09 00:01:00:11 0113+01 0287+29
1810 00:01:15:10 00:01:12:10 00:01:00:10 00:01:00:12 0113+02 0287+30
1811 00:01:15:11 00:01:12:11 00:01:00:11 00:01:00:13 0113+03 0287+31
1812 00:01:15:12 00:01:12:12 00:01:00:12 00:01:00:14 0113+04 0287+32
1813 00:01:15:13 00:01:12:13 00:01:00:13 00:01:00:15 0113+05 0287+33
1814 00:01:15:14 00:01:12:14 00:01:00:14 00:01:00:16 0113+06 0287+34
1815 00:01:15:15 00:01:12:15 00:01:00:15 00:01:00:17 0113+07 0287+35
1816 00:01:15:16 00:01:12:16 00:01:00:16 00:01:00:18 0113+08 0287+36
Frame
count
24 frames
per 1:00
25 frames
per 1:00
30 frames
per 1:00
30 frames
per 1:00
16 frames
per foot
40 frames
per foot