Final Cut Pro 6 User Manual
Volume I Interface, Setup, and Input
K Apple Inc. Copyright © 2007 Apple Inc. All rights reserved. Your rights to the software are governed by the accompanying software license agreement. The owner or authorized user of a valid copy of Final Cut Studio software may reproduce this publication for the purpose of learning to use such software. No part of this publication may be reproduced or transmitted for commercial purposes, such as selling copies of this publication or for providing paid for support services.
1 Preface 9 9 10 11 Part I Contents Final Cut Pro 6 Documentation and Resources User Manual Onscreen Help Apple Websites An Introduction to Final Cut Pro Chapter 1 15 15 16 About the Post-Production Workflow The Industry Workflow The Post-Production Workflow Chapter 2 21 21 22 23 23 25 Video Formats and Timecode About Nonlinear and Nondestructive Editing Video Formats Compatible with Final Cut Pro Audio Formats Compatible with Final Cut Pro Video Format Basics About Timecode Chapter 3 27 27 31
4 Chapter 5 53 53 54 55 59 60 Browser Basics How You Use the Browser Learning About the Browser Working in the Browser Using Columns in the Browser Customizing the Browser Display Chapter 6 73 73 74 75 77 79 80 82 83 86 87 Viewer Basics How You Can Use the Viewer Opening a Clip in the Viewer Learning About the Viewer Tabs in the Viewer Transport Controls Playhead Controls Marking Controls Zoom and View Pop-Up Menus Playhead Sync Pop-Up Menu Recent Clips and Generator Pop-Up Menus Chapter 7 89 89 90
Chapter 10 141 141 141 143 146 155 Part III Customizing the Interface Changing Browser and Timeline Text Size Moving and Resizing Final Cut Pro Windows Using Window Layouts Ways to Customize Keyboard Shortcuts Working with Shortcut Buttons and Button Bars Setting Up Your Editing System Chapter 11 161 161 162 163 163 168 169 Connecting DV Video Equipment Components of a Basic Final Cut Pro Editing System Setting Up a Final Cut Pro Editing System Connecting Your Camcorder Opening Final Cut Pro and Choo
200 202 202 202 203 203 204 205 Synchronizing Equipment with a Blackburst Generator Connecting Remote Device Control DV FireWire for Device Control Using RS-422 Serial Remote Device Control Confirming Remote Device Control Between Final Cut Pro and Your Video Device Choosing a Device Control Preset Understanding Device Control Status Messages Switching Device Control Presets When Changing Decks Chapter 13 207 207 208 209 212 213 Determining Your Hard Disk Storage Options Working with Scratch Disks and H
253 267 269 Entering Logging Information and Logging Clips Avoiding Duplicate Timecode Numbers on a Single Tape Additional Sources for Logging Information Chapter 17 271 271 272 272 273 274 276 278 278 279 280 281 281 283 286 286 287 287 288 288 289 289 289 290 293 294 Capturing Your Footage to Disk Before You Capture Different Ways to Capture Footage Batch Capturing Clips Before You Batch Capture Learning About the Batch Capture Dialog Batch Capturing Selected Clips Stopping and Restarting the Batch Ca
8 Chapter 19 309 309 310 312 Working with Batch Lists What Is a Batch List? Creating a Batch List Importing a Batch List Chapter 20 315 315 316 320 322 328 328 Importing Media Files into Your Project What File Formats Can Be Imported? Importing Media Files About Importing Video Files About Importing Audio Files Importing Still Images and Graphics Importing Numbered Image Sequences Contents
Preface Final Cut Pro 6 Documentation and Resources You can use Final Cut Pro to create movies of any budget, style, and format. Final Cut Pro comes with both printed and onscreen documentation to help you learn how. This preface provides information on the documentation available for Final Cut Pro, as well as information about Final Cut Pro resources on the web.
Note: The four-volume user manual is also available onscreen; see the next section, “Onscreen Help.” Onscreen Help Onscreen help (available in the Help menu) provides easy access to information while you’re working in Final Cut Pro. An onscreen version of the Final Cut Pro 6 User Manual is available here, along with other documents in PDF format and links to websites. To access onscreen help: m In Final Cut Pro, choose an option from the Help menu.
Apple Websites There are a variety of discussion boards, forums, and educational resources related to Final Cut Pro on the web. Final Cut Pro Websites The following websites provide general information, updates, and support information about Final Cut Pro, as well as the latest news, resources, and training materials. For information about Final Cut Pro, go to: Â http://www.apple.
Part I: An Introduction to Final Cut Pro I Find out how Final Cut Pro fits into the moviemaking process and learn about fundamental concepts of digital video editing and the basic elements of a Final Cut Pro project.
1 About the Post-Production Workflow 1 No matter what your project, Final Cut Pro is the cornerstone of your post-production workflow. This chapter covers the following: Â The Industry Workflow (p. 15) Â The Post-Production Workflow (p. 16) The Industry Workflow Before you start editing, it’s helpful to consider how post-production fits into the overall moviemaking workflow. Even though no two movie projects follow exactly the same steps, there is a common workflow that almost every project adheres to.
Step 4: Post-production Post-production is where you organize and assemble your production footage, putting scenes in proper order, selecting the best takes, and eliminating unnecessary elements. Production sound is synchronized (with the picture), edited, sometimes rerecorded, and mixed. Music is composed and added. Footage is color-corrected and special effects are created. The final movie is output to tape, film, or some other high-quality media format.
I Industry Workflow Final Cut Pro Post-Production Workflow Scripting Planning Preproduction Setting Up Production Logging and Capturing Post-Production Editing Distribution Mixing Audio Adding Effects Outputting Step 1: Planning Planning is where you choose your basic workflow, such as offline and online editing (for projects with a lot of media) or editing the uncompressed footage (for shorter projects with quick turnaround times), choose input and output formats, and plan for equipment requi
Step 2: Setting up In this phase, you set up your editing system by installing and connecting the hardware you need, as well as configuring your software. For example, before logging and capturing, you need to connect the video and audio from your camcorder or VTR (video tape recorder) to your computer. You also need to make sure that the correct presets are chosen within Final Cut Pro, so that Final Cut Pro knows what video and audio formats you are capturing and what kind of device control you’re using.
I Step 4: Editing The editing process involves taking the video and audio you’ve captured, along with any music or graphics you’ve imported, and arranging these raw materials into a final edited sequence of clips. Most editors start with a rough cut, where they quickly arrange all of the clips for a movie in sequence. Once that’s finished, they work on fine-tuning, subtly adjusting the edit points between clips and refining the pacing of each cut.
Step 6: Adding effects Creating effects tends to be more time-consuming than cuts-only editing, so it’s good to focus on basic edits first and work on effects when the timing of your project is finalized. Effects are any enhancements you want to make to your footage, such as color correction, special transitions, animation, still or motion graphics, multilayered images (compositing), and titles.
2 Video Formats and Timecode 2 Before you begin editing, you need to decide what video format you will capture, edit, and output. The format you choose determines your post-production workflow. This chapter covers the following: Â About Nonlinear and Nondestructive Editing (p. 21) Â Video Formats Compatible with Final Cut Pro (p. 22) Â Audio Formats Compatible with Final Cut Pro (p. 23) Â Video Format Basics (p. 23) Â About Timecode (p.
Video Formats Compatible with Final Cut Pro Long before editing begins, the most basic decision you need to make is which format to shoot with. The format you choose affects the equipment needed for editorial work, as well as how the finished product will look. Final Cut Pro uses QuickTime technology, allowing you to use almost any digital video format available. This flexibility ensures that your Final Cut Pro editing system always works with the latest video formats.
I Offline and Online Editing Final Cut Pro allows you to edit low-resolution copies of your media until you are ready to finish at high quality. For example, you can edit your movie on a portable computer using low-resolution footage and then reconnect your project clips to high-resolution media for finishing and output. For more information, see Volume IV, Chapter 5, “Offline and Online Editing.
Important: When you are specifying your initial settings, make sure you choose an Easy Setup that corresponds to your country’s video standard. (An Easy Setup is a collection of settings that determines how Final Cut Pro works with your editing system.) For more information, see “Opening Final Cut Pro and Choosing Your Initial Settings” on page 163. Originally, all these formats were analog.
I Scanning Method Video frames are composed of individual lines, scanned from the top of the screen to the bottom. Lines may be scanned progressively (one line at a time), or interlaced (every other line during one scan, and then the alternate lines on a subsequent scan). SD video uses interlaced scanning, while high definition formats may use either interlaced or progressive scanning. For more information, see Volume IV, Appendix A, “Video Formats.
About Drop Frame and Non-Drop Frame Timecode With the exception of timecode used with NTSC video, all video formats use non-drop frame timecode, which simply counts at the frame rate of the video itself. For example, PAL video runs at 25 fps, and it uses 25 fps timecode. When working with NTSC video, you have the option to use drop frame timecode to compensate for the fact that NTSC video has a frame rate of 29.97 fps, while the timecode runs at 30 fps.
3 Understanding Projects, Clips, and Sequences 3 The basic elements in Final Cut Pro are projects, clips, and sequences. Once you learn what these are and how you can use them, you can begin working in Final Cut Pro. This chapter covers the following: Â The Building Blocks of Projects (p. 27) Â Working with Projects (p. 31) Â About the Connection Between Clips and Media Files (p. 35) Â Filenaming Considerations (p.
What Are Clips? Once you have media files on your hard disk, you need a way of working with them in Final Cut Pro. A clip is the most fundamental object in Final Cut Pro. Clips represent your media, but they are not the media files themselves. A clip points to, or connects to, a video, audio, or graphics media file on your hard disk. (For more information on the relationship between media files and clips, see “About the Connection Between Clips and Media Files” on page 35.
I What Are Sequences? A sequence is a container for editing clips together in chronological order. The editing process involves deciding which video and audio clip items to put in your sequence, what order the clips should go in, and how long each clip should be. Sequences are created in the Browser. To edit clips into a sequence, you open a sequence in the Timeline from the Browser.
What Are Projects? A project contains all of the clips and sequences you use while editing your movie. Once you create or open a project, it appears as a tab in the Browser. There’s no limit to the number of items, including clips and sequences, that can be stored in your project in the Browser.
I What Are Bins? A bin is a folder within a project that can contain clips and sequences, as well as other items used in your project, such as transitions and effects. You use bins to organize these elements, sort them, add comments, rename items, and so on. Bins help you to design a logical structure for your projects, making your clips easier to manage.
Organizing Your Projects Typically, you create a new project file for each movie you work on, regardless of its duration. For example, if you’re working on a documentary about a bicycle manufacturing company, you would create a project for it. If you’re also working on an industrial training video about how to fix bicycles, that would be a second, separate project.
I To create a new project: m Choose File > New Project. A new, untitled project appears in the Browser with an empty sequence. You can name the project when you save it. This is your new project. A new sequence is automatically created when you create a new project. To save a project: 1 Click the project’s tab in the Browser 2 Choose File > Save Project (or press Command-S). 3 If you haven’t named the project yet, a dialog appears. Enter a name and choose a location for the project, then click Save.
Opening and Closing Projects You can open and work on more than one project at a time. When you finish working and quit Final Cut Pro, a message appears for each open project, asking if you want to save your changes. The next time you open Final Cut Pro, all projects that were open at the end of your last session open automatically. You can have multiple projects open at the same time, each represented by its own tab in the Browser. To open a project: 1 Choose File > Open.
I To switch between several open projects: m In the Browser, click a project’s tab. To switch between projects, click a project’s tab. To close all open projects: m Close the Browser. Any project that has its own window (because you dragged the project’s tab out of the Browser) remains open. About the Connection Between Clips and Media Files Clips are not to be confused with the media files you captured to your computer’s hard disk.
To see a clip’s Source property: 1 Select a clip in the Browser by clicking it. 2 Choose Edit > Item Properties > Format (or press Command-9). The Item Properties window appears. 3 Look at the directory path in the clip’s Source field. 4 If you can’t see the complete directory path, you can do one of the following: Â Drag the right edge of the column heading to the right to increase the column width.
I An offline clip has a red slash through its icon in the Browser. In the Timeline, an offline clip appears white (when you play back your sequence in the Canvas, offline clips display a “Media Offline” message). To view these clips properly in your project, you need to reconnect the clips to their corresponding media files at their new locations on disk. This reestablishes the connection between the clips and their media files.
Avoiding Special Characters The most conservative filenaming conventions provide the most cross-platform compatibility. This means that your filenames will work in different operating systems, such as Windows, Mac OS X and other Unix operating systems, and Mac OS 9. You also need to consider filenaming when you transfer files via the Internet, where you can never be certain what computer platform your files may be stored on, even if temporarily. Most special characters should be avoided.
I Restricting Length of Filenames Although current file systems such as HFS+ (used by Mac OS X) allow you to create filenames with a 255-character limit, you may want to limit your filename length if you intend to transfer your files to other operating systems. Earlier versions of the Mac OS only allow 31-character filenames, and if you want to include a file extension (such as .fcp, .mov, or .aif), you need to shorten your Mac OS 9-compatible filenames to 27 characters.
Part II: Learning About the Final Cut Pro Interface II Get familiar with the Browser, Viewer, Canvas, and Timeline, and learn how to customize the Final Cut Pro interface to meet your specific needs.
4 Overview of the Final Cut Pro Interface 4 The Final Cut Pro interface has four main windows and a Tool palette. This chapter covers the following: Â Basics of Working in the Final Cut Pro Interface (p. 43) Â Using Keyboard Shortcuts, Buttons, and Shortcut Menus (p. 45) Â Customizing the Interface (p. 48) Â Undoing and Redoing Changes (p. 51) Â Entering Timecode for Navigation Purposes (p.
Viewer: Used to preview and prepare source clips for editing, as well as adjust filter and motion parameters to clips. Canvas: Allows you to view your edited sequence, as well as perform a variety of editing functions. Works in parallel with the Timeline. Browser: This is where you organize the media in your project. Audio meters: These floating meters let you monitor audio levels. Timeline: This displays sequences.
II Using Keyboard Shortcuts, Buttons, and Shortcut Menus Final Cut Pro offers several methods for performing commands. You can choose commands from the menu bar at the top of the screen or from contextual shortcut menus, or you can use keyboard shortcuts to perform many commands. Most people work fastest using keyboard shortcuts; others prefer to use shortcut menus or the mouse to access commands in the menu bar. Experiment to find out which method best suits your editing style.
Using Button Bars You can create shortcut buttons and place them in the button bar along the top of the main windows in Final Cut Pro—the Browser, Viewer, Canvas, Timeline, and any Tool Bench windows. (The Tool Bench is a specialized window containing tabs for specific tasks, such as the Audio Mixer.) You can then click any of the shortcut buttons in the button bar to perform commands, instead of entering keyboard shortcuts or using menus.
II To view and use a shortcut menu: 1 Press the Control key and click an item (this is called Control-clicking), or Control-click an area in a window in Final Cut Pro. 2 In the shortcut menu that appears, choose the command you want, then release the mouse button. Note: If you have a multibutton mouse, clicking the right mouse button is the same as Control-clicking by default.
Customizing the Interface Final Cut Pro allows you to customize the interface in several ways. You can rearrange windows and move them to suit your needs and work style. You can also use various window layouts provided by Final Cut Pro. You can also position the Dock in the Mac OS X interface so that it takes up less room or is hidden.
II Working with Tabs and Tabbed Windows The Viewer and Browser contain tabs that let you access different functions. The Browser also contains tabs for open projects. Tabs in the Timeline and Canvas represent open sequences. The Viewer contains tabs that specify functions within clips. The Canvas contains a tab for each open sequence. The Browser contains tabs for open projects and effects. Like the Canvas, the Timeline contains a tab for each open sequence. To make a tab active: m Click the tab.
To make a tab appear in its own window: m Drag the tab out of its parent window (Browser, Viewer, Canvas, or Timeline). The Effects tab is dragged out of the Browser and appears in its own window. To put a tab back in its original window: m Drag the tab to the title bar of its parent window. Drag the tab to the title bar of the original window to put it back. Moving Windows There are several ways you can move windows in Final Cut Pro.
II Using Different Window Layouts Final Cut Pro comes with a set of predefined window layouts. These layouts determine the size and location of the four main windows in Final Cut Pro (the Browser, Viewer, Canvas, and Timeline), along with the Tool palette and audio meters. Some window layouts include additional windows, such as the Tool Bench. Choose a layout that maximizes your screen space in the best way for your source material, editing function, screen resolution, and monitor type.
To undo a change, do one of the following: m Press Command-Z. m Choose Edit > Undo. To redo a change, do one of the following: m Press Command-Shift-Z. m Choose Edit > Redo. Entering Timecode for Navigation Purposes Timecode is a signal recorded with your video that uniquely identifies each frame on tape. Timecode also allows you to navigate through your sequences to a specific point in time.
5 Browser Basics 5 The Browser is where you organize all of the clips in your project. This chapter covers the following: Â How You Use the Browser (p. 53) Â Learning About the Browser (p. 54) Â Working in the Browser (p. 55) Â Using Columns in the Browser (p. 59) Â Customizing the Browser Display (p. 60) Note: For information about organizing footage in the Browser, see Volume II, Chapter 1, “Organizing Footage in the Browser.
Learning About the Browser You can view items in the Browser in different ways. When the Browser displays items in list view, all items appear in a sorted list. You can also access effects through the Browser. Columns display clip properties. Each tab represents a project or an open bin. Bins help you organize clips in your projects. Sequence You can also view items in the Browser in icon view, which lets you easily see items by type.
II Working in the Browser Before you can work in the Browser, it must be the currently selected, or active, window. Otherwise, any commands or keyboard shortcuts you use may perform the wrong operations. To make the Browser window active, do one of the following: m Click anywhere in the Browser. m Press Command-4. Creating Sequences Before you can begin editing clips into a sequence, you must create a sequence. To create a new sequence: 1 Click in the Browser to make it the active window.
To select a group of adjacent clips, do one of the following: m Select an item, press and hold down the Shift key, then click the last item. The first and last items are selected, along with all items in between. m Drag over multiple clips. Drag across multiple items to select them. To select multiple, nonadjacent clips: m Press and hold down the Command key while clicking multiple items. Select the first clip. Then press the Command key while selecting other clips.
II Navigating Within the Browser Using the Keyboard You can navigate to items in the Browser in various ways, depending on whether you are viewing items in list view or icon view (see “Customizing the Browser Display” on page 60). To navigate within the Browser, do one of the following: m Press the Up and Down Arrow keys to move up and down in a list of items in list view or move vertically between items in icon view. m Press the Right and Left Arrow keys to move horizontally between items in icon view.
To duplicate a master clip, creating a new master clip instead of an affiliate clip: 1 Select a clip in the Browser. 2 Do one of the following: Â Choose Modify > Duplicate as New Master Clip. Â Control-click the clip, then choose Duplicate as New Master Clip from the shortcut menu. To delete a clip, sequence, or bin from a project: m Select the item, then press Delete.
II Using Columns in the Browser In list view, the Browser’s scrollable columns provide information about your clips and their associated media files. Use the vertical scroll bar to navigate and view all of the clips and sequences in your project. Use the horizontal scroll bar to navigate and view all of the columns in list view. The Browser can display many columns of information at once.
Viewing Columns in Standard or Logging Formats There are two default column layouts included with Final Cut Pro: standard and logging. You can customize both layouts for particular projects. You can also create and save your own column layouts. Â Standard Columns: Choose this option to see most of a clip’s properties.
II Choosing Views in the Browser You can view items in the Browser in list view or icon view. List view provides detailed clip information in columns; clips within bins appear hierarchically, allowing you to reveal or hide the contents of a bin. List view (default) If you want to organize your clips visually, you can set the Browser to display your clips as icons. There are three icon view sizes—small, medium, and large. When you choose an icon view, items are rearranged in a grid.
Working with the Browser in List View When items are displayed as a list, the Browser displays information about the items in columns. You can customize these columns in several ways.
II To hide a column: m Control-click the column heading, then choose Hide Column from the shortcut menu. Note: You can’t hide the Name column; it’s always displayed. Control-click a column heading, then choose Hide Column. To display a hidden column: m Control-click the column heading to the right of where you want to display the column, then choose the column you want to display from the shortcut menu. Control-click a column heading, then choose the column you want to display.
To display thumbnails: m Control-click any column heading other than Name, then choose Show Thumbnail from the shortcut menu. Control-click a column heading, then choose Show Thumbnail. A thumbnail column appears with images for all video clips. Thumbnails appear as small images of your video clips.
II When thumbnails are displayed, the image shown is the first frame of the clip or the In point of the clip, if one is set. You can scrub through a thumbnail by dragging in the image, but the frame shown in the Browser always reverts to the Media Start or In point of the clip. You can change the starting image (called the poster frame) if you want to display another frame in the thumbnail. For more information, see “Setting the Poster Frame” on page 70.
To change the names of the Master Comment or Comment column headings: 1 Control-click a Comment column heading, then choose Edit Heading from the shortcut menu. Control-click a Comment column heading, then choose Edit Heading. 2 Type a new name in the column’s Name field, then press Return. Enter the new column name. The Master Comment and Comment column headings are the only column headings you can change.
II Working with the Browser in Icon View In large, medium, or small icon view, you arrange your clips graphically in the Browser. Video clips are displayed as a thumbnail of the starting frame of video, audio clips are displayed as a speaker, and bins are indicated by a folder icon. If a video clip has an audio track, a small speaker icon appears inside the clip’s thumbnail. Video clip with audio Thumbnails of clips in icon view Audio clip You can use different views for open Browser windows and tabs.
To scrub through clips in large icon view: 1 Do one of the following: Â Select the Scrub Video tool in the Tool palette. Selection tool Select the Scrub Video tool. Note: When the Scrub Video tool is selected, you can hold down the Shift or Command key to temporarily make the Selection tool active to select, open, or move clips. Â With the Selection tool selected, press Control-Shift to temporarily make the Scrub Video tool active. 2 Drag the Scrub Video tool over the thumbnail.
II Automatically Arranging Clips in Icon View When you’re in icon view in the Browser, you can organize clip icons however you want. You can use the Arrange commands to automatically arrange your icons from left to right, either in alphabetical order or by duration, within the current width of the Browser or bin window. This is useful if the Browser or a bin window has overlapping icons or if you find yourself constantly scrolling to see icons.
Setting the Poster Frame The poster frame is the picture that represents a clip in icon view in the Browser. When you look at clips in the Browser in large icon view or when you show the Thumbnail column in list view, the icon or thumbnail picture you see reflects either the In point for that clip (or the first frame of the clip if no In point has been set), or the poster frame you set for the clip in the Browser.
II Saving and Using Custom Column Layouts You can create customized column layouts and save them for easy access at any time. For example, some editors prefer to have the Master Comment 1 column after the Name column, so they don’t have to scroll to that column all the time to review the assistant editor’s notes. The custom column layouts you save appear in the shortcut menu that appears when you Control-click any column heading in the Browser except the Name column.
6 Viewer Basics 6 The Viewer is used for viewing a clip’s media and preparing clips before editing them into a sequence. This chapter covers the following: Â How You Can Use the Viewer (p. 73) Â Opening a Clip in the Viewer (p. 74) Â Learning About the Viewer (p. 75) Â Tabs in the Viewer (p. 77) Â Transport Controls (p. 79) Â Playhead Controls (p. 80) Â Marking Controls (p. 82) Â Zoom and View Pop-Up Menus (p. 83) Â Playhead Sync Pop-Up Menu (p. 86) Â Recent Clips and Generator Pop-Up Menus (p.
 Adjust generator clip controls Generators are special clips that can be generated by Final Cut Pro, so they don’t require source media. Final Cut Pro has generators that create color mattes, text of different types, gradients, color bars, and white noise. For more information, see Volume III, Chapter 21, “Using Generator Clips.”  Open a transition, such as a dissolve or a wipe, from an edited sequence for detailed editing For more information, see Volume II, Chapter 21, “Adding Transitions.
II To open a sequence clip in the Viewer from the Timeline or Canvas, do one of the following: m In the Timeline, double-click the clip. m In the Timeline or Canvas, move the playhead over the clip, then press Return or Enter. The clip on the lowest-numbered track with Auto Select enabled is opened in the Viewer. m In the Timeline, select the clip and press Return or Enter. m Drag the clip from the Timeline to the Viewer. Sprocket holes indicate that this is a sequence clip.
 Tabs: There are five tabs that can be shown in the Viewer—Video, Audio, Filters, Motion, and Controls—each providing certain editing functions. For more details, see “Tabs in the Viewer” on page 77.  Image display area: This is the area of the Viewer where you can see the video from your sequence play back.  In Point and Out point: In and Out points allow you to define a specific portion of a clip to include in a sequence. A clip In point marks the first frame of a clip to be edited into a sequence.
II Tabs in the Viewer Each tab in the Viewer provides a specific set of editing functions: Video, Audio, Filters, Motion, and Controls. You can drag tabs out of the Viewer so they appear in a separate window. This is useful, for example, if you want to adjust filter or generator parameters while watching the results in the Video tab. Video Tab The video tab lets you view a clip’s video media, set In and Out points, and add markers and keyframes.
Filters Tab You use this tab to adjust parameters for any video or audio filters you’ve applied to a clip. You can also set keyframes to adjust filter parameters over time. For more information, see Volume III, Chapter 12, “Using Video Filters.” For audio filters, see Volume III, Chapter 8, “Using Audio Filters.
II Controls Tab You use the Controls tab to change the parameters for generator clips, such as the font and text size in a Text generator, or the size of a Circle Shape generator. The Controls tab appears only when a generator is open in the Viewer. For additional information, see Volume III, Chapter 21, “Using Generator Clips.” Transport Controls Transport (or playback) controls let you play clips in the Viewer. (The same controls also appear in the Log and Capture and Edit to Tape windows.
 Play Around Current Frame (\): Plays the selected clip “around” the current playhead position. When you click this button, the playback begins before the playhead position based on the value in the Preview Pre-roll field in the Editing tab of the User Preferences window. Playback continues through the original position of the playhead, and then continues for the amount of time in the Preview Post-roll field in User Preferences. When you stop playback, the playhead jumps back to its original position.
II To move the playhead to the next In or Out point, or Media End: m Press the Down arrow key. To move the playhead to the previous In or Out point, or Media Start: m Press the Up arrow key. To move the playhead to the beginning of your clip: m Press Home on your keyboard. To move the playhead to the end of your clip: m Press End on your keyboard. Jog Control To move forward or backward in your clip very precisely, use the jog control.
Marking Controls Marking controls let you set In and Out points, add markers and keyframes, and navigate to matching frames in master or affiliate clips (this is called performing a match frame). There are keyboard shortcuts for each control. Add Motion Keyframe Mark Clip Show Match Frame Add Marker Mark In Mark Out  Show Match Frame (F): When you click this button, Final Cut Pro searches the current sequence for the same frame shown in the Viewer.
II Zoom and View Pop-Up Menus The two pop-up menus near the top of the Viewer let you quickly select the magnification level and a viewing format to control the way media in the Viewer is displayed. Note: These menus also appear in the Canvas, and the options are the same. Zoom Pop-Up Menu Choose a magnification level from this pop-up menu. Your choice affects only the display size of the image; it doesn’t affect the scaling or frame size of the footage in the Viewer.
 Fit All: This is similar to the Fit to Window command, but this command takes into account clips whose borders extend beyond the current Viewer boundaries. Before After  Show as Sq. Pixels: Displays non-square pixel images as square pixels so they look correct on your computer screen. Standard definition (SD) video equipment displays video using non-square pixels, whereas computer monitors display video with square pixels.
II Important: Clips may not play back smoothly if you zoom in on them so far that part of the image is obscured, and you see scroll bars to the right and below the Viewer windows. Other windows blocking the Viewer will also affect playback. Choosing a window layout or pressing Shift-Z are easy ways to remedy playback quality in this situation. View Pop-Up Menu You can choose various options from this pop-up menu for how you view your clips and sequences in the Viewer.
 RGB, Alpha, or Alpha+RGB: When you’re compositing, it can sometimes be handy to have a quick look at the alpha channel of your clip. The alpha channel defines areas of transparency, and can change if various filters are applied. Viewing your sequence with the Alpha or Alpha+RGB option selected shows you exactly which areas of your image have transparency. Additional controls are available for viewing the individual Red, Green, and Blue channels in the View menu.
II There are several playhead sync modes available: Â Sync Off: The Viewer and Canvas playheads move independently of one another. This is the default behavior. Â Open: As the playhead moves through your sequence, the clip that appears at the current position of the playhead is automatically opened in the Viewer. Playhead sync between the Viewer and Canvas is maintained so the same frame is always open in both windows.
Recent Clips Pop-Up Menu This pop-up menu shows recently used clips. A clip is not added to this list when first opened in the Viewer, but only when another clip replaces it. The last clip that was replaced in the Viewer appears at the top of the list. By default, the maximum number of clips that appear in this list is 10, but you can change this number. For more information, see Volume IV, Chapter 23, “Choosing Settings and Preferences.” The clip replaced most recently is at the top of the list.
7 Canvas Basics 7 The Canvas provides an environment for viewing your edited sequence, and works in tandem with the Timeline while you edit. This chapter covers the following: Â How You Use the Canvas (p. 89) Â Opening, Selecting, and Closing Sequences in the Canvas (p. 90) Â Learning About the Canvas (p. 91) Â Editing Controls in the Canvas (p. 92) Â Transport Controls (p. 94) Â Playhead Controls (p. 95) Â Marking Controls (p. 97) Â Zoom and View Pop-Up Menus (p. 98) Â Playhead Sync Pop-Up Menu (p.
Before you can work in the Canvas, it must be the currently selected, or active, window. Otherwise, any commands or keyboard shortcuts you use may perform the wrong operations. To display the Canvas, you must open a sequence from the Browser (see the next section, “Opening, Selecting, and Closing Sequences in the Canvas”). Note: Most of the commands you use in the Canvas also work in the Timeline. To make the Canvas window active, do one of the following: m Click the Canvas. m Press Command-2.
II Learning About the Canvas The following is a summary of the controls in the Canvas. Tab for the open sequence Name of the currently selected sequence and the project it’s in Current Timecode field Timecode Duration field Zoom pop-up menu View pop-up menu Image display area Playhead Sync pop-up menu Playhead Out point In point Scrubber bar Jog control Shuttle control Edit buttons Transport controls Sequence marking controls  Tabs: Each tab in the Canvas represents an open sequence.
 View pop-up menu: This allows you to control display options such as timecode and marker overlays, as well as the background color for transparent pixels.  Zoom pop-up menu: This lets you enlarge or shrink the image that appears in the Canvas.  Playhead Sync pop-up menu: This gives you options for locking the movement of the playheads in the Viewer and the Canvas together in different ways while scrubbing through clips.
II Edit Overlay The Edit Overlay appears only when you drag clips from the Browser or Viewer to the image area of the Canvas. The Edit Overlay appears translucently over the image currently in the Canvas. Drag a clip to the image display area of the Canvas. The Edit Overlay appears with its seven sections. There are seven sections in the Edit Overlay. If you simply drag your clip to the image display area to the left of the Edit Overlay, an overwrite edit is performed.
Transport Controls Transport (or playback) controls let you play sequences in the Canvas, as well as move the playhead in the Timeline. These controls play clips and sequences at 100 percent (or 1x) speed. There are keyboard shortcuts for each control. Go to Previous Edit Go to Next Edit Play Around Current Frame Play In to Out Play  Play (Space bar): Plays your sequence from the current location of the playhead. Clicking it again stops playback.  Play In to Out (Shift-\): Moves the playhead to the c
II Playhead Controls The playhead lets you navigate through and locate different parts of a sequence quickly and easily. Inactive video Inactive video Playhead Shuttle control Scrubber bar Jog control Playhead and Scrubber Bar The playhead shows the location of the currently displayed frame within the current sequence. The scrubber bar runs along the entire width of the Canvas, below the video image. To scrub through a sequence, drag the playhead across the scrubber bar.
To move the playhead to the previous edit point, do one of the following: m Choose Mark > Previous > Edit. m Click the Go to Previous Edit button. m Press the Up Arrow key. m Press Option-E. Final Cut Pro looks for the previous edit, In point, or Out point. If overlays are enabled in the View menu, an L-shaped icon appears in the Canvas, indicating whether you are on an In or Out point.
II Marking Controls Marking controls let you set In and Out points, add markers and keyframes, and navigate to matching frames in master or affiliate clips (this is called performing a match frame). There are keyboard shortcuts for each control. Mark Clip Show Match Frame Mark In Mark Out Add Motion Keyframe Add Marker  Mark In (I): Click to set the In point at the current position of the playhead.  Mark Out (O): Click to set the Out point at the current position of the playhead.
Zoom and View Pop-Up Menus The two pop-up menus near the top of the Canvas let you quickly select the magnification level and a viewing format to control the way media in the Canvas is displayed. These menus are also present in the Viewer, and the options are the same. For details, see “Zoom and View Pop-Up Menus” on page 83.
8 Navigating and Using Timecode in the Viewer and Canvas 8 While the Viewer and Canvas serve different purposes, navigating and working with timecode are nearly the same in both windows. This chapter covers the following: Â Navigating in the Viewer and Canvas (p. 99) Â Working with Timecode in the Viewer and Canvas (p.
Playing Clips and Sequences You use the transport controls in the Viewer and Canvas to play forward, backward, between In and Out points, one frame at a time, or loop playback. You can also move around within clips and sequences by jogging, shuttling, and scrubbing, and by entering timecode numbers. To play a clip in the Viewer or a sequence in the Canvas: 1 Open a clip in the Viewer or make the Canvas or Timeline active. 2 Do one of the following: Â Â Â Â Click the Play button. Press the Space bar.
II To play a clip or sequence between In and Out points: 1 Open a clip in the Viewer or make the Canvas or Timeline active. 2 Do one of the following: Â Click the Play In to Out button. Â Press Shift-\ (backslash). Â Choose Mark > Play > In to Out. If you want to preview how the cut you’ve made at the Out point will play, you can play to the Out point. This is useful because it quickly shows you if you’ve left out a frame, or if you need to shave off more frames.
To play every frame of a clip: 1 Open a clip in the Viewer or make the Canvas or Timeline active. 2 Do one of the following: Â Choose Mark > Play > Every Frame. Â Press Option-\ (backslash) or Option-P. Scrubbing, or Moving, Through a Clip or Sequence The scrubber bar represents the entire duration of the clip that’s open in the Viewer and the entire duration of a sequence that’s open in the Canvas.
II Shuttling Through a Clip or Sequence While using the scrubber bar is a great way to quickly navigate to different parts of your clip or sequence, sometimes you want to play through your clip or sequence smoothly at varying speeds as you make decisions about where to place your edit points. The shuttle control gives you this kind of smooth control, playing back your video and audio at various speeds in either direction, much as the shuttle of a video deck does.
To begin forward playback at normal (1x) speed: m Press L. To begin reverse playback at normal (1x) speed: m Press J. To pause playback: m Press K. To double the current playback speed: m Press L or J again. You can play back up to eight times normal speed, switching from 1x to 2x to 4x to 8x normal speed (pressing either key a total of 4 times). Pressing the key for playback in the opposite direction halves the playback speed, slowing playback in that direction down until it reaches 1x playback.
II To move forward or backward using the jog control: m Drag the jog control to the left or to the right. The playhead moves with a one-to-one correspondence to the movement of your mouse. Moving your mouse slowly moves the playhead slowly, even frame by frame. Moving the mouse faster moves the playhead faster. If you stop dragging, the playhead stops instantly. To move precisely through a clip, drag the jog control.
To enable looped playback: m Choose View > Loop Playback (or press Control-L). If it’s already enabled, you’ll see a checkmark next to the command in the menu. To disable looped playback: m Choose View > Loop Playback (or press Control-L) again, so that the checkmark next to the menu item disappears Working with Timecode in the Viewer and Canvas Two fields display timecode in the Viewer and Canvas: Timecode Duration and Current Timecode.
II Navigating with Timecode in the Viewer and Canvas You can move the playhead around in a clip or sequence by entering a new timecode number in the Current Timecode field. Â To move to a particular frame in your clip or sequence, enter a complete (or absolute) timecode number. Â To move the playhead forward or backward a precise number of hours, minutes, seconds, and frames from the current position, you enter a relative number.
To move the playhead forward relative to its current position: m Enter + (plus), then a timecode value. To move the playhead back: m Enter – (minus), then a timecode value. For example, if you type +1612, the playhead moves ahead 16 seconds and 12 frames. To move the playhead back by 16 seconds and 12 frames, you would type –1612. To move back 5 minutes, 20 seconds, and 10 frames, you would type –52010.
II About Timecode Overlays and Sync Color Coding In the Viewer, timecode overlays display the source timecode for each clip item. In the Canvas, timecode overlays provide a powerful way to see the sync relationship between clip items stacked in multiple tracks. You can see the source timecode track of each clip item in each track at the current playhead position. Timecode overlays, like other overlays, don’t appear during playback; you’ll only see overlays when playback is paused.
Information Displayed by Timecode Overlays Timecode overlays give you an “at-a-glance” view of a wide variety of information about your clip in the Viewer or sequence in the Timeline. Shows timecode for the In point of the current clip or sequence. Shows timecode for the Out point of the current clip or sequence.
9 Timeline Basics 9 The Timeline shows a graphical representation of your edited sequence, with all of that sequence’s clips laid out in chronological order. This chapter covers the following: Â How You Use the Timeline (p. 111) Â Opening and Closing Sequences in the Timeline (p. 113) Â Learning About the Timeline (p. 114) Â Changing Timeline Display Options (p. 124) Â Navigating in the Timeline (p. 132) Â Zooming and Scrolling in the Timeline (p.
This shows several items in the Timeline. In Point Playhead Out Point Sequence tab Current Timecode field This shows the same items as they appear in the Canvas. Sequence tab Current Timecode field Playhead In Point Out Point Since the playhead in the Timeline mirrors the playhead in the Canvas, you can use the navigation, marking, and editing controls in the Canvas to navigate in the Timeline, and vice versa.
II Opening and Closing Sequences in the Timeline In the Timeline and Canvas, tabs represent sequences. Opening a sequence opens the Timeline and the Canvas windows simultaneously (if they’re not open already). If the Timeline and Canvas are already open, a newly opened sequence appears in its own tab on top of any other sequence tabs. To open a sequence in the Timeline and Canvas, do one of the following: m Double-click a sequence in the Browser. m Select the sequence in the Browser, then press Return.
Learning About the Timeline You can view the content of your sequences in many different ways in the Timeline. Track height, clip opacity and audio level overlays, keyframes, and many other sequence properties can be displayed and edited in the Timeline. Each sequence has its own unique display settings; changing the zoom setting or audio controls in one sequence doesn’t affect another. Editing controls Each tab represents a sequence.
II Editing Controls The Timeline editing controls determine which tracks are selected and enabled for editing and playback. Destination control Lock Track control Auto Select control Source control Track Visibility control Locked tracks are cross-hatched. Â Source and Destination controls: These allow you to connect (or patch) clip items of the source clip in the Viewer to tracks in the Timeline.
 Lock Track control: Prevents a track’s contents from being moved or changed in any way. Overlays in locked tracks can also be protected by deselecting the “Pen tools can edit locked item overlays” option in the Editing tab of the User Preferences window. Locked tracks are cross-hatched all the way across the Timeline. Tracks can be locked and unlocked at any time. For more information, see Volume IV, Chapter 23, “Choosing Settings and Preferences.
II Â Unused area: This is the area either above or below the outermost video and audio tracks in your sequence. Ordinarily, this area is blank, but if you drag clips directly into this gray area, new tracks are created to accommodate them. Â Vertical scroll bars and thumb tabs: If you have more tracks than can be displayed in the Timeline window at one time, the scroll bars let you scroll through your video and audio tracks separately.
 Current Timecode field: Indicates the timecode position of the playhead. Typing a new timecode number moves the playhead (as in the Viewer and Canvas). Current Timecode field  Zoom control: Lets you zoom in and out of the contents of your sequence in the Timeline. Zooming in shows more detail in the ruler, and the duration between the numbers in the ruler shrinks. Zooming out shows less detail in the ruler, but allows you to see more of the total duration of your sequence in the Timeline.
II Â Zoom slider: Like the Zoom control, the Zoom slider allows you to zoom in and out of a sequence in the Timeline. Dragging the thumb tabs on either side of the slider adjusts both thumb tabs and leaves the visible area of the Timeline centered. Drag the slider to scroll through your sequence. Pressing the Shift key and dragging one of the thumb tabs locks the opposite thumb tab and moves the visible area of the Timeline in the direction you’re dragging.
Audio Controls  Audio Controls button: Click to display the mute and solo buttons to the left of each audio track in the Timeline. By default, these controls are hidden. Solo control Mute control Audio Controls button  Mute and solo controls: Use to enable and disable audio playback on individual tracks for monitoring purposes. The track strips in the Audio Mixer have corresponding mute and solo buttons that work the same way.
II Other Miscellaneous Controls Snapping button Linked Selection button  Snapping button: Click to turn snapping on and off. This button appears in the Timeline button bar by default. When snapping is on, the playhead “snaps to” key areas in the Timeline, such as the boundaries of other clip items, sequence markers, and sequence In and Out points.
 Stereo pair indicators (within clip items): Two pairs of triangles indicate that two audio clip items are linked as a stereo pair. If you select an audio clip item that is part of a stereo pair, the other clip item in the pair is also selected. This is useful when you are working with stereo audio clips such as music or sound effects. For more information, see Volume II, Chapter 17, “Audio Editing Basics.” Speed change is shown as a percentage.
II Â Render status bar: This bar at the top of the Timeline indicates which parts of the sequence have been rendered at the current render quality. The top line is for video, the bottom for audio. Â Video render bar (upper region): Indicates the presence and render status of video effects items. Â Audio render bar (lower region): Indicates the presence and render status of audio effects items. The upper area indicates the render status of video items.
Clip items can be linked so that they can be selected and edited together. This allows you to keep clip items that came from the same Browser clip together, such as a video clip item and a stereo pair of audio clip items. When you select a linked clip item, all the other linked clip items are selected as well (unless the Linked Selection button is disabled). For more information about working with linked items, see Volume II, Chapter 14, “Linking and Editing Video and Audio in Sync.
II To change Timeline display options in the Sequence Settings window: m Select a sequence in the Browser or Timeline, choose Sequence > Sequence Settings, then click the Timeline Options tab. Settings in the Timeline Options tab General Options These are basic display options you can change at any time.
 Audio Track Labels: Choose whether audio tracks are labeled as individual audio tracks (A1, A2, A3, and so on) or as members of a pair (A1a and A1b, A2a and A2b, and so on). For more information, see Volume II, Chapter 17, “Audio Editing Basics.” Track Display  Show Keyframe Overlays: Select this option to display opacity overlays (thin black lines) over your video tracks, and audio level overlays (thin red lines) over any clips in the audio tracks of the Timeline.
II Â Show Through Edits: A through edit is an edit composed of two adjacent frames that have the same reel number and subsequent timecode numbers. For example, if you use the Razor Blade tool to cut a clip in half, that edit point is considered a through edit. Select this option to display through edit indicators—two red triangles—where they exist. This may help you discover unnecessary edit points in your sequence, which you can then delete.
Clip Keyframes You can click the Clip Keyframes control to display the keyframe graph area— additional space below each video and audio track in which to view and edit keyframes for effects that are applied to your clips. Motion bar and motion keyframe indicated by a blue diamond A green bar indicates a filter has been applied to the clip. A blue bar indicates a clip’s motion settings have been altered.
II Â Keyframe editor: The keyframe editor shows you keyframe graph lines for motion or filter parameters. These graphs are identical to those found in the keyframe graph area of the Motion and Filters tabs in the Viewer. You can edit keyframes in the keyframe editor using the Selection and Pen tools. The keyframe editor can only display the keyframe graph line of one effect parameter at a time. Â Speed indicators: Speed indicators show you the speed of clips in your sequence using tic marks.
Timeline Display Options Available from the Track Layout Pop-Up Menu You can use the Track Layout pop-up menu in the Timeline to change some Timeline display options, including:  Track height  Video filmstrips  Audio waveforms  Through edits  Duplicate frames  Clip labels This pop-up menu also allows you to save, choose, or restore custom track layouts. This menu can hold up to 40 custom track layouts.
II Â Duplicate frames indicator: If you use a clip more than once within a single edited sequence, the duplicated frames are marked by a colored bar appearing at the bottom of the clip’s video item in the Timeline. Duplicate frames indicator Each separate instance of duplicated frames is color-coded differently. There are six different colors used to indicate separate sets of duplicated frames: red, green, blue, white, black, and purple.
Control-click a clip with duplicate frames to see a shortcut menu with the following option: Â Dupe Frames: Choose this option to see a list of all clips that contain duplicates of the frames in the selected clip. Each item in this list contains the number of duplicated frames, the timecode value of the first duplicated frame, and the name of the clip that contains the duplicates.
II Positioning the Playhead Using the Ruler Moving the playhead in the Timeline ruler works in the same way as moving the playhead in the scrubber bar in the Canvas or Viewer. To scrub through a sequence in the Timeline: m Drag the playhead in the Timeline ruler. Playhead To jump to a specific location in the Timeline: m Click the desired location in the Timeline ruler. (You can do this while your sequence is stopped or playing.
Zooming and Scrolling in the Timeline Being able to navigate quickly to any point in your sequence is critical to efficient editing and storytelling, and the ability to jump to any point in the Timeline instantly is one of the main benefits of a nonlinear editing environment. There are lots of ways to navigate through the Timeline. Learning keyboard shortcuts can save you time.
II To zoom in and out of the Timeline using the Zoom control: m Click or drag the Zoom control to view the Timeline at a different time scale while keeping either the playhead or the current area of the Timeline centered. Clicking to the right of the control zooms out to show more of your sequence; clicking to the left zooms in to show more detail. Drag the Zoom control to change the Timeline to a different time scale.
Note: When the Zoom In or Zoom Out tool is selected, pressing the Option key temporarily changes it to the opposite tool. Drag the Zoom In tool to expand the sequence. This shows the above sequence zoomed in, so you can see more details within the sequence.
II To zoom in and out of the Timeline using menu commands or keyboard shortcuts: 1 With either the Canvas or the Timeline selected, move the playhead to the position in the Timeline where you want zooming to be centered, or select one or more clips in the Timeline that you want to center on as you zoom in or out. 2 Do one of the following: Â Choose View > Zoom In, or press Option-= (equal sign).
To fit the entire contents of the Timeline into the available window size: m Press Shift-Z. The zoom factor changes so that the entire sequence fits into the available window size. To fit a selected area of the Timeline into the available window size: 1 Using the Selection, Group Selection, or Range Selection tool, select one or more items in the Timeline. 2 Press Option-Shift-Z. The zoom factor of the Timeline changes so that the selected items fit into the available window size.
II Scrolling Vertically Through Multiple Tracks The tracks in the Timeline are divided by default into two regions, one for audio and one for video tracks. A divider between the two regions can be dragged up or down to resize the regions, giving more space to either the video or audio tracks in your Timeline.
10 Customizing the Interface 10 Final Cut Pro lets you customize the way you work with windows, rearranging them and creating new layouts. You can also set up custom keyboard shortcuts and use shortcut buttons to work more efficiently. This chapter covers the following: Â Changing Browser and Timeline Text Size (p. 141) Â Moving and Resizing Final Cut Pro Windows (p. 141) Â Using Window Layouts (p. 143) Â Ways to Customize Keyboard Shortcuts (p. 146) Â Working with Shortcut Buttons and Button Bars (p.
Note: You can also resize and move the Tool Bench window, a window used for specialized editing, including audio mixing and recording voiceovers. Default Two Up layout For example, you may want to increase the height of the Timeline while simultaneously shrinking the size of the Viewer and Canvas to work on a sophisticated multitrack sequence. You could also enlarge the Browser while shrinking the Timeline to perform multicolumn searches for clips in the Browser as you edit.
II To resize multiple windows at the same time: 1 Move the pointer over the border between the windows you want to resize. The pointer changes to the Resize Window pointer. Pointer between three or more windows Pointer between two windows 2 Drag the border in the desired direction to resize the appropriate windows. The windows on either side of the border are resized accordingly. Any border between two windows in Final Cut Pro can be dragged.
To choose a window layout: m Choose Window > Arrange, then choose an option from the submenu. Â Audio Mixing: This places the Viewer, Canvas, and Tool Bench at the top. The Tool Bench window contains the Audio Mixer tab (you can also open the Audio Mixer by choosing Tools > Audio Mixer). The Browser and Timeline are on the bottom, with the Tool palette and audio meters to the right of the Timeline. Â Color Correction: This places the Viewer, Canvas, and Tool Bench at the top.
II Creating Custom Layouts Two custom layouts are presented at the top of the Arrange menu and cannot be renamed. To create a custom layout: 1 Choose Apple > System Preferences, click Displays, then set the desired resolution of your computer monitor. The resolution you choose will become the minimum resolution for that particular window layout. 2 In Final Cut Pro, arrange any combination of the four main windows, custom Tool Bench windows with tool tabs, the Tool palette, and audio meters as you want them.
To use a saved layout, do one of the following: m Choose Window > Arrange, then choose a saved layout from the submenu. m The first five saved layouts in the Window Layouts folders can be selected using keyboard shortcuts. By default, they are Control-Shift-(6, 7, 8, 9, 0). To load a saved layout from your hard disk: 1 Choose Window > Arrange > Load Window Layout. 2 In the Open dialog, navigate to the location where the window layout is located, select it, then click Open.
II Learning About the Keyboard Layout Window The Keyboard Layout window allows you to view current keyboard shortcuts, set up custom keyboard shortcuts, and search for keyboard shortcuts by function or menu item. To open the Keyboard Layout window, do one of the following: m Choose Tools > Keyboard Layout > Customize. m Press Option-H. This specifies the currently selected keyboard layout and input type. Tabs let you choose the modifier key to use.
Command List Area By default, commands are listed by menu set (such as File and Edit) and command group function (such as Audio and Capture commands). You can also view commands alphabetically. You can use the controls in this area to choose how to display commands as well as how to search for them. Â Disclosure triangle: Click to display all commands and their corresponding keyboard shortcuts for a menu set or command group.
II To assign keyboard shortcuts to commands: 1 Choose Tools > Keyboard Layout > Customize. The Keyboard Layout window appears. 2 In the Keyboard Layout window, click the Lock button in the lower-left corner. 3 Click a tab to choose a modifier key or combination of modifier keys. The keyboard layout for commands that use that modifier key is shown. 4 If you want to create an entirely new layout, click Clear. When a message appears asking if you want to clear the keyboard layout, click Yes.
6 Click a command in the list to select it, then do one of the following: Â Press the key or key combination you want to assign as the shortcut. Â Drag the command from the list to the key on the keyboard layout that you want to assign it to. Note: The modifier key is already chosen by the tab selected at the top of the Keyboard Layout window. The keyboard shortcut you entered appears next to the command.
II To quickly reassign the keyboard shortcuts for a command: 1 Choose Tools > Keyboard Layout > Customize. The Keyboard Layout window appears. 2 In the keyboard area, drag the icon for a command from the current key to the new key. If you drag an icon to a key that already has a command assigned to it, the new command takes precedence and the previous command no longer has a keyboard shortcut assigned to it. You can also delete the keyboard shortcut for a command in the Keyboard Layout window.
Clearing and Restoring Keyboard Layouts At any time, you can clear the keyboard layout, removing most of the commands and their keyboard shortcuts. This is useful if you want to clear the keyboard layout you previously set up, so you can change the commands for another project. Note: If you don’t clear the existing layout, newly specified keyboard shortcuts are used in addition to those keyboard shortcuts already specified (either the default keyboard shortcuts or those you previously set up).
II To save commands and keyboard shortcuts as a text file: 1 Choose Tools > Keyboard Layout, then choose an option from the submenu: Â Save Grid as Text: Saves only those commands to which you’ve assigned keyboard shortcuts as a tab delimited text file. Â Save Menu Commands as Text: Saves all commands from the following menus: File, Edit, View, Mark, Modify, Sequence, Effects, Tools, and Window. (This option does not let you save command groups, such as Compositing or Editing.
To load a customized keyboard layout: 1 Copy the keyboard layout file to your computer. The default location where these files are stored is: /Users/username/Library/Preferences/Final Cut Pro User Data/Keyboard Layouts/ 2 Choose Tools > Keyboard Layout > Load Keyboard Layout. 3 In the Choose a File dialog, navigate to the location where the keyboard layout is stored, then click Choose.
II Working with Shortcut Buttons and Button Bars Shortcut buttons can be created and placed at the top of the main windows in Final Cut Pro—the Browser, Viewer, Canvas, Timeline, and any Tool Bench windows. You can then click any of these shortcut buttons in this “button bar” to perform commands, instead of entering the key combination or using menus. Shortcut buttons added to the Browser Some windows, such as the Timeline and Tool Bench, include some buttons in their button bar by default.
To create a shortcut button in the button bar of a window: 1 Make sure the window you want to add the shortcut button to is displayed. If you’re adding a shortcut button to the Tool Bench window, make sure the tab of the feature you want is in front. 2 Choose Tools > Button List. The Button List window appears. This looks the same as the command list area of the Keyboard Layout window. ∏ Tip: You can also drag icons from the command list area or keyboard area of the Keyboard Layout window.
II To rearrange shortcut buttons in a button bar: m In the button bar, drag shortcut buttons where you want them to appear. To add a spacer to a button bar: m Control-click the button bar, then choose Add Spacer from the shortcut menu. Spacer added between buttons To move spacers in a button bar: m Drag the spacer where you want it to appear in the button bar. To remove a space in a button bar: m Drag the spacer out of the window.
Saving and Using Custom Shortcut Button Bars You can manually save the shortcut button bars that you set up in the Viewer, Canvas, Browser, and Timeline. This is useful if you are working with others on a project and want to use your shortcut button configuration. You can also load and use shortcut button bars that others have created. Important: Button bars that you set up in Tool Bench windows are saved with custom window layouts you create.
Part III: Setting Up Your Editing System III Design the editing system that’s right for you. Read this section to learn how to set up your system, specify initial settings, and connect video, audio, and storage devices.
11 Connecting DV Video Equipment 11 Setting up Final Cut Pro to capture DV video is as simple as connecting your camcorder to your computer with a FireWire cable. This chapter covers the following: Â Components of a Basic Final Cut Pro Editing System (p. 161) Â Setting Up a Final Cut Pro Editing System (p. 162) Â Connecting Your Camcorder (p. 163) Â Opening Final Cut Pro and Choosing Your Initial Settings (p. 163) Â Confirming Remote Device Control Between Final Cut Pro and Your DV Device (p.
Setting Up a Final Cut Pro Editing System This section explains how to set up a DV editing system. Even if you are building a more complex editing system, you should read these basic steps first. References to more advanced information are included within each step. The basic steps for setting up a Final Cut Pro editing system are: Step 1: Connect input and output devices for capture and output If you are using DV video, this means connecting your DV camcorder to your computer via a FireWire cable.
III Connecting Your Camcorder The following illustration demonstrates how to connect your DV camcorder to the FireWire port on your computer, so that you can capture video (transfer the video from your camcorder to your computer) and output your program back to DV tape. For more information on FireWire, see “About FireWire” on page 169.
If you always use the same type of camcorder or video deck, you may never have to change your Easy Setup. If you do change the device or the format you are using for capture and output, you should choose a matching Easy Setup. To choose an Easy Setup: 1 Choose Final Cut Pro > Easy Setup. Note: If this is the first time you’ve opened Final Cut Pro, the Easy Setup window appears automatically after the application opens.
III The selected Easy Setup applies to all new projects and sequences. Settings for existing sequences do not change. For additional information about Easy Setups, see Volume IV, Chapter 24, “Audio/Video Settings and Easy Setups.” If this is the first time you’re setting up Final Cut Pro, you’ll now need to specify your scratch disk.
2 To specify a disk or a folder on a hard disk as a scratch disk: a Click Set. b In the dialog that appears, locate and select the disk you want to use. Only connected external disks or installed internal disks are listed. If your hard disk doesn’t appear, make sure that it’s connected properly and correctly initialized and mounted. For more information, see the documentation that came with your computer, your hard disk, or your disk-formatting software.
III About Scratch Disk Capture Order Final Cut Pro lets you specify up to 12 scratch disks at one time. Final Cut Pro always uses the disk with the most space first. When that disk is full, Final Cut Pro uses the disk with the next most available space, and then the next one, and so on, until all disks are full. When Scratch Disks Become Unavailable Scratch disks you’ve set can become unavailable for a number of reasons: they might be turned off, disconnected, or temporarily unmounted.
Confirming Remote Device Control Between Final Cut Pro and Your DV Device Device control enables communication between your deck or camcorder and Final Cut Pro, allowing you to remotely control your video deck for capturing and output. After you connect your camcorder or deck to your computer and choose an Easy Setup that matches your equipment, make sure that the deck and Final Cut Pro are communicating.
III About FireWire FireWire (also called IEEE 1394a or i.LINK) is the consumer and professional standard for DV-format digital video. DV devices typically use FireWire 400 connectors. There are two kinds of FireWire 400 connectors: a 4-pin connector (typically used to connect to video equipment such as camcorders or decks) and a 6-pin connector (used to connect to computer equipment). However, some newer video equipment uses the 6-pin connector and some video cards use the 4-pin connector.
12 Connecting Professional Video and Audio Equipment 12 You can expand your input and output options by installing third-party video, audio, and device control interfaces. This chapter covers the following: Â Components of a Professional Final Cut Pro Editing System (p. 171) Â About Video Interfaces, Signals, and Connectors (p. 175) Â Connecting Professional Video Devices (p. 182) Â About Audio Interfaces, Signals, and Connectors (p. 187) Â Connecting Professional Audio Devices (p.
 RS-422 serial device control interfaces: For remote device control during capture and output  Video, audio, and remote device control cables: For separate video, audio, and remote device control connections. Unlike a basic DV editing system, which uses a solitary FireWire cable to transfer video, audio, and remote control signals, many professional configurations require separate cables for each of these signals.
III External Video and Audio Monitors In the final stages of post-production—color correction and audio mixing—external video and audio monitors are essential to ensure the quality of your movie. Editing systems focused on these final phases of post-production are often called finishing systems. External Video Monitor When you edit your video, it’s ideal to watch it on a monitor similar to the one you will use for the final screening.
You may want to consider adding a third-party interface to your system if:  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)  Yo
III About Video Interfaces, Signals, and Connectors This section describes common types of video interfaces, signal formats, and connectors. Video Interfaces Final Cut Pro allows you to use a wide variety of video interfaces for capture and output. The following section shows examples of the most common types of video interfaces available.
PCI Video Interface Card If you are using professional analog or digital formats (either standard definition or high definition) without native FireWire connectivity, you need to purchase and install a PCI video interface card to connect your video deck or camcorder to your computer. Many PCI interface cards come with a breakout box where video, audio, and perhaps even 9-pin remote connectors are located (rather than on the PCI card itself ).
III PCI Video Interface Card with Breakout Box Many PCI cards aren’t big enough to fit all of the necessary video and audio connectors. In these situations, a breakout box is connected to the PCI card via a multipin connector on a long cable, and the connectors are accessible on the breakout box instead of the back of the PCI card. A breakout box is also useful because it allows you to place the connectors somewhere more convenient than the back of your computer, such as an equipment rack or a desktop.
Video Signals and Connectors When you capture and output, the type of video signal you use to connect your equipment is a critical factor that goes into determining the quality of your video. Video camcorders, decks, and monitors can use different types of signals, depending on the environment they are intended for. Consumer equipment usually has limited video signal choices; professional equipment gives you the greatest range of options. For more information, see Volume IV, Appendix A, “Video Formats.
III Component YUV and Component RGB Professional video equipment, such as Betacam SP decks, has component YUV (Y’CBCR) video inputs and outputs. Component YUV separates color and brightness information into three signals, which keeps the color quality more accurate than that of other systems. Component YUV is as good as analog video gets. High-end consumer devices, such as DVD players and televisions, have increasingly begun to support component YUV.
FireWire 400 FireWire 400, also called IEEE 1394a or i.LINK, is the consumer and professional standard for formats such as DV, DVCAM, DVCPRO, DVCPRO 50, DVCPRO HD, and HDV. FireWire is an inexpensive and easy way to capture and output high-quality digital video using a variety of camcorders and decks and is capable of data rates as high as 400 Mbps. Standard FireWire cables can be up to 4.5 meters long.
III HD-SDI High Definition Serial Digital Interface (HD-SDI) is a higher-bandwidth version of SDI designed for the extremely high data rates required by uncompressed HD video. Like SDI, HD-SDI is capable of sending both video and audio through a single connection. The following decks have HD-SDI interfaces: DVCPRO HD, D-5 HD, and HDCAM decks. Some devices provide even higher data rates by pairing two HD-SDI channels together (known as dual-link HD-SDI).
DVI supports single- and dual-link connections. Single-link DVI connections are limited to 2.6 megapixels with a refresh rate of up to 60 Hz. Dual-link DVI connectors extend the number of pixels that can be transferred per second to drive larger displays. DVI-I (single link) DVI-I (dual link) DVI-D (single link) DVI-D (dual link) HDMI High-Definition Multimedia Interface (HDMI) supports both digital television and computer signals and can also include multiple digital audio channels.
III A Recommended System Using a Third-Party Video Interface To set up a system using a third-party video interface, you need the following equipment:  Your computer and display  A non-DV format video device (a camcorder or deck)  Audio and video cables for your system  A third-party capture interface installed in or connected to your computer Note: Some third-party video interfaces have a breakout box connected to the card with a special cable, which is included.
To connect your VTR to your third-party video interface: 1 Install a supported third-party PCI video interface in your computer or connect a FireWire or USB video interface. For detailed information, see the documentation that came with your video interface and your computer. 2 If you are using a PCI card video interface that came with a breakout box, connect the breakout box to the PCI card using the cables provided.
III To configure Final Cut Pro to work with your video deck, do one of the following: m Choose Final Cut Pro > Easy Setup, then choose an Easy Setup that corresponds to the video format and device control protocol of the device you connected. For more information, see “Opening Final Cut Pro and Choosing Your Initial Settings” on page 163. m Choose Final Cut Pro > Audio/Video Settings, then individually select capture, device control, and sequence presets that correspond to your video device and format.
Connecting Consumer Analog Video Devices If you want to digitize video from an analog consumer format, such as VHS or 8 mm video, you need a video interface that has an analog composite video input. Also, older consumer decks rarely support remote device control, which means you can’t remotely control the deck or capture timecode from these formats.
III The following illustration shows a typical non-DV-to-DV setup: Audio RS-422 serial USB USB-to-serial adapter Amplified speakers Audio Video FireWire Computer DV converter Video Analog or digital VTR Standard definition monitor To connect your VTR to your analog-to-DV or digital-to-DV converter: 1 With your DV converter turned off, connect the 6-pin connector on the FireWire cable to the FireWire port on your computer. 2 Connect the 4-pin connector on the FireWire cable to the DV converter.
Built-in Audio Interfaces The following audio interfaces are included with your Macintosh computer (though some computer models may not include all interfaces). Built-in Analog Audio You can capture and output audio using the built-in audio ports on your computer. The built-in audio interface on your computer usually uses a stereo miniplug connector.
III Choosing a Third-Party Audio Interface Before you purchase a separate audio interface, consider that most third-party video interfaces may have enough audio connectors to meet your requirements.
USB Audio Interfaces There are a wide variety of USB audio interfaces available. Most support two or four audio channels at one time. USB audio interfaces vary in quality considerably, so take some time to research before you purchase. The connectors on USB interfaces vary; some interfaces have RCA connectors and others have both XLR and 1/4" TRS connectors. Very inexpensive USB audio interfaces may have only a stereo miniplug connector.
III Important: Although a FireWire bus supports a very high data rate, connecting too many devices, such as a DV video device, a FireWire hard disk, and a FireWire audio interface, could potentially exceed the bus speed, resulting in dropped video frames or audio with missing samples. PCI Audio Interface Card Of all the audio interfaces, PCI audio interfaces provide the maximum transfer speed and can support many channels with high sample rates.
Analog Audio Connectors and Signal Formats Different audio connectors are suited for different purposes. Audio connectors are often indicative of the kind of signal they transmit. However, there are enough exceptions that it’s important to know what kind of audio signal you are connecting, in addition to the connector type. An important distinction is whether an audio connector carries a balanced or an unbalanced signal. 1/8" Mini Connectors These are very small, unbalanced audio connectors.
III 1/4" Tip-Sleeve Connectors 1/4" tip-sleeve (TS) connectors (also called 1/4" phone connectors) with a tip and a sleeve are unbalanced connectors often used for musical instruments like electric guitars, keyboards, amplifiers, and so on. 1/4" tip-sleeve (TS) connector 1/4" Tip-Ring-Sleeve Connectors Professional equipment often uses 1/4" tip-ring-sleeve (TRS) audio connectors with +4 dBu line level.
Digital Audio Connectors and Signal Formats Although digital audio signals are completely different from analog signals, the same connectors are often used for convenience. For example, an XLR connector can be used to carry an analog audio signal or an AES/EBU digital audio signal. AES/EBU The AES/EBU digital audio specification was jointly developed by the Audio Engineering Society (AES) and the European Broadcasting Union (EBU).
III TOSLINK TOSLINK is an optical digital audio format developed by the Toshiba Corporation. These digital audio formats can be transmitted via TOSLINK optical cables and connectors: Â S/PDIF Â ADAT Lightpipe Some Macintosh computers have a single interface that combines a TOSLINK connector with an analog stereo miniplug. TOSLINK connector ADAT Lightpipe ADAT Lightpipe is an eight-channel digital audio format developed by Alesis. This signal format uses TOSLINK optical connectors.
About Analog Audio Levels There are six basic kinds of analog audio levels found on most equipment: Â Microphone level: Around 50 or 60 dB less than line level. When you use a microphone, the level is very low, requiring a preamplifier to raise the signal to line level before it can be recorded or processed. Most audio mixers, cameras, and professional portable recording devices have built-in preamplifiers. Â Instrument level: Between microphone and line level, around –20 dBV or so.
III A balanced audio cable sends the same audio signal on two wires, but inverts the phase of one signal by 180 degrees. Original signal Inverted signal (reverse phase) When noise is introduced into the cable, it is introduced equally to both the original and the inverted signal. Noise on line (affects both signals) When the signal arrives at its destination, the inverted signal is put back in phase and both signals are combined.
Now, both audio signals are in phase, but the noise is inverted, causing the noise to be canceled. At the same time, the original signal gets a little stronger because it is sent on two wires and combined. This helps compensate for the reduction in signal strength that occurs naturally on a long cable run. Combined signals (noise eliminated) Any noise introduced into the cable across its long run is almost completely eliminated by this process.
III Connecting Consumer Digital Audio Devices Consumer devices such as CD players, MiniDisc recorders, and some DAT recorders use either an optical or RCA (coaxial) connector for S/PDIF digital audio. S/PDIF carries two channels of digital audio, usually at a sample rate of 44.1 or 48 kHz and a bit depth of 16 bits. Connect the S/PDIF output of your audio device to the S/PDIF input on your audio or video interface, if available.
Synchronizing Equipment with a Blackburst Generator With most professional editing systems, you capture video, audio, and timecode via separate cables. It’s important that when you capture, the VTR and the video and audio interfaces are synchronized via a common video timing signal. If digital audio samples and video lines and frames are not precisely synchronized, they eventually drift apart because they are captured at slightly different rates.
III To connect your audio deck outputs to a third-party audio interface for synchronized, genlocked audio capture: 1 Install a supported audio interface card in your computer, or connect a supported audio interface. For more information, see the documentation that came with the audio interface and your computer. 2 If you are using a PCI card audio interface that came with a breakout box, connect the breakout box to the PCI card using the included cable.
Connecting Remote Device Control Device control enables communication between your VTR or camcorder and Final Cut Pro, allowing you to remotely control your video deck for capturing and output. A VTR can tell Final Cut Pro where a tape is currently positioned, and Final Cut Pro can tell the VTR to cue the tape to a new position, pause, rewind, fast-forward, and even record during output. Positional information is conveyed via timecode recorded on the tape.
III Confirming Remote Device Control Between Final Cut Pro and Your Video Device If you are using a DV device and Final Cut Pro has communication problems with the device, see “Confirming Remote Device Control Between Final Cut Pro and Your DV Device” on page 168. If Final Cut Pro has communication problems with your professional video device, try the following: m Make sure your 9-pin cable is properly connected and plugged in all the way.
To choose a device control preset in the Log and Capture window: 1 Choose File > Log and Capture, then click the Capture Settings tab. 2 From the Device Control pop-up menu, choose a device control preset that corresponds to your connected device. For an explanation of each device control preset, see Volume IV, Chapter 26, “Device Control Settings and Presets.” To choose a device control preset in the Audio/Video Settings window: 1 Choose Final Cut Pro > Audio/Video Settings.
III Â VTR in Local: Your device is set to work only with its built-in playback buttons. Set the switch on your camcorder or deck from Local to Remote and you’ll be able to remotely control the device from Final Cut Pro. Note: Decks with serial device control have a switch that lets you choose Local or Remote control. Â To control your deck with Final Cut Pro: Set the switch to Remote. Â To use the transport buttons on your deck to control the deck: Set the switch to Local.
13 Determining Your Hard Disk Storage Options 13 To make the most of your Final Cut Pro editing system, you need to make appropriate choices about hard disk selection and maintenance. This chapter covers the following: Â Working with Scratch Disks and Hard Disk Drives (p. 207) Â Data Rates and Storage Devices (p. 208) Â Determining How Much Space You Need (p. 209) Â Choosing a Hard Disk (p. 212) Â Types of Hard Disk Drives (p.
Data Rates and Storage Devices The data rate of the video you capture depends on the format of the source video and the codec you use for capture. If you are capturing low data rate video, chances are you can use more inexpensive storage devices. If you need to capture extremely high data rate video, you may need a faster hard disk. Here are some examples of data rates for common capture formats: Format Typical data rate OfflineRT (using Photo JPEG) Varies between 300 and 500 KB/sec.
III If your hard disk or its connection to your computer does not support the data rate of your video format, you need to consider three factors: Â Sustained transfer speed is a measurement of how fast data can be written to a disk in MB/sec. When you use a video interface that utilizes M-JPEG compression, the sustained transfer speed of your hard disk determines the maximum quality of the video you can capture.
Planning for Additional Media Files In addition to space for captured files and project files, you need extra space for render files, graphics, movie files created in other applications (such as animations), additional audio files, and so on. A loose rule of thumb to determine how much space you need is to multiply the amount of space needed for your finished program by five. Ultimately, the amount of extra space you reserve depends on how much additional media you create during editing.
III Sample Calculation for Disk Space Requirements Suppose you want to create a music video that’s approximately 4 minutes long using DV video for capture, editing, and output. Consider a shooting ratio of 15:1, meaning you shot 15 times more footage than you will use in the final movie. Total duration of media captured to disk: Â 15 x 4 minutes = 60 minutes Data rate requirements for DV media: Â 3.6 MB/sec. video data rate x 60 seconds = 216 MB/min.
Choosing a Hard Disk The disk that contains your computer’s operating system is called the startup disk or boot disk. In addition to the operating system, the startup disk also stores your applications (such as Final Cut Pro), your application preferences, system settings, and documents. Because the files on the startup disk are your most critical data, maintaining the startup disk is vital.
III Types of Hard Disk Drives There are several disk drive technologies you can choose. The type appropriate for your needs depends on the format and data rate of the video you’re capturing. Each disk drive technology has benefits and limitations. The main choices currently available are:  ATA  FireWire  SCSI  RAID and Fibre Channel ATA Disk Drives There are two kinds of ATA disks:  Parallel (Ultra) ATA disks: These are found in Power Mac G4 computers.
Serial ATA Disks Serial ATA (SATA) disks are newer than parallel ATA disk drives. The disk drive mechanisms may be similar, but the interface is significantly different. The serial ATA interface has the following characteristics: Â Serial data transfer (one bit at a time) Â 150 MB/sec.
III SCSI Disk Drives Small Computer Systems Interface (SCSI) disk drives are among the fastest drives available. SCSI technology has been implemented in various ways over the years, with each successive generation achieving better performance.
Using a RAID or Disk Array You can improve the transfer speed of individual disks by configuring multiple disk drives in a disk array. In a Redundant Array of Independent Disks (RAID), multiple SCSI, ATA, or FireWire disk drives are grouped together via hardware or software and treated as a single data storage unit. This allows you to record data to multiple drives in parallel, increasing access time significantly. You can also partition the array into multiple volumes.
III Fibre Channel Drive Arrays and RAIDs Fibre Channel is a hard disk drive interface technology designed primarily for high-speed data throughput for high-capacity storage systems, usually set up as a disk array or RAID. Fibre Channel disk drive systems typically have performance rivaling or exceeding that of high-performance SCSI disk arrays. One of the most common ways of connecting a computer to a Fibre Channel disk drive system for video capture and output is called a point-to-point connection.
Storage Area Networks A storage area network (SAN) such as an Apple Xsan system consists of one or more disk arrays that are made available to multiple computer systems simultaneously. Broadcast and post-production facilities can use an Xsan system to share a single set of media files among multiple editing systems. Xsan software allows an administrator to control SAN access privileges for each editing system.
14 External Video Monitoring 14 It’s best to preview your video on an external video monitor to accurately see how your final program will look. This chapter covers the following: Â Using an External Video Monitor While You Edit (p. 219) Â Using Digital Cinema Desktop Preview (p. 226) Â Compensating for Video Latency by Specifying a Frame Offset (p. 230) Â Troubleshooting External Video Monitoring Problems (p.
Consumer Video Monitors Versus Broadcast Monitors Throughout the Final Cut Pro 6 User Manual, a distinction is made between “video monitors” and “broadcast monitors.” This is to differentiate between cases when any video monitor will do and cases when only a high-quality broadcast monitor is appropriate for a given task.
III Connecting a DV FireWire Device to an External Monitor A DV FireWire setup is one of the most common Final Cut Pro configurations. A DV device (either a camcorder, VTR, or FireWire-to-analog converter box) converts DV signals to analog video and audio signals that are then sent to a video monitor (and to self-powered speakers for audio monitoring). If you have a home stereo system, you can also connect the audio output of the DV device to any available channels on the home stereo system.
Connecting a Third-Party Video Interface to an External Monitor You can use third-party video interfaces to connect a Final Cut Pro system to an external monitor. A third-party interface may be able to transcode your sequence to one or more of the following output formats: SDI, HD-SDI, analog component (YUV), S-Video (Y/C), composite, and even DV. For more information about these signal formats, see Chapter 12, “Connecting Professional Video and Audio Equipment,” on page 171.
III To choose a video interface for external monitoring: 1 Choose Final Cut Pro > Audio/Video Settings, then click the A/V Devices tab. 2 Choose the settings you want, then click OK. Playback Output Area  Video pop-up menu: Choose a device to output video to.  None: This turns off external video output. If you play clips or sequences in Final Cut Pro, you can’t view them on your camcorder, deck, or NTSC or PAL monitor.
 Other available video interface: If you have a third-party video interface installed, it appears in this list. Choose the video interface to view video on a monitor that’s connected to the interface.  Options button: Depending on your video interface and its associated codec, the video frames may need to be decompressed when viewing video on an external monitor. Click Options, then select the “Decompress after compress” checkbox. This option is not available when using FireWire.
III Disabling Warning Controls  Do not show External A/V Device Warning when device not found on launch: When selected, this option disables the “Unable to locate the external video device” dialog that appears when Final Cut Pro is opened without a camcorder, deck, or video interface connected or installed. Instead, Final Cut Pro finishes opening, and External Video is automatically set to Off in the View menu.
Using Digital Cinema Desktop Preview The Digital Cinema Desktop Preview feature allows you to preview your video using any available computer display connected to an AGP graphics card. (Displays connected to a PCI graphics card cannot be used by Digital Cinema Desktop Preview.) If you have two computer displays, one can be used to view the Final Cut Pro interface and the Finder while the other can be used as a dedicated video monitor.
III There are several settings you can choose:  Digital Cinema Desktop Preview - Main  Digital Cinema Desktop Preview  Digital Cinema Desktop Preview - Full-Screen  Digital Cinema Desktop Preview - Raw Note: The Main option is available on single-display systems, but the remaining options are available only if you have two or more displays connected to AGP graphics cards.
Digital Cinema Desktop Preview - Raw This mode shows your video data with as little processing as possible—there is no scaling or pixel aspect ratio correction. For example, a 720p frame (1280 x 720) shown in raw mode on an 800 x 600 display only shows 800 x 600 pixels of the image. This can be useful for engineering evaluations of the image. Â Pro: More accurate assessments of video quality can be made. Â Con: This mode is not useful for general viewing.
III Troubleshooting Digital Cinema Desktop Preview If you experience trouble when using Digital Cinema Desktop Preview, review the following: Â In Mac OS X System Preferences, the screen saver should be turned off (choose Apple menu > System Preferences, click Desktop & Screen Saver, click Screen Saver, and set the “Start screen saver” slider to Never). Â Digital Cinema Desktop Preview works only with AGP graphics cards.
Compensating for Video Latency by Specifying a Frame Offset No matter what signal format you use for external monitoring, all digital video and audio interfaces (including FireWire) introduce inherent processing delays (known as latency) to signals sent out of the computer. External video and audio coming from the built-in FireWire port or third-party interface may be several frames later than the video on your computer display (in the Viewer or Canvas).
III Troubleshooting External Video Monitoring Problems If you experience problems while viewing your sequence, there are a few things you can try. To quickly choose a different video interface for external monitoring, do one of the following: m Choose Final Cut Pro > Audio/Video Settings. In the Summary tab, choose a video interface (or none) from the External Video pop-up menu, then click OK. m Choose View > Video Playback, then choose a video interface.
m If you are using a DV FireWire camcorder to convert DV to analog video, make sure the camcorder is in VCR (or VTR) mode and that it is turned on. m If you are using a VTR to convert video from your video interface to a format for your video monitor, make sure you select the proper input connector on the VTR. For example, if your VTR has both SDI and component analog video inputs, and your video interface is connected to the VTR via an SDI connection, choose SDI input on the VTR.
Part IV: Logging, Capturing, and Importing IV Learn how to log clips, capture video and audio files to your hard disk, and import media into your Final Cut Pro project.
15 Overview of Logging and Capturing 15 You can log your tapes to create clips, or regions of your videotape that you want to use in your movie. Then you can capture your clips as media files on disk. This chapter covers the following: Â What Are Logging and Capturing? (p. 235) Â Ways to Log and Capture Footage in Final Cut Pro (p. 236) Â Learning About the Log and Capture Window (p. 239) Â Are You Ready to Log and Capture? (p.
Ways to Log and Capture Footage in Final Cut Pro In the early days of nonlinear editing systems, there was only one log and capture workflow: log first to create clips, then batch capture selected clips’ media. This workflow was necessary because hard disk capacity was limited, so editors had to be selective about what they captured. Although this is still a good workflow for some projects, it is no longer necessary to log your footage first and then batch capture.
IV Capture entire tapes, then create subclips and log in the Browser This method is increasingly popular because hard disk space is no longer prohibitively expensive. Instead of choosing selected footage to transfer to your hard disk, you capture entire tapes. Once on disk, you can break the footage into smaller subclips, add logging information in the Browser, and delete unnecessary media from your hard disk. Â Capturing: Capture entire tapes using the Capture Now button in the Log and Capture window.
Create clips directly in the Browser, then batch capture them You can create clips directly in the Browser using the New Offline Clip command in the File menu. You can enter pertinent logging information, and then batch capture the clips. This approach is useful if you are only creating a few clips, or if you have a handwritten list of clips that you logged somewhere else. Otherwise, creating and importing a batch list may be faster.
IV Learning About the Log and Capture Window The Log and Capture window provides controls for controlling a VTR or camcorder, previewing video from tape, setting In and Out points, logging, and capturing clips. To open the Log and Capture window: m Choose File > Log and Capture (or press Command-8). Logging, Clip Settings, and Capture Settings tabs Preview area Log and capture buttons There are several areas in the Log and Capture window.
Preview Area This section of the Log and Capture window lets you view video from tape while you log and capture it. If your camcorder or deck is not on or there is no tape inserted, you’ll see color bars or black. The following controls appear if your camcorder or deck is on and properly connected, and device control is enabled.
IV Transport Controls If you have device control, use these to control your camcorder or deck. These controls are similar to controls in the Viewer and Canvas, except that they control playback of a videotape instead of a media file. For more information, see “Navigating in the Viewer and Canvas” on page 99.
Marking Controls Use these to set In and Out points for a clip on tape. Clip In Point Timecode field Clip Out Point Timecode field Go to In Point Go to Out Point Mark In       Mark Out Mark In (I): This sets the In point for a clip on tape. Clip In Point Timecode field: Shows the timecode value of the currently set In point. Go to In Point: This causes the connected VTR to cue to the currently set In point. Mark Out (O): This sets the Out point for a clip on tape.
IV Â Clip Settings: Use this tab to choose which video and audio tracks you capture from tape. You can choose to capture video only, audio only, or both video and audio, and you can specify which audio channels you capture. You can also adjust video levels for each clip using the waveform monitor and vectorscope; audio levels can be monitored using the audio meters. You can also monitor the incoming audio signal by selecting the Preview option.
 Capture Settings: Use this tab to select a scratch disk for capture, a capture preset (video and audio rate, compression settings, and frame size) and a device control preset to remotely control your video or audio device. For more information, see “Changing Capture Settings” on page 266. Log and Capture Buttons As you log and capture, use the following log and capture buttons:  Log Clip: Logs a single clip with the current log information and clip settings.
IV Are You Ready to Log and Capture? Before you log and capture your footage, go through the following list to make sure you are ready for either process: Â Have you created a project in which to log and capture? You need a project to log clips to, as well as to edit in. When you open Final Cut Pro for the first time, an untitled project is created by default, which you can rename to make your own. You can also create a new project by choosing File > New Project.
16 Logging Clips 16 For many editors, logging is the first phase of editing, when they identify which shots to capture from tape. The logging information you enter at this stage serves as a guide throughout the project. This chapter covers the following: Â The Importance of Logging (p. 247) Â Benefits of Logging (p. 248) Â Preparing to Log (p. 249) Â Monitoring Video and Audio While Logging (p. 252) Â Entering Logging Information and Logging Clips (p.
Each clip that you log is stored in your project, and all of the descriptive information in the clip can be changed in the Browser or using the Item Properties window. For more information about changing clip properties, see Volume II, Chapter 5, “Working With Projects, Clips, and Sequences.” Important: When you log in Final Cut Pro, you add descriptive information to clips, not to media files. This means that all of your logging information is stored in your project file, not the media files on disk.
IV Preparing to Log During the logging stage, you find out just how organized you really were during the production phase. No matter how careful you were, a few things may not have been labeled properly, or some information may be missing. Take time before you begin post-production to get your tapes as organized as possible. Remember that the list below is really a production checklist. However, any inconsistencies during production should be straightened out before you start logging and capturing.
Choosing Reel Names Older editing systems accepted three-digit reel numbers, starting at 000 and ending at 999. For maximum compatibility, this is a good naming convention to start with. Unless you have over a thousand tapes in your project, this reel naming convention should be sufficient. You can use the digits of your reel name to mean different things. For example, the first digit can be used to represent a particular location, with space for 100 tapes per location.
IV Choosing Names and Log Information for Clips Before you start logging clips, think about the filenaming scheme you want to use for your project. It’s easier to edit when you have an organized naming system, especially if there are several people working on a project at one time. This will help you avoid duplicate clip names. Important: Captured media files are named after the clips that are used to capture them. You should avoid certain characters in your filenames.
Monitoring Video and Audio While Logging Once you have connected your VTR or camcorder to your computer, you can view your video in the Preview area of the Log and Capture window, or you can connect your video device to an external video monitor to view footage while logging. Note: The size of the video preview area in the Log and Capture window is based on the current height of the Canvas window. To change the size of the video preview area in the Log and Capture window: 1 Close the Log and Capture window.
IV Entering Logging Information and Logging Clips Before you begin to log, make sure that your camcorder or deck is connected to your computer and that you’ve chosen the correct Easy Setup and specified a scratch disk. For more information, see “Are You Ready to Log and Capture?” on page 245. Overview of Logging Steps If you like, you can follow these general steps to log your clips. If you need more detailed information, see the sections that follow.
Inserting a Tape in the VTR You need to make sure there is a proper connection between the VTR and camcorder and Final Cut Pro. The device status message in the Log and Capture window should read “VTR OK.” For more information, see “Understanding Device Control Status Messages” on page 204. When you insert a new tape in the VTR connected to your computer, Final Cut Pro alerts you that a new tape has been placed in the deck.
IV Setting a Logging Bin to Store Logged Clips When you log clips, you need to specify a logging bin where the clips are stored in your project. By default, the project itself is considered to be the logging bin, but you can create a new bin or assign any bin in your project as the logging bin. Logging Bin Controls in the Logging Tab Use the Logging Bin controls to choose where logged clips are stored when you use the Log Clip or Capture Clip buttons.
To set an existing bin in the Browser as the current logging bin: m In the Browser, select the bin you want to use as your logging bin and do one of the following: Â Choose File > Set Logging Bin. Â Control-click the bin, then choose Set Logging Bin from the shortcut menu. The slate icon appears next to the current logging bin. As you log your clips, you may want to check to see how many you have or view their names.
IV To enter a reel name: m In the Reel field, enter the number or name of the tape, then press Enter. Â Control-click the field to choose from a list of recent reel names. Â Option-click the Slate button to clear the contents. Â Click the Slate button to increment the letter or number at the end of the name. For example, if the current reel name is 500, clicking the Slate button increments the reel name to 501.
To set In and Out points for a clip to be captured: 1 In the Log and Capture window, navigate to the first frame of the clip you want to log by doing one of the following: Â Use the transport controls. Â Enter a timecode value in the Current Timecode field. For more information about controls in the Log and Capture window, see “Learning About the Log and Capture Window” on page 239. 2 To set the In point for the clip, do one of the following: Â Click the Mark In button. Â Press I.
IV ∏ Tip: You can listen to your audio while you log by selecting the Preview checkbox in the Clip Settings tab of the Log and Capture window. When this option is selected, you hear your audio on the output selected in the Sound pane of Mac OS X System Preferences (in the Sound pane, click Output and select a device for sound output).
To name your clip: 1 Select the checkbox next to the log properties you want to include in the name of the clip—Description, Scene, Shot/Take, and Angle. 2 Enter a brief description of the clip in the Description field (click the Slate button to increment this field by 1). Note: After you log a clip, the last number in the Description field is automatically incremented. 3 Enter a scene number in this field (click the Slate button to increment this field by 1).
IV Adding Notes and Marking Good Shots As you are logging, you may want to add notes to the clip. If you think the current clip is worth capturing, or if you at least want to remember that you considered it useful for your project, you can mark it as Good. These notes and marks can help you later on as you assemble your program. To enter logging notes for a clip: m In the Log Note field, enter comments and editorial notes about the clip.
Adding Markers to Clips While Logging As you log, you can set markers within clips to note significant parts for future reference. Markers can be used for several purposes. Â Reference: Each marker can contain a name and associated note to help you identify the content or other noteworthy information. Â Navigation: You can move the playhead from marker to marker in the Viewer and the Timeline to quickly go to specific parts of a clip.
IV To add markers to a clip you are logging: 1 Click the disclosure triangle next to Markers to see the marker controls. 2 Enter a name for the marker in the Marker field. 3 Find the frame where you want to set a Marker In point, by doing one of the following: Â Use the transport controls. Â Enter a timecode number in the Marker In Point Timecode field. 4 Click the Set Marker In button. 5 Find the frame where you want to set a Marker Out point, by doing one of the following: Â Use the transport controls.
To select which tracks on tape are captured: 1 In the Log and Capture window, click the Clip Settings tab. 2 To capture video, enable the Video checkbox. 3 To capture audio, enable the Audio checkbox. Multichannel Audio Capture Track Selection Final Cut Pro can capture up to 24 audio tracks from a video or audio interface. Each input on your audio interface is shown in a list in the Clip Settings tab. You can select up to 24 inputs for simultaneous capture.
IV Changing a Clip’s Track Selections After Logging Once a clip is logged, you can override its track settings in one of two ways: Â Clip Settings command: You can change an offline clip’s track settings by choosing Modify > Clip Settings, and then enabling different tracks for capture. Choose to modify the current clip’s video settings, audio settings, or both. Enable or disable video and audio tracks for capture. Enable or disable specific audio tracks for capture.
Changing Capture Settings If you’ve already specified a scratch disk and selected an Easy Setup for the setup you’re using, you don’t need to change the capture settings. However, if you’ve changed equipment or your Easy Setup, you may need to modify your capture settings. For more information, see Volume IV, Chapter 25, “Capture Settings and Presets.” To choose different capture settings: 1 In the Log and Capture window, click the Capture Settings tab.
IV Instead of merely logging the clip, you could also choose to capture the media file by clicking the Capture Clip button. In this case, a clip is added to the current logging bin, but the clip’s media file is captured too. For more information about capturing your clips, see Chapter 17, “Capturing Your Footage to Disk,” on page 271. Logging Media Efficiently If you’re logging a lot of material, it’s a good idea to familiarize yourself with the various keyboard shortcuts you can use.
Worse, during logging and capturing, neither Final Cut Pro nor the VTR will necessarily navigate to the proper timecode 00:00:00:00, because there are two. Device control uses timecode for positioning information, and always assumes that timecode numbers increase as the tape progresses. If the timecode starts over somewhere in the middle of the tape, you have to manually navigate to the correct area of the tape.
IV Â During production, pay attention to the position of your tape. Camcorders attempt to create continuous timecode by quickly reading the last timecode number written on tape. The process of generating new timecode based on the last stored timecode number is referred to as jam syncing timecode. However, if the camcorder doesn’t see a timecode or video signal on the tape (for example, at the beginning of a blank tape), the timecode counter is reset to zero.
17 Capturing Your Footage to Disk 17 Capturing is the process of transferring footage from your original tapes to media files on the computer hard disk. You can then edit the media files, leaving your footage untouched. This chapter covers the following: Â Before You Capture (p. 271) Â Batch Capturing Clips (p. 272) Â Capturing Clips as You Log (Capture Clip) (p. 279) Â Capturing Entire Tapes (Capture Now) (p. 280) Â Capturing Footage Without Device Control (p. 286) Â Recapturing Clips (p.
Different Ways to Capture Footage Final Cut Pro gives you several options for capturing your footage to disk: Â Capture multiple clips at once (batch capture): Once you’ve logged your clips or imported a batch list, you can capture multiple clips in the Browser at once using the Capture Batch button in the Log and Capture window. For more information, see the next section, “Batch Capturing Clips.
IV Before You Batch Capture Batch capturing is an automated process, so make sure your settings and preferences are correct before you start. Keep in mind the following: Â Timecode breaks: Make sure that you account for any timecode breaks when you log your tapes. If you’re capturing from DV tapes, you should have separate reel numbers for each section of tape where timecode reset was to 00:00:00:00 as a result of a timecode break.
Learning About the Batch Capture Dialog The Batch Capture dialog provides settings and options when you are batch capturing multiple clips at one time. To open the Batch Capture dialog: 1 Select one or more clips in the Browser. 2 Do one of the following: Â If the Log and Capture window is open, click the Capture Batch button in the lower-right corner. Â Choose File > Batch Capture (or press Control-C).
IV Â Capture pop-up menu: Lets you capture offline clips, online clips, or both. The items that appear in this pop-up menu differ depending on whether you open the Batch Capture dialog by clicking the Capture Batch button in the Log and Capture window or by using the shortcut menu from within the Browser. Â When you click the Capture Batch button in the Log and Capture window, you are limited to capturing clips inside the current logging bin.
 Add Handles: Select this checkbox to capture additional frames beyond the head (In point) and tail (Out point) of each clip captured, then enter a duration in the handle timecode field. Handles are useful if you’ve logged your clips starting at precisely the first and last frames that you think you want to use, but you want to capture a little bit more media just in case you need additional frames for performing dissolves and other transitions.
IV 3 In the Batch Capture dialog, choose your settings, then click OK. For detailed information, see “Learning About the Batch Capture Dialog” on page 274. a b c d Choose which clips you want to capture. If you want, select the Use Logged Clip Settings checkbox. If you want, select the Add Handles checkbox and enter a duration. If the Use Logged Clip Settings checkbox is unselected, choose a capture preset from the Capture Preset pop-up menu.
Warning: If you’re capturing clips that have been captured once already, you can’t recapture them at a frame rate that differs from the frame rate at which they were originally captured. For example, if you capture a clip at 25 frames per second (fps), delete the clip’s media file to make it an offline clip, and then recapture it, you must recapture the clip at 25 fps.
IV Choose one of the following options: Â Add: Click this so Final Cut Pro automatically adds additional clips outside the selection to your current batch capture. After capture, those clips reference the new media files. Â Continue: Click this to ignore the additional clips in other open projects (and thus not reconnect them to the newly captured media files). The clips Final Cut Pro found are ignored and the batch capture is restricted to the clips you originally selected.
Make sure that your camcorder or deck is connected to your computer and that you’ve chosen the correct Easy Setup and specified a scratch disk. For more information, see “Are You Ready to Log and Capture?” on page 245. To capture a single clip in the Log and Capture window: 1 Log the clip using the instructions in Chapter 16, “Logging Clips,” on page 247. 2 Once all of the clip information is entered, click the Capture Clip button. Click here to capture a clip.
IV There are several reasons to capture entire tapes: Â Reviewing footage is easier once it is on your computer, allowing you to easily rewind and loop sections of footage while you take notes. Â Capturing entire tapes causes less wear to the original source tapes because you only play the tapes once while capturing instead of rewinding and fast-forwarding them during logging and subsequent batch capturing.
To capture an entire tape to your scratch disk using Capture Now: 1 In the Logging tab of the Log and Capture window, enter a reel name, description, and other logging information. For more information, see Chapter 16, “Logging Clips,” on page 247 and “About Automatic Filenaming During Capture Now” on page 283. Note: Since you are capturing the entire tape, some fields in the Logging tab may not apply. You can leave those blank. 2 Click the Capture Settings tab, then click the Scratch Disks button.
IV About Automatic Filenaming During Capture Now Unless you enter text in the Description field, Final Cut Pro automatically names media files (and captured clips) using the following convention: Untitled, Untitled1, Untitled2, and so on. If you’re capturing a clip using the Capture Now command and the currently specified name is already taken by a clip in the current Scratch Disk folder, the letter or number at the end of the name is incremented.
To break a long DV clip into subclips based on starts and stops: 1 Capture a long clip from a DV tape containing several starts and stops. Note: If you’re capturing the contents of an entire DV tape, make sure that the “On timecode break” pop-up menu in the General tab of the User Preferences window is set to Make New Clip, to ensure that no timecode breaks are captured. For more information, see Volume IV, Chapter 23, “Choosing Settings and Preferences.
IV 6 Drag in the Browser to select all the markers. 7 Choose Modify > Make Subclip. Note: If you gave your markers new names, your subclips will use them. All of the material between the markers you selected should now appear as subclips. The subclips appear in addition to the original clip with the markers. You can rename the subclips, if you want. You can review the subclips, deleting any clips you might not need.
Capturing Footage Without Device Control If you have a video source without device control (and therefore without timecode), you must capture video manually. Capturing Footage That Doesn’t Have Timecode If you capture a media file without timecode, it’s impossible to guarantee accurate recapture of the exact same clip with the same In and Out points.
IV Using a Non-Controllable Device for Capture When a device-controllable camcorder or deck is not available or device control is not enabled, the Log and Capture window no longer has transport controls, and only the Capture Now button is available. If you aren’t using device control, the Log and Capture window is simplified. The steps for capturing without device control are the same steps for capturing using Capture Now.
To capture video and audio to separate files: 1 Choose Final Cut Pro > System Settings, then click the Scratch Disks tab. 2 Select the Capture Audio and Video to Separate Files checkbox. Note: For capturing DV (including DVCPRO, DVCPRO 50, and DVCPRO HD) media, it’s usually best to leave this checkbox unselected. 3 Select the checkboxes corresponding to the type of files you want to store on each scratch disk: Video Capture, Audio Capture, Video Render, and Audio Render.
IV Recapturing Merged Clips Merged clips are powerful because they allow you to group together a video media file and multiple independent audio files within a single clip. This is especially useful for dual system moviemaking, where video and audio come from separate sources and are synchronized during post-production. A merged clip is a single clip in the Browser that keeps these independent media files synced.
Since most timecode breaks happen between the end of one shot and the beginning of another, they’re pretty easy to avoid if you log your footage one clip at a time. Still, if Final Cut Pro captures a clip with either type of timecode break, the timecode that Final Cut Pro captures and writes to that clip’s source file on disk will be incorrect from the point of the break forward.
IV Â Abort Capture: If you choose this option, Final Cut Pro stops capture immediately after a break is detected. All media captured before the timecode break has frame-accurate timecode and is preserved. The resulting media file is saved and its representative clip is placed in the Browser. Â Warn After Capture: If this option is selected, timecode breaks are reported after capture and the media file with the timecode break is preserved.
If a timecode break occurs during the pre-roll period (before the clip’s specified In point), Final Cut Pro moves the In point later to accommodate the currently specified pre-roll duration from the timecode break point to the new In point.
IV Timecode Gaps When long gaps are detected with no timecode at all, Final Cut Pro stops capturing, saving the media before the timecode gap as a single media file with its Out point set at the last frame before the gap. If you performed a Capture Now operation, Final Cut Pro continues playing through to the end of the tape, searching for more recorded video. If more video is found, the reel name is incremented—as with a reset timecode break—and capture continues.
Using the Media Manager After Capturing After you capture, there are several ways you can use the Media Manager to process your media files: Â Capture media files at a lower resolution and edit your project using the low-resolution files. Once you are finished editing, you can then use the Media Manager to duplicate your edited sequence, deleting any unused media in the process, and recapture only the media you need for the final sequence at full-resolution.
18 Capturing Audio 18 Final Cut Pro allows you to capture multiple audio channels at the same time, as well as capture audio-only media files. This chapter covers the following: Â About Capturing Audio (p. 295) Â Capturing Audio-Only Media Files (p. 296) Â Capturing Multiple Audio Channels (p. 296) Â Adjusting Analog Audio Levels for Capture (p. 302) Â Capturing Audio from an Audio Deck Using Device Control (p. 304) Â Capturing from an Audio Device Without Device Control (p.
Most Macintosh computers have built-in stereo mini inputs, and some models also have optical S/PDIF (consumer digital) stereo audio connectors. For more information about setting up an audio interface with Final Cut Pro, see “Connecting Professional Audio Devices” on page 198. Important: To ensure that Final Cut Pro can accurately capture and consistently recapture the exact same portion of the audio tape, your audio player must support remote device control.
IV Setting Up for Capturing Multiple Audio Channels Before you capture, you need to set up your audio interface with Final Cut Pro. To select an audio interface for capturing audio: 1 Choose File > Log and Capture (or press Command-8). 2 Click the Capture Settings tab. 3 From the Capture/Input pop-up menu, choose a capture preset that contains the audio interface you want to use. If you have a third-party audio interface, you may need to create your own capture preset, or modify an existing one.
 Audio capture checkbox: Select this option to enable audio capture for the current clip.  Input Channels: When an audio interface is connected to your computer and selected in your current capture preset, Final Cut Pro automatically detects the number of input audio channels available. In this case, the pop-up menu is grayed out. If no audio device is connected, you can choose how many audio inputs you eventually want to capture from (once an audio interface is connected).
IV To choose which audio channels to capture: 1 Make sure your audio interface is connected and selected in your current capture preset. 2 Choose File > Log and Capture (or press Command-8). 3 Click the Clip Settings tab. 4 Check that the number of input audio channels in the Input Channels pop-up menu matches the number of channels available on your audio interface. Note: The audio interface used for capturing is determined by the currently selected capture preset.
Dual Mono Versus Stereo Audio If you’re using a DV camcorder, you typically record two channels of audio during production. By default, DV camcorders use a built-in stereo microphone, with the left side recorded on audio channel 1 and the right side recorded on audio channel 2 of the tape. This is a stereo grouping, where channel 1 represents the sounds on the left side and channel 2 represents sounds on the right side.
IV How Multichannel Audio Clips Appear in the Viewer The order in which channels are grouped in the Viewer depends on the type of clip. A master clip displays audio channel groupings in the same order they are stored in the clip’s media file (unless the master clip was created from a sequence clip). Sequence clips’ audio channels display stereo pairs followed by mono channels, regardless of their order in the original media file or their order in the sequence.
To choose which DV audio channels to capture via FireWire: 1 Choose Final Cut Pro > Audio/Video Settings, then click the Capture Presets tab. 2 Click a preset you want to modify, then click Edit or Duplicate. 3 In QuickTime Audio Settings, choose DV Audio from the Device pop-up menu.
IV To adjust the audio gain levels before capturing analog audio: 1 In the Log and Capture window, click the Clip Settings tab. 2 Do one of the following: Â Cue your tape to the reference tone recorded at the beginning of the tape, if you’re recording from a premixed tape that includes a reference tone. Â Cue your tape to the clip with the loudest audio signal of all the clips you want to capture on that tape. 3 Play back your tape.
About Audio Peaks When you capture audio, clipping occurs if any part of the audio signal goes over 0 dBFS. Because 0 dBFS is the maximum digital level possible, all levels that would have been above 0 dBFS are set to the maximum audio level, causing clipping. Due to the nature of digital audio recording, such clipped audio typically results in a crackly, brittle-sounding clip that is unsuitable for use. All occurrences of clipped audio appear as 0 dBFS peaks.
IV To capture audio from an audio-only device using device control: 1 Choose File > Log and Capture (or press Command-8), then click the Capture Settings tab. 2 Choose the appropriate device control preset from the Device Control pop-up menu. This will usually be one of the serial RS-422 or RS-232 device control protocols. See the documentation that came with your audio device for information on which one to use. Choose the appropriate device control preset.
Capturing from an Audio Device Without Device Control If your audio device does not support device control, you can manually press play on the audio device and click the Capture Now button in the Log and Capture window. However, without device control connected, Final Cut Pro cannot receive timecode. If you capture a media file without timecode, you will not be able to accurately recapture your footage again later.
IV Capturing Synchronized Audio Independently from Video If you are editing material acquired via dual system recording, meaning that video and audio are recorded simultaneously to different devices, you need to capture your audio and video separately and then synchronize them together in Final Cut Pro. After capturing, you can combine the corresponding video and audio clips into a merged clip.
To capture and edit digital audio properly, make sure your footage and equipment meets the following requirements: Â Matching timecode on videotapes and audio tapes: During production, recording the same timecode signal for both video and audio makes it easy to synchronize video and audio clips in post-production. If timecode doesn’t match, you can manually synchronize your video and audio clips in the Timeline and then create merged clips.
19 Working with Batch Lists 19 There are alternatives to logging your tapes using Final Cut Pro. You can watch your tapes and take notes in another application, and then import this list to batch capture your clips. This chapter covers the following: Â What Is a Batch List? (p. 309) Â Creating a Batch List (p. 310) Â Importing a Batch List (p.
How Batch Lists Can Be Used in Your Workflow You can use batch lists in several ways: Â Producers and directors can create a list of clips for you to edit with and save you the tedium of reviewing every single take. Â An editor or assistant editor can log the In and Out points of every shot and make a note about whether the director liked each one. Â You can log material on one Final Cut Pro workstation for import and capture on another workstation.
IV Creating and Logging Window Dubs If you receive dubs (copies) of your footage on a tape format that doesn’t support remote deck control from Final Cut Pro, you need to have the timecode “burned-in” to the video image so you can read the timecode numbers manually. These are known as window dubs, window burns, or timecode burn-ins. Although the burned-in timecode numbers can be visually distracting, they provide the critical link between the timecode on the original tapes and your log notes.
Using a File Exported from Final Cut Pro as a Template for a Batch List One way to guarantee a correctly formatted batch list is to export a batch list from Final Cut Pro and use it as a guide, or template, to create your own batch list for another project. Export a list that contains the Browser columns you want, then open the list in a text editor or spreadsheet program. The main structure of the list is then set up for use as a template.
IV To import a batch list: 1 In the Browser, open an existing bin, or create a new bin to store the offline clips and open it. For more information, see Volume II, Chapter 1, “Organizing Footage in the Browser.” 2 Choose File > Import > Batch List. Note: The frame rate of the current sequence preset appears in the Import Batch List command name. For example, if you a DV NTSC preset is selected, the command is named Import Batch List at 29.97 fps. 3 Locate the batch list, select it, then click Choose.
20 Importing Media Files into Your Project 20 Final Cut Pro can import almost any media file that QuickTime recognizes, allowing you to integrate different formats within a single project. This chapter covers the following: Â What File Formats Can Be Imported? (p. 315) Â Importing Media Files (p. 316) Â About Importing Video Files (p. 320) Â About Importing Audio Files (p. 322) Â Importing Still Images and Graphics (p. 328) Â Importing Numbered Image Sequences (p.
 Graphics and still images: BMP, FlashPix, GIF, JPEG/JFIF, MacPaint (PNTG), Photoshop (layered), PICS, PICT, PNG, QuickTime Image File, SGI, TARGA (TGA), and TIFF. For more information, see Volume III, Chapter 18, “Working With Freeze Frames and Still Images.”  Numbered image sequences: Numbered image sequences allow you to store a movie’s frames as individual graphics files. Compositing applications, such as Shake, and film transfer equipment often use this format.
IV To import a file or folder: 1 In the Browser, select a project or bin where you want to store your imported clips. Â To import files or folders into the main, or root, level of a project, click that project’s tab. Â To import files into a bin within a project, double-click the bin. The bin opens in a separate window. For more information, see Volume II, Chapter 1, “Organizing Footage in the Browser.” To import files at the main level, click a project’s tab.
 Choose File > Import, then choose File or Folder from the submenu. (To import a file, you can also press Command-I.) Select one or more files or folders in the dialog, then click Choose. Select the file (or folder) you want to import, then click Choose.  Control-click in the Browser or a bin’s window, then choose Import > Files or Import > Folder from the shortcut menu. Select a file or folder in the dialog, then click Choose.
IV Â You can also drag the files or folders from your desktop to the Timeline of a sequence. Clips you drag directly to the Timeline are independent (they have no master clips in the Browser). Important: Dragging media files directly to a sequence in the Timeline creates independent clips, which have no master clips in the Browser. This can make media management more difficult later.
About Importing Video Files You can import any QuickTime-compatible media files into Final Cut Pro, but to avoid rendering, your media files need to match your sequence settings. For example, if you create a motion graphics title sequence in another application and then export to a QuickTime movie for use in Final Cut Pro, make sure you export using the same settings as the sequence into which you plan to edit the title sequence.
IV Some examples of popular video formats that are stored in an MXF container include: Â IMX: A standard definition, MPEG-2, I-frame-only video format. IMX media can be stored on a tape, hard disk, or optical disc. Â Footage on Panasonic P2 cards: P2 cards store DV, DVCPRO, DVCPRO 50, or DVCPRO HD footage within MXF files. For more information about importing these formats, choose HD and Broadcast Formats from the Final Cut Pro Help menu.
To disable the non-optimized media warning when importing files into Final Cut Pro: 1 Choose Final Cut Pro > User Preferences. 2 Click the General tab. 3 Deselect “Warn when importing non-optimized media.” Final Cut Pro will no longer warn you when it discovers a media file that it cannot automatically optimize. About Importing Audio Files Final Cut Pro allows you to import audio files from other music and sound editing applications, as well as audio from audio CDs.
IV Choosing Audio File Sample Rate and Bit Depth Final Cut Pro can import audio with any bit depth and sample rate supported by QuickTime and Mac OS X Core Audio. Final Cut Pro performs real-time bit depth conversion and sample rate conversion when your audio file settings don’t match your sequence settings. However, less processor power is required when your audio file settings and sequence settings match.
If the sample rates of all the audio in your sequence match, sample rate conversion is not necessary and the number of audio tracks that can play in real time increases. If you are working with someone who is creating music or audio files specifically for your project, you can request audio files at the settings you need to match your sequence.
IV 8 In the Rate pop-up menu, choose the sample rate of your sequence, then click OK. Make sure the size is kept at 16-bit. 9 Click OK. 10 Choose a name and location for the new file, then click Save. Once the conversion is complete, you need to import the new media file into Final Cut Pro. 11 In the Finder, navigate to the location of your newly converted audio media file, then select the file and drag it into your project in the Final Cut Pro Browser.
To import 29.97 fps BWF files with drop frame timecode: 1 Choose Final Cut Pro > User Preferences, then click the Editing tab. 2 Choose Drop from the NTSC Default Timecode pop-up menu. If you have already imported BWF files with non-drop frame timecode and you want to modify the timecode to drop frame, you can use the Modify Timecode command. To modify the timecode of a BWF file to drop frame: 1 In the Browser, select the audio clip whose timecode you want to modify.
IV However, with NTSC-related video rates, there is no simple relationship between the number of audio samples per second and video frames per second. To avoid ambiguity, the Society of Motion Picture and Television Engineers (SMPTE) specifies how many audio samples should be mapped to each video frame. The number of audio samples per frame is varied on a frame-by-frame basis to form a consistent pattern.
Importing Still Images and Graphics You can import most graphic formats supported by QuickTime into your project. The most common ways to create or acquire still images to use in a Final Cut Pro sequence include:  Capturing with a digital camera  Scanning from a book or photograph  Downloading from the web Note: Be aware of copyright issues and don’t use images that you don’t have permission to use.
IV Converting a Numbered Image Sequence to a QuickTime Movie You can use QuickTime Pro to convert a numbered image sequence into a QuickTime movie. This is useful if you want to convert all your images into a single clip. You can then import the movie into Final Cut Pro and use it the way you use any other clip. To convert a numbered image sequence into a QuickTime movie: 1 Open QuickTime Player. 2 Choose File > Open Image Sequence.
5 Choose File > Save. Note: You can also choose File > Export > QuickTime Movie. This gives you the option to customize the dimensions and codec of the movie. For more information, see Volume IV, Chapter 17, “Exporting QuickTime Movies.” 6 Choose a location and enter a name for the file. If you wish, enter a name for the file. Choose a place to save the file. Choose a save option. 7 Choose an option for how you want to save the movie, then click Save.
IV Importing a Numbered Image Sequence into Final Cut Pro You can import a numbered image sequence as a set of individual image files. This gives you more flexibility because you have control over which files are imported and which of those are then edited into your sequence. To import image files from a numbered image sequence: 1 Choose Final Cut Pro > User Preferences, then click the Editing tab. 2 Set the Still/Freeze Duration value to one frame (00:00:00:01).
7 Select the newly imported bin with all the image clips in it, open it, and press Command-A to select all these clips. 8 Drag the clips to the Insert section of the Edit Overlay in the Canvas. Drag the clips to the Insert section of the Edit Overlay. You can now edit this sequence into other sequences. Making Movies from Still Images You can use one of the methods above to create your own animations as visual elements in your movie.
Volume II Editing
K Apple Inc. Copyright © 2007 Apple Inc. All rights reserved. Your rights to the software are governed by the accompanying software license agreement. The owner or authorized user of a valid copy of Final Cut Studio software may reproduce this publication for the purpose of learning to use such software. No part of this publication may be reproduced or transmitted for commercial purposes, such as selling copies of this publication or for providing paid for support services.
1 Part I Contents Organizing Footage and Preparing to Edit Chapter 1 15 15 16 17 18 21 23 23 24 27 28 28 28 31 32 Organizing Footage in the Browser Using Bins to Organize Your Clips Creating New Bins Opening Bins in the Browser Opening Bins in a Separate Window or Tab Moving Items Between Bins Using Labels to Organize Your Clips About Label Names and Colors Assigning Labels and Setting Label Names to Help Manage Your Media Sorting Items in the Browser Using Column Headings Searching for Clips in the B
54 55 56 56 57 57 60 62 64 65 66 68 69 69 Part II 4 Differences Between Sequence and Clip Markers Types of 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 Exportin
94 94 94 96 96 97 97 Undoing and Redoing Actions Overview of Ways to Add Clips to a Sequence Methods for Adding Clips to Sequences Determining What Parts of Clips You Want in Your Sequence Preparing a Sequence Order in the Browser Sorting to Create a Sequence Order Visually Storyboarding in the Browser Chapter 7 99 99 100 101 103 104 105 105 106 106 111 112 113 115 116 117 Setting Edit Points for Clips and Sequences About In and Out Points Learning About the Out Point Inclusive Rule Things to Keep in Mi
6 Chapter 9 137 137 138 139 142 Drag-to-Timeline Editing Overview of the Drag-to-Timeline Editing Process Dragging Clips to the Timeline Doing Simple Insert and Overwrite Edits in the Timeline Automatically Adding Tracks to Your Sequence While Dragging Chapter 10 145 145 145 146 148 149 150 151 153 154 156 162 165 165 167 168 170 Three-Point Editing Understanding Three-Point Editing Overview of the Three-Point Editing Process Different Ways to Do Three-Point Editing About Edit Types in the Edit Overla
192 194 196 196 197 199 200 200 201 202 206 Moving Clips Numerically Performing Shuffle Edits Copying and Pasting Clips in the Timeline Copying Clips by Option-Dragging Copying, Cutting, and Pasting Clips in the Timeline Example: Copying and Pasting Audio and Video Clip Items to Different Tracks in the Timeline Deleting Clips from a Sequence Deleting with a Lift Edit (Leaving a Gap) Deleting with a Ripple Edit (Leaving No Gap) Finding and Closing Gaps Color-Coding Clips in the Timeline Chapter 13 207 207
8 Chapter 16 241 241 243 244 245 247 251 260 261 261 262 263 263 264 267 268 268 269 270 274 276 279 281 281 283 284 284 284 Working with Multiclips About Multiclips Multiclip Workflow Creating Multiclips and Multiclip Sequences Preparing Clips to Be Used as Multiclip Angles Creating Individual Multiclips Creating Multiclip Sequences Identifying and Naming Multiclips in the Browser Working with Multiclip Angles in the Viewer Viewing Multiclip Angles in the Viewer Identifying Active Video and Audio Angles
301 301 303 304 304 305 306 308 308 310 310 313 Part III Editing Audio in the Timeline Timeline Audio Display Options Zooming In and Out of Waveforms in the Timeline Naming Audio Tracks Moving Audio Items from One Track to Another at the Same Frame Using Audio Transitions to Smooth Audible Changes Creating or Separating Stereo Pairs Working with Audio at the Subframe Level Subframe Synchronization of Audio and Video Examples of Ways to Easily Edit Audio Example: Replacing Unwanted Audio with Room Tone Exa
10 351 355 Precision Editing Using Timecode Understanding Alert Messages When Trimming Chapter 20 357 357 359 360 364 365 365 365 368 369 369 Trimming Clips Using the Trim Edit Window Learning About the Trim Edit Window Opening and Closing the Trim Edit Window Controls in the Trim Edit Window Using the Trim Edit Window Playing Incoming and Outgoing Clips in the Trim Edit Window Dynamic Trimming Trimming an Edit in the Trim Edit Window Reviewing and Playing Back Your Edits in the Trim Edit Window Slippi
Chapter 22 395 395 403 404 408 Refining Transitions Using the Transition Editor Using the Transition Editor Applying a Modified Transition Directly to a Sequence in the Timeline Trimming Transitions and the Surrounding Clips Previewing and Rendering Transitions Chapter 23 411 411 412 412 416 422 Sequence-to-Sequence Editing Methods for Editing Clips from One Sequence to Another Opening More Than One Sequence at a Time Copying Clips from One Sequence to Another Nesting Sequences Editing the Content of O
Part I: Organizing Footage and Preparing to Edit I Organizing your footage before you edit makes editing go more smoothly. Read this section to learn how to organize and label clips, create subclips, and add markers to clips and sequences.
1 Organizing Footage in the Browser 1 After capturing media to your scratch disks, you can import clips into a project in the Browser and then organize them to save time during editing. You can also search for clips in various ways. This chapter covers the following: Â Using Bins to Organize Your Clips (p. 15) Â Using Labels to Organize Your Clips (p. 23) Â Sorting Items in the Browser Using Column Headings (p. 27) Â Searching for Clips in the Browser and Finder (p.
Bins are unique to project files. Although they behave similarly to folders on your hard disk, bins are not actually connected to folders on your hard disk in any way. Changes you make to the contents of a bin, such as deleting, moving, and renaming clips or renaming the bin itself, have no effect on the original files or folders on disk where the media files are stored. If you delete a clip from a bin, its associated media file is not deleted from your scratch disk.
I You can also create bins by dragging a folder from your hard disk to the Browser. To create a bin by dragging a folder from your hard disk: 1 In the Finder, select the folder you want to be a bin. 2 Drag the folder from the Finder to the Browser. As soon as you release the folder over the Browser, a bin with the same name as the folder is created in your project. Note: Dragging folders and files from the Finder to the Browser creates bin and clip objects in your project file.
Opening Bins in a Separate Window or Tab To preserve space on the screen or to avoid scrolling in the Browser, it’s useful to open a bin in its own window or tab. To open a bin in its own window: m Double-click the bin. The bin appears in its own window. The icon for this bin in the Browser indicates the bin is open in its own window.
I To close a bin that’s open in its own window, do one of the following: m Control-click the bin’s tab, then choose Close Tab from the shortcut menu. m Make sure the bin is the active window, then press Control-W. m Click the close button of the bin window. For easy access to a bin, you can create a tab for it in the Browser. To open a bin as a new tab in the Browser: m Press and hold the Option key while double-clicking a bin in the Browser.
To turn a bin in its own window into a tab in the Browser: 1 Double-click a bin to open it in its own window. 2 Drag the bin’s tab from the bin window to the top of any column heading in the Browser. Drag the bin’s tab above any column heading in the Browser. The bin now has its own tab in the Browser.
I To close a bin’s tab, do one of the following: m Control-click the tab, then choose Close Tab from the shortcut menu. m Make sure the bin is the active (frontmost) tab, then press Control-W. m Drag the bin’s tab out of the Browser, then click the close button to close the bin’s window. Moving Items Between Bins As you work on your project, you often reorganize clips and move them into different bins.
m If the bin in which you want to move items has its own window, drag items to that bin’s window. You can also move items into separate bin windows. To move an item to the top level of a project: m Drag the item to the Name column heading. Note: If you move items between projects, the items are copied, not moved. There is no relationship between items in different projects.
I Using Labels to Organize Your Clips In Final Cut Pro, you can assign labels to clips, bins, and sequences. You can use labels to:  Categorize and sort your clips  Visually identify clips, bins, and sequences in the Browser, and clips within sequences  Mark a group of clips that you located with the Find command  Do any other task requiring you to organize your clips into identifiable groups About Label Names and Colors The Label property has several labels, each with an associated color and name.
Assigning Labels and Setting Label Names to Help Manage Your Media Each item in Final Cut Pro has two label properties: Label and Label 2. Both label properties can be customized in different ways: Â Label: This can be one of several names and associated colors as assigned in the Labels tab of the User Preferences window. This property affects the color of its clip, sequence, or bin. Â Label 2: This can be any text you type in the Label 2 Browser column or Item Properties window.
I To assign a label to multiple clips at once: 1 Select the clips you want to label in the Browser. For information about selecting clips, see Volume I, Chapter 5, “Browser Basics.” 2 Do one of the following: Â Control-click one of the selected clips, choose Label from the shortcut menu, then choose a label from the submenu. Â Control-click in the Label column of one of the selected clips, then choose a label from the shortcut menu. Then Control-click in the Label column and choose a label.
Changing Names of Labels If you need label names that are different from the defaults, you can change them in the User Preferences window. For example, some projects may not have any interview footage, so you could change the default “Interview” label to a more appropriate category, such as “Special Effects,” “Needs Color Correction,” or “Temporary Footage.” Keep in mind that labels usually represent fairly broad categories, since there are only five to choose from.
I Sorting Items in the Browser Using Column Headings Clicking column headings in the Browser allows you to sort items by any property displayed in list view, such as Name, Reel, Label, Timecode, and so on. By default, items are sorted by Name. In addition to the primary sorting property, secondary, tertiary, and further sorting refinements can be made by Shift-clicking a column heading.
5 To switch between descending and ascending sort order in the secondary columns, click the arrow. If you inadvertently select the wrong secondary column or too many secondary columns, you can clear all secondary sort columns by choosing a new primary sort column, and then selecting any secondary sort columns. 6 To sort by tertiary columns, you can Shift-click another column heading. You can continue to refine your sort by Shift-clicking additional column headings.
I ∏ Tip: Searching is a good way to find all of the unused clips in your project. To open the Find window: m Make sure the Browser is the active window, then do one of the following: Â Choose Edit > Find. Â Press Command-F. Search scope Click here to specify more search options.
 Results: Choose how you want the search results to be shown.  Replace Find Results: Choose this to clear and replace any previous find results with new find results.  Add to Find Results: Choose this to append the results of the current search to the contents of the Find Results window. This allows you to do several searches and accrue the results in a single window. Options for Defining the Criteria of a Search  More: Click this to refine your search by adding more criteria.
I Searching for Items in the Browser You can search in all open projects or restrict your search to a single project, or tab, in the Browser. You can search for one item at a time, or multiple items at once. To search for a single item in the Browser: 1 Make the Browser active, then choose Edit > Find (or Press Command-F). 2 Select your search options, then enter your search criteria. For more information, see “About Search Options” on page 28. Then click here. Specify your search criteria.
If necessary, you can restrict a search to the elements of the Find Results window. For more information, see “Manipulating Items in the Find Results Window” on page 32. Searching for Unused Clips in Your Project You can search for unused clips in your project. To search for unused clips: 1 Do one of the following: Â Open your project. Â Make sure your project is the frontmost tab in the Browser. 2 Choose Edit > Find (or Press Command-F). 3 Choose your project from the Search pop-up menu.
I By narrowing down all of the clips in your project to the results of your search, you can conveniently do things like: Â Find all the clips that start with “Eiffel” and “Paris,” and then select all the found clips in the Find Results window and drag them into a new bin in the Browser. Â Find all the clips from reel 002 and reel 002A, and then select the clips in the Find Results window and drag them to a bin in the Browser labeled “002.
To see where found items are in the Browser: m Select the desired items in the Find Results window, then click Show in Browser. Select items you want to see in the Browser. Then click here. To delete found items: m Select the desired items in the Find Results window, then click Remove from Project. Note: As with deleting any clips in the Browser, the media on your scratch disk is not deleted. Only the clips in the project file are removed.
2 Creating Subclips 2 Lengthy media files can be unwieldy for editing. If you capture an entire tape as a single media file, you can break the clip into shorter subclips. You can also break the media file into smaller media files. This chapter covers the following: Â Learning About Subclips (p. 35) Â Techniques for Breaking Large Clips into Subclips (p. 39) Â Creating Independent Media Files from Subclips After Capturing (p.
Final Cut Pro places new subclips in the same Browser bin as the original clip they came from, automatically appending the word “Subclip” to the name and numbering each successive subclip you create from a particular clip. For example, if the original clip is named “Debra enters cafe,” the first subclip is named “Debra enters cafe Subclip,” the second is “Debra enters cafe Subclip 2,” and so on. When a new subclip is first created, its name is highlighted and ready to be changed.
I To create a subclip: 1 Open a clip in the Viewer. 2 Set In and Out points. 3 Do one of the following: Â Choose Modify > Make Subclip. Â Press Command-U. A new subclip appears in the Browser below the master clip, defined by the In and Out points you set. Sometimes, you may be looking for a particular frame in a subclip, and realize that although those frames existed in the original clip, they were left out when you created the subclip.
Removing Subclip Limits A subclip, just like a clip, refers to a media file on your scratch disk. The difference between a clip and a subclip is that a subclip imposes artificial limits (called subclip limits) to make the subclip appear shorter in Final Cut Pro than the actual media file. A subclip refers to only a portion of a media file, while a clip refers to the whole media file.
I Techniques for Breaking Large Clips into Subclips There are a few ways you can create subclips in Final Cut Pro: Â Create markers in a clip, and then turn them into subclips. Â Create subclips manually, one at a time, by setting In and Out points in the original clip and choosing Modify > Make Subclip. With some kinds of video footage (mainly DV), you can also create subclips from the start/stop data that is created by the camcorder and embedded in the video data.
∏ Tip: If you are having a hard time dragging the markers out of the clip, try dragging the markers to the Name column heading in the Browser. When you see the Name column highlight with a rectangle, release the mouse button. All of the material between the markers you selected should now appear as subclips. Subclips, identified by special subclip icons, are created. If you dragged the markers out of the clip, the markers in the clip are removed.
I The duration of a subclip can also be defined by a marker with extended duration. For more information about creating markers with duration, see “Extending a Marker’s Duration” on page 68. Subclips defined by marker boundaries Subclips defined by markers with extended duration Original clip Original clip Marker with duration of 0:00 Marker with extended duration Creating Subclips Manually If you have long clips, you can also break them into subclips manually to help you manage your footage.
Creating Independent Media Files from Subclips After Capturing When you capture each source tape as a whole media file and then break it into smaller subclips, you will inevitably discover a number of subclips that you don’t need for your project. If you are trying to save disk space, you can delete portions of media files that you know you don’t need. This process affects your media files, so it is considered to be media management.
I 8 Click OK. Because this is a destructive process (meaning some of your media will likely be deleted), Final Cut Pro checks to see if any other clips in your project also refer to the same media file. If so, Final Cut Pro tells you how many other clips besides the subclips you have currently selected may be affected by deleting media. In this case, any subclips you didn’t select originally will become offline unless you include them in your media management.
3 Merging Clips from Dual System Video and Audio 3 In Final Cut Pro, you can create merged clips that refer to independent video and audio media files simultaneously, making it easy to work with them together, in sync. This chapter covers the following: Â Working with Dual System Video and Audio (p. 45) Â Using Synchronization Points to Create Merged Clips (p. 46) Â Duration of Merged Clips (p. 48) Â Creating Merged Clips from the Timeline (p. 50) Â Changing the Sync of Merged Clips (p.
In Final Cut Pro, you can create merged clips so you can work with video and audio from a dual system production together, in sync. Most clips refer to a single media file on disk, and each clip item refers to a track within that single media file. In a merged clip, each clip item can refer to a different media file on disk. For example, a merged clip simultaneously refers to a video track in a QuickTime media file and audio tracks in one or more separate audio files.
I If you have a complicated combination of syncing In and Out points, and your video and audio clips don’t have matching, synchronized timecode, you can add auxiliary timecode to each clip so that the clips’ sync points all fall on the same timecode number. You can then use the auxiliary timecode track (Aux TC 1 or 2) to merge your clips.
To create a merged clip from two or more clips in the Browser: 1 In the Browser, select all the synchronized clips you want to merge. 2 Choose Modify > Merge Clips. 3 In the New Merged Clip dialog that appears, select a method with which to synchronize the clips: In points, Out points, Timecode, Aux Timecode 1, or Aux Timecode 2. 4 Click OK. A new merged clip appears in the Browser. Merged clips are named after the video clip.
I Â If you synchronized all of the original clips using Out points, the end of the resulting merged clip corresponds to the Out point you used, and all clips line up at that point. The beginning of this merged clip corresponds to the beginning of the clip with the earliest timecode value.
Creating Merged Clips from the Timeline You can also create merged clips by dragging a group of linked clip items from the Timeline to the Browser. This can be useful if you want to synchronize a group of audio and video clips visually, changing their sync relationship and duration using the various editing tools available in the Timeline. Viewing each clip item’s timecode in the Canvas timecode overlays can also be helpful for synchronizing items.
I 4 Drag the linked clip items from the Timeline to the Browser. The new merged clip appears in the Browser. A new merged clip appears in the Browser, named after the topmost video or audio item in the Timeline. Note: If you do not link the clip items you want to merge before you drag them into the Browser, each item is individually placed in the Browser.
4 Using Markers 4 Markers are reference points you can place within clips or sequences to identify specific frames. You can use them for a variety of purposes, and export them with your finished movie. This chapter covers the following: Â Learning About Markers (p. 53) Â Working with Markers (p. 56) Learning About Markers Markers are visible points on clips and sequences that can be used for commenting, synchronizing, editing, adding DVD chapter and compression markers, and even making subclips.
You can also include markers in QuickTime movies you export. You can: Â Export chapter markers for use with QuickTime and DVD-authoring applications. Â Export compression markers for use with video compression applications. Â Export scoring markers for use with supported music and audio applications. Differences Between Sequence and Clip Markers You can add markers to both clips and sequences. There are differences between clip markers and sequence markers that could affect your work.
I Markers in clips and sequences are visually different. Â Clip markers appear on individual clips in the Viewer and Timeline and are colored pink. You can add these markers in the Viewer or in the Timeline. Â Sequence markers appear both in the Timeline ruler and in the Canvas scrubber bar and are colored green. You can add these markers in the Canvas or in the Timeline. Green sequence markers Pink clip markers Types of Markers There are several kinds of markers that you can add in Final Cut Pro.
 Audio peak marker: Any audio samples over 0 dBFS are marked when you choose Mark > Audio Peaks > Add. These markers show where in your clip the audio is digitally clipping, indicating you should reduce the level at that point. You can clear audio peak markers by choosing Mark > Audio Peaks > Clear. For more information, see Volume IV, Chapter 9, “Diagnostic Tools for Clips.”  Long frame marker: During capture, some frames may be captured with a longer duration than is acceptable.
I Viewing Markers in the Browser When you add a marker to a clip that you’ve opened from the Browser, that marker is displayed in the Browser in list view. To view a clip’s markers in the Browser: m Click the disclosure triangle next to a clip containing markers. Markers within a clip Clip markers are displayed hierarchically within the clip. You can change the name of a marker in the Browser, and you can also create subclips from markers.
Quickly Adding Markers If you want to quickly add markers to clips or sequences, and you don’t care about the names, you can follow these instructions. By default, Note markers are created and each is automatically named by Final Cut Pro. If you prefer to add all of the information for a marker when you create the marker, see “Adding Markers Along with Detailed Information About Them” on page 59. To quickly add a marker to a clip in the Viewer: 1 Open the clip in the Viewer. 2 Play the clip or sequence.
I Note: You can only add markers to sequence clips in the Timeline if the clip is selected and the playhead intersects the clip. If the playhead doesn’t intersect the selected sequence clip, or if no sequence clip is selected, any markers you add are added to the sequence (appearing in the Timeline ruler). To quickly add a marker to a sequence: 1 In the Timeline, position the playhead where you want to place the marker in the sequence. Make sure no clips are selected.
4 In the Edit Marker window, do any of the following, then click OK. Â In the Name field, rename the marker. Â In the Comment field, add any information you want to include with the marker. Â Click a button to specify the kind of marker this is. The appropriate code is automatically added to the Comment field. Enter the desired name here. Add any comments in this field. If you want, click a button to choose the kind of marker.
I To delete specific markers in a clip in the Viewer or Timeline: 1 Move the playhead to the marker you want to delete. ∏ Tip: You can easily navigate to the previous or next marker by choosing Mark > Previous > Marker or Mark > Next > Marker. 2 Do one of the following: Â Â Â Â In the Viewer or Canvas, Option-click the Add Marker button. Choose Mark > Markers > Delete. Press Command-` (the accent key). Press M or ` (the accent key) to open the Edit Marker window, then click Delete.
To keep a marker but remove chapter, compression, or scoring annotations: 1 In the Viewer, Canvas, or Timeline, move the playhead to the marker whose annotations you want to remove. 2 Press M or ` (the accent key) to open the Edit Marker window. 3 In the Comment field, delete the appropriate marker annotation text, then click OK. Â To remove a chapter marker, delete the text . Â To remove a compression marker, delete the text . Â To remove a scoring marker, delete the text .
I To move the playhead to a clip or sequence marker in the Timeline, do one of the following: m Drag the playhead to a sequence marker in the ruler. If snapping is turned on, the playhead snaps to the position of a nearby marker. m Control-click the Timeline ruler, then choose a marker from the list of sequence and clip markers in the shortcut menu. Choose a marker. To move to the next marker (to the right), do one of the following: m Choose Mark > Next > Marker. m Press Shift-M. m Press Shift–Down Arrow.
Renaming Markers, Adding Comments, and Changing the Kind of Marker After you add a marker, you can rename it, add information in the comment field, or change the kind of marker. To rename a marker, add comments to a marker, or change the kind of marker: 1 Stop playback if playback is in progress. 2 Move the playhead to the marker (see “Navigating with Markers” on page 62). 3 Do one of the following: Â Choose Mark > Markers > Edit.
I Moving a Marker You can move a marker within a clip by repositioning the playhead or by entering a different starting timecode value. Using the playhead, you can only move a marker forward, not backward. If you want to move a marker backward or move a marker in a sequence, you must enter a new starting timecode value in the Edit Marker dialog. To move a marker in a clip forward by repositioning the playhead: 1 In the Viewer or Timeline, move the playhead to the location where you want to move the marker.
2 In the Edit Marker dialog, enter a new start time in the Start field, then click OK. Enter the new time here. To move a marker in a sequence by entering a new timecode value: 1 In the Timeline or Canvas, move the playhead to the marker. 2 Do one of the following: Â Press M. Â Click the Add Marker button. Â Choose Mark > Markers > Edit. 3 In the Edit Marker dialog, enter a new start time in the Start field, then click OK.
I To align markers in sequence clip items to a sequence marker: 1 Add markers to important frames of individual video and audio clip items in your sequence. 2 Add a marker to the place in your sequence where you want to align your clip items. 3 Make sure snapping is enabled by doing one of the following: Â Click the Snapping button in the Timeline. Â Press N. Snapping button Add a sequence marker for aligning the sequence clip items. Add a marker to the video clip item. Add markers to the audio clip items.
Extending a Marker’s Duration When you create a marker in Final Cut Pro, it is simply a marker that ‘s associated with a particular frame; it doesn’t have a duration. If you want, you can extend the duration of a marker so that it spans multiple frames. Markers with duration can be used to precisely define subclips in a clip. You can also use them to mark an entire area of a clip or sequence with notes, such as for color correction or audio mixing.
I To shorten a marker that has a duration: 1 Position the playhead within the duration of the marker. 2 Do one of the following: Â Choose Mark > Markers > Extend. Â Press Option-` (accent key). The marker is shortened to the location of the playhead. Editing Markers into Sequences You can edit markers into your sequence as if they were clips. However, a marker edited directly from the Browser into a sequence becomes an independent clip, with no affiliation to the clip from which it came.
Part II: Rough Editing II Learn the basics of adding, arranging, and synchronizing clips in a sequence to create a rough edit of your movie. If you are working with multicamera footage, you can learn how to edit it in real time.
5 Working with Projects, Clips, and Sequences 5 A project file contains everything you need to make your completed movie: clips, bins to organize clips, and sequences to arrange your clips into a finished movie. This chapter covers the following: Â Working with Projects (p. 74) Â Learning About the Different Types of Clips (p. 78) Â Viewing and Changing the Properties of a Clip (p. 80) Â Creating and Working with Sequences (p.
Working with Projects Before you can even capture media, import clips into your project, and edit the clips into one or more sequences, you need a project in which to do all of this. Note: Creating, opening, and closing projects is described in Volume I, Chapter 3, “Understanding Projects, Clips, and Sequences.” Working with Multiple Projects in the Browser You can have multiple projects open in Final Cut Pro at the same time. Each project opens in a separate tab in the Browser.
II Viewing and Changing the Properties of a Project Each project has a set of properties, including global timecode display options and custom Master Comment column names. You can change these properties at any time. To view or change the properties of a project: 1 Click the project’s tab in the Browser, then choose Edit > Project Properties. 2 Choose or enter your options, then click OK. Choose a time display option. You can change the Comment column headings shown in the Browser.
Backing Up and Restoring Projects Regularly backing up your project file is an important part of the editing process. If your media files are lost, they can easily be recaptured, but losing a project file could mean re-creating hundreds of edit decisions made over weeks or months. You should back up your projects on a regular schedule, regardless of what phase of the project you are in. You can back up hourly, daily, or even weekly, depending on the scope and pace of your project.
II Using the Revert Project Command Sometimes you may make a series of changes to a project on a trial basis. What if you don’t like those changes and want to start over with your project the way it was the last time you saved it? You can use the Revert Project command to immediately return to the previously saved version of a project. To revert to the previously saved version of a project: 1 Click a project’s tab in the Browser or Timeline to make it active. 2 Choose File > Revert Project.
Learning About the Different Types of Clips There are several kinds of clips in Final Cut Pro. Some clip types, such as still images and audio, are obviously different than others because of their unique icons. However, some clip types are almost identical and yet behave differently depending on where they are located (such as Browser clips versus sequence clips). Types of Clips The following terms describe the various clips you work with in Final Cut Pro: Â Video clip: A clip containing a video item.
II Â Merged clip: A clip that refers to more than one media file at once. A merged clip can refer to one video file and up to 24 separate audio files. You need to merge a video clip with audio clips if you record picture and sound to separate devices during production. For more information, see Chapter 3, “Merging Clips from Dual System Video and Audio,” on page 45. Â Multiclip: Multiple clips synced together, in parallel, within a single clip.
A clip is considered offline when: Â The clip’s Source property is incorrect (when there is no media file at the file path in the Source property). This happens when a media file is modified, moved, or deleted, the modification date of the media file is changed, or the scratch disk becomes unavailable. Â The clip’s Source property is empty. You can intentionally make clips offline by choosing Modify > Make Offline, or you can create a new offline clip by choosing File > New > Offline Clip.
II For more information, see “Viewing and Changing Clip Properties in the Item Properties Window” on page 82. To change a clip’s property in a Browser column, do one of the following: m Select a clip, click a column, then enter the new information in the text field. Enter the desired information. If a text field doesn’t appear when you click or Control-click a column, the property cannot be changed directly in the Browser.
To change the properties of multiple clips in a Browser column: 1 Select the desired clips. For more information, see Volume I, Chapter 5, “Browser Basics.” 2 Control-click the column of one of the selected clips, then choose a new setting or option from the shortcut menu.
II 3 In the Item Properties window, click a tab to see and modify a clip’s properties. For detailed information about item properties, see Volume IV, Chapter 3, “Elements of a Final Cut Pro Project.” Finding a Clip’s Media File With the exception of internally generated clips (such as slugs or color bars), all clips have a media file path in their Source property.
Finding a Clip’s Start and End Timecode Values By definition, a clip’s Media Start and Media End properties represent the first and last frames of a media file. To identify the start and end timecode values of a clip’s media file: 1 Select a clip in the Browser and choose Edit > Item Properties > Timing (or press Command-9), then click the Timing tab. The Item Properties window appears, displaying all of the properties of the clip.
II To create a new sequence in the current project: 1 Do one of the following: Â Choose File > New > Sequence. Â Control-click in the Viewer, then choose New Sequence from the shortcut menu. Â Press Command-N. A new sequence appears with the name highlighted, so you can change its name right away. Enter a new name for the sequence. 2 Enter a name for the sequence, then press Enter or Return.
Opening and Closing Sequences You can only edit clips into a sequence when it is open in the Timeline or Canvas. When you open a sequence, the Timeline and the Canvas open together, if they’re not open already. If the Timeline and Canvas are already open, a newly opened sequence appears in its own tab in front of any other sequence tabs. To open a sequence, do one of the following: m Double-click a sequence in the Browser. m Select the sequence in the Browser, then press Return.
II Duplicating a Sequence If you want to test changes to your edited sequence that are more extensive than a few levels of Undo will permit, or if you want to create several versions of your program for a client to review, you can duplicate your current sequence and make changes to the duplicate. Changes you make to a duplicate of a sequence do not affect the original in any way.
Copying a Sequence into Another Project If you have more than one project file open in the Browser, you can copy a sequence from one project and paste it into another project. To copy a sequence from one project into another: 1 Select the sequence in the Browser. 2 Choose Edit > Copy (or press Command-C). 3 Open a new project and select its tab in the Browser. 4 Choose Edit > Paste (or press Command-V). You can also copy a sequence into another project window by dragging.
II To create master clips for a sequence pasted into a project: 1 Select the sequence in the Browser. 2 Choose Tools > Create Master Clips. A bin is created called “Master Clips for Sequence Name”, named after the sequence. Master clips are created for any independent clips in the sequence, and the independent clips become affiliate clips of the new master clips. If master clips already exist for all clips in the sequence, no bin or master clips are created.
Why Would You Change Your Sequence Settings? Although the instances are rare, there are a few situations that may prompt you to change your sequence settings: Â You’ve imported multiple video or audio formats, and you decide to change your sequence settings to accommodate the more dominant format in your sequence to reduce rendering. Â You’ve changed your video interface or capturing setup, allowing you to work in the Y´CBCR (YUV) color space rather than the RGB color space.
6 The Fundamentals of Adding Clips to a Sequence 6 Once your clips are captured and organized to your satisfaction in the Browser, you can begin moving your content into a sequence. This chapter covers the following: Â Creating a Rough Edit (p. 91) Â Overview of Ways to Add Clips to a Sequence (p. 94) Â Preparing a Sequence Order in the Browser (p. 96) Creating a Rough Edit During the rough editing phase of your project, the overarching structure of your movie begins to take shape.
Step 3: Make rough adjustments to clips in the Timeline In the process of assembling the rough edit, you typically find you want to change the duration of some clips, trim the heads or tails of some clips, or divide clips into smaller pieces and reposition them. How Clips Appear in the Timeline Before you begin editing and arranging clips in a sequence in the Timeline, it’s a good idea to look at how clips are represented when they’re first edited into a sequence.
II Since the audio and video items of each edited clip are linked, selecting the video clip item also selects the audio clip items, and edits you make to one are automatically made to the others. For example, if you move a video clip item from track V1 to track V2, the audio clip items move from tracks A1 and A2 to tracks A3 and A4. Video clip item on V1 Audio clip items on A1 and A2 When you move a video clip item to a new track... ...the audio clip items move as well because they are linked.
Undoing and Redoing Actions As you begin to edit in Final Cut Pro, rest easy with the knowledge that you can undo actions you take in your projects, sequences, and clips, including editing clips into sequences. The Undo command is helpful if you make a change you don’t like, or make a mistake and want to revert to an earlier version. You can also redo actions that you have undone. By default, you can undo 10 of your previous actions before quitting Final Cut Pro.
II Drag-to-Timeline Editing The faster, less precise way of editing content into a sequence is to drag a source clip from the Browser or the Viewer directly to tracks in the Timeline. This simple method is discussed more in Chapter 9, “Drag-to-Timeline Editing,” on page 137. Drag a source clip from the Viewer... ...to a track in the Timeline. Three-Point Editing In three-point editing, you set In and Out points in both a source clip and a sequence to determine the duration and placement of an edit.
However, if you set In and Out points in a sequence and an In point in your source clip, the Out point of the source clip is determined by the duration between the sequence In and Out points. In this case, the sequence In and Out points limit how much of the source clip is placed in the sequence. (1 and 2) Sequence In and Out points (3) Clip In point (4) Clip Out point (inferred) For more details about three-point editing, see Chapter 10, “Three-Point Editing,” on page 145.
II Sorting to Create a Sequence Order The ability to sort by column information in the Browser (in list view) can help you quickly organize clips into the order in which you want them to appear in your sequence. For example, if you entered scene and shot numbers when you logged your shots, you can sort by these two columns, and then select all of these shots to edit into your sequence in the correct order.
Goes into your sequence like this: 1 2 3 4 5 To create a storyboard in the Browser: 1 Control-click in the Browser, then choose View as Large Icons from the shortcut menu. 2 Drag the clips into the order in which you want them to appear, keeping the rows of clips relatively straight, so that Final Cut Pro can properly determine their order. ∏ Tip: To ensure clips are placed in the Timeline in the proper order, place each subsequent clip several pixels lower and to the right of the previous clip.
7 Setting Edit Points for Clips and Sequences 7 To specify where a clip should be placed in your sequence, and to select a section of a clip for editing, copying, pasting, or any other operation, you set In and Out points. This chapter covers the following: Â About In and Out Points (p. 99) Â Setting Clip In and Out Points in the Viewer (p. 103) Â Setting Sequence In and Out Points in the Canvas or Timeline (p. 106) Â Navigating to In and Out Points (p. 115) Â Moving In and Out Points (p.
Learning About the Out Point Inclusive Rule Before you begin to set In and Out points, it’s important to understand the “Out point inclusive” rule that Final Cut Pro follows, so you can avoid an unexpected extra frame at your Out point. Out point inclusive means that when you set an Out point at the position of the playhead, the frame that the playhead is on is included in your edit. This rule means that whenever you set In and Out points, the minimum duration set is always one frame long.
II Things to Keep in Mind When Setting an Out Point When you want to mark the duration of a clip in a sequence, you need to remember to set the Out point one frame earlier than you might expect, or you may also include the first frame of the next clip. This often happens when you have snapping turned on and you snap to clip start and end points to set In and Out points. The Out point includes the first frame of the adjacent clip.
To avoid accidentally selecting the first frame of the next clip, do one of the following: m Press the Back Arrow key once before setting the Out point, so that you set it on the last frame of the clip you want to select. When you do this, the last frame of that clip is included with the Out point. The Out point ends at the last frame of the clip. m Make the Canvas active, then choose View > Show Overlays.
II Setting Clip In and Out Points in the Viewer When you set In and Out points for a clip in the Viewer, only the frames from the In point to the Out point will be edited into your sequence. If you haven’t explicitly set an In or Out point, Final Cut Pro uses the Media Start and the Media End points, respectively. To set an In or Out point for a clip in the Viewer: 1 Double-click the clip to open it in the Viewer. 2 Move the playhead to the location in the clip where you want to place the In or Out point.
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 or click the Play button to start playing a clip in the Viewer. 3 Do one of the following: Â Press I once to set an In point or press O once to set an Out point. Â Press and hold the I or O key. The In or Out point is set at the location of the playhead when you release the key. Â Click the Mark In or Mark Out button once. Â Click and hold the Mark In or Mark Out button.
II Setting In and Out Points to Include a Whole Clip If you decide that you want to set In and Out points at the very beginning and end of your clip (the default), it’s easy to do. To set In and Out points at the clip Media Start and Media End (the beginning and end of the clip): 1 Open a clip in the Viewer. 2 Do one of the following:  Click the Mark Clip button. Mark Clip button  Choose Mark > Mark Clip.  Press X.
To view your clip around the position of the playhead: 1 Position the playhead where you want to view your clip. 2 Do one of the following: Â Click the Play Around Current Frame button. Â Choose Mark > Play > Around. Â Press \ (backslash). Setting Sequence In and Out Points in the Canvas or Timeline Once you’ve set In and Out points for a clip in the Viewer, you need to specify an In or Out point in your sequence before you can complete a three-point edit.
II Â Setting both In and Out points: If both points are set in the sequence, the edit is restricted to the duration between the sequence In and Out points, regardless of the duration set in the source clip. When No Sequence In or Out Points Are Set If you don’t set any In or Out points in the Canvas or Timeline, Final Cut Pro uses the playhead as an In point to determine the outcome of your edit.
When You Set One Sequence In or Out Point If you set only one In or Out point, that point determines where the clip being edited into your sequence will start or end: Â If you set a sequence In point, the In point of the source clip is placed at the sequence In point, and the clip extends from the In point to the right for the duration of the source clip. In point The new clip begins at the In point that you set.
II Â 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 “backtimed” for the duration of the source clip, extending from the Out point to the left. Out point The new clip ends at the Out point that you set.
When You Set Both Sequence In and Out Points Setting both sequence In and Out points limits the duration of your edit to the duration between these two points. How the source clip lines up within this duration depends on which clip In and Out points have been set in the Viewer: Â If you set an In point for the source clip, the clip’s In point lines up with the In point in your sequence, and the clip extends to the right for the duration defined by the sequence In and Out points.
II Setting Sequence In and Out Points You can set sequence In and Out points in the Canvas or Timeline. The In and Out points in the Canvas are the same as the ones in the Timeline—they refer to the same timecode values and affect the same part of your sequence. If you set In and Out points in the Timeline, they also appear in the Canvas, and vice versa.
Setting In and Out Points to Match a Clip or Gap When you want to replace one clip with another using exactly the same location and duration in the Timeline, you can set both In and Out points simultaneously. This also comes in handy if you want to quickly set In and Out points to fit the boundaries of a gap in your sequence. To set In and Out points at the beginning and end of a clip or gap in the Timeline: 1 Place the Timeline playhead over a clip (or gap) in your sequence.
II 3 Do one of the following to set In and Out points:  Press X.  Click the Mark Clip button in the Canvas. Mark Clip button in the Canvas  Choose Mark > Mark Clip. In and Out points are set at the boundaries of the clip or gap. In and Out points are set at the clip’s boundaries. .
To set In and Out points based on the current selection in the Timeline: 1 Select clip items in the Timeline. You can select part of a clip, several clips, or parts of several clips using the Selection, Group Selection, or Range Selection tools. For more information on how to use these tools, see Chapter 11, “Finding and Selecting Content in the Timeline,” on page 171. If you want to set only video or only audio In and Out points, select only video or audio items in the Timeline.
II Navigating to In and Out Points Often, you’ll want to position the playhead at the beginning or end of a specific clip, marker, or edit point in your sequence, in preparation for the next edit. Final Cut Pro makes it easy to jump quickly between all of the edit points in your sequence. To move the playhead to the next edit point in your sequence, do one of the following: m In the Canvas, click the Go to Next Edit button. m Press the Down Arrow key. m Choose Mark > Next > Edit (or press Shift-E).
Moving In and Out Points You can always change clip In and Out points by simply setting new ones. Here are a few other options for changing In and Out points. To change the location of the In or Out point, do one of the following: m Drag In or Out point markers to the left or right. m To change the Out point, enter a new timecode number in the Timecode Duration field. Final Cut Pro calculates the new location of the Out point by adding the duration you entered to the timecode value of the In point.
II 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 point left or right in the scrubber bar. Note: The cursor must be directly over the In or Out point, or the slip edit won’t work and you will simply move the playhead. Hold down the Shift key, then drag the In point or Out point to a new location. m Select the Slip tool in the Tool palette, then drag a sequence clip in the Timeline to the left or right.
To clear an Out point, do one of the following: m Press Option-O. m Option-click the Mark Out button. m Control-click in the scrubber bar, then choose Clear Out from the shortcut menu. m In the Viewer or Canvas, drag an Out point vertically off the scrubber bar, either up or down. To clear both In and Out points at the same time, do one of the following: m Press Option-X. m Option-click the Mark Clip button. m Control-click in the scrubber bar, then choose Clear In and Out from the shortcut menu.
8 Working with Tracks in the Timeline 8 In the Timeline, you view your clips horizontally (in chronological order) and also vertically (stacked in multiple tracks). You can add, delete, and lock tracks, and you can customize how tracks are displayed. This chapter covers the following: Â Adding and Deleting Tracks (p. 120) Â Specifying Destination Tracks in the Timeline (p. 123) Â Locking Tracks to Prevent Edits or Changes (p. 128) Â Disabling Tracks to Hide Content During Playback (p.
Adding and Deleting Tracks In Final Cut Pro, sequences can have up to 99 video and 99 audio tracks. Tracks contain clip items, which are the individual media items that make up a clip. When you edit, you arrange individual or linked clip items in a sequence. Adding Tracks You can add tracks to a sequence at any time. You can add tracks one at a time, or you can add multiple video and audio tracks at once.
II To add multiple tracks to a sequence: 1 Choose Sequence > Insert Tracks. 2 In the Insert Tracks dialog, select your options, then click OK. Enter the number of tracks to add. Select the types of tracks you want to add. Specify where you want to add the tracks. Â Track type: Select the appropriate checkbox to add audio and/or video tracks. Â Number of tracks: Enter the desired number of tracks for either video or audio. A sequence can have a total of 99 video tracks and 99 audio tracks.
Deleting Tracks You can delete tracks from a sequence at any time. You can delete tracks one at a time, or you can delete multiple video and audio tracks at once. If you delete tracks that contain linked clip items, only the items on the deleted track are deleted; the linked items remain. For example, if you delete a video track, video clip items on that track are deleted, but the linked audio clip items remain in their tracks. Note: If you delete the wrong track, you can use the Undo command to restore it.
II Specifying Destination Tracks in the Timeline When you edit a source clip into a sequence, you need to specify the sequence tracks where your source clip items are placed. You use the Source and Destination controls in the Timeline to specify which sequence tracks receive clip items from the source clip. Source and Destination controls are most often used when you perform three-point edits, but they can also affect some aspects of drag-to-Timeline editing.
Setting Destination Tracks To control which sequence track a source clip item is placed in, you connect the Source control to the corresponding Destination control. There are several different ways to do this. Important: While editing, make sure that Source controls are connected to the Destination controls for the correct tracks. If you don’t, individual video or audio items in your source clip will end up in the wrong tracks in the Timeline. V1, A1, and A2 are selected as destination tracks.
II Changing Source and Destination Control Connections You can change source and destination track assignments in the Timeline in several ways. To change Source and Destination control connections, do one of the following: m Click a Destination control. The first Source control above that track moves to that track. m Option-click a Destination control. The first Source control beneath that track moves to that track. m Drag one Source control on top of another to switch their connections.
Disconnected Source controls remain disconnected even when you open a new clip in the Viewer. This is true even if the clip has a different number of video and audio clip items than the previously opened clip. To disconnect Source and Destination controls in the Timeline, do one of the following: m Click the Source or Destination control to break the track assignment.
II Resetting Destination Tracks to the Default State You can reset Source or Destination controls to their default state at any time. All available Source controls are reconnected to the accompanying Destination controls. For example, the a1 Source control is reconnected to the A1 Destination control, the a2 Source control is reconnected to the A2 Destination control, and so on.
Locking Tracks to Prevent Edits or Changes If you want to set one or more tracks as temporarily “off limits” to edits or changes, you can lock them using the Lock Track control in each track’s header. While a locked track can be specified as a destination track, no media will be edited into a locked track. Locked tracks appear cross-hatched in the Timeline. To lock a single track: m Click the Lock Track control to the left of the track.
II When Working with Clips on Locked Tracks Clip items on locked tracks cannot be moved, edited, deleted, or modified in any way. However, they can still be selected, along with any linked items in other tracks. The Editing tab of the User Preferences window has an option called “Pen tools can edit locked item overlays” (to view this window, choose Final Cut Pro > User Preferences).
To disable a track: m Click the Track Visibility control of the track you want to disable. Note: If your sequence has clip items that have been rendered, a dialog appears saying that the render files will be deleted. If you don’t need the render files, click Continue. For more information about rendering, see Volume III, Chapter 29, “Rendering and Video Processing Settings.” The disabled track is dimmed and will not appear (or be heard) when the sequence is played back.
II For more information about customizing Timeline display options, see Volume I, Chapter 9, “Timeline Basics.” Resizing Timeline Tracks You can change the size of tracks in the Timeline, either by dragging a track’s boundary in the Timeline patch panel, or by using the Track Height control. Resizing Tracks by Dragging You can resize individual tracks directly in the Timeline.
Resizing All Tracks Using the Track Height Control When you use the Track Height control to resize tracks, you resize all tracks together. By default, the Track Height control sets all tracks in the Timeline to the same size. To resize all tracks using the Track Height control, do one of the following: m Click the icon in the Track Height control that corresponds to the track size you want to use. The selected track height is highlighted blue.
II Saving Track Layouts Once you’ve created a custom track layout for your sequence, you can save it for future use. Saved custom track layouts appear in the Track Layout pop-up menu, and can be applied to any sequence that’s open in the Timeline. Up to 40 custom track layouts can appear in the menu at once. To save a custom track layout: 1 Arrange the track heights of your sequence as you want them.
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 static area for as many video tracks as you want to keep in the middle. 2 Drag the lower thumb tab in the vertical scroll bar down to create a static area for as many audio tracks as you want to keep in the middle. Drag the upper thumb tab up to include video tracks in the static area. Slider Static area Drag the lower thumb tab down to include audio tracks in the static area.
II To eliminate tracks from the static region, do one of the following: m To eliminate video tracks from the static region: Drag the upper thumb tab of the static region down so that it overlaps the lower one, then release the mouse button. m To eliminate audio tracks from the static region: Drag the lower thumb tab of the static region up so that it overlaps the upper one, then release the mouse button. To eliminate audio tracks, drag this thumb tab up.
9 Drag-to-Timeline Editing 9 Drag-to-Timeline editing is a quick, intuitive way to move clips from the Browser or Viewer into your sequence. This chapter covers the following: Â Overview of the Drag-to-Timeline Editing Process (p. 137) Â Dragging Clips to the Timeline (p. 138) Â Doing Simple Insert and Overwrite Edits in the Timeline (p. 139) Â Automatically Adding Tracks to Your Sequence While Dragging (p.
In drag-to-Timeline editing, only two steps are involved: Step 1: Set clip In and Out points in the Viewer Here you specify which part of a clip you want to place in your sequence. You do this by opening the clip in the Viewer and setting the In and Out points (where the clip should start and end when placed in a sequence). If you want to place a whole clip or group of clips in the Timeline, you can skip this step.
II To edit multiple clips into a sequence at the same time: 1 Select the group of clips you want to edit into your sequence by dragging a box around them in the Browser. Drag to select the clips you want to edit into your sequence. For more information, see “Preparing a Sequence Order in the Browser” on page 96. 2 Drag the group of clips directly into your sequence in the Timeline. The clips appear in your sequence according to how they’re organized in the Browser.
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 clip from the Audio tab in the Viewer, click the drag hand and then drag. Drag hand Note: To drag a multiclip from the Viewer to the Canvas or Timeline, you need to hold down the Option key while you drag in the Viewer. As you drag your clip into the Timeline, a two-up display appears in the Canvas to show you the sequence In and Out points for the edit you’re performing.
II To do an insert edit: m Drag the clip to the upper third of a track in the Timeline. Drag a clip to the upper third of a track to do an insert edit. To do an overwrite edit: m Drag the clip to the lower two-thirds of a track in the Timeline. Drag a clip to the lower two-thirds of a track to do an overwrite edit. Note: If you drag a sequence clip to another location within the sequence, an overwrite edit is performed by default.
Automatically Adding Tracks to Your Sequence While Dragging You can drag a source clip to the unused space above or below the current tracks to create a new track for that clip. If you drag your clip above the tracks already in the Timeline, you’ll create a new video track. If you drag your clips below the tracks in the Timeline, you’ll create a new audio track.
II For example, suppose you have a clip that contains a video clip item and two audio clip items. If you drag that clip to a video track in the Timeline, the video clip item is placed in the video track, even if the Source and Destination controls for the video track are disconnected. Each audio clip item is placed in the corresponding Timeline audio tracks, but only if the Source and Destination controls of those audio tracks are connected. Video Source and Destination controls are disconnected.
10 Three-Point Editing 10 When you’re adding content to a sequence with three-point editing, you only need to set three edit points to tell Final Cut Pro what content should go where in the Timeline. This chapter covers the following: Â Understanding Three-Point Editing (p. 145) Â About Edit Types in the Edit Overlay (p. 148) Â Performing the Different Types of Edits (p. 149) Â Three-Point Editing Examples (p.
Basic three-point editing follows several main steps: Step 1: Set clip In and Out points in the Viewer Specify which part of a source clip you want to place in your sequence. You do this by opening it in the Viewer and setting the In and Out points (where the clip should start and end). If you only set an In point, the Out point will be determined by the sequence In and Out points or the Media End time of the clip.
II Dragging to the Edit Overlay in the Canvas When you drag a clip from the Browser or Viewer to the image area of the Canvas, the Edit Overlay appears. The overlay appears translucently over the image, with seven sections corresponding to seven types of edits you can perform. Drag to a section to perform the corresponding edit. Note: If you don’t drag directly to one of the overlay choices, the default edit is Overwrite, meaning the clip overwrites anything located at its destination in the Timeline.
Using Keyboard Shortcuts With a clip open in the Viewer, you can also use keyboard shortcuts to perform each of the seven types of edits. All of the keyboard shortcuts use the function keys along the top of the keyboard. (If you forget a keyboard shortcut, position your pointer over one of the edit buttons and pause for a moment. A tooltip appears with that button’s function, as well as its keyboard shortcut.
II Â Overwrite with transition: This is the same as an overwrite edit, except that the default transition is used at the In point of the edit to transition between the previous clip and your source clip. Â Replace: A replace edit replaces a clip in your sequence with the source clip, aligning the frame at the Viewer playhead location with the frame at the Canvas/Timeline playhead location. This type of edit does not use In and Out points in the same way as insert and overwrite edits.
Performing an Insert Edit An insert edit places the source clip into your sequence so that all items after the insertion point in your sequence are moved forward (or rippled) in the Timeline, to make room for the clip being added. No clips are removed from your sequence. You can perform an insert edit with one or more clips.
II After the edit, all clips on all unlocked tracks (including nondestination tracks) are moved forward in time, from the playhead position to the right, to make room for the clip or clips being inserted. Before an insert edit After an insert edit New clip is inserted. Performing an Insert with Transition Edit The insert with transition edit is a quick way to do an insert edit that includes the default transition between your new source clip and the clip before it in your edited sequence.
∏ Tip: You can also perform an insert with transition edit with multiple clips. If there are no other clips in your sequence at the In point, the first clip will make a default transition from black. Each successive clip will then use the default transition into the next one until all the clips you selected are laid out in a row.
II Performing an Overwrite Edit Since this is the most commonly used edit type, it occupies the biggest overlay area in the Canvas. If you drag a clip into any part of the Canvas to the left of the Edit Overlay, an overwrite edit is performed. With this type of edit, the source clip overwrites any clip items starting at the sequence In point for the duration of the source clip. No clip items are rippled forward, so the duration of your sequence remains the same.
The clip overwrites all items on the destination tracks from the playhead position through the duration of your edit. No items are moved. Before an overwrite edit After an overwrite edit New clip overwrites existing clips. Performing an Overwrite with Transition Edit The overwrite with transition edit is a quick way to do an overwrite edit that includes a transition between your new source clip and the clip before it in your edited sequence.
II ∏ Tip: You can also perform an overwrite with transition edit with multiple clips. Each clip will use the default transition into the next one until all the clips you selected are laid out in a row. To perform an overwrite with transition edit: m Specify the necessary edit points and destination tracks, then do one of the following: Â Drag the clip from the Viewer to the Overwrite with Transition section of the Edit Overlay in the Canvas. Â Click the Overwrite with Transition button in the Canvas.
Performing a Replace Edit A replace edit is a specialized form of overwrite edit. A replace edit places the frame at the current Viewer playhead position at the Canvas/Timeline playhead location in your sequence.
II Â A replace edit places the source clip into your sequence so that the frame at the position of the playhead in the Viewer is located at the Canvas/Timeline playhead position. Therefore, it’s important that you have enough media in your source clip to the left and right of the playhead in the Viewer to accommodate the space you’ll be filling in the Timeline. If you don’t, you’ll see an “Insufficient content for edit” message.
4 Do one of the following: Â Drag the clip from the Viewer to the Replace section of the Edit Overlay in the Canvas. Â Click the Replace button in the Canvas. Â Press F11. Replace button Replace section of the Edit Overlay in the Canvas Important: Make sure that the clip in the Viewer contains enough media on either side of the playhead to fill the duration of the clip you want to replace in the Timeline. If it doesn’t, you’ll see an “Insufficient content for edit” message.
II To use a replace edit to resync a video clip to an audio clip in another track: 1 In the Timeline, choose Mark > Clear In and Out (or press Option-X) to delete any sequence In and Out points. 2 In the Timeline, find the audio cue you want to sync your video clip to, and position the playhead there. 3 Make sure that the Source and Destination controls in the Timeline are set to the tracks containing your video clip, and not your audio clip. The video track should be the only destination track set.
4 Without moving the Timeline playhead, press the F key to perform a match frame operation. This opens the master clip that the video clip in your sequence came from in the Viewer, placing the playhead in the Viewer over the same frame that was under the playhead in the Timeline. For more information on match frame editing, see “Matching Frames Between Sequence and Master Clips” on page 430.
II Important: Make sure that the clip in the Viewer contains enough media on either side of the playhead to fill the duration of the clip you want to replace in the Timeline. If it doesn’t, you’ll see an “Insufficient content for edit” message. If you set In and Out points in a sequence, a replace edit can overwrite more than one clip at a time. A replace edit still works the same way: the Timeline and Viewer playheads are used as the matching points for the edit.
The selected area in the sequence is replaced by the source clip. Final Cut Pro automatically calculates the clip duration. Before a replace edit After a replace edit New clip replaces the selected area of the sequence. Superimposing Clips In some cases, you may want to place one clip directly above another clip in a different track. This is called a superimpose edit. You can use a superimpose edit to quickly stack a source clip on top of a clip already in your sequence.
II Likewise, if you perform a superimpose edit with several source clips at once, all of those clips are stacked on top of one another. The first clip in your selected group is on top, with each successive clip appearing underneath. Before edit D A B C D After edit A B C To perform a superimpose edit: 1 Do one of the following: Â Position the Timeline playhead over a clip above which you want to superimpose your source clip.
The clip in the Viewer is placed in the track above the destination track, starting at the beginning of the clip that intersects the Timeline playhead, or at the sequence In point. If there is no track above the destination track, one is created.
II Three-Point Editing Examples There are a few key things to keep in mind when you are doing three-point editing: Edit points set Results  Clip In and Out points  Sequence In point The In point of the source clip is placed at the sequence In point, and the duration of the edit is determined by the clip In and Out points.
3 In the Canvas or Timeline, move the playhead to the location in your sequence where you want the clip to start (the sequence In point). Move the playhead to the location in the sequence where you want the clip to start. 4 Now, if you do an overwrite edit, you’ll see that the duration of your clip, defined by the In and Out points in the Viewer, has been edited into the sequence. The new clip starts where the playhead was.
II Example: Editing a Clip into a Gap in Your Sequence You can also do the reverse of the previous editing example. Suppose you have a gap in your edited sequence and you want to fill it with a new clip. You know where you want the source clip to start, and you don’t particularly care where it ends. You can specify an In point in the Viewer, and specify In and Out points in the Timeline to coincide with the gap: 1 Double-click a clip to open it in the Viewer. (This is your source clip.
5 If you do an overwrite edit, you’ll see that your clip, defined by the In and Out points in your sequence, has been edited into the sequence. The new clip fills the gap. Example: Backtiming a Clip into Your Sequence Instead of editing a clip into your sequence using clip In and Out points in the Viewer and a sequence In point in the Canvas or Timeline, you can edit clips using only an Out point in the Canvas or Timeline. This is called backtiming a clip.
II 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 point. Set an edit point at the location where you want the clip to end. 4 If you do an overwrite edit, you’ll see that your clip has been edited into the sequence so that the Out point of your clip lines up with the Out point you specified in the Timeline.
Example: Editing a Clip with No Specified In or Out Points into Your Sequence If you don’t specify In or Out points for a clip in the Viewer prior to editing, Final Cut Pro edits in the entire clip, either to the position of the playhead or to an edit point specified in the Canvas or Timeline: 1 Double-click a clip to open it in the Viewer, but don’t set In or Out points. No In or Out points are set.
11 Finding and Selecting Content in the Timeline 11 When you want to arrange, copy, delete, or otherwise manipulate items in a sequence, the first thing you need to do is select them. This chapter covers the following: Â Understanding What’s Currently Selected (p. 171) Â Direct Methods for Selecting Content in a Sequence (p. 173) Â Finding and Selecting Based on Search Criteria (p. 183) Â Selecting a Vertical Range Between In and Out Points (p.
Identifying Selections in the Timeline When you click a clip in the Timeline, it’s highlighted to indicate it’s selected. The selected clip is highlighted. Even if there are no clips highlighted, Final Cut Pro usually considers something in the Timeline to be selected. This occurs in two situations: Â If no clips are highlighted and there are no In or Out points set, clips under the current position of the playhead are considered selected for many commands.
II How Selections Are Prioritized in the Timeline With the exception of editing clips into a sequence, operations in the Timeline are prioritized in the following way: Â If clips are selected, any operations you perform affect those clips. Â If no clips are selected, content between In and Out points on tracks with Auto Select enabled is considered selected. Â If no In and Out points are set, the clips under the playhead on tracks with Auto Select enabled are considered selected for many commands.
The following cannot be selected in the Timeline: Â Filter and motion bars and their keyframes: You can double-click a bar directly in the Timeline to view filter or motion details in the Viewer. Even though you can’t select the keyframes, you can move them by dragging them. Â Tracks: Tracks themselves can’t be selected, although the contents of tracks can be selected using the track selection tools. An Introduction to the Selection Tools Several tools in the Tool palette can be used to select items.
II Â Group Selection: Selects multiple contiguous items. This tool automatically selects an entire item in the Timeline even if you only drag over a part of it. Any other items linked to it are selected as well. Use this tool to select several clips in their entirety. Â Range Selection: Selects a range of multiple contiguous items. This tool does not automatically select an entire item, but only the part of the item that you drag across.
Selecting Clips Selecting individual clips is as straightforward as clicking, as long you are clicking with the right tool. Also included here are the tricks you need to know for selecting multiple contiguous and noncontiguous clips quickly. ∏ Tip: When clip items are linked, but you need to select just an individual clip item, you can temporarily prevent linked items from being selected together by pressing the Option key while selecting.
II Selecting a Group of Clips by Dragging Sometimes the fastest way to select a group of contiguous clips is to drag a box around them. To select multiple whole clips by dragging: 1 Do one of the following: Â Select the Group Selection tool in the Tool palette. Â Press the G key two times, so the Group Selection tool is displayed in the Tool palette. Â Select the Selection tool in the Tool palette (or press A). 2 Drag a box around all of the desired clips to select them.
Selecting Multiple Clips The Shift and Command keys allow you to select multiple clip items in the Timeline, either contiguous or noncontiguous. To select multiple noncontiguous clip items: m Hold down the Command key while selecting the desired clip items using either the Selection tool or the Group Selection tool. You can also Command-click a specific item again to deselect it.
II Selecting a Range of Timeline Content When you want to copy, cut, or move an area of content that is not specified by clip boundaries, you can either select the area with the Range Selection tool, or use In and Out points to make a vertical selection across tracks. For more information about using In and Out points to select a range of content, see “Using Auto Select to Specify Tracks for Selections” on page 185.
Selecting All Clip Items on a Track Sometimes you may find that you want to select all of the clip items on a track in order to drag them to close a gap or to create space to accommodate new clip items in your sequence. After selecting a track’s contents, you can perform different operations on all the track’s items at once, such as moving, copying, or deleting them. The track selection tools provide many additional ways of selecting some or all of the content of one or more tracks in your sequence.
II To select all clip items after a specified item on a single track: 1 Do one of the following: Â Select the Select Track Forward tool in the Tool palette. Â Press the T key once, so the Select Track Forward tool is selected in the Tool palette. 2 Click a clip item in the Timeline. The item you click and all items after it are selected. To select all clip items before a specified item on a single track: 1 Do one of the following: Â Select the Select Track Backward tool in the Tool palette.
All clip items in all tracks from the point you click onward (either forward or backward) are selected, as well as any items linked to those items. You can select entire clip items only; you can’t select a portion of a clip item. If you click here, all clip items on all tracks to the right are selected. If you click here, all clip items on all tracks to the left are selected.
II Finding and Selecting Based on Search Criteria In a large sequence you may want to locate a clip in the Timeline with a particular name, timecode number, or marker text, but it would take a lot of effort to find it by visually scrolling and scanning. Final Cut Pro can search your sequence for you and select clips that meet your criteria. You can search for individual items that meet the criteria, or select all matching items at once.
6 Choose which tracks to search from the Where pop-up menu. Â All Tracks: Search all tracks in the sequence. Â Auto Select Tracks: Search only tracks with Auto Select enabled. Â From In to Out: Search between the sequence In and Out points on all tracks. 7 To search, do one of the following: Â Click Find to find the item. Final Cut Pro finds the first item that matches the selected criteria from the current position of the playhead to the end of the sequence.
II 2 In the Timeline, enable the Auto Select controls for tracks that contain clip items you want to select. For more information, see the next section, “Using Auto Select to Specify Tracks for Selections.” 3 Choose Mark > Select In to Out (or press Option-A) to select your clips. Only the parts of clip items between the In and Out points in tracks with Auto Select enabled are selected. Final Cut Pro also allows you to create In and Out points from the current Timeline selection.
As you can see in the picture below, tracks A1 and A2 are not highlighted because Auto Select is not enabled for those tracks. In and Out points Auto Select is enabled for these two tracks. The Auto Select controls provide precise control over which part of the Timeline you cut, copy, or delete from. Suppose you have a sequence with one video and two audio tracks. By disabling Auto Select on audio tracks A1 and A2, you can select items on track V1 by setting In and Out points in the Canvas or Timeline.
II If you press the Delete key, only the items on track V1 are deleted. After deleting; only the selected region is deleted. To enable or disable Auto Select on a track: m Click the Auto Select control for the track.
To enable Auto Select on one track while simultaneously disabling Auto Select on all other tracks: m Option-click the Auto Select control on the track you want single out for Auto Select. (If Auto Select is off for all tracks, you need to Option-click the control twice.) If you Option-click the Auto Select control on a video track, Auto Select is disabled on all other video tracks in the sequence.
12 Arranging Clips in the Timeline 12 After initial content has been added to the Timeline, the next part of the rough editing phase is assembling clips into the order in which you want them to appear. This chapter covers the following: Â Snapping to Points in the Timeline (p. 189) Â Moving Items Within the Timeline (p. 190) Â Copying and Pasting Clips in the Timeline (p. 196) Â Deleting Clips from a Sequence (p. 200) Â Finding and Closing Gaps (p. 202) Â Color-Coding Clips in the Timeline (p.
Several elements trigger snapping in the Timeline:  Clip boundaries  The playhead  Markers  Keyframes  In and Out points When you drag the playhead or a selected clip item in the Timeline, it “snaps” to these elements when it encounters them. A small pair of arrows appears above or below the edit, marker, or keyframe to indicate that the playhead has snapped to this item.
II Moving by Dragging When dragging a clip to a new location, you can do either an overwrite or insert edit, depending on your use of a keyboard modifier. To move a clip to a new position by dragging (and do an overwrite edit): 1 In the Timeline, drag the clip to the desired location. (The pointer looks like a down arrow.) 2 Release the mouse button. The arrow pointing down indicates that an overwrite edit will be performed.
To move a clip to another track while keeping its horizontal position in a sequence the same: 1 In the Timeline, select the clip you want to move. 2 Press the Shift key while dragging it vertically to the new track. The clip will be at the same timecode location, but on another track. Moving Clips Numerically When you want to move clip items precisely, you can move them by entering positive or negative timecode values.
II 3 Press Return. The clip moves to the new location if there aren’t any other clip items in the way. If there are, you’ll see a “Clip Collision” message indicating which track had a clip that interfered with your edit. Clip Collision message For more information about editing numerically using timecode, see Chapter 18, “Performing Slip, Slide, Ripple, and Roll Edits,” on page 317 and Chapter 20, “Trimming Clips Using the Trim Edit Window,” on page 357.
Performing Shuffle Edits A shuffle edit (sometimes referred to as a swap edit) allows you to move a clip item to a different position in a track without leaving a gap. When you perform a shuffle edit, you insert a clip item from one position in your sequence to another, and all clip items before or after the clip insertion point are rippled so that the gap left by the moved clip is filled.
II 3 While continuing to hold down the mouse button, press the Option key. The pointer turns into the Shuffle Edit pointer. The direction of the small arrow in the Shuffle Edit pointer indicates which direction clip items will be rippled around the insertion point of the moved item. Â If the small arrow points right, all clip items to the right of the insertion point are rippled to the right, filling the gap where the moved clip item was previously located.
Copying and Pasting Clips in the Timeline You can use the Copy, Cut, and Paste commands (or their keyboard equivalents) to arrange clips in a sequence. You can also copy clips by Option-dragging. Copying Clips by Option-Dragging Copying by Option-dragging provides a fast, visual way to duplicate a clip in a new location. There is no need to position the playhead. To copy a clip into another location in the Timeline by dragging: 1 In the Timeline, select a clip item.
II Copying, Cutting, and Pasting Clips in the Timeline When you copy and paste clip items from tracks in the Timeline, Final Cut Pro pastes those clip items into the same tracks they were copied from unless you specify different tracks with Auto Select controls. If no Auto Select controls are selected between the time you copy and paste the clip items, the items are placed on the same tracks from which they were copied.
To copy (or cut) and paste clip items from one Timeline track to another: 1 Select one or more clip items in the Timeline. 2 Do one of the following, depending on what you want: Â Copy the clip items by pressing Command-C. Â Cut the clip items by pressing Command-X. 3 Option-click the Auto Select control for the track you want to paste clip items into. (If no Auto Select Controls are enabled, Option-click twice.) 4 Position the playhead where you want the paste to occur.
II Example: Copying and Pasting Audio and Video Clip Items to Different Tracks in the Timeline To copy and paste clip items from tracks V3, A5, and A6 to tracks V2, A2, and A3, you would do the following: 1 Select the clip items on V3, A5, and A6. 2 Copy the clip items by pressing Command-C. 3 Position the playhead where you want to paste the items. 4 Option-click the track V2 Auto Select control. The video clip item will now be pasted into track V2.
Deleting Clips from a Sequence As you edit, you can delete items from your sequence at any time, provided that the track you want to remove them from is not locked. There are two ways to delete items from a sequence: Â Lift edit: Leaves a gap in the sequence. Â Ripple edit: Closes the gap from the deletion by moving all subsequent clips to the left. Important: Removing clips from a sequence does not delete the original master clips from the Browser, nor does it delete source media files from your hard disk.
II 3 Do one of the following: Â Choose Sequence > Lift. Â Choose Edit > Cut (or press Command-X) to cut the material, if you want to paste it somewhere else. Â Press Delete. Selected clip items After a lift edit, a gap is left in the sequence. Deleting with a Ripple Edit (Leaving No Gap) Deleting with a ripple edit (also called a ripple delete) removes selected items from the sequence and closes the resulting gap by moving all subsequent items on unlocked tracks to the left.
To delete a clip item and close the gap left behind: 1 Select the item or range of items you want to remove. 2 Do one of the following: Â Choose Sequence > Ripple Delete. Â Control-click the selected clip item or items, then choose Ripple Delete from the shortcut menu. Â Press Shift-Delete. Â Press Shift-X to cut the material, if you want to paste it somewhere else. Selected clip items After the ripple delete, the clip items are removed, with no gap remaining.
II There are two types of gaps: Â Track gaps: These are empty spaces between two clips in the same track. Â Gaps: These are track gaps that occur in every single track of your sequence. Gap Track gap To find gaps in a sequence: 1 Move the playhead to the beginning of the sequence to start looking from the beginning. Otherwise, you can look for gaps to the right or left of the playhead’s current position. 2 Do one of the following: Â Choose Mark > Next, then choose Gap from the submenu (or press Shift-G).
Because this command shifts all clips to the right of the gap to the left, the command is not available if a clip on another track overlaps this gap. (This would change the relationship of the overlapping clip to the rest of your sequence, or change the audio-video sync if it’s an audio clip underneath a video clip.
II To determine the duration of a track gap in the Timeline: 1 Option-click the Auto Select control for the track with the gap. 2 Position the playhead in the gap. 3 Do one of the following: Â Choose Mark > Mark Clip. Â Click the Mark Clip button in the Canvas. Â Press X. In and Out points set based on track gap on V1. Auto Select control enabled The track gap’s duration appears in the Timecode Duration field in the Canvas.
Color-Coding Clips in the Timeline If you use labels to identify and sort your clips in the Browser, the clips’ names will be highlighted in the color that matches each label. Using keyboard shortcuts, you can change the labels of clips directly in the Timeline. Important: Changes made to the label of any clip are also applied to all affiliated clips in the Browser and in other sequences.
13 Cutting Clips and Adjusting Durations 13 Once you’ve assembled clips in your sequence, you can easily cut them and adjust their durations. This chapter covers the following: Â Performing Basic Cut Edits (p. 207) Â Changing the Duration of Clips in the Timeline (p. 211) Â Opening Sequence Clips in the Viewer to Change Durations (p. 212) Performing Basic Cut Edits The most basic edit is a straight cut, like the ones performed with a razor blade on a piece of film.
 Razor Blade: Adds an edit point to a sequence clip by cutting a single clip item, along with any clip items linked to it in the Timeline, into two pieces. This edit point is added at the frame of the clip item in the Timeline that you click.
II Â Razor Blade All: Cuts all clip items on all tracks at the point where you click in the Timeline. Before After The Razor Blade All tool lets you cut clips across all tracks. Using the Add Edit Command to Cut Clips The Add Edit command in the Sequence menu (Control-V) is similar to the Razor Blade All tool, cutting all clip items in the Timeline at the current position of the playhead. However, only clip items on tracks with Auto Select enabled are cut.
Joining Through Edits (Splicing Cut Clips Back Together) Whenever you cut a clip item with the razor blade tool, the clip item is split into two pieces separated by a through edit. You can’t see a through edit when you play back your sequence in the Canvas because the frames on either side of the edit are from a continuous section of a media file. However, you can enable through edit indicators— two red triangles above and below through edits—to see them in the Timeline.
II Changing the Duration of Clips in the Timeline Clips are represented in the Timeline as horizontal bars within tracks. The length of the bar represents the clip item’s duration. The beginning and end of the bar represent the clip’s In and Out points. You can drag the beginning or end of the clip to change the clip’s duration, right in the Timeline.
Opening Sequence Clips in the Viewer to Change Durations You can open a sequence clip in the Viewer to adjust its duration. Any changes you make to that clip in the Viewer modify the clip in the edited sequence. How these changes occur also depends on the editing tool that’s selected. To open a sequence clip in the Viewer from the Timeline for further editing, do one of the following: m Double-click the sequence clip in the Timeline. m Select the sequence clip, then choose View > Clip (or press Return).
14 Linking and Editing Video and Audio in Sync 14 Final Cut Pro allows you to adjust the synchronization relationship between video and audio items in a clip. Linked clip items can be temporarily or permanently unlinked, resynchronized, and relinked. This chapter covers the following: Â Linked Sync Relationships Between Video and Audio Clips (p. 213) Â Linking and Unlinking Video and Audio Clip Items in the Timeline (p. 218) Â Selecting Individual Clip Items While They Are Linked (p.
When video and audio clip items are linked in the Timeline: Â The names of the linked clip items are underlined to indicate that they’re linked. The underlined clip name indicates the link between audio and video items. Â As long as linked selection is on in the Timeline (the Linked Selection button in the upper-right corner is green), clicking one clip item selects it and all the items linked to it. Click the Linked Selection button to turn linked selection on and off.
II Even when clip items are unlinked, Final Cut Pro keeps track of the relationship between clip items that come from the same media file. This means that you can move those items out of sync at any time, without worrying that you won’t be able to resynchronize them later if you change your mind. Since merged clips contain clip items that do not come from the same media file, out-of-sync indicators are not shown when you unlink and move merged clip items.
This also works with multiple instances of clips from the same media file on disk. For example, suppose you have three items in your sequence, all from different parts of the same media file. If you move the audio item to the left, so that it overlaps the first video item, out-of-sync indicators appear. The same happens if you move the audio item to the right.
II Understanding Sync Relationships Between Multiple Linked Audio Items Up to 24 audio items can be linked to a single video item in the Timeline. As a result, some complex sync relationships may result if you slip more than one of a clip’s audio items (for information on slip edits, see “Slipping Clips in the Timeline” on page 321). These are easily managed using the same out-of-sync indicators described earlier.
If you then move a second pair of audio items out of sync by a different amount, each audio item that is out of sync from the anchor item has an out-of-sync indicator noting its individual offset from the anchor item—in this example, the video item. The anchor item displays a mixed-sync indicator with no duration. This tells you that multiple linked items are out of sync by varying amounts.
II To link unrelated clip items in the Timeline: 1 Arrange audio and video clip items in their respective tracks so that they line up the way you want them to. Video and audio clip items are not linked together. 2 Select up to one video clip item and up to 24 audio items on different tracks in the Timeline. Select video and audio clip item that you want to link. 3 Choose Modify > Link (or press Command-L).
Note: When you open linked items in the Viewer, each linked mono audio clip item or stereo pair of clip items appears in an Audio tab in the Viewer. Names of linked clip items are underlined in the Timeline. ∏ Tip: Dragging linked clip items from the Timeline into the Browser creates a single merged clip containing those items. This makes managing your media and keeping it in sync much easier, especially if you want to use it in other sequences.
II Selecting Individual Clip Items While They Are Linked Even when clip items are linked together, you may want to perform an action on only a video or audio clip item. For example, you may want to copy just the audio, or delete just the video. The Linked Selection option tells Final Cut Pro whether linked items are selected together, or if clip items can be individually selected even when they are linked to other items. The Linked Selection button is gray, indicating linked selection is turned off.
Getting Clip Items Back in Sync There are three ways to get clip items with out-of-sync indicators back into sync: Â Move the clip item back into sync with the Move into Sync command in the out-of-sync indicator shortcut menu. This moves the clip item’s position in the Timeline, if possible. Â Slip the clip item back into sync with the Slip into Sync command in the out-of-sync indicator shortcut menu.
II If the item is an anchor item (either the sole video item among linked items, or the topmost audio item if there is no video item), it moves into sync with the topmost out-of-sync audio item in the group, starting on track A1 and going down. Otherwise, the selected item moves into sync with the anchor item to which it’s linked. Before syncing Control-click the out-of-sync indicator and choose Move into Sync.
To slip an out-of-sync clip item into sync using the out-of-sync indicator shortcut menu: m In the Timeline, Control-click the out-of-sync indicator on a clip item, then choose Slip into Sync from the shortcut menu. If the item is an anchor item, it slips into sync with the topmost out-of-sync audio item in the group, starting on track A1 and going down. Otherwise, the selected item slips into sync with the anchor item to which it’s linked.
II Moving or Slipping All Clip Items into Sync at Once In cases where multiple audio items are out of sync by varying amounts from an anchor video or audio item, you have an additional option available to manage the sync relationships of all linked items at once.
To slip all out-of-sync clip items into sync with the anchor item: 1 In the Timeline, Control-click the out-of-sync indicator on the anchor clip item—either the sole video item in a group of linked items, or the topmost audio item if there is no video item among the linked items. Before syncing 2 Choose Slip Others into Sync from the shortcut menu.
II Marking a Clip as In Sync If you’ve moved a selected clip item out of sync deliberately and you want to permanently change that item’s sync relationship to its corresponding linked audio or video items in the sequence, you can use the Mark in Sync command. Final Cut Pro marks the items’ current relationship in your sequence as being in sync. If you move one of these items out of sync again, the out-of-sync indicator shows the number of frames to resync to the new sync point.
If you select just the audio and move it out of sync, out-of-sync indicators appear. The out-of-sync indicators show the new offset, not the original offset. The Mark in Sync command permanently affects the sync relationship of the selected clip items in your sequence.
II If a clip contains two mono audio channels: Â In the Timeline, each mono audio item is treated like any other linked item. Clicking one item selects both items with linked selection on; with linked selection turned off, you can select one at a time. Â In the Viewer, each mono channel has its own tab, named Mono (a1) and Mono (a2), Mono (a3) and Mono (a4), and so on, depending on how many channels the clip has. Levels, pan settings, and filters applied to one mono channel are not applied to the other.
15 Split Edits 15 When video and audio are cut at the same time, the edit is usually more noticeable. Split edits help to “soften” edits by creating continuous audio beneath video edit points. This chapter includes: Â Learning About Split Edits (p. 231) Â How Split Edits Look in the Viewer and Canvas (p. 232) Â Setting Up Split Edit Points in the Viewer (p. 233) Â Setting Up a Split Edit While Playing a Clip (p. 234) Â Modifying and Clearing Split Edits (p. 235) Â Split Edit Examples (p.
The resulting edit would look something like this: Video edit point Video track Audio tracks Audio edit point Split edits can be used in many different situations—in dialogue scenes, like the one described above, when cutting to illustrative B-roll footage during an interview, or when transitioning from one scene to another. How Split Edits Look in the Viewer and Canvas The scrubber bar in both the Viewer and the Canvas is divided in half by a light gray line.
II As with other types of edits, the Viewer scrubber bar shows edit points in your clip, while the Canvas scrubber bar shows edit points in your sequence. The light area between each set of edit points in the Viewer indicates which parts of the audio and video clip items in your source clip will be cut into your sequence. The light area between each set of edit points in the Canvas indicates where the audio and video clip items will appear in your sequence.
The resulting combination of video and audio edit points in your scrubber bar should look something like this: Once you’ve set your split edit points, you can perform your edit by using an overwrite edit or dragging directly into the Timeline. Setting Up a Split Edit While Playing a Clip You can mix and match simple edit points with split edit points, depending on what kind of edit you want to do.
II Modifying and Clearing Split Edits If you’ve set up a split edit, but you want to adjust or remove any of the edit points, you have a number of options. To move either the In or the Out points of a split edit at the same time: m Drag either the video or audio In or Out points to a new position. By default, the video or audio edit points move together. To move either an audio or video split edit point individually: m Option-drag just the split edit point you want to move.
The positions of the different edit points you’ve selected don’t change relative to one another, but the selected area of your clip or sequence does. As it changes, you’ll see the first selected frame of video updated in the Viewer, and the last frame of video updated in the Canvas. The Viewer displays the updated frame of the In point with the new timecode value. The Canvas displays the frame of the new Out point.
II Split Edit Examples The result of your split edit depends on the edit points you set. This section provides several examples of the combination of simple edit points and split edit points you might set up, along with their results.
4 Drag the clip in the Viewer to the Overwrite section of the Edit Overlay in the Canvas. The resulting edit looks like this: The audio precedes the video and begins at the sequence In point.
II 3 Set a single split video In point in the Canvas or Timeline at the place where you want the video of your source clip to start. Split video In point 4 Drag the clip in the Viewer to the Overwrite section of the Edit Overlay in the Canvas. The resulting edit looks like this: Video begins at the In point you set. Audio precedes the video.
3 Set up a split edit in the Canvas or Timeline at the place where you want your source clip to appear. Split edit with audio preceding video 4 Drag the clip in the Viewer to the Overwrite section of the Edit Overlay in the Canvas. The resulting edit looks like this: Video begins at the split video In point. Audio precedes the video, and begins at the split audio In point.
16 Working with Multiclips 16 The multiclip features in Final Cut Pro allow you to group multiple camera angle clips together and switch or cut between them in real time. This chapter covers the following: Â About Multiclips (p. 241) Â Multiclip Workflow (p. 243) Â Creating Multiclips and Multiclip Sequences (p. 244) Â Working with Multiclip Angles in the Viewer (p. 261) Â Editing with Multiclips in Real Time (p. 268) Â Media Management and Project Interchange (p.
You can also group unrelated footage together for real-time montage editing (such as for music videos). For example, if you are editing a music video, you could add several angles of abstract visuals and cut to those angles on specific beats of the music. Working with multiclips in Final Cut Pro is a flexible and fluid process. While the active angle plays in the Canvas, you can also view all angles playing simultaneously in the Viewer.
II Multiclip Workflow The following steps describe the basic multiclip workflow in Final Cut Pro: Step 1: Shoot an event with multiple cameras and record appropriate sync information A multicamera shoot uses multiple cameras to record the same subject or event from different angles and distances. The recorded tapes are known as iso reels (short for isolated reels) because each camera angle is recorded separately.
Step 4: Edit multiclips into a sequence Once you edit a multiclip into a sequence, you can enable the Multiclip Playback option to watch all angles simultaneously in the Viewer while switching or cutting to different angles in real time in the Canvas. The Multiclip Playback option allows you to cut an entire show as if it were live, and then fine-tune your edits in the Timeline just as you would for any other program. You can cut and switch between video and audio at the same time or independently.
II Preparing Clips to Be Used as Multiclip Angles Before you create multiclips, you must assign an angle number to each clip, or name the clips so that Final Cut Pro can derive angle numbers automatically. Final Cut Pro looks for angle numbers in several places, in the following order: Â Angle property of the clip: This may be a number or a letter. Final Cut Pro interprets letters A–E as angle numbers 1–5, respectively.
Deriving Clip Angle Numbers from Reel Names and Filenames When you create a multiclip, Final Cut Pro sorts the clips you selected by the values in their Angle properties. If a clip’s Angle property is empty, Final Cut Pro looks at the clip name, reel name, and finally the media filename to derive angle information. Final Cut Pro assumes the first number in the reel name or filename is an angle number.
II Creating Individual Multiclips The Make Multiclip command allows you to make one multiclip at a time, grouping several clips together that are synchronized by In point, Out point, or timecode number. About the Make Multiclip Dialog The following options are available in the Make Multiclip dialog: Choose a clip synchronization option. This column shows the relative alignment of each angle in the multiclip. This column displays the starting timecode number of each clip.
 In points: This option aligns all clips so the In point of each clip is synchronized. If you use this method, you first need to visually identify a common sync point (such as a clapboard closing) in each clip by setting an In point. If a clip has no In point set, the Media Start is used. In point of each clip  Out points: This option aligns all clips so the Out point of each clip is synchronized. Before you use this method, you need to establish a common sync point by setting an Out point in each clip.
II Â Timecode: This option aligns all clips by the first timecode number in common. Normally, you use this option with multicamera footage recorded with cameras or decks that received the exact same timecode signal. This method works even if each clip has a different duration, as long as each clip has an overlapping timecode number. For example, one clip may end at 01:00:00:00, and a second clip may begin at 01:00:00:00, so the angles only overlap by a single frame.
Creating a Multiclip Once you have clips prepared, you can group them together into a multiclip. To create a multiclip: 1 Assign angle numbers to each clip you want to include in your multiclip. For more information, see “Deriving Clip Angle Numbers from Reel Names and Filenames” on page 246. 2 If you want to align your clips by In or Out points, open each clip in the Viewer and set the appropriate In point or Out point. 3 In the Browser, select the clips you want to include in your multiclip.
II Creating Multiclip Sequences The Make Multiclip Sequence command allows you to create multiple multiclips at the same time. When you capture a lot of media files from a multicamera shoot, it can be time-consuming to create multiclips one at a time using the Make Multiclip command. When you need to make a lot of multiclips at the same time, you can use the Make Multiclip Sequence command to create multiclips based on the starting timecode numbers of your clips. Consider the following example.
About the Make Multiclip Sequence Dialog The Make Multiclip Sequence dialog works similarly to the Make Multiclip dialog, but there are some important differences. The Make Multiclip Sequence command always groups clips together into multiclips assuming that your footage has matching timecode, so that the same event is recorded on each tape at the exact same timecode number.
II The Make Multiclip Sequence dialog has the following features: Â Multiclip grouping area: Your selected clips are displayed as one or more multiclips, sorted and grouped based on the timecode of each clip. By default, if the starting timecode numbers of two or more clips are the same, they are grouped together into a multiclip. If a clip has a unique starting timecode number, it is grouped as its own multiclip. Note: You can adjust the timecode synchronization offset to group multiclips differently.
In this case, if you set the minimum overlap value to 66% (or any value lower than this), clip B is grouped together with clip A into a single multiclip. This is because 66% of clip B’s timecode numbers overlap clip A’s timecode numbers. Minimum overlap is set to 66%. For more information, see “Multiclip Sequence Examples” on page 256. Â Update button: Click here to update the current multiclip grouping based on the value in the “Starting timecode delta” field.
II 2 Choose Modify > Make Multiclip Sequence. The Make Multiclip Sequence dialog appears. Clips with the same starting timecode numbers are grouped into multiclips, and clips with unique starting timecode numbers are grouped into separate multiclips. Clips with the same starting timecode number are grouped together as a multiclip. Each clip with a unique starting timecode number is placed in a separate multiclip.
A new sequence is created that contains all of the multiclips in chronological order. The location of the multiclips in the Timeline is based on the starting timecode number of each multiclip. Sequence starting timecode is the same as the starting timecode of the first multiclip.
II Example: Creating Multiclips Using the Starting Timecode and Starting Timecode Delta Options By adjusting the starting timecode offset value and clicking the Update button, you can precisely control how clips are grouped together into multiclips. Starting Timecode Offset Is 0:00 When the “Starting timecode delta” field is set to 0:00, most of the clips are grouped as individual multiclips. Only the few clips that have the exact same starting timecode numbers are grouped together.
Starting Timecode Offset Is 5:00 In this example, clips that have starting timecode numbers within a 5-second range are grouped together. The first multiclip contains five angles, but the other multiclips are not yet grouped properly. A larger timecode offset is required. Timecode offset is set to 5:00. Starting Timecode Offset Is 10:00 In this example, clips that have starting timecode numbers within a 10-second range are grouped together. There are now three multiclips, each containing five angles.
II Example: Creating Multiclips Using the Overlapping Timecode and Minimum Overlap Options When you adjust the minimum overlap percentage value, the multiclip grouping is automatically updated. When the starting timecode numbers of each group of angles varies significantly, this method is often faster and more intuitive than the Use Starting Timecode option. Minimum Overlap Is 100% When the minimum overlap is set to 100%, only clips with exactly matching timecode numbers are grouped together.
Minimum Overlap Is 38% In this example, the clips are properly grouped into multiclips when the minimum overlap is set to 38%. Because this value is set quite low, the timecode overlap between clips only needs to be 38% of the duration of the longest clip for the clips to be grouped together into a multiclip. Depending on the timecode of your footage, you’ll need to set a different value to group your clips into multiclips as you intend.
II When you highlight a multiclip to change its name, only the name of the multiclip itself can be changed, since the other parts of the name are added automatically. To change the name of a multiclip: 1 Click a multiclip in the Browser to select it. 2 Click the name of the multiclip. The name of the multiclip is highlighted. 3 Type a new name for the multiclip, then press Return or Enter.
To scroll to view angles that are not currently visible in the Viewer: 1 Move the pointer over any video in the Viewer. An up or down arrow (or both) appears in the Viewer. Click the arrow to view additional angles. If an arrow is green, the active angle is not visible, but you can scroll to it by clicking the arrow. 2 Click an arrow to scroll the angles up or down by one row. The active video angle is highlighted with a blue outline, and the active audio angle is highlighted with a green outline.
II Viewing Multiclip Overlays You can display information about each angle in a multiclip by turning on multiclip overlays in the Viewer. The following information appears when you turn on multiclip overlays:  Angle number  Angle’s clip name  Timecode number for each angle frame currently displayed in the Viewer Note: The current timecode number is always the clip’s source timecode. To turn on multiclip overlays in the Viewer: m Choose Show Multiclip Overlays from the View pop-up menu.
To move an angle to a different position in a multiclip: 1 Double-click a multiclip in the Browser or Timeline to open it in the Viewer. 2 Command-click the angle you want to move and drag it over an existing angle. The other angles shift position to make room for the angle you are moving. 3 Release the mouse button. The moved angle is dropped into its new position and the other angles shift to new positions. All of the angle numbers change accordingly.
II Inserting a New Angle The Insert New Angle overlay inserts an angle only into the multiclip you are currently inserting into. Modifying the angle structure of the multiclip breaks the relationship between this multiclip and its master multiclip. To insert a new angle into the current multiclip: 1 Double-click a multiclip in the Browser or Timeline to open it in the Viewer. 2 Drag a clip from the Browser or Timeline to one of the multiclip angles displayed in the Viewer.
If all of the multiclips are affiliated with a single master multiclip, you can insert a new angle into all of the affiliated multiclips using the Insert New Angle Affiliates overlay. To insert a new angle into all affiliated multiclips at the same time: 1 Double-click a multiclip in the Browser or Timeline to open it in the Viewer. 2 Drag a clip from the Browser to one of the multiclip angles displayed in the Viewer. 3 Continue to hold down the mouse button until the colored overlays appear in the Viewer.
II 4 Move the pointer over the Overwrite Angle overlay, then release the mouse button. Drag a clip to an angle, then choose Overwrite Angle. The dragged clip replaces the angle in the multiclip. Resynchronizing Angles in the Viewer If you want to adjust the starting time of a multiclip angle relative to all the other angles, you can scrub through a single angle in the Viewer to resynchronize it.
Editing with Multiclips in Real Time Unlike traditional film and video editing, where each edit can be deliberated for as long as necessary, live events like broadcast news and sports are edited in real time. For live events, multiple cameras are connected to a single video switcher, which allows the director (or technical director) to cut between camera angles, making instantaneous editing decisions.
II You can set any keyboard shortcuts you want for the multiclip commands in Final Cut Pro. By default, most multiclip commands use the keys of the number pad with modifier keys to switch and cut between multiclip angles. For more information on setting keyboard shortcuts, see Volume I, Chapter 10, “Customizing the Interface.” Final Cut Pro also comes with a preinstalled keyboard layout and button bars for multicamera editing. These are usually sufficient for most multiclip editing.
Switching and Cutting Between Angles When you work with multiclips in Final Cut Pro, switching and cutting have distinct meanings: Â Switching: This means changing the active angle of a multiclip without creating a cut. You can switch the active angle of a multiclip in the Viewer or the Timeline. Before the switch, the active multiclip angle is 1. After the switch, the active multiclip angle is 4.
II Â Cutting: Like switching, cutting changes the active angle of a multiclip, but an edit is added to the multiclip at the moment you change the active angle. You can see the results of cutting in the Timeline. When you cut from one angle to another, the result is two multiclips in the Timeline: one before the cut point and one after. Before the cut, the active multiclip angle is 1. A cut is added at the point where the active angle changes.
Switching Angles You can switch the active angle for a multiclip at any time, whether you are organizing multiclips in the Viewer or playing multiclips in the Timeline. Using the Multiclip Playback option, you can even switch angles while your multiclips play in real time. To switch the active angle for a multiclip in the Viewer: 1 Double-click a multiclip in the Browser or Timeline to open it in the Viewer. 2 Do one of the following: Â Click an angle in the Viewer to make it active.
II Cutting Between Angles Instead of simply switching the active angle of a multiclip in the Timeline, you can create a cut in a multiclip whenever you change angles. You can even add edits to multiclips during playback, allowing you to do real-time editing. To cut to a multiclip angle using shortcut buttons or keyboard shortcuts: 1 In the Browser, double-click a sequence containing multiclips to open it in the Timeline and Canvas.
4 In the Viewer, click the angle that you want to cut to. The angle you click becomes the active angle. A temporary marker is placed in the Timeline at the cut point, and the new angle now plays in the Canvas. 5 If you want, continue adding cuts by clicking different angles in the Viewer. 6 Press the Space bar to stop playback. When playback stops, the cuts you made are added to the multiclip.
II Â In a sequence multiclip, you can change each audio item independently. For example, if you have a sequence multiclip with four audio items open in the Viewer, you can independently cut to a new angle for audio item 4 without changing the angles for audio items 1–3. However, independently switching video or audio angles breaks linking relationships between a multiclip’s clip items in the Timeline.
To switch only the video of the active multiclip angle in the Viewer: 1 Double-click a multiclip in the Browser or Timeline to open it in the Viewer. 2 Choose View > Multiclip Active Tracks > Video. You can also choose this option from the Playhead Sync pop-up menu in the Viewer. 3 Click an angle to make it active. A blue outline highlights the active video angle.
II Note: If the Multiclip Playback option is not enabled, you can still switch and cut during playback, but the angle in the Canvas is not updated until playback stops. Also, multiclip angles are not played simultaneously in the Viewer. Instead, only the active angle is played. To set up Final Cut Pro to edit multiclips in real time, choose the following options: Choose a multiclip view from the View pop-up menu. Choose Open from the Playhead Sync pop-up menu. Select the active angle in the Viewer.
To enable the Multiclip Playback option: 1 Open a sequence that contains multiclips. 2 Choose Multiclip Playback from the RT pop-up menu in the Timeline. You can also enable the Multiclip Playback option by choosing Final Cut Pro > System Settings, clicking the Playback Control tab, and then enabling the Multiclip Playback option. Optimizing Real-Time Performance for Multiclip Playback When the Multiclip Playback option is enabled, Final Cut Pro plays multiple media files from disk at once.
II Applying Filters, Speed, and Motion Parameters to Multiclips Individual angles can have filters, motion settings, and speed adjustments applied. However, effects cannot be applied globally to a multiclip. For example, you can create a multiclip in which each angle has an individual Color Corrector filter applied, but the multiclip itself cannot have a Color Corrector filter applied.
To apply a video or audio filter to the active multiclip angle in the Timeline: 1 Drag a video or audio filter from the Effects tab of the Browser to the multiclip in the Timeline. An overlay appears with two options. 2 While continuing to hold down the mouse button, do one of the following: Â To permanently apply the filter to the active angle: Place the pointer over the Apply to Source Angle overlay. This permanently applies the filter to the active angle, even if you switch or cut to another angle.
II Collapsing and Expanding a Multiclip Once you have made all of your edits, you can prevent switching of angles by collapsing a multiclip down to its active angle. When you collapse a multiclip, it is replaced by the active angle of the multiclip. This is useful when you want to send a sequence to a color correctionist or effects artist, and you want them to focus only on the angles you chose during editing. Collapsing multiclips also improves performance because less video is streaming from disk.
To reveal the master clip for the active multiclip angle: 1 Select the multiclip in the Timeline or Browser, or place the Timeline playhead over the multiclip. 2 Choose View > Reveal Master Clip (or press Shift-F). The master clip for the active angle’s clip is selected in the Browser. If this master clip happens to be within a multiclip, the multiclip is selected. About Multiclip Master-Affiliate Relationships When you create a multiclip, it is called a master multiclip.
II Match Frame Commands Used with Multiclips The match frame commands in Final Cut Pro allow you to match a frame of a clip in the Canvas or Viewer with the exact same frame of the clip’s master or affiliate clip. This works in two ways, depending on whether you are working in the Canvas or the Viewer. Â In the Canvas: The master clip of the clip displayed in the Canvas is opened in the Viewer, and the Viewer playhead jumps to the frame shown in the Canvas.
Media Management and Project Interchange Multiclips are a unique aspect of Final Cut Pro, so you need to be aware of how Final Cut Pro translates multiclips during media management or when exporting to a project interchange file such as an EDL. Working with Multiclips in the Media Manager The Media Manager has an option to include all multiclip angles, so the media file for every angle is processed. If you deselect this option, only the media file of the active angle is processed.
17 Audio Editing Basics 17 Good audio edits are usually subtle and go unnoticed by the listening audience. After you assemble your video and audio, you can edit your audio independently in the Timeline. This chapter covers the following: Â The Goals of Audio Editing (p. 286) Â Using Waveform Displays to Help You Edit Audio (p. 287) Â Learning About the Audio Controls in the Viewer (p. 289) Â Editing Audio in the Viewer (p. 292) Â Editing Audio in the Timeline (p.
The Goals of Audio Editing Most viewers are quite good at distinguishing audio changes from one clip to the next, as well as incorrect audio-video synchronization. As you work on refining the audio in your project, your edits will focus on eliminating these major distractions to the audience. In particular, keep in mind three important goals: Make sure your audio edit points aren’t noticeable. Editing audio clips in a sequence mainly involves finding good edit points that sound natural.
II Minimize differences in tone and quality between audio clips in the same scene. All audio has some kind of background noise, often referred to as ambience or room tone. Sometimes you’ll find that the audio from the different shots you’re using in the same sequence has differences in the background ambience. For example, if you shoot a conversation in a city park, and the shoot lasts all day, you may notice that some shots have more traffic noise in the background because of rush hour.
You can also view waveforms in the Timeline, but you need to explicitly turn them on (see “Displaying Waveforms in the Timeline” on page 301). Viewing waveforms should not take precedence over listening to audio tracks during playback. When you’re making editorial decisions, the waveform display is no substitute for your own ear.
II Learning About the Audio Controls in the Viewer When you click an audio tab in the Viewer, the controls at the bottom of the window are the same as those in the Video tab. These controls allow you to navigate through your clip, set In and Out points and markers, create split edits, and so on. The In and Out points that you see in an audio tab are the same as the In and Out points shown in the Video tab.
 Level slider: This slider adjusts the amplitude, or volume, of the currently selected audio clip between +12 and –inf dB. As you drag the slider, the number in the dB field and the level overlay line are both updated. You can also adjust the volume by typing a number in the dB field to the right of the Level slider. The number you enter can include a decimal value, such as 6.23. If there are no level keyframes in the current clip, adjusting the Level slider affects the level of the entire clip.
II Â Pan Keyframe button: The keyframe button to the right of the Pan slider places a keyframe at the current playhead location on the pan overlay. You can add keyframes to change pan settings over time. Â Pan keyframe navigation buttons: These buttons, to the left and right of the Pan Keyframe button, allow you to move the playhead forward or backward from one keyframe on the pan overlay to the next.
 Zoom slider: This slider lets you zoom in and out of the waveform displayed by dragging the thumb tabs on either side, which adjusts both thumb tabs and leaves the visible area of the keyframe graph centered. Pressing the Shift key and dragging one of the thumb tabs zooms in or out of the waveform, locking the opposite thumb tab and moving the visible area of the waveform in the direction in which you’re dragging.
II Viewing Audio Tracks in the Viewer Clips in Final Cut Pro can have up to 24 audio items. Clips with multiple audio items have a separate tab for each mono audio item or pair of stereo audio items in the clip. The way audio clips appear in the Viewer depends on whether they’re mono or stereo. Â If audio clip items are mono, they’re represented by individual mono tabs in the Viewer, called Mono (a1), Mono (a2), and so on.
 If two audio clip items are linked as a stereo pair, they’re represented in a single Stereo tab that contains the waveforms of that pair’s left and right audio channels. Level changes applied to one item are automatically applied to the other. Editing audio as a stereo pair is useful for intrinsically stereo material, such as music mixed in stereo and built-in stereo camcorder audio.
II Note: While this section covers how to zoom in the audio tabs of the Viewer, you can also use these instructions to zoom in and out of waveform displays of sequence clips in the Timeline. Zoom control Zoom slider To zoom in and out of the audio waveform using the Zoom control: m Click or drag the Zoom control to zoom in or out while keeping the material in the waveform display area centered.
Scrolling Through a Zoomed-In Audio Clip If you zoom in to the waveform display area, you won’t be able to see all of the displayed waveform at once. There are three ways you can navigate through a zoomed-in audio clip: Â If you play back your audio clip and then stop playback, the waveform display area shows the section of your audio clip that the playhead moved to.
II Using the J, K, and L Keys to Hear Subtle Details When an audio clip is displayed in the Viewer, you hear a fragmented version of the sound as you drag the playhead (or scrub through the clip). You can drag the playhead in the ruler above the waveform in the Viewer or in the waveform display area to scrub through the clip. This can be extremely useful for quickly navigating through a clip, but will probably not be very helpful for making detailed audio edits.
Dragging an Audio Clip to the Canvas, Browser, or Timeline To move an audio clip from the Viewer to the Canvas, Timeline, or Browser, use the drag hand at the top of the audio tab. (Clicking the waveform itself moves the playhead to the frame you clicked, and does not select the clip for dragging.) Use the drag hand to move an audio file. Trimming Audio Clips in the Viewer You can trim an audio clip to be shorter or longer.
II To trim a sequence audio clip item in the Viewer: 1 Disable linked selection by doing one of the following: Â If linked selection is on, click the Linked Selection button (or press Shift-L) to turn it off. Â Hold down the Option key and click the audio item. Linked Selection button Audio selected independently of video 2 Drag the audio item from the sequence to the Viewer. The audio item opens in the Viewer by itself.
3 Select the Selection, Ripple, or Roll tool by clicking in the Tool palette, or by using the appropriate keyboard shortcut. 4 Set new In and Out points as you would for any other clip. New Out point set Changes you make to sequence clips in the Viewer are mirrored in the Timeline. The Out point of audio changes to match that in the Viewer.
II Editing Audio in the Timeline After editing a number of clips into a sequence, you can further trim the audio clips directly in the Timeline. While you can trim audio more precisely in the Viewer, trimming the audio in the Timeline has other advantages: Â You can see the audio item you’re trimming in relation to the rest of the clips in your sequence. Â You can work with multiple clips in your sequence, rather than just one.
Waveform on Waveform off Displaying Overlays and Adjusting the Track Height If you want to display waveforms in the Timeline, you may want to show audio level overlays and adjust the track height. Clip Overlays control Track Height control  Clip Overlays control: You can display or hide clip overlays at any time by clicking the Clip Overlays control at the bottom of the Timeline window. Audio level overlays appear as thin pink lines that indicate the sound level of each audio clip item.
II Zooming In and Out of Waveforms in the Timeline There are several ways you can zoom in and out of waveform displays in the Timeline. Make sure you have waveform displays turned on (see “Displaying Waveforms in the Timeline” on page 301). You can also use the Zoom control and Zoom slider in the Timeline. These controls work the same way they do in the audio tabs of the Viewer. For information on using these controls, see “Zooming In or Out of the Waveform Display Area” on page 294.
Naming Audio Tracks You have two choices regarding the way audio tracks are named in your sequence. Audio track labeling can be changed in the Timeline Options tab of the Sequence Settings window for each sequence (choose Sequence > Settings, then click the Timeline Options tab). Â Sequential: This option labels each audio track consecutively A1, A2, A3, and so on. Each audio track is identified individually. Â Paired: This option identifies audio tracks in pairs: A1a, A1b; A2a, A2b; A3a, A3b; and so on.
II To move a clip to an adjacent track without changing its position in the Timeline: 1 Press and hold down the mouse button over the clip in the Timeline. 2 Press and hold down the Shift key. 3 Drag the clip up or down to an adjacent track. Note: As you move the clip up and down into other tracks in the Timeline, you’ll notice that it’s constrained from moving forward or backward in your sequence. It can only move up and down. This works for both audio and video clips.
Creating or Separating Stereo Pairs Although stereo pairs are meant to be used for intrinsically stereo audio like music or stereo sound effects, any two clips of audio in the Timeline can be made into a stereo pair or separated into two mono clips. This operation can only be performed in the Timeline. Note: Stereo pair linking is not the same as clip item linking. It is not necessary to break the link between clips prior to disabling stereo pairing.
II If the clip items you want to make into a stereo pair have different durations, the clip items are trimmed to the region where they both overlap. The levels, pan settings, and filters that were applied to the top clip are applied to both, and the clip attributes from the bottom clip are ignored. Before Volume level overlays Two clips that are not a stereo pair; length and volume levels differ.
Working with Audio at the Subframe Level While the smallest unit of video is a single frame, the smallest adjustable unit of audio in Final Cut Pro is 1/100th of a frame. Audio level and pan keyframes, as well as the sync between the video and audio tracks of a clip, can be set with an accuracy of 1/100th of a frame. Viewing an Audio Clip at Single-Frame Resolution When you’re editing an audio clip in the Viewer, you can zoom in so far that the playhead is the width of a single video frame on the waveform.
II To slip an audio clip item by subframe units: 1 Open a clip with both video and audio items in the Viewer, then click the audio tab. 2 Move the playhead to the In or Out point of the clip, then press Command-= (equal sign) to zoom in on the audio waveform as far as possible. A wide playhead bar in the Viewer represents one video frame at full magnification. 3 Press the Shift key and position the playhead within the frame to a new point with better sync. 4 Click the Mark In or Mark Out button.
Examples of Ways to Easily Edit Audio As you work with audio, you may find it helpful to read through these two examples of ways you can fix audio issues using Final Cut Pro. Example: Replacing Unwanted Audio with Room Tone As you edit dialogue, you’ll often need to cut out pieces of audio that you don’t want in the sequence. For example, the director may have given directions in between an actor’s lines, or the sound recordist might have bumped into something while shooting on location for a documentary.
II 2 Create a new sequence, name it “Room Tone,” and paste the audio pause into it twice. Paste the pause section you just copied twice into a new sequence. 3 Select the clip containing the second pause, then choose Modify > Speed. 4 In the Speed dialog, click the Reverse checkbox to select it. 5 Play the resulting clips. The looping sound should be gone, but if you hear a clicking at the edit point between the two clips, you may have to add a cross fade transition between them to smooth this out.
7 Render the Room Tone sequence, then edit the sequence into the gap in your program, just as you would a clip. Edit the Room Tone sequence into your existing sequence to fill the gap. To replace an unwanted section of an audio clip with room tone: 1 Make the tracks that contain the unwanted audio the audio destination tracks, then disconnect the video destination track. 2 Play your clip using the J, K, and L keys, and set In and Out points right before and after the section of audio you want to replace.
II 6 Edit the room tone into your sequence by doing one of the following: Â Drag the Room Tone sequence from the Viewer to the Overwrite section of the Edit Overlay in the Canvas. Â Click the Overwrite button in the Canvas. Â Press F10. The section of unwanted audio is replaced with room tone.
1 Disable linked selection by doing one of the following: Â Click the Linked Selection button (or press Shift-L) so that it’s off. For more information, see “Linking Video and Audio Clip Items” on page 218. Â Click the edit point between the two audio items while holding down the Option key. 2 Select the Roll tool from the Tool palette (or press the R key). 3 Drag the audio edit point to the right so that the entire word plays at the end of the first clip.
Part III: Fine-Tuning Your Edit III Learn how to refine your edit by using trimming tools, adding transitions, nesting sequences within sequences, and synchronizing the Viewer, Canvas, and Timeline playheads together.
18 Performing Slip, Slide, Ripple, and Roll Edits 18 Once your rough edit is complete, you will want to fine-tune your edit. The advanced editing tools in Final Cut Pro allow you to make fine adjustments to clips in your sequence. This chapter covers the following: Â About Trimming with Slip, Slide, Ripple, and Roll Tools (p. 317) Â Sliding Clips in the Timeline (p. 318) Â Slipping Clips in the Timeline (p. 321) Â Using the Ripple Tool to Trim an Edit Without Leaving a Gap (p.
Sliding Clips in the Timeline Performing a slide edit allows you to move a clip’s position in the Timeline between two other clips without creating a gap. The clip’s content and duration remain the same; only its position in the Timeline changes. When you slide a clip, the adjacent clips get longer and shorter to fill any gaps that would normally be created. The combined duration of these three clips does not change, and therefore the sequence’s duration remains unchanged as well.
III To perform a slide edit, you can drag a clip with the Slide tool. For precision adjustments, you can use timecode. You slide items using the Slide tool. You can also move a clip with the Selection tool, but this method may leave gaps between clips. The Slide tool never creates gaps (with the exception of sliding the first or last clip). Performing Slide Edits Using the Slide Tool Selecting a clip with the Slide tool and dragging it is an easy way to perform a slide edit.
3 Release the mouse button. This clip is longer. This clip is shorter. This clip’s duration is the same. Performing Precise Slide Edits Numerically If you need to slide a clip just two or three frames, using the mouse may be difficult. For precision edits, it is much less cumbersome to slide a clip numerically. To slide a clip in the Timeline using timecode: 1 Select the Slide tool in the Tool palette (or press the S key twice).
III Note: You can specify the default number of frames to trim by changing the Multi-Frame Trim Size setting in the General tab of the User Preferences window. (For more information, see Volume IV, Chapter 23, “Choosing Settings and Preferences.”) Slipping Clips in the Timeline Performing a slip edit does not change a clip’s position or duration in the Timeline, but instead changes what portion of the clip’s media appears in the Timeline.
Note: To slip a clip, it must have handles on both sides, meaning that there must be additional media available on both the head and the tail of the clip. If you are having trouble slipping a clip, check that the clip has handles on both sides. You can perform slip edits by dragging with the Slip tool or, for greater precision, by using timecode. Performing a Slip Edit Using the Slip Tool You can perform slip edits in the Viewer or the Timeline.
III To slip a clip in the Timeline using the Slip tool: 1 Select the Slip tool in the Tool palette (or press the S key). 2 Click a clip, then drag it left or right. As you drag, an outline of the entire range of that clip is shown, indicating the amount of media available to the left and right of the current range selected in the clip. Drag point This box shows how far the clip’s In and Out points are slipping.
Performing Precise Slip Edits Numerically Slipping a clip by just a few frames using the mouse can be difficult. It’s much less cumbersome to precisely slip a clip numerically. To slip a clip in the Timeline using timecode: 1 Select the Slip tool in the Tool palette (or press the S key). 2 Select a clip in the Timeline. Note: To select multiple clips, hold down the Shift key as you select each clip.
III To slip multiple clip items at once in the Timeline: 1 Select the Selection tool in the Tool palette (or press A). You can also temporarily turn the Slip tool into the Selection tool by holding down the Command key. 2 Select multiple clip items in the Timeline. The selected clip items can be in one or more tracks. Selected clip items do not have to be adjacent. For example, you can hold down the Command key while clicking clip items to make a noncontiguous selection.
Which Clip Items Move in the Timeline After a Ripple Edit? Clip items with In points later in the Timeline than the edit point(s) you are adjusting will move, or ripple, after you perform a ripple edit. All other clip items remain in the same position in the Timeline. Take special care when performing ripple edits with complex edit point selections on multiple tracks.
III Performing a Ripple Edit in the Timeline When you use the Ripple tool to adjust the duration of a clip in the Timeline, always pay attention to where Final Cut Pro previews the location of the new clip Out point. Even when you are adjusting a clip’s In point with the Ripple tool, the location of the clip’s Out point is what you should pay attention to.
To do a ripple edit in the Timeline: 1 Select the Ripple tool in the Tool palette (or press the R key twice). 2 Select a clip item’s In or Out point by clicking near the clip item boundary. The Ripple tool changes direction to indicate which clip item boundary you are about to select. If linked selection is on, the edit points of linked clip items are also selected. For more information, see “Selecting Edits and Clips to Trim” on page 344.
III Use these two frames to decide exactly where to place the edit point. All clip items after the edit point move either left or right to accommodate the new duration of your clip. These clips move left to fill the gap. This clip shortens. Performing a Ripple Edit in the Viewer In some cases, you may want to look at the media for an entire clip before deciding at which frame to make an edit. In this case, it can be easier to open a sequence clip in the Viewer.
About Ripple Edits and Sync Relationships of Clip Items on Other Tracks When you perform ripple edits, it is fairly easy to cause linked clip items across tracks to go out of sync with each other. This usually happens when you perform a ripple edit on one track while other tracks are locked, so the clip items on that track can’t move in sync after the ripple edit.
III In the example below, Final Cut Pro won’t allow you to perform a ripple edit because the second music clip in tracks A3 and A4 would either need to be shortened, or would overwrite part of the first music clip in order to stay in sync with the clip items in V1, A1, and A2. Since the ripple edit cannot force the second music clip to overwrite the first music clip, Final Cut Pro warns you that the ripple edit cannot be performed because there is a clip collision on track A3 (and A4).
Doing Ripple Edits on Multiple Tracks at Once You can perform a ripple edit to edit points in multiple tracks to modify several video and audio items simultaneously. To perform a ripple edit on multiple tracks simultaneously: 1 Do one of the following: Â Press the Command key while clicking to select multiple edit points. Â Select the Edit Selection tool in the Tool palette, then drag a box around multiple edit points.
III 3 Hold down the Command key, then click the In point of an adjacent audio clip. Holding down the Command key while selecting an edit point allows you to add edit points to the current selection without deselecting previously selected edit points. Intended video edit point Current Out point of outgoing video clip Before In point of incoming audio clips 4 Use the Ripple tool to trim the above selection. The video and audio edit points move in opposite directions, creating a split edit.
Note: In this example, Command-clicking the In point of a stereo pair of audio clip items results in adding both audio items to the selection. You can also Option-Command-click a single audio item to add it to the selection individually, without including other audio items linked to it. This can be especially useful for clips in which many audio items are linked to a single video item in the Timeline.
III Rolling the Position of an Edit Between Two Clips Using the Roll tool, you move the Out point of the outgoing clip and the In point of the incoming clip simultaneously. Before edit A B After edit A B C C In the example above, clip B gets shorter while clip C becomes longer, but the combined duration of the two clips stays the same. Roll edits are done using the Roll tool.
Rolling Edit Points in the Timeline The easiest place to see how a roll edit affects your clips is the Timeline. To do a roll edit in the Timeline: 1 Select the Roll tool in the Tool palette (or press the R key). 2 Select an edit point between two clips. If linked selection is on, the edit points of linked items are also selected. For more information, see “Controls That Affect Trim Edits” on page 343. Selected edit point 3 Do one of the following: Â Drag the edit point left or right.
III Â Type + (plus) or – (minus) followed by the number of frames to add or subtract from the current edit, then press Return. Edit being rolled After the roll edit, the outgoing clip is shorter and the incoming clip is longer.
To roll edit points on multiple tracks simultaneously: 1 Do one of the following: Â Press the Command key while clicking to select multiple edit points. Â Select the Edit Selection tool in the Tool palette (or press the G key), then drag to select the desired edit points. 2 Use the Roll tool to perform the roll edit across all of the tracks.
III Doing Roll Edits in the Viewer Final Cut Pro allows you to perform roll edits in the Viewer by setting In or Out points while the Roll tool is selected. To do a roll edit in the Viewer: 1 Open a sequence clip in the Viewer. 2 Select the Roll tool in the Tool palette (or press the R key). 3 Do one of the following: Â Drag the In or Out point along the Viewer’s scrubber bar to roll the edit. Â Press I or O to set a new In or Out point. Look in the Timeline to make sure the roll edit did what you expected.
19 Learning About Trimming Clips 19 Adjusting a clip’s duration by moving its In or Out point, or moving the edit point between two clips, is called trimming. This chapter covers the following: Â What Is Trimming? (p. 341) Â Controls That Affect Trim Edits (p. 343) Â Selecting Edits and Clips to Trim (p. 344) Â Trimming Clip In and Out Points (p.
You can trim edits anywhere you can adjust a sequence clip’s In and Out points— the Timeline, the Viewer, and the Trim Edit Window, which is designed specifically for fine-tuning edits. Â Viewer: You can open a sequence clip in the Viewer and adjust its In or Out point. This is useful if you want to find a particular frame for your In or Out point by looking at the clip’s entire media file.
III Controls That Affect Trim Edits Before you perform a trimming operation, make sure to check that the following controls are set properly for the operation you need to perform. Linked Selection Clip items that refer to the same media file are linked together when you edit them into the Timeline. You can also link unrelated clip items together so you can operate on them simultaneously, keeping them in sync.
For more information, see “Locking Tracks to Prevent Edits or Changes” on page 128. For information about synchronizing clip items, see Chapter 14, “Linking and Editing Video and Audio in Sync,” on page 213 and “Tips for Edits Made with the Ripple Tool” on page 334. Using the Command Key to “Gear Down” The Command key is useful if you want to make very small changes to edit points or clips in your sequence.
III If you double-click an edit point using the Selection tool, the Trim Edit window appears, showing the clips on either side of the edit point. Edit Selection Tool Instead of selecting individual edit points by clicking them with the Selection tool, you can select multiple edit points (on multiple tracks) at once by using the Edit Selection tool, designed specifically for selecting edit points.
Note: You can also select the Ripple or Roll tools, and then select an edit point. For more information, see Chapter 18, “Performing Slip, Slide, Ripple, and Roll Edits,” on page 317. Selecting Multiple Edit Points You can select edit points on more than one track. Only one edit point can be selected per track. To select multiple edit points in the Timeline, do one of the following: m Select the Selection tool in the Tool palette (or press Command-A), then Commandclick the edge of each clip.
III Trimming Clip In and Out Points In this section, you’ll learn how to trim edit points. Make sure you have the right tool selected for the trimming you want to do or you may not get the results you expected. Note: The cursor usually shows which tool is selected, but you can also see which tool is highlighted in the Tool palette. Trimming with the Selection Tool You can use the Selection tool to change the In or Out point of a single sequence clip, leaving a gap.
3 Drag to the left to create a gap in your sequence (by making the clip shorter) or to the right to cover an existing gap (by making the clip longer). As you drag to adjust the length of a clip, the Canvas shows the frame at the current edit point. After Resulting gap Later clips in the sequence are unaffected. They do not ripple to the left to fill in the gap. You can also achieve the same results by opening a sequence clip in the Viewer and setting a new In or Out point.
III When linked selection is disabled, extend edits are very useful for creating split edits. You can also use extend edits to quickly line up a lot of edit points to the same position in the Timeline.
Trimming Clips in the Viewer You can trim clips in your sequence by opening them in the Viewer and adjusting the clip In and Out points. To open a clip in your sequence in the Viewer, do one of the following: m Double-click the clip in the Timeline. m Select a clip in the Timeline, then press Return. m Double-click the clip in the Canvas. The clip currently beneath the playhead is opened in the Viewer. m If the clip is in a nested sequence, hold down the Option key, then double-click the clip.
III To trim a clip in the Viewer: 1 Open a clip from your sequence in the Viewer. The scrubber bar shows virtual “sprocket holes,” which indicate that the clip is from your sequence (not from the Browser). 2 Do one of the following: Â Use the transport controls or the J, K, and L keys to move the playhead in the Viewer to a new point in your clip. Then set a new In or Out point using the Mark In and Mark Out buttons or the I and O keys.
Moving the Playhead in the Timeline Using Timecode You can move the playhead in the Timeline using absolute timecode values (hours, minutes, seconds, and frames) or relative timecode amounts (in which case you only need to enter the relevant amount of information—just frames, or seconds and frames, for example).
III Moving Clips Using Timecode You can move one or more selected clips in the Timeline using timecode, even if they are nonadjacent. However, if the resulting clip movement will cause an overwrite, Final Cut Pro does not allow the clips to move. In this case, you can manually move the clips. To move a clip in your sequence using timecode: 1 Select one or more clips in your sequence. 2 Do one of the following: Â To move the clips forward, press + (plus) and type a timecode duration for the move.
Using Timecode to Trim Clips in the Viewer If you’re trimming a clip in the Viewer, you can use timecode to navigate to a specific frame, rather than trying to find the frame you want using the transport controls or the J, K, and L keys. You then select the edit tool for the trimming operation you want to perform and set a new In or Out point. For more information on navigating in the Viewer using timecode, see Volume I, Chapter 8, “Navigating and Using Timecode in the Viewer and Canvas.
III Understanding Alert Messages When Trimming If you try to perform an edit that isn’t possible, Final Cut Pro displays an alert message. Insufficient Content for Edit This message appears when you try to perform a three-point edit (for example, when dragging from the Browser or Viewer to the Canvas), and the source clip’s media file doesn’t have enough frames to achieve the requested edit. Click OK to close this dialog.
Clip Collision This message appears when you try to perform an edit that might inadvertently cause unselected clip items to overwrite others. This usually happens when you are trying to perform a ripple edit on one track, and unselected clip items on other tracks cannot ripple because there are other clip items in the way. For example, suppose you are rippling a clip item on track V1 to make it 10 seconds shorter.
20 Trimming Clips Using the Trim Edit Window 20 You can trim edits precisely in the Trim Edit window. As you trim, you can play back the section of your sequence around the selected edit point to see your changes. This chapter covers the following: Â Learning About the Trim Edit Window (p. 357) Â Opening and Closing the Trim Edit Window (p. 359) Â Controls in the Trim Edit Window (p. 360) Â Using the Trim Edit Window (p. 364) Â Listening to Audio While Trimming (p.
This window shows a two-up display, with the Out point of the outgoing clip on the left and the In point of the incoming clip on the right. Two green bars—one at the top of each clip—highlight which edit points the Trim Edit window will affect. Using the Trim Edit window, you can perform a ripple edit to either side of the selected edit point, or a roll edit to both sides.
III Opening and Closing the Trim Edit Window The Trim Edit window opens when you select edit points with certain tools. You can also open the Trim Edit window manually at any time. To open the Trim Edit window, do one of the following: m Choose Sequence > Trim Edit (or press Command-7). The playhead jumps to the closest edit point on the lowest-numbered track with Auto Select enabled. The Trim Edit window shows the clips surrounding this edit point.
To close the Trim Edit window, do one of the following: m Move the playhead in the Timeline or Canvas away from the edit point. m Click anywhere in the Timeline away from an edit point to deselect all edit points in the Timeline. m Press Command-W. Controls in the Trim Edit Window Before you begin using the Trim Edit window, you may want to familiarize yourself with the controls.
III Â Scrubber bar: The scrubber bar runs along the entire width of each of the two viewer areas in the Trim Edit window, below the video image. To scrub, or move, through a clip or sequence, drag the playhead across the scrubber bar. You can also click anywhere in the scrubber bar to instantly move the playhead to that location.
Playback Controls for Individual Clips These controls allow you to move the playhead on either side of the edit point without modifying the edit point itself. The outgoing and incoming clips have separate playback controls, which can also be controlled by the J, K, and L keys. The playback controls are for viewing only; they don’t change the position of an edit point.
III Outgoing Clip Area Outgoing clip name Current timecode for the outgoing clip Outgoing clip duration Playhead Out Shift Mark Out button Out point  Outgoing clip duration: Displays the total time between the current In and Out points for the outgoing clip. This value changes to reflect any trim edits.  Current timecode for the outgoing clip: Displays the clip’s source timecode for the current position of the playhead.  Out Shift: Indicates the number of frames the Out point has been adjusted.
Incoming Clip Area Incoming clip duration Incoming clip name Current timecode for the incoming clip Playhead In Shift In point Mark In button  Incoming clip duration: Displays the total time between the current In and Out points for the incoming clip. This value changes to reflect any trim edits.  Current timecode for the incoming clip: Displays the clip’s source timecode for the current position of the playhead.  In Shift: Indicates the number of frames the In point has been adjusted.
III Playing Incoming and Outgoing Clips in the Trim Edit Window If you are performing a ripple edit in the Trim Edit window, the side of the Trim Edit window with a highlighted green bar is controlled by the J, K, and L keys. However, if you are performing a roll edit, both sides are highlighted. In this case, you choose whether the outgoing or incoming clip is controlled by the J, K, and L keys by moving the pointer over the outgoing or incoming side of the window.
3 Choose a ripple or roll edit by doing one of the following: Â Click the left image to trim the outgoing clip with a ripple left edit. Trimming indicator bar only appears above the outgoing clip. The pointer temporarily turns into a Ripple tool. Â Click the center area between the images to do a roll edit. Trimming indicator bar appears over both clips. The pointer temporarily turns into a Roll tool. Â Click the right image to trim the incoming clip with a ripple right edit.
III 4 Trim the edit point by doing any of the following: Â Click the trim buttons or use their keyboard equivalents to trim to the left or right using the displayed frame increments. Â Press [ (left bracket) or ] (right bracket) to trim backward or forward one frame. Â Press Shift-[ or Shift-] to trim backward or forward five frames. The number of frames to trim can be customized with the Multi-Frame Trim Size setting in the Editing tab of User Preferences.
6 To trim another edit point in the same track, use the Go to Previous Edit and Go to Next Edit buttons to move to another edit point and display it in the Trim Edit window. You can also select one or more edit points in the Timeline, and then go back to the Trim Edit window to perform additional trim operations. 7 When you are finished trimming, do one of the following: Â Move the playhead away from the edit point in the Canvas or Timeline. Â Click in the Timeline to deselect all edit points.
III Slipping a Clip in the Trim Edit Window The Slip tool changes the clip’s In and Out points simultaneously while maintaining the clip’s duration. Surrounding clips are not affected. You can slip either of the clips displayed in the Trim Edit window. To slip an edit in the Trim Edit window: 1 Double-click an edit point in the Timeline to open it in the Trim Edit window. 2 Do one of the following: Â Shift-drag the edit point on either scrubber bar to slip that clip.
To listen to all sequence audio tracks while using the J, K, and L keys in the Trim Edit window: 1 Choose Final Cut Pro > User Preferences, then click the Editing tab. 2 Select the Trim with Sequence Audio checkbox. 3 Select edit points in the Timeline and double-click them to open the Trim Edit window. 4 Move the pointer over the side of the Trim Edit window you want to listen to, then use the J, K, and L keys to play back the incoming or outgoing clip.
21 Adding Transitions 21 You can add cross dissolves and other transitions between cuts to make your program more interesting. You can also add a cross fade audio transition to smooth abrupt changes in audio. This chapter covers the following: Â Learning About Transitions (p. 371) Â Adding Transitions (p. 375) Â Moving, Copying, and Deleting Transitions (p. 380) Â Modifying Transitions in the Timeline (p. 382) Â Working with Default and Favorite Transitions (p.
Video made this process faster and easier. By mixing two video signals together, you could watch a dissolve immediately and decide how you liked it. The more quickly you can see how an effect will look, the more quickly you can refine it to suit your needs. Film editors had to anticipate how transitions would look and how long they should last without actually being able to preview them; there was never the time or budget to try transitions during editing.
III Using Transitions in Your Sequences Transitions, especially dissolves, generally give the viewer an impression of a change in time or location. When very long transitions are used, they become more of a special effect, useful in creating a different atmosphere in your sequence.
Having Handles at Edit Points Clips must have handles if you want to transition between them. Handles are additional media frames before the In point and after the Out point of your clips. The first shot in a transition (the outgoing clip) needs a handle after its Out point, while the second shot in a transition (the incoming clip) needs a handle before its In point.
III  Centered on the cut: Choose this alignment if you want the cut point between the two clips to be the midpoint in the transition. A transition centered on the cut  Ending on the cut: Use this alignment if you want the first frame of the incoming clip to be fully visible. A transition ending on the cut Adding Transitions You can add transitions when you edit a clip into the Timeline, or you can add transitions between clips already in a sequence.
Quickly Adding the Default Transition to Clips in Your Sequence You can quickly add the default transition between two clips in your sequence. The default video transition is a 1-second cross dissolve and the default audio transition is a +3 dB cross fade. You can change the default transition if you want (see “Changing the Default Transition” on page 386).
III If there are enough overlapping frames on both sides of the edit point, the selected transition is added to your edit, centered at the edit point. The added transition, centered on the edit point. To change the position of the transition, see “Changing the Alignment of a Transition in the Timeline” on page 384.
2 Do one of the following: Â Choose Effects > Video Transitions, choose the type of transition, then choose the desired transition from the submenu. Â Choose Effects > Audio Transitions, then choose the desired transition from the submenu. If there are enough overlapping frames on both sides of the edit point, the selected transition is added to your edit, centered at the edit point. To reposition the transition, see “Changing the Alignment of a Transition in the Timeline” on page 384.
III Example: Transitioning to or from Black A fade to black is really just a cross dissolve from a clip to black. In Final Cut Pro, you can add black to the Timeline by adding a slug, which is a built-in Final Cut Pro video generator. It’s often better to have an actual black clip to trim or adjust as needed. However, you can create a cross dissolve from a clip to a gap for a similar effect.
Using Transitions in Projects to Be Exported as EDLs Edit Decision Lists (EDLs) were developed for older tape-to-tape editing systems with limited capabilities. Therefore, they can only describe a narrow range of transitions. Typically, these transitions match standard transitions found on most broadcast video switchers, designated by codes that have been standardized by the Society of Motion Picture and Television Engineers (SMPTE).
III To move a transition in a sequence: m In the Timeline, drag a transition from its current edit point to the desired edit point. If there are enough overlapping frames on either side of the edit, you can drag it before the edit point, on the edit point, or after the edit point. Drag the transition to the new edit point. Copying and Pasting Transitions To add the same transition quickly elsewhere within your sequence, you can copy and paste a transition to other edit points.
Deleting Transitions Transitions that you’ve added to your sequence can easily be removed. To delete a transition from a sequence: 1 Select the transition you want to remove in the Timeline. 2 Do one of the following: Â Choose Edit > Clear (or press Delete). Â Control-click the transition, then choose Cut from the shortcut menu.
III To change a transition’s duration in the Timeline by dragging: 1 Select the Selection tool, then move the pointer to the beginning or the end of the transition in the Timeline. 2 Drag either side of the transition to make the duration longer or shorter. The pointer changes to the Resize pointer, indicating that you can drag to the duration you want. To change a transition’s duration in the Timeline using timecode: 1 Do one of the following: Â Double-click the transition in the Timeline.
Changing the Alignment of a Transition in the Timeline Transitions can either start on, center on, or end on an edit point. This alignment can be changed at any time. Changing the alignment of a transition allows you to precisely control which frames are fully visible when a transition begins or ends. To change the alignment of a transition in a sequence, do one of the following: m In the Timeline, select the transition, choose Sequence > Transition Alignment, then choose another alignment from the submenu.
III Replacing Transitions If you change your mind about which transition you want in an edit, it’s easy to change it. To swap a transition in your sequence with another, do one of the following: m Move the Timeline playhead over the transition you want to change (or click to select it), choose Effects > Video Transitions or Effects > Audio Transitions, then choose another transition from the submenu.
Changing the Default Transition You can change the default transition to any transition that comes with Final Cut Pro, or to a transition you’ve customized. To change the default video or audio transition: 1 Click the Effects tab of the Browser. 2 Click the disclosure triangle next to Video Transitions or Audio Transitions. 3 Click the disclosure triangle of the transitions bin containing the transition you want as the default.
III To rename a favorite transition: 1 Select the transition in the Favorites bin in the Effects tab of the Browser. 2 Click the transition’s name to highlight the name field. 3 Enter a new name, then press Return. Deleting Favorite Transitions If you’ve added a transition as a favorite, you can delete it at any time from the Favorites bin. If it’s a transition that comes with Final Cut Pro, it will still appear in the Video Transitions or Audio Transitions bin.
Detecting Duplicate Frames over Transitions When Show Duplicate Frames is turned on in a sequence’s settings and a clip appears more than once within a single edited sequence, the duplicate frames are marked by a colored bar appearing at the bottom of the clip’s video item in the Timeline. The red bars indicate duplicate frames used within a sequence.
III Video Transitions That Come with Final Cut Pro 3D Simulation Cross Zoom Causes the video to zoom in on the first clip, switch to the second, and zoom out. You can specify the center point, the amount of magnification in the zoom, and the degree of blur applied during the zoom. Cube Spin Creates a three-dimensional cube from each clip and spins it in the direction you choose. You can also view the cube from the inside or the outside.
Iris Cross, Diamond, Oval, Point, Rectangle, and Star These effects are similar, but have different shapes. They all create the impression of an iris, which contains the first clip, opening to reveal the second. In each iris effect, you can specify the center point around which the opening is defined and feather the edges, which blends the edges of the clips together and gives a diffused iris. Map Channel Map Maps channels from the first and second clip, or fills the channels with black.
III QuickTime Push One source image replaces another, both images moving at the same time. For example, the first clip occupies the entire frame, then the second clip pushes in from the right while the first clip slides out to the left. Unlike the slide effect, both sources are moving. The push effect executes from the top, right, bottom, or left. Radial The first clip sweeps in a radial (or semi-circular) way to reveal the second clip.
Stretch Cross Stretch The first clip is squeezed as the second clip stretches from the specified edge to the opposite edge. Squeeze The first clip is squeezed from the opposite edges toward the center to reveal the second clip. You can specify the squeeze orientation. Squeeze and Stretch The first clip is squeezed from the opposite edges toward the center and stretches in a perpendicular direction to reveal the second clip. You can adjust the squeeze orientation.
III Wipe Wrap Wipe Bands wipe in the specified direction across the first clip to reveal the second clip. You can specify the start and orientation of the wipe and the number of bands. Zigzag Wipe Bands wipe in a zigzag pattern over the first clip to reveal the second clip. You can specify the start and orientation of the wipe and the number of bands.
22 Refining Transitions Using the Transition Editor 22 Use the Transition Editor to precisely modify a transition and preview it before you render. This chapter covers the following: Â Using the Transition Editor (p. 395) Â Applying a Modified Transition Directly to a Sequence in the Timeline (p. 403) Â Trimming Transitions and the Surrounding Clips (p. 404) Â Previewing and Rendering Transitions (p.
Controls in the Transition Editor When you double-click a transition in the Timeline or the Effects tab of the Browser, a special tab for the transition opens in the Viewer. This Transition Editor window indicates that the transition is “loaded,” or opened, so you can view and modify the transition’s settings.
III Alignment Buttons The selected button indicates the current alignment of your transition. You can change the alignment of a transition by clicking a button (if there are enough overlapping frames in the direction in which you want to realign the transition). Alignment buttons Recent Clips Pop-Up Menu This control lets you choose from a list of recently used clips. A clip is added to this list when another clip replaces it in the Viewer (not when the clip is opened in the Viewer).
Ruler The ruler displays a close-up view of the frames surrounding the transition in your sequence. The ruler and playhead in the Transition Editor are locked to those in the Timeline. The time scale of the ruler can be changed by using the Zoom In and Zoom Out tools or pressing Command-+ (plus) or Command-– (minus). Ruler Outgoing and Incoming Clip Handles A transition that appears as two overlapping clips on the same track in the Timeline is represented differently in the Transition Editor.
III Dragging the transition bar from the middle results in a roll edit, which moves the edit point between two clips in a sequence. Dragging either of the transition edges shortens or extends the transition. Note: A roll edit adjusts the location of an edit point shared by two clips; the Out point of the first clip and the In point of the second clip are moved simultaneously, or rolled. This changes the location of the edit point in the sequence, as well as the duration of each clip.
At the end of the edit, with the transition finished and the default ending percentage of 100%, the border of the wipe is all the way to the right, revealing the entire incoming clip. Near the end of an edge wipe transition You can change the starting and ending percentages for the transition. This is an excellent way of creating split-screen effects if you plan to export your sequence as an EDL for import into another editing system.
III When the transition is complete, the image becomes the full-screen picture of the incoming clip. The end of the transition in the Canvas; the splitscreen effect is maintained throughout the transition. The end of an edge wipe transition, where the end percentage is 50% Reverse Transition Button Some transition effects have a default direction.
Reset Button Click this to reset all of a transition’s parameters to the default values. Reset button Custom Parameters Many transitions have additional parameters that you can use to further customize their effect. These parameters appear below the controls for the properties and may include such visual effects as the center point of the effect, the width of the transition border, and the color and feathering of this border. More complex transitions have more elaborate effects.
III Opening and Modifying Transitions in the Transition Editor When you open a transition from your sequence in the Timeline in the Transition Editor, you can modify and trim it much more precisely than you can in the Timeline. All the transitions that come with Final Cut Pro are different, but all of them share some essential properties and edit points that you can modify in the Transition Editor.
To apply a modified transition directly to your sequence in the Timeline: m Drag the transition’s drag hand to an edit point in the Timeline. Drag the hand from the Transition Editor to an edit point in your sequence. Trimming Transitions and the Surrounding Clips Trimming is the process of modifying the edit points of clips that are already in your sequence. After you’ve opened a transition in your sequence in the Transition Editor, you can fine-tune your edit.
III About the Two-Up Display in the Canvas You can drag the pointer in the Transition Editor to trim the transition and change the duration of the transition or the actual location, or edit point, where the transition occurs between two clips. When you do this, a dual frame display appears in the Canvas to show how your change affects the clips surrounding this transition. Â The frame on the left: This displays the current frame at the transition’s start point in the outgoing clip.
Doing a Roll Edit to Change the Location of a Transition If you move the pointer over the middle of a transition in the Transition Editor, it changes to the Roll tool. You can then move the edit point along with the transition to the left or to the right, as long as there is available overlap between the outgoing and incoming clips. To do a roll edit, changing the location of a transition: 1 Open the transition in the Transition Editor. 2 Place the pointer anywhere on the transition.
III Doing a Ripple Edit to Adjust the Length of a Clip in a Transition Even when a transition is applied between two clips, you can change the duration of the outgoing or incoming clip using the Ripple tool. Ripple edits do not cause gaps in your edited sequence. Â Rippling the Out point of the outgoing clip: This moves the transition and the edit point at the same time so that the outgoing clip is shortened or extended. The rest of your edited sequence moves forward or back to accommodate this change.
Previewing and Rendering Transitions Many transitions can play back in real-time, depending on your system and the transition you’re applying. Those that can’t need to be rendered. Rendering is the process of combining your video and audio with the applied effects, such as transitions or filters, one frame at a time. The result is a new file, called a render file, which can be played back in real time.
III Previewing Transitions Before Rendering Them If you have to render your transitions, it’s a good idea to preview complex transitions first. You can preview transitions while you’re modifying them or any time before rendering them. To preview a transition, do one of the following: m Move the playhead in the Canvas, the Timeline, or the Transition Editor over a frame of the transition.
23 Sequence-to-Sequence Editing 23 You can edit from one sequence to another, either by nesting one sequence into another, or by actually editing the clips from one sequence to another. This chapter covers the following: Â Methods for Editing Clips from One Sequence to Another (p. 411) Â Opening More Than One Sequence at a Time (p. 412) Â Copying Clips from One Sequence to Another (p. 412) Â Nesting Sequences (p. 416) Â Editing the Content of One Sequence into Another Without Nesting It (p.
Opening More Than One Sequence at a Time To copy, edit, or nest a sequence into another sequence, the destination sequence must be open in the Timeline or Canvas. When you open a sequence, the Timeline and the Canvas open together, if they’re not open already. If the Timeline and Canvas are already open, a newly opened sequence appears in its own tab on top of any other sequence tabs. If you want to view your sequences separately, you can move each into its own window.
III Â To do an insert edit, drag the clips where you want them to appear in the other sequence, positioning the pointer in the upper part of the track (the pointer looks like a right arrow).
 To do an overwrite edit, drag the clips where you want them to appear in the other sequence, positioning the pointer in the lower part of the track (the pointer looks like a down arrow). 5 Release the mouse button. The selected clips from the first sequence are copied into the second sequence. To copy clips from one sequence to another using the Copy and Paste commands: 1 Open the sequence that contains the clip or clips you want to copy.
III 5 In the Timeline for the second sequence, do one of the following: Â Position the playhead where you want to place the beginning of the copied clip or clips. Â In the Current Timecode field, enter the timecode number where you want to place the beginning of the copied clip or clips. 6 Choose Edit > Paste (or press Command-V). The copied clips are pasted into the second sequence.
Nesting Sequences Final Cut Pro allows you to treat sequences as clips. You can open sequences in the Viewer and set In and Out points, and you can even edit sequences into other sequences. Putting one sequence inside another is called nesting a sequence. The sequence inside another sequence is the nested sequence. The sequence that contains the nested sequence is sometimes called the parent sequence. Nested sequences can be used in the same way as clips.
III Pros and Cons of Nested Sequences Before you start using nested sequences in your project, it’s important to understand some of the advantages and disadvantages of working with them. Pros  Nesting allows you to reuse an entire sequence of clips over and over. You can change a nested sequence and the changes are reflected everywhere. Cons  Multiple levels of sequence nesting can take a while to display, since they require additional processing.
Nesting a Sequence Inside Another Sequence You can edit the contents of a sequence, render it, and then edit that sequence into another sequence. This section explains the various ways you can nest a sequence into another sequence. To nest a sequence that is open in the Viewer: 1 Open the sequence you want to nest in the Viewer by doing one of the following: Â Drag the sequence from the Browser to the Viewer.
III Making a Section of Clips into a Nested Sequence Instead of adding a nested sequence, you can also turn an existing range of clips in a sequence into a nested sequence using the Nest Items command. To create a nested sequence using the Nest Items command: 1 In the Timeline, select a range of clip items that you want to replace with a nested sequence. Note: If the clip items are linked, any items that are linked to those items in the Timeline are also selected.
6 To render all of the audio in the new sequence, select the Mixdown Audio checkbox. This minimizes the audio processing requirements for the nested sequence. For more information on the real-time audio rendering capabilities of Final Cut Pro, see Volume III, Chapter 29, “Rendering and Video Processing Settings.” 7 Click OK. All the items you selected are placed in a new sequence, and the new sequence replaces the selected items in the Timeline. This nested sequence replaces the selected clips.
III For example, suppose sequence B, which has a duration of 10 seconds, is nested inside another sequence, with more clips appearing to the right of it. Nested sequence B inside another sequence You open sequence B and add two more clips to the end of it, extending its duration from 10 to 15 seconds.
Editing the Content of One Sequence into Another Without Nesting It Instead of nesting one sequence inside another, you can simply edit the clips of a sequence into another sequence.
III If you hold down the Command key while dragging Sequence A into the Canvas, you’ll edit the clips contained within Sequence A into Sequence B. So each clip in Sequence A is still an individual clip in Sequence B. This allows for more flexibility should you want to make changes to any clips that are in Sequence A. However, future changes in Sequence A have no effect on Sequence B; Sequence B does not automatically update to reflect the changes.
To edit all content from one sequence into another using the Canvas Edit Overlay: 1 Open your destination sequence (where the copied clips will go) in the Timeline, then set an In point for the incoming clips by doing one of the following: Â Position the playhead in the Timeline. Â Set an In point in the Timeline or Canvas. Set an In point where you want to place clips from the source sequence. 2 If necessary, create additional tracks for each track present in the source sequence.
III To edit all content from one sequence into another using keyboard shortcuts: 1 Open your destination sequence (where the copied clips will go) in the Timeline, then set an In point for the incoming clips by doing one of the following: Â Position the playhead in the Timeline. Â Set an In point in the Timeline or Canvas. 2 If necessary, create additional tracks for each track present in the source sequence.
4 Keeping the mouse button held down, press the Command key. 5 Keeping the Command key held down, release the mouse button. The content of the sequence you dragged is edited into the currently active sequence in the Timeline, with all clips appearing individually.
24 Matching Frames and Playhead Synchronization 24 You can use the frame displayed in the Canvas to open the matching frame of a master clip in the Viewer, or you can synchronize the playheads in the Canvas and Viewer to automatically open each sequence clip in the Viewer. This chapter covers the following: Â Working with Sequence Clips in the Viewer (p. 427) Â Matching Frames Between Sequence and Master Clips (p. 430) Â Synchronizing the Canvas/Timeline Playhead with the Viewer Playhead (p.
Note: Sequence clips display sprocket holes in the Viewer’s scrubber bar to indicate that they are part of a larger sequence; Browser clips don’t display sprocket holes. Sprocket holes indicate that this is a sequence clip. Opening a Sequence Clip in the Viewer When you open a sequence clip in the Viewer, you can work with it directly in the Viewer instead of in the Timeline. To open a sequence clip in the Viewer from the Timeline: m Double-click a clip in the Timeline.
III Switching Between the Viewer, Canvas, and Timeline When you work with sequence clips in the Viewer, you can quickly switch between the Viewer and the Canvas or Timeline. For example, opening a sequence clip in the Viewer activates the Viewer, but you might want to open the clip in the Viewer and then play the sequence. To switch between the Canvas and Viewer: m Press the Q key. To switch between the Viewer, Canvas, and Timeline, do one of the following: m To make the Viewer active: Press Command-1.
To make a ripple, roll, slip, or duration change to a sequence clip in the Viewer: 1 Open the sequence clip in the Viewer. 2 Select the appropriate tool for the type of edit you want to do. 3 In the Viewer, navigate to the frame you want to use for the clip’s new In point. 4 Press I to set a new In point. 5 Navigate to a new Out point and press O to set a new Out point. If the new In or Out point is not accepted, check to see if Final Cut Pro displays an alert message.
III To check if a sequence clip is independent: 1 Select a clip in the Timeline, or move the playhead over a clip in the Canvas or Timeline. 2 Choose View > Reveal Master Clip. If the Reveal Master Clip menu item is dimmed, the selected sequence clip does not have a master clip, and it is therefore independent. Matching a Frame in the Canvas to Its Master Clip Frame Sometimes you’ll want to view the master clip that a sequence clip came from.
When the clip’s master clip opens in the Viewer, notice that there are no “sprocket holes” in the scrubber bar. This is because you’re seeing the clip from the Browser, not the sequence clip. When you view the master clip, it has the same In and Out points as the sequence clip. The current frame in the Viewer matches the frame in the Canvas. To reveal a sequence clip’s master clip in the Browser: 1 Select a clip in the Timeline, or move the playhead over a clip in the Canvas or Timeline.
III Independent sequence clips can cause complications during media management and recapturing, so you should avoid editing with these clips. You should also be careful not to unnecessarily create more than one master clip that references the same media file. Subclips are an example of master clips that can refer to the same media file, but each subclip refers to a different portion of the media file. Multiple master clips that refer to the exact same parts of the same media file are usually unnecessary.
Synchronizing the Canvas/Timeline Playhead with the Viewer Playhead When a sequence clip is open in the Viewer, you can keep the Viewer playhead in sync with the Canvas/Timeline playhead. If you want to work with a sequence clip in the Viewer instead of the Timeline, you can synchronize the Viewer and Canvas/Timeline playheads together so you see the same frame in both windows.
III To synchronize (or gang) the Viewer and Canvas/Timeline playheads: m In the Viewer or Canvas, choose an option from the Playhead Sync pop-up menu— Sync Off, Open, or Gang. Playhead Sync pop-up menu in the Viewer The playhead sync options are: Â Sync Off: Disables playhead sync. This is the default behavior. Â Open: Automatically opens the sequence clip beneath the Canvas/Timeline playhead in the Viewer. The Viewer playhead is set to the same frame as the Canvas/ Timeline playhead.
Using the Gang Playhead Sync Option You can lock the playhead in the Viewer to the playhead in the Canvas and Timeline so that they move together while scrubbing through clips. This is known as ganging the clip in the Viewer window to the sequence in the Canvas and Timeline windows. When this option is selected, the offset between the current position of the Canvas/ Timeline playhead and the current position of the Viewer playhead is maintained as both playheads move together.
III 4 In either the Viewer or the Canvas, choose Gang from the Playhead Sync pop-up menu. 5 Move the playhead in the Timeline to the In point of the last clip in the sequence. The playhead is moved to the In point of the last clip in the sequence. The playhead in the Viewer moves to the left by the same amount. 6 In the Viewer, press O to set a new Out point. The clip in the Viewer is now shorter by the duration of the last clip in the sequence.
25 Working with Timecode 25 Timecode provides a unique address for each video frame on your tapes. Timecode is the vital organizational link between your original camera tapes, media files on disk, and clips in your Final Cut Pro project. This chapter covers the following: Â About Timecode in Final Cut Pro (p. 439) Â Displaying Timecode in Final Cut Pro (p. 440) Â Modifying Timecode in Media Files (p. 446) Â Working with 60 fps Timecode (p. 451) Â Working with 24 @ 25 fps Timecode (p.
Note: Some videotapes that are recorded improperly may have the same timecode numbers in more than one location (for example, multiple occurrences of 00:00:00:00), which makes it hard to identify where on a tape a particular shot is located. For more information about handling these tapes, see Volume I, Chapter 17, “Capturing Your Footage to Disk.” Frame Rate Versus Timecode The frame rate of film, videotape, or media files determines how quickly frames are recorded or played back.
III Choosing a Timecode Display Option Final Cut Pro has the following timecode display options, although not all options are available for all frame rates: Â Non-Drop Frame: The timecode counter counts at a consistent rate without dropping any numbers from the count. Non-drop frame timecode is available as a display option for every frame rate. Â Drop Frame: Frames 0 and 1 are skipped the first second of every minute, unless the minute number is exactly divisible by 10.
To change the timecode display format: m Control-click a timecode field in the Viewer, Canvas, Timeline, or Browser, then choose one of the available timecode display options from the shortcut menu. Important: Changing the timecode display of a clip does not modify the actual timecode track in the media file. To determine whether drop frame or non-drop frame timecode is displayed: Â Non-drop frame timecode has a colon (:) between the seconds and frames fields.
III Choosing Source and Auxiliary Timecode Track Display QuickTime media files can have several timecode tracks, although they typically start with one. The timecode track written when you first capture a media file is called the source timecode track. You can add additional timecode tracks to the media file after you capture. These are called auxiliary (aux) timecode tracks.
Important: Clip time does not accurately reflect timecode that matches back to the media file or videotape timecode. Do not rely on clip time when trying to refer back to original media files or tapes. Changing Global Timecode Display Options Timecode display settings can be globally adjusted for an entire project.
III To set all clips in the active project to display source time or clip time: 1 In the Browser, click the tab of the project for which you want to change time mode settings. 2 Choose Edit > Project Properties. 3 Choose Source Time or Clip Time from the Time Mode pop-up menu. 4 Click OK. To change the native clip speed display mode for all clips in the active project: 1 In the Browser, click the tab of the project for which you want to change time mode settings. 2 Choose Edit > Project Properties.
Modifying Timecode in Media Files In Final Cut Pro, you can modify media file timecode in several ways: Â Individual clips can be adjusted by choosing Modify > Timecode. Â Multiple clips can be adjusted in the Browser timecode columns (such as Media Start and Media End). In general, choosing Modify > Timecode provides deeper control over your timecode modifications, but the Browser allows you to modify multiple clips at once.
III Using the Modify Timecode Command Timecode tracks in your media files can be added, altered, and even removed in the Modify Timecode dialog. Each media file can have up to three timecode tracks and corresponding reel names:  Source timecode track and reel name  Aux 1 timecode and Aux 1 reel name  Aux 2 timecode and Aux 2 reel name When you select a checkbox next to a timecode track, you are adding that timecode track to your media file.
3 Verify that the settings are correct: Â Frame to Set: Choose the frame you want to alter. Â Current: Choose this to alter the timecode of the current frame in the clip or sequence. Â Starting: Choose this to change the timecode of the starting frame of the clip or sequence. Â Source TC: Select this checkbox to add or alter the timecode of the source clip or sequence’s media file on disk.
III Modifying the Timecode of Merged Clips If you select a merged clip and choose Modify > Timecode, each item in the clip that’s linked to a separate source media file appears in its own tab. This allows you to change the timecode of each item in a merged clip separately. For example, a merged clip with items from three sources has three tabs in the Modify Timecode dialog. For more information, see Chapter 3, “Merging Clips from Dual System Video and Audio,” on page 45.
To create a sequence preset in which the video frame rate (timebase) and timecode rate are different: 1 Choose Final Cut Pro > Audio/Video Settings. 2 Click the Sequence Presets tab. 3 In the list of presets, click the unlocked sequence preset you want to modify. 4 Click the Edit button to edit the selected preset, or click the Duplicate button to edit a new copy of the selected sequence preset. The sequence video frame rate (timebase) and timecode rate can now be set in the Sequence Preset Editor window.
III Working with 60 fps Timecode Some high definition video formats, such as 720p60, have a video frame rate of 60 (or 59.94) fps. Final Cut Pro can display 60 fps timecode for 60 fps media files, or you can choose to view the timecode at 30 fps, using the special 60 @ 30 timecode display option. 60 @ 30 is a timecode display option used specifically with 59.94 and 60 fps video footage. Because 30 fps is a more universally accepted timecode rate than 60 fps, it can be useful to view your timecode this way.
Generating Timecode Window Burns If you need to create a videotape or QuickTime movie that displays timecode directly in the image (known as a timecode window burn, or window burn for short), you can use the Timecode Reader or Timecode Generator filters. Both are located in the Video bin inside the Video Filters bin in the Effects tab of the Browser. Note: In versions of Final Cut Pro earlier than 4.5, timecode reading and generation were contained in a single filter called the Timecode Print filter.
Volume III Audio Mixing and Effects
K Apple Inc. Copyright © 2007 Apple Inc. All rights reserved. Your rights to the software are governed by the accompanying software license agreement. The owner or authorized user of a valid copy of Final Cut Studio software may reproduce this publication for the purpose of learning to use such software. No part of this publication may be reproduced or transmitted for commercial purposes, such as selling copies of this publication or for providing paid for support services.
1 Part I Contents Audio Mixing Chapter 1 17 17 18 20 22 24 25 25 26 28 29 29 Audio Fundamentals What Is Sound? Fundamentals of a Sound Wave Frequency Spectrum of Sounds Measuring Sound Intensity Signal-to-Noise Ratio Headroom and Distortion Dynamic Range and Compression Stereo Audio Digital Audio Sample Rate Bit Depth Chapter 2 33 33 34 35 35 36 37 37 37 40 40 41 42 42 43 43 45 45 Assigning Output Channels and External Audio Monitors Audio Signal Flow in Final Cut Pro Audio Tracks Busses Hardware O
4 45 46 47 47 48 48 49 50 50 50 52 53 55 Audio Outputs Tab of the Sequence Settings Window Config Pop-Up Menu Downmixing Multiple Audio Channels to a Stereo Mix How Downmixing to Stereo Works Adjusting a Channel’s Downmix Volume Downmixing for Stereo Monitoring Downmixing During Export Configuring External Audio Monitors Connecting Speakers to Your Editing System Monitoring 5.
96 98 99 100 100 106 108 Looping Playback to Mix Each Track Modifying Recorded Keyframes Deleting Audio Level and Pan Keyframes Using a Control Surface with the Audio Mixer Connecting a Control Surface Controlling the Audio Mixer with a Control Surface Recording Audio Mixer Keyframes Using a Control Surface Chapter 6 111 111 111 115 118 118 119 120 121 122 122 123 128 129 130 133 Mixing Audio in the Timeline and Viewer Adjusting Audio Levels in the Timeline and Viewer Adjusting Audio Levels in the Timel
6 167 168 169 172 176 176 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 Chapter 9 177 177 177 178 181 Tips for Better Audio Learning to Describe Sound Accurately Efficiently Using the Frequency Spectrum Tips for Cutting Dialogue Tips for Cutting Music Chapter 10 183 183 184 185 186 189 190 191 19
Part II Effects Chapter 12 217 217 218 222 223 230 231 231 232 Using 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 Filters Bars in the Timeline Enabling and Rearranging Filters Copying and Pasting a Clip’s Filters Removing Filters from Clips Chapter 13 233 233 234 234 234 235 235 235 236 236 237 237 238 238 238 238 240 240 240 241 241 253 Installing and Managing Video Effects Plug-in Fo
8 277 278 282 Zooming In to the Canvas Using Wireframe Handles to Transform, Scale, and Rotate Example: Using Motion Parameters and Wireframe Handles Chapter 15 287 287 288 289 291 293 294 296 298 299 302 302 306 307 308 310 311 312 313 314 314 317 320 320 322 322 323 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 Adju
Chapter 17 337 337 338 338 341 341 342 342 344 345 345 348 348 350 353 358 359 362 Changing Clip Speed and Time Remapping Speed Basics How Changing Speed Affects a Clip’s Duration Performing a Fit to Fill Edit Constant and Variable Speed Settings Constant Speed Variable Speed, or Time Remapping Frame Blending and Reverse Speed 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
10 412 415 417 418 419 420 Changing a Clip’s Alpha Channel Type Viewing RGB and Alpha Channels in the Viewer Choosing a Background Temporarily Excluding Clips from Playback or Output Temporarily Disabling a Single Clip Soloing Clips in Multitrack Sequences Chapter 20 421 421 421 422 423 424 424 427 430 440 440 440 442 443 443 444 Keying, Mattes, and Masks Ways to Layer and Isolate Elements in Clips What Are Mattes and How Can You Use Them? What Is Keying and How Can You Use It? What Are Masks and How A
468 468 469 469 469 Modifying QuickTime Source Files Transferring SmoothCam Motion Analysis Data to Motion Improving SmoothCam Filter Results and Troubleshooting Making Sure Clips Are Analyzed Improving SmoothCam Filter Results Chapter 23 471 471 472 473 474 476 480 480 Creating Titles How You Can Use Titles in Your Project Installing and Choosing Fonts Making Sure Titles Fit on TV Screens Text Generators Available in Final Cut Pro Creating and Adding a Title Clip Other Options for Creating and Adding T
Chapter 27 12 513 513 515 517 518 519 522 522 523 523 524 526 531 534 534 534 535 535 537 540 540 541 541 Layout Options in Video Scopes Tabs Learning to Read the Waveform Monitor Learning to Read the Vectorscope Learning to Read the Histogram Learning to Read the RGB Parade Scope Choosing Display Options for Video Scopes Using Video Scopes in Real Time Choosing Video Scope Accuracy Video Scope Restrictions and Performance Preventing Illegal Broadcast Levels Displaying Excess Luma and Chroma Levels in th
603 610 611 612 613 Part IV Using Limit Effect Controls in the Color Corrector and Color Corrector 3-Way Filters The Desaturate Highlights and Desaturate Lows Filters Desaturate Highlights and Desaturate Lows Filter Controls Example: Using the Desaturate Highlights Filter Using Color for Color Correction Real Time and Rendering Chapter 28 617 617 618 620 622 622 625 632 632 633 633 634 635 636 637 638 638 640 640 641 642 Using RT Extreme Introduction to Real-Time Processing How Real-Time Processing Wo
Chapter 30 14 657 658 658 659 660 662 668 668 668 668 669 669 672 672 673 675 676 Keeping Track of Rendering Progress Temporarily Disabling Rendering Automatic Rendering While You Are Away from Your Computer Changing Render and Video Processing Settings Using the Render Control Tab Using the Video Processing Tab Adjusting Gamma About Gamma Nonlinear Coding About Gamma Correction Choosing Real-Time Playback Gamma Correction Options Changing Gamma Settings for Video and Imported Still Images Managing Your
Part I: Audio Mixing Learn how to connect audio equipment and use the Final Cut Pro audio mixing tools to complete your movie’s soundtrack.
1 Audio Fundamentals 1 To successfully create your movie soundtrack, it’s important to learn about the basic properties of sound and digital audio. This chapter covers the following: Â What Is Sound? (p. 17) Â Digital Audio (p. 28) What Is Sound? All sounds are vibrations traveling through the air as sound waves. Sound waves are caused by the vibrations of objects and radiate outward from their source in all directions.
Fundamentals of a Sound Wave The simplest kind of sound wave is a sine wave. Pure sine waves rarely exist in the natural world, but they are a useful place to start because all other sounds can be broken down into combinations of sine waves. A sine wave clearly demonstrates the three fundamental characteristics of a sound wave: frequency, amplitude, and phase.
I Phase Phase compares the timing between two similar sound waves. If two periodic sound waves of the same frequency begin at the same time, the two waves are said to be in phase. Phase is measured in degrees from 0 to 360, where 0 degrees means both sounds are exactly in sync (in phase) and 180 degrees means both sounds are exactly opposite (out of phase). When two sounds that are in phase are added together, the combination makes an even stronger result.
Frequency Spectrum of Sounds With the exception of pure sine waves, sounds are made up of many different frequency components vibrating at the same time. The particular characteristics of a sound are the result of the unique combination of frequencies it contains. Sounds contain energy in different frequency ranges, or bands. If a sound has a lot of low-frequency energy, it has a lot of bass. The 250–4000 Hz frequency band, where humans hear best, is described as midrange.
I Musical sounds typically have a regular frequency, which the human ear hears as the sound’s pitch. Pitch is expressed using musical notes, such as C, E flat, and F sharp. The pitch is usually only the lowest, strongest part of the sound wave, called the fundamental frequency. Every musical sound also has higher, softer parts called overtones or harmonics, which occur at regular multiples of the fundamental frequency.
Musical sounds also typically have a volume envelope. Every note played on a musical instrument has a distinct curve of rising and falling volume over time. Sounds produced by some instruments, particularly drums and other percussion instruments, start at a high volume level but quickly decrease to a much lower level and die away to silence.
I Because the ear responds to sound pressure logarithmically, using a logarithmic scale corresponds to the way humans perceive loudness. Audio meters and sound measurement equipment are specifically designed to show audio levels in decibels. Small changes at the bottom of an audio meter may represent large changes in signal level, while small changes toward the top may represent small changes in signal level.
Decibel Units Audio meters are labeled with decibels. Several reference levels have been used in audio meters over the years, starting with the invention of the telephone and evolving to present day systems. Some of these units are only applicable to older equipment. Today, most professional equipment uses dBu, and most consumer equipment uses dBV. Digital meters use dBFS. Â dBm: The m stands for milliwatt (mW), which is a unit for measuring electrical power.
I Headroom and Distortion If an audio signal is too strong, it will overdrive the audio circuit, causing the shape of the signal to distort. In analog equipment, distortion increases gradually the more the audio signal overdrives the circuit. For some audio recordings, this kind of distortion can add a unique “warmth” to the recording that is difficult to achieve with digital equipment. However, for audio post-production, the goal is to keep the signal clean and undistorted.
Dynamic sound has drastic volume changes. Sound can be made less dynamic by reducing, or compressing, the loudest parts of the signal to be closer to the quiet parts. Compression is a useful technique because it makes the sounds in your mix more equal. For example, a train pulling into the station, a man talking, and the quiet sounds of a cricket-filled evening are, in absolute terms, very different volumes.
I Important: All stereo recordings require two channels, but two-channel recordings are not necessarily stereo. For example, if you use a single-capsule microphone to record the same signal on two tracks, you are not making a stereo recording. Identifying Two-Channel Mono Recordings When you are working with two-channel audio, it is important to be able to distinguish between true stereo recordings and two tracks used to record two independent mono channels. These are called dual mono recordings.
Here are some tips for distinguishing stereo from dual mono recordings: Â Stereo recordings must have two independent tracks. If you have a tape with only one track of audio, or a one-channel audio file, your audio is mono, not stereo. Note: It is possible that a one-channel audio file is one half of a stereo pair. These are known as split stereo files, because the left and right channels are contained in independent files. Usually, these files are labeled accordingly: AudioFile.L and AudioFile.
I Sample Rate The sample rate is the number of times an analog signal is measured—or sampled— per second. You can also think of the sample rate as the number of electronic snapshots made of the sound wave per second. Higher sample rates result in higher sound quality because the analog waveform is more closely approximated by the discrete samples.
When a sample is made, the audio level of the analog signal often falls in the spaces between rungs. In this case, the sample must be rounded to the nearest rung. The bit depth of a digital audio sample determines how closely the rungs are spaced. The more rungs available (or, the less space between rungs), the more precisely the original signal can be represented.
I When the number of bits per sample is increased, each sample can more accurately represent the audio signal. 1-bit 2-bit 4-bit 16-bit To avoid rounding errors, you should always use the highest bit depth your equipment supports. Most digital video devices use 16- or 20-bit audio, so you may be limited to one of these bit depths. However, professional audio recording devices usually support 24-bit audio, which has become the industry standard.
2 Assigning Output Channels and External Audio Monitors 2 Final Cut Pro supports multiple output channels for audio monitoring and output to multichannel devices. This chapter covers the following: Â Audio Signal Flow in Final Cut Pro (p. 33) Â Configuring Audio Outputs (p. 37) Â Audio Output Export Settings (p. 45) Â Downmixing Multiple Audio Channels to a Stereo Mix (p. 47) Â Configuring External Audio Monitors (p.
Here is the basic audio signal flow in Final Cut Pro:  Audio tracks in the Timeline  Output busses  Hardware audio outputs  Speakers, devices, or exported files Output busses 1 1 2 2 1 Speakers 2 Timeline Audio Tracks Signal flow begins in the Timeline, where you can have up to 99 audio tracks. Audio tracks contain audio clip items from clips that you have edited into your sequence.
I Busses A track is connected to a bus. A bus allows you to mix multiple audio tracks into a single signal. An output bus is typically connected to a hardware audio output on your computer or audio interface. Without busses, only one track could be connected to a physical audio output at a time, requiring you to have as many physical audio outputs as you had tracks. For example, if you have a sequence with eight audio tracks, you can assign the output of each track to the same bus.
By default, Final Cut Pro uses the audio output device in the currently selected Easy Setup. If you need more audio output channels or higher-quality outputs, you can connect a third-party audio interface to your computer. For more information about audio interfaces, see Volume 1, Chapter 12, “Connecting Professional Video and Audio Equipment.” For information about choosing an audio output device for Final Cut Pro, see “Configuring Audio Outputs” on page 37.
I Stereo Output Groups Stereo output groups allow you to use pan controls in the Audio Mixer to place track audio within a stereo image. Stereo output groups are useful when you want to create pan effects (such as a car passing from screen left to screen right) from mono clips or when you want to preserve the pan settings of stereo clips.
Choosing or Switching Audio Outputs You can choose an audio interface for playing audio from the Viewer, Canvas, and Timeline. To choose an audio interface to monitor your audio or to output audio to an external device: 1 Choose Final Cut Pro > Audio/Video Settings, then click the A/V Devices tab. Choose an audio interface here. Click here to select options for your audio interface. 2 Choose an audio interface from the Audio pop-up menu.
I 3 Click Options, then make choices for the following: Â Channels: Choose the number of channels your audio interface can output. You can assign sequence tracks to these channels by creating an audio output preset. For more information, see “About Audio Outputs” on page 40. Â Bit Depth: Choose a supported bit depth for the audio. Sixteen-bit audio is compatible with most DV equipment. For high-resolution output and export, 24-bit audio is preferred.
Switching Video and Audio Outputs Simultaneously Final Cut Pro supports “audio follows video” output switching, which means that changing the selected video interface automatically switches the audio to the same interface (when possible). To enable “audio follows video” switching for video and audio outputs: 1 Choose View > Video Playback, then select a video output from the submenu. 2 Choose View > Audio Playback > Audio Follows Video, and make sure that the option is enabled (indicated by a checkmark).
I Choosing and Modifying Audio Outputs If you change your audio equipment setup, you can modify your sequence’s existing audio outputs or create a new audio output preset and assign it to your sequence. You can choose or modify your sequence’s audio output settings in the Audio Outputs tab of the Sequence Settings window. ‘ To choose an audio output preset for your sequence: 1 Select a sequence in the Browser or Timeline. 2 Choose Sequence > Settings (or press Command-0), then click the Audio Outputs tab.
Creating and Saving Audio Output Presets If you need a specific audio output configuration for monitoring or output to a multichannel deck, you can save a custom audio output preset and assign it to your sequence. To create a new audio output preset: 1 Choose Final Cut Pro > User Preferences, then click the Audio Outputs tab. 2 Choose a preset from the Presets list, then click Edit or Duplicate. 3 In the Audio Outputs Preset Editor, enter a name and description for the preset.
I Assigning Tracks in the Timeline to Audio Outputs You can assign each track in your sequence to an audio output. Tracks can be assigned to audio outputs in the Timeline or the Audio Mixer. For more information about assigning audio outputs in the Audio Mixer, see “Track Visibility Area” on page 71. To assign a sequence track to an audio output in the Timeline: 1 In the Timeline, identify a track you want to assign to an audio output.
Here is how the sequence tracks would be assigned to the audio outputs: Â Tracks 1 and 2 (left and right): Stereo output 1 and 2 Â Track 3 (center): Mono output 3 Â Track 4 (LFE): Mono output 4 Â Tracks 5 and 6 (left surround and right surround): Stereo output 5 and 6 Using the Match Audio Outputs Command The Match Audio Outputs command automatically configures your audio outputs to match the stereo and mono groupings of the selected audio clip in your sequence.
I Assigning More Audio Outputs Than Your Hardware Supports You can assign more outputs than your current audio hardware supports, allowing you to open sequences with multichannel output settings on computers that don’t have professional audio interfaces connected. If you select an audio output that exceeds the number of output channels of your audio interface, Final Cut Pro warns you that you will not hear tracks assigned to unavailable outputs. However, you are still allowed to use this preset.
Config Pop-Up Menu Both the Export Audio to AIFF(s) command and the Export QuickTime Movie command use a Config pop-up menu to determine whether sequence audio output busses should be exported individually or as a stereo downmix. However, each command has a different Config pop-up menu in different locations: Â File > Export > QuickTime Movie: The Config pop-up menu is in the Audio Settings area of the General tab of the Sequence Settings window.
I Downmixing Multiple Audio Channels to a Stereo Mix Even when you use multiple audio channels during editing and mixing, you may need to create a stereo mix. Downmixing combines all audio output channels into a single stereo output. You may want to downmix when:  Playing back a sequence with multiple output channels on a system with only two speakers  Exporting to multiple audio channels.
Adjusting a Channel’s Downmix Volume Each audio output bus has an adjustable downmix level that is applied only when you downmix your audio. Each audio output bus’s level is attenuated (or increased) by the number of decibels specified in the Downmix pop-up menu for the bus, in the Audio Outputs tab of the Sequence Settings window for the current sequence. You should leave the default settings unless your stereo downmix has distortion or is too quiet.
I With Downmix selected, all audio outputs in your sequence are output as stereo whenever they’re played back, output to tape, or written to a movie file. Downmix button selected All output channels are downmixed to a single stereo pair. You can turn Downmix off at any time and your audio will be output to multiple channels again. This is much more convenient than reassigning all of your tracks to a single stereo channel and then reassigning your tracks to multiple outputs again.
Configuring External Audio Monitors The following section describes how to connect external audio speakers to your editing system and how to make audio level adjustments in Final Cut Pro and Mac OS X. Connecting Speakers to Your Editing System When you add audio speakers to your editing system, you need to make sure that the speakers are properly connected to your audio interface or built-in computer audio output and that the interface is properly configured in Final Cut Pro.
I There are two ways of configuring your sequence audio outputs for 5.1-channel surround sound monitoring: Â Use the 5.1 Monitoring audio preset: If you know in advance that you are going to edit a 5.1-channel surround sound file into your sequence, you can assign the 5.1 Monitoring audio preset to your sequence. Â Use the Match Audio Outputs command: This command automatically configures your sequence audio outputs and track output assignments based on the currently selected audio clip in your sequence.
Setting Monitoring Levels and Muting System Sound Effects When you mix your audio, it’s important to monitor using a consistent volume setting. If a sound is too loud in the mix, you should adjust the level of the audio in Final Cut Pro, not the volume setting on the speakers themselves. Once you set up your audio monitoring levels, you should not need to adjust the overall volume setting of your audio very often.
I To route Mac OS X alert sounds and sound effects through your computer’s built-in speakers: 1 Choose Apple menu > System Preferences, then click Sound. 2 Click the Sound Effects button. 3 Choose “Built-in Audio: Internal speakers” from the “Play alerts and sound effects through” pop-up menu. While monitoring the audio of your program, avoid changing the volume setting of your speakers unless it is absolutely necessary.
Frequency Response and Dynamic Range The quality of speakers varies greatly depending on their purpose as well as their price. For example, speakers in a portable stereo or television are designed to play audio that has already been mastered by a mixing engineer. Mastered audio such as audio CD, radio, television, and movie sound has a compressed dynamic range (meaning levels are fairly consistent and loud).
I Amplifiers and Signal Levels for Unpowered Speakers Unpowered speakers require signals with higher voltage than consumer and professional equipment can provide directly. These levels are known as speaker level audio signals, while audio devices such as tape recorders and audio mixers usually provide line level signals. An audio amplifier boosts line level signals to speaker levels to properly drive speakers.
Speaker Placement and Listening Position Most video editing suites use near-field monitors, which are speakers designed to be listened to at fairly close range. Speakers should be at least a foot or two away from any walls to prevent early reflections of sound, which combine with and muddy the original sound. Position the speakers as far from your listening position as they are from each other (forming an equilateral triangle).
3 3 Evaluating Levels with Audio Meters You use audio meters to keep levels consistent throughout your movie and to make sure audio signals never get so high that they distort. This chapter covers the following: Â About Audio Meters (p. 57) Â Setting Proper Audio Levels (p. 62) About Audio Meters Audio meters display the level of your audio signal in an objective way, helping you to set consistent levels throughout your program and ensuring that you have sufficient headroom and dynamic range.
The most important distinction is the difference between an audio clip’s peaks and its average loudness: Â Peaks are short, loud bursts of sound. In spoken dialogue, letters like P, T, and K at the beginning of words can result in peaks if the person speaking is close to the microphone. In music, peaks occur at the very beginning of sounds from percussive instruments such as drums.
I 0 dBFS Original 0 dBFS Too much gain causes clipping. 0 dBFS Clipping remains after gain is reduced. Important: Final Cut Pro can handle digital audio levels above 0 dBFS by internally using 32-bit floating-point resolution for all audio processing. However, when you export or output to tape, the bit depth of your audio is usually reduced to 16 or 24 bits, so you still need to be aware of the 0 dBFS limit.
About Audio Meters in Final Cut Pro Final Cut Pro uses peak audio meters, which respond very quickly to the audio signal, alerting you to potential peaks over 0 dBFS. The meters in Final Cut Pro display a peak level indicator, which is a yellow line that shows recent peak levels for up to 3 seconds (assuming a higher peak hasn’t been reached).
I Clipping Indicators The Master audio meters and the floating audio meters have a clipping indicator that lights up when the output signal reaches 0 dBFS. Once the clipping indicator is lit, it stays on during playback to let you know that part of your signal clipped. The clipping indicator also stays on after you stop playback, but it is turned off each time you start playback.
Unlike the track and Master audio meters, the floating audio meters do not show levels above 0 dBFS. 0 dBFS Levels above 0 dBFS Master audio meters Floating audio meters Setting Proper Audio Levels When you work with audio, you need to make sure you set proper levels at each stage of your production: Â Production: During this phase, you record the elements used in your movie: actors’ voices, ambient location sound, music, and so on.
I Â Audio gain and normalization: Before cutting and mixing multiple audio sources together, you may need to normalize varying audio levels that are intended to match. Audio that is too quiet should be raised to an acceptable level before mixing and output. Â Mixing and output: During mixing and final output, you need to ensure that audio levels are consistent compared to a reference audio level, such as audio tone.
To find and mark audio peaks: 1 To detect peaks in a clip, do one of the following: Â Select one or more clips in the Browser. Â Open a sequence clip from the Timeline. 2 Choose Mark > Audio Peaks > Mark. A status window appears with a progress bar showing how much of the process is complete. Markers are placed at each peak. Â If you selected a clip in the Browser: Markers appear for the clip and are labeled “Audio Peak N,” where N starts at 1 and increases, depending on how many audio peaks are detected.
I Raising Audio Levels Using Audio Normalization and Gain When you edit, your audio may come from a variety of sources, and the levels often vary. Final Cut Pro includes a Gain audio filter that allows you to amplify (or attenuate) the level of an audio clip far beyond the +12 dB gain available with audio level keyframes. To amplify the audio level of clips whose levels are too low, you can manually apply the Gain filter.
How Linked Mono and Stereo Clips Are Normalized The Apply Normalization Gain command works differently depending on the type of clip items selected: Â Single mono clip item or multiple linked mono clip items: A separate Gain filter is applied to each clip item, and peaks for each clip item are calculated independently. Â Stereo clip items: A stereo Gain filter is applied to the stereo clip items, and the Gain setting is based on the peak value across both channels.
I What Reference Level Should You Use for Mixing and Output? The dynamic range of your mix is dependent on the final viewing environment. For example, movie theaters have large, relatively expensive sound systems that can reproduce a large dynamic range. Television speakers are much smaller, and often the listening environment has more ambient noise, so very quiet sounds may not even be noticeable unless the overall signal is compressed and the level increased, reducing the dynamic range.
How much dynamic range you allow in your audio mix depends on its ultimate destination. If you’re editing a program for TV broadcast, a reference level of –12 dBFS is fine, because you are only allowed 6 dB of dynamic range anyway. But if you’re working on a production to be shown in movie theaters, consider using a reference level closer to –18 or even –20 dBFS (both of these are frequently used standards).
4 Overview of the Audio Mixer 4 You can use the Audio Mixer to monitor audio levels for all of your sequence clips, as well as adjust audio levels and pan settings in real time. This chapter covers the following: Â About the Audio Mixer (p. 69) Â Controls in the Audio Mixer (p. 70) Â Using Audio Mixer Views (p. 78) About the Audio Mixer The Audio Mixer provides faders, panning sliders, and solo and mute buttons for each track in your sequence.
Controls in the Audio Mixer The controls in the Audio Mixer are comparable to those of an automated hardware mixing console. Each audio track in the currently selected sequence (or audio track in the Viewer) is represented by a track strip, complete with solo and mute buttons, a stereo panning slider, a level fader, and an audio meter.
I Track Visibility Area In this area, you can choose which track strips are shown in the Audio Mixer. To show the Track Visibility area: m Click the disclosure triangle in the upper-left corner of the Audio Mixer. Track Visibility control You can show and hide the Track Visibility area by clicking the disclosure triangle.
Track Strips Area In a typical audio mixer, each channel has a corresponding channel strip with level and pan controls. In the Final Cut Pro Audio Mixer, each track in your sequence has a corresponding track strip with mute, solo, pan, and audio level controls. If a track’s Track Visibility control is deselected in the Track Visibility area, its track strip does not appear here. If an audio track is disabled in the Timeline, that track’s track strip controls are dimmed.
I Â Solo button: Click to mute all tracks that don’t have solo enabled. Use the solo button to listen to a track isolated from the others. For example, if you click the solo button on track A1, all other audio tracks are muted. If you enable solo on A1 and A2, both A1 and A2 play back, while all other tracks are muted. ∏ Tip: Option-clicking a track’s solo button will solo all of the tracks. Option-clicking a solo button that is already selected will deselect all of the tracks’ solo buttons.
 Track audio level meter: Each track in the Audio Mixer tab corresponds to a track in your sequence (or in the Viewer) and has an individual meter with a scale from +12 dBFS to –∞ dBFS (silence). A track audio meter shows the levels of the current audio clip item in a track. Use these meters to make sure the average level of each clip is consistent with similar audio material and that peaks are not above 0 dBFS.
I Master Area Using the controls in the Master area, you can mute, downmix, and adjust the audio levels of all audio tracks at once. The controls in the Master area cannot be automated, but the current state of all controls in the Master area is stored in each clip in your project. To show or hide the Master area: m Click the disclosure triangle in the upper-right corner of the Audio Mixer tab.
 Master fader: A Master fader controls the level of an output bus or hardware output after the individual track faders are applied. It has no effect on the audio level overlays of clips in your sequence. Unlike individual track faders, the Master fader cannot be automated. The Master fader affects output levels during playback, output to tape, or export to a movie file.
I View Buttons The View buttons allow you to organize the Audio Mixer into different subsets (or “banks”) of visible track strips. For example, you might choose to create two separate views to mix your sequence—one for viewing only music tracks and another for viewing dialogue tracks. This is especially useful when mixing a sequence that has more audio tracks than will fit in the Audio Mixer tab at once. Each sequence in a project stores four views.
To add keyframes whenever you move an audio fader or panning slider, do one of the following: m Select the Record Audio Keyframes button in the button bar at the top of the Audio Mixer (in the Tool Bench window). m Select the Record Audio Keyframes checkbox in the Editing tab of the User Preferences window. m Press Command-Shift-K. The Record Audio Keyframes button and the checkbox in User Preferences are the same control; they are just located in two different places for convenience.
I When you first open the Audio Mixer, the default view is View 1, showing all audio tracks in your sequence. Any tracks you show or hide using the Track Visibility controls while the View 1 button is selected are remembered as View 1. View 1 showing only the first four audio track strips If you click the View 2 button and then show or hide audio track strips, that altered layout is remembered as View 2.
Organizing track strips this way is especially helpful if you organize your audio tracks according to their content. For example, you could set up View 1 to display only the track strips for audio tracks in your program containing dialogue clips. View 2 could then show only the track strips for audio tracks containing music clips, View 3 could show track strips for tracks containing sound effects, and View 4 could show track strips for tracks containing ambience clips.
5 Using the Audio Mixer 5 You can use the faders and sliders in the Audio Mixer to quickly set audio levels and pan for clips, or you can record keyframes to create mixer automation over time. This chapter covers the following: Â Making Basic Audio Adjustments with the Audio Mixer (p. 81) Â Making Stereo Pan Adjustments with the Audio Mixer (p. 89) Â About Mixer Automation and Keyframe Recording (p. 91) Â Using a Control Surface with the Audio Mixer (p.
When Audio Mixer Controls Aren’t Available There are several instances when the controls of a given track’s track strip aren’t available. Â If there is no clip on that track at the position of the playhead: The fader on that track’s track strip is set to indicate that there is complete silence at the gap in the track. It is not possible to adjust a given track’s fader if there is no clip at the current position of the playhead.
I To mute one or more tracks, do one of the following: m In the Audio Mixer, click the mute button in the track strip for the track you want to silence. Mute button in the Audio Mixer m In the Timeline, click the Audio Controls button to display the mute and solo buttons for each track, then click the mute button on the audio track you want to silence.
Using the Solo Button to Listen to Individual Tracks If your sequence contains several audio tracks and you want to listen to a track in isolation, you can temporarily solo only that track. When you select a track’s solo button, all other tracks are automatically muted. However, if other tracks’ solo buttons are selected, these tracks still remain soloed.
I Using Faders to Adjust Audio Levels Final Cut Pro stores audio level information in clips, not in tracks. When you adjust faders in the Audio Mixer, you affect only the clips currently beneath the playhead. This is the same as adjusting a clip’s audio level directly in the Timeline or Viewer. Changes made to faders in the Audio Mixer... ...affect only the audio clip items below the playhead in the Timeline.
Adjusting Levels in Mono Versus Stereo Clips Track faders in the Audio Mixer control each audio clip independently unless two clips are a stereo pair. Â Mono or linked mono clips: Track faders can be adjusted independently. For example, if you’ve captured a clip that has two actors whose dialogue was recorded independently, one on the left channel and one on the right channel, you can control their levels separately. Â Stereo pair clips: The faders of both audio tracks are locked together and move as one.
I While you move the fader, the audio level field indicates the numeric value of the current level. Once you release the fader, the audio clip’s audio level overlay in the Timeline changes to reflect the change you’ve made. Adjust the fader for the clip. Audio level field The audio level overlay in the Timeline changes to reflect the change you’ve made. To reset a fader to 0 dB, do one of the following: m Control-click the fader, then choose Reset from the Shortcut menu.
To change the audio level of a clip numerically: 1 Make sure the clip doesn’t have any audio level keyframes already applied. 2 Make sure that the Record Audio Keyframes button in the button bar at the top of the Audio Mixer is not selected. 3 In the Timeline, position the playhead so that it’s directly over the clip whose audio level you want to change. 4 In the Audio Mixer, enter a new value in the audio level field below the fader you want to modify, then press Return.
I Making Stereo Pan Adjustments with the Audio Mixer You can control the stereo pan of clip items within audio tracks by using the panning sliders in the Audio Mixer. Like adjustments made using audio faders, adjustments made using a track’s panning slider affect only the clip that appears at the position of the playhead, and these adjustments can be automated. For more information on creating pan automation, see “About Mixer Automation and Keyframe Recording” on page 91.
How Audio Outputs Affect Panning Sliders Panning sliders can behave in three different ways, depending on the clip item linking and the type of audio output assigned to a track. For more information about audio outputs, see “Audio Signal Flow in Final Cut Pro” on page 33. Â Mono or stereo clip item and mono audio output: Any track assigned to a mono audio output has its panning slider disabled.
I Changing a Clip’s Pan You can change the pan of both stereo and mono clip items in the Audio Mixer. When you adjust a stereo clip item’s pan, the other clip item in the pair is adjusted by an equal and opposite amount. Mono clip items’ pan is adjusted independently. To change the pan of an entire clip: 1 Make sure the clip doesn’t have any pan keyframes already applied. 2 Make sure that the Record Audio Keyframes button in the button bar at the top of the Audio Mixer is not selected.
There are several ways to add audio level keyframes to your clip items and modify them in the Timeline or Viewer. You can:  Manually add keyframes with the Pen tool  Select the Record Audio Keyframes button in the Audio Mixer button bar, and then do one of the following:  Use the controls in the Audio Mixer to record fader and panning slider adjustments in real time.  Use a supported control surface with physical faders and pan controls.
I Recording Audio Level and Pan Keyframes As long as the Record Audio Keyframes button at the top of the Audio Mixer is selected, audio level and pan keyframes are recorded whenever a fader or panning slider is adjusted. Keyframes can be recorded both during playback and when playback is paused. During playback, keyframe recording begins when you position the pointer on a fader or panning slider and press the mouse button, and recording continues until you release the mouse button.
Because each clip has its own independent audio levels, to use the Audio Mixer to set the levels for the entire group, you need to keep the mouse button held down continuously to record keyframes as you play back all six clips. If you stop halfway through clip 4, the audio level overlays for these clips look like this: This is because no fader movement was detected in either clip 5 or 6, so the levels were not adjusted for these clips.
I It’s a good idea to start a few seconds before the section you’ll actually be mixing, to give yourself time to get ready. 3 Begin playback of your sequence. 4 As your sequence plays, position the pointer over the fader or panning slider in the relevant track strip, then press and hold down the mouse button to begin automation recording for clips playing back in that track. Place the pointer over the fader slider to start automation recording.
7 If there are any other Audio Mixer controls you want to adjust at this time, repeat steps 4 through 6. 8 When you’ve finished making adjustments, stop playback. After you finish recording automation for a track, you can move the playhead back to the beginning to record keyframes for additional tracks. This way, you can create your audio mix one track at a time, adding keyframes for each track until you’ve set levels for all the clips in your sequence.
I 3 Choose View > Loop Playback to enable looped playback. 4 To begin looped playback, choose Mark > Play > In to Out (or press Shift-\). 5 Position the pointer over any fader or panning slider you want to adjust, then press and hold down the mouse button to begin recording keyframes. 6 Hold down the mouse button to continue recording mixer automation, and move the control you’ve selected to adjust the clip’s audio or pan levels in real time while playback continues.
 If there were keyframes in the clip prior to recording keyframes: The audio level or pan values are interpolated from the level of the last recorded keyframe to the level of the next keyframe. Playback stopped here. Modifying Recorded Keyframes After you’ve recorded keyframes for a series of clips on a particular track, there are two ways you can make modifications to the levels you’ve set with the Audio Mixer: by using the Audio Mixer or by modifying keyframes in the Viewer or Timeline.
I During playback, every fader and panning slider in the Audio Mixer animates, displaying the current levels in your sequence. At any time during playback, you can adjust a fader or panning slider to begin recording new automation or modifying existing automation. This helps you to maintain a smooth transition from any previously recorded levels to the new levels you’re setting. Modifying Keyframes in the Timeline and Viewer You can also make changes to the audio level and pan keyframes in the Timeline.
2 In the Remove Attributes dialog, click Levels or Pan to delete keyframes from those overlays. Select one or both of these checkboxes to delete keyframes from overlays. 3 When you’ve finished, click OK. All audio level and pan keyframes are removed from the selected clip, and the audio level is reset to 0 dB. Using a Control Surface with the Audio Mixer A control surface is a hardware device with faders, knobs, and buttons that can control the Final Cut Pro Audio Mixer.
I Choosing an External MIDI Interface There are a wide variety of MIDI interfaces available. When you select a MIDI interface, consider the following: Â You need a MIDI interface that is compatible with Mac OS X. Â Most interfaces connect to your computer via the USB port, although some PCI and FireWire audio interfaces include MIDI ports. Â You should purchase a MIDI interface that supports the number of control surfaces you need, plus any additional MIDI equipment you may want to connect to your computer.
Configuring Final Cut Pro to Work with a Control Surface Once a control surface is connected to your MIDI interface, you need to establish communication between the control surface and Final Cut Pro. You set up control surfaces in Final Cut Pro in the Control Surface Configuration dialog. Control surface arrangement area Add and Delete buttons Shift Order Left and Right buttons Summary area  Control surface arrangement area: This area displays icons of the currently assigned control surfaces.
I To configure a control surface: 1 Choose Tools > Control Surfaces. The Control Surface Configuration dialog appears. 2 If there is not already a control surface icon in the control surface arrangement area, click the Add (+) button (or press Command-+). A dialog appears with configuration settings.
How Audio Mixer Tracks Correspond to Control Surface Faders The track number assigned to a physical fader corresponds to the track strips visible in the Audio Mixer. For example, if only tracks A1 and A8 are visible in the Audio Mixer, they correspond to the first and second faders on your control surface. For more information about showing and hiding track strips in the Audio Mixer, see “Track Visibility Area” on page 71.
I The control surface faders are renumbered according to their new order in the control surface arrangement area. Tracks 1–8 Tracks 9–16 Working with Fader Banks If your Final Cut Pro sequence has more tracks than your control surface has faders, you can still control the remaining faders by using another fader bank on the control surface. Fader banks allow you to multiply the number of tracks your control surface can control by temporarily assigning the physical faders to higher-numbered tracks.
Controlling the Audio Mixer with a Control Surface After you have connected a control surface and configured Final Cut Pro to work with it, you can use it to remotely control the faders, panning sliders, and buttons in the Audio Mixer, providing you control over multiple tracks simultaneously, as well as more fluid, tactile control over your audio mix. For more information about setting up a control surface, see “Connecting a Control Surface” on page 100.
I Adjusting pan, solo, and mute controls in the Audio Mixer also updates the control surface, and vice versa. If your sequence has more tracks than your control surface, you can switch to the next fader bank to control additional tracks. For more information about fader banks, see “Working with Fader Banks” on page 105. Using Control Surface Transport Controls You can remotely control playback in Final Cut Pro using the transport controls on your control surface.
Recording Audio Mixer Keyframes Using a Control Surface Recording audio mixer automation with a control surface is identical to recording keyframes by adjusting faders in the Audio Mixer. The only difference is that you can control multiple faders and pan knobs simultaneously with a control surface, whereas adjusting faders with the mouse allows you to control only one fader at a time. Using a control surface lets you perform more nuanced mixes, adjusting multiple tracks at once.
I You can even adjust a fader to a new position while it is moving. For example, if a fader on the control surface is slowly moving down from a 0 dB keyframe to a –60 dB keyframe, you can move the motorized fader up to +12 dB, thereby creating new keyframes. When you release the fader, it returns to its trajectory moving toward the –60 dB keyframe.
6 Mixing Audio in the Timeline and Viewer 6 You can control audio levels and pan in the Timeline and the Viewer as well as the Audio Mixer. You can make adjustments to multiple clips at once, as well as add keyframes to automate mixing levels over time. This chapter covers the following: Â Adjusting Audio Levels in the Timeline and Viewer (p. 111) Â Panning Audio in the Timeline and Viewer (p. 118) Â Adjusting Clip Audio Levels and Pan Using Keyframes (p.
To display clip overlays in the Timeline: 1 Open a sequence in the Timeline, then choose Sequence > Settings. 2 Click the Timeline Options tab, then select the Show Keyframe Overlays checkbox. You can also select the Clip Overlays control in the Timeline. To display audio waveforms in the Timeline: 1 Open a sequence in the Timeline, then choose Sequence > Settings. 2 Click the Timeline Options tab, then select the Show Audio Waveforms checkbox.
I To add a keyframe to the audio level overlay of a clip in the Timeline: 1 Do one of the following: Â Select the Pen tool in the Tool palette (or press the P key). Â If you’re using the Selection tool, press and hold down the Option key. 2 Move the Pen tool to the point in your sequence where you want to set a keyframe, then click the overlay to set the keyframe. The keyframe appears as a small diamond at the point where you clicked.
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 were dragging the entire overlay. To delete audio level keyframes in the Timeline, do one of the following: m Control-click the keyframe you want to delete, then choose Clear from the shortcut menu. m Select the Delete Point tool in the Tool palette (or press the P key twice). Place the Delete Point tool on the keyframe you want to delete, then click to delete the keyframe.
I Changing Audio Levels While a Sequence Is Playing You can use keyboard shortcuts to change the audio levels of clips in a sequence while it’s playing. Your changes affect the clip on the lowest-numbered audio track whose Auto Select control is enabled. The level of the clip at the current playhead position is adjusted. Use the following shortcuts: Â Press Control-+ (plus sign) to raise the level by 1 dB. Â Press Control- – (minus sign) to lower the level by 1 dB.
How these controls affect the level of your clip depends on whether or not you’ve set keyframes for either audio level or pan. Â If no keyframes are set: Moving the sliders or entering a numeric value changes the audio or stereo levels for the entire clip. Similarly, dragging one of the overlays changes the audio level or pan setting for the entire clip.
I To adjust the audio level using the Level slider: m Drag the Level slider to the left or right. To adjust the audio level by entering a numeric value: 1 Enter a value in the Level field. To enter a negative value, type – (minus sign) and the number. Enter a new value in this field. 2 Press the Return key to apply this value to your clip.
To adjust the audio level by using the Modify menu: 1 Select one or more clips in the Timeline, or place the Canvas or Timeline playhead over the clip whose audio level you want to modify. 2 Choose Modify > Audio, then choose one of the Gain items from the submenu to indicate how much you want to modify the level. The audio level of your clip is increased or decreased from its current value by the increment you choose. If you selected multiple clips, all clips are modified relative to their current values.
I Changing the Pan of Audio in the Viewer To adjust the stereo placement of your sound, you can change the pan of your audio clips. The Pan slider is actually one control with two modes. What the control does depends on what kind of audio you’ve opened in the Viewer: Â If the audio clip in the Viewer is a stereo pair: This slider lets you swap the left and right channels.
Changing Pan for an Entire Clip When you edit a new clip into a sequence, the default stereo value depends on what kind of audio clip it is. Â If it’s a mono clip: Its stereo pan is centered, with a value of 0 by default. You can change this level to whatever you like, from –1 to +1. Â If it’s a stereo pair: The pan value defaults to –1, sending the left audio track to the left channel and the right audio track to the right channel. You can use three controls to adjust the pan of a clip.
I To adjust pan by dragging the pan overlay: 1 In the waveform display area of the Viewer, place the pointer over the pan overlay of your clip (the overlay looks like a purple line, or—for stereo items—two purple lines). The pointer turns into an Adjust Line Segment pointer. 2 Drag the overlay up or down to change the pan of your clip. As you drag, a box displays the new pan value.
Adjusting Clip Audio Levels and Pan Using Keyframes Instead of setting the audio level or pan of an entire clip to the same level throughout a clip, you can mix your levels and stereo placement dynamically, raising and lowering the audio level or changing the stereo pan of a clip numerous times within the same clip. To do this, you use keyframes. Keyframes can be used throughout Final Cut Pro with any feature whose parameters can be changed over time.
I Using the Option Key to Temporarily Enable Pen Tools When using the Selection tool, holding down the Option key and moving the pointer over the audio level overlay in the Timeline makes the Pen tool the active tool. This is a fast and easy way to create keyframes to adjust your levels. Holding down the Option key and moving the pointer to an existing keyframe temporarily enables the Delete Point tool, so that you can quickly delete keyframes you don’t want.
 Pan Keyframe button: This button, to the right of the Pan slider, places a pan keyframe at the current playhead location on the pan overlay. These keyframe markers can be used in preparation for dynamically panning an audio clip’s output from one stereo channel to another.  Pan keyframe navigation buttons: These buttons, to the left and right of the Pan Keyframe button, allow you to move the playhead forward or backward from one keyframe on the pan overlay to the next.
I To set additional keyframes: 1 Move the playhead to another point in the clip where you want to set a keyframe. 2 Do one of the following: Â Drag the Level or Pan slider to set a new keyframe at that level or value. Â Type a number in the appropriate field to set a new keyframe at that level or value. Â Click a keyframe button to add a keyframe to the audio level or pan overlay at the overlay’s current level.
To adjust a section of an overlay in the middle of four keyframes: m Move the pointer over the section you want to adjust. When the pointer turns into the Adjust Line Segment pointer, drag the section up or down to modify it. The rest of the overlay before and after the four keyframes remains untouched. Adjust Line Segment pointer To move a keyframe forward or backward in time: m Place the pointer over the keyframe you want to modify.
I To delete a keyframe, do one of the following: m Move the playhead to the position of the keyframe you want to delete, then click the Level or Pan Keyframe button to delete the keyframe. m Place the pointer over the keyframe you want to delete. When it becomes a crosshair pointer, drag the keyframe up or down out of the waveform display area. When the pointer turns into a small trash can, release the mouse button. Release the mouse button when the pointer becomes a trash can.
Example: Using Keyframes to Adjust Audio Levels You need at least two keyframes to make any dynamic change from one audio level to another in a clip. In the example above, the section of the clip to the left of the keyframes has a level of –30 dB, and the rest of the clip to the right of the keyframes has a level of 0 dB. This is the simplest type of level change you can make.
I Example: Using Keyframes in the Timeline to Automate Audio Levels Suppose you’ve edited a music clip and a clip with voice narration together in your sequence. There are long pauses between the narrator’s lines, during which you want the music to be the dominant audio track. So you set the overall level of your music to –4 dB, because that’s the level at which the audio sounds best between the narrator’s lines.
Then, releasing the Option key, you can drag the area in the middle of each group of four keyframes down, to lower the level of the music while the narrator speaks. Lowered level Finally, you’ll want to move the outside pair of each group of four keyframes outward a bit, so the volume of the music doesn’t change too abruptly and startle the audience. Less steep slopes between keyframes result in more gradual fades from one audio level to the next. Adjust the slope of the level change.
I To set and adjust subframe audio level keyframes: 1 Open the clip in the Viewer and click the Audio tab. 2 Move the playhead to the edit point that’s causing the click by pressing Shift-I or Shift-O, or by using the Up and Down Arrow keys to move from one sequence edit point to the next. 3 Zoom in to the clip as far as possible. When you’ve zoomed in all the way, the playhead in the Viewer is the width of one video frame.
5 Click the Level Keyframe button and reposition the playhead to place two keyframes at the beginning of the click and two keyframes at the end of the click. The two inner keyframes surround the problem samples, while the two outer keyframes are placed a few hundredths of a frame outside of these. The problem samples 6 Drag the part of the audio level overlay between the two inner keyframes down until the box indicates –60 dB. The overlay looks something like this.
I Example: Using Keyframes to Control Pan Setting keyframes to change pan dynamically works the same way as it does with levels. You need to set at least two keyframes to effect a change over time. Changing pan over time is often done to achieve stereo effects such as making a car sound zoom from left to right, or putting a particular sound effect on one side or the other of a stereo image.
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 playhead to a position after the car sound effect has finished playing.
I 5 Drag the Pan slider all the way to the right, so that the sound ends playing out of the right speaker. Because you’ve already set a keyframe for this clip, dragging the Pan slider at another point in the clip automatically produces a new keyframe. When you play back the clip, you’ll hear the car sound move from left to right.
7 Using the Voice Over Tool 7 The Voice Over tool lets you record a single audio track directly into a sequence while you watch it. You can use the Voice Over tool to record narration, Foley effects, or any other single-channel audio source. This chapter covers the following: Â About the Voice Over Tool (p. 137) Â Setting Up Your Computer to Record Voiceover (p. 137) Â Controls in the Voice Over Tool (p. 141) Â Defining the Recording Duration and Destination Track (p. 145) Â Recording a Voiceover (p.
About Microphones and Room Noise The quality of your sound recording is dependent on the quality of the microphone and preamplifier used. A microphone converts (or transduces) sound to electricity, and the preamplifier (or preamp) boosts the tiny microphone level to line level for recording. Condenser microphones are much more sensitive than dynamic microphones and are usually best for voice recordings. Condenser microphones require power to operate, whereas dynamic microphones do not.
I Important: If you select a DV camcorder as your recording device and External Video is enabled in the View menu, a message appears saying that you cannot record using DV audio. Before you can record, choose View > External Video > Off. Step 2: Connect a microphone to a microphone preamplifier, and connect the preamplifier to your audio interface Some audio interfaces have microphone preamplifiers built in. For more information, see the documentation that came with the audio interface.
To determine the offset of your audio recording device: 1 In the Timeline, set the In point of your sequence at 10 seconds, then set the Out point at 20 seconds. 2 Hold the microphone that’s connected to your audio recording device to the speaker of your computer. 3 Choose Tools > Voice Over, then click the Record button. (What you’re doing is recording the audio cue beeps that your computer plays back.) Recording stops automatically and this new audio clip is placed in the Timeline.
I RAM Requirements When Using the Voice Over Tool The Voice Over tool stores audio in RAM during recording and then writes the audio data to the currently specified scratch disk. Make sure your system has enough RAM to accommodate the duration of your recording. The following chart shows some sample lengths for audio clips created with the Voice Over tool and the amount of additional memory required.
Playback and Recording Controls and Status Area  Record/Stop: Click this button to begin the audio recording and Timeline playback. While you’re recording, the button functions as a Stop button. Recording can also be stopped by pressing the Escape key. If recording is stopped, the partial audio clip that was recorded is saved to disk and placed in the Timeline.
I Audio File Area  Target: This line displays the sequence name and track number where audio recorded with the Voice Over tool will be placed. As subsequent takes are recorded, the audio destination track automatically moves down to the next available track.  Name: This text field displays the name that will be used for the recorded media file on disk. To change the audio clip name, click in this field, then enter the desired name.
 Input: If the audio input device you’re using has multiple inputs, this pop-up menu lets you choose which one you use to record. If there are multiple audio devices you can use, Final Cut Pro remembers the input you choose for each device, if you change devices.  Rate: This pop-up menu lets you choose an audio sample rate supported by the audio device selected to record your voiceover clips. It’s best to use the same audio sample rate used in your sequence.
I Defining the Recording Duration and Destination Track Before using the Voice Over tool, you need to specify the duration you’re recording and the destination audio track (where clips recorded with the Voice Over tool will be placed in your sequence). Setting the Recording Duration You can define the recording duration by setting In and Out points or positioning the playhead: Â If both In and Out points are set in the Timeline: They define the duration of the recording. (This is the easiest method.
 If no Out point is set: The end of the sequence is used, defined by the end of the last clip in the Timeline. If Final Cut Pro doesn’t have enough available memory to record the duration specified, a message appears when you click the Record button in the Voice Over tab, prompting you to set a shorter recording duration. Important: Depending on the duration specified, the sync of audio recorded using the Voice Over tool may drift slightly, relative to your sequence’s other audio clips.
I Defining the Destination Track Audio that you record using the Voice Over tool is placed in the audio track connected to the audio channel 2 (a2) Source control. The following example shows a sequence with one video track and three audio tracks. A video montage is edited onto track V1, with accompanying music edited onto tracks A1 and A2. To record on track A3, you need to connect the a2 Source control to the track A3 Destination control.
In the next example, all three audio tracks already have audio edited onto them, and the a2 Source control is connected to track A3. After using the Voice Over tool, a new track A4 is created, and the new audio clip is placed there. Before After The newly recorded audio clip If another audio clip is already present in the audio track below the track connected to the a2 Source control, a new audio track is inserted below this track.
I In the example below, tracks V1, A1, and A2 contain the video and audio for an interview clip. Tracks A3 and A4 contain a stereo music clip. Suppose you connect the a2 Source control to track A2. After using the Voice Over tool, a new audio clip is created and placed on track A3, and the music clip is moved to tracks A4 and A5.
To record a voiceover (or any other single-channel audio source): 1 Choose Tools > Voice Over. In the Voice Over tab, the status area is green and displays “Ready to Record.” 2 Click the Record button in the Voice Over tab. Once you do this, several things happen before your clip is placed in the Timeline. Â Any audio within the defined duration of your sequence that requires rendering is rendered.
I Recording Multiple Takes Each time you record a clip using the Voice Over tool, the a2 destination track automatically moves down one track. You can record multiple takes, one after the other, with the same specified duration in the Timeline. These new audio clips are placed beneath the one previously recorded. Recording multiple takes this way results in a stack of alternate takes, lined up at the same In point of the sequence.
How Audio Recorded with the Voice Over Tool Appears in Your Sequence Audio is recorded during the pre- and post-roll period each time you use the Voice Over tool, giving you extra audio for trimming at the head and tail. Each clip has a 5second handle at the head and a 2-second handle at the end. By definition, handles do not appear in the sequence clip, but they are visible if you open the clip in the Viewer.
8 Using Audio Filters 8 Audio filters are used for a variety of purposes, from audio cleanup to special effects. Filter parameters can be copied, pasted, automated, and adjusted in real time. This chapter covers the following: Â About Audio Filters (p. 153) Â Overview of Audio Filters (p. 154) Â Working with Audio Filters (p. 162) Â Installing Third-Party Audio Units Filters (p.
Overview of Audio Filters Filters in Final Cut Pro are always nondestructive, meaning they are applied to clips but not to the media files themselves. You can disable or remove filters at any time, so you can experiment without worrying about altering your media.
I Frequency Ranges and Equalization The entire range of human hearing, from 20 Hz to 20,000 Hz, can be broken into a spectrum of frequency bands: low, midrange, and high. Note: Different devices define these ranges differently; the following ranges are approximate. Low (20–250 Hz) Audible bass frequencies start around 20 Hz, though many speakers cannot reproduce frequencies this low.
Equalization Filters Available in Final Cut Pro The following equalization filters are included with Final Cut Pro:  3 Band Equalizer  Band Pass Filter  DC Notch  High Pass Filter  High Shelf Filter  Low Pass Filter  Low Shelf Filter  Notch Filter  Parametric Equalizer Using Equalization Filters in Final Cut Pro All of the Final Cut Pro EQ filters use a combination of three controls.
I Gain Filter Unlike other audio filters in Final Cut Pro, the Gain filter is applied automatically to selected clips when you use the Apply Normalization Gain command. Audio normalization amplifies an audio clip based on its peak (or loudest) value. For more information about how to use audio normalization, see “Raising Audio Levels Using Audio Normalization and Gain” on page 65. The Gain filter has a single parameter (also called Gain) measured in decibel (dB) units.
The Compressor/Limiter filter has five controls: Â Threshold: This parameter defines how loud the signal must be before the compressor is applied. This is the most important setting you need to adjust. Â Ratio: This slider determines how much compression is applied. Don’t overdo the compression; a little goes a long way. Too much compression can reduce the dynamic range to a flat, unvarying signal.
I Unlike a compressor, which affects the loud parts of a signal, expansion affects the quiet parts of the signal: Â Threshold: This slider defines how low the lowest portion of the clip can be before expansion is applied. This is the first setting you’ll adjust. Â Ratio: This slider affects how much expansion is applied to boost the signal. Â Attack Time: This slider defines how quickly the filter reacts to changes in audio level (the default is usually fine, but you may want to experiment).
 Gain: This slider lets you set how much of the signal you’re attenuating. By default, it’s set to the maximum value of –60 dB.  Harmonics: These options allow you to attenuate additional frequencies that may be introduced into your signal as a result of the primary cycle hum. These frequencies are automatically derived by the filter, and you can specify up to five.
I Both Echo and Reverberation filter settings are described below: Â Effect Mix: This slider determines how much of the “dry,” or original, sound from the audio clip is mixed with the affected audio. By keyframing this parameter over time, you can make it sound as if someone were walking from far away in a room (where there would be more reverberation) toward the microphone (where there would be less reverberation the closer they came).
Working with Audio Filters Filters can be added to any audio clip in a project. You can add filters individually or in groups. When you add filters to a clip, they appear in the Filters tab of the Viewer when that clip is opened in the Viewer. How they appear depends on whether the audio clip in the Viewer is a stereo pair: Â If the audio clip in the Viewer is a stereo pair: Every filter you add is applied to both channels equally, and only one set of controls appears.
I All filters have several controls in common: Enable/Disable checkbox and name of filter Parameter pop-up menu Parameter disclosure triangle Reset button  Parameter disclosure triangle: This allows you to show or hide a filter’s parameters.  Enable/Disable checkbox: This allows you to enable or disable filters without removing them from the clip. You can use it to disable filters temporarily to preview a different filter.
Applying Filters to an Audio Clip Applying audio filters to clips in Final Cut Pro is easy. To apply an audio filter to a clip in a sequence, do one of the following: m Drag an audio filter from the Effects tab in the Browser to a clip in a sequence in the Timeline. If you drag the audio filter to a video clip, the filter is applied to any audio items linked to that clip. Drag a filter from the Browser... ...to the Timeline.
I To apply multiple filters to a clip in a sequence, do one of the following: m Continue to apply more filters to the clip, one at a time, using any of the methods described previously. m Shift-click or Command-click to select multiple filters in the Effects tab of the Browser, then drag them all to one or more selected clips in a sequence in the Timeline. Filters are applied to clips in the order they appear in the Effects tab. Select several filters in the Browser... ...then drag them to the Timeline.
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 Copy the clip. 3 Select one or more clips in the Timeline to apply the filter to. 4 Choose Edit > Paste Attributes (or press Option-V). 5 In the Paste Attributes dialog, select these options: Â Scale Attribute Times: Shrinks or stretches the keyframes of your copied clip attributes to fit the duration of longer clips you may paste them into.
I Displaying Filter Keyframes in the Timeline Once a filter has been applied to an audio clip in a sequence, you can use the Clip Keyframes control in the Timeline to show a keyframe graph area below each audio and video track in the Timeline to view audio filters that have been applied to your clips. To view the keyframe graph area: m Select the Clip Keyframes control in the lower-left corner of the Timeline.
 Speed indicators: Speed indicators show you the speed of clips in your sequence using tick marks. The spacing and color of these tick marks indicate the speed and playback direction of your clips. For more information about viewing speed indicators while making speed changes to clips in a sequence, see “Learning to Read Timeline Speed Indicators” on page 350. The keyframe graph area for audio tracks in the Timeline can be customized separately from the keyframe graph area for video tracks.
I In addition to adjusting individual settings for each filter, you can also enable and disable the filters without removing them from your clip, rearrange their order to modify their effects, and remove them from your clips. To enable or disable a filter: m Select or deselect the checkbox by the filter name in the Filters tab. If you deselect the checkbox, the filter is disabled but not removed from the clip.
Looping Playback While Making Real-Time Filter Adjustments Ordinarily, playing back your sequence clip in the Viewer plays back your entire clip, from the starting position of the playhead forward. If you instead want to loop a limited section of your clip as you adjust a filter’s parameters, you can enable Looped Playback, set In and Out points to determine how much of your clip plays back, and use the Play In to Out command to loop playback.
I To record audio filter automation: 1 Choose Tools > Audio Mixer (or press Option-6). 2 Select the Record Audio Keyframes button at the top of the Audio Mixer. ∏ Tip: You can select or deselect the Record Audio Keyframes button during playback, if necessary. 3 With your clip opened in the Viewer, move the playhead to the place in the keyframe graph area in the Filters tab where you want to record audio filter automation.
Automating Audio Filter Parameters with Keyframes You can add keyframes for any audio filter parameter, just as you can with video filter parameters. Unlike with video filter parameters, you can add keyframes to an audio filter parameter during playback as long as the Record Audio Keyframes button is selected in the Audio Mixer. Keyframe Controls in the Filters Tab of the Viewer To the right of each control is a set of keyframe controls.
I m With the Option key held down, position the pointer over the keyframe graph line for a parameter. When the pointer turns into a Pen tool, click to add a keyframe to the keyframe graph line at that point. The Pen tool lets you add a keyframe. The keyframe appears as a small diamond on top of the keyframe graph line. To set additional keyframes for a parameter while playback is paused: 1 Move the playhead to another point in the Filters tab’s keyframe graph area where you want to set a keyframe.
4 When you’ve finished making a particular adjustment, release the mouse button to insert an additional keyframe at the position of the playhead. The sequence continues to play. 5 If there are any other audio filter parameters you want to adjust at this time, repeat steps 1 through 4. 6 When you’ve finished making adjustments, stop playback.
I To delete a keyframe, do one of the following: m Move the playhead to the keyframe you want to delete, then click that parameter’s keyframe button to remove the keyframe. m Move the pointer over the keyframe you want to delete. When the pointer becomes a crosshair pointer, drag the keyframe up or down out of the keyframe graph area. When the pointer turns into a small trash can, release the mouse button.
Saving a Filter or Transition as a Favorite If you’ve set up a filter with parameters that you know you’ll want to use again in the future, you can save that filter as a favorite for easy access. To make a filter a favorite, do one of the following: m In the Timeline, select the clip that has the filter applied, then choose Effects > Make Favorite Effect (or press Option-F). m Drag the filter you want to save from the Filters tab in the Viewer to the Favorites bin in the Effects tab in the Browser.
9 Tips for Better Audio 9 Read through the sections in this chapter for tips on cutting dialogue, cutting music, and keeping your tracks organized. This chapter covers the following: Â Learning to Describe Sound Accurately (p. 177) Â Efficiently Using the Frequency Spectrum (p. 177) Â Tips for Cutting Dialogue (p. 178) Â Tips for Cutting Music (p.
You can use equalizers to shape sound, making “holes” in the used frequency spectrum in which you can then place other sounds. For example, if you are trying to make dialogue in the 1–3 kHz range more audible over existing background sound, you could try filtering the background sound to reduce the 1–3 kHz range instead of reducing the level of the entire track. Equalization allows you to reduce the level of sounds only at selected frequencies, making the mix clearer in that part of the spectrum.
I If someone mumbles a single word, salvage the rest of the take. If someone messes up part or all of a word, either by mumbling or swallowing part of it, you can sometimes take part or all of another instance of that word, or of another word that has the sound you need, and use it to replace part or all of the misspoken word.
Change the pace of off-camera dialogue. As long as the speaker is off camera, you can make other dialogue changes as well. For example, you can easily change the pacing of what’s being said, making the sentence sound more or less dramatic. The key is to have footage you can cut away to that will seem plausible. An audience shot or another actor listening are two examples of plausible cutaway shots. Remember, if you create any gaps as a result of editing your audio, fill them in with room tone.
I Edit in sound to handle a loud background noise at an edit point. If you’re cutting from one clip to another, but there’s a loud sound right at the edit point, such as a car or a plane passing, you can edit in sound to mask the cut.
Checkerboard the audio segments you’re using to create better cross fading. Instead of using cross fades to transition between two edited clips from the same music track, edit them together across multiple tracks in your sequence: Instead of placing audio tracks like this... ...do this. Now you can use the audio level overlay to create cross fades that are as long as you need, creating the shape that will make the transition from one clip to the next least noticeable.
10 Exporting Audio for Mixing in Other Applications 10 If you plan to send your audio to an audio post-production facility for finishing, you can export audio tracks to standard audio formats such as AIFF or OMF. This chapter covers the following: Â Ways You Can Finish Your Audio (p. 183) Â Organizing Your Audio Clips for Multitrack Export (p. 184) Â Exporting Audio Tracks to Individual Audio Files (p. 185) Â Exporting Audio Output Groups to AIFF Files (p.
If you decide to use an outside facility, make sure that you leave the audio in your edited sequence alone, other than editing the audio clips you want for continuity and catching any obvious editorial fixes, such as mispronounced words. Don’t add any filters and don’t overedit your audio (that’s the audio editor’s job). You’ll export your edited audio tracks so that the editors at the audio facility can import the audio into their system for further work.
I You might put one actor’s voice on track A1, and another actor’s voice on track A2. Narration recorded with the Voice Over tool might go on track A3. Background ambience clips such as wind and rain might go on tracks A4 and A5. Sound effects could go on tracks A6, A7, and A8. Finally, four tracks for overlapping stereo music clips would be dedicated to tracks A9, A10, A11, and A12.
Before following the steps below, make a duplicate of your sequence and use that duplicate for the export process. This leaves your original edited sequence untouched. Individual audio clips in a typical sequence Individual audio clips have been consolidated into single large clips with the duration of the sequence. Preparing to Export Audio Tracks as Audio Files Before you export your sequence’s audio tracks to audio files, you should follow the steps below.
I To create a two-pop (or sync beep): 1 Double-click a sequence in the Browser to open it in the Timeline. If there is no space at the beginning of your sequence, you need to make room for your two-pop. 2 In the Timeline, choose Edit > Select All (or press Command-A), then type “+200.” All of the clip items in your sequence move forward by 2 seconds, making room for the two-pop. 3 Choose a Bars and Tone generator from the Generator pop-up menu in the Viewer.
7 Press Delete to delete the video portion of this clip. Only the audio portion remains as your sync beep. Note: Instead of deleting the video portion of the two-pop, you can also replace it with a more appropriate video generator, such as a circle shape generator. 8 Cut the stereo beep and paste it 2 seconds beyond the beginning and end of each audio track you will export. This shows the sync beep at the beginning of an audio track.
I To remove all audio filters and keyframes in your sequence: 1 Select every audio clip in your sequence by clicking in the Timeline and pressing Command-A. All video clips are selected too, but you don’t need to worry about your video clips because you are only using this sequence to export audio. 2 Control-click one of the selected clips in the Timeline, then choose Remove Attributes from the shortcut menu. 3 In the Remove Attributes dialog, select Levels, Pan, and Filters, then click OK.
6 In the Sound Settings dialog, choose the format, number of channels, sample rate, quality, and sample size (bit depth), then click OK. Choose Linear PCM. Choose Mono. Enter a sample rate or choose one from this pop-up menu. Choose the quality level you want. Choose a bit depth. Important: Avoid audio compression unless you are specifically required to use it for multimedia projects or the web. 7 When you’re ready to export, click Save.
I Note: You can also export your audio to a multichannel QuickTime file. The same audio grouping rules apply. For more information, see Volume IV, Chapter 17, “Exporting QuickTime Movies.” In your sequence, you can assign as many tracks as you want to the same audio output channel. For example, you can assign tracks 1–4 to audio output channel 1 (mono). The resulting exported audio file for output channel 1 would contain a mix of audio from tracks 1–4.
And the sequence would look something like this: Each of the 12 audio tracks can be assigned to one of the three pairs of output channels. More than one track can be assigned to the same output channel, in which case the audio from those tracks is mixed to a single audio file during export. In this situation, using the Export Audio to AIFF(s) option creates three separate stereo AIFF files.
I Preparing to Export Audio to AIFF Files If your edited sequence has only a single pair of audio outputs, the Export Audio to AIFF(s) option will output a single stereo AIFF file (or two mono AIFF files).
4 Choose a sample rate, bit depth, and channel configuration from the pop-up menus. Â Rate: Lower sample rates take less bandwidth but have lower quality. Make sure your sample rate is compatible with the audio facility you’ll be handing the files off to. Usually, you should use the sample rate specified in your sequence settings, which should ideally be the sample rate of the original audio media files. Â 96 kHz: This is a high-resolution sample rate that can be easily converted to 48 kHz. Â 88.
I Exporting Multichannel QuickTime Files The rules for audio grouping are the same when exporting a QuickTime movie as when exporting individual AIFF files: stereo output pairs are exported as a single stereo QuickTime audio track, and each mono output is exported as an individual mono QuickTime audio track. To export your sequence to a multichannel QuickTime movie file: 1 Select a sequence in the Browser or open a sequence in the Timeline. 2 Choose File > Export > QuickTime Movie.
Using OMF for audio export has several important advantages: Â Exported OMF files preserve your audio clips and audio media files (with or without handles) embedded in a single file. This allows you to open up the audio from your sequence in another audio editing application and still have access to individual clips. Â You can export as many tracks of audio as you have in your sequence. EDL export limits you to a maximum of four tracks of audio at a time.
I Exporting Sequence Audio to an OMF File When you need to transfer your sequence audio to another audio post-production application, you can use the Export Audio to OMF command. To export audio from a sequence to an OMF file: 1 Select a sequence in the Browser or open a sequence in the Timeline. 2 In the Timeline, make sure that each audio track you want to export is enabled (the Track Visibility control next to the track is green). Make sure just the audio tracks you want to export are enabled (green).
 Rate: Choose a sample rate that suits what you’re using the audio for. All of the audio you export has the same sample rate. If you use audio with different sample rates, it’s converted.  Depth: Choose 16- or 24-bit. If you choose 24-bit audio, make sure the application you will use to import the OMF file supports 24-bit audio.
I OMF Files Have a 2-Gigabyte Limit OMF files that you create cannot be larger than 2 gigabytes. In most cases, this should not present a problem because 2 gigabytes will accommodate approximately 7 hours of mono audio media (depending on the bit depth and sample rate of your audio). If your sequence exceeds this limit, you will see a warning message before exporting begins.
Copying Audio to Timecoded Tapes for Logging, Capturing, and EDL Export If you captured media files from sources without timecode—such as VHS tape, DAT tapes, reel-to-reel tape recorders, or imported audio CDs—the resulting EDL won’t be useful for recapturing because the EDL does not contain relevant timecode information that refers back to the original sources. The solution is to copy all of your audio without timecode to formats that support timecode.
11 Working with Soundtrack Pro and Logic Pro 11 You can quickly process Final Cut Pro audio clips or mix your entire sequence directly in Soundtrack Pro. You can use Logic Pro to create music scores for your Final Cut Pro projects. This chapter covers the following: Â Using Soundtrack Pro with Final Cut Pro (p. 201) Â Using Logic Pro with Final Cut Pro (p.
Methods for Sending Audio from Final Cut Pro to Soundtrack Pro You can take several approaches to working with your Final Cut Pro project’s audio in Soundtrack Pro. The method you choose depends on your situation: Â Do you need to make specific changes to audio clips in your project? Final Cut Pro allows you to open one or more clips in the Soundtrack Pro File Editor, where you can analyze and process the audio using a variety of powerful tools.
I Sending Clips from Final Cut Pro to the Soundtrack Pro File Editor When you send an audio clip from Final Cut Pro to the Soundtrack Pro File Editor, a Soundtrack Pro audio file project is created with the file extension “.stap.” This file can be edited nondestructively. The Final Cut Pro clip is reconnected to the new Soundtrack Pro audio file project, so the original media file is not affected by what you do in the File Editor.
4 Modify the audio as needed. 5 Choose File > Save to save the project with the changes. A dialog appears allowing you to choose whether the Soundtrack Pro audio file project should include a copy of the original audio media file or simply refer to it. 6 Choose one of the following, then click OK. Â Include Source Audio: This option copies the original audio media file into the Soundtrack Pro audio file project package.
I Processing a Clip’s Media File with a Soundtrack Pro Script When you send a Final Cut Pro clip’s media to a Soundtrack Pro script, the following steps occur for each unique file: Â With your consent, Final Cut Pro generates a Soundtrack Pro audio file project and replaces the clip’s media file with it. Â The audio file project or the clip’s media file opens in the Soundtrack Pro File Editor. Â The script actions are applied to the audio file project or the media file.
Soundtrack Pro opens and each clip is automatically opened, edited, saved, and closed in the File Editor. You can also repeat the last script you used to edit a clip, making it easy to edit several clips with the same set of actions. To edit a clip with the last script used: m Control-click the clip in the Final Cut Pro Browser or Timeline, then choose Send To > Last Soundtrack Pro Script from the shortcut menu.
I To open a Final Cut Pro audio clip’s media file directly in the Soundtrack Pro File Editor: 1 Control-click the audio clip in either the Final Cut Pro Browser or Timeline, then choose Open in Editor from the shortcut menu. The audio clip’s media file opens in the Soundtrack Pro File Editor. 2 In Soundtrack Pro, modify the audio as needed. 3 Choose File > Save to save the file with the changes. The Save dialog appears.
Creating Soundtrack Pro Multitrack Projects from Final Cut Pro Clips or Sequences You can create a Soundtrack Pro multitrack project from a selection of Final Cut Pro clips or an entire sequence. The multitrack project opens automatically in the Soundtrack Pro Timeline and clips appear just as they did in your Final Cut Pro sequence, complete with level and pan settings and cross fades. In Soundtrack Pro, you can arrange your clips, add effects, and create a finished mix.
I 4 Enter a project name or keep the default name, then click Save. A Soundtrack Pro multitrack project file is created with the file extension “.stmp”. Note: This is a small file that refers to the media files used by your Final Cut Pro sequence clips. Make sure those media files are available when the Soundtrack Pro multitrack project opens. If you selected Open in Soundtrack Pro Multitrack Editor, the multitrack project opens in the Soundtrack Pro Timeline. 5 Modify the multitrack project as needed.
4 In the After Export pop-up menu, choose “Send files to Final Cut Pro sequence.” 5 Enter a name for the exported file and click Export. Soundtrack Pro exports mixdown files from the multitrack project and adds them to a Final Cut Pro XML file containing the original sequence. For your convenience, the audio tracks from the original sequence are moved to other tracks and are muted. In Final Cut Pro, the Import XML dialog appears.
I To open a Soundtrack Pro multitrack project from a mixdown clip in Final Cut Pro: 1 In your Final Cut Pro sequence, Control-click the mixdown clip, then choose Open in Editor from the shortcut menu. Note: Make sure that the Open in Editor command is set to open audio files in Soundtrack Pro. For details, see “About the Open in Editor Command” on page 206. A dialog appears with the following options: Â Open Audio File: Opens the mixdown audio file in the Soundtrack Pro File Editor.
About Conforming Manually When manually conforming a sound mix to a new picture cut, a sound editor imports the picture editor’s new audio clips into an existing multitrack project on new tracks. Next, the sound editor has to walk through the new edits one by one, comparing the old placement of clips to the new ones. Clips in the old mix must be adjusted so that they line up with new cuts in the video. Clips may also need to be deleted or added because a shot was cut or added.
I 5 In Final Cut Pro, do one of the following: Â Choose File > Send To > Soundtrack Pro Multitrack Project. Â Control-click the selection and choose Send To > Soundtrack Pro Multitrack Project from the shortcut menu. 6 In the dialog that appears, confirm that the “Save project with latest clip metadata (recommended)” checkbox is selected, then enter a new name for the multitrack project and click Save. 7 When the new multitrack project opens in Soundtrack Pro, choose File > Conform To Project.
Importing Final Cut Pro XML Files into Logic Pro You can export a sequence or group of clips from Final Cut Pro as an XML file and then import the XML file into Logic Pro. To export a Final Cut Pro sequence as an XML file: 1 In the Final Cut Pro Browser, select a sequence to export. 2 Choose File > Export > XML. 3 Choose the XML format to use from the Format pop-up menu, then click OK. The default choice is “Apple XML Interchange Format, version 4.” 4 Name the file, choose its destination, and click Save.
Part II: Effects II Learn how to use the powerful effects capabilities of Final Cut Pro to enhance your project. Add filters, create motion effects, generate titles, composite graphics together, and color correct your footage.
12 Using Video Filters 12 Once you have clips in a sequence, you can apply filters to process and modify the visual content of your clips. This chapter covers the following: Â Different Ways to Use Filters (p. 217) Â Applying a Filter to a Clip (p. 218) Â Applying Multiple Filters to Clips (p. 222) Â Viewing and Adjusting a Filter’s Parameters (p. 223) Â Displaying Filters Bars in the Timeline (p. 230) Â Enabling and Rearranging Filters (p. 231) Â Copying and Pasting a Clip’s Filters (p.
 Create and manipulate transparency effects: Use filters like the Chroma Keyer or Garbage Matte to create and manipulate the alpha channel information of clips in your project. Key filters create alpha channels based on blue, green, white, or black areas in the image. Other filters, such as the Widescreen and Soft Edges filters, allow you to further manipulate the areas of transparency in a keyed clip, expanding, contracting, and feathering the area of transparency to fine-tune the effect.
II To apply a filter to a clip in a sequence, do one of the following: m Select one or more clips in the Timeline, then drag a filter from the Effects tab of the Browser to one of the selected clips in the Timeline. Drag the filter from the Browser... ...to a clip in the Timeline. m Select one or more clips in the Timeline, choose Effects > Video Filters, then choose a filter from the submenus.
m Open a sequence clip in the Viewer, then do one of the following: Â Choose Effects > Video Filters, then choose a filter from the submenus. Â Drag a filter from the Effects tab of the Browser directly into the Viewer. ...to the sequence clip in the Viewer. Drag the filter from the Browser... You can apply a filter to an entire clip or just part of a clip.
II To apply a filter to part of a clip in a sequence: 1 Select the Range Selection tool in the Tool palette (or press the G key three times). Range Selection tool 2 In the Timeline, drag across the part of the clip to which you want to apply the filter. Drag to select the section of the clip to which you want to apply the filter. 3 Do one of the following: Â Drag a filter from the Effects tab of the Browser to the selected portion of the clip.
To reposition the filter Start and End points: m In the keyframe graph area, drag the Start or End point of the filter to the new time or location. The End point dragged to the new time Drag the Start or End point to change it. Applying Multiple Filters to Clips You can apply one or more filters to a clip at a time. You can also add one or more filters to multiple clips at the same time. You can add as many filters as you like to a clip.
II m Shift-click or Command-click to select multiple filters in the Effects tab of the Browser, then drag them to one or more selected clips in the Timeline. Select multiple filters in the Browser. Then, drag the filters to selected clips in the Timeline. m Drag one or more filters from a clip’s Filters tab in the Viewer to a clip (or multiple selected clips) in the Timeline.
Controls in the Filters Tab of the Viewer There are various controls you can use to manipulate filters in Final Cut Pro. While each filter has its own individual parameters and controls, all filters have some controls in common.
II  Current Timecode field: This field displays the position of the playhead in the keyframe graph area. When you enter a new timecode value, the playhead moves to that time. Keyframe button Keyframe navigation buttons  Keyframe button: Click to place a keyframe for the corresponding parameter at the playhead location in the keyframe graph, in preparation for creating a dynamic change in an effect.
 Keyframe graph ruler: The keyframe graph ruler corresponds to the duration of the clip or the location of a clip in a sequence:  If a clip is opened from the Browser: The keyframe graph ruler shows the duration of the clip itself. The playhead in the Viewer moves independently of the playhead in the Timeline or Canvas.  If a clip is opened from a sequence in the Timeline: The keyframe graph ruler shows the section of the Timeline that the clip is edited into.
II Sliders By default, sliders only show whole integer values. Typical slider Numeric value of the slider setting To adjust the corresponding value to within two decimal places of precision: m Hold down the Shift key while dragging a slider. To gear down a slider, allowing you to make more precise changes to the parameter: m Hold down the Command key while dragging a slider.
Point Control Point controls are used to specify locations in the Canvas. To define a new location with x and y coordinates: 1 In the Filters tab of the Viewer, click the point control. Point control X and y coordinates 2 Move the pointer to the Canvas. The pointer changes to the crosshair pointer in the Canvas. 3 Click anywhere in the Canvas to position a coordinate at that location.
II To reset the dial to its previous setting while adjusting a parameter: m Drag the pointer all the way out of the effect parameter. Color Controls The color controls give you several ways to select a color value. Eyedropper Hue direction control Click the disclosure triangle to display the hue, saturation, and brightness controls.
To use a clip as a parameter in a filter: m Drag any clip from your project to the clip well in the Filters tab. ∏ Tip: Final Cut Pro generators can be dragged to clip wells the same as other clips. To clear a clip that’s currently attached: m Control-click the clip well, then choose Clear from the shortcut menu.
II Enabling and Rearranging Filters You can turn a filter on or off without removing it from a clip. This is useful for previewing different combinations of filters without having to repeatedly apply and remove them. You can also rearrange the order in which filters appear, to modify the way they work together. To turn individual filters on or off: m Select or deselect the checkbox next to the filter’s name.
To use the Paste Attributes command to paste filters into a clip: 1 Select a clip in the Timeline that has a filter (or filters) whose settings you want to copy. 2 Choose Edit > Copy. 3 Select one or more clips in the Timeline to apply the filter or filters to. 4 Do one of the following: Â Choose Edit > Paste Attributes (or press Option-V). Â Control-click the clip or clips you’ve selected in the Timeline, then choose Paste Attributes from the shortcut menu.
13 Installing and Managing Video Effects 13 Final Cut Pro includes numerous video filters for a wide range of applications. You can also expand the capabilities of Final Cut Pro with third-party filters. This chapter covers the following: Â Plug-in Formats Supported by Final Cut Pro (p. 233) Â Installing Video Filters (p. 234) Â Identifying and Organizing Video Effects (p. 236) Â Transferring Effects Between Systems (p. 238) Â Real-Time Playback and Rendering Plug-ins (p.
About FXScript FXScript effects are text files written in FXScript, a scripting language for creating Final Cut Pro filters and transitions. You can create effects from scratch or, if you are new to the FXScript language, you can copy and modify existing Final Cut Pro effects. Using FXScript, you can create effects in any text editing application, but most people prefer to use the built-in FXScript editor in Final Cut Pro, called FXBuilder. To open FXBuilder in Final Cut Pro: m Choose Tools > FXBuilder.
II Installing FxPlug Plug-ins Final Cut Pro searches the following folders for FxPlug plug-ins if the folders are present on your system (they are typically created when installing third-party software): Â /Library/Plug-Ins/FxPlug/ Â /Users/username/Library/Plug-Ins/FxPlug/ If you install an FxPlug plug-in and it does not appear in the Effects tab, make sure the plug-in is installed in one of the folders that Final Cut Pro searches for plug-ins when opening (see above for a list of installation locations).
Identifying and Organizing Video Effects Effects in Final Cut Pro are organized into categories in the Effects tab of the Browser and the Effects menu. These categories help you quickly find the effects you are looking for. Final Cut Pro also includes a method for limiting which effects are displayed in the application. Viewing Preferred Effects There are many FxPlug effects that are equivalent (or nearly equivalent) to FXScript effects.
II To choose which effects are displayed in the Effects tab and the Effects menu: 1 Choose Window > Effects (or press Command-5) to open the Effects tab. 2 If you want, click in the Preferred column next to any effects you want to display.
Transferring Effects Between Systems If you have a project that uses particular FxPlug plug-ins, you need to install those plug-ins on each machine where you want to open the project. If you open a project on a system that does not have the necessary FxPlug plug-ins installed, Final Cut Pro warns you that plug-ins are missing and displays the name of missing effects.
II Using very high-resolution clips or turning on high-precision rendering in your sequence settings may exceed the capabilities of older graphics cards. In these circumstances, Final Cut Pro displays one of the following warnings: Â Rendering the effect in high precision requires a graphics card with more capabilities: Your graphics card does not support high-precision rendering.
Plug-in Restrictions and Troubleshooting The following section explains plug-in limitations you should be aware of before incorporating plug-ins into a particular workflow. FxPlug Plug-in Restrictions When using FxPlug plug-ins with Final Cut Pro, the following restrictions apply: Â Onscreen controls, such as point controls that appear directly in the Viewer and Canvas, are not supported. Â Motion allows filters to render beyond the bounds of the Canvas, but Final Cut Pro does not.
II Video Filters Available in Final Cut Pro This section lists and describes the video filters available with Final Cut Pro. FXScript Plug-ins The following sections give you a short description of each type of video filter, followed by a detailed list of available filters of that kind. Blur Filters Blur filters are commonly used to make stylized background graphics out of video clips. With enough blur applied, you can turn almost any video image into a stylized blend of colors and shapes.
Border Filters Border filters let you create borders using the total frame of your clips. Filter Result Basic Border Draws a border around the edges of the clip and ignores any alpha channel information associated with that clip. Use the Border slider to adjust the width and the color controls to select the border color. Bevel Draws a beveled border around the edges of the clip. The Light Angle control lets you specify the direction of the light.
II Color Correction Filters Color correction filters let you adjust the black, white, and midtone color balance of your clips. For detailed information on using these filters, see Chapter 27, “Color Correction,” on page 545. Filter Result Broadcast Safe1 Gives you a fast method for dealing with clips that have luma, chroma, or RGB levels that exceed the broadcast limits for video. Color Corrector1 A basic filter for performing simple color correction.
Distort Filters The Final Cut Pro Distort filters are design-oriented filters that create texture effects. 244 Filter Result Bumpmap Offsets pixels in a clip using the luma of a second selected image, called the map. Use the Direction and Outset controls to define the direction and amount of the offset, and the Luma Scale and Repeat Edge controls to define the appearance of the offset. Cylinder Distorts the clip as if it were wrapped around a cylindrical object.
II Image Control Filters Image Control filters let you manipulate the levels of black, white, and color in your clips. They can be used to correct clips with color or exposure problems or to create other, more extreme color effects. For more detailed control over the color in your clips, use the color correction filters. Filter Result Brightness and Contrast (Bezier) Lets you change the brightness and contrast of a clip by –100 to 100 percent to darken or lighten the image.
Key Filters Key filters are generally used to key out background areas of video in order to isolate foreground elements to composite against a different background. Key filters are commonly used with the Matte Choker filter. For detailed information on applying these filters, see Chapter 20, “Keying, Mattes, and Masks,” on page 421.
II Filter Result Difference Matte Compares two clips and keys out areas that are similar. A View pop-up menu allows you to look at the source of the clip (with no key applied), the matte created by the filter, the final matted image, or a special composite of the source, matte, and final image for reference. The Difference Layer clip well allows you to specify another clip to compare the current image to for keying.
Matte Filters Matte filters can be used by themselves to mask out areas of a clip, or to create alpha channel information for a clip to make a transparent border so that the clip can be composited against other layers. Matte filters can also be used to make further adjustments to layers with key filters applied to them. For detailed information, see “Using Mattes to Add or Modify Alpha Channels” on page 440.
II Filter Result Matte Choker Usually used in conjunction with a key filter to manipulate the edges of the key. The Edge Thin slider in the Matte Choker is often used instead of the Edge Thin slider in the key filter because it can produce a more realistic result. When you use the Matte Choker, moving the Edge Thin slider to the right gradually eats into marginally keyed areas of a filter, eliminating fringe and smoothing out the edges of your matte.
Perspective Filters Perspective filters allow you to move your clips spatially within their frames. To move a filter spatially using the entire frame of the Canvas, use motion effects instead. Filter Result Basic 3D Creates the illusion that your clip is suspended in 3D space. You can adjust the rotation around the x, y, and z axes using Angle controls. The Center point control allows you to set the center of transformation, and the Scale slider enlarges and reduces the size of the entire affected layer.
II Stylize Filters Stylize filters can be used to create an assortment of visual effects. Filter Result Anti-alias Blurs the high-contrast areas in the clip to soften the borders between elements in the frame. Use the Amount slider to soften diagonal “stair-stepping” that can occur in areas of high contrast. Diffuse Randomly offsets pixels in the clip to create a textured blur. The Direction Angle control allows you to adjust the direction of diffusion.
Video Filters Video filters are generally used to solve specific problems with clips in your sequence, although there are design-oriented filters in this category as well. 252 Filter Result Blink Flashes the clip on and off. You can adjust the frequency independently using the On Duration and Off Duration sliders, and the maximum dip in opacity using the Opacity slider. De-Interlace Can be used to remove the upper (odd) or lower (even) field from an interlaced video clip.
II FxPlug Plug-ins FxPlug plug-ins are included when you install Motion as part of the Final Cut Studio installation process. If your computer or graphics card does not support Motion, these plug-ins are not installed. Also, Final Cut Pro may not support some FXPlug plug-ins. See “FxPlug Plug-in Restrictions” on page 240 for more information.
14 Changing Motion Parameters 14 Every video and graphics clip in a project has a set of parameters that can be edited in the Motion tab of the Viewer. These parameters include Scale, Rotation, and Center. This chapter covers the following: Â Creating Motion Effects in the Viewer (p. 255) Â Creating Motion Effects in the Canvas (p.
Adjusting Parameters in the Motion Tab Motion parameters are located in the Motion tab of the Viewer.
II To enable the Drop Shadow or Motion Blur attribute: m Select the checkbox next to Drop Shadow or Motion Blur. Some parameters must be enabled to use them. Drop Shadow parameters Motion Blur parameters To adjust motion parameters, do any of the following: m Drag the slider. m Enter a new value in the number field, then press Return. m Drag the corresponding overlay in the keyframe graph. m For settings with an Angle control: Drag the hand on the dial.
Keyboard Modifiers for Controls in the Motion Tab When using slider controls: Â To adjust the value by two decimal places of accuracy, hold down the Shift key. Â To slow down a slider’s movement and select a more precise value, hold down the Command key. When using an Angle control (a dial): Â To constrain the dial to 45-degree increments, hold down the Shift key. Â To slow down a dial’s movement and select a more precise value, hold down the Command key.
II Distort Parameters Change a clip’s Distort parameters to alter the rectangular shape of a clip or to give it a different aspect ratio. Â Upper Left, Upper Right, Lower Right, Lower Left: You can change the shape of a clip by moving each of four corner points independently of one another. The corner points defining the relative distortion of a clip are offset relative to the center of the clip.
Motion Blur Parameters Motion blur affects any clip that has motion, whether it’s a moving subject in a video clip or keyframed motion effects that you’ve created. Motion Blur allows you to create or exaggerate motion blur in ordinary video clips. For example, if you apply motion blur to a clip in which someone is standing still and waving an arm, the arm becomes blurred, while the rest of the image remains sharp. This happens even though the arm waving is not a keyframed motion effect.
II Using the Paste Attributes Command As you composite multiple clips together in Final Cut Pro, it’s important to take advantage of whatever shortcuts you can to eliminate steps and save time. The Paste Attributes command in the Edit menu (with the keyboard shortcut OptionV) is a valuable tool for selectively copying attributes from one clip to another without having to open clips in the Viewer. It also eliminates the need to repeat steps when applying identical effects to multiple clips.
To move a clip down: m Enter a positive value for the clip’s y coordinate. To move a clip up: m Enter a negative value for the clip’s y coordinate. For example, suppose the center point of the clip on track V2 is –218, –119. This puts the clip 218 pixels to the left and 119 pixels up from the Canvas center point.
II Examples Using Motion Settings The following two examples demonstrate how you can use motion settings to integrate a group of clips together to create a single, multilayer broadcast design shot. Example: Using Motion Settings to Create a Multiple Clip Layout In this example, you’ll create a layered interview segment using the Scale, Rotation, and Center Point parameters. This example assumes you’ve already created a new sequence and opened it in the Timeline.
3 From the Browser, open the first clip you want to arrange in the background of your composition, then edit it into the sequence using a superimpose edit. A new track is created above the current V1 video track, and your clip is inserted into it. 4 Double-click the sequence clip you’ve just edited into the Timeline (not the background clip) to open it in the Viewer, then click the Motion tab. Motion settings for this clip Dots in the scrubber bar indicate the clip is in a sequence.
II 6 Drag the Rotation Angle control (the dial) to the left so that it reads “–28.” A negative value rotates the clip to the left; a positive value rotates it to the right. The change is also reflected in the Canvas. This is the angle in degrees that your clip is rotated. Next, you’ll change the position of this clip in the Canvas. 7 Select the point control for the Center parameter and move the pointer to the Canvas (the pointer changes to a crosshair), then click in the upper-left corner of the Canvas.
Note: For more information about using basic geometry to position clips, see “Using Cartesian Geometry to Position Clips” on page 261. Next, you’ll add another clip to your composite. 8 In the Timeline, specify track V2 as the current destination track (click the V2 Destination control). Then, using a superimpose edit, edit in a second clip you want to place in the background. A second clip is placed in track V3 of the sequence, using the same In and Out points.
II 10 Select the Basic Motion checkbox, then click OK. This setting is the only attribute you want to copy. The two clips occupy the same position in the Canvas, but the clip on track V3 takes precedence and appears in the Canvas. The new clip on track V3 now has the same motion settings as the clip in track V2. Although you want to keep the size of this new clip the same, you want to position it in the right corner, as a mirror image of your original clip.
12 In the left number field of the Center parameter (the x coordinate), delete the minus sign (–), then press Return. The value changes from negative 218 to positive 218. The results appear immediately in the Canvas. Note: The x and y coordinates of a clip in the Canvas are based on the offset between that clip’s center point and the center point of the Canvas. See “Using Cartesian Geometry to Position Clips” on page 261 for more information.
II 14 Using the same sequence In and Out points that you’ve been using, set the destination track of your sequence to V3, then edit in the foreground clip using a superimpose edit. The fourth clip is now in your sequence. 15 Open this new clip in the Viewer, then click the Motion tab. 16 Click the Basic Motion disclosure triangle to reveal the Basic Motion parameters, then adjust the Scale slider to 66, so that this clip is 66 percent of its original size. Set the Scale slider to 66.
17 Choose View > Show Title Safe. The action safe boundary is 10 percent smaller than the size of the video frame. The title safe boundary is 20 percent smaller than the size of the video frame. ∏ Tip: Viewing title safe and action safe boundaries is especially important when creating work that will be broadcast on television. Televisions cut off the edge of the video frame to give the illusion that the picture takes up the entire TV screen.
II Example: Using Additional Motion Settings to Refine the Layout In this example, the Crop, Opacity, and Drop Shadow parameter settings are changed to further customize the sequence you created in the previous example. 1 Open the clip on track V4 of your sequence in the Viewer, then click the Motion tab. Motion settings for the clip on track V4 First, you’ll feather the edges of your foreground clip to give it a soft border. 2 Click the Crop disclosure triangle to reveal the Crop parameters.
6 In the Paste Attributes dialog, select the Scale Attribute Times and Crop checkboxes, leaving all other options unselected, then click OK. The feathering you set in the foreground clip is now applied to the background clips. Now, you’ll make two further adjustments to the foreground clip, making it seem a bit wider and allowing the clips in the background to be more visible. 7 Drag the Top and Bottom sliders in the Crop attribute to the right until they are set to 5.
II 9 To apply these settings to the other two clips, select the clip on track V4 in the Timeline, then choose Edit > Copy. Select the clips on tracks V2 and V3, then choose Edit > Paste Attributes. 10 In the Paste Attributes dialog, select the Drop Shadow checkbox, then click OK. Both selected clips now display a drop shadow. Finally, you want to darken the background layer, since it’s competing with the foreground layers. 11 Open the background clip on track V1, then click its Motion tab.
Creating Motion Effects in the Canvas In the previous section, you learned about default motion parameters for clips and how to adjust those settings in the Motion tab of the Viewer. The motion settings of sequence clips can also be manipulated directly in the Canvas. Choosing a Wireframe Mode If you want to adjust a clip’s motion settings in the Canvas, the Canvas must be in one of the “wireframe” modes.
II Which View Should You Use? There are several view and background options you can specify that make it easier to work with composited layers in your sequence, specifically in the Canvas. For more information, see Volume I, Chapter 7, “Canvas Basics.” Â Image+Wireframe: Use this option when adjusting motion effects directly in the Canvas.
Using the Selection, Crop, and Distort tools in the Tool palette, you can drag a clip’s handles directly in the Canvas to create various effects. Â Center handle: Drag this handle of a clip’s wireframe with the Selection tool to reposition the clip in the Canvas (changing its Center setting in that clip’s Motion tab). Â Rotational handle: Drag one of these four handles with the Selection tool to rotate the clip in the Canvas (changing its Rotation setting in that clip’s Motion tab).
II Zooming In to the Canvas In the Canvas, you can choose a magnification level to help you work with your clips as you manipulate them. By zooming in to the Canvas, you can get a more detailed look at your layers, which can help you make more precise positioning decisions. By zooming out of the Canvas and making the image smaller, you can more easily move clips out of the frame, in preparation for creating keyframed motion from the outside of the frame to the inside.
Using Wireframe Handles to Transform, Scale, and Rotate In many instances, you may find that dragging the handles of a selected clip in the Canvas is faster and more intuitive than adjusting its parameters in the Motion tab of the Viewer. Note: You must be in Image+Wireframe or Wireframe mode to use wireframe handles. To scale a clip: 1 Select a clip in the Timeline.
II To move a clip: 1 Select a clip in the Timeline. 2 Select the Selection tool in the Tool palette, then drag the layer to a new position. You can move a clip partially or completely outside the Canvas. To rotate a clip: 1 Select a clip in the Timeline. 2 Select the Selection tool in the Tool palette, then drag any edge of the selected clip’s border in an arc around the clip’s center point. Drag any edge with the Selection tool to rotate the clip.
To scale and rotate a clip: m Command-drag a Scale/Distort handle. Command-drag a Scale/ Distort handle to scale and rotate the clip. To distort the shape of a clip: 1 Select a clip in the Timeline. 2 Select the Distort tool in the Tool palette, then drag a Scale/Distort handle. Drag a Scale/Distort handle with the Distort tool to distort the clip. ∏ Tip: To shorten one side and lengthen the other side of an image, hold down the Shift key while dragging.
II To crop a clip: 1 Select a clip in the Timeline. 2 Select the Crop tool in the Tool palette, then do one of the following: Â To crop a particular side: Drag in from the edge of the clip. Drag an edge with the Crop tool to crop that side of the clip. Â To crop two sides at one time: Drag one of the corners of the wireframe. Drag a corner with the Crop tool to crop two sides at once. Â To constrain the rectangle’s aspect ratio: Hold down the Shift key while dragging a corner.
Example: Using Motion Parameters and Wireframe Handles In this example, you’ll put a graphic on the side of a building as if it were a sign. You’ll use the Scale, Center, and Distort parameters (in the Motion tab of the Viewer) to match the perspective of the building with the perspective of the sign, and the Selection and Distort tools to manipulate the graphic directly in the Canvas. This example assumes you’ve already created a new sequence and opened it in the Timeline.
II 3 In the Canvas or Timeline, position the playhead over the clip you just edited into track V1, then set the sequence In and Out points to be the duration of the building clip (choose Mark > Mark Clip, or press X). Position the playhead anywhere within the clip. Set the In and Out points for the duration of this clip. 4 Perform a superimpose edit to place the sign in track V2 for the duration of the shot. The sign is now on top of the building.
5 In the Timeline, select the image, then choose Image+Wireframe from the View pop-up menu in the Canvas. The selected layer in track V2 is outlined in turquoise. 6 With the Selection tool selected, hold down the Shift key, then drag one of the corners of the sign graphic to change its scale to match that of the building. Scale down the size of the sign graphic. 7 With the Selection tool, drag the center point of the sign graphic to move it so that its position matches that of the wall.
II 8 Select the Distort tool in the Tool palette, then drag each of the four corners of the sign graphic until they match the perspective of the side of the building. Use the Distort tool to match the perspective of the building. ∏ Tip: To make the sign look more convincing, you can also add a subtle drop shadow by enabling the Drop Shadow attribute in the Motion tab of the sign clip.
15 Adjusting Parameters for Keyframed Effects 15 Automated audio level adjustments, opacity changes between layers, shifting color values, and spinning video clips are examples of what’s possible when using keyframes to adjust clip parameters over time. This chapter covers the following: Â Animating Motion Effects Using Keyframes (p. 287) Â Smoothing Keyframes with Bezier Handles (p. 307) Â Creating Keyframed Motion Paths in the Canvas (p. 311) Â Using the Timeline Keyframe Graph Area (p.
Many clip parameters can be keyframed:  Opacity  Motion settings  Generators  Filters  Audio level  Pan settings Because you can add keyframes to filters and generators as well as motion settings, the information presented in this chapter can also be used to modify filters and generators (discussed in Chapter 12, “Using Video Filters,” on page 217 and Chapter 21, “Using Generator Clips,” on page 447).
II First keyframe Second keyframe Overlay in the Timeline for the Opacity parameter Adding additional keyframes increases the complexity of the effect, but the area in between each pair of keyframes in your clip is still smoothly interpolated. Using more keyframes creates additional complexity, shown in the overlay. Determining the Number of Keyframes to Use The complexity of the changes in your effects depends on the number of keyframes that you add to a clip.
Using Three Keyframes With three keyframes, you can create more complex effects, such as a curved motion path. In the example below, the position of the clip starts at the location specified by the first keyframe, moves to the position specified by the second keyframe, and then continues on its journey until it reaches the position specified by the third keyframe. (For more information about creating motion paths in the Canvas, see “Creating Keyframed Motion Paths in the Canvas” on page 311.
II Keyframing Controls in the Viewer You can use various controls for keyframing motion effects. While motion effects, filters, and generator clips have their own individual settings and controls, they use the same controls for keyframing. Keyframe button Keyframe navigation buttons Reset button  Keyframe button: Click to place a keyframe for the corresponding parameter in the keyframe graph area at the current playhead location.
 Keyframe graph area: Shows all the values and keyframes associated with parameters currently displayed in the Viewer.  Keyframe graph ruler: Corresponds to the duration of the clip or the location of a clip in a sequence:  If a clip is opened from the Browser: The keyframe graph ruler shows the duration of the clip itself. The playhead in the Viewer moves independently of the playhead in the Timeline or Canvas.
II Keyframing Tools in Final Cut Pro Three tools in the Tool palette allow you to add, modify, or remove keyframes on a parameter’s keyframe graph line in the keyframe graph area. Pen tool Pen Delete tool Smooth Point tool  Pen: Allows you to add keyframes to a parameter in the Motion tab or Timeline keyframe graph area by clicking in the keyframe graph area. (To select this tool, press the P key.)  Pen Delete: Lets you delete a keyframe from a parameter by clicking the keyframe itself.
Setting Keyframes Until you create at least one keyframe for a parameter of a clip, changes you make to that parameter affect the entire duration of the clip. Once you set the first keyframe for a parameter, additional keyframes are generated automatically when you make any subsequent changes to that parameter anywhere else in that clip. You generally need to set at least two keyframes to make changes or effects that are useful or noticeable.
II To set keyframes from the Viewer or Canvas, do one of the following: m To add a keyframe to all of the selected clip’s motion settings at once: In the Video tab of the Viewer or in the Canvas, click the Add Motion Keyframe button. Add Motion Keyframe button in the Canvas m To set keyframes for a single parameter: Control-click the Add Motion Keyframe button, then choose a parameter from the shortcut menu. Choose a motion parameter from the shortcut menu.
To add more keyframes: 1 Move the playhead to another point in the clip where you want to set a keyframe. 2 Do one of the following: Â Adjust the appropriate parameter control. Â Type a number in the appropriate number field. Â Click a parameter’s keyframe button to add a keyframe with the current value of the parameter. Â Hold down the Option key and click a parameter’s keyframe graph line where you want to add the keyframe.
II To adjust a parameter value between two keyframes: m Move the pointer over the section of the parameter’s keyframe graph line between the two keyframes (the pointer turns into the Adjust Line Segment pointer), then drag that area up or down to modify it. Drag the area up or down to adjust a section. Note: The keyframes on either side of the adjusted section are changed simultaneously.
m Control-click the keyframe you want to remove, then choose Clear from the shortcut menu. Control-click a keyframe, then choose Clear to delete it. To delete keyframes for all of an attribute’s parameters: m Click the Reset button for the appropriate attribute. Click the Reset button to delete all keyframes for an attribute. Moving Between Keyframes As you work with keyframes, you’ll need to move to different keyframes to check your motion effects.
II Resizing the Keyframe Graph Area For precise keyframe adjustments, you can resize the display height and width of each parameter in the keyframe graph area and zoom in to a specific section of time. Resizing Parameter Display Height and Width If you need more vertical space to view your keyframes in the Viewer, you can adjust the display height of any parameter in the Filters or Motion tab.
To adjust the width of the keyframe graph area: m Drag the lower-right corner of the Viewer to the right to adjust its width. To temporarily work with the Motion or Filters tab in the Timeline: 1 Drag the Motion or Filters tab from the Viewer to the Timeline. The tab is now a tab within the Timeline. 2 When you’ve finished making adjustments, do one of the following: Â Drag the tab back to the Viewer. Â Control-click the tab, then choose Close Tab from the shortcut menu. The tab reappears in the Viewer.
II To zoom using the zoom tools: 1 Select the Zoom In or Zoom Out tool in the Tool palette. Zoom In tool Zoom Out tool 2 Do one of the following: Â Click in the keyframe graph area. Â Drag to select a region to zoom in or out of. As you drag, the view automatically snaps to the specified percentages of zoom in the keyframe graph area. Â Click or drag repeatedly to increase the zoom factor.
To scroll along the entire duration of your clip: m Drag the center of the Zoom slider to the left or to the right. To change the duration of the keyframe graph ruler: m Click or drag the Zoom control. Â To zoom out and show more of your sequence: Click the right side of the control. Â To zoom in and show more detail: Click the left side of the control. Note: The current area of the keyframe graph remains centered.
II 1 Edit two clips of equal duration into your sequence, each on its own video track. Note: The clip you want to appear in front should be placed on track V2; the other clip should be placed on track V1. Layer the clips, with one clip on track V1 and the other superimposed on track V2. 2 Open the clip on track V2 in the Viewer, then click the Motion tab. 3 Click the disclosure triangle for the Opacity parameter to reveal its keyframe graph line in the keyframe graph area.
6 Click the keyframe button for the Opacity parameter to create a keyframe at the new position of the playhead. Because it takes at least two keyframes to create a dynamic change to a parameter over time, you’ll need to add another keyframe. 7 Move the playhead to 01:00:03:00 on the keyframe graph ruler, then create another keyframe. A second keyframe is added to the Opacity keyframe graph line.
II 9 Move the playhead to 01:00:04:00, then add another opacity keyframe. Because you can’t move this keyframe without causing a ramp in that segment of the keyframe graph line, you need to add another keyframe. 10 Move the playhead to 01:00:05:00, then add another keyframe. 11 Adjust the opacity setting of this last keyframe to 100 percent.
Example: Keyframing Opacity in the Timeline There is a faster way to create the Opacity parameter keyframes you created in the previous example. You do this by adjusting the clip’s opacity over time using the opacity overlay in the Timeline. 1 In the Timeline, edit two clips of equal duration into your sequence. Note: The clip you want to appear in front should be placed on track V2; the other clip should be placed on track V1.
II 4 Now, use a shortcut to create all the keyframes you need on the overlay at once. Hold down the Option key while you position the pointer on top of the opacity overlay on the clip in track V2. When the pointer turns into the Pen tool, click the overlay to create five keyframes at 01:00:02:00, 01:00:03:00, 01:00:04:00, 01:00:05:00, and 01:00:06:00 in the Timeline. Create five keyframes at 1-second intervals.
For example, if you space keyframes 2 seconds apart in the Rotation parameter, the resulting rotation lasts 2 seconds. If you apply smoothing to one of the keyframes, the total duration of the rotation remains 2 seconds, but the rate at which the clip rotates to full speed and then slows down to a stop is different over the course of those 2 seconds. If you move the two keyframes closer together, the rotation happens faster; if you move the two keyframes farther apart, the rotation happens slower.
II One-Sided Bezier Handles The first and last keyframes of a group have one-sided Bezier handles. These keyframes begin and end any dynamic changes in a clip’s parameters, and therefore they accelerate into a change and decelerate out of it. Last keyframe Bezier handle First keyframe Bezier handle Two-Sided Bezier Handles Keyframes that are in between other keyframes have two-sided Bezier handles.
Smoothing Keyframes Smoothing a keyframe, or adding Bezier handles to it, makes the change from one keyframe’s value to the next more gradual by applying a curve instead of a straight line. The ability to apply smoothing to a parameter in Final Cut Pro depends on the kind of keyframes a parameter uses. Â One-dimensional keyframes: Parameters that contain multiple values can’t be represented by curved graph lines in the keyframe graph area.
II To change the angle between one side of a Bezier curve and the other: m Hold down the Command key as you drag a Bezier handle. When you release the Command key, the new relative angle of the two handles is locked to the angle you set. Hold down the Command key to change the angle of a handle independently of the other handle. To change the length and the angle of one Bezier handle independently of the other: m Hold down the Command and Shift keys as you drag a Bezier handle.
What Are Motion Paths? The simplest motion path is a straight line defined by two center keyframes. Once the first keyframe is defined in the Motion tab, any time you move the Canvas or Timeline playhead to another location and then move that clip’s wireframe somewhere else in the Canvas, another keyframe is created automatically. For example, suppose you define a center keyframe for a video clip at the x and y coordinates of –160, 100.
II Creating Motion Paths The simplest way to make changes to a clip’s motion path is by manipulating it directly in the Canvas while in Image+Wireframe mode. To create a motion path: 1 Open the clip you want to animate in the Viewer, then click the Motion tab. 2 In the Canvas, choose a wireframe mode from the View pop-up menu. 3 In the Viewer, Canvas, or Timeline, move the playhead to the location where you want that clip’s motion to begin.
Adding, Moving, and Deleting Keyframes in Motion Paths You can edit a motion path directly in the Canvas by adding, dragging, or deleting keyframes. The playhead doesn’t need to be over a keyframe for you to move or delete it, nor does the playhead location prohibit you from adding additional keyframes to the motion path using the Pen tool.
II Bezier handles on motion paths in the Canvas work the same way as they do for keyframes in the Motion tab, except that they affect the spatial motion of the clip, rather than the velocity of the clip’s change over time. (To change the acceleration or deceleration of a clip’s motion between two keyframes, you need to create separate Bezier handles in the Center parameter in the Motion tab.
To change the angle between one side of a Bezier curve and the other: m Hold down the Command key as you drag a Bezier handle. Release the Command key to lock the new relative angle of the two handles back together. Press Command, then drag to change the angle between one side of a Bezier curve and the other. To change the lengths and the angle of the selected Bezier handle independently of one another: m Hold down the Command and Shift keys as you drag a Bezier handle.
II Controlling Speed Along a Motion Path The speed at which a clip travels along a motion path is determined by two factors: Â The spatial, or physical, distance between two keyframes in the Canvas. The farther a clip has to travel in a given duration, the faster its apparent movement. The less distance a clip moves, given the same amount of time, the slower it appears to go.
To vary the acceleration of this clip along its motion path, you must first add Bezier handles to the keyframes you want to adjust (see “Creating Curved Motion Paths Using Bezier Handles” on page 314). A velocity handle appears as a small purple dot between the keyframe and the end of the Bezier handle. You can then modify the velocity handle attached to each Bezier handle for these keyframes.
II To slow down a clip’s motion at the beginning and speed it up as it nears the next keyframe: m Drag the velocity handle away from the selected keyframe. Drag away from the keyframe to slow down the motion of the clip at the beginning and then speed it up as it nears the next keyframe. To add Bezier handles to a keyframe and change the acceleration: m Control-click a keyframe, then choose an option from the shortcut menu, depending on the kind of acceleration you want.
Moving an Entire Motion Path in the Canvas If you’re happy with the shape of a motion path, but you want to move it to a different position, you can move an entire motion path for one or more selected items directly in the Canvas. To move selected motion paths: 1 In the Canvas, do one of the following: Â Choose View > Image+Wireframe. Â Choose View > Wireframe. 2 Press and hold down the Command and Shift keys, select the clip in the Canvas, then drag it to move the motion path.
II To change the name of a motion favorite: 1 Select the motion favorite in the Favorites bin of the Effects tab of the Browser. 2 Click the name of the motion favorite, type a new name, then press Return. When you apply a motion favorite to a clip in your sequence, it’s not like applying a filter. There is no special object (such as a filter) that is attached to your clip. Instead, applying a motion favorite applies all the motion effect keyframes in that favorite to the motion parameters of the clip.
Using the Timeline Keyframe Graph Area Once motion settings have been applied to a clip in your sequence, you can use the Clip Keyframes control in the Timeline to display a keyframe graph area below each video and audio track to allow you to view and edit motion settings and other parameter settings that are applied to your clips. To display the Timeline keyframe graph area: m Select the Clip Keyframes control.
II Â Keyframe editor: For clips with applied effects, the keyframe editor shows you motion or filter parameters’ keyframe graph lines and keyframes. These keyframe graph lines are identical to those found in the keyframe graph area of the Motion and Filters tabs in the Viewer. You can edit keyframes in the keyframe editor using the Selection and Pen tools. The keyframe editor can display the keyframe graph lines of only one parameter at a time.
Working with the Filters and Motion Bars The filters and motion bars are useful for seeing at a glance the keyframes of one or more clip parameters in the Timeline. You can choose which parameter keyframes are visible in each bar, and you can use the Selection tool to slide these keyframes back and forth in time.
II Working with the Timeline Keyframe Editor The keyframe editor allows you to edit the keyframe graph lines belonging to a clip’s filter and motion parameters directly in the Timeline. It’s ideal for making adjustments that don’t require more than one parameter to be displayed simultaneously, especially when you want to make the adjustment in relation to other elements in the Timeline, such as markers and superimposed clips.
16 Reusing Effect and Motion Parameters 16 If you frequently use a particular transition or filter with specific settings, you can save it as a favorite for easy access. This chapter covers the following: Â Copying and Pasting Specific Clip Attributes (p. 327) Â Creating and Applying Favorite Filters and Transitions (p.
About the Paste Attributes Dialog You select which attributes to paste by using the Paste Attributes dialog. The following options are available in the Paste Attributes dialog: Scale Attribute Times Repositions the keyframes of the copied clip’s attributes to fit the duration of longer or shorter clips you paste them into, maintaining the relative position of keyframes. For example, suppose you copied a 5-second clip with motion effect keyframes at the beginning, middle, and end.
II Â Filters: Adds the parameter values and keyframes for all filters from the clip you copied. The pasted filters are added to any filters already existing in the clip to which you are pasting. Existing filters are left unchanged. For example, suppose that two clips, Clip A and Clip B, each have a Gaussian Blur filter applied. Clip A has a Radius parameter value of 100, and Clip B has a Radius parameter value of 13.
To paste the attributes of a copied clip into another clip: 1 In the Timeline, select a clip whose attributes you want to paste into another clip. 2 Choose Edit > Copy (or press Command-C) to copy the clip and its settings. 3 Select a clip or clips to paste the settings into. 4 Do one of the following: Â Choose Edit > Paste Attributes (or press Option-V). Â Control-click the clip or clips you’ve selected in the Timeline, then choose Paste Attributes from the shortcut menu.
II Reapplying the Most Recently Used Effect Final Cut Pro remembers the last effect you applied so that you can immediately apply it again elsewhere in your sequence. If you are applying the same video filter, transition, or motion favorite over and over again, this can save you a lot of time. Final Cut Pro remembers both the last effect of any category (video filter, transition, or motion favorite), as well as the last effect within each category.
2 Do either of the following: Â If you want the filter to apply to whole clips: Position the playhead over those clips. Â If you want the filter to apply to a specific region rather than whole clips: Set In and Out points to define the region. Important: Make sure that no clips are selected, as the Auto Select feature doesn’t work if a clip is selected. 3 Choose the filter from the Effects menu.
II Within the Favorites bin in the Effects tab, you can organize your favorites into separate bins. These bins appear as submenu items in each Favorites submenu in the Effects menu. The Favorites bin holds modified and frequently used transitions and filters. It can be organized with sub-bins, like the Browser. Note: For more information about saving and using motion favorites, see “Creating and Applying Motion Favorites” on page 320.
To modify a transition in a sequence before making it a favorite: 1 Double-click a transition in a sequence in the Timeline to open it in the Transition Editor. 2 Make any changes to the transition. 3 Drag the transition’s drag hand from the Transition Editor to the Favorites bin in the Effects tab in the Browser, or choose Effects > Make Favorite Effect.
II Each selected filter appears in the Favorites bin in the Effects tab. To save filters as favorites, drag the selected filters from the Filters tab in the Viewer... ...to the Favorites bin in the Effects tab. You can also put favorite filters in a sub-bin. Organizing and Renaming Favorites When you create a favorite, you may want to rename it, particularly if you modified it, to help keep track of your transitions and filters.
To organize favorite transitions and filters into sub-bins: 1 Click your project’s tab in the Browser. 2 Create a new bin and give it an appropriate name. For more information, see Volume II, Chapter 1, “Organizing Footage in the Browser.” 3 Drag the Effects tab out of the Browser so it appears in its own window. 4 Drag your new bin to the Favorites bin in the Effects window. 5 Drag any transitions or filters to the new bin. The bin now appears as an item in the Favorites submenu of the Effects menu.
17 Changing Clip Speed and Time Remapping 17 You can adjust a clip’s speed parameters to create fast- or slow-motion effects. With time remapping, you can create variable speed effects. This chapter covers the following: Â Speed Basics (p. 337) Â Constant and Variable Speed Settings (p. 341) Â Making Constant Speed Changes (p. 344) Â Making Variable Speed Changes (p. 345) Speed Basics The default speed of all clips is 100 percent, but you can change a clip’s speed setting at any time.
How Changing Speed Affects a Clip’s Duration A change in a clip’s speed can affect the duration of the clip. If you choose 50 percent speed, your clip is twice the duration; if you change speed to 200 percent, the clip becomes half as long. For example, if you set a 10-second clip to play back at 50 percent speed, Final Cut Pro duplicates frames in the clip so that the clip becomes 20 seconds long and plays back more slowly.
II You can also use the fit to fill edit with multiple clips. When you do so, each successive clip selected in the Browser replaces each successive clip in your sequence using a fit to fill edit, starting with the clip at the current position of the Timeline playhead. If you’ve selected more clips in the Browser than you have in your sequence, you’ll see an “Insufficient content for edit” error message.
5 Do one of the following: Â Drag the clip from the Viewer to the Fit to Fill section of the Edit Overlay in the Canvas. Â Click the Fit to Fill button in the Canvas. Â Press Shift-F11. Fit to Fill button Fit to Fill section of the Edit Overlay in the Canvas The material in the Viewer overwrites any material already between the sequence In and Out points you specified. The speed of the source clip is changed to compensate for the difference in duration.
II Constant and Variable Speed Settings You can make two kinds of speed changes to a clip—constant and variable. Additional options allow you to control the timing and improve the look of clips when you apply speed settings. There are three main differences between constant and variable speed changes. Â First, while a constant speed change applies a single speed percentage to the entire clip, a variable speed change can have as many speed percentage changes throughout a single clip as you want.
All constant speed changes between 1 and 200 percent can be played in real time, even with frame blending turned on. For more information on applying constant speed settings, see “Making Constant Speed Changes” on page 344. Variable Speed, or Time Remapping Applying variable speed to a clip (also referred to as time remapping) allows you to dynamically alter the speed of a clip over time, in forward or reverse motion.
II Note: While clips using frame blending can play in real time at preview quality, frame blending on a field-per-field basis is much more processor-intensive and is only performed when the clip is either rendered or played via a third-party video interface with real-time hardware processing that’s capable of field blending. You can make a clip play backward by selecting the Reverse option. Alternatively, you can enter a negative speed setting.
Making Constant Speed Changes The simplest speed change you can make to a clip is a constant speed change. You do this using the Speed dialog. To change the playback speed of a clip by a constant amount: 1 Select a clip in the Timeline, or move the playhead over a clip in the Timeline. 2 Do one of the following: Â Choose Modify > Speed (or press Command-J). Â Control-click the clip, then choose Speed from the shortcut menu. 3 Select speed options for the effect you want to create, then click OK.
II Making Variable Speed Changes Variable speed changes are made by assigning a frame in a clip’s media file to a new time in the clip. All the other frames are repeated or skipped accordingly to compensate, which causes fast or slow motion. This is known as time remapping, because you are changing when during a clip the frames play back. Time remapping parameters can be keyframed.
Under most circumstances, a clip plays back frames from its media file in chronological order. If you have a 300-frame clip, it begins by playing frame 1 of the media file, followed by frame 2, frame 3, and so on, until frame 300. Time remapping allows you to adjust when frames of a clip’s media file are played back by changing their chronological order, skipping some frames (fast motion), or repeating others (slow motion).
II The Y Axis The y axis represents the frame numbers of a clip’s media file. For example, if a clip’s media file contains 300 frames, the y axis ranges from 0 (the first media file frame) to 299 (the last media file frame). Note: This is true regardless of the In and Out points you set for the clip. Even if the clip has an In point at frame 100 and an Out point at frame 200, the y axis of the clip starts at frame 0 of the media file and goes to frame 299.
Where You Can Make Time Remapping Adjustments There are four places in Final Cut Pro where you can make variable speed adjustments: Â Timeline: One of the simplest ways to make variable speed changes is to use the Time Remap tool in the Tool palette to make adjustments to clips directly in the Timeline. As you work with this tool, an outline of your clip appears that shows you which source frame in the clip is being remapped to what time.
II Â Speed indicator area: Speed indicators show you the speed of clips in your sequence using tick marks. The spacing and color of these tick marks indicate the speed and playback direction of your clips. The speed indicators of clips in the Timeline update in real time as you make variable speed adjustments to clips in your sequence, showing you exactly how you’re altering a clip’s timing. Note: You cannot adjust speed in the speed indicator area.
Learning to Read Timeline Speed Indicators The Timeline includes speed indicators to show you the speed of clips in your sequence using tick marks. Note: To illustrate the examples in this section, all screen shots in the Timeline are presented with both the motion bar and speed indicators visible. Motion bar (blue) Speed indicators Clip Keyframes control To view the Timeline keyframe graph area: m Select the Clip Keyframes control in the lower-left corner of the Timeline.
II Timeline speed indicators show you the relative playback speed of clips in your sequence. For example, suppose you have a 10-second clip in your sequence. At normal, 100 percent speed, the Timeline speed indicators are evenly spaced, indicating that your clip is playing forward at a constant speed. At normal speed, the speed indicators are evenly spaced.
If you make a clip play backward by selecting the Reverse checkbox in the Speed dialog, the speed indicators turn red to show that playback is going backward in time. Reverse-speed indicators are red. When you make variable speed changes, the duration of the affected clip stays the same. The Timeline speed indicators display all speed changes—fast-forward, slow motion, and reverse—happening within the clip.
II If parts of a clip are set to 100 percent speed, but other parts are set to fast-forward or slow motion, the speed indicators at 100 percent appear highlighted so you can differentiate them. Mixed-speed indicators Highlighted speed indicators show 100 percent speed. Using the Time Remap Tool You can use the Time Remap tool in two ways: Â Slide a frame from somewhere else in the clip to the current position of the Time Remap tool. In this case, the Time Remap tool does not move.
Sliding a Frame from Another Time to the Current Playhead Position Clicking a clip with the Time Remap tool moves the playhead to the frame at the position of the pointer, and dragging slides a frame from elsewhere in that clip to the current position of the playhead. Using this method, you can remap any frame from your clip’s media file to the current position of the playhead. This is the default behavior of the Time Remap tool.
II ∏ Tip: By holding down the Shift key before clicking a clip with the Time Remap tool, you can scrub through the clip—watching it in the Canvas as you find the specific frame where you want to start remapping. As you scrub through the clip, an outline of the entire range of frames in that clip appears. If you’ve already applied other time remapping keyframes, this outline moves left and right to provide you with a reference to see which frame in the clip you’re selecting.
Keyboard Modifiers for Variable Speed Adjustments Two keyboard modifiers can be used to help you make precise variable speed changes to a clip using the Time Remap tool: Â To gear down while using the Time Remap tool: Hold down the Command key. Â To snap your time adjustments to 10 percent increments: Hold down the Shift key after you start dragging.
II To drag a source frame to a new time: 1 Select the Time Remap tool in the Tool palette (or press the S key three times). 2 Move the pointer over the clip you want to adjust in the Timeline. An indicator line appears over the clip, showing you which frame you’re about to select. ∏ Tip: By holding down the Shift key before clicking a clip with the Time Remap tool, you can scrub through the clip—watching it in the Canvas as you find the specific frame you want to remap.
3 When you’ve found the source frame in the clip that you want to remap to another time, hold down the Option key and drag the selected frame to another time in the clip. While you drag, a new keyframe is created that is visible in the motion bar at the position of the source frame being dragged.
II 2 Control-click the motion bar, then choose Time Remap > Time Graph from the shortcut menu to make time remapping keyframes visible. Click here to make the time remapping keyframes visible. 3 Select the Selection tool in the Tool palette, then drag a keyframe left or right in the motion bar to change its position in time. As you adjust individual keyframes, the Timeline speed indicators change to show you the modified speed to the left and right of the currently chosen time.
Li ne ar tim e Source time  Linear time (100 percent speed): This is represented by a straight, upward-sloping diagonal line, in which one frame of a video clip plays in the space of one frame of the Timeline. This is real time. Sequence time Source time  Slow motion (less than 100 percent speed): Slow motion is represented by a line with a more gradual slope, in which one frame of a video clip may play over perhaps three frames of the Timeline.
II Source time  Freeze frame (0 percent speed): So far, all these graphs have illustrated forward-playing clips, represented by a line that slopes upward. A freeze frame, represented by a flat line, may also be created with the keyframe graph. Freeze frame Sequence time r ve Re se e sp ed Source time  Reverse speed (less than 0 percent speed, or negative speed): When a clip plays in reverse, previous frames of the video clip are mapped to successive frames of the Timeline.
When you put all this together, you can start to understand what is happening in more complex time remapping keyframe graphs. For example, in the following graph, you can see that the clip begins by playing in slow forward motion, gradually speeds up, and then goes in reverse briefly before going back into slow forward motion just before the end of the clip. Each speed transition is smoothed out by a Bezier keyframe.
II Time Remap Parameters  Setting: This pop-up menu allows you to choose between constant and variable speed.  Duration: The total duration of the clip in the Timeline, accounting for constant speed changes. This field always shows clip time mode (as opposed to source time) and View Native Speed is always deselected.  Speed %: The speed percentage at which the clip plays back, if a constant speed change has been applied. If the clip is set to variable speed, the word “Variable” appears in this field.
To see how speed settings affect the timecode view, try the following: 1 Open a clip in the Viewer. 2 Choose Modify > Speed (or press Command-J). 3 Type “25” in the Speed field, then click OK. The clip now plays back frames from the media file at 25 percent speed. The source timecode plays back just as slowly. 4 In the Viewer, move through the clip one frame at a time using the Left and Right Arrow keys. Note that the timecode numbers change once every four frames.
18 Working with Freeze Frames and Still Images 18 You can use still images and photographs in your movie to previsualize scenes, create motion graphics, and provide visual continuity when no video is available. This chapter covers the following: Â Using Still Images and Graphics in Your Sequences (p. 365) Â Creating Freeze Frames from a Video Clip (p. 366) Â Exporting Still Images (p. 367) Â Considerations Before Creating and Importing Stills (p. 368) Â Changing the Duration of Still Images (p.
Creating Freeze Frames from a Video Clip Final Cut Pro makes it easy to create a freeze frame from a video clip. No additional media is created on your hard disk; freeze frames are simply clips that refer to a single frame of a media file. Creating a Freeze Frame You can create a freeze frame whenever you need to, whether you are viewing a clip in the Viewer or working on a sequence in the Timeline.
II Creating Freeze Frames of Embedded Motion and LiveType Projects When you create a freeze frame of an embedded Motion or LiveType project, the freeze frame clip refers to the Motion or LiveType project on disk. If you alter the source project, the freeze frame’s image will look different. Reconnecting Freeze Frame Clips Freeze frame clips refer to media files the same way other clips do. If the media file is modified, moved, or deleted, the still-image clip becomes offline, and you need to reconnect it.
Deinterlacing Still Video Images to Improve Image Quality Standard definition (SD) video is almost always interlaced, so still images created from SD video are interlaced, too. A single frame of interlaced video consists of two fields that were originally captured at different moments in time. If there is a lot of motion in the video content of a frame (such as a ball quickly moving past the camera), the two fields contain very different visual information.
II Creating Graphics with the Correct Frame Size for Video When you’re preparing to import graphics into Final Cut Pro, it’s important to be aware of the implications of frame size, sequence size, and pixel aspect ratio. Ultimately, the frame size of your output format determines the size of the graphic you create in your graphics application. Here are some examples: Â If you are working with NTSC DV video, your graphic needs to have the same dimensions: 720 x 480.
Video Is Not 72 Dots per Inch There is a myth in video graphic design: Because some older computer displays used 72 pixels per inch, all video created on a computer must be at this resolution. This is not true or necessary. The dimensions of a video image are dependent only on the number of horizontal and vertical pixels used in the image. Pixel dimensions alone determine the resolution of a video image.
II Â If your graphic is taller than it is wide: There are gray borders to the right and left of the image in the Viewer and Canvas. The borders are not part of the image. Gray borders appear on the sides because this image is taller than it is wide. Â If your graphic is wider than it is tall: There are gray borders at the top and bottom of the image in the Viewer and Canvas. The borders are not part of the image.
See “Pixel Aspect Ratios in SD Video Signals Versus Computer Displays” on page 373 for more background information on this topic. Graphics for projects that will be output to HD video, or for video that will be played only on computers and doesn’t use any captured SD video footage, simply need a frame size that matches the sequence frame size. No alterations are needed.
II Frame Size Chart for Creating Graphics Use the chart below to determine the frame size you need for creating graphics. For example, if you’re working in DV PAL (which has a frame size of 720 x 576), your graphic should have a frame size of 768 x 576 to look correct on an SD video monitor.
SD NTSC pixels are taller than computer pixels and SD PAL pixels are wider than computer pixels. As a result, a 720 x 480 pixel image looks different (taller) on an NTSC video monitor than it does on a computer display. For example, if you capture a clip of video with a globe in the picture, export a frame, and look at this frame in a graphics application, you’ll see something like this: NTSC square vs.
II Creating Graphics with the Correct Color Settings for Video You should be aware that the range of colors that can be displayed on a broadcast video monitor is much smaller than the range that can be displayed on a computer display. For this reason, colors that appear bright and clean on NTSC or PAL video can seem duller when viewed on your computer display.
Flattening Graphics with Layers Multilayer graphics can be useful for compositing and complex graphics, but most of the time you only need a single still-image clip. If your original image file is a Photoshop file, make sure you flatten it before you save it as media for importing into Final Cut Pro.
II Scaling Images and Video Clips to Match a Sequence Whenever you edit a still-image clip into a sequence, Final Cut Pro compares and automatically adjusts the following properties of the image and the sequence: Â Horizontal and vertical dimensions: If the still-image dimensions are larger than the sequence dimensions, the still image is scaled to fit in both dimensions (without distorting the image). This means that you always see the entire still image within the frame of the sequence.
Note: You can add the illusion of camera motion to still images, as is often done in documentaries, by subtly keyframing the Scale setting (for zooming) as well as movement of the image within the frame (Center, Anchor Point, and Rotation parameters). See “Example: Adding Camera Motion to Still Images” on page 379 for details. To scale an imported graphic in a sequence: 1 Edit the image into the sequence in the Timeline. 2 Double-click the clip in the Timeline to open it in the Viewer.
II m Double-click a clip in the Browser to open it in the Viewer, then enter a value in the Timecode Duration field. Enter a new duration here. m Select a clip in the Browser, then choose Edit > Item Properties. Click the Timing tab, then enter a value in the Duration field. For more information, see Volume II, Chapter 5, “Working with Projects, Clips, and Sequences.
Step 1: Prepare and import your still image into Final Cut Pro There are two key things to be aware of before you import the image: Â Frame size: The still-image dimensions need to be significantly larger than the frame size of your sequence, so that the still image can move about the frame without displaying any edges.
II Step 2: Edit the still image into your sequence The still image appears as a clip in the Timeline. Step 3: Open the image clip in the Motion tab of the Viewer 1 Double-click the clip in the Timeline to open it in the Viewer. 2 Click the Motion tab in the Viewer, then click the Basic Motion disclosure triangle to reveal parameters such as Scale, Rotation, and Center. 3 In the Motion tab of the Viewer, enter 100 in the Scale field. Set the Scale parameter to 100.
2 Choose Fit All from the Zoom pop-up menu. Note: If your final movie will be shown on a television monitor, it’s a good idea to turn on the Title Safe indicators as well so that you can see what will actually be visible on the television monitor. (Choose Show Title Safe from the View pop-up menu.) Step 5: Position and keyframe the image at the pan starting and ending points The Center parameter determines where the image appears (or doesn’t appear) onscreen.
II 3 Control-click the Add Motion Keyframe button in the Canvas, then choose Center from the shortcut menu. A keyframe appears in the Motion tab, next to the Center parameter. Center parameter keyframe 4 Move the playhead to the time when you want the pan to end.
5 Move the image in the Canvas to the ending position. You don’t need to add a keyframe this time because, once a single keyframe has been added to a parameter, new keyframes are automatically added each time you move the clip to a new position. You should see a line in the Canvas indicating the interpolated motion path between the starting and ending keyframes.
II To smooth the speed at the starting and ending points of a motion path: 1 Choose Mark > Previous > Keyframe until the playhead is over the starting keyframe of your clip. (You can also press Option-K.) If you navigate too far past the starting keyframe, you can navigate back by choosing Mark > Next > Keyframe (or pressing Shift-K). 2 In the Canvas, Control-click the starting keyframe and choose Ease In/Ease Out from the shortcut menu. The keyframe now has a velocity handle.
19 Compositing and Layering 19 Compositing is the process of stacking and blending multiple video or graphics clips over one another in a sequence to create multilayer motion graphics and special effects shots. This chapter covers the following: Â Introduction to Compositing and Layering (p. 387) Â Adjusting Opacity Levels of Clips (p. 390) Â Working with Composite Modes (p. 393) Â Working with Layered Photoshop Files (p. 407) Â Using Video and Graphics Clips with Alpha Channels (p.
Methods of Compositing Once you’ve layered clips in the Timeline, you can adjust how each one blends with the layers below using the following methods: Â Opacity levels: This adjusts the transparency of a clip. You can adjust the Opacity parameter to subtly blend two or more layers together, or you can animate this parameter over time to create fade-ins and fade-outs. For more information, see “Adjusting Opacity Levels of Clips” on page 390.
II Different Ways to Layer Clips in the Timeline There are several ways you can layer clips in the Timeline. Â Create a new track in a sequence, then edit clips into the new track. You can add one or more tracks to a sequence, depending on the effect you are creating. For more information, see Volume II, Chapter 8, “Working with Tracks in the Timeline.” Â Drag a clip into an empty area of the Timeline, so a track is created for the new clip.
Adjusting Opacity Levels of Clips Every video clip has an Opacity parameter that allows you to change the clip’s level of transparency. When you adjust the opacity level of one or more clips, they blend to create a single image. You can then use the resulting image as the background for another layer, such as a text or graphics layer. Opacity is used to blend two clips. There are two ways you can adjust a clip’s opacity: Â Drag the opacity overlay of a clip in the Timeline.
II To adjust the opacity of a clip (with no keyframes) in the Timeline: 1 In the Timeline, click the Clip Overlays control. The opacity overlay can be dragged up or down to adjust it. Clip Overlays control 2 Drag the opacity overlay up or down to adjust the setting. To adjust the opacity of a clip with greater accuracy, hold down the Command key while you drag the opacity overlay. Note: The overlay appears as a black line if the clip is not selected and as a white line if the clip is selected.
To adjust the opacity of a clip (with no keyframes) in the Motion tab: 1 Double-click the sequence clip you want to adjust to open it in the Viewer, then click the Motion tab. Note: When compositing clips in a sequence, make sure that you are always working on sequence clips and not Browser clips. For example, if you do a match frame edit or inadvertently open a clip from the Browser, you won’t be modifying a clip in the sequence and so you won’t see changes in the Canvas.
II Working with Composite Modes Final Cut Pro composite modes determine how the brightness and color of one clip visually interact with those of another clip layered beneath it in a sequence. When you edit a clip into your sequence, it defaults to the Normal composite mode, meaning that it is a completely opaque layer that does not blend with the layers beneath.
Important: Final Cut Pro composite modes work in conjunction with a clip’s Opacity parameter. The composite mode you select determines how the color values of one clip interact with those in the clip beneath it. Additional changes made to a clip’s opacity can lighten or intensify this effect. Normal composite mode, with the opacity of the top clip at 50 percent Applying Composite Modes to Clips Applying different composite modes to layered clips in a sequence is easy.
II 3 Move the playhead over these two clips to see the interaction between the two clips in the Canvas. In this example, the Screen composite mode is on the upper of two clips; the opacity of both clips is 100 percent. You can quickly view or change a clip’s composite mode while working in the Timeline. This provides a fast alternative to choosing a different composite mode from the Modify menu.
Composite Modes in Final Cut Pro The following section describes how composite modes affect two layers in a sequence. About the Examples in This Section Most of the examples in this section combine the following two reference images to create a third composite image. The composite image illustrates how the color values from each image interact when using each composite mode.
II Normal Normal is the default composite mode for clips. When a clip uses Normal composite mode, you can still adjust its transparency by using its Opacity parameter or an alpha channel. Add Add emphasizes the whites in each overlapping image, lightening all other overlapping colors. The color values in every overlapping pixel are added together. The result is that all overlapping midrange color values are lightened. Blacks from either image are transparent, while whites in either image are preserved.
Subtract Subtract darkens all overlapping colors. Whites in the foreground image go black, while whites in the background image invert overlapping color values in the foreground image, creating a negative effect. Blacks in the foreground image become transparent, while blacks in the background image are preserved. Overlapping midrange color values are darkened based on the color of the background image. In areas where the background is lighter than the foreground, the background image is darkened.
II Multiply Multiply emphasizes the darkest parts of each overlapping image, except that midrange color values from both images are mixed together more evenly. Progressively lighter regions of overlapping images become increasingly translucent, allowing whichever image is darker to show through. Whites in either image allow the overlapping image to show through completely. Blacks from both images are preserved in the resulting image.
Screen Screen emphasizes the lightest parts of each overlapping image, except that the midrange color values of both images are mixed together more evenly. Blacks in either image allow the overlapping image to show through completely. Darker midrange values below a certain threshold allow more of the overlapping image to show. Whites from both images show through in the resulting image. The order of two clips affected by the Screen composite mode does not matter.
II Overlay Whites and blacks in the foreground image become translucent and interact with the color values of the background image, causing intensified contrast. Whites and blacks in the background image, on the other hand, replace overlapping areas in the foreground image. Overlapping midrange values are mixed together differently depending on the brightness of the background color values. Lighter background midrange values are mixed by screening.
Hard Light Whites and blacks in the foreground image block overlapping areas in the background image. Whites and blacks in the background image, on the other hand, interact with overlapping midrange color values in the foreground image. Overlapping midrange color values are mixed together differently depending on the brightness of the background color values. Lighter background midrange values are mixed by screening. Darker background midrange values, on the other hand, are mixed together by multiplying.
II Suggested uses: The Soft Light composite mode is useful for softly tinting a background image by mixing it with the colors in a foreground image. Darken Darken emphasizes the darkest parts of each overlapping image. Whites in either image allow the overlapping image to show through completely. Lighter midrange color values become increasingly translucent in favor of the overlapping image, while darker midrange color values below a certain threshold remain solid, retaining more detail.
Lighten Lighten emphasizes the lightest parts of each overlapping image. Every pixel in each image is compared, and the lightest pixel from either image is preserved, so that the final image consists of a dithered combination of the lightest pixels from each image. Whites in both images show through in the resulting image. The order of two clips affected by the Lighten composite mode does not matter.
II Travel Matte - Luma The Travel Matte - Luma composite mode does the same thing as the Travel Matte Alpha composite mode, but the transparency is derived from the luma information (instead of the alpha channel) of the clip below. The luma information may be derived from a grayscale equivalent of the RGB channels, or directly from the luma (Y´) channel in the case of Y´CBCR video. White is equal to 100 percent transparency and black is equal to 100 percent opacity (solid).
To create a travel matte: 1 Place the clip you want to have appear in the background of your composite on track V1 in the Timeline. 2 Place the clip you want to use as your matte layer on track V2, above the background clip. Â When using the Travel Matte - Alpha mode: Make sure that the clip has a properly formatted alpha track (see “Using Video and Graphics Clips with Alpha Channels” on page 410).
II Working with Layered Photoshop Files You can create multilayer graphics in Adobe Photoshop for use in a composited Final Cut Pro sequence. This allows you to create a complex arrangement of separate graphic elements and import them as a group, with their position and layer ordering intact. Once you import layered Photoshop files, they appear as a sequence, with each individual layer stacked. At this point, it’s easy to manipulate each layer individually to create sophisticated composites.
Working with Layered Photoshop Sequences When you import a layered Photoshop file into Final Cut Pro, all the layers of the source Photoshop file are composited together with a sequence frame size identical to the imported Photoshop file’s frame size. An imported Photoshop file becomes a sequence in the Browser. If you want to import a layered Photoshop file as a single clip, you must flatten the image in Photoshop and then import the file into Final Cut Pro.
II Don’t Add or Delete Layers from an Imported Photoshop File Final Cut Pro keeps track of each imported Photoshop layer according to its position relative to the bottom layer. While editing a layered Photoshop file that’s already been imported into Final Cut Pro, it’s not a good idea, under any circumstances, to: Â Add additional layers: If you add a layer, any layer pushed above the topmost layer that was imported into your Final Cut Pro project is ignored when you go back to Final Cut Pro.
To manually change the frame rate of a layered Photoshop sequence: 1 Select the layered Photoshop sequence in the Browser, then choose Sequence > Settings. 2 Choose a frame rate from the Editing Timebase pop-up menu, then click OK. If affiliate copies of this layered Photoshop sequence have already been edited into other sequences, Final Cut Pro does not allow you to change the sequence frame rate. In this case, you can manually create a duplicate master clip of this sequence.
II Important: When you import a clip with an alpha channel that contains no data, the clip appears white. To display the clip properly, change the alpha channel for the clip to None (see “Changing a Clip’s Alpha Channel Type” on page 412).
Changing a Clip’s Alpha Channel Type When you import an image file, Final Cut Pro identifies the type of alpha channel and sets the imported clip’s Alpha property appropriately. You should usually not change this setting, except in rare circumstances where Final Cut Pro identifies an image alpha channel as premultiplied black or premultiplied white and you are certain that the alpha channel type is actually straight.
II Â Black: Also known as premultiplied (with black). Most other alpha channels, especially channels that are hand drawn in Photoshop, are premultiplied. This means that, unlike a movie with a straight alpha channel that contains only the pixels of the foreground image, movies with alpha channels premultiplied against black always look right, even if they have translucent lighting effects. This is because the entire image is precomposited against black. Â White: Also known as premultiplied with white.
To change the alpha channel type of a clip in the Browser: m Control-click in the Alpha column in the Browser, then choose a new alpha channel type from the shortcut menu. To reverse a clip’s alpha channel: m Do one of the following: Â Select a clip in the Timeline or open a clip in the Viewer, then choose Modify > Reverse Alpha. Â In the Browser, Control-click in the Reverse Alpha column next to the clip you want to modify, then choose Yes from the shortcut menu.
II Viewing RGB and Alpha Channels in the Viewer When you’re working in the Viewer, it can sometimes be helpful to have a quick look at the alpha channel of your clip. The alpha channel defines areas of transparency and can change if various filters are applied. For example, if a blue-screen clip is added to the Viewer, and a blue-screen filter is applied to the clip, you can check to see what the alpha channel looks like by itself by choosing View > Channels > Alpha.
 Alpha+RGB: This option lets you see a representation of the alpha channel overlaid on top of the RGB channels that constitute the actual image of the video clip. The alpha channel is overlaid in red, with solid red representing nontransparent areas. The RGB and Alpha options in the View menu are most effective when used with different backgrounds (described in the next section).
II Choosing a Background When working with clips that have an alpha channel, you can choose different backgrounds that make it easier to see which areas of your picture are transparent. Translucent clips or generated text clips may be easier to see if you choose a background that emphasizes them, such as Checkerboard 1 or 2. If you’re compositing colored images, a contrasting color would work better. Translucent clips or generated text may be more visible if you choose Checkerboard 1 or 2.
Superimposing Video When Preparing for EDL Export In an Edit Decision List (EDL), a Super or Key track is the equivalent of a single superimposed video track in Final Cut Pro. EDLs can recognize only one Key track, so V2 is the only video track other than V1 that appears in an exported EDL. Transitions in track V2 are not allowed in EDLs and are ignored. If you want to use a transition in track V2, use keyframes in the opacity overlay to dissolve V2 up and down.
II Temporarily Disabling a Single Clip If, instead of disabling an entire track, you only want to disable a single clip temporarily, you can do so. While a single clip is disabled, it will not be:  Played back  Rendered  Output to tape with the rest of the sequence To disable one or more clips: 1 Select the clip or clips using one of the selection tools. 2 Do one of the following:  Choose Modify > Clip Enable, so the menu item is no longer selected.
Soloing Clips in Multitrack Sequences When working with multiple tracks, you may find it helpful to quickly demo one clip within a sequence to the exclusion of the clips above and below it on other tracks. This helps you focus very closely on how one clip is working in a sequence. This feature, called solo item, works by disabling all unselected clips in the Timeline that appear in other tracks at the position of the playhead.
20 Keying, Mattes, and Masks 20 You can isolate specific elements of clips from the background and combine those elements with other clips by using keying, mattes, and masks. This chapter covers the following: Â Ways to Layer and Isolate Elements in Clips (p. 421) Â Using Keying to Isolate Foreground Elements (p. 424) Â Using Mattes to Add or Modify Alpha Channels (p. 440) Â Using Masks to Replace or Modify Alpha Channels (p.
In Final Cut Pro, a matte is a customizable, polygonal shape used to make part of a clip transparent. By outlining part of an image with a matte, you can turn everything outside or inside the shape transparent. Final Cut Pro allows you to create four- and eight-point mattes.
II What Are Masks and How Are They Used? A mask is an image that is used to create areas of transparency in another image. For example, the luma in one clip can be used to create transparency in another clip. You can also assign the alpha channel of one clip to a completely different clip. (For more information about alpha channels, see “Alpha Channels and Key, Matte, and Mask Filters,” next.
Using Keying to Isolate Foreground Elements There are two different methods used for keying: chroma keying and luma keying. Chroma keying is a method of keying on a particular hue of color. Although any color can be keyed on, the colors most frequently used for chroma keying are blue and green.
II If you must apply compression during capture, you can still pull good keys from clips with as much as a 2:1 compression ratio, but ideal source footage should be uncompressed. DV footage, which is compressed with a 5:1 ratio as it’s recorded, is less than ideal. This is because of compression artifacts that, while invisible during ordinary playback, become apparent around the edges of your foreground subject when you start to key. However, this doesn’t mean that you can’t key with DV footage.
Using the Final Cut Pro Video Scopes to Help Correctly Light Your Background Screen Because the Waveform Monitor shows you all variations in brightness in the video frame from the left to the right of the screen, you can use it to reveal hot spots in your background screen that may be difficult to see with the naked eye.
II Overview of Compositing Using the Chroma Keyer Filter Although you can use one of several different filters for keying, you often use more than one filter, depending on the qualities of the video clip. In general, the process of compositing two shots together by keying consists of seven main steps, using several different types of filters. For more details, see “Example: Using the Chroma Keyer Filter” on page 434.
Step 3: Eliminate fringing with the Matte Choker filter After keying out as much of the background as you can without touching the foreground subject, apply the Matte Choker filter to eliminate any faintly remaining blue or green fringing or pixels surrounding the edge of your foreground subject. Using the Matte Choker filter to eliminate this fringing works similarly to using the Thin/Spread slider in the Chroma Keyer.
II Step 6: Crop out elements using the Garbage Matte filter If there are “unkeyable elements” other than your foreground subject that you want to eliminate from the frame, such as props, lighting fixtures, or other undesirable objects, you can use one of the Garbage Matte filters to remove those elements. For more information on using Garbage Matte filters, see “Using Mattes to Add or Modify Alpha Channels” on page 440.
Working with the Chroma Keyer Filter Despite its name, the Chroma Keyer actually uses a combination of chroma and luma keying to achieve a good key. Using the Chroma Keyer, you can create a key using any range of color you want, including (but not limited to) the usual blue and green. You can also fine-tune your composite by adjusting the color value, saturation, and luma ranges used to define your key, together or separately.
II To use the standard numeric controls, do one of the following: m In the Chroma Keyer tab, click the Numeric button. In the Chroma Keyer tab, click this button to use the standard numeric controls. m Click the Filters tab.
Visual Controls in the Chroma Keyer Filter The following controls appear in the Chroma Keyer tab in the Viewer. Enable/Disable checkbox Color Range control Select Color eyedropper Reset button Saturation control View Final/Matte/Source button Invert Selection button Luma control Sliders for further adjustments  Enable/Disable checkbox: Make sure there’s a checkmark in this checkbox for the controls you want to use.
II Â Saturation control: Allows you to adjust the degree and range of saturation that contributes to defining your key. The top and bottom handles work the same as those in the Color Range control. Drag left or right within the gradient to move all four handles simultaneously. Â Luma control: Lets you adjust the degree and range of luma that contributes to defining your key. The top and bottom handles work the same as those in the Color Range control.
 Invert Selection button: Click this button to invert the key you’ve defined. For example, suppose you’ve set up a key based on the color of a green car and used a grayscale copy of the clip in the background so that the car is grayscale and the background is color. Clicking the Invert Selection button reverses the key so that you see the car in color and the background appears in grayscale. Three sliders at the bottom of the Chroma Keyer let you make further adjustments.
II 4 Click the Select Color eyedropper to pick a color in the clip to key, move the pointer to the Canvas (it turns into an eyedropper), then click the desired key color. Choose a color that’s fairly close to the edge of your foreground subject, so that the area near the subject is the first area of color you key out. The color range you select with the eyedropper becomes transparent in the clip.
You can perform this step as many times as you need to. The goal is to eliminate as much of the background as you can without affecting the foreground subject. If you start encroaching on the outline of your foreground element, you’ve gone too far and should undo. It is not necessary to remove all the background fringe around your foreground subject with this step; you should focus only on eliminating the major areas of the background screen.
II 7 Depending on how the edges of your foreground subject look, you may want to make adjustments using the Edge Thin slider. The Edge Thin slider allows you to shrink the alpha channel created by the Chroma Keyer to begin to eliminate the light fringing that remains around the edges of the foreground subject. Before adjusting the Edge Thin slider After dragging the Edge Thin slider to the right 8 An optional step at this point is to use the Softening slider to blur the edges of the foreground subject.
9 If you still see light fringing at this point, or if you were forced to use settings so extreme in the Chroma Keyer that some of your foreground subject was eaten away around the edges, apply the Matte Choker filter. After you apply the Matte Choker filter, adjust the Matte Choker’s Edge Thin and Edge Feather sliders. This is the point where you should work to eliminate all the background fringing.
II 13 Finally, you’re ready to insert the background image. Make sure that the clip you’re editing into your sequence to use as the background image appears in a video track below the foreground clip being keyed. The background image now appears. The background image is placed below the foreground clip that was keyed.
Using Mattes to Add or Modify Alpha Channels You can use the matte filters to create a new alpha channel or add to or subtract from a clip’s existing alpha channel. Matte filters work equally well with clips that already have an alpha channel and with clips that have alpha channels created using a key filter, such as the Chroma Keyer.
II 3 Move the pointer to the Canvas (the pointer turns into a crosshair pointer), then click to change the location of the matte corner defined by Point 1. Before changing the location of the first point After changing the location of the first point 4 Repeat steps 2 and 3 for the Point 2, Point 3, and Point 4 point controls, until you’ve created a box that crops out everything outside the green screen surrounding the actor.
The Choke slider adjusts the overall size of the matte, without changing the shape; the Feather slider blurs the edges of the matte. The finished matte image The parameters of the Garbage Matte filters can be keyframed, in the same way as the parameters of any other filter. This can come in handy if you need to use one of the Garbage Matte filters to crop out the outside edge of a green screen in a shot where the camera is panning.
II 3 Move the playhead to the last frame of the clip, then readjust the Point 1, Point 2, Point 3, and Point 4 point controls to fit the new position of the green screen. The four points are adjusted again. Click point controls to make an adjustable crosshair appear in the Viewer or Canvas. Keyframes are created automatically when you make these adjustments. The change of the matte’s shape and position is calculated for each frame in between the two sets of keyframes you’ve created.
 Mask Shape: Allows you to create an alpha channel in a clip that consists of a simple shape—a diamond, oval, rectangle, or round rectangle. The solid part of the clip that remains after applying the Mask Shape filter appears inside the shape that’s been created. The vertical and horizontal scale of the shape can be altered, as can the mask’s center. The Mask Shape filter can also be inverted to reveal areas of the clip outside the shape.  Soft Edges: Allows you to feather the edges of a clip.
II 5 Choose Luminance from the Channel pop-up menu. Note: When using a clip’s luma to define transparency, white is used for 100 percent opacity, and black is used for 100 percent transparency. The clip now has a border that matches the Border.tif clip. You can further modify this new alpha channel, blurring it with the Mask Feather filter, for example. 6 Choose Effects > Video Filters > Matte > Mask Feather to apply the Mask Feather filter to the clip you want to blur.
21 Using Generator Clips 21 Final Cut Pro can generate several types of clips for you to use in your sequences, including bars and tone, placeholders, and backgrounds. This chapter covers the following: Â What Is a Generator Clip? (p. 447) Â Different Ways to Use Generators in Your Sequence (p. 448) Â Video and Audio Generators Available in Final Cut Pro (p. 449) Â Creating and Adding Generators to Sequences (p.
Different Ways to Use Generators in Your Sequence In creating composites and other effects, you may find some of the Final Cut Pro generators helpful. They allow you to very quickly add certain types of built-in clips by simply choosing items from a menu.
II Video and Audio Generators Available in Final Cut Pro Final Cut Pro supports both FXScript and FxPlug generators. The following tables explain the generators available in Final Cut Pro. Color Bars, Tone, and Other Signal Generators You use color bar and signal generators for calibration and testing purposes. Each Bars and Tone generator uses the image dimensions and color space intended for a particular video system.
Matte Color and Slug You use the Color and Slug generators to create colored backgrounds or black. 450 Generator Result Usage information Color (From the Generator pop-up menu, choose Matte > Color.) Generates a frame of solid color. Â The color controls allow you to specify the color. Â You can create colored backgrounds behind other layered clips in a sequence. Â Color mattes can be used as containers for special effects filters that create visual images.
II Render You can use the Render generators to create backgrounds filled with gradient shades of color or grays. Generator Result Usage information Custom Gradient (From the Generator pop-up menu, choose Render > Custom Gradient.) Generates a gradient layer that you can customize. Â A pop-up menu allows you to specify a linear or radial gradient. Â The Start control allows you to set the point in the frame where the gradient begins.
452 Generator Result Usage information Noise (From the Generator pop-up menu, choose Render > Noise.) Generates random pixel noise, similar to static. Â The random noise can be adjusted to appear in varying levels across every channel of the clip, including the alpha, red, green, and blue channels, using the appropriate slider controls. Â You can animate the noise with the Random checkbox and create color static with the Color checkbox.
II Shapes You can use the Shape generators to create shapes of different colors and sizes that can appear in backgrounds. Generator Result Usage information Shapes  Circle  Oval  Rectangle  Square (From the Generator pop-up menu, choose Shapes, then choose the shape you want from the submenu.) Generates a circle, oval, rectangle,  You can change the size, or square, depending on what aspect, edge softness, and you choose. color of each shape.
To create a generator and add it to a sequence: 1 Do one of the following: Â Click the Video or Audio tab in the Viewer, then choose a generator from the Generator pop-up menu. Some generators have submenus with additional choices. Â In the Effects tab of the Browser, double-click a video generator. 2 Click the Controls tab to view that generator’s parameters, and adjust the controls to suit your purposes. Click the Controls tab to show the parameters of the generator.
22 Using the SmoothCam Filter 22 You can smooth the motion of handheld and shaky shots by applying the SmoothCam filter. This chapter covers the following: Â About the SmoothCam Filter (p. 455) Â Using the SmoothCam Filter (p. 456) Â Managing Media and Motion Analysis Data (p. 468) Â Improving SmoothCam Filter Results and Troubleshooting (p.
About Queuing and Background Processing When you apply the SmoothCam filter to a clip, the clip is automatically submitted to the SmoothCam Analysis processing queue, where motion analysis data is generated. The processing queue analyzes clips in the order they are received. When analysis for one clip in the queue is completed, analysis for the next clip begins, allowing you to submit multiple clips at one time. A clip’s entire media file is analyzed, regardless of clip In and Out points.
II Applying the SmoothCam Filter The SmoothCam filter is available in both the Effects tab and the Effects menu in the Video category. You can apply the SmoothCam filter to the current clip in the Viewer or to one or more clips in a sequence. To apply the SmoothCam filter to a clip in the Viewer: m Make sure the Viewer is the active window, then choose Effects > Video Filters > Video > SmoothCam.
Checking Motion Analysis Status You can check a clip’s motion analysis status in four locations:  Overlays in the Canvas or Viewer  The Background Processes window  The SmoothCam Browser column (and the SmoothCam property in the Item Properties window)  The empty area in the lower-left part of the Viewer Filters tab, to the right of the Current Timecode field Overlays in the Canvas or Viewer An overlay in the Canvas or Viewer displays the current clip’s motion analysis status.
II The SmoothCam Browser Column The SmoothCam clip property can be shown in a Browser column, displaying each clip’s motion analysis status. The SmoothCam Browser column also allows you to submit clips to the processing queue even if your clips don’t have the SmoothCam filter applied. To display the SmoothCam Browser column: m In the Browser, Control-click in any column, then choose SmoothCam from the shortcut menu. You can also view the SmoothCam property in the Item Properties window.
To submit clips to the SmoothCam Analysis processing queue: 1 Make sure the SmoothCam column is shown in the Browser. 2 Select one or more clips in the Browser. 3 Control-click in the SmoothCam column next to one of the selected clips, then choose Run Analysis from the shortcut menu. To stop motion analysis for all clips in the processing queue: 1 In the Background Processes window, click the Stop button next to the progress bar.
II Reanalyzing Clips If necessary, you can reanalyze a clip whose status is “Analysis completed.” To analyze a clip that already has a completed motion analysis file: 1 Make sure the SmoothCam column is shown in the Browser. 2 Select one or more clips in the Browser. 3 While pressing the Option key, Control-click in the SmoothCam column next to one of the selected clips, then choose Run Analysis from the shortcut menu.
Adjusting SmoothCam Filter Parameters You can adjust controls for the SmoothCam filter in the Filters tab in the Viewer, just as you would adjust parameters for any other filter. However, you cannot add keyframes to SmoothCam filter parameters.
II Camera Motion Smoothness Parameters You can control the “steadiness” of your shot using three independent parameters:  Translation Smooth: Left, right, up, and down movement of a shot (x and y axes)  Rotation Smooth: Rotation around the center point of the image  Scale Smooth: Forward or backward camera or lens movement (z axis) x x x z y Translation y Rotation y Scale Each parameter can be set to a value between 0.0 and 5.0. A value of 0.0 disables the parameter, and a value of 5.
Factors That Affect SmoothCam Scaling You can control how much the SmoothCam filter scales your clip in several ways, depending on the effect you are trying to achieve: Â Reduce the Translation Smooth, Rotation Smooth, and Scale Smooth parameter values so that less motion correction is applied. This means that there is less black around your clip, so less scaling is required. Try to adjust these parameters to find a balance between acceptable scaling and adequate motion compensation.
II Using the Auto Scale Parameter In some cases, you may prefer to reduce the automatic scaling that the SmoothCam filter applies by lowering the value of the Auto Scale parameter.
For example, if your footage starts with a fast pan and then settles into a relatively stable shot, set the clip In point after the pan is finished. Similarly, if a person walks into the frame and blocks the camera, set an Out point in your clip before the person appears. Remove the rapid camera pan here. Remove the person blocking the camera here.
II 5 Import the QuickTime reference movie you just created, then apply the SmoothCam filter to the clip. 6 Only the media defined by the QuickTime reference movie is analyzed in the processing queue. For more information about exporting QuickTime movies, see Volume IV, Chapter 17, “Exporting QuickTime Movies.” You can also see Volume IV, Chapter 22, “Batch Exporting Clips and Sequences.
Managing Media and Motion Analysis Data If you use the Media Manager QuickTime export commands with sequences or clips using the SmoothCam filter, motion analysis data may not be retained. Using the Media Manager The Media Manager does not manage SmoothCam motion analysis files.
II Improving SmoothCam Filter Results and Troubleshooting When you use the SmoothCam filter, keep the following points in mind: Â The SmoothCam filter requires motion analysis data before you can see the results of the filter. Â Certain visual characteristics in your footage can cause the SmoothCam filter to generate unexpected results.
23 Creating Titles 23 Titles, including opening and closing credits and titles used in the lower part of the screen, are important elements in your project. This chapter covers the following: Â How You Can Use Titles in Your Project (p. 471) Â Installing and Choosing Fonts (p. 472) Â Making Sure Titles Fit on TV Screens (p. 473) Â Text Generators Available in Final Cut Pro (p. 474) Â Creating and Adding a Title Clip (p. 476) Â Other Options for Creating and Adding Titles (p.
Installing and Choosing Fonts If there are special fonts you want to install to use in Final Cut Pro, you need to install the TrueType version of those fonts because Final Cut Pro text generators use TrueType fonts. (Most professionally created fonts come in both PostScript and TrueType versions.) For information on installing fonts, see Mac Help. DV was designed for real-world images that blend together, and it is not optimized for rigid lines of text.
II Making Sure Titles Fit on TV Screens If you plan to show your work on a TV screen or monitor at any time, you’ll want to avoid the possibility of having your titles disappear off the edge of the frame. To do this, turn on the Title Safe indicators before you create the title, and restrict any text you add to the space within the title safe boundary. Note: Because few video projectors use masking, title safe boundaries may not be important for movies displayed with video projectors.
Text Generators Available in Final Cut Pro The table below describes each text generator and includes tips about settings for each generator. 474 Text generator Result Crawl Generates a single line of text  You can adjust the overall that moves horizontally across spacing of the text with the the screen. You type the text you Spacing slider, and the want to animate in a text entry location of the text as it crawls field.
II Text generator Result Tips for making settings Outline Text Generates static text with an outline. This generator allows carriage returns. Â Text Graphic and Line Graphic clip wells allow you to fill the text or the outline with the image of a clip you apply, rather than a solid color. Â You can also modify the size, softness, color, and opacity of the background independently of the text. You can use the Back Graphic clip well to apply the image from any clip to the background.
Text generator Result Tips for making settings Text Creates a static element of text. This generator allows carriage returns. Â The font, size, style, alignment, and color of the generated text can be modified. These controls modify the entire text element at once. Tracking, Leading, and Aspect sliders allow you to control the layout of the generated text and can be keyframed to create interesting effects.
II To create a title clip: 1 Select a text generator by doing one of the following: Â Click the Video or Audio tab in the Viewer, then choose a text generator from the Generator pop-up menu. Â In the Effects tab of the Browser, double-click a text generator. See “Text Generators Available in Final Cut Pro” on page 474 for detailed descriptions of the choices. 2 In the Viewer, click the Controls tab. 3 In the Text field, type the text that will appear in your movie.
4 If you wish, specify additional settings. Note: Different text generators have different controls. Â Â Â Â Text: Enter your title text in this field. Font: Choose a font from the Font pop-up menu. Size: Change the font size by entering a value or dragging the slider to the left or right. Alignment: Choose the alignment of your title on the screen from this pop-up menu. Your choices are Left, Center, and Right.
II Â Tracking: Use the slider to adjust the space between letters, or enter a value in the number field. Â Leading: Use the slider to adjust the space between lines of text, or enter a value in the number field. Â Aspect: Use the slider to adjust the ratio of letter height to letter width for your selected font, or enter a value in the number field. Â Auto Kerning: Select the Auto Kerning checkbox to kern your text automatically so that the spacing between the individual letters of your text is correct.
Other Options for Creating and Adding Titles If a title you have in mind is something you can’t create with the available text generators, you can use other methods to create titles and incorporate them into your sequence: Â Using Photoshop files or still images for titles: If a title you really want is best created in another application such as Photoshop, you can create it there and add it to your sequence as a still image.
II Working with LiveType Clips in Final Cut Pro When you import a LiveType project, Final Cut Pro creates a LiveType clip that refers to the LiveType project file. A LiveType clip behaves just like any other clip in a Final Cut Pro project, so you can set In and Out points, edit the clip into a sequence, and reconnect the LiveType clip whenever the LiveType project file is updated.
Exporting Background Video to Use in LiveType If you want to create a title for a segment of your Final Cut Pro sequence, it’s helpful to export that segment, defined by In and Out points, so you can use it as a background element in LiveType while you design your title. When you finish designing the title, you can disable the background element and import only the title into Final Cut Pro.
24 Working with Motion and Shake 24 You can add Motion projects directly to sequences in Final Cut Pro and send Final Cut Pro sequence clips directly to a new Timeline in Motion. This chapter covers the following: Â Using Motion with Final Cut Pro (p. 483) Â Using Shake with Final Cut Pro (p.
Importing a Motion Project into Final Cut Pro You can import Motion projects into Final Cut Pro to quickly add motion graphics, title sequences, and animations to your sequence. To import a Motion project into Final Cut Pro, do one of the following: m Drag the Motion project from the Finder to the Final Cut Pro Browser or Timeline. m Choose File > Import > Files, then select the Motion project in the dialog that appears and click Choose.
II To make sure a Motion clip automatically reconnects to an updated Motion project, do one of the following: m Initiate the Motion project update from within Final Cut Pro by selecting the Motion clip and choosing View > Clip in Editor. This method informs Final Cut Pro that the Motion project may be updated, so the Motion clip is automatically reconnected the next time you switch to Final Cut Pro.
Selecting Clips or Sequences to Send to Motion The Send To Motion Project command behaves slightly differently depending on your selection: Â One or more Browser clips: The selected clips are sent to a new project in Motion; the Motion Timeline remains empty and the clips appear in the Motion Media tab. Â A sequence in the Browser: A new Motion project is created with an identical track and clip layout as your Final Cut Pro sequence.
II Sending Browser Clips from Final Cut Pro to Motion When you send Browser clips from Final Cut Pro to Motion, a new Motion project is created with an empty Timeline and the media from each selected Final Cut Pro clip displayed in the Motion Media tab. Use this method to quickly import media from Final Cut Pro into an empty Motion project.
What Properties Are Exported to Motion? When you send sequence clips to Motion, the following properties are retained in the exported Motion project. Exported properties Video  Clips, with In and Out points, placed on the correct Timeline tracks and positions  Clip and sequence markers (called object and project markers in Motion)  Almost all attributes in a clip’s Motion tab, including Basic Motion, Crop, Distort, Opacity, Drop Shadow, and Time Remap.
II Sending Clips from Final Cut Pro to a Shake Script You can send two kinds of selections to Shake from Final Cut Pro: Â An entire sequence in the Browser: All the clips in the sequence are sent to a new Shake script. Â One or more selected clips in a sequence: Only the selected sequence clips are sent to a new Shake script. In addition, a new placeholder QuickTime media file is created where the final rendered Shake media will be stored.
5 Select the Launch Shake checkbox if you want the newly created Shake script to open automatically so you can start working on it. Important: This requires Final Cut Pro and Shake to be installed on the same computer. 6 Click Export. When you click Export, several things happen: Â If you selected sequence clips, a new sequence is created in your Final Cut Pro project that contains a copy of all your selected clips.
II If you want to change the temporal position of clips after they are imported into Shake, you should use the Time View tab. Important: Audio clips from the original QuickTime files are not imported into Shake. Video timing changes you make in Shake can cause audio sync problems if you import the finished Shake composite back into your original Final Cut Pro sequence.
25 Working with Master Templates 25 Master templates created in Motion allow you to quickly customize design elements such as titles and opening credits. This chapter contains the following: Â About Motion Template Files and Master Templates (p. 493) Â Working with Master Templates (p. 495) Â Modifying Master Templates (p. 499) Â Converting a Template Clip to a Motion Project (p. 502) Â Installing Motion Template Files for Use in Final Cut Pro (p. 503) Â Creating Master Templates in Motion (p.
But that’s just the beginning. The real power of master templates becomes clear when you have lots of titles or graphics in your sequence that need the same motion graphics treatment. For example, suppose you are working on a documentary that has dozens of lower third titles, each requiring the same animated text and background treatment. In this case, a graphic designer can create a single Motion template file for all of your lower third titles.
II Working with Master Templates Here is the basic workflow for using master templates in Final Cut Pro: Step 1: Preview a master template to use in your sequence Step 2: Edit a template clip into your sequence Step 3: Customize template clip parameters in the Controls tab of the Viewer Previewing Master Templates You can preview the currently installed master templates in the Master Template Browser. To open the Master Template Browser: m Choose Sequence > Add Master Template.
Adding Master Templates to a Sequence You can add master templates to your sequence from four different locations within Final Cut Pro. Try out the following methods to see which one works best for you. Â Master Template Browser: Choose Sequence > Add Master Template to open the Master Template Browser. From this window, you can perform an overwrite, insert, or superimpose edit to edit a master template directly into your sequence.
II 6 In the Master Template area, select a master template to preview it in the preview area. 7 To edit the selected master template into your sequence, click one of the following: Â Overwrite: A template clip is added to your sequence with an overwrite edit. The template clip is placed at the current In point on the current destination video track. Â Insert: A template clip is added to your sequence with an insert edit.
To open the Controls tab for a template clip in a sequence: 1 In the Timeline, move the playhead over the template clip item you want to modify. Note: This step is not necessary, but it allows you to view changes to your template in the Canvas while you work in the Viewer. 2 Double-click the template clip item to open it in the Viewer. 3 In the Viewer, click the Controls tab.
II Modifying Speed and Template Clip Timing For simple timing adjustments, you can apply speed changes to a template clip just as you would to any other clip item. For more information, see Chapter 17, “Changing Clip Speed and Time Remapping,” on page 337. For complex timing adjustments in your template animation, you can open and modify the template file in Motion.
All template clips in your project that refer to the modified Motion template file are updated with the changes you made in Motion. Warning: When you update a Motion template file on your local editing system, make sure you also update the template file on all other systems that may use that template file. If you do not update the template file on a remote system and you open your sequence on the remote system, the older template file on that computer is displayed instead of your updated template file.
II Updating and Replacing Template Clips Using Drag and Drop You can easily replace template clips in your project with updated master templates by dragging new master templates to existing template clips in the Timeline. For example, in some post-production workflows, you may need to update several template clips in a sequence with a newer version of the master template you just received from a remote motion graphics artist.
To link all instances of a particular template in a sequence or project to a new master template: 1 Open the new master template you want to use in the Viewer. See “Adding Master Templates to a Sequence” on page 496. 2 Keeping the mouse button held down, drag the new template from the Browser or Viewer to any template clip that you want to update in the Timeline.
II To convert a template clip to a Motion project clip: 1 Control-click a template clip in your sequence, then choose Send To > Motion. 2 In the dialog that appears: a Choose a location and enter a name for the new Motion project. b If you want the new Motion project to immediately open in Motion, select Launch Motion. 3 Click Save. A Motion project file is created, based on the template file of the clip.
Part III: Color Correction and Video Quality Control Learn how to maintain video quality throughout the post-production process and color correct your movie for final output.
26 Measuring and Setting Video Levels 26 Features such as the real-time video scopes and the Broadcast Safe filter help you precisely analyze and control video levels to maintain broadcast standards. This chapter covers the following: Â Components of Video Color (p. 507) Â Measuring Video Levels with the Final Cut Pro Video Scopes (p. 512) Â Preventing Illegal Broadcast Levels (p. 523) Â Working with Analog Video (p. 534) Â Using Color Bars for Video Calibration (p.
The RGB color model is additive, which means the red, green, and blue channels combine to create all the available colors in the system. When all three primary color values are the same, the result is neutral, or grayscale. For example, if all three primary colors are 0 percent, the result is black. If all three primary colors are 100 percent (the maximum value), the result is white.
III Color Difference Channels The color channels, CB and CR, are derived by subtracting Y from the R and B signals and are sometimes referred to generally as B-Y and R-Y, or color difference channels. Analog video systems such as Betacam SP use PB and PR channels, and digital video systems use CB and CR. Each color channel format performs the same function, but the underlying specifications are slightly different.
Blacks, Midtones, and Whites In the Final Cut Pro color correction filters, most of the controls that you use to correct your clips are divided into controls over blacks, midtones, and whites. These represent different overlapping ranges of luma values in your image. Blacks Blacks make up the minimum range of luma in your clip. If you looked on a smooth gradient from black to white, controls that affect the blacks will affect your picture in the leftmost three-fourths of the gradient, from black to gray.
III Chroma Chroma describes the color values in your clips, ranging from the absence of color to the maximum levels of color that can be represented. Chroma has two properties, hue and saturation. Hue Hue describes the actual color itself, whether it’s red or green or yellow. Hue is measured as an angle on a color wheel. Red –13° 0° Magenta 29° Yellow –77° Blue 103° Green –151° Cyan 167° Saturation Saturation describes the intensity of a color, whether it’s a bright red or a pale red.
Measuring Video Levels with the Final Cut Pro Video Scopes The Final Cut Pro video scopes work similarly to the standard scopes that you’d find in any online or color correction suite. The scopes provide exact measurements of the luma and chroma levels of your clips, helping you to unambiguously spot all of the hue, saturation, and luma levels that differentiate one clip from another.
III Layout Options in Video Scopes Tabs You can choose which scopes and which video source appear in each Video Scopes tab by using the following controls: Â Layout: Use this pop-up menu to choose one of eight different combinations of single or multiple scopes for display in the Video Scopes tab. If you choose a single scope from the list, it takes up the entire space of the Video Scopes tab, making it easier to see.
This dip in the waveform matches the position of the dog. With the Waveform Monitor set to display saturation, you can compare the relative saturation levels of two clips by comparing the thickness of their displayed waveforms. Modifying the saturation of one clip to match that of another is simple; just adjust the Saturation control of one of the color correction filters in one of the clips to compensate.
III Learning to Read the Vectorscope The Vectorscope shows you the distribution of color in your image on a circular scale. The color in your video is represented by a series of connected points that fall somewhere within this scale. The angle around the scale represents the hue displayed, with targets indicating the primary colors of red, green, and blue and the secondary colors of yellow, cyan, and magenta.
The color targets of the Vectorscope scale match the colors in the color balance controls of the Final Cut Pro color correction filters. If the hues of two shots you’re trying to match don’t match, the direction and distance of their offset on the Vectorscope scale give you an indication of which direction to move the color balance indicator to correct for this. The Vectorscope is also helpful for identifying and correcting the flesh tones of actors in a shot.
III Learning to Read the Histogram The Histogram shows you the relative distribution of all luma values in the video frame at a glance, from black to super-white (assuming the video codec you’re using supports Y´CBCR processing). It’s really a bar graph of sorts, where the x axis represents a percentage of luma, from 0 to 110 percent. The height of the line at each step on the scale represents the number of pixels in the image at that percentage of luma, relative to all the other values.
The shape of the Histogram graph is also good for determining the amount of contrast in an image. A low-contrast image has few pixels in the extreme black and white ranges, so the Histogram shows a concentrated clump of values nearer to the center of the graph. By comparison, a high-contrast image has a wider distribution of values across the entire width of the Histogram and may have spikes at white and black.
III The RGB Parade scope is useful for comparing the relative levels of red, green, and blue between two clips. If one clip has more blue than another, the difference shows up as an elevated blue waveform in the one, and a depressed blue waveform in the other. In the previous screen shot, the overall image contains quite a bit of blue. By comparison, the shot of the couple dancing below has substantially less blue and far higher levels of red, which can be seen immediately in the RGB Parade scope.
Adjusting Scope and Scales Brightness The following controls allow you to control brightness of the video scopes. Brightness control is helpful for revealing minuscule areas that otherwise might be invisible on the scopes. Â Display brightness: Controls the brightness of the video lines (or traces) shown on each scope. Â Scales brightness: Controls the brightness of the grid lines (known as graticule lines on traditional video scopes).
III Additional Video Scope Display Options You can access the following additional video scope display options by Control-clicking within a video scope. Green, White, Pale, and Bright The waveforms displayed within all the scopes can be green or white, depending on which color you find easier to look at. Final Cut Pro defaults to white, which is the preferred display color because it doesn’t bias the eye toward any particular color.
Using Video Scopes in Real Time Depending on the format of your video and the processing capabilities of your computer, the Video Scopes tab can update in real time using the same level of quality available in previous versions of Final Cut Pro. To enable real-time updating in the Video Scopes tab: 1 Open a sequence in the Timeline. 2 In the Timeline, choose Video Scopes Playback from the RT pop-up menu, so there is a checkmark next to it.
III Video Scope Restrictions and Performance The following list describes limitations when using the Video Scopes Playback option in Final Cut Pro: Â Your editing system requires an AGP or PCI Express graphics card. Some older PCI graphics cards may not have enough processing power to update the Video Scopes tab in real time. Â You must be using a format that Final Cut Pro can process in real time.
Legal Broadcast Colors A mistake beginners often make when creating graphics for video is to use colors that are vivid on the computer display, but have chroma and luma levels that are outside of the “legal” range of color that can be broadcast. Broadcasters must adhere to these specifications or risk fines from the FCC. Therefore, if you submit a tape with signals out of specification, it may not be accepted.
III Enabling Range Checking Turning on one of the range-checking options gives you immediate feedback if your clips have luma or chroma values that are too high for broadcast. These values may be caused by the way the footage was shot or by filter adjustments that you are making. To enable range checking: m Choose View > Range Check, then choose an option from the submenu. The Viewer and Canvas now display zebra stripes whenever illegal levels appear in your clips.
Using the Broadcast Safe Filter The Broadcast Safe filter provides a quick way to reduce luma and chroma levels that exceed the broadcast limits for NTSC, PAL, and HD video. The easiest way to use the Broadcast Safe filter is by choosing one of the presets in the filter’s Luma/Chroma Mode pop-up menu. The presets provide varying degrees of luma and chroma limiting depending on the tolerance of your broadcast facility.
III Luma/Chroma Mode Pop-Up Menu Choose one of the presets in this pop-up menu to decide the maximum allowable chroma saturation. The normal setting of 120 should work in most situations; however, more conservative settings are available. Note: The number in the preset refers to the value of the combined luma and chroma signals, mostly weighted toward the luma signal.
Custom Saturation Limiting Controls  Enable: Select or deselect the checkbox to enable or disable the Custom Saturation Limiting controls. Note: You can still adjust the sliders below, but they have an effect only when this checkbox is selected.  Clamp Above: All chroma values above this parameter value are clamped to the parameter value. The lower you set this value, the more clipping occurs.  Max.
III About Custom Luminance Limiting and Custom Saturation Limiting Controls The following section gives some examples to show how the Custom Luminance Limiting and Custom Saturation Limiting controls in the Broadcast Safe filter work. In the following example, Max. Output parameter values between 95 and 105 are compressed down to the range between 95 and 100. The shape of the waveform is preserved. Start (Threshold) Clamp Above Max. Output 105 100 95 90 85 Start (Threshold) = 95 Clamp Above = 105 Max.
In the following example, the Clamp Above parameter removes details above a value of 100. Then, the Max. Output parameter compresses the clamped values between 90 and 100 down to 90, resulting in a signal that is clamped at a value of 90. Start (Threshold) Clamp Above Max. Output 105 100 95 90 85 Start (Threshold) = 90 Clamp Above = 100 Max.
III Using the RGB Limit Filter The RGB Limit filter has controls to prevent illegal RGB levels while working in Y´CBCR color space. About Illegal RGB Levels Most video formats are recorded, edited, and transmitted in Y´CBCR (component) color space. Although you may never intentionally convert your footage to RGB color space, it is fairly certain that it will become RGB at some point—most likely during display on a television or monitor.
RGB Limit Filter Controls The following section describes the controls in the RGB Limit filter. Minimum RGB Limiting controls Maximum RGB Limiting controls Maximum RGB Reduction controls Minimum RGB Limiting Controls  Enable: Select or deselect the checkbox to enable or disable RGB clamping below the Clamp Levels Below parameter value.  Clamp Levels Below: Set a value to define the minimum allowable RGB levels. RGB levels below this parameter value are clamped to this value.
III How the RGB Limit Filter Works The RGB Limit filter processes your video in 32-bit floating-point RGB color space and then outputs the native color space of your footage (either RGB or Y´CBCR). The high precision of this color space minimizes quality loss in your video during processing. The RGB Limit filter affects only RGB-equivalent values above the Clamp Levels Above parameter value and below the Clamp Levels Below parameter value.
Working with Analog Video If you need to output video to an analog format, make sure you understand how digital signal levels in Final Cut Pro are translated to analog levels. How Analog Video Signals Are Measured Analog video is measured using IRE units. (IRE originally stood for Institute of Radio Engineers, which has since merged into the modern IEEE organization; the measurement is a video-specific unit of voltage.) One IRE is 7.
III Using an External Waveform Monitor and Vectorscope to Calibrate Analog Video Levels The scopes in Final Cut Pro display the digital values of your video as it exists in its captured state, but the software scopes can’t measure input and output analog signal levels from and to your FireWire device or third-party video interface. If you like, you can set up your Final Cut Pro workstation with a dedicated waveform monitor and vectorscope for measuring and adjusting video input and output more accurately.
If you output to analog tape using the built-in FireWire interface of your computer with a consumer DV device, keep in mind that not all DV devices use the same analog black level. Digital video always has a digital black value of 0 percent, but some DV devices convert this value to 0 IRE and others convert this value to 7.5 IRE. Professional video facilities are fairly stringent about keeping black setup levels at precisely 0 IRE for PAL and for NTSC in Japan, and at 7.5 IRE for NTSC in North America.
III Using Built-in Video Scopes During Capture If you are capturing analog video footage using a third-party video interface, you can use the Log and Capture video scopes to calibrate the video interface input settings to the color bars at the beginning of each tape. Final Cut Pro saves individual image-control settings with each clip you log. You can then have Final Cut Pro capture your offline clips using these individually saved image-control settings.
4 To display the ideal targets for color bars, Control-click in the Waveform Monitor or the Vectorscope and choose Targets from the shortcut menu. Choose Targets from the shortcut menu. 5 Adjust video brightness and contrast using the Waveform Monitor for reference. Different third-party video interfaces have different controls for adjusting the video signal being captured.
III 6 Adjust the clip’s hue and saturation using the Vectorscope for reference. The Vectorscope is on the right and displays the color values of the different areas of the video frame as a point graph. Each point on the circular graph represents one of the color bars. The goal is to line up these points with their respective targets. a Adjust the Hue slider to rotate the points around the center of the graph.
The Flesh Tone line is only meant to be an approximation; it’s more important that the shot look correct than that it fit this line exactly. The Flesh Tone line is here on the Vectorscope. Using Color Bars for Video Calibration When using analog devices, make sure they are calibrated for accurate brightness and color so there’s no distortion when you capture and color correct your video. About Color Bars Color bars are electronically generated video signals that meet very strict specifications.
III Using Color Bars to Adjust Brightness and Color on Analog Equipment Broadcast video professionals use color bars to calibrate the output of analog video devices such as:  Playback VTRs used for capturing analog video into your editing system  Your video editing system’s video interface analog output (for output to analog video)  Playback VTRs used for dubbing tapes to VHS Typically, 30 to 60 seconds of color bars is recorded at the beginning of each new videotape shot in the field.
Calibrating Your Broadcast Monitor Monitors are calibrated using SMPTE standard color bars. Brightness and contrast are often adjusted by eye, using the color bars onscreen. Adjusting chroma and phase involves using the “blue only” button found on professional video monitors. This calibration should be done to all monitors in use, whether they’re in the field or in the editing room. To calibrate your monitor: 1 Connect a color bar or test pattern generator to the monitor you’re using.
III 6 Now, turn the contrast all the way up so that this bar becomes bright, and then turn it back down. The point where this bar is barely visible is the correct contrast setting for your monitor. (The example shown below is exaggerated to demonstrate.) Note: The contrast control adjusts how much the RGB signals are scaled. When monitor brightness and contrast are properly adjusted, this strip should barely be visible above black.
8 Press the “blue only” button on the front of your monitor. Note: This button is usually available only on professional monitors. Notice how all of the different-colored bars turn into alternating light and dark ones. Â If your monitor is correctly calibrated: All the gray bars will be evenly gray, and all the black bars evenly black. Â If the two outer gray bars don’t match: Adjust the chroma control of the monitor until they do. Then adjust the phase control to even out the inner bars.
27 Color Correction 27 Final Cut Pro includes powerful color correction features that let you analyze clips in your project and perform color correction on them. This chapter covers the following: Â What Is Color Correction? (p. 545) Â Color Correction Features in Final Cut Pro (p. 551) Â The Color Correction Process (p. 558) Â The Color Corrector and Color Corrector 3-Way Filters (p. 563) Â The Desaturate Highlights and Desaturate Lows Filters (p. 610) Â Using Color for Color Correction (p.
Why Color Correct Your Footage? There are a number of reasons why you may want to color correct your footage: Â Make sure that key elements in your program look the way they should: Every scene of your program has key elements that are the main focus of the viewer. In a narrative or documentary video, the focus is probably on the people in the shot. In a commercial, the key element is probably a product shot, such as the label of a bottle or the color of a car.
III Â Achieve a “look”: The process of color correction is not simply one of making all the video in your piece match some objective model of black, white, and color tones. Color, like sound, is a property that, when subtly mixed, can result in an additional level of dramatic control over your program. With color correction, you have control over whether your video has rich, saturated colors or a more muted look.
Using a Chip Chart in Production In many productions, a chip chart is placed next to the slate at the beginning of every shot. This chart can be used during post-production to unambiguously correct each shot so that the color balance of your images can be perfectly corrected. This then gives the colorist a good neutral starting point for the color correction process. Chip charts are especially useful during multicamera shoots with consumer-grade camcorders.
III The goals of color correction at this stage depend on the length of the project. Â Short projects, commercials, spots, and very short videos may get a detailed color correction pass right away. The colorist will first calibrate the telecine’s own color corrector to balance the whites, blacks, and color perfectly. Then the colorist, in consultation with the cinematographer, director, or producer, will work shot by shot to determine the look of each clip according to the needs of the project.
Other Advantages of Telecine Transfers In addition to color correction, a colorist working with a telecine has many other options available, depending on what kinds of issues may have come up during the edit. Â Using a telecine to pull the image straight off the film negative, the colorist can reposition the image to include parts of the film image that fall outside the action safe area of video. Â With the telecine, the image can also be enlarged optically up to 50 percent without distortion.
III Color Correction in Final Cut Pro With as much control as they afford, telecine sessions tend to be expensive, especially for longer projects. Tape-to-tape color correction can also be expensive, but in both cases you’re paying to work with a professional colorist who has years of experience. Color correction requires a practiced eye and careful attention to detail, because it is this final step that really differentiates the look of low-budget video programs from professional broadcast TV.
Window Layouts and Keyboard Shortcuts  Window layouts: Final Cut Pro includes several window layouts designed for color correction. See “Window Layouts for Color Correction in Final Cut Pro” on page 553.  Keyboard shortcuts: Several keyboard shortcuts speed up navigation between clips to make matching color between adjacent shots easier. See “Keyboard Shortcuts to Move Quickly Between Clips” on page 554.
III The Importance of Using a Properly Calibrated Broadcast Monitor When using Final Cut Pro color correction filters to adjust the color, blacks, and whites of clips in your sequence, it is essential to always use a properly calibrated broadcast video monitor to view your adjustments as you’re making them. Only an NTSC or PAL broadcast monitor allows you to see the color and brightness of your video as it truly looks.
Keyboard Shortcuts to Move Quickly Between Clips When color correcting one clip to match another, it’s helpful to quickly flip back and forth between multiple edit points in the Canvas. This allows you to compare the clip being color-corrected to the clip being used for reference on your external broadcast monitor. Because your external broadcast monitor is showing you the most accurate representation of your clips, this is an important process.
III Comparing Two Frames in the Frame Viewer You can use the Frame Viewer to visually compare multiple frames from the same sequence. This is particularly useful when performing a color comparison of multiple clips in the same setting where the lighting attributes may have changed. The Frame Viewer is a tab in the Tool Bench window. In Final Cut Pro, you can open as many Frame Viewer tabs in as many Tool Bench windows as necessary.
To open the Frame Viewer tab: m Choose Tools > Frame Viewer (or press Option-7). The Frame Viewer appears as a tab in the Tool Bench window. Indicates the timecode of the frame chosen in the Frame Viewer pop-up menu below.
III Â Next Edit: Displays the frame of the In point one edit forward. Â 2nd Edit Forward: Displays the frame of the In point two edits forward. Â In Point: Displays the frame corresponding to the currently defined In point of the sequence in the Timeline. Â Out Point: Displays the frame corresponding to the currently defined Out point of the sequence in the Timeline. Â Frame boundary indicators: Next to each Frame Viewer pop-up menu is a green or blue square indicator.
To turn off the split screen: m Choose None from the right Frame Viewer pop-up menu. The edit point represented by the green frame boundary indicators is shown. To adjust the split screen, do one of the following: m Resize the split screen by dragging a green or blue frame boundary indicator to a new position. m Move the split screen by clicking inside one of the Frame Viewer split-screen regions and dragging it to a different location.
III Step 1: Pick the master shot of a scene to use as the basis for color correction If you’re color correcting a scene consisting of a single shot, your job is pretty easy. All you need to do is find the settings that work best for that one shot. Most scenes, however, cut between a variety of different shots, such as close-ups, medium shots, and wide shots. In every scene, there is usually a single wide shot that encompasses the entire scene, called a master shot.
The way this works is that each color correction filter has a set of Limit Effect controls that you can use to isolate a region of your clip based on color, luma, saturation, or any combination of the three. The Limit Effect controls work in much the same way as a chroma or luma keyer, except that instead of keying the color out, they limit the effect of the color correction filter to just that area.
III The Final Cut Pro Color Correction Filters There are a number of filters you can use to adjust the blacks, whites, and color balance of your clips: Â Color Corrector: The Color Corrector filter is a basic filter for performing simple color correction. While not as fully featured as the Color Corrector 3-way filter, it’s more likely to be supported by real-time hardware.
Once applied, color correction filters appear in the Filters tab of a clip that’s opened in the Viewer, along with any other filters you may have added. One color correction tab appears in the Viewer for each color correction filter you apply. Additional tabs are numbered sequentially depending on their arrangement in the Filters tab. A color correction tab appears for each color correction filter you apply.
III The Color Corrector and Color Corrector 3-Way Filters The Color Corrector and Color Corrector 3-way filters employ a graphical interface designed specifically for the task of color correction. The controls will be recognized immediately by professional colorists who have experience with online color correction equipment. The same basic controls are used in both filters. General Controls There are several basic controls in the top-left corner of both filters.
Copy Filter Controls The Copy Filter controls give you an easy way to copy color correction filters and filter settings into other clips in your sequence. Copy To 1st Clip Forward Copy From 2nd Clip Back Copy To 2nd Clip Forward Drag Filter Copy From 1st Clip Back  Copy From 2nd Clip Back: Copies the settings from the color correction filter of the same type that’s applied two clips behind the currently selected clip, and pastes those settings into the current color correction filter.
III Working with the Copy Filter Controls The Copy Filter controls are designed to help you color correct sequences that have shot-reverse-shot editing. For example, suppose you want to cut from a wide shot of two actors to a medium shot of them from a different angle, and then back to the wide shot. Assume you also already applied a color correction filter to the first shot. A render bar appears above that clip. This render bar indicates that the first clip has a filter applied to it.
To copy color correction filter settings forward to another clip: 1 Double-click a sequence clip with a color correction filter applied to open the clip in the Viewer. 2 In the Viewer, click the Color Corrector tab. 3 Do one of the following: Â To copy the current color correction filter settings to the next clip: Click the Copy to 1st Clip Forward button (or choose Modify > Copy Filters > To 1st Clip Forward).
III “Copy From” Rule If the current clip has multiple filters and you’re copying from a clip with multiple filters, Final Cut Pro copies from a filter with the same index number as the current one being adjusted, if possible. For example, if the previous clip has three filters, and the current clip has three filters, clicking the Copy From 1st Clip Back button in the Color Corrector-3 tab copies the settings from the third color correction filter in the previous clip.
“Copy To” Rule If the current clip has multiple filters and you’re copying to a clip with multiple filters, Final Cut Pro copies the current filter’s settings to a filter with the same index number in the next clip as that of the current filter. For example, if the current clip has three filters, and the next clip has three filters, using the Copy To 1st Clip Forward button in the Color Corrector-2 tab copies that filter’s settings into the second color correction filter in the next clip.
III Keyboard Shortcuts for the Copy Filter Controls The Copy Filter controls have keyboard equivalents, described here. Using the Option key with these shortcuts modifies their operation. Keyboard shortcut Function control 2 Copies the settings from a single filter two clips back to the current one (Copy From 2nd Clip Back). control 3 Copies the settings from a single filter one clip back to the current one (Copy From 1st Clip Back).
If you hold down the Shift key while dragging a color balance indicator, the angle of the indicator is constrained, so that the indicator can only move out toward the edge of the color wheel, or in toward the center. This lets you change the intensity of your color mix without changing the distribution of hues.
III Color Balance Controls in the Color Corrector Filter You use the controls in the Color Corrector tab to balance the whites and change hues displayed in a clip. Hue control Balance control Balance Reset button Auto-Balance eyedropper Hue Reset button The Color Corrector filter has one color balance control that lets you manipulate the whites in a clip, as well as a Hue control. You rarely use the Balance and Hue controls simultaneously in a single color correction operation.
 Balance Reset button: Click this button to reset the Balance control to its default settings and restore your clip to its original color mix. Holding down the Shift key while clicking this button also resets the level and saturation controls (described in one of the next sections) to their default settings.  Hue control: Rotate the Hue control to change the overall hue of the affected clip.
III Level and Saturation Controls in the Color Corrector Filter The level sliders allow you to adjust the levels of the whites, midtones, and blacks in your clip to adjust the contrast of your image. The first step when color correcting one clip to match another is to adjust its overall luma levels to match those of the other. Only after doing this are you able to adjust the colors appropriately and achieve the results you want.
Match Hue Controls in the Color Corrector Filter The Match Hue controls allow you to adjust the hue of the current clip to match a similar color in an adjacent clip in your sequence. A common example is matching the flesh tones of an actor in two different shots with different lighting. For more information on using the Match Hue controls in the Color Corrector and Color Corrector 3-way filters, see “Match Hue Controls in the Color Corrector and Color Corrector 3-Way Filters” on page 597.
III 5 Choose Window > Arrange > Color Correction. This displays the Video Scopes tab in the Tool Bench window. While color correcting, it’s helpful to have the Video Scopes tab open to get a more detailed analysis of your video as you work. 6 From the Layout pop-up menu of the Video Scopes tab, choose All to make sure that all the scopes are available. Choose All so that all video scopes are available for you to use. Now you’re ready to begin adjusting the image.
Moving the Mids slider to the right moves the distribution of midtones farther to the right, as you can see in the Histogram. Lightening this shot using the Mids slider, as opposed to readjusting the whites, allows you to preserve the maximum amount of available detail in the image. Otherwise, boosting the whites might result in the lighter areas of your clip being blown out. The Histogram reflects the change in midtone levels. Waveform Monitor reflects change in mids. Now it’s time to address the color.
III Remember, don’t select an area that’s overexposed, like a light source or a shiny highlight. This does not give you the result you want. Instead, select a properly exposed area of your picture that’s white, like a well-lit shirt sleeve or white wall. You may have to try several different spots to get the result you want; don’t hesitate to undo this operation and try again if you’re not satisfied with the results of your initial selection.
Note: When using the Auto-Balance eyedropper, it’s important to recognize that the color temperature of the light illuminating the white area you select will affect the hue of the compensation that is made.
III Color Corrector 3-Way Filter Controls The Color Corrector 3-way filter gives you more subtle control over the color of your clips than the Color Corrector filter. The controls are deceptively easy considering the amount of power they give you over the look of your clips. The main controls are at the top of the visual interface tab—three color balance controls and level and saturation controls—and are described below.
 Blacks Reset button: Click this button to reset the Blacks control to its default settings and restore your clip to the original color mix.  Mids control: Drag in the Mids color wheel to move the color balance indicator and change the mix of red, green, and blue in the midtones of your clip.
III Using a Trackball with the Color Correction Filters Additional keyboard shortcuts are available to make it easy to use a trackball to adjust the color balance controls in the Color Corrector and Color Corrector 3-way filters. These keyboard shortcuts work only while the mouse button (or trackball button) is pressed, and are designed to work with the drag lock button of your trackball.
Level and Saturation Controls in the Color Corrector 3-Way Filter The level sliders allow you to adjust the levels of the whites, midtones, and blacks in your clip to adjust the contrast of your image. The first step when color correcting one clip to match another is to adjust its overall luma levels to match those of the other. Only after doing this are you able to adjust the colors appropriately and achieve the results you want.
III Â Saturation slider: This slider raises or lowers the overall saturation, or intensity of color, in the affected clip. Drag the slider all the way to the left to desaturate the clip completely. This results in a grayscale image. Drag the slider to the right to increase the saturation of color in the affected clip. To move the slider in increments, click the small arrows to the right or left of the slider. Note: Be very careful when raising the saturation of a clip using this slider.
The following example shows you how to use the Color Corrector 3-way filter to adjust a clip that was both underexposed and shot with an incorrect white balance, giving it an orange tinge. This example shows how to adjust the overall color balance of this clip. 1 Move the playhead in the Timeline over the clip you want to work on so that you can see your changes output to video as you work.
III 6 From the Layout pop-up menu of the Video Scopes tab, choose All to make sure that all the scopes are available. Choose All so that all video scopes are available for you to use. You are now ready to begin adjusting the image. 7 Click the Auto Contrast button to maximize the range from white to black in your clip. Auto Contrast button The Blacks and Whites sliders automatically adjust themselves to achieve the best numeric distribution based on the luma levels shown in the Histogram.
∏ Tip: One of the key differences between film and video is that video preserves much more information in the shadows of an underexposed image than film does. You might be surprised at how much detail you can bring out of the shadows of an underexposed video clip. On the other hand, video doesn’t preserve any information in overexposed highlights, whereas overexposed negative film does.
III Because the clip was tinted toward the reds, when you click the eyedropper in the white piece of scenery outside the window, the Whites color balance indicator moves into a mixture of blue and cyan and turns the whites of the image into true white. The Whites color balance indicator moves to correct the whites. You can see the correction in the Canvas.
10 Click the Blacks Auto-Balance eyedropper. Click the eyedropper near the Blacks control. 11 Click the eyedropper in an area of the picture that’s supposed to be neutral black. Depending on the image, it may be more useful to pick a spot that’s a bit lighter than pure black so that you can see the tint that’s affecting that part of the image. Click the eyedropper in the black of the headrest.
III 12 Click the Mids Auto-Balance eyedropper, then click the eyedropper in an area of the chip chart that’s supposed to be neutral gray. The Color Corrector 3-way filter adjusts the Mids control to compensate for whatever tint exists in the vast midrange of your picture. If you don’t have a chip chart to refer to and are unsure of the neutrality of a gray in the background, don’t worry about performing this step.
A before-and-after comparison of this change illustrates the effect. Before After While making these adjustments, it’s a good idea to use the Flesh Tone line in the Vectorscope to show you how accurately the color of the actor’s face is represented. As you can see in the Vectorscope’s analysis of the “before” image, the cluster of colors about the Flesh Tone line was still a little off. Adjusting the Mids control corrected for this.
III 14 Drag the Saturation slider to increase or decrease the saturation. Be careful when you do this. A common mistake beginners make is to oversaturate shots to make them look “better.” Although a highly saturated look is sometimes appropriate, less saturation may actually improve the look of your footage. This is especially true if you have a camcorder with artificially vivid color. In this example, the corrections applied so far have caused the image to be slightly oversaturated.
Example: Color Correcting a Three-Shot Sequence for Continuity Now that you’ve examined the specifics of using the Final Cut Pro color correction filters, you are ready to use these filters to make a series of three shots in a scene match one another. In the three shots shown in this example, two shots are taken from the same clip, and one is an insert shot taken from a completely different clip. 1 Apply the appropriate color correction filter to all the shots in the sequence.
III 4 In the Timeline, move the playhead to the first clip of the scene (for this example, the master shot) to open it in the Viewer. (With the Playhead Sync pop-up menu set to Open, the clip automatically opens in the Viewer.) Then click the color correction tab in the Viewer to show the visual controls for that clip’s color correction filter.
7 In the Timeline, position the playhead over the second clip so that it opens in the Viewer. Move the playhead so it’s in the second clip. There are three approaches you can take to compare the colors of the first and second shots: Â Hold down the Control key while pressing and releasing the Up Arrow key to flip back and forth between this clip and the first one to see the differences in color and luma levels in the Canvas.
III As you compare adjacent clips in your sequence, remember to pay attention to the video scopes. With Final Cut Pro set to the Multiple Edits layout, you can select the Video Scopes tab in the far-right Tool Bench window. The Multiple Edits layout lets you easily compare clips. Note: The Video Scopes tab can be set to display the same choice of edit points as the Frame Viewer tab.
Using information from the Video Scopes tab, you can adjust the Whites and Mids sliders to make the two spikes of the Histogram match more closely, so you get comparable luma levels. Moving one invariably results in some movement in the other, but keep making your adjustments until the Histogram for the second shot approximates the Histogram for the first shot. 8 With this accomplished, focus on the RGB Parade scope. It shows that the second clip has far more blue and green than the first.
III Match Hue Controls in the Color Corrector and Color Corrector 3-Way Filters The Match Hue controls provide a way to adjust the color balance of the current clip, based on a specific hue, to match a similar hue in another clip. A common example of when you might use the Match Hue controls is when you are matching the flesh tones of an actor in two shots that have different lighting. The Match Hue controls do not affect the contrast of your image.
 Match Hue eyedropper: Clicking the Match Hue eyedropper turns the pointer into an eyedropper when it’s moved into the Canvas, the Video tab of the Viewer, or a Frame Viewer tab in a Tool Bench window. With the current clip open in the Viewer, open the clip you want to match it to in the Canvas or in an available Frame Viewer tab. Click the eyedropper in the color of an adjacent clip in your sequence that you’re trying to match to the current clip.
III Example: Using the Match Hue Controls of the Color Corrector 3-Way Filter This example shows how to use the Match Hue controls of the Color Corrector 3-way filter to match the flesh tones of an actor in two different shots. In the first shot, the actor is outside, and the color of the shot is correctly balanced for daylight and has a cool blue look.
As with any color correction, the first step is to adjust the contrast of clip 2 to match that of clip 1 as closely as possible. In this case, raising the midtones by dragging the Mids slider to the right brings out more detail in the actor’s face and matches the contrast of clip 1 more accurately. 4 Once the contrast has been adjusted the way you want it, click the Match Hue eyedropper. 5 Move the pointer into the Frame Viewer 2 tab where clip 1 is showing.
III The Match Color indicator fills with this color to let you know it’s been selected, and either the Whites, Mids, or Blacks Auto-Balance eyedropper is highlighted to let you know which Auto-Balance eyedropper you should use in the next step. Highlighted eyedropper Match Color indicator When selecting a match color, the level of the color you select affects how well the match works.
7 With the Whites Auto-Balance eyedropper selected, move the pointer into the Canvas where clip 2 is displayed. When the pointer becomes an eyedropper, click a highlight in the actor’s face in clip 2 that matches, as closely as possible, the highlight you selected in clip 1. Note: For best results, it’s extremely important to select an area of color in the clip being corrected that accurately matches the level of the area of color you selected as the match color.
III Using Limit Effect Controls in the Color Corrector and Color Corrector 3-Way Filters The Limit Effect controls are a group of controls in the Color Corrector and Color Corrector 3-way filters that let you key a specific color and apply color correction to just the areas of the picture that you’ve keyed on. For example, suppose you have a scene with people wearing different-colored shirts. After the shoot, you decide you want to change the color of one of the actor’s shirts that’s now yellow.
 Saturation (Sat) control: Allows you to adjust the degree and range of saturation that contributes to defining your key. The top and bottom handles work the same as those in the Color Range control. Drag left or right within the gradient to move all four handles simultaneously.  Luma control: Allows you to adjust the degree and range of luma that contributes to defining your key. The top and bottom handles work the same as those in the Color Range control.
III Â View Final/Matte/Source button: This button has three states: Â Final: The default state (a gold key against a gray background) allows you to see the end result—the effect happening within the keyed area. Â Matte: The second state (a black key against a white background) displays the key itself as a grayscale image, so you can fine-tune it without being distracted by the image. Â Source: The third state (a gold key against a blue background) shows only the original video image.
Example: Using the Limit Effect Controls to Change a Specific Color This example shows you how to use the Limit Effect controls of the Color Corrector filter to selectively change the color of a man’s pants from red to blue, without changing the color of anything else in the frame. This example shows how to adjust the color of the man’s pants only. 1 With the Color Corrector filter already applied, click the Select Color eyedropper. Click the Select Color eyedropper.
III 3 To make the pants pink, rotate the Hue control toward magenta. You can also use the View Final/Matte/Source button (the key) to view the key itself as a grayscale image while you make changes. Adjusting the Limit Effect controls while viewing the color correction effect is more interactive. Rotate the Hue control toward the color you want the pants to be. The color of the affected area is changed by the rotation of the Hue control.
5 Move the top handles in the Luma control to select a primary luma range to affect, then adjust the bottom handles to adjust the tolerance. The key color range is increased. Widen the range of luma. 6 Finally, make similar adjustments to the Saturation control to further increase the range. You can even include the edges of the yellow shirt. The key color range is further increased. Widen the range of saturation.
III Example: Using the Limit Effect Controls to Isolate a Specific Color Against Grayscale This example shows you how to use the Limit Effect controls of the Color Corrector filter to create the effect of a red bicycle against a grayscale background. This example shows how to adjust the background to gray. 1 With the Color Corrector filter already applied, use the Limit Effect controls to isolate the reds of the bicycle, then move the Saturation slider all the way to the left.
2 Click the Invert Selection button to reverse the key created by the Limit Effect controls. Invert Selection button The bicycle remains red and the background turns into various shades of gray. The Desaturate Highlights and Desaturate Lows Filters Sometimes, the use of one of the Final Cut Pro color correction filters results in unwanted colors appearing in either the highlights or shadows of your image.
III Desaturate Highlights and Desaturate Lows Filter Controls The following section describes controls in the Desaturate Highlights and Desaturate Lows filters. Highlight Desaturation controls Lows Desaturation controls Highlight Desaturation controls  Enable: Allows you to enable or disable the Highlight Desaturation controls.  Apply Above: Allows you to set the percentage of luma and above to desaturate.  Softness: Adjusts the transition between the affected and unaffected areas of the picture.
Example: Using the Desaturate Highlights Filter In this example, the use of a color correction filter to bring color detail out of the blues of a diving clip has resulted in some unwanted reds in the bright highlights of the image. To eliminate these unwanted reds without losing the other colors of the diver and the background, you’ll use the Desaturate Highlights filter.
III Using Color for Color Correction To work on your project in a dedicated color correction environment, you can send your sequence to Color using the Send to Color command or by exporting your sequence to the Final Cut Pro XML Interchange Format. The basic steps in the Color workflow are: Step 1: Prepare your sequence for working in Color There are a couple of steps you can take to prepare your edited sequence to work in Color more efficiently.
Step 3: Send your sequence to Color If Color is installed on the same computer as Final Cut Pro, you can select the sequence and choose File > Send To > Color. The project data is automatically transferred to Color using XML and is converted to a Color project. If Color is on a remote computer, you can select your sequence and choose File > Export > XML. Copy the XML file and all of the necessary media files to a hard disk and bring it to the Color system, then import the XML file into Color.
Part IV: Real Time and Rendering IV Learn how to maximize the real-time playback capabilities of Final Cut Pro and render effects that cannot be played back in real time.
28 Using RT Extreme 28 RT Extreme is the real-time effects architecture that allows you to play back multiple video layers, video and audio filters, motion effects, and other effects in real time without needing to render them first. This chapter covers the following: Â Introduction to Real-Time Processing (p. 617) Â Changing Real-Time Playback Settings (p. 622) Â Still-Image Real-Time Playback (p. 632) Â Improving Real-Time Performance (p. 632) Â Real-Time Audio Mixing in Final Cut Pro (p.
For basic editing tasks, Final Cut Pro handles real-time processing automatically, keeping you focused on the creative choices at hand. However, if you work with a lot of effects or if you color correct video footage, you should take some time to learn the details about the real-time architecture of Final Cut Pro. Real-Time Playback Versus Rendering For most stages of editing, reduced playback quality is more acceptable than losing the ability to play back effects in real time.
IV Final Cut Pro analyzes a sequence to determine the processor workload required for playback. Different portions of a sequence may require different amounts of processing. Final Cut Pro breaks the sequence into segments and then indicates the processor workload for each segment with a colored status bar. For more information, see “About Render Status Bars” on page 620. Status bars in the Timeline indicate the workload for each segment; the upper bar is for video, and the lower bar is for audio.
What Are Dropped Frames? Dropped frames are frames that are unintentionally skipped during playback, either because the hard disk cannot keep up with the video data rate or because the computer processor cannot perform all of the applied effects in time. Some real-time playback modes allow dropped frames, while others require rendering to avoid dropped frames. Dropped frames during editing are usually tolerable. However, during output, dropped frames are almost always unacceptable.
IV About Render Status Bar Tooltips If you position the pointer over a render bar, a tooltip appears with information about the real-time or render status of that section of your sequence. A tooltip tells you the status of a particular section of your sequence. Effect Names That Appear in Boldface In both the Effects tab of the Browser and the Effects menu, video transitions and filters that can play back in real time appear in boldface. Real-time effects appear in boldface.
A real-time effect appears in boldface based on: Â The video format used by the currently selected sequence. Video formats that have higher system requirements for real-time playback result in fewer effects displayed in boldface.
IV Playback Control Tab in System Settings The Playback Control tab is located in the System Settings window. It shows you all real-time settings available, although some may not apply to certain sequences. Changes you make here are applied systemwide, so they remain the same for all currently open sequences and projects. Many of the same settings are found in the RT pop-up menu in the Timeline.
Because the settings in the RT pop-up menu and the Playback Control tab are almost identical, it is often more convenient to access the RT pop-up menu directly from the Timeline. To change a real-time playback setting in the RT pop-up menu: 1 Make sure a sequence is open in the Timeline, then choose an option from the RT pop-up menu.
IV About Real-Time Playback Options The following options, most of which are available in both the RT pop-up menu and the Playback Control tab of the System Settings window, allow you to control the quality of real-time playback. Safe RT The Safe RT mode guarantees that effects are played back at the quality and frame rate you specify and that no frames are dropped during playback.
Unlimited RT Choosing this option tells Final Cut Pro to play as many frames as possible when your effects exceed the processing power of your computer. Final Cut Pro does this by spending time to process some frames in real time while skipping others completely. Unrestricted real-time playback allows you to play more effects but increases the likelihood that your sequence will drop frames during playback. This mode is useful for getting a real-time preview of complex effects compositions.
IV Play Base Layer Only The Play Base Layer Only option takes a unique approach to playing back processorintensive segments. With this option selected, any segment that requires rendering in Safe RT mode (in other words, any segment with a red render bar) is restricted to original media playback, and all effects, including compositing modes, are disabled.
Beep When Playing Unrendered Audio This option is available only in the Playback Control tab of the System Settings window. When this option is selected, audio clip items that require rendering are played back as audible beeps. This is the audio equivalent of the “Unrendered” screen you see when your video requires rendering. If the Play Base Layer Only option is not selected, the beeps are not heard. For more information, see “Play Base Layer Only” on page 627.
IV Playback Frame Rate The more you reduce the number of frames Final Cut Pro calculates each second, the more effects can be calculated in real time. Â Dynamic: This option varies the displayed frame rate as necessary to achieve the highest-quality playback with the most effects. When more processing power is required, Final Cut Pro can reduce the frame rate to spend more time calculating fewer frames. When few or no effects are applied, Final Cut Pro can return to playback at the full frame rate.
Multiclip Playback This option allows you to watch all angles of multiclip play at once in the Viewer while you switch or cut in real time. When this option is selected and you choose Open from the Playhead Sync pop-up menu, multiclips in your sequence are automatically opened in the Viewer, and all angles play back at the same time while the active angle plays in the Canvas. For more information, see Volume II, Chapter 16, “Working with Multiclips.
IV The following two patterns are available when your sequence has a frame rate of 24 fps and you choose a 25 fps external video output. Â 24@25 Pulldown: In this pattern, frames 12 and 24 are pulled down for a duration of three fields instead of two, creating a subtle stutter each half second. For 25 fps output, this pattern has the best perceived motion quality. Â 24@25 Repeat: This pattern simply repeats every 24th frame once to fit 24 fps footage into 25 fps.
Still-Image Real-Time Playback Still images and imported graphics can also play back in real time. The number of still images that play back in real time depends on the size of the still cache set in the Memory & Cache tab of the System Settings window. You can adjust the Still Cache slider or enter a value to change the number of still images that play back in real time. The size of the still cache is limited by the total amount of unused physical RAM installed in your computer.
IV Â Render any clips whose render status bars indicate they can’t be played in real time before you play them back. For more information, see “Render Indicators in Final Cut Pro” on page 646. Â Turn off external video monitoring. For more information, see Volume I, Chapter 14, “External Video Monitoring.” Â Disable dropped frame reporting during playback. For more information, see the next section, “Reporting Dropped Frames During Playback.
 Memory bus speed: Computers with a faster memory bus allow better real-time performance because data can be sent more quickly between RAM and the computer processor.  Hard disk speed: The faster your hard disk can read data, the more video data Final Cut Pro can access in real time. With some video formats, such as uncompressed video, hard disks may not be able to keep up with the video data rate, making real-time playback impossible.
IV Calculating the Number of Tracks That Can Be Played Back in Real Time The number of tracks Final Cut Pro attempts to mix in real time is determined by the Real-time Audio Mixing setting in the General tab of the User Preferences window. The number of tracks you can play back in real time is largely dependent upon your hardware, so performance will vary from system to system. Increasing the number of tracks in this field doesn’t mean they’ll all play.
Improving Real-Time Audio Performance You can optimize real-time audio performance in the following ways: Â Render video effects prior to mixing: Playing real-time video effects reduces the number of audio tracks that can be mixed in real time. While mixing the audio in your program, you can maximize real-time mixing performance by first rendering all video effects in your sequence, including all transitions, layered video, and filters.
IV Choosing Real-Time Playback Versus Rendering Here are some practical examples of when you might use real-time playback versus rendering during the course of editing your movie. To monitor video or output to tape with perfect playback of all effects in a sequence (with no dropped frames and full-resolution video): 1 In the RT pop-up menu in the Timeline, choose Safe RT, so there’s a checkmark next to it. The Safe RT mode ensures that effects play back at the quality level and frame rate you specify.
Supported Real-Time Playback Codecs RT Extreme is not capable of playing back all video codecs. The processor speed and amount of RAM installed in your computer affect which codecs can play back in real time.
IV To choose software or hardware real-time effects processing for clips using a particular codec: 1 Choose Final Cut Pro > System Settings, then click the Effect Handling tab. Note: The codecs you see may differ from those shown here. 2 In the pop-up menu corresponding to the codec you want to adjust, choose an effect handling method: Â None: Choosing None disables real-time effect handling for the selected codec.
Using RT Extreme for Video Output By default, Final Cut Pro renders video at full quality before you perform Edit to Tape and Print to Video operations. However, if you simply want to output a rough draft of your sequence, you can output with reduced quality settings. Final Cut Pro always warns you before you output video to tape at reduced quality.
IV Controls in the QuickView Tab This section describes the controls in the QuickView tab (which appears in the Tool Bench window). Resolution pop-up menu View pop-up menu QuickView window Playhead Scrubber bar Play button Range slider  Resolution pop-up menu: Choose Full, Half, or Quarter as your viewing resolution in the QuickView tab. This setting is for display purposes only and does not affect the resolution of your rendered program.
Playback in the QuickView Tab QuickView playback relies, in part, on the amount of memory allocated to Final Cut Pro. Based on this allocation, Final Cut Pro caches to RAM as much of the sequence between the In and Out points set in the Timeline as possible for accelerated playback. If an In point is set in the Timeline but no Out point is set: Final Cut Pro caches video from the In point through the duration specified by the Range slider for playback in the QuickView tab.
IV If neither In nor Out point is set in the Timeline: Final Cut Pro uses the position of the playhead, caching half of the duration specified by the Range slider before the position of the playhead, and half after the playhead, for playback in the QuickView tab. Video is cached to RAM as it’s played. Once the portion of the sequence that you’ve specified for QuickView playback has played all the way through, subsequent loops play much faster because they’re being played back directly from RAM.
29 Rendering and Video Processing Settings 29 When you apply more effects to a clip than your computer can process in real time, you need to render temporary media files to play your sequence in real time. This chapter covers the following: Â What Is Rendering? (p. 645) Â Render Indicators in Final Cut Pro (p. 646) Â The Rendering Process (p. 650) Â Changing Render and Video Processing Settings (p. 659) Â Adjusting Gamma (p. 668) Â Managing Your Render Files (p.
Rendering is generally required for: Â The use of filters, transitions, generators, or any combination of effects that exceeds your computer’s real-time playback capabilities. Â High-quality final output. Real-time effects that play back at preview quality must ultimately be rendered for high-quality video output.
IV Video Render Status Bars The color of the video render status bar above the Timeline ruler indicates the real-time or render status of segments in your sequence. Bar color Render status Description Dark gray None No rendering is required. Blue-gray Rendered The material has already been rendered. Dark green Full Indicates a real-time effect that’s capable of playback and output to video at full quality with no rendering required.
Audio Render Status Bars The color of the audio render bar above the Timeline ruler indicates whether the items below need to be rendered. Bar color Render status Description Dark gray None No rendering is required. Blue-gray Rendered Sections of a sequence have been rendered using the Mixdown command. Red Needs Render Sections of the Timeline contain audio items that cannot play in real time and require rendering. Sections of sequences needing to be rendered play audible beeps.
IV About Item-Level Render Status Bars An audio clip item in the Timeline may display an individual render bar within the clip item itself; this indicates that the audio clip requires resampling, or sample rate conversion, to match the current sequence audio settings. A green render bar indicates that an audio clip item is being resampled in real time, while a blue-gray render bar indicates that an audio clip item has been individually rendered so that real-time audio resampling is no longer necessary.
There are two advantages to item-level (audio clip item) rendering: Â Item-level rendering reduces the processor demands for audio, leaving more processing power available for other effects. Â When you move the audio clip item to other tracks or locations in the Timeline, the clip item does not lose its connection to the render file. This means you don’t have to rerender the audio clip each time you move it.
IV Selecting Clips for Rendering Instead of rendering an entire sequence, it is often useful to render only selected segments. There are several ways you can restrict which segments are rendered: Â Manually select the items you want to render: The easiest way to control what is rendered is to select specific clips, individually or in groups, and then choose an option from the Render Selection submenu of the Sequence menu.
Render Selection If you’ve selected one or more items in the Timeline, or defined a region of the Timeline using In and Out points, the commands in the Render Selection submenu operate only on the selection. If nothing is selected and no In or Out points have been defined, the entire sequence is rendered. Video and audio render categories that are enabled have a checkmark. Â Both: Renders both the video and audio of the selected region of the sequence.
IV To render a section of a sequence: 1 Do one of the following: Â In the Timeline, select one or more clips or transitions. Â In the Timeline or Canvas, set In and Out points for the area that you want to render. In and Out points for the section to be rendered 2 If necessary, choose Sequence > Settings, click the Render Control tab, then choose quality settings for rendered effects and select which effects are and are not rendered.
Render All The commands in the Render All submenu render all the clips in a sequence corresponding to the selected render categories, regardless of what you have selected in the Timeline. Video and audio render categories that are enabled have a checkmark. Â Both: Renders both the video and audio of the sequence. Â Video: Renders all of the video items in the sequence. Â Audio: Renders all of the audio items in the sequence.
IV 4 Choose Sequence > Render All > Both. 5 If your project has not yet been saved, Final Cut Pro prompts you to save your project so a Render folder can be created. A status window appears showing the rendering progress. Click Cancel to stop rendering. Note: All frames that have already been rendered remain written to disk, even if rendering is canceled.
Rendering Audio Items in a Sequence The following commands allow you to render audio items when required for real-time playback. Audio filter rendering and sample rate conversion occur at the same time. To render individual audio items: 1 Select one or more clips with transitions and filters in the Timeline. 2 Choose Sequence > Render Selection > Audio. To render all audio items: 1 Select or open a sequence in the Timeline. 2 Choose Sequence > Render All > Audio.
IV Using the Mixdown Command Sometimes, you may have so many audio items edited into a sequence or so many filters applied that rendering the items in your sequence doesn’t ensure real-time playback. In this case, use the Mixdown command in the Render Only submenu of the Sequence menu to render all audio in a sequence prior to playback or output to tape. To mix down audio in a sequence: 1 Select a sequence in the Timeline.
Temporarily Disabling Rendering Normally, Final Cut Pro attempts to calculate all the effects applied to the frame at the current playhead position. Sometimes, especially with effects-intensive sequences, you will want to disable these calculations temporarily while you make changes to edits in a sequence or to the settings of a motion effect or filter. When rendering is disabled, all clips that require rendering (indicated by red render bars in the Timeline) do not appear in the Viewer or Canvas.
IV Three options determine what parts of your opened sequences are rendered and when: Â “Start Render after” field: This number, in minutes, specifies the amount of idle time that must pass before Final Cut Pro starts to automatically render any open sequences. Â Render pop-up menu: Choose Open Sequences from this pop-up menu to render all open sequences in the Timeline. Choose Current Sequence to render the currently active sequence tab in the Timeline.
Using the Render Control Tab Each sequence has its own render and playback settings, located in the Render Control tab of the Sequence Settings window. These settings allow you to enable and disable processor-intensive video filters and frame blending. This is useful if you want to apply filters and speed changes to clips but temporarily disable them to avoid rendering while you edit. You can also use this tab to reduce render quality while you work and then return to full quality for your final render.
IV Render Settings The Render Control tab provides the following render settings: Â Frame Rate: You can use this pop-up menu to reduce the frame rate of rendered effects, dramatically speeding up rendering at the expense of lowering playback quality. For example, if you’re editing at 29.97 fps and you choose 50% from the Frame Rate pop-up menu, rendered effects in your sequence will play back at 15 fps.
To change render control settings for an existing sequence: 1 Open the Sequence Settings window for a particular sequence by doing one of the following: Â Control-click a sequence in the Browser, then choose Settings from the shortcut menu. Â Select a sequence in the Browser or Timeline, then choose Sequence > Settings. 2 Click the Render Control tab. 3 Select the settings you want, then click OK. The new settings are applied to the selected sequence.
IV Changing Video Processing Settings You can change video processing settings for an individual sequence, or you can change video processing settings for a sequence preset. To change video processing settings for an individual sequence: 1 Choose Sequence > Settings, then click the Video Processing tab. 2 Select the appropriate options, then click OK.
Rendering Y´CBCR Footage in the RGB Color Space When super-white Y´CBCR values are converted to RGB, any values above 235 are mapped to 255. Any variation in luma above 235 is therefore clamped, or clipped, resulting in solid patches of white where there was once detail in the bright parts of the image. If these RGB values are converted back to Y´CBCR, all white values of 255 are mapped to a single value (usually 235, which is white in Y´CBCR).
IV Render in 8-bit YUV Most codecs supported by Final Cut Pro use 8 bits per color sample, so this option is usually selected by default. However, if you are doing any compositing or adding footage with higher bit depths, you may want to use high-precision (32-bit) processing to maximize quality. 8-bit YUV is the fastest Y´CBCR processing option, so you may want to use this during offline editing and then switch to high-precision rendering before rendering for output.
Maximum RGB White Level Settings When you add graphics or generator clips created in the RGB color space (for example, imported graphics files or generator clips created with generators such as the Text generator), the “Process Maximum White as” pop-up menu determines whether the maximum white value of these clips should be 100 percent or 109 percent. Use this pop-up menu to make sure the white levels of your RGB footage match those of your Y´CBCR video.
IV Choosing Super-White If you aren’t concerned about broadcast-legal limits and you want your imported RGB graphics to match Y´CBCR white levels that are above 100 percent, you should choose the Super-White option from the “Process Maximum White as” pop-up menu. In this case, RGB white values of 255 are mapped to Y´CBCR values of 254 (109 percent). Keep in mind that any white levels in your RGB graphics will not be broadcast-legal.
Adjusting Gamma Final Cut Pro provides gamma control adjustments for RGB video and still-image formats. About Gamma Gamma is an implicit or explicit transfer function that maps input intensity to output intensity, usually in a nonlinear way. The most common example is a CRT monitor, where the brightness onscreen is less than expected based on the input voltage. If the input voltage ranges between 0 (black) and 1 (white), one would expect a voltage of 0.
IV Choosing Real-Time Playback Gamma Correction Options Whenever you watch your video on a computer display (such as video displayed in the Canvas, the Viewer, or via Digital Cinema Desktop Preview), Final Cut Pro applies gamma correction to the video to more closely approximate the way it would appear on a video monitor. Note: Gamma correction is not applied to external video outputs such as DV or third-party interfaces because this correction is inherently applied by external video monitors.
In general, Final Cut Pro assumes the following: Â RGB-encoded media (such as TIFF or the Apple Animation codec) has an implicit gamma of 1.8. This assumption is correct for images created on a Macintosh computer, but if the image file was created on a different platform, you may need to adjust the clip’s Gamma Level property to 2.2. Â Y´CBCR media has an implicit gamma of 2.2. You cannot adjust the gamma of Y´CBCR clips.
IV To choose the gamma value applied to an imported file: 1 Choose Final Cut Pro > User Preferences, then click the Editing tab. 2 Choose one of the following options from the Gamma Level pop-up menu: Â Source: If you have already adjusted the gamma of your media to work with previous versions of Final Cut Pro, choose this option to ensure that clips appear the same as in previous versions. This option uses QuickTime to interpret the gamma of imported media files. Â 1.
To view the Gamma Level column in the Browser: m Control-click in any column in the Browser, then choose Show Gamma Level from the shortcut menu. To change the Gamma Level property of a single clip in the Browser: 1 Select a clip in the Browser. 2 Click in the Gamma Level column next to the selected clip, enter a value between 0.01 and 10.00, then press Enter. To change the Gamma Level property of multiple clips in the Browser: 1 Select multiple clips in the Browser.
IV Inside the Render Files folder, Final Cut Pro creates a folder for each project with render files. Render files for a project Important: Do not delete render files when you’re working in the Finder. Instead, use the Render Manager in Final Cut Pro to delete render files. Using the Render Manager The Render Manager allows you to manage the render files associated with the sequences in your projects.
In the Render Manager, render files are organized into folders by project and sequence; filenames show whether files are video or audio render files. The Last Modified date column shows the last time a render file was saved. Items in the Render Manager are displayed in three groups: audio, audio mixdown (sequence-level audio render files), and video. To delete render files: 1 Choose Tools > Render Manager. The Render Manager dialog appears.
IV 2 Click in the Remove column to delete specific render files. Â Clicking an item that includes other items, such as a project, automatically includes all those items within it. Â Clicking a sequence selects all the render files for the sequence. A checkmark appears next to each item you want to delete. The total amount of disk space that will be made available is displayed at the bottom of the dialog. 3 When you’re ready to delete render files, click OK.
Tips for Avoiding Unnecessary Rendering and Reducing Render Time Here are some suggestions to avoid rendering: Â Edit the majority of your project using cuts only; add only transitions, effects, or filters that can play back in real time or that are absolutely necessary in making decisions about your first cut. Avoiding unnecessary effects and time-consuming rendering can help you focus on your program’s overall pacing and structure.
IV Here are some tips for reducing the amount of time it takes to render your sequence: Â Lower the frame rate and resolution of rendered effects in the Render Control tab of the Sequence Settings window. This lowers the playback quality of those effects but allows them to render substantially faster. Â Disable certain render-intensive effects in your sequence, including filters, frame blending, and motion blur.
30 Working with Mixed-Format Sequences 30 Final Cut Pro allows you to mix formats in the Timeline so you can combine and play back footage with different codecs, frame rates, and image dimensions in a single sequence. This chapter covers the following: Â About Mixed-Format Sequences (p. 679) Â Determining Whether Clips in a Sequence Will Play Back in Real Time (p. 680) Â Working with Mixed-Format Sequences (p. 682) Â Combining SD and HD Video (p. 690) Â Rendering Mixed-Format Sequences (p.
Terminology for Discussing Mixed-Format Sequences The following definitions provide some shorthand for discussing the behavior of sequences containing mixed formats:  Format: The defining characteristics of a video media file—image size, frame rate, and codec  Native sequence: A sequence containing clips whose media files match the sequence settings  Mixed-format sequence: A sequence containing clips whose media files don’t match the sequence format  Nonmatching clip: A clip whose media file format does
IV Formats That Don’t Support Real-Time Playback Media with codecs, frame rates, or image dimensions not supported by the real-time processing engine in Final Cut Pro, such as MPEG-4 or H.264 media, must be rendered before it will play back. Viewing Clip Properties and Sequence Settings You can quickly check clip properties and sequence settings to see if the format of a clip and a sequence match.
Working with Mixed-Format Sequences This section describes timesaving features for working with mixed-format sequences and discusses how Final Cut Pro handles settings that don’t match, such as image dimensions, field dominance, and frame rate. Conforming Sequence Settings to Match a Clip’s Settings Although Final Cut Pro can play back mixed-format sequences, you should still try to match clip and sequence settings so that less rendering is required before output.
IV To automatically conform sequence settings to the settings of the first clip added to the sequence: 1 Choose File > New > Sequence (or press Command-N) to create a new sequence. 2 Double-click the new sequence to open it in the Timeline. 3 Select a clip whose settings do not match those of the sequence, then drag it to the sequence. A dialog appears asking if you want to conform your sequence settings to the clip settings.
When Are Clips Automatically Conformed to a Sequence? Most of the time, Final Cut Pro automatically conforms clips when you edit them into a sequence. This makes it simple to mix HD and SD video with different resolutions, aspect ratios, and field dominances.
IV Conform to Sequence Versus Scale to Sequence The Conform to Sequence command fits a clip into a sequence in three ways: a clip’s Scale and Aspect Ratio parameter settings are adjusted and a Shift Fields filter is applied, modified, or deleted. This command ensures that a clip has the proper aspect ratio and field dominance. The Scale to Sequence command merely adjusts the Scale parameter of a clip so that it fits within the sequence dimensions. No aspect ratio or field dominance correction is applied.
Mixing Frame Rates Clips with any Final Cut Pro–supported frame rate can be added to a sequence and played back in real time. Depending on whether the clip frame rate is faster or slower than that of the sequence, Final Cut Pro skips or repeats frames of the sequence clip. Nonmatching frame rates are handled three ways. If a clip and sequence have matching frame rates: Each frame of the clip’s media file is played back in the sequence.
IV Working with Subclips in Mixed-Frame-Rate Sequences In cases where a subclip’s frame rate and a sequence’s frame rate do not match, adding the subclip to the sequence may cause the subclip limits to be adjusted and new clip In and Out points to be set. These adjustments ensure that the edit you perform has the starting and ending frames you would expect.
Using the Shift Fields Filter When you add a clip to a sequence, Final Cut Pro checks the field dominance settings of both to see if they match. If both the clip and sequence are interlaced but use opposite field dominance, Final Cut Pro automatically adds a Shift Fields filter to the clip so that the clip field dominance matches the field dominance of the sequence.
IV Mixing Footage with Different Codecs A codec, or compressor, is the algorithm used to compress video to a smaller size and then decode the video for playback. A sequence clip whose codec doesn’t match the sequence codec can be played back in real time as long as the following is true: Â Final Cut Pro has real-time support for both the clip and sequence codecs. Â Your computer has the processing power and disk speed to play back the clip codec in real time.
Adding Filters and Motion Effects to Mixed-Format Sequences You can add filters to nonmatching clips and adjust their motion parameters just as you would in a native sequence. With the exception of different real-time processing demands required by nonmatching clips, working with effects in a mixed-format sequence is essentially the same as working with native sequence clips.
IV Letterboxing 16:9 Video in a 4:3 Frame To preserve the aspect ratio of widescreen movies on a 4:3 screen, widescreen movies are scaled until the width fits within the 4:3 frame. The remaining space at the top and bottom of the 4:3 frame is left empty and is usually black. If a film or video was shot to be exclusively viewed in a widescreen venue, this technique is usually the best approach for downconversion.
Cropping 16:9 Video to 4:3 If you keep both 16:9 and 4:3 aspect ratios in mind during the shoot, making sure important action stays within the 4:3 center of the 16:9 frame, you can choose to crop your entire clip within a 4:3 frame. This method allows you to fill the whole 4:3 screen with some portion (usually the center) of your 16:9 image.
IV Pan and Scan The pan and scan method crops 16:9 clips within a 4:3 frame, but each clip can be uniquely cropped to focus on a particular portion of the frame. The pan and scan method does not necessarily refer to panning during the transfer, but rather the fact that each frame may be cropped differently. 16:9 to 4:3 pan and scan To crop and move a 16:9 clip within a 4:3 sequence: 1 Follow the instructions for scaling a 16:9 clip within a 4:3 sequence in “Cropping 16:9 Video to 4:3” on page 692.
Creating Artificial Pans in 16:9 Footage In some complex scenes with multiple characters or centers of visual activity, an artificial camera move (a pan) can be introduced to recenter the widescreen action within the 4:3 frame. In Final Cut Pro, you can crop and even perform simple pans by animating the Center parameter in the Motion tab. However, unless the animation is convincing, this can be more of a distraction than anything else.
IV Upconverting SD Video Upconverting a 4:3 aspect ratio image to a 16:9 frame results in borders (or side panels) on the left and right sides of the 4:3 image. This type of frame is sometimes referred to as pillarboxed. If the aspect ratios of the original and destination formats match (for example, 720 x 480 anamorphic footage upconverted to 1920 x 1080), you can simply scale the original video to the destination size.
To pillarbox a 4:3 clip within a 16:9 sequence: 1 Create a sequence with a 16:9 aspect ratio. For example, choose the DVCPRO HD - 1080i60 Easy Setup and then create a new sequence. 2 Drag a clip with a 4:3 aspect ratio to the sequence. If a dialog appears asking if you want to conform your sequence settings to your clip, click No. 3 If the clip is not automatically scaled up to fit the sequence, select the sequence clip and then choose Modify > Scale to Sequence.
IV Rendering Mixed-Format Sequences For the highest-quality output, you should always render any segments of a sequence whose render status bars indicate that they need rendering. When you use the Edit to Tape and Print to Video commands, Final Cut Pro automatically renders these segments for you. For more information, see “About Render Status Bars” on page 620. In some situations, you will need to render nonmatching clips to play back your sequence.
Media Management and Project Interchange Working with mixed formats in a sequence can present unique media management challenges.
Volume IV Media Management and Output
K Apple Inc. Copyright © 2007 Apple Inc. All rights reserved. Your rights to the software are governed by the accompanying software license agreement. The owner or authorized user of a valid copy of Final Cut Studio software may reproduce this publication for the purpose of learning to use such software. No part of this publication may be reproduced or transmitted for commercial purposes, such as selling copies of this publication or for providing paid for support services.
1 Part I Contents Media and Project Management Chapter 1 13 13 14 15 15 16 Media Management What Is Media Management? Reasons to Use Media Management What You Need to Know to Manage Your Media Media Management Steps in Final Cut Pro Strategies for Media Management Chapter 2 19 19 19 20 22 23 23 24 24 28 29 Backing Up and Restoring Projects Backing Up and Restoring Projects Using the Revert Project Command Using the Autosave Feature Restoring Autosaved Projects Opening a Project File After Your Comp
53 54 54 Moving Clips Between Projects How Does Final Cut Pro Identify Matching Clips? Resolving Property Differences Between Matching Clips Chapter 5 57 57 60 61 65 66 Offline and Online Editing About Offline and Online Editing Offline/Online Editing Workflows Using the OfflineRT Format in Final Cut Pro Online Editing on Non–Final Cut Pro Editing Systems Trading Project Files Using Email or the Internet Chapter 6 69 69 72 73 74 74 76 83 85 Reconnecting Clips and Offline Media Finding Your Media File
Chapter 9 121 121 122 122 124 125 125 Part II Diagnostic Tools for Clips Different Tools for Diagnosing Clips About the Analyze Movie Command Using the Analyze Movie Command Information Reported by the Analyze Movie Command Finding and Marking Long Frames Using the Mark Long Frames Command Project Interchange Chapter 10 129 129 130 131 134 135 140 140 140 141 141 142 143 143 143 144 144 145 148 151 Importing and Exporting EDLs What Is an EDL? Learning to Read an EDL Elements of an EDL Exporting EDLs
Chapter 12 163 163 164 165 165 166 166 167 167 169 169 173 174 175 177 178 Part III 6 Working with Film and Cinema Tools An Overview of the Film Editing Process About the Telecine Process Importing a Telecine Log to Create a Cinema Tools Database Exporting a Film Cut List About the Cinema Tools Database Using Cinema Tools with Final Cut Pro Creating a New Final Cut Pro Project Importing a Telecine Log to Create a Cinema Tools Database Batch Capturing Video from Tape Removing 3:2 Pull-Down or Conforming
220 221 223 225 Automatically Recording with Print to Video Using the Print to Video Command Recording from the Timeline Outputting to VHS Tape Chapter 16 227 227 228 228 228 231 232 235 Learning About QuickTime What Is QuickTime? The QuickTime Suite of Software Applications QuickTime for Media Authoring The QuickTime Movie File Format How Final Cut Pro Uses QuickTime for Import, Export, and Capture Formats Supported by QuickTime How Do You Export the Files You Need? Chapter 17 237 237 238 240 242 Ex
Chapter 21 285 285 286 287 Exporting Still Images and Image Sequences Determining the Image Format for Still-Image Export Exporting a Single Still Image Exporting Image Sequences Chapter 22 291 291 292 293 298 299 300 300 Batch Exporting Clips and Sequences Overview of the Batch Exporting Process Selecting Items in the Browser to Batch Export Selecting Batch Export Settings Doing a Batch Export Opening Batch Exported Files in the Viewer Redoing Batch Exports About Color Space Conversion During Batch Ex
331 332 332 333 334 335 336 337 Editing a Preset Deleting Presets Creating and Modifying Easy Setups Creating an Easy Setup Moving, Deleting, and Restoring an Easy Setup Example: Creating a Custom Preset and Easy Setup Installing and Restoring Easy Setups Loading Settings from a Network Server Chapter 25 339 339 346 Capture Settings and Presets About Capture Preset Settings Creating a Preset to Capture Audio Only Chapter 26 349 349 350 350 354 354 355 356 360 360 Device Control Settings and Presets A
10 389 391 398 399 399 399 401 401 Video Sample Rate and Bit Depth Video Compression Video Formats Supported by Final Cut Pro DV Formats 24p Video High Definition Video Formats Data Rate Comparisons A Brief History of Film, Television, and Audio Formats Appendix B 405 405 406 407 408 410 410 413 414 Frame Rate and Timecode What Is Frame Rate? Understanding Flicker and Perceived Frame Rate Frame Rate Limits: How Many Frames per Second Is Best? Choosing a Frame Rate What Is Timecode? About Drop Frame and
Part I: Media and Project Management I Final Cut Pro features project and media management tools that help you keep track of your footage from the first phase of post-production to the final cut.
1 Media Management 1 Successful editing requires effective media management. You should pick a media management strategy before you begin your project. This chapter covers the following: Â What Is Media Management? (p. 13) Â Reasons to Use Media Management (p. 14) Â What You Need to Know to Manage Your Media (p. 15) Â Media Management Steps in Final Cut Pro (p. 15) Â Strategies for Media Management (p.
 Logging clip information without media: You can modify clip properties such as log notes, comments, labels, and even In and Out points without the associated media files. This means you can organize your clips and sequences even though your current editing system may not have the media files.  Trading projects without media files: A Final Cut Pro project file contains clips and sequences, but not media files. Because a project file is so small, you can email or post your project file online.
I What You Need to Know to Manage Your Media To effectively keep track of or manage your media, you must have a good understanding of the following:  The distinction between a clip and a media file, as well as the relationship between the two  The relationship between master and affiliate clips in a Final Cut Pro project  How timecode works, providing a bridge between footage on tape or film to media files on hard disk to clips in your project  How to effectively sort and search large amounts of data, s
Step 3: Recapture media Suppose you cleaned up your hard disk by having Final Cut Pro delete a lot of media files, but you realized that there were a few clips that you had intended to include in your sequence but hadn’t yet done so. At this point, these clips’ media files are offline (in this case, deleted from the hard disk). You can’t reconnect these clips to media files because the media files no longer exist. You need to capture the original footage to your hard disk again.
I Clip Name Conventions Clips can get their names several ways. If you log clips individually, a clip name is derived from a combination of the description, shot/take, scene, and angle properties of a clip. However, if you create clips by importing a batch list, EDL, or Final Cut Pro XML, you may name the clips independently of these other properties. In either case, choose a fairly concise but descriptive name.
Using Multiple Workstations with a Storage Area Network Storage area networks (SANs) allow you to connect multiple computers to a centralized media storage device, so everyone is working with exactly the same media files instead of multiple copies. You can build a SAN using Xserve RAIDs, Apple Xsan software, and a fibre channel card installed in each computer.
2 Backing Up and Restoring Projects 2 Routine backups are a critical part of the editing process. If necessary, you can go back to earlier versions of a project. This chapter covers the following: Â Backing Up and Restoring Projects (p. 19) Â Archiving Completed Projects (p. 23) Â Updating Projects from Previous Versions of Final Cut Pro (p. 24) Backing Up and Restoring Projects Final Cut Pro has several methods for backing up, reverting, and restoring projects.
Using the Autosave Feature Autosave routinely saves copies of your project while you work. If something goes wrong with the current version of your project, you can restore an autosaved version to quickly pick up where you left off. By default, autosave files are stored in the following location: /Users/username/Documents/Final Cut Pro Documents/Autosave Vault/ To turn on autosave: 1 Choose Final Cut Pro > User Preferences, then click the General tab. 2 Select the Autosave Vault checkbox.
I If you have more than one hard disk, you can routinely save your normal project file on one disk and specify an Autosave Vault folder on the other disk. This way, if you have trouble with one hard disk, you will still have project files on the other. Warning: The Autosave Vault folder is not locked. If you inadvertently delete this folder from the Finder, Final Cut Pro automatically re-creates it. However, any autosave files in the deleted folder cannot be re-created.
Restoring Autosaved Projects If you’re working on your project and decide you want to go back to an earlier autosaved version, you can use the Restore Project command. Restore Project allows you to choose from all of the available autosaved versions of the currently active project, based on the time and date they were created. For example, suppose your client saw the newest cut of a project and didn’t like it.
I Opening a Project File After Your Computer Is Unexpectedly Shut Down If your computer is abruptly shut down, you can open the most recently autosaved project file after you restart your computer. In this situation, you have several options: Â Open the project file and restore the latest autosaved version. Â Open the latest autosaved version of the project directly from the Finder.
Depending on the duration of your original footage, the captured media files that you used for your project are not necessarily worth archiving long-term, simply because they are extraneous copies of your original videotapes. Also, backing up to inexpensive formats, such as DVD-R, can be fairly time consuming. As long as you archive your project file and you have the original videotapes available to recapture clips from, your project is sufficiently archived.
I Final Cut Pro version Updated features Final Cut Pro 6 Nonmatching sequence clip aspect ratios: Render files for any sequence containing clips whose aspect ratio does not match the sequence aspect ratio are deleted. Shift Fields filters: Incorrectly applied or missing Shift Fields filters are updated. Final Cut Pro 5 Final Cut Express HD 3.5.1 Scaling quality: Best, Normal, Fastest HD color accuracy: Any HD render files and HD sequence settings are converted to Rec. 709 color space.
Shift Fields Filter Projects created in versions earlier than Final Cut Pro 6 must be updated when they contain incorrect or missing applications of the Shift Fields filter. For example, suppose you have a Final Cut Pro 5 project where you edited a DV PAL clip into a standard definition (SD) PAL sequence. Final Cut Pro 5 did not use the Shift Fields filter for combining DV and SD, so Final Cut Pro 6 must update your project to add Shift Fields filters to clips when necessary.
I Updating Projects from Final Cut Pro 3.0 or Earlier Clips in projects created with Final Cut Pro 4 and later have master-affiliate clip relationships that did not exist in earlier versions of Final Cut Pro. When an older project is imported into Final Cut Pro, this relationship is not automatically created, but you can manually update your project so that every sequence clip becomes affiliated with an appropriate master clip in the Browser.
If you upgrade a project or sequence created in Final Cut Pro 1.2.1 and the codec used for the sequence is not found by the system, the codec in the Sequence Settings is listed as “Unknown” and “Always Render in RGB” is selected in the Video Processing tab. If you want to render the sequence in Y´CBCR (YUV) color space, you need to change this manually. To enable YUV processing in a sequence with an unknown codec: 1 Choose Sequence > Settings, then click the General tab.
I Before Updating Projects Before updating projects from earlier versions of Final Cut Pro and Final Cut Express, consider these things: Â Third-party effects scripts, or scripts that you’ve already written or customized, may need to be modified to take full advantage of the use of Y´CBCR color space in Final Cut Pro. Â All Final Cut Pro effects take advantage of the Y´CBCR color space. If you used any of the effects listed below in projects created with Final Cut Pro 1.2.
3 Elements of a Final Cut Pro Project 3 When you are organizing your project and media files, it can be helpful to have a detailed understanding of each element in a Final Cut Pro project, such as clip types and properties, bins, sequences, and so on. This chapter covers the following: Â About Clips, Media Files, and Sequences (p. 31) Â About Icons and Project Elements in the Browser (p. 35) Â Clip Properties (p.
Types of Clips Different types of clips are distinguished by the type of media files they refer to. For example, an audio clip is simply a clip that represents an audio-only file on disk. However, some clips, such as subclips, are distinguished not by the type of media files they refer to, but how they refer to them. For example, the definition of a subclip is any clip that refers to less than the total length of a media file. It doesn’t matter whether a subclip is a video clip, audio clip, or merged clip.
I A multiclip allows you to sync multiple clips together as angles within a single clip. The main reason to use a multiclip is to sync multiple camera angles together so you can cut between them in real time in the Timeline. However, you can sync any footage you want together in a multiclip, not just different camera angles. For instance, when making a music video, you could sync three different performances of the band playing and cut between them on the beat.
The following properties are not shared between master and affiliate clips:  Comment A–B  In point  Out point  Duration  Description  Film Safe  Composite mode  Reverse Alpha  Thumbnail An independent clip is a sequence clip that has no master clip, so it doesn’t share properties with any other clips. You can make a sequence clip independent at any time, although you usually shouldn’t unless you have a specific reason to do so.
I About Icons and Project Elements in the Browser Icons appear next to the name of each project element in the Browser. The following table explains what kind of Final Cut Pro project elements each icon represents. Icon Name Description Clip A clip represents a media file. A clip is created when a media file is captured or imported into Final Cut Pro. This icon is also used for merged clips (clips created by merging audio and video clip items together).
Icon Name Description Locked bin The contents of a locked bin cannot be changed. In Final Cut Pro, the only locked bins are the ones in the Effects tab, which contain the installed effects. The one exception in the Effects tab is the Favorites bin, which is not locked so you can store your favorite effects and transitions there. Video filter Effects filter that can be applied to a video clip. Video transition Transition effect that can be applied between two consecutive clips in a video track.
I Name of property Description Name Name of the clip. During logging, the name property is usually created automatically from a combination of the Description, Scene, Shot/Take, and Angle properties, which are entered in the Log and Capture window. You can change a clip’s name in the Browser or Item Properties window at any time.
38 Name of property Description Aux TC 1-2 Aux 1 and Aux 2 are additional timecode tracks that can be created in a QuickTime media file for any clip in your project. These properties can be useful for synchronizing clips to related media files without altering the source timecode of your files. For example, when synchronizing video clips captured from Digital Betacam with audio clips captured from DAT, the source timecode of each clip reflects timecode that was captured from each tape.
I Name of property Description Description Displays descriptive text about a clip (from the Description field in the Logging tab of the Log and Capture window). This is typically entered when logging, but you can also add to it or change it in the Browser or Item Properties window. Duration Shows the duration between a clip’s In and Out points. Speed adjustments to a clip affect a clip’s duration. Field Dominance For interlaced video, controls whether field 1 or field 2 is played first.
40 Name of property Description Last Modified Indicates the date and time a clip’s media file was modified, or the last time a sequence was edited. In the case of clips, this information is read directly from the modification date property of the clip’s media file, so you can also see this information in the Finder by selecting the file and then choosing File > Get Info. Length Shows the total length of a clip, regardless of clip In and Out points.
I Name of property Description Media End The timecode address that refers to the last frame of the media file, and thus the Out point set during capturing from tape in the Log and Capture window. This timecode value represents the very last frame of a clip’s media file, not the Out point of the clip. For more information, see “Media Start,” above.
42 Name of property Description Source Shows the file path of the clip’s media file on disk. For example: Scratch Disk:Capture Scratch:Dining:Interview Clip.mov This property is the critical connection between a clip and its media file. If a media file changes location or name, or if its modification date changes, the clip will no longer be able to locate it based on its Source property’s file path, causing the clip to become offline.
4 Working with Master and Affiliate Clips 4 Master-affiliate clip relationships make it easy to manage multiple uses of media files in your project. This chapter covers the following: Â Using Master and Affiliate Clips (p. 43) Â Moving Clips Between Projects (p. 53) Using Master and Affiliate Clips As you edit, you may generate many copies of the same clip. For example, you may use different segments of the same clip multiple times in one sequence.
Master-affiliate clip relationships help you to:  Keep track of which clips in your project use the same media  Perform media management operations on one, some, or all affiliated clips  Trace your steps from an affiliate clip in a sequence back to the unmodified master clip Note: If you need to, you can break the relationship between affiliate clips and master clips, turning the affiliate clips into independent clips.
I Because there is only one Name property shared between a master clip and its affiliates, you can change this property either from the master clip or from any of the affiliate clips. Regardless of where you change the Name property, all of the affiliate clips reflect the change simultaneously. Although master clips share most clip properties with their affiliate clips, there are a few properties that affiliate clips do not share. Most of these properties are for editing, trimming, or compositing.
Media File Properties Some clip properties are derived from the media file itself. Master clips refer to these properties directly from the media file. Final Cut Pro caches some of the media file information in clips in case the media file is disconnected. Affiliate clips refer to these properties via the master clip, so they are also considered to be shared properties. Most media file properties can only be modified in the media file, or by recapturing with different capture settings.
I Unique Clip Properties The following clip properties are unique to each affiliate clip and unique to the master clip as well. These properties are not shared. Most of these properties are properties for editing and trimming, such as In and Out points, so that each affiliate clip can have a unique duration in a sequence while still referring to the same media file via its master clip.
 Use the Duplicate as New Master Clip command: This allows you to duplicate a master clip in the Browser as a new, unrelated master clip. The new master clip is unaffiliated with the original master clip. Important: If you have several master clips that refer to exactly the same media, make sure you use only one of them for editing unless you have a reason to use a different one.
I Identifying Master Clips Master clips can exist only in the Browser; a sequence cannot contain a master clip. The only way to identify a master clip is to view its Master Clip property, either in the Browser or in the Item Properties window. To view a clip’s Master Clip property: 1 Select the item. 2 Choose Edit > Item Properties > Logging Info. If there’s a checkmark by the Master Clip property, the clip is a master clip.
Working with Affiliate Clips As you edit in Final Cut Pro, you create affiliate clips in any of the following ways: Â Edit a clip into a sequence: Whenever you edit a clip into a sequence, an affiliate clip is created from the master clip. Â Drag a sequence clip to the Browser: Assuming the dragged clip is an affiliate clip and a master clip already exists in the new Browser, an affiliate clip is created.
I Creating Independent Clips You can break the connection between an affiliate clip and its master clip to create an independent clip. Not only are all of its properties independent, such as name, log notes, and so on, but the independent clip now refers to its media file directly, instead of by way of a master clip. Changes to the original master clip no longer have any effect on the independent clip, and copying an independent clip creates another independent clip.
To create new master clips for an entire sequence of independent clips: 1 Do one of the following to define the scope of the Create Master Clips operation: Â To create master clips corresponding to every clip in your project: Make sure nothing is selected in the Browser or the Timeline. Â If you want to limit the creation of master clips to a specific group of clips or sequences: Select those clips or sequences. 2 Choose Tools > Create Master Clips.
I Using Keyboard Shortcuts to Modify Master-Affiliate Clip Relationships The master clip command in the Modify menu changes depending on what type of clip you have selected. For example, if you select a master clip in the Browser, the Modify menu contains the Duplicate as New Master Clip command.
How Does Final Cut Pro Identify Matching Clips? Internally, each master clip in a project has a unique number called a universally unique identifier (UUID). No two clips in a project can have the same UUID. When you drag or paste a clip from one project to another, the destination project may already contain a clip with the same UUID as the source project clip. When the source and destination clips have matching UUIDs, Final Cut Pro detects a match.
I About the Copy Master Clip Dialog The Copy Master Clip dialog appears when you move or copy matching clips from one project to another project and some clip properties are not the same. This dialog contains three options for resolving matching clips with different properties: Â Use properties from the clip you are adding to the destination project. Â Use properties from the existing clip in the destination project.
Apply to All Added Clips with Clip Property Conflicts If you are moving or copying multiple clips from one project to another, there may be multiple clips with conflicting properties. To avoid checking this dialog for every occurrence of matching clips, you can select “Apply to all added clips with clip property conflicts.” This option handles every master clip conflict automatically using the option you selected in the Copy Master Clip dialog.
5 Offline and Online Editing 5 Final Cut Pro allows you to do offline editing with low-resolution copies of your media files, and then recapture your footage at full resolution for the final online edit. This chapter covers the following: Â About Offline and Online Editing (p. 57) Â Offline/Online Editing Workflows (p. 60) Â Using the OfflineRT Format in Final Cut Pro (p. 61) Â Online Editing on Non–Final Cut Pro Editing Systems (p. 65) Â Trading Project Files Using Email or the Internet (p.
Offline Editing Editing with low-resolution copies of your media files allows you to fit more media on your scratch disks and improve playback and real-time effects performance (especially when using slower hard disks, such as in portable computers). This phase can last from a few days to several years, depending on the scope of the project, the amount of footage, and so on.
I The audio mixing phase is analogous to the video online edit session: the goal is to produce a continuous, natural-sounding mix by setting proper levels, setting panning (locating sounds in different speakers, either for stereo or surround sound), and using any necessary audio filters. When the audio mix is complete, you bring it to the online edit session for an audio layback into the finished sequence (or directly onto the finished master tape).
Offline/Online Editing Workflows The offline/online editing process in Final Cut Pro consists of the following steps: Step 1: Set up and capture media at low resolution You can log and capture your footage directly to low-resolution, offline-quality media files. Alternatively, you can log and capture your footage at full resolution, and then use the Media Manager to create low-resolution media files for offline editing.
I Step 5: Add final color correction, effects, transitions, and titles Once you have full-resolution footage, you can accurately color correct and add final titles and effects. At the end of this process, you render your effects in preparation for output. Your final audio mix is created in Final Cut Pro or imported from a separate audio application. Step 6: Output to tape, MPEG-2 (for DVD), or a QuickTime movie file You output or export your final sequence as you would with any other project.
Capturing or Recompressing Media to an OfflineRT Format Once you’ve selected the appropriate Easy Setup, you can capture OfflineRT clips using your camcorder or deck. For more information about capturing, see Volume I, Chapter 17, “Capturing Your Footage to Disk.” When your system is set up correctly, you can log and capture using device control as usual. During capturing, video is transcoded from its original format to the OfflineRT format and written to your scratch disk.
I Creating a Sequence for Recapturing Media at Full Resolution Once you’ve finished editing your project, you use the “Create offline” option in the Media Manager to create a duplicate of your edited sequence using an online-quality sequence preset. The Media Manager is convenient because it not only creates a duplicate sequence with new settings, but every clip in the sequence is also set to the the new settings.
You can now transfer the project containing your new sequence to a Final Cut Pro system capable of recapturing your footage at full resolution. The sequence clips are considered offline because they are not yet connected to full-resolution media. In this case, the term offline refers to the fact that the clips are disconnected from media files. For more information on using the Media Manager, see Chapter 7, “Overview of the Media Manager,” on page 87.
I Adding Final Color Correction, Effects, Transitions, and Titles An online edit session focuses on the quality of your video. A fully-equipped online edit suite includes a video waveform monitor, a vectorscope, and a broadcast-quality monitor to make sure your video looks as good as possible.
Trading Project Files Using Email or the Internet Because the connection between clips and media files is so flexible in Final Cut Pro, you can easily transfer projects between and open projects on different Final Cut Pro editing systems. For example, you can work with low-resolution copies of your media on a portable computer and then transfer your project to another editing system containing full-resolution copies of your media.
I To create a cross-platform-compatible zip archive of your project(s): 1 In the Finder, select the Final Cut Pro project file(s). 2 Control-click the project file and choose Create Archive Of from the shortcut menu. If you create a single archive zip file, the archive file will be named after the file you originally selected (for example, My Movie.fcp becomes My Movie.fcp.zip). If you select multiple files, the archive file will be named Archive.zip.
6 Reconnecting Clips and Offline Media 6 Whenever a clip’s media file is modified outside of Final Cut Pro, the connection between the clip and the media file breaks. You can easily reconnect clips and media files whenever you need to. This chapter covers the following: Â Finding Your Media Files After Capture (p. 69) Â About the Connections Between Clips and Media Files (p. 72) Â Renaming Media Files and Clips (p. 73) Â How the Connection Between Clips and Media Files Can Be Broken (p.
Where Are Captured Media Files Stored? To determine where your media files are stored, you should first check the Scratch Disks tab of the System Settings window. In the Scratch Disks tab, the folder with the Video Capture column selected is the folder that Final Cut Pro captures media to. However, Final Cut Pro does not store media files directly in that folder.
I Revealing a Clip’s Media File in the Finder The fastest way to find a media file is to use the corresponding clip in the Browser. To reveal a clip’s media file in the Finder: 1 Select a clip in the Browser or Timeline. 2 Do one of the following: Â Choose View > Reveal in Finder. Â Control-click the clip, then choose Reveal in Finder from the shortcut menu.
5 Press Delete. This removes the clip from your project, but the media file is still on the disk. Important: Because you deleted the clip, any comments or notes applied to the clip are now gone. 6 Switch back to the Finder and move the media file to the folder where you want to keep all the media files associated with your project. 7 Drag the media file from its new folder in the Finder to the Browser in Final Cut Pro.
I Each time you move from Final Cut Pro to another application and then back again, Final Cut Pro checks that the modification date of each clip’s media file has not changed, and that they are in the expected file path. If a media file has been modified, Final Cut Pro warns you that the media file has gone offline, and asks if you’d like to reconnect the clip. You can choose to do this immediately, or you can do it later.
How the Connection Between Clips and Media Files Can Be Broken There are several reasons the connection between the clips in your project and your media files on disk can break, causing the corresponding clips in your project to go offline: Â You modified your media files in any way that changes the modification date in the Finder. Â You moved your media files to another folder. Â You renamed your media files. Â You created an offline project file with the Media Manager.
I To make one or more files offline: 1 In the Browser or Timeline, select the clips or sequences you want to make offline. 2 Do one of the following: Â Choose Modify > Make Offline. Â Control-click a selected item and choose Make Offline from the shortcut menu. 3 Select an option in the Make Offline dialog, then click OK. Click an option. Â Leave Them on the Disk: Select this option to disconnect clips from their media files but leave the original media files on your disk.
Differences Between Missing and Offline Media Files Final Cut Pro considers any clip without a media file to be offline. However, the status of the clip’s Source property determines whether Final Cut Pro continues to search for a clip’s media file each time a project is opened.
I About the Reconnect Files Dialog The Reconnect Files dialog has the following features: Click these buttons to filter which types of clips are displayed in the Files To Connect list. Displays all clips selected to be reconnected. Choose a directory and select this checkbox to limit your media file search to a single directory. Click to remove the currently highlighted clip from the Files To Connect area. Click this to tell Final Cut Pro to search the specified locations for a clip’s media file.
Search Locations Area This area allows you to choose which folders are searched when Final Cut Pro looks for media files. Â Skip File: Click this button to remove the current clip highlighted in the Files to Reconnect list. When this clip is removed, the next clip in the list is highlighted for reconnection. Â Search Single Location checkbox: When you select this option, only the directory path in the Search Single Location pop-up menu is searched, as well as any subfolders of that directory path.
I Search Order and Speed in the Reconnect Files Dialog Final Cut Pro searches folders in the order they appear in the Search Folders pop-up menu. To make searching for media files efficient, Final Cut Pro searches designated folders before searching entire volumes. This way, if a media file is located in a specified search folder, Final Cut Pro never has to perform a more time-consuming search through an entire volume.
Using the Reconnect Files Dialog The Reconnect Files dialog has many options, depending on the types of clips you are reconnecting and the number of volumes and folders you want to search for missing media files. The task below suggests one possible workflow. To use the Reconnect Files dialog: 1 Select the clips you want to reconnect.
I 5 Do one of the following: Â Choose a directory path from the Search Folders pop-up menu, then select the Search Single Location option to limit where Final Cut Pro searches for clips’ media files. Â Deselect the Search Single Location option so that all folders in the Search Folders pop-up menu are searched. 6 Do one of the following: Â Click Search to have Final Cut Pro search for media files automatically. Â Click Locate to manually navigate to the location of the media file.
Several options can help you find your clip. Â Show pop-up menu: If this option is set to All Files, you can select any file type in the selected folder on your hard disk, whether or not it can be connected to a clip in Final Cut Pro. To limit the kind of files you can select in this list, choose a file type from the pop-up menu. Â Matched Name Only: Choose this option so Final Cut Pro restricts your selections to media files whose names match the file name in the clip’s Source property.
I 8 Click Try Again to search for a different media file to connect to the clip. Otherwise, click Continue to reconnect the media file to the current clip, even though certain attributes don’t match. Clips connected to media files with mismatched attributes appear in the File Located area in italics, and the total number of clip-media file mismatches is displayed next to “Amount with conflicts.” All media files located appear in a list in the Files Located area of the Reconnect dialog.
Information and Controls in the Offline Files Dialog The Offline Files dialog shows a summary of how many media files are missing, and what kind they are. Â Forget Files: When you select one or more types of media in this list, Final Cut Pro removes (or “forgets”) the file path in each clip’s Source property. Once the Source property is empty, Final Cut Pro no longer warns you that these clips are offline. Â Media Files: Select this checkbox to clear the Source property of each offline clip.
I Reconnecting Media Files Automatically If you process your media files outside of Final Cut Pro, Final Cut Pro detects the change in the media file and any clips pointing to that file become offline. This can be inconvenient, especially when you are constantly modifying media files in another application like Motion or Soundtrack Pro.
7 Overview of the Media Manager 7 The Media Manager helps you move, copy, delete, and process your project’s media files, automatically updating the connections between clips and media files. This chapter covers the following: Â What Can You Do with the Media Manager? (p. 88) Â Selecting Items to Process with the Media Manager (p. 89) Â Settings and Options in the Media Manager Window (p. 90) Â How the Media Manager Processes Selected Items (p. 98) Â Limiting How Much Media Is Copied or Deleted (p.
What Can You Do with the Media Manager? The Media Manager can duplicate an existing project, or individual items in the project, as well as the corresponding media files, or portions of those media files. Final Cut Pro treats media files and clips independently, so some Media Manager options determine how clips are modified, duplicated, or reconnected, while other options determine how media files are processed.
I Â Recompress media files with different image dimensions and compression settings The Recompress option in the Media Manager allows you to create copies of your media files compressed with a different codec or frame size. For example, you can recompress your DV media files with the OfflineRT settings in order to reduce their size for editing on a portable computer. This is a common method for creating media files for offline editing in Final Cut Pro.
 One or more clip items in a sequence: If a sequence is open in the Timeline and the Timeline is active, you can use one of the selection tools to select particular clip items. Clip items are individual parts of a clip placed in tracks of a sequence (for example, a video clip item and two audio clip items from a DV clip). The Media Manager operations are then restricted to only the selected clip items within the currently active sequence.
I To open the Media Manager: m Select items in the Browser or in a sequence, and then do one of the following: Â Choose File > Media Manager. Â Control-click a clip or sequence in the Browser or Timeline, then choose Media Manager from the shortcut menu that appears. The Summary area provides a text and graphical overview of the selected options and how they affect your project and media files. Green segments represent media files; blue segments represent render files.
 Original: This bar shows the total disk space used by the media files associated with your current selection. This bar may be segmented if the media referenced by the selected items is found on multiple disks.  Modified: This bar displays the total disk space that will be used by the same items after the Media Manager processes the media files. If you’re recompressing or deleting unused media, the Modified bar is often shorter, so you can see how much disk space the operation will save.
I Media Pop-Up Menu The choices in this pop-up menu represent the main Media Manager tasks. All other options in the Media Manager follow from the choice you make here. Â Copy: This option copies all the selected items’ media files to the folder or disk specified in the Media Destination path. Â Move: This option moves selected items’ media files to the location specified in the Media Destination path.
 Create Offline: This option is very different from the others because no media files are created or processed, and your selection is always copied to a new project. This option is used to make a copy of a sequence with different settings, not to copy actual media. The main reason for this option is to copy a sequence with low-resolution settings to a sequence with full-resolution settings which you can then use to recapture full-resolution media. This prepares you for an online editing session.
I Selecting this option allows you to retain not only the media for clips in your sequences, but also media defined by your original master clip In and Out points. When combined with the “Include Affiliate Clips Outside Selection” option, you can retain media for all clips affiliated with your original selection, even if you did not explicitly select all of the affiliated items.
Use Handles Checkbox This option modifies the “Delete unused media” option described above so that less media is deleted from a media file. Handles are additional footage at the beginning and end of a clip that you keep just in case you need a few extra frames for trimming, or you need extra footage beyond your planned In and Out points to create a transition, such as a dissolve, to another shot.
I “Base Media File Names on” Pop-Up Menu This pop-up menu determines how clips are named when they’re segmented as a result of the “Delete unused media” option. The following media filenaming options are available: Â Existing file names: Filenames of clips created by the Media Manager are based on the source media files on disk. The first new media file created is named the same as the original media file, and additional media files are named with a numerical suffix.
Media Destination Area This area displays the location where media files are placed after copying, moving, or recompressing. Click the Browse button to choose a different location for the media files. This shows the location where moved or copied media files will be stored. Click here to select a location for storing media files.
I 5 Media files are copied or moved to the selected destination. If the “Delete unused media” option is selected, unused media is not included. If multiple clips correspond to the same media file and they don’t overlap, each used segment of the original media file will be written as a separate file and be named accordingly. For example, suppose that you originally captured a ten-minute clip and used four sections of this clip’s media file in your project; two of them overlap and the other two don’t.
How Independent Clips Are Processed Even if you don’t maintain proper master-affiliate relationships in your project by using independent clips, the Media Manager carefully analyzes your media management operation before it begins processing. For example, suppose you have a sequence called Sequence A that contains several independent clips. Also suppose that there are several master clips in the Browser that reference the same media files as the independent sequence clips.
I How Clips with Speed Adjustment Are Processed When the Media Manager encounters a clip with a speed adjustment, all media necessary to achieve the speed effect is preserved. For example, a clip with a speed adjustment that makes the clip faster could have a duration of 10 seconds, but it could use 100 seconds of media. Limiting How Much Media Is Copied or Deleted When you select clips to process with the Media Manager, keep in mind that those items may be affiliated with other clips in your project.
Preserving Media Only for the Selected Item If you want to use the Media Manager to create a copy of Sequence A along with only enough media to recreate Sequence A (and thus ignoring any other sequences or master clips that might reference the same media file), you would do the following: 1 Select Sequence A in the Browser, then choose File > Media Manager. 2 Choose Copy from the Media pop-up menu. 3 Select “Duplicate selected items and place into new project.
I 4 Select “Delete unused media from selected items.” 5 Select “Include master clips outside the selection.” This option preserves the media referred to by the master clip’s In and Out points, so the master clip is preserved as well as the clip in Sequence A.
Media File Formats Supported by the Media Manager Support The Media Manager supports most media file formats, including: Â QuickTime movie files: All Media Manager operations are supported for QuickTime movie files with timecode tracks. Video, audio, and timecode tracks are maintained when possible. Media trimming is supported. Â Still-image files: Still-image files can be copied and moved in their native format. Â AIFF, WAVE, and BWF files: These files can be moved and copied but they cannot be trimmed.
8 Examples of How to Use the Media Manager 8 The best way to learn about the Media Manager is to perform some of the common tasks described in this chapter. This chapter covers the following: Â Using the Media Manager (p. 105) Â Example: Removing Unused Media from a Sequence (p. 109) Â Example: Duplicating a Sequence and Its Corresponding Media Files (p. 111) Â Example: Duplicating a Portion of a Sequence and Its Media Files (p.
Step 1: Select clips or sequences in your project Before you can use the Media Manager, you must select items that you want the Media Manager to process. You can select an entire project, one or more bins, individual or multiple sequences, clip items within sequences, or clips in the Browser. Whatever you want to do, the Media Manager needs to know what to process before it can do anything. See the examples later in this chapter for some ideas on how to use the Media Manager.
I 2 Do one of the following: Â Choose File > Media Manager. Â Control-click one of the selected items, then choose Media Manager from the shortcut menu. If one of the items you selected contains no media (for example, if an empty sequence is part of your selection), a message gives you the option to continue or stop. If you choose to continue, the items that don’t contain any media will be ignored. A message appears if your selection does not contain media.
8 When you’re ready to continue, click OK. If you chose to create a duplicate project, Final Cut Pro prompts you to choose a name and destination for your new project file. 9 Navigate to where you want to store the items, enter a name for the file if desired, then click Save. Final Cut Pro scans your selected clips and sequences.
I A progress bar displays the state of completion of your Media Manager operation. For information on the order of operations, see “How the Media Manager Processes Selected Items” on page 98. Important: Do not switch to the Finder when the Media Manager is in the middle of processing operations. If you do, a Relink dialog may appear when you return to Final Cut Pro. To continue, click OK and don’t relink. If an error occurs during the selected operation, the process stops and an error message appears.
1 In the Browser, select the desired sequence. Select the sequence you want to remove footage from. 2 In the Media Manager, choose the following options, then click OK. Choose “Use existing” from this pop-up menu. Click here to retain only media used in the sequence. If you select the Use Handles checkbox, enter a duration here. Make sure this is not selected.
I Example: Duplicating a Sequence and Its Corresponding Media Files In this example, a sequence is copied to a new project, along with its corresponding media files. The new sequence clips refer to the new media files, while the original sequence still refers to the original media files. For example, you may have captured an hour’s worth of media from tape, but used only 45 minutes of it in the sequence.
Example: Duplicating a Portion of a Sequence and Its Media Files The Media Manager lets you copy selected clip items in your sequence along with their media files. This way, you can experiment with a section of your program without touching the original sequence or its corresponding media files. 1 In the Timeline, select the part of the sequence you want to duplicate. These clip items are selected in the sequence. 2 In the Media Manager, choose the following options, then click OK.
I Example: Copying Several Sequences with New Settings, but Without Media Files There are several situations in which you might want to create an offline copy of one or more sequences: Â When you’re preparing to recapture media files using a different capture preset. Â When you’re working with a remote editor who already has the media files and you need to email the offline sequences without the media files. 1 In the Browser, select the sequences you want to copy. Select the sequences you want to copy.
Note: Selecting “Include master clips outside selection” and “Include affiliate clips outside selection” creates master clips that preserve the most media for recapturing. During rough editing, you generally want to retain the largest possible media files, so it’s a good idea to keep these options selected. If you are creating sequences for final editing or capturing at high resolution, you may want to deselect these options.
I 2 In the Media Manager, choose the following options, then click OK. Choose the codec you want to use for recompressing (you can also create a new preset from here). Choose Recompress from this pop-up menu. Make sure these options are set properly. Click here to choose a location for the recompressed media files. If your portable computer is connected, you can copy files directly to it.
3 Select all of the subclips that you created from the master clip you just deleted. Important: The media for any subclips you don’t select will be lost. To be safe, you can move all the subclips whose media you want to retain to one bin, and the subclips you don’t want to preserve to a different bin. Then select the bin of subclips you want to preserve. 4 Control-click one of the selected subclips, then choose Media Manager from the shortcut menu that appears.
I Example: Consolidating Media Files into One Folder Sometimes the media files for a project are stored in several folders on one or more scratch disks. This happens if you selected a different scratch disk each time you captured media files, or when the name of the project file changes (this often happens when you save often to different filenames). The Media Manager makes it easy for you to consolidate all the media files for a project into one folder, without making any clips go offline.
3 Make sure the Browser window is active. In the Media Manager, choose the following options, then click OK. Choose “Move” from this pop-up menu. Handles are optional. Make sure this is not selected. Click Browse and select your destination folder. Files moved by the Media Manager are placed in a folder named after the project name, which is placed in a folder called Media. The clips in your project are reconnected to the media files in their new location.
I Example: Consolidating Your Project and Media Files for Archiving Many people like to archive their finished project files along with the corresponding media files. In this example, you copy all the content to an archive folder, which you can then back up on a DVD-R or other high-capacity media. After this process, you have an additional copy of your project and its corresponding media files. The original project file and media files are still intact.
3 Make sure the Browser window is still active. In the Media Manager, choose the following options, then click OK. Choose Copy from this pop-up menu. (Optional) Click here so that the parts of media files that are not used by your clips and sequences are not included. Handles are optional. Make sure this option is selected. Click Browse and select a folder to save your new media files. 4 In the dialog that appears, enter a project name, check that the destination folder is correct, then click OK.
9 Diagnostic Tools for Clips 9 If you need detailed information about a clip’s media file, you can use the diagnostic tools in Final Cut Pro to analyze your media. This chapter covers the following: Â Different Tools for Diagnosing Clips (p. 121) Â About the Analyze Movie Command (p. 122) Â Finding and Marking Long Frames (p.
 Mark Audio Peaks: Clipping occurs in captured audio if any part of the recorded signal goes above 0 dBFS. Since 0 dBFS is the maximum digital level possible, all levels that would peak above this are set (clipped) to 0 dBFS, because there is no higher value possible. Excessive 0 dBFS peaks usually indicate that the audio was recorded at unsuitable levels. The Mark Audio Peaks command analyzes one or more clips and places markers to indicate 0 dBFS peaks that are detected.
I To analyze any QuickTime media file on your hard disk: 1 Choose Tools > Analyze Movie > File. 2 Choose a QuickTime file on your disk that you want to analyze, then click Choose. Locate the file you want to analyze, then click Choose. To analyze a clip’s media file in your project: 1 Do one of the following: Â Select one or more video or audio clips in the Browser. Â Open a video clip in the Viewer. 2 Choose Tools > Analyze Movie > Clip.
Information Reported by the Analyze Movie Command The Analyze Movie command provides the following information. File information Video track information Audio track information Timecode track information For all QuickTime files: Â Filename: The name of your QuickTime file on disk. Â Duration: The total duration of the file. Â Average Data Rate: The average data rate of all tracks in the file.
I For files with a timecode track: Â Track Name: The track name of the timecode track. (Some QuickTime files may have more than one timecode track.) Â Timecode: The starting timecode value for this clip. Â Reel: The reel name for this clip. Finding and Marking Long Frames Long frames are frames with nonstandard frame durations that can occur within a clip as a result of a problem during capture. You might have long frames in your program for several reasons.
To find and mark long frames: 1 Do one of the following: Â Select one or more clips in the Browser. Â From the Timeline or Browser, open the clip you want to check. 2 Choose Tools > Long Frames > Mark. A status window appears with a progress bar showing how much of the process is complete. 3 If a marker already exists for a long frame, a message appears asking if you want to overwrite the existing marker. Click OK or No. Markers are placed at each long frame.
Part II: Project Interchange II Learn how to move projects and media files between editing systems and other media applications.
10 Importing and Exporting EDLs 10 Edit Decision Lists (EDLs) are useful for transferring edit information between editing systems. This chapter covers the following: Â What Is an EDL? (p. 129) Â Learning to Read an EDL (p. 130) Â Exporting EDLs (p. 134) Â Importing EDLs (p. 140) Â Creating Better EDLs (p. 144) Â Transition Wipe Codes for EDL Export (p.
Learning to Read an EDL An EDL contains the same basic clip information as a Final Cut Pro sequence, but the presentation is very different. Because EDLs originated with linear, tape-to-tape editing systems, each event is described in terms of a source tape and a record (or master) tape. Note: This section describes components of an EDL using the CMX 3600 EDL format. Other formats may vary slightly.
II Elements of an EDL The elements of an EDL are described in the following sections. Title and Sequence Timecode Format The first line of an EDL contains the title of the sequence. In NTSC sequences, the second line displays whether the sequence timecode is drop frame or non-drop frame. Event Number An event number uniquely identifies each event in the EDL. An EDL event requires two lines if more than one source is used.
Edit (or Transition) Type An EDL can represent several kinds of video edits, or transitions. A cut requires a single source, while all other types of edits require two sources, and thus two lines in an EDL. Â C: Cut. This is the simplest kind of edit. Â D: Dissolve. This transition begins with one source and dissolves to a second source. Â W: A wipe. This is followed by a wipe code that indicates the type of standard wipe. Â K: A key edit.
II On tape-to-tape edit systems, the tapes containing the two shots are loaded in two video decks—VTR A and VTR B. To perform a dissolve or wipe, the edit controller plays both decks simultaneously and uses a hardware video switcher to create the transition effect as it’s recording on the final master tape. However, when both shots in a dissolve, wipe, or key are on the same reel, it is impossible to perform the effect in a tape-based editing suite.
Exporting EDLs You can export an EDL from any selected sequence. You can only export one sequence to an EDL at a time. To export a sequence to an EDL file: 1 Select a sequence in the Browser or open the sequence in the Timeline. 2 Choose File > Export > EDL. 3 Select your settings, then click OK. For more information, see “Settings and Options in the EDL Export Dialog” on page 135. 4 Choose a location and enter a name for the file, then click Save.
II ∏ Tip: You should also output your original sequence to tape, DVD, or QuickTime movie. Bring this tape to your online session along with your EDL as a reference. The online editor can use the original sequence to double-check edits and recreate effects that the EDL left out. Settings and Options in the EDL Export Dialog This section describes the options in the EDL Export dialog.
Target Video Track Only This option allows you to select whether or not your EDL includes keying events when you have clips on track V2. An EDL can only include edits that are possible with a tape-based editing system. Since videotape formats typically have only one video track, you can choose only one video track in your Final Cut Pro sequence.
II Reel Conflicts If you create a transition between two clips from the same reel in your sequence, Final Cut Pro considers this to be a reel conflict, because the resulting EDL event would be impossible to perform in a tape-based editing system. This is because in a linear editing suite, a transition requires two video sources, but you can’t put the same tape in two decks at the same time.
 Pre-read Edits: Some high-end digital video decks can actually perform transitions by using the master tape as one of the sources. A digital VTR with the ability to pre-read video off the tape before recording is required. Pre-read is a technical feature that allows a deck to read the signal off tape, send it to a device for processing, and then record the processed signal back onto the same tape in the same location.
II Â File or Clip Names: This pop-up menu allows you to include either the file or clip names as a note beneath each edit. Â Comments pop-up menu: Choose one of the comments columns in the Browser (Master Comments 1–4 or Comments A–B) to include in the EDL. This is a useful way for offline editors to provide notes about shots to the online editor. Â Filters: Includes names of video and audio filters applied to a clip. Â Video Levels: Opacity levels of each clip, if they are not 100%.
Reviewing an EDL After you’ve exported an EDL, you should open the text file to compare it to your original sequence. You can open most EDL formats directly in a text editing application. Important: It’s best to avoid making changes to the contents of an EDL file. If you do make changes to the EDL, make sure you don’t change the formatting (such as accidentally adding or deleting whitespace characters like space, tab, or return characters); otherwise, the resulting EDL may not be interpreted properly.
II Limitations of Importing EDLs Not everything that can be done in another editing application shows up in an EDL imported into Final Cut Pro. If you export an EDL from another editing application, the following elements are excluded:  Filters  Motion parameters and keyframes  Any audio tracks above the first four tracks  Non-SMPTE standard video transitions While the above items aren’t directly part of an exported EDL, you can export them as notes for reference.
When you import an EDL, a sequence is created in your current project tab, along with a bin that contains master clips for the clips in the sequence. Note: When you import a Sony 5000 EDL, the title of the created sequence is “Untitled”. Problems Importing EDL Files If you’re having a problem importing an EDL file, check the format of the text file. Final Cut Pro does not support importing RTF text files.
II How Clips from an EDL Are Named Clips imported from an EDL are named in one of two ways. If the EDL was exported from a nonlinear system, the name is exported like this: * FROM CLIP NAME: CLIP NAME HERE where CLIP NAME HERE is the name of your clip. Final Cut Pro can recognize clip names exported from the following nonlinear editing systems: Final Cut Pro, Media 100, and Avid. Important: Avid EDLs that use 24 audio tracks are not supported.
Creating Better EDLs If you plan to export an EDL during your project, read the following clip and media management guidelines before you start editing. Limitations of EDLs Today’s nonlinear editing systems store much more information about clips and sequences than older tape-to-tape systems. When you export a sequence as an EDL, only the most basic edit information is retained. To assure that your sequence is exported accurately, it’s a good idea to keep the sequence simple.
II EDL Considerations Before Capturing Before capturing your media files, make sure you: Â Calibrate the timecode via your device control connection. Â Label your source tapes with unique reel names. Maintaining Accurate Timecode The accuracy of your captured timecode is extremely important when exporting an EDL. If timecode of your clips is inaccurate, online edits won’t match the original offline cuts. This can be fixed by the online editor, but you’ll lose valuable time.
Unique Reel Names for Each Tape and Timecode Breaks Every tape that you capture from should have a unique reel name written on the label. It’s crucial to enter the correct reel name in the Log and Capture window while logging new clips to make sure Final Cut Pro requests the right tape during the batch capture process. With professional video equipment you can often record tapes with user-programmable timecode.
II To change a clip’s reel name in the Browser: 1 Select a clip, then Control-click in the Reel column. All reel names used in the current project appear as choices in the menu. Note: To change the reel name for several clips at once, select multiple clips in the Browser. 2 Choose the correct reel name from the shortcut menu. All selected clips are assigned the new reel name you choose. This information is changed both in the clips and in the original media files stored on disk.
EDL Considerations During Editing While you edit, keep the following guidelines in mind to ensure successful EDL export: Â Limit the number of edits in your sequence. Â Only use transitions in track V1. Â Join through edits wherever they appear. Â Limit the number of audio tracks you use. Â Don’t rely on audio mix levels. Â Avoid nested sequences and nonstandard video transitions. Â Be careful when using still frames and speed settings.
II Keep Track of Duplicate Frames You can use the Final Cut Pro duplicate frames indicators to keep track of whether you use a clip more than once within a single edited sequence. Duplicated frames are marked by a colored bar appearing at the bottom of the clip’s video item in the Timeline. If you have warning in advance, you can reedit your sequence to eliminate the duplicates, if necessary. This is most important for film editing, where duplicating frames is a much more involved process than with video.
Avoid Nested Sequences Nested sequences, or sequences within a sequence, should not be used if you are exporting an EDL. To prevent confusion, you can create a duplicate of your edited sequence and simplify sections where there are nested sequences. To replace a nested sequence with its clip content for EDL export: 1 Duplicate your edited sequence. By working with the copy, you can still get back to your original sequence if necessary.
II 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.
152 Final Cut Pro transition EDL wipe number equivalent Split Slide 3 Swap Slide 2 Cross Stretch 1 Squeeze 3 Squeeze and Stretch 3 Stretch 3 Band Wipe 23 Center Wipe 4 Checker Wipe 23 Checkerboard Wipe 1 Clock Wipe 13 Edge Wipe 2 Gradient Wipe 0 Inset Wipe 4–11 Jaws Wipe 120 Random Edge Wipe 1 V Wipe 115 Venetian Blind Wipe 123 Part II Project Interchange
11 Using Final Cut Pro XML and QuickTime Metadata 11 Using the Final Cut Pro XML Interchange Format, you can generate Final Cut Pro project files on any platform, using any software you want. You can also add, store, and modify metadata directly in your QuickTime media files. This chapter covers the following: Â What Is the Final Cut Pro XML Interchange Format? (p. 153) Â About XML (p. 154) Â Overview of the Final Cut Pro XML Interchange Format (p. 157) Â Exporting XML in Final Cut Pro (p.
About XML XML, or eXtensible Markup Language, is a markup language. Markup languages clarify the content in a document by tagging the elements of the document. A well-known markup language is HTML, the standard language for writing webpages. The benefit of working with XML is that it is an open standard. The structure and rules for working with XML documents are well documented by the World Wide Web Consortium (http://www.w3c.org).
II XML was designed to be extensible—you can define any tags and hierarchical rules that fit the data you are working with. For example, an XML file that contains store inventory data might have elements such as , , , and . An XML file that contains video editing information would have very different elements, such as , , , , and so on. XML is a strict markup language, which means all tags must be closed.
Whitespace Whitespace in a document includes multiple spaces, tab characters, carriage returns, newline characters, and so on. An XML parser reads and processes XML tags in a document, but ignores extra whitespace.
II Overview of the Final Cut Pro XML Interchange Format The Final Cut Pro XML Interchange Format was designed to describe every element in a Final Cut Pro project in a human-readable, XML-based format. Final Cut Pro can import and export this format, opening a world of possibilities limited only by your ability to generate and process XML documents. Because Final Cut Pro supports XML, you are no longer limited to creating clips, bins, and sequences within Final Cut Pro.
An explanation of the sample code above follows. Every Final Cut Pro XML file requires the first three elements: Â element: This defines the document as an XML file. The example above shows an element with two attributes: version and encoding. Â element: Every XML document requires a Document Type Definition, or DTD. The DTD for the Final Cut Pro XML Interchange File Format is called xmeml. Â element: This is the root element of every Final Cut Pro XML file.
II 4 Choose Format > Make Plain Text (or press Command-Shift-T). This ensures that your file is saved as a plain text file, not a Rich Text Format (RTF) file. The file extension should become .txt. 5 Choose File > Save. 6 In the Save dialog, navigate to the Desktop. 7 Name the file “example.xml”, then click Save. If you receive a message about appending .txt to the end of the file name, click Don’t Append. 8 Open Final Cut Pro.
3 Choose the version of the Final Cut Pro XML Interchange Format you want to export. In most cases, you should choose the most recent version.
II Working with Metadata in QuickTime Media Final Cut Pro allows you to add, store, and remove metadata elements within QuickTime movie files.
12 Working with Film and Cinema Tools 12 You can use Final Cut Pro with Cinema Tools to edit film and 24 fps–based projects. This chapter covers the following: Â An Overview of the Film Editing Process (p. 163) Â Using Cinema Tools with Final Cut Pro (p. 166) Cinema Tools is an application for people who edit film projects. If you aren’t using film, you probably don’t need to use Cinema Tools. The only exception is when you are working with video footage recorded at 24 fps.
About the Telecine Process During a telecine session, sections of film rolls are transferred to videotape or directly to a hard disk. A computer file, known as a telecine log, keeps track of which film frames are transferred to video.
II About Burned-in Timecode on Video Most telecine facilities offer the ability to permanently superimpose, or burn in, edge code and timecode numbers over your video transfer from film. This is useful whether or not you have a telecine log file: Â If you have a telecine log file: The burned-in numbers make it easy to verify that the entries in the database are correct. Additionally, in cases where the video has had a 3:2 pull-down applied, letters are added after the key number to indicate the frame type.
About the Cinema Tools Database A Cinema Tools database is the heart of any Final Cut Pro film editing project. The database is similar to a spreadsheet in which each row represents a single clip shot on film and transferred to video. Each row contains columns such as name, edge code start, edge code end, timecode start, timecode end, film roll number, video reel number, scene number, take number, camera information, and so on.
II Creating a New Final Cut Pro Project In almost all cases, you will edit your film project using a 24 fps (or 23.98 fps in most NTSC-based workflows) editing timebase. An exception is film projects shot at 24 or 25 fps and edited at PAL’s 25 fps rate. To create a new project in Final Cut Pro: 1 Choose File > New Project. A new project is created with the default name of Untitled Project 1. 2 Choose File > Save Project As. A dialog appears where you can name the project and select a location to save it to.
To import a telecine log file into Final Cut Pro: 1 Choose File > Import > Cinema Tools Telecine Log. The Import a Cinema Tools Telecine Log dialog appears. Select the telecine log file to import. Choose a camera letter to append to the imported takes (if needed). Choose to either create a new database or import the file into an existing database. Lists the currently selected database. 2 Use the top half of the dialog to select the telecine log file to import.
II Batch Capturing Video from Tape Once you have imported the telecine log file, you have offline clips in the Browser that you need to capture. You can use standard Final Cut Pro capture methods for capturing the clips; however, there are some special considerations you should be aware of. Â The clips may already be captured: Some telecine facilities will capture the clips for you, delivering them as files on a disc or FireWire drive, and often will also include a Cinema Tools database.
Standard Reverse Telecine The telecine process adds duplicate video fields to make 24 fps film footage fit within 29.97 fps video. The film–to–NTSC video case is particularly complex: the film is slowed from 24 to 23.98 fps during the telecine process to match the discrepancy between 30 and 29.97 fps. Simultaneously, film frames are repeated in a 3:2 pattern, resulting in duplicate video fields.
II Note: Many of these video camcorders also have a traditional 3:2 pull-down mode. If your goal is to edit at 23.98 fps, there is no value in using this mode because you can’t take advantage of advanced pull-down removal in Final Cut Pro. If you accidentally shoot in this mode and you want to remove the pull-down, you will have to use the Cinema Tools Reverse Telecine feature. For more information, see Appendix C, “Working with 24p Video,” on page 417.
About 24 @ 25 Timecode Conforming 25 fps video to 24 fps does not alter the 25 fps timecode of your PAL footage, so this command creates an unusual media format in which the video rate is 24 fps (the original rate of the film) and the timecode rate is 25 fps (the original timecode numbers from your PAL videotape). When you conform 25 fps media files to 24 fps, the media file timecode rate is defined as 24 @ 25.
II Synchronizing Clips with the Cinema Tools Database When you import a telecine log file into your Final Cut Pro project, a new Cinema Tools database is created with a record for each clip. You can also add new records to an existing database manually. In either case, once you have captured and processed clips in Final Cut Pro, you can connect them to a Cinema Tools database using the Synchronize with Cinema Tools command.
5 Do one of the following: Â If the database shown in the Database field is the correct one, click OK. The Database field updates if you use the New Database or Choose Database button. Â Click New Database to create a new Cinema Tools database. This opens a new dialog where you can enter a name and location for the database, as well as configure its default settings. See the Cinema Tools User Manual for information on these settings. Click Save when finished.
II Â Effects and transitions in your sequence must be re-created optically or digitally on film. You can use Final Cut Pro in the creative process to determine and demonstrate the effects you want, but don’t spend too much time creating elaborate effects unless you have a separate workflow in place to match these effects on film. Â You need to keep track of duplicate usages of your source material.
Showing Film-Related Overlays in the Viewer and Canvas You can configure the Viewer and Canvas overlays to show a clip’s keycode and ink numbers in addition to the timecode. To show film-related overlays in the Viewer and Canvas: 1 Click in the Viewer or Canvas to make it active. 2 Choose View > Show Overlays (or press Option-Control-W), so there is a checkmark next to it. 3 To configure the overlay, choose View > Timecode Overlays to see a list of items you can display.
II To change the timecode display of the Timeline, Viewer, or Canvas: m Control-click a timecode field in the window whose timecode display you want to change, then choose the mode from the shortcut menu. For the Viewer and Canvas, this affects both timecode fields along their tops, and in the case of the Viewer, the timecode fields of its tabs. For the Timeline, this affects the timecode shown along the top of the window and in the Current Timecode field.
Exporting Film, Change, and Audio Lists Once you finish editing a sequence in Final Cut Pro, you can export a film cut list or audio edit list. Final Cut Pro sends the video timecode and clip information to Cinema Tools, which then opens the appropriate database and maps the timecode back to corresponding edge code numbers. About Film Lists A film list contains one or more lists describing your Final Cut Pro sequence in terms relevant to a negative cutter or film optical house.
II Exporting a Film List Following are the steps used to export a film list. See the Cinema Tools User Manual for more details and explanations of the settings in the Export Film Lists and Export XML Film Lists dialogs. To export a film list file: 1 In the Final Cut Pro Browser or Timeline, select the sequence for which you want to create a list. 2 Do one of the following: Â To export a PDF-format film list file: Choose File > Export > Cinema Tools Film Lists. The Export Film Lists dialog appears.
 To export an XML-format film list file: Choose File > Export > Cinema Tools XML Film Lists. The Export XML Film Lists dialog appears. 3 Configure the settings in the export dialog, then click OK. If you expect to make changes to this Final Cut Pro sequence and want to export a change list later, make sure to select “Save a Cinema Tools program file.” You’ll need that program file to export a change list that compares this sequence to another version.
II After exporting a film list, you should compare the edge code (key numbers or ink numbers) in the film list to the edge code in the window burn at the In point frame of each edit. Although it can be time-consuming to go through all of the edits and compare the edge code numbers, it prevents the loss of time and money caused by incorrect cuts. It’s particularly important to check the edge code numbers if you are not conforming a workprint before cutting your negative.
When you select film lists in the Settings section of the Export Change List dialog, the change list file will include (in addition to the selected change list options) the same content you would get if you were exporting those lists from the Export Film Lists or Export XML Film Lists dialog. Note: Keep in mind that the following settings should be the same for the two sequences you are comparing: Film Standard, Telecine Speed, and “Start with 8 seconds of leader.
II It is critical that the value in the Sound Timecode field in the Detail View window correspond to the first video frame of the clip. This is typically the case when you import the sound information from a telecine log. You can enter or verify this using the Cinema Tools Clip window. See the Cinema Tools User Manual for more information. Once you have finished editing and have added the sound timecode and reel number information to the database, you are ready to export the audio EDL.
Once you select the database, Cinema Tools starts matching events in the sequence to records in the database in the following ways: Â For each edit involving a track enabled in the Export Audio EDL dialog, Cinema Tools searches the database to see if that edit’s video clip is connected to any database records. If not, it uses the edit’s video reel number to try to locate a record that includes the edit’s timecode In and Out points. See the Cinema Tools User Manual for more information about audio tracks.
Part III: Output III Learn how to output your completed movie to videotape or DVD, or export to any QuickTime-compatible video format.
13 Preparing to Output to Tape 13 Tape is still the most common means of acquisition, output, and transfer for professional projects. Final Cut Pro allows you to output sequences or clips to tape at any phase of your project. This chapter covers the following: Â Choosing a Videotape Format and Equipment for Output (p. 187) Â Output Requirements (p. 189) Â Methods for Output to Tape in Final Cut Pro (p. 190) Â Setting Up Your Editing System to Output to Tape (p.
The most common output formats include: Â DV: The DV format family includes DV, DVCAM, DVCPRO, DVCPRO 50, and DVCPRO HD. DV formats are compressed video formats designed with nonlinear video editing in mind. Final Cut Pro allows you to edit and output native DV signals, because a DV file on your scratch disk is virtually identical to the same DV information on tape.
III Output Requirements Requirements for Full-Resolution DV Output  Media files captured with a DV capture preset  Sequence settings that match your DV capture settings  A DV camcorder or deck with a FireWire port for transferring video, audio, and device control data Requirements for Full-Resolution Digital Betacam Output  Media files captured with a high-resolution, uncompressed codec  Sequence settings that match your clips’ capture settings (unless you want to render your entire sequence before you
Methods for Output to Tape in Final Cut Pro There are three main ways you can output your video from Final Cut Pro to tape:  Edit to Tape  Print to Video  Recording to tape directly from the Timeline Edit to Tape The Edit to Tape command supports both assemble and insert editing, which are two forms of traditional videotape editing (these are not related to overwrite or insert editing in the Timeline). The Edit to Tape command requires device control to remotely start and stop the VTR.
III Recording to Tape Directly from the Timeline This method allows you to record whatever signal is currently playing on your editing system, regardless of the quality. Simply connect the video output of your computer (FireWire or third-party video interface) to a VTR or camcorder, enable external video monitoring in Final Cut Pro, and press the record button. Whatever happens in the Timeline is recorded to tape.
Connecting Your Video Equipment and Setting It to VCR Mode Make sure your VTR or camcorder is connected to your computer and turned on. For more information, see Volume 1, Chapter 11, “Connecting DV Video Equipment.” Make sure your camcorder or deck is set to VCR (sometimes labeled VTR) mode. Final Cut Pro cannot record to video equipment that is in Camera mode.
III Selecting Playback Settings When you want to output your program to video, you can choose whether to render the effects that won’t output at full quality in real time, or output them at the reduced quality you’ve selected in order to avoid rendering. Playback settings can be adjusted in the Playback Control tab of System Settings, or in the RT pop-up menu in the Timeline.
Cueing the Videotape When you use the Print to Video command, or when you output directly from the Timeline, make sure you cue the videotape to where you want to start recording. To cue the tape: 1 Use the camcorder or deck controls to cue the videotape to the point where you want to start recording. 2 If you’re outputting to a tape that has previously recorded material on it, make sure that the write-protection tab is in the write, or unlocked, position.
III If you plan to do a series of insert edits to output your whole program onto tape, you must use a tape that’s blacked from beginning to end. If you’re assemble-editing a long program to a new tape, you don’t have to black the entire tape, but it’s a good idea to black at least 30 seconds of the tape so there is enough timecode so you can set an In point as well as allow for pre-roll before the In point. To prepare a tape with black and timecode: 1 Insert a videotape into your camcorder or deck.
14 Assemble and Insert Editing Using Edit to Tape 14 The Edit to Tape window provides precision control over output to tape. Both assemble and insert editing modes are supported, and remote control of your video device is required. This chapter covers the following: Â Overview of Tape Editing Methods (p. 197) Â About the Edit to Tape Window (p. 201) Â Using the Edit to Tape Window (p.
Three methods of electronic editing exist, each with increasing precision and quality: Â Hard (or crash) recording: This method begins laying video signal on tape as soon as the record button is pressed, without waiting for a pre-roll period in which the VTR motor can get up to speed. Crash records cause breaks in the video signal. If you have ever recorded a television show with a consumer VCR, you have performed a crash record simply by pressing the record button.
III About Assemble Editing to Tape An assemble edit records all video, audio, timecode, and control track information on to tape starting at the In point of the edit. Whatever signal was on the tape previously is replaced. By definition, this means there must already be some signal recorded on the tape (even if it’s only 10 or 15 seconds at the head of the tape) so you can set an In point.
About Tracks on Videotape Most professional videotape formats have one video track, two or more audio tracks, a timecode track, and a control track. About the Control Track Unlike the other tracks on a tape, the control track serves a purely practical function: to make sure the tape plays at exactly the same speed it was recorded at so the signal is output correctly.
III About the Edit to Tape Window In most window layouts in Final Cut Pro, the Edit to Tape window appears in the same location as the Canvas. The Edit to Tape window has three tabs: Â Video: This tab allows you set tape In and Out points, specify tracks for insert editing, and perform the edit to tape. Â Mastering Settings: This tab allows you to adjust settings for elements before and after your movie, such as black, color bars, a slate, and a countdown.
 Mode: Choose an option—Mastering or Editing.  Mastering: This is the default mode. The mastering mode is useful if you want to output an entire movie with leading elements such as color bars, slate, and countdown. In mastering mode, you can only set an In point on the tape, because the Out point is calculated based on the duration of the elements you choose in the Mastering tab.  Editing: In Editing mode, only the selected clip or sequence is recorded to tape. You cannot add leader or trailer elements.
III Â Mark In: Click this button, or press I, to set the frame on your tape where recording will start. Â Mark Out: Click this button, or press O, to set the frame on your tape where recording will stop. Â Go to In Point: Click this button, or press Shift-I, to move the tape to the In point you set. Â Go to Out Point: Click this button, or press Shift-O, to move the tape to the Out point you set.
To record-enable an audio track, choose it from this pop-up menu and a checkmark appears next to it. Choose it a second time to remove the checkmark and disable the track. Sixteen audio channel indicators in the Audio Insert pop-up menu indicate which audio tracks are record-enabled on your VTR. The color of an audio channel indicator indicates its state. Â Yellow: The audio track is record-enabled on the connected VTR. Â Gray: The audio track is record-disabled on the connected VTR.
III Â Play Around Current Frame: This is based on the preview pre-roll and preview postroll settings in the Editing tab of the User Preferences window. The tape plays from the playhead position at the pre-roll setting and continues through the amount of time specified by the post-roll setting. Â Fast Forward: Moves the videotape forward. You can also press the L key repeatedly to go through a range of speeds.
Leader Elements  Color Bars: Adds color bars and a 1 kilohertz (kHz) reference tone, preset to –12 decibels (dB). Color bars at the beginning of your tape allow the recipients to calibrate their equipment to match the color levels and values that your system used when outputting your program. The reference tone lets the recipients properly adjust audio levels during playback. For more information on creating a mix with proper levels, see Volume III, Chapter 3, “Evaluating Levels with Audio Meters.
III Media Elements and Options These are options for the clip or sequence you are outputting to tape. Â Print: You can choose to output the entire clip or sequence or just the part specified between the In and Out points. Â Loop: Repeats the selected media for the specified number of times. A value of 1 plays the selected media once; a value of 2 plays the selected media twice, and so on. Â Black: Adds black after each loop of your sequence or clip.
Adding Standard Leader and Trailer Elements If you’re outputting your clip or sequence for delivery to a post-production house, tape duplication facility, or television station, there are accepted conventions for how leader elements are placed on tape. Here is one common way to lay out elements, although some facilities have different standards. When in doubt, ask ahead for what is preferred.
III Â Device Control: Choose a device control preset that matches your particular video equipment. For more information, see Chapter 26, “Device Control Settings and Presets,” on page 349. Â Capture/Input: This pop-up menu is exclusively used when you show video in the Edit to Tape window during the preview of an insert edit.
To do an assemble edit: 1 Choose File > Edit to Tape. The preview option is disabled if you are using DV equipment. In most layouts, the Edit to Tape window appears on top of the Canvas. 2 Choose Editing or Mastering mode from the pop-up menu in the top center of the window. For more information about the Editing and Mastering modes, see “Video Tab” on page 201. Choose a mode from this pop-up menu. 3 Select a clip or sequence in the Browser.
III 6 If you are including leader elements using Mastering mode, click the Mastering Settings tab, then select the elements you want to include before and after your sequence or clip. For an explanation of the leader and trailer options, see “Adding Standard Leader and Trailer Elements” on page 208. 7 To perform the assemble edit, do one of the following: Â Drag your clip or sequence from the Viewer or Browser to the Assemble section of the Edit Overlay.
Performing an Insert Edit When Editing to Tape An insert edit allows you to edit individual video or audio tracks to tape, setting frame-accurate In and Out points. Insert editing requires tapes that already have a prerecorded signal, such as blacked tapes. For details, see “About Insert Editing to Tape” on page 199. Important: Make sure you’ve read and followed the instructions in Volume 1, Chapter 11, “Connecting DV Video Equipment.
III 4 If you haven’t already done so, set In and Out points for your clip or sequence in the Viewer, if you don’t want to output the entire clip or sequence. Set In and Out points for the part you want to record. Use three-point editing to set your In and Out points. For more information on three-point editing, see Volume II, Chapter 10, “Three-Point Editing.” 5 Set In and Out points on your tape where you want your clip or sequence recorded.
6 Select the destination video and audio tracks to be edited to in the Edit to Tape window. When performing an insert edit, you can selectively record-enable the video, audio, and timecode tracks on tape. Destination tracks that are disabled in the Edit to Tape window are not overwritten on the destination tape. Click here to enable or disable timecode. Choose your audio tracks from this pop-up menu. Click here to enable or disable video.
III 9 To edit your sequence or clip to tape, drag it from the Browser or Viewer to the Insert section of the Edit Overlay in the Edit to Tape window or click the Insert Edit button. Drag the clip or sequence here to do an insert edit. Or click the Insert Edit button. Transitions and effects that require rendering, along with any leader and trailer elements, are rendered automatically prior to output. A dialog shows you the rendering progress of your sequence or clip.
Using Edit to Tape to Output Multichannel Audio Final Cut Pro is capable of outputting up to 16 tracks of audio when performing an insert edit to tape. The number of audio tracks that can be recorded to when using the Edit to Tape command depends on the number of audio tracks your video or audio recording deck supports. You also need to have enough discrete outputs on your audio interface to connect to each audio input on your deck. Assemble editing records all audio tracks at once.
III The following chart shows some common video and audio recording decks and the appropriate audio mapping setting for each.
To set up Final Cut Pro to output more than two channels of audio: 1 Choose the third-party video or audio interface you want to use for audio output in the A/V Devices tab of the Audio/Video Settings window, then configure its options. For more information on selecting an audio interface in the A/V Devices tab, see Volume 1, Chapter 12, “Connecting Professional Video and Audio Equipment.
15 Printing to Video and Output from the Timeline 15 You can output your sequence to videotape using the Print to Video command, or simply record from the Timeline. This chapter covers the following: Â Different Ways You Can Output Video from the Timeline (p. 219) Â Printing to Video (p. 220) Â Recording from the Timeline (p. 223) Â Outputting to VHS Tape (p.
Printing to Video Unlike the Edit to Tape command, the Print to Video command doesn’t allow you to set In or Out points on your tape. Instead, you manually press record whenever you want to begin recording on tape. This is considered a crash record. You can automatically add leader and trailer elements, such as color bars and tone, a countdown, a slate, and a black trailer, to your movie.
III Using the Print to Video Command Make sure you’ve read and followed the instructions in Chapter 13, “Preparing to Output to Tape,” on page 187 before you use the Print to Video command. Make sure everything is working properly before you start recording. To test playback: m Move the playhead to the position in the Timeline where you want output to begin, then press the Space bar to play back your clip or sequence.
4 Select elements you want to print along with your sequence or clip. In this section, select all of the options you want to add before the clip or sequence. In this section, select the media you want to print and choose looping options. Enter options to add a trailer at the end of the clip or sequence. All selected elements are sent to tape in the order listed. Make sure elements you don’t need are not selected. Some of these items may require rendering before you can start recording.
III Recording from the Timeline The easiest way to output to tape is to enable external video output in Final Cut Pro, play back your sequence in the Timeline, then press Record on your connected camcorder or deck. If you want to show black before and after your program, you have to add Slug generators to the beginning and end of your sequence, or move all the sequence clips to the right to leave a gap before the beginning of your sequence.
3 In the Timeline, move the playhead to where you want to start recording in your sequence. Move the playhead where you want to start recording. The first frame will be recorded immediately after you press Record on your camcorder or deck. To avoid an awkward freeze frame at the beginning of your sequence, you may want to move the playhead to an initial frame of black. 4 If you want to loop your sequence, choose View > Loop Playback so there’s a checkmark next to it.
III Â Every Frame: Plays back every frame of the sequence, whether or not rendering is required. If there are transitions or effects in your sequence that haven’t been rendered, your sequence will not play back in real time, but every frame will be recorded on tape. Â Forward: Plays from the current position of the playhead forward to the end of the sequence in the Timeline. Â Reverse: Plays from the current position of the playhead back to the beginning of the sequence in the Timeline.
16 Learning About QuickTime 16 Final Cut Pro uses QuickTime technology as a foundation for media file storage and as an import and export engine for opening multiple video, audio, and graphics file formats. This chapter covers the following: Â What Is QuickTime? (p. 227) Â How Final Cut Pro Uses QuickTime for Import, Export, and Capture (p. 231) What Is QuickTime? QuickTime is Apple’s multiplatform, multimedia technology for handling video, sound, animation, graphics, text, interactivity, and music.
The QuickTime Suite of Software Applications When someone mentions QuickTime, people often think of the free media player developed by Apple. However, QuickTime is much more than just that. QuickTime comprises a suite of applications that allow you to play, edit, and manipulate your media. The QuickTime software includes: Â QuickTime Player: Apple’s free easy-to-use application for playing, interacting with, or viewing video, audio, virtual reality (VR), or graphics files that are compatible with QuickTime.
III How Is Information Stored in a QuickTime Movie? QuickTime movie files store media data in separate tracks. You create a QuickTime movie file by adding tracks that point to the media you want to use. The media may be embedded in the file itself or in a reference movie in another file. This track architecture is powerful and flexible, allowing you to store and synchronize multiple pieces of video and audio media in a single file. There are many types of tracks allowed in a QuickTime movie file.
The QuickTime framework libraries support a remarkable number of video and audio codec (compressor/decompressor) algorithms. The QuickTime frameworks are extensible, so if a company invents a codec, the company can provide a QuickTime codec to support it. Thus, if the media in a QuickTime file is not playing back because the format or codec of the media is not recognized, you may be able to download and install it.
III Â QuickTime: This refers to the QuickTime movie file format, which can contain multiple media tracks, each containing data encoding with a number of possible codecs. QuickTime is not a codec, but rather has the ability to present images and sound stored with a number of codecs. Â AIFF and WAVE: These are audio file formats that contain uncompressed audio data. Â DV: There are several DV codecs available for NTSC, PAL, and other varieties such as DVCPRO HD.
Formats Supported by QuickTime QuickTime supports a lot of media formats and codecs, with many more coming all the time. Some examples of formats and codecs supported by QuickTime follow. Movie File Formats File formats are the overarching structure used to store data. Different movie file formats place video and audio media in different parts of the file, as well as the associated metadata. The most commonly used media file formats supported by QuickTime are described below.
III Uncompressed movies can have an alpha channel. Alpha channels define levels of transparency in your movie and are useful if you’re delivering an effects shot for use in someone else’s composition. For more information on alpha channels, see Volume III, Chapter 19, “Compositing and Layering.” Animation The Animation codec was developed for computer-generated imagery, which often has large areas of uniform color and little, if any, noise.
Third-Party Codecs There are several manufacturers of video-editing solutions, most of whom use different variations of the M-JPEG codec. Many make software-only QuickTime codecs that you can install on your system, enabling you to play back movies with little or no rerendering. For more information, contact the manufacturer of the editing system. Note: Most third-party codecs cannot have alpha channels. Graphics and Still-Image Formats  BMP: Standard bit-mapped graphics format used on Windows computers.
III Audio File Formats  AAC or .mp4: Advanced audio coding. This format is a continuation of the MP3 audio format, improving quality while reducing file size. This audio format is commonly used in MPEG-4 multimedia files, and can support features such as surround sound.  AIFF/AIFC: Audio Interchange File Format. An audio format for Macintosh computers commonly used for storing uncompressed, CD-quality sound (similar to WAVE files for Windows-based PCs).  Audio CD Data (.cdda): Compact Disc Digital Audio.
The Export Using QuickTime Conversion command gives you more flexibility, particularly in terms of the type of compression and file formats supported. For more information, see “The Export Using QuickTime Conversion Command” on page 236. The Export QuickTime Movie Command The Export QuickTime Movie command creates a new QuickTime movie file. You can use this command to export Final Cut Pro clips or sequences with their current settings or any of the sequence settings available in Final Cut Pro.
17 Exporting QuickTime Movies 17 You can export your sequence to a QuickTime movie using any of the available sequence presets. Markers can also be included for use in other applications such as DVD Studio Pro and Soundtrack. This chapter covers the following: Â About the Export QuickTime Movie Command (p. 237) Â Choosing the Type of QuickTime Movie to Export (p. 238) Â Exporting a QuickTime Movie File (p. 240) Â Exporting QuickTime Movies with Markers (p.
Choosing the Type of QuickTime Movie to Export You can create two kinds of QuickTime movies with the Export QuickTime Movie command—a self-contained movie or a reference movie. Â Self-contained movie: A self-contained movie contains the video and audio media— all of the data used to create your movie is within a single file. This single file can be safely and easily copied to another computer without worrying that you need other files to play it back.
III Exporting a Self-Contained Movie Without Recompressing the Media If you choose to export a self-contained movie, you have the option to not recompress the media in your clip or sequence. If you deselect the Recompress All Frames option and choose Current Settings from the Setting pop-up menu, Final Cut Pro simply copies frames from existing media files into the new file with no recompression. This is a convenient way to export your media without subjecting it to recompression artifacts.
Exporting a QuickTime Movie File You can export a QuickTime movie from three kinds of selections:  A selected sequence in the Browser or the current sequence in the Timeline  Media between a sequence’s In and Out points  A selected Browser clip To export a QuickTime movie from a sequence: 1 Select a sequence in the Browser, or open a sequence in the Timeline. 2 Choose Sequence > Settings. The Sequence Settings window appears.
III 8 Choose the format you want to use from the Setting pop-up menu. The settings shown here come from built-in presets. Â Current Settings: This uses the current sequence or clip settings of the item you selected for export. Â Other sequence presets: Choose a new sequence preset to recompress your clip or sequence to another format and codec. For example, you may want to export a DV sequence to an uncompressed codec for online editing.
To export a QuickTime movie from a clip in the Browser or Viewer: m Follow the steps for exporting a sequence, but select a clip in the Browser or Viewer. Note: When exporting a clip from the Browser or Viewer, there is no need to specify settings in the Render Control tab of the Sequence Settings window (those settings apply only to sequences and sequence clips). Also, markers are not included.
III When you choose the Export QuickTime Movie command, you can choose one of the following marker export options from the Markers pop-up menu: Â None: No markers will be exported, and your exported movie file will contain only video, audio, and timecode tracks. Â DVD Studio Pro Markers: Chapter markers, edit/cut markers, and manually added compression markers are exported. However, edit/cut compression markers are ignored by DVD Studio Pro.
18 Exporting Using QuickTime Conversion 18 When you need to export video, audio, or still-image files for use in other applications, you can use the Export Using QuickTime Conversion command to export file formats supported by QuickTime. This chapter covers the following: Â About the Export Using QuickTime Conversion Command (p. 245) Â Types of File Formats You Can Export with QuickTime (p. 246) Â About Color Space Conversion (p. 247) Â Exporting a QuickTime Movie File for Web Distribution (p.
What Is QuickTime and Why Do You Need to Know About It? QuickTime is Apple’s multiplatform, multimedia technology for handling video, sound, animation, graphics, text, interactivity, and music. For more information, see Chapter 16, “Learning About QuickTime,” on page 227.
III Still-Image File Formats and Image Sequences  Still-Image: This choice allows you to select one of many still-image file formats. See Chapter 21, “Exporting Still Images and Image Sequences,” on page 285.  Image Sequence: This choice allows you to select a still-image file format and export each frame of your video as a separate file in the format you choose. See “Exporting Image Sequences” on page 287.
6 Choose QuickTime Movie from the Format pop-up menu. 7 If you want, choose a preset compression setting from the Use pop-up menu. The preset compression settings use the H.264 codec and target a range of download and streaming speeds. ...or choose custom video and audio settings by clicking here. Choose a preset compression setting... 8 To customize video, audio, and Internet streaming settings, click Options. Click here to include video in your exported QuickTime file.
III 9 When you’ve finished selecting your options, click OK. 10 When you’re ready to export, click Save. A dialog shows you the progress of the export. To cancel your export, press Esc or click Cancel. Note: Whenever you use the Export Using QuickTime Conversion command, all audio that requires rendering is automatically rendered with a render quality of High, regardless of the render quality setting.
Standard Video Compression Settings The Standard Video Compression Settings dialog appears when you click Settings in the Video area of the Movie Settings dialog. Depending on the codec you choose from the Compression Type pop-up menu, various options may be available, as explained below. Compression Type Select a codec from this pop-up menu to compress the video. All the standard QuickTime, Final Cut Pro, and third-party video codecs installed on your system are available.
III Â Key Frames: Key frames are available if your selected codec uses temporal compression. Most video frames in close proximity have a high percentage of visual redundancy. Compression key frames reduce data rate by only storing complete images at regular intervals or when abrupt visual shifts occur. The remaining frames only store information about the change, or delta, between themselves and the key frame.
Data Rate Area  Data Rate: These options allow you to specify the data rate for your QuickTime video.  Automatic: The selected codec adjusts the data rate of your QuickTime video automatically.  Restrict to N kbits/sec: When available, you can use this field to set the number of kilobytes per second (KB/sec.) required to deliver your media file. This setting is useful if you have a specific bit rate (such as a DSL connection) or amount of space (on a DVD or CD ROM).
III Filter Settings These options are available when you click Filter in the Video area of the Movie Settings dialog. QuickTime filters apply to your entire exported clip or sequence. This is different from applying a filter within Final Cut Pro, where a filter is applied only to selected clips or parts of a clip. Adjust settings for the filter in this area. Click a disclosure triangle to see more filters. Select a filter in this list.
Dimensions This pop-up menu allows you to define the clean aperture size of your exported QuickTime movie. For more information about QuickTime aperture modes, see “About QuickTime Aperture Display Modes” on page 260. Depending on the option you choose, width and height fields may also appear. The following options are available in the Dimensions pop-up menu: Â Current: The current dimensions of your clip or sequence in the Viewer or Canvas, respectively.
III Preserve Aspect Ratio When the “Preserve aspect ratio using” checkbox is selected, the aspect ratio of your source movie is preserved by choosing one of three options. In the following examples, a 1280 x 720 (16:9) high definition sequence is shown scaled down to 320 x 240 (4:3). Important: These options do not take into account the effect of pixel aspect ratio when determining what aspect ratio to preserve.
 Crop: Scales and center-crops your clip or sequence video to fit in the clean aperture dimensions of your exported movie. 16:9 cropped to 320 x 240 (4:3)  Fit within dimensions: Changes the shortest dimension of the exported movie (usually the height) so that the source sequence or clip fits within the exported movie dimensions when scaled.
III QuickTime Movie Sound Settings Click Settings in the Sound area of the Movie Settings dialog to choose an audio format, number of channels, sample rate, and additional settings. Depending on the format you choose from the Format pop-up menu, additional settings may be available. Important: If there is no audio in your clip or sequence, deselect the Sound checkbox in the Movie Settings dialog. Otherwise, blank audio tracks are created in your QuickTime movie file, which require additional space.
 Rate: Choose a standard sample rate from the pop-up menu or enter a value to specify the output rate for the audio. Lower sample rates take less bandwidth but have lower quality.  8–22.225 kHz: These lower sample rates are used mainly for multimedia and web movies to reduce file size.  32 kHz: A lower-quality sample rate often used on consumer DV camcorders. This option isn’t particularly useful for exporting unless you specifically need to make a file that is compatible with a 32 kHz device.  44.
III Internet Streaming Settings If you’re outputting QuickTime files for streaming over the Internet, there are three format options in the Movie Settings dialog. Â Fast Start: The QuickTime movie is downloaded the same way as any other graphics or media file. Once enough of the movie has downloaded, the movie begins to play automatically. Â Fast Start - Compressed Header: This works the same way as Fast Start, except that the header information is compressed, so the movie takes up less disk space.
 Track Hinter Settings: Click this to specify options for encoding and packets.  RTP Payload Encodings: Choose the type of encoding to use.  Packet Size Limit: Enter a value or choose an option from the pop-up menu to specify the largest file size for a packet.  Packet Duration Limit: Enter a value or choose an option from the pop-up menu to specify the longest duration for a packet.  Options: Click here to specify the sample description.
III Classic Aperture Mode In this mode, content appears as it did in QuickTime 7 and earlier. The video track dimensions are respected. For example, a DV NTSC track appears as 720 x 480. Classic: no pixel aspect ratio correction or aperture cropping Clean Aperture Mode An image’s clean aperture is a region of video free from transition artifacts caused by the encoding of the signal. This is the region of video that should be displayed.
In this mode, the video track is cropped to the Clean aperture mode and scaled according to the track’s pixel aspect ratio. For example, a 4:3 DV NTSC track appears as 640 x 480; a 16:9 DV NTSC track appears as 853 x 480. Clean: pixel aspect ratio correction applied and edges cropped Production Aperture Mode Content may appear differently than in QuickTime 7. The video track is not cropped to the Clean aperture mode, but it is scaled according to the pixel aspect ratio.
III Encoded Pixels Aperture Mode Content typically appears the same as in Classic aperture mode. The video track is not cropped to the Clean aperture mode and is not scaled according to the pixel aspect ratio. The encoded dimensions of the image description are displayed. This option is typically used to preview rendering (where you want all pixels) in a professional application. A DV NTSC (4:3 or 16:9) track appears as 720 x 480.
6 To customize settings, click Options. Â DV Format: Choose a DV format, such as DVCPRO 50, here. Â Video Format: Choose the video standard, scan mode, and aspect ratio for the exported file. Â Audio Format: Choose your options. Â Locked: Conforms the audio tracks to the “locked audio” standard, in which the audio and video sample clocks are synchronized. Â Rate: Choose a sample rate for the exported file from this pop-up menu.
III 5 Choose a setting from the Use menu. Each setting in this list is a predefined group of codecs and settings. If your needs are more specific, skip ahead to step 6. 6 To customize settings, click Options. 7 Select the Video and Sound checkboxes to include both video and audio in your exported file. To include video in the exported file, make sure this is selected. Click here to adjust the compression settings used for the video track. To include audio in the exported file, make sure this is selected.
8 Click Settings in the Video area to adjust the compression settings used for the video tracks. The video compression settings here are similar to the QuickTime movie file compression settings, although fewer codecs are supported. For more details, see Chapter 17, “Exporting QuickTime Movies,” on page 237. 9 Click Settings in the Audio area to adjust the compression settings used for the audio tracks.
19 Exporting Sequences for DVD 19 Making a DVD of your movie is a great way to show and distribute it. Video DVDs contain high-quality media and can be played in most set-top DVD players, as well as most computers with DVD playback capability. This chapter covers the following: Â The DVD Creation Process (p. 267) Â Adding Chapter and Compression Markers to Your Sequence (p. 273) Â About DVD Authoring Applications (p. 276) Â Exporting a QuickTime Movie for DVD Use (p.
There are four phases to creating a DVD: Step 1: Create and edit your source material In addition to the main movie created in Final Cut Pro, you can create still graphics or short movies for use as menu backgrounds. All edits, special effects, audio fades and mixes, and scene transitions must be created in Final Cut Pro before exporting them for use in the DVD authoring application.
III Video for Standard DVDs All standard DVD video must be MPEG-1 or MPEG-2 encoded, using DVD-compliant frame dimensions, frame rates, and bit rates. Larger frame dimensions and higher bit rates result in better video, but at the cost of larger files. When preparing video and audio for use on DVD, always use the highest quality settings available. Any flaws in your media can be exacerbated by MPEG compression on DVD. If you use high-quality source materials, you’ll get high-quality results.
Video for High Definition DVDs DVD Studio Pro includes the ability to author DVDs using high definition (HD) video content. These DVDs support MPEG-2, HDV (an MPEG-2-based codec), and H.264 (when encoded using Compressor). Both standard and HD image dimensions and frame rates are supported. Dimensions Frame rate Scanning method Description 720 x 480 720 x 480 Anamorphic 16:9 29.97 fps Interlaced NTSC 720 x 576 720 x 576 Anamorphic 16:9 25 fps Interlaced PAL 1280 x 720 23.98 fps, 29.97 fps, 59.
III You can either export your DVCPRO HD–based project from Final Cut Pro using Compressor (as described in Chapter 20, “Using Compressor with Final Cut Pro,” on page 279) or export a QuickTime movie of the project and import it directly into DVD Studio Pro. As with SD Final Cut Pro projects, the advantage of going through Compressor is that you have more control over the encoding process. You can choose whether to create HD MPEG-2 or H.
Audio for DVD In DVD Studio Pro, each DVD track can have up to eight audio streams. Each audio stream is independent of the others—only one can play at a time. Each stream can have from one to seven channels (as with 6.1-channel surround sound). Having multiple audio streams allows you to include alternative language versions of the program, as well as special features such as a spoken commentary.
III About Surround Sound Audio Surround sound audio usually consists of six independent audio channels: front left, front right, front center, rear left, rear right, and low-frequency effects (LFE, also known as the subwoofer). Mixing audio for use as surround sound is best left to specialized audio facilities that have the required equipment and experience. Nothing can ruin a movie quite like badly done surround sound audio.
When you export a QuickTime movie, you have an option to export various kinds of markers, including compression and chapter markers. When you choose the DVD Studio Pro markers option, Final Cut Pro exports chapter markers, manual compression markers, and edit/cut markers. For details on adding and deleting markers, see Volume II, Chapter 4, “Using Markers.” For more details about exporting markers, see “Exporting QuickTime Movies with Markers” on page 242.
III More About Compression and Edit/Cut Markers Compression markers identify areas of abrupt visual changes in video, such as a cut from a dark room to a bright, grassy plain. There are two kinds of compression markers: Â Compression markers: Also known as manual compression markers. These are markers you can manually add to a sequence to ensure a particular section of video is encoded using I-frames where you think they are necessary. Â Edit/cut markers: Also known as automatic compression markers.
About DVD Authoring Applications Whether you intend to use iDVD or DVD Studio Pro will affect how you export your movies from Final Cut Pro. When you are using DVD Studio Pro, Compressor can become an important part of the process. Using iDVD iDVD only imports standard QuickTime movies as video sources. This means that if you intend to use iDVD as your DVD authoring application, you only need to export a QuickTime movie from Final Cut Pro.
III Exporting a QuickTime Movie for DVD Use The process of exporting your movie as a standard QuickTime file is the same whether you plan to use iDVD or DVD Studio Pro for creating a DVD. To export a QuickTime movie for use in iDVD or DVD Studio Pro: 1 In Final Cut Pro, choose File > Export > QuickTime Movie. 2 Configure settings in the Save dialog. In most cases, you will leave the Setting pop-up menu at Current Settings and include both audio and video.
20 Using Compressor with Final Cut Pro 20 Compressor is a high-quality MPEG and QuickTime video encoder you can use to create a variety of formats for DVD or web distribution. This chapter covers the following: Â About Compressor (p. 279) Â Using Compressor with Final Cut Pro (p. 281) Â Using Compressor as a Standalone Application (p. 281) Â Exporting with Compressor from Final Cut Pro (p. 283) Â About Color Space Conversion in Compressor (p.
Performing Standards Conversion Compressor includes a high-quality standards and format conversion feature that can be used to: Â Convert a video from NTSC to PAL or vice versa with minimal frame rate artifacts. Â Create both standard definition and high definition versions of a project. For example, you can export a high definition sequence in Final Cut Pro to both high definition and standard definition MPEG files for high definition and standard definition DVD releases.
III Using Compressor with Final Cut Pro There are two ways you can use Compressor with Final Cut Pro: Â Using Compressor as a standalone application: Export a QuickTime movie from Final Cut Pro and then submit the QuickTime movie to Compressor for encoding. Â Directly export from Final Cut Pro to Compressor: This option allows Final Cut Pro to export content directly through Compressor.
Important: QuickTime reference movies are useful for temporary use on your local system, but be careful not to send these movies to remote systems that don’t have all the required media. Creating Encoding Jobs in Compressor To add a QuickTime movie to the Compressor encoding queue, you need to create an encoding job. An encoding job contains a single source media file and settings for one or more output files. To open Compressor: 1 In the Finder, choose Go > Applications.
III To choose where your encoded output files are saved: 1 In Compressor, click the Destinations tab and then drag a destination preset to your job in the Batch window. By default, Compressor saves encoded files to the same location as your source media file. 2 If you want, enter a new a name for the encoded file. To submit the job for encoding: m Click Submit in the Batch window. The Batch Monitor application opens and shows the encoding progress.
To export from Final Cut Pro using Compressor: 1 In the Browser, select a sequence or clip you want to export. If you want to export only a specific segment of a clip or sequence, set In and Out points in your clip or sequence. 2 Choose File > Export > Compressor. Compressor opens and the sequence or clip you exported from Final Cut Pro appears as a new encoding job in a Compressor Batch window.
21 Exporting Still Images and Image Sequences 21 At many points during your project, you may need to export still images of your video for graphics, posters, the press, email, or the web. This chapter covers the following: Â Determining the Image Format for Still-Image Export (p. 285) Â Exporting a Single Still Image (p. 286) Â Exporting Image Sequences (p. 287) Determining the Image Format for Still-Image Export Final Cut Pro uses the built-in QuickTime technology in Mac OS X to export still images.
Bit Depth of Exported Still Images Exported still images are always exported using 8 bits per pixel per color channel. For example, an RGB TIFF or Photoshop file uses a total of 24 bits (3 channels x 8 bits per channel) per pixel. If an alpha channel is included, the exported file uses 32 bits per pixel (4 channels x 8 bits per channel). Exporting a Single Still Image Exporting a still image from Final Cut Pro is easy.
III 6 To select custom settings, click Options, and in the Export Image Sequence Settings dialog, choose your settings, then click OK. Custom settings allow you to choose any graphics file format supported by QuickTime. You can also make particular adjustments to the compression method or color depth. In most cases, the default values are fine, but if you need particular settings, you can adjust the settings here. Each graphics file format has a unique set of adjustable parameters. Choose a format.
5 Choose Image Sequence from the Format pop-up menu. 6 Choose a setting from the Use pop-up menu. Choose an export setting from the pop-up menu. If none of the options you need are listed in the Use pop-up menu, see Step 7. 7 To select custom settings, click Options. 8 In the Export Image Sequence Settings dialog, choose your settings, then click OK. Choose a format type from this pop-up menu. Enter the desired frame rate, or choose an option from the pop-up menu.
III Each file of the image sequence is named in the form of “Filename 001.ext,” where “Filename” is the name you gave, the number (001) is the number of the frame, and “.ext” is the filename extension indicating the format. A file is saved for each frame of video.
22 Batch Exporting Clips and Sequences 22 You can set up Final Cut Pro to export multiple clips and sequences at one time using the Batch Export command. This chapter covers the following: Â Overview of the Batch Exporting Process (p. 291) Â Selecting Items in the Browser to Batch Export (p. 292) Â Selecting Batch Export Settings (p. 293) Â Doing a Batch Export (p. 298) Â Opening Batch Exported Files in the Viewer (p. 299) Â Redoing Batch Exports (p.
Follow these steps to do a batch export. Steps are described in detail on the following pages. Step 1: Select the clips, sequence, or bin you want to batch export Step 2: Select export settings in the Batch Export window Step 3: Batch export the desired items Selecting Items in the Browser to Batch Export You can select as many clips, sequences, and bins as you want to batch export.
III 3 To change the name of a bin in the Export Queue, click the bin’s name once to select it, wait a moment, then click the name a second time. Type a new name. If you want, enter a new name for the bin. 4 To create a new bin, do one of the following: Â Choose File > New > Bin. Â Press Command-B. Each bin in the Export Queue has its own export settings. You may want to reorganize items into different bins to keep items with the same settings in the same bin.
You can specify export settings for a bin by selecting a bin and clicking the Settings button or by selecting options in individual columns in the Export Queue window. Â To use the Settings button, see the next section, “Choosing Export Settings with the Settings Button.” This is convenient because you can select all settings from one main window. Â To choose settings from columns in the Export Queue window, see “Selecting Batch Export Settings from Columns” on page 297.
III 3 Choose a QuickTime-compatible file format from the Format pop-up menu. Choose a format here. These are the same file format choices available when using the Export Using QuickTime Conversion command and the Export QuickTime Movie command. ∏ Tip: If you choose the QuickTime Movie file format, the settings available are the same as when you use the Export QuickTime Movie command.
6 Click Set Naming Options, choose the type of file extensions you want, then click OK. To add a custom extension, enter it here. Select the checkbox next to the extensions you want to add to the exported files. Â Strip Existing Extension: Specifies whether an existing extension is removed from the base filename when the export filename is created. This is useful if you’re adding your own extension. Â Add Custom Extension: Type a custom extension to be applied to the filename.
III Selecting Batch Export Settings from Columns The columns in the Export Queue window display details about each bin. You can change export settings directly from these columns. To change batch export settings from the Export Queue window: m Control-click in a column for a bin, then choose a setting from the shortcut menu. If the message “No shortcut” appears, the information in that column cannot be changed from the Export Queue window.
The following three options are available only when the exported file format is a QuickTime movie: Â Include: Specifies which tracks should be included in the exported media file—Audio and Video, Audio Only, or Video Only. Â Recompress All Frames: This is the same option that is available when you use the Export QuickTime Movie command. For more information, see Chapter 17, “Exporting QuickTime Movies,” on page 237.
III Once items have been exported, the message in the Status column for each exported item changes to Done. To view exported items, see “Opening Batch Exported Files in the Viewer,” next. The status of an item changes to Done when it is successfully exported. Opening Batch Exported Files in the Viewer After your sequences and clips have been exported, you can open them in the Viewer. To open batch exported files in the Viewer: m In the Export Queue window, select an item, then click View Exported.
To add batch exported items to your project: 1 In the Export Queue window, select an item that has been successfully batch exported, then click View Exported. The item appears in a new Viewer window. 2 Drag the item from the new Viewer window to the Browser. A clip connected to the batch exported media file is created in the Browser. Redoing Batch Exports If items in the Export Queue were canceled or stopped because of errors, they can be easily requeued.
Part IV: Settings and Preferences IV Learn how to customize Final Cut Pro for the particular needs of your project and editing environment.
23 Choosing Settings and Preferences 23 Final Cut Pro has numerous settings and preferences that allow you to customize your system for particular video formats and editing styles. This chapter covers the following: Â Changing User Preferences (p. 303) Â Changing System Settings (p. 316) Changing User Preferences A preference modifies how a particular Final Cut Pro feature behaves.
 Timeline Options Tab (p. 315): These are the default display options used when a new sequence is created. This is where you can change the default number of video and audio tracks for new sequences. For more information, see Volume I, Chapter 9, “Timeline Basics.”  Render Control Tab (p. 315): This tab allows you to choose the render quality of new sequences you create. For more information, see Volume III, Chapter 29, “Rendering and Video Processing Settings.”  Audio Outputs Tab (p.
IV Â Levels of Undo: Enter a value to specify the number of actions that can be undone. The maximum number of Undo levels you can specify is 99. The default is 10. For information on undoing an action, see Volume I, Chapter 4, “Overview of the Final Cut Pro Interface.” Â List Recent Clips: This value determines how many clip names appear in the Recent Clips pop-up menu in the Viewer.
More About Audio Playback Quality Sample rate conversion occurs when you use clips with audio sample rates that differ from the sample rate in your sequence’s settings. If the sample rate of your media files matches the sample rate of the sequence, this pop-up menu has no effect. Transitions between rendered and nonrendered portions of audio clips are also affected by the quality setting chosen in the Audio Playback Quality pop-up menu.
IV Interface Options  Show Tooltips: Select this option to automatically display descriptions of interface elements and their corresponding keyboard shortcuts, called tooltips. Tooltips appear in small yellow boxes when you move the pointer over a control and pause briefly (without clicking the control). When you move the pointer away from the control, the tooltip disappears. The tooltip (interface element and keyboard shortcut) that appears when you place the pointer over the Play button in the Viewer.
Capture and Playback Options  Sync audio capture to video source if present: Select this option in the following scenarios:  You have an audio interface that has a video genlock input, and the genlock input is receiving a proper video signal.  You are capturing audio media that you intend to synchronize with video, such as sound recorded on a separate audio recorder during a film or video production.
IV Text Size Options  Browser Text Size: This pop-up menu allows you to choose how small or large text appears in the Browser and Timeline. You can also adjust these settings by choosing View > Text Size or control-clicking in the Browser and choosing Text Size from the shortcut menu. Auto Render Options  Auto Render: The Auto Render option allows you to take advantage of idle computer time when you’re not editing—such as during a coffee break or lunch—to render open sequences in the Timeline.
Default Timing Options  Still/Freeze Duration: This value determines the duration for imported graphics and freeze frames you create in Final Cut Pro (when you choose Modify > Make Freeze Frame in the Canvas or Viewer). The default duration is 10 seconds. In and Out points are set around the middle of a clip, providing equal handles for trimming on either side of the clip. You can increase the length of a Freeze Frame by opening it in the Viewer and entering a higher value in the Timecode Duration field.
IV In the following example, the sequence contains ten duplicate frames. Below, the handle size setting is set to zero frames, so no additional frames are shown. These ten frames are used twice, so they are shown as duplicate frames. When the handle size setting is set to ten frames, five additional frames on either side of the duplicate frames are displayed. Ten duplicate frames. Five additional frames beyond the duplicate frames are shown here... Chapter 23 Choosing Settings and Preferences ...
 Threshold: This allows you to set a minimum number of frames that must be duplicated before a duplicate frame’s indicator will appear. By default, this is set to 0 so that all instances of duplicated frames are indicated. You can set it as high as 99 frames (3 to 4 seconds, depending on the frame rate), in which case there would have to be a minimum of 99 consecutive duplicated frames before a duplicate frames indicator would appear.
IV Imported Still/Video Gamma  Gamma Level: This pop-up menu determines the default gamma setting for supported still images and graphics that you import. During playback, Final Cut Pro uses this gamma setting to determine whether gamma correction should be applied to the clip. For more information, see Volume III, Chapter 29, “Rendering and Video Processing Settings.
 Record Audio Keyframes: When this option is selected, keyframes are recorded whenever audio level, pan, or filter controls are adjusted. The pop-up menu defines how detailed keyframe automation is when recorded using the Audio Mixer or audio filter controls. Note: The Record Audio Keyframes button also controls this option. By default, this button appears in the button bar of the Audio Mixer (Tool Bench) window.
IV Automatic Conforming and Scaling Options These options control how mixed-format sequence editing is handled. Â Auto conform sequence: This pop-up menu determines whether sequence settings are automatically conformed to the settings of the first clip added. Â Always scale clips to sequence size: Select this checkbox when you want edited clips whose frame size is smaller than that of the current sequence to be scaled up when you add them to the sequence.
Audio Outputs Tab This tab is used to choose the default audio output preset for new sequences. An audio output preset defines the number of dual mono or stereo pairs of audio outputs for your sequence. For more information, see Volume III, Chapter 2, “Assigning Output Channels and External Audio Monitors.” Locating and Deleting the Preferences File If you are having trouble with Final Cut Pro, one common troubleshooting technique is to quit the application, delete the preferences file, and then relaunch.
IV To open System Settings: m Choose Final Cut Pro > System Settings. The System Settings window is divided into several tabs:  Scratch Disks tab  Search Folders tab  Memory & Cache tab  Playback Control tab  External Editors tab  Effect Handling tab Scratch Disks Tab You use the Scratch Disks tab to choose where you want to save captured video and audio media files and where to store the render, cache, and autosave files that Final Cut Pro creates.
About Thumbnail Cache Files Thumbnail cache files store small representative images of your clips that appear in the Browser and Timeline. The amount of space that the cache files use is determined by the Thumbnail Cache setting in the Memory & Cache tab of the System Settings window. For more information, see “Memory & Cache Tab” on page 319. For information about the autosave feature, see “Using the Autosave Feature” on page 20.
IV To add or replace a search folder: 1 Choose Final Cut Pro > System Settings, then click the Search Folders tab. 2 Do one of the following: Â Click the last Set button to add a new search folder. Â Click Set next to an existing search folder to replace it. The Choose a Folder dialog appears. 3 Navigate to the search folder you want to use in the Reconnect Files dialog, then click Choose. 4 Click OK. The current list of search folders appears in the Search Folders pop-up menu in the Reconnect Files dialog.
Memory Usage Use these fields to decide how much of the RAM available in your computer to use when running Final Cut Pro. Your computer’s available RAM is defined as the amount of RAM not used by Mac OS X and other currently running applications. By limiting the amount of RAM Final Cut Pro uses, you can maintain the performance of Final Cut Pro by preventing Mac OS X from using virtual memory unnecessarily. This is especially important when multiple applications are open at the same time.
IV External Editors Tab Final Cut Pro allows you to directly open clips’ media files in other applications. This tab allows you to assign media file types, such as still images or audio, to external applications for editing and processing outside Final Cut Pro. To open a clip in an external application: 1 Do one of the following: Â Control-click a clip in the Browser or Canvas, then choose Open in Editor from the shortcut menu. Â Select a clip in the Browser or Timeline, then choose View > Clip in Editor.
Note: If appears next to an entry in the list, that type of clip is opened in the same application that would open if you double-clicked the corresponding media file in the Finder. To override the Finder default, you must specify an application to open for each type of media clip. To set an external editor: 1 Choose Final Cut Pro > System Settings, then click the External Editors tab. 2 Click Set next to the clip type for which you want to assign an external editor.
24 Audio/Video Settings and Easy Setups 24 Audio/Video settings allow you to customize your Final Cut Pro system to work with particular video formats and equipment. You can also choose Easy Setups to quickly set up your system with a single click. This chapter covers the following: Â The Audio/Video Settings Window (p. 323) Â Choosing Easy Setups (p. 326) Â Changing Audio/Video Presets (p. 327) Â Creating and Modifying Easy Setups (p. 332) Â Installing and Restoring Easy Setups (p.
Learning About Audio/Video Presets You usually only need to change Audio/Video settings when you install a new video interface, connect a new VTR, or change the format you are capturing and editing.
IV Â A/V Devices: This tab allows you to choose which video and audio interfaces you use for external monitoring during editing and for output to tape. These settings determine if and how you monitor external video and audio. For details, see Volume I, Chapter 14, “External Video Monitoring.” Note: Unlike the other tabs, the A/V Devices tab does not have a list of presets to choose from. However, they are included with every Easy Setup.
Choosing Easy Setups You can quickly set up your editing system to work with different video formats by choosing an Easy Setup. An Easy Setup contains a capture, sequence, and device control preset as well as external video and audio settings from the A/V Devices tab. Choosing an Easy Setup is faster than choosing each preset individually. You choose Easy Setups from the Use pop-up menu in the Easy Setup dialog.
IV The corresponding capture, sequence, and device control presets are loaded, as well as settings in the A/V Devices tab. Note: If your VTR is not currently connected, you may see a warning because Final Cut Pro does not detect the external video or audio device that the A/V device settings expect. If you see this warning, make sure your device is connected and turned on, then click Check Again. If you want to troubleshoot the connection to the device later, you can ignore the warning by clicking Continue.
But suppose you switch to a video deck that doesn’t support remote device control. In this case, you need to change the device control preset to Non-Controllable Device; the two other presets and the external video setting remain unchanged. To choose a different preset for your current setup: 1 Choose Final Cut Pro > Audio/Video Settings. 2 In the Summary tab, choose a preset from the appropriate pop-up menu, then click OK. If you’re unsure which preset to choose, you can view a preset’s settings.
IV Viewing Settings in a Preset Below each pop-up menu in the Summary tab of the Audio/Video Settings window, there is a brief overview of what each preset is used for. If you’re not sure which preset to choose, you can view detailed information in the individual preset tabs. To view settings for a preset: 1 Choose Final Cut Pro > Audio/Video Settings, then click the appropriate preset tab. 2 Click a preset to see a summary of its settings.
Creating a New Preset If none of the existing presets is exactly what you need or want, you can create a new one by duplicating an existing preset and modifying the duplicated preset’s settings. To create a new preset: 1 Choose Final Cut Pro > Audio/Video Settings. 2 Click the tab for the type of preset you want to create. 3 Click a preset you want to use as starting point for creating a new preset, then click Duplicate. Click the preset you want to duplicate so it’s highlighted. Then click Duplicate.
IV The newly created preset becomes the currently selected preset and appears in the appropriate preset pop-up menu in the Summary tab of the Audio/Video Settings window. The new preset appears in the pop-up menu. Editing a Preset You can edit any preset that is not locked. To edit a preset: 1 Choose Final Cut Pro > Audio/Video Settings, then click the tab for the type of preset you want to edit. 2 Click the preset you want to modify, then click Edit. Click the preset you want to edit. Then click Edit.
Deleting Presets You may decide to delete a preset that you’ve created. Before you delete it, make sure you aren’t using it in current projects and won’t need it for future projects. To delete a preset you’ve created: 1 Choose Final Cut Pro > Audio/Video Settings. 2 Click the appropriate preset tab. 3 Select the preset you want to delete, then click Delete. Click the appropriate preset tab. Click the preset you want to delete. Then click Delete.
IV Creating an Easy Setup If you routinely use a particular group of capture, sequence, and device control presets, you can create and save your own Easy Setup. Whenever you need those settings, you can choose your custom Easy Setup instead of manually selecting specific settings or choosing particular presets.
Moving, Deleting, and Restoring an Easy Setup Easy Setups that come with Final Cut Pro are located within the application itself, as well as a specific folder on your hard disk: /Library/Application Support/Final Cut Pro System Support/Custom Settings/ Easy Setups stored within the application itself are locked, so you cannot modify or delete them. Important: If you decide to make an Easy Setup unavailable, make sure you aren’t using it in any current projects and won’t need it for future projects.
IV Example: Creating a Custom Preset and Easy Setup The following example shows how to create a custom Easy Setup for capturing DV NTSC video from a Betacam SP deck using a USB-to-serial adapter for serial device control and a DV converter box. You can use the existing sequence and capture presets and external video setting, but you need to create a new device control preset. To create a custom Easy Setup for capturing DV NTSC video from a Betacam SP deck: 1 Choose Final Cut Pro > Audio/Video Settings.
6 Click the Summary tab. The Device Control Preset pop-up menu is now set to the newly created preset, Betacam SP Serial Device Control. 7 Click Create Easy Setup. 8 Enter a name and description for your new Easy Setup, then click Create. 9 Enter a filename and location if you don’t want to use the defaults, then click Save. Installing and Restoring Easy Setups Final Cut Pro places several Easy Setup files on your hard disk during installation.
IV Loading Settings from a Network Server Each time Final Cut Pro is opened, it checks two local directories for Easy Setups, plug-ins, window and keyboard layouts, button bars, and so on.
25 Capture Settings and Presets 25 A capture preset is a group of settings that determine how media is captured from an external media device (such as a VTR) to a hard disk. This chapter covers the following: Â About Capture Preset Settings (p. 339) Â Creating a Preset to Capture Audio Only (p. 346) Important: If you’re using a third-party video interface, see the documentation that came with the interface for information on how to set up an appropriate capture preset.
To view or edit a capture preset: 1 Choose Final Cut Pro > Audio/Video Settings, then click the Capture Presets tab. 2 Click the preset you want to modify, then click Edit. General Settings for Capture Presets  Name: The name of the capture preset appears in the Audio/Video Settings window in two places: the Capture Preset pop-up menu in the Summary tab, and the list of presets in the Capture Presets tab.  Description: This is a brief description, or summary, of what the preset is to be used for.
IV Â Remove Advanced Pulldown and/or Duplicate Frames During Capture From FireWire Sources: Some camcorders, such as the Panasonic DVX100 or Varicam, can record alternate frame rates within a standard frame rate. For example, the DVX100 can record 23.98 fps video within 29.97 fps by adding an advanced 2:3:3:2 pull-down. The Varicam can record multiple frame rates, such as 23.98 fps (720p24) by adding redundant frames within a 59.94 fps (720p60) video signal.
 Quality: Enter a percentage or adjust the slider to set the image quality of the codec according to the documentation that came with your video interface. Lesser image quality yields lower data rates, while higher image quality yields higher data rates. (The quality levels will vary depending on the selected codec.) Many codecs, such as the DV codecs, are designed to work at the highest quality setting. Unless you have a good reason, it’s best to leave this slider in its default location.
IV Finding the Maximum Data Rate When Using the Limit Data Rate Field If you’re not sure of the maximum data rate possible for your hard disk and video interface, capture a video clip from tape with a data rate of 3 MB/sec. Â If no dropped frames are reported, increase the data rate to 4 MB/sec., then recapture the clip. Â If no dropped frames are reported, recapture the same clip, raising the data rate by 1 MB/sec. each time, until the clip you capture reports dropped frames.
Compression Tab The settings available in the Compression tab depend on the codec chosen from the Compressor pop-up menu. Click Compression. Specify the desired settings. Motion Settings  Compression type: This pop-up menu has the same codec choices as the Compressor pop-up menu in the QuickTime Video Settings section of the Preset Editor window.  Frames per second: Choose a value to specify the number of frames captured per second.
IV Compressor Settings  Depth: This option is not available for all codecs. Choose a color bit depth for captured video. Third-party codecs may have several options. For more information, see the documentation that came with your video interface.  Quality: This is identical to the quality slider in the QuickTime Video Settings section of the Preset Editor window. Adjust the slider to determine the image quality for your video.
 Input: Choose a hardware input from the currently selected audio device. Note: For example, if you selected Built-in Audio, you can choose Microphone or Line In. (On some computers, the S/PDIF optical connector is also an option.)  Format: Choose an audio configuration from the list. Audio configurations in this list are a combination of sample rate, bit depth, and number of channels. The items in this pop-up menu depend on the audio device you select.
IV To create a device-controllable, audio-only capture preset: 1 Choose Final Cut Pro > Audio/Video Settings, then click the Capture Presets tab. 2 Select a preset, then click Duplicate. Final Cut Pro automatically duplicates the selected preset and opens a new Capture Preset Editor window. 3 In the Capture Preset Editor, adjust the following settings, then click OK. Enter a name and appropriate description for your audio capture preset.
26 Device Control Settings and Presets 26 A device control preset communicates transport commands and timecode between Final Cut Pro and supported camcorders and VTRs. This chapter covers the following: Â About Device Control Presets (p. 349) Â About Device Control Protocols (p. 354) Â Troubleshooting Your Device Control Setup (p.
Viewing Settings for a Device Control Preset Settings in a device control preset are used during logging, capturing, and output to tape. To view or edit a device control preset: 1 Choose Final Cut Pro > Audio/Video Settings, then click the Device Control Presets tab. 2 Click the preset you want to modify, then click Edit. Settings in the Device Control Preset Editor The following section describes the settings in the Device Control Preset Editor. Â Name: Enter a name for the preset.
IV What Is a Device Control Protocol? A device control protocol defines the rules and syntax for how two devices communicate with each other. The two connected devices must negotiate and agree upon the speed of communication (often measured in bits per second or baud, much like a modem), the length of each binary word, and how different commands—such as play, rewind, and fast-forward—are coded.
 Time Source: Some tape formats can have more than one kind of timecode track. You can choose which track you want Final Cut Pro to read timecode from, and in the case of LTC and VITC, you can let Final Cut Pro read either one depending on what’s available:  LTC: Because LTC is audio, it can be interpreted by a timecode reader even when the tape is fast-forwarding, but it can’t be read when the tape is paused or moving extremely slowly.
IV Â Use Deck Search Mechanism: Select this option to use a deck’s internal search mechanism to cue a tape to a specific timecode value, if available. Decks with serial device control may have this option. Do not select this option if your deck has problems moving the playhead to a specified timecode value during capture. For more information, see the documentation that came with your video equipment. This option is not available for DV devices.
 Pre-roll and Post-roll: Because VTRs and audio players are mechanical devices, it takes a few seconds for the device’s motor to stabilize and reach a steady speed after starting from a stopped or paused position. The pre-roll time sets how far in advance your camcorder or deck starts playing back your source tape before capture or output. In most cases, the 3 second default is sufficient.
IV Â Â Â Â Sony VISCA Sony LANC (via Addenda RS-4/L) Panasonic RS-232 and RS-422 JVC RS-232 Note: RS-422 uses serial cables that are different from RS-232 cables. For more information on cables and their availability, see the information that came with your device. You can buy these cables at specialty video equipment or electronics retailers. Using FireWire Device Control FireWire (also called IEEE 1394 or i.LINK) is a standard supported by many professional and consumer-level camcorders and decks.
Using Serial Device Control Nearly all professional VTRs support serial device control. Serial device control sends and receives timecode and transport control data. A 9-pin serial connector is usually used for serial device control. Each pin can carry a separate signal, although typically only four pins are used (two for transmitting data, and two for receiving data).
IV Calibrating Timecode Capture with Serial Device Control Unless you are capturing a DV video format via FireWire, the timecode and video signals are sent separately from the video deck to the computer. Because the signals are separate, they can possibly arrive at different times, which causes the wrong timecode number to be recorded with captured video frames.
To determine the timecode offset: 1 Do one of the following: Â Create a window-burn (or window dub) test tape for timecode offset testing. You can do this by transferring a tape with timecode to another tape of the same format, making sure you connect an output that can display timecode information visually. Â Connect the monitor out (or super out) output of your VTR to the input of your video interface.
IV To enter a timecode offset: 1 Choose Final Cut Pro > Audio/Video Settings, then click the Device Control Presets tab. 2 Make sure your current method of device control is checked, then click Edit. If you’re using a locked preset, a new copy of the preset is created. 3 Enter a new name and description for this device control preset indicating which camcorder or deck it is calibrated for. Enter an appropriate name and description for your new preset.
Using a Non-Controllable Device If you have a camcorder or deck without device control, you can still capture and edit clips in Final Cut Pro. You need to start and stop your camcorder or deck manually when you use the Log and Capture and Print to Video commands. Once you capture a clip manually, you have virtually no chance of recapturing exactly the same media with the same In and Out points.
27 Sequence Settings and Presets 27 Settings for sequences are found in several windows throughout Final Cut Pro. These settings are used when new sequences are created. This chapter covers the following: Â What Are Sequence Settings? (p. 361) Â About Sequence Settings and Presets (p. 362) Â Timeline Display, Render, and Audio Output Options (p. 366) Â Changing Sequence Settings (p. 370) What Are Sequence Settings? A sequence preset is a group of settings that is used when you create a new sequence.
About Sequence Settings and Presets A sequence preset has two tabs: the General and Video Processing tabs. Note: Default Timeline, render control, and audio outputs options are available in User Preferences, or after a sequence has been created by choosing Sequence > Settings. To view or edit a sequence preset: 1 Choose Final Cut Pro > Audio/Video Settings, then click the Sequence Presets tab. 2 Click the preset you want to modify, then click Edit.
IV Â Pixel Aspect Ratio: Choose a pixel aspect ratio that matches the format you are working with. The pixel aspect ratio determines the shape of each pixel, which affects the overall dimensions and aspect ratio of your video image. Â Square: For multimedia and uncompressed high definition video. Â NTSC - CCIR 601 / DV: For standard definition NTSC formats such as Digital Betacam, DV, or DVD. Â PAL - CCIR 601: For standard definition PAL formats. Â HD (960x720): For 720p HD video, such as DVCPRO HD and HDV.
QuickTime Video Settings for Sequences Final Cut Pro uses the built-in QuickTime architecture of Mac OS X to decompress, render, and output video from your sequence. Since capturing is also handled by QuickTime, QuickTime video settings are explained in more detail in “QuickTime Video Settings for Capture Presets” on page 341. Â Compressor: Choose a codec that matches the format of your media files. Any media file in your sequence that doesn’t use the codec specified here will have to be rendered.
IV Â Depth: Choose the bit depth used for each sample. Â 8-bit: This bit depth is useful for highly compressed movies created for the web. Unless you have a specific need for 8-bit audio, you should avoid this option because the quality is fairly low. Â 16-bit: This is the bit depth of DV, DVCAM, and DVCPRO, as well as of music CDs. If all of your original audio media is 16-bit, and you aren’t routing multiple audio tracks to the same audio output, choose this option.
Timeline Display, Render, and Audio Output Options When you create a new sequence, the timeline display, render, and audio output settings that are used come from the corresponding tabs in the User Preferences window. Once a sequence is created, you can change its options by selecting the sequence and choosing Sequence > Settings. Timeline Options Tab New sequences are created using the settings in the Timeline Options tab of the User Preferences window.
IV Render and Playback Settings  Filters: If this option is not selected, all filters are ignored during playback, improving real-time performance.  Frame Blending for Speed: If this option is selected, clips with speed adjustments are processed with frame blending. Frame blending makes slow-motion video smoother by synthesizing in-between frames. This requires more processing power, so you can turn it off when you are working on a rough cut.
Audio Outputs Tab The settings in this tab allow you to define the number of audio output channels available for your sequence, using whatever video or audio interface is connected to your computer. New sequences are created with the audio output preset chosen in the User Preferences window. Once a sequence is created, you can choose a different audio output preset by selecting the sequence, choosing Sequence > Settings, then clicking the Audio Outputs tab.
IV The Audio Outputs tab has the following settings: Â Outputs pop-up menu: This pop-up menu allows you to specify the number of audio outputs available on your external audio interface. This menu defaults to two output channels for simple stereo output. Additional output channels can be added in pairs. You can specify as many as 12 pairs of audio outputs, or 24 total outputs. Â Channel Settings boxes: Each pair of outputs has its own settings box, each with its own set of controls.
Changing Sequence Settings You can change individual settings for a sequence, such as image height or codec, or you can change all the settings at once by loading a sequence preset (which is simply a set of predefined sequence settings). To view and change individual settings for a sequence: 1 Select a sequence in the Browser or in the Timeline. 2 Do one of the following: Â Choose Sequence > Settings. Â Control-click the sequence’s icon, then choose Settings from the shortcut menu. Â Press Command-0 (zero).
IV To change sequence settings using a new sequence preset: 1 Select a sequence in the Browser. 2 Do one of the following: Â Choose Sequence > Settings. Â Control-click the sequence’s icon, then choose Settings from the shortcut menu. Â Press Command-0 (zero). 3 Click the Load Sequence Preset button. 4 Choose a new preset from the pop-up menu in the Select Sequence Preset dialog, then click OK. Important: Final Cut Pro does not allow you to change the editing timebase of a sequence once it contains clips.
Part V: Appendixes V Find specific information on video formats, frame rate and timecode, and solutions to common user problems in this section.
Video Formats A Appendix A This appendix covers the following: Â Characteristics of Video Formats (p. 375) Â Video Formats Supported by Final Cut Pro (p. 398) Â A Brief History of Film, Television, and Audio Formats (p. 401) Characteristics of Video Formats All video formats achieve the same basic goal: they store black-and-white or color information as electronic lines that make up a video frame.
 Color sampling: For component digital formats, the ratio of color samples to black-and-white (or luma) samples (for example, 4:4:4, 4:2:2, and 4:1:1).  Sample rate: The number of samples per second of each video line. This is just like the sample rate for audio, except the signals sampled are video lines, where each sample represents light intensity instead of sound intensity.
V About File-Based Media Historically, video footage has been recorded on videotape. As digital acquisition quickly replaces analog technology, camcorders are starting to record footage as files on non-tape-based media such as hard disks, solid-state cards, and optical discs.
High Definition Video In the late 1990s, HD video formats were standardized in the United States by the Advanced Television Standards Committee (ATSC). These HD video formats are the next generation of broadcast and recording video formats. Unlike SD formats, which are restricted to fixed frame rates and numbers of lines per frame, HD video provides several options per format. While the increased flexibility is convenient, it also makes format interchange more complicated.
V The luma (black-and-white channel) and chroma (color channels) information can be recorded and transmitted several different ways in a video signal. Â RGB (Red, Green, Blue): This is the native format for most computer graphics and video files. This signal is also used inside traditional color CRTs, video cameras, flatpanel displays, and video projectors.
Aspect Ratio of the Video Frame The ratio of horizontal to vertical dimensions of a film or video frame is called the aspect ratio. Aspect ratio is independent of absolute image size or resolution. Standard definition 1.33:1 (4 x 3) High definition 1.78:1 (16 x 9) Standard cinema 1.85:1 Widescreen cinema 2.40:1 Aspect ratio can be expressed as absolute dimensions (4 x 3), a ratio (4:3), a fraction (4/3), or as the decimal equivalent of a ratio (1.33:1, or simply 1.33).
V Below is a list of commonly used aspect ratios, mostly from the film and television industry, plus a few others for comparison. Aspect ratio Medium 1.33 (4:3) Early 35 mm film and SD television 1.37 4-perforation 35 mm camera footage (prior to projection)— also known as “Academy” aspect ratio 1.66 (15:9) Standard European film; masked in projector 1.78 (16:9) HD television 1.85 Standard North American and UK film; masked in projector 2.40 (also referred to as 2.35 and 2.
Anamorphic Anamorphic techniques use special lenses or electronics to squeeze a widescreen image to fit in a narrower aspect ratio. During projection or playback, the squeezed image is stretched back to its original widescreen aspect ratio. 1.78 anamorphic 2.40 anamorphic 2.40 letterbox in 1.78 anamorphic 1.33 frame 1.33 frame 1.33 frame Anamorphic video can also be letterboxed. For example, 16:9 anamorphic DVDs may contain letterboxed 2.40 aspect ratio footage.
V Pixels (Samples) per Line In digital video formats, each line is sampled a number of times. In an attempt to create a single digital VTR that could digitize and record both NTSC and PAL signals, the ITU-R BT. 601 specification uses 720 samples per line for both NTSC and PAL video. Therefore, a digital NTSC video frame is 720 pixels x 486 lines, and a PAL video frame is 720 pixels x 576 lines. HD video with 1080 lines uses 1920 pixels per line (1920 x 1080).
720 x 486 Versus 720 x 480 One issue that comes up during post-production is the subtle difference between NTSC SD formats that use 486 lines per frame (such as Digital Betacam, D-1, and D-5) and formats that use 480 lines per frame (such as DV, DVCPRO, and DVD). Why is there this subtle difference? The reason is simple: 480 is divisible by 16, and 486 isn’t.
V Some video formats use rectangular pixels to reduce the amount of information stored on tape. For example, DVCPRO HD effectively records 1280 pixels per line (when using the 720p format), but to save space on tape, the intensity of every 1.33 pixels is averaged together (a process known as subsampling) and only 960 pixels are recorded. These pixels are not representing a square area, but a wider, rectangular portion of each video line.
Scanning Method A video frame is made of horizontal lines that are scanned from one side of a display to the other. Progressive video scanning happens when each line of a video frame is scanned, one after another. Interlaced scanning fills the entire frame with only half the lines, which requires half the time, thus doubling the perceived frame rate and reducing flicker. About Interlaced Scanning Frame rates lower than 40 fps can cause noticeable flicker.
V About Progressive Scanning Progressive scanning is much simpler than interlaced scanning: each line is scanned consecutively until a complete frame is drawn. Computer displays and many recent HD televisions use progressive scanning. Here are some significant facts about interlaced and progressive scanning methods: Â Interlacing provides twice the perceived frame rate with only half the recording or transmission requirements.
Setting Field Dominance in Final Cut Pro In Final Cut Pro, the field dominance of clips must match the sequence field dominance. Otherwise, the fields stutter during playback because each pair of fields plays back in the wrong order. For example, DV NTSC and DV PAL always have a field dominance of Lower (Even). If you’re working in a sequence and you see that imported clips are flickering, check to make sure the field dominance of those additional clips matches the field dominance of your edited sequence.
V Video Sample Rate and Bit Depth The video sample rate of a digital video format determines how often the light intensity of each video line is sampled. Sample rate Description 74.25 MHz HD video luma (Y´) sample rate. 37.125 MHz HD video chroma (CBCR) sample rate. This is half of the luma sample rate, used for 4:2:2 HD video. 14.3 MHz Early NTSC digital video recorders sampled video at exactly four times the frequency of the color subcarrier signal (3.58 MHz x 4).
Sampling ratio Description 4:1:1 The color is subsampled so that the color resolution is quartered. The first pixel in a line contains Y´, CB, and CR samples. The next three pixels only contain Y´ samples. This pattern repeats. 4:2:0 This ratio indicates that the CB and CR channels are subsampled both horizontally (as in 4:2:2) and vertically. This reduces color resolution in both the horizontal and vertical dimensions compared to 4:2:2, which only reduces horizontal chroma resolution.
V In fact, 8-bit Y´CBCR video does not use all 256 codes to represent picture information. Black is stored as code 16 and white is code 235. Codes 1–15 and 236–254 are retained for footroom and headroom, respectively. These areas allow for quick spikes in the signal caused by filtering in analog-to-digital conversions and, in the case of white levels, can prevent clipping for highlights that may exceed 235 (white). Levels above 235 are sometimes referred to as super-white levels.
Some simple methods of data compression are: Â Throw away pixels at regular intervals: This essentially scales the image, or makes it more blocky. Â Average several pixel values together (subsampling): This involves taking several adjacent pixel values and averaging them together, resulting in a single rectangular pixel that approximates the value of several. For more information, see “Pixel Aspect Ratio” on page 384.
V Lossy Codecs Most video codecs are necessarily lossy, because it is usually impractical to store and transmit uncompressed video signals. Even though most codecs lose some information in the video signal, the goal is to make this information loss visually imperceptible. When codec algorithms are developed, they are fine-tuned based on analyses of human vision and perception.
Interframe Compression Instead of storing complete frames, temporal compression stores only what has changed from one frame to the next, which dramatically reduces the amount of data that needs to be stored while still achieving high-quality images.
V GOP Length Longer GOP lengths encode video more efficiently by reducing the number of I-frames but are less desirable during short-duration effects such as fast transitions or quick camera pans. MPEG video may be classified as long-GOP or short-GOP. The term long-GOP refers to the fact that several P- and B-frames are used between I-frame intervals. At the other end of the spectrum, short-GOP MPEG is synonymous with I-frame–only MPEG.
The same GOP pattern can produce different results when used with an open or closed GOP. For example, a closed GOP would start an IBBP pattern with an I-frame, whereas an open GOP with the same pattern might start with a B-frame. In this example, starting with a B-frame is a little more efficient because starting with an I-frame means that an extra P-frame must be added to the end (a GOP cannot end with a B-frame).
V MPEG-1 MPEG-1 is the earliest format specification in the family of MPEG formats. Because of its low bit rate, MPEG-1 has been popular for online distribution and in formats such as Video CD (VCD). DVDs can also store MPEG-1 video, though MPEG-2 is more commonly used. Although the MPEG-1 standard actually allows high resolutions, almost all applications use NTSC- or PAL-compatible image dimensions at quarter resolution or lower. Common MPEG-1 formats include 320 x 240, 352 x 240 at 29.
MPEG-2 supports the same audio layers as MPEG-1 but also includes support for multichannel audio. MPEG-2 Part 7 also supports a more efficient audio compression algorithm called Advanced Audio Coding, or AAC. MPEG-2 elementary stream files often have extensions such as .m2v and .m2a, for video and audio, respectively.
V DV Formats You can easily capture and output any DV-format video via the FireWire port on your computer. Video, audio, timecode, and device control data are all transferred via a single FireWire cable. FireWire (also referred to as IEEE 1394 or i.LINK) is a high-speed technology for connecting and transmitting data to and from various external devices, such as video and audio interfaces, hard disks, and digital cameras. FireWire is supported by many professional and consumer-level DV camcorders and decks.
Scanning Methods Most HD equipment can record both progressive and interlaced video. Typically, 1080-line video is interlaced (1080i) and 720-line video is progressive (720p). Several 1080p formats exist, such as 1080p24, but there are no 720-line interlaced formats. For more information, see “About Interlaced Scanning” and “About Progressive Scanning” on page 387.
V Uncompressed High Definition Formats HD requires extremely high data rates (around 1.4 Gbps). There are no camcorder formats currently available for recording uncompressed HD video. High-capacity, general-purpose digital tape formats like D-6 can be used in combination with camera heads and digital telecine machines capable of outputting uncompressed RGB and component HD video data. High-speed disk arrays can also be used to record uncompressed HD video.
402 Year Event 1895 Lumière brothers demonstrate combination camera/projector (16 fps). 1918 First color motion picture appears. 1920 Commercial radio broadcasts begin. 1923 16 mm film is introduced. 1927 First major motion picture with sound is released (1.37 aspect ratio), ending the silent movie era. 1932 BBC begins official monochrome, 30-line video broadcast. 1934 RCA experiments with 343-line, 30 fps television format, removing flicker by introducing interlacing.
V Year Event 1968 The computer mouse is invented. 1970 3/4-inch U-Matic video format is introduced. 1970 Computer floppy disk is introduced. 1971 First permanent IMAX film system is installed. 1972 FCC establishes rules for cable TV. 1972 The first computer editing system, the CMX-300, is introduced. 1975 JVC introduces the Video Home System (VHS). 1977 First preassembled personal computer, the Apple II, is introduced. 1982 Sony, Fujitsu, and Philips introduce audio compact discs (CDs).
Frame Rate and Timecode B Appendix B This appendix covers the following: Â What Is Frame Rate? (p. 405) Â Understanding Flicker and Perceived Frame Rate (p. 406) Â Frame Rate Limits: How Many Frames per Second Is Best? (p. 407) Â Choosing a Frame Rate (p. 408) Â What Is Timecode? (p. 410) Â About Drop Frame and Non-Drop Frame Timecode (p. 410) Â Timecode on Tape (p. 413) Â Comparison of Various Timecode Formats (p.
Early television systems selected frame rates based on local electrical standards to avoid electrical interference with the picture. NTSC in North America uses 30 fps (now adjusted to 29.97 fps for color NTSC) based on 60 Hz electrical power. PAL, used primarily in Europe, uses 25 fps based on 50 Hz electrical mains. Because film cameras are relatively simple compared to video cameras, they allow shooting and playing back with a wide range of frame rates (although the standard projection speed is 24 fps).
V Early television systems used a different approach for the same result: increased flicker without increasing the necessary electronic bandwidth. Interlaced scanning fills a television frame with only half the video lines of a frame (this is known as a field), and then fills in the remaining lines (the other field). A field effectively fills the television screen with an image, even though it is only half-resolution, and it does so in half the time it would take to draw the full frame.
Recording Slow Frame Rates for Time-Lapse Photography Slow frame rates are used for time-lapse photography, in which a scene is recorded relatively slowly, perhaps one frame every second, hour, or day. This is useful when you are trying to capture gradually changing events, such as growing plants, the movement of clouds, or the rising and setting of the sun. When played back at standard frame rates, events occur rapidly on screen and otherwise undetectable patterns emerge.
V Some digital video formats actually support several frame rates within a single format, allowing variable frame rate video recording and film (24 fps) compatibility. Frame rate Media Description 24 Film; high definition video This is the universally accepted film frame rate. Movie theaters worldwide almost always use this frame rate. Many high definition formats can record and play back video at this rate, though 23.98 is usually chosen instead (see below). 23.98 (23.
What Is Timecode? Timecode is a signal recorded with your video that uniquely identifies every frame of your tape using a time stamp in hours, minutes, seconds, and frames. Timecode uses the following format: SMPTE timecode 01:32:15:28 Hours Minutes Seconds Frames Timecode was invented in the late 1960s so that computer video editing systems could automatically find specific frames on tape and record editing decisions that could then be performed over and over again.
V Drop frame timecode compensates for the fact that the NTSC format has a frame rate of 29.97 fps, which is .03 fps slower than the nearest whole number frame rate of 30 fps. Timecode can only be represented by whole numbers, so timecode numbers are periodically skipped in drop frame timecode. This way, the timecode number always matches the seconds and minutes of video that have played. NTSC can use either drop frame or non-drop frame timecode.
Frame Count Timecode labels (30 fps) Time passed (29.97 fps) Error between timecode number and real time 0 0 0 0 1 1/ 30th second 1/29.97th second Negligible 30 = 30/30ths of a second = 1 second = 30/29.97ths of a second = 1.001 seconds 0.001 seconds 60 = 60/30ths of a second = 2 seconds = 60/29.97ths of a second = 2.002 seconds 0.002 seconds 1800 1800/30ths of a second = 60 seconds = 1 minute =1800/29.97ths of a second = 60.06 seconds = 1.001 minutes 0.001 minutes 0.06 seconds 1.
V The Difference Between Frame Rate and Timecode The frame rate of your film or video describes how rapidly frames are photographed or played back. It refers to physical speed of image capture and play back. Timecode is merely a method of labeling frames with unique identifiers to easily find them again later. It is a convenient way of giving each frame a name that can be referred to later without having to verbally describe and visually search for it.
LTC timecode is most easily read when a deck is in fast-forward, and VITC is most easily read when a deck is in slow motion. Most professional video decks can read both signals and automatically send timecode from the one that’s clearest at any moment. The LTC and VITC timecode signals on most tapes are almost always identical. Important: Video decks capable of reading both LTC and VITC timecode usually have a switch that lets you select whether a deck outputs one or the other, or both.
V 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 1787 00:01:14:11 00:01:11:12 00:00:59:17 00:00:59:17 0111+11 0285+11 1788 00:01:14:12 00:01:11:13 00:00:59:18 00:00:59:18 0111+12 0285+12 1789 00:01:14:13 00:01:11:14 00:00:59:19 00:00:59:19 0111+13 0285+13 1790 00:01:14:14 00:01:11:15 00:00:59:20 00:00:59:20 0111+14 0285+14 1791 00:01:14:15 00:01:11:16 00:00:59:21 00:00:59:21 0111+15 0285+1
416 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 1822 00:01:15:22 00:01:12:22 00:01:00:22 00:01:00:24 0113+14 0288+02 1823 00:01:15:23 00:01:12:23 00:01:00:23 00:01:00:25 0113+15 0288+03 1824 00:01:16:00 00:01:12:24 00:01:00:24 00:01:00:26 0114+00 0290+00 1825 00:01:16:01 00:01:13:00 00:01:00:25 00:01:00:27 0114+01 0290+01 1826 00:01:16:02 00:01:13:01 00:01:00:26 00:01:00:28 0114+02 029
Working with 24p Video C Appendix C This appendix covers the following: Â What Is 24p Video? (p. 417) Â Telecine, Pull-Down, and Reverse Telecine (p. 418) Â Film, 24p Video, and Cinema Tools (p. 424) Â Working with 24p NTSC Video (p. 425) Â Using an AG-DVX100 NTSC Camcorder with Advanced Pull-Down (p. 425) What Is 24p Video? The term 24p refers to 24 fps progressive-scan video.
24 Versus 23.98 fps Although the term 24p implies 24 frames per second, the value 24 is usually inaccurate, because most people working within NTSC standards actually shoot at a frame rate of 23.976 fps (commonly referred to as 23.98 fps). On the other hand, 24 fps footage transferred to PAL, as well as most film, is recorded at exactly 24 fps.
V A B A A B B Field Field Field 1 2 1 Field 2 C B C C D D D D Field Field Field Field Field Field 1 2 1 2 1 2 3:2 Pull-Down Before (23.98 fps) After (29.97 fps) A B C D A B C D A B C D A B C D A B C D A B C D A A B B B C C DDD A A B B B C C D DD A A B B B C C DD D A A B B B C C DD D A A B B B C CDDD A A B B B C CDDD One second 3:2 Pull-Down Removal Before (29.97 fps) After (23.
2:3:3:2 Advanced Pull-Down Camcorders such as the Panasonic AG-DVX100, the Panasonic AG-HVX200, and the Canon XL2 use this method to store 23.98 fps video within interlaced 29.97 fps footage. Video frames 1, 2, 4, and 5 in the pull-down pattern represent film frames A, B, C, and D. Removing advanced pull-down is more efficient than removing standard 2:3:2:3 pull-down because no deinterlacing is required.
V Despite its efficiencies, the advanced pull-down pattern is not as aesthetically pleasing as 3:2 pull-down. If you plan to finish your project at 23.98 fps, advanced pull-down is usually the best choice. However, if you plan to output your final 24p project to 29.97 fps interlaced video, you may want to add 3:2 pull-down because its pattern is considered to be more visually appealing. 2:2:2:4 Pull-Down This is an efficient but low-quality playback option used for previewing 23.
A A A B B B C B C C D D D D Duplicate Frame Insertion Before (23.98 fps) After (59.94 fps) A B C D A B C D A B C D A B C D A B C D A B C D A A B B B C C DDD A A B B B C C D DD A A B B B C C DD D A A B B B C C DD D A A B B B C CDDD A A B B B C CDDD One second Duplicate Frame Removal Before (59.94 fps) After (23.
V 24 @ 25 True 24 fps film or video can be transferred to PAL (25 fps) by speeding up the frame rate by 4 percent. For film editing purposes on PAL video, applications like Cinema Tools can slow the 25 fps PAL video back to 24 fps (a process called conforming) so that sync is maintained with the original audio. For showing film-originated movies on PAL video, both film and audio speed are increased by 4 percent.
24 @ 25 Repeat This method simply repeats every 24th frame once to fit 24 fps footage into 25 fps. This causes a noticeable stutter every second but requires less processing than the 24 @ 25 pull-down pattern because no special interlacing is required. This pull-down pattern is analogous to the NTSC 2:2:2:4 pull-down pattern in the sense that it requires the least amount of processing power but results in the most noticeable stutter.
V Working with 24p NTSC Video Several camcorders have the ability to emulate the telecine process by exposing and shuttering at 23.98 fps and then adding a 2:3:2:3 pull-down when the signal is recorded to tape at 29.97 fps. The result is NTSC-compatible video that looks similar to a film-to-video transfer.
Duplicate video fields are discarded during capture, resulting in a 24p (23.98 fps) media file on disk after capture. If you have already captured your video at 29.97 fps, you can remove duplicate fields from your media file after capture. To remove 2:3:3:2 advanced pull-down from your media files after capture: m Select the 29.97 fps clips in the Browser, then choose Tools > Remove Advanced Pull-down. Your media files will remain the same size, but they will be set to play back at 23.98 fps.
Working with Anamorphic 16:9 Media D Appendix D This appendix covers the following: Â About Anamorphic 16:9 Media (p. 427) Â Recording Anamorphic Video (p. 430) Â Capturing Anamorphic Media (p. 431) Â Changing Clip Properties for Anamorphic Media (p. 431) Â Viewing and Editing Anamorphic Media (p. 432) Â Specifying Sequence Settings for Anamorphic Media (p. 433) Â Outputting Anamorphic Video to Tape (p. 434) Â Exporting 16:9 Anamorphic Video (p.
This image format is called 16:9 anamorphic because the intended aspect ratio is 16:9, even though it appears as 4:3 (and therefore squeezed) under normal circumstances. 16:9 anamorphic (squeezed into 4:3) 16:9 anamorphic (stretched to 16:9) Traditional anamorphic film techniques use squeezing and stretching lenses for both filming and projection. For anamorphic video, the squeezing can be achieved through a lens or electronically in the camera charge-coupled device (CCD).
V Displaying 16:9 Anamorphic Video By default, 16:9 anamorphic video displayed on an SD monitor appears horizontally squeezed—meaning images will look tall and thin. Many computer applications, monitors, and DVD players are capable of “unsqueezing” 16:9 anamorphic video so that the image appears as intended. About Letterboxing When 16:9 video is displayed on an SD 4:3 monitor, you’ll see bars at the top and bottom of the picture because a 16:9 image cannot entirely fill a 4:3 screen.
Recording Anamorphic Video Anamorphic video can be acquired in one of three ways: Â Using a camera with a 16:9 CCD: A charge-coupled device (CCD) is the element of a video camera that actually takes the image after it comes through the lens and turns it into an electronic image. Some SD camcorders have CCDs with a 16:9 aspect ratio, so they actually capture full-resolution 16:9 video prior to squeezing the image anamorphically for recording.
V Capturing Anamorphic Media When you capture video, Final Cut Pro uses the settings in the currently selected capture preset. If your footage was shot anamorphically, you can select the Anamorphic 16:9 option. For more information, see “General Settings for Capture Presets” on page 340. Make sure this checkbox is selected if you’re capturing 16:9 media. Some cameras embed an anamorphic “flag” in the video signal that indicates the aspect ratio of your footage.
To enable the Anamorphic property for a clip: 1 Open the clip from the Browser, then choose Edit > Item Properties > Format. 2 Click in the column next to the Anamorphic property so that a checkmark appears. If your media is anamorphic, make sure there’s a checkmark in this row. The Anamorphic column in the Browser also lets you select this option for clips and sequences. A checkmark in this column denotes anamorphic media.
V Specifying Sequence Settings for Anamorphic Media When you use 16:9 anamorphic media in a sequence, you need to select the Anamorphic option in the Sequence Settings window. There are two ways you can do this: Â Choose a sequence preset that has the Anamorphic option turned on, then create a sequence. Â Create a sequence, then turn on the Anamorphic option for that sequence. Make sure you turn on the Anamorphic 16:9 option before you add any clips to your sequence.
Outputting Anamorphic Video to Tape When outputting an edited sequence to tape using anamorphic video, you have two choices, depending on what kind of equipment you want to play back from: Â Output as is, with the video appearing squeezed on a 4:3 monitor: This is the preferred option if you’re planning to play back your video on a monitor that will compensate for the proper aspect ratio, or if you’re planning to transfer to film. High-end broadcast monitors can rescale for 16:9 at the push of a button.
V Calculating the Dimensions for an Exported 16:9 QuickTime Movie The dimensions of your exported movie depend on several factors, including any file size limitations and height or width constraints. For example, if you are producing a website in which every movie has a width of 320 pixels, regardless of height, then the width will determine the height.
8 In the Dimensions width and height fields, enter the width and height you calculated for your exported 16:9 movie. For more information, see “Calculating the Dimensions for an Exported 16:9 QuickTime Movie” on page 435. 9 Make sure the “Preserve aspect ratio using” checkbox is unselected, then click OK. 10 In the Movie Settings window, choose audio settings, then click OK. 11 Enter a filename, choose a location to save your file, then click OK to export your movie.
Solving Common Problems E Appendix E This appendix covers the following: Â Resources for Solving Problems (p. 437) Â Solutions to Common Problems (p. 438) Â Contacting AppleCare Support (p. 444) Resources for Solving Problems If you run into problems while working with Final Cut Pro, there are several resources you can use to find a solution. Â This appendix: This appendix includes information about some of the most frequent issues users encounter. Problems are grouped by category.
Solutions to Common Problems The following section describes common problems and solutions in Final Cut Pro. Problems with Video Devices If you experience the following issues when working with video devices, try these solutions. Your camcorder or deck is not recognized. Â Make sure your device control cable or FireWire cable is properly connected and plugged in all the way. Â Verify that the camcorder is set to VCR mode.
V Your external NTSC or PAL monitor is displaying an orange frame with the message “Video card not supported for RT Effects, it may have insufficient video memory or be an unsupported type.” Â Make sure the monitor displaying the Viewer and Canvas is connected to a video graphics card that’s compatible with Final Cut Pro. The audio is not in sync with the video, or you’re experiencing dropped frames in your video. Many audio sync issues stem from dropped frames on capture or output.
 Another source of dropped frames on capture or playback may be fragmented hard disks. In general, it’s preferable to capture to disks that are specifically reserved for video. To avoid fragmentation, you should avoid filling up your disks with numerous files unrelated to the projects you’re working on. If you’re editing a long project where some clips are captured, others are deleted, and then more are captured, and so on, even the cleanest storage volume may become fragmented.
V After editing to tape, you don’t see the material you edited when you play back the tape. Â The Edit to Tape command requires that the sequence or clip you’re outputting be opened in the Viewer before you click the Insert or Assemble edit buttons in the Edit to Tape window. For more information, see Chapter 14, “Assemble and Insert Editing Using Edit to Tape,” on page 197. An error message appears during capture reporting a “Break in the Timecode.
DV video clips look fuzzy on the computer’s monitor. Â Older Power Mac G4 computers cannot process and properly play back DV in real time when playback quality is set to High. As a result, these computers display DV video at a lower resolution in order to maintain the full frame rate of playback for DV clips. This lower resolution results in a softer image, but no information is lost. You can see this when the picture is stopped.
V Problems with Audio Quality If you experience the following issues with audio quality, try these solutions. You don’t hear audio through your camcorder speakers. Â Make sure your cables are properly connected. Â If you are scrubbing audio in the Audio tab of the Viewer, increase the volume of the computer’s audio output. You don’t hear audio on your computer’s speakers when playing video from your camcorder or deck. Â Make sure the speaker’s cables are properly connected.
Other Issues If you experience the following issues, try these solutions. Final Cut Pro seems to be working slowly. Â The amount of memory available to Final Cut Pro can make a big difference in performance, especially with long projects. More RAM is also needed for software-based real-time effects and long projects. You may not have enough RAM allocated to Final Cut Pro. This can be changed in the Memory & Cache tab of the System Settings window. You cannot import an EDL or batch capture list.
Glossary Glossary 2:2:2:4 pull-down An efficient but low-quality pull-down method, primarily useful for previewing the output of real-time effects on an NTSC monitor. See also pull-down insertion, pull-down pattern. 2:3:2:3 pull-down The most commonly supported pull-down pattern for NTSC devices. This option is ideal for recording to an NTSC device such as standard definition television, an MPEG-2 encoding device, or a high-end finishing system. See also pull-down insertion, pull-down pattern.
16 mm A film format for film and television presentations, which has a 4:3 aspect ratio. 24-bit resolution A bit depth used for high-quality audio playback. 32-bit floating point resolution An extremely high resolution bit depth used for lossless computation of audio or video data. 35 mm A standard motion picture film format. This may be cropped during projection to create widescreen aspect ratios such as 1.66 or 1.85, or filmed and projected anamorphically for an aspect ratio of 2.40.
alignment When working with transitions, refers to whether the transition starts before the edit point, is centered at the edit point, or ends after the edit point. ambience A type of sound. Ambient audio includes background room noise, traffic noise, and atmospheric sound effects. analog A signal that consists of a constantly varying voltage level, called a waveform, that represents video and audio information. Analog signals must be digitized, or captured, for use by Final Cut Pro.
audio channel indicator An icon in the Edit to Tape window that indicates which audio tracks are being output. audio clip A media clip containing audio tracks. audio meter A meter that lets you monitor audio output levels from your computer. You use the audio meters in Final Cut Pro when you capture, mix, and output your program. Audio Mixer A tab in the Tool Bench window. The Audio Mixer is the primary tool in Final Cut Pro for mixing multiple channels of a program’s audio in real time.
batch recapture A process in which you recapture, at a higher resolution, the parts of logged clips that you actually use in your sequences. Helps to conserve disk space. Betacam SP A high-end, standard definition component analog video format. Supports four tracks of analog audio. Betacam SX A standard definition, 8-bit digital videotape recorder format with 10:1 video compression using MPEG-2 compression, and 4:2:2 color sampling. Supports four tracks of audio with 16-bit, 48 kHz audio sampling.
broadcast legal Broadcast facilities have limits on the maximum values of luma and chroma that are allowable for broadcast. If a video exceeds these limits, distortion can appear, resulting in unacceptable transmission quality. You can use the Final Cut Pro video scopes and range-checking options to make sure that the luma and chroma levels you set stay legal. Broadcast Wave Format (BWF) file An extension of the WAVE file format that includes additional metadata such as timecode and production information.
channels When used to describe video, can refer to color channels or alpha channels. Color and transparency information for video and graphics clips is divided into individual channels. Each individual color channel represents one of the three individual primary colors that mix together to represent the final image. Each channel has a bit depth; most graphics and video files are 8 bits per channel, meaning that there are 256 levels of color or transparency for each channel.
color depth The possible range of colors that can be used in a movie or image. There are generally four choices with computer graphics— 8-bit (grayscale), 16-bit, and 24-bit (millions of colors). Higher color depths provide a wider range of colors but require more space for a given image size. Broadcast video is generally 24-bit, with 8 bits of color information per channel. See also channels. colorist A professional who performs color correction.
cutaway shot A shot that is related to the current subject and occurs in the same time frame. For example, an interviewer’s reaction to what is being said in an interview is a cutaway shot. Often, a cutaway shot is used to eliminate an unwanted visual section of another shot. The audio usually remains continuous, helping to make the cutaway less noticeable. data rate The speed at which data can be transferred, often described in megabytes per second (MB/sec.) or megabits per second (Mbps).
Digital-8 A standard definition consumer digital video format that records a DV video signal onto Hi-8-style tapes. Digital Betacam A standard definition digital videotape recorder format with approximately 2:1 video data compression and 4:2:2 color sampling. Supports four tracks of audio with 20-bit, 48 kHz audio sampling. digital full scale The full audio signal range that can be recorded digitally without distortion. Digital-S See D9.
downmixing Also referred to as mixing down, the process used to combine multiple audio channels to a single stereo (or dual mono) pair. drop frame timecode NTSC timecode that skips ahead in time by two frame numbers each minute, except every tenth minute, so that the timecode agrees with the actual elapsed clock time. (Timecode numbers are skipped, but actual video frames are not skipped.) This skipping corrects for NTSC’s actual frame rate of 29.97 fps.
DVCPRO HD A high definition video format that records an 8-bit compressed component video signal with 4:2:2 color sampling. Both 720p and 1080i are supported. Includes up to eight tracks of audio with 16-bit, 48 kHz audio sampling. Recorded using 1/4 inch tape. The total data rate is 100 Mbps. DVD A disc that is the size of a CD, but that uses higher density storage methods to significantly increase its capacity.
favorite A customized effect that is used frequently. You can create favorites from most of the effects in Final Cut Pro. field Half of an interlaced video frame consisting of the odd or the even scan lines. Alternating video fields are drawn every 1/60th of a second in NTSC video to create the perceived 30 fps video. There are two fields for every frame, an upper field and a lower field. filters Effects you can apply to video or audio clip items.
frequency The number of times a sound or signal vibrates each second, measured in cycles per second, or hertz (Hz). Audio recordings are made up of a vast collection of waveforms, using many different frequencies of sound. Each frequency in a recording is associated with an audio pitch. For example, the note generated by each key of a piano has a specific frequency. gain The amount an audio or video signal is boosted. In video, this increases the white level; in audio, this increases the volume.
headroom The available range in decibels (dB) that falls in between the reference level that is used to denote the average loudness of a mix and 0 dBFS. If you mix your project with the reference level set to –12 dBFS, you have 12 dB of headroom available before the signal is clipped. If the audio in a sequence has a wide dynamic range, you set the reference level low enough to create enough headroom so that no part of the signal goes above 0 dBFS. Hi8 An analog videotape format.
jog To move forward or backward through video or audio one frame at a time. jog control A control at the bottom of the Viewer, Canvas, and Log and Capture window that allows you to move forward or backward through audio or video as slowly as one frame at a time. Useful for carefully locating a specific frame. JPEG A popular image file format that lets you create highly compressed graphics files. The amount of compression used can be varied. Less compression results in a higher quality image.
linked clip A clip item that is connected to one or more other clip items, so that when you select it you also select the associated clips. You link clip items to keep them in sync with one another. linked selection An option in the Timeline that, when enabled, selects all clip items linked to the item you select. When linked selection is turned off, linked items are not selected and edited as if they are linked, but the items remain linked together.
markers In Final Cut Pro, points of reference in clips and sequences. Markers can be placed directly in clips, or they can be placed in sequences in the Timeline ruler. mask An image or clip used to define areas of transparency in another clip. Similar to an alpha channel. master clip A clip which controls the relationship to a media file for all other affiliated clips in your project.
mixed-format sequence A sequence containing clips whose media files don’t match the sequence format. mixer automation The process of using the Audio Mixer or a control surface to record audio level and pan keyframes. mixing The process of adjusting the volume levels of all audio clips in an edited sequence, including the production audio, music, sound effects, voiceovers, and additional background ambience, to turn all of these sounds into a harmonious whole. mono Short for monophonic.
nonlinear editing A video editing method in which edits within a program can be changed at any time without having to re-create the entire program. When you use a nonlinear editing application to edit a program, all footage used is stored on a hard disk rather than on tape. This allows random access to all video, audio, and images as you edit. Compare with linear editing.
overscan The part of the video frame that cannot be seen on a TV or video monitor. Broadcast video is an overscan medium, meaning that the recorded frame size is larger than the viewable areas on a video monitor. The overscan part of the picture is usually hidden behind the plastic bezel on the edge of a television set. While you are editing, you can use the action safe area to indicate the approximate portion of a frame that is hidden because of overscanning.
pixel aspect ratio The width-to-height ratio for the pixels that compose an image. Pixels on computer screens and in high definition video signals are square (1:1 ratio). Pixels in standard definition digital video signals are non-square. playhead A navigational element in the Viewer and Canvas scrubber bar and in the Timeline. It corresponds to the frame displayed in the Canvas and the Viewer. You drag the playhead to navigate through a sequence.
QuickView tab Provides an alternate way of viewing effects in a sequence outside of the Canvas as you work. It takes advantage of the ability of Final Cut Pro to cache frames of your sequence as you play it. This is useful for fast previews of complex composites and effects. It’s also a good way to see how your final composite looks if you are zoomed in to the Canvas while making adjustments.
render status bars Two slim horizontal bars, at the top of the Timeline, that indicate which parts of the sequence need to be rendered. The top bar is for video and the bottom for audio. Different colors indicate the render or real-time playback status of a given section of the Timeline.
rotoscoping The process of manipulating or painting on individual frames. Usually used to describe the act of tracing, frame by frame, a foreground element to be isolated from the background of the frame. rough edit The first editing pass. The rough cut is an early version of a movie that pulls together its basic elements. Often, a rough edit is performed prior to adding transitions, filters, and other effects.
Scrub Video tool A tool used to change the thumbnail of a clip displayed when the Browser is in icon view. SECAM (Sequential Couleur Avec Memoire) The French television standard for playback. Similar to PAL, the playback rate is 25 fps and the frame size is 720 x 576. sequence An arranged series of video, audio, and graphics clips, edit information, and effects edited together to create a program. A sequence can contain your entire edited program or be limited to a single scene.
slate A small board shot at the beginning of a scene, which identifies the scene with basic production information such as the take, date, and scene number. The slate may also contain a chip chart to aid in color correcting the scene. A clapper provides an audiovisual cue for synchronization of dual system recordings. slide edit An edit in which an entire clip is moved, along with the edit points on its left and right.
sound recordist The individual on a film or video crew responsible for setting up the audio recording equipment, and for setting the levels and managing the audio recording during a shoot. Soundtrack Pro Audio File Project Also called a .stap file. This is the native file format used by the Soundtrack Pro File Editor. Data is actually stored in a special Mac OS X format called a package (or bundle).
stereo, stereo pair Short for stereophonic, in which audio contains two different channels. Stereo pairs are linked and are always edited together. Audio level changes are automatically made to both channels at the same time. A pair of audio items may have their stereo pairing enabled or disabled at any time. Compare with mono. storyboard A series of pictures that summarizes the content, action, and flow of a proposed project.
sweetening The process of creating a high-quality sound mix by polishing sound levels, rerecording bad sections of dialogue, and recording and adding narration, music, and sound effects. sync The relationship between the image of a sound being made in a video clip (for example, a person talking) and the corresponding sound in an audio clip. Maintaining audio sync is critical when editing dialogue.
timecode A signal recorded with your video that uniquely identifies each frame on tape. The SMPTE format for timecode is hours: minutes: seconds: frames. timecode gap An area of tape with no timecode at all. Timecode gaps usually signify the end of all recorded material on a tape, but timecode gaps may occur due to user error, such as fast-forwarding too far past a section of previously recorded material and recording additional footage.
track strips In the Audio Mixer, each audio track in the currently selected sequence is represented by a track strip, complete with solo and mute buttons, a stereo panning slider, and a volume fader. Track Visibility control A control at the very beginning of each track that you click to enable or disable a track. Disabled tracks don’t play in the Canvas or on an external monitor, nor will they be rendered or output to tape.
View buttons Use to switch among three different views of the Audio Mixer. Each view has its own set of hidden and displayed track strips. Vectorscope A window in Final Cut Pro that graphically displays the color components of a video signal, precisely showing the range of colors in a video signal and measuring their intensity and hue.
VITC Stands for vertical interval timecode. Timecode that is written into the video signal on the source tapes as they’re being recorded. You can view this timecode as a series of changing, flickering white dots and line segments in one of the scan lines above the active picture on a monitor in underscan or pulse-cross modes. When viewed normally, the line containing the timecode is off the top of the screen.
window burn Visual timecode or keycode information superimposed onto video frames. It usually appears on a strip at the bottom or top of the frame, providing timecode information to the editor without obscuring important details of the picture. wipe A transition in which a geometric or grayscale gradient is used to transition between two different clips. wipe pattern One of several standard SMPTE wipe transitions recognized by EDLs.
Y´CBCR The color space in which many digital video formats store data. Three components are stored for each pixel—one for luma (Y) and two for color information (CB for the blue difference signal and CR for the red difference signal). Also referred to as YUV. YUV See Y´CBCR. zebra stripes Animated diagonal “marching lines” that are superimposed over areas of an image that are very near or exceed the broadcast-legal limits. Zebra stripes are enabled when you use the Final Cut Pro range-checking options.
"Mirror on desktop" option I-224 "monitor out" outputs I-310 % of Blur setting III-260 1/4" tip-ring-sleeve connectors I-193 1/4" tip-sleeve connectors I-193 1/8" mini connectors I-192 2:2:2:4 pull-down III-630, IV-421, IV-445 2:3:2:3 pull-down III-630, IV-445 2:3:3:2 pull-down III-630, IV-445 3/4" U-matic IV-188 3:2 pull-down III-630, IV-445 3D simulation transitions II-389 3G format IV-246 3GPP and 3GPP2 devices IV-246 3-point editing.
AES/EBU digital audio channels I-198 affiliate clips I-57 copied clips and II-415 creating IV-47, IV-50 described II-78, IV-33 locating masters IV-49 master clips and IV-15 match frame commands II-283 Media Manager and IV-101 multiclips and II-281–II-282 properties II-84, IV-47 sequence clips and II-430–II-433 Source property IV-48 subclips and II-38 updating older projects and IV-27 After Effects filters III-240, IV-29 After Effects transitions II-393 AGP graphics cards I-226 AIFC format I-315, IV-235 .
capturing IV-340 described IV-447 editing IV-432 exporting to QuickTime IV-434 recording IV-430 rendering IV-434 viewing IV-432 anchor items II-217, II-223, II-225, IV-447 anchor points III-258, IV-447 Angle control IV-447 Angle property II-245, II-246, IV-37 angles I-260 active angles II-262, II-270 adding to multiclips II-264–II-267 angle numbers II-243, II-245, II-246, II-263 audio-only II-262 in Browser II-260 collapsing and expanding II-281 deleting II-264 described II-241 drop shadows III-259 filters
channels IV-139, IV-368–IV-369 clipped I-302, I-304, III-63 clips.
boundaries II-211 capturing I-295–I-308 clip names I-249, I-251, I-259–I-261, I-273 color-coding II-206 controls I-127 copying I-57 copying and pasting II-196–II-199 copying to other sequences II-411, II-412–II-415 currently-selected II-172 cutting II-207–II-209 deleting I-58 described I-28, II-78, IV-32, IV-448 deselecting II-178 displaying in Transition Editor II-402 dragging to Browser II-298 dragging to Timeline II-127, II-137–II-143 duration II-104, II-211, II-351, II-407 editing II-165–II-166, II-292–
syncing.
recording settings III-93–III-96 reference tones III-68 settings I-243, III-62–III-68 subframe III-130 track meters III-74 Audio Levels setting IV-139 audio mapping IV-139, IV-351 Audio Mapping setting IV-139, IV-351 audio meters I-44, I-298, IV-448 analog III-58 clipping indicators III-61, III-76 decibels III-23, III-24 digital III-58 floating audio meters III-61 Master meter III-76 overview III-60–III-62 types of III-60–III-62 Audio Mixer III-81–III-100, IV-448 controls III-70–III-78 controls unavailable
DVD tracks IV-272 editing to tape operations IV-203 empty IV-257, IV-265 exporting AIFF files III-185–III-194 exporting downmixes III-192 exporting individual files III-189 exporting OMF files III-195–III-198 finding items in II-184 gaps in II-202, II-203–II-205 height II-302 inserting sync beeps in III-186–III-188 invisible tracks II-129–II-130, IV-313 labels I-126, III-68 layouts II-133 level meters III-74 linking mono tracks II-229 locked tracks II-126, II-128–II-129, II-343 locking I-116, IV-264 looping
averaging meters IV-448 Avid EDLs with 24-tracks IV-143 Avid systems IV-65 AVI format I-315, IV-232, IV-246, IV-264–IV-266, IV-448 axis IV-448 AX reel name IV-131 B background clips III-263 background modes III-275 background noise II-287, II-310, III-181 backgrounds I-86 backgrounds clips III-417 background screens, keying and III-424–III-426 backing up items I-286 backing up projects II-76–II-77 archiving IV-23–IV-24 autosave feature IV-20–IV-22 consolidating files IV-119 Revert Project command and IV-19
opened in separate window IV-35 opening II-17, II-18 renaming I-58 searching II-28–II-30 selecting IV-298 selecting items for Media Manager IV-90 sorting II-27–II-28 bit depth audio capture I-303, IV-346 audio interfaces I-189 capture presets IV-345 consumer audio I-199 digital audio III-29 exported audio III-194 imported audio files I-323 imported graphics III-370 imported video files I-320 settings III-39 still images IV-286 video formats IV-376, IV-390 bitmap files IV-234 bits per second IV-351 black abs
icons in IV-35–IV-36 icon view I-67–I-71 illustrated I-44 importing items in I-315–I-319 list view I-62–I-66 logging in I-237, I-238 markers in II-57 media management and IV-14 modifying timecode in II-448 moving and resizing window I-141 multiclips in II-260 navigating in I-57 opening clips in II-292 opening projects in I-34 organizing clips in II-138–II-139 overview I-53 poster frames I-70 renaming items in I-58 resizing text labels I-141 saving a custom layout in I-71 saving projects I-33 screen text siz
split edits in II-232 switching to Timeline or Viewer II-429 synchronizing playhead with Viewer II-434–II-437 tabs I-49, I-90 timecode overlays I-109 Timeline and I-111 two-up display in II-405 “Unrendered” message III-648 using timecode in I-107–I-110 View pop-up menu I-85, I-98 wireframe handles III-278–III-285 wireframe modes III-274–III-276 zoom controls III-277–III-278 Zoom pop-up menu I-98 Canvas Edit Overlay II-423 capstans IV-200 Capture Batch button I-244, I-275 capture buttons I-239 capture cards.
audio alert messages III-39 audio channel 1 IV-450 audio channel 2 IV-450 bit depth and IV-390 capture presets IV-346 channel filters III-242 channel strips III-72 DV devices and I-301 meters I-298 mono and stereo audio I-264 multichannel audio capture I-199, I-296, IV-346 number of III-39 selecting for capture I-297 shortcut menu III-71 Channels option IV-257 chapter markers II-55, II-60, II-62, IV-243, IV-269, IV-273, IV-274 chapter tracks (QuickTime movies) IV-274 Character Generator (CG) IV-450 checkerb
currently selected clips II-172 cutting II-207–II-209 deleting from projects I-58 described I-28, IV-451 deselecting II-178 disabling audio/video tracks in III-419–III-420 displaying in Transition Editor II-402 distorting shape III-280 dragging to Timeline II-127, II-137–II-143 duplicate frames I-132 duplicate names I-273 duration II-104, II-211, II-351, II-407, III-378 DV video and fuzziness IV-442 editing III-411 editing into sequences II-165–II-166 editing multiple clips II-138–II-139 in EDLs IV-130, IV-
shown in Timeline III-419 shuttling through I-103–I-104 sliding II-318–II-320 sliding frames to new times III-356 slipping II-369 snapping to points II-189–II-190 sorting II-27–II-28, II-97 source tapes I-36 speed adjustments IV-101 speed of IV-477 speed settings I-121, III-337–III-363 start and end timecode II-84 subclips I-35, I-283–I-285, I-288 subclips. See subclips synced clip items I-110 synthesized.
color calibration broadcast monitors III-541–III-544 color conversions III-664 color correction I-220, IV-65, IV-451 basic steps III-558–III-560 broadcast safe correction III-526–III-530 chip charts III-548 comparing colors III-594 comparing two clips III-552 desaturation filters III-610–III-612 described III-545–III-547 during filming III-547 examples of III-574–III-578, III-583–III-596, III-599– III-602, III-606–III-610, III-612 keying process and III-429 Match Hue controls III-597–III-602 post-production
Composite property IV-38 Composite recording method IV-388 Composite video capture interfaces I-186 inputs I-200 outputs I-219 Composite video signals I-178, IV-379, IV-452 compositing IV-452 Chroma Keyer filter and III-427 composite modes III-387, III-393–III-406 described III-387 examples III-263–III-273 Photoshop files and III-407 strategies III-387–III-392 using external editing applications III-407 Y´CbCr/RGB color space and III-664 compositing modes Add III-397 Lighten III-404 Normal III-397 Overlay I
“Copy From” rule III-567 copying archive files IV-119 audio filters III-165 clip attributes III-261 clips II-123, II-196–II-199, II-412–II-415 clips in Browser I-57 color correction settings III-564 Easy Setups IV-334 limiting, in Media Manager IV-101 low-resolution duplication IV-114 master clips IV-49 portions of sequences IV-112 project files IV-88 sequences II-87, IV-89 sequences to new projects IV-111 shortcut buttons I-156 transitions II-381, II-403 in Media Manager IV-93 copyright issues I-328 “Copy
dB. See decibel dBFS units III-24, III-58 dBm units III-24 dBu units III-24 dBv units III-24 DCT encoding IV-393 deacceleration in time graph III-361 “dead” rooms III-55 decibels III-18, III-22, III-23, III-62–III-68 decibels (dB) IV-453 decibel units III-24 decks.
serial devices IV-356 troubleshooting IV-360 Device Control Presets tab IV-350 device control protocols IV-351 devices external monitors and IV-221 mini-DV devices. See mini-DV devices non-controllable IV-360 presets IV-324 protocols supported IV-354 settings IV-192, IV-194, IV-209 status of IV-202 devices.
drives.
DVD Studio Pro II-60 converting movies IV-268 exporting items for IV-276 markers IV-243 DVD-Video compliant formats IV-268 DV formats audio channels I-301 black levels III-535–III-536 creating subclips I-283–I-285 data transfer rates I-208, I-210 DV format IV-399, IV-455 equipment setup I-162 external monitoring I-221 Final Cut Pro support I-22 FireWire DV interface and I-175 format choices IV-188 fuzziness in clips IV-442 lines per frame IV-384 list of formats IV-399 output requirements IV-189 sequence pre
match cuts II-335 match frame editing IV-462 media management and IV-15 montages II-241 Multiclip Playback mode II-276–II-278 multiclips II-244, II-269, II-277 multiple clips II-138–II-139 non–Final Cut Pro systems IV-65 nonlinear and nondestructive I-21 nonlinear editing IV-18, IV-464 offline/online editing IV-18, IV-57–IV-59, IV-464 overwrite editing IV-465 overwrite edits II-139–II-141, II-148, II-153–II-155, II-414 overwrite with transition edits II-149, II-154– II-155, II-375 performing II-237–II-240 p
incorrect timecode in IV-441 Key Level and III-418 Key tracks and III-418 limitations IV-141, IV-144 master clips and IV-47, IV-143 master tape settings IV-139 multiclips and II-244 multiple III-199 nested sequences and II-417, IV-150 notes in IV-133, IV-139 opening IV-140 problems importing IV-444 reading information in IV-130 recapturing clips from IV-143 reel conflicts IV-137 reel names and I-250 reel names in IV-16 reviewing IV-140 RT-11 disk access IV-140 speed settings and IV-150 still frames and IV-1
EDLs IV-134, IV-150, IV-151–IV-152 frames as still images III-367 image sequences IV-287–IV-289 markers as text tracks II-69 multiclips II-244 multiple AIFF files III-193 multitrack projects to Final Cut Pro III-209 nested sequences and II-417 problems with still images III-368 QuickTime audio formats IV-247 QuickTime-compatible movies IV-245–IV-247 QuickTime movies IV-235–IV-236, IV-237–IV-241, IV-245–IV-260 QuickTime movies for iDVD IV-276 reference movies IV-238 sequences IV-275 sequences as batch lists
filenames importance of IV-15 Media Manager settings IV-97 files See also media files See also QuickTime movie files, names of specific file formats autosave files II-77 cache files IV-320 extensions for IV-296 importing I-315–I-319 naming I-37–I-38, I-251, I-283 offline files IV-74–IV-76 project files II-76 reducing size IV-257 render files II-408 saving IV-307 XML files II-244 film I-235 frame rate IV-409 history of IV-401–IV-403 film cameras IV-406 film lists edge code and IV-181 exporting IV-179–IV-181
Find All command II-30, II-31 Find command II-31, II-32, II-183, IV-14 Find Edges filter III-251 Finder (Mac OS X) effective media management and IV-14 Media Manager processes and IV-109 reconnecting files and IV-83 finding items in Browser II-31–II-34 commands for II-30 gaps in sequences II-202–II-205 media files II-83 offline clips IV-81 options II-28–II-30 in sequences II-183–II-184 settings IV-318 in Timeline II-183–II-184 unused clips II-32 Find Next command II-30, II-31, II-184 Find Results window II-
Easy Setups and IV-61 editing timebase IV-361, IV-371 EDL export considerations and IV-147 flicker and IV-406–IV-407 imported files I-320 limiting IV-407–IV-408 OfflineRT format IV-61 QuickTime files IV-231 real-time effects and III-629 recaptured clips I-278 rendering and III-661 sequence presets IV-363 sequence settings IV-367 understanding IV-405–IV-406 video formats IV-375, IV-385 XML elements for IV-158 Frame Rate setting for device control IV-352 frame remapping III-346 frames blending III-342, III-34
“gearing down” II-193, II-344, IV-458 general preferences II-73 General tab II-73, IV-304 generator clips adding to a sequence III-447–III-454 creating III-453 described I-74, IV-458 dragging to clip controls III-230 fonts and III-472–III-476 included with Final Cut Pro III-474–III-476 keyframe controls III-291 selecting I-88 settings I-79 text generators III-471, III-474–III-476 titling generators III-474–III-476 Y´CbCr color space and IV-29 Generator pop-up menu I-76, I-88 generators.
sustained transfer speed I-213 types of I-213–I-217 hard disk space deleting items and IV-95 Media Manager summary IV-91 hard drives. See hard disks hard recording method IV-198, IV-220 hardware See also video equipment installation settings IV-324 third-party hardware IV-444 hardware.
batch lists I-237, I-312 vs.
presets IV-336 Institute of Radio Engineers (IRE) IV-459 instrument levels I-196 “Insufficient content for edit” message II-110, II-157, II-355 intensity amplitude III-18 measuring III-22 in Vectorscope III-515 interchange formats. See project interchange formats interface cards.
zooming I-118, I-134, I-137–I-138 zooming in and out of waveforms II-295 key button III-605 key edits IV-132 key events IV-136 key filters.
L Label 2 property II-24, IV-39, IV-45 Label property II-24, IV-39, IV-45 labels IV-315, IV-460 audio levels III-68 audiotape III-68 audio tracks I-126 clips II-23–II-26 color-coding II-23, II-206 customizing II-26 defaults II-23 names II-23–II-28 preferences II-24–II-26 reels I-249 sorting clips by II-26 tapes I-250 in Timeline I-121 Labels tab II-26, IV-315 languages I-154 Last Modified property IV-40, IV-46 latency I-228, I-230 layered clips composite mode settings and III-394 motion settings III-263 pos
LiveType freeze frame of project III-367 opening clips in III-481 using with Final Cut Pro III-480–III-482 LiveType titles III-480 loading keyboard shortcut layouts I-146, I-153 window layouts I-146 Load option IV-253 Load Sequence Preset button IV-371 locked bin icon IV-36 locked items pen tools and IV-314 presets IV-329 tracks IV-461 Locked option IV-264 locked tracks II-128–II-129, II-204, II-276, II-343 locking items keyboard shortcut layouts I-147 playheads in multiple windows I-87 Lock Track control I
Luma Key filter III-247 luma keying III-422, III-424, III-430 luminance. See also luma luminance gain III-535 Luminance Map transition II-390, IV-151 M M+ pointer IV-50 Mackie control surface III-101 Mac OS, version of IV-439, IV-444 Mac OS X showing and positioning the Dock I-51 Mac OS X Core Audio I-189 MacPaint format I-316, IV-234 macroblocks IV-384 Macromedia Flash format I-315 magnetic tape characteristics IV-376 magnifying views.
match frame commands II-283 Media Manager settings IV-96, IV-101 multiclips and II-281–II-282 properties II-84, IV-45 sequence clips and II-430–II-433 Source property IV-48 subclips and II-35, II-38 updating older projects and IV-27 Master Comment properties IV-40, IV-45 Master fader controls III-76, III-88 Master Gain control I-298 Mastering mode IV-202, IV-211, IV-213, IV-214, IV-462 Mastering Settings tab IV-201, IV-205 Master mute button III-75 Master property IV-40 master shots III-559, IV-462 master t
timecode tracks II-447 “Media limit” message II-355 media management See also Media Manager critical techniques IV-15 described IV-13–IV-14 independent sequence clips and II-433 reasons for using IV-14 steps IV-15–IV-16 strategies IV-16–IV-18 subclips and II-42 Media Manager I-294 angles and II-244 deleting items IV-98–IV-99 effective media management and IV-14 examples of processes IV-109–IV-120 independent clips and IV-100 limiting copies and deletions IV-101 multiclips in II-284 opening IV-91 overview IV
modem adapters I-202 Mode pop-up menu IV-202 modifier keys I-149 Modify Timecode dialog II-447–II-448, IV-36 “monitor out” outputs IV-358 monitors 4:3 monitors IV-434 audio III-50–III-53, III-55 calibrating III-541 Digital Cinema Desktop Preview feature I-226– I-228 external video monitors I-173 levels III-52 problems with IV-438, IV-442 real-time effects and III-629 record monitors IV-467 refresh rates and IV-439 resolution I-145 source monitors IV-472 standard definition (SD) III-373 mono audio IV-463 lin
Browser columns I-62 clips III-261, III-279 frames to new time slots III-354, III-356 In and Out points II-116 media files into one location IV-117 in Media Manager IV-93 playhead in Timeline II-352 to scratch disks IV-88 shortcut buttons I-156 sliding clips II-318 split edit points II-235 transitions II-380 windows I-50, I-141 MP3 format IV-228, IV-235, IV-272 MPEG-1 format IV-269, IV-397 MPEG-1 Layer 2 audio IV-272 MPEG-1 Layer 3 audio.
multiclips II-260 problems reading in Browser I-141 reel names I-250 reels IV-16 sequence presets IV-362 transitions II-387 window layouts I-145 names of audio tracks III-71, III-72 narration. See voiceover narratives I-251 National Television Systems Committee format.
Offline Clip icon IV-35 offline clips II-79, II-284, IV-72, IV-464 audio clips I-327 breaking links to IV-74–IV-76 capturing I-275 described I-36, IV-72, IV-464 finding IV-81 illustrated IV-74 logging and I-310 media management and IV-16 moving and I-37 offline/online workflows IV-17 reconnecting IV-76–IV-83 renaming files and I-58 Offline Files window IV-83–IV-84 Offline Items in Logging Bin option I-275 offline media files described IV-72 ignoring IV-84 missing files and IV-76 recapturing at full resoluti
MIDI connections III-103 output in post-production process I-20 output process anamorphic video IV-434 Edit to Tape command IV-190 media management and IV-16 online editing workflow and IV-65 output described IV-464 playback settings IV-193 Print to Video command IV-190 recording from Timeline IV-191 output requirements Betacam SP output IV-189 Digital Betacam IV-189 DV output IV-189 VHS output IV-189 Outputs pop-up menu IV-369 Out Shift indicator II-363 Oval Iris transition IV-151 Oval transition II-390 ov
parameters. See motion parameters, threshold parameter, etc.
voiceover controls III-142 Playback Control tab I-230, III-622, IV-320 playback drops.
device control presets. See device control presets differing video rates and timecode II-450 displaying summary of IV-325 editing IV-331 installing IV-336 locked IV-329 obtaining additional IV-336 online editing and IV-64 overview IV-324–IV-325 rendering settings III-663 sequence presets II-73, II-85, III-659–III-667 sequence presets.
transferring sequences IV-89 types of clips II-78–II-80 undoing changes in I-52, II-94 updating earlier versions of IV-24–IV-28 working on multiple workstations IV-17 working with II-74–II-75 Prompt checkbox (Logging tab) I-261 Prompt window (Logging tab) I-251 properties clip properties II-80–II-84 clips IV-36–IV-42 independent clips IV-52 master and affiliate clips IV-33, IV-45, IV-47, IV-52 media files IV-46 project properties II-75 start and end timecode II-84 properties in Browser columns I-59 Property
Rate option for timecode II-448 Ratio slider III-158, III-159 raw data IV-467 raw previewing mode I-228 Razor Blade All tool II-209 razor blade edits IV-467 Razor Blade tool II-208 RCA connectors I-178, I-188, I-192 readability of fonts III-472 real-time audio filter adjustments III-169 mixing III-68, III-634–III-636 real-time audio mixing III-634, IV-305, IV-439 Real-time Audio Mixing field III-635 real-time editing II-273, II-276–II-278 real-time effects I-214, IV-467 codecs III-638 dynamic real-time play
relative volume adjustments III-114 Release time control III-158, III-159 Relink dialog IV-109 remap keyframes III-346, III-348 removable media I-209, I-319 removable media drives I-209 Remove Attributes dialog III-99, III-330 Remove Subclip Limits command II-38 removing. See deleting items removing items.
resizing items Browser columns I-62 windows I-141 resizing items.
RTP Payload Encodings option IV-260 ruler IV-469 positioning playhead with I-133 in Timeline I-117 in Transition Editor II-398 in Viewer II-291 run-length encoding IV-392 S S/PDIF digital audio I-188, I-199 Safe RT mode III-625, III-629 sample clocks I-307 sample rate conversion IV-306 Sample Rate options III-198 sample rates III-198, IV-258, IV-264 audio interfaces I-189 audio-only capturing IV-347 capture presets IV-346 consumer audio I-199 conversion I-323, IV-306 digital audio III-29 DVD audio IV-272 e
Scrolling Text generator III-475 scrolling through clips III-302 scrolling through sequences I-138 scrubber bar I-76, I-80, I-91, I-95, I-102, II-291, II-294, II-361, III-641, IV-469 scrubbing IV-320, IV-469 audio scrubbing II-297 in clips I-67–I-68, I-102 in sequences in Timeline I-133 in thumbnails I-65 turning off II-297 Scrub tool (for multiclip angles) II-267 Scrub Video tool I-68, IV-470 SCSI cables I-215 SCSI disk drives I-215 SCSI interface cards I-215 SD (Standard Definition) video IV-384 SD (stand
deleting transitions from II-382 described I-29, II-80, IV-34, IV-470 dragging between projects II-88 duplicating II-87, III-186 editing clips into II-165–II-166, II-422–II-426 editing keyboard shortcuts II-425 editing timebase IV-361 exporting IV-275, IV-287–IV-289 exporting 16:9 anamorphic video IV-435, IV-436 exporting as batch lists I-312 exporting as EDLs IV-134 exporting as QuickTime movies IV-236, IV-237– IV-241 exporting audio from IV-235 exporting for DVDs IV-267 frame rates IV-361 gaps in II-167–I
external editors IV-321 external monitors I-222–I-225 filters I-78 Filters tab III-224–III-226 frame offsets I-230 generators I-79 image sequences IV-287–IV-289 imported video I-320 Internet streaming IV-259–IV-260 keyframing III-291–III-301 labels II-23–II-26 memory and cache IV-319–IV-320 motion I-78, III-256–III-273, III-282–III-285 OMF audio III-197 paste attributes III-232 playback quality IV-320 presets IV-329 QuickTime IV-249–IV-260 QuickTime sound IV-257–IV-258 QuickTime video IV-249–IV-257 renderin
smoothing keyframes III-307, III-310 Smooth Point tool II-129 SMPTE (Society of Motion Picture and Television Engineers) organization IV-471 SMPTE standard timecode II-439 SMPTE timecode I-25, IV-354 SMPTE wipe pattern II-380 snapping moving clips with snap points II-66 playhead to markers II-63 in scrubber bar I-95 in Timeline I-121, II-189–II-190 trimming and II-343 turning on/off II-190 in Viewer I-80 Snapping button II-190, II-343, IV-471 snapping playheads IV-471 Society of Motion Picture and Televisio
quality III-53 self-powered III-54 television speakers III-67 volume settings III-53 special characters in clip names IV-17 special characters in filenames I-38 special effects IV-223, IV-472 speed of clips IV-477 speed, processing rendering and III-645 scratch disks and III-625 Speed dialog III-344 speed effects III-196 speed indicator area III-349 speed indicators I-121, I-129, III-168, III-323, III-350– III-353, IV-472 speed of clips clip duration and III-338 constant speed III-341, III-344 copying setti
separating II-307 settings III-116 waveforms II-294 stereo pan III-73, III-133–III-135, III-188 stereo systems I-221 Still/Freeze Duration field IV-310 Still Cache III-632 still cache settings IV-320 still frames.
Swing transition II-389, IV-151 switching angles II-270–II-272, II-280 symbols in filenames I-38 sync beeps III-186–III-188 sync color coding I-109, I-110 “Synchronize using” pop-up menu II-247 synchronizing angles in multiclips II-247 music II-308 playhead in windows II-434–II-437 video and audio.
poster frames I-70 scrubbing through I-65, IV-320 thumb tabs I-117, IV-474 .
timecode gaps I-293 types of I-291 Timecode Duration field I-76, I-92, I-106, I-240, IV-202 Timecode field II-448 Timecode Generator filter II-452 Timecode Insert control IV-203 timecode numbers II-439 Timecode Rate pop-up IV-363 Timecode Reader filter II-452 Timecode Synchronization pop-up menu II-253 Time Display option II-75 Time Display pop-up menu II-444 Time Graph III-359, III-362 Time Graph Output parameter III-363 time lapse photography IV-405 time-lapse photography IV-408 Timeline Audio Controls bu
Track Height controls II-132, II-302 transitions in II-373, II-374, II-382–II-384, II-403, II-403–II-404 transparency effects III-390–III-418 trimming clips in II-342, II-347–II-348 unused area I-117 variable speed settings III-348 working with Canvas and I-113 zoom controls I-118 zooming view of I-118, I-134–I-136, II-296, II-303 Timeline Options tab I-124–I-129, II-449, IV-315, IV-366 Time Mode pop-up menu II-75 Time Remap attribute III-346 Time remapping III-363 time remapping IV-475 adjusting keyframes
moving clips between II-191 music III-185 names II-304 number of I-125 offsets II-143 pasting clips onto II-196–II-199 QuickTime files IV-229, IV-231 resizing in Timeline II-131–II-132 ripple edits on multiple tracks II-332 scrolling through I-139 scrolling vertically through II-133–II-135 selecting II-174, II-180–II-182, II-185–II-188 selecting all clips on II-180 selecting for capture I-263–I-265 selecting items forward or backward II-181 selection tools II-180–II-182 separation II-143 in sequences II-85
trim edits See also trimming clips with transitions II-384 controls II-343–II-344 dynamic trimming II-358, II-365 performing II-347–II-348, II-364–II-368 selecting edits and clips II-344–II-346 using timecode II-354 windows II-342 Trim Edit window II-357–II-368, II-369, IV-313, IV-476 closing II-360 controls II-360–II-364, II-368 described II-357 keyboard shortcuts II-365 opening II-359 playing audio II-369–II-370 reviewing edits in II-368 slipping clips in II-369 trim edits in II-342, II-365–II-368 using I
unbalanced audio cables I-198 Uncompressed 4:2:2 formats III-638 uncompressed AIFF format IV-272 uncompressed digital video data rates I-208 transfer rates I-210 uncompressed high definition tape formats IV-401 uncompressed standard definition video format IV-401 uncompressed video IV-188, IV-233, IV-393 underscan video IV-476 Undo command I-51, II-73, II-94, III-675, IV-305 unknown codecs IV-27 Unlimited RT mode III-676 unlinking linked items II-220 “unrendered” message III-648 Unsharp Mask filter III-250
non-interlaced IV-463 See also progressive video scanning playback IV-442 problems with IV-439–IV-440 quality of I-178 QuickTime-compatible IV-245–IV-247 QuickTime settings IV-249–IV-254, IV-341–IV-343 split edits II-232 standards I-23 stuttering IV-442 superimposed video III-418 syncing with audio. See audio-video sync tape formats I-22–I-25 timecode I-110 tracks. See video tracks uncompressed I-208, IV-233 video artifacts.
master clips. See master clips matching audio for I-82, I-97 media files and I-35–I-37, I-286 media files for II-28, II-83 merged clips I-35 merged clips. See merged clips modifying timecode in II-446–II-449 motion parameters III-256 motion paths for III-311 moving II-66, II-190–II-193, II-351, II-353 moving playhead I-95 multiclip layouts III-263 multiclips.
external monitors I-219, I-221, II-278 input and output devices I-172 inputs I-162 logging tapes I-310 switching I-205 synchronizing I-200 troubleshooting I-203, IV-438 video signals I-178–I-182 video switchers II-268 warnings I-225 video filter icon IV-36 video filters I-128, II-279, III-241–III-252, IV-144 advantages of III-217 After Effects filters III-240 applying III-218–III-222 categories III-224 copying and pasting into clips III-231–III-232 filter bars III-230 FxPlug plug-ins III-234–III-235 FXScrip
timecode on IV-413 tracks on IV-200 types of IV-376 unique reel names IV-146–IV-147 write-protection tab IV-194 videotape recorders.
audio track placement III-147–III-149, III-151 eliminating microphone pops III-178 handles III-152 memory requirements III-141 multiple takes III-151 recording III-137–III-151 Voice Over tab III-141 Voice Over tool III-137–III-152, IV-478 controls III-141–III-144 defining the destination track III-147–III-149 defining the recording duration III-145–III-146 memory requirements III-141 opening III-141 using to correct for latency III-139, III-143 voiceover tracks III-185 voices III-20, III-154 volume See also
wireframe modes III-274–III-276 handles III-276 Image+Wireframe mode III-274, III-275 Wireframe mode III-274, IV-479 wireframes I-85 Wireframe setting I-85 wireless devices IV-246 word-processing programs I-310 workstations IV-17 Wrap Wipe transition II-393 write-protection tab IV-194 X x and y coordinates IV-479 x axis for keyframes III-347 x coordinates III-228, III-257, III-261–III-262 XLR connectors I-191, I-193, I-198 xmeml (XML DTD) IV-158, IV-479 XML described IV-479 overview IV-153–IV-156 XML Inter
