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
Chapter 18 Exporting Using QuickTime Conversion 261
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.
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.
Classic: no pixel aspect
ratio correction or
aperture cropping
Edge encoding artifacts Cropped edge
(in clean aperture mode)