Apple Final Cut Pro 7 User Manual

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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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Apple Final Cut Pro 7 User Manual

Contents

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

Welcome to Final Cut Pro

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.

About Final Cut Pro

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

About the Final Cut Pro Documentation

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).

Additional Resources

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.

The Industry Workflow

Before you start editing, it’s helpful to consider how post-production fits into the overall moviemaking workflow. Even though no two movie projects follow exactly the same steps, there is a common workflow that almost every project adheres to. From conception to completion, the basic steps to complete a film or video project are described below.

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 Workflow

The post-production phase begins with the raw source footage and ends with a completed movie, ready for making distribution copies. As technology evolves, post-production continues to proliferate into an increasing variety of jobs and tasks. Where there was once a single editor who was responsible for the majority of the post-production process, there may now be a whole special effects team, an audio department, a colorist (responsible for color correction), and a number of assistant editors keeping track of all the footage. Final Cut 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

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