6
Table Of Contents
- Final Cut Pro User Manual
- Volume I: Interface, Setup, and Input
- Contents
- FinalCutPro6 DocumentationandResources
- PartI: An Introduction toFinalCutPro
- About the Post-Production Workflow
- Video Formats and Timecode
- Understanding Projects, Clips,and Sequences
- PartII: Learning About theFinalCutPro Interface
- Overview of the FinalCutProInterface
- Browser Basics
- Viewer Basics
- Canvas Basics
- Navigating and Using Timecode intheViewerand Canvas
- Timeline Basics
- Customizing the Interface
- PartIII: Setting Up Your EditingSystem
- Connecting DV Video Equipment
- Connecting Professional Videoand Audio Equipment
- Components of a Professional FinalCutPro Editing System
- About Video Interfaces, Signals, and Connectors
- Connecting Professional Video Devices
- About Audio Interfaces, Signals, and Connectors
- Connecting Professional Audio Devices
- Connecting Remote Device Control
- Determining Your Hard Disk Storage Options
- External Video Monitoring
- Using an External Video Monitor While You Edit
- Using Digital Cinema Desktop Preview
- Compensating for Video Latency by Specifying aFrameOffset
- Troubleshooting External Video Monitoring Problems
- PartIV: Logging, Capturing, andImporting
- Overview of Logging andCapturing
- Logging Clips
- The Importance of Logging
- Benefits of Logging
- Preparing to Log
- Monitoring Video and Audio While Logging
- Entering Logging Information and Logging Clips
- Overview of Logging Steps
- Opening the Log and Capture Window
- Inserting a Tape in the VTR
- Setting a Logging Bin to Store Logged Clips
- Entering a Reel Name for the Current Tape
- Setting Clip In and Out Points
- Entering a Clip Name and Other Logging Information
- Adding Markers to Clips While Logging
- Selecting Which Tracks to Capture
- Changing Capture Settings
- Setting Video and Audio Levels for Analog Video
- Logging a Clip
- Logging Media Efficiently
- Avoiding Duplicate Timecode Numbers on a Single Tape
- Additional Sources for Logging Information
- Capturing Your Footage to Disk
- Before You Capture
- Batch Capturing Clips
- Capturing Clips as You Log (Capture Clip)
- Capturing Entire Tapes (Capture Now)
- Capturing Footage Without Device Control
- Capturing Video and Audio Separately
- Recapturing Clips
- Capturing Footage with Timecode Breaks
- Renaming Media Files After Capture
- Using the Media Manager After Capturing
- Capturing Audio
- Working with Batch Lists
- Importing Media Files intoYourProject
- What File Formats Can Be Imported?
- Importing Media Files
- About Importing Video Files
- About Importing Audio Files
- What Kinds of Audio File Formats Can Be Imported?
- Choosing Audio File Sample Rate and Bit Depth
- Choosing Sequence Bit Depth
- Mixing Sample Rates and Using Real-Time Sample Rate Conversion
- Converting Audio Clips to Match Sequence Settings
- Importing Broadcast Wave Files
- How FinalCutPro Calculates Broadcast Wave File Timecode ataVideoRate of 29.97 fps
- Using Audio CD Tracks in Your Project
- Importing Still Images and Graphics
- Importing Numbered Image Sequences
- Volume II: Editing
- Contents
- PartI: Organizing Footage andPreparing to Edit
- Organizing Footage intheBrowser
- Using Bins to Organize Your Clips
- Using Labels to Organize Your Clips
- Sorting Items in the Browser Using Column Headings
- Searching for Clips in the Browser and Finder
- Creating Subclips
- Merging Clips from Dual System Video and Audio
- Using Markers
- Learning About Markers
- Working with Markers
- Viewing Markers in the Viewer or Canvas
- Viewing Markers in the Browser
- Adding Markers in Clips and Sequences
- Deleting Markers in Clips and Sequences
- Navigating with Markers
- Renaming Markers, Adding Comments, andChangingtheKind of Marker
- Moving a Marker
- Aligning Items in the Timeline by Their Markers
- Extending a Marker’s Duration
- Editing Markers into Sequences
- Exporting Markers with Your QuickTime Movies
- Organizing Footage intheBrowser
- PartII: Rough Editing
- Working with Projects, Clips, andSequences
- Specifying Preferences Before You Start Editing
- Working with Projects
- Learning About the Different Types of Clips
- Viewing and Changing the Properties of a Clip
- Creating and Working with Sequences
- The Fundamentals ofAddingClips to a Sequence
- Setting Edit Points forClipsandSequences
- About In and Out Points
- Setting Clip In and Out Points in the Viewer
- Setting Sequence In and Out Points in the Canvas or Timeline
- Navigating to In and Out Points
- Moving In and Out Points
- Clearing In and Out Points
- Working with Tracks intheTimeline
- Drag-to-Timeline Editing
- Three-Point Editing
- Finding and Selecting Content inthe Timeline
- Understanding What’s Currently Selected
- Direct Methods for Selecting Content in a Sequence
- Finding and Selecting Based on Search Criteria
- Selecting a Vertical Range Between In and Out Points
- Using Auto Select to Specify Tracks for Selections
- Arranging Clips in the Timeline
- Cutting Clips andAdjustingDurations
- Linking and Editing VideoandAudio in Sync
- Linked Sync Relationships Between Video and Audio Clips
- Linking and Unlinking Video and Audio Clip Items intheTimeline
- Selecting Individual Clip Items While They Are Linked
- Getting Clip Items Back in Sync
- Establishing a Different Sync Relationship BetweenLinkedClip Items
- Learning About Linking Behavior in Audio Channel Pairs
- Synchronizing Dual System Recorded Video and Audio
- Split Edits
- Working with Multiclips
- About Multiclips
- Multiclip Workflow
- Creating Multiclips and Multiclip Sequences
- Working with Multiclip Angles in the Viewer
- Editing with Multiclips in Real Time
- Using Keyboard Shortcuts and Shortcut Buttons forMulticlipEditing
- Editing Multiclips into the Timeline
- Switching and Cutting Between Angles
- Switching and Cutting Video and Audio Items Separately
- Editing in Multiclip Playback Mode
- Applying Filters, Speed, and Motion Parameters to Multiclips
- Collapsing and Expanding a Multiclip
- Working with Multiclip Master-Affiliate Relationships
- Match Frame Commands Used with Multiclips
- Media Management and Project Interchange
- Audio Editing Basics
- The Goals of Audio Editing
- Using Waveform Displays to Help You Edit Audio
- Learning About the Audio Controls in the Viewer
- Editing Audio in the Viewer
- Opening Audio Clips in the Viewer
- Viewing Audio Tracks in the Viewer
- Zooming In or Out of the Waveform Display Area
- Scrolling Through a Zoomed-In Audio Clip
- Using the J, K, and L Keys to Hear Subtle Details
- Turning Off the Audio Scrubbing Sounds
- About Setting Edit Points for Audio
- Dragging an Audio Clip to the Canvas, Browser, or Timeline
- Trimming Audio Clips in the Viewer
- Editing Audio in the Timeline
- Creating or Separating Stereo Pairs
- Working with Audio at the Subframe Level
- Examples of Ways to Easily Edit Audio
- Working with Projects, Clips, andSequences
- PartIII: Fine-Tuning Your Edit
- Performing Slip, Slide, Ripple, andRoll Edits
- About Trimming with Slip, Slide, Ripple, and Roll Tools
- Sliding Clips in the Timeline
- Slipping Clips in the Timeline
- Using the Ripple Tool to Trim an Edit WithoutLeavingaGap
- Using the Roll Tool to Change Where a Cut Occurs
- Learning About Trimming Clips
- Trimming Clips UsingtheTrimEdit Window
- Adding Transitions
- Refining Transitions UsingtheTransition Editor
- Sequence-to-Sequence Editing
- Matching Frames andPlayheadSynchronization
- Working with Timecode
- Performing Slip, Slide, Ripple, andRoll Edits
- Volume III: Audio Mixing and Effects
- Contents
- PartI: Audio Mixing
- Audio Fundamentals
- Assigning OutputChannels andExternal Audio Monitors
- Audio Signal Flow in FinalCutPro
- Configuring Audio Outputs
- Choosing an Audio Interface for Output
- About Audio Outputs
- About Audio Output Presets
- Choosing and Modifying Audio Outputs
- Creating and Saving Audio Output Presets
- Assigning a Default Audio Output Preset for New Sequences
- Assigning Tracks in the Timeline to Audio Outputs
- Matching Audio Outputs to Clip Items in the Timeline
- Assigning More Audio Outputs Than Your Hardware Supports
- Audio Output Export Settings
- Downmixing Multiple Audio Channels to a Stereo Mix
- Configuring External Audio Monitors
- Evaluating Levels withAudioMeters
- Overview of the Audio Mixer
- Using the Audio Mixer
- Making Basic Audio Adjustments with the Audio Mixer
- Making Stereo Pan Adjustments with the Audio Mixer
- About Mixer Automation and Keyframe Recording
- Using a Control Surface with the Audio Mixer
- Mixing Audio intheTimelineandViewer
- Adjusting Audio Levels in the Timeline and Viewer
- Panning Audio in the Timeline and Viewer
- Adjusting Clip Audio Levels and Pan UsingKeyframes
- Using the Voice Over Tool
- Using Audio Filters
- About Audio Filters
- Overview of Audio Filters
- Working with Audio Filters
- Installing Third-Party Audio Units Filters
- Tips for Better Audio
- Exporting Audio for MixinginOther Applications
- Working with SoundtrackPro andLogicPro
- Using SoundtrackPro with FinalCutPro
- About SoundtrackPro Audio File Projects
- Methods for Sending Audio fromFinalCutProtoSoundtrackPro
- Sending Individual Audio Clips fromFinalCutProtoSoundtrackPro
- About SoundtrackPro Multitrack Projects
- Creating SoundtrackPro Multitrack Projects fromFinalCutPro ClipsorSequences
- Initiating SoundtrackPro Conform with FinalCutPro
- Using LogicPro with FinalCutPro
- Using SoundtrackPro with FinalCutPro
- PartII: Effects
- Using Video Filters
- Installing and Managing VideoEffects
- Changing Motion Parameters
- Adjusting Parameters forKeyframed Effects
- Animating Motion Effects Using Keyframes
- How Keyframing Works
- Determining the Number of Keyframes to Use
- Keyframing Controls in the Viewer
- Keyframing Tools in FinalCutPro
- Setting Keyframes
- Adjusting and Deleting Keyframes
- Moving Between Keyframes
- Resizing the Keyframe Graph Area
- Adjusting All Opacity Keyframes of a Clip
- Example:Using Keyframes to Make Opacity Changes
- Example:Keyframing Opacity in the Timeline
- Smoothing Keyframes with Bezier Handles
- Creating Keyframed Motion Paths in the Canvas
- Using the Timeline Keyframe Graph Area
- Animating Motion Effects Using Keyframes
- Reusing Effect andMotionParameters
- Changing Clip Speed andTimeRemapping
- Speed Basics
- Constant and Variable Speed Settings
- Making Constant Speed Changes
- Making Variable Speed Changes
- How Time Remapping Works
- Where You Can Make Time Remapping Adjustments
- Viewing Time Remapping Parameters Applied to Your Clips
- Learning to Read Timeline Speed Indicators
- Using the Time Remap Tool
- Adjusting Time Remapping Keyframes in the Motion Bar
- Time Remapping Using the Keyframe Graph
- Time Remapping in the Motion Tab
- Working with Freeze Frames andStill Images
- Using Still Images and Graphics in Your Sequences
- Creating Freeze Frames from a Video Clip
- Exporting Still Images
- Considerations Before Creating and Importing Stills
- Creating Graphics with the Correct Frame Size for Video
- Working with Graphics Clips of Different Sizes
- Video Is Not 72 Dots per Inch
- Bit Depth of Imported Graphics
- Scaling a Graphic to Fit the Frame Size
- Creating Graphics with the Correct Color Settings for Video
- Choosing the Maximum White Sequence Setting
- Flattening Graphics with Layers
- Using Alpha Channels
- Selecting Fonts and Creating Line Art for Video
- Scaling Images and Video Clips to Match a Sequence
- Changing the Duration of Still Images
- Example:Adding Camera Motion to Still Images
- Compositing and Layering
- Introduction to Compositing and Layering
- Adjusting Opacity Levels of Clips
- Working with Composite Modes
- Working with Layered Photoshop Files
- Using Video and Graphics Clips with Alpha Channels
- Temporarily Excluding Clips from Playback or Output
- Keying, Mattes, and Masks
- Using Generator Clips
- Using the SmoothCam Filter
- About the SmoothCam Filter
- Using the SmoothCam Filter
- Managing Media and Motion Analysis Data
- Improving SmoothCam Filter Results and Troubleshooting
- Creating Titles
- Working with Motion and Shake
- Using Motion with FinalCutPro
- Using Shake with FinalCutPro
- Working with Master Templates
- PartIII: Color Correction andVideo Quality Control
- Measuring and Setting VideoLevels
- Components of Video Color
- Measuring Video Levels with the FinalCutPro Video Scopes
- Opening Video Scopes Tabs
- 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
- Working with Analog Video
- Using Color Bars forVideoCalibration
- Color Correction
- Viewing Examples in Color
- What Is Color Correction?
- Color Correction Features in FinalCutPro
- The Color Correction Process
- The Color Corrector and Color Corrector 3-Way Filters
- General Controls
- Copy Filter Controls
- Color Balance Controls
- The Color Corrector Filter Controls
- Color Corrector 3-Way Filter Controls
- Color Balance Controls in the Color Corrector 3-Way Filter
- Using a Trackball with the Color Correction Filters
- Auto Level Controls in the Color Corrector 3-Way Filter
- Level and Saturation Controls in the Color Corrector 3-Way Filter
- Match Hue Controls in the Color Corrector 3-Way Filter
- Example:Using the Color Corrector 3-Way Filter
- Example:Color Correcting a Three-Shot Sequence for Continuity
- Match Hue Controls in the Color Corrector andColorCorrector 3-Way Filters
- Using Limit Effect Controls in the Color Corrector andColorCorrector 3-Way Filters
- The Desaturate Highlights and Desaturate Lows Filters
- Using Color for Color Correction
- Measuring and Setting VideoLevels
- PartIV: Real Time and Rendering
- Using RT Extreme
- Introduction to Real-Time Processing
- Changing Real-Time Playback Settings
- Still-Image Real-Time Playback
- Improving Real-Time Performance
- Real-Time Audio Mixing in FinalCutPro
- Choosing Real-Time Playback Versus Rendering
- Supported Real-Time Playback Codecs
- Using a Third-Party Video Effects Accelerator Card
- Using RT Extreme for Video Output
- Viewing Your Composition in the QuickView Tab
- Rendering and Video ProcessingSettings
- What Is Rendering?
- Render Indicators in FinalCutPro
- The Rendering Process
- Changing Render and Video Processing Settings
- Using the Render Control Tab
- Using the Video Processing Tab
- Changing Video Processing Settings
- About Color Space and Bit Depth Settings
- Rendering Y´CBCR Footage in the RGB Color Space
- Choosing RGB Versus Y´CBCR Color Space
- Compositing in Y´CBCR and RGB Color Spaces
- About Bit Depth and 32-Bit Floating-Point Processing
- Maximum RGB White Level Settings
- Motion Filtering Quality Pop-Up Menu
- How Rotation Affects Motion Filtering Quality
- Adjusting Gamma
- Managing Your Render Files
- Tips for Avoiding Unnecessary Rendering andReducingRender Time
- Working with Mixed-Format Sequences
- About Mixed-Format Sequences
- Determining Whether Clips in a Sequence WillPlayBackinReal Time
- Working with Mixed-Format Sequences
- Conforming Sequence Settings to Match a Clip’s Settings
- Conforming Clips to Match Sequence Settings
- Mixing Frame Rates
- Combining Interlaced Footage with Different Field Dominances
- Mixing Footage with Different Codecs
- Nesting Nonmatching Sequences
- Adding Filters and Motion Effects to Mixed-Format Sequences
- Combining SD and HD Video
- Rendering MixedFormat Sequences
- External Monitoring and Output
- Media Management and Project Interchange
- Using RT Extreme
- Volume IV: Media Management and Output
- Contents
- PartI: Media and Project Management
- Media Management
- Backing Up andRestoringProjects
- Elements of a FinalCutPro Project
- Working with MasterandAffiliateClips
- Offline and Online Editing
- About Offline and Online Editing
- Offline/Online Editing Workflows
- Using the OfflineRT Format in FinalCutPro
- Setting Up and Capturing Media to an OfflineRT Format
- Capturing or Recompressing Media to an OfflineRT Format
- Editing with Offline-Quality (Low-Resolution) Media Files
- Using Full-Resolution Graphics in a Low-Resolution, OfflineRTSequence
- Creating a Sequence for Recapturing Media at Full Resolution
- Which Sequence Preset Should You Choose for Your Online Edit?
- Recapturing Full-Resolution Media for Your Sequence
- Adding Final Color Correction, Effects, Transitions, and Titles
- Output to Tape, MPEG-2 (for DVD), or a QuickTime Movie File
- Online Editing on Non–FinalCutPro Editing Systems
- Trading Project Files Using Email or the Internet
- Reconnecting Clips andOfflineMedia
- Finding Your Media Files After Capture
- About the Connections Between Clips and Media Files
- Renaming Media Files and Clips
- How the Connection Between Clips and Media Files CanBeBroken
- Making Clips Offline
- Reconnecting Clips to Media Files
- When FinalCutPro Reconnects Your Clips
- Reconnecting Media Files Automatically
- Overview of the Media Manager
- Getting Started with the Media Manager
- What Can You Do with the Media Manager?
- Selecting Items to Process with the Media Manager
- Settings and Options in the Media Manager Window
- How the Media Manager Processes Selected Items
- Limiting How Much Media Is Copied or Deleted
- Media File Formats Supported by the Media Manager Support
- About Color Space Conversion in the Media Manager
- Examples of How to Use theMedia Manager
- Using the Media Manager
- Example:Removing Unused Media from a Sequence
- Example:Duplicating a Sequence and Its Corresponding Media Files
- Example:Duplicating a Portion of a Sequence andItsMediaFiles
- Example:Copying Several Sequences with New Settings, butWithout Media Files
- Example:Recompressing Media Files for an Entire Project forEditing on a Portable Computer
- Example:Removing Portions of Media Files AfterCreatingSubclips
- Example:Consolidating Media Files into One Folder
- Example:Consolidating Your Project and Media Files forArchiving
- Diagnostic Tools for Clips
- PartII: Project Interchange
- Importing and Exporting EDLs
- Using FinalCutPro XML andQuickTime Metadata
- Working with FilmandCinemaTools
- An Overview of the Film Editing Process
- Using CinemaTools with FinalCutPro
- Creating a New FinalCutPro Project
- Importing a Telecine Log to Create a CinemaTools Database
- Batch Capturing Video from Tape
- Removing 3:2 Pull-Down or Conforming 25fps PAL to 24fps
- Synchronizing Clips with the CinemaTools Database
- Editing Clips in FinalCutPro
- Using Edge Code Overlays and Feet+Frame Rulers
- Opening FinalCutPro Clips in CinemaTools
- Exporting Film, Change, and Audio Lists
- PartIII: Output
- Preparing to Output to Tape
- Choosing a Videotape Format and Equipment for Output
- Output Requirements
- Methods for Output to Tape in FinalCutPro
- Setting Up Your Editing System to Output to Tape
- Connecting Your Video Equipment and Setting It to VCR Mode
- Choosing Video and Audio Outputs
- Selecting Playback Settings
- Selecting Render Settings
- Selecting Edit to Tape and Print to Video Preferences
- Cueing the Videotape
- Calibrating Your Timecode
- Choose Device Control and Edit Preview Settings
- Preparing Your Videotape with Black and Timecode
- Assemble and Insert Editing Using Edit to Tape
- Printing to Video andOutputfrom the Timeline
- Learning About QuickTime
- Exporting QuickTime Movies
- Exporting Using QuickTimeConversion
- Exporting Sequences for DVD
- Using Compressor withFinalCutPro
- Exporting Still Images andImageSequences
- Batch Exporting ClipsandSequences
- Preparing to Output to Tape
- PartIV: Settings and Preferences
- Choosing Settings andPreferences
- Audio/Video Settings andEasySetups
- Capture Settings and Presets
- Device Control SettingsandPresets
- Sequence Settings and Presets
- PartV: Appendixes
- Video Formats
- Characteristics of Video Formats
- Video Formats Supported by FinalCutPro
- A Brief History of Film, Television, and Audio Formats
- Frame Rate and Timecode
- Working with 24p Video
- Working with Anamorphic16:9Media
- Solving Common Problems
- Video Formats
- Glossary
- Index
- Volume I: Interface, Setup, and Input
514 Part III Color Correction and Video Quality Control
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.
This dip in the waveform
matches the position of
the dog.
An image with high
saturation
An image with low
saturation