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
15
191
15 Connecting Professional
and Non-DV Equipment
You can design a Final Cut Pro editing system that uses
more than just your computer’s built-in video, audio, and
device control interfaces.
This chapter covers the following:
 Why Use Third-Party Interfaces? (p. 191)
 Connecting Professional Video Devices (p. 194)
 Connecting Audio Devices (p. 204)
 Establishing Device Control (p. 206)
 Synchronizing Equipment With a Blackburst Generator (p. 206)
Note: For instructions on setting up a simple DV/FireWire editing system, see Chapter 13,
“Connecting DV Video Equipment and Specifying Initial Settings,” on page 169.
Why Use Third-Party Interfaces?
You may want to consider adding a third-party interface to your system in the
following cases:
 You are digitizing video from an older analog VTR (such as a Betacam SP deck) that
does not have digital video outputs or remote control via FireWire.
 You are integrating Final Cut Pro into a professional broadcast environment that
requires SDI, HD-SDI, or other non-FireWire video and audio connections.
 You need to capture, edit, and output full-resolution, uncompressed video signals
instead of DV video (which is compressed).
 You need to capture or output multiple audio channels.
Third-party video and audio interfaces can be installed in one of your computer’s PCI
slots, the USB port, or connected via FireWire (for example, the AJA Io).