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Final Cut Pro 7
User Manual
Copyright © 2009 Apple Inc. All rights reserved.
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Welcome to Final Cut Pro27Preface
About Final Cut Pro27
About the Final Cut Pro Documentation28
Additional Resources28
About the Post-Production Workflow29Chapter 1
The Industry Workflow29
The Post-Production Workflow30
Video Formats and Timecode35Chapter 2
About Nonlinear and Nondestructive Editing35
Video Formats Compatible with Final Cut Pro35
Audio Formats Compatible with Final Cut Pro37
Video Format Basics37
About Timecode39
Understanding Projects, Clips, and Sequences41Chapter 3
The Building Blocks of Projects41
Working with Projects45
About the Connection Between Clips and Media Files48
Filenaming Considerations50
Overview of the Final Cut Pro Interface53Chapter 4
Basics of Working in the Final Cut Pro Interface53
Using Keyboard Shortcuts, Buttons, and Shortcut Menus55
Customizing the Interface57
Undoing and Redoing Changes62
Entering Timecode for Navigation Purposes63
Browser Basics65Chapter 5
How You Use the Browser65
Learning About the Browser66
Working in the Browser67
Using Columns in the Browser71
3
Contents
Customizing the Browser Display73
Viewer Basics85Chapter 6
How You Can Use the Viewer85
Opening a Clip in the Viewer86
Learning About the Viewer87
Tabs in the Viewer90
Transport Controls in the Viewer92
Playhead Controls in the Viewer93
Marking Controls in the Viewer95
Zoom and View Pop-Up Menus in the Viewer96
Playhead Sync Pop-Up Menu99
Recent Clips and Generator Pop-Up Menus100
Canvas Basics103Chapter 7
How You Use the Canvas103
Opening, Selecting, and Closing Sequences in the Canvas104
Learning About the Canvas105
Editing Controls in the Canvas107
Transport Controls in the Canvas109
Playhead Controls in the Canvas110
Marking Controls in the Canvas112
Zoom and View Pop-Up Menus in the Canvas113
Playhead Sync Pop-Up Menu in the Canvas113
Navigating and Using Timecode in the Viewer and Canvas115Chapter 8
Navigating in the Viewer and Canvas115
Working with Timecode in the Viewer and Canvas121
Timeline Basics127Chapter 9
How You Use the Timeline127
Opening and Closing Sequences in the Timeline129
Learning About the Timeline130
Changing Timeline Display Options141
Navigating in the Timeline149
Zooming and Scrolling in the Timeline151
Customizing the Interface157Chapter 10
Changing Browser and Timeline Text Size157
Moving and Resizing Final Cut Pro Windows157
Using Window Layouts159
Ways to Customize Keyboard Shortcuts162
Working with Shortcut Buttons and Button Bars171
4 Contents
Connecting DV Video Equipment177Chapter 11
Components of a Basic Final Cut Pro Editing System177
Setting Up a Final Cut Pro Editing System178
Connecting Your Camcorder179
Opening Final Cut Pro and Choosing Your Initial Settings179
Confirming Remote Device Control Between Final Cut Pro and Your DV Device184
About FireWire185
Connecting Professional Video and Audio Equipment187Chapter 12
Components of a Professional Final Cut Pro Editing System187
About Video Interfaces, Signals, and Connectors191
Connecting Professional Video Devices197
Audio Interfaces202
Audio Connectors and Signal Formats206
Connecting Professional Audio Devices212
Connecting Remote Device Control215
Determining Your Hard Disk Storage Options219Chapter 13
Working with Scratch Disks and Hard Disk Drives219
Data Rates and Storage Devices219
Determining How Much Space You Need221
Choosing a Hard Disk223
Types of Hard Disk Drives224
External Video Monitoring231Chapter 14
Using an External Video Monitor While You Edit231
Using Digital Cinema Desktop Preview238
Compensating for Video Latency by Specifying a Frame Offset241
Troubleshooting External Video Monitoring Problems242
Overview of Capturing Tape-Based Media245Chapter 15
What Are Logging and Capturing?245
Ways to Log and Capture Footage in Final Cut Pro245
The Importance of Logging248
Benefits of Logging249
Preparing to Log249
Additional Sources for Logging Information252
About Capturing Footage253
Are You Ready to Log and Capture?253
About the Log and Capture Window255Chapter 16
Opening the Log and Capture Window255
Controls in the Log and Capture Window256
5Contents
Preview Area in the Log and Capture Window257
Logging Tab in the Log and Capture Window259
Clip Settings Tab in the Log and Capture Window261
Capture Settings Tab in the Log and Capture Window262
Log and Capture Buttons in the Log and Capture Window262
Logging from Tape263Chapter 17
Overview of Logging Steps263
Opening the Log and Capture Window265
Inserting a Tape in the VTR266
Setting a Logging Bin to Store Logged Clips267
Entering a Reel Name for the Current Tape268
Setting Clip In and Out Points269
Entering a Clip Name and Other Logging Information270
Adding Markers to Clips While Logging273
Selecting Which Tracks to Capture274
Changing Capture Settings276
Setting Video and Audio Levels for Analog Video277
Logging a Clip277
Capturing Video from Tape279Chapter 18
Capturing Clips as You Log279
Capturing Entire Tapes280
Batch Capturing Clips285
Capturing Audio from Tape299Chapter 19
About Capturing Audio299
Capturing Audio-Only Media Files300
Capturing Multiple Audio Channels300
Adjusting Analog Audio Levels for Capture306
Capturing Audio from an Audio Deck Using Device Control308
Capturing from an Audio Device Without Device Control309
Capturing Synchronized Audio Independently from Video310
Advanced Topics in Capturing Tape-Based Media313Chapter 20
Capturing Footage Without Device Control313
Capturing Video and Audio Separately315
Recapturing Clips315
Avoiding Duplicate Timecode Numbers on a Single Tape316
Capturing Footage with Timecode Breaks318
Renaming Media Files After Capture322
Using the Media Manager After Capturing322
6 Contents
Overview of Transferring File-Based Media323Chapter 21
About File-Based Media323
Introduction to the Log and Transfer Window324
File-Based Media Terminology325
Example File-Based Media Workflow326
About the Log and Transfer Window329Chapter 22
Opening the Log and Transfer Window329
Controls in the Log and Transfer Window331
Logging File-Based Media341Chapter 23
Preparing to Log File-Based Media341
Entering Logging Information343
Automatically Naming Your Clips345
Transferring File-Based Media349Chapter 24
About Transferring File-Based Media350
Choosing a Scratch Disk and Logging Bin351
Mounting Media Devices351
Mounting Media Volumes in the Log and Transfer Window352
Choosing a Destination Codec353
Viewing Clips to Be Transferred353
Selecting Clips354
Previewing Clips355
Logging Clips in the Log and Transfer Window356
Placing Clips in the Transfer Queue358
Advanced Topics in Transferring File-Based Media363Chapter 25
Setting Log and Transfer Import Preferences363
Retransferring Clip Media364
Viewing Spanned Clips in the Browse Area366
Archiving File-Based Media from Cards368
Importing Media Files into Your Project371Chapter 26
What File Formats Can Be Imported?371
Importing Media Files372
About Importing Video Files375
About Importing Audio Files377
Importing Still Images and Graphics382
Importing Numbered Image Sequences383
Organizing Footage in the Browser389Chapter 27
Using Bins to Organize Your Clips389
7Contents
Using Labels to Organize Your Clips395
Sorting Items in the Browser Using Column Headings399
Searching for Clips in the Browser and Finder401
Creating Subclips409Chapter 28
Learning About Subclips409
Techniques for Breaking Large Clips into Subclips413
Creating Independent Media Files from Subclips After Capturing416
Merging Clips from Dual System Video and Audio419Chapter 29
Working with Dual System Video and Audio419
Using Synchronization Points to Create Merged Clips420
Duration of Merged Clips422
Creating Merged Clips from the Timeline423
Changing the Sync of Merged Clips424
Working with Projects, Clips, and Sequences427Chapter 30
Specifying Preferences Before You Start Editing427
Working with Projects428
Learning About the Different Types of Clips431
Viewing and Changing the Properties of a Clip434
Creating and Working with Sequences437
The Fundamentals of Adding Clips to a Sequence445Chapter 31
Creating a Rough Edit445
Overview of Ways to Add Clips to a Sequence448
Preparing a Sequence Order in the Browser450
Using Markers453Chapter 32
Learning About Markers453
Viewing Markers in the Viewer or Canvas459
Viewing Markers in the Browser459
Adding Markers in Clips and Sequences460
Deleting Markers in Clips and Sequences463
Navigating with Markers465
Modifying Markers466
Moving Markers467
Using the Ripple Sequence Markers Setting469
Editing Multiple Markers on the Same Frame469
Aligning Items in the Timeline by Their Markers470
Extending a Marker’s Duration471
Editing Markers into Sequences472
Exporting Markers with Your QuickTime Movies472
Exporting Marker Lists as Text473
8 Contents
Setting Edit Points for Clips and Sequences475Chapter 33
About In and Out Points475
Setting Clip In and Out Points in the Viewer478
Setting Sequence In and Out Points in the Canvas or Timeline481
Navigating to In and Out Points491
Moving In and Out Points491
Clearing In and Out Points493
Working with Tracks in the Timeline495Chapter 34
Adding and Deleting Tracks495
Specifying Destination Tracks in the Timeline499
Locking Tracks to Prevent Edits or Changes504
Disabling Tracks to Hide Content During Playback505
Customizing Track Display in the Timeline507
Drag-to-Timeline Editing513Chapter 35
Overview of the Drag-to-Timeline Editing Process513
Dragging Clips to the Timeline514
Doing Simple Insert and Overwrite Edits in the Timeline515
Automatically Adding Tracks to Your Sequence While Dragging517
Three-Point Editing521Chapter 36
Understanding Three-Point Editing521
About Edit Types in the Edit Overlay524
Performing the Different Types of Edits525
Three-Point Editing Examples542
Finding and Selecting Content in the Timeline549Chapter 37
Understanding What’s Currently Selected549
Direct Methods for Selecting Content in a Sequence551
Finding and Selecting Based on Search Criteria559
Selecting a Vertical Range Between In and Out Points561
Using Auto Select to Specify Tracks for Selections562
Arranging Clips in the Timeline565Chapter 38
Snapping to Points in the Timeline565
Moving Items Within the Timeline566
Copying and Pasting Clips in the Timeline571
Deleting Clips from a Sequence576
Finding and Closing Gaps578
Color-Coding Clips in the Timeline581
9Contents
Cutting Clips and Adjusting Durations583Chapter 39
Performing Basic Cut Edits583
Changing the Duration of Clips in the Timeline587
Opening Sequence Clips in the Viewer to Change Durations587
Linking and Editing Video and Audio in Sync589Chapter 40
Linked Sync Relationships Between Video and Audio Clips589
Linking and Unlinking Video and Audio Clip Items in the Timeline594
Selecting Individual Clip Items While They Are Linked597
Getting Clip Items Back in Sync598
Establishing Different Sync Relationships Between Linked Clip Items602
Learning About Linking Behavior in Audio Channel Pairs604
Synchronizing Dual System Recorded Video and Audio605
Split Edits607Chapter 41
Learning About Split Edits607
How Split Edits Look in the Viewer and Canvas608
Setting Up Split Edit Points in the Viewer609
Setting Up a Split Edit While Playing a Clip610
Modifying and Clearing Split Edits611
Split Edit Examples613
Working with Multiclips617Chapter 42
About Multiclips618
Multiclip Workflow619
Preparing Clips to Be Used as Multiclip Angles621
Creating Individual Multiclips622
Creating Multiclip Sequences626
Identifying and Naming Multiclips in the Browser636
Working with Multiclip Angles in the Viewer637
Editing with Multiclips in Real Time644
Using Keyboard Shortcuts and Shortcut Buttons for Multiclip Editing644
Editing Multiclips into the Timeline645
Switching and Cutting Between Angles646
Editing in Multiclip Playback Mode652
Applying Filters, Speed, and Motion Parameters to Multiclips654
Collapsing and Expanding a Multiclip656
Working with Multiclip Master-Affiliate Relationships657
Match Frame Commands Used with Multiclips658
Media Management and Project Interchange659
Audio Editing Basics661Chapter 43
The Goals of Audio Editing661
10 Contents
Using Waveform Displays to Help You Edit Audio662
Learning About the Audio Controls in the Viewer664
Editing Audio in the Viewer668
Editing Audio in the Timeline676
Creating or Separating Stereo Pairs680
Working with Audio at the Subframe Level682
Examples of Ways to Easily Edit Audio684
Performing Slip, Slide, Ripple, and Roll Edits691Chapter 44
About Trimming with Slip, Slide, Ripple, and Roll Tools691
Sliding Clips in the Timeline692
Slipping Clips in the Timeline695
Using the Ripple Tool to Trim an Edit Without Leaving a Gap699
Using the Roll Tool to Change Where a Cut Occurs709
Learning About Trimming Clips715Chapter 45
What Is Trimming?715
Controls That Affect Trim Edits717
Selecting Edits and Clips to Trim718
Trimming with the Selection Tool721
Extending and Shortening Clips in the Timeline723
Trimming Clips in the Viewer724
Precision Editing Using Timecode726
Understanding Alert Messages When Trimming728
Trimming Clips Using the Trim Edit Window731Chapter 46
Learning About the Trim Edit Window731
Opening and Closing the Trim Edit Window732
Controls in the Trim Edit Window734
Using the Trim Edit Window739
Listening to Audio While Trimming744
Adding Transitions747Chapter 47
Learning About Transitions747
Adding Transitions Between Clips751
Moving, Copying, and Deleting Transitions757
Modifying Transitions in the Timeline759
Working with Default and Favorite Transitions762
Detecting Duplicate Frames over Transitions764
Video Transitions That Come with Final Cut Pro764
Using Alpha Transitions769
Refining Transitions Using the Transition Editor777Chapter 48
Using the Transition Editor777
11Contents
Applying a Modified Transition Directly to a Sequence in the Timeline785
Trimming Transitions and the Surrounding Clips785
Previewing and Rendering Transitions789
Sequence-to-Sequence Editing791Chapter 49
Methods for Editing Clips from One Sequence to Another791
Opening More Than One Sequence at a Time792
Copying Clips from One Sequence to Another792
Nesting Sequences795
Editing the Content of One Sequence into Another Without Nesting It801
Matching Frames and Playhead Synchronization805Chapter 50
Working with Sequence Clips in the Viewer805
Matching Frames Between Sequence and Master Clips808
Synchronizing the Canvas/Timeline Playhead and the Viewer Playhead811
Working with Timecode815Chapter 51
About Timecode in Final Cut Pro815
Displaying Timecode in Final Cut Pro816
Modifying Timecode in Media Files822
Modifying Sequence Timecode825
Working with 60 fps Timecode827
Working with 24 @ 25 fps Timecode827
Generating Timecode Window Burns828
Audio Fundamentals829Chapter 52
What Is Sound?829
Measuring Sound Intensity833
Signal-to-Noise Ratio835
Headroom and Distortion835
Dynamic Range and Compression836
Stereo Audio837
Digital Audio839
Assigning Output Channels and External Audio Monitors843Chapter 53
Audio Signal Flow in Final Cut Pro843
Configuring Audio Outputs847
Creating and Saving Audio Output Presets850
Assigning a Default Audio Output Preset for New Sequences851
Assigning Tracks in the Timeline to Audio Outputs851
Matching Audio Outputs to Clip Items in the Timeline851
Assigning More Audio Outputs Than Your Hardware Supports853
Audio Output Export Settings853
Downmixing Multiple Audio Channels to a Stereo Mix854
12 Contents
Configuring External Audio Monitors857
Evaluating Levels with Audio Meters865Chapter 54
About Audio Meters865
Setting Proper Audio Levels870
Overview of the Audio Mixer877Chapter 55
About the Audio Mixer877
Controls in the Audio Mixer877
Using Audio Mixer Views885
Using the Audio Mixer889Chapter 56
Making Basic Audio Adjustments with the Audio Mixer889
Making Stereo Pan Adjustments with the Audio Mixer896
About Mixer Automation and Keyframe Recording899
Using a Control Surface with the Audio Mixer907
Controlling the Audio Mixer with a Control Surface912
Recording Audio Mixer Keyframes Using a Control Surface914
Mixing Audio in the Timeline and Viewer917Chapter 57
Adjusting Audio Levels in the Timeline917
Changing Audio Levels in the Viewer922
Panning Audio in the Timeline925
Changing the Pan of Audio in the Viewer925
Changing Pan for an Entire Clip926
Copying, Pasting, and Removing Audio Attributes927
Adjusting Clip Audio Levels and Pan Using Keyframes928
Using the Voice Over Tool943Chapter 58
About the Voice Over Tool943
Setting Up Your Computer to Record Voiceover944
RAM Requirements When Using the Voice Over Tool947
Controls in the Voice Over Tool947
Defining the Recording Duration and Destination Track950
Recording a Voiceover955
Using Audio Filters959Chapter 59
Overview of Audio Filters960
Equalization Filters962
Gain Filter964
Compressor/Limiter Filter965
Expander/Noise Gate Filter966
Noise Reduction Filters966
Echo and Reverberation Filters968
13Contents
Applying Filters to an Audio Clip969
Displaying Filter Keyframes in the Timeline971
Modifying and Removing Filters973
Automating Audio Filter Parameters with Keyframes974
Making Real-Time Audio Filter Adjustments978
Saving a Filter or Transition as a Favorite980
Installing Third-Party Audio Units Filters981
Exporting Audio for Mixing in Other Applications983Chapter 60
Ways You Can Finish Your Audio983
Organizing Your Audio Clips for Multitrack Export984
About Exporting Audio Tracks to Individual Audio Files986
Preparing to Export Audio Tracks as Audio Files986
Exporting Audio Tracks as Individual Audio Files990
Exporting Audio Output Groups to AIFF Files991
Exporting Multichannel QuickTime Files995
Exporting OMF Audio Files995
Exporting Audio Clip Information to an EDL998
Exporting Audio for DVD999
Tips for Better Audio1001Chapter 61
Learning to Describe Sound Accurately1001
Efficiently Using the Frequency Spectrum1001
Tips for Cutting Dialogue1002
Tips for Cutting Music1004
Working with Soundtrack Pro and Logic Pro1007Chapter 62
Using Soundtrack Pro with Final Cut Pro1007
Sending Individual Audio Clips from Final Cut Pro to Soundtrack Pro1008
Creating Soundtrack Pro Multitrack Projects1013
Initiating Soundtrack Pro Conform with Final Cut Pro1017
Using Logic Pro with Final Cut Pro1019
Using Video Filters1021Chapter 63
Different Ways to Use Filters1021
Applying a Filter to a Clip1022
Applying Multiple Filters to Clips1025
Viewing and Adjusting a Filter’s Parameters1026
Displaying Filters Bars in the Timeline1034
Enabling and Rearranging Filters1035
Copying and Pasting a Clip’s Filters1036
Removing Filters from Clips1036
14 Contents
Installing and Managing Video Effects1039Chapter 64
Plug-in Formats Supported by Final Cut Pro1039
Installing Video Filters1040
Identifying and Organizing Video Effects1041
Transferring Effects Between Systems1043
Plug-in Restrictions and Troubleshooting1044
Video Filters Available in Final Cut Pro1047Chapter 65
FXScript Plug-ins1047
FxPlug Plug-ins1058
Changing Motion Parameters1059Chapter 66
Creating Motion Effects in the Viewer1059
Adjusting Parameters in the Motion Tab1060
Using Cartesian Geometry to Position Clips1066
Examples Using Motion Settings1068
Creating Motion Effects in the Canvas1081
Manipulating Images in the Canvas1082
Zooming In to the Canvas1083
Using Wireframe Handles to Transform, Scale, and Rotate1084
Example: Using Motion Parameters and Wireframe Handles1088
Adjusting Parameters for Keyframed Effects1093Chapter 67
Animating Motion Effects Using Keyframes1093
Smoothing Keyframes with Bezier Handles1113
Creating Keyframed Motion Paths in the Canvas1117
About the Timeline Keyframe Graph Area1127
Customizing the Keyframe Graph Area in the Timeline1129
Reusing Effect and Motion Parameters1133Chapter 68
Copying and Pasting Specific Clip Attributes1133
Applying Favorite Filters and Transitions1138
Changing Clip Speed1143Chapter 69
Speed Basics1143
Using the Change Speed Dialogs1145
Using the Speed Tool1152
Making Speed Changes in the Timeline1155
Using the Speed Parameter in the Motion Tab1163
Performing a Fit to Fill Edit1167
Using Speed Settings with Multiclips1170
15Contents
Working with Freeze Frames and Still Images1173Chapter 70
Using Still Images and Graphics in Your Sequences1173
Creating Freeze Frames from a Video Clip1174
Exporting Still Images1175
Creating Graphics with the Correct Frame Size for Video1176
Working with Graphics Clips of Different Sizes1176
Bit Depth of Imported Graphics1177
Scaling a Graphic to Fit the Frame Size1177
Creating Graphics with the Correct Color Settings for Video1181
Choosing the Maximum White Sequence Setting1182
Flattening Graphics with Layers1182
Using Alpha Channels1183
Selecting Fonts and Creating Line Art for Video1183
Scaling Images and Video Clips to Match a Sequence1183
Changing the Duration of Still Images1184
Example: Adding Camera Motion to Still Images1185
Compositing and Layering1193Chapter 71
Introduction to Compositing and Layering1193
Working with Composite Modes1198
Composite Modes in Final Cut Pro1200
Using Travel Mattes to Hide or Reveal Parts of a Clip1208
Working with Layered Photoshop Files1210
Using Video and Graphics Clips with Alpha Channels1213
Temporarily Excluding Clips from Playback or Output1219
Keying, Mattes, and Masks1223Chapter 72
Ways to Layer and Isolate Elements in Clips1223
Using Keying to Isolate Foreground Elements1226
Overview of Compositing Using the Chroma Keyer Filter1228
Working with the Chroma Keyer Filter1231
Using Mattes to Add or Modify Alpha Channels1242
Using Masks to Replace or Modify Alpha Channels1245
Using Generator Clips1249Chapter 73
What Is a Generator Clip?1249
Different Ways to Use Generators in Your Sequence1249
Video and Audio Generators Available in Final Cut Pro1250
Creating and Adding Generators to Sequences1255
Using the SmoothCam Filter1257Chapter 74
About the SmoothCam Filter1257
Working with the SmoothCam Filter1258
16 Contents
Managing Media and Motion Analysis Data1268
Improving SmoothCam Filter Results and Troubleshooting1268
Creating Titles1271Chapter 75
How You Can Use Titles in Your Project1271
Installing and Choosing Fonts1272
Making Sure Titles Fit on TV Screens1272
Text Generators Available in Final Cut Pro1273
Creating and Adding a Title Clip1276
Other Options for Creating and Adding Titles1279
Working with Motion and Shake1281Chapter 76
Using Motion with Final Cut Pro1281
Using Shake with Final Cut Pro1286
Working with Master Templates1289Chapter 77
About Motion Template Files and Master Templates1289
Working with Master Templates1290
Modifying Master Templates1295
Converting a Template Clip to a Motion Project1297
Installing Motion Template Files for Use in Final Cut Pro1298
Measuring and Setting Video Levels1299Chapter 78
RGB Color Model1299
Y′C
B
C
R
Color Model1300
Measuring Video Levels with the Final Cut Pro Video Scopes1304
Preventing Illegal Broadcast Levels1315
Displaying Excess Luma and Chroma Levels in the Viewer and Canvas1317
Using the Broadcast Safe Filter1318
Using the RGB Limit Filter1323
Working with Analog Video1325
Using Color Bars for Video Calibration1331
About Color Correction1337Chapter 79
Why Color Correct Your Footage?1337
Color Correction Starts During Your Shoot1339
Managing Color During Post-Production1340
The Final Cut Pro Color Correction Process1342
Color Correction Features1345Chapter 80
Color Correction Features in Final Cut Pro1345
Using Scopes Versus Looking at an External Monitor1346
Window Layouts for Color Correction in Final Cut Pro1347
17Contents
Color Correction Filters1351Chapter 81
The Final Cut Pro Color Correction Filters1351
The Color Corrector Filter1353
The Color Corrector 3-Way Filter1366
The Desaturate Highlights and Desaturate Lows Filters1381
RGB Balance Filter1382
Color Correction Examples1385Chapter 82
Example: Using the Color Corrector Filter1386
Example: Using the Color Corrector 3-Way Filter1390
Example: Color Correcting a Three-Shot Sequence for Continuity1398
Example: Using the Color Corrector 3-Way Filter Match Hue Controls1404
Example: Using the Limit Effect Controls to Isolate a Specific Color Against Grayscale1408
Example: Using the Limit Effect Controls of the Color Corrector Filter to Change a Specific
Color
1409
Example: Using the Desaturate Highlights Filter1413
Color Correction with Color1415Chapter 83
Using Color for Color Correction1415
Using RT Extreme1417Chapter 84
Introduction to Real-Time Processing1417
Locations for Changing Real-Time Playback Settings1422
About Real-Time Playback Options1424
Still-Image Real-Time Playback1431
Improving Real-Time Performance1432
Real-Time Audio Mixing in Final Cut Pro1433
Choosing Real-Time Playback Versus Rendering1435
Supported Real-Time Playback Codecs1436
Using a Third-Party Video Effects Accelerator Card1437
Using RT Extreme for Video Output1438
Viewing Your Composition in the QuickView Tab1438
Rendering and Video Processing Settings1443Chapter 85
What Is Rendering?1443
About Render Status Bars in the Timeline1444
About Item-Level Render Status Bars1447
The Rendering Process1447
About Changing Render and Video Processing Settings1456
Changing Settings in the Render Control Tab1456
Changing Settings in the Video Processing Tab1459
Adjusting Gamma1464
Managing Your Render Files1468
18 Contents
Tips for Reducing Render Time1471
Working with Mixed-Format Sequences1473Chapter 86
About Mixed-Format Sequences1473
Determining Whether Clips in a Sequence Will Play Back in Real Time1474
Conforming Sequence Settings to Match a Clip’s Settings1476
Conforming Clips to Match Sequence Settings1477
Mixing Frame Rates1479
Combining Interlaced Footage with Different Field Dominances1480
Mixing Footage with Different Codecs1482
Nesting Nonmatching Sequences1482
Adding Filters and Motion Effects to Mixed-Format Sequences1483
Combining SD and HD Video1483
Downconverting HD Video1483
Upconverting SD Video1488
Rendering Mixed-Format Sequences1489
External Monitoring and Output1489
Media Management and Project Interchange1490
Media Management1493Chapter 87
What Is Media Management?1493
Reasons to Use Media Management1494
What You Need to Know to Manage Your Media1495
Media Management Process in Final Cut Pro1495
Strategies for Media Management1496
Backing Up and Restoring Projects1499Chapter 88
Backing Up and Restoring Projects1499
Archiving Completed Projects1503
About Updating Projects from Previous Versions of Final Cut Pro1504
Choosing Project Update Options1505
Elements of a Final Cut Pro Project1509Chapter 89
About Clips, Media Files, and Sequences1509
About Icons and Project Elements in the Browser1513
Clip Properties1514
Working with Master and Affiliate Clips1521Chapter 90
About Using Master and Affiliate Clips1521
Shared and Unique Clip Properties1522
Working with Master Clips1525
Working with Affiliate Clips1527
Creating Independent Clips1528
Changing Independent Clips to Affiliate Clips1529
19Contents
Modifying Master-Affiliate Clip Relationships1530
Moving Clips Between Projects1531
How Does Final Cut Pro Identify Matching Clips?1531
Resolving Property Differences Between Matching Clips1532
Offline and Online Editing1535Chapter 91
About Offline and Online Editing1535
Offline/Online Editing Workflows1537
Using the OfflineRT Format in Final Cut Pro1539
Reingesting Media at Full Quality and Full Resolution1541
Online Editing on Non–Final Cut Pro Editing Systems1544
Trading Project Files Using Email or the Internet1545
Reconnecting Clips and Offline Media1549Chapter 92
Finding Your Media Files After Capture1549
About the Connections Between Clips and Media Files1551
Renaming Media Files and Clips1552
How the Connection Between Clips and Media Files Can Be Broken1553
Making Clips Offline1554
Reconnecting Clips to Media Files1556
When Final Cut Pro Reconnects Your Clips1563
Reconnecting Media Files Automatically1564
Overview of the Media Manager1567Chapter 93
What Can You Do with the Media Manager?1567
Selecting Items to Process with the Media Manager1569
Settings and Options in the Media Manager Window1570
How the Media Manager Processes Selected Items1577
Limiting How Much Media Is Copied or Deleted1580
Media File Formats Supported by the Media Manager1582
About Color Space Conversion in the Media Manager1582
Examples of How to Use the Media Manager1583Chapter 94
Media Manager Workflow1583
Using the Media Manager1584
Example: Removing Unused Media from a Sequence1587
Example: Duplicating a Sequence and Its Corresponding Media Files1588
Example: Duplicating a Portion of a Sequence and Its Media Files1589
Example: Copying Sequences with New Settings, but Without Media Files1590
Example: Recompressing Media Files for Editing on a Portable Computer1592
Example: Removing Portions of Media Files After Creating Subclips1593
Example: Consolidating Media Files into One Folder1595
Example: Consolidating Your Project and Media Files for Archiving1596
20 Contents
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