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FINAL CUT EXPRESS 4
User Manual
1152 pgs28.17 Mb0
Instruction Manual [fr]
1204 pgs27.36 Mb0
Installation Manual
10 pgs138.84 Kb0
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Apple FINAL CUT EXPRESS 4 User Manual

Final Cut Express 4
User Manual
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 Express 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.
The Apple logo is a trademark of Apple Inc., registered in the U.S. and other countries. Use of the “keyboard” Apple logo (Shift-Option-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws.
Every effort has been made to ensure that the information in this manual is accurate. Apple is not responsible for printing or clerical errors.
Note:
Because Apple frequently releases new versions and updates to its system software, applications, and Internet sites, images shown in this book may be slightly different from what you see on your screen.
Apple Inc. 1 Infinite Loop Cupertino, CA 95014–2084 408-996-1010 www.apple.com
Apple, the Apple logo, DVD Studio Pro, Exposé, Final Cut, Final Cut Pro, FireWire, iDVD, iMovie, iPod, iTunes, LiveType, Mac, Macintosh, Mac OS, Pixlet, Power Mac, QuickTime, Soundtrack, TrueType, and Xsan are trademarks of Apple Inc., registered in the U.S. and other countries.
Aperture, Apple TV, Cinema Tools, Finder, iPhone, and OfflineRT are trademarks of Apple Inc.
AppleCare is a service mark of Apple Inc., registered in the U.S. and other countries.
Adobe, After Effects, Photoshop, and PostScript are trademarks or registered trademarks of Adobe Systems Incorporated in the U.S. and/or other countries.
Dolby Laboratories: Manufactured under license from Dolby Laboratories. “Dolby,” “Pro Logic,” and the double-D symbol are trademarks of Dolby Laboratories. Confidential Unpublished Works, © 1992–1997 Dolby Laboratories, Inc. All rights reserved.
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Intel, Intel Core, and Xeon are trademarks of Intel Corp. in the U.S. and other countries.
Other company and product names mentioned herein are trademarks of their respective companies. Mention of third-party products is for informational purposes only and constitutes neither an endorsement nor a recommendation. Apple assumes no responsibility with regard to the performance or use of these products.
Production stills from the film “Koffee House Mayhem” provided courtesy of Jean-Paul Bonjour. “Koffee House Mayhem” © 2004 Jean-Paul Bonjour. All rights reserved. http://www.jbonjour.com
Production stills from the film “A Sus Ordenes” provided courtesy of Eric Escobar. “A Sus Ordenes” © 2004 Eric Escobar. All rights reserved. http://www.kontentfilms.com
1

Contents

Preface 25 Final Cut Express 4 Documentation and Resources
25
Onscreen Help
26
Apple Websites
Part I An Introduction to Final Cut Express
Chapter 1 29 About the Post-Production Workflow
29
The Industry Workflow
30
The Post-Production Workflow
Chapter 2 35 Video Formats
35
About Nonlinear and Nondestructive Editing
36
Video Formats Compatible with Final Cut Express
36
Audio Formats Compatible with Final Cut Express
37
Video Format Basics
Chapter 3 39 Understanding Projects, Clips, and Sequences
39
The Building Blocks of Projects
43
Working with Projects
47
About the Connection Between Clips and Media Files
49
Filenaming Considerations
Part II Learning About the Final Cut Express Interface
Chapter 4 55 Overview of the Final Cut Express Interface
55
Basics of Working in the Final Cut Express Interface
57
Using Keyboard Shortcuts, Buttons, and Shortcut Menus
59
Customizing the Interface
63
Undoing and Redoing Changes
63
Entering Timecode for Navigation Purposes
3
Chapter 5 65 Browser Basics
65
How You Use the Browser
66
Learning About the Browser
67
Working in the Browser
69
Using Columns in he Browser
70
Customizing the Browser Display
Chapter 6 79 Viewer Basics
79
How You Can Use the Viewer
80
Opening a Clip in the Viewer
81
Learning About the Viewer
83
Tabs in the Viewer
84
Transport Controls
85
Playhead Controls
87
Marking Controls
88
Zoom and View Pop-Up Menus
91
Recent Clips and Generator Pop-Up Menus
Chapter 7 93 Canvas Basics
93
How You Use the Canvas
94
Opening, Selecting, and Closing Sequences in the Canvas
95
Learning About the Canvas
96
Edit Overlay in the Canvas
97
Transport Controls
98
Playhead Controls
10 0
Marking Controls
101
Zoom and View Pop-Up Menus
Chapter 8 103 Navigating and Using Timecode in the Viewer and Canvas
10 3
Navigating in the Viewer and Canvas
11 0
Working with Timecode in the Viewer and Canvas
Chapter 9 113 Timeline Basics
113
How You Use the Timeline
11 5
Opening and Closing Sequences in the Timeline
11 6
Learning About the Timeline
12 6
Changing Timeline Display Options
13 0
Navigating in the Timeline
131
Zooming and Scrolling in the Timeline
4
Contents
Chapter 10 137 Customizing the Interface
13 7
Changing Browser and Timeline Text Size
13 7
Moving and Resizing Final Cut Express Windows
13 9
Using Window Layouts
14 0
Working with Shortcut Buttons and Button Bars
Part III Setting Up Your Editing System
Chapter 11 147 Connecting DV Video Equipment
14 7
Components of a Basic Final Cut Express Editing System
14 8
Setting Up a Final Cut Express Editing System
14 9
Connecting Your Camcorder
14 9
Opening Final Cut Express and Choosing Your Initial Settings
15 3
Confirming Remote Device Control Between Final Cut Express and Your DV Device
15 4
About FireWire
Chapter 12 155 Determining Your Hard Disk Storage Options
15 5
Working with Scratch Disks and Hard Disk Drives
15 6
Data Rates and Storage Devices
15 6
Determining How Much Space You Need
15 9
Choosing a Hard Disk
160
Types of Hard Disk Drives
163
Fibre Channel Drive Arrays and RAIDs
164
Storage Area Networks
Chapter 13 165 External Video Monitoring
165
Using an External Video Monitor While You Edit
166
Connecting DV FireWire Devices to an External Monitor
167
Using Digital Cinema Desktop Preview
171
About the Display Quality of External Video
171
Troubleshooting External Video Monitoring Problems
Part IV Capturing and Importing
Chapter 14 175 Capturing Your Footage to Disk
17 5
Overview of the Capturing Process
17 7
Overview of the Capture Window
17 8
Transport Controls
17 8
Jog and Shuttle Controls
17 9
Marking Controls
17 9
Capture Tab
18 2
Capture Buttons
Contents
5
18 2
Preparing to Capture
18 2
Organizing and Labeling Your Tapes
183
Logging Your Tapes
18 4
Choosing a Filenaming Scheme
18 4
Determining How Much Disk Space You Need
185
Capturing Individual Clips in the Capture Window
19 0
Using Capture Now
19 2
Automatically Creating Subclips Using DV Start/Stop Detection
19 3
Adding Markers to Clips in the Capture Window
19 3
Marker Controls in the Capture Window
19 4
Setting Markers
19 4
Recapturing Clips
19 5
Using Capture Project
19 7
About the Additional Items Found Dialog
19 8
Finding Your Media Files After Capture
19 8
Where Are Captured Media Files Stored?
19 9
Consolidating Media Files to One Folder
200
Modifying a Media File’s Reel Name Property
201
Avoiding Duplicate Timecode Numbers on a Single Tape
202
Logging Tapes with Duplicate Timecode Numbers
202
Avoiding Multiple Occurrences of the Same Timecode Number on a Single Tape
Chapter 15 205 Importing Media Files into Your Project
205
What File Formats Can Be Imported?
206
Importing Media Files
209
About Importing Video Files About Importing Audio Files
211
214
Importing Still Images and Graphics
Chapter 16 219 Ingesting Media Files
219
About File-Based Media
220
Working with AVCHD Footage
222
Sample Media File Workflow
224
Working with the Log and Transfer Window
Chapter 17 233 Working with HDV
233
About HDV
234
HDV Formats Supported by Final Cut Express
234
About MPEG-2 Compression
236
HDV Apple Intermediate Codec Editing Workflow
236
Connecting an HDV Device to Your Computer
237
Choosing an Easy Setup
237
Capturing HDV Video to the Apple Intermediate Codec
6
Contents
238
Editing Video Using the Apple Intermediate Codec
239 Outputting HDV to Tape or Exporting to a QuickTime Movie 240 HDV Format Specifications
Part V Organizing Footage and Preparing to Edit
Chapter 18 245 Organizing Footage in the Browser
245 Using Bins to Organize Your Clips 246 Creating New Bins 247 Opening Bins in the Browser 248 Opening Bins in a Separate Window or Tab
251 Moving Items Between Bins 253 Sorting Items in the Browser Using Column Headings 254 Searching for Clips in the Browser and Finder 254 Revealing a Clip’s Media File in the Finder 255 About Search Options 257 Searching for Items in the Browser 259 Manipulating Items in the Find Results Window
Chapter 19 261 Using Markers
261 Learning About Markers
261 What Can You Do with Markers? 262 Differences Between Sequence and Clip Markers 263 Types of Markers 264 Working with Markers 264 Viewing Markers in the Viewer or Canvas 264 Viewing Markers in the Browser 264 Adding Markers in Clips and Sequences 267 Deleting Markers in Clips and Sequences 269 Navigating with Markers 270 Renaming Markers, Adding Comments, and Changing the Kind of Marker
271 Moving a Marker 272 Aligning Items in the Timeline by Their Markers 274 Extending a Marker’s Duration 275 Editing Markers into Sequences 275 Exporting Markers with Your QuickTime Movies
Chapter 20 277 Creating Subclips
277 Learning About Subclips 280 Techniques for Breaking Large Clips into Subclips 283 Automatically Creating Subclips Using DV Start/Stop Detection
Contents
7
Part VI Rough Editing
Chapter 21 289 Working with Projects, Clips, and Sequences
290 Working with Projects 290 Working with Multiple Projects in the Browser 290 Choosing Whether the Last Previously Opened Project Opens on Launch
291 Viewing and Changing the Properties of a Project
291 Backing Up and Restoring Projects 293 Learning About the Different Types of Clips 293 Types of Clips 295 Sequences as Clips 295 Viewing and Changing the Properties of a Clip 295 Changing Clip Properties in the Browser 296 Viewing and Changing Clip Properties in the Item Properties Window 297 Changing the Properties of Affiliate Clips 297 Creating and Working with Sequences 297 Creating and Deleting Sequences 299 Opening and Closing Sequences 300 Duplicating a Sequence 300 Copying a Sequence into Another Project 301 Nesting a Sequence 301 Basic Sequence and Timeline Settings
Chapter 22 303 The Fundamentals of Adding Clips to a Sequence
303 Creating a Rough Edit 303 Basic Steps Involved in a Rough Edit 304 How Clips Appear in the Timeline 306 Undoing and Redoing Actions 306 Overview of Ways to Add Clips to a Sequence 307 Methods for Adding Clips to Sequences 309 Determining What Parts of Clips You Want in Your Sequence 309 Preparing a Sequence Order in the Browser 309 Sorting to Create a Sequence Order
310 Visually Storyboarding in the Browser
Chapter 23 313 Setting Edit Points for Clips and Sequences
313 About In and Out Points 314 Learning About the Out Point Inclusive Rule 315 Things to Keep in Mind When Setting an Out Point 317 Setting Clip In and Out Points in the Viewer 318 Specifying an Edit Point Using Timecode 319 Setting In and Out Points to Include a Whole Clip 319 Reviewing Your Edit Points
8 Contents
320 Setting Sequence In and Out Points in the Canvas or Timeline
321 Options for Setting Sequence In and Out Points 326 Setting Sequence In and Out Points 327 Setting In and Out Points to Match a Clip or Gap 328 Setting In and Out Points Based on a Selection in the Timeline 330 Navigating to In and Out Points
331 Moving In and Out Points 332 Clearing In and Out Points
Chapter 24 335 Working with Tracks in the Timeline
336 Adding and Deleting Tracks 336 Adding Tracks 338 Deleting Tracks 339 Specifying Destination Tracks in the Timeline 339 Understanding Source and Destination Controls 340 Setting Destination Tracks
341 Changing Source and Destination Control Connections
341 Disconnecting Source and Destination Controls 343 Resetting Destination Tracks to the Default State 344 Locking Tracks to Prevent Edits or Changes 345 Disabling Tracks to Hide Content During Playback 346 Customizing Track Display in the Timeline 346 Resizing Timeline Tracks 349 Saving Track Layouts 349 Creating a Static Region in the Timeline
Chapter 25 353 Drag-to-Timeline Editing
353 Overview of the Drag-to-Timeline Editing Process 354 Dragging Clips to the Timeline 355 Doing Simple Insert and Overwrite Edits in the Timeline 358 Automatically Adding Tracks to Your Sequence While Dragging
Chapter 26 361 Three-Point Editing
361 Understanding Three-Point Editing
361 Overview of the Three-Point Editing Process 362 Different Ways to Do Three-Point Editing 364 About Edit Types in the Edit Overlay 365 Performing the Different Types of Edits 365 Performing an Insert Edit 367 Performing an Insert with Transition Edit 368 Performing an Overwrite Edit 370 Performing an Overwrite with Transition Edit
371 Performing a Replace Edit
Contents 9
377 Superimposing Clips 380 Three-Point Editing Examples 380 Example: Editing a Specific Clip into Your Sequence 382 Example: Editing a Clip into a Gap in Your Sequence 383 Example: Backtiming a Clip into Your Sequence 385 Example: Editing a Clip with No Specified In or Out Points into Your Sequence
Chapter 27 387 Finding and Selecting Content in the Timeline
387 Understanding What’s Currently Selected 388 Identifying Selections in the Timeline 389 How Selections Are Prioritized in the Timeline 389 Direct Methods for Selecting Content in a Sequence 390 An Introduction to the Selection Tools 392 Selecting Clips 395 Selecting a Range of Timeline Content 396 Selecting All Clip Items on a Track 397 Selecting All Items on All Tracks Forward or Backward 398 Selecting or Deselecting All Clips in a Sequence 399 Finding and Selecting Based on Search Criteria 401 Selecting a Vertical Range Between In and Out Points 402 Using Auto Select to Specify Tracks for Selections
Chapter 28 405 Arranging Clips in the Timeline
405 Snapping to Points in the Timeline 407 Moving Items Within the Timeline 407 Moving by Dragging 408 Moving Clips Numerically
410 Performing Shuffle Edits 412 Copying and Pasting Clips in the Timeline 412 Copying Clips by Option-Dragging 413 Copying, Cutting, and Pasting Clips in the Timeline 416 Example: Copying and Pasting Audio and Video Clip Items to Different Tracks in the
Timeline
417 Deleting Clips from a Sequence 417 Deleting with a Lift Edit (Leaving a Gap) 418 Deleting with a Ripple Edit (Leaving No Gap)
420 Finding and Closing Gaps
Chapter 29 423 Cutting Clips and Adjusting Durations
423 Performing Basic Cut Edits 427 Changing the Duration of Clips in the Timeline 428 Opening Sequence Clips in the Viewer to Change Durations
10 Contents
Chapter 30 429 Linking and Editing Video and Audio in Sync
429 Linked Sync Relationships Between Video and Audio Clips 430 When Linked Clips Are Moved out of Sync 432 Understanding Sync Relationships Between Multiple Linked Audio Items 434 Linking and Unlinking Video and Audio Clip Items in the Timeline 434 Linking Video and Audio Clip Items 435 Unlinking Video and Audio Clip Items 436 Selecting Individual Clip Items While They Are Linked 437 Getting Clip Items Back in Sync 437 Moving a Clip into Sync 438 Slipping a Clip Item into Sync 440 Moving or Slipping All Clip Items into Sync at Once
441 Establishing a Different Sync Relationship Between Linked Clip Items 442 Marking a Clip as In Sync 443 Learning About Linking Behavior in Audio Channel Pairs
Chapter 31 445 Split Edits
445 Learning About Split Edits 446 How Split Edits Look in the Viewer and Canvas 447 Setting Up Split Edit Points in the Viewer 448 Setting Up a Split Edit While Playing a Clip 449 Modifying and Clearing Split Edits
451 Split Edit Examples
Chapter 32 455 Audio Editing Basics
455 The Goals of Audio Editing 457 Using Waveform Displays to Help You Edit Audio 458 Learning About the Audio Controls in the Viewer
461 Editing Audio in the Viewer
461 Opening Audio Clips in the Viewer 462 Viewing Audio Tracks in the Viewer 463 Zooming In or Out of the Waveform Display Area 464 Scrolling Through a Zoomed-In Audio Clip 465 Using the J, K, and L Keys to Hear Subtle Details 465 Turning Off the Audio Scrubbing Sounds 466 About Setting Edit Points for Audio 466 Dragging an Audio Clip to the Canvas, Browser, or Timeline 466 Trimming Audio Clips in the Viewer 468 Editing Audio in the Timeline 468 Timeline Audio Display Options 470 Zooming In and Out of Waveforms in the Timeline
471 Moving Audio Items from One Track to Another at the Same Frame
471 Using Audio Transitions to Smooth Audible Changes
Contents 11
472 Creating or Separating Stereo Pairs 474 Working with Audio at the Subframe Level 474 Subframe Synchronization of Audio and Video 476 Examples of Ways to Easily Edit Audio 476 Example: Replacing Unwanted Audio with Room Tone 479 Example: Fixing Awkward Audio Cuts in the Timeline
Part VII Fine-Tuning Your Edit
Chapter 33 483 Performing Slip, Slide, Ripple, and Roll Edits
483 About Trimming with Slip, Slide, Ripple, and Roll Tools 484 Sliding Clips in the Timeline 485 Performing Slide Edits Using the Slide Tool 486 Performing Precise Slide Edits Numerically 487 Slipping Clips in the Timeline 488 Performing a Slip Edit Using the Slip Tool 489 Performing Precise Slip Edits Numerically
491 Using the Ripple Tool to Trim an Edit Without Leaving a Gap 492 Performing Ripple Edits 496 About Ripple Edits and Sync Relationships of Clip Items on Other Tracks 498 Doing Ripple Edits on Multiple Tracks at Once 498 Asymmetrical Trimming with the Ripple Tool 501 Using the Roll Tool to Change Where a Cut Occurs 502 Rolling the Position of an Edit Between Two Clips
Chapter 34 507 Learning About Trimming Clips
507 What Is Trimming? 509 Controls That Affect Trim Edits
510 Selecting Edits and Clips to Trim
511 Tools for Selecting Edit Points 512 Selecting Single Edit Points 512 Selecting Multiple Edit Points 513 Trimming Clip In and Out Points 513 Trimming with the Selection Tool 515 Extending and Shortening Clips in the Timeline 516 Trimming Clips in the Viewer 518 Precision Editing Using Timecode
521 Understanding Alert Messages When Trimming
Chapter 35 523 Trimming Clips Using the Trim Edit Window
523 Learning About the Trim Edit Window 525 Opening and Closing the Trim Edit Window
12 Contents
526 Controls in the Trim Edit Window 530 Using the Trim Edit Window
531 Playing Incoming and Outgoing Clips in the Trim Edit Window 531 Dynamic Trimming
531 Trimming an Edit in the Trim Edit Window 534 Reviewing and Playing Back Your Edits in the Trim Edit Window 534 Slipping a Clip in the Trim Edit Window 535 Listening to Audio While Trimming
Chapter 36 537 Adding Transitions
537 Learning About Transitions 538 Common Types of Transitions 539 Using Transitions in Your Sequences 539 How Transitions Appear in the Timeline 540 Having Handles at Edit Points 540 Aligning a Transition in the Timeline
541 Adding Transitions
541 Adding Transitions with Clips You Add to the Timeline 542 Quickly Adding the Default Transition to Clips in Your Sequence 543 Adding Transitions to Clips in Your Sequence 544 Example: Transitioning to or from Black 545 Moving, Copying, and Deleting Transitions 546 Moving a Transition to Another Edit Point 546 Copying and Pasting Transitions 547 Deleting Transitions 547 Modifying Transitions in the Timeline 547 Changing the Duration of a Transition in the Timeline 549 Changing the Alignment of a Transition in the Timeline 549 Changing an Edit Point After Adding a Transition 550 Replacing Transitions 550 Video Transitions That Come with Final Cut Express 555 Using After Effects Transitions
Chapter 37 557 Refining Transitions Using the Transition Editor
557 Using the Transition Editor 563 Applying a Modified Transition Directly to a Sequence in the Timeline 564 Trimming Transitions and the Surrounding Clips 568 Previewing and Rendering Transitions
Chapter 38 571 Sequence-to-Sequence Editing
571 Methods for Editing Clips from One Sequence to Another 572 Opening More Than One Sequence at a Time 572 Copying Clips from One Sequence to Another
Contents 13
576 Nesting Sequences 579 Editing the Content of One Sequence into Another Without Nesting It
Chapter 39 585 Matching Frames
585 Working with Sequence Clips in the Viewer 586 Opening a Sequence Clip in the Viewer 587 Switching Between the Viewer, Canvas, and Timeline 587 Using the Viewer to Adjust Sequence Clip In and Out Points 588 Using the Viewer to Adjust Motion and Filter Parameters 588 Matching Frames Between Sequence and Master Clips 589 Matching a Frame in the Canvas to Its Master Clip 589 Matching a Frame in the Canvas to Its Media File 590 Matching a Frame in the Viewer to a Sequence Clip in the Canvas or Timeline
Part VIII Audio Mixing
Chapter 40 593 Setting Up for Audio Mixing in Final Cut Express
593 About Digital Audio 594 Sample Rate 594 Bit Depth 597 Audio Signal Flow in Final Cut Express 597 Configuring External Audio Monitors 597 Connecting Speakers to Your Editing System 598 Setting Monitoring Levels and Muting System Sound Effects 599 Tips for Choosing Speakers and an Amplifier 601 Setting Up a Proper Audio Monitoring Environment
Chapter 41 603 Evaluating Levels with Audio Meters
603 About Audio Meters 603 Average and Peak Audio Levels 604 Analog Versus Digital Meters 606 About the Audio Meters in Final Cut Express 606 Setting Proper Audio Levels 607 Raising Audio Levels Using Audio Normalization and Gain 609 What Reference Level Should You Use for Mixing and Output?
610 Outputting Bars and Tone at the Head of Your Tape
Chapter 42 611 Mixing Audio in the Timeline and Viewer
611 Adjusting Audio Levels in the Timeline and Viewer
611 Adjusting Audio Levels in the Timeline 615 Changing Audio Levels in the Viewer 618 Panning Audio in the Timeline and Viewer 618 Panning Audio in the Timeline
14 Contents
619 Changing the Pan of Audio in the Viewer
620 Changing Pan for an Entire Clip
621 Copying, Pasting, and Removing Audio Attributes 622 Adjusting Clip Audio Levels and Pan Using Keyframes 622 Tools for Adjusting Keyframes 623 Creating, Modifying, and Deleting Keyframes in the Viewer 628 Example: Using Keyframes to Adjust Audio Levels 629 Example: Using Keyframes in the Timeline to Automate Audio Levels 630 Example: Setting Subframe Audio Level Keyframes to Eliminate Clicks 633 Example: Using Keyframes to Control Pan
Chapter 43 637 Using the Voice Over Tool
637 About the Voice Over Tool 637 Setting Up Your Computer to Record Voiceover
641 Controls in the Voice Over Tool 644 Defining the Recording Duration and Destination Track 648 Recording a Voiceover
Chapter 44 653 Using Audio Filters
653 About Audio Filters 654 Overview of Audio Filters 654 Equalization Filters 657 Gain Filter 657 Compressor/Limiter Filter 658 Expander/Noise Gate Filter 659 Noise Reduction Filters 660 Echo and Reverberation Filters 662 Working with Audio Filters 664 Applying Filters to an Audio Clip 667 Modifying and Removing Filters 668 Making Real-Time Audio Filter Adjustments 669 Automating Audio Filter Parameters with Keyframes 673 Installing Third-Party Audio Units Filters
Part IX Effects and Color Correction
Chapter 45 677 Using Video Filters
677 Different Ways to Use Filters 678 Applying a Filter to a Clip
681 Applying Multiple Filters to Clips 682 Viewing and Adjusting a Filter’s Parameters 689 Enabling and Rearranging Filters
Contents 15
690 Copying and Pasting a Clip’s Filters
691 Removing Filters from Clips
Chapter 46 693 Color Correction
693 What Is Color Correction? 694 Why Color Correct Your Footage? 695 Color Correction Starts During Your Shoot 696 Managing Color During Post-Production 701 The Color Correction Process 703 The Final Cut Express Color Correction Filters 703 Using the Color Correction Filters 704 About the Controls in the Color Corrector Filter 704 The Color Corrector Filter 705 General Controls 706 Copy Filter Controls
711 Color Balance Controls 715 Example: Using the Color Corrector Filter 719 The Desaturate Highlights and Desaturate Lows Filters 719 Desaturate Highlights and Desaturate Lows Filter Controls
720 Example: Using the Desaturate Highlights Filter
Chapter 47 723 Changing Motion Parameters
723 Creating Motion Effects in the Viewer 724 Adjusting Parameters in the Motion Tab 729 Using Cartesian Geometry to Position Clips
731 Examples Using Motion Settings 741 Creating Motion Effects in the Canvas
741 Choosing the Image+Wireframe Mode 742 Manipulating Images in the Canvas 743 Zooming In to the Canvas 744 Using Wireframe Handles to Transform, Scale, and Rotate 748 Example: Using Motion Parameters and Wireframe Handles
Chapter 48 751 Adjusting Parameters for Keyframed Effects
751 Animating Motion Effects Using Keyframes
752 How Keyframing Works
753 Determining the Number of Keyframes to Use 754 Keyframing Controls in the Viewer 756 Keyframing Tools in Final Cut Express
757 Setting Keyframes 758 Adjusting and Deleting Keyframes 759 Moving Between Keyframes 760 Resizing the Keyframe Graph Area
16 Contents
763 Adjusting All Opacity Keyframes of a Clip 763 Example: Using Keyframes to Make Opacity Changes 765 Example: Keyframing Opacity in the Timeline 767 Smoothing Keyframes with Bezier Handles 768 Understanding Bezier Handles and Curves 770 Smoothing Keyframes
771 Creating Keyframed Motion Paths in the Canvas 772 What Are Motion Paths? 772 Creating Motion Paths
774 Adding, Moving, and Deleting Keyframes in Motion Paths
774 Creating Curved Motion Paths Using Bezier Handles 776 Controlling Speed Along a Motion Path 778 Moving an Entire Motion Path in the Canvas
Chapter 49 779 Reusing Effect and Motion Parameters
779 Copying and Pasting Specific Clip Attributes 782 Removing Attributes from a Clip 783 Applying Filters Across Multiple Tracks at Once
Chapter 50 785 Changing Clip Speed
785 Speed Basics 786 How Changing Speed Affects a Clip’s Duration 786 Performing a Fit to Fill Edit 789 Constant Speed Settings 789 Frame Blending and Reverse Speed
Chapter 51 791 Working with Freeze Frames and Still Images
791 Using Still Images and Graphics in Your Sequences 792 Creating Freeze Frames from a Video Clip 793 Exporting Still Images 794 Considerations Before Creating and Importing Stills 802 Changing the Duration of Still Images 803 Example: Adding Camera Motion to Still Images
Chapter 52 807 Compositing and Layering
807 Introduction to Compositing and Layering 808 Methods of Compositing 808 Different Ways to Layer Clips in the Timeline 809 Adjusting Opacity Levels of Clips
812 Working with Composite Modes 812 How Composite Modes Affect Images 814 Applying Composite Modes to Clips 815 Composite Modes in Final Cut Express
824 Using Travel Mattes to Hide or Reveal Parts of a Clip
Contents 17
826 Working with Layered Photoshop Files 826 Updating Photoshop Files in Adobe Photoshop 827 Working with Layered Photoshop Sequences 828 Using Video and Graphics Clips with Alpha Channels 829 Working with Clips That Have Alpha Channels 830 Changing a Clip’s Alpha Channel Type 832 Choosing a Background 833 Temporarily Excluding Clips from Playback or Output 834 Temporarily Disabling a Single Clip 835 Soloing Clips in Multitrack Sequences
Chapter 53 837 Keying, Mattes, and Masks
837 Ways to Layer and Isolate Elements in Clips 837 What Are Mattes and How Can You Use Them? 838 What Is Keying and How Can You Use It? 839 What Are Masks and How Are They Used? 840 Using Keying to Isolate Foreground Elements 840 Shooting Footage That Keys Well 842 Overview of Compositing Using the Chroma Keyer Filter 844 Working with the Chroma Keyer Filter 854 Using Mattes to Add or Modify Alpha Channels 854 Matte Filters Available in Final Cut Express 854 Example: Using the Four-Point Garbage Matte Filter 856 Example: Keyframing Garbage Mattes 857 Using Masks to Replace or Modify Alpha Channels 857 Mask Filters Available in Final Cut Express 858 Example: Using the Image Mask and Mask Feather Filters
Chapter 54 861 Using Generator Clips
861 What Is a Generator Clip? 862 Different Ways to Use Generators in Your Sequence 863 Video and Audio Generators Available in Final Cut Express 867 Creating and Adding Generators to Sequences
Chapter 55 869 Creating Titles
869 How You Can Use Titles in Your Project 870 Installing and Choosing Fonts
871 Making Sure Titles Fit on TV Screens 872 Text Generators Available in Final Cut Express
874 Creating and Adding a Title Clip 877 Other Options for Creating and Adding Titles 878 Using LiveType to Create Titles for Your Project
18 Contents
Part X Real Time and Rendering
Chapter 56 881 Using RT Extreme
881 Introduction to Real-Time Processing 882 How Real-Time Processing Works 884 Identifying Which Effects Can Play Back in Real Time 886 Changing Real-Time Playback Settings 886 Locations for Changing Real-Time Playback Settings 888 About Real-Time Playback Options 893 Still-Image Real-Time Playback 893 Improving Real-Time Performance 894 Reporting Dropped Frames During Playback 894 Factors That Affect Real-Time Performance 895 Real-Time Audio Mixing in Final Cut Express 896 Calculating the Number of Tracks That Can Be Played Back in Real Time 897 Improving Real-Time Audio Performance 898 Choosing Real-Time Playback Versus Rendering 898 Using RT Extreme for Video Output
Chapter 57 899 Rendering and Video Processing Settings
899 What Is Rendering? 900 Render Indicators in Final Cut Express 900 About Render Status Bars in the Timeline 903 About Item-Level Render Status Bars 904 The Rendering Process 904 Controlling Render Quality 904 Order of Effects Rendering 904 Selecting Clips for Rendering 905 Rendering Segments in a Sequence 908 Rendering Audio Items in a Sequence 909 Using the Mixdown Command 909 Keeping Track of Rendering Progress
910 Temporarily Disabling Rendering
911 Automatic Rendering While You Are Away from Your Computer 912 Changing Render Settings 912 Using the Render Control Tab 914 Managing Your Render Files 914 Locating Render Files 915 Preserving Render Files 916 Tips for Avoiding Unnecessary Rendering and Reducing Render Time
Contents 19
Chapter 58 919 Working with Mixed-Format Sequences
919 About Mixed-Format Sequences
920 Determining Whether Clips in a Sequence Will Play Back in Real Time
921 Formats That Support Real-Time Playback 921 Formats That Don’t Support Real-Time Playback
921 Viewing Clip Properties and Sequence Settings 922 Working with Mixed-Format Sequences 922 Conforming Sequence Settings to Match a Clip’s Settings 923 Conforming Clips to Match Sequence Settings 924 Mixing Frame Rates 926 Combining Interlaced Footage with Different Field Dominances 927 Mixing Footage with Different Codecs 928 Adding Filters and Motion Effects to Mixed-Format Sequences 928 Combining SD and HD Video 928 Downconverting HD Video 933 Upconverting SD Video 933 Rendering Mixed-Format Sequences
Part XI Project Management and Settings
Chapter 59 937 Backing Up and Restoring Projects
937 Backing Up and Restoring Projects 937 Using the Revert Project Command 938 Using the Autosave Feature 940 Restoring Autosaved Projects
941 Opening a Project File After Your Computer Is Unexpectedly Shut Down
941 Archiving Completed Projects
Chapter 60 943 Working with Master and Affiliate Clips
943 Using Master and Affiliate Clips 944 Shared and Unique Clip Properties 945 Working with Master Clips 947 Working with Affiliate Clips 948 Creating Independent Clips 950 Using Keyboard Shortcuts to Modify Master-Affiliate Clip Relationships
951 Moving Clips Between Projects
951 How Does Final Cut Express Identify Matching Clips? 952 Resolving Property Differences Between Matching Clips
Chapter 61 955 Reconnecting Clips and Offline Media
955 Finding Your Media Files After Capture 958 About the Connections Between Clips and Media Files
20 Contents
959 How the Connection Between Clips and Media Files Can Be Broken 959 Reconnecting Clips to Media Files 966 When Final Cut Express Reconnects Your Clips 968 Reconnecting Media Files Automatically
Chapter 62 969 Choosing Settings and Preferences
969 Changing User Preferences 970 General Tab 975 Editing Tab 977 Timeline Options Tab 977 Render Control Tab 978 Locating and Deleting the Preferences File 978 Changing System Settings 979 Scratch Disks Tab 980 Search Folders Tab
981 Memory & Cache Tab 982 Playback Control Tab 982 External Editors Tab
Part XII Output
Chapter 63 987 Preparing to Output to Tape
987 Output Requirements 988 Methods for Output to Tape in Final Cut Express 989 Setting Up Your Editing System to Output to Tape
Chapter 64 993 Printing to Video and Output from the Timeline
993 Different Ways You Can Output Video from the Timeline 994 Printing to Video 994 Automatically Recording with Print to Video 995 Using the Print to Video Command 997 Recording from the Timeline 999 Outputting to VHS Tape
Chapter 65 1001 Learning About QuickTime
10 01 What Is QuickTime? 1002 The QuickTime Suite of Software Applications 1002 QuickTime for Media Authoring 1002 The QuickTime Movie File Format 1005 How Final Cut Express Uses QuickTime for Import, Export, and Capture 1006 Formats Supported by QuickTime
1011 How Do You Export the Files You Need?
Contents 21
Chapter 66 1013 Exporting QuickTime Movies
1013 About the Export QuickTime Movie Command 1014 Choosing the Type of QuickTime Movie to Export 1015 Exporting a QuickTime Movie File 1017 Exporting QuickTime Movies with Markers
Chapter 67 1019 Exporting Using QuickTime Conversion
1019 About the Export Using QuickTime Conversion Command
1020 Types of File Formats You Can Export with QuickTime
10 21 About Color Space Conversion
10 21 Exporting a QuickTime Movie File for Web Distribution 10 23 Configuring QuickTime Movie Settings 10 33 About QuickTime Aperture Display Modes 10 36 Exporting to an Apple Device 10 37 Exporting a DV Stream 10 38 Exporting an AVI File
Chapter 68 1041 Exporting Sequences for DVD
10 41 The DVD Creation Process 10 44 Adding Chapter and Compression Markers to Your Sequence 1047 Using iDVD 1047 Exporting a QuickTime Movie for DVD Use
Chapter 69 1049 Exporting Still Images and Image Sequences
1049 Determining the Image Format for Still-Image Export 1050 Exporting a Single Still Image
10 51 Exporting Image Sequences
Part XIII Appendixes
Appendix A 1057 Video Formats
10 57 Characteristics of Video Formats 10 58 Storage Medium 10 59 Video Standards 1060 Types of Video Signals 10 62 Aspect Ratio of the Video Frame 1064 Frame Dimensions, Number of Lines, and Resolution 1066 Pixel Aspect Ratio 10 67 Frame Rate 10 67 Scanning Method 1070 Color Recording Method 1070 Video Sample Rate and Bit Depth 10 72 Video Compression
22 Contents
10 79 Video Formats Supported by Final Cut Express 10 79 DV Formats 1080 High Definition Video Formats
10 81 Data Rate Comparisons
10 81 A Brief History of Film, Television, and Audio Formats
Appendix B 1085 Frame Rate and Timecode
10 85 What Is Frame Rate? 1086 Understanding Flicker and Perceived Frame Rate 10 87 Frame Rate Limits: How Many Frames per Second Is Best? 1088 Choosing a Frame Rate 1090 What Is Timecode? 1090 About Drop Frame and Non-Drop Frame Timecode
Appendix C 1095 Working with Anamorphic 16:9 Media
10 95 About Anamorphic 16:9 Media 1099 Recording Anamorphic Video
11 0 0 Capturing Anamorphic Media 11 0 0 Viewing and Editing Anamorphic Media 11 0 2 Rendering Items That Contain Anamorphic Media 11 0 3 Exporting Anamorphic Video to a QuickTime Movie
Appendix D 1105 Solving Common Problems
11 0 5 Resources for Solving Problems 11 0 6 Solutions to Common Problems
1111 Contacting AppleCare Support
Index 1113
Contents 23
Final Cut Express 4 Documentation and Resources
You can use Final Cut Express to create movies of any budget, style, and format. Final Cut Express comes with onscreen documentation to help you learn how.
This preface provides information on the documentation available for Final Cut Express, as well as information about Final Cut Express resources on the web. Final Cut Express comes with several types of documentation to help you learn more about movie editing and how to use the application:

Onscreen Help

Onscreen help (available in the Help menu) provides easy access to information while you’re working in Final Cut Express. An onscreen version of the Final Cut Express 4 User Manual is available here, along with links to other documentation and related Apple websites.
Preface
To access onscreen help:
m In Final Cut Express, choose an option from the Help menu.

Onscreen User Manual

The onscreen version of the user manual is helpful if you do not have immediate access to the printed volumes.
To access the onscreen user manual:
m In Final Cut Express, choose Help > Final Cut Express User Manual.

Release Notes

This document contains information about issues with third-party hardware and software and other known issues.
Note: You must be connected to the Internet to view the Release Notes document.
To access Release Notes:
m In Final Cut Express, choose Help > Release Notes.
25

Apple Websites

There are a variety of discussion boards, forums, and educational resources related to Final Cut Express on the web.
Final Cut Express Websites
The following websites provide general information, updates, and support information about Final Cut Express, as well as the latest news, resources, and training materials.
For information about Final Cut Express, go to:
 http://www.apple.com/finalcutexpress
To get more information on third-party resources, such as third-party tools and user groups, go to:
 http://www.apple.com/finalcutexpress/resources.html
For information on the Apple Pro Training Program, go to:
 http://www.apple.com/software/pro/training
To provide comments and feedback to Apple about Final Cut Express, go to:
 http://www.apple.com/feedback/finalcutexpress.html

Apple Service and Support Website

The Apple Service and Support website provides software updates and answers to the most frequently asked questions for all Apple products, including Final Cut Express. You’ll also have access to product specifications, reference documentation, and Apple and third-party product technical articles:
 http://www.apple.com/support
26 Preface Final Cut Express 4 Documentation and Resources
Part I: An Introduction
to Final Cut Express
Find out how Final Cut Express fits into the moviemaking process and learn about fundamental concepts of digital video editing and the basic elements of a Final Cut Express project.
Chapter 1 About the Post-Production Workflow
Chapter 2 Video Formats
Chapter 3 Understanding Projects, Clips, and Sequences
I
1 About the Post-Production
Workflow
1
No matter what your project, Final Cut Express is the cornerstone of your post-production workflow.
This chapter covers the following:
 The Industry Workflow (p. 29)
 The Post-Production Workflow (p. 30)

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. From conception to completion, the basic steps to complete a film or video project are described below.
Step 1: Scripting
Scripting is where the movie is conceived and written.
Step 2: Preproduction
This is where budgeting, casting, location scouting, equipment and format selection, and storyboarding take place.
Step 3: Production
Production is where you create your footage, capturing performances using video or film cameras, as well as audio recorders. Lighting, cinematography, acting, and directing all come together to create the elements used to tell your story or deliver your message. For practical reasons, scenes are usually shot out of order, which means they have to be properly arranged during editing.
29
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.
Step 5: Distribution
Distribution is when you release a movie for viewing. This may involve theater screenings, video and DVD releases, festival submissions, or web delivery.

The Post-Production Workflow

The post-production phase begins with the raw source footage and ends with a completed movie, ready for making distribution copies. As technology evolves, post-production continues to proliferate into an increasing variety of jobs and tasks. Where there was once a single editor who was responsible for the majority of the post-production process, there may now be a whole special effects team, an audio department, a colorist (responsible for color correction), and a number of assistant editors keeping track of all the footage. Final Cut Express is at the heart of the post-production pipeline, allowing you to organize and assemble media from multiple sources into a finished product.
Here is an overview of the basic Final Cut Express post-production workflow. As you begin your project, remember that there are no hard and fast rules for editing. Different editors have different working styles and, given the same source material, no two editors will cut the same finished program. The workflow described here offers just one example of how you might approach a typical project.
30 Part I An Introduction to Final Cut Express
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