Final Cut Pro 6
User Manual
Volume I
Interface, Setup,
and Input
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 Studio 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, AppleWorks, DVD Studio Pro, Exposé, Final Cut, Final Cut Pro, FireWire, iMovie, iPod, Mac, Macintosh, Mac OS, Power Mac, QuickTime, Shake, and Xsan are trademarks of Apple Inc., registered in the U.S. and other countries.
Aperture, Cinema Tools, Finder, and OfflineRT are trademarks of Apple Inc.
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 Confidential Unpublished Works, © 1992–1997 Dolby Laboratories, Inc. All rights reserved.
FileMaker is a trademark of FileMaker, Inc., registered 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
Preface |
9 |
Final Cut Pro 6 Documentation and Resources |
|
9 |
User Manual |
|
10 |
Onscreen Help |
|
11 |
Apple Websites |
Part I |
|
An Introduction to Final Cut Pro |
Chapter 1 |
15 |
About the Post-Production Workflow |
|
15 |
The Industry Workflow |
|
16 |
The Post-Production Workflow |
Chapter 2 |
21 |
Video Formats and Timecode |
|
21 |
About Nonlinear and Nondestructive Editing |
|
22 |
Video Formats Compatible with Final Cut Pro |
|
23 |
Audio Formats Compatible with Final Cut Pro |
|
23 |
Video Format Basics |
|
25 |
About Timecode |
Chapter 3 |
27 |
Understanding Projects, Clips, and Sequences |
|
27 |
The Building Blocks of Projects |
|
31 |
Working with Projects |
|
35 |
About the Connection Between Clips and Media Files |
|
37 |
Filenaming Considerations |
Part II |
|
Learning About the Final Cut Pro Interface |
Chapter 4 |
43 |
Overview of the Final Cut Pro Interface |
|
43 |
Basics of Working in the Final Cut Pro Interface |
|
45 |
Using Keyboard Shortcuts, Buttons, and Shortcut Menus |
|
48 |
Customizing the Interface |
|
51 |
Undoing and Redoing Changes |
|
52 |
Entering Timecode for Navigation Purposes |
3
Chapter 5 |
53 |
Browser Basics |
|
53 |
How You Use the Browser |
|
54 |
Learning About the Browser |
|
55 |
Working in the Browser |
|
59 |
Using Columns in the Browser |
|
60 |
Customizing the Browser Display |
Chapter 6 |
73 |
Viewer Basics |
|
73 |
How You Can Use the Viewer |
|
74 |
Opening a Clip in the Viewer |
|
75 |
Learning About the Viewer |
|
77 |
Tabs in the Viewer |
|
79 |
Transport Controls |
|
80 |
Playhead Controls |
|
82 |
Marking Controls |
|
83 |
Zoom and View Pop-Up Menus |
|
86 |
Playhead Sync Pop-Up Menu |
|
87 |
Recent Clips and Generator Pop-Up Menus |
Chapter 7 |
89 |
Canvas Basics |
|
89 |
How You Use the Canvas |
|
90 |
Opening, Selecting, and Closing Sequences in the Canvas |
|
91 |
Learning About the Canvas |
|
92 |
Editing Controls in the Canvas |
|
94 |
Transport Controls |
|
95 |
Playhead Controls |
|
97 |
Marking Controls |
|
98 |
Zoom and View Pop-Up Menus |
|
98 |
Playhead Sync Pop-Up Menu |
Chapter 8 |
99 |
Navigating and Using Timecode in the Viewer and Canvas |
|
99 |
Navigating in the Viewer and Canvas |
|
106 |
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 |
|
124 |
Changing Timeline Display Options |
|
132 |
Navigating in the Timeline |
|
134 |
Zooming and Scrolling in the Timeline |
4 |
Contents |
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Chapter 10 |
141 |
Customizing the Interface |
|
141 |
Changing Browser and Timeline Text Size |
|
141 |
Moving and Resizing Final Cut Pro Windows |
|
143 |
Using Window Layouts |
|
146 |
Ways to Customize Keyboard Shortcuts |
|
155 |
Working with Shortcut Buttons and Button Bars |
Part III |
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Setting Up Your Editing System |
Chapter 11 |
161 |
Connecting DV Video Equipment |
|
161 |
Components of a Basic Final Cut Pro Editing System |
|
162 |
Setting Up a Final Cut Pro Editing System |
|
163 |
Connecting Your Camcorder |
|
163 |
Opening Final Cut Pro and Choosing Your Initial Settings |
|
168 |
Confirming Remote Device Control Between Final Cut Pro and Your DV Device |
|
169 |
About FireWire |
Chapter 12 |
171 |
Connecting Professional Video and Audio Equipment |
|
171 |
Components of a Professional Final Cut Pro Editing System |
|
172 |
Video and Audio Input and Output Devices |
|
173 |
External Video and Audio Monitors |
|
173 |
Video and Audio Interfaces |
|
174 |
Using a Breakout Box with Video and Audio Interfaces |
|
174 |
Scratch Disks |
|
175 |
About Video Interfaces, Signals, and Connectors |
|
175 |
Video Interfaces |
|
178 |
Video Signals and Connectors |
|
182 |
Connecting Professional Video Devices |
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182 |
Connecting Professional SD Video Devices |
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185 |
Connecting Professional HD Video Devices |
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185 |
Connecting Professional Component Analog Video Devices |
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186 |
Connecting Consumer Analog Video Devices |
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186 |
Connecting Non-DV Devices to a DV Converter |
|
187 |
About Audio Interfaces, Signals, and Connectors |
|
187 |
Audio Interfaces |
|
192 |
Analog Audio Connectors and Signal Formats |
|
194 |
Digital Audio Connectors and Signal Formats |
|
196 |
About Analog Audio Levels |
|
198 |
Connecting Professional Audio Devices |
|
198 |
Connecting Professional Digital Audio Devices |
|
199 |
Connecting Consumer Digital Audio Devices |
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199 |
Connecting Professional Analog Audio Devices |
Contents |
5 |
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200 Synchronizing Equipment with a Blackburst Generator
202Connecting Remote Device Control
202DV FireWire for Device Control
202Using RS-422 Serial Remote Device Control
203Confirming Remote Device Control Between Final Cut Pro and Your Video Device
203Choosing a Device Control Preset
204Understanding Device Control Status Messages
205Switching Device Control Presets When Changing Decks
Chapter 13 |
207 |
Determining Your Hard Disk Storage Options |
|
207 |
Working with Scratch Disks and Hard Disk Drives |
|
208 |
Data Rates and Storage Devices |
|
209 |
Determining How Much Space You Need |
|
212 |
Choosing a Hard Disk |
|
213 |
Types of Hard Disk Drives |
Chapter 14 |
219 |
External Video Monitoring |
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219 |
Using an External Video Monitor While You Edit |
|
220 |
Connecting Final Cut Pro to an External Video Monitor |
|
222 |
Choosing Playback and Edit to Tape Output Settings |
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225 |
Controlling When External Video Output Is Updated |
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226 |
Using Digital Cinema Desktop Preview |
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226 |
About Digital Cinema Desktop Preview Options |
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228 |
Using Digital Cinema Desktop Preview to Monitor Your Video |
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229 |
Troubleshooting Digital Cinema Desktop Preview |
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230 |
Compensating for Video Latency by Specifying a Frame Offset |
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231 |
Troubleshooting External Video Monitoring Problems |
Part IV |
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Logging, Capturing, and Importing |
Chapter 15 |
235 |
Overview of Logging and Capturing |
|
235 |
What Are Logging and Capturing? |
|
236 |
Ways to Log and Capture Footage in Final Cut Pro |
|
239 |
Learning About the Log and Capture Window |
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245 |
Are You Ready to Log and Capture? |
Chapter 16 |
247 |
Logging Clips |
|
247 |
The Importance of Logging |
|
248 |
Benefits of Logging |
|
249 |
Preparing to Log |
|
252 |
Monitoring Video and Audio While Logging |
6 |
Contents |
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253 |
Entering Logging Information and Logging Clips |
|
267 |
Avoiding Duplicate Timecode Numbers on a Single Tape |
|
269 |
Additional Sources for Logging Information |
Chapter 17 |
271 |
Capturing Your Footage to Disk |
|
271 |
Before You Capture |
|
272 |
Different Ways to Capture Footage |
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272 |
Batch Capturing Clips |
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273 |
Before You Batch Capture |
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274 |
Learning About the Batch Capture Dialog |
|
276 |
Batch Capturing Selected Clips |
|
278 |
Stopping and Restarting the Batch Capture Process |
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278 |
About the Additional Items Found Dialog |
|
279 |
Capturing Clips as You Log (Capture Clip) |
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280 |
Capturing Entire Tapes (Capture Now) |
|
281 |
Limiting the Duration of the Capture Now Process |
|
281 |
Capturing an Entire Tape Using Capture Now |
|
283 |
Automatically Creating Subclips Using DV Start/Stop Detection |
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286 |
Capturing Footage Without Device Control |
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286 |
Capturing Footage That Doesn’t Have Timecode |
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287 |
Using a Non-Controllable Device for Capture |
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287 |
Capturing Video and Audio Separately |
|
288 |
Recapturing Clips |
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288 |
Recapturing Subclips |
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289 |
Recapturing Merged Clips |
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289 |
Capturing Footage with Timecode Breaks |
|
289 |
The Importance of Avoiding Timecode Breaks |
|
290 |
How to Avoid Capturing Clips with Timecode Breaks |
|
293 |
Renaming Media Files After Capture |
|
294 |
Using the Media Manager After Capturing |
Chapter 18 |
295 |
Capturing Audio |
|
295 |
About Capturing Audio |
|
296 |
Capturing Audio-Only Media Files |
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296 |
Capturing Multiple Audio Channels |
|
302 |
Adjusting Analog Audio Levels for Capture |
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304 |
Capturing Audio from an Audio Deck Using Device Control |
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306 |
Capturing from an Audio Device Without Device Control |
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307 |
Capturing Synchronized Audio Independently from Video |
Contents |
7 |
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Chapter 19 |
309 |
Working with Batch Lists |
|
309 |
What Is a Batch List? |
|
310 |
Creating a Batch List |
|
312 |
Importing a Batch List |
Chapter 20 |
315 |
Importing Media Files into Your Project |
|
315 |
What File Formats Can Be Imported? |
|
316 |
Importing Media Files |
|
320 |
About Importing Video Files |
|
322 |
About Importing Audio Files |
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328 |
Importing Still Images and Graphics |
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328 |
Importing Numbered Image Sequences |
8 |
Contents |
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Final Cut Pro 6
Documentation and Resources
Preface
You can use Final Cut Pro to create movies of any budget, style, and format. Final Cut Pro comes with both printed and onscreen documentation to help you learn how.
This preface provides information on the documentation available for Final Cut Pro, as well as information about Final Cut Pro resources on the web. Final Cut Pro comes with several types of documentation to help you learn more about movie editing and how to use the application:
ÂFinal Cut Pro 6 User Manual
ÂFinal Cut Pro onscreen help
The Final Cut Pro 6 User Manual provides comprehensive information about the application and is organized into several volumes:
ÂVolume 1—Interface, Setup, and Input: Explains the basics of the Final Cut Pro interface and the elements of a project, and provides instructions for setting up your editing system, capturing footage to your computer, and importing files.
ÂVolume 2—Editing: Discusses each part of the video editing process, including organizing your footage, creating a rough edit, and fine-tuning your edit using advanced trimming techniques. Also includes instructions for multicamera editing using powerful new multicamera editing tools.
ÂVolume 3—Audio Mixing and Effects: Provides instructions for mixing audio and enhancing your video using the elaborate effects capabilities of Final Cut Pro. Topics include adding transitions and filters, creating motion effects, compositing and layering, creating titles, and color correcting your footage. Also covers real-time playback and rendering.
ÂVolume 4—Media Management and Output: Provides information about managing projects and media files, exchanging projects between editing systems, and outputting completed projects. Also contains detailed explanations of settings and preferences and information on video formats, frame rate, and timecode.
9
Note: The four-volume user manual is also available onscreen; see the next section, “Onscreen Help.”
Onscreen help (available in the Help menu) provides easy access to information while you’re working in Final Cut Pro. An onscreen version of the Final Cut Pro 6 User Manual is available here, along with other documents in PDF format and links to websites.
To access onscreen help:
m In Final Cut Pro, 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 Pro, choose Help > Final Cut Pro User Manual.
The Working with High Definition and Broadcast Formats document covers how to use high definition (HD) formats (such as DVCPRO HD and HDV) and broadcast video formats (such as Sony Video Disk Units and Panasonic P2 cards) with Final Cut Pro.
To access the Working with High Definition and Broadcast Formats document: m In Final Cut Pro, choose Help > HD and Broadcast Formats.
For information about recent changes and issues, you can read the Release Notes section of the onscreen help.
To access Release Notes:
m In Final Cut Pro, choose Help > Release Notes.
For information about features that have been added or enhanced since the last version of Final Cut Pro, you can read the New Features section of the onscreen help.
To access the New Features document:
m In Final Cut Pro, choose Help > New Features.
10 |
Preface Final Cut Pro 6 Documentation and Resources |
|
|
There are a variety of discussion boards, forums, and educational resources related to Final Cut Pro on the web.
Final Cut Pro Websites
The following websites provide general information, updates, and support information about Final Cut Pro, as well as the latest news, resources, and training materials.
For information about Final Cut Pro, go to:
 http://www.apple.com/finalcutstudio/finalcutpro
To get more information on third-party resources, such as third-party tools, resources, and user groups, go to:
 http://www.apple.com/finalcutstudio/resources
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 Pro, go to:
 http://www.apple.com/feedback/finalcutpro.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 Pro. You’ll also have access to product specifications, reference documentation, and Apple and third-party product technical articles:
 http://www.apple.com/support
Preface Final Cut Pro 6 Documentation and Resources |
11 |
|
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Part I: An Introduction to Final Cut Pro
I
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Find out how Final Cut Pro fits into the moviemaking process |
|
and learn about fundamental concepts of digital video |
|
editing and the basic elements of a Final Cut Pro 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 Pro is the cornerstone of your post-production workflow.
This chapter covers the following:
ÂThe Industry Workflow (p. 15)
ÂThe Post-Production Workflow (p. 16)
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.
15
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 Pro 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 Pro 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.
16 |
Part I An Introduction to Final Cut Pro |
|
|
Industry Workflow
Scripting
Preproduction
Production
Post-Production
Distribution
Step 1: Planning
I
Final Cut Pro
Post-Production Workflow
Planning
Setting Up
Logging
and Capturing
Editing
Mixing Audio
Adding Effects
Outputting
Planning is where you choose your basic workflow, such as offline and online editing (for projects with a lot of media) or editing the uncompressed footage (for shorter projects with quick turnaround times), choose input and output formats, and plan for equipment requirements (such as hard disk space), timecode and sync requirements, special effects shots and color correction, audio mixing requirements, and so on.
Planning for post-production primarily means preparing for each of the upcoming post-production phases: choosing input and output formats; acquiring your original footage, music, and graphics; deciding on a logging and capturing method; choosing an editing strategy; and planning the scope of effects you will be adding so you can determine how much time and support you will need to dedicate to them.
Chapter 1 About the Post-Production Workflow |
17 |
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Step 2: Setting up
In this phase, you set up your editing system by installing and connecting the hardware you need, as well as configuring your software. For example, before logging and capturing, you need to connect the video and audio from your camcorder or VTR (video tape recorder) to your computer. You also need to make sure that the
correct presets are chosen within Final Cut Pro, so that Final Cut Pro knows what video and audio formats you are capturing and what kind of device control you’re using. (Device control allows Final Cut Pro to remotely control video and audio devices.)
Depending on the format and device you are using, setup can be fairly simple
(as it is with DV formats) or more complex. For example, if you are working with an uncompressed video format, you need to install a third-party video interface in your computer, as well as a serial port adapter to communicate with the deck.
For more information, see the various chapters on setup, starting with Chapter 11, “Connecting DV Video Equipment,” on page 161.
Step 3: Logging and capturing
Logging is the process of identifying which shots on tape you want to capture to your hard disk for editing. While you log, you can add scene and shot descriptions, logging notes, and markers. Logging also helps you become familiar with your footage before you begin editing.
Capturing means transferring source media from your video camcorder or deck to your computer’s hard disk, which creates media files. You can capture media files at any time, although most footage should be captured before you start editing.
The order in which you log and capture your footage is up to you. There are several possible workflows, depending upon your work style, the needs of your project, and the availability of footage. You can log all or most clips before batch capturing them (in an automated way), or log and then capture each clip individually. You can also log clips after capturing your footage to a hard disk.
Final Cut Pro allows you to capture video and audio from a wide variety of sources, if you have the appropriate hardware. See Chapter 15,“Overview of Logging
and Capturing,” on page 235 for more information.
18 |
Part I An Introduction to Final Cut Pro |
|
|
I
Step 4: Editing
The editing process involves taking the video and audio you’ve captured, along with any music or graphics you’ve imported, and arranging these raw materials into a final edited sequence of clips. Most editors start with a rough cut, where they quickly arrange all of the clips for a movie in sequence. Once that’s finished, they work on fine-tuning, subtly adjusting the edit points between clips and refining the pacing of each cut. Basic audio editing and synchronizing are also part of this process, as well as adding transitions, such as fades and dissolves.
Often, the type of project you’re working on determines your method of editing. For example, documentary editing, in which the script often evolves in parallel with the editing, is quite different from commercial television and film editing, in which there is already a finished script to provide an order for clips.
Step 5: Mixing audio
Once your movie is edited and the picture is “locked,” meaning the duration of the movie is fixed and you no longer intend to change any of the edits, you can begin working more extensively on your audio. This involves:
ÂCleaning up the dialogue with more detailed audio editing, balancing audio levels, and applying equalization
ÂAdding sound effects, music, and voiceover on additional audio tracks in the sequence
ÂMixing the levels of all the different clips together to create a balanced sound mix
You can use Final Cut Pro for each of these processes. For more information, see Volume III, Part I,“Audio Mixing.”
Note: You can also sweeten your audio with another audio application, perhaps even at another facility. To export your movie audio, see Volume IV, Chapter 11,“Exporting Audio for Mixing in Other Applications.”
Chapter 1 About the Post-Production Workflow |
19 |
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Step 6: Adding effects
Creating effects tends to be more time-consuming than cuts-only editing, so it’s good to focus on basic edits first and work on effects when the timing of your project is finalized. Effects are any enhancements you want to make to your footage, such as color correction, special transitions, animation, still or motion graphics, multilayered images (compositing), and titles. Final Cut Pro has a wide variety of video and audio filters, each with parameters that you can keyframe to adjust over time in your sequence, as described below.
Step 7: Outputting
Once editing is finished, effects are added, and the final audio mix is complete, you can output your movie to videotape or film. You can also export to a QuickTime format for web delivery or use in a DVD-authoring application, such as DVD Studio Pro.
If you need to finish your project on a different editing workstation, you can export your project to an interchange file format such as EDL or Final Cut Pro XML Interchange Format. You may need to output on another system if you work with uncompressed video, do lots of real-time effects processing, or require specialized video monitoring. For more information, see Volume IV, Chapter 11,“Using Final Cut Pro XML and QuickTime Metadata.” You can also refer to Volume IV, Chapter 5,“Offline and Online Editing.”
20 |
Part I An Introduction to Final Cut Pro |
|
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Video Formats and Timecode |
2 |
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Before you begin editing, you need to decide what video format you will capture, edit, and output. The format you choose determines your post-production workflow.
This chapter covers the following:
ÂAbout Nonlinear and Nondestructive Editing (p. 21)
ÂVideo Formats Compatible with Final Cut Pro (p. 22)
ÂAudio Formats Compatible with Final Cut Pro (p. 23)
ÂVideo Format Basics (p. 23)
ÂAbout Timecode (p. 25)
In the past, video editing was a time-consuming process. With linear editing, video editors had to edit everything onto a tape sequentially, one shot after another, from the beginning to the end. If you wanted to insert a series of shots in the middle of your edit, you had to reedit everything forward from that point.
Final Cut Pro lets you do nonlinear, nondestructive editing. Unlike traditional tape-to-tape editing, Final Cut Pro stores all of your footage on a hard disk, allowing you to access any frame of your footage instantaneously. Without the constraints of linear editing, you are free to combine shots in different orders and change their durations until you arrive at the exact sequence you want. Video and audio effects, such as scaling, position, rotation, speed changes, and multiple layers can also be applied and played back in real time. No matter how you process your footage, the underlying media is never touched. This is known as nondestructive editing, because all of the changes and effects you apply to your footage never affect the media itself.
21
Video Formats Compatible with Final Cut Pro
Long before editing begins, the most basic decision you need to make is which format to shoot with. The format you choose affects the equipment needed for editorial work, as well as how the finished product will look.
Final Cut Pro uses QuickTime technology, allowing you to use almost any digital video format available. This flexibility ensures that your Final Cut Pro editing system always works with the latest video formats.
ÂDV editing: Final Cut Pro supports DV video natively, using your computer’s built-in FireWire port for capture and output. DVCAM, DVCPRO, DVCPRO 50, and DVCPRO HD are also natively supported. Therefore, your system requires no additional hardware to edit DV material on your computer. You can capture, edit, and output exactly the same data that is recorded on tape, resulting in no quality loss.
ÂBroadcast and high definition (HD) video formats: Final Cut Pro supports the latest broadcast and HD video formats. With appropriate equipment, you can capture, edit, and output uncompressed standard definition (SD) and HD formats such as Digital Betacam, D-5 HD and HDCAM.
ÂProject interchange: Support for project interchange formats allows Final Cut Pro to integrate into existing broadcast and post-production systems. Final Cut Pro is compatible with formats such as EDL, OMF, and the Final Cut Pro XML Interchange Format. For more information, see Volume IV, Chapter 10,“Importing and Exporting EDLs.” You can also refer to Volume III, Chapter 10,“Exporting Audio for Mixing in Other Applications.” For information on the Final Cut Pro XML Interchange Format, see Volume IV, Chapter 11,“Using Final Cut Pro XML and QuickTime Metadata.”
ÂQuickTime-compatible files: Because Final Cut Pro uses QuickTime technology, almost any QuickTime-compatible file format can be imported and exported. This allows you to import files created in video editing, motion graphics, and photo editing applications. For a list of all formats that you can import, see Volume IV, Chapter 16, “Learning About QuickTime.”
A mixed-format sequence is a sequence containing clips whose media files don’t match the sequence format. For example, a DV sequence containing HDV footage is
a mixed-format sequence. Final Cut Pro can play sequence clips in real time even when the clips’ settings don’t match those of the sequence. Any number of formats can be combined together in a single sequence. For more information, see Volume III, Chapter 30,“Working with Mixed-Format Sequences.”
22 |
Part I An Introduction to Final Cut Pro |
|
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I
Final Cut Pro allows you to edit low-resolution copies of your media until you are ready to finish at high quality. For example, you can edit your movie on a portable computer using low-resolution footage and then reconnect your project clips to high-resolution media for finishing and output. For more information, see Volume IV, Chapter 5,“Offline and Online Editing.”
Audio Formats Compatible with Final Cut Pro
You can use a variety of audio with Final Cut Pro, including audio files captured from tape, imported from audio CDs, or provided by musicians and sound designers. Final Cut Pro is compatible with audio files with sample rates as high as 96 kHz and a bit depth of 24 bits. You can work with most audio devices, such as audio CD players, DAT machines, digital multitrack recorders, or audio from videotape. For more information, see Chapter 18,“Capturing Audio,” on page 295 and “About Importing Audio Files” on page 322.
Most video formats are described by the following characteristics:
ÂStandard
ÂImage dimensions and aspect ratio
ÂFrame rate
ÂScanning method
For a more thorough explanation of video formats, see Volume IV, Appendix A, “Video Formats.”
A number of video standards have emerged over the years. Standard definition (SD) video formats have been used for broadcast television from the 1950s to the present. These include NTSC, PAL, and SECAM, regional video standards, with each used in certain countries and regions of the world.
ÂNTSC (National Television Systems Committee): The television and video standard used in most of the Americas, Taiwan, Japan, and Korea.
ÂPAL (Phase Alternating Line): The television and video standard used in most of Europe, Brazil, Algeria, and China.
ÂSECAM: A video standard that is based on PAL and used in countries such as France, Poland, Haiti, and Vietnam. SECAM is not supported by Final Cut Pro. However, editing work is usually done in PAL and converted to SECAM for broadcasting.
Chapter 2 Video Formats and Timecode |
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Important: When you are specifying your initial settings, make sure you choose an Easy Setup that corresponds to your country’s video standard. (An Easy Setup is a collection of settings that determines how Final Cut Pro works with your editing system.) For more information, see “Opening Final Cut Pro and Choosing Your Initial Settings” on page 163.
Originally, all these formats were analog. Analog video uses a signal that consists of a constantly varying voltage level, called a waveform, that represents video and audio information. Analog signals must be digitized, or captured, for use by Final Cut Pro.
VHS and Betacam SP are both analog tape formats.
More recently, digital SD video formats were introduced, as well as digital high definition (HD) video formats. Most consumer camcorders today record SD digital video (such as DV), and professional cameras may record SD or HD digital video.
The horizontal and vertical pixel dimensions of your format determine the frame size and aspect ratio. For example, SD NTSC video is 720 pixels wide and 480 pixels tall. HD video is either 1280 x 720 or 1920 x 1080, and is usually referred to by the vertical dimension and the frame rate (for example 720p60 or 1080i30).
The aspect ratio of a video frame is the width with respect to the height. SD video has an aspect ratio of 4:3, while HD video uses 16:9.
Note: You may notice that 1280/720 or 1920/1080 is equivalent to 16:9, while 720/480 is not equivalent to 4:3. This is because SD digital video uses pixels that are rectangular, not square. For more information, see Volume IV, Appendix A,“Video Formats.”
The frame rate of your video determines how quickly frames are recorded and played back. The higher the number of frames per second (fps), the less noticeably the image flickers on screen. There are several common frame rates in use:
Â24 fps: Film, certain HD formats, and certain SD formats use this frame rate. This may also be 23.98 fps for compatibility with NTSC video.
Â25 fps: SD PAL
Â29.97 fps: SD NTSC
Â59.94 fps: 720p HD video frame rate. This can also be 60 fps.
For more information, see Volume IV, Appendix B,“Frame Rate and Timecode.”
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Part I An Introduction to Final Cut Pro |
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I
Video frames are composed of individual lines, scanned from the top of the screen to the bottom. Lines may be scanned progressively (one line at a time), or interlaced (every other line during one scan, and then the alternate lines on a subsequent scan). SD video uses interlaced scanning, while high definition formats may use either interlaced or progressive scanning. For more information, see Volume IV, Appendix A, “Video Formats.”
Timecode is a signal recorded with your video that uniquely identifies each frame on tape. When you capture video or audio in Final Cut Pro, you also capture the timecode signal, which is displayed in Final Cut Pro when you play back your clips. Timecode allows you to recapture your footage from tape and always get the same frames. Final Cut Pro uses SMPTE timecode (developed by the Society of Motion Picture and Television Engineers) which is represented in hours, minutes, seconds, and frames, using the following format:
SMPTE timecode
01:32:15:28
Hours Minutes Seconds Frames
In Final Cut Pro, timecode is used for synchronization between video and audio clip items, project interchange (such as Edit Decision Lists), and recapturing clips from tape. When you play clips, Final Cut Pro displays the media file timecode. Timecode also allows you to navigate through your sequences, and see how long your edit is.
For more information about timecode, see Volume II, Chapter 25,“Working With Timecode.”
Chapter 2 Video Formats and Timecode |
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With the exception of timecode used with NTSC video, all video formats use non-drop frame timecode, which simply counts at the frame rate of the video itself. For example, PAL video runs at 25 fps, and it uses 25 fps timecode.
When working with NTSC video, you have the option to use drop frame timecode to compensate for the fact that NTSC video has a frame rate of 29.97 fps, while the timecode runs at 30 fps. Timecode can only be represented by whole numbers, so
drop frame timecode periodically skips numbers so that the timecode count and the amount of actual time passed stays in sync. This way, the timecode count matches the the number of hours, minutes, and seconds that it takes for your video footage to play. NTSC video can use either drop frame or non-drop frame timecode.
Important: No video frames are dropped when you use drop frame timecode. Only the associated timecode numbers are skipped.
To determine the type of timecode used in Final Cut Pro:
ÂNon-drop frame timecode has a colon (:) between the seconds and frames fields, and no numbers are dropped from the counter.
01:16:59:29, 01:17:00:00
ÂDrop frame timecode has a semicolon (;) between the seconds and frames fields, and two timecode numbers are skipped from the frames counter each minute (except every tenth minute).
01:16:59;29, 01:17:00;02
A clip’s timecode comes directly from its media files. To set sequence timecode, you can use the Drop Frame checkbox in the Timeline Options pane of Sequence Settings. For more information, see “Changing Timeline Display Options” on page 124.
When you use drop frame timecode, numbers :00 and :01 are skipped at the beginning of each minute, unless the minute number is exactly divisible by 10. The dropped numbers do not appear in the timecode fields in Final Cut Pro because they’ve been dropped and are not on your tape.
If you’re entering timecode to navigate and inadvertently type a timecode number that doesn’t exist in drop frame timecode, Final Cut Pro automatically moves forward to the next available timecode number.
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Part I An Introduction to Final Cut Pro |
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Understanding Projects, |
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Clips, and Sequences |
The basic elements in Final Cut Pro are projects, clips, and sequences. Once you learn what these are and how you can use them, you can begin working in Final Cut Pro.
This chapter covers the following:
ÂThe Building Blocks of Projects (p. 27)
ÂWorking with Projects (p. 31)
ÂAbout the Connection Between Clips and Media Files (p. 35)
ÂFilenaming Considerations (p. 37)
Media files, clips, and sequences are the elements that provide the main foundation for your work in Final Cut Pro. You use projects and bins to organize these elements in your program.
Media files are the raw materials you use to create your movie. A media file is a video, audio, or graphics file on your hard disk that contains footage captured from videotape or originally created on your computer. Since media files—especially video files—tend to be quite large, projects that use a lot of footage require one or more high-capacity hard disks.
Many media files contain multiple tracks. For example, a typical DV media file has a video track, audio track, and timecode track. In a Final Cut Pro sequence, you can work with each of these media tracks as separate items, either in sync or separately.
Before you can edit in Final Cut Pro, you need to capture media files from a video deck or camcorder to your hard disk. For more information about capturing media files, see Chapter 15,“Overview of Logging and Capturing,” on page 235.
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Once you have media files on your hard disk, you need a way of working with them in Final Cut Pro. A clip is the most fundamental object in Final Cut Pro. Clips represent your media, but they are not the media files themselves. A clip points to, or connects to, a video, audio, or graphics media file on your hard disk. (For more information on the relationship between media files and clips, see “About the Connection Between Clips and Media Files” on page 35.)
Project
Clip Clip Clip
Media files on your hard disk
Clips allow you to easily cut, trim, rearrange, and sort your media without manipulating it directly. You manage and organize your clips in the Browser. The three kinds of clips you’ll see most often are video, audio, and graphics clips, but there are other kinds of clips that can be stored within a project, such as a generator clip (a clip whose media is generated within Final Cut Pro). You can also subdivide a clip into separate pieces, called subclips, to further organize your footage.
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Part I An Introduction to Final Cut Pro |
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A sequence is a container for editing clips together in chronological order. The editing process involves deciding which video and audio clip items to put in your sequence, what order the clips should go in, and how long each clip should be. Sequences are created in the Browser. To edit clips into a sequence, you open a sequence in the Timeline from the Browser.
Project
Sequence
Clip Clip Clip
A sequence contains one or more video and audio tracks, which are empty when first created. When you edit a clip into a sequence, you copy the clip’s individual clip items to the sequence. For example, if you drag a clip that contains one video and two audio tracks to the Timeline, a video clip item is placed in a video track in the Timeline, and two audio clip items are placed in two audio tracks. In a sequence, you can move any clip item to any track, allowing you to arrange the contents of your media files however you want.
Chapter 3 Understanding Projects, Clips, and Sequences |
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