Final Cut Express HD
User Manual
K Apple Computer, Inc.
© 2006 Apple Computer, Inc. All rights reserved.
The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. and other countries. Use of the “keyboard” Apple logo (Option-Shift-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.
Apple, the Apple logo, DVD Studio Pro, Final Cut, Final Cut Pro, FireWire, iDVD, iMovie, Mac, Macintosh,
Mac OS, PowerBook, Power Mac, QuickTime, Soundtrack, TrueType, and Xsan are trademarks of Apple Computer, Inc., registered in the U.S. and other countries.
Cinema Tools, Finder, LiveType, and Pixlet are trademarks of Apple Computer, Inc.
AppleCare is a service mark of Apple Computer, 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.
Helvetica is a registered trademark of Heidelberger Druckmaschinen AG, available from Linotype Library GmbH.
OpenGL is a registered trademark of Silicon Graphics, Inc.
Production stills from the films “Koffee House Mayhem” and “A Sus Ordenes” provided courtesy of Refuge Films. “Koffee House Mayhem” © 2005 Jean-Paul Bonjour;
“A Sus Ordenes” © 2005 Eric Escobar. http://www.refugefilms.com
Preface |
25 |
Final Cut Express HD Documentation and Resources |
|
25 |
Getting Started |
|
25 |
Onscreen Help |
|
26 |
Apple Websites |
Part I |
|
An Introduction to Final Cut Express HD |
Chapter 1 |
29 |
About the Post-Production Workflow |
|
29 |
The Industry Workflow |
|
30 |
The Post-Production Workflow |
Chapter 2 |
35 |
Video Formats and Timecode |
|
35 |
About Nonlinear and Nondestructive Editing |
|
36 |
Video Formats Compatible With Final Cut Express HD |
|
36 |
Audio Formats Compatible With Final Cut Express HD |
|
36 |
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 HD Interface |
Chapter 4 |
55 |
Overview of the Final Cut Express HD Interface |
|
55 |
Basics of Working in the Final Cut Express HD Interface |
|
57 |
Using Keyboard Shortcuts, Buttons, and Shortcut Menus |
|
59 |
Customizing the Interface |
|
63 |
Undoing and Redoing Changes |
|
64 |
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 the 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 |
|
82 |
Learning About the Viewer |
|
83 |
Tabs in the Viewer |
|
84 |
Transport (or Playback) Controls |
|
85 |
Playhead Controls |
|
87 |
Marking Controls |
|
88 |
Zoom and View Pop-Up Menus |
|
90 |
Recent Clips and Generator Pop-Up Menus |
Chapter 7 |
91 |
Canvas Basics |
|
91 |
How You Use the Canvas |
|
92 |
Opening, Selecting, and Closing Sequences in the Canvas |
|
93 |
Learning About the Canvas |
|
94 |
Editing Controls in the Canvas |
|
95 |
Transport (or Playback) Controls |
|
96 |
Playhead Controls |
|
98 |
Marking Controls |
|
99 |
Zoom and View Pop-Up Menus |
Chapter 8 |
101 |
Navigating and Using Timecode in the Viewer and Canvas |
|
101 |
Navigating in the Viewer and Canvas |
|
108 |
Working With Timecode in the Viewer and Canvas |
Chapter 9 |
111 |
Timeline Basics |
|
111 |
How You Use the Timeline |
|
113 |
Opening and Closing Sequences in the Timeline |
|
114 |
Learning About the Timeline |
|
123 |
Changing Timeline Display Options |
|
127 |
Navigating in the Timeline |
|
128 |
Zooming and Scrolling in the Timeline |
4 |
Contents |
|
|
Chapter 10 |
135 |
Customizing the Interface |
|
135 |
Changing Browser and Timeline Text Size |
|
135 |
Moving and Resizing Final Cut Express HD Windows |
|
137 |
Using Screen Layouts |
|
139 |
Working With Shortcut Buttons and Button Bars |
Part III |
|
Setting Up Your Editing System |
Chapter 11 |
145 |
Connecting Your Equipment |
|
145 |
Connecting Your Camcorder |
|
146 |
Connecting an External Video Monitor and Audio Speakers |
|
146 |
Opening Final Cut Express HD and Choosing Your Initial Settings |
|
150 |
What Is FireWire? |
|
151 |
What Is Device Control? |
Chapter 12 |
153 |
Determining Your Hard Disk Storage Options |
|
153 |
Working With Scratch Disks and Hard Disk Drives |
|
153 |
Data Rates and Storage Devices |
|
154 |
Determining How Much Space You Need |
|
156 |
Choosing a Hard Disk |
|
157 |
Types of Hard Disk Drives |
Chapter 13 |
161 |
External Video Monitoring |
|
161 |
Using an External Video Monitor While You Edit |
|
162 |
Connecting DV/FireWire Devices to an External Monitor |
|
163 |
Using Digital Cinema Desktop Preview |
|
167 |
About the Display Quality of External Video |
|
167 |
Troubleshooting External Video Monitoring Problems |
Part IV |
|
Capturing and Importing |
Chapter 14 |
171 |
Capturing Your Footage to Disk |
|
171 |
Overview of the Capturing Process |
|
172 |
Overview of the Capture Window |
|
174 |
Transport Controls |
|
174 |
Jog and Shuttle Controls |
|
175 |
Marking Controls |
|
175 |
Capture Tab |
|
178 |
Capture Buttons |
|
178 |
Preparing to Capture |
|
178 |
Organizing and Labeling Your Tapes |
|
179 |
Logging Your Tapes |
Contents |
5 |
|
|
180 Choosing a Filenaming Scheme
180Determining How Much Disk Space You Need
181Capturing Individual Clips in the Capture Window
185Using Capture Now
187Adding Markers to Clips in the Capture Window
188Marker Controls in the Capture Window
188Setting Markers
189Recapturing Clips
189Using Capture Project
191About the Additional Items Found Dialog
192Finding Your Media Files After Capture
192Where Are Captured Media Files Stored?
193Consolidating Media Files to One Folder
194Modifying a Media File’s Reel Name Property
195Avoiding Duplicate Timecode Numbers on a Single Tape
196Logging Tapes with Duplicate Timecode Numbers
196Avoiding Multiple Occurrences of the Same Timecode Number on a Single Tape
Chapter 15 |
199 |
Importing Media Files Into Your Project |
|
199 |
What File Formats Can Be Imported? |
|
200 |
Importing Media Files |
|
203 |
About Importing Video Files |
|
204 |
About Importing Audio Files |
Chapter 16 |
207 |
Working With HDV |
|
207 |
About HDV |
|
208 |
HDV Formats Supported by Final Cut Express HD |
|
208 |
About MPEG-2 Compression |
|
210 |
HDV Apple Intermediate Codec Editing Workflow |
|
210 |
Connecting an HDV Device to Your Computer |
|
211 |
Choosing an Easy Setup |
|
211 |
Capturing HDV Video to the Apple Intermediate Codec |
|
212 |
Editing Video Using the Apple Intermediate Codec |
|
213 |
Outputting HDV to Tape or Exporting to a QuickTime Movie |
|
214 |
HDV Format Specifications |
6 |
Contents |
|
|
Part V |
|
Organizing Footage and Preparing to Edit |
Chapter 17 |
219 |
Organizing Footage in the Browser |
|
219 |
Using Bins to Organize Your Clips |
|
220 |
Creating New Bins |
|
221 |
Opening Bins in the Browser |
|
222 |
Opening Bins in a Separate Window or Tab |
|
225 |
Moving Items Between Bins |
|
227 |
Sorting Items in the Browser Using Column Headings |
|
228 |
Searching for Clips in the Browser |
|
228 |
About Search Options |
|
231 |
Searching for Items in the Browser |
|
233 |
Manipulating Items in the Find Results Window |
Chapter 18 |
235 |
Using Markers |
|
235 |
Learning About Markers |
|
238 |
Working With Markers |
Chapter 19 |
251 |
Creating Subclips |
|
251 |
Learning About Subclips |
|
254 |
Manually Breaking Large Clips Into Subclips |
|
257 |
Automatically Creating Subclips Using DV Start/Stop Detection |
Part VI |
|
Rough Editing |
Chapter 20 |
261 |
Working With Projects, Clips, and Sequences |
|
262 |
Working With Projects |
|
262 |
Working With Multiple Projects in the Browser |
|
262 |
Choosing Whether the Last Previously Opened Project Opens on Launch |
|
262 |
Viewing and Changing the Properties of a Project |
|
263 |
Backing Up and Restoring Projects |
|
265 |
Learning About the Different Types of Clips |
|
265 |
Types of Clips |
|
266 |
Sequences as Clips |
|
266 |
Viewing and Changing the Properties of a Clip |
|
267 |
Changing Clip Properties in the Browser |
|
268 |
Viewing and Changing Clip Properties in the Item Properties Window |
|
269 |
Changing the Properties of Affiliate Clips |
|
270 |
Creating and Working With Sequences |
|
270 |
Creating and Deleting Sequences |
|
271 |
Opening and Closing Sequences |
|
272 |
Duplicating a Sequence |
Contents |
7 |
|
|
272Copying a Sequence Into Another Project
273Nesting a Sequence
273 Basic Sequence and Timeline Settings
Chapter 21 |
275 |
The Fundamentals of Adding Clips to a Sequence |
|
275 |
Creating a Rough Edit |
|
275 |
Basic Steps Involved in a Rough Edit |
|
276 |
How Clips Appear in the Timeline |
|
278 |
Undoing and Redoing Actions |
|
278 |
Overview of Ways to Add Clips to a Sequence |
|
278 |
Methods for Adding Clips to Sequences |
|
280 |
Determining What Parts of Clips You Want in Your Sequence |
|
280 |
Preparing a Sequence Order in the Browser |
|
281 |
Sorting to Create a Sequence Order |
|
281 |
Visually Storyboarding in the Browser |
Chapter 22 |
283 |
Setting Edit Points for Clips and Sequences |
|
283 |
About In and Out Points |
|
284 |
Learning About the Out Point Inclusive Rule |
|
285 |
Things to Keep in Mind When Setting an Out Point |
|
286 |
Setting Clip In and Out Points in the Viewer |
|
288 |
Specifying an Edit Point Using Timecode |
|
289 |
Setting In and Out Points to Include a Whole Clip |
|
289 |
Reviewing Your Edit Points |
|
290 |
Setting Sequence In and Out Points in the Canvas or Timeline |
|
291 |
Options for Setting Sequence In and Out Points |
|
296 |
Setting Sequence In and Out Points |
|
297 |
Setting In and Out Points to Match a Clip or Gap |
|
298 |
Setting In and Out Points Based on a Selection in the Timeline |
|
300 |
Navigating to In and Out Points |
|
301 |
Moving In and Out Points |
|
303 |
Clearing In and Out Points |
Chapter 23 |
305 |
Working With Tracks in the Timeline |
|
305 |
Adding and Deleting Tracks |
|
306 |
Adding Tracks |
|
308 |
Deleting Tracks |
|
309 |
Specifying Destination Tracks in the Timeline |
|
309 |
Understanding Source and Destination Controls |
|
310 |
Setting Destination Tracks |
|
311 |
Changing Source and Destination Control Connections |
|
311 |
Disconnecting Source and Destination Controls |
|
313 |
Resetting Destination Tracks to the Default State |
8 |
Contents |
|
|
314Locking Tracks to Prevent Edits or Changes
315Disabling Tracks to Hide Content During Playback
316Customizing Track Display in the Timeline
316 Resizing Timeline Tracks
318 Creating a Static Region in the Timeline
Chapter 24 |
321 |
Drag-to-Timeline Editing |
|
321 |
Overview of the Drag-to-Timeline Editing Process |
|
322 |
Dragging Clips to the Timeline |
|
323 |
Doing Simple Insert and Overwrite Edits in the Timeline |
|
326 |
Automatically Adding Tracks to Your Sequence While Dragging |
Chapter 25 |
329 |
Three-Point Editing |
|
329 |
Understanding Three-Point Editing |
|
329 |
Overview of the Three-Point Editing Process |
|
330 |
Different Ways to Do Three-Point Editing |
|
332 |
About Edit Types in the Edit Overlay |
|
333 |
Performing the Different Types of Edits |
|
333 |
Performing an Insert Edit |
|
335 |
Performing an Insert With Transition Edit |
|
336 |
Performing an Overwrite Edit |
|
338 |
Performing an Overwrite With Transition Edit |
|
339 |
Performing a Replace Edit |
|
346 |
Superimposing Clips |
|
348 |
Three-Point Editing Examples |
|
348 |
Example: Editing a Specific Clip Into Your Sequence |
|
350 |
Example: Editing a Clip Into a Gap in Your Sequence |
|
352 |
Example: Backtiming a Clip Into Your Sequence |
|
353 |
Example: Editing a Clip With No Specified In or Out Points Into Your Sequence |
Chapter 26 |
355 |
Finding and Selecting Content in the Timeline |
|
355 |
Understanding What’s Currently Selected |
|
356 |
Identifying Selections in the Timeline |
|
357 |
How Selections Are Prioritized in the Timeline |
|
357 |
Direct Methods for Selecting Content in a Sequence |
|
358 |
An Introduction to the Selection Tools |
|
360 |
Selecting Clips |
|
363 |
Selecting a Range of Timeline Content |
|
364 |
Selecting All Clip Items on a Track |
|
365 |
Selecting All Items on All Tracks Forward or Backward |
|
367 |
Selecting or Deselecting All Clips in a Sequence |
Contents |
9 |
|
|
|
367 |
Finding and Selecting Based on Search Criteria |
|
369 |
Selecting a Vertical Range Between In and Out Points |
|
370 |
Using Auto Select to Specify Tracks for Selections |
Chapter 27 |
373 |
Arranging Clips in the Timeline |
|
373 |
Snapping to Points in the Timeline |
|
375 |
Moving Items Within the Timeline |
|
375 |
Moving by Dragging |
|
376 |
Moving Clips Numerically |
|
378 |
Performing Shuffle Edits |
|
380 |
Copying and Pasting Clips in the Timeline |
|
380 |
Copying Clips by Option-Dragging |
|
382 |
Copying, Cutting, and Pasting Clips in the Timeline |
|
385 |
Deleting Clips From a Sequence |
|
385 |
Deleting With a Lift Edit (Leaving a Gap) |
|
386 |
Deleting With a Ripple Edit (Leaving No Gap) |
|
387 |
Finding and Closing Gaps |
Chapter 28 |
391 |
Cutting Clips and Adjusting Durations |
|
391 |
Performing Basic Cut Edits |
|
395 |
Changing the Duration of Clips in the Timeline |
|
396 |
Opening Sequence Clips in the Viewer to Change Durations |
Chapter 29 |
397 |
Linking and Editing Video and Audio in Sync |
|
397 |
Linked Sync Relationships Between Video and Audio Clips |
|
398 |
When Linked Clips Are Moved Out of Sync |
|
401 |
Understanding Sync Relationships Between Multiple Linked Audio Items |
|
402 |
Linking and Unlinking Video and Audio Clip Items in the Timeline |
|
402 |
Linking Video and Audio Clip Items |
|
404 |
Unlinking Video and Audio Clip Items |
|
405 |
Selecting Individual Clip Items While They Are Linked |
|
406 |
Getting Clip Items Back in Sync |
|
406 |
Moving a Clip Into Sync |
|
408 |
Slipping a Clip Item Into Sync |
|
409 |
Moving or Slipping All Clip Items Into Sync at Once |
|
411 |
Establishing a Different Sync Relationship Between Linked Clip Items |
|
411 |
Marking a Clip as In Sync |
|
413 |
Learning About Linking Behavior in Audio Channel Pairs |
10 |
Contents |
|
|
Chapter 30 |
415 |
Split Edits |
|
415 |
Learning About Split Edits |
|
416 |
How Split Edits Look in the Viewer and Canvas |
|
417 |
Setting Up Split Edit Points in the Viewer |
|
418 |
Setting Up a Split Edit While Playing a Clip |
|
419 |
Modifying and Clearing Split Edits |
|
421 |
Split Edit Examples |
Chapter 31 |
425 |
Audio Editing Basics |
|
425 |
The Goals of Audio Editing |
|
427 |
Using Waveform Displays to Help You Edit Audio |
|
428 |
Learning About the Audio Controls in the Viewer |
|
431 |
Editing Audio in the Viewer |
|
431 |
Opening Audio Clips in the Viewer |
|
432 |
Viewing Audio Tracks in the Viewer |
|
432 |
Zooming In or Out of the Waveform Display Area |
|
434 |
Scrolling Through a Zoomed-In Audio Clip |
|
435 |
Using the J, K, and L Keys to Hear Subtle Details |
|
435 |
Turning Off the Audio Scrubbing Sounds |
|
435 |
About Setting Edit Points for Audio |
|
436 |
Dragging an Audio Clip to the Canvas, Browser, or Timeline |
|
436 |
Trimming Audio Clips in the Viewer |
|
438 |
Editing Audio in the Timeline |
|
438 |
Timeline Audio Display Options |
|
440 |
Zooming In and Out of Waveforms in the Timeline |
|
441 |
Moving Audio Items From One Track to Another at the Same Frame |
|
442 |
Using Audio Transitions to Smooth Audible Changes |
|
442 |
Creating or Separating Stereo Pairs |
|
444 |
Working With Audio at the Subframe Level |
|
444 |
Subframe Synchronization of Audio and Video |
|
446 |
Examples of Ways to Easily Edit Audio |
|
446 |
Example: Replacing Unwanted Audio With Room Tone |
|
449 |
Example: Fixing Awkward Audio Cuts in the Timeline |
Part VII |
|
Fine-Tuning Your Edit |
Chapter 32 |
453 |
Performing Slip, Slide, Ripple, and Roll Edits |
|
453 |
About Trimming With Slip, Slide, Ripple, and Roll Tools |
|
453 |
Sliding Clips in the Timeline |
|
455 |
Performing Slide Edits by Dragging |
|
456 |
Performing Precise Slide Edits Numerically |
|
457 |
Slipping Clips in the Timeline |
Contents |
11 |
|
|
|
458 |
Performing a Slip Edit Using the Slip Tool |
|
459 |
Performing Precise Slip Edits Numerically |
|
461 |
Using the Ripple Tool to Trim an Edit Without Leaving a Gap |
|
462 |
Performing Ripple Edits |
|
466 |
About Ripple Edits and Sync Relationships of Clip Items on Other Tracks |
|
468 |
Doing Ripple Edits on Multiple Tracks at Once |
|
468 |
Asymmetrical Trimming With the Ripple Tool |
|
470 |
Using the Roll Tool to Change Where a Cut Occurs |
|
471 |
Rolling the Position of an Edit Between Two Clips |
Chapter 33 |
477 |
Learning About Trimming Clips |
|
477 |
What Is Trimming? |
|
479 |
Controls That Affect Trim Edits |
|
480 |
Selecting Edits and Clips to Trim |
|
481 |
Tools for Selecting Edit Points |
|
482 |
Selecting Single Edit Points |
|
482 |
Selecting Multiple Edit Points |
|
483 |
Trimming Clip In and Out Points |
|
483 |
Trimming With the Selection Tool |
|
485 |
Extending and Shortening Clips in the Timeline |
|
486 |
Trimming Clips in the Viewer |
|
487 |
Precision Editing Using Timecode |
|
491 |
Understanding Alert Messages When Trimming |
Chapter 34 |
493 |
Trimming Clips Using the Trim Edit Window |
|
493 |
Learning About the Trim Edit Window |
|
495 |
Opening and Closing the Trim Edit Window |
|
496 |
Controls in the Trim Edit Window |
|
500 |
Using the Trim Edit Window |
|
501 |
Playing Incoming and Outgoing Clips in the Trim Edit Window |
|
501 |
Dynamic Trimming |
|
501 |
Trimming an Edit in the Trim Edit Window |
|
504 |
Reviewing and Playing Back Your Edits in the Trim Edit Window |
|
504 |
Slipping a Clip in the Trim Edit Window |
|
505 |
Listening to Audio While Trimming |
Chapter 35 |
507 |
Adding Transitions |
|
507 |
Learning About Transitions |
|
508 |
Common Types of Transitions |
|
509 |
Using Transitions in Your Sequences |
|
509 |
How Transitions Appear in the Timeline |
|
510 |
Having Handles at Edit Points |
|
510 |
Aligning a Transition in the Timeline |
12 |
Contents |
|
|
511 Adding Transitions
511Adding Transitions With Clips You Add to the Timeline
512Quickly Adding the Default Transition to Clips in Your Sequence
513Adding Transitions to Clips in Your Sequence
515Moving, Copying, and Deleting Transitions
516Moving a Transition to Another Edit Point
516Copying and Pasting Transitions
517Deleting Transitions
517 Modifying Transitions in the Timeline
517 Changing the Duration of a Transition in the Timeline
519Changing the Alignment of a Transition in the Timeline
519Changing an Edit Point After Adding a Transition
520Replacing Transitions
520 Video Transitions That Come With Final Cut Express HD
524 Using After Effects Transitions
Chapter 36 |
525 |
Refining Transitions Using the Transition Editor |
|
525 |
Using the Transition Editor |
|
532 |
Applying a Modified Transition Directly to a Sequence in the Timeline |
|
532 |
Trimming Transitions and the Surrounding Clips |
|
536 |
Previewing and Rendering Transitions |
Chapter 37 |
539 |
Sequence to Sequence Editing |
|
539 |
Methods for Editing Clips From One Sequence to Another |
|
540 |
Opening More Than One Sequence at a Time |
|
540 |
Copying Clips From One Sequence to Another |
|
544 |
Nesting Sequences |
|
547 |
Editing the Content of One Sequence Into Another Without Nesting It |
Chapter 38 |
551 |
Matching Frames |
|
551 |
Working With Sequence Clips in the Viewer |
|
552 |
Opening a Sequence Clip in the Viewer |
|
553 |
Switching Between the Viewer, Canvas, and Timeline |
|
553 |
Using the Viewer to Adjust Sequence Clip In and Out Points |
|
554 |
Using the Viewer to Adjust Motion and Filter Parameters |
|
554 |
Matching Frames Between Sequence and Master Clips |
|
555 |
Matching a Frame in the Canvas to Its Master Clip |
|
555 |
Matching a Frame in the Canvas to Its Media File |
|
556 |
Matching a Frame in the Viewer to a Sequence Clip in the Canvas or Timeline |
Contents |
13 |
|
|
Chapter 39 |
557 |
Working With Timecode |
|
557 |
About Timecode in Final Cut Express HD |
|
557 |
Displaying Timecode Affected by Speed Changes |
|
558 |
Clip Time Versus Source Time |
|
558 |
Changing Global Timecode Display Options |
Part VIII |
|
Audio Mixing |
Chapter 40 |
561 |
Overview of Audio Mixing |
|
561 |
Audio Finishing Features in Final Cut Express HD |
|
562 |
Overview of Audio Sweetening in Final Cut Express HD |
|
565 |
Making the Final Mix |
Chapter 41 |
567 |
Setting Up Audio Equipment |
|
567 |
Choosing External Audio Monitoring Components |
|
568 |
Choosing an Audio Interface |
|
569 |
Choosing Speakers and an Amplifier for Monitoring |
|
570 |
Setting Up a Proper Audio Monitoring Environment |
|
572 |
Audio Cables, Connectors, and Signal Levels |
|
572 |
About Balanced Audio Signals |
|
574 |
Microphone, Instrument, and Line Level |
|
574 |
Audio Connectors |
|
576 |
Configuring External Audio Monitors |
|
576 |
Connecting Speakers to Your Editing System |
|
577 |
Setting Monitoring Levels and Muting System Sound Effects |
Chapter 42 |
579 |
Audio Fundamentals |
|
579 |
What Is Sound? |
|
580 |
Fundamentals of a Sound Wave |
|
581 |
Frequency Spectrum of Sounds |
|
582 |
Measuring Sound Intensity |
|
584 |
Signal-to-Noise Ratio |
|
584 |
Headroom and Distortion |
|
585 |
Dynamic Range |
|
586 |
Stereo Audio |
|
588 |
Digital Audio |
|
589 |
Sample Rate |
|
590 |
Bit Depth |
14 |
Contents |
|
|
Chapter 43 |
593 |
Audio Levels, Meters, and Output Channels |
|
593 |
About Audio Meters |
|
593 |
Average and Peak Audio Levels |
|
594 |
Average Versus Peak Audio Meters |
|
595 |
Analog Versus Digital Meters |
|
596 |
About Audio Meters in Final Cut Express HD |
|
597 |
Avoiding Audio Clipping |
|
598 |
Setting Proper Audio Levels |
|
598 |
Setting Levels for Capture |
|
598 |
What Reference Level Should You Use for Mixing? |
|
600 |
Outputting Bars and Tone at the Head of Your Tape |
|
600 |
Stereo Versus Dual Mono Audio |
Chapter 44 |
601 |
Mixing Audio in the Timeline and Viewer |
|
601 |
Adjusting Audio Levels in the Timeline |
|
605 |
Changing Audio Levels in the Viewer |
|
607 |
Panning Audio in the Timeline and Viewer |
|
607 |
Panning Audio in the Timeline |
|
608 |
Changing the Pan of Audio in the Viewer |
|
608 |
Changing Pan for an Entire Clip |
|
609 |
Copying, Pasting, and Removing Audio Attributes |
|
610 |
Adjusting Clip Levels and Pan Using Keyframes |
|
610 |
Tools for Adjusting Keyframes |
|
611 |
Creating, Modifying, and Deleting Keyframes in the Viewer |
Chapter 45 |
623 |
Using the Voice Over Tool |
|
623 |
About the Voice Over Tool |
|
624 |
Setting Up Your Computer to Record Voiceover |
|
627 |
Controls in the Voice Over Tool |
|
631 |
Defining the Recording Duration and Destination Track |
|
636 |
Recording a Voiceover |
Chapter 46 |
639 |
Using Audio Filters |
|
639 |
About Audio Filters |
|
640 |
Overview of Audio Filters |
|
640 |
Equalization (EQ) Filters |
|
642 |
Compression |
|
643 |
Expansion |
|
644 |
Noise Reduction Filters |
|
645 |
Echo and Reverb Filters |
Contents |
15 |
|
|
|
647 |
Working With Audio Filters |
|
648 |
Applying Filters to an Audio Clip |
|
650 |
Modifying and Removing Filters |
|
651 |
Making Real-Time Audio Filter Adjustments |
Chapter 47 |
653 |
Tips for Better Audio |
|
653 |
Learning to Describe Sound Accurately |
|
654 |
Efficiently Using the Frequency Spectrum |
|
654 |
Tips for Cutting Dialogue |
|
658 |
Tips for Cutting Music |
|
660 |
Organizing Your Tracks |
Part IX |
|
Effects |
Chapter 48 |
663 |
Video Filters |
|
663 |
Different Ways to Use Filters |
|
664 |
Applying a Filter to a Clip |
|
666 |
Applying Multiple Filters to Clips |
|
667 |
Viewing and Adjusting a Filter’s Parameters |
|
673 |
Displaying Filter Bars in the Timeline |
|
673 |
Enabling and Rearranging Filters |
|
674 |
Copying and Pasting a Clip’s Filters |
|
675 |
Removing Filters From Clips |
|
676 |
Video Filters Available in Final Cut Express HD |
Chapter 49 |
689 |
Changing Motion Parameters |
|
689 |
Creating Motion Effects in the Viewer |
|
690 |
Adjusting Parameters in the Motion Tab |
|
695 |
Using Cartesian Geometry to Position Clips |
|
697 |
Examples Using Motion Settings |
|
707 |
Creating Motion Effects in the Canvas |
|
707 |
Choosing a Wireframe Mode |
|
708 |
Manipulating Images in the Canvas |
|
709 |
Zooming In to the Canvas |
|
710 |
Using Wireframe Handles to Transform, Scale, and Rotate |
Chapter 50 |
719 |
Adjusting Parameters for Keyframed Effects |
|
719 |
Animating Motion Effects Using Keyframes |
|
720 |
How Keyframing Works |
|
721 |
Determining the Number of Keyframes to Use |
|
722 |
Keyframing Tools in Final Cut Express HD |
|
723 |
Setting Keyframes |
|
724 |
Adjusting and Deleting Keyframes |
16 |
Contents |
|
|
725 Moving Between Keyframes
731Adjusting All Opacity Keyframes of a Clip
731Smoothing Keyframes With Bezier Handles
732Understanding Bezier Handles and Curves
734Smoothing Keyframes
735Creating Keyframed Motion Paths in the Canvas
735What Are Motion Paths?
736Creating Motion Paths
737Adding, Moving, and Deleting Keyframes in Motion Paths
738Creating Curved Motion Paths Using Bezier Handles
740Controlling Speed Along a Motion Path
743Moving an Entire Motion Path in the Canvas
Chapter 51 |
745 |
Reusing Effect and Motion Parameters |
|
745 |
Copying and Pasting Specific Clip Attributes |
|
746 |
About the Paste Attributes Dialog |
|
747 |
Copying and Pasting Clip Attributes |
|
748 |
Removing Attributes From a Clip |
|
749 |
Applying Filters Across Multiple Tracks at Once |
Chapter 52 |
751 |
Changing Clip Speed |
|
751 |
Speed Basics |
|
752 |
How Changing Speed Affects a Clip’s Duration |
|
752 |
Performing a Fit to Fill Edit |
|
755 |
Speed Settings |
|
755 |
Frame Blending and Reverse Speed |
|
757 |
Making Speed Changes |
Chapter 53 |
759 |
Working With Still Images and Photographs |
|
759 |
Using Still Images and Graphics in Your Sequences |
|
760 |
Creating Freeze Frame Stills From a Video Clip |
|
761 |
Considerations Before Creating and Importing Stills |
|
769 |
Changing the Duration of Still Images |
Chapter 54 |
775 |
Compositing and Layering |
|
775 |
Introduction to Compositing and Layering |
|
776 |
Methods of Compositing |
|
776 |
Different Ways to Layer Clips in the Timeline |
|
777 |
Adjusting Opacity Levels of Clips |
|
780 |
Working With Composite Modes |
|
780 |
How Composite Modes Affect Images |
|
781 |
Applying Composite Modes to Clips |
|
782 |
Composite Modes in Final Cut Express HD |
|
792 |
Using Travel Mattes to Hide or Reveal Parts of a Clip |
Contents |
17 |
|
|
|
794 |
Working With Layered Photoshop Files |
|
794 |
What Happens When You Import a Multilayered Photoshop File |
|
796 |
Using Video and Graphics Clips With Alpha Channels |
|
797 |
Types of Alpha Channels Recognized in Final Cut Express HD |
|
798 |
Working With Clips That Have Alpha Channels |
|
799 |
Importing Clips With Alpha Channels |
|
799 |
Changing a Clip’s Alpha Channel Type |
|
801 |
Changing Canvas and Viewer Background Colors |
|
802 |
Temporarily Excluding Clips From Playback or Output |
|
803 |
Temporarily Disabling a Single Clip |
|
804 |
Soloing Clips in Multitrack Sequences |
Chapter 55 |
805 |
Keying, Mattes, and Masks |
|
805 |
Ways to Layer and Isolate Elements in Clips |
|
805 |
What Are Mattes and How Can You Use Them? |
|
806 |
What Is Keying and How Can You Use It? |
|
807 |
What Are Masks and How Are They Used? |
|
808 |
Using Keying to Isolate Foreground Elements |
|
808 |
Shooting Footage That Keys Well |
|
810 |
Overview of Compositing Using the Chroma Keyer Filter |
|
813 |
Working With the Chroma Keyer Filter |
|
822 |
Using Mattes to Add or Modify Alpha Channels |
|
822 |
Matte Filters Available in Final Cut Express HD |
|
824 |
Using Masks to Replace or Modify Alpha Channels |
|
824 |
Mask Filters Available in Final Cut Express HD |
Chapter 56 |
827 |
Color Correcting Clips |
|
827 |
What Is Color Correction? |
|
828 |
Why Color Correct Your Footage? |
|
829 |
Color Correction Starts During Your Shoot |
|
830 |
Measuring and Evaluating Video |
|
830 |
Luma (Luminance) |
|
831 |
Chrominance (Chroma) |
|
832 |
Whites |
|
832 |
Illegal Broadcast Levels |
|
833 |
The Color Correction Process |
|
835 |
Looking at the Picture |
|
836 |
Using the Color Corrector Filter |
|
837 |
The Color Corrector Filter |
|
837 |
General Controls |
|
837 |
Color Balance Controls |
|
838 |
The Color Corrector Filter Controls |
|
844 |
Hue Matching Controls in the Color Corrector |
18 |
Contents |
|
|
Chapter 57 |
849 |
Using Built-in Generated Clips |
|
849 |
What Is a Generator Clip? |
|
850 |
Different Ways to Use Generators in Your Sequence |
|
851 |
Graphical Video and Audio Generators Available in Final Cut Express HD |
|
853 |
Creating and Adding Generated Clips to Sequences |
Chapter 58 |
855 |
Creating Titles |
|
855 |
How You Can Use Titles in Your Project |
|
856 |
Installing and Choosing Fonts |
|
856 |
Making Sure Titles Fit on TV Screens |
|
857 |
Text Generators Available in Final Cut Express HD |
|
858 |
Creating and Adding a Title Clip |
|
862 |
Other Options for Creating and Adding Titles |
Part X |
|
Real Time and Rendering |
Chapter 59 |
865 |
Using RT Extreme |
|
865 |
Introduction to Real-Time Processing Using RT Extreme |
|
866 |
How Many Effects Can Be Played in Real Time? |
|
870 |
Available Real-Time Effects |
|
871 |
Display Quality and Accuracy of RT Extreme |
|
871 |
Using Real-Time Controls in Final Cut Express HD |
|
872 |
About Render Status Bars |
|
873 |
Identifying Which Effects Can Be Processed in Real Time |
|
873 |
Setting Real-Time Playback Options |
|
876 |
Real-Time Audio Mixing in Final Cut Express HD |
|
876 |
Improving Real Time Audio Performance |
Chapter 60 |
877 |
Rendering |
|
877 |
What Is Rendering? |
|
878 |
Reasons for Rendering |
|
879 |
Render Indicators in Final Cut Express HD |
|
879 |
About Render Status Bars in the Timeline |
|
882 |
About Item-Level Render Bars |
|
883 |
The Rendering Process |
|
883 |
Rendering Effects in Sequences |
|
885 |
Commands for Rendering Effects |
|
887 |
Rendering One or More Sequences |
|
888 |
Rendering Part of a Sequence |
|
889 |
Rendering Audio Items in a Sequence |
|
889 |
Using the Mixdown Command |
|
890 |
Temporarily Disabling Rendering |
Contents |
19 |
|
|
|
891 |
Auto-Rendering While You Are Away From Your Computer |
|
892 |
Changing Settings in the Render Control Tab |
|
893 |
Preserving Render Files |
|
894 |
Tips for Avoiding Unnecessary Rendering |
|
895 |
Reducing Render Time |
Part XI |
|
Project Management and Settings |
Chapter 61 |
899 |
Media Management |
|
899 |
What Is Media Management? |
|
900 |
Reasons to Manage your Media |
|
901 |
What You Need to Know to Manage Your Media |
|
901 |
Media Management Steps in Final Cut Express HD |
|
902 |
Strategies for Media Management |
Chapter 62 |
903 |
Backing Up and Restoring Projects |
|
903 |
Backing Up and Restoring Projects |
|
903 |
Using the Revert Project Command |
|
904 |
Using the Autosave Feature |
|
906 |
Restoring Autosaved Projects |
|
907 |
Opening a Project File After Your Computer Is Unexpectedly Powered Off |
|
907 |
Archiving Completed Projects |
|
908 |
Creating an Archive of a Finished Project |
|
909 |
Updating Projects From Previous Versions of Final Cut Express HD |
Chapter 63 |
911 |
Elements of a Final Cut Express HD Project |
|
911 |
About Clips, Media Files, and Sequences |
|
915 |
About Icons and Project Elements in the Browser |
|
916 |
Clip Properties |
Chapter 64 |
921 |
Working With Master and Affiliate Clips |
|
921 |
Using Master and Affiliate Clips |
|
922 |
How Master Clips Connect to Media Files |
|
922 |
Identifying Master Clips |
|
923 |
Creating Master and Affiliate Clips |
|
925 |
Breaking the Relationship Between an Affiliated Clip and Its Master |
|
926 |
Independent Clips |
|
928 |
Using Keyboard Shortcuts to Modify Master-Affiliate Relationships |
|
929 |
Finding a Clip’s Master Clip |
|
929 |
Master-Affiliate Relationships With Subclips and Freeze Frames |
20 |
Contents |
|
|
|
930 |
Master-Affiliate Clip Properties |
|
930 |
Master Clip Properties |
|
931 |
Affiliate Clip Properties |
|
931 |
Media File Properties |
Chapter 65 |
933 |
Reconnecting Clips and Offline Media |
|
933 |
About the Connections Between Clips and Media Files |
|
934 |
How the Connection Between Clips and Media Files Can Be Broken |
|
935 |
Reconnecting Clips to Media Files |
|
942 |
When Final Cut Express HD Reconnects Your Clips |
Chapter 66 |
945 |
Choosing Settings and Preferences |
|
945 |
Changing User Preferences |
|
946 |
General Tab |
|
950 |
Editing Tab |
|
951 |
Timeline Options Tab |
|
952 |
Render Control Tab |
|
952 |
Locating and Trashing the Preferences File |
|
952 |
Changing System Settings |
|
953 |
Scratch Disks Tab |
|
953 |
Search Folders Tab |
|
955 |
Memory & Cache Tab |
|
956 |
Playback Control Tab |
|
957 |
External Editors Tab |
Part XII |
|
Output |
Chapter 67 |
961 |
Preparing to Output to Tape |
|
961 |
Output Requirements |
|
962 |
How to Output to Tape in Final Cut Express HD |
|
963 |
Setting Up Your Editing System to Output to Tape |
Chapter 68 |
965 |
Printing To Video and Output From the Timeline |
|
965 |
Different Ways You Can Output Video From the Timeline |
|
966 |
Printing to Video |
|
966 |
Automatically Recording With Print to Video |
|
966 |
Using the Print to Video Command |
|
968 |
Recording From the Timeline |
|
970 |
Outputting to VHS Tape |
Contents |
21 |
|
|
Chapter 69 |
971 |
Exporting Sequences for DVD |
|
971 |
The DVD Creation Process |
|
974 |
Adding Chapter and Compression Markers to Your Sequence |
|
977 |
Exporting QuickTime Movies for iDVD |
Chapter 70 |
979 |
Learning About QuickTime |
|
979 |
What Is QuickTime? |
|
980 |
The QuickTime Suite of Software Applications |
|
980 |
QuickTime for Media Authoring |
|
980 |
The QuickTime Movie File Format |
|
983 |
How Final Cut Express HD Uses QuickTime for Import, Export, and Capture |
|
984 |
Formats Supported by QuickTime |
|
989 |
How Do You Export the Files You Need? |
Chapter 71 |
991 |
Exporting QuickTime Movies |
|
991 |
About the Export QuickTime Movie Command |
|
992 |
Choosing the Type of QuickTime Movie to Export |
|
993 |
Exporting a QuickTime Movie File |
Chapter 72 |
995 |
Exporting QuickTime-Compatible Files |
|
995 |
About the Export Using QuickTime Conversion Command |
|
996 |
Types of QuickTime-Compatible File Formats |
|
997 |
Exporting a QuickTime Movie File for Web Distribution |
|
1005 |
Exporting a DV Stream |
|
1007 |
Exporting an AVI File |
Chapter 73 |
1009 |
Exporting Still Images and Image Sequences |
|
1009 |
Determining the Image Format for Still Image Export |
|
1010 |
Exporting a Single Still Image |
|
1012 |
Exporting Image Sequences |
Chapter 74 |
1015 |
Exporting Audio for Mixing in Other Applications |
|
1015 |
Ways You Can Finish Your Audio |
|
1016 |
Organizing Your Audio Clips for Multi-Track Export |
|
1017 |
Exporting Audio Tracks to Individual Audio Files |
|
1018 |
Preparing to Export Audio Tracks as Audio Files |
|
1021 |
Exporting Audio Tracks as Individual Audio Files |
22 |
Contents |
|
|
Part XIII |
|
Appendixes |
Appendix A |
1025 |
Video Formats |
|
1025 |
Characteristics of Video Formats |
|
1026 |
Storage Medium |
|
1026 |
Tape Size, Cassette Shape, and Tape Coating |
|
1027 |
Video Standards |
|
1028 |
Type of Video Signal |
|
1030 |
Aspect Ratio of the Video Frame |
|
1031 |
Frame Dimensions, Number of Lines, and Resolution |
|
1033 |
Pixel Aspect Ratio |
|
1034 |
Frame Rate |
|
1035 |
Scanning Method |
|
1037 |
Color Recording Method |
|
1037 |
Video Sampling Rate and Color Sampling Ratio |
|
1040 |
Video Compression |
|
1042 |
Types of Video Signals and Connectors |
|
1042 |
Composite |
|
1043 |
S-Video |
|
1043 |
Component YUV (Y´CBCR) and Component RGB |
|
1044 |
FireWire (Also Called IEEE 1394a or i.LINK) |
|
1044 |
FireWire 800 (Also Called IEEE 1394b) |
|
1044 |
SCART |
|
1045 |
A Brief History of Film, Television, and Audio Formats |
Appendix B |
1047 |
Frame Rate and Timecode |
|
1047 |
What Is Frame Rate? |
|
1048 |
Understanding Flicker and Perceived Frame Rate |
|
1049 |
Frame Rate Limits: How Many Frames per Second Is Best? |
|
1050 |
Choosing a Frame Rate |
|
1052 |
What Is Timecode? |
|
1052 |
About Drop Frame and Non-Drop Frame Timecode |
|
1055 |
Timecode on Tape |
|
1056 |
Comparison of Various Timecode Formats |
Appendix C |
1059 |
Working With Anamorphic 16:9 Media |
|
1059 |
About Anamorphic 16:9 Media |
|
1063 |
Recording Anamorphic Video |
|
1064 |
Capturing Anamorphic Media |
|
1064 |
Viewing and Editing Anamorphic Media |
|
1066 |
Rendering Items That Contain Anamorphic Media |
|
1067 |
Exporting Anamorphic Video to a QuickTime Movie |
Contents |
23 |
|
|
Appendix D |
1069 |
Solving Common Problems |
|
1069 |
Resources for Solving Problems |
|
1070 |
Solutions to Common Problems |
|
1075 |
Contacting AppleCare Support |
Glossary |
1077 |
|
Index |
1107 |
|
24 |
Contents |
|
|
Final Cut Express HD
Documentation and Resources
Preface
You can use Final Cut Express HD to create movies of any budget, style, and format. Final Cut Express HD comes with both printed and onscreen documentation to help you learn how.
This preface provides information on the documentation available for Final Cut Express HD, as well as information about Final Cut Express HD resources on the web.
Final Cut Express HD comes with several types of documentation to help you learn more about movie editing and how to use the application:
ÂFinal Cut Express HD Getting Started
ÂFinal Cut Express HD onscreen help
The Final Cut Express HD Getting Started book provides an overview of the application and explains the basics of editing in Final Cut Express HD. If you are new to
Final Cut Express HD and want to start using the application right away, read this book first.
Onscreen help (available in the Help menu) provides easy access to information while you’re working in Final Cut Express HD. An onscreen version of the Final Cut Express HD User Manual is available here, along with other documents in PDF format and links
to websites.
To access onscreen help:
m In Final Cut Express HD, choose an option from the Help menu.
25
The Final Cut Express HD User Manual provides comprehensive information about the application.
To access the onscreen user manual:
m In Final Cut Express HD, choose Help > Final Cut Express HD User Manual.
For information about features that have been added or enhanced since the last version of Final Cut Express HD, you can read the New Features section of the onscreen help.
To access the New Features document:
m In Final Cut Express HD, choose Help > New Features.
There are a variety of discussion boards, forums, and educational resources related to
Final Cut Express HD on the web.
The following websites provide general information, updates, and support information about Final Cut Express HD, as well as the latest news, resources, and training materials.
For information about Final Cut Express HD, go to:
 http://www.apple.com/finalcutexpress
To get more information on third-party resources, such as third-party tools, resources, 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 HD, 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 HD. 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 HD Documentation and Resources |
|
|
I
|
Find out how Final Cut Express HD fits into the moviemaking |
|
process and learn about fundamental concepts of digital video |
|
editing and the basic elements of a Final Cut Express HD project. |
Chapter 1 |
About the Post-Production Workflow |
Chapter 2 |
Video Formats and Timecode |
Chapter 3 |
Understanding Projects, Clips, and Sequences |
About the Post-Production |
1 |
Workflow |
No matter what your project, Final Cut Express HD 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, postproduction 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 postproduction 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 HD is at the heart of the postproduction pipeline, allowing you to organize and assemble media from multiple sources into a finished product.
30 |
Part I An Introduction to Final Cut Express HD |
|
|