5
Table Of Contents
- Final Cut Pro User Manual
- Volume I: Interface, Setup, and Input
- Contents
- Final Cut Pro 5 Documentation and Resources
- Part I: An Introduction to Final Cut Pro
- About the Postproduction Workflow
- Video Formats and Timecode
- Understanding Projects, Clips, and Sequences
- Part II: Learning About the Final Cut Pro Interface
- Overview of the Final Cut Pro 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
- Overview of Setting Up
- Designing Your Editing System
- Connecting DV Video Equipment and Specifying Initial Settings
- Determining Your Hard Disk Storage Options
- Connecting Professional and NonDV Equipment
- Why Use Third-Party Interfaces?
- Choosing a Video Interface
- Connecting Professional Video Devices
- Connecting Professional Standard Definition Video Devices
- A Recommended System Using a Third-Party Video Interface
- Connecting Professional High Definition Video Devices
- Connecting Professional Component Analog Video Devices
- Connecting Consumer Analog Video Devices
- Connecting Non-DV Devices to a DV Converter
- A Recommended Non-DV–to–DV System Using Serial Device Control
- Choosing an Audio Interface
- Connecting Audio Devices
- Establishing Device Control
- Synchronizing Equipment With a Blackburst Generator
- External Video Monitoring
- Using an External Video Monitor While You Edit
- Connecting DV/FireWire Devices to an External Monitor
- Previewing Standard Definition Video on an External Monitor
- Previewing High Definition Video on an External Monitor
- Choosing Playback and Edit to Tape Output Settings
- Using Digital Cinema Desktop Preview
- Compensating for Video Latency by Specifying a Frame Offset
- About the Display Quality of External Video
- Troubleshooting External Video Monitoring Problems
- Controlling When External Video Output Is Updated
- Part IV: Logging, Capturing, and Importing
- Overview of Logging and Capturing
- Logging Clips
- The Importance of Logging
- Benefits of Logging
- Preparing to Log
- Monitoring Video and Audio While Logging
- Entering Logging Information and Logging Clips
- Overview of Logging Steps
- Opening the Log and Capture Window
- Inserting a Tape in the VTR
- Setting a Logging Bin to Store Logged Clips
- Entering a Reel Name for the Current Tape
- Setting Clip In and Out Points
- Entering a Clip Name and Other Logging Information
- Adding Markers to Clips While Logging
- Selecting Which Tracks to Capture
- Changing Capture Settings
- Setting Video and Audio Levels for Analog Video
- Logging a Clip
- Logging Media Efficiently
- Avoiding Duplicate Timecode Numbers on a Single Tape
- Additional Sources for Logging Information
- Capturing Your Footage to Disk
- Capturing Audio
- Working With Batch Lists
- Importing Media Files Into Your Project
- Using Color Bars for Video Calibration
- Using Color Bars
- Calibrating Brightness and Color on Analog Equipment
- How Digital Video Levels Are Measured in Final Cut Pro
- Measuring Analog Video During Output
- Using the Waveform Monitor and Vectorscope
- Outputting Accurate DV Black Levels Using FireWire
- Using an External Waveform Monitor and Vectorscope to Calibrate Analog Video Levels
- Calibrating Video Monitors With Color Bars
- Volume II: Editing
- Contents
- Part I: Organizing Footage and Preparing to Edit
- Organizing Footage in the Browser
- Using Bins to Organize Your Clips
- Using Labels to Organize Your Clips
- Sorting Items in the Browser Using Column Headings
- Searching for Clips in the Browser and Finder
- Creating Subclips
- Merging Clips From Dual System Video and Audio
- 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
- Organizing Footage in the Browser
- Part II: 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
- Synchronizing Dual System Recorded Video and Audio
- Split Edits
- Working With Multiclips
- About Multiclips
- Multiclip Workflow
- Creating Multiclips and Multiclip Sequences
- Working With Multiclip Angles in the Viewer
- Editing With Multiclips in Real Time
- Using Keyboard Shortcuts and Shortcut Buttons for Multiclip Editing
- Editing Multiclips Into the Timeline
- Switching and Cutting Between Angles
- Switching and Cutting Video and Audio Items Separately
- Editing in Multiclip Playback Mode
- Applying Filters, Speed, and Motion Parameters to Multiclips
- Collapsing and Expanding a Multiclip
- Multiclip Master-Affiliate Relationships
- Match Frame Commands Used With Multiclips
- Media Management and Project Interchange
- 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 III: 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 and Playhead Synchronization
- Working With Timecode
- Performing Slip, Slide, Ripple, and Roll Edits
- Volume III: Audio Mixing and Effects
- Contents
- Part I: Audio Mixing
- Overview of Audio Mixing
- Setting Up Audio Equipment
- Audio Fundamentals
- Audio Levels, Meters, and Output Channels
- Overview of the Audio Mixer
- Using the Audio Mixer
- Making Basic Audio Adjustments With the Audio Mixer
- Making Stereo Pan Adjustments With the Audio Mixer
- About Mixer Automation and Keyframe Recording
- Using a Control Surface With the Audio Mixer
- Mixing Audio in the Timeline and Viewer
- Adjusting Audio Levels in the Timeline and Viewer
- Panning Audio in the Timeline and Viewer
- Adjusting Clip Levels and Pan Using Keyframes
- Tools for Adjusting Keyframes
- Creating, Modifying, and Deleting Keyframes in the Viewer
- Example: Using Keyframes to Adjust Audio Levels
- Example: Using Keyframes in the Timeline to Automate Audio Levels
- Example: Setting Subframe Audio Level Keyframes to Eliminate Clicks
- Example: Using Keyframes to Control Pan
- Using the Voice Over Tool
- Using Audio Filters
- About Audio Filters
- Overview of Audio Filters
- Working With Audio Filters
- Applying Filters to an Audio Clip
- Displaying Filter Keyframes in the Timeline
- Modifying and Removing Filters
- Making Real-Time Audio Filter Adjustments
- Automating Audio Filter Parameters With Keyframes
- Saving a Filter or Transition as a Favorite
- Installing Third-Party Audio Units Filters
- When Audio Filters Are Missing
- Tips for Better Audio
- Part II: 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
- Using After Effects Filters
- Video Filters Available in Final Cut Pro
- Changing Motion Parameters
- Adjusting Parameters for Keyframed Effects
- Animating Motion Effects Using Keyframes
- How Keyframing Works
- Determining the Number of Keyframes to Use
- Keyframing Controls in the Viewer
- Keyframing Tools in Final Cut Pro
- Setting Keyframes
- Adjusting and Deleting Keyframes
- Moving Between Keyframes
- Zooming In to the Keyframe Graph
- Example: Using Keyframes to Make Opacity Changes
- Example: Keyframing Opacity in the Timeline
- Smoothing Keyframes With Bezier Handles
- Creating Keyframed Motion Paths in the Canvas
- Using the Timeline Keyframe Graph Area
- Animating Motion Effects Using Keyframes
- Reusing Effect and Motion Parameters
- Previewing Effects and Comparing Frames
- Changing Clip Speed and Time Remapping
- Speed Basics
- Constant and Variable Speed Settings
- Making Constant Speed Changes
- Making Variable Speed Changes
- How Time Remapping Works
- Where You Can Make Time Remapping Adjustments
- Viewing Time Remapping Parameters Applied to Your Clips
- Learning to Read Timeline Speed Indicators
- Using the Time Remap Tool
- Adjusting Time Remap Keyframes in the Motion Bar
- Time Remapping Using the Time Graph
- Time Remapping in the Motion Tab
- 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
- Choosing the Maximum White Sequence Setting
- 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
- Example: Adding Camera Motion to Still Images
- Compositing and Layering
- Compositing Strategies and 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
- Viewing Examples in Color
- What Is Color Correction?
- Measuring and Evaluating Video
- Luma (Luminance)
- Chrominance (Chroma)
- Blacks, Mids, and Whites
- Illegal Broadcast Levels
- Displaying Excess Luma and Chroma Levels in the Viewer and Canvas
- Screen Layouts for Color Correction in Final Cut Pro
- Working With Final Cut Pro Video Scopes
- Learning to Read the Waveform Monitor
- Learning to Read the Vectorscope
- Learning to Read the Histogram
- Learning to Read the Parade Scope
- The Color Correction Process
- The Color Corrector and Color Corrector 3-Way Filters
- General Controls
- Copy Filter Controls
- Color Balance Controls
- The Color Corrector Filter Controls
- Color Corrector 3-Way Filter Controls
- Color Balance Controls in the Color Corrector 3-Way Filter
- Using a Trackball With the Color Correction Filters
- Auto Level and Contrast Controls in the Color Corrector 3-Way Filter
- Level and Saturation Controls in the Color Corrector 3-Way Filter
- Hue Matching Controls in the Color Corrector 3-Way Filter
- Example: Using the Color Corrector 3-Way Filter
- Example: Color Correcting a Three-Shot Sequence for Continuity
- Hue Matching Controls in the Color Corrector and Color Corrector 3-Way Filters
- Limit Effect Controls in the Color Corrector and Color Corrector 3-Way Filters
- The Desaturate Highlights and Desaturate Lows Filters
- The Broadcast Safe Filter
- Using Built-in Generated Clips
- Creating Titles
- Video Filters
- Part III: Real Time and Rendering
- Using RT Extreme
- Introduction to Real-Time Processing Using RT Extreme
- Using Real-Time Controls in Final Cut Pro
- Real-Time Audio Mixing in Final Cut Pro
- Choosing Real-Time Playback Versus Rendering
- Using a Third-Party Video Effects Accelerator Card
- Rendering
- What Is Rendering?
- Render Indicators in Final Cut Pro
- The Rendering Process
- Changing Render Settings
- Managing Your Render Files
- Tips for Avoiding Unnecessary Rendering
- Using RT Extreme
- Volume IV: Media Management and Output
- Contents
- Part I: Media and Project Management
- Media Management
- Backing Up and Restoring Projects
- Elements of a Final Cut Pro Project
- Working With Master and Affiliate Clips
- Using Master and Affiliate Clips
- Master-Affiliate Clip Properties
- Offline and Online Editing
- About Offline/Online Editing
- Offline/Online Editing Workflows
- Using the OfflineRT Format in Final Cut Pro
- Setting Up and Capturing Media to an OfflineRT Format
- Capturing or Recompressing Media to an OfflineRT Format
- Editing With Offline-Quality (Low-Resolution) Media Files
- Using Full-Resolution Graphics in a Low-Resolution, OfflineRT Sequence
- Creating a Sequence for Recapturing Media at Full Resolution
- Which Sequence Preset Should You Choose for Your Online Edit?
- Recapturing Full-Resolution Media for Your Sequence
- Adding Final Color Correction, Effects, Transitions, and Titles
- Output to Tape, MPEG-2 (for DVD), or a QuickTime Movie File
- Online Editing on Non–Final Cut Pro Editing Systems
- Trading Project Files Using Email or the Internet
- Reconnecting Clips and Offline Media
- Overview of the Media Manager
- Examples of How to Use the Media Manager
- Using the Media Manager
- Example: Removing Unused Media From a Sequence
- Example: Duplicating a Sequence and Its Corresponding Media Files
- Example: Duplicating a Portion of a Sequence and Its Media Files
- Example: Copying Several Sequences With New Settings, but Without Media Files
- Example: Recompressing Media Files for an Entire Project for Editing on a PowerBook
- Example: Removing Portions of Media Files After Creating Subclips
- Example: Consolidating Media Files Into One Folder
- Example: Consolidating Your Project and Media Files for Archiving
- Diagnostic Tools for Clips
- Part II: Project Interchange
- Importing and Exporting EDLs
- Exporting Audio for Mixing in Other Applications
- Importing and Exporting Final Cut Pro XML
- Part III: Output
- Preparing to Output to Tape
- Choosing a Videotape Format and Equipment for Output
- Output Requirements
- Methods for Output to Tape in Final Cut Pro
- Setting Up Your Editing System to Output to Tape
- Connecting Your Video Equipment and Setting it to VCR Mode
- Choosing Video and Audio Outputs
- Selecting Playback Settings
- Selecting Render Settings
- Selecting Edit to Tape and Print to Video Preferences
- Cueing the Videotape
- Calibrating Your Timecode
- Choose Device Control and Edit Preview Settings
- Preparing Your Videotape With Black and Timecode
- Assemble and Insert Editing Using Edit 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
- Batch Exporting Clips and Sequences
- Preparing to Output to Tape
- Part IV: Settings and Preferences
- Choosing Settings and Preferences
- Audio/Video Settings and Easy Setups
- The Audio/Video Settings Window
- Changing Your Easy Setup and Presets
- Selecting a Different Easy Setup
- Changing Audio/Video Presets
- Choosing Individual Presets
- Viewing Settings in a Preset
- Creating a New Preset
- Editing a Preset
- Deleting Presets
- Creating Custom Easy Setups
- Moving, Deleting, and Restoring an Easy Setup
- Example: Creating a Custom Preset and Easy Setup
- Installing Third-Party Easy Setups and Presets
- Capture Settings and Presets
- Device Control Settings and Presets
- Sequence Settings and Presets
- Part V: Appendixes
- Video Formats
- Characteristics of Video Formats
- Video Formats Supported by Final Cut Pro
- 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
- Volume I: Interface, Setup, and Input
Transition Wipe Codes for EDL Export
In an EDL, each type of wipe transition shape has a unique code. This code is used to
tell a video switcher which shape to use for any given edit. Since many of the transitions
in Final Cut Pro have no equivalent in a given EDL format, all nonstandard transitions
are automatically mapped to the closest approximate SMPTE standard wipe pattern
during the EDL export process.
Note: EDLs were originally developed for older tape-to-tape editing systems with fairly
limited capabilities. Therefore, they are equipped to describe only a narrow variety of
transitions. Although today’s nonlinear editing systems have introduced a much wider
variety of transitions, the EDL format continues to reflect the simplicity of older systems.
Final Cut Pro transition EDL wipe number equivalent
Cross Zoom 17
Cube Spin 18
Spin3D 19
Spinback3D 20
Swing 21
Zoom 22
Additive Dissolve 0
Cross Dissolve 0
Dip to Color Dissolve 0
Dither Dissolve 0
Non-Additive Dissolve 0
Ripple Dissolve 0
Cross Iris 12
Diamond Iris 18
Oval Iris 19
Point Iris 12
Rectangle Iris 17
Star Iris 18
Channel Map 0
Luminance Map 0
Page Peel 0
Band Slide 23
Center Split Slide 12
Multi Spin Slide 1
Push Slide 1
Spin Slide 1