Final Cut Pro 7
User Manual
Copyright © 2009 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 FinalCutStudio 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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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.jeanpaulbonjour.com
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Preface |
27 |
Welcome to Final Cut Pro |
|
27 |
About Final Cut Pro |
|
28 |
About the Final Cut Pro Documentation |
|
28 |
Additional Resources |
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 |
|
35 |
Video Formats Compatible with Final Cut Pro |
|
37 |
Audio Formats Compatible with Final Cut Pro |
|
37 |
Video Format Basics |
|
39 |
About Timecode |
Chapter 3 |
41 |
Understanding Projects, Clips, and Sequences |
|
41 |
The Building Blocks of Projects |
|
45 |
Working with Projects |
|
48 |
About the Connection Between Clips and Media Files |
|
50 |
Filenaming Considerations |
Chapter 4 |
53 |
Overview of the Final Cut Pro Interface |
|
53 |
Basics of Working in the Final Cut Pro Interface |
|
55 |
Using Keyboard Shortcuts, Buttons, and Shortcut Menus |
|
57 |
Customizing the Interface |
|
62 |
Undoing and Redoing Changes |
|
63 |
Entering Timecode for Navigation Purposes |
Chapter 5 |
65 |
Browser Basics |
|
65 |
How You Use the Browser |
|
66 |
Learning About the Browser |
|
67 |
Working in the Browser |
|
71 |
Using Columns in the Browser |
3
|
73 |
Customizing the Browser Display |
Chapter 6 |
85 |
Viewer Basics |
|
85 |
How You Can Use the Viewer |
|
86 |
Opening a Clip in the Viewer |
|
87 |
Learning About the Viewer |
|
90 |
Tabs in the Viewer |
|
92 |
Transport Controls in the Viewer |
|
93 |
Playhead Controls in the Viewer |
|
95 |
Marking Controls in the Viewer |
|
96 |
Zoom and View Pop-Up Menus in the Viewer |
|
99 |
Playhead Sync Pop-Up Menu |
|
100 |
Recent Clips and Generator Pop-Up Menus |
Chapter 7 |
103 |
Canvas Basics |
|
103 |
How You Use the Canvas |
|
104 |
Opening, Selecting, and Closing Sequences in the Canvas |
|
105 |
Learning About the Canvas |
|
107 |
Editing Controls in the Canvas |
|
109 |
Transport Controls in the Canvas |
|
110 |
Playhead Controls in the Canvas |
|
112 |
Marking Controls in the Canvas |
|
113 |
Zoom and View Pop-Up Menus in the Canvas |
|
113 |
Playhead Sync Pop-Up Menu in the Canvas |
Chapter 8 |
115 |
Navigating and Using Timecode in the Viewer and Canvas |
|
115 |
Navigating in the Viewer and Canvas |
|
121 |
Working with Timecode in the Viewer and Canvas |
Chapter 9 |
127 |
Timeline Basics |
|
127 |
How You Use the Timeline |
|
129 |
Opening and Closing Sequences in the Timeline |
|
130 |
Learning About the Timeline |
|
141 |
Changing Timeline Display Options |
|
149 |
Navigating in the Timeline |
|
151 |
Zooming and Scrolling in the Timeline |
Chapter 10 |
157 |
Customizing the Interface |
|
157 |
Changing Browser and Timeline Text Size |
|
157 |
Moving and Resizing Final Cut Pro Windows |
|
159 |
Using Window Layouts |
|
162 |
Ways to Customize Keyboard Shortcuts |
|
171 |
Working with Shortcut Buttons and Button Bars |
4 |
Contents |
Chapter 11 |
177 |
Connecting DV Video Equipment |
|
177 |
Components of a Basic Final Cut Pro Editing System |
|
178 |
Setting Up a Final Cut Pro Editing System |
|
179 |
Connecting Your Camcorder |
|
179 |
Opening Final Cut Pro and Choosing Your Initial Settings |
|
184 |
Confirming Remote Device Control Between Final Cut Pro and Your DV Device |
|
185 |
About FireWire |
Chapter 12 |
187 |
Connecting Professional Video and Audio Equipment |
|
187 |
Components of a Professional Final Cut Pro Editing System |
|
191 |
About Video Interfaces, Signals, and Connectors |
|
197 |
Connecting Professional Video Devices |
|
202 |
Audio Interfaces |
|
206 |
Audio Connectors and Signal Formats |
|
212 |
Connecting Professional Audio Devices |
|
215 |
Connecting Remote Device Control |
Chapter 13 |
219 |
Determining Your Hard Disk Storage Options |
|
219 |
Working with Scratch Disks and Hard Disk Drives |
|
219 |
Data Rates and Storage Devices |
|
221 |
Determining How Much Space You Need |
|
223 |
Choosing a Hard Disk |
|
224 |
Types of Hard Disk Drives |
Chapter 14 |
231 |
External Video Monitoring |
|
231 |
Using an External Video Monitor While You Edit |
|
238 |
Using Digital Cinema Desktop Preview |
|
241 |
Compensating for Video Latency by Specifying a Frame Offset |
|
242 |
Troubleshooting External Video Monitoring Problems |
Chapter 15 |
245 |
Overview of Capturing Tape-Based Media |
|
245 |
What Are Logging and Capturing? |
|
245 |
Ways to Log and Capture Footage in Final Cut Pro |
|
248 |
The Importance of Logging |
|
249 |
Benefits of Logging |
|
249 |
Preparing to Log |
|
252 |
Additional Sources for Logging Information |
|
253 |
About Capturing Footage |
|
253 |
Are You Ready to Log and Capture? |
Chapter 16 |
255 |
About the Log and Capture Window |
|
255 |
Opening the Log and Capture Window |
|
256 |
Controls in the Log and Capture Window |
Contents |
5 |
257 Preview Area in the Log and Capture Window
259 Logging Tab in the Log and Capture Window
261Clip Settings Tab in the Log and Capture Window
262Capture Settings Tab in the Log and Capture Window
262Log and Capture Buttons in the Log and Capture Window
Chapter 17 |
263 |
Logging from Tape |
|
263 |
Overview of Logging Steps |
|
265 |
Opening the Log and Capture Window |
|
266 |
Inserting a Tape in the VTR |
|
267 |
Setting a Logging Bin to Store Logged Clips |
|
268 |
Entering a Reel Name for the Current Tape |
|
269 |
Setting Clip In and Out Points |
|
270 |
Entering a Clip Name and Other Logging Information |
|
273 |
Adding Markers to Clips While Logging |
|
274 |
Selecting Which Tracks to Capture |
|
276 |
Changing Capture Settings |
|
277 |
Setting Video and Audio Levels for Analog Video |
|
277 |
Logging a Clip |
Chapter 18 |
279 |
Capturing Video from Tape |
|
279 |
Capturing Clips as You Log |
|
280 |
Capturing Entire Tapes |
|
285 |
Batch Capturing Clips |
Chapter 19 |
299 |
Capturing Audio from Tape |
|
299 |
About Capturing Audio |
|
300 |
Capturing Audio-Only Media Files |
|
300 |
Capturing Multiple Audio Channels |
|
306 |
Adjusting Analog Audio Levels for Capture |
|
308 |
Capturing Audio from an Audio Deck Using Device Control |
|
309 |
Capturing from an Audio Device Without Device Control |
|
310 |
Capturing Synchronized Audio Independently from Video |
Chapter 20 |
313 |
Advanced Topics in Capturing Tape-Based Media |
|
313 |
Capturing Footage Without Device Control |
|
315 |
Capturing Video and Audio Separately |
|
315 |
Recapturing Clips |
|
316 |
Avoiding Duplicate Timecode Numbers on a Single Tape |
|
318 |
Capturing Footage with Timecode Breaks |
|
322 |
Renaming Media Files After Capture |
|
322 |
Using the Media Manager After Capturing |
6 |
Contents |
Chapter 21 |
323 |
Overview of Transferring File-Based Media |
|
323 |
About File-Based Media |
|
324 |
Introduction to the Log and Transfer Window |
|
325 |
File-Based Media Terminology |
|
326 |
Example File-Based Media Workflow |
Chapter 22 |
329 |
About the Log and Transfer Window |
|
329 |
Opening the Log and Transfer Window |
|
331 |
Controls in the Log and Transfer Window |
Chapter 23 |
341 |
Logging File-Based Media |
|
341 |
Preparing to Log File-Based Media |
|
343 |
Entering Logging Information |
|
345 |
Automatically Naming Your Clips |
Chapter 24 |
349 |
Transferring File-Based Media |
|
350 |
About Transferring File-Based Media |
|
351 |
Choosing a Scratch Disk and Logging Bin |
|
351 |
Mounting Media Devices |
|
352 |
Mounting Media Volumes in the Log and Transfer Window |
|
353 |
Choosing a Destination Codec |
|
353 |
Viewing Clips to Be Transferred |
|
354 |
Selecting Clips |
|
355 |
Previewing Clips |
|
356 |
Logging Clips in the Log and Transfer Window |
|
358 |
Placing Clips in the Transfer Queue |
Chapter 25 |
363 |
Advanced Topics in Transferring File-Based Media |
|
363 |
Setting Log and Transfer Import Preferences |
|
364 |
Retransferring Clip Media |
|
366 |
Viewing Spanned Clips in the Browse Area |
|
368 |
Archiving File-Based Media from Cards |
Chapter 26 |
371 |
Importing Media Files into Your Project |
|
371 |
What File Formats Can Be Imported? |
|
372 |
Importing Media Files |
|
375 |
About Importing Video Files |
|
377 |
About Importing Audio Files |
|
382 |
Importing Still Images and Graphics |
|
383 |
Importing Numbered Image Sequences |
Chapter 27 |
389 |
Organizing Footage in the Browser |
|
389 |
Using Bins to Organize Your Clips |
Contents |
7 |
|
395 |
Using Labels to Organize Your Clips |
|
399 |
Sorting Items in the Browser Using Column Headings |
|
401 |
Searching for Clips in the Browser and Finder |
Chapter 28 |
409 |
Creating Subclips |
|
409 |
Learning About Subclips |
|
413 |
Techniques for Breaking Large Clips into Subclips |
|
416 |
Creating Independent Media Files from Subclips After Capturing |
Chapter 29 |
419 |
Merging Clips from Dual System Video and Audio |
|
419 |
Working with Dual System Video and Audio |
|
420 |
Using Synchronization Points to Create Merged Clips |
|
422 |
Duration of Merged Clips |
|
423 |
Creating Merged Clips from the Timeline |
|
424 |
Changing the Sync of Merged Clips |
Chapter 30 |
427 |
Working with Projects, Clips, and Sequences |
|
427 |
Specifying Preferences Before You Start Editing |
|
428 |
Working with Projects |
|
431 |
Learning About the Different Types of Clips |
|
434 |
Viewing and Changing the Properties of a Clip |
|
437 |
Creating and Working with Sequences |
Chapter 31 |
445 |
The Fundamentals of Adding Clips to a Sequence |
|
445 |
Creating a Rough Edit |
|
448 |
Overview of Ways to Add Clips to a Sequence |
|
450 |
Preparing a Sequence Order in the Browser |
Chapter 32 |
453 |
Using Markers |
|
453 |
Learning About Markers |
|
459 |
Viewing Markers in the Viewer or Canvas |
|
459 |
Viewing Markers in the Browser |
|
460 |
Adding Markers in Clips and Sequences |
|
463 |
Deleting Markers in Clips and Sequences |
|
465 |
Navigating with Markers |
|
466 |
Modifying Markers |
|
467 |
Moving Markers |
|
469 |
Using the Ripple Sequence Markers Setting |
|
469 |
Editing Multiple Markers on the Same Frame |
|
470 |
Aligning Items in the Timeline by Their Markers |
|
471 |
Extending a Marker’s Duration |
|
472 |
Editing Markers into Sequences |
|
472 |
Exporting Markers with Your QuickTime Movies |
|
473 |
Exporting Marker Lists as Text |
8 |
Contents |
Chapter 33 |
475 |
Setting Edit Points for Clips and Sequences |
|
475 |
About In and Out Points |
|
478 |
Setting Clip In and Out Points in the Viewer |
|
481 |
Setting Sequence In and Out Points in the Canvas or Timeline |
|
491 |
Navigating to In and Out Points |
|
491 |
Moving In and Out Points |
|
493 |
Clearing In and Out Points |
Chapter 34 |
495 |
Working with Tracks in the Timeline |
|
495 |
Adding and Deleting Tracks |
|
499 |
Specifying Destination Tracks in the Timeline |
|
504 |
Locking Tracks to Prevent Edits or Changes |
|
505 |
Disabling Tracks to Hide Content During Playback |
|
507 |
Customizing Track Display in the Timeline |
Chapter 35 |
513 |
Drag-to-Timeline Editing |
|
513 |
Overview of the Drag-to-Timeline Editing Process |
|
514 |
Dragging Clips to the Timeline |
|
515 |
Doing Simple Insert and Overwrite Edits in the Timeline |
|
517 |
Automatically Adding Tracks to Your Sequence While Dragging |
Chapter 36 |
521 |
Three-Point Editing |
|
521 |
Understanding Three-Point Editing |
|
524 |
About Edit Types in the Edit Overlay |
|
525 |
Performing the Different Types of Edits |
|
542 |
Three-Point Editing Examples |
Chapter 37 |
549 |
Finding and Selecting Content in the Timeline |
|
549 |
Understanding What’s Currently Selected |
|
551 |
Direct Methods for Selecting Content in a Sequence |
|
559 |
Finding and Selecting Based on Search Criteria |
|
561 |
Selecting a Vertical Range Between In and Out Points |
|
562 |
Using Auto Select to Specify Tracks for Selections |
Chapter 38 |
565 |
Arranging Clips in the Timeline |
|
565 |
Snapping to Points in the Timeline |
|
566 |
Moving Items Within the Timeline |
|
571 |
Copying and Pasting Clips in the Timeline |
|
576 |
Deleting Clips from a Sequence |
|
578 |
Finding and Closing Gaps |
|
581 |
Color-Coding Clips in the Timeline |
Contents |
9 |
Chapter 39 |
583 |
Cutting Clips and Adjusting Durations |
|
583 |
Performing Basic Cut Edits |
|
587 |
Changing the Duration of Clips in the Timeline |
|
587 |
Opening Sequence Clips in the Viewer to Change Durations |
Chapter 40 |
589 |
Linking and Editing Video and Audio in Sync |
|
589 |
Linked Sync Relationships Between Video and Audio Clips |
|
594 |
Linking and Unlinking Video and Audio Clip Items in the Timeline |
|
597 |
Selecting Individual Clip Items While They Are Linked |
|
598 |
Getting Clip Items Back in Sync |
|
602 |
Establishing Different Sync Relationships Between Linked Clip Items |
|
604 |
Learning About Linking Behavior in Audio Channel Pairs |
|
605 |
Synchronizing Dual System Recorded Video and Audio |
Chapter 41 |
607 |
Split Edits |
|
607 |
Learning About Split Edits |
|
608 |
How Split Edits Look in the Viewer and Canvas |
|
609 |
Setting Up Split Edit Points in the Viewer |
|
610 |
Setting Up a Split Edit While Playing a Clip |
|
611 |
Modifying and Clearing Split Edits |
|
613 |
Split Edit Examples |
Chapter 42 |
617 |
Working with Multiclips |
|
618 |
About Multiclips |
|
619 |
Multiclip Workflow |
|
621 |
Preparing Clips to Be Used as Multiclip Angles |
|
622 |
Creating Individual Multiclips |
|
626 |
Creating Multiclip Sequences |
|
636 |
Identifying and Naming Multiclips in the Browser |
|
637 |
Working with Multiclip Angles in the Viewer |
|
644 |
Editing with Multiclips in Real Time |
|
644 |
Using Keyboard Shortcuts and Shortcut Buttons for Multiclip Editing |
|
645 |
Editing Multiclips into the Timeline |
|
646 |
Switching and Cutting Between Angles |
|
652 |
Editing in Multiclip Playback Mode |
|
654 |
Applying Filters, Speed, and Motion Parameters to Multiclips |
|
656 |
Collapsing and Expanding a Multiclip |
|
657 |
Working with Multiclip Master-Affiliate Relationships |
|
658 |
Match Frame Commands Used with Multiclips |
|
659 |
Media Management and Project Interchange |
Chapter 43 |
661 |
Audio Editing Basics |
|
661 |
The Goals of Audio Editing |
10 |
Contents |
|
662 |
Using Waveform Displays to Help You Edit Audio |
|
664 |
Learning About the Audio Controls in the Viewer |
|
668 |
Editing Audio in the Viewer |
|
676 |
Editing Audio in the Timeline |
|
680 |
Creating or Separating Stereo Pairs |
|
682 |
Working with Audio at the Subframe Level |
|
684 |
Examples of Ways to Easily Edit Audio |
Chapter 44 |
691 |
Performing Slip, Slide, Ripple, and Roll Edits |
|
691 |
About Trimming with Slip, Slide, Ripple, and Roll Tools |
|
692 |
Sliding Clips in the Timeline |
|
695 |
Slipping Clips in the Timeline |
|
699 |
Using the Ripple Tool to Trim an Edit Without Leaving a Gap |
|
709 |
Using the Roll Tool to Change Where a Cut Occurs |
Chapter 45 |
715 |
Learning About Trimming Clips |
|
715 |
What Is Trimming? |
|
717 |
Controls That Affect Trim Edits |
|
718 |
Selecting Edits and Clips to Trim |
|
721 |
Trimming with the Selection Tool |
|
723 |
Extending and Shortening Clips in the Timeline |
|
724 |
Trimming Clips in the Viewer |
|
726 |
Precision Editing Using Timecode |
|
728 |
Understanding Alert Messages When Trimming |
Chapter 46 |
731 |
Trimming Clips Using the Trim Edit Window |
|
731 |
Learning About the Trim Edit Window |
|
732 |
Opening and Closing the Trim Edit Window |
|
734 |
Controls in the Trim Edit Window |
|
739 |
Using the Trim Edit Window |
|
744 |
Listening to Audio While Trimming |
Chapter 47 |
747 |
Adding Transitions |
|
747 |
Learning About Transitions |
|
751 |
Adding Transitions Between Clips |
|
757 |
Moving, Copying, and Deleting Transitions |
|
759 |
Modifying Transitions in the Timeline |
|
762 |
Working with Default and Favorite Transitions |
|
764 |
Detecting Duplicate Frames over Transitions |
|
764 |
Video Transitions That Come with Final Cut Pro |
|
769 |
Using Alpha Transitions |
Chapter 48 |
777 |
Refining Transitions Using the Transition Editor |
|
777 |
Using the Transition Editor |
Contents |
11 |
|
785 |
Applying a Modified Transition Directly to a Sequence in the Timeline |
|
785 |
Trimming Transitions and the Surrounding Clips |
|
789 |
Previewing and Rendering Transitions |
Chapter 49 |
791 |
Sequence-to-Sequence Editing |
|
791 |
Methods for Editing Clips from One Sequence to Another |
|
792 |
Opening More Than One Sequence at a Time |
|
792 |
Copying Clips from One Sequence to Another |
|
795 |
Nesting Sequences |
|
801 |
Editing the Content of One Sequence into Another Without Nesting It |
Chapter 50 |
805 |
Matching Frames and Playhead Synchronization |
|
805 |
Working with Sequence Clips in the Viewer |
|
808 |
Matching Frames Between Sequence and Master Clips |
|
811 |
Synchronizing the Canvas/Timeline Playhead and the Viewer Playhead |
Chapter 51 |
815 |
Working with Timecode |
|
815 |
About Timecode in Final Cut Pro |
|
816 |
Displaying Timecode in Final Cut Pro |
|
822 |
Modifying Timecode in Media Files |
|
825 |
Modifying Sequence Timecode |
|
827 |
Working with 60 fps Timecode |
|
827 |
Working with 24 @ 25 fps Timecode |
|
828 |
Generating Timecode Window Burns |
Chapter 52 |
829 |
Audio Fundamentals |
|
829 |
What Is Sound? |
|
833 |
Measuring Sound Intensity |
|
835 |
Signal-to-Noise Ratio |
|
835 |
Headroom and Distortion |
|
836 |
Dynamic Range and Compression |
|
837 |
Stereo Audio |
|
839 |
Digital Audio |
Chapter 53 |
843 |
Assigning Output Channels and External Audio Monitors |
|
843 |
Audio Signal Flow in Final Cut Pro |
|
847 |
Configuring Audio Outputs |
|
850 |
Creating and Saving Audio Output Presets |
|
851 |
Assigning a Default Audio Output Preset for New Sequences |
|
851 |
Assigning Tracks in the Timeline to Audio Outputs |
|
851 |
Matching Audio Outputs to Clip Items in the Timeline |
|
853 |
Assigning More Audio Outputs Than Your Hardware Supports |
|
853 |
Audio Output Export Settings |
|
854 |
Downmixing Multiple Audio Channels to a Stereo Mix |
12 |
Contents |
|
857 |
Configuring External Audio Monitors |
Chapter 54 |
865 |
Evaluating Levels with Audio Meters |
|
865 |
About Audio Meters |
|
870 |
Setting Proper Audio Levels |
Chapter 55 |
877 |
Overview of the Audio Mixer |
|
877 |
About the Audio Mixer |
|
877 |
Controls in the Audio Mixer |
|
885 |
Using Audio Mixer Views |
Chapter 56 |
889 |
Using the Audio Mixer |
|
889 |
Making Basic Audio Adjustments with the Audio Mixer |
|
896 |
Making Stereo Pan Adjustments with the Audio Mixer |
|
899 |
About Mixer Automation and Keyframe Recording |
|
907 |
Using a Control Surface with the Audio Mixer |
|
912 |
Controlling the Audio Mixer with a Control Surface |
|
914 |
Recording Audio Mixer Keyframes Using a Control Surface |
Chapter 57 |
917 |
Mixing Audio in the Timeline and Viewer |
|
917 |
Adjusting Audio Levels in the Timeline |
|
922 |
Changing Audio Levels in the Viewer |
|
925 |
Panning Audio in the Timeline |
|
925 |
Changing the Pan of Audio in the Viewer |
|
926 |
Changing Pan for an Entire Clip |
|
927 |
Copying, Pasting, and Removing Audio Attributes |
|
928 |
Adjusting Clip Audio Levels and Pan Using Keyframes |
Chapter 58 |
943 |
Using the Voice Over Tool |
|
943 |
About the Voice Over Tool |
|
944 |
Setting Up Your Computer to Record Voiceover |
|
947 |
RAM Requirements When Using the Voice Over Tool |
|
947 |
Controls in the Voice Over Tool |
|
950 |
Defining the Recording Duration and Destination Track |
|
955 |
Recording a Voiceover |
Chapter 59 |
959 |
Using Audio Filters |
|
960 |
Overview of Audio Filters |
|
962 |
Equalization Filters |
|
964 |
Gain Filter |
|
965 |
Compressor/Limiter Filter |
|
966 |
Expander/Noise Gate Filter |
|
966 |
Noise Reduction Filters |
|
968 |
Echo and Reverberation Filters |
Contents |
13 |
|
969 |
Applying Filters to an Audio Clip |
|
971 |
Displaying Filter Keyframes in the Timeline |
|
973 |
Modifying and Removing Filters |
|
974 |
Automating Audio Filter Parameters with Keyframes |
|
978 |
Making Real-Time Audio Filter Adjustments |
|
980 |
Saving a Filter or Transition as a Favorite |
|
981 |
Installing Third-Party Audio Units Filters |
Chapter 60 |
983 |
Exporting Audio for Mixing in Other Applications |
|
983 |
Ways You Can Finish Your Audio |
|
984 |
Organizing Your Audio Clips for Multitrack Export |
|
986 |
About Exporting Audio Tracks to Individual Audio Files |
|
986 |
Preparing to Export Audio Tracks as Audio Files |
|
990 |
Exporting Audio Tracks as Individual Audio Files |
|
991 |
Exporting Audio Output Groups to AIFF Files |
|
995 |
Exporting Multichannel QuickTime Files |
|
995 |
Exporting OMF Audio Files |
|
998 |
Exporting Audio Clip Information to an EDL |
|
999 |
Exporting Audio for DVD |
Chapter 61 |
1001 |
Tips for Better Audio |
|
1001 |
Learning to Describe Sound Accurately |
|
1001 |
Efficiently Using the Frequency Spectrum |
|
1002 |
Tips for Cutting Dialogue |
|
1004 |
Tips for Cutting Music |
Chapter 62 |
1007 |
Working with Soundtrack Pro and Logic Pro |
|
1007 |
Using Soundtrack Pro with Final Cut Pro |
|
1008 |
Sending Individual Audio Clips from Final Cut Pro to Soundtrack Pro |
|
1013 |
Creating Soundtrack Pro Multitrack Projects |
|
1017 |
Initiating Soundtrack Pro Conform with Final Cut Pro |
|
1019 |
Using Logic Pro with Final Cut Pro |
Chapter 63 |
1021 |
Using Video Filters |
|
1021 |
Different Ways to Use Filters |
|
1022 |
Applying a Filter to a Clip |
|
1025 |
Applying Multiple Filters to Clips |
|
1026 |
Viewing and Adjusting a Filter’s Parameters |
|
1034 |
Displaying Filters Bars in the Timeline |
|
1035 |
Enabling and Rearranging Filters |
|
1036 |
Copying and Pasting a Clip’s Filters |
|
1036 |
Removing Filters from Clips |
14 |
Contents |
Chapter 64 |
1039 |
Installing and Managing Video Effects |
|
1039 |
Plug-in Formats Supported by Final Cut Pro |
|
1040 |
Installing Video Filters |
|
1041 |
Identifying and Organizing Video Effects |
|
1043 |
Transferring Effects Between Systems |
|
1044 |
Plug-in Restrictions and Troubleshooting |
Chapter 65 |
1047 |
Video Filters Available in Final Cut Pro |
|
1047 |
FXScript Plug-ins |
|
1058 |
FxPlug Plug-ins |
Chapter 66 |
1059 |
Changing Motion Parameters |
|
1059 |
Creating Motion Effects in the Viewer |
|
1060 |
Adjusting Parameters in the Motion Tab |
|
1066 |
Using Cartesian Geometry to Position Clips |
|
1068 |
Examples Using Motion Settings |
|
1081 |
Creating Motion Effects in the Canvas |
|
1082 |
Manipulating Images in the Canvas |
|
1083 |
Zooming In to the Canvas |
|
1084 |
Using Wireframe Handles to Transform, Scale, and Rotate |
|
1088 |
Example: Using Motion Parameters and Wireframe Handles |
Chapter 67 |
1093 |
Adjusting Parameters for Keyframed Effects |
|
1093 |
Animating Motion Effects Using Keyframes |
|
1113 |
Smoothing Keyframes with Bezier Handles |
|
1117 |
Creating Keyframed Motion Paths in the Canvas |
|
1127 |
About the Timeline Keyframe Graph Area |
|
1129 |
Customizing the Keyframe Graph Area in the Timeline |
Chapter 68 |
1133 |
Reusing Effect and Motion Parameters |
|
1133 |
Copying and Pasting Specific Clip Attributes |
|
1138 |
Applying Favorite Filters and Transitions |
Chapter 69 |
1143 |
Changing Clip Speed |
|
1143 |
Speed Basics |
|
1145 |
Using the Change Speed Dialogs |
|
1152 |
Using the Speed Tool |
|
1155 |
Making Speed Changes in the Timeline |
|
1163 |
Using the Speed Parameter in the Motion Tab |
|
1167 |
Performing a Fit to Fill Edit |
|
1170 |
Using Speed Settings with Multiclips |
Contents |
15 |
Chapter 70 |
1173 |
Working with Freeze Frames and Still Images |
|
1173 |
Using Still Images and Graphics in Your Sequences |
|
1174 |
Creating Freeze Frames from a Video Clip |
|
1175 |
Exporting Still Images |
|
1176 |
Creating Graphics with the Correct Frame Size for Video |
|
1176 |
Working with Graphics Clips of Different Sizes |
|
1177 |
Bit Depth of Imported Graphics |
|
1177 |
Scaling a Graphic to Fit the Frame Size |
|
1181 |
Creating Graphics with the Correct Color Settings for Video |
|
1182 |
Choosing the Maximum White Sequence Setting |
|
1182 |
Flattening Graphics with Layers |
|
1183 |
Using Alpha Channels |
|
1183 |
Selecting Fonts and Creating Line Art for Video |
|
1183 |
Scaling Images and Video Clips to Match a Sequence |
|
1184 |
Changing the Duration of Still Images |
|
1185 |
Example: Adding Camera Motion to Still Images |
Chapter 71 |
1193 |
Compositing and Layering |
|
1193 |
Introduction to Compositing and Layering |
|
1198 |
Working with Composite Modes |
|
1200 |
Composite Modes in Final Cut Pro |
|
1208 |
Using Travel Mattes to Hide or Reveal Parts of a Clip |
|
1210 |
Working with Layered Photoshop Files |
|
1213 |
Using Video and Graphics Clips with Alpha Channels |
|
1219 |
Temporarily Excluding Clips from Playback or Output |
Chapter 72 |
1223 |
Keying, Mattes, and Masks |
|
1223 |
Ways to Layer and Isolate Elements in Clips |
|
1226 |
Using Keying to Isolate Foreground Elements |
|
1228 |
Overview of Compositing Using the Chroma Keyer Filter |
|
1231 |
Working with the Chroma Keyer Filter |
|
1242 |
Using Mattes to Add or Modify Alpha Channels |
|
1245 |
Using Masks to Replace or Modify Alpha Channels |
Chapter 73 |
1249 |
Using Generator Clips |
|
1249 |
What Is a Generator Clip? |
|
1249 |
Different Ways to Use Generators in Your Sequence |
|
1250 |
Video and Audio Generators Available in Final Cut Pro |
|
1255 |
Creating and Adding Generators to Sequences |
Chapter 74 |
1257 |
Using the SmoothCam Filter |
|
1257 |
About the SmoothCam Filter |
|
1258 |
Working with the SmoothCam Filter |
16 |
Contents |
|
1268 |
Managing Media and Motion Analysis Data |
|
1268 |
Improving SmoothCam Filter Results and Troubleshooting |
Chapter 75 |
1271 |
Creating Titles |
|
1271 |
How You Can Use Titles in Your Project |
|
1272 |
Installing and Choosing Fonts |
|
1272 |
Making Sure Titles Fit on TV Screens |
|
1273 |
Text Generators Available in Final Cut Pro |
|
1276 |
Creating and Adding a Title Clip |
|
1279 |
Other Options for Creating and Adding Titles |
Chapter 76 |
1281 |
Working with Motion and Shake |
|
1281 |
Using Motion with Final Cut Pro |
|
1286 |
Using Shake with Final Cut Pro |
Chapter 77 |
1289 |
Working with Master Templates |
|
1289 |
About Motion Template Files and Master Templates |
|
1290 |
Working with Master Templates |
|
1295 |
Modifying Master Templates |
|
1297 |
Converting a Template Clip to a Motion Project |
|
1298 |
Installing Motion Template Files for Use in Final Cut Pro |
Chapter 78 |
1299 |
Measuring and Setting Video Levels |
|
1299 |
RGB Color Model |
|
1300 |
Y′CBCR Color Model |
|
1304 |
Measuring Video Levels with the Final Cut Pro Video Scopes |
|
1315 |
Preventing Illegal Broadcast Levels |
|
1317 |
Displaying Excess Luma and Chroma Levels in the Viewer and Canvas |
|
1318 |
Using the Broadcast Safe Filter |
|
1323 |
Using the RGB Limit Filter |
|
1325 |
Working with Analog Video |
|
1331 |
Using Color Bars for Video Calibration |
Chapter 79 |
1337 |
About Color Correction |
|
1337 |
Why Color Correct Your Footage? |
|
1339 |
Color Correction Starts During Your Shoot |
|
1340 |
Managing Color During Post-Production |
|
1342 |
The Final Cut Pro Color Correction Process |
Chapter 80 |
1345 |
Color Correction Features |
|
1345 |
Color Correction Features in Final Cut Pro |
|
1346 |
Using Scopes Versus Looking at an External Monitor |
|
1347 |
Window Layouts for Color Correction in Final Cut Pro |
Contents |
17 |
Chapter 81 |
1351 |
Color Correction Filters |
|
1351 |
The Final Cut Pro Color Correction Filters |
|
1353 |
The Color Corrector Filter |
|
1366 |
The Color Corrector 3-Way Filter |
|
1381 |
The Desaturate Highlights and Desaturate Lows Filters |
|
1382 |
RGB Balance Filter |
Chapter 82 |
1385 |
Color Correction Examples |
|
1386 |
Example: Using the Color Corrector Filter |
|
1390 |
Example: Using the Color Corrector 3-Way Filter |
|
1398 |
Example: Color Correcting a Three-Shot Sequence for Continuity |
|
1404 |
Example: Using the Color Corrector 3-Way Filter Match Hue Controls |
|
1408 |
Example: Using the Limit Effect Controls to Isolate a Specific Color Against Grayscale |
|
1409 |
Example: Using the Limit Effect Controls of the Color Corrector Filter to Change a Specific |
|
|
Color |
|
1413 |
Example: Using the Desaturate Highlights Filter |
Chapter 83 |
1415 |
Color Correction with Color |
|
1415 |
Using Color for Color Correction |
Chapter 84 |
1417 |
Using RT Extreme |
|
1417 |
Introduction to Real-Time Processing |
|
1422 |
Locations for Changing Real-Time Playback Settings |
|
1424 |
About Real-Time Playback Options |
|
1431 |
Still-Image Real-Time Playback |
|
1432 |
Improving Real-Time Performance |
|
1433 |
Real-Time Audio Mixing in Final Cut Pro |
|
1435 |
Choosing Real-Time Playback Versus Rendering |
|
1436 |
Supported Real-Time Playback Codecs |
|
1437 |
Using a Third-Party Video Effects Accelerator Card |
|
1438 |
Using RT Extreme for Video Output |
|
1438 |
Viewing Your Composition in the QuickView Tab |
Chapter 85 |
1443 |
Rendering and Video Processing Settings |
|
1443 |
What Is Rendering? |
|
1444 |
About Render Status Bars in the Timeline |
|
1447 |
About Item-Level Render Status Bars |
|
1447 |
The Rendering Process |
|
1456 |
About Changing Render and Video Processing Settings |
|
1456 |
Changing Settings in the Render Control Tab |
|
1459 |
Changing Settings in the Video Processing Tab |
|
1464 |
Adjusting Gamma |
|
1468 |
Managing Your Render Files |
18 |
Contents |
|
1471 |
Tips for Reducing Render Time |
Chapter 86 |
1473 |
Working with Mixed-Format Sequences |
|
1473 |
About Mixed-Format Sequences |
|
1474 |
Determining Whether Clips in a Sequence Will Play Back in Real Time |
|
1476 |
Conforming Sequence Settings to Match a Clip’s Settings |
|
1477 |
Conforming Clips to Match Sequence Settings |
|
1479 |
Mixing Frame Rates |
|
1480 |
Combining Interlaced Footage with Different Field Dominances |
|
1482 |
Mixing Footage with Different Codecs |
|
1482 |
Nesting Nonmatching Sequences |
|
1483 |
Adding Filters and Motion Effects to Mixed-Format Sequences |
|
1483 |
Combining SD and HD Video |
|
1483 |
Downconverting HD Video |
|
1488 |
Upconverting SD Video |
|
1489 |
Rendering Mixed-Format Sequences |
|
1489 |
External Monitoring and Output |
|
1490 |
Media Management and Project Interchange |
Chapter 87 |
1493 |
Media Management |
|
1493 |
What Is Media Management? |
|
1494 |
Reasons to Use Media Management |
|
1495 |
What You Need to Know to Manage Your Media |
|
1495 |
Media Management Process in Final Cut Pro |
|
1496 |
Strategies for Media Management |
Chapter 88 |
1499 |
Backing Up and Restoring Projects |
|
1499 |
Backing Up and Restoring Projects |
|
1503 |
Archiving Completed Projects |
|
1504 |
About Updating Projects from Previous Versions of Final Cut Pro |
|
1505 |
Choosing Project Update Options |
Chapter 89 |
1509 |
Elements of a Final Cut Pro Project |
|
1509 |
About Clips, Media Files, and Sequences |
|
1513 |
About Icons and Project Elements in the Browser |
|
1514 |
Clip Properties |
Chapter 90 |
1521 |
Working with Master and Affiliate Clips |
|
1521 |
About Using Master and Affiliate Clips |
|
1522 |
Shared and Unique Clip Properties |
|
1525 |
Working with Master Clips |
|
1527 |
Working with Affiliate Clips |
|
1528 |
Creating Independent Clips |
|
1529 |
Changing Independent Clips to Affiliate Clips |
Contents |
19 |
|
1530 |
Modifying Master-Affiliate Clip Relationships |
|
1531 |
Moving Clips Between Projects |
|
1531 |
How Does Final Cut Pro Identify Matching Clips? |
|
1532 |
Resolving Property Differences Between Matching Clips |
Chapter 91 |
1535 |
Offline and Online Editing |
|
1535 |
About Offline and Online Editing |
|
1537 |
Offline/Online Editing Workflows |
|
1539 |
Using the OfflineRT Format in Final Cut Pro |
|
1541 |
Reingesting Media at Full Quality and Full Resolution |
|
1544 |
Online Editing on Non–Final Cut Pro Editing Systems |
|
1545 |
Trading Project Files Using Email or the Internet |
Chapter 92 |
1549 |
Reconnecting Clips and Offline Media |
|
1549 |
Finding Your Media Files After Capture |
|
1551 |
About the Connections Between Clips and Media Files |
|
1552 |
Renaming Media Files and Clips |
|
1553 |
How the Connection Between Clips and Media Files Can Be Broken |
|
1554 |
Making Clips Offline |
|
1556 |
Reconnecting Clips to Media Files |
|
1563 |
When Final Cut Pro Reconnects Your Clips |
|
1564 |
Reconnecting Media Files Automatically |
Chapter 93 |
1567 |
Overview of the Media Manager |
|
1567 |
What Can You Do with the Media Manager? |
|
1569 |
Selecting Items to Process with the Media Manager |
|
1570 |
Settings and Options in the Media Manager Window |
|
1577 |
How the Media Manager Processes Selected Items |
|
1580 |
Limiting How Much Media Is Copied or Deleted |
|
1582 |
Media File Formats Supported by the Media Manager |
|
1582 |
About Color Space Conversion in the Media Manager |
Chapter 94 |
1583 |
Examples of How to Use the Media Manager |
|
1583 |
Media Manager Workflow |
|
1584 |
Using the Media Manager |
|
1587 |
Example: Removing Unused Media from a Sequence |
|
1588 |
Example: Duplicating a Sequence and Its Corresponding Media Files |
|
1589 |
Example: Duplicating a Portion of a Sequence and Its Media Files |
|
1590 |
Example: Copying Sequences with New Settings, but Without Media Files |
|
1592 |
Example: Recompressing Media Files for Editing on a Portable Computer |
|
1593 |
Example: Removing Portions of Media Files After Creating Subclips |
|
1595 |
Example: Consolidating Media Files into One Folder |
|
1596 |
Example: Consolidating Your Project and Media Files for Archiving |
20 |
Contents |
Chapter 95 |
1599 |
Diagnostic Tools for Clips |
|
1599 |
Different Tools for Diagnosing Clips |
|
1600 |
About the Analyze Movie Command |
|
1603 |
Finding and Marking Long Frames |
Chapter 96 |
1605 |
Importing and Exporting EDLs |
|
1605 |
About EDLs |
|
1610 |
Exporting EDLs |
|
1617 |
Importing EDLs |
|
1620 |
EDL Considerations Before Capturing |
|
1623 |
EDL Considerations During Editing |
|
1626 |
Transition Wipe Codes for EDL Export |
Chapter 97 |
1629 |
Using Final Cut Pro XML and QuickTime Metadata |
|
1629 |
What Is the Final Cut Pro XML Interchange Format? |
|
1630 |
About XML |
|
1633 |
Overview of the Final Cut Pro XML Interchange Format |
|
1635 |
Exporting XML in Final Cut Pro |
|
1636 |
Importing XML into Final Cut Pro |
|
1637 |
Working with Metadata in QuickTime Media |
|
1637 |
Controlling Final Cut Pro with Apple Events |
Chapter 98 |
1639 |
Remote Previewing with iChat |
|
1639 |
About iChat Theater Preview and Final Cut Pro |
|
1642 |
Initiating an iChat Theater Preview Session |
|
1643 |
Using iChat Theater Preview |
Chapter 99 |
1645 |
Working with Film and Cinema Tools |
|
1645 |
An Overview of the Film Editing Process |
|
1648 |
About Using Cinema Tools with Final Cut Pro |
|
1649 |
Creating a New Final Cut Pro Project |
|
1649 |
Importing a Telecine Log to Create a Cinema Tools Database |
|
1651 |
Batch Capturing Video from Tape |
|
1651 |
Removing 3:2 Pull-Down or Conforming 25 fps PAL to 24 fps |
|
1654 |
Synchronizing Clips with the Cinema Tools Database |
|
1656 |
Editing Clips in Final Cut Pro |
|
1656 |
Using Edge Code Overlays and Feet+Frame Rulers |
|
1658 |
Opening Final Cut Pro Clips in Cinema Tools |
|
1659 |
Exporting Film, Change, and Audio Lists |
Chapter 100 |
1667 |
Preparing to Output to Tape |
|
1667 |
Choosing a Videotape Format and Equipment for Output |
|
1668 |
Output Requirements |
Contents |
21 |
|
1669 |
Methods for Output to Tape in Final Cut Pro |
|
1671 |
Setting Up Your Editing System to Output to Tape |
Chapter 101 |
1677 |
Assemble and Insert Editing Using Edit to Tape |
|
1677 |
Overview of Tape Editing Methods |
|
1680 |
About the Edit to Tape Window |
|
1688 |
Using the Edit to Tape Window |
Chapter 102 |
1699 |
Printing to Video and Output from the Timeline |
|
1699 |
Different Ways You Can Output Video from the Timeline |
|
1700 |
Printing to Video |
|
1702 |
Recording from the Timeline |
|
1704 |
Outputting to VHS Tape |
Chapter 103 |
1707 |
Learning About QuickTime |
|
1707 |
What Is QuickTime? |
|
1708 |
The QuickTime Suite of Software Applications |
|
1708 |
The QuickTime Movie File Format |
|
1711 |
Formats Supported by QuickTime |
|
1715 |
How Do You Export the Files You Need? |
Chapter 104 |
1717 |
Using Share |
|
1719 |
About the Share Window |
|
1727 |
Exporting Single Clips and Sequences with Share |
|
1729 |
Exporting Groups of Clips and Sequences with Share |
|
1733 |
Creating Multiple Outputs |
|
1734 |
Using Share with Compressor |
|
1735 |
Working with Share Output Types |
|
1752 |
Using Batch Monitor with Share |
Chapter 105 |
1753 |
Exporting QuickTime Movies |
|
1753 |
About the Export QuickTime Movie Command |
|
1754 |
Choosing the Type of QuickTime Movie to Export |
|
1755 |
Exporting a QuickTime Movie File |
|
1758 |
Exporting QuickTime Movies with Markers |
Chapter 106 |
1761 |
Exporting Using QuickTime Conversion |
|
1761 |
About the Export Using QuickTime Conversion Command |
|
1762 |
Types of File Formats You Can Export with QuickTime |
|
1763 |
About Color Space Conversion |
|
1763 |
Exporting a QuickTime Movie File for Web Distribution |
|
1765 |
Configuring QuickTime Movie Settings |
|
1775 |
About QuickTime Aperture Display Modes |
|
1778 |
Exporting a DV Stream |
22 |
Contents |
|
1779 |
Exporting an AVI File |
Chapter 107 |
1783 |
Exporting Sequences for DVD |
|
1783 |
The DVD Creation Process |
|
1788 |
Adding Chapter and Compression Markers to Your Sequence |
|
1791 |
About DVD Authoring Applications |
|
1791 |
Exporting a QuickTime Movie for DVD Use |
|
1792 |
Using Compressor to Create DVD-Compliant Sources for DVD Studio Pro |
Chapter 108 |
1793 |
Using Compressor with Final Cut Pro |
|
1793 |
About Compressor |
|
1794 |
Using Compressor with Final Cut Pro |
|
1795 |
Using Compressor as a Standalone Application |
|
1797 |
Sending from Final Cut Pro to Compressor |
|
1798 |
About Color Space Conversion in Compressor |
Chapter 109 |
1799 |
Exporting Still Images and Image Sequences |
|
1799 |
Determining the Image Format for Still-Image Export |
|
1800 |
Exporting a Single Still Image |
|
1801 |
Exporting Image Sequences |
Chapter 110 |
1805 |
Batch Exporting Clips and Sequences |
|
1805 |
Overview of the Batch Exporting Process |
|
1805 |
Selecting Items in the Browser to Batch Export |
|
1807 |
Selecting Batch Export Settings |
|
1812 |
Doing a Batch Export |
|
1813 |
Opening Batch Exported Files in the Viewer |
|
1814 |
Redoing Batch Exports |
|
1815 |
About Color Space Conversion During Batch Exporting |
Chapter 111 |
1817 |
Choosing Settings and Preferences |
|
1817 |
Changing User Preferences |
|
1829 |
Changing System Settings |
Chapter 112 |
1837 |
Audio/Video Settings and Easy Setups |
|
1837 |
The Audio/Video Settings Window |
|
1839 |
Choosing Easy Setups |
|
1841 |
Changing Audio/Video Presets |
|
1846 |
Creating and Modifying Easy Setups |
|
1850 |
Installing and Restoring Easy Setups |
|
1850 |
Loading Settings from a Network Server |
Chapter 113 |
1851 |
Capture Settings and Presets |
|
1851 |
About Capture Preset Settings |
Contents |
23 |
|
1857 |
Creating a Preset to Capture Audio Only |
Chapter 114 |
1859 |
Device Control Settings and Presets |
|
1859 |
About Device Control Presets |
|
1863 |
Device Control Protocols Supported by Final Cut Pro |
|
1864 |
Using FireWire Device Control |
|
1865 |
Using Serial Device Control |
|
1868 |
Using a Non-Controllable Device |
|
1868 |
Troubleshooting Your Device Control Setup |
Chapter 115 |
1871 |
Sequence Settings and Presets |
|
1871 |
What Are Sequence Settings? |
|
1871 |
About Sequence Settings and Presets |
|
1877 |
Timeline Display, Render, and Audio Output Options |
|
1881 |
Changing Sequence Settings |
Appendix A |
1883 |
Solving Problems |
|
1883 |
Resources for Solving Problems |
|
1883 |
Solutions to Common Problems |
|
1889 |
Contacting AppleCare Support |
Appendix B |
1891 |
Video Formats |
|
1891 |
An Overview of Video Format Characteristics |
|
1893 |
Storage Medium |
|
1894 |
Video Standards |
|
1895 |
Types of Video Signals |
|
1897 |
Aspect Ratio of the Video Frame |
|
1899 |
Frame Dimensions, Number of Lines, and Resolution |
|
1901 |
Pixel Aspect Ratio |
|
1902 |
Frame Rate |
|
1902 |
Scanning Method |
|
1904 |
Color Recording Method |
|
1905 |
Video Sample Rate and Bit Depth |
|
1907 |
Video Compression |
|
1914 |
Video Formats Supported by Final Cut Pro |
Appendix C |
1919 |
Frame Rate and Timecode |
|
1919 |
What Is Frame Rate? |
|
1920 |
Understanding Flicker and Perceived Frame Rate |
|
1921 |
How Many Frames per Second Is Best? |
|
1922 |
Choosing a Frame Rate |
|
1924 |
What Is Timecode? |
|
1924 |
About Drop Frame and Non-Drop Frame Timecode |
|
1927 |
Timecode on Tape |
24 |
Contents |
|
1928 |
Comparison of Various Timecode Formats |
Appendix D |
1931 |
Working with 24p Video |
|
1931 |
What Is 24p Video? |
|
1932 |
Telecine, Pull-Down, and Reverse Telecine |
|
1942 |
Film, 24p Video, and Cinema Tools |
|
1942 |
Working with 24p NTSC Video |
|
1943 |
Using an AG-DVX100 NTSC Camcorder with Advanced Pull-Down |
Appendix E |
1945 |
Working with Anamorphic 16:9 Media |
|
1945 |
About Anamorphic 16:9 Media |
|
1946 |
Recording Anamorphic Video |
|
1947 |
Capturing Anamorphic Media |
|
1948 |
Changing Clip Properties for Anamorphic Media |
|
1949 |
Viewing and Editing Anamorphic Media |
|
1949 |
Specifying Sequence Settings for Anamorphic Media |
|
1950 |
Outputting Anamorphic Video to Tape |
|
1950 |
Exporting 16:9 Anamorphic Video |
Appendix F |
1953 |
Using Multi-Touch Gestures with Final Cut Pro |
|
1953 |
Using Multi-Touch Gestures in the Timeline |
|
1953 |
Using Multi-Touch Gestures in the Viewer or Canvas |
Glossary |
1955 |
|
Contents |
25 |
Preface
This preface covers the following:
•About Final Cut Pro (p. 27)
•About the Final Cut Pro Documentation (p. 28)
•Additional Resources (p. 28)
The first choice of professional editors worldwide, Final Cut Pro delivers high-performance digital nonlinear editing, native support for virtually any video format, and professional-level extensibility and interoperability. Its workflow extends through the other Final Cut Studio applications and Final Cut Server for even more power. Whether you’re working solo or collaborating with a team, Final Cut Pro gives you the creative options and technical control that you need.
Final Cut Pro is the hub of Final Cut Studio, with powerful capabilities for working with the other Final Cut Studio applications.
Final Cut Pro lets you edit everything from uncompressed standard definition video to HDV, DVCPRO HD, and uncompressed high definition video—as well as Panasonic P2 and Sony XDCAM HD tapeless formats. You can mix and match a wide range of formats and even frame rates in the open format Timeline. Final Cut Pro includes a complete set of professional editing and trimming tools that let you work quickly, with a full range of customization options to give you flexibility and control. Also included are powerful multicamera editing tools that allow you to view and cut video from multiple sources in real time.
27
Final Cut Pro comes with various documents that will help you get started as well as provide detailed information about the application.
•Exploring Final Cut Pro: The Exploring Final Cut Pro manual presents the basics of Final Cut Pro in an easy, approachable way. Each chapter presents major features and guides you in trying things out. A PDF version of the printed manual is available in Final Cut Pro Help (in Final Cut Pro, choose Help > Exploring Final Cut Pro).
•Final Cut Pro 7 User Manual: This is a comprehensive document that describes the Final Cut Pro interface, commands, and menus and gives step-by-step instructions for creating Final Cut Pro projects and for accomplishing specific tasks. It is written for users of all levels of experience. The user manual is available in Final Cut Pro Help (in Final Cut Pro, choose Help > Final Cut Pro Help).
•Professional Formats and Workflows: The Professional Formats and Workflows document covers how to use digital cinema, high definition, and broadcast formats (such as DVCPRO HD, HDV, AVC-Intra, Sony XDCAM, REDCODE, and Apple ProRes) and devices (such as Sony Video Disk Units and Panasonic P2 cards) with Final Cut Pro. The Professional Formats and Workflows document is available in Final Cut Pro Help (in Final Cut Pro, choose Help > Final Cut Pro Help).
Along with the documentation that comes with Final Cut Pro, there are a variety of other resources you can use to find out more about Final Cut Pro.
Final Cut Pro Website
For general information and updates, as well as the latest news on Final Cut Pro, go to:
• http://www.apple.com/finalcutstudio/finalcutpro
Apple Service and Support Websites
For software updates and answers to the most frequently asked questions for all Apple products, go to the general Apple Support webpage. You’ll also have access to product specifications, reference documentation, and Apple and third-party product technical articles.
• http://www.apple.com/support
For software updates, documentation, discussion forums, and answers to the most frequently asked questions for Final Cut Pro, go to:
• http://www.apple.com/support/finalcutpro
For discussion forums for all Apple products from around the world, where you can search for an answer, post your question, or answer other users’ questions, go to:
• http://discussions.apple.com
28 |
Preface Welcome to Final Cut Pro |
About the Post-Production |
1 |
Workflow |
This chapter covers the following:
•The Industry Workflow (p. 29)
•The Post-Production Workflow (p. 30)
No matter what your project, Final Cut Studio is the cornerstone of your post-production workflow. This section covers the post-production workflow in general terms. For more detailed information, see Final Cut Studio Workflows, available at http://documentation.apple.com/en/finalcutstudio/workflows.
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.
Stage 1: Scripting
Scripting is where the movie is conceived and written.
Stage 2: Preproduction
This is where budgeting, casting, location scouting, equipment and format selection, and storyboarding take place.
Stage 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
Stage 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.
Stage 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.
30 |
Chapter 1 About the Post-Production Workflow |