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.
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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.
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Dolby Laboratories: Manufactured under license from Dolby Laboratories.“Dolby,”“Pro Logic,” and the
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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
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 |
|
100 |
Marking Controls |
|
101 |
Zoom and View Pop-Up Menus |
Chapter 8 |
103 |
Navigating and Using Timecode in the Viewer and Canvas |
|
103 |
Navigating in the Viewer and Canvas |
|
110 |
Working with Timecode in the Viewer and Canvas |
Chapter 9 |
113 |
Timeline Basics |
|
113 |
How You Use the Timeline |
|
115 |
Opening and Closing Sequences in the Timeline |
|
116 |
Learning About the Timeline |
|
126 |
Changing Timeline Display Options |
|
130 |
Navigating in the Timeline |
|
131 |
Zooming and Scrolling in the Timeline |
4 |
Contents |
|
|
Chapter 10 |
137 |
Customizing the Interface |
|
137 |
Changing Browser and Timeline Text Size |
|
137 |
Moving and Resizing Final Cut Express Windows |
|
139 |
Using Window Layouts |
|
140 |
Working with Shortcut Buttons and Button Bars |
Part III |
|
Setting Up Your Editing System |
Chapter 11 |
147 |
Connecting DV Video Equipment |
|
147 |
Components of a Basic Final Cut Express Editing System |
|
148 |
Setting Up a Final Cut Express Editing System |
|
149 |
Connecting Your Camcorder |
|
149 |
Opening Final Cut Express and Choosing Your Initial Settings |
|
153 |
Confirming Remote Device Control Between Final Cut Express and Your DV Device |
|
154 |
About FireWire |
Chapter 12 |
155 |
Determining Your Hard Disk Storage Options |
|
155 |
Working with Scratch Disks and Hard Disk Drives |
|
156 |
Data Rates and Storage Devices |
|
156 |
Determining How Much Space You Need |
|
159 |
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 |
|
175 |
Overview of the Capturing Process |
|
177 |
Overview of the Capture Window |
|
178 |
Transport Controls |
|
178 |
Jog and Shuttle Controls |
|
179 |
Marking Controls |
|
179 |
Capture Tab |
|
182 |
Capture Buttons |
Contents |
5 |
|
|
182 Preparing to Capture
182Organizing and Labeling Your Tapes
183Logging Your Tapes
184Choosing a Filenaming Scheme
184Determining How Much Disk Space You Need
185Capturing Individual Clips in the Capture Window
190Using Capture Now
192Automatically Creating Subclips Using DV Start/Stop Detection
193Adding Markers to Clips in the Capture Window
193Marker Controls in the Capture Window
194Setting Markers
194Recapturing Clips
195Using Capture Project
197About the Additional Items Found Dialog
198Finding Your Media Files After Capture
198Where Are Captured Media Files Stored?
199Consolidating Media Files to One Folder
200Modifying a Media File’s Reel Name Property
201Avoiding Duplicate Timecode Numbers on a Single Tape
202Logging Tapes with Duplicate Timecode Numbers
202Avoiding 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 |
|
211 |
About Importing Audio Files |
|
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 |
|
|
320Setting Sequence In and Out Points in the Canvas or Timeline
321Options for Setting Sequence In and Out Points
326Setting Sequence In and Out Points
327Setting In and Out Points to Match a Clip or Gap
328Setting In and Out Points Based on a Selection in the Timeline
330Navigating to In and Out Points
331Moving In and Out Points
332Clearing 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
382Example: Editing a Clip into a Gap in Your Sequence
383Example: 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
530Using the Trim Edit Window
531Playing Incoming and Outgoing Clips in the Trim Edit Window
531Dynamic Trimming
531Trimming an Edit in the Trim Edit Window
534Reviewing and Playing Back Your Edits in the Trim Edit Window
534Slipping a Clip in the Trim Edit Window
535Listening 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
767Smoothing Keyframes with Bezier Handles
768Understanding Bezier Handles and Curves
770Smoothing Keyframes
771Creating Keyframed Motion Paths in the Canvas
772What Are Motion Paths?
772Creating Motion Paths
774Adding, Moving, and Deleting Keyframes in Motion Paths
774Creating Curved Motion Paths Using Bezier Handles
776Controlling Speed Along a Motion Path
778Moving 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
826Updating Photoshop Files in Adobe Photoshop
827Working with Layered Photoshop Sequences
828Using Video and Graphics Clips with Alpha Channels
829Working with Clips That Have Alpha Channels
830Changing a Clip’s Alpha Channel Type
832Choosing a Background
833Temporarily Excluding Clips from Playback or Output
834Temporarily Disabling a Single Clip
835Soloing 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 |
919About Mixed-Format Sequences
920Determining Whether Clips in a Sequence Will Play Back in Real Time
921Formats That Support Real-Time Playback
921Formats That Don’t Support Real-Time Playback
921Viewing Clip Properties and Sequence Settings
922Working with Mixed-Format Sequences
922Conforming Sequence Settings to Match a Clip’s Settings
923Conforming Clips to Match Sequence Settings
924Mixing Frame Rates
926Combining Interlaced Footage with Different Field Dominances
927Mixing Footage with Different Codecs
928Adding Filters and Motion Effects to Mixed-Format Sequences
928Combining SD and HD Video
928Downconverting HD Video
933Upconverting SD Video
933Rendering 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 |
940Restoring Autosaved Projects
941Opening a Project File After Your Computer Is Unexpectedly Shut Down
941Archiving 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 |
|
1001 |
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 |
|
1021 |
About Color Space Conversion |
|
1021 |
Exporting a QuickTime Movie File for Web Distribution |
|
1023 |
Configuring QuickTime Movie Settings |
|
1033 |
About QuickTime Aperture Display Modes |
|
1036 |
Exporting to an Apple Device |
|
1037 |
Exporting a DV Stream |
|
1038 |
Exporting an AVI File |
Chapter 68 |
1041 |
Exporting Sequences for DVD |
|
1041 |
The DVD Creation Process |
|
1044 |
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 |
|
1051 |
Exporting Image Sequences |
Part XIII |
Appendixes |
Appendix A 1057 |
Video Formats |
1057 |
Characteristics of Video Formats |
1058 |
Storage Medium |
1059 |
Video Standards |
1060 |
Types of Video Signals |
1062 |
Aspect Ratio of the Video Frame |
1064 |
Frame Dimensions, Number of Lines, and Resolution |
1066 |
Pixel Aspect Ratio |
1067 |
Frame Rate |
1067 |
Scanning Method |
1070 |
Color Recording Method |
1070 |
Video Sample Rate and Bit Depth |
1072 |
Video Compression |
22 |
Contents |
|
|
|
1079 |
Video Formats Supported by Final Cut Express |
|
1079 |
DV Formats |
|
1080 |
High Definition Video Formats |
|
1081 |
Data Rate Comparisons |
|
1081 |
A Brief History of Film, Television, and Audio Formats |
Appendix B |
1085 |
Frame Rate and Timecode |
|
1085 |
What Is Frame Rate? |
|
1086 |
Understanding Flicker and Perceived Frame Rate |
|
1087 |
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 |
|
1095 |
About Anamorphic 16:9 Media |
|
1099 |
Recording Anamorphic Video |
|
1100 |
Capturing Anamorphic Media |
|
1100 |
Viewing and Editing Anamorphic Media |
|
1102 |
Rendering Items That Contain Anamorphic Media |
|
1103 |
Exporting Anamorphic Video to a QuickTime Movie |
Appendix D |
1105 |
Solving Common Problems |
|
1105 |
Resources for Solving Problems |
|
1106 |
Solutions to Common Problems |
|
1111 |
Contacting AppleCare Support |
Index |
1113 |
|
Contents |
23 |
|
|
Final Cut Express 4
Documentation and Resources
Preface
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 (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.
To access onscreen help:
m In Final Cut Express, choose an option from the Help menu.
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.
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
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
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
I
|
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 |
About the Post-Production |
1 |
Workflow |
No matter what your project, Final Cut Express is the cornerstone of your post-production workflow.
This chapter covers the following:
ÂThe Industry Workflow (p. 29)
ÂThe Post-Production Workflow (p. 30)
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 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 |
|
|