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Table Of Contents
- Contents
- Chapter 1: What’s new in Final Cut Pro?
- Chapter 2: Final Cut Pro basics
- Chapter 3: Import media
- Chapter 4: Analyze media
- Chapter 5: Organize your media
- Chapter 6: Play back and skim media
- Chapter 7: Create and manage projects
- Chapter 8: Edit your project
- Editing overview
- Select clips and ranges
- Add and remove clips
- Adding clips overview
- Drag clips to the Timeline
- Append clips to your project
- Insert clips in your project
- Connect clips to add cutaway shots, titles, and synchronized sound effects
- Overwrite parts of your project
- Replace a clip in your project with another clip
- Add and edit still images
- Add clips using video-only or audio-only mode
- Remove clips from your project
- Solo, disable, and enable clips
- Find a Timeline clip’s source clip
- Arrange clips in the Timeline
- Cut and trim clips
- View and navigate
- Add and remove markers
- Correct excessive shake and rolling shutter issues
- Chapter 9: Add and adjust audio
- Chapter 10: Add transitions, titles, effects, and generators
- Transitions, titles, effects, and generators overview
- Add and adjust transitions
- Transitions overview
- How transitions are created
- Set the default duration for transitions
- Add transitions to your project
- Delete transitions from your project
- Adjust transitions in the Timeline
- Adjust transitions in the Transition inspector and Viewer
- Adjust transitions with multiple images
- Create specialized versions of transitions in Motion
- Add and adjust titles
- Adjust built-in effects
- Add and adjust clip effects
- Add generators
- Use onscreen controls
- Use the Video Animation Editor
- Chapter 11: Advanced editing
- Group clips with compound clips
- Add storylines
- Fine-tune edits with the Precision Editor
- Create split edits
- Make three-point edits
- Try out clips using auditions
- Retime clips to create speed effects
- Edit with mixed-format media
- Use roles to manage clips
- Use XML to transfer projects and Events
- Edit with multicam clips
- Multicam editing overview
- Multicam editing workflow
- Import media for a multicam edit
- Assign camera names and multicam angles
- Create multicam clips in the Event Browser
- Cut and switch angles in the Angle Viewer
- Sync and adjust angles and clips in the Angle Editor
- Edit multicam clips in the Timeline and the Inspector
- Multicam editing tips and tricks
- Chapter 12: Keying and compositing
- Chapter 13: Color correction
- Chapter 14: Share your project
- Chapter 15: Manage media files
- Chapter 16: Preferences and metadata
- Chapter 17: Keyboard shortcuts and gestures
- Chapter 18: Glossary
TurniMovieadjustmentsonoro
When editing a project in iMovie, you can adjust several video attributes, such as
exposure, brightness, and saturation, in the Project Browser. If you import an iMovie
project that has these adjustments into Final Cut Pro, the adjustments are retained and
appear in the Color area of the Video inspector as an iMovie item.
Although you cannot modify the adjustments added in iMovie, you can choose
whether they are applied to the clip or not.
Note: Video adjustments you make to clips in the iMovie Event Browser are not
retained and do not appear in Final Cut Pro.
Turn a clip’s iMovie adjustments on or o
In the Timeline, select a clip with iMovie adjustments applied, and select or deselect m
the iMovie checkbox in the Color area of the Video inspector.
Click here to turn the iMovie
adjustments on or off.
Note: The iMovie adjustments appear only in the Timeline, not in the Event Browser.
For more information about importing iMovie projects, see “Import from iMovie” on
page 38.
Measurevideolevels
Video scopes overview
Broadcast facilities have limits on the maximum values of luma and chroma that
are allowable for broadcast. If a video program exceeds these limits, distortion can
appear in the form of colors bleeding into one another, the whites and blacks of your
program washing out, or the picture signal bleeding into the audio signal and causing
audible distortion. In all these cases, exceeding standard signal levels can result in
unacceptable transmission quality. As you’re color correcting clips in your project, you
can use the Final Cut Pro video scopes to make sure that the luma and chroma levels
of your video stay within the parameters referred to as broadcast-safe, or acceptable
for broadcast.
426 Chapter 13 Color correction










