User manual APPLE FINAL CUT PRO 5

[. . . ] Final Cut Pro 5 User Manual To view the user manual, click a topic in the drawer on the side. Otherwise, click a link below. m Late-Breaking News m New Features m Getting Started m Quick Reference m HD and Broadcast Formats m List of Qualified Devices m Final Cut Pro Support m Final Cut Pro on the Web m Apple Training Centers m Feedback Volume I Interface, Setup, and Input Apple Computer, Inc. © 2005 Apple Computer, Inc. All rights reserved. The Apple logo is a trademark of Apple Computer, Inc. , registered in the U. S. Use of the "keyboard" Apple logo (Option-Shift-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. [. . . ] If you want to replace the sound of a door slamming in your source audio track with a more dramatic door-slam sound effect, you can easily and quickly line up the new sound effect waveform with the old one by doing a replace edit, so that the new sound is perfectly in sync. Tips for Cutting Music Use the natural beginnings and endings of music clips for your edits. Instead of fading a piece of music in and out of a sequence at random points, try matching specific parts of the music with parts of the video clips in the sequence for a dramatic impact. Then, at the points where you need to start and end this music in your sequence, edit in the beginning and the ending from that track, lining them up to match the rhythm and melody of the part of the track that you're using. Using a music track's natural beginning and end sounds much better than just cutting into the middle of it, and you can usually create a series of edits using different pieces of the same musical track to make it work. Chapter 10 Tips for Better Audio 179 Use subframe syncing to keep music on the beat. Since music has a consistent rhythm, inconsistencies in the rhythm caused by edits to a music track can be painfully obvious. Since one-frame increments are rarely detailed enough to ensure perfect sync of rhythm in a track, use subframe syncing for each segment that you edit to make sure the edit points between two clips from the same song are in rhythm. Checkerboard the audio segments you're using to create better cross fading. Instead of using cross fades to transition between two edited clips from the same music track, edit them together across multiple tracks in your sequence: Instead of placing audio tracks like this. . . . . . do this. Now, you can use the volume level overlay to create cross fades that are as long as you need, using whichever shape will make the transition from one clip to the next least noticeable. When you cut from a picture to music, don't always cut on the beat. Sometimes, lining up a video edit on a significant beat in the music can have fantastic results. Especially in music videos, remember to make some cuts that don't match the beat of the music. Otherwise, your edits will be predictable, and ultimately tedious, to the viewer. 180 Part I Media and Project Management I Organizing Your Tracks As you edit audio into your sequences, it's important to keep your tracks organized. Not only will this make it easier for you to keep your tracks straight when you edit new clips in, it will make your job much easier when it's time to mix your tracks together. The Audio Mixer is easiest to use when you organize the audio clips in your edited sequences based on their type. For example, put all sync-sound dialogue clips into one group of tracks, background ambiences in another group of tracks, sound effects in another group of tracks, and music in a different group of tracks. You might put one actor's voice on track A1, and another actor's voice on track A2. Background ambience clips such as wind and rain might go on tracks A4 and A5. Finally, four tracks for overlapping stereo music clips would be dedicated to tracks A9, A10, A11, and A12. If you're working on a project that may be distributed to an international audience, you should also keep your final mix separated into D, M, and E stems (dialogue, music, and effects). This will allow foreign distributors to dub over the voices of your actors without losing the music, ambience, and effects that you've edited into your program. Categories of audio tracks Dialogue This includes most of the audio that was captured with your video. Whether or not you place each character's lines on a separate dialogue track is between you and your audio editor. [. . . ] See copying, importing items transferring projects email or Internet IV-61 multiple workstations IV-18 transition codes IV-142­IV-143 Transition Editor II-397­II-409, IV-439 controls II-398­II-403 displaying clips in II-404 opening transitions in II-404­II-405 transitions I-90 After Effects transitions II-396 alignment II-378, II-388 applying II-377­II-382, II-405 audio transitions II-308 copying II-385, II-405 creating favorites III-294­III-296 custom settings II-404 vs. cuts II-376 default transitions II-380­II-381, II-390, II-403 deleting from sequences II-386 described II-375, IV-439 displaying II-377, II-406 duplicate frames and II-391 duration II-386­II-387, II-407 editing clips after applying II-388 EDL export transition codes IV-142­IV-143 EDLs and II-384, IV-127, IV-135, IV-139, IV-141 fade-to-black transitions II-383 favorites II-390, II-391 handles and II-378 identifying as real-time effects III-520 included with Final Cut Pro II-392­II-396 insert with transition edits II-155­II-156, II-379 modifying II-386­II-388, II-397­II-409 moving II-384, II-408 names II-391 non-standard IV-141 online editing and IV-60 opening II-398, II-404 overwrite with transition edits II-158­II-159, II-379 previewing II-411 properties II-404 real-time playback III-516 rendering II-410­II-411 rendering and III-534, III-563 replacing II-389 reversing direction II-403 ripple edits II-408 roll edits II-408 in sequences II-375­II-384 settings II-404 Start/End percentages slider II-401­II-403 swapping II-389 Transition Editor II-398, II-404 trimming II-406­II-409 types noted in EDLs IV-122 V2 tracks and IV-139 wipe codes IV-142 Y´CbCr color space and IV-25 transparency clip backgrounds I-84 effects III-358­III-378 masks III-387 overlays I-125 transport controls II-365, II-372, III-105, IV-192, IV-201 in Canvas I-77, I-89, I-92 in Log and Capture window I-231 in Viewer I-74, I-77, I-92 Trash, emptying IV-66 trashing Preferences file IV-293, IV-311 Travel Matte compositing mode III-366 travel mattes III-367­III-368 TR connectors III-31 trim edits See also trimming clips with transitions II-388 controls II-347­II-348 dynamic trimming II-362, II-369 performing II-351­II-352, II-368­II-372 selecting edits and clips II-348­II-350 using timecode II-357 windows II-346 Trim Edit window II-361­II-372, IV-291, IV-439 closing II-364 controls II-364­II-368, II-372 described II-361 keyboard shortcuts II-369 opening II-363 playing audio II-373­II-374 reviewing edits in II-372 slipping clips in II-372 Index 509 trim edits in II-346, II-369­II-371 using II-368­II-372 Trim Forward and Trim Backward buttons II-362, II-366 trimming See also trim edits alert messages II-358 asymmetrical edits II-336­II-338 audio clips II-301­II-303 clips II-406­II-409 described II-345, II-406, IV-439 dynamic trimming II-362, II-369 editing with timecode II-355 extend edits II-352 Gang mode II-436­II-437 opening clips for II-354­II-355 ripple edits II-331 selecting clips for II-190 selecting edit points for II-349­II-350 selection tools for II-190 settings IV-291 transitions II-406­II-409 in Trim Edit window II-361­II-372 in Viewer II-301­II-303 Trim with Edit Selection Audio option II-373 Trim with Sequence Audio option II-373 troubleshooting IV-401­IV-408 A/V sync problems IV-403­IV-404 See also alert messages Analyze Movie command IV-110 Audio Mixer controls unavailable III-80 audio peaks IV-115 audio problems IV-407 Autosave Vaults on other drives IV-21 batch lists I-304 blocky still images III-352 broken links to media files IV-65 camcorder/deck problems IV-402, IV-406, IV-407 common problems IV-402­IV-408 connecting devices with Final Cut Pro open I-215 contacting AppleCare Support IV-408 device control setup IV-334 dragging markers out of clips II-40 dropped frames I-184, III-523, IV-403­IV-404 duplicate timecode numbers I-257 editing to tape IV-405 EDLs IV-125, IV-136 external speakers IV-403, IV-407 external video monitors I-221 fringing III-374, III-391 fuzzy still images III-337 importing batch capture lists IV-408 importing EDLs IV-133, IV-408 monitor problems IV-402, IV-406 pasting attributes into clips III-201 performance problems IV-407 playback problems IV-113, IV-402­IV-406, IV-408 after power failures IV-23 recompression process IV-82 Record Audio Keyframes button missing III-76 reference movies IV-408 stuttering video IV-406 timecode breaks I-282 timecode problems IV-405, IV-406 trashing Preferences file IV-293 video devices IV-402 video problems IV-403­IV-404 XML file import IV-170 TRS connectors III-31 TrueType fonts III-496 tungsten lighting III-461 two-channel audio III-45 two-pops. See sync beeps two shots IV-439 Two Up screen layout I-142 Type option IV-273 Type property IV-40 Typewriter generator III-499 U uLaw format I-305, IV-236, IV-247 Ultra 160 SCSI disks I-186 Ultra2 LVD SCSI disks I-186 Ultra 320 SCSI disks I-186 Ultra ATA disk drives I-185 Ultra DMA disks I-185 Ultra EIDE disks I-185 U-Matic format IV-440 "Unable to locate the external video device" warning I-215 unbalanced audio cables III-29 Uncompressed 4:2:2 formats III-517 uncompressed AIFF format IV-219 uncompressed digital video data rates I-180 described I-165 previewing on external monitors I-212 transfer rates I-182 uncompressed high definition tape formats IV-368 uncompressed standard definition video format IV-369 uncompressed video IV-176, IV-233, IV-365 underscan video IV-440 Undo command I-51, II-73, II-96, III-561 Undo function IV-282 unknown codecs IV-28 Unlimited RT mode III-513, III-524, III-563 unlinking linked items II-226 "unrendered" message III-537 Unsharp Mask filter III-212 unused clips II-32 510 Index unused media II-29, II-42 deleting IV-78 described IV-16 Media Manager settings IV-84 removing with Media Manager IV-97 Up button in Log Bin controls I-245 Update button for markers I-252 Update button for multiclips II-260 updating external output I-222 updating older projects IV-25­IV-28 updating software I-11 USB audio interface I-203 USB hubs I-195, I-206 USB-to-serial adapters I-195, I-206 USB video interface I-194 Use Deck Search Mechanism option IV-327 used media II-29 Use In/Out option IV-274 Use Item In/Out option IV-273 Use Logged Clip Settings option I-265 Use Overlapping Timecode option II-259, II-265­ II-266 User Preferences window II-73, IV-281­IV-293, IV-340 user-programmable timecode IV-137 Use Starting Timecode option II-259, II-262­II-264 V V1 tracks IV-139 V2 tracks IV-139 validating XML documents IV-166 variable speed IV-440 variable speed settings adjusting keyframes in the motion bar III-328 compared to constant III-312 described III-311 in the Motion tab III-332 Time Remap parameters III-222, III-332 Time Remap tool III-323­III-327 tools III-318­III-333 understanding III-307, III-315­III-318 using the Time Graph III-329­III-331 VCR mode IV-180, IV-330 VCRs (videocassette recorders) IV-440 VDUs (Video Disk Units) I-312, IV-440 Vectorscope III-424, III-427, III-429­III-430, IV-440 vectorscopes I-160, I-321, I-323, I-325­I-329, I-331 velocity IV-440 velocity. See speed of clips velocity handles III-279, III-280, IV-440 Venetian Blind Wipe transition II-396, IV-143 ventilation I-188 verbose XML IV-169 versions of projects, reopening IV-23 vertical interval timecode (VITC) IV-326, IV-331, IV-386 vertical ranges of clips II-190 vertical scroll bars I-115 VHS systems described IV-440 output IV-176 printing to VHS tape IV-213 requirements IV-177 video analog I-24 aspect ratio I-24 basics III-418­III-421 bit depth III-550 calibration I-321 capture presets IV-317­IV-318 capturing synchronized audio I-296 color bars I-321 display quality I-221 dual audio recordings and II-236 file formats I-305 fonts and III-345 formats II-90, III-388 frame rates I-25 image dimensions I-24 importing I-305, I-310­I-312 interlaced IV-423 latency I-220 letterbox video IV-393, IV-399 levels I-325 line art and III-345 linking items II-224­II-226 matching for clips I-80, I-95 matching for sequences I-80, I-95 M-JPEG I-180 monitoring during logging process I-242 non-interlaced IV-427 See also progressive video scanning optimizing streams I-312 playback IV-406 problems with IV-403­IV-404 quality of IV-370 QuickTime-compatible IV-245­IV-247 QuickTime settings IV-249­IV-252, IV-317­IV-318 split edits II-238 standards I-24 stuttering IV-406 superimposed video III-378 syncing with audio. 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