Apple Final Cut Express 4 User manual

Brand: Apple

Model: Final Cut Express 4

Category: Graphics software

Type: User manual

Final Cut Express 4

User Manual

Apple Inc.

Your rights to the software are governed by the

accompanying software license agreement. The owner

or authorized user of a valid copy of Final Cut Express

software may reproduce this publication for the purpose

of learning to use such software. No part of this

publication may be reproduced or transmitted for

commercial purposes, such as selling copies of this

publication or for providing paid for support services.

The Apple logo is a trademark of Apple Inc., registered

in the U.S. and other countries. Use of the “keyboard”

Apple logo (Shift-Option-K) for commercial purposes

without the prior written consent of Apple may

constitute trademark infringement and unfair

competition in violation of federal and state laws.

Every effort has been made to ensure that the

information in this manual is accurate. Apple is not

responsible for printing or clerical errors.

Note:

Because Apple frequently releases new versions

and updates to its system software, applications, and

Internet sites, images shown in this book may be slightly

different from what you see on your screen.

Apple Inc.

1 Infinite Loop

Cupertino, CA 95014–2084

408-996-1010

www.apple.com

Apple, the Apple logo, DVD Studio Pro, Exposé,

Final Cut, Final Cut Pro, FireWire, iDVD, iMovie, iPod,

iTunes, LiveType, Mac, Macintosh, Mac OS, Pixlet,

Power Mac, QuickTime, Soundtrack, TrueType, and

Xsan are trademarks of Apple Inc., registered in the

U.S. and other countries.

Aperture, Apple TV, Cinema Tools, Finder, iPhone, and

OfflineRT are trademarks of Apple Inc.

AppleCare is a service mark of Apple Inc., registered

in the U.S. and other countries.

Adobe, After Effects, Photoshop, and PostScript are

trademarks or registered trademarks of Adobe Systems

Incorporated in the U.S. and/or other countries.

Dolby Laboratories: Manufactured under license

from Dolby Laboratories. “Dolby,” “Pro Logic,” and the

double-D symbol are trademarks of Dolby Laboratories.

Helvetica is a registered trademark of Heidelberger

Druckmaschinen AG, available from Linotype

Library GmbH.

Intel, Intel Core, and Xeon are trademarks of Intel Corp.

in the U.S. and other countries.

Other company and product names mentioned herein

are trademarks of their respective companies. Mention

of third-party products is for informational purposes

only and constitutes neither an endorsement nor a

recommendation. Apple assumes no responsibility with

regard to the performance or use of these products.

Production stills from the film “Koffee House Mayhem”

provided courtesy of Jean-Paul Bonjour. “Koffee House

http://www.jbonjour.com

Production stills from the film “A Sus Ordenes”

provided courtesy of Eric Escobar. “A Sus Ordenes”

http://www.kontentfilms.com

Contents

Preface 25 Final Cut Express 4 Documentation and Resources

Onscreen Help

Apple Websites

Part I An Introduction to Final Cut Express

Chapter 1 29 About the Post-Production Workflow

The Industry Workflow

The Post-Production Workflow

Chapter 2 35 Video Formats

About Nonlinear and Nondestructive Editing

Video Formats Compatible with Final Cut Express

Audio Formats Compatible with Final Cut Express

Video Format Basics

Chapter 3 39 Understanding Projects, Clips, and Sequences

The Building Blocks of Projects

Working with Projects

About the Connection Between Clips and Media Files

Filenaming Considerations

Part II Learning About the Final Cut Express Interface

Chapter 4 55 Overview of the Final Cut Express Interface

Basics of Working in the Final Cut Express Interface

Using Keyboard Shortcuts, Buttons, and Shortcut Menus

Customizing the Interface

Undoing and Redoing Changes

Entering Timecode for Navigation Purposes

Contents

Chapter 5 65 Browser Basics

How You Use the Browser

Learning About the Browser

Working in the Browser

Using Columns in he Browser

Customizing the Browser Display

Chapter 6 79 Viewer Basics

How You Can Use the Viewer

Opening a Clip in the Viewer

Learning About the Viewer

Tabs in the Viewer

Transport Controls

Playhead Controls

Marking Controls

Zoom and View Pop-Up Menus

Recent Clips and Generator Pop-Up Menus

Chapter 7 93 Canvas Basics

How You Use the Canvas

Opening, Selecting, and Closing Sequences in the Canvas

Learning About the Canvas

Edit Overlay in the Canvas

Transport Controls

Playhead Controls

100

Marking Controls

101

Zoom and View Pop-Up Menus

Chapter 8 103 Navigating and Using Timecode in the Viewer and Canvas

103

Navigating in the Viewer and Canvas

11 0

Working with Timecode in the Viewer and Canvas

Chapter 9 113 Timeline Basics

11 3

How You Use the Timeline

11 5

Opening and Closing Sequences in the Timeline

11 6

Learning About the Timeline

12 6

Changing Timeline Display Options

13 0

Navigating in the Timeline

131

Zooming and Scrolling in the Timeline

Contents

Chapter 10 137 Customizing the Interface

137

Changing Browser and Timeline Text Size

137

Moving and Resizing Final Cut Express Windows

13 9

Using Window Layouts

140

Working with Shortcut Buttons and Button Bars

Part III Setting Up Your Editing System

Chapter 11 147 Connecting DV Video Equipment

147

Components of a Basic Final Cut Express Editing System

148

Setting Up a Final Cut Express Editing System

149

Connecting Your Camcorder

149

Opening Final Cut Express and Choosing Your Initial Settings

153

Confirming Remote Device Control Between Final Cut Express and Your DV Device

154

About FireWire

Chapter 12 155 Determining Your Hard Disk Storage Options

155

Working with Scratch Disks and Hard Disk Drives

156

Data Rates and Storage Devices

156

Determining How Much Space You Need

159

Choosing a Hard Disk

160

Types of Hard Disk Drives

163

Fibre Channel Drive Arrays and RAIDs

164

Storage Area Networks

Chapter 13 165 External Video Monitoring

165

Using an External Video Monitor While You Edit

166

Connecting DV FireWire Devices to an External Monitor

167

Using Digital Cinema Desktop Preview

171

About the Display Quality of External Video

171

Troubleshooting External Video Monitoring Problems

Part IV Capturing and Importing

Chapter 14 175 Capturing Your Footage to Disk

175

Overview of the Capturing Process

177

Overview of the Capture Window

178

Transport Controls

178

Jog and Shuttle Controls

179

Marking Controls

179

Capture Tab

182

Capture Buttons

Contents

182

Preparing to Capture

182

Organizing and Labeling Your Tapes

183

Logging Your Tapes

184

Choosing a Filenaming Scheme

184

Determining How Much Disk Space You Need

185

Capturing Individual Clips in the Capture Window

190

Using Capture Now

192

Automatically Creating Subclips Using DV Start/Stop Detection

193

Adding Markers to Clips in the Capture Window

193

Marker Controls in the Capture Window

194

Setting Markers

194

Recapturing Clips

195

Using Capture Project

197

About the Additional Items Found Dialog

198

Finding Your Media Files After Capture

198

Where Are Captured Media Files Stored?

199

Consolidating Media Files to One Folder

200

Modifying a Media File’s Reel Name Property

201

Avoiding Duplicate Timecode Numbers on a Single Tape

202

Logging Tapes with Duplicate Timecode Numbers

202

Avoiding Multiple Occurrences of the Same Timecode Number on a Single Tape

Chapter 15 205 Importing Media Files into Your Project

205

What File Formats Can Be Imported?

206

Importing Media Files

209

About Importing Video Files

211

About Importing Audio Files

214

Importing Still Images and Graphics

Chapter 16 219 Ingesting Media Files

219

About File-Based Media

220

Working with AVCHD Footage

222

Sample Media File Workflow

224

Working with the Log and Transfer Window

Chapter 17 233 Working with HDV

233

About HDV

234

HDV Formats Supported by Final Cut Express

234

About MPEG-2 Compression

236

HDV Apple Intermediate Codec Editing Workflow

236

Connecting an HDV Device to Your Computer

237

Choosing an Easy Setup

237

Capturing HDV Video to the Apple Intermediate Codec

Contents

238

Editing Video Using the Apple Intermediate Codec

239 Outputting HDV to Tape or Exporting to a QuickTime Movie

240 HDV Format Specifications

Part V Organizing Footage and Preparing to Edit

Chapter 18 245 Organizing Footage in the Browser

245 Using Bins to Organize Your Clips

246 Creating New Bins

247 Opening Bins in the Browser

248 Opening Bins in a Separate Window or Tab

251 Moving Items Between Bins

253 Sorting Items in the Browser Using Column Headings

254 Searching for Clips in the Browser and Finder

254 Revealing a Clip’s Media File in the Finder

255 About Search Options

257 Searching for Items in the Browser

259 Manipulating Items in the Find Results Window

Chapter 19 261 Using Markers

261 Learning About Markers

261 What Can You Do with Markers?

262 Differences Between Sequence and Clip Markers

263 Types of Markers

264 Working with Markers

264 Viewing Markers in the Viewer or Canvas

264 Viewing Markers in the Browser

264 Adding Markers in Clips and Sequences

267 Deleting Markers in Clips and Sequences

269 Navigating with Markers

270 Renaming Markers, Adding Comments, and Changing the Kind of Marker

271 Moving a Marker

272 Aligning Items in the Timeline by Their Markers

274 Extending a Marker’s Duration

275 Editing Markers into Sequences

275 Exporting Markers with Your QuickTime Movies

Chapter 20 277 Creating Subclips

277 Learning About Subclips

280 Techniques for Breaking Large Clips into Subclips

283 Automatically Creating Subclips Using DV Start/Stop Detection

8 Contents

Part VI Rough Editing

Chapter 21 289 Working with Projects, Clips, and Sequences

290 Working with Projects

290 Working with Multiple Projects in the Browser

290 Choosing Whether the Last Previously Opened Project Opens on Launch

291 Viewing and Changing the Properties of a Project

291 Backing Up and Restoring Projects

293 Learning About the Different Types of Clips

293 Types of Clips

295 Sequences as Clips

295 Viewing and Changing the Properties of a Clip

295 Changing Clip Properties in the Browser

296 Viewing and Changing Clip Properties in the Item Properties Window

297 Changing the Properties of Affiliate Clips

297 Creating and Working with Sequences

297 Creating and Deleting Sequences

299 Opening and Closing Sequences

300 Duplicating a Sequence

300 Copying a Sequence into Another Project

301 Nesting a Sequence

301 Basic Sequence and Timeline Settings

Chapter 22 303 The Fundamentals of Adding Clips to a Sequence

303 Creating a Rough Edit

303 Basic Steps Involved in a Rough Edit

304 How Clips Appear in the Timeline

306 Undoing and Redoing Actions

306 Overview of Ways to Add Clips to a Sequence

307 Methods for Adding Clips to Sequences

309 Determining What Parts of Clips You Want in Your Sequence

309 Preparing a Sequence Order in the Browser

309 Sorting to Create a Sequence Order

310 Visually Storyboarding in the Browser

Chapter 23 313 Setting Edit Points for Clips and Sequences

313 About In and Out Points

314 Learning About the Out Point Inclusive Rule

315 Things to Keep in Mind When Setting an Out Point

317 Setting Clip In and Out Points in the Viewer

318 Specifying an Edit Point Using Timecode

319 Setting In and Out Points to Include a Whole Clip

319 Reviewing Your Edit Points

Contents 9

320 Setting Sequence In and Out Points in the Canvas or Timeline

321 Options for Setting Sequence In and Out Points

326 Setting Sequence In and Out Points

327 Setting In and Out Points to Match a Clip or Gap

328 Setting In and Out Points Based on a Selection in the Timeline

330 Navigating to In and Out Points

331 Moving In and Out Points

332 Clearing In and Out Points

Chapter 24 335 Working with Tracks in the Timeline

336 Adding and Deleting Tracks

336 Adding Tracks

338 Deleting Tracks

339 Specifying Destination Tracks in the Timeline

339 Understanding Source and Destination Controls

340 Setting Destination Tracks

341 Changing Source and Destination Control Connections

341 Disconnecting Source and Destination Controls

343 Resetting Destination Tracks to the Default State

344 Locking Tracks to Prevent Edits or Changes

345 Disabling Tracks to Hide Content During Playback

346 Customizing Track Display in the Timeline

346 Resizing Timeline Tracks

349 Saving Track Layouts

349 Creating a Static Region in the Timeline

Chapter 25 353 Drag-to-Timeline Editing

353 Overview of the Drag-to-Timeline Editing Process

354 Dragging Clips to the Timeline

355 Doing Simple Insert and Overwrite Edits in the Timeline

358 Automatically Adding Tracks to Your Sequence While Dragging

Chapter 26 361 Three-Point Editing

361 Understanding Three-Point Editing

361 Overview of the Three-Point Editing Process

362 Different Ways to Do Three-Point Editing

364 About Edit Types in the Edit Overlay

365 Performing the Different Types of Edits

365 Performing an Insert Edit

367 Performing an Insert with Transition Edit

368 Performing an Overwrite Edit

370 Performing an Overwrite with Transition Edit

371 Performing a Replace Edit

10 Contents

377 Superimposing Clips

380 Three-Point Editing Examples

380 Example: Editing a Specific Clip into Your Sequence

382 Example: Editing a Clip into a Gap in Your Sequence

383 Example: Backtiming a Clip into Your Sequence

385 Example: Editing a Clip with No Specified In or Out Points into Your Sequence

Chapter 27 387 Finding and Selecting Content in the Timeline

387 Understanding What’s Currently Selected

388 Identifying Selections in the Timeline

389 How Selections Are Prioritized in the Timeline

389 Direct Methods for Selecting Content in a Sequence

390 An Introduction to the Selection Tools

392 Selecting Clips

395 Selecting a Range of Timeline Content

396 Selecting All Clip Items on a Track

397 Selecting All Items on All Tracks Forward or Backward

398 Selecting or Deselecting All Clips in a Sequence

399 Finding and Selecting Based on Search Criteria

401 Selecting a Vertical Range Between In and Out Points

402 Using Auto Select to Specify Tracks for Selections

Chapter 28 405 Arranging Clips in the Timeline

405 Snapping to Points in the Timeline

407 Moving Items Within the Timeline

407 Moving by Dragging

408 Moving Clips Numerically

410 Performing Shuffle Edits

412 Copying and Pasting Clips in the Timeline

412 Copying Clips by Option-Dragging

413 Copying, Cutting, and Pasting Clips in the Timeline

416 Example: Copying and Pasting Audio and Video Clip Items to Different Tracks in the

Timeline

417 Deleting Clips from a Sequence

417 Deleting with a Lift Edit (Leaving a Gap)

418 Deleting with a Ripple Edit (Leaving No Gap)

420 Finding and Closing Gaps

Chapter 29 423 Cutting Clips and Adjusting Durations

423 Performing Basic Cut Edits

427 Changing the Duration of Clips in the Timeline

428 Opening Sequence Clips in the Viewer to Change Durations

Contents 11

Chapter 30 429 Linking and Editing Video and Audio in Sync

429 Linked Sync Relationships Between Video and Audio Clips

430 When Linked Clips Are Moved out of Sync

432 Understanding Sync Relationships Between Multiple Linked Audio Items

434 Linking and Unlinking Video and Audio Clip Items in the Timeline

434 Linking Video and Audio Clip Items

435 Unlinking Video and Audio Clip Items

436 Selecting Individual Clip Items While They Are Linked

437 Getting Clip Items Back in Sync

437 Moving a Clip into Sync

438 Slipping a Clip Item into Sync

440 Moving or Slipping All Clip Items into Sync at Once

441 Establishing a Different Sync Relationship Between Linked Clip Items

442 Marking a Clip as In Sync

443 Learning About Linking Behavior in Audio Channel Pairs

Chapter 31 445 Split Edits

445 Learning About Split Edits

446 How Split Edits Look in the Viewer and Canvas

447 Setting Up Split Edit Points in the Viewer

448 Setting Up a Split Edit While Playing a Clip

449 Modifying and Clearing Split Edits

451 Split Edit Examples

Chapter 32 455 Audio Editing Basics

455 The Goals of Audio Editing

457 Using Waveform Displays to Help You Edit Audio

458 Learning About the Audio Controls in the Viewer

461 Editing Audio in the Viewer

461 Opening Audio Clips in the Viewer

462 Viewing Audio Tracks in the Viewer

463 Zooming In or Out of the Waveform Display Area

464 Scrolling Through a Zoomed-In Audio Clip

465 Using the J, K, and L Keys to Hear Subtle Details

465 Turning Off the Audio Scrubbing Sounds

466 About Setting Edit Points for Audio

466 Dragging an Audio Clip to the Canvas, Browser, or Timeline

466 Trimming Audio Clips in the Viewer

468 Editing Audio in the Timeline

468 Timeline Audio Display Options

470 Zooming In and Out of Waveforms in the Timeline

471 Moving Audio Items from One Track to Another at the Same Frame

471 Using Audio Transitions to Smooth Audible Changes

12 Contents

472 Creating or Separating Stereo Pairs

474 Working with Audio at the Subframe Level

474 Subframe Synchronization of Audio and Video

476 Examples of Ways to Easily Edit Audio

476 Example: Replacing Unwanted Audio with Room Tone

479 Example: Fixing Awkward Audio Cuts in the Timeline

Part VII Fine-Tuning Your Edit

Chapter 33 483 Performing Slip, Slide, Ripple, and Roll Edits

483 About Trimming with Slip, Slide, Ripple, and Roll Tools

484 Sliding Clips in the Timeline

485 Performing Slide Edits Using the Slide Tool

486 Performing Precise Slide Edits Numerically

487 Slipping Clips in the Timeline

488 Performing a Slip Edit Using the Slip Tool

489 Performing Precise Slip Edits Numerically

491 Using the Ripple Tool to Trim an Edit Without Leaving a Gap

492 Performing Ripple Edits

496 About Ripple Edits and Sync Relationships of Clip Items on Other Tracks

498 Doing Ripple Edits on Multiple Tracks at Once

498 Asymmetrical Trimming with the Ripple Tool

501 Using the Roll Tool to Change Where a Cut Occurs

502 Rolling the Position of an Edit Between Two Clips

Chapter 34 507 Learning About Trimming Clips

507 What Is Trimming?

509 Controls That Affect Trim Edits

510 Selecting Edits and Clips to Trim

511 Tools for Selecting Edit Points

512 Selecting Single Edit Points

512 Selecting Multiple Edit Points

513 Trimming Clip In and Out Points

513 Trimming with the Selection Tool

515 Extending and Shortening Clips in the Timeline

516 Trimming Clips in the Viewer

518 Precision Editing Using Timecode

521 Understanding Alert Messages When Trimming

Chapter 35 523 Trimming Clips Using the Trim Edit Window

523 Learning About the Trim Edit Window

525 Opening and Closing the Trim Edit Window

Contents 13

526 Controls in the Trim Edit Window

530 Using the Trim Edit Window

531 Playing Incoming and Outgoing Clips in the Trim Edit Window

531 Dynamic Trimming

531 Trimming an Edit in the Trim Edit Window

534 Reviewing and Playing Back Your Edits in the Trim Edit Window

534 Slipping a Clip in the Trim Edit Window

535 Listening to Audio While Trimming

Chapter 36 537 Adding Transitions

537 Learning About Transitions

538 Common Types of Transitions

539 Using Transitions in Your Sequences

539 How Transitions Appear in the Timeline

540 Having Handles at Edit Points

540 Aligning a Transition in the Timeline

541 Adding Transitions

541 Adding Transitions with Clips You Add to the Timeline

542 Quickly Adding the Default Transition to Clips in Your Sequence

543 Adding Transitions to Clips in Your Sequence

544 Example: Transitioning to or from Black

545 Moving, Copying, and Deleting Transitions

546 Moving a Transition to Another Edit Point

546 Copying and Pasting Transitions

547 Deleting Transitions

547 Modifying Transitions in the Timeline

547 Changing the Duration of a Transition in the Timeline

549 Changing the Alignment of a Transition in the Timeline

549 Changing an Edit Point After Adding a Transition

550 Replacing Transitions

550 Video Transitions That Come with Final Cut Express

555 Using After Effects Transitions

Chapter 37 557 Refining Transitions Using the Transition Editor

557 Using the Transition Editor

563 Applying a Modified Transition Directly to a Sequence in the Timeline

564 Trimming Transitions and the Surrounding Clips

568 Previewing and Rendering Transitions

Chapter 38 571 Sequence-to-Sequence Editing

571 Methods for Editing Clips from One Sequence to Another

572 Opening More Than One Sequence at a Time

572 Copying Clips from One Sequence to Another

14 Contents

576 Nesting Sequences

579 Editing the Content of One Sequence into Another Without Nesting It

Chapter 39 585 Matching Frames

585 Working with Sequence Clips in the Viewer

586 Opening a Sequence Clip in the Viewer

587 Switching Between the Viewer, Canvas, and Timeline

587 Using the Viewer to Adjust Sequence Clip In and Out Points

588 Using the Viewer to Adjust Motion and Filter Parameters

588 Matching Frames Between Sequence and Master Clips

589 Matching a Frame in the Canvas to Its Master Clip

589 Matching a Frame in the Canvas to Its Media File

590 Matching a Frame in the Viewer to a Sequence Clip in the Canvas or Timeline

Part VIII Audio Mixing

Chapter 40 593 Setting Up for Audio Mixing in Final Cut Express

593 About Digital Audio

594 Sample Rate

594 Bit Depth

597 Audio Signal Flow in Final Cut Express

597 Configuring External Audio Monitors

597 Connecting Speakers to Your Editing System

598 Setting Monitoring Levels and Muting System Sound Effects

599 Tips for Choosing Speakers and an Amplifier

601 Setting Up a Proper Audio Monitoring Environment

Chapter 41 603 Evaluating Levels with Audio Meters

603 About Audio Meters

603 Average and Peak Audio Levels

604 Analog Versus Digital Meters

606 About the Audio Meters in Final Cut Express

606 Setting Proper Audio Levels

607 Raising Audio Levels Using Audio Normalization and Gain

609 What Reference Level Should You Use for Mixing and Output?

610 Outputting Bars and Tone at the Head of Your Tape

Chapter 42 611 Mixing Audio in the Timeline and Viewer

611 Adjusting Audio Levels in the Timeline and Viewer

611 Adjusting Audio Levels in the Timeline

615 Changing Audio Levels in the Viewer

618 Panning Audio in the Timeline and Viewer

618 Panning Audio in the Timeline

Contents 15

619 Changing the Pan of Audio in the Viewer

620 Changing Pan for an Entire Clip

621 Copying, Pasting, and Removing Audio Attributes

622 Adjusting Clip Audio Levels and Pan Using Keyframes

622 Tools for Adjusting Keyframes

623 Creating, Modifying, and Deleting Keyframes in the Viewer

628 Example: Using Keyframes to Adjust Audio Levels

629 Example: Using Keyframes in the Timeline to Automate Audio Levels

630 Example: Setting Subframe Audio Level Keyframes to Eliminate Clicks

633 Example: Using Keyframes to Control Pan

Chapter 43 637 Using the Voice Over Tool

637 About the Voice Over Tool

637 Setting Up Your Computer to Record Voiceover

641 Controls in the Voice Over Tool

644 Defining the Recording Duration and Destination Track

648 Recording a Voiceover

Chapter 44 653 Using Audio Filters

653 About Audio Filters

654 Overview of Audio Filters

654 Equalization Filters

657 Gain Filter

657 Compressor/Limiter Filter

658 Expander/Noise Gate Filter

659 Noise Reduction Filters

660 Echo and Reverberation Filters

662 Working with Audio Filters

664 Applying Filters to an Audio Clip

667 Modifying and Removing Filters

668 Making Real-Time Audio Filter Adjustments

669 Automating Audio Filter Parameters with Keyframes

673 Installing Third-Party Audio Units Filters

Part IX Effects and Color Correction

Chapter 45 677 Using Video Filters

677 Different Ways to Use Filters

678 Applying a Filter to a Clip

681 Applying Multiple Filters to Clips

682 Viewing and Adjusting a Filter’s Parameters

689 Enabling and Rearranging Filters

16 Contents

690 Copying and Pasting a Clip’s Filters

691 Removing Filters from Clips

Chapter 46 693 Color Correction

693 What Is Color Correction?

694 Why Color Correct Your Footage?

695 Color Correction Starts During Your Shoot

696 Managing Color During Post-Production

701 The Color Correction Process

703 The Final Cut Express Color Correction Filters

703 Using the Color Correction Filters

704 About the Controls in the Color Corrector Filter

704 The Color Corrector Filter

705 General Controls

706 Copy Filter Controls

711 Color Balance Controls

715 Example: Using the Color Corrector Filter

719 The Desaturate Highlights and Desaturate Lows Filters

719 Desaturate Highlights and Desaturate Lows Filter Controls

720 Example: Using the Desaturate Highlights Filter

Chapter 47 723 Changing Motion Parameters

723 Creating Motion Effects in the Viewer

724 Adjusting Parameters in the Motion Tab

729 Using Cartesian Geometry to Position Clips

731 Examples Using Motion Settings

741 Creating Motion Effects in the Canvas

741 Choosing the Image+Wireframe Mode

742 Manipulating Images in the Canvas

743 Zooming In to the Canvas

744 Using Wireframe Handles to Transform, Scale, and Rotate

748 Example: Using Motion Parameters and Wireframe Handles

Chapter 48 751 Adjusting Parameters for Keyframed Effects

751 Animating Motion Effects Using Keyframes

752 How Keyframing Works

753 Determining the Number of Keyframes to Use

754 Keyframing Controls in the Viewer

756 Keyframing Tools in Final Cut Express

757 Setting Keyframes

758 Adjusting and Deleting Keyframes

759 Moving Between Keyframes

760 Resizing the Keyframe Graph Area

Contents 17

763 Adjusting All Opacity Keyframes of a Clip

763 Example: Using Keyframes to Make Opacity Changes

765 Example: Keyframing Opacity in the Timeline

767 Smoothing Keyframes with Bezier Handles

768 Understanding Bezier Handles and Curves

770 Smoothing Keyframes

771 Creating Keyframed Motion Paths in the Canvas

772 What Are Motion Paths?

772 Creating Motion Paths

774 Adding, Moving, and Deleting Keyframes in Motion Paths

774 Creating Curved Motion Paths Using Bezier Handles

776 Controlling Speed Along a Motion Path

778 Moving an Entire Motion Path in the Canvas

Chapter 49 779 Reusing Effect and Motion Parameters

779 Copying and Pasting Specific Clip Attributes

782 Removing Attributes from a Clip

783 Applying Filters Across Multiple Tracks at Once

Chapter 50 785 Changing Clip Speed

785 Speed Basics

786 How Changing Speed Affects a Clip’s Duration

786 Performing a Fit to Fill Edit

789 Constant Speed Settings

789 Frame Blending and Reverse Speed

Chapter 51 791 Working with Freeze Frames and Still Images

791 Using Still Images and Graphics in Your Sequences

792 Creating Freeze Frames from a Video Clip

793 Exporting Still Images

794 Considerations Before Creating and Importing Stills

802 Changing the Duration of Still Images

803 Example: Adding Camera Motion to Still Images

Chapter 52 807 Compositing and Layering

807 Introduction to Compositing and Layering

808 Methods of Compositing

808 Different Ways to Layer Clips in the Timeline

809 Adjusting Opacity Levels of Clips

812 Working with Composite Modes

812 How Composite Modes Affect Images

814 Applying Composite Modes to Clips

815 Composite Modes in Final Cut Express

824 Using Travel Mattes to Hide or Reveal Parts of a Clip

18 Contents

826 Working with Layered Photoshop Files

826 Updating Photoshop Files in Adobe Photoshop

827 Working with Layered Photoshop Sequences

828 Using Video and Graphics Clips with Alpha Channels

829 Working with Clips That Have Alpha Channels

830 Changing a Clip’s Alpha Channel Type

832 Choosing a Background

833 Temporarily Excluding Clips from Playback or Output

834 Temporarily Disabling a Single Clip

835 Soloing Clips in Multitrack Sequences

Chapter 53 837 Keying, Mattes, and Masks

837 Ways to Layer and Isolate Elements in Clips

837 What Are Mattes and How Can You Use Them?

838 What Is Keying and How Can You Use It?

839 What Are Masks and How Are They Used?

840 Using Keying to Isolate Foreground Elements

840 Shooting Footage That Keys Well

842 Overview of Compositing Using the Chroma Keyer Filter

844 Working with the Chroma Keyer Filter

854 Using Mattes to Add or Modify Alpha Channels

854 Matte Filters Available in Final Cut Express

854 Example: Using the Four-Point Garbage Matte Filter

856 Example: Keyframing Garbage Mattes

857 Using Masks to Replace or Modify Alpha Channels

857 Mask Filters Available in Final Cut Express

858 Example: Using the Image Mask and Mask Feather Filters

Chapter 54 861 Using Generator Clips

861 What Is a Generator Clip?

862 Different Ways to Use Generators in Your Sequence

863 Video and Audio Generators Available in Final Cut Express

867 Creating and Adding Generators to Sequences

Chapter 55 869 Creating Titles

869 How You Can Use Titles in Your Project

870 Installing and Choosing Fonts

871 Making Sure Titles Fit on TV Screens

872 Text Generators Available in Final Cut Express

874 Creating and Adding a Title Clip

877 Other Options for Creating and Adding Titles

878 Using LiveType to Create Titles for Your Project

Contents 19

Part X Real Time and Rendering

Chapter 56 881 Using RT Extreme

881 Introduction to Real-Time Processing

882 How Real-Time Processing Works

884 Identifying Which Effects Can Play Back in Real Time

886 Changing Real-Time Playback Settings

886 Locations for Changing Real-Time Playback Settings

888 About Real-Time Playback Options

893 Still-Image Real-Time Playback

893 Improving Real-Time Performance

894 Reporting Dropped Frames During Playback

894 Factors That Affect Real-Time Performance

895 Real-Time Audio Mixing in Final Cut Express

896 Calculating the Number of Tracks That Can Be Played Back in Real Time

897 Improving Real-Time Audio Performance

898 Choosing Real-Time Playback Versus Rendering

898 Using RT Extreme for Video Output

Chapter 57 899 Rendering and Video Processing Settings

899 What Is Rendering?

900 Render Indicators in Final Cut Express

900 About Render Status Bars in the Timeline

903 About Item-Level Render Status Bars

904 The Rendering Process

904 Controlling Render Quality

904 Order of Effects Rendering

904 Selecting Clips for Rendering

905 Rendering Segments in a Sequence

908 Rendering Audio Items in a Sequence

909 Using the Mixdown Command

909 Keeping Track of Rendering Progress

910 Temporarily Disabling Rendering

911 Automatic Rendering While You Are Away from Your Computer

912 Changing Render Settings

912 Using the Render Control Tab

914 Managing Your Render Files

914 Locating Render Files

915 Preserving Render Files

916 Tips for Avoiding Unnecessary Rendering and Reducing Render Time

20 Contents

Chapter 58 919 Working with Mixed-Format Sequences

919 About Mixed-Format Sequences

920 Determining Whether Clips in a Sequence Will Play Back in Real Time

921 Formats That Support Real-Time Playback

921 Formats That Don’t Support Real-Time Playback

921 Viewing Clip Properties and Sequence Settings

922 Working with Mixed-Format Sequences

922 Conforming Sequence Settings to Match a Clip’s Settings

923 Conforming Clips to Match Sequence Settings

924 Mixing Frame Rates

926 Combining Interlaced Footage with Different Field Dominances

927 Mixing Footage with Different Codecs

928 Adding Filters and Motion Effects to Mixed-Format Sequences

928 Combining SD and HD Video

928 Downconverting HD Video

933 Upconverting SD Video

933 Rendering Mixed-Format Sequences

Part XI Project Management and Settings

Chapter 59 937 Backing Up and Restoring Projects

937 Backing Up and Restoring Projects

937 Using the Revert Project Command

938 Using the Autosave Feature

940 Restoring Autosaved Projects

941 Opening a Project File After Your Computer Is Unexpectedly Shut Down

941 Archiving Completed Projects

Chapter 60 943 Working with Master and Affiliate Clips

943 Using Master and Affiliate Clips

944 Shared and Unique Clip Properties

945 Working with Master Clips

947 Working with Affiliate Clips

948 Creating Independent Clips

950 Using Keyboard Shortcuts to Modify Master-Affiliate Clip Relationships

951 Moving Clips Between Projects

951 How Does Final Cut Express Identify Matching Clips?

952 Resolving Property Differences Between Matching Clips

Chapter 61 955 Reconnecting Clips and Offline Media

955 Finding Your Media Files After Capture

958 About the Connections Between Clips and Media Files

Page is loading ...

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
439
440
441
442
443
444
445
446
447
448
449
450
451
452
453
454
455
456
457
458
459
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
486
487
488
489
490
491
492
493
494
495
496
497
498
499
500
501
502
503
504
505
506
507
508
509
510
511
512
513
514
515
516
517
518
519
520
521
522
523
524
525
526
527
528
529
530
531
532
533
534
535
536
537
538
539
540
541
542
543
544
545
546
547
548
549
550
551
552
553
554
555
556
557
558
559
560
561
562
563
564
565
566
567
568
569
570
571
572
573
574
575
576
577
578
579
580
581
582
583
584
585
586
587
588
589
590
591
592
593
594
595
596
597
598
599
600
601
602
603
604
605
606
607
608
609
610
611
612
613
614
615
616
617
618
619
620
621
622
623
624
625
626
627
628
629
630
631
632
633
634
635
636
637
638
639
640
641
642
643
644
645
646
647
648
649
650
651
652
653
654
655
656
657
658
659
660
661
662
663
664
665
666
667
668
669
670
671
672
673
674
675
676
677
678
679
680
681
682
683
684
685
686
687
688
689
690
691
692
693
694
695
696
697
698
699
700
701
702
703
704
705
706
707
708
709
710
711
712
713
714
715
716
717
718
719
720
721
722
723
724
725
726
727
728
729
730
731
732
733
734
735
736
737
738
739
740
741
742
743
744
745
746
747
748
749
750
751
752
753
754
755
756
757
758
759
760
761
762
763
764
765
766
767
768
769
770
771
772
773
774
775
776
777
778
779
780
781
782
783
784
785
786
787
788
789
790
791
792
793
794
795
796
797
798
799
800
801
802
803
804
805
806
807
808
809
810
811
812
813
814
815
816
817
818
819
820
821
822
823
824
825
826
827
828
829
830
831
832
833
834
835
836
837
838
839
840
841
842
843
844
845
846
847
848
849
850
851
852
853
854
855
856
857
858
859
860
861
862
863
864
865
866
867
868
869
870
871
872
873
874
875
876
877
878
879
880
881
882
883
884
885
886
887
888
889
890
891
892
893
894
895
896
897
898
899
900
901
902
903
904
905
906
907
908
909
910
911
912
913
914
915
916
917
918
919
920
921
922
923
924
925
926
927
928
929
930
931
932
933
934
935
936
937
938
939
940
941
942
943
944
945
946
947
948
949
950
951
952
953
954
955
956
957
958
959
960
961
962
963
964
965
966
967
968
969
970
971
972
973
974
975
976
977
978
979
980
981
982
983
984
985
986
987
988
989
990
991
992
993
994
995
996
997
998
999
1000
1001
1002
1003
1004
1005
1006
1007
1008
1009
1010
1011
1012
1013
1014
1015
1016
1017
1018
1019
1020
1021
1022
1023
1024
1025
1026
1027
1028
1029
1030
1031
1032
1033
1034
1035
1036
1037
1038
1039
1040
1041
1042
1043
1044
1045
1046
1047
1048
1049
1050
1051
1052
1053
1054
1055
1056
1057
1058
1059
1060
1061
1062
1063
1064
1065
1066
1067
1068
1069
1070
1071
1072
1073
1074
1075
1076
1077
1078
1079
1080
1081
1082
1083
1084
1085
1086
1087
1088
1089
1090
1091
1092
1093
1094
1095
1096
1097
1098
1099
1100
1101
1102
1103
1104
1105
1106
1107
1108
1109
1110
1111
1112
1113
1114
1115
1116
1117
1118
1119
1120
1121
1122
1123
1124
1125
1126
1127
1128
1129
1130
1131
1132
1133
1134
1135
1136
1137
1138
1139
1140
1141
1142
1143
1144
1145
1146
1147
1148
1149
1150
1151
1152

Apple Final Cut Express 4 User manual

Brand: Apple

Model: Final Cut Express 4

Category: Graphics software

Type: User manual

Download PDF

report

Apple Final Cut Express 4 User manual

Apple Final Cut Express 4 User manual

Related papers

Other documents