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FCP. Avid editors

1. eee eee neces 34 Snapping in the Timeline 520024 2scecndantceweenccaeas 35 Enabling View Overlays 0c cece eee e eee e eens 37 Creatine SUDCNDS 240i deecicieeeedd ae otacdaavededanves 40 Fitting and Extracine seasg risor eaan e a 41 Performing Split Edits and L Cuts 00 43 Adding and Deleting Tracks 0 0 0 eee eee eee 45 What VOU ve Learned eresi none ses ens oe kinai cans eee pees 46 From the Library of michiel pilgram Contents vil Lesson3 Customizing Your Project 50 Selecting Editing Presets 0 ce cece cece eee ees 52 Changing Audio Video Settings cece eee eee 54 Selecting User Preferences 0 cece cece eee eens 56 Choosing System Settings cc cece eee ee eee ence 58 Changing Sequence Settings 0 ce cee cece eee 59 Viewing Item Properties ccc crease daii ka i easneae 60 Dynamically Resizing the Interface 0 0 61 Changing Window Layouts 0 ce cee cece eee ees 62 Savills Layou e erregia aa e E EE EEE EEEE a 64 Customizing the Keyboard 0 0 c cee cece eee eee 65 Changing Command Buttons 0 cece eee eee 68 Utilizing the Bin Text View 00 c ee eee eee eee 70 Working with Icon Views 00 cece eee cece eee e eens 72 Performing Storyboard Editing 2 00 75 What You ve Learned 0 cece eee eee eee eee 77 Lesson
2. eee eee eee eee 386 Lesson 14 Finishing and Outputting 0 cece eee ee ees 422 fa a et ee ee ee ee ee er eee 455 V From the Library of michiel pilgram vi Table of Contents Lesson 1 Lesson 2 GETING SIAM canoes ee ease eres ee esas xiii Projects and Interface cece eee eee l Opening MillarCulPtG 2ss20 22neseesieeseecdeeeeeciess 2 Exploring the FCP Interface 0 2 0 eee eee eee eee 3 Working with Projects 0 ce cece cece eee eeeees 6 Creating and Organizing Bins cece eee ee 9 Opening and Closing Bins 0 0 e eee ee eee ees 10 Viewing Source CNIS i o25 c0s decemet ase ii inaire 12 VIEWING SCQUCIICSS edb ke ces Aa ea E E E 13 Working with the Timeline 2 00re0seearxenobeseeonttes 14 Applying Color to Clips Bins and Sequences 15 Working with Tools and Audio Meters 4 17 Controlling Timeline Tracks 00 0020 eee eee 19 Zooming and Positioning the Timeline 20 Using Keyboard Shortcuts 0 0 cece eee eens 22 What You ve Learned 2 csc0eceeosmevdease evade ease eee 23 Translating Basic Editing Skills 26 Using Play Gommands 2212 i200202dcadsadidadedecdaves 28 Using Mark Commands 00 e eee c eee eee eens 30 Patching Tracks in the Timeline 00 31 Performing Overwrite and Insert Edits 32 Conforming Sequence Settings
3. 4 Inthe Timeline stack audio clips at the same position using the total number of tracks you want to monitor and play the clips If you get a warning that frames were dropped while playing or if you see red render lines appear in the Timeline ruler area reduce the number of tracks and try again Continue this process until you can play all tracks without dropping frames These settings will apply for all new sequences Rendering is discussed in depth in Lesson 9 Ei if you created a surround sound mix of a sequence in Soundtrack Pro you can monitor that sequence in Final Cut Pro Choose Sequence gt Settings and select the Audio Outputs tab Click the pop up and choose 5 1 Monitoring Then select the surround clip and choose Sequence gt Match Audio Outputs As with surround sound audio in Avid 5 if your system does not have an attached multichannel interface for monitoring all six outputs FCP will downmix to stereo for monitoring To open the Audio Mixer You can open the Audio Mixer and place that window wherever you want on your moni tor Or you can choose a preset window layout that includes the Audio Mixer Do one of the following gt To open the Audio Mixer window choose Tools gt Audio Mixer or press Option 6 gt To open a window layout that includes the Audio Mixer choose Window gt Arrange gt Audio Mixing This places the Audio Mixer in the upper right of the interface and moves the Browser to the lower l
4. Clip Name k Black 10 Countdown Built in i Media E Print in to Out Options wi Black EE Seconds Duration Calculator Loop 1 Times Between each loop place Black 5 Seconds Closed Captions Insert closed captioning data from file Automatically Start Recording f Cancel Print to Video default settings 3 Inthe Print to Video window select the different mastering options you want to include on your tape These options are explained later in this section Preview your audio tone level to ensure it s coming through Click OK If any rendering is required FCP will automatically render those files before starting to play back the sequence 4 After the sequence has been prepared for output a dialog appears asking you to start your video recorder After you start it click OK To output using Edit to Tape Unlike the other two output methods and functionally similar to Avid s Digital Cut to a controllable device the Edit to Tape method requires deck control Depending on your machine capability this method allows for both Insert and Assemble editing and you can even edit portions of your sequence to a pre striped tape You also have the same set of mastering options as you did in Print to Video and like that option you have automatic rendering in Edit to Tape From the Library of michiel pilgram 444 Finishing and Outputting 1
5. To change audio levels in the Viewer 1 Select the audio tab in the Viewer 2 Do one of the following gt Move the Level slider left or right Enter a numerical value in the dB box Drag the pink volume overlay line up or down Vv Yy Position the pointer over the Level slider and use the scroll wheel on your mouse to move the slider left or right ahi Eee oe TARL EERTE EEFE aT ro eee 0110 20 00 In the waveform display a pink overlay line represents the overall gain level When you change the audio level this line moves up or down to represent the increase or decrease in gain From the Library of michiel pilgram Changing Audio Levels in the Timeline 201 NOTE P Once you have set levels you can copy and paste just the levels to a selected clip or group of clips This is called pasting attributes and is discussed in detail in Lesson 9 Changing Audio Levels in the Timeline In Final Cut Pro as in Avid you can change the audio level of a clip directly in the Timeline This will change the level for a Timeline sequence clip only not the affiliated master clip In Avid you adjust Clip Gain levels using the Audio Mixer and Auto Gain levels using the pointer in the Timeline but FCP has only one audio level line to adjust and you do not have to add any keyframes before you can do so Avid Auto Gain adjustment on Timeline clip FCP audio level on Timeline clip In Avid to see the audio level line on a cl
6. head location as an overwrite edit Ripple Cut Shift X Like Avid s Extract cuts the selected clip and holds it in the buffer or Clipboard while removing the gap and rippling the following clips Paste insert Shift V Paste Clipboard content to the current play head location as an insert edit Option drag Pull a copy of the selected material and leave the original NOTE gt You can press Delete or Ripple Delete to remove a clip from the sequence however these Delete options don t put the clip onto the Clipboard like Command X Cut and Shift X Ripple Cut do Editing Applications for Copying FCP lets you copy a clip from one place in the Timeline to another from one bin to another or from the Timeline to the Browser to save it with modified levels or effects You can also copy groups of clips and paste them into another sequence and copy bins from one project to another You can even copy transitions effects motion effects mattes log notes and so on Once you copy a clip for instance a camera flash you can paste it repeatedly into the sequence In audio work this is useful for quickly repeating a clean room tone clip From the Library of michiel pilgram Copying and Pasting 135 NOTE P In Lesson 9 you will learn how to copy a clip and paste specific effect attri butes from that clip to another Auto Select Controls The powerful Auto Select controls in FCP affect many important Timeline operations dis cusse
7. 3 Doone of the following gt Choose File gt Log and Capture gt Press Command 8 The primary difference between Avid Media Composer s Capture tool and the FCP Log and Capture is that FCP includes a preview area to view your source material on your computer screen There are also three tabs on the right portion of the window that repre sent different logging and capture options From the Library of michiel pilgram Viewing and Marking the Source 101 Preview area to view and mark your material Log and Capture options ro v ellela ae burt tb Miri 4 ee _ re r RD FCP Log and Capture window EXE The Log and Capture preview area always sizes itself to the Canvas window size To see a larger Log and Capture window and preview area first choose Window gt Arrange gt Two Up and then open Log and Capture Viewing and Marking the Source In Avid s device control area you can play stop rewind fast forward pause jog and scrub your source You can also mark In and Out points for the clip you want to capture and cue to these points In Final Cut Pro all of these options and controls are in the pre view area of the Log and Capture window You enter the reel name or number on the Logging tab The good habits you acquired as an Avid editor will pay off handsomely in FCP if you remember to assign a valid reel ID before viewing logging or capturing any source material Avid Capture tool s play and
8. Avid Media Composer often uses a two monitor display FCP can display the four pri mary sections of its interface on a single monitor shown on the following spread or dual monitor configuration In a dual monitor configuration you can lay out your bin windows more as you would in Avid s Bin monitor Each section of the FCP interface is a separate window that you can open close and reposition like any other Mac OS X window When you click in a window the From the Library of michiel pilgram 6 Projects and Interface window becomes active and its title bar looks brighter than the other windows in the interface a Lesson 1 Project Inactive Browser window To explore the interface 1 Click the Browser window in the upper left of the interface This is similar to the Project window in Avid You can think of it as the project Browser 2 Click the Viewer window to the right of the Browser This is like Avid s Source monitor and can be thought of as a source Viewer 3 Click the Canvas window to the right of the Viewer This is like Avid s Record monitor and can be thought of as a record Canvas 4 Click the Timeline beneath the Viewer and Canvas NOTE P Unlike other Mac OS X windows that appear with red yellow and green Close Minimize and Zoom buttons windows opened within Final Cut Pro have gray buttons that match the interface You can personalize the window configuration of the
9. From the Library of michiel pilgram then ean f 7 Da l EEE yee REY ore From the Library of michiel pilgram Lesson 14 Finishing and Outputting When you ve finished making your editorial decisions you will want to prepare your sequence for export or output to tape In both Avid and Final Cut Pro this includes making sure all the video and audio levels are correct backing up your files saving your settings and customizing your output options As with Avid workflows and challenging post budgets you may be responsible for both video and audio finish in house Even if your output is intermediate perhaps for client review fundraising efforts or other nonbroadcast use you want your video and audio to be as clean as possible Attention to sequence preparation for an online work flow whether via FCP or Avid whether audio is sweetened offsite or not will save you time and money in an online session FCP provides two unique tools to help you with this process one to detect audio peaks throughout your sequence and another to detect video levels that are too high While color correcting can occur during editing and often during online finish the two color correcting filters in FCP are covered here as well as other filters that will help you conform your sequence to broadcast standards To aid in this process you can use one of several video scopes in FCP 423 From the Library of michiel pilg
10. On Sound Clips c music track c narration c sound efx Displaying contents like this is an efficient way to utilize screen real estate especially when working with a single computer monitor From the Library of michiel pilgram Opening and Closing Bins 11 Option double click a bin to open the bin as a tab in the Browser A bin tab appears in the Browser alongside the project tab or tabs In FCP you can drag any tab away from the Browser to create a separate window or drag the tab within the tab area to reorder the tabs With multiple bins opened as tabs in the Browser you can consolidate and view them in a single window just as with Avid s Super Bin To view the contents of a bin click the bin s tab or press Command Shift Left Bracket or Command Shift Right Bracket to cycle left or right through the tabs To close a bin Do one of the following gt Click the Mac OS X Close button in the upper left corner of an open bin window or select the bin and press Command W Control click an open bin s tab and choose Close Tab from the shortcut menu In the Browser click the project tab and then click the bin s disclosure triangle From the Library of michiel pilgram 12 Projects and Interface Viewing Source Clips What Avid calls the Source monitor Final Cut Pro calls the Viewer Both are designed to let you view source material and select edit points However in the FCP Viewer you ca
11. Show Standard Files NOTE gt When you import a file into FCP any alpha channel that was attached to it will be brought in with the image as well From the Library of michiel pilgram Importing Files 347 To import a file folder You may have organized your media files into individual folders on your desktop for example combining music tracks or all your graphic images into a single folder If you want to import an entire folder of media files the process is very similar to importing a single file 1 Do one of the following gt Choose File gt Import gt Folder to import a folder of files Ei FCP does not have a native keyboard shortcut for choosing File gt Import Folder However you can create a new keyboard shortcut such as Shift Command I and map it to your customized keyboard layout gt Control click in the Browser or on a bin and choose Import gt Folder from the shortcut menu gt If you added the Import Folder button to the Browser button bar click it 7 Import Folder g E From the Choose a Folder window select the folder you want to import and then click Open When you use the Import Folder option all files within that folder will be imported r Es Be gt 9 Multicam 33_3 A Promo r 33 4 A P E P i DELE 33 40 33A_1 A 33A4_1 Aja S33A_2 A E 33A_2 Ala 33A_2 B F SHARED Diana Weynan PLAC
12. dolphins Last opened Today 9 04 AM Rey Rang nd group h Dimensions 1280 x 720 s i Duration 00 25 1 sound efx aif MS Ranger welcome ga All Images GE All Movies File Name Macintosh HD Users upaynja ades w Ranger is missing Show Video Files KA Matched Name Only Search Macintosh HD FCP Av Mj Reconnect All Files in Relative Path New Folder The Reconnect Files window will reappear Any clips from the Files To Connect list that have been found in that location will be listed in the Files Located pane at the bottom of the window You can click Locate or Search again to find any remaining offline files in other locations and they will be added to the list in the lower pane 4 Click Connect to connect all located files To reconnect clips in the Browser or Timeline Within a project you can reconnect a single clip or group of clips either in the Browser or the Timeline Once you initiate the Reconnect dialog the process is the same as the previ ous steps 1 Control click the clip in the Browser or Timeline and choose Reconnect Media from the shortcut menu To reconnect several clips at once select them first then Control click one of the selected clips From the Library of michiel pilgram Importing Graphics 355 Open whale and dolphin Open in Editor Open Copy in Editor Reveal Affiliated Clips in Front Sequence Reveal in Finder Duration 00 00 07 504
13. iKeys ToGo Your personal shortcut assistant Over 840 FCP 7 shortcuts and definitions in the palm of your hand Buy it now on the iTunes App Store From the Library of michiel pilgram creativeedge com Meet Creative Edge A new resource of unlimited books videos and tutorials for creatives from the world s leading experts Creative Edge is your one stop for inspiration answers to technical questions and ways to stay at the top of your game so you can focus on what you do best being creative All for only 24 99 per month for access any day any time you need it creative edge From the Library of michiel pilgram
14. AAF Documents D Yesterday MXF Documents MetaSync Documents Enable Any Documents Options Mac bel Resolution chp DV 25 W Disk Label SEARCH FOR LH Today E Cancel Open A Choosing a file type in Avid s Import window Another difference between Avid and Final Cut Pro importing functions is that in FCP you never need to specify or set up the type of file yowre importing before you import it FCP will import any file it recognizes FCP references almost all still video and audio From the Library of michiel pilgram Importing Files 345 media where it is without transcoding Remember too that FCP settings are attached to the sequence and not the project therefore you have the flexibility of combining differ ent formats in the same project and even in the same sequence Because of this you can import different types of media files or folders into a project To import a file or files The Import function for both Avid and FCP appears on the File menu And as in Avid you have multiple ways to access the Import option 1 To open the Choose a File window do one of the following gt Choose File gt Import gt Files New New Project Open Open Recent Close Window Close Tab Close Other Tabs Close Project Save Project Save Project As Save All Revert Project Restore Project Share Export Send To Log and Capture Log and Transfer Media
15. Apple Pro Training Series Final Cut Pro for Avid Editors Fourth Edition A Guide for Editors Making the Switch Diana Weynand Apple Certified From the Library of michiel pilgram Apple Pro Training Series Final Cut Pro for Avid Editors Fourth Edition Diana Weynand Apple Certified oO From the Library of michiel pilgram Apple Pro Training Series Final Cut Pro for Avid Editors Fourth Edition Diana Weynand Copyright 2011 by Diana Weynand and Shirley Craig Published by Peachpit Press For information on Peachpit Press books contact Peachpit Press 1249 Eighth Street Berkeley CA 94710 510 524 2178 www peachpit com To report errors please send a note to errata peachpit com Peachpit Press is a division of Pearson Education Apple Series Editor Lisa McClain Project Editor Nancy Peterson Development Editor Bob Lindstrom Production Coordinator Kim Elmore Happenstance Type O Rama Technical Editor Stephen Kanter Copy Editor Darren Meiss Compositor Chris Gillespie Happenstance Type O Rama Indexer Jack Lewis Cover Illustrator Kent Oberheu Cover Producer Happenstance Type O Rama Notice of Rights All rights reserved No part of this book may be reproduced or transmitted in any form by any means electronic mechanical photocopying recording or otherwise without the prior written permission of the publisher For information on getting permission for reprints and excerpts conta
16. Clear Monitor Duplicate Clipboard Contents Add Comments Load Filler Clear Menu z Avid Load Filler option From the Library of michiel pilgram 334 Title Tool and Generators In Final Cut Pro you edit a generated item called a slug You can also create color mattes gradients and even custom gradients that you can use and then save for future use Mattes and gradients can have keyframes applied to them Slugs In the Video Generator pop up menu Slug stands alone Just like other generated clips it opens with a default 10 second marked duration Like Load Filler a Slug clip will lay down black video and blank audio in your sequence One special use for editing a Slug clip is to fill gaps in your Timeline For example you could be preparing a nest and want to apply a filter such as Timecode Print or Widescreen mask to the full length of the nested clip These filters show up over gaps only when the gap has been slugged and rendered ET Unlike using Filler in Avid you edit a Slug clip at the end of an FCP sequence to create extra black Mattes The FCP Matte generator offers two options Color and Color Solid When you choose Matte gt Color from the Generator pop up menu a gray matte appears in the Viewer Video tab a blue matte appears when you choose Matte gt Color Solid The Color matte defaults to 50 percent brightness and 0 saturation and the Color Solid matte defaults to 100 percent saturation
17. 373 375 OMF files 378 overview of 343 review 383 384 sharing sequences and 363 364 single clip or sequence 364 366 single frame as still image 371 373 using QuickTime Conversion 369 371 From the Library of michiel pilgram using QuickTime Movie 367 369 to view in Soundtrack Pro 375 extend edit E creating split edits 43 extending edits 153 154 Extend function trimming clips with 82 external editor opening Photoshop files from Timeline 359 360 extracting clips 41 43 extract insert edits 137 F fades applying to multiple edit points 235 text in out 327 using track faders 427 video fade 266 fast motion types of motion effects 279 favorites generators 338 motion effects 313 314 transitions 254 Video Generator options 319 FCP Final Cut Pro first use 3 opening 2 files exporting OMF files 378 importing 344 346 render files see render files Film option Item Properties 61 filters adjusting video levels 434 435 applying 246 248 applying to selected range 249 applying to text 325 Brightness and Contrast filter 435 changing order of 253 Color Correction filters 437 440 keyframing filter parameters 266 267 modifying from Filter tab in Viewer 250 252 removing 252 253 saving as favorites 254 338 Index 465 saving filters or groups of filters 255 256 switching angles with effects 186 187 third party filters 253 Timecode Reader filter 447 Filters
18. 403 transitions 245 246 primary scratch disk 3 print mastering options 445 446 Print to Video command for outputting to tape 442 443 project management backing up see backing up projects changing clip name reel number or timecode 395 397 changing clip properties 394 consolidating media in sequences 414 417 copying projects 412 413 creating saving opening closing 7 8 creating offline sequences 418 419 customizing see customizing projects decomposing sequences 419 420 deleting render files 408 409 disable playing of rendered files 405 406 Find command 388 finding clips or items within a sequence 388 391 finding duplicate frames in sequences 401 402 keyboard shortcuts 421 making clips offline 399 400 making global changes to clips 397 399 managing render files 406 407 media management 410 412 moving projects 413 From the Library of michiel pilgram 474 Index naming projects on Timeline 14 overview of 387 performing partial render 404 preserving render files 404 405 previewing render effects 403 recompressing media files 417 418 reconnecting project clips 352 354 review 420 421 searching within Browser 391 393 viewing render files 407 408 Project tabs in FCP interface 4 Project window Avid 7 Projects Users and Site settings Avid 51 52 ProRes see Apple ProRes ProTools 378 Proxy formats for multicam performance 172 Q
19. Da l EEE yee REY ore From the Library of michiel pilgram Lesson 13 Project Management Like Avid Final Cut Pro has many different ways to manage a project from render and media file management to dupe detection and find options Where Avid offers a Media tool and powerful Sort and Sift commands FCP offers a Media Manager and powerful Find options The purpose of these functions whether in Avid or FCP is the same to maintain an efficient workflow and to maximize your resources The FCP Media Manager options make it easy to keep your project streamlined and free of unused media files and the Render Manager helps you avoid getting bogged down with a lot of old precomputes here called render files The Media Manager also makes it easy to trim the media in your project so you re only working with the essential media you need Consolidation behaves the same way youd expect in Avid with some pleasing extras Managing a project sometimes happens when you are ready to clear out the old and bring in the new But there are many times when you ll need to manage clips or sequences prior to finishing or outputting It doesn t matter when you choose to use FCP project management func tions It s only important to know you have many resources available to get the job done 387 From the Library of michiel pilgram 388 Project Management Using the Find Command In Avid the various Find commands are primarily focused
20. From the Library of michiel pilgram Render Management Tips 403 Preview Render Effects Before you render an effect try to preview it by using one of the FCP effect preview options To preview effects do one of the following gt Choose Tools gt QuickView or press Option 8 to open the QuickView tool in the Tool Bench Users of After Effects will understand this RAM preview immediately Set a range and resolution and click the Play button FCP will process the effect and cache it to RAM then play it back in real time or something close Half gt Move the playhead to the beginning of the effect in the Timeline and press Option P or Option backslash This will play every frame of the effect but not in real time However once you have played the effect this way it is loaded into RAM Reposition the playhead to the beginning frame of the clip and press Option P or Option to play from RAM in real time gt Step through an effect using the left and right arrow keys or drag the playhead across the clip NOTE P The advantage of using the QuickView tool over pressing Option P which is also a RAM preview is that the range in the QuickView window will loop allowing you to adjust parameters and see their effect without having to reposition the play head manually or render From the Library of michiel pilgram 404 Project Management Perform Partial Renders There may be times when you are creating an effect and are
21. In the Viewer you can work within 1 100th of a frame of audio which allows you to drop erroneous sounds that are only a fraction of a second long 1 Open a clip into the Viewer and click the audio tab 2 Position your playhead where you want to place a keyframe 3 Zoom into this position by sliding the zoom control to the far left The playhead stem becomes extremely wide indicating the width of one frame This area also represents 100 subframes of audio F T 0de a 12 21 09 18 12 71 09 21 4 To drag the playhead within the subframe area hold down the Shift key as you drag From the Library of michiel pilgram Keyframing Audio Levels 213 5 Use the Pen tool or Option click with the pointer to set keyframes on the pink level line within the black playhead subframe area 12 21 09 21 i EXT You can also click the Add Audio Keyframe button in the Viewer The keyframe type that appears on this button reflects the active Viewer tab By using this Keyframe button you can set keyframes closer together than you can using the Pen tool mie pee es mim Jagaan To delete a keyframe Do one of the following gt Select the Pen Delete tool PP and click a keyframe gt Hold down Option Move the default Selection tool over a keyframe and click it gt Control click a keyframe and choose Clear from the shortcut menu gt Click a keyframe and drag it up or down outside of the clip area When you see a smal
22. Q with a modifier key Final Cut Pro About Final Cut Pro User Preferences XQ System Settings 20 Easy Setup Q Audio Video Settings Y Q Provide Final Cut Pro Feedback Services Hide Final Cut Pro Hide Others Show All Quit Final Cut Pro Final Cut Pro settings options From the Library of michiel pilgram Selecting Editing Presets 53 Easy Setup Options When you first open FCP you are prompted to choose format settings This is an oppor tunity to choose the settings for all new sequences But you can also change these settings in the Easy Setup dialog at any time during your editing process When you choose a specific standard and format it is globally applied so that your sequence capture and device control presets match it also sets the video and audio playback options to properly display the footage on your external monitor In the two pop up menus in the Easy Setup window Format and Rate you can filter the long list of format options that would oth erwise appear in the Use pop up menu NOTE P The FCP Easy Setup options apply only to new sequences and new capture operations Changing these settings has no effect on any previously created sequences or captured clips os 4 at all formats W Rate all rates To select an Easy Setup preset 1 Choose Final Cut Pro gt Easy Setup or press Control Q 2 From the Format pop up menu choose a format category such as HD Apple ProR
23. The Find window when invoked from the Browser appears with more options than it did when invoked from the Timeline Search Project Lesson 12 Project Find Next For Unused Media l in selected sequences Find All E Results Replace Find Results F E ET i Cancel Less More Omit AnyColumn Contains Al 5 Click the Search pop up menu and choose where you want the search to take place It can be within a selected tabbed bin a selected project all projects or even within the Effects tab 6 Click the For pop up menu to choose whether your search will be for All Media Unused Media or Used Media If you choose Unused or Used Media a sequence must be selected for reference Otherwise you may get a warning that says Nothing is selected Nothing is selected 7 Click the Results pop up menu and choose whether you want FCP to Replace Find Results or Add to Find Results of the last search if any Then click Find All When you click Find All a Find Results window opens with the results of your search When you perform your first search you will not be replacing anything that already exists in this window But you can continue to search and replace or add to the con tents of this window NOTE gt From the Find Results window you can click one of two buttons Show in Browser or Remove from Project When you click the Remove from Project button in the Find Results window you are only remo
24. The Show Thumbnail column displays the clip frame icon beside the clip s text information all in the same bin 1 Control click in the empty gray area under the Name column of the Browser or an open bin and choose View List from the shortcut menu 2 Control click the second column heading and choose Show Thumbnail from the shortcut menu Browser column shortcut menu i l z Startin E E E ey z on 4 E i E P FA i 7 a Hide Column Edit Heading Save Column Layout Load Column Layout Standard Columns Logging Columns Show Aux 1 Reel Show Aux 2 Reel Show Speed Show Frame Blending Show Type Show TC Show Aux TC 1 Show Aux TC 2 Show Master Comment 3 Show Master Comment 4 Show Length Show Capture Show Source Show Size Show Thumbnail _ Show TC Rate Show Creator Show Film Slate Show Camera Rall Show Lab Roll Show Film Standard Show TK Speed Show Key Number Show Ink Number Show Daily Roll Show Take Mote Show Scene Mote From the Library of michiel pilgram Performing Storyboard Editing 75 When you select Show Thumbnail from the shortcut menu a new column appears in the Browser or bin Lesson 3 Project SS aeaa E Eae mm CU TS 2 dolphins swim by tourists l r _ 00 00 10 16 Poria CU woman and kids wade in water ie te 00 00 02 27 CU dolphin beneath surface of water 00 00 06 10 MS tourists wade w dolphins 0 0
25. a gt z tom thio J E sgr gt E 2 gt Pa a Tee o gme An audio tab appears for each audio source you attached and merged with the video clip You can mark this clip and edit it as though it were a single clip I th oo fil ne ie o fil fA i A i an q Ti a fa fal Th a In the Timeline a source control appears for every audio track in the merged clip NOTE gt When you create a merged clip it becomes a new master clip with no affilia tion to the clips from which it was created To create a merged clip in the Browser Before merging clips in the Browser you need to set a sync point for each clip using all the clip s In points Out points or timecode You can sync to an Aux timecode as well The following steps outline the process using In points 1 In the Viewer open the video clip you want to synchronize 2 Setan In point as a sync reference point such as where the clapper on a slate closes 3 Open each audio clip you want to merge into the Viewer and repeat steps 1 and 2 If no In points are selected in the audio clips the sync point will default to the first frame in the clip Likewise if you use an Out point for your sync reference in your From the Library of michiel pilgram 222 Editing Sound video clip and your merge clips do not have an Out point the last frame of that clip will be used as a reference 4 Inthe Browser select
26. audio by 1 dB digital Press Control or Control left or right bracket to raise or lower the level of that clip by 3 dB digital NOTE gt When the playhead is parked over more than one audio clip these shortcuts will affect all audio clips under the playhead with their Auto Select controls enabled If you want to change the level of only one clip select that clip and then use the shortcuts or toggle off Auto Select controls for any tracks you wish to exclude Ei These shortcuts also work during playback allowing you to make adjust ments on the fly to selected clips or tracks with Auto Select turned on To adjust the audio levels of multiple clips 1 To select the clips you want to adjust do one of the following gt Marquee the clips using the default Selection tool Shift click adjacent clips Command click to select nonadjacent clips Vvv Use the track selection tools to select entire tracks From the Library of michiel pilgram Working with Stereo and Mono Audio 203 2 With clips selected do one of the following gt Choose Modify gt Audio and select one of the options Choose Modify gt Levels or press Command Option L Adjust gain by 1 _ __ y__ _ s gt 3 dB Make Changes Relative HH The Gain Adjust dialog appears offering two options A Relative change will keep the relationship between the clips mix levels intact as the overall gain is increased or reduced An Absolu
27. cece cece eee eee ees 363 Using Other Export Options 0 e eee ee eens 367 Batch Exporting Media 20 cece eee ee eee eens 376 Exporting Piles sons etoste tees as ete enters tents ss 377 Understanding Compressor and Cinema Tools 380 What You ve Learned wenceonecereuncet cman eeeeearyens 383 From the Library of michiel pilgram Contents Xi Lesson 13 Project Management 2 386 Using the Find Command 0 cece ee eee eee 388 Changing Clip Properties 4 2 000 1 sce0esseeeeee 085 394 Detecting Duplicate Frames 0 c cece eee 401 Render Management Tips 0 0 eee ee cece eens 402 Managing Render Files 0 ce cece eee eee eee ee 406 Working with the Media Manager 2 04 409 Copying and Moving a Project 0 cece cence 412 Consolidating Media cece cece eee eens 414 Recompressing and Creating Offline Clips 417 Decomposing a Sequence eee eee eee eee eee 419 What Youve Leatied 5secucedeuduatdescudhdaseueed et 420 Lesson 14 Finishing and Outputting 422 Detecting Audio Peaks i 200cnin duets ducdeteiieeeee wes 424 Modifying Audio Output Levels 00 000 eee 426 Changing Audio Output Channels 005 428 Working with Video Scopes 0 0 cece eee eee eens 429 Checking Video Levels c 2ic centicvees khaveese beveeds 432 Correcting Video
28. ect will open in the Browser once the operation is complete 5 In the new project create a new sequence and simply begin to edit If Auto conform sequence is enabled in User Preferences gt Editing the sequence will conform to your newly transcoded media You are now ready to edit the recompressed clips into the new sequence To create an offline sequence The Create offline option will create a new project with offline copies of selected clips or sequences allowing you to recapture them at a different resolution 1 Inthe Browser select the media files you want to make offline and choose File gt Media Manager 2 Click the Media pop up and choose Create offline from the menu 3 Click OK Name the project and click Save Create Offline Clips Vou lessan Two Dolphins OU dolphin by side of pool O0 00 07 17 CU trainer by pool claps OO 00 08 23 CU TS 2 dolphins lift tails in pool 00 00 208 15 al MEU trainer by pool gives signals OO 00 08 14 MS 2 dolphins jump in pool 2 times 0O 00 32 26 al MS front trainer by pool signals to dolphin 00 00 10 06 fl MS front trainer by pool w dolphin OO 00 07 13 MS trainer by pool signals to 2 dolphins 0000 09 22 MS LA UW trainer dolphins thru water 00 00 09 03 al MS TS 2 dolphins lift tails in pool O0 00 07 27 al MS UW to surface dolphin trainer by pool 00 00 08 02 MWS trainer by pool pets dolphins TU sea 00 00 16 01 From the Library of michiel pilgram Decomp
29. k S z Cancel J JK There are five media processing options Copy Move Recompress Use existing and Create offline which tell the Media Manager how to process your media files Depending From the Library of michiel pilgram 412 Project Management on which option is selected from the Media pop up menu other options in this area will become available Media Copy Move Recompress Use existing Create offline Copying and Moving a Project Many experienced Avid editors use a popular third party program called Media Mover to copy and group media files for one or more projects and archive them to specific destina tions Final Cut Pro handles this task and others via its internal Media Manager tool If you have to copy or move your project from one computer to another you can use the Media Manager Copy and Move functions to search for and gather all of the media files associated with that project No matter where they are located or whether they are graphic files audio files or media files the Media Manager will find them and either copy or move them to the specific destination To copy a project 1 To copy your entire project make the Browser window is active and click in the empty gray area or press Shift Command A to deselect all items 2 Choose File gt Media Manager 3 Click the Media pop up menu and choose Copy 4 Ifyou want to copy the render files as well select the Include render files opti
30. lt c0s cee eeaecbavesente see eoes 188 Lesson8 Editing Sound eee eee eee ee 190 Viewing Audio Levels 0 eee cece eens 192 Monitoring Audio Tracks 0 cece eee eee eens 195 Editing and Viewing Audio Tracks 02 05 198 Changing Audio Levels in the Viewer 2 05 200 Changing Audio Levels in the Timeline 201 From the Library of michiel pilgram Contents IX Working with Stereo and Mono Audio 203 Dike CUPS as oneaundas E E 204 Syncing Tracks in the Timeline 020405 207 Usine Syne INGICAtOlS 223 cesicteeeniesdeeneasdeadea dan 209 Keyframing Audio Levels 0 cee cece eee 211 Working with the Audio Mixer 00 0 cee ee eee 214 DICE CDS a oe 5 ses eae ses ea a ees ee ee ee 219 Adding VOICCOVE seacara iaaa a E E A 223 What You ve Learned ssis aseneeacbanedewanned be aemeds 224 Lesson9 Transitions and Effects 006 228 Esploring TICS sc 204de see ii Geeta mesa ena oho eoaes 230 Adding TTAMNSIMONS audi cssunctdeeuncbdescuahdacauced s 233 Modifying Transitions 0 c eee cece eee ee eeee 236 Editing with Transitions 0 00 ce eee cece eee es 239 Using the Transition Editor 0 2 0 eee eee 240 Changing and Copying Transitions 005 242 Working with Alpha Transitions 0 0 eee 244 Applying Segment Effects Filters 0 4 246
31. making clips offline 399 400 moving in Timeline 130 131 positioning transitions on 237 238 reconnecting in Browser or Timeline 354 355 removing attributes 258 rendering see rendering effects replacing using Fit to Fill 283 285 scrubbing through clip icons 73 selecting deselecting in Timeline 128 129 transferring 119 120 trimming see trimming clips video see video clips viewing and marking for capture 101 103 viewing and modifying filter parameters 251 zooming in on 21 closed captioning mastering options 446 codecs compression decompression Apple ProRes 422 106 344 QuickTime 343 Collapse Tracks button Avid 304 collapsing multiclips in multicam editing 187 188 color adding to lower third text 329 applying color labels to clips bins and sequences 16 17 broadcast safe 434 changing button color 70 Index 461 changing matte color 334 335 changing text parameters 323 correcting image color 436 440 color correction preset options for window layout 63 with Range Selection tool 249 Color Correction filters accessing 437 438 applying 439 440 location of 435 types of 436 437 using video scopes 430 431 Color Corrector 3 way filter 436 438 Color Corrector filter 436 437 439 440 Color Range control 440 columns saving column layouts 72 setting gap between 326 sorting 71 command buttons customizing 68 70 Command key modifier keys for keyboard shortcuts
32. or movie file it recognizes without your having to specify what it is To import you can choose a menu option Control click in the Browser or use a keyboard shortcut You can import and export EDLs by choosing a menu option or Control clicking in the Browser Nested FCP sequences must have their own EDLs or be replaced with their clip content prior to export You can create a batch or logging list in another system and import it into FCP When imported offline clip icons will appear in the Browser ready for batch capturing The equivalent of Avid s relinking command is the FCP File gt Reconnect Media com mand Use it to reconnect one clip or several in the Browser or in the Timeline FCP will read the aspect ratio of an imported graphic and compensate automatically To compensate for the change from oblong pixels to square pixels in a DV NTSC sequence create the full frame original graphics file as 720 x 534 Then after chang ing the image size to 720 x 480 with Constrain Proportions deselected save it at the new aspect ratio Finally import the 720 x 480 graphic file into FCP Users of Adobe Photoshop CS may preview a preset simulating resizing when creating the document and create a resize action to execute a resize automatically FCP allows the import of higher resolution files for animation and multilayered Photoshop files with all layers intact as long as they were saved with the psd exten sion Multilayered Photoshop f
33. out of the Viewer window gt You can add angles to a multiclip once it has been created even if it has already been edited into a sequence gt Unlike in Avid Final Cut Pro has explicit functions for switching angles and cutting angles regardless of playhead position gt As in Avid you can cut angles live on the fly using keyboard shortcuts gt As in Avid you can cut or switch audio and video at the same time or video or audio only by choosing an option from the Playhead Sync menu in the Viewer gt You can apply a filter speed or motion effect to an angle in a multiclip and switch to a different angle while keeping the applied effect by using the Switch Video or Audio Angle with Effects buttons in the Timeline button bar or by using those keyboard shortcuts gt Final Cut Pro comes with standard multiclip button bars and keyboard layouts which you can modify and save gt To simplify your sequence for output to another system you can collapse a multiclip to contain only the active angles You can uncollapse a multiclip at any time Keyboard Shortcuts All multiclip shortcuts require the Multi camera Editing layout and use the numeric keypad F10 Overwrite edit Command 1 through Command 9 Cut Video to Angle 1 through 9 1 through 9 Switch Video to Angle 1 through 9 Clear Switch Video to Previous Angle Switch Video to Next Angle Option 1 through Option 9 Switch Audio to Angle 1 through 9 Option Clear Sw
34. set keyframes When you stop playing the keyframes will appear on the clip whose level you were adjusting Keyframes set using the Reduced option EIT if you repeat the process you will replace the keyframes where a different level occurs but not necessarily remove other keyframes This allows you to go in and change or replace just one section If you want to start from scratch with no keyframes press Command Option L to open the Gain Adjust dialog set the level to 0 dB choose Absolute from the Make Changes pop up menu and click OK Merging Clips Final Cut Pro lets you group or merge clips together so they can be treated as one clip You learned earlier in this lesson that you can link a video clip to a different audio clip by using the Link command The FCP merge clip function allows you to add up to 24 tracks of audio to one video clip to work with that clip as though it were a single clip This can be helpful when working with dual system recording It allows you to capture all the ele ments separately and then merge them together within FCP You can merge clips from the Browser or the Timeline Merging clips from the Browser requires you to open the clips in the Viewer first and synchronize them according to the In point Out point or one of the timecode options Merging clips in the Timeline may From the Library of michiel pilgram 220 Editing Sound not require this additional step because you may have already synchron
35. window and click OK Importing Sequences from Avid One of the most effective methods for transporting your work from Avid to Final Cut Pro is to use third party software from a company called Automatic Duck www automatic duck com Automatic Duck s Pro Import FCP 2 0 plug in takes advantage of the FCP XML exchange protocol to import a sequence with most effects included With this soft ware you get a much bigger jump on continuing or converting projects from Avid to FCP than if you were working with just an EDL NOTE gt If Automatic Duck Pro Import FCP 2 0 is installed on your computer it will appear under your File gt Import options Some of the Avid effects that will carry through in the Pro Import FCP translation include picture in picture resize including keyframes superimpose speed changes dissolves freeze frames flops and flips You can also import pans audio clip levels and audio automation gain keyframes as well as keyframes for many effects From the Library of michiel pilgram Reconnecting Media 351 Avid sequence Al s E i Ai Sell MTT aH ch p Gil Fera EEIE ee UH ol Mia ri ill UOTE ROMO TOE 3 cc a M THI Bili i DREGE ERME fal ll k ic ch cd c airia d 1 S re re i ey 4 moa rd FCP imported sequence from Avid ready for capturing prepared with Pro Import FCP 2 0 Reconnecting Media In nonlinear editing systems clips can go off
36. with track faders 427 setting 218 219 Automatic Duck exporting to Avid 380 importing sequences from Avid 350 Automatic Sequence Conform dialog 34 35 Automation Gain tool Avid 218 Autosave Vault backing up to 449 restoring saved projects from 450 451 User Preferences and 58 AutoSync Avid 205 A V Devices tab Audio Video Settings window 56 A V dividing line in Timeline 199 AVC IntraHD 344 AVI files 370 Avid Media Access AMA 344 backgrounds creating outline text 330 backing up projects creating list of clips contained in project 451 452 overview of 449 450 restoring saved projects from Autosave Vault 450 451 Balance control for correcting color balance 439 bars and tone mastering options 445 Video Generator options 319 batch capture batching options 116 117 of groups of clips 116 importing batch lists 350 of offline clips 115 116 batch exports media and sequences 376 377 of multiple still images 373 375 batch lists Cinema Tools converting telecine files to 382 From the Library of michiel pilgram creating list of clips contained in project 451 452 exporting 379 380 importing 349 350 Bin Brief Text view Avid 72 bins applying color to 16 17 creating and organizing 9 for effect categories 231 opening and closing 10 11 saving effects in 230 231 storing sequences in 14 utilizing bin text view 70 72 black mastering options 445 446 black levels
37. you are never prompted to give the sequence a destination You can organize your sequences in a separate bin or leave them in the Browser where they first appear Sequence Location in Playhead Sequence name Timeline Button tabs Timeline position indicator and project ruler area bar Track controls area Selected sequence area To create a new sequence You use the same methods to create a new sequence in the Browser as you did to create a new bin Once a sequence is opened it appears as a separate tab in the Timeline just as it appears in the Canvas From the Library of michiel pilgram Applying Color to Clips Bins and Sequences 15 Do one of the following gt Click in the Browser Timeline or Canvas window and choose File gt New gt Sequence gt Press Command N gt Control click in the empty gray area of the Browser under the Name column and choose New Sequence from the shortcut menu gt To create a new sequence in a specific bin Control click that bin and choose New Sequence from the shortcut menu You open a sequence as you would a clip by double clicking its icon in the Browser or by selecting it and pressing Return NOTE When all sequences are closed the Canvas and Timeline windows close as well Their only purpose is to display open sequences To reposition a sequence tab gt Drag the sequence tab in the Canvas or Timeline window to the right or left of another sequence tab When yo
38. 307 308 From the Library of michiel pilgram creating favorites 313 314 creating freeze frame effect using menu options and keyboard shortcuts 293 294 creating freeze frame effect using speed segments 292 293 creating motion paths 308 310 creating multiframe images 305 306 cropping and distorting image 302 304 exploring Motion tab 294 295 keyboard shortcuts 315 modifying motion paths 311 313 multiframe composite images and 304 nesting clips from multiframe images 306 307 overview of 279 replacing clip or gap using Fit to Fill 283 285 repositioning image anchor points 301 302 repositioning images 299 300 resizing images 298 299 review 314 315 rotating images 300 301 saving as favorites 338 switching angles with effects 187 using Motion tab for 295 viewing 247 zooming image view 295 motion paths creating 310 modifying 311 313 overview of 308 309 Motion tab in Viewer exploring 294 295 overview of 279 using 295 MPEG files 381 multicam editing adding new angle to a multiclip 180 181 assigning angle to a clip 174 Index 471 beginning multiclip editing 182 183 changing number of multiclip angles displayed in Viewer 177 178 choosing capture and sequence settings 172 174 collapsing multiclips 187 188 creating multiclips 174 176 cutting from one angle to another 184 cutting multiclips on the fly 184 185 deleting angle from a multiclip 180 keyboard s
39. 357 358 numerical trimming dual roller trimming 86 O offline creating offline sequences 418 419 making clips offline 399 400 offline files 352 OMF files exporting 378 opacity changing opacity of superimpose edits 265 266 changing text parameters 324 Open sync mode playhead 163 164 183 opening audio meters 192 Audio Mixer 216 bins 10 11 clips in Viewer 12 FCP Final Cut Pro 2 Log and Capture window 100 101 Transition Editor 240 241 Trim Edit window 82 83 Optical Flow Frame Blending modes 282 Option key modifier keys for keyboard shortcuts 22 Option drag in advanced editing 136 Out points identifying range for audio peak detection 425 removing 236 outline text creating 329 331 output channels audio creating presets 428 429 loading presets 429 output levels audio 426 428 outputting to tape with Edit to Tape command 443 444 manually 441 442 mastering options 445 446 with Print to Video command 442 443 ovals applying shapes 336 337 overlays turning on multiclip overlays 178 overwrite edits Avid 33 overwrite edits F10 conforming sequence settings and 35 drag and drop 132 editing with transitions 239 lift overwrite edits 138 making 32 34 48 multicam editing 189 overwriting with source audio 198 Overwrite Trim tool Avid 92 Overwrite with Transition Shift F10 240 p P2 344 PAL Compressor and 381 controlling PAL devices 105 im
40. B Use this preset when editing with OVCPRO PAL material with audio set to 48KHz 16bit for DW Capture Preset DVCPRO PAL 48 kHz H Use this preset when capturing GWYCPRO PAL material for OV FireWire input and output using OV FireWire Device Control Preset FireWire PAL is Use this preset when controlling your PAL DV device through FireWire Video Playback Apple FireWire DVCPRO PAL 720 x 576 4 Audio Playback FireWire DV al Create Easy Setup To use the Audio Video Settings window 1 Choose Final Cut Pro gt Audio Video Settings or press Command Option Q The different Audio Video Settings tabs include the same settings that appear in the Easy Setup window But here you can create a new preset or make changes to an existing preset by duplicating and then changing it using the Duplicate button found on the individual tabs These new or changed presets will appear in the pop up menus in the Summary tab Once you have made your choices from the menus you can group them into a custom Easy Setup by clicking the Create Easy Setup button 2 Click each of the tabs to view their options gt Summary Displays a summary of the other four tabs settings gt Sequence Presets Displays a list of sequence presets as well as a summary of the different parameters frame rate audio sample rate aspect ratio and so on that comprise the currently selected preset Presets may be duplicated and modified from t
41. Capture Settings tab 104 106 capturing multiclip source media 174 Clip Settings tab 103 104 Logging tab 110 113 opening 100 101 preview area 102 From the Library of michiel pilgram Log and Transfer window capturing footage from media cards 345 opening 117 118 Log Clip button 114 Logging area Log and Transfer window 118 logging bins 110 111 logging clips markers to use during logging 113 naming protocol and 112 overview of 111 steps in 112 113 logging list importing 349 Logging option Item Properties 61 logging source media 174 loops mastering options 445 446 playing clips or sequences and 442 toggling on off for play functions 29 lower third text 328 329 Luma Key filter 337 luminance luma changing video levels 436 Range Check indicators 432 434 travel matte option 274 275 Waveform Monitor or histogram for viewing 430 M Mac OS X Expos function keys 198 Make Multiclip window 175 Make New Clip 109 manual output to tape 441 442 Mark Audio Peaks function 424 Mark buttons Audio tab 193 Mark clip X 30 48 mark commands 29 30 Mark In I Log and Capture window 102 set an In point 30 48 split edits 43 viewing and marking clips 102 Index 469 Mark menu clearing split edits 45 split options 43 44 Mark Out O Log and Capture window 102 set an Out point 30 48 split edits 43 viewing and marking clips 102 markers M creating in Timeline 156 creati
42. File I Lesson 6 Project_l11 16 10_1440 Size 625 KB on disk E Lesson 6 Project 11 17 10 1843 a ae E Lesson 6 Project_11 17 10_1913 hang iia jia w Lesson 6 Project_11 18 10_1345 Last opened 11 15 10 4 54 PM Lesson 6 Project_11 18 10_1413 Lesson 6 Project_11 18 10 1443 E ia me ee a s Ei Ifyou are editing a project and simply want to revert to the last time you saved changes choose File gt Revert Project Any changes you made since the last save will be lost the next time you save NOTE gt Saving a project manually and using the Autosave process are completely different Before you revert to a recently saved project make sure to compare the modification date time of the project file with that of the Autosave file By comparing these modification times you can make the best choice of whether to revert or restore a project file Some editors like to print or retain a list of all the clips in their projects including the information they entered in the Browser columns You can do this using the Batch List function However you will need the help of a spreadsheet program such as Apple Numbers Microsoft Excel or a program that can interpret the tab delineations created in the batch list To create a list of clips contained in your project 1 Click in the Browser window to make it active 2 Choose File gt Export gt Batch List In the Save window enter a name and save desti nation and make sure that Tabbed Text
43. Fill and click it or drag the clip onto it gt If your Mac OS X Expos shortcuts have been redirected press Shift F11 iy ow ay loess 01 03 53 25 Insert with Transition Overwrite rwrite haral i NAI Transition EXT Fitto Fill can also be used to extend a clip in the sequence across a gap or to cover multiple clips In these situations mark an In and Out in the Timeline to define the area you want to replace If you are using a clip from the sequence as the fill clip you can press F to find its match frame and then replace filling a longer duration From the Library of michiel pilgram Creating and Changing Speed Segments 285 Replacement clip will fill from In to Out marks Creating and Changing Speed Segments In Final Cut Pro as in Avid you can combine different speeds within a single clip so a clip can speed up slow down play in reverse and freeze at precise locations New to FCP 7 you can dynamically add keyframes to Timeline clips and drag the keyframes to create speed segments Once you ve made individual speed segments within a clip you can change the speed of each segment independently to create variable speed effects You can also adjust speed keyframes in the Viewer Three speed keyframes create two speed segments To control speed segments in the Timeline Rather than change the speed of the entire clip you can click a specific frame to add a speed keyframe which creates speed
44. First the external editor must be able to read the type of file that you are using or ideally be generated from that application If you have to convert the file this function will not work Second when working with multilayered images using Photoshop as the external editor you can alter layers individually without a problem but you must not add or delete any layers nor change the layer order because FCP won t be able to track them If the file needs extensive additions consider reimporting the item as a new file Working with Alpha Channels Final Cut Pro can import and export files that contain an alpha channel that defines an image s transparency In fact any clip with an alpha channel enhances the ability of FCP to employ Timeline composite blend modes and travel mattes which provides tremendous creative potential see Lesson 9 For the image and its alpha channel to be displayed From the Library of michiel pilgram Working with Alpha Channels 361 properly after being imported into FCP you must make the correct alpha channel selec tion so that FCP can read the file correctly In Avid you can choose between Use Existing Invert Existing and Ignore FCP recognizes three types of alpha channels gt Straight Composited with just the pixels of the image and no background gt Black Composited against a black background gt White Composited against a white background If youre unsure whether an image has an alpha ch
45. Fon ano 00O Add to Tunes Library Filename 1 file C Create OVD C Publish to YouTube Use Share to instantly export a sequence to a variety of formats as a background process To export a single clip or sequence You can access the Share dialog to export a clip or sequence from the Browser the Viewer or from the Timeline 1 To share a single clip open it in the Viewer To share a single sequence open it in the Timeline or select it in the Browser 2 With the appropriate window active do one of the following gt Choose File gt Share gt To access the keyboard shortcut press Command Shift E gt In the Browser Control click the clip or sequence and choose Share from the shortcut menu NOTE You may see a different target destination or filename in your Share window than in the preceding figure The Share window displays the most recently used target information in each system To change the filename select the current name and press Delete Then type the new filename From the Library of michiel pilgram Sharing Your Sequences 365 Output Type pop up menu Filename field 18 Shae Destination Folder Documents i Choose Remove Output You YouTube C Australia Fun YouTube i i Publish to YouTube Filename 1 file Add Output Action checkbox Show Info The clip or sequence is p
46. From the Library of michiel pilgram 162 Advanced Editing clip s disclosure triangle There you can rename the markers or double click one to open it in the Viewer You can use markers set in clips as you would subclips to open a portion of a clip in the Viewer Or you can use them to create separate subclips in the Browser The subclip is created from the selected marker to the next marker or to the end of the clip if there are no additional markers 1 Set one or more markers in a clip in the Viewer If markers were added to a clip in the Timeline you can drag that sequence clip from the Timeline back into the Browser 2 Click the clip s disclosure triangle to view the markers 3 Select the marker from which you want to start the subclip 4 Choose Modify gt Make Subclip or press Command U In this situation the subclip is named after the marker and not the clip NOTE gt You can also create a subclip from the exact duration of an extended marker region using the same command Ganging Clips Avid Media Composer has the capability to gang together a source clip with the sequence in the Record monitor In Final Cut Pro you have two ways to gang the Viewer and Canvas material to play together FCP refers to these gang modes as the playhead sync modes Each playhead sync ganging mode syncs the playheads between the Viewer and Canvas Timeline but each has a different purpose 3 12 21 08 10 Avid s Gang button The Play
47. It changes the overall volume level of all audible tracks in the sequence as it is output to tape or written to a movie file when you export 1 Set each audio track in your sequence to an appropriate mix level using either the audio overlays Option W or the Audio Mixer track faders NOTE P You can also use the Automatic Keyframing function to set keyframes as you use the track faders as detailed in Lesson 8 2 Play the sequence and raise or lower the Master fader to set the average output level at around 12 dB which is the target level for digital audio To modify levels using Gain Adjust As in Avid the Gain Adjust dialog covered in Lesson 8 raises or lowers the dB for selected clips by specific amounts 1 Do one of the following gt To change the audio levels throughout the entire sequence press Command Shift A to deselect any selected clips gt To change the levels for a clip or group of clips select those clips in the Timeline 2 Choose Modify gt Levels or press Command Option L 3 Inthe Gain Adjust dialog make sure Relative is chosen in the Make Changes pop up menu so you can preserve any keyframes or current audio mix levels Enter a dB amount and click OK The audio levels in the sequence or clips will be raised or lowered by that exact amount Gain Adjust Adjust gain by py 3 dB k E Make Changes Relative a From the Library of michiel pilgram 428 Finishing and Outputting Ei A
48. Item Properties window and some can t Changing clip properties is discussed in Lesson 13 Dynamically Resizing the Interface Editing is a dynamic process Sometimes you want more Timeline room to add tracks and a few edits later you may need a larger Canvas to screen an effect or perhaps a larger Browser to organize your project clips With Final Cut Pro you can choose a preset win dow layout and then change it dynamically From the Library of michiel pilgram 62 Customizing Your Project To dynamically resize the interface windows 1 Move your pointer over a horizontal or vertical window boundary 2 When the pointer becomes a double arrow tool drag the window boundary up and down or left and right CU dolphin beneath surface of water 00 00 10 13 00 00 10 29 E 0100 00 00 fan ag 01 00 06 00 To dynamically resize the Timeline tracks 1 Move the pointer over an audio or video Timeline track boundary line 2 Drag the track line up or down to increase or decrease the track height 3 To set all the tracks to the same height hold down Shift as you drag 4 To set just the video or just the audio tracks to the same height hold down Option as you drag Ei It may be helpful to position the pointer over a track boundary and see the double arrow tool appear before pressing Shift or Option Changing Window Layouts Many Avid media composers use two monitors one to display the project window and bins and the other t
49. M Include Crossfade Transitions Mi Include Levels Mi Include Pan Cancel ox 3 Select the Sample Rate and Handle Length if any and whether you want to include cross fade transitions and keyframe information for levels or pan 4 Click OK Ei FCP OMF files are best imported into ProTools systems using DigiDesign s DigiTranslator software as opposed to free OMF tools you may be familiar with for import from Avid systems Always consult with your sound design facility regarding import and export of OMF files To export an EDL Although EDLs are one of the oldest export protocols devised for classic offline online videotape workflows they are also used in new ways such as exporting sequence cut lists of video track by track for new post processes Final Cut Pro like Avid supports all major EDL formats for import and export You can export the standard EDLs from FCP and they will remain accurate Nested sequences must be opened first to generate their own EDLs If you try to export an EDL From the Library of michiel pilgram Exporting Files 379 from a sequence with a nest FCP will warn you that the nested data was not exported Alternatively replace any nested sequences with their clip content prior to EDL export 1 Choose File gt Export gt EDL The EDL Export Options window appears CMX 3600 e Master Audio Merged a W Master Comment4 W Standard Names English 2 Make the appropriate selecti
50. Make Independent Clip item Properties Send To Cut Copy Paste Paste Attributes Remove Attributes Ripple Delete Open in Viewer Open in New Viewer Open in Editor Clip Enable Change Speed Composite Mode Reveal in Finder Dupe Frames Batch Capture Reconnect Media p Media Manager 17 00 Reconnect Media ii Make Offline aiia Media Manager Capture Uncollapse Multiclipts Browser shortcut menu Timeline shortcut menu 2 When the Reconnect Files window opens search for the file or files using one of the search options FCP begins searching for the clips on the available drives Importing Graphics The topic of importing graphics brings up the issue of pixel ratio and square pixels ver sus nonsquare pixels Computers and graphics programs display square pixels whereas interlaced standard definition digital video uses nonsquare pixels For high definition interlaced and progressive work the world is square pixels in both your image editor and in FCP The same consideration for pixel aspect ratio applies to Final Cut Pro as it does to Avid In Avid s Import Settings dialog you must choose how you want to handle the graphic you are importing FCP will read the graphic s aspect ratio and automatically compensate for the change in pixel aspect ratio prior to importing it allowing you to adjust it afterward if necessary But in either program first you must prepare the graphic in the cor
51. Make sure the render options are at their appropriate settings 2 Choose File gt Edit to Tape Black and Code button ES 00 36 35 25 Preview Disabled a Semmes ge shh hahaha Edit o D m OS buttons Gai ot serika Device status Edit to Tape window The Edit to Tape window opens with three tabs From the Video tab you can control your deck choose edit points and type of edit and black and code your tape 3 Click the Device Settings tab If you haven t changed your Easy Setup preset since you created this sequence these settings should still be accurate 4 Click the Mastering Settings tab Here you can select the mastering options you want to appear in your edit to tape 5 Choose the desired mastering options enter the appropriate timecode In point and edit type Insert or Assemble and click OK Ei If your equipment is capable of insert editing you could enter an Out point instead of an In point FCP will backtime the output from that location From the Library of michiel pilgram Outputting to Tape 445 Mastering Options Instead of editing bars and tone or black slate or a countdown at the head of a sequence before output the FCP mastering options enable you to choose those items as well as individual durations for each item from a list that appears in either the Print to Video or the Edit to Tape window The same options appear in both windows The mastering options include four areas
52. Manager Reconnect Media Print to Video Edit to Tape 28N 0 W 3 S 38S XS CHL p b 8 368 AM e Folder EDL XML EIT To capture footage from a media card such as P2 or SDHC choose File gt Log and Transfer instead gt Press Command l gt Control click in the Browser window and choose Import gt Files from the short cut menu To import a file into a specific bin Control click that bin and choose Import Files from the shortcut menu From the Library of michiel pilgram 346 Importing and Exporting Hew Don New Sequence Batch Capeure Reronnert Media Media Manager Make Offline Set Logging Bin Share Balch Exgqeust Make Multiclip Make Multiclip Sequence Cut Cony Paste Lahel gt If you added the Import File button to your Browser button bar for easy access click it i yzl f video stereo fala Import Files 321 E _ i 2 Inthe Choose a File window navigate to the file you want to import 3 Select the file or Command click several files and then click Choose 32 3 A E Marintach HM O Dramatic Scene iDisk E Exports 9 imports 440_1 UA T SHARED E Sponge Dolphins w 33A_1 Ala i Diana Weynand s 5 Trainers 33A_2 A F PLACES 33A_2 Ala FA Desktop Ri 33A 2 B rE Weal t dianaweynand fi 334A_2 B 3 E 33B_1 A Eq Movies 3383 ly Applications u 3383 4
53. Media bars Indicate how much media is involved with the current settings Original and how much media will be involved after the modification has been made Modified Position cursor over a green captured media or blue rendered media bar to see media measured in timecode duration Media Provide options to copy move recompress use existing or create offline media and other details that change according to how the media is processed Project Let you create a new project from the selected settings Media Destination Select the media destination for any new source media files Media Manager Summary Create a new project containing the sequence you have selected Delete unused media from the duplicated sequence including media referenced by affiliate clips outside the selection Copy media files referenced by the duplicated sequence Original i 316 6 MB Modiea E 71 5 ve 188 5 MB on Macintosh HO 00 06 13 26 of Media Media Copy i media referenced by duplicated sequence _ Include render files Recompress media using DV NTSC 48 kHz M Include master clips outside selection M Delete unused media from duplicated sequence C Use Handles M Include affiliate clips outside selection Base media file names on existing file names Project Duplicate selected sequence and place into a new project M Include nonactive multiclip angles Media Destination none selected Browse
54. Modifying Pilterss 1 2 200ch0 ee08 25enene Seeeeseeeenesy 250 Creating Effect Templates 0 20 00 lt 0 lt eeeepenveeesanvess 253 Copying and Pasting Attributes 00 00 e ee 256 Rendering PMCS s00 0 oredeade decmahonawmahesee eae 258 Superimposing Clips cece cece eee eee e eens 264 Keyframing Filter Parameters 202 ee eee 266 Applying a Composite Mode 00 0 c cee cece ee eee 271 Ta IVIGES co comcpeanenogeceenteernucspeamdareenna 274 What YOu ve Learned 2 2cencestaeneyetcanerees eooeees 275 Lesson 10 Speed and Motion Effects 278 Applying a Speed Change 0 cece cece neces 280 Editing With Fitto Fill sers sean deceecgeeeceune ee Read es 283 Creating and Changing Speed Segments 285 Using the Speed Tool c4 024 0200045004eratenteaeee ts 290 Applying a Freeze Frame Effect 00 00 292 Exploring the Motion Effects Tab 2 44 294 Zooming the Image View cece cece eee eee eees 295 Sizing and Positioning an Image 0 eee eee eee 298 From the Library of michiel pilgram xX Contents Rotating an Ge 6 on oe Cae deters EE EE 300 Cropping and Distorting an Image 008 302 Creating and Nesting Comps 00s eee ee eens 304 Copying and Pasting Motion Attributes 307 Creating a Motion Path 0 cece cece eee eee 308 Modifying a Motion Path
55. Quad Split Avid 172 177 QuickTime codecs in 343 sharing sequences and 363 video and audio capture and 107 QuickTime Conversion exporting single frame as still image 371 373 using for exports 369 371 QuickTime Movie Compressor converting to other formats 381 using for exports 367 369 QuickTransition Avid 233 237 240 QuickView Option 8 previewing composite modes 273 previewing effects 263 previewing render effects 403 R RAM preview 403 Range Check function changing video levels 435 436 checking video levels 432 434 Range Selection tool GGG performing partial render 404 selecting a range of material 249 Rate pop up menu frame rate settings 53 Razor Blade All tool BB 152 razor blade icon for cut buttons 184 Razor Blade tool B adding or dividing clips with 152 153 performing partial render 404 in Tool palette 17 real time effects 231 232 real time audio mixing User Preferences 215 recent clips 5 12 recompressing media files 417 418 Reconnect Files 353 354 reconnecting media clips in Browser or Timeline 354 355 overview of 351 352 project clips 352 354 Record Audio Keyframes pop up menu 218 219 Record monitor Avid 13 37 record tracks Avid 31 recording voiceovers 223 224 rectangles applying shapes 336 Reduce button Avid 295 reel number changing clip properties 395 397 relinking Avid 351 remote server backing up to 450 Re
56. Segment Mode edits 129 130 Select Color eyedropper 323 Select User and Project dialog in Avid 3 Selection tool A selecting clip in Timeline 128 129 selecting clips with 202 selecting targets for lift and extraction 42 in Tool palette 17 trimming clips with 92 sequence markers creating 156 157 extending 157 Sequence menu render commands in 261 Sequence Preset tab Audio Video Settings window 55 sequence settings changing 59 60 choosing for multicam editing 172 174 Sequence tabs in FCP interface 4 repositioning 15 on Timeline 14 sequences applying color to 16 17 applying filters to 247 batch exporting 376 377 conforming settings 34 35 creating new 14 15 creating sub sequence from Timeline 40 41 displaying entire sequence in Timeline 21 exporting multiple 366 367 exporting single sequence 364 366 finding and closing gaps in 138 139 finding clips or items in 388 391 finding duplicate frames 401 402 finding match frames for sequence clips 144 importing from Avid 350 last frame first frame and end of sequence indicators 38 names on Timeline 14 opening a sequence of clips into Viewer 94 95 sharing 363 364 viewing 13 viewing and modifying filter parameters 251 working with in Timeline 14 15 zooming and positioning in Timeline 20 22 Setting tab Avid 52 shapes applying 336 337 Video Generator options 319 Share dialog exporting multiple clips or sequence
57. Tab from the shortcut menu EXT Like Media Composer FCP uses shortcut menus throughout the program for easy access to functions and options These menus are accessed by Control clicking an item or area in the interface but they can also be accessed by right clicking with a two button mouse 5 To reorder a project tab drag the project tab to the right or left of another project tab When you see the order change release the tab From the Library of michiel pilgram Creating and Organizing Bins 9 Creating and Organizing Bins In Avid a bin is a container for clips subclips effects and sequences The same is true in Final Cut Pro but the icons are different Avid FCP m 1 Bin amp ff Cip ia E Subclip E Sequence In FCP the bin container is a folder icon You organize your bins just as you organize everything else on your Mac with folders and files You can drag project elements from the Browser into any bin To create a new bin You can create a new bin in one of three different ways by choosing a menu selection using a keyboard shortcut or using a shortcut menu option These three methods repre sent the multiple ways many FCP functions can be accessed Do one of the following gt Choose File gt New gt Bin gt Press Command B gt Control click in the empty Browser gray area under the Name column and choose New Bin from the shortcut menu import Reveal Project in Finder New Bin fe Ne
58. To select a preset codec other than the default QuickTime Movie choose the Format pop up menu 3G AIFF FLC Flash Video FLV iPod Apple TV iPhone QuickTime Movie AU AVI Wave DV Stream Cancel Still Image Image Sequence iPhone Cellular MPEG 4 You can choose from several formats such as 3G AIFF AVI Still Image Wave Still Image and Image Sequence When you choose a format the appropriate three letter extension such as aif for an AIFF file or wav for a WAVE file will be added to the end of the filename ET You will recognize some overlapping formats between this list and Share export options such as iPod Apple TV iPhone and so on You will get better results overall using the Share export options for the overlapping items because it uses newer conversion technology If you can t find the conversion type you want in the Share list use the QuickTime conversion method Once you choose a format you can either select a preset setting for that format from the Use pop up menu or modify individual format options From the Use pop up menu you can choose one of the default settings for the selected format NOTE P In any format option the Use options will include Defaults for system settings If option settings were recently changed Most Recent Settings appears which allows you to reselect those settings From the Library of michiel pilgram Using Other Export Options 371 6 To fine tune or modify
59. While the Filters tab serves as an effects editor for segment type effects the Motion tab serves as an effects editor for motion effects To use the Motion tab While you can make motion changes to a source clip in the Viewer most motion effects are applied to sequence clips in the Timeline As you did with filters an easy way to view the motion effects applied to a clip is to open the clip from the Timeline and then park the sequence playhead over that clip so you can see the changes in the Canvas 1 Inthe Timeline double click a clip to open it in the Viewer Park the playhead over the sequence clip so you can see your changes in the Canvas 2 In the Viewer click the Motion tab 3 Adjust the sliders or enter numerical values to make changes to desired parameters such as Scale Rotation and so on You can hide or collapse any parameter as youre working ET As you may have done with the Filters tab you can also peel off the Motion tab to create a separate window or drag it to the Timeline for an even wider working space Zooming the Image View In Avid you can enlarge or reduce your view of an image using keyboard shortcuts or mapped commands In Final Cut Pro a Zoom pop up menu in the Viewer or Canvas also provides preset zoom view options Changing the view of an image can be helpful when you are setting scale position and other keyframes As in Avid changing the view of an image never alters the actual size of the source or
60. You can position your playhead either before or after a selected edit point and as long as there is enough clip material in both the outgoing and incoming clips an extend edit will instantly roll the edit points to the playhead position You can apply this technique to both video and audio edit points or just video or audio edit points to create a split edit or L cut As long as the edit point or points are selected ahead of time you can even play using J K L and perform an extend edit on the fly To extend an edit 1 Park the playhead at the location to which you want the clip to extend From the Library of michiel pilgram 154 Advanced Editing 2 Select the edit point on the track or tracks that you want to extend If you use the V2 track for cutaways you can easily extend either the In or Out point of the cut away clips You can select an edit point on a clip that is not bordered by other clips or you can select the edit points between two clips Extending two adjacent edit points gives the same results as making a dual roller trim or trimming with the FCP Roll tool NOTE gt If your audio and video clip tracks are linked you may need to toggle off linked selection or Option click to select an edit point on an individual clip track 3 Press E or choose Sequence gt Extend Edit If enough material is available to extend to the playhead location the edit point or points will move to the playhead If enough clip ma
61. a clip As in pasting attributes you can also remove attributes from a clip by using the Remove Attributes dialog similar to the Paste Attributes dialog 1 Control click the clip in the Timeline from which you want to remove attributes You can also select all clips in the sequence From the shortcut menu choose Remove Attributes 2 When the Remove Attributes dialog opens click the attributes you want to remove and click OK Copying and Pasting Clip Content The Paste Attributes function allows you to copy and paste a clip s content into an existing clip that already has effects This is similar to stepping into a segment effect clip in Avid and overwriting a different source into the uncollapsed source video layer This is a conve nient way of previewing the same set of effects that are in the same location but applied to a different clip The new clip assumes the attributes of the clip that is already there all that changes if Content is the only thing selected in the Paste Attributes dialog is the media of the effects clip To paste clip content follow the steps for copying and pasting attributes and choose Content in the Paste Attributes dialog Rendering Effects There are two aspects to rendering rendering effects in the current sequence so they will play in real time and managing those precompute or render files after they ve been created Management of render files is covered in Lesson 13 You approach rendering a clip or
62. a numerical trim value When you ripple or roll an edit in the Timeline a two up display appears in the Canvas similar to Avid s Small Trim mode To select and trim just an audio or video track of a clip with linked tracks you must first turn off the Linked Selection control in the Timeline button bar You can also Option click one track to override linked selection To change the status of a clip s stereo pair audio tracks to mono select the tracks and choose Modify gt Stereo Pair You can trim multiple edit points in an asymmetrical trim by selecting a trim tool Option clicking the first edit point and Command clicking additional edit points You can trim a sequence clip in the Viewer window after double clicking it in the Timeline A sequence clip opened from the Timeline displays two rows of dots sprocket holes in the Viewer scrubber bar Source clips prior to editing to the Timeline do not display these dots You can trim an edit point using the default Selection tool A but you will be limited by adjacent clips or leave a gap From the Library of michiel pilgram Keyboard Shortcuts G V Command 7 Command W U Left Bracket Right Bracket Shift Left Bracket Shift Right Bracket lt Left Angle Bracket gt Right Angle Bracket Shift lt Shift gt J K L R RR Shift L Option click Command click What You ve Learned 97 Select the Edit Selection tool S
63. adjusting 439 Waveform Monitor for viewing 430 Boris title interface and options 332 333 Video Generator options 319 Boris Red bundled with Avid 375 boundary lines changing track height with 200 brightness increasing on video 432 Brightness and Contrast filter 435 broadcast safe color 434 Browse area of Log and Transfer window 117 121 Browser window active and inactive windows 6 browsing projects and project elements 7 creating list of clips contained in project 451 452 creating merged audio clips in 221 222 Effects tab or Effects menu 230 231 importing multilayered images and 359 making clips offline 399 400 making global changes to clips 397 399 Merge Clips 205 222 overview of 6 Index 459 reconnecting clips in 354 355 searching within 391 393 selecting items to colorize 16 B side In point indicator Trim Edits 84 85 button bars adding command to 69 adding Trim Edit button to 82 customizing and saving 70 Cut Video Audio to Angle 184 loading for multiclips 182 snapping in Timeline and 35 on Timeline 14 Button List window 184 C calligraphy creating 3D text with Boris 331 332 Canvas window changing image view in 296 297 editing audio only clip to 198 editing with transitions 240 enabling view overlays 37 39 exploring 6 ganging clips 163 Image Wireframe mode see Image Wireframe mode Match Frame button 144 overwrite edits 34 Play buttons 28 se
64. all the synchronized clips you want to merge 5 Choose Modify gt Merge Clips You can also Control click one of the clips and choose Merge Clips from the shortcut menu Reveal Affiliated Clips in Front Sequence lp rge lips F Make Multiclip Makwe Multirlip Sequence 6 Inthe Merge Clip dialog that appears select a method to synchronize the clips For this example select In Points and click OK In the Browser a new clip appears under the video clip The merged clip is named after the video clip and includes the word Merged in the name EL When capturing audio for use in a merged clip make sure that your audio deck is synchronized to your computer via a common video timing signal If your audio deck is not connected this way the sync between the audio and video portions of merged clips can drift over time From the Library of michiel pilgram Adding Voiceover 223 Adding Voiceover In Final Cut Pro the Voice Over tool provides the same basic scratch track narration capability that Avid s Punch In tool does When you select the FCP Voice Over tool from the Tool palette it opens a Tool Bench window on top of the Viewer You can move the window by dragging the title bar or pull the Voice Over tab away to make it a separate window Record Stop button Target Australa Pam Mew Trace AJ Target 0 i SiR tate sequence A and track Source Built in Audio A offset 1 Frame Source
65. and Mute controls 196 working with 214 215 Audio Outputs Preset Editor 428 429 Audio Outputs tab Sequence Settings window 60 429 User Preferences 57 Audio tab in Viewer 192 194 Audio tool Avid 426 audio tracks adjusting In Out marks 44 creating static track area 199 deselecting 135 From the Library of michiel pilgram 458 Index detecting correcting audio peaks 424 426 expanding audio tracks area 199 modifying audio output levels 426 428 monitoring 195 monitoring and playing 215 monitoring single clips or tracks 196 muting vs disabling 195 196 out of sync indicators 209 210 putting back in sync 210 render status 259 selecting for capture 103 104 setting keyframes in Timeline 269 soloing 196 syncing in Timeline 207 208 toggling on off in Audio Mixer 217 trimming 92 unpairing re pairing stereo link between 204 audio transitions adding 233 234 applying to multiple edit points 235 as effect category 230 Transition Editor and 241 audio waveforms see waveforms audio only edits disconnecting source tracks from Timeline 32 Audio Video Settings accessing 52 changing 54 56 Auto Conform Sequence option 34 35 54 Auto Kerning changing text parameters 323 Auto Select controls copy and paste edits 135 finding match frames for sequence clips 144 selecting targets for lift and extraction 42 in Timeline tracks 19 automated keyframes adjusting keyframes in coordination
66. and girl w bucket al MS 2 boys and mom EE MS bird steals fish a Ms camera shooters FCP offline clips in Browser To batch capture a group of clips 1 2 Set a logging bin for the new clips you want to log Log the clips you want to capture into this bin To capture specific clips select the clip or clips you want to capture in the logging bin Click the Capture Batch button or press Control C Or you can also choose File gt Batch capture A Batch Capture window appears From the Capture pop up menu do one of the following gt Choose All Items In Logging Bin to capture all items gt Choose Offline Items In Logging Bin to capture just those items that are offline or have not yet been captured gt Choose Selected Items In Logging Bin to capture those items you selected in step 3 Batch Options When you batch capture in FCP you can add handles to each clip You can also change the capture preset prior to capturing the logged clips If you have changed any video or audio settings for an analog clip those settings will be attached to the clip if you capture with the Use Logged Clip Settings option EXE If you logged a clip with mono audio channels and would rather capture it with stereo channels or vice versa choose Modify gt Clip Settings and then choose the desired tracks and channels You can also choose this option if you ve logged a clip as audio only and then decide to
67. audio and video in sync or as separate tracks If you captured them as a unit and you move either the audio or video portion a red flag sync indicator will warn you that the clip is no longer in its original sync configuration From the Library of michiel pilgram 210 Editing Sound Out of Sync on Purpose You may have pulled some tracks out of sync for a reason Maybe the audio wasn t quite in sync to begin with and you needed to correct it If so you probably don t want those big red flags waving at you for the rest of the project Just tell FCP to look at the current out of sync clip again and consider it to be in sync To accept out of sync status 1 Select the clip in the Timeline that is currently displaying red out of sync indicators 2 Choose Modify gt Mark in Sync The red flags disappear and FCP considers the clips to be in sync in their current configuration To put a clip back in sync With this elegant feature if you don t want a clip to remain out of sync you can easily put it back in sync 1 Select the audio or video track that you want to move back in sync 2 Control click the out of sync indicator Slip into Sync ii Move Others into Sync Slip Others into Sync 3 From the shortcut menu do one of the following gt Choose Move into Sync to move that portion of the clip backward or forward to be in sync with its counterpart tracks gt Choose Slip into Sync to leave that portion of the cl
68. bars as well If the bar is clear of dots you are viewing a source clip that has not yet been edited into a sequence To trim a clip in the Viewer 1 Choose a trimming tool from the Tool palette or press the keyboard shortcut for the desired tool You can choose the default Selection tool A the Roll tool R or the Ripple tool RR 2 Drag an edit point in the Viewer scrubber bar The pointer will turn into the tool you have selected and the edit point or points will adjust according to the normal behavior of the selected tool NOTE gt You can also choose the Slip tool and slip a clip in the Viewer In each situa tion the pointer will not change until positioned over an edit point With the Ripple tool like Avid s single roller you can make the clip longer than it currently is in the Timeline all clips that follow are affected by the trim amount Using the default Selection tool if a clip is between two other clips in the Timeline you can only trim that clip shorter If you try to trim a clip beyond the boundary of a neighboring clip in the Timeline a Media Limit note will appear and you won t be able to trim beyond that point On the one hand this may seem limiting But on the other hand you know you will not affect any other clips with your trim adjustment NOTE gt As you trim clips keep in mind that FCP assumes Sync Lock is enabled on all tracks all the time Turning on the lock for a track in FCP is like turni
69. button to add the new angle to the multiclip To resynchronize an angle If an angle is out of sync with others in the multiclip you can resynchronize it to the multiclip using a technique similar to slipping gt Shift Control click an angle and drag left or right to slip the source media forward or backward The multiclip overlays display the source timecode while a yellow tooltip displays the offset as you scrub You can also compare the video in this angle with video in other angles that contain the same subject matter and resync to those images 01 01 30 07 awe J Gilly_med From the Library of michiel pilgram 182 Multicam Editing Editing with Multiclips The process of editing multicam in Final Cut Pro is very similar to Avid s process but as usual whereas Avid is modal Final Cut Pro simply gives you tools for switching or cutting between different angles either live on the fly or while playback is paused For example you can load a preset group of multiclip buttons that are distributed to appropriate win dows or load a preset keyboard layout that gives you additional options for switching and cutting angles In addition you can also click an angle in the Viewer to cut or switch To load the multiclip button bars and keyboard layout 1 Choose Tools gt Button Bars gt Multiclip NOTE P Before you load any preset button bar save the layout of your current button bars since they will be replaced by t
70. button to use in another button bar Option drag it to a new location From the Library of michiel pilgram 70 Customizing Your Project To customize and save the button bar Do one or more of the following gt To change the color of a button Control click one of the buttons in a button bar and from the shortcut menu choose Color and the desired color Plain Show Keyboard Layout Show Button List Save All Button Bars Load All Button Bars gt To create space between buttons Control click a button and choose Add Spacer from the shortcut menu Spacers are added to the right of the selected button gt To save all the button bars in the current interface layout Control click any button and choose Save All Button Bars from the shortcut menu Utilizing the Bin Text View Like Avid Final Cut Pro gives you a lot of flexibility in sorting bin information but its bin structure has some important differences In FCP bins act like folders in the Finder You can put bins inside other bins and organize your material into subcategories or any way you like You can also make label changes to groups of clips or bins at one time Avid s text view is called View as List in FCP and this display has over 65 potential column headings of information which can be configured to your own preference Lesson 3 Project Effects Y Sequences Finished Starting Sound Clips c music 1 c
71. can launch the program you have designated as the external editor right from the FCP Timeline You can choose three types of external editor one for still images one for audio files and one for video files You can also specify which application you want to use as the external editor for each category The setup options are on the External Editors tab of the System Settings window Shift Q From the Library of michiel pilgram 360 Importing and Exporting System Settings Scratch Disks Search Folders Memory amp Cache Playback Control gt External Editors Effect Handling Still Image Files lt None Set gt Video Files dite Audio Files Macintosh HD Applications Soundtrack Pro app NOTE P Do not set Motion as the external editor for video files or FCP will attempt to open LiveType projects in Motion If you do not set specific applications as exter nal editors the defaults will be Photoshop for still images Soundtrack Pro for audio files and LiveType and Motion files will each open their respective files as expected To access the external editor from the Timeline Do one of the following gt Control click a clip in the Timeline and choose Open in Editor from the short cut menu gt Choose View gt Clip in Editor gt Press Option Return The external editor can eliminate the need for some of the importing and exporting that was done in the past However you need to keep a few things in mind
72. choosing a format 3 Click a template in the center Master Template pane to preview it As you play the template you see it as a complete composite including text styles and sample images MOLO MOLO he y Pt E From the Library of michiel pilgram 340 Title Tool and Generators 4 Click Open 5 In the Viewer click the Controls tab and change the sample text and image options in this template Drag images into drop zones and then edit the effect as you would any other clip To edit a master template directly to the Timeline 1 Inthe Timeline position the playhead where you want to edit the master template 2 From the Timeline choose Sequence gt Add Master Template 3 Select a master template 4 In the lower right corner of the window click the appropriate button You can over write insert or superimpose the template into the sequence Resolution 720 x 576 Duration 00 00 08 00 Frame Rate 25 00 What You ve Learned gt Final Cut Pro provides a set of video generators to create titles and text mattes shapes gradients and real time color bars and slugs gt The Generator pop up menu is located in the Video tab of the Viewer gt You modify video generators in the Controls tab of the Viewer However you modify bars and tone and slugs on the Video and or Audio tabs gt To view and edit a generated clip double click it in the Timeline to open it in the Viewer Click the Controls tab W
73. clip 1 Set the logging target bin or project 2 Enter the reel name or number 3 Enter a clip description 4 Enter a scene number if applicable 5 Enter shot and take information if applicable NOTE gt Remember to click the checkboxes for Scene and Shot Take if you want them to appear in the name on the clip Leaving them deselected will still place the infor mation in the corresponding Browser columns From the Library of michiel pilgram Logging Clips 113 6 Make sure you have marked an In and Out where desired EXE You can use the J K L keys to shuttle your source tape Make sure to click the preview area of the Log and Capture window to ensure that you aren t accidentally typing J K or L in a text entry field 7 At the bottom of the Logging tab click the Log Clip button You can also press the FCP shortcut key F2 to deposit the logged clip into your logging bin if you haven t assigned that key to one of your Mac OS X Expos settings a v Sen i SS Cu surfer on shore EE Ws surfing competition 8 Repeat the process as needed for each source reel To use markers while logging Although you can t add markers on the fly as you capture as you can in Avid you can set them prior to capturing the clip 1 Click the Markers disclosure triangle to view the Marker options Click to display NAKO TAING Click to Markers area set marker Marker dolphin leaps information 12 23 59 09 12 24 04 11 Mark
74. clip is open ended this method of trimming in the Timeline may be limited by adjacent clips or produce a gap You will learn how to remove gaps in Lesson 6 NOTE gt With snapping turned on N the edit point will snap to the playhead loca tion as well as a mark In Out or locator point To create L cut and split edits FCP remembers which audio and video clips were captured together and binds or links those clips in the Timeline This can be helpful when you want to trim both the video and audio tracks of the same clip by the same amount But when you want to trim only one track of a clip you must override the FCP default linking system by toggling linked selec tion In Avid 5 the option to toggle Link Selection is also available and even uses the same keyboard shortcut as FCP 2 To select just the video or audio track of a linked clip turn off the Linked Selection control in the Timeline button bar or press Shift L This will allow you to select just the audio or video tracks to trim 01 01 52 02 01 01 52 02 Linked selection on Linked selection off NOTE gt If a clip s audio tracks are a stereo pair and you click one audio track both tracks are selected even if linked selection is turned off If you need to access one track of a stereo pair you must first turn off the clip s stereo pair status by selecting the clip and choosing Modify gt Stereo Pair From the Tool palette choose the Rol
75. column head and choose Edit Heading Enter the new column name in the active field NOTE gt These Comment column headings are not global but are saved as part of a project To hide or add an individual column or edit save or restore a column layout Control click a column heading and choose the appropriate option Column layouts are saved in the Final Cut Pro User Data folder Hide Column Edit Heading Save Column Layout Load Column Layout Standard Columns Lagging Columns Show TC Rate Show Gamma Level Show SmoothtCam Show Aux 1 Reel Show Aux 2 Reel Show Speed Show Frame Blending Show Type Working with Icon Views While Avid defaults to its Bin Brief Text view Final Cut Pro defaults to its List view with columns of text information FCP has a similar mode to Avid s Frame mode which FCP calls View as Icons FCP has three viewing options for that mode View as Small Icons View as Medium Icons and View as Large Icons FCP does not have a Script mode but you can simulate one by adding the Thumbnail column in View as List mode Avid Frame view From the Library of michiel pilgram Working with Icon Views 73 To scrub through clip icons In FCP while in any of the icon views in the Browser you can scrub through the clip icon to screen your material 1 Double click a bin to open it as a separate window Control click in the empty gray area under the Name column and choose View as Large Icons from the
76. concise view of Final Cut Studio features and applications And finally since all good energy never dies it just moves on to a different village I d like to thank Patty Montesion for her support not only on this book but for her dedication to the entire Apple Pro Training Series of books she spearheaded throughout her time at Apple Her vision has helped shape the video training world for the better From the Library of michiel pilgram This page intentionally left blank From the Library of michiel pilgram Contents at a Glance CHEMUNG SIAC o EE eaeee es ac eees eareees caret xiii Lesson 1 Projects and Interiace ossrrsrrsirvrenesrereriri ida irani l Lesson2 Translating Basic Editing Skills 26 Lesson 3 Customizing Your Project 0 ce eee eee eee eee 50 Lesson4 Trimming Clips cee cece cece eee ene eeees 80 Lesson 5 Capturing and Transferring 0 cee cece eee eee 98 Lesson6 Advanced Editing ccc eee cece eee ne eees 120 Lesson 7 Multicam BING vines cee boe cbbeeedeeeeeedeateeeas 170 Lesson 8 Editing S0UNGsc 22sceccctsheaccesteateteheavseshears 190 Lesson9 Transitions and Effects cece cece eee ees 228 Lesson 10 Speed and Motion Effects 0 0 cece eee eee eee 278 Lesson 11 Title Tool and Generators 0 ce cece eee eens 316 Lesson 12 Importing and Exporting 0 cee cece eee eee 342 Lesson 13 Project Management
77. create a new custom name preset in the Name Preset pop up menu choose New In the Naming Presets window enter a name under the Name column and then drag a name element from the Include list into the Format field Reposition name elements by dragging them into place or selecting a name element and pressing Delete From the Library of michiel pilgram 124 Capturing and Transferring EXT You can also edit any of the presets by choosing Edit from the Name Preset pop up menu In the Naming Presets window add to or rearrange the name elements that currently appear in the Format field What You ve Learned gt The FCP Log and Capture window is similar to Avid s Digitize Capture tool although the FCP window includes a preview area to view source material You set your target bin called a logging bin in FCP for a specific project or bin You can set a logging bin via the main menu using a shortcut menu or on the Logging tab in the Log and Capture window A tiny slate icon identifies the current logging bin The preview area of the Log and Capture window is where you play and view the source footage and mark In and Out points for logging or capturing In FCP there are three tabs on which you make all of your setting selections The Clip Settings tab is where you select audio video or audio and video tracks and the type of audio stereo or mono and where you can open a Waveform Monitor or Vectorscope if needed When wo
78. create your own master templates in Motion and use them in FCP gt You can save generators as favorites either in the Brower Effects tab or as separate clips in a Browser bin Keyboard Shortcuts Option F Save the modified generator clip in the Viewer as a favorite Control X Open the basic text generator into the Viewer Control Option X Open Boris Title 3D Command 6 Open the Favorites bin as a separate window From the Library of michiel pilgram then ean f 7 Da l EEE yee REY ore From the Library of michiel pilgram Lesson 12 Importing and Exporting The backbone of the Final Cut Pro importing and exporting file struc ture is the same as its native editing base Apple QuickTime architec ture The QuickTime architecture offers a large number of codecs algorithmic methods of compressing and decompressing audio and video information Different codecs are used to compress QuickTime files for different delivery formats All forms of QuickTime material will work with FCP and all FCP audio and video files captured or digi tized to a media drive are stored in QuickTime format no matter what method was used to create them FCP can import files and compositions from programs such as Photoshop and After Effects and you can access those programs directly from within FCP via the imported file With Final Cut Studio you can also send a clip to another Apple application such as Motion or Soundtrack Pro and bring
79. dB NOTE gt Although the audio peaks are detected at the same digital 0 dB level in both meters the Audio Mixer meters have another 12 dB above the zero level to indicate a measure of signal overload The audio meters stop at 0 dB Peak indicators Peak indicators From the Library of michiel pilgram Detecting Audio Peaks 425 To detect and correct audio peaks You can apply FCP audio peak detection to a clip group of clips or the entire sequence and it will mark every location where the audio peaks In cases where transient peaks occur you can often soften them to acceptable levels and avoid calling attention to them Unfortunately if the distortion is really bad you may have to recapture the clip or choose other material in its place 1 To detect audio peaks for the entire sequence open that sequence in the Timeline and deselect all clips by pressing Command Shift A EXT To check for audio peaks within a clip or specific Timeline area identify the range with In and Out points before proceeding to the next step Choose Mark gt Audio Peaks gt Mark A progress bar appears as FCP checks selected clips or the entire sequence for audio peaks Detecting Audio Peaks Detecting Audio Peaks If the audio in the sequence peaks at 0 dB or above FCP places an orange marker at that point in the Timeline ruler area If FCP finds audio peaks do one of the following gt Turn on audio waveforms to get a
80. distribution The beauty of Compressor is that it includes numerous export presets you can choose depending on your export needs For example Compressor can convert QuickTime movies to the following formats gt gt DVD MPEG 1 MPEG 2 both SD and HD H 264 and AC 3 for audio Web MPEG 1 MPEG 4 and H 264 iPod H 264 NOTE gt The H 264 format is stored as a QuickTime movie containing an H 264 video track The Compressor AC 3 encoder is used to encode a variety of multichan nel audio configurations such as stereo or 5 1 channel surround sound into Dolby Digital audio streams for use with DVD Studio Pro You can use Compressor in a variety of ways and for a number of reasons For example you can export a completed sequence for use in a variety of online or DVD situations or encode files from NTSC to PAL before you begin editing Movies can be encoded indi vidually or in a batch y Settings MPEG 1 1 Setting MPOG 2 lt G 3 Senings MPEG 4 a 1 Setting 7 C QuickTime 9 Settings Et Apple intermediate Coder AIC a Apple Intermediate Codec with AAC audio at 46kHz Settings based off the source resolulion and rame rale m Apple ProRes 422 Apple Profes 422 with audio pass through Settings based off the source resolution and frame rate p Apple ProRes 422 HO a Apple Profes 422 high quality with audio pass through Settings bared off the source 7 resolution and frame rate
81. edit point by choosing Mark gt Clear Split Keyboard Shortcuts Spacebar Start and stops playing a clip or sequence Down Arrow Move playhead forward to next clip in Timeline or edit point in Viewer Up Arrow Move playhead to previous clip in Timeline or edit point in Viewer Shift backslash Play from In to Out backslash Play around the playhead s position Shift P Play from current location to Out J K L Play backward stop and play forward K with L Slowly scrub the image forward K with J Slowly scrub the image backward From the Library of michiel pilgram 48 Translating Basic Editing Skills Keyboard Shortcuts Left Arrow Right Arrow Shift Left Arrow Shift Right Arrow l O X Shift l Shift O Option l Option O Option X F9 F10 N Command U Delete Shift Delete Command X Shift X Move playhead backward one frame Move playhead forward one frame Move playhead backward one second Move playhead forward one second Set an In point Set an Out point Mark the entire clip length Move the playhead to the In point Move the playhead to the Out point Remove the In point in the active window Remove the Out point in the active window Remove both the In and Out points in the active window Make an insert splice edit Make an overwrite edit Toggle snapping on or off Create a subclip from a marked clip in the Viewer or marked section in the Timeline Lift a selected clip clips or range of m
82. enabled in FCP pressing the spacebar will pause the playhead without performing a trim or playing around the edit This allows you to search again for the trim point before pressing K ET While playing a clip you can press the J or L key again to increase the play speed To trim using the J K L keys 1 Inthe Timeline double click the edit point you want to edit 2 Select the Dynamic checkbox 3 Move the pointer over either the A side or B side clip From the Library of michiel pilgram 88 Trimming Clips If you re using the Roll tool you do not have to click or select the image FCP responds to the location of the cursor If you want to dynamically trim just one side of the edit click to choose it prior to pressing J or L Press J or L to play the clip backward or forward As the clip is playing press K where you want the new edit point to be EXE You can also combine the Avid and FCP methods by pressing the spacebar to stop at the new edit point and then pressing K to execute it Dragging Edit Points Another way to trim in the Trim Edit window is to drag an edit point manually in the scrubber bar area beneath the A and B side images Like the other methods of trimming this method also creates an immediate change in the Timeline edit points FCP Trim Edit scrubber bar with active Out point When the Trim Edit window is active you can drag to trim the tail of the outgoing clip or the head of the incoming clip
83. filter 1 From the Timeline double click a clip that needs color correction to open it in the Viewer and then click the Filters tab Move the playhead over the clip so it appears in the Canvas window With the clip selected in the Timeline or with the Viewer active choose Effects gt Video Filters gt Color Correction gt Color Corrector On the Filters tab or on the Color Corrector tab click the Visual button and do one of the following gt Click the Auto Balance eyedropper beneath the Balance control and click in a white area in the image to reset the overall white balance of the image to that white gt Drag within the Balance control to adjust the overall color balance of the image ETL If dragging in the controls seems too slow simply hold down the Command key to gear up your dragging action In other uses of this function this action gears down speed gt Drag within the Hue control to adjust the hue of the entire image gt Adjust the Whites Mids and Blacks sliders as necessary gt Adjust the Saturation slider as necessary To apply a secondary color correction to your image such as to change color of only a portion of the image reveal the additional parameters below the Limit Effect line by clicking the disclosure triangle to the left of the line From the Library of michiel pilgram 440 Finishing and Outputting The Limit Effect controls let you select a color or color range from an imag
84. filters 246 248 applying filters or motion effects to text 325 composite mode options 271 272 copying and pasting clip attributes 256 258 copying and pasting clip content 258 creating effect templates 253 creating travel mattes 274 275 Effects tab or Effects menu on Browser 230 231 exploring 230 keyboard shortcuts 277 modifying filters 250 252 overview of 229 previewing 263 real time playing without rendering 231 232 removing attributes from a clip 258 removing filters 252 253 render commands 261 render levels 260 261 render status areas on Timeline 259 260 rendering clips or selection 261 263 review 275 276 saving as favorites 338 saving filters or groups of filters 255 256 selecting a range of material 249 setting keyframes in Timeline 269 271 setting keyframes in Viewer 267 268 superimpose edits 264 266 switching angles with effects 186 187 third party filters 253 transitions see transitions using shapes to create 336 337 Effects Editor Avid 250 Effects Mode Avid 250 Effects tab or Effects menu Browser 230 231 End on Edit positioning transitions on clips 237 238 equalizers editing sound and 191 Expert Render Avid 231 Export settings Avid 363 exporting to Avid 380 batch exports 376 377 batch lists 379 380 clip to Final Cut Studio application 362 EDLs 378 379 keyboard shortcuts 385 multiple clips or sequences 366 367 multiple still images
85. folder by following this path Macintosh HD gt Library gt Application Support gt Final Cut Pro System Support gt Plugins They will appear as options in the Effects tab and Effects menu Creating Effect Templates Avid makes it easy to save effects as templates Final Cut Pro provides this ability but takes it one step further by enabling you to make an effect either a default or a favorite On the Effects tab in the Browser one of the folders is for Favorites If you make changes to a fil ter or transition and want to have that modified effect readily available you can save the effect as a template or favorite Zig Zag Kaleidoscope Luma key Avid bin with saved Effects Templates From the Library of michiel pilgram 254 Transitions and Effects To save a favorite transition You can save your favorite filters and transitions in the Browser s Favorites bin on the Effects tab A favorite effect can be a single filter or transition that you have adjusted to perfection or a group of filters 1 Make the changes you want to the favorite transition 2 To save the transition do one of the following gt Drag the transition from the Timeline transition point to the Favorites folder and release it when the Favorites folder becomes highlighted gt a Video Filters b a Video Generators gt Audio Transitions b Audio Filters gt With the transition open in the Transition Editor drag the Drag Hand icon to the F
86. gt Leader options that include all the media you want to see in the header before the actual sequence begins including convenient built in slate text area gt Media options to specify whether you are outputting from In to Out points in the Timeline or the entire sequence gt Trailer options where you determine how much if any black will follow your sequence gt Duration calculator to give you a total output length based on the mastering selec tions you chose The following sections provide specific information about each option Leader options Each Leader item can be selected independent of the others and included in the output The options are applied in the order they appear Leader Element Sec Mi Color Bars 30 Tone Level a yy 12 d Mi Black 5 al Slate 10i Text H i Training Dolphins 3 12 04 cal Black s Version 1 countdown Color Bars and Tone Level Duration is adjustable and tone dB is selectable The color bars appear only once at the beginning of the first sequence if the looping option is also selected Tone Preview button Click to send tone out to your deck to set a representative audio level Black Black will appear after the color bars Slate You can add a slate in three ways by typing slate text in the text field point ing to a file you have created to be the slate or choosing Clip to use the name of the sequence as the slate The first and last o
87. gt To make Timeline clips offline select the clip s choose Modify gt Make Offline Shift D and check the appropriate box in the Make Offline dialog ETE Be careful not to remove or delete any necessary media files by clicking the second or third option in the Make Offline dialog Make Offline After making selected clips offline Action For Media Files Leave Them on the Disk C Move Them to the Trash Delete Them from the Disk Cancel pee NOTE P You can use the Find command to locate specific clips you want to make offline You can also use the criteria to refine your search and then apply one of the above make offline actions Offline clips in the Browser are displayed with a red diagonal line across them indicat ing they are offline A MS TS dolphins in pool play catch slo M5 TS 2 dolphins lift tails in pool PMS LA UW trainer dolphins thru water You are now ready to recapture the media for these clips EXE One of the Media Manager functions allows you to recompress media files to a different resolution preset This is discussed later in this lesson From the Library of michiel pilgram Detecting Duplicate Frames 401 Detecting Duplicate Frames If you are working on a project that will be finished on film you will need to know if and when you are using the same frame twice The process of identifying those frames is called dupe detection In Avid systems that have FilmScribe you can find
88. highest video track or below the lowest audio track From the shortcut menu choose Add Track to add a new track ps Add Track To delete a track Control click that track in the track control area and choose Delete Track from the shortcut menu V1 and Al tracks cannot be deleted In Lesson 6 you will learn how dragging clips directly to the Timeline can create a new track automatically What You ve Learned gt Transport controls are found at the bottom of the Viewer and Canvas windows You can also play and stop a clip or sequence by pressing the spacebar You can use the J K and L keys to play in reverse stop play forward or play very fast or very slow There are mark buttons in both the Viewer and Canvas windows and mark and play keyboard shortcuts can be found in the Mark menu and scrubber bar shortcut menu To patch a track you can drag a source control to the desired destination track Control click a source control and choose the destination from a shortcut menu or Control click the destination control and choose the source from the shortcut menu To make insert or overwrite edits use the keyboard shortcuts F9 or F10 use the yel low Insert or red Overwrite edit buttons in the Canvas drag the clip thumbnail from the Viewer into the Canvas and drop it onto the Insert or Overwrite option in the Canvas Edit Overlay or drag a clip thumbnail from the Viewer onto the Insert or Overwrite edit button in the Ca
89. if you are at the output stage with your project it s not too late to load and use one of the audio output presets you created in the User Preferences Audio Outputs tab However as always if working with a current sequence you must make changes in the Sequence Settings dialog If one setting doesn t fit all sequences in the project you can also simply change the audio outputs for individual sequences when you are at the output stage 1 Inthe Timeline click the appropriate sequence tab to make it active 2 Choose Sequence gt Settings or press Command 0 zero and click the Audio Outputs tab The same information appears in this tab as it did in the User Preferences Audio Outputs tab but changing settings here applies only to the current sequence 3 Click the Load Audio Output Preset pop up and choose the appropriate option for your sequence 24 tracks stereo 5 1 Monitoring L R C LFELs Rs gt p 8 tracks Dual Mono 8 tracks stereo Stereo Monitoring L R Downmix dB If FCP doesn t detect the hardware to support your selection a warning dialog appears in which you can choose to downmix the outputs In the Audio Mixer all the output channels you specified in the preset appear in the Master fader pane Working with Video Scopes Correcting video for output is one of the final steps in a project This process is often aided by two video scopes a waveform and a Vectorscope FCP offers two additional scopes to
90. in Timeline FCP Fit to Fill appears as one of the Edit Overlay options in the Canvas and also as an edit button in the lower portion of the Canvas window With the Fit to Fill function you can fit a new clip into an existing clip location in the Timeline but you can also place a new clip in a gap or marked section of a sequence ee oe tS C SF Fit to Fill Shift F11 To replace a clip or gap using Fit to Fill You can prepare your Fit to Fill edit in FCP as you would in Avid by setting a duration or In and Out points in your Timeline However FCP does not require that you set edit points to perform a Fit to Fill edit You don t even need to select a gap or a clip in the Timeline as the target clip to fill rather you can simply park the playhead over it From the Library of michiel pilgram 284 Speed and Motion Effects 1 Patch the source control to the appropriate destination track 2 In the Viewer open the clip you want to use as the fill source 3 In the Viewer mark In and Out points where you want the fill edit to start and stop If there is no In mark the clip will be used from the first frame If there is no Out the clip will be used to the last frame of the clip 4 Inthe Timeline move the playhead to the clip or gap you want to replace 5 Do one of the following gt Drag the source clip into the Canvas and drop it on the Edit Overlay Fit to Fill option gt Change the third Canvas edit button to Fit to
91. in the Text tool If you are working with a dual screen monitor you may even save this as a custom layout But you can also do what works well for filters and motion effects Edit the clip into the Timeline and reopen it in the Viewer With the playhead over the Timeline clip you can see all your changes in the Canvas as you would when you view text against video in the Avid Title Tool 1 Park the playhead on the generated clip in the Timeline 2 Double click the clip to open it in the Viewer You can also click to select it and then press Return 3 In the Viewer click the Controls tab and make your changes which will appear in the Canvas Creating Titles In Avid you can create and edit text options against an image or background in the same window In Final Cut Pro you first create the text clip and then place it over any clip or background you want in the Timeline Each video text generator has its own set of options or controls some including lines or boxes that you can use in conjunction with the text Unlike Avid FCP provides sample text to get you started otherwise the familiar Avid text options appear but in a different layout From the Library of michiel pilgram 322 Title Tool and Generators ExT in FCP 7 you can also apply alpha transitions that provide a creative approach to making titles You can read more about alpha transitions in Lesson 9 ommo ant ete mn of me 0100 45 13 E FCP Viewer wi
92. indicator moves to the end of the new clip 2 To change the default to always conform sequence settings on first edit without a prompt choose Final Cut Pro gt User Preferences and click the Editing tab In the Auto Conform Sequence pop up menu choose Always NOTE gt If your first edit does not represent the format settings you want for the sequence you can choose the appropriate settings in the Easy Setup dialog discussed in Lesson 3 Snapping in the Timeline In the Avid Timeline you snap the position indicator directly to an edit point by hold ing down the Command key as you drag You may also be accustomed to other snapping alternatives such as holding down the Command key with the Option key to snap the position indicator to the tail of a clip In Final Cut Pro you can turn the snapping func tion off or on by using a shortcut key or clicking the dedicated Snapping button located in the customizable button bar in the upper right area of the Timeline There is a button bar for each of the four primary windows You will learn how to customize button bars in Lesson 3 01 00 36 00 Timeline button bar From the Library of michiel pilgram 36 Translating Basic Editing Skills The FCP Snapping button is a tiny image of two opposing arrows When active the Snapping button is green and appears somewhat concave If you click to make it inactive the image turns gray and appears convex Snapping on Snapping off When
93. interface according to your prefer ences and the type of editing you are doing such as narrative editing compositing visual effects or mixing or designing audio In Lesson 3 you will learn how to change the inter face layout and create custom layouts Working with Projects Unlike Avid where you work on only one project at a time Final Cut Pro allows you to have multiple projects open simultaneously To contain a group of projects FCP has a From the Library of michiel pilgram Working with Projects 7 Browser window in which you can simply browse through your projects and the project elements The Browser serves a similar purpose to Avid s Project window to contain and organize bins clips effects and sequences Avid s project window with bins The FCP Browser window with bins When you open FCP from its program icon when no previously saved project was left open an untitled project will be created automatically with the current settings FCP uses the default name Untitled Project for every new project If you double click a specific FCP project file from your desktop that project will open as the program is opened The name of any open project appears on a folder tab in the Browser window and each proj ect has its own tab identified by a project icon A single Effects tab is always present as discussed in Lesson 9 In the Timeline open sequences appear as tabs as well NOTE P As with Avid Final Cut Pro can be set
94. is available for cutting through all the unlocked tracks in the sequence The Razor Blade tools are on the Tool palette you can choose them with shortcut keys either B for Razor Blade tool or BB for Razor Blade All tool 1 Choose the Razor Blade tool B single blade to cut through or divide all unlocked tracks of a single clip or the Razor Blade All tool BB double blade to divide all unlocked tracks of the sequence The Razor Blade tools ignore Auto Select status on tracks From the Library of michiel pilgram Extending Edits 153 2 Park the playhead at the desired add edit location This is not required but can give you a more precise result if necessary 3 With snapping on move the Razor Blade tool into the sequence Let it snap to the playhead location and click Piterrriis Prrrrest Lie ETENEE iz O01 00 06 00 When the Razor Blade snaps to the playhead the affected tracks have a thin playhead stem whereas the other tracks show a thicker playhead stem NOTE P The Razor Blade tools snap to the playhead location locators or edit points in the sequence Extending Edits A feature that is often used in Timeline editing in Avid and Final Cut Pro is the Extend Edit function which allows you to roll one or more edit points to a desired location with one keystroke or button click Where Avid marks the location of the extend edit using In and Out points FCP uses the playhead position which can be much faster
95. it directly in the Canvas window The principle behind motion paths is simple After you place an initial position keyframe FCP automatically creates a new keyframe for any position change that occurs afterward The simplest use of a motion path is to fly an image or a title across the screen If this is new territory try a simple motion path first In the following images two keyframes were used to animate the clip moving into the image area Keyframe 1 starting location Interpolated motion between keyframes Keyframe 2 ending location From the Library of michiel pilgram 310 Speed and Motion Effects To create a simple motion path 1 In the Timeline double click a clip to open it in the Viewer and position the Timeline playhead at the beginning of the clip In the Canvas turn on Image Wireframe mode or press W Change the Canvas zoom view to 12 or 25 percent so you can see outside the active image area when the image is moved offscreen In the Canvas window click and drag the image off the screen to the left Hold down Shift to constrain horizontal and vertical movements To set a keyframe at this location do one of the following gt In the Viewer click the Motion tab and click the Keyframe button for the Center parameter which controls the image s position gt Click the Keyframe button in the Canvas to apply a keyframe to all motion attri butes at this location You can also press Control K to ach
96. items is a set of master templates that were created in the Final Cut Studio Motion application These master templates contain several design concepts each with its own set of animated templates that you can use for opens lower thirds backgrounds bumpers and so on You edit these templates into a sequence as you would any other generated text item customize the text in the text fields of the Controls tab and add images into drop zones that are designed into the template You can also cre ate your own titles in Motion and save them as master templates With these Motion templates you can send a template back to Motion change the back ground from red to blue or make other changes and save it In Final Cut Pro all uses of that template are updated with the saved change A master template can be applied from the Effects tab in the Browser the Effects menu and the Generator pop up menu You can also access and browse the offering of master template styles by choosing an option in the Sequence menu Depending on which window is active choosing this option will either open the master template into the Viewer or edit it directly into the Timeline To open a Motion master template into the Viewer 1 Click in the Viewer and choose Sequence gt Add Master Template 2 Inthe Master Template Browser browse through all options or click a specific theme in the left pane Limit the options to a single format by clicking the Show pop up menu and
97. lower right corner of the Viewer to expand it out to the Canvas The distinctive lighter area in the keyframe graph represents the clip length in the Timeline The playhead position tracks the location of the Timeline playhead loca tion If you move one the other moves in tandem This allows you to define a key frame location in the Timeline and then set the keyframe in the Viewer EXE To quickly expand the keyframe graph area to its window width press Shift Z Fit to Window ETT To see a really large keyframe graph area drag the Filters tab from the Viewer into the Timeline tab area When you see the black outline appear in the Timeline release the tab To return the Filters tab drag it into the Viewer tab area or Control click the tab in the Timeline and choose Close Tab and it s restored to the Viewer From the Library of michiel pilgram 268 Transitions and Effects 4 Move the playhead to where you want the first keyframe and do one of the following gt Use the Pen tool or Option click to set keyframes directly on the keyframe line in the Viewer timeline gt Park the playhead on the keyframe graph and click the Keyframe button This will add or delete a keyframe at the playhead position i mi e JET NOTE gt When the playhead is over a keyframe the Keyframe button in the Filters tab changes from a hollow diamond to a solid green diamond 5 Move the playhead to the next keyframe location and
98. luma Then disable that filter l iS G Es ro T O gt Choose Effects gt Video Filters gt Color Correction gt Broadcast Safe and adjust the parameters to clamp the excess luma or chroma Then disable that filter EXE You may find that you achieve the best video correction results by applying a combination of filters Correcting Image Color While some versions of Avid s products offer similar capabilities to correct color FCP provides extensive color correction options through two color correction filters the Color Corrector and Color Corrector 3 way Each of these filters provides a more visual approach to adjusting parameters By clicking a Visual button in the Filters tab or by From the Library of michiel pilgram Correcting Image Color 437 clicking the specific Color Corrector tab you can work more intuitively with color wheels rather than typing in numeric fields Click the Visual button or Color Corrector tab to view Color Corrector parameters Color Correction Filters You can access and edit the two color correction filters Color Corrector and Color Corrector 3 way in similar ways but they have different applications The Color Corrector filter has one color balance control that affects the whites of a clip and another color con trol that affects hue It has sliders to control the whites mids blacks and saturation in the image and some buttons that you can use to automatically set white or b
99. marks Audio marks From the Library of michiel pilgram Adding and Deleting Tracks 45 NOTE gt To remove a split edit point choose Mark gt Clear Split and choose one of the options or clear both parts of the audio or video split by using Option I or Option O and rebuild the split Adding and Deleting Tracks Avid s commands for new video and audio tracks are Command Y and Command JU respectively There is no corresponding default keyboard shortcut in FCP for adding or deleting tracks but there are several other ways you accomplish the task You can even add a specific number of tracks to the Timeline at one time In Avid you can have 24 video tracks and 24 audio tracks FCP allows you to have up to 99 tracks of video and 99 tracks of audio New Video Track New Audio Track New Meta Track New Title Avid New Track options To add or delete tracks Do one of the following gt Choose Sequence gt Insert or Delete Tracks In the Insert Tracks window select the number and type of tracks you want to insert or delete and where you want them placed You can never delete the V1 or A1 track Insert Tracks M Insert 1 Video Tracks C Before Base Track After Last Track M insert 2 Audio Tracks Before Base Track After Last Track EEE Cancel ek From the Library of michiel pilgram 46 Translating Basic Editing Skills gt Control click in the Timeline track area above the
100. media file on your hard drive The following Modify actions change your underlying QuickTime media file Reel Number Rename gt File to Match Clip Timecode vy VvV vy 7y Timecode format drop frame or non drop frame To change clip name reel number or timecode 1 In the Browser or bin make sure the view is set to View as List 2 To change the name of a clip do one of the following Select the clip press Enter to highlight the current name and type the new name You can also click in the text area of a clip under the Name column as you would for any Macintosh file Two Dolphins Eg CU dolphin by side of pool ease 13170316 CU trainer by pool claps 13 27 46 09 13 2755 01 CU TS 2 dolphins lift tails in pool 23 28 28 02 9 13 28 3615 NOTE gt This method changes the clip name but not the media filename on the hard disk While linking is maintained it is still a good practice to modify a clip name using one of the two Rename options that follow From the Library of michiel pilgram 396 Project Management gt To change the name of the project clip to match the media file name in the Browser Control click the clip and from the shortcut menu choose Rename gt Clip to Match File gt To change the media file name on the hard disk to match that of the clip name in the project in the Browser Control click the clip and from the shortcut menu choose Rename gt File to Match Clip Cut Copy Cl
101. media files and you can batch capture your media at a different resolution What You ve Learned gt You can use the Find command to find a clip or clips in a sequence or in the Browser When using it in the Browser you can add criteria to your search that match the Browser column headings and you can view the results in a Find Results window similar to how you would view the contents of a Custom Sifted bin in Avid The Find Results window displays the results of a search You can refine your search by changing criteria that will cull or add to the results in the Find Results window When you change the reel name or timecode for a clip it changes that information on the QuickTime media file on your media drive Changing the name and reel name of a master clip changes it in all other affiliate uses of that clip You can use the two Modify gt Rename commands to make sure clip names and media filenames match FCP can find and identify duplicate frames used in a sequence as long as all clips have reel names From the Library of michiel pilgram What You ve Learned 421 Many changes can be made to a group of clips in the Browser by selecting them in List View and Control clicking in the column where you want to make a change To make a clip or group of clips offline Control click the clip and choose Make Offline from the shortcut menu Some render management tips and techniques include previewing render effects as much
102. minus sign Z Option Z Shift Z Shift Option Z H Command Z Commancd Shift Z Option Q What You ve Learned 25 Zoom in at the playhead position or selected area Zoom out at the playhead position or selected area Select the Zoom In tool to enlarge the view Convert the Zoom In tool to the Zoom Out tool to shrink the view Fit the entire sequence in the Timeline window Expand the selected clip or clips to fit in the Timeline window Select the Hand tool Undo the most recent step or action Redo the most recent undo step Open the User Preferences window From the Library of michiel pilgram s p From the Library of michiel pilgram lesson 2 Translating Basic Editing Skills Translating your basic Avid editing skills to Final Cut Pro is going to be like driving someone else s car It may not be as comfortable as driving your own at first but all of the equipment does pretty much the same thing and it gets you where you re going Think of this lesson as your first test drive around the block no long road trips just yet Those will come later Here you will learn to put together a cuts only bare bones sequence You will master parts of the editing interface view clips mark them learn different ways to make overwrite and splice edits and make Timeline adjustments 27 From the Library of michiel pilgram 28 Translating Basic Editing Skills Using Play Commands If you compare the Avi
103. more than one clip or an entire track by selecting the clip clips or track and choosing Sequence gt Solo Item or by clicking the Solo button in the Timeline audio controls You can scrub audio with the playhead or the shuttle control you can turn off audio scrubbing by choosing View gt Audio Scrubbing or pressing Shift S You use the drag hand in the audio tab to edit an audio only clip to the Timeline or drag it to a Canvas overlay To isolate one or more audio or video tracks you can make a portion of the Timeline static In the Viewer adjust audio levels by moving the Level slider entering a numerical value in the dB box or dragging a pink overlay line up or down When you toggle on the Clip Overlay icon in the Timeline a pink volume level overlay appears on the sequence clips Drag the line up or down to adjust the gain amount You can adjust the audio level or pan of a clip or clips by selecting them and choosing Modify gt Audio to select a fixed amount You can choose Modify gt Levels to set levels in the Gain Adjust dialog You can unpair or re pair the links between audio track stereo pairs by choosing Modify gt Stereo Pair Linked video and audio tracks can be unlinked by toggling the Linked Selection con trol in the Timeline button bar Option clicking a clip s video or audio track will temporarily override the link between the tracks You can lock all audio tracks except one by Option clicking a L
104. not ready to do a final render because you are still making adjustments to the effect Oftentimes the effect tweaking can be performed on one area of the clip When this is the case do what you do in Avid You can isolate and render only that portion of the clip Once you ve isolated the portion you want to test you can keep rendering that smaller portion until you tweak the effect to your liking Then you can render the entire clip or group of clips You have multiple ways to isolate a smaller portion of unrendered material gt Set In and Out marks in the clip and choose Sequence gt Render Selection gt Use the Razor Blade tool B to add an edit for that section or Control V with the desired track s Auto Select enabled if you re keybound Select the add edit clip and choose Sequence gt Render Selection gt Use the Range Selection tool GGG to select a specific range of frames within a single clip or between two or more clips on the same track Choose Sequence gt Render Selection Sere a dolphins tand slo m Preserve Render Files Preserving files that have already been rendered will help you avoid having to re create them There are different ways to preserve render files gt Pay attention to when you turn track visibility off and on If you toggle off the vis ibility of a track you will lose all render files on that track In fact when you turn off track visibility on a track that has rendered clips in it FCP
105. of a Viewer frame in the current sequence Avid 5 has an enhanced Reverse Match Frame that shows multiple occurrences of a source frame one by one with each click of the Reverse Match button FCP 7 can detect any mul tiple occurrences of a chosen Viewer frame by highlighting affiliated clips in your current sequence and all at once From the Library of michiel pilgram 146 Advanced Editing To find all affiliated clips containing the same source frame in the current sequence do one of the following gt Choose View gt Reveal Affiliated Clips in Front Sequence gt Control click the desired clip in the Browser or Timeline and from the shortcut menu choose Reveal Affiliated Clips in Front Sequence Clip Clip in New Window Clip in Editor Copy of Clip in Editor Match Frame Reveal Master Clip Reveal Subclip Parent Clip Reveal Master Multiclip Open in Cinema Tools Reveal Affiliated Clips in Front Sequence Reveal in Finder i Image Image Wireframe Wireframe To open an unmarked master clip As in Avid you can also match a marked sequence clip to a source clip that does not have any marks that is bring a fresh unmarked master clip into the Viewer and then to the Browser 1 Position the playhead over a clip in the Timeline 2 Choose View gt Match Frame gt Source File or press Option Command F The source file appears in the Viewer without any marks in it 3 Drag the clip in the Viewer to the B
106. of clips keep in mind that changes you make to a master clip will also be made to all affiliate clips associated with that master clip The following are changes that track the master affiliate clip relationship gt Clip Name gt Label 2 gt Reel Name gt Anamorphic gt Timecode gt Capture gt Media Start gt Offline gt Media End gt Scene gt Good gt Shot Take gt Log Note gt Master Comments 1 4 gt Label From the Library of michiel pilgram Changing Clip Properties 395 Modifying Clip Name Reel Number or Timecode There are times when you might want to rename a clip inside a project Since FCP recon nects clips to media files using a filename rather than reel and timecode metadata like Avid it is more difficult to reconnect offline clips if their names differ from their associ ated media files To help you maintain this relationship there are two renaming options in the Modify menu Rename gt Clip to Match File and Rename gt File to Match Clip Both of these commands can affect one or more selected clips at the same time There are rare times when youd like to modify a clip s reel number or create timecode for a clip that came from a noncontrollable device and perhaps match that timecode to the rest of the project s ID scheme Be aware when you change the timecode or the reel num ber of a master clip or one of its affiliates in the Browser it actually changes that informa tion on the QuickTime
107. on finding clips bins Locator text text in clips sequence gaps or flash frames in a sequence Finding an Avid master clip or Find Bin command is the same as the Final Cut Pro Reveal Master Clip command in the View menu But you can put the FCP Find command to other uses such as searching for a clip within a specific sequence or project You can search for a clip by name or other fields such as by timecode or file type The FCP Find command can also be used for more complex tasks by adding search options to a criteria list Once you ve found the items you can then delete them or make changes to them This is also a good way to find unused media in your proj ect In this way FCP s Find command performs the same functions as Avid s Custom Sift feature only the results are not limited to a single bin or even a single project PIN Chips that meet these Criteria Space for Rent ASO Tind clips that meet these criter Avid s Custom Sift dialog NOTE gt The Find command can search in all open projects or a specific project or even a tab in the Browser This means you can open a clips bin as a tab and search through it To find clips or items within a sequence Finding a clip or clips in a sequence is a simple matter of knowing what you want to find and generally where you want to search for it For example you may need to find all the From the Library of michiel pilgram Using the Find Command 389 clips used in a partic
108. other system settings in the System Settings window In the Sequence Settings window you can change attributes such as Timeline options and render settings for an existing sequence The Item Properties window displays all the known information such as a clip sequence graphic file and so on about a selected item You resize the interface windows dynamically by dragging on a window s boundary You resize a Timeline track dynamically by dragging its boundary line in the Timeline track area Holding Shift as you drag a track boundary in the Timeline adjusts all audio and video tracks as a group Holding Option adjusts only the audio or video tracks depending on which type of track you are dragging There are preset interface layouts and you can set your own as a custom layout You can also save a custom track layout in the Timeline Any saved layout can be trans ferred to and used on another computer From the Library of michiel pilgram 78 Customizing Your Project Yy vV vy 7y Over 840 mappable functions may be assigned to a customized keyboard layout You can also map button commands to any of the four interface window button bars Both the button bar layout and customized keyboard layouts can be saved Similar to Avid s Text view the Browser s View as List option displays over 65 columns of information and enables you to move columns choose sort parameters and type log notes directly in certain column fields Ch
109. point trimmed earlier to shorten the clip NOTE P Like clips gaps can also be trimmed using the Ripple tool however you will not see the tail of the ripple tool flip to point to the gap side of the edit To trim using keyboard shortcuts 1 Click an edit point using either the Roll or Ripple tool You can press the keyboard shortcut V to select the edit point and U to cycle sides Do one of the following gt Press the lt or gt key to trim one frame These act like the Avid Trim Frame keys Press Shift lt or Shift gt to move the multiframe trim amount gt Press the Left or Right Bracket key or to trim one frame gt Press Shift or Shift to trim the multiframe trim amount EXE Ifyou want the multiframe trim amount in FCP to match Avid s go to the User Preferences Editing tab and enter 10 in the Multiframe Trim field To enter a trim amount 1 2 Select an edit transition using one of the trim tools Type a minus and then the amount as you would in Avid for a negative trim or just type the trim amount for a positive trim This amount appears at the top of the Timeline Press Return From the Library of michiel pilgram 92 Trimming Clips To trim using the Selection tool 1 2 Press A to return the pointer to the default Selection tool Drag one end of a clip left or right NOTE gt This method is similar to the Avid 5 Overwrite Trim tool Depending on whether the
110. projects 412 413 creating offline sequences 418 decomposing sequences 419 moving projects 413 options 411 overview of 387 409 410 recompressing media files 400 417 418 Media Mover 412 Media tool Avid 387 Merge Clips Browser 205 222 merging audio clips creating merged clips in Browser 221 222 creating merged clips in Timeline 220 221 overview of 219 220 MFX format Avid 344 midtones adjusting 439 MobileMe exporting to 363 Modify menu accessing speed and freeze frame effects 280 changing clip name reel number or timecode 395 397 changing clip properties 394 monitoring audio tracks 195 real time audio mixing 215 216 single clips or tracks 196 monitors displays adding second 62 display options 5 displaying Canvas output on external monitor 63 mono audio audio tabs in Viewer 193 linking unlinking audio clips 206 recording voiceovers 223 Stereo Mono button 104 working with 203 204 Motion Apple Pro Training Series Motion 4 Spencer 317 opening Motion master template into Viewer 339 sending clips to 343 sending files to Final Cut Studio applications 362 Motion Effect button Avid 280 motion effects adjusting speed in Viewer 288 290 applying speed change 280 282 applying Speed tool 290 292 changing clip speed with Fit to Fill 283 changing image view in Canvas or Viewer 296 297 controlling speed segments in Timeline 285 288 copying and pasting motion attributes
111. right and vice versa GET In the Viewer drag the zoom control to the far left to zoom into the audio track as much as possible When you do this the playhead widens to indicate the width of a single frame Later in this lesson you ll learn how to set keyframes on a subframe level when zoomed in to this level of magnification Waveform Display In each Viewer audio tab is an audio waveform display or two waveform displays if the clip has stereo audio The waveform display is always present when you select the audio tab of the Viewer but once a clip has been edited it can be turned off and on in the Timeline To display the audio waveforms in the Timeline Do one of the following gt Inthe Timeline choose Sequence gt Settings or press Command 0 and select the Timeline Options tab Select the Show Audio Waveforms box Track Display C Show Keyframe Overlays W Show Audio Waveforms Show Through Edits C Show Duplicate Frames Show Audio Controls gt Press Command Option W In the Timeline you see a waveform display in all of the audio tracks From the Library of michiel pilgram Monitoring Audio Tracks 195 gt Click the Timeline Layout pop up control and from the pop up menu choose Show Audio Waveforms Timeline Layout Popup Ae feaa haaa f Monitoring Audio Tracks Obviously its important to hear the audio tracks in order to make editorial decisions Like Avid Final Cut Pro allows you to
112. segments and then change each segment for the desired speed effect And by dragging a keyframe within a speed segment you can further fine tune your speed effect To work with speed segments in the Timeline you have to turn on the Clip Keyframes control 1 In the lower left of the Timeline click the Clip Keyframes control Toggle Clip Keyframes T From the Library of michiel pilgram 286 Speed and Motion Effects When you turn on Clip Keyframes the Timeline tracks expand to allow room for the keyframe editor and the speed indicators which are the tiny vertical tick marks across the bottom of each track When the speed ticks are evenly spaced that indicates the clip is moving at a constant speed 2 Control click the Clip Keyframes control and in the Video submenu deselect the Filters Bar option so it is not distracting for this exercise Audio P 7 Motion Bar b Keyframe Editor Select All Y Speed Indicators Select Mone Select All Select Mone 3 Drag the playhead through the clip in the Timeline to identify the frame where you want the speed to change 4 Move the pointer into the speed tick area and snap it to the playhead location When the pointer changes to the Pen tool click at that location When you click with the Pen tool in the speed tick area three speed keyframes are added to the clip one where you clicked one at the first frame of the clip and one at the last frame of the clip This c
113. sequence marker Creating sequence markers places the marker in the ruler of the Timeline as in Avid These markers attach to the timecode location not to an individual clip 1 Park the playhead at the desired location in the Timeline 2 With no clips selected in the Timeline press M or Shift 1 through 8 for a specific marker color From the Library of michiel pilgram Placing Markers 157 A red marker appears in the Timeline ruler and in the Canvas scrubber bar at the playhead location To extend a clip or sequence marker Extending clip or sequence marker durations identifies a marker region in the baseline of a clip or ruler area of the Timeline with an extension bar a feature unique to FCP These markers attach to the timecode location of the sequence or clip Extensions are handy for marking whole regions of interest as opposed to individual frames 1 Park the playhead at the desired location in the Timeline or highlighted clip 2 Press M to begin the region with a marker 3 Doone of the following gt Play past a marker and park the playhead where you want to end the extension Press Option tilde to extend to the right of any marker gt To shorten the extended marker reposition the playhead to the left of the extended tail but after the initial marker Press Option tilde gt Park on the marker and open the Edit Marker window by pressing M or the Tilde key In the Duration field enter a specific lengt
114. sequences not projects So after you initiate the first edit into a new sequence Final Cut Pro will detect if the format of the clip you are editing matches the format settings of the active sequence If they do not match the clip will not be edited immediately Instead FCP will display a dialog asking if it should change the sequence settings to match the clip This is of course what you will want to do most of the time For best performance your sequence and External Video should be set to the format of the clips you are editing Change sequence settings to match the clip settings Cro Automatic Sequence Conform dialog on first edit of new sequences From the Library of michiel pilgram Snapping in the Timeline 35 If you choose No the Apple Open Format Timeline feature as with Avid s Mix and Match will conform the clip s frame size and frame rate to match the sequence settings In most cases this will be a real time process but must be rendered before final output Regardless of your choice after the first clip is edited to the sequence every subsequent clip will be conformed to match the sequence settings To conform sequence settings on first edit 1 After choosing an edit option such as Overwrite or Insert click Yes in the Automatic Sequence Conform dialog to change the sequence settings to match the clip you are editing As in Avid the edited clip is placed in the sequence and the playhead position
115. set an additional keyframe 6 To move directly to a keyframe location do one of the following gt Click the navigation arrows on either side of the Keyframe button gt Press Shift K to go to the next keyframe or Option K to go to the previous keyframe EXT To keep the wide Viewer configuration for future effects work save it as a custom layout as detailed in Lesson 3 From the Library of michiel pilgram Keyframing Filter Parameters 269 To set keyframes in the Timeline FCP has the unique capability of adding and modifying filter keyframes directly in the Timeline As in toggling on Clip Overlays in the Timeline you begin by toggling on Clip Keyframes to see and work with your keyframes 1 Apply a filter to a clip in the Timeline 2 Inthe lower left of the Timeline click the Clip Keyframes control or press Option T Toggle Clip Keyframes CT O The Timeline tracks open to allow room for a keyframe editing area which appears beneath each track in the Timeline There are also vertical ticks in this area that rep resent clip motion which are discussed in Lesson 10 as well as a separate filters and motion keyframe bar where those effects have been applied to a clip 3 Control click the Clip Keyframes button and choose Video from the shortcut menu Speed Indicators Select All Select All Select Mone Select None EXEL FCP defaults to having all the video and audio Clip Keyframes options on To red
116. shortcut menu This is similar to Avid s Frame mode 2 Doone of the following gt From the Tool palette click and hold the Zoom In magnifying glass icon and when additional tools appear select the Scrub tool hand with two arrows in it ae a a Scrub Tool H hh gt Press HH to select the Scrub tool gt Press Shift Control click to turn the default Selection tool mouse pointer into a temporary Scrub tool 3 Move the Scrub tool onto the image you want to view and drag left or right To change a clip icon Each clip icon displays the first frame of captured material as its representative frame FCP calls this the poster frame because it represents the clip as a poster represents a movie But sometimes those frames aren t a good indication of the material that follows on the clip FCP lets you reset the poster frame in your clip icons 1 Load the clip into the Viewer and park the playhead on the frame you want to be the poster frame From the Library of michiel pilgram 74 Customizing Your Project 2 Choose Mark gt Set Poster Frame or press Control P That frame becomes the poster frame for the clip icon NOTE gt If using Shift Control click Shift right click to scrub you can also set a poster frame by releasing the mouse button and then releasing the keys To use the Show Thumbnail column By displaying a separate Thumbnail column in the Browser FCP can simulate Avid s Script mode
117. smoke All other angles will shift to fill in the empty space and renumber themselves accordingly ET Make sure to hold down the Command key before you click the clip you want to delete or you will accidentally select the clip as the active angle You cannot delete the active angle from the multiclip To add a new angle to a multiclip You can also add new angles to a multiclip after it has been created When you drag one or more new clips into a multiclip in the Viewer an overlay appears offering three options gt Insert New Angle Adds the new angle to the multiclip at the position where you drop it causing other angles to shift to make room for it and renumber accordingly gt Insert New Angle Affiliates Same as Insert New Angle but inserts the new angle into any affiliate multiclips already cut into a sequence gt Overwrite Angle Replaces the angle at the position where you drop the new angle Other angles do not shift or renumber From the Library of michiel pilgram Viewing and Modifying Multiclips 181 1 Drag the clip you want to add into the multiclip in the Viewer but don t release the mouse button 2 When the overlay appears position your pointer and the thumbnail of the clip you want to add over the option you want until the overlay lights up NOTE P You will not see the Overwrite Angle option in the overlay if you try to drop a clip on the active angle as it cannot be replaced 3 Release the mouse
118. snapping is on the FCP playhead will snap to the first frame of a clip in the Timeline a mark point a keyframe or a locator you may have placed in a clip or sequence The play head will snap to all tracks being monitored If you don t want to snap to a particular track toggle off the Visible or Audible control for that track To turn snapping off and on Do one of the following gt Inthe Timeline button bar click the Snapping button gt Choose View gt Snapping gt Press N EXE You can press N to toggle snapping off or on while you are moving the play head and performing other editing functions such as slipping sliding or trimming When snapping is active and you drag the playhead over an edit point mark keyframe or locator little brown triangles appear in the Timeline on either side of the playhead Also the stem of the playhead appears thicker When snapping is off the triangles do not appear and the playhead remains thin From the Library of michiel pilgram Enabling View Overlays 37 Playhead snapping to edit point Playhead over edit point with snapping off EXE Although the playhead does not snap to the tail of a clip you can snap to the head of a clip and press the Left Arrow key to go backward one frame Enabling View Overlays Avid users are no strangers to timecode registers accessible above the Source and Record monitors Information displayed can include clip info timecode clip duration
119. source clip that contains the frames you want to export 2 On the selected source clip move the playhead to the first target frame and press M to set a marker at that location Press M again if you want to enter a marker name in the Edit Marker window Continue setting markers throughout the selected clip Eq You can repeat these two steps to set markers in additional clips and include them as part of the same export action 3 In the Browser create a new bin and name it Stills Export 4 From the Timeline drag the marked clip or clips into the Stills Export bin Click the disclosure triangle next to the bin to reveal the clip contents and then click the dis closure triangle next to each clip to reveal its clip markers Stills Export E whale and dolphin whale hump tail emerges tail sinks 5 Select the Stills Export bin and then choose File gt Batch Export From the Library of michiel pilgram 374 Importing and Exporting The Export Queue window opens with the Batch 1 and Stills Export bins selected Batch 1 Stills Export The next step is the trick If you remember from Lesson 6 you can convert markers to subclips by dragging them into a waiting bin By dragging the markers into the Batch l bin you can export just those marked frames Drag only the markers from beneath each clip into the Batch 1 bin Then click the Stills Export bin s disclosure triangle to hide the clips and their markers ta
120. tab Viewer 250 251 Final Cut Studio exporting clip to 362 Find command finding clips or items within a sequence 388 391 locating clips to make offline 400 overview of 387 388 searching within Browser 391 393 Finder bins compared with folders in Finder 70 finishing and outputting backing up projects 449 452 checking video levels 432 434 correcting image color 436 440 correcting video levels 434 436 creating loading audio output preset 428 429 detecting correcting audio peaks 424 426 making a timecode window burn 447 449 mastering options 445 446 modifying audio output levels 426 428 outputting to tape manually 441 442 outputting to tape with Edit to Tape command 443 444 outputting to tape with Print to Video command 442 443 overview of 423 424 review 452 453 working with video scopes 429 432 FireWire device backing up to 450 support for 104 Fit to Fill extending clips or covering multiple clips 284 overview of 283 replacing clip or gap using 283 285 From the Library of michiel pilgram 466 Index flash drive backing up to 450 folders bins compared with folders in Finder 70 importing 347 fonts changing text parameters 323 Format option Item Properties 61 Format pop up menu 53 formats choosing 53 Compressor used to convert movie formats 381 exporting and 367 importing and 344 345 mixing formats and frame rates in sequences 54 options fo
121. that repre sents the original subclip markings Lifting and Extracting Lift and Extract work the same way in Final Cut Pro as they do in Avid though the ter minology is a little different The FCP terms are Lift and Ripple Delete Extract FCP also provides some helpful selection tools you can use to identify the area you will lift or extract Da a Avid 5 Lift and Extract buttons From the Library of michiel pilgram 42 Translating Basic Editing Skills Selection Options You can apply the Lift and Ripple Delete functions to a number of targets gt An individual clip gt lt A group of adjacent clips click the first clip and Shift click the last clip in the group gt A group of nonadjacent clips click the first clip and Command click each addi tional clip gt Between In and Out points in the Timeline on any Auto Selected tracks NOTE P The default Selection tool A can be used to select all of these targets except for a range between In and Out points To select between In and Out points you must set edit points and then select tracks using Auto Select controls ETE To lift or extract a range of material between In and Out points on a specific track Option click the Auto Select control in the Timeline track area for that track to solo Auto Select it Click additional Auto Select controls for each track you want to include in the lift or extract a Toggle Auto Select A2 Ci To lift material from the Ti
122. the Canvas Image Wireframe overlay A round rotate icon appears over the wireframe edge Drag the image down or up to rotate it From the Library of michiel pilgram Rotating an Image 301 gt Type a rotation amount in the number field in the Motion tab A positive value rotates the image clockwise a negative value rotates it counterclockwise gt Drag the rotation circle on the Rotation parameter line As you drag the numeri cal value is updated as well To reposition the anchor point An image s anchor point is the point around which a clip s rotation takes place An anchor point doesn t have to be in the center of the image although that is its default location Do one of the following gt With Image Wireframe mode active press D to select the Distort tool and move your pointer over the center of the image where the anchor point is When you see the Distort tool appear drag the anchor point from its default center position to a dif ferent location The Distort tool is discussed in more detail in the following exercise gt Double click the clip to open it in the Viewer and click the Motion tab Enter hori zontal and vertical pixel locations in the Anchor Point fields for where you want the anchor point to be From the Library of michiel pilgram 302 Speed and Motion Effects In the following example the image s anchor point was changed to the lower right corner When a clockwise rotation is appli
123. the Capture Input pop up menu choose the appropriate preset for the media From the Library of michiel pilgram 108 Capturing and Transferring 4 In the Scratch Disks window click Set and navigate to your target drive or scratch disk f lt 73 q q l i When you set a scratch disk FCP automatically creates three folders on each scratch disk target media location Audio Render Files Capture Scratch and Render Files When you capture clips they are saved into the Capture Scratch folder When you render files during editing the render files are saved to the appropriate render file folder rI Audio Render Files C Capture Scratch I Render Files NOTE P You can set additional scratch disks for captured clips or render files by click ing the Set button on subsequent rows With a second scratch disk set you can click the boxes of the items you want to be saved in that location and deselect any items from any other scratch disk locations When more than one scratch disk is set FCP defaults to the one with the most free space From the Library of michiel pilgram Capture Preferences 109 Capture Preferences The Final Cut Pro User Preferences window Option Q has settings that affect the cap ture process As with all settings you may need to experiment with what the preferences do and how they work in your particular equipment configuration Sync a
124. the RT pop up menu and choose Safe RT Some effects will require rendering with this setup Git Experiment with different combinations under the RT menu to see which options give you the most real time effects as you preview Adding Transitions Both Avid and Final Cut Pro use the drag and drop method to place a transition effect directly on an edit point in the Timeline While Avid has a Quick Transition button FCP has Add Video Transition and Add Audio Transition buttons which you can include in the Timeline or Canvas button bar In addition FCP uses powerful keyboard shortcuts shortcut menu options and additional drag and drop functionality to place and modify a dissolve or other transitions You add audio cross fades to clips the same way you add video dissolves And if you are an avid keyboard enthusiast you ll find that default transition operations can be applied to video or audio edits without leaving the keys However you won t find an option to Add and Render an effect in FCP as you will in Avid You will find several approaches to applying a single transition to multiple edit points at one time ee r I Add Video Transition T Quick Transition Avid Quick Transition button FCP Transition button in Timeline button bar ET To add a button to the FCP button bar open the Button List by pressing Option J or choosing Tools gt Button List and following the steps outlined in Lesson 3 To add a transition
125. the following gt Find the filter you want to apply from the Browser Effects tab and drag and drop it onto the desired clip or selected group of clips in the Timeline From the Library of michiel pilgram 248 Transitions and Effects gt When the pointer with the filter touches a clip in the Timeline an outline appears around it and any other selected clips indicating that the filter will affect them gt When more than one clip is selected in the sequence dropping the filter onto one will apply that filter to all selected clips in the sequence EXT You can apply several filters from the Effects tab at one time by Command clicking the filters and dragging them to the target clips gt With a clip or clips selected choose Effects gt Video Filters and select a filter gt To apply an effect to a clip in the Viewer double click the clip from the Browser or in the Timeline Drag and drop a filter from the Effects tab directly onto the image in the Viewer or select a filter from the Effects menu while the Viewer window is active NOTE P If more than one clip is stacked under the playhead the filter will be applied to all video or audio clips at that location To target your filter destination either select the clip or clips you want to receive the filter or turn off Auto Select for those tracks Audio filters are applied in the same way as video filters From the Library of michiel pilgram Applying Segment
126. the settings for a particular format click the Options button Movie Settings W Video Settings Compression H 264 Quality High Key frame rate 24 Frame reordering yes Encoding mode multi pass Dimensions 477x3357 Current _ Allow Transcoding M Sound Settings Format Integer Big Endian Sample rate 48 000 kHz Sample size 16 bit Channels Stereo L R Mw Prepare for Internet Streaming _ Fast Start I Settings Cancel ED Depending on the format option you choose a settings window appears providing options for that format If you chose AIFF a Sound Settings dialog would appear in which you could select stereo or mono channels change the bit rate and so on The different options allow you to tailor the export for your project s needs 7 When you have selected all the appropriate options and returned to the Save window click OK to initiate the export process To export a single frame as a still image As in Avid one of the ways in which you can use the QuickTime Conversion export option is to export a single frame of video It may be necessary when working with graphics to give an artist a single frame that can be used to create a comp or title Exporting a single frame from a clip is a simple process with a variety of format output options From the Library of michiel pilgram 372 Importing and Exporting 1 Ineither the Timeline or the Viewer par
127. this method not only speeds up the editing process but it also opens up more editing and compositing possibilities If working with sliders and numeric input is more practical for an effect you can use the Motion tab and its keyframe graph in the Viewer which is the Effects Editor for motion effects And with the FCP real time engine you can combine several streams of motion effects in one comp and play them in real time without rendering 279 From the Library of michiel pilgram 280 Speed and Motion Effects Applying a Speed Change In Avid you click the Motion Effect button either on the Fast menu or wherever it may be mapped to open the Motion Effect Parameters window Here you can change a clip s speed perform a Fit to Fill edit create a strobe and so on Motion Effect Editor Avid Motion Effect command In Final Cut Pro you access the speed and freeze frame motion effects using the Modify menu or keyboard shortcuts and you enter speed attributes in the Change Speed dialog In this dialog you can create speed changes where the speed is constant throughout You can also create variable speed changes where the clip speed ramps up to the new speed and or ramps down from it Scale to Sequence Conform to Sequence Clip Enable AB Link ai Stereo Pair XL Clip Settinas Label k Rename 7 Duration 5 Levels Copy Filters k Audio d Timecode Make Offline oD FCP applies a speed cha
128. this option in the Timeline Fast menu Final Cut Pro also has this option and like in Avid you can custom ize the handle length for your project You can also use this function for a video project simply to determine if there are multiple uses of material in a sequence NOTE gt For FCP to detect duplicate frames in all clips each clip must have a correct reel name To find duplicate frames in a sequence 1 Open the sequence in which you want to search for dupes 2 Click the Timeline Layout pop up menu and choose Show Duplicate Frames You can also press Command 0 to open the Sequence Settings window click the Timeline Options tab and enable Show Duplicate Frames BB bo ee eee Embe tal Show Video Filmstrips Show Audio Waveforms Show Through Edits Show Duplicate Frames Show Clip Labels Show Audio Clip Names Show Video Clip Names Save Track Layout Restore Track Layout Reduced Small Medium Large In the Timeline if any clip frames are being duplicated from their first use the same colored bar will appear in both the originating clip and the additional uses of that material The bars are positioned on the sequence clips to indicate where the dupe frames are located Dupe frame indicators From the Library of michiel pilgram 402 Project Management In the screen shot the duplicate frame bars in the first and second clips indicate that the frames used in the head portion of the first clip were al
129. to creating motion paths than using sliders Final Cut Pro allows you to enable Image Wireframe mode in the Viewer or Canvas whenever you like The Image Wireframe mode is like having a remote control for many motion effect parameters This along with the image zoom option covered in the previous exercise lets you manipulate a clip s motion attributes directly on the Viewer or Canvas image To resize an image Often we need to reduce or enlarge an image for effect In Avid you apply the Resize effect or 3D Warp In FCP resize controls for image reduction or enlargement the Scale param eter are built into each clip To create such effects directly on the clip itself you simply need to activate the Image Wireframe mode 1 Double click a sequence clip to open it in the Viewer and select the Motion tab Move the Timeline playhead over the sequence clip to see it in the Canvas 2 To select Image Wireframe mode make the Canvas or Timeline active and do one of the following Click the View pop up menu and choose Image Wireframe blof Canvas Motion Effects in Lesson 9 Project Motion Effects 6 00 01 48 04 su By image Wirefranne Wireframe Show Overlays Show Excess Luma RGE Alpha Alpha RGB Black White Checkerboard 1 Checkerboard 2 gt Choose View gt Image Wireframe gt Press W From the Library of michiel pilgram Sizing and Positioning an Image 299 NOTE gt Pressing W repeatedly cycles throug
130. tracks in 30 reconnecting clips in 354 355 render status area 259 saving track layout 65 selecting group of target clips in 235 selecting deselecting clip in 128 129 setting keyframes in 211 212 269 271 slipping clips in 147 148 snapping in 35 37 speed percentage option 282 split edits in 43 44 static tab 199 Index 479 syncing audio tracks 207 208 time values 131 viewing audio levels 192 working with 14 zooming and positioning 20 21 Timeline trimming in keyboard shortcuts for 91 rippling single edit points in 90 91 rolling two edit points in 89 90 Timeline Layout Popup arrow 65 Timeline Options tab 57 60 Timing option Item Properties 61 Title and Marquee tools Avid 317 title crawl 326 Title Safe overlays 178 Title tool controls Avid 322 titles Boris FX set 332 333 changing text parameters 323 creating 321 322 editing basic text clip 322 323 Tone Preview button mastering options 445 Tool palette Audio Mixer tab 214 Edit Selection tool 82 in FCP interface 5 Ripple tool 90 Roll tool 89 Scrub tool 73 Slip and Slide tools 147 Trim tools 81 Voice Over tool 223 working with 17 Zoom tool Z 21 tooltips toggling on off 18 viewing button functions with 29 Track Height control in Timeline 14 19 Track Lock control in Timeline 19 track selector in Trim Edit window 83 tracking changing text parameters 323 tracks adding dele
131. up in choosing the correct compression settings for your exports you simply choose your target destinations such as Blu ray or YouTube and Share chooses the best settings for those destinations Export Settings QuickTime Movie Use Marks Export As QuickTime Reference 7 E Use Enabled Tracks Defaults Digital Mastering Flatten Video Tracks EFT Fill Spaces with Black E Render All ideo Effects Display Aspect Ratio 4 3 square pixel ka E Mixdown Audio Tracks Audio Format ALFF r Sample Rate 48 kHz ka Sample Bit Depth 16 Bit ka ___ Use Network Media References Lo Use Avid DY Codec Add Shares for Media Drives COLOR LEYELS o RGE E 6017709 Save as Save Cancel Avid s Export Settings window Using the Share dialog in Final Cut Pro 7 it s a snap to perform single or multiple exports of sequences or clips Export in FCP 7 carries several advantages over Avid export which requires making and activating separate Export modules in Settings and even improves on the FCP traditional QuickTime Export options discussed in the following section And best of all when using Share you can go back to work editing even while multiple jobs are busy being encoded due to Share s background rendering capability From the Library of michiel pilgram 364 Importing and Exporting 5 Apple ProRes 422 MasterQT_ _ Austra C Open with QuickTime Pla Filename Geniery 2 Cala
132. user settings 2 User Preferences Option Q accessing 52 Autosave Vault 449 capture preferences 109 110 capture settings 109 110 changing naming preferences 122 124 changing transfer preferences 121 122 creating loading audio output preset 428 429 Dupe Detection 402 duration settings 320 Editing tab 87 Record Audio Keyframes pop up menu 218 219 toggling tool tips on off 18 Undo levels 57 viewing options 56 58 V Vectorscopes accessing 432 capturing clips and 104 video scopes 429 Index 481 video adjusting In Out marks 44 Audio Video Settings 52 capture options on Clip Settings tab 103 changing settings for 54 56 checking levels 432 434 copying and pasting video attributes 256 258 correcting image color 436 440 correcting levels 434 436 encoding with Compressor 381 resolution in capture settings 105 selecting video tracks to trim 92 switching independently of audio 185 186 video only edits 32 working with video scopes 429 432 video clips render status 259 replacing based on audio cue 150 setting keyframes in Timeline 269 video filters accessing 247 applying 248 applying effects to text 325 applying to selected range 249 effect categories 230 overview of 246 viewing and modifying filter parameters 251 252 Video Generator pop up menu 5 318 video generators animating 3D text 333 applying drop shadow to text clip 3
133. view the video levels in your clips Together the group of four video scopes From the Library of michiel pilgram 430 Finishing and Outputting appears in the FCP Tool Bench window They prove highly useful especially when hard ware scopes aren t available Display ooo Tool Bench Brightness video Scopes button Frame Viewer ja View Current Frame ey Wectorscope Histogram Scales Brightness button Waverorm Monitor Rod Pa rade FCP Video Scopes tab in Tool Bench The four scopes in the FCP Video Scopes tab are the Waveform Monitor the Vectorscope the RGB Parade and the Histogram As an Avid editor you re already familiar with using the Waveform Monitor to view luminance and black levels and using the Vectorscope to view hue and saturation The RGB Parade shows the levels of individual RGB chan nels The Histogram like any other camera or graphic histogram such as the Photoshop Levels dialog displays the relative strength of all luminance values across a video frame in digital values from 0 to 255 from black on the left to white on the right To use video scopes 1 To open the Video Scopes tab do one of the following Choose Tools gt Video Scopes or press Option 9 gt Choose Window gt Arrange gt Color Correction From the Library of michiel pilgram Working with Video Scopes A Tool Bench window opens with the Video Scopes tab not unlike an Avid Tools
134. will show a prompt indi cating that you will lose your render files Warning Render files may be lost if you Continue Undo will restore them M Warn next time d Cancel Continue From the Library of michiel pilgram Render Management Tips 405 gt An alternative to toggling the entire track s visibility is to toggle the visibility of a single clip on a track or a group of clips this will preserve all other renders on that track To turn off the visibility of a clip or group of clips select the clips Control click one of the selected clips in the Timeline and choose Clip Enable or press Control B NOTE gt When you disable a single clip you also lose the render files for that clip You will not be warned in this approach but you will see a render bar appear above the clip s duration in the Timeline gt Another way to preserve render files is to export them after they have been rendered This will create a new media file that will not require rendering To use the exported effect clip in your project just import it as a new file gt You can also step into a nest and render files within that nest These render files will remain linked to the nest when you edit the nest into another sequence If you were to render a nest in the parent sequence the render files would be associated with the parent sequence and not the original nest Disable Playing Rendered Files When you move the playhead over an image that
135. you click the Select All Tracks tools enable you to select all clips on all tracks forward or backward You deselect a clip or clips by clicking in the gray area above any clip in the Timeline or by pressing Command Shift A You can reposition a clip by dragging a selected clip s to a new position in the Timeline typing a numerical value to move a clip a specific amount of time or frames or pressing Bracket key shortcuts lt or gt and or to move one frame or the default trim amount set in User Preferences From the Library of michiel pilgram What You ve Learned 165 FCP allows overwrite and insert drag and drop editing from the Browser or the Viewer directly to the Timeline FCP uses Mac cut copy and paste commands to cut copy and paste clips but it does not have Avid like Clipboard tools or icons You can copy clips from one sequence to another or copy clips and bins from one project to another You can use the track Auto Select buttons to target copy and paste operations from and to specific tracks Option dragging a clip s enables you to drag a copy to a new location as an over write edit release the Option key before releasing the mouse button or as an insert edit release the mouse button before releasing the Option key Avid s Segment mode displays Segment Drag Quads showing a clip s In and Out points and frames on either side of the clip FCP displays just the frames on either side of the locatio
136. 0 03 23 P CU woman leans over water 00 00 10 24 U TS dolphins face O02 Ez CU TS dolphins f 00 00 02 10 Thumbnail column displayed 3 Scrub through the clip by dragging left or right in the thumbnail image In the Thumbnail column you can use the default Selection tool A to scrub 4 To change the clip s poster frame in the Thumbnail column scrub to the new frame and hold down the Control key release the mouse button and then release the Control key Performing Storyboard Editing The Final Cut Pro storyboard editing function begins by arranging clip icons in a bin just as in Avid editing They both respect the same clip order left to right top to bottom and they both allow you to bring the clips into the sequence as a group As in Avid 5 you can drag the clips from the FCP Viewer directly into the Timeline But in FCP you can also drag the clips to the Canvas or choose one of the options in the Edit Overlay Timeline editing is discussed in Lesson 6 From the Library of michiel pilgram 76 Customizing Your Project akaka at MS girl feeds no take MWS girl feeds last fish Rev Ranger and group MS tourists wade in water face cam mt aah aitri sete Deneets aai MS bird steals fish out of girl s hand FCP storyboard layout To create a storyboard of clips 1 In the Browser create a new bin Command B and drag the clips you want to arrange into the bin Double click the new bin to open it and ch
137. 0 2 e eee eee eee 311 Creating Favorite Motion Effects 02005 313 What You ve Learned icctcseedoesaeeneey dakiana 314 Lesson 11 Title Tool and Generators 000 316 Exploring Video Generators 0 eee eee eee 318 Working with the Controls Tab 0 2 0 000 eee 319 Creatine Titles cecudeceecudes secucedessucede concedes 321 Applying Effects to Generated Items 324 Creating Scrolling and Crawling Text 326 Applying Lower Thirds and Preprogrammed Text 328 Creating 3D Text with Boris Calligraphy 331 Using Slugs Mattes and Render Items 333 Applying Shapes eed oe tee he ree ae wae a oo oe gE 336 Saving Generators as Favorites 0 e ee eee eee eee 338 Using Master Templates 0 0 cece cece eee eee 339 What You ve Learned lt css1snceseeeeargreteadeeeeeeaors 340 Lesson 12 Importing and Exporting 342 apor oe Tiles ceo oe Ber ee Coad EE 344 Importing EDLs and Batch Lists 04 348 Importing Sequences from Avid 0 cece eee eee 350 Reconnectine Nedid 25 ene2eteereaeteeneneteodw reds 351 Importing Graphics 0 cece cece eens 355 Using the External Eqitets dscidea lt edtdataudtdetagacedes 359 Working with Alpha Channels 0000 360 Sending Files to Other Applications 005 362 Sharing Your Sequences 0
138. 1 43 PM Wed Nov 17 2010 7 13 PM Wed Nov 17 2010 6 43 PM p Tue Nov 16 2010 6 40 PM Tue Nov 16 2010 11 40 AM Tue Nov 16 2010 11 10 AM Tue Nov 16 2010 10 40 AM Tue Nov 16 2010 9 54 AM Tue Nov 16 2010 9 24 AM Tue Nov 16 2010 8 54 AM Mon Nov 15 2010 4 54 PM Mon Nov 15 2010 4 24 PM Mon Nov 15 2010 3 24 PM Mon Nov 15 2010 2 54 PM Mon Nov 15 2010 2 14 PM 3 When the warning dialog appears click OK if you want to proceed to restore the cur rent project to a previously saved version By continuing you will lose all changes made to this project since it was last saved Are you sure you want to do this a From the Library of michiel pilgram Backing Up Projects 451 4 Ifyou want to open a saved project from the Autosave Vault separately and not change or restore your current project choose File gt Open and navigate to the Autosave Vault folder Look at the date stamp to select the version you want to open and click Choose Lesson 6 Project_11 15 10_1414 E Lesson 6 Project 11 15 10_1454 Lesson 6 Project_11 15 10_1524 b gt Lesson 6 Project_11 15 10 1624 6 Lesson 6 Project_11 15 10_1654 ees Lesson 6 Project_11 16 10_0854 i lesson amp Praject_11 16 10_0974 ne E Lesson 6 Project_11 16 10_0954 ae E Lesson b Project_l1 1b 1U_1U4U ES Lesson 6 Project_l11 16 10_1110 Name Lesson 6 fl Lesson 6 Project_l11 16 10_1140 Project_l1 15 10_1634 Kind Final Cut Pro Project
139. 22 Command palette Avid 68 commands adding to button bar 69 customizing command buttons 68 69 mapping FCP commands to keyboard 66 67 comments renaming 72 composite modes applying 272 273 creating travel mattes 274 275 options 271 272 previewing 273 working with alpha channels and 360 compression decompression see codecs Compressor 381 382 Control key modifier keys for keyboard shortcuts 22 Controls tab making changes to clip parameters 320 Size slider 325 viewing changes to generated items 321 working with video generators 319 320 From the Library of michiel pilgram 462 Index copy and paste Auto Select controls 135 clip attributes 256 258 clip content 258 copying 134 extract insert edits 137 lift overwrite edits 138 Mac functions for 134 motion attributes 307 308 Option drag copy technique 136 overview of 133 134 copying projects 412 413 transitions 244 corrective filters for video levels 434 435 countdown mastering options 445 446 crawling text Boris Title Crawl 333 creating 327 328 Crop and Distort tool in Tool palette 17 cropping images 302 304 cross dissolves adding transitions in Timeline 234 applying to multiple edit points 235 cross fade applying to multiple edit points 235 Current Timecode field Log and Capture window 102 customizing Audio Mixer 217 customizing projects changing audio video settings 54 56 changing window layouts
140. 24 applying effects to generated items 324 applying filters or motion effects to text 325 applying shapes 336 337 Boris title interface and options 332 333 changing text parameters 323 324 Controls tab for working with 319 320 creating 3D text 331 332 From the Library of michiel pilgram 482 Index creating crawling text 327 328 creating custom gradients 335 336 creating generated items 320 321 creating lower third text 328 329 creating multiframe images 305 306 creating outline text 329 331 creating scrolling text 326 327 creating titles 321 322 creating typewriter text 331 editing text clip 322 323 as effect category 230 keyboard shortcuts 341 master templates 339 340 mattes 334 335 options of 319 overview of 317 318 319 render options 335 review 340 341 saving as favorites 338 slugs 334 viewing changes to generated items 321 Video Processing tab Sequence Settings window 60 video scopes options on Clip Settings tab 103 104 types of 429 430 working with 429 432 Video tab 193 video tracks deselecting 135 selecting for capture 103 104 video transitions Add Video Transition button 233 234 applying to multiple edit points 235 bin options 231 effect categories 230 fades 266 finding in Timeline 390 391 swapping one for another 243 Transition Editor and 241 View as List customizing bins in text view 71 simulating script mode 72 text view in
141. 24 with an external audio device as well as surround sound settings and save the configuration as a preset 3 Click the General tab and look at the following preference settings gt Levels of Undo You can have up to 99 levels of undo but as always setting a high number of undos uses more computer RAM From the Library of michiel pilgram 58 Customizing Your Project gt Autosave Vault This is like Avid s Attic and the settings are like those in Avid s Bin Settings Autosave dialog FCP will save copies at the time interval you define Each new copy gets added to the list of autosaves After 40 or whatever number you ve entered as a maximum save number the first copy will be put in the Trash to make room for new saves You can still retrieve an autosaved project from the Trash as long as the Trash has not been emptied Where Avid s Attic is stored in the Shared folder the FCP Autosave Vault saves to the User gt User Name gt Documents gt Final Cut Pro Documents folder Choosing System Settings The System Settings window Shift Q is where you choose system settings including selecting your target media drive or the FCP scratch disk Generally the Memory amp Cache settings are left on default settings The last three tabs will be discussed in later lessons where they apply to specific aspects of the editing process Setting scratch disks is dis cussed in Lesson 5 a3 J Ji 8 JI Ie From th
142. 32 434 Cinema Tools 382 circles applying shapes 336 clear audio peaks 426 Clip Collision warning 131 Clip Enable 196 405 Clip keyframes controlling speed segments in Timeline 285 288 creating freeze frame effect using speed segments 292 293 modifying motion parameters in Timeline 312 setting keyframes in Timeline 269 clip linkage master clips and 139 Clip Overlays control changing clip audio levels in Timeline 201 202 changing opacity of superimpose edits 265 266 setting audio keyframes in Timeline 211 212 clip properties changing clip name reel number or timecode 395 397 making clips offline 399 400 making global changes 397 399 overview of 394 Clip Settings tab capture options on 103 options on Clip Settings tab 103 104 clips adding or dividing clips 152 153 applying color to 16 17 applying filters to 247 audio see audio clips changing icons 73 74 changing speed with Fit to Fill 283 clip info in view overlay 37 copying and pasting attributes 256 258 copying and pasting content 258 creating storyboard of 76 duration of 83 193 From the Library of michiel pilgram end of clip beginning of clip indicators 39 exporting multiple 366 367 exporting single clip 364 366 extending clip markers 157 finding within a sequence 388 391 ganging 163 grouping into multiclips 175 lifting and extracting 41 43 logging 112 113 making changes to clip parameters 320
143. 4 Trimming CLIps cece eee eee eee 80 Working with the Trim Edit Window 82 Performing Dual Roller and Single Roller Trimming 84 Using J K L Trimming 0 0 cece eee eee 87 Dragging Edit Points cece cece eee nei 88 Trimming in the Timeline 00 0 ee eee eee eee 89 Using Asymmetrical Trimming 02 006 93 Trimming in the Viewer 00 e eee eee ee eee eee n 94 What You ve Learned 4422 i2 cae nie osedebauvemesioe cane a 95 Lesson5 Capturing and Transferring 98 Exploring the Log and Capture Window 100 Viewing and Marking the Source 2 00 101 Selecting Clip SEMINGS lt 4 c c79 0 c accpninw aecnind oa keane es 103 Selecting Capture Settings 2 2 200 ce0e0e0e8ee0eee hes 104 Capture Preferences 2 240254csksedacetareiveddimavs das 109 Tison a Bills eundamesteded bate taoer eet estrend ones 110 Logging GUD siisii 4 tews oie hee abaltewg settee st 111 Caprice OPlOnS lt s44e6csauteseeenneeeees DEARER EDEA 114 atcheC ap IMC sacnncnveamseueroamaeereameseeeaneees 115 Exploring the Log and Transfer Window 117 From the Library of michiel pilgram viii Contents Tianster fine Clips oe c ee ee das eo EE 118 Adding Volumes and Changing Preferences 120 Changing Naming Preferences 0 0c eee eeeeee 122 What You ve Learned 24 26xiaccednssseeumte a a 124 Lesso
144. 51 revealing master clips 143 review 164 166 455 From the Library of michiel pilgram 456 Index Segment Mode edits 129 130 selecting deselecting clip in Timeline 128 129 slipping and sliding clips 146 149 After Effects importing from 343 AIFF format 370 alignment changing text parameters 323 Alpha travel matte option 274 275 alpha channels choosing type of 361 362 types recognized 360 361 alpha transitions applying 244 246 creating titles and 322 AMA Avid Media Access 344 anchor points repositioning 301 302 Angle field in Log and Capture window 174 angles in multicam editing adding new 180 181 assigning to a clip 174 changing number displayed in Viewer 177 178 cutting multiclips on the fly 184 185 cutting to another angle 184 deleting 180 moving to different position in multiclip view 179 resynchronizing 181 switching angles with effects 186 187 switching to another angle 183 animation 3D text 333 creating motion paths and 308 Apple Pro Certification Program xiv xv Apple Pro Training Series xiv Apple Pro Training Series Motion 4 Spencer 317 Apple ProRes 422 capture settings 105 choosing formats and 53 codecs 106 344 exporting clips and sequences and 363 formats for multicam performance 172 Apple ProRes LT 172 Apple TV exporting to 363 Apply Normalization Gain audio output levels and 426 architecture scalability of 3 Arrange option bins 76 A s
145. 62 63 command button options 68 70 dynamically resizing interface 61 62 Easy Setup presets 53 54 icon view options 72 75 Item Properties 60 61 keyboard options 65 68 keyboard shortcuts 78 79 overview of 51 review 77 78 saving window layouts 64 65 selecting editing presets 52 Sequence Settings 59 60 storyboard editing 75 77 System Settings 58 User Preferences 56 58 utilizing bin text view 70 72 Cut Point markers 185 Cut Video Audio to Angle 184 cutting multiclips cutting from one angle to another 184 on the fly 184 185 into a sequence 182 video and audio independently 185 186 D dB decibels in Audio tool 18 digital audio peaks 424 425 modifying with Gain Adjust 427 428 setting in Audio Mixer 217 218 decomposing sequences 419 420 default transitions 236 237 delete angle from a multiclip 180 clips or ranges 48 filters 252 253 keyframes 213 markers 159 render files 408 409 Ripple Delete extraction 41 43 tracks 45 46 transitions 238 destination tracks patching in Timeline 31 32 device control options capture settings 105 107 108 Device Control Preset tab Audio Video Settings window 56 digital audio peaks 424 digital cameras capture directly from 105 digitizing 99 100 DigiTranslator software 378 Display or Scales Brightness button 432 displays monitors From the Library of michiel pilgram adding second 62 display opti
146. 8 kHz Anamorphic OV to OfflineRT NTSC iPhoto JPEG DV to OfflimeRT NTSC Anamorphic Photo JPEG OV to OfflineRT PAL Photo JPEG DV to OfflimeRT PAL Anamorphic Photo JPEG OVSO NTSC 48 kHz OVS0 NTSC 48 kHz Anamorphic OV50 PAL 44 kHz OV50 PAL 48 kHz Anamorphic OVCPRO PAL 48 kHz OVCPRO PAL 46 kHz Anamorphic DVCPRO PAL to OfflineRT PAL Photo JPEG OVCPRO HD 1080 50 48 kHz OVCPRO HD 1080160 48 kHz OVCPRO HD 1080p30 48 kHz OVCPRO HD 1080pA24 48 kHz OVECPRO HD 720924 48 kHz OVECPRO HD 720925 48 kHz OVCPRO HD 720930 48 kHz OVCPRO HD 720950 48 kHz OVCPRO HD 720960 48 kHz Generic Capture Template The FCP capture options in the Log and Capture window From the Library of michiel pilgram 174 Multicam Editing Gi The advantage of choosing an Easy Setup is that any new sequences you cre ate will automatically match the settings of your captured clips However as of FCP 6 the Auto Conform Sequence feature in User Preferences gt Editing can automatically change sequence settings to match those of the first clip you add to it Logging and Capturing Multiclip Source Media In most professional multicam shoots letters or numbers are assigned to each camera Final Cut Pro has an Angle field in the Log and Capture window where you can add this information and after capture you can sort the clips in the Angle column in the Browser When you group clips into a multiclip they are arranged in the sp
147. Capture window is exactly like the Res pop up menu in Avid s Record tool Just as the Record tool menu is a back door to changing Video Resolution settings found in Media Creation the Capture Input menu in the Capture Settings tab is a back door to the Capture Presets found in the FCP Audio Video Settings and Easy Setup presets FCP is installed with numerous capture presets Even more presets are available if you install a third party capture card which gives you numerous options for working with any format You can capture in the native format of your source footage or to save hard disk space and increase performance you can compress the footage on ingest to a lower resolution format You also have a set of Apple ProRes 422 formats that perform a similar role as Avid s DNxHD Unlike traditional offline formats ProRes 422 creates smaller size files at lower data rates with no loss in quality HD content captured using one of the ProRes presets is indistinguishable from uncompressed HD video and takes up less space than uncompressed SD files From the Library of michiel pilgram 106 Capturing and Transferring B gt Apple ProRes Codecs The Apple ProRes codecs were designed to provide a solution for demanding HD workflows By taking advantage of multicore processors these codecs offer flexibil ity and performance without the need for additional hardware when encoding or decoding The performance of Apple ProRes codecs scales
148. Compressor presets list i From the Library of michiel pilgram 382 Importing and Exporting As a stand alone application you can use Compressor independently of Final Cut Pro but you must submit QuickTime movies If your media is not already a QuickTime movie file you can use Final Cut Pro to create the QuickTime file then encode it in Compressor You can also create a Compressor droplet to perform specific encoding tasks When you save settings as a Compressor droplet you can drag media files to the droplet to transcode your media files to the droplet s settings A more direct use of the application is to send a QuickTime movie file or sequence from FCP directly to Compressor The advantage of this approach is that rendering occurs as part of the transcoding process which can save you time and eliminate unwanted artifacts NOTE gt When you send files to Compressor and use it as a stand alone application you can continue editing within FCP while encoding is in progress However you may need to make an intermediate copy of your movie which requires extra time and if youre not careful may cause some generational loss For detailed steps to encode QuickTime movies in Compressor refer to the Compressor User Manual available in Compressor Help Cinema Tools Cinema Tools converts your telecine files to FCP batch lists It features a reverse telecine function that converts telecine dailies from 29 97 fps to 24 fps It re
149. Custom Layout 1 or Custom Layout 2 or by using the keyboard shortcuts for those options You can also save and store additional layouts by name but you may need to recall them from their saved location to use them 1 Arrange the windows as you would like them 2 Hold down the Option key and choose Window gt Arrange 3 While still holding down the Option key choose Set Custom Layout 1 or Set Custom Layout 2 EXE If you change your interface you can quickly recall your custom layout by choosing Window gt Arrange gt Custom Layout 1 Shift U or Custom Layout 2 Option U You can also name and save a custom layout by using the Save Window Layout func tion in the Window gt Arrange submenu This enables you to use your saved layout on another computer The automatic destination for saved layouts is the Window Layouts folder in the Final Cut Pro User Data folder Macintosh gt User gt User Name gt Library gt Preferences gt FCP User Data gt Window Layouts EXT To load one of these custom layouts back into your computer choose Window gt Arrange from the bottom of the menu If the command does not appear there choose Windows gt Load Window Layout or press Shift Option U to display the saved layouts From the Library of michiel pilgram Customizing the Keyboard 65 To save the Timeline track layout In FCP you can also save a custom track layout for the Timeline tracks as you can in many Avid s
150. DV 53 histogram video scopes 429 hue adjusting 439 440 Vectorscope for viewing 430 icon view 72 75 icons for bins clips sequences 9 changing clip icons 73 74 scrubbing through clip icons 73 From the Library of michiel pilgram Image Control menu changing video levels 435 436 Image Sequence exporting with QuickTime Conversion 370 Image Wireframe mode Canvas window 325 creating motion paths 310 creating multilayered effects 304 306 crop and distort options 302 303 repositioning anchor points for images 301 302 repositioning images 299 300 resizing images 298 299 rotating images 300 301 images changing image view in Canvas or Viewer 296 297 Color Correction filters 437 440 correcting color of 436 437 cropping and distorting 302 304 exporting single frame as still image 371 373 importing multilayered 358 359 multiframe composite 304 nesting clips from multiframe images 306 307 repositioning 299 300 repositioning anchor point for 301 302 resizing 298 299 rotating 300 301 zooming image view 295 importing batch lists 349 350 EDLs 348 349 External Editor function and 359 360 files 344 346 folders 347 graphics 355 358 keyboard shortcuts for 385 multilayered images 358 359 overview of 343 reconnecting media and 351 354 review 383 384 sequences from Avid 350 working with alpha channels 360 362 Index 467 In points iden
151. ES Y SEARCH FOR 33A 2 B 2 L2 Today 33A_2 8 3 L Yesterday 33B_1 A LL Past Week 3383 All Images 338 3a All Movies 33B_3_b E All Documents New Folder From the Library of michiel pilgram 348 Importing and Exporting ET A third option is to use the drag and drop approach In the Finder window on the desktop you can preview your files in Column view then select both files and folders and drag all of your selections at one time into the Browser window You will of course have to arrange your interface to see the Browser and Finder windows at the same time Importing EDLs and Batch Lists Edit Decision Lists or EDLs are one form of exchanging edit lists You can export EDLs and batch lists from Final Cut Pro and then import them into Avid and vice versa Of course once you have imported an EDL from another system you will have to recapture or relink your clips Avid s EDL Manager To import an EDL In FCP importing an EDL creates a new offline sequence along with an accompanying bin named Master Clips for sequence name with the master clips for the media that s in the new sequence 1 Do one of the following gt Choose File gt Import gt EDL gt Control click in the Browser and choose Import gt EDL from the shortcut menu An Import Options dialog appears in which you can choose the appropriate set tings for the EDL you are importing editing wi th OY MT ef terial i
152. Effects Filters 249 To select a range of material The Range Selection tool is found in the FCP Tool palette under the second tool Edit Selection When you choose the Range Selection tool you can select one frame to another frame in a single clip or between two or more clips on the same track This is an excellent tool to use for making corrections to color especially when you add keyframes to the fil ter Keyframing filters is discussed later in this lesson 1 4 In the Tool palette click and hold the Edit Selection tool and then slide over to the Range Selection tool Or you can press the keyboard shortcut GGG k Range Selection Tool ggg If necessary identify the frames where you want to begin and end the selection by parking the playhead at one of the locations adding a marker or setting In and Out points The Range tool will snap to these points Inside the clip in the Timeline drag the Range Selection tool left or right to select the desired material h HF le r j i With the range of material selected choose Effects gt Video or Audio Filters gt and select the appropriate category and filter From the Library of michiel pilgram 250 Transitions and Effects Modifying Filters FCP filter parameters are viewed and modified in the Filters tab of the Viewer Like Avid s Effect Editor the Filters tab displays all applied filters to the opened clip each filter s parameter settings and cont
153. End button Curve From Start Curve Centered on Start Linear From Start Custom Start ef lt wa i Smoothing 177 Smoothing 177 Linear to End Custom Curve to End Curve Centered on End From the Library of michiel pilgram 282 Speed and Motion Effects This set of buttons represents Bezier curves and are designed to smooth into or out of a speed The first option represents linear movement with no curve or smoothing Clicking the Curve From Start and Curve to End buttons adds a speed keyframe at the head or tail of the clip When selected the clip s speed ramps up or down respec tively by the number of frames that appears in the Smoothing field FCP sets an initial number of smoothing frames based on speed and clip length but you can change that ramp time by entering a different value NOTE P The other two smoothing options are dimmed and available only in certain situations They are both discussed later in this lesson 6 To allow the speed change to ripple the sequence length select the Ripple Sequence checkbox Select the Frame Blending checkbox if you want to blend the frames of a slow motion effect to give it a smoother look And if you want any keyframes to scale to the new clip length select the Scale Attributes checkbox EXT For even smoother playback especially in slow motion you can send the clip to Motion and choose Optical Flow as the Frame Blending mode 7 ClickOK In the Timeline a spee
154. FCP 70 View menu view overlays options 37 zoom options 21 View pop up menu Multiclip Overlays option 178 real time view options 177 view overlays options 37 38 Viewer window accessing video generators 318 Add Audio Keyframe button 213 adjusting speed in 288 290 Audio tab in 192 194 changing audio levels 200 changing image view in 296 297 changing number multiclip angles displayed in 177 178 creating markers in 155 creating subclips 40 enabling view overlays 37 39 in FCP interface 6 Filters tab 250 251 ganging clips 163 modifying keyframes 214 modifying multiclips in 179 Motion tab 279 294 295 opening a sequence of clips into 94 95 opening clips in 12 opening Motion master template into Viewer 339 opening video generated item from 320 Play buttons 28 Playhead Sync pop up menu in 162 setting keyframes in 267 268 setting subframe keyframes 212 213 slipping clips in 148 split edits in 43 44 text control options 322 transport controls in 28 trimming clips in 95 viewing multiclips in 176 177 Views as Icons 72 75 Visible controls in Timeline tracks 19 From the Library of michiel pilgram voiceovers recording 223 224 volumes adding to Browse area 121 VTR status Log and Capture window 102 W Warn After Capture capture preferences 109 WAVE files 367 370 Waveform Monitor capturing clips and 104 checking vide
155. FCP Video Generators Except for color bars and slugs video generators are often used in conjunction with other clips For example text clips which have an attached alpha channel are often placed over a background clip You can key out shapes and add them over images leaving the image to show through the shape Matte and gradient clips are often used behind text or other images Noise clips can be keyed over an image for an interesting effect You can choose an option from the Video Generator pop up menu or from the Video Generators bin in the Effects tab in the Browser In the Effects tab generator items with From the Library of michiel pilgram Working with the Controls Tab 319 multiple options appear as bins Note that some video generated items such as slugs appear as graphic icons while others such as the contents of the Text bin appear as video generator icons aro Mp Favorites Boris Matte Render Shapes Slug Text Y YF FTP hd Master Templates A E su NOTE P Like filters and transitions those video generators that do not require rendering appear in boldface type Let s take a closer look at the Video Generator options gt Favorites Lists the generated items you have saved in the Favorites folder on the Browser Effects tab Bars and Tone There is a Bars and Tone option for a variety of formats Boris Offers four higher quality vector based titling options Matte Creates a colored ma
156. Levels 0 cece cece cece eens 434 Correcting Image Color 0 cece cece eee eens 436 Outputtine to Tape 2 5 sien Seeoeute doom akonameaaes 440 Making a Timecode Window Burn 2 45 447 Backing Up PrO cC Sic ote ectue ere hoods s tase mel ew aay 449 What Youve Learned o5 01 2s0neen des nedewaaned ae dnni 452 INGGX 4 geese E E aeeoeeesey 2 455 From the Library of michiel pilgram This page intentionally left blank From the Library of michiel pilgram Getting Started Welcome to the official Apple Pro Training Series course Final Cut Pro for Avid Editors A Guide for Editors Making the Switch This is not just another book on Apple Final Cut Pro FCP and it wasn t written for a general audience It was developed and written specifically for Avid edi tors who want to learn FCP And this version includes many references to the latest software versions both Avid 5 and Final Cut Pro 7 Since you are part of a very specific audience we are taking certain things for granted First we assume that you know and understand the concepts of nonlinear editing NLE and editing principles in general Second we assume that you don t need explanations of functions as much as you need directions on how to get to them And third we assume that you would much rather learn new terminology in reference to what you already know So while you may be uncomfortable editing on a system that doesn t feel quite like ho
157. Make sure you are dragging the blue edit point triangle not the playhead position indicator To drag in the Trim Edit window 1 2 Click either the A side or B side image or between images Move the pointer over the appropriate active edit point in the scrubber bar When the pointer changes to the Ripple tool single roller or Roll tool double roller drag the edit point left or right and then release the mouse button As you drag you see the edit points change in the Trim Edit window and in the Timeline From the Library of michiel pilgram Trimming in the Timeline 89 EXT You can also move the playhead to a desired trim location and drag the edit point to snap to the playhead Trimming in the Timeline An alternative to using the Trim Edit window is to perform an FCP trim directly in the Timeline as you would in Avid Trimming in the FCP Timeline is easy and direct and uses methods similar to those covered earlier in this lesson These methods include dragging edit points using the Roll dual roller and Ripple single roller trim tools using key board shortcuts and entering a numerical trim value NOTE Using the FCP Ripple trim tool will always trim frames and ripple the effect throughout the remainder of the sequence just as with the Avid 5 Ripple Trim tool And while FCP does not have a specific Overwrite Trim tool as you will find in Avid 5 you can perform this type of trim by dragging an edit point usin
158. Marker window where you can also create marker durations choose a marker color set DVD compression and chapter markers and set scoring markers to be used in Apple Soundtrack gt Markers created on a source clip in the Viewer will show up in the Browser attached to the clip You can rename clip markers in the Browser gt You can open the Edit Marker window for a marker in any FCP window gt You can add a marker and open the Edit Marker window without stopping playback by pressing Shift Option M or add a specific marker color by pressing Shift Option 1 through 8 gt You can create subclips from multiple markers in a Browser clip by selecting a marker and choosing Modify gt Make Subclip gt You can gang source material between the Viewer and Canvas or cause sequence clips to open in the Viewer as you play the sequence From the Library of michiel pilgram Keyboard Shortcuts Command A Command Shift A Left Bracket Right Bracket Shift Shift lt Left Angle Bracket gt Right Angle Bracket Shift lt Shift gt Command C Command X Command V Shift X Shift V Option drag Drag Option Shift G Option G What Youve Learned 167 Select all clips in the Timeline Deselect any selected item Move a selected clip one frame backward Move a selected clip one frame forward Move a selected clip the default trim amount set in User Preferences Move a selected clip the default tr
159. Motion tab and then click the Drop Shadow parameter disclosure triangle 4 Select the Enable checkbox to display the drop shadow under the text in the Canvas 5 Adjust the Drop Shadow parameters for the desired effect From the Library of michiel pilgram Applying Effects to Generated Items 325 To apply filters or motion effects to text 1 Open the text or other generated item from the Timeline into the Viewer 2 Position the playhead over the generated item in the Timeline so you can see your changes in the Canvas 3 To add a filter choose Effects gt Video Filters and choose the filter you want to apply You can also drag a video filter from the Effects tab in the Browser to the text clip in the Viewer or Timeline 4 In the Viewer click the Filters tab and make any necessary changes to the filter s parameters 5 To apply motion effects click the Motion tab and make changes to the motion param eters as you view those changes in the Canvas From the Canvas View pop up menu you can also choose Image Wireframe mode and manually reposition the text over an image EXE To resize the text always use the Size slider in the text Controls tab rather than the Scale parameter in the Motion tab Changing text size in the Motion tab causes the text to look pixilated From the Library of michiel pilgram 326 Title Tool and Generators Creating Scrolling and Crawling Text In the film editing world scrolling text is o
160. Pro Movie File Size 64 1 MB on disk Created 8 1 06 7 57 PM Modified 8 1 06 7 58 PM EXE When viewing render files in the Finder in Column view or Quick Look you can play a file to determine if it s still relevant to your project To view render files in the Render Manager In the Render Manager tool as in the desktop Finder render files are organized and grouped together according to project and sequence FCP will display all render files from both open and closed projects that have been saved at the current scratch disk location Unlike the desktop display where render files are listed separately the Render Manager combines and displays all render files for a specific sequence into a group one group for each sequence 1 In FCP choose Tools gt Render Manager to display the Render Manager window From the Library of michiel pilgram 408 Project Management 2 Find your project and display the contents of the project folder Any sequence that has render files associated with it will appear as an individual folder Display the contents of the sequence folder to see what render file groups have been created within that sequence Render Manager LA gt At The Zoo Ei nnacle DV demo i C a CaF inal E i E a item l A seh A ing Do E i _ Untitled Proje E Prebul _jt Proj Mhn lt nS naana Cancel A Kk y a NOTE gt In this example there are two primary folders the Additio
161. Reconnect button From the Library of michiel pilgram Reconnecting Media 353 The Reconnect Files window appears In the Files To Connect pane the offline files are listed beneath the path of the previous location for these files 2 Inthe Reconnect Files window do one of the following Select the Search Single Location checkbox and choose a directory from the pop up to limit your search to a single location Click the Locate button to manually browse for the missing files gt Click the Search button to have Final Cut Pro conduct an automatic search for all the missing files in the specified location 3 In the Reconnect window make sure the correct media file is selected If there are other offline files in this same location select Reconnect All Files in Relative Path at the bottom of the window then click Choose From the Library of michiel pilgram 354 Importing and Exporting T DEVICES MS 2 dol th surtace E Macinto Ee EE M5 bird s irl s hand Ej iDisk nport Export d MS camera shooters Jusic a MS girl gi om hand hooey honge Dolphins mcaaw Epos Dolp MS girl w Ranger raining Dolphins MS man feeds fish Gitar vo Dolphins MS Rang w to feed iq d i Name MS airl with ee FOR So MS Rang hold fish p Ranger mov LO Today A MS Rang mited fish Kind QuickTime movie Size 74 2 MB on disk i Created 5 31 10 7 17 PM MS touris dolphins Modified 5 31 10 7 17 PM MS watch
162. Tool s CEEE Audio Meters The FCP audio meters do only one thing display your audio levels You can choose to keep the audio meters open all the time or just when you re working with audio levels Unlike in Avid neither the Audio Meters window nor the Tool palette can be resized In addition to the audio meters FCP has an Audio Mixing tool that you can use to monitor and control audio levels it s covered in Lesson 8 Peak indicators dB levels NOTE gt All FCP interface windows can be closed independently by clicking their Mac OS X Close buttons In the Window menu you will find keyboard shortcuts to close and open individual windows From the Library of michiel pilgram Controlling Timeline Tracks 19 Controlling Timeline Tracks Like Avid Final Cut Pro gives you certain controls over your Timeline tracks However there are some minor differences For example Avid lets you assign different colors to each track whereas FCP lets you assign a color to a clip as discussed in Applying Color to Clips Bins and Sequences You enter timecode numbers and durations in FCP using the same protocol as Avid Instead of pressing F at the end of a number entry for frames however you right click in the Timeline location field or ruler area to change the display to frames or feet and frames In FCP as in Media Composer controls to lock tracks patch tracks turn tracks off or on so they won t be seen or heard and change track h
163. Transitions and Effects Each chosen level will have a check mark to the left of the name Render Selection N b l Both R Render All si b Video ennac oniy d w Needs Render Settings 0 Rendered Proxy Proxy Lift 2 Previ Ripple Delete 2a di sect Full Close Gap G Solo Selected Item s Sa Unlimited Nest Item s xc Audio XR 1 For Playback Add Edit V item Level Fxtend Fait e Add Video Transition a6 Add Audio Transition LH Transition Alignment P Trim Edit a7 Add Master Template Insert Tracks Delete Tracks Match Audio Outputs a EIT To have more Avid like render options in which all render levels are active take the time to check each render level in the Render Selection submenu When you do need to render simply select the item to render and press Command R to render it To approximate Expert Render check all but Full and possibly Preview the green render levels in the Render All submenu When you want to Expert Render simply press Option R to render all but the highest quality real time effects 3 Choose Sequence gt Render Selection again and choose Both or press Command R to render both the audio and video effects at the currently selected render level 4 To disregard In and Out points or selected clips and render the entire sequence select the appropriate render levels from the Sequence gt Render All submenu and then choose Sequence gt Render All g
164. a Ripple tool single roller or Roll tool dual roller selected do one of the following gt Press the Left or Right Bracket key or to trim one frame gt Press the Left or Right Angle Bracket lt or gt Avid s Trim Left or Right keys to trim one frame From the Library of michiel pilgram Using J K L Trimming 87 gt To trim a designated multiframe trim amount set in the Editing tab of User Preferences press Shift Left Bracket or Shift Right Bracket You can also press Shift lt or Shift gt Right or Left Angle Bracket keys to trim the multiframe amount Using J K L Trimming In addition to using the trim tools entering a numeric trim value and working with short cut keys in the Trim Edit window you can also trim dynamically or on the fly using the J K L keys This live play trimming in Final Cut Pro is called dynamic trimming Dynamic trimming enabled in the Trim Edit window NOTE gt You can enable dynamic trimming in the Trim Edit window or in the Editing tab of the User Preferences window When dynamic trimming is enabled the J K L keys behave exactly as they do in the Avid trim mode You can press J or L to play and shuttle forward and back and press K to exe cute the trim Also common to both applications if you hold down K and J or L to shuttle in slow motion simply releasing the keys will execute the trim Unlike the method in Avid however when dynamic trimming is
165. a pop up menu 1 Inthe Browser select a clip then click in the column field for a specific property such as Reel You can also double click a nonselected clip s property field f gt Lesson 13 Project b Training Dolphins Clips b Training Dolphins Sound Clips CU trainer by pool claps DFO13 Once a new entry has been made to that column it becomes available via a field shortcut menu for changing other clips 2 Either select the group of clips you want to change in the Browser or a bin or per form a search for the clips you want to isolate to change The latter will produce a group of clips in the Find Results window 3 Control click the column entry field where you want to make the change and choose from one of the available options in the shortcut menu For example after changing a reel name for one clip you can batch modify multiple selected clips by Control clicking in the reel field and choosing the reel name from the shortcut menu Name b Training Dolphins Clips b Training Dolphins Sound Clips Two Dolphins a CU dolphin by side of pool E CU trainer by pool claps CU TS 2 dolphins lift tails in pool eae f MEU trainer by pool gives signals DFO1S M5 2 dolphins jump in pool 2 times DFO DFO14 MS front trainer by pool signals to dolp DFE Music M5 front trainer by pool w dolphin DFE Patohan Eg MS trainer by pool signals to 2 dolphin Each column where changes can be made wi
166. a window that replaces the Composer and shows a Keyframe ruler you can populate In Avid 5 some effects offer standard keyframing while others offer an advanced keyframing control area The FCP default keyframing features will remind you of Avid s advanced keyframes For detail edit ing of keyframes in Final Cut Pro you ll encounter something more like After Effects You can keyframe filters in FCP by working directly with the sequence clip in the Timeline by expanding the Timeline tracks and working in a keyframe editor area or by opening a clip in the Viewer and making changes within the Filters tab As in all keyframing you need at least two keyframes to animate a filter If you want to change a parameter but not animate it you do not require a keyframe From the Library of michiel pilgram Keyframing Filter Parameters 267 To set keyframes in the Viewer To the right of each keyframable parameter in the Filters tab there is a keyframe button To the right of the keyframe button area is a Viewer timeline with a small playhead This area is called the keyframe graph or time graph 1 Double click a clip in the Timeline to open it in the Viewer and click the Filters tab 2 Apply a filter to the clip if one is not already applied 3 To see more of the Viewer keyframe graph do one of the following gt Drag the Viewer and Browser boundary to the left gt Drag the entire Viewer window left to cover the Browser and then drag the
167. according to your system configuration which means that the decoding time per frame decreases as the num ber of available processors increases When the system spends less time decoding it has time for more real time effects processing As part of a post production workflow the Apple ProRes codecs provide a wide range of quality and use For example you can capture from a 4 4 4 source such as an HDCAM SR deck and convert directly to the Apple ProRes 4444 codec or capture from a high quality 4 2 2 or 4 2 0 source to the ProRes 422 HQ format If multiple cameras were used to shoot your footage you can standardize their for mats by capturing to a single codec for post production perhaps the ProRes 422 or ProRes 422 LT You can also create an offline workflow using the ProRes 422 Proxy format Data Rates Uncompressed and Apple ProRes at 1920 x 1080 29 97 fps 3 000 4 4 4 formats 4 2 2 formats 2 237 Uncompressed ProRes Uncompressed ProRes ProRes ProRes ProRes 12 bit 4 4 4 4444 10 bit 4 2 2 422 HQ 422 422 LT 422 Proxy no alpha MORE INFO P For more information about Apple ProRes 422 go to www apple com finalcutstudio finalcutpro support html From the Library of michiel pilgram Scratch Disks Target Media In Avid you capture your media to a target media disk drive FCP refers to this drive as Selecting Capture Settings 107 the scratch disk A scratch disk can be a partitioned drive a FireWire drive a fol
168. achieve the same effect But unlike Avid individual user preferences such as custom keyboard or window layouts can simply be added to the current settings without replac ing all of a user s settings NOTE gt FCP software is continually upgraded so available settings and preferences may be different on your version Read the Getting Started section for information on staying current To view User Preferences options 1 Choose Final Cut Pro gt User Preferences or press Option Q From the Library of michiel pilgram Selecting User Preferences 57 Make New Clip pa 2 Click each of the six tabs to view their options gt General You ll find commonly used settings such as levels of undo and Autosave Vault on this tab gt Editing This is where you set preferences for certain editing functions such as still image and freeze frame durations multiframe trim size auto conform options and pre roll and post roll durations gt Labels Color code your clips and assign a category name for each color gt Timeline Options Change Timeline settings such as track height thumbnail display number of tracks starting timecode and so on for all new sequences You can access several of these options in other ways gt Render Control Determine what types of effects including Master Templates and other embedded Motion projects will be rendered and how gt Audio Outputs Configure audio output channels up to
169. ad of passing along an active multiclip in which angles could be switched you can choose to collapse the multiclip so that only the active angles are part of your sequence Not only do you prevent another editor or your self for that matter from accidentally switching or cutting but you also increase system performance since fewer streams of video need to be processed Unlike Avid s Commit Multicam Edits command which is undoable you can uncollapse a multiclip at any time But if you plan to pass the sequence along to another editor or even another system using an EDL especially during the finishing process it helps to focus only on the active angles To collapse single or multiple multiclips 1 Select the multiclip segment s you want to collapse From the Library of michiel pilgram 188 Multicam Editing 2 Do one of the following Choose Modify gt Collapse Multiclip s gt Control click one of the selected segments and choose Collapse Multiclip s from the shortcut menu In the Timeline the name of each multiclip changes back to just the source clip name NOTE gt To uncollapse a multiclip simply follow the preceding steps but choose Uncollapse Multiclip s from the menu What You ve Learned gt In a multicam production multiple cameras shoot the same action simultaneously from different angles Capturing or digitizing media at a lower resolution will improve the performance of real time mul
170. ad to create your primary sort criteria and Shift click additional col umns to accumulate multiple search criteria To refine the search and weed out clips you don t need from this list press Command F again This time click the More button in the Find window Each time you click the More button an additional criteria line appears in the Find Results window where you add criteria from Browser column headings to fine tune your search EIT To remove the last criteria line click the Less button Search Project Find Results Find Next For Unused Media Find All Results Replace Find Results a Match All E M Omit Label g Contains B B Roll M Omit Reel a Contains i DF 013 M Omit Log Note HA Contains Ky exterior From the Library of michiel pilgram 394 Project Management Changing Clip Properties In Avid when you need to change properties of a clip in your project such as name reel number or timecode you access the Modify command From the Final Cut Pro Modify menu you can choose several types of modifications including changing timecode While most clip changes are made directly in the Browser or in a bin you can also change clip properties in the Find Results window which is also a bin Making global changes in FCP is very easy but there may not be as many are you sure dialogs as you are accustomed to in Avid So enjoy but be careful Avid Modify dialog When making changes to a clip or group
171. aif CU dolphin beneat4033E096 0 aif SS an Mame Avid s Media tool While Avid s Media tool lets you sort and delete media for one or more projects the Final Cut Pro Media Manager is a true multitasking machine It lets you perform many media management functions such as clip or sequence trimming consolidating copying mov ing recompressing sequences archiving projects and deleting all in one place Media Manager Window The FCP Media Manager window is highly interactive With every option box you select the summary at the top of the window is updated to indicate how the Media Manager will handle your media files Moving over the colored media bars displays additional informa tion about the media location and length Choosing certain options makes other options available or unavailable 1 Select the desired clips or sequences in the Browser that you want to manage 2 To open the Media Manager window do one of the following gt Choose File gt Media Manager gt Control click a selected clip or sequence and choose Media Manager from the shortcut menu H 7 Sponge Dolphins b 7 Training Dolphins EJ Open Timeline Batch Capture Reconnect Media Make Offline From the Library of michiel pilgram Working with the Media Manager 411 The Media Manager opens and displays the following sections Summary Update what will happen based on all of the selections made within the Media Manager
172. al Cut Pro 7 Final Cut Pro 7 Motion 4 Sound Editing in Color Correction in DVD Studio Pro 4 0 321 63527 2 54 99 Advanced Editing 0 321 63529 9 54 99 Final Cut Studio Final Cut Studio Third Edition 0 321 63679 1 59 99 0 321 64748 3 54 99 0 321 63528 0 54 99 0 321 53409 3 54 99 Logic Pro and Logic Pro 9 Advanced Compressor 3 5 Final Cut Server 1 5 Pro Motion 4 Logic Express 9 Music Production Guick Reference Guide Guick Reference Guide aie bey poe eel ak paea Logic Pro 9 and Logic Pro 9 Advanced Compressor 3 5 Final Cut Server 1 5 Final Cut Pro 7 Quick Motion 4 Quick Logic Express 9 Music Production 0 321 64743 2 39 99 0 321 64765 3 54 99 Reference Guide Reference Guide 0 321 63680 5 54 99 0 321 64745 9 54 99 0 321 69468 6 29 99 0 321 63677 5 29 99 Apple The Apple Training Series The best way to learn Apple s hardware Mac OS X and iLife applications en tee tee iLife 11 i i GarageBand 09 Mac OS X Support Mac OS X Server AppleScript 1 2 3 EE Essentials v10 6 Essentials v10 6 a iLife 11 iWork 09 GarageBand 09 Mac OS X Support Mac OS X Server AppleScript 1 2 3 0 321 70097 X 39 99 0 321 61851 3 39 99 0 321 64852 8 39 99 Essentials v10 6 Essentials v10 6 0 321 14931 9 49 99 0 321 63534 5 59 99 0 321 63533 7 64 99 To order books or view the entire Apple Pro Training Series catalog visit www peachpit com appleprotraining From the Library of michiel pilgram
173. am can do nor do we provide every shortcut you can use This book is meant to help you make a smooth transition from Avid to FCP and to get you comfortable editing in FCP as quickly as possible About the Apple Pro Training Series Final Cut Pro for Avid Editors is part of the official training series for Apple Pro applica tions developed by experts in the field The lessons are designed to let you learn at your own pace If you re new to Final Cut Pro you ll learn the fundamental concepts and fea tures you ll need to master the program Each lesson concludes with a review section sum marizing what you ve covered Apple Pro Certification Program The Apple Pro Training and Certification Programs are designed to keep you at the forefront of Apple digital media technology while giving you a competitive edge in today s ever changing job market Whether youre an editor graphic designer sound designer special effects artist or teacher these training tools are meant to help you expand your skills You can become an Apple Pro by taking a certification exam at any Apple Authorized Training Center Certification is offered in Final Cut Pro Motion Color Soundtrack From the Library of michiel pilgram Loading Software and Staying Current XV Pro DVD Studio Pro Shake and Logic Pro Certification as an Apple Pro gives you official recognition of your knowledge of Apple professional applications while allow ing you to market yourself to emp
174. an edit with a transition using the Canvas edit buttons 1 2 Mark your clip in the Viewer Do one of the following gt Drag the clip to the buttons beneath the Canvas play keys Move your pointer over the blue Replace icon An additional group of edit icons appears Slide over and drop the clip on either the red Overwrite with Transition icon or the yellow Insert Splice with Transition icon 12 nde ey ivy Overwrite w Transition Shift F10 gt Press Shift F9 for Insert with Transition or Shift F10 for Overwrite with Transition if you have redirected your Mac OS X Expos keys EXT To change the default blue Replace button in the lower left of the Canvas click it and then choose one of the additional edit options Do this with your default Selection tool and without dragging an image Using the Transition Editor In Avid you use the Quick Transition window to make changes to a dissolve or the Effect Editor to make changes to effects with additional parameters In Final Cut Pro you can make some changes to transitions directly in the Timeline using the Control click method discussed earlier To make those adjustments and control additional transition parameters such as for wipes you open the transition from the Timeline just as you would open a clip This is where the FCP Viewer begins to take on a more robust role letting you do more than just view source material From the Library of michiel p
175. and brightness You can change these options in the Controls tab and then save a matte in the Favorites folder as discussed later in this lesson To change matte color 1 Do one of the following Click the color box and select a color from any one of the color displays gt Use the Select Color eyedropper to pick a color from an image From the Library of michiel pilgram Using Slugs Mattes and Render Items 335 2 To adjust hue saturation and brightness using sliders or numerical entry fields click the disclosure triangle in the Color parameter Render Options The FCP Render video generators include several options such as Gradient Clouds Noise Lens Flare and so on erolling Text Favorites Bars and Tone Haris Matte x Caustics Shanes 9 Cellular Slug Checkerhnared Text Clouds Concentric Shapes Master Templates Custom Gradient Cradiant Grid Hiyhlighi Lens Flare Mambrana Noise Hoixe One Color Aay p Art 2 Op Art J Paride huie nt Gradient fpirals Star Series Tairi Two Color Aay These generated items are often used in conjunction with other clips For example you could use a Gradient or Custom Gradient generated item behind text or apply it to a video image You can also key a Highlight Noise or Particle Noise generated clip over a background clip for an interesting effect Such multistream constructions usually require rendering thus the name To create a custom gradient In the
176. and closed like other OS X windows and can be repositioned anywhere in the interface Unlike in Avid you can have multiple projects open in FCP at the same time and you can also work with multiple sequences from different projects The FCP interface windows are similar to Avid The Browser is a combination Bin viewer and Project window the Source monitor is called the Viewer and the Record monitor is called the Canvas Project and sequence names appear on tabs in appropriate windows Bins appear as folder icons You create a new bin by choosing File gt New gt Bin pressing Command B or Control clicking to open a shortcut menu To view bin contents you can double click a bin to open it as a separate window click the disclosure triangle next to a bin or Option double click a bin to open it as a tab in the Browser In FCP you can drag any Browser tab to create a separate window In the Viewer you can view source material select edit points or create view and edit transitions and effects You can open a clip in the Viewer by double clicking it in the Browser dragging it from a bin into the Viewer or selecting it and pressing Return In FCP the Timeline window opens with an empty sequence when you create a new project You can create a new sequence in the Browser by choosing File gt New gt Sequence pressing Command N or Control clicking to open a shortcut menu From the Library of michiel pilgram 24 Project
177. and drag the fader up or down on the appropriate track 3 To monitor just one track click the Solo button at the top of that track s fader 4 To mute a track click the Mute button above that track s fader NOTE gt Remember If digital audio peaks at 0 dB it will distort To set automated keyframes Like Avid s Automation Gain tool the FCP Audio Mixer can create keyframes automati cally as you raise and lower the faders 1 Press Option Q to open the User Preferences window In the Editing tab click the Record Audio Keyframes pop up menu and choose one of the options When recording keyframes there are three options to control the number and speci ficity of keyframes added to your clip gt Peaks Only Set a keyframe only for the peaks of your audio levels gt Reduced Set keyframes for the primary movements of your audio levels gt All Set keyframes for every audio level change you make 2 Inthe User Preferences window click the Record Audio Keyframes checkbox to toggle the function on You can also toggle it off or on in the Audio Mixer button bar or use the keyboard shortcut Command Shift K From the Library of michiel pilgram Merging Clips 219 3 In the Timeline make sure Clip Overlays is active so you can see the pink volume overlay lines 4 Play the clip clips or area in the Timeline you want to adjust 5 As the sequence plays drag the fader up or down on the track for which you want to
178. ange the view to View Medium Icons or View Large Icons so you can see the clips Manually position the clips in left to right top to bottom order as you would like them to appear in the sequence NOTE P Dont use the Arrange option in the bin shortcut menu This will reposition the clips into alphabetical order Remember to keep the clips in a slightly descending order as you lay them out left to right Select all the clips you want to use in this grouping or sequence From the Library of michiel pilgram 5 What You ve Learned 77 In the Timeline position the playhead where you want to edit the clips and patch the appropriate audio and video source tracks Drag the selected clips into the Canvas window onto the Overwrite or Insert Edit Overlay option FCP will observe any In or Out points that are already attached to the clips If no edit points are attached to the clip the entire length of the master clip will be edited into the sequence What You ve Learned gt Final Cut Pro attaches settings to each sequence and capture operation whereas Avid attaches similar settings to projects Easy Setup allows you to choose a preset configuration that matches the specific stan dard and format of your captured video clips You can modify an existing Easy Setup Capture or Sequence setting in the Audio Video Settings window You set personal editing preferences in the User Preferences window You choose scratch disks and
179. annel attached to it open the clip in the Viewer and access the View pop up menu Choosing Alpha will display the alpha channel of the selected image if there is one You can also press Shift W in the Canvas or Viewer to cycle through RGB Alpha and Alpha RGB displays 0000 02 07 tae image Image Wiretranne Wireframe Show Overlays Show Title Sate Show Timecode Overlays Show Excess Luma RGE Alpha RGE M Black White Checkerboard 1 Checkerboard 2 You can find the alpha channel type of the current image on the Format tab of the Item Properties window Command 9 To choose the alpha channel type 1 Do one of the following Select the clip choose Modify gt Alpha Type and then the type of alpha channel From the Library of michiel pilgram 362 Importing and Exporting Select the clip in the Timeline Control click to display the shortcut menu and choose Item Properties gt Format In the Item Properties window Control click the Alpha category under the V1 column Anamorphic Field Dominance Alpha eiat k None ignore Reverse Alpha by Straight Composite Black Audio White Aud Rate Aud Format Select the clip press Command 9 to bring up the Item Properties window and Control click in the Alpha category under the V1 column Choose the way you want FCP to handle the alpha channel Sending Files to Other Applications With Final Cut Pro 6 and later you have the ability to send an
180. ard shortcut F add a match frame button to an FCP button bar or map the command to a specific keyboard location Although FCP does not have a command called Reverse Match Frame it does have that functionality 143 From the Library of michiel pilgram 144 Advanced Editing eee oon HTA A O eS Fin aay Match Frame Avid Match Frame button FCP Canvas Match Frame button If you initiate a match from the Timeline or Canvas your source will appear in the Viewer with the marks used in the sequence clip and the playhead parked on the matching frame If you open a new master clip in the Viewer you can find a match frame for that clip in the sequence if it was used and the match frame will appear in the Canvas exactly like Reverse Match Frame functions in Avid To find a match frame for a sequence clip This method is the same as the Avid approach to matching a specific frame in the sequence with its master clip 1 Inthe Timeline park the playhead on the frame you want to match 2 If several clips are on the tracks at the playhead location select the clip with the Selection tool or Option click the Auto Select control for the track you want to match This keeps the one track selected but deselects other tracks of the same type audio or video Since video tracks are the priority if you want to match to an audio track you will also have to turn off the Auto Select control for the video track o
181. are already in digital format In Final Cut Pro your two ingest options are capturing and transferring Both systems can digitize analog material with the appropriate converter or capture card Similar to the way you organize clips in Avid in FCP you ingest your material in a master clip bin and later organize the clips in separate bins by scene type of shot and so on Or you can create target bins and bring your media directly into those bins You save your media files to what FCP calls scratch disks Avid s target media drives FCP provides some additional logging functionality You can include markers what Avid calls Locators when you capture a clip and you can use these locators to create subclips while editing While there is no dedicated Media Log application for FCP it s easy to use other pro grams such as Excel or Word to log your clip information and use it later to batch capture your clips 99 From the Library of michiel pilgram 100 Capturing and Transferring Exploring the Log and Capture Window In Avid you access the Capture tool through a menu or keyboard shortcut To digitize in Final Cut Pro you access the Log and Capture window in similar ways aan Capture Tool Avid s Capture tool To open the Log and Capture window 1 Before opening FCP make sure the device that holds the media you want to capture is turned on and properly connected 2 Place the desired source tape into the device
182. area You can do this in the Viewer s Motion tab by dis playing the Speed parameters In the keyframe graph area of that tab you can adjust the From the Library of michiel pilgram Creating and Changing Speed Segments 289 Bezier handles of a keyframe add or delete keyframes and adjust keyframe position You can also access the fourth smoothing option Custom 1 After applying a speed or speed segments to a clip in the Timeline double click it to open it in the Viewer Click the Motion tab 2 Click the Speed disclosure triangle if that section is not already visible If necessary drag the vertical scroll bar down until you see the Speed section in full Clip with three speed keyframes and two speed segments within marked clip EXT For this exercise dynamically resize the Viewer to make it wide enough to see the entire clip length and the keyframes in the keyframe graph area You can also use the Zoom control and Zoom slider beneath the graph to zoom in or out of this area 3 Control click the middle keyframe and from the shortcut menu choose Smooth When you set a keyframe to Smooth in the Viewer the keyframe displays two Bezier handles that you can control to finesse the smoothness or variability of a speed change From the Library of michiel pilgram 290 Speed and Motion Effects When smoothing options are chosen from the Change Speed Dialog only one Bezier handle is created around each keyframe NOTE gt W
183. area move your pointer to that location in the scope and the level will appear in the upper right corner Waveform Monitor 5 To increase the brightness of the traces or graticule lines on the scope click the Display or Scales Brightness button and adjust the slider w a 6 From the Layout pop up menu choose Vectorscope and move your pointer inside the scope area Again the level is displayed in the upper right corner based on the location of your pointer Checking Video Levels Looking at scopes in either Avid or Final Cut Pro is one way for you to determine when an image is in an acceptable range for broadcast specifications Like Avid FCP has a tool that flags you if a clip falls out of this range The FCP Range Check function identifies the portions of a video clip that exceed broadcast standards of transmission Range Check Indicators If the luma or chroma levels exceed the acceptable broadcast limit of 100 units diagonal lines appear across the image in problem areas with a yellow yield sign The red lines indi cate areas that are over 100 percent and the green lines indicate areas that are very close to 100 percent From the Library of michiel pilgram Checking Video Levels 433 EXT Be aware of your measurement choice If measuring both luma and chroma at the same time the yellow exclamation point could indicate that either luma or chroma levels or both are illegal Isolate one or the other to deter
184. as far right or left as there is material on the bordering clips If you don t have enough footage or handles on a border clip to compensate for the slide the selected middle clip will not move in that direction GT As in Avid you can select the clip and press a Bracket key to slide one frame or press a Shift Bracket key to slide the multiframe amount Replacing Edits As in Avid the Replace Edit function in FCP matches a desired sync point in the Timeline with a corresponding sync point in a source clip and allows you to replace the Timeline clip with regard to that point The color of the blue FCP icon has followed suit as well In both cases if you don t have enough material to cover before and after the sync point the edit can t be made and you have to adjust the duration of the clip you want to replace SJ Replace F11 Avid Replace Edit function FCP Replace Edit button From the Library of michiel pilgram 150 Advanced Editing To replace an edit As with many other FCP functions you have multiple ways to perform the Replace Edit function It doesn t matter which method you use each accomplishes the same thing 1 Position the playhead at the In Out or specific sync point within a clip in the Timeline such as a visual cue or sound effect 2 Opena replacement source clip into the Viewer 3 Park the Viewer playhead either on the desired In or Out point or on the specific sync point to match that of the sequence
185. as possible before rendering performing partial renders as a test preserving render files by using Clip Enable on a single clip rather than toggling visibility for an entire track rendering inside a nested sequence and disabling the playing of render files in the Timeline In the Render Manager you can delete render files located in the current scratch disk whether or not that project is open The Media Manager can perform several operations that process media files in different ways such as copy move recompress create offline and delete unused media files gt When trimming media files and deleting unused media from duplicated sequences FCP looks at master clips and if they have In and Out points that material will be included in the process gt You can easily decompose a sequence by dragging the clips from the sequence into a bin in the Browser Keyboard Shortcuts Command F Shift D Command 9 Command 0 Command A Shift Q Option 8 Option P or Option GGG Control B Open the Find dialog Open the Make Offline dialog Open the Item Properties dialog Open the Sequence Settings dialog Select all items in current window Open the System Settings window Open the QuickView tool Play every frame of an unrendered effect but not in real time Choose the Range Selection tool which you can use to select a specific range of frames from one or more clips Enable or disable visibility for selected clips
186. ase clip 2 Patch the vl source control to the base clip s track RTs 01 00 01 27 foooo 3 Markan In point in your source clip in the Viewer NOTE gt When you use the Superimpose function if there is not an existing track for the new clip one will be created automatically From the Library of michiel pilgram Superimposing Clips 265 4 To make a superimpose edit do one of the following gt Drag the clip from the Viewer into the Canvas Edit Overlay and drop the clip onto the Superimpose option Press F12 gt In the Canvas click and hold the Replace edit button and then slide over and select the Superimpose edit button Once that button is matched to this location click the Superimpose edit button to perform the edit gt Drag the clip from the Viewer onto the Replace edit button in the Canvas When the additional edit options appear drop the image onto the purple Superimpose edit button RT 01 00 01 27 41 00 0400 A new clip is superimposed on top of the base clip and matches the base clip s length and position NOTE gt If another clip currently sits directly above the base clip superimposing a new clip will bump up the current track or tracks and insert an entirely new track above the base clip The superimposed clip will be added to the new track above the base clip To change opacity Once a clip is superimposed over another you can change the opacity of the upper clip or set
187. asted Et FCP can paste keyframes to clips that are longer or shorter than the copied clip and scale them so they are proportionally placed over the length of the clip Scale Attribute Times selected or paste them using the exact timing of the copied clip keyframes 3 Select each motion attribute or filter you want to paste 4 Click OK Creating a Motion Path Today an editor is not only expected to edit but to composite effects and build anima tions as part of an integrated process As an Avid editor you ve most likely created motion paths for your projects While creating motion paths in Avid is nothing new adjusting them in Final Cut Pro may be quicker and easier For example in Avid 5 you can move keyframes in the motion path But in FCP you can add keyframes and manipulate inter polation which results in more flexibility when changing the motion path From the Library of michiel pilgram Creating a Motion Path 309 Avid Effect mode window with image handles NOTE gt If youre familiar with creating motion paths feel free to skip the following section and go directly to Modifying a Motion Path What Is a Motion Path As in Avid a motion path reflects the changes in position an image makes over time A motion path needs a minimum of two keyframes creating at least a starting and stop ping position on the path When the Image Wireframe mode is active the motion path becomes visible and you can make changes to
188. at the same time as long as linked selection is enabled When tracks are captured together FCP recognizes and refers to them as a linked clip If tracks are ingested separately as when bringing together double system video and audio sources you join them with the Merge Clips function similar to Avid s From the Library of michiel pilgram Linking Clips AutoSync You can change the status of a linked clip at any time either making it unlinked or linking it to different clips altogether There are two aspects of linking clips in FCP One involves selecting linked clips in the Timeline and the other involves actually changing the link status of a clip or clips Selecting Linked Clips By default if a clip s audio and video are linked selecting one portion of the clip will select all tracks associated with that clip You will experience this when you move all tracks of a clip by dragging just the video or just the audio portion This makes sync editing and trimming easy because linking like Avid s AutoSync carries sync relationships between tracks If later on the audio or video clips are moved independently they will display sync warning flags To select only one part of an FCP linked clip just the audio or video for example you must first override linking by turning off linked selection This is exactly like turning off Link Selection in Avid s Timeline FCP and Avid even use the same key board shortcut Shift L You can tog
189. atch list match those of the Browser columns They do not have to be in the same order as the Browser column heads Shot Take Keel Media Start Media End Master Comment 1 MasterComment2 Name 47l DF0I3 33A 15320714 0L33431L 01 33 33 14 MS TS dolphins in pool play catch slo mo 472 DFOIS 1343517 13143922 0133 5314 01 33 537 19 MS front trainer by pool signals to dolphin 473 DFOI2 1222 4123 224324 0L33 57 19 01 33 39 230 MS UW to surface dolphin trainer by pool 474 DFOIS WS 28 06217 S282 01 33 59 240 01 34 01 004 MS front trainer by pool w dolphin Text doc with tab delineated columns Text imported as batch list and now ready for capture From the Library of michiel pilgram 350 Importing and Exporting 2 Do one of the following gt Choose File gt Import gt Batch List gt Control click in the Browser and choose Import gt Batch List Files Reveal Project in Finder Folder New Bin Batch List New Sequence Cinema Tools Telecine 2g EDL Set Logging Bin XML Wiew as List View as Small loons View as Medium loons View as Large loons 3 Select the batch list from the Choose a File window and click Choose When the list is imported into the Browser the clips will appear as offline clips ready for capturing or recapturing EXT When you are ready to batch capture the clips select them and choose File gt Batch Capture or press Control C Choose from the options in the Batch Capture
190. aterial Extract a selected clip clips or range of material Lift a selected clip clips or range of material and place it on the clipboard leaving a space in the Timeline the length of the lifted material Extract a selected clip clips or range of material and place it on the clipboard removing the space the material occupied in the Timeline From the Library of michiel pilgram Keyboard Shortcuts Control Control O Option drag In point Option drag Out point Command Option Command Option O What You ve Learned 49 Set a video In point for a split edit Set a video Out point for a split edit On upper edit point change just the Video In point On lower edit point change just the Audio Out point Set an audio In point for a split edit Set an audio Out point for a split edit From the Library of michiel pilgram s p From the Library of michiel pilgram Lesson 3 Customizing Your Project Now that you ve tackled some Final Cut Pro editing basics lets take a look at where and how you adjust your settings While Avid attaches settings to Projects Users and Site systems FCP settings control Sequence Settings User Preferences and System Settings The User Preferences and System Settings categories are similar in nature But one of the primary differences between Avid and Final Cut Pro is that where Avid attaches certain media settings to individual projects FCP attaches those settings to eac
191. ator gt Move the playhead to the tail of the clip to see the right side film strip or end of clip indicator Beginning of clip End of clip indicator indicator From the Library of michiel pilgram 40 Translating Basic Editing Skills Creating Subclips In Avid you create a subclip by marking a clip and dragging the clip icon from the Source monitor back to a bin or clicking the Create Subclip button In Final Cut Pro you use a keyboard shortcut or menu selection which automatically places the new subclip in the original clip s bin In addition you can create a subclip from a portion of a sequence and even remove a subclip s limits if you want to use more of the master clip material aH Create Subelip Creating Avid subclips To create a subclip from the Viewer 1 Open a clip in the Viewer 2 Mark an In and an Out point for your new subclip 3 Choose Modify gt Make Subclip or press Command U E CU TS dolphins face ag CU TS dolphins face Subclip EE CU TS dolphins face Subclip 2 EEF CU TS dolphins face Subclip 3 In the Browser a new subclip is created and placed automatically beneath the clip from which it was created An FCP subclip is always named after the original clip and like in Avid each new subclip created from that master clip is given a subsequent number To create a sub sequence from the Timeline As in Avid you can also create a sub sequence by marking a portion of a sequ
192. avorites folder and release it when it becomes highlighted 01 00 12 00 i ee 00 00 02 26 p1 p0 09 00 gt With the transition open in the Transition Editor choose Effects gt Make Favorite Effect or press Option F When you ve saved transitions in the Favorites folder you can also access them in the Effects gt Favorites menu or use keyboard shortcuts for the top four in each category in the order they are listed in the Favorites bin From the Library of michiel pilgram Creating Effect Templates 255 By default pressing one of these four keys in combination with Control Shift allows instant access to your top four favorite transitions To save a filter or group of filters Do one of the following gt gt Drag the filter name from the Viewer Filters tab to the Favorites folder To save a single filter or group of filters applied to a clip in the Timeline park the playhead over the clip and choose Effects gt Make Favorite Effect or press Option F These two options also work for clips in the Viewer When you use the Make Favorite Effect menu option all the effects from that clip are saved in a folder titled after the sequence To use these filters as a set you can simply drag the entire folder onto another clip ETT Once you ve saved filters in the Favorites folder you can also access those individual filters via the Effects gt Favorites menu or use keyboard shortcuts for the top f
193. bined with a Luma Key filter to produce a soft frame around the scene You can also use shapes to create travel mattes 1 From the Generator pop up menu choose Shape gt Oval 2 Drag the shape clip from the Viewer to V1 in the Timeline Double click the shape clip to open it in the Viewer and then click the Controls tab Park the playhead over the Shapes clip 3 Adjust the size softness and aspect ratio of the shape clip 4 To create a travel matte mark and place your fill clip in V2 in the Timeline above the shape clip Select the V2 clip and choose Modify gt Composite Mode gt Travel Matte Luma The upper image fills the space of the shape 5 To create a key effect position the shape clip above the background clip and choose Effects gt Video Filters gt Key gt Luma Key Make the appropriate adjustments to key out the white shape area The effects created in steps 4 and 5 may create similar but slightly different results 6 To reposition the oval against the fill image select the Shape clip in the Timeline and press W to turn on the Image Wireframe mode Drag the shape into the desired position EXE You can invert shape generators for additional effects by applying an Invert filter Choose Effects gt Video Filters gt Channel gt Invert From the Library of michiel pilgram 338 Title Tool and Generators Saving Generators as Favorites Just as you can create Final Cut Pro favorites of motion effects and filt
194. but will have to be linked separately To reveal a master clip At times you simply want to locate or reveal a master clip in the Browser In Avid this is the popular Find Bin function which is available in FCP FCP has a robust Find function which is covered in Lesson 13 To reveal a master clip in the Browser FCP uses a menu command or shortcut 1 Inthe Timeline park the playhead over the clip whose master you want to reveal in the Browser 2 Choose View gt Reveal Master Clip or press Shift F In the Browser the bin that contains the master clip will open and the master clip appears highlighted NOTE gt FCP reconnects media using the media filename and not embedded reel and timecode information as Avid does so it is vital that clips and media files share the same name Two commands can help you to maintain the link to your media files With a clip selected in the Browser choose Modify gt Rename to access them One command allows you to rename a project clip to match its originating media file and the other allows you to change the name of the media file to match the project clip name You can also Control click a clip in the Browser and choose Rename from the shortcut menu Finding Match Frames Both Avid and Final Cut Pro allow you to find match frames In FCP you can find a match frame in the Viewer Canvas or Timeline The Viewer and Canvas Match Frame command buttons are dedicated but you can also use a keybo
195. by any kind of editing operation including insert edits ripple deletes and ripple trim edits turning on the lock for a track in FCP allows you to exercise the same kind of sync control as turning off sync lock in Avid To trim without clip collision 1 Lock any tracks you don t wish to ripple as the result of a trim 2 Select the edit points you wish to trim with the Ripple Trim tool RR NOTE gt You can lock tracks before or after selecting edit points for trimming 3 Drag left or right to perform the trim You can also load the edits into the Trim Edit window for dynamic trimming From the Library of michiel pilgram Using Sync Indicators 209 Trimming with Lock Track on in FCP EXT To lock all audio tracks or all video tracks Option click the Lock Track con trol for a single track which locks all but that one track and then click the Lock Track control for that track Using Sync Indicators Avid uses subtle sync break indicators to let you know when your locked tracks have gone out of sync The Final Cut Pro sync indicators are not at all subtle They look like big red flags in comparison But that s a good thing Having a very clear indication that you have just done something to throw your clip or sequence out of sync can be helpful enabling you to undo your mistake quickly and easily Avid sync break indicators FCP out of sync indicators FCP remembers whether you originally captured your clips with the
196. capture the video as well From the Library of michiel pilgram Exploring the Log and Transfer Window 117 NOTE P You can create batch lists in a spreadsheet or word processing program in plain text format Or you can export an FCP batch list and use it as a template to create other batch lists and import that into an FCP bin as a capture batch list Importing and exporting batch lists is discussed in Lesson 12 Exploring the Log and Transfer Window The second ingest option is to transfer footage from a media card or device such as solid state cards like SDHC or Panasonic s P2 optical disks such as Sony s XDCAM or other hard disk camera recorders In these situations the footage is already in a file format so you need only to transfer it from the storage device to the computer and into your Final Cut Pro projects This process is typically faster and allows you to multitask by performing editing functions in the foreground while you ingest media files in the background The Log and Transfer window provides ingest controls similar to those in the Log and Capture window that allow you to preview your files name them set In and Out points and so on If you re familiar with the capture window you can easily navigate the Log and Transfer window To open the Log and Transfer window 1 Before opening FCP make sure the media card or device is inserted into the computer or properly connected 2 Doone of the following gt Choose F
197. ce Avid Final Cut Pro ata E DD his GD No button CI No button No button No button Function Play Previous next edit Play In to Out Play around current frame Play here to Out Step 1 frame Step 10 frames FCP Keyboard Shortcuts Spacebar starts and stops a clip or sequence Up and Down Arrow keys and the semicolon and grave keys Shift backslash backslash Shift P Left and Right Arrow keys K J and K L Shift Left Arrow or Shift Right Arrow key moves one sec ond shuttle control moves desired number of frames NOTE P In FCP the Home and End keys work the same as they do in Avid FCP also uses the J K and L keys on the keyboard The only difference is that in FCP if you have pressed the J or L key multiple times to increase the speed pressing the opposite key will reduce the speed in increments rather than reverse the direction of play To use these keys as you would in Avid press the K key first and then press the opposite key to reverse the play direction EXT To enable a clip or sequence to loop playing after it reaches the end choose View gt Loop Playback or press Control L This toggles looping off or on for play functions including Play In To Out and Play Around Current Frame within the Viewer Canvas and Timeline From the Library of michiel pilgram 30 Translating Basic Editing Skills Using Mark Commands In FCP you will f
198. ch as bars and tone black slate countdown and other options You can apply the Timecode Reader filter to a nested sequence before outputting it to create a window burn You can create an automatic backup of your project by enabling Autosave Vault in the User Preferences You can restore a project by opening a previously saved version that resides in the Autosave Vault You can revert the current project to a previously saved project but you will lose all changes since the last save FCP can export a batch list of all your project Elements which can be opened in a spreadsheet application printed and saved along with your other backup files Keyboard Shortcuts Command Shift A Deselect all selected items in the Timeline Option 9 Open video scopes in the Tool Bench window Control Z Turn on range checking to check for excess luma or chroma or both Command Option Q Display the Audio Video settings window Option R Render all unrendered video and audio clips in a sequence Control L Set playback to loop a clip or sequence Control M Open the Print to Video window Option C Display the Nest Items dialog for selected items From the Library of michiel pilgram This page intentionally left blank From the Library of michiel pilgram Index Numbers 1 up real time view options 177 16 up real time view options 177 3D effects 279 3D text animating 333 creating 331 332 3D Warp Avid 298 3G exporting with QuickTime Co
199. chnician to maximize system performance Although Final Cut Pro is often thought of as an out of the box application it is recom mended that you have a support person confirm that your FCP system configuration is properly set up to achieve the highest level of performance We also recommend you read the New Features section of the latest software upgrade Help documentation to learn about the most recent changes and upgrades EqT You can also check www peachpit com apts fcp avid for revised information From the Library of michiel pilgram xvi Getting Started Resources Apple Pro Training Series Final Cut Pro for Avid Editors is not intended as a comprehensive reference manual nor does it replace the documentation that comes with the application For comprehensive information about program features refer to the following resources gt The FCP Reference Guide Accessed through the Final Cut Pro Help menu the Reference Guide contains a complete description of all features Apple website www apple com Final Cut Studio 3 system requirements www apple com finalcutstudio specs html What s new in Final Cut Pro 7 www apple com finalcutstudio finalcutpro whatsnew html Technical specifications www apple com finalcutstudio finalcutpro specs html y yvy VY Yy Y FCP for Avid Tips www weynand com wt content fcp for avid From the Library of michiel pilgram This page intentionally left blank From the Library of michi
200. cks up by the same amount as long as room is avail able in the Timeline and tracks are not locked It will observe overlaps such as split edits and will not delete a gap that would throw off an overlap edit EXT To delete a gap in only one track lock the other tracks then select and delete the gap you want to remove If the clips in the locked tracks are linked this will cause them to become out of sync Working with Master Clips Avid s master clips link to their associated media files This concept of clip linkage is true for Final Cut Pro as well as for all nonlinear editing systems although some terminology may be different For example in FCP a clip is considered a master clip if it was the first From the Library of michiel pilgram 140 Advanced Editing use of that clip in the project An FCP master clip can be duplicated any number of times and used in several different sequences or bins within a project But the clip copies will not be viewed or listed as a master clip However if you copy a clip and paste it into a dif ferent project and it is the first use of that clip in that project it will be a master clip in that project even though the copy was not a master clip in the previous project In FCP the master clip is the first point of reference if you will A copied master clip within the same project is considered to be an affiliate of the master clip Property changes you make to the master clip such as name c
201. clip you are replacing 4 Doone of the following Click the Replace Edit button located at the lower left of the Canvas next to the Insert Edit and Overwrite Edit buttons gt Press F11 gt Drag the clip from the Viewer to the Canvas and drop it into the Replace option of the Edit Overlay Eh NOTE gt You can also replace a video clip based on an audio cue To do this park the playhead on the audio cue in the Timeline Patch the v1 source control to the target destination track and unpatch the audio source controls so the audio tracks won t be overwritten Park the playhead on the sync point in the source clip in the Viewer and choose one of the Replace Edit options From the Library of michiel pilgram Adding Edits 151 ET To replace more than one clip in the Timeline with a single source clip mark In and Out points to define the area in the Timeline you want to replace Then follow the previous steps to replace the area with the desired source clip Adding Edits Like the Replace Edit function the Add Edit function in FCP operates the same as the cor responding Avid function With FCP in addition to a menu command there is a special editing tool you can use for this function You can also map Add Edit to your keyboard or place the Add Edit button in one of the FCP button bars AT RO Add Edit v OG nl Avid Add Edit button FCP Add Edit in Timeline button bar To add an edit What both Avid and FCP are rea
202. computer across the world As with the copy function the Media Manager will find all the media files associated with your project and collect them into one location But unlike copying a project and media files when you use the Move option you are moving a copy and deleting the original You will no longer have the original as a backup or reference so be careful when using the Move or Use Existing operations in the Media Manager 1 Select everything in your project and then open the Media Manager window 2 From the Media pop up menu choose Move Modified f Ko 2 4 GB 2 3 GB on Destination Volume 00 16 36 22 of Medial e Notice that the media bars are exactly the same length because you aren t changing the media just moving everything from one place to another 3 Click the appropriate options for render files and media file names then choose a media destination and click OK From the Library of michiel pilgram 414 Project Management Consolidating Media Once you ve reviewed your material and are sure which clips you want to use in your project and which you don t you may decide it would be nice to consolidate your media files and delete extra material you aren t using to free up more space on your media drive In Avid this is an integral part of a Consolidate operation which includes trimming the sequence to clip In and Out points plus specified handles copying all media to the target drive unless it already exists and opti
203. ct permissions peachpit com Dolphin Footage provided by Devillier Donegan Enterprises www ddegroup com all rights reserved Whale Footage provided by 2nd Side Adventures LLC www 2ndside com all rights reserved The projects and footage supplied with this book may only be used for educational purposes in association with the lessons included Any other use including but not limited to incorporating footage into another project duplicating or distributing footage is expressly forbidden and requires explicit permissions from the copyright holders listed above Notice of Liability The information in this book is distributed on an As Is basis without warranty While every precaution has been taken in the preparation of the book neither the author nor Peachpit Press shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it Trademarks Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks Where those designations appear in this book and Peachpit was aware of a trademark claim the designations appear as requested by the owner of the trademark All other product names and services identified throughout this book are used in editorial fashion only and for the benefit of such companies with n
204. d and Final Cut Pro play and mark commands you will notice that in the default window layouts Avid has more command buttons on the interface but FCP has more keyboard shortcuts However each system will allow you to map additional func tions within the interface As in Avid the spacebar in FCP is conveniently used to start and stop play in the Viewer Canvas or Timeline You may gravitate to the FCP keyboard short cuts or you may prefer sticking with the command button approach FCP also offers an additional approach to editing that allows you to spend more time making edits and edito rial changes directly in the Timeline itself Timeline editing is covered in Lesson 6 Avid command buttons in Source monitor Just as the Avid Play buttons are located beneath the Source and Record monitors the Play buttons in FCP are located beneath the Viewer and Canvas image areas ma Play space E FCP transport controls Transport controls in Viewer You will find many similarities in how Avid and FCP play your clips and sequences In fact if you take a close look at the Play buttons you will see that they look very much alike From the Library of michiel pilgram Using Play Commands 29 ET As in Avid when you move your pointer over a specific button a tooltip will reveal the function of the button but the FCP tooltip also lists its keyboard shortcut This is a good way to become familiar with many of the functions in the FCP interfa
205. d another keyframe to create a third speed segment Change the second segment to 0 The third segment will play faster to accommodate for the freeze To return the segment to its normal play speed change it to 100 To create a freeze frame using menu options and keyboard shortcuts You can also use menu options and keyboard shortcuts to create a freeze frame One menu option Make Freeze Frame can be used in the Timeline or the Viewer 1 To target the frame you want to freeze do one of the following gt Inthe Timeline position the playhead on the desired frame gt Double click a clip in the Timeline or the Browser to open it in the Viewer and then position the playhead on the desired frame 2 Doone of the following Choose Modify gt Make Freeze Frame gt Press Shift N NOTE gt You can also use Add Edit in the Timeline to create and then freeze a separate clip Viewer MS 2 dolphins jump in pool 2 times 13 29 49 08 j ilters o T iam ET PLE From the Library of michiel pilgram 294 Speed and Motion Effects A new freeze frame clip appears in the Viewer with a marked default duration If you want to edit a value other than the default duration re mark the clip and edit it into the Timeline If you desire a different default duration for all subsequent freezes set it in the User Preferences Editing tab s Still Freeze Durations field ET To save a freeze frame image as a clip drag the image from th
206. d into the Timeline a dark gray line appears in this area to indicate a clip is present in this location When no clip is present that area is left blank Video render status line Audio render status line Clip exists but needs no rendering No clip exists here ET To view the render status hover your pointer over one of the render lines A tooltip appears indicating the render issue track and status Video Needs Render Audio Media File The transition on track 1 can not be played in real time From the Library of michiel pilgram 260 Transitions and Effects Render Levels In Avid color dots on effects segments indicate playback capability For example a green dot indicates real time playback In FCP a green bar in the ruler indicates real time playback A red bar in Avid s timecode track means a render is required in FCP red also means rendering is required Other colors represent various real time playback possibili ties and render needs In the Timeline one of several render status colors may appear over an entire clip if a filter was added or just over a transition The render indications that appear are based on the current render settings in the RT pop up menu For example an Unlimited RT setting in the Timeline may yield a green render bar over one clip with an effect but changing the RT setting to Safe RT may turn the render bar to yellow orange or red depending on the speed and power of your computer W
207. d percentage appears after the clip name If Reverse was selected a minus sign appears in front of the percentage If a smoothing option was selected Variable appears after the clip name 8 To revert a clip s speed back to its original state open the Change Speed dialog for the clip and change the settings back to their original configuration NOTE gt Changing the speed or direction of a master clip in the Viewer will not change the speed of its affiliate clips in the Timeline But any future uses from that master clip will have the speed change applied From the Library of michiel pilgram Editing with Fit to Fill 283 Editing with Fit to Fill Another way to change clip speed is to edit the clip using the Fit to Fill function found in both Avid and Final Cut Pro This creates a constant type speed change based on two durations the marked duration of the source clip that will fit into the targeted duration in the Timeline Avid users may be familiar with choosing the Fit to Fill option in the Motion Effect window oes ze B 5 11 Avid s Fit to Fill option In Avid you see the speed of the altered Fit to Fill clip before editing it into the sequence In FCP you make the edit and the altered speed percentage is displayed as part of the clip name in the Timeline a CU TS 2 dolphins swim by 15 00 FPS a CU woman and kids wade in water 10 00 FPS Avid motion effect clip in bin FCP Fit to Fill clip
208. d throughout this book but they do require a little understanding Most importantly the Auto Select controls affect media already in the Timeline whereas the FCP Source Destination patching controls route new edits into the Timeline Where Avid users select track buttons to determine which track will be affected by a command such as copy they still paste to the same track even if track selectors are changed FCP users copy clip s and toggle Auto Select controls in the Timeline track area to redirect Paste to any other track For example if you want to paste a clip at the playhead location but onto a different track and are working with several video tracks you identify the track to which you want to paste by deselecting Auto Select for all other tracks or by reverse selecting the desired track Photoshop users will understand this behavior immediately from layer visibility toggles EXEL Rather than turn off each track individually you can Option click a track s Auto Select control to select just that track This reverse selection automatically dese lects all other video or audio tracks You can also use keyboard shortcuts to disable or enable Auto Select controls toggle all video tracks with Command 0 zero toggle all audio tracks with Option 0 zero toggle individual video tracks with Command 1 through Command 9 for the track number toggle individual audio tracks with Option 1 through Option 9 k a oz ep i Sc T
209. d to Segment Mode Insert Segment or Overwrite Segment In Avid 5 these functions are available with out changing modes by toggling the Smart tool in the Timeline palette FCP on the other hand lives in segment mode In FCP you can select clips and reposition them wherever you like without entering a different mode of editing To follow these steps edit three or four clips into the Timeline using the methods described in Lesson 2 To select clips in the Timeline 1 With the default Selection tool A click the last clip in the sequence NOTE gt Remember if you click one edge or the other of the clip it will select the clip s edit points not the clip itself 2 To select more than one clip do one of the following Select the first clip of a contiguous group and then Shift click the last clip in the group Select one clip and then Command click to select additional noncontiguous clips gt Drag a marquee around the clips in the Timeline you want to select Press GG to choose the Group Selection tool and then drag over the contiguous clips you want to select From the Library of michiel pilgram Performing Segment Mode Editing 129 gt Use one of the track selection tools to select clips on one or all tracks forward from where you click backward or in either direction Select All Tracks Forward Select Track Forward Select All Tracks Backward Select Track Backward Select Track Forward S
210. default audio transition which appear underlined in the Effects tab and can be quickly applied in several ways Changing a default transition is covered later in this lesson The number of real time effects you have available to you will depend on your computer power and the render settings you choose As you edit you can choose to see as many effects play in real time as possible with the possibility of frames dropping along the way You can also play at a reduced image quality and or frame rate Or you can choose to see every frame and a higher quality image or combinations of each You can make this choice on the System Settings gt Playback Control tab but it s easier to access these set tings directly in the Timeline To adjust playback control Do one of the following gt To have access to the greatest number of real time effects in your Timeline click the RT pop up menu in the upper left of the Timeline and choose Unlimited RT Click it again and choose Dynamic under Playback Video Quality Click it again and choose Dynamic under Playback Frame Rate Play Base Layer Only Scrub High Quality Playback Video Quality Dynamic High Medium Low Playback Frame Rate Dynamic Full Half Quarter Multiclip Playback Record To Tape Use Playback Settings Full Quality From the Library of michiel pilgram Adding Transitions 233 gt To see your effects play with absolute frame accuracy click
211. der on a server or any other acceptable drive or drives that facilitate the capture process It can also be your computer s hard drive although this is not optimal or recommended Like Avid FCP indicates the amount of disk space and capture time available on the selected scratch disk Unlike older Avids where separate drives are used to capture audio and video media files FCP likes video and audio interleaved into the QuickTime format To set capture settings 1 Capture Input options capture your media you want to capture sntr FireWire NTSC Apple ProRes 422 DOV NTSC 48 kHz i OV NTSC 48 kHz Advanced 2 3 3 2 Pulldown Removal OV NTSC 48 kHz Anamorphic DV PAL 48 kHz OV PAL 48 kHz Anamorphic DV to OfflineRT NTSC Photo JPEG OV to OfflineRT NTSC Anamorphic iPhoto JPEG DV to OfflineRT PAL Photo JPEG DV to OfflineRT PAL Anamorphic Photo JPEG OVS0O NTSC 48 kHz OVS0 NTSC 48 kHz Anamorphic DVSO PAL 48 kHz OV50 PAL 48 kHz Anamorphic DVEPRO PAL 48 kHz OVCPRO PAL 48 kHz Anamorphic OVCPRO PAL to OfflineRT PAL Photo JPEG DVEPRO HO 1080i50 48 kHz DVEPRO HD 1080160 48 kHz OVCPRO HD 1080p30 48 kHz DOVEPRO HD 1080pA24 48 kHz DVCPRO HD 720924 48 kHz DVCPRO HD 720925 48 kHz OVCPRO HD 720930 48 kHz DVEPRO HD 720060 48 kHz Generic Capture Template 3 Click the Scratch Disks button From the Device Control pop up menu choose the device control you will use to From
212. display and so on Like Avid Final Cut Pro has visual overlays that show certain aspects of a clip when the playhead is parked on a frame in the Viewer or Canvas An FCP overlay could indicate that you are parked on the first or last frame of an edited clip in the Timeline the last frame of the sequence or the first or last frame of source material You can also view source timecode In and Out points and other helpful information These overlays are included in the View pop up menu options in the Viewer and Canvas and can be toggled off or on during the editing process You can also select these options from the View menu in the menu bar There are clip overlays that appear in the Timeline to display audio levels keyframes and so on Those will be discussed in Lesson 8 Overlays can be toggled off or on during the editing process k To Es image Wirefranme Wireframe Show Overla PE a Show Title Safe Show Timecode Overlays Show Excess Luma View pop up button View options From the Library of michiel pilgram 38 Translating Basic Editing Skills To make visible any of the possible overlays in either the Viewer or Canvas the Show Overlays option must be selected After you select it you can then select any or all of the overlay options below it Each section of the View pop up menu will be discussed at the appropriate time throughout this book To see all of the overlays or visual indicators listed below make sure t
213. dragging an edit point you reduce one clip s speed while the other clip accelerates to accommodate From the Library of michiel pilgram Using the Speed Tool 291 the change It s similar to rolling an edit point in that the overall length of the sequence does not change 1 From the Tool palette click and hold the Slip tool then select the third tool the Speed tool You can also press SSS Speed Tool sss 2 Inthe Timeline move the Speed tool over an edit point between two clips whose speed you want to change 3 To speed up and shorten the first clip drag the edit point to the left To speed up and shorten the second clip drag the edit point to the right Time Delta 02 18 Time 01 01 44 08 As you drag a tooltip appears indicating the amount you ve rolled the edit point and to identify its new Timeline location When you release the mouse button the speed ticks change beneath the two clips but the overall duration of the combined clips does not change NOTE P After changing the speed of the two clips using the Speed tool you can always roll the edit point with the Roll tool to change the clip durations while retain ing the new clip speed From the Library of michiel pilgram 292 Speed and Motion Effects 4 To affect the speed of only one clip Shift drag just one side of an edit point to the left and or right By holding down the Shift key you change the speed and length of one clip bu
214. ds to keyboard 66 67 saving and loading layout 67 68 Keyframe Editor Size in Timeline track control area 270 keyframes adding to text parameters 324 adjusting speed in Viewer 288 290 animating 3D text 333 applying speed change 282 automated 218 219 427 creating freeze frame effect 292 293 creating motion paths 308 310 deleting 213 editing sound and 191 modifying 214 modifying motion paths 311 313 for opacity 266 setting in Timeline 211 212 269 271 setting in Viewer 267 268 setting subframe keyframes in Viewer 212 213 speed segments and 285 288 stereo audio and 203 L labels choosing colors from Label submenu 16 User Preferences 57 Layout pop up menu Timeline 401 layouts changing window layouts 62 63 choosing preset window layout 63 saving window layouts 64 65 L cut edits creating 92 93 extending 153 performing 43 45 leaders mastering options 445 leading changing text parameters 323 level control Audio tab 193 lift overwrite edits copy and paste edits 138 lifting clips 41 43 Linked Selection control toggling on off in Timeline 92 97 205 linking unlinking audio clips overview of 206 207 selecting linked clips 205 selecting one portion of linked clip 205 206 List view 72 Load Filler Avid 138 333 location field on Timeline 14 in Viewer 12 locators Avid 99 154 155 Lock Track control 209 locking unlocking keyboard 66 Log and Capture window
215. dynamic trimming 87 88 indicators of trim edits 84 85 interface 83 opening 82 83 opening by double clicking edit points 242 overview of 82 trimming edit points beneath a transition 238 trimming numerically 86 Trim Frame keys Avid 91 Trim tools in Tool palette 17 trimming clips asymmetrically 93 closing Trim Edit window 83 creating L cut and split edits 92 93 dividing clips with Add Edit 82 dragging edit points in Trim Edit window 88 89 dual roller and single roller trimming 84 86 entering trim amounts 91 with Extend function 82 J K L trimming 87 88 keyboard shortcuts 97 keyboard shortcuts for 86 87 with multiple edit points 93 94 numerical dual and single roller trimming 86 opening a sequence of clips into Viewer 94 95 opening Trim Edit window 82 83 overview of 81 82 review 95 96 rippling single edit points in Timeline 90 91 rolling two edit points in Timeline 89 90 From the Library of michiel pilgram with Selection tool 92 shortcuts for dual and single roller trimming 86 87 shortcuts for trimming in Timeline 91 in Viewer 95 without clip collision 208 209 two up display Canvas window 90 preset options for window layout 63 typewriter text creating 331 U undo shortcut for 22 Undo levels User Preferences 57 Unlimited RT option Playback Control tab 232 259 Use pop up menu Easy Setup presets 53 54 user names
216. e From the Library of michiel pilgram Editing Markers 161 Project Properties for Lesson 6 Project Time Display Timecode Marker Visibility C Reset Time Display O Red Default Film Standard 35mm 4p Orange Time Mode Source Time Yelow w view Native Speed Gree Comment Column Headings Turquoise 1 Master Comme 1 Bue 2 Master Comment 2 Purple 3 MasterComment3 Pink 4 Master Comment 4 3 Add any comments durations or additional markers for DVD or Soundtrack Pro and click OK To edit a different marker return the playhead to that marker press M and make changes in the Edit Marker window To edit the marker that appears directly to the left of the playhead location press Command Option M To add a marker on the fly and open the Edit Marker window without stopping play back press Shift Option M Press Shift Option 1 through 8 to add a specific marker color and also open the Edit Marker window Ei To start and stop sequence playback while the Edit Marker window is open press Control Spacebar To open the Edit Marker window for a clip marker in the Browser Control click the marker and from the shortcut menu choose Edit Australian Fun E whale and dolphin To create subclips from markers When markers have been placed on a source clip directly in the Viewer or on a sequence clip that has been dragged into the Browser you can view the markers by clicking that
217. e while the controls above this area let you adjust the color you selected This lets you either drop the saturation of one color from an image or change it from one hue to another Adjusting the Color Range control increases or decreases the range of the selected hue youre affecting Adjusting the Hue and Balance controls above this area adjusts the replacement color Outputting to Tape Final Cut Pro has three options for outputting a clip or sequence to tape by playing back from the Timeline and manually recording printing to tape and editing to tape In many cases the simplest way is playing back from the Timeline which works just like Avid s manual recording function This method requires that you render your material yourself whereas the other two options include automatic rendering as part of the output process The two other options Print to Video and Edit to Tape include mastering options one of the simplest functions in FCP but one that accounts for a significant difference between FCP and Avid The mastering options which include color bars slate black and so on appear as a list of items you select to be included in your finished tape When you output these items FCP automatically adds them in the appropriate places before and after your sequence without you having to edit them into the Timeline as you would in Avid But before we discuss the details of the mastering options let s take a look at the mechanics
218. e tracks and headphone icons to solo tracks Click the Solo button for the track you want to solo Click it again to turn soloing off for that track fay fay i i y S me Dr Fo a I Audio Controls O Audio Controls toggle button Mute and Solo controls displayed gt Select the clip or clips you want to solo in the Timeline and choose Sequence gt Solo Selected Item or press Control S Press Control S again to come out of solo mode and to turn on the other tracks again In solo mode all other audio tracks that overlap the selected clip will go dark and will not be heard even though their Audible controls will remain on Scrubbing Audio Like Avid FCP has two modes of scrubbing audio One gives you a digital garbage sound when you manually scrub the playhead through a clip The other gives you smoother more realistic sounding audio like an analog scrub or scrubbing a VTR where you can actually distinguish what someone is saying Scrubbing the digital sound is a good way to track the sound of a clip or sequence without having to listen to it while you re editing But there may be times when you want to turn this digital scratch off and just focus on the video images To turn audio scrubbing on or off Do one of the following gt Choose View gt Audio Scrubbing A check mark indicates that it s currently active gt Press Shift S From the Library of michiel pilgram 198 Editing Sound These ac
219. e Library of michiel pilgram Changing Sequence Settings Changing Sequence Settings As long as you select the appropriate Easy Setup option to match the attributes of the source material you have digitized or recorded your editing will run smoothly However there may be times when you need to change your sequence settings as you are editing and doing so is quite simple Changes made to an existing sequence won t affect any new sequences you create All new sequences follow whatever preset options and settings you chose in the Easy Setup and User Preferences windows To change settings to an existing sequence 1 2 Select the sequence you want to change in either the Browser or Timeline Press Command 0 zero to open the Sequence Settings window Sequence Settings Name Australian Dolphins jf General Wideo Processing Timeline Options Render Control Audio Outputs Width Height Aspect Ratio Frame Size 1440 x 1080 HD 1440x1080 16 9 Pixel Aspect Ratio _HD 1440x1080 H C Anamorphic 16 9 Field Dominance Editing Timebase 29 97 QuickTime Video Settings Audio Settings Compressor Apple ProRes 422 Rate q 48 kHz Quali eel 100 Depth 16 bit E Advanced Config _ Channel Grouped a E EEEE 4 ane Load Sequence Preset Cancel A Sequence Settings window opens displaying the settings for the sequence named Austra
220. e Viewer or Timeline into the Browser It appears as an effects clip with the title of the source clip or sequence plus the timecode location of the freeze frame Exploring the Motion Effects Tab The Final Cut Pro Motion tab is where all of a clip s motion effect parameters such as scale position rotation crop and even clip speed via time remapping are displayed in a similar way to the filter parameters on the Filter tab As with so many functions in FCP there are many ways to create motion effects The Motion tab has sliders and fields for numerical entries In some cases such as Scale you can make changes directly on the clip in the Viewer or Canvas window The keyframe buttons for each parameter will look familiar from the previous lesson as will the Viewer keyframe graph to the right of the parameter settings area Motion tab x n ED Parameter details Rotation ts gt displayed a a or sie ae wa lt gt Parameter details collapsed 13 16 56 00 Keyframe graph Reset buttons for each parameter From the Library of michiel pilgram Zooming the Image View 295 But unlike the Filters tab which sits empty until you apply a filter to a clip the motion attributes that appear on the Motion tab are already part of each and every clip The non modal strategy of FCP includes the motion effect parameters in default settings waiting for you to change or adjust one or more of them
221. e appropriate clip line FCP considers this clip to be a master clip NOTE gt Unlike Avid subclips in FCP are treated as master clips because they repre sent the first use of a specific section marked and clipped from its source To create a new master clip You may want to make changes to the duplicate clip but not affect the original master clip For these situations you can change the current status of an affiliate clip to be a master clip or you can duplicate a master clip to be a new master clip 1 Select a master clip in the Browser and choose Edit gt Duplicate or press Option D You can also copy and paste the clip but it will appear on the project tab not in the same bin as the original master clip z E M fa The duplicate clip will not have a check mark in the Master Clip column because it is not the first time that clip was used in the project From the Library of michiel pilgram 142 Advanced Editing Select the newly copied clip and choose Modify gt Make Master Clip to make this affiliate clip a master clip To save the step of duplicating the master clip you can select the master clip in the Browser and choose Modify gt Duplicate as New Master Clip You can also choose this option from a shortcut menu by Control clicking the master clip in the Browser NOTE gt Making a subclip or freeze frame importing a graphic file or importing an Edit Decision List EDL will also create master clip
222. e directly to a bin create a new bin or select a bin already in the project to which you want to capture From the Library of michiel pilgram Logging Clips 111 3 To set the bin as the logging bin as opposed to the project which is the default target do one of the following gt Control click the bin and choose Set Logging Bin from the shortcut menu gt Select the bin and choose File gt Set Logging Bin A tiny film slate icon appears next to the current logging bin or project Project as target Bin as target 4 To create a new logging bin from the Log and Capture window click the New Bin button Click to return to Click to open bin as the project level or a separate window higher level bin Click to create a new bin and set it as the logging bin Logging Clips Final Cut Pro performs the logging process the same way Avid does but it provides a few extra aids along the way While logging clips you can choose to be prompted for informa tion to automatically update scene or shot numbers to flag good clips so you can easily find them in the Browser and even to enter markers that you can use later while editing The FCP Logging tab helps you organize the logging process into a rhythm starting with your reel number The default reel number in FCP is 001 Just as in Avid systems a proper reel number is crucial to utilize dupe detection and for accurate batch capture Also if you ve chosen to capture at other than f
223. e material from multiple angles Multicamera or multicam editing allows editors in a postproduction environment to employ the same kind of on the fly cutting technique that switchers in a television studio use to cut live from one camera angle to another Both Avid and Final Cut Pro approach multicam editing in the same way by allowing you to group different video clips together into a single clip either by using sync points or by using timecode common to all clips What Avid calls group clips Final Cut Pro calls multiclips but as you will see the differences are more or less limited to terminology and not technique If you are already familiar with multicamera editing with Avid you will very quickly find yourself at home with multicam editing in Final Cut Pro If you are new to multicam editing the Final Cut Pro tool set which includes custom keyboard layouts and button bars is designed to be intuitive and easy to learn 171 From the Library of michiel pilgram 172 Multicam Editing Organizing a Multiclip Editing Workflow Before capturing video you should give careful consideration to choosing an editing for mat that will optimize the workflow for multicam editing Avid offers several m resolu tions with a smaller frame size and data rate designed to optimize playback of multiple real time streams in Quad Split or Nine Split view Final Cut Pro does not have explicit resolutions for multiclips but it stands to reason t
224. ed the image is rotated around the anchor point in that corner Cropping and Distorting an Image In Avid image cropping is accessed in effects like Resize and Picture In Picture In FCP it s a built in parameter for every clip You can use the Crop function to clean up an image that has video garbage on its outer edges or to crop an unwanted element out of an image such as a person or sign Once cropping is applied any clips beneath the cropped image will be revealed through the cropped area This may be the desired result if you are building a composite effect If no clip is beneath the cropped clip black will appear in the cropped area EXE If you try to scale an image larger to fill or compensate for the cropped area your image may become pixilated Final Cut Pro Crop and Distort motion effects are easy to apply using the Image Wireframe mode Both Crop and Distort also have parameter controls on the Motion tab as well as tools on the FCP Tool palette Crop tool Distort tool From the Library of michiel pilgram Cropping and Distorting an Image 303 To crop or distort an image 1 Open an image in the Viewer from the Timeline or the Browser 2 Set up your preferred viewing options so you can see your changes as you make them 3 Click the Motion tab in the Viewer to display the Crop or Distort parameters 4 To crop do one of the following gt Move the sliders for one or more image sides gt Enter cro
225. ed line through them in the Browser If you work with other than FireWire capable formats you will need a third party video capture card or device To ingest tapeless media open the Log and Transfer window from the File menu In the Log and Transfer window you can ingest footage from media cards and devices You can transcode clips during transfer by choosing a format option from the Preferences pop up menu gt You can name clips before transfer or utilize the auto naming aspect in the Logging area of the Log and Transfer window Keyboard Shortcuts Command 8 J K L l O Shift l Shift O Shift backslash Option Q Control Q Shift C Esc Control C Commancd Shift 8 Open the FCP Log and Capture window Shuttle your source material Set an In point on source footage Set an Out point on source footage Cue the tape to the In mark Cue the tape to the Out mark In the preview areas of the capture and transfer windows play the marked portion of the clip Open the FCP User Preferences window Open the FCP Easy Setup window Invoke the Capture Now option Stop the Capture Now process Initiate a batch capture Open the FCP Log and Transfer window From the Library of michiel pilgram s p From the Library of michiel pilgram Lesson 6 Advanced Editing With the basic edit functions and commands under your belt you re ready to learn how Final Cut Pro handles advanced editing functions I
226. edia in your project NOTE P The Include master clips outside selection option determines how much media is retained in the master clips of the new project When this option is selected the new master clip s media file will contain media between marked In and Out points in the original master clip as well as media from any affiliate clips in selected sequences When this option is deselected the master clips in the new project will only include media used by the items you selected before opening the Media Manager window For more information see Limiting How Much Media Is Copied or Deleted in the Final Cut Pro User Manual EXE Since the trigger for including master clip material is In and Out marks you can circumvent this by selecting all master clips in the project Control clicking in the Browser In column and choosing Clear to clear all the In points of selected clips Then repeat this step in the Out column 7 From the Base media file names on pop up choose existing file names EXE If you rename clips in the Browser and choose clip names from this pop up the media files on your hard drive will be renamed incrementally with numbers after the clip names in the Browser 8 Select the Duplicate selected items and place into a new project option 9 Seta destination then click OK Name the project file and click Save NOTE gt You may get a warning indicating that one or more clips are being used el
227. edited clip from a sequence directly to one of the Final Cut Studio applications such as Motion or Soundtrack Pro Once in that program you can add effects or make changes to the clip save those changes and then roundtrip or return to FCP to see the changes updated automatically in the cur rent sequence To send a clip to a Final Cut Studio application 1 In the Timeline Control click the clip you want to send In the shortcut menu choose Send To and from the submenu choose the appropriate application When the application opens make changes to the clip and save those changes Return to FCP to see the changes NOTE gt If you pass the file to an artist to make changes you must update the exter nal file on its return To update an external file leave FCP by switching to another application such as the Finder then return to FCP to force a refresh or relink to the externally modified file From the Library of michiel pilgram Sharing Your Sequences 363 Sharing Your Sequences QuickTime is the backbone of media export in Final Cut Pro FCP uses the QuickTime format to export audio video and even still frames As in Avid you can export your project or media from Final Cut Pro in many ways With FCP 7 the Share dialog makes it simple to export clips and sequences to ProRes codecs and any QuickTime media format as well as publish directly to destinations such as YouTube MobileMe and AppleTV Rather than get caught
228. eft EXE You can also arrange the windows to your own preferences and save this as a custom layout as described in Lesson 3 From the Library of michiel pilgram Working with the Audio Mixer 217 To customize the Audio Mixer The Audio Mixer will display whatever tracks exist in the current sequence up to 99 tracks However you can isolate or display specific tracks to mix just those You can also save that track selection in one of four presets 1 Click one of the four presets in the upper left of the Audio Mixer Audio Mixer 2 Inthe Tracks selection pane of the Mixer toggle a track off if you do not want it to appear or on if you do 3 Select a different preset and toggle on the tracks you want to view together in that preset 4 To recall one of the track layouts just click the appropriate preset button To set levels in the Audio Mixer Each track has its own fader to control volume level Unlike the audio meters which peak at 0 dB the Audio Mixer faders continue past 0 dB so you can see how far above this point the volume may fall The master fader on the far right controls the output of all the audio in the clip or sequence 1 Inthe Source pop up choose whether you want the Audio Mixer to monitor just the Viewer or Canvas audio or to monitor what you play in the active window Auto The default is Auto From the Library of michiel pilgram 218 Editing Sound 2 Playa clip from the appropriate window
229. eight all appear in the Timeline track area in the left side of the Timeline Track Lock controls Auto Select controls Patching area Visible controls ah narration E sound efx ma a mine Track height bA v a 4 fiu To control Timeline tracks Audible controls Most of the Timeline track controls toggle a function off or on just as they do in Avid Do one of the following gt To lock a track click the Lock Track control for that track gt To turn the sound of an entire track off or on toggle the Audible control for that track gt To turn video of a track off or on toggle the Visible control for that track NOTE gt When a Timeline track is not currently audible or visible it appears dark gt To change track height click the Track Height control in the Timeline You can also press Shift T to toggle the options Lesson 3 covers more ways to change Timeline tracks dynamically From the Library of michiel pilgram 20 Projects and Interface gt To go to a timecode location click and type the timecode in the Timecode Location field in the upper left of the Timeline beneath the sequence name tab If nothing is selected in the Timeline simply typing a timecode number enters it into this field automatically ET As in Avid typing a plus sign or minus sign before the number will move the playhead a relative amount forward or backward in the Timeline Zooming a
230. el pilgram s p From the Library of michiel pilgram Lesson 1 Projects and Interface This lesson will get you started in Final Cut Pro at the project level just as you would begin an Avid editing session Projects and sequences are handled a little differently in Final Cut Pro than they are on an Avid Media Composer system For example in FCP you can work with mul tiple projects and sequences open at the same time Another difference is that in Avid you are asked to choose among projects from a Select Project dialog while in FCP a project is created and opened for you automatically when you open the program However both programs allow you to set a preference to automatically start the last project on startup The FCP interface is similar to Avid s if you compare the func tions of each window although FCP uses different names for some of the same functions NOTE gt As in any nonlinear editing NLE system setup configurations are an important part of FCP In this lesson you will work with the ini tial setup window that appears when you open FCP for the first time All other settings and preferences are addressed in Lesson 3 1 From the Library of michiel pilgram 2 Projects and Interface Opening Final Cut Pro At this point you should have installed Final Cut Pro on your computer following the directions that came with the application You launch FCP in similar ways to Avid Media Composer On ma
231. elect the edit point closest to the playhead Load the edit point closest to the Timeline playhead into the Trim Edit window Close the Trim Edit window Cycles the A side B side or both edit points in the Trim Edit window and in the Timeline Trim one frame left Trim one frame right Trim the multiframe trim amount set in the Editing tab of User Preferences Trim the multiframe trim amount set in the Editing tab of User Preferences Trim one frame left Trim one frame right Trim the multiframe trim amount Trim the multiframe trim amount When the pointer is over the A or B side clip in the Trim Edit window press the J and L keys to play backward or forward and press the K key to set the new edit point Select the Roll tool Select the Ripple tool Toggle linked selection off or on in the Timeline Temporarily override linked selection to select a single edit point in a linked clip When one edit point on one clip track is selected select additional edit points to be included in an asymmetrical trim From the Library of michiel pilgram s p From the Library of michiel pilgram lesson 9 Capturing and Transferring In Avid the term digitize originally meant converting analog video and audio into digital media files Over time converting tape to media files came to be known in Avid as recording or capturing And now with so many available options for card based cameras you simply transfer files that
232. en Choosing Open is exactly like choosing Multicam mode in Avid The multiclip in the Timeline is loaded into the Viewer with the Viewer playhead gang synced to the play head in the Canvas and Timeline Switching and Cutting Multiclips In Final Cut Pro as in Avid you have two ways to change the active angle of a multiclip by switching or by cutting Unlike Avid the difference between cutting and switching cannot be dictated only by holding down a modifier key but also by whether or not the multiclip is paused or in motion Final Cut Pro includes explicit commands for cutting and switching To switch from one angle to another Do one of the following gt With the multiclip paused click a new angle in the Viewer gt With the Multiclip button bar loaded click one of the Switch buttons in the Timeline button bar gt With the Multi camera Editing layout loaded press the key on your numeric keypad that corresponds to the number of the angle you want to switch to From the Library of michiel pilgram 184 Multicam Editing Any one of these options will switch the angle of the multiclip in the Timeline without adding an edit point If edit points are located to the left or right of your playhead only the segment of the multiclip between edit points is switched To cut from one angle to another Do one of the following gt With the Multi camera Editing layout loaded hold down the Command key and press the
233. en Gang Video Audio Video Audio WIL Amit_lead guitar All Amit_lead guitar Y2 Dean bass mY AZ Dean_bass Dean WTA Gilly cu Al3 Gilly_cu Do one of the following gt In the Viewer click the video or audio angle you want to make the active angle This will switch angles if playback is paused or will perform a cut if you are edit ing on the fly gt In the Viewer click the Playhead Sync pop up menu and choose a new active video angle gt Inthe Timeline click a Switch or Cut multiclip button gt Inthe Timeline Control click the multiclip in the Timeline and choose the active angle from the shortcut menu gt Use a keyboard shortcut If you choose to switch or cut video when you click another angle only the blue video box moves to the active angle while the green box indicates the active audio angle In the Timeline only the video portion of the multiclip will switch or cut Switching Angles with Effects You can apply filter speed and motion effects to segments of a multiclip in the Timeline the same way as you would to a single clip But unlike in Avid where segment effects stay attached to a group clip segment even if you switch angles in Final Cut Pro you have a few things to consider when switching to a different angle When you drag a filter to a multiclip segment an overlay will appear asking you to choose one of two options gt Apply to Source Angle tThe filter
234. ence in the Timeline and then choosing the Make Subclip command This action automatically creates a new sequence for you with the pasted material 1 Mark In and Out points around the portion of the Timeline you want to copy 2 Choose Modify gt Make Subclip or press Command U From the Library of michiel pilgram Lifting and Extracting 41 EF Australia Fun In the Browser a new sequence is created with just the subclip material The sequence is named after the sequence in which you created the subclip To remove subclip limits In Avid while a subclip loaded into the Source monitor has limits once cut into a sequence it behaves like any other clip allowing full access to media handles In FCP when you cre ate a subclip it becomes its own master clip If you need to access the original master clip material from which you created the subclip you can remove the limits of the subclip This literally changes the subclip in the Browser back to the full length of the original master clip In the Timeline subclip you now have access to that material 1 Select the subclip in the Timeline or open it in the Viewer 2 Choose Modify gt Remove Subclip Limits Make Subclip Remove Subclip Limits p Make Independent Clip Make Freeze Frame tN Oh ae ieee erge LIPS You will now be able to trim or add transitions and so on You can undo this step but once you remove the limits of the subclip you no longer have a clip
235. ened it in the Viewer you can view and modify it in various ways In most respects whatever you can do with group clips in Avid s Source monitor you can do with multiclips in the Viewer but Final Cut Pro offers additional options not found in Avid Viewing Multiclips in the Viewer Both Final Cut Pro and Avid allow you to view multiclips in the Viewer Source monitor using a multi split view In Avid you can group up to 18 angles into a group clip choosing From the Library of michiel pilgram Viewing and Modifying Multiclips 177 between Quad Split and Nine Split view using interface buttons In Final Cut Pro you can group up to 128 angles into a single multiclip and choose from four real time views l up 4 up 9 up and 16 up using the View pop up menu in the Viewer Avid s Split view and Swap The FCP View pop up menu Cam Bank buttons in the Viewer and the Canvas NOTE gt Loading a multiclip in the Viewer automatically adds options to the Playhead Sync and View pop up menus in the Viewer If you do not first load a multiclip these options will not appear To change the number of multiclip angles displayed in the Viewer Do one of the following gt Choose View gt Multiclip Layout and choose one of the options gt In the Viewer click the View pop up and choose a view option from the bottom of the menu Image Image Wireframe Wireframe Show Overlays Show Tithe Safe Show Timecode Overlays Show Excess Lu
236. er In point Marker Out point 12 23 59 09 12 24 04 11 dolphin leaps Marker log area 2 Play the tape and click the Marker In button where you want to place the first marker 3 Enter a marker name in the Marker field 4 Click the Set Marker button to enter the information EXE You can also set Out markers that can be used in editing to create a subclip from the In to Out marker From the Library of michiel pilgram 114 Capturing and Transferring Capture Options In Avid you can capture clips without logging them first or by logging first and then capturing The same is true of Final Cut Pro Also as in Avid FCP can capture one clip or batch capture a group of clips Like Avid FCP can also capture from a noncontrollable device FCP log and capture buttons These are the FCP capture buttons gt Clip cCaptures a single marked clip gt Now Begins capturing immediately allowing you to capture on the fly This is the operation that must be used for noncontrollable devices gt Batch Captures a group or batch of logged clips gt Log Clip Saves the logging information as an offline clip without capturing any media To use Capture Clip 1 Set the logging bin as described earlier in the lesson 2 Mark In and Out points for the clip you want to capture 3 Enter name information for the clip 4 Click the Capture Clip button 5 If the Prompt checkbox was selected prior to capture a Log Clip dialog ap
237. er thirds such as additional text lines for the person s identification use the basic text option or the Boris Title 3D genera tor discussed later in this lesson However you can t add items such as background bars or gradients automatically using those options To create outline text The FCP Outline Text option has 25 parameters which are divided into Text and Background settings In the Text settings you make changes to the text and the outline From the Library of michiel pilgram 330 Title Tool and Generators around the text This includes the text color font and font size as well as the border color width softness and so on Apply the background settings to create a background or matte that appears behind the text You can change the horizontal and vertical size and offset softness opacity and color You can also use a clip image or graphic to fill the text the outline or the background 1 Create a new Outline Text clip and edit it to the Timeline Park the playhead over it and open it in the Viewer Modify the text outline and background parameters as desired 2 To use an image to fill the text outline or background drag that clip or graphic from the Browser into the graphic well on the Text Graphic Line Graphic or Back Graphic box Text Graphic Line Graphic Vertical Size agp less e 3a JE Husizurtal OMseL eee AN Ii b Vertical Offset PE a i b re a Bark ranhir YEP Gra
238. ers or sorted alphabetically by clip name When a sync option is selected such as Timecode you see how the clips will be aligned in the Media Alignment area The solid blue bars represent the clip content of each angle in the final multiclip duration and the gray portions of the bars indicate areas where there will be no clip content for a particular angle From the Library of michiel pilgram 176 Multicam Editing 4 From the Synchronize using pop up menu choose the sync method In Points Out Points or Timecode Sa ig In Points 4 i 7 Out Points Timecode lie Aux Timecode 1 4 Aux Timecode 2 NOTE gt If you decide you want to leave one of the angles out of the multiclip click the checkbox next to that clip to deselect it You can also add angles after the multiclip is created which is explained later in this lesson Click OK In the Browser a multiclip icon appears in the bin The name of the multiclip is italicized and appears in the following format Angle Name Angle Number Multiclip Name NOTE gt The number following the word Multiclip as in Avid indicates the number of multiclips created in the current project and the order in which they are created You can change the name of the multiclip just as you can any other clip but the clip name and number of the active angle will always be the prefix of the multiclip name Viewing and Modifying Multiclips After you have created a multiclip and op
239. ers similar to Avid templates you can also save generated clips in your Favorites folder You can then choose your favorites from the Video Generators pop up menu or from the Favorites folder in the Browser Effects tab When you save a generated clip as a favorite it is displayed with its name next to a color bar icon This icon represents a generated clip in the Favorites folder If you drag a text clip from the Timeline into the Browser it appears as a regular clip icon To save and apply generated items as favorites 1 2 In the Viewer set up the generated clip the way you want it With the Viewer window still active choose Effects gt Make Favorite Effect The generated clip or effect is placed in the Favorites folder in the Browser s Effects window Rename the generated clip to reflect its attributes ka J Favorites ia Lower 3rd pink bg M Scrolling Text movie format i Text main titles To apply this favorite effect drag it from the Favorites folder in the Browser to a Timeline clip ET To open the Favorites bin as a separate window press Command 6 To save a generated clip as a separate clip 1 Create the clip and place it in the Timeline 2 Drag the clip from the Timeline into a bin in the Browser Generated items Crawl Scrolling Text Text From the Library of michiel pilgram Using Master Templates 339 Using Master Templates Among the Final Cut Pro generated
240. es 422 or HDV to view those format options 3 From the Rate pop up menu choose a frame rate 4 From the Use pop up menu choose one of the listed presets From the Library of michiel pilgram 54 Customizing Your Project HDW Blackmagic HDTV 1080i 59 94 HDW Blackmagic HDTV 720p 59 94 HOW HDV 1080i60 HDV 1080i60 FireWire Basic HDV 720p30 Cancel Se When you work with a third party capture card such as Blackmagic or AJA you will see additional presets in the Easy Setup dialog Et The FCP Auto Conform Sequence option discussed in Lesson 2 enables you to change the sequence settings to match the format of the first clip you edit Think of it as Easy Setup on the fly After choosing an Easy Setup you can create new sequences and capture footage without having to worry about their settings matching NOTE P Like Avid Final Cut Pro has an open format Timeline that allows you to mix formats and frame rates in the same sequence without the need to render them Changing Audio Video Settings If the settings you want are not included in the Easy Setup preset options or if you want to modify an existing Easy Setup preset you can do so in the Audio Video Settings window Again making changes to the Audio Video settings won t affect any existing sequences From the Library of michiel pilgram Changing Audio Video Settings 55 Audio Video Settings Summary Sequence Preset DVCPRO PAL 48 kHz
241. es when the nest is moved or track visibility changes in the parent sequence Copying and Pasting Motion Attributes As you saw in the previous lesson in Final Cut Pro you can copy and paste clips and transitions from one location to another You can also paste specific attributes including motion attributes from one clip to another Remember that when you paste filter attri butes into a clip you are adding to whatever filters already exist in that clip Speed and motion attributes are a little different in that they will completely replace any other speed or motion attributes _ Paste Attributes _ Di JO _ Mi Js FCP motion attributes Available clip motion attributes to paste collapsed view with two selected From the Library of michiel pilgram 308 Speed and Motion Effects You can copy and paste FCP motion attributes from one clip to another using the Paste Attributes window All of the motion effects attributes in the Viewer s Motion tab can be copied and pasted You can also paste speed attributes To copy and paste motion attributes 1 Copy the clip that has the attributes you want to use or select the clip and press Command C 2 Do one of the following gt Control click the clip in which you want to paste the attributes and choose Paste Attributes from the shortcut menu gt Select a clip and press Option V The Paste Attributes window appears with a list of all the attributes that can be p
242. es two lines of text toward the bottom of the screen Other preprogrammed text options include Outline Text and Typewriter Text To create lower third text The FCP Lower 3rd text option places two lines of text automatically at the lowest point on your screen within the title safe area You can change the color and size parameters for each line separately You can also add a colored line or bar in the lower third of the screen to create a text background Lower 3rd text defaults to flush left If you want to move the text choose Image Wireframe mode and drag the text on the screen 1 From the Video Generators pop up menu choose Text gt Lower 3rd 2 Edit the appropriate length of this text to the Timeline and then double click to open it back into the Viewer Position the playhead over the text clip in the Timeline In the Viewer you see two sample text lines for the lower third From the Library of michiel pilgram Applying Lower Thirds and Preprogrammed Text 329 3 Click the Controls tab and enter the appropriate text and text attributes 4 From the Background pop up menu choose Solid or Bar to add either of those to the lower third p er Background 8 sis 00 00 55 00 5 Click the color box to choose a color for the bar or background You can also use the Select Color eyedropper to choose a color from the image in the Canvas or any other image in the Timeline EXE If you need greater flexibility with low
243. et workspace The preset Color Correction layout includes all interface windows When you open Video Scopes by itself the Tool Bench window is positioned wherever it was last placed To see a different combination of scopes or a single scope on the Video Scopes tab from the Layout pop up menu choose one of the options Video Scopes a View Current Frame Waveform Vectorscope DPE _ Histogram Histogram Parade WV Hist WY Parade Luminance To change the clip or edit you are viewing in the scope such as the previous or next edit In or Out point or a clip in the Viewer from the View pop up menu make the appropriate choice You can also choose Current Frame and in the Timeline press the Up or Down Arrow key to move from edit to edit None 2nd Edit Back Previous Edit Current Frame Current w o Filters 2nd Edit Forward In Point Out Point Viewer Et To compare values from adjacent edits quickly and visit surrounding edit points temporarily press Control Up Arrow or Control Down Arrow to visit the previous or next edit Release these keys to spring back to the original playhead loca tion To visit In or Out marks surrounding the playhead press Control Left Arrow or Control Right Arrow 431 From the Library of michiel pilgram 432 Finishing and Outputting 4 To take a closer look at the Waveform Monitor from the Layout pop up menu choose Waveform To see the video level at a certain
244. export process The clips and sequences will be exported in the order of their placement in the Export Queue window using their own discrete settings The batch export function can be a very powerful tool Some editors use it at the end of the day to back up their projects If you have been editing at a high resolution you can batch export your sequences at a low resolution to create a backup or you can take the low resolution version of your project with you on your laptop to review your editing decisions Recapturing media in low res is covered in more detail in Lesson 13 Exporting Files In addition to exporting media files Final Cut Pro like Avid exports different kinds of lists and data files including OMF files and EDLs Using the XML Interchange format you can export a sequence for import into an Avid project with the help of third party software like Automatic Duck or even into an earlier version of FCP From the Library of michiel pilgram 378 Importing and Exporting To export an OMF file FCP can export OMF files which you can import into ProTools or other supported audio sweetening applications The OMF files that FCP creates are self contained and retain cross fades gain and pan automation keyframes and edit points when imported into ProTools 1 Select a sequence in the Browser or Timeline 2 Choose File gt Export gt Audio to OME OMF Audio Export Rate Depth 16 bit Handle Length 00 00 01 00
245. ften known as a title crawl Crawling text in film is often identified as slides In Final Cut Pro scrolling is vertical movement and crawling is horizontal Like Avid FCP can create scrolling rolling in Avid and crawling text or titles You ll find these options on the Video Generators pop up menu under Text Falling Wia Avid s Crawl and Roll options in the Title Tool Crawling and Scrolling Text As in Avid the length of the crawl and scroll text in FCP is determined by the length of the clip If you have a long clip the text will move slowly You can change the speed of these text clips by changing the clip s duration Because crawl text occupies only one line it ignores any Return key presses in the Text box In scrolling text however you can press Return to add lines Both scrolling and crawling text can be placed over an image or a background and a drop shadow can be added from the Motion tab To create scrolling text 1 From the Video Generators pop up menu choose Text gt Scrolling Text 2 Drag the clip from the Video tab to the Timeline and double click to open the sequence clip into the Viewer replacing the original generator master clip 3 On the Controls tab type the text pressing Return to create new lines 4 Select the font style attributes 5 Apply the Indent slider to any left or right aligned text 6 If you want to place a gap between two columns such as in a film type credit roll ty
246. g by using the Collapse Tracks button The FCP Nest Items command is not much different It creates a container for any selected stack or stacks of footage and effects you want to keep together Either way when you create a nest you are combining a group of clips together either video or audio or both that can be treated in the Timeline as a single clip In FCP as in Avid you can create a nest from any number of tracks vertically and any number of clips horizontally In both systems you can step inside to edit or adjust and re render In FCP nesting is a great way to add filters to multiple clips and preserve renders so you can freely trim or move a group of effects or clips without re rendering From the Library of michiel pilgram Creating and Nesting Comps 305 Anatomy of a Split Screen or Multiframe Image In this image all the clips are lined up on top of each other in the Timeline and will appear in the Canvas window together The image of the dolphin in the bottom right was the first image sized and placed note the number 1 above the center point of that image in the Canvas shown in the following screen shot The image on the left was the second image placed there is a 2 above its center point This clip was cropped to include only the woman The upper right image was the third image to be placed It was resized to fit the upper corner To create a split screen or multiframe image As you select your images keep in m
247. g the default Selection tool This method is discussed later in this lesson To roll two edit points in the Timeline 1 Inthe Tool palette click the Roll tool or press R Roll Tool r aaa 2 Inthe Timeline move the Roll tool over the edit point between the two clips you want to trim and then drag the edit point left or right From the Library of michiel pilgram 90 Trimming Clips The amount of the trim appears in an information box next to the Roll tool in the Timeline In the Canvas a two up display similar to Avid s Small Trim mode appears as you drag Ei Pressing N will turn off snapping to give you more control around the edit point Also holding down the Command key as you drag will slow down the dragging speed To ripple a single edit point 1 Press the keyboard shortcut RR or click and hold down the Roll tool in the Tool palette and slide over to select the Ripple tool when it appears ACEP Ripple Tool rr eRPpE 2 Move the Ripple tool into the Timeline toward the In or the Out point Gi If an X appears as part of the Ripple or Roll tool move the pointer closer to the In or Out point where the function can be applied Drag the In or Out point left or right The clip box shortens or lengthens to represent the duration change and all the clips that follow are adjusted rippled by the trim amount From the Library of michiel pilgram Trimming in the Timeline 91 Out
248. gh the clip or by pressing Option P to preview it as discussed earlier in this lesson But to see the effect in real time you need to render it Ei A really great use of the QuickView tool is to use it to preview composite modes Open the QuickView tool set In and Out points in the Timeline to identify the preview area choose a composite mode for the upper clip and then click the QuickView Play button To preview other compose mode options Control click the upper clip and select another composite mode The QuickView updates to preview that effect From the Library of michiel pilgram 274 Transitions and Effects Travel Mattes Another area in which Final Cut Pro differs in its offering of composite modes is in the Travel Matte options on the bottom of the modes list In Avid you must apply such matte effects as segment effects usually packed into a submaster In either system most mattes or masks are applied on top of an image and allow a portion of the clip on the track beneath to be revealed Travel mattes are different They use the lower or under image to define the matte area and the upper image as the matte fill You can create a travel matte using a shape based on either the alpha channel of an image or its luminance quality The Composite mode list offers two Travel Matte options Alpha and Luma Applying the Alpha travel matte to an upper clip will cause the clip to be revealed in the shape of the alpha channel from the clip bel
249. gh it were a separate clip You can change the speed to a specific rate or percentage or activate the smoothing function so one segment smoothly flows into another within the same clip From the Library of michiel pilgram 288 Speed and Motion Effects 6 Control click the speed tick area of a speed segment In the shortcut menu choose Change Speed Segment Do not choose Change Speed Change Speed Remuve Speed Add keyframe Remove Speed Segment speed From segment Start Speed lo Seqgenent End NOTE P In this shortcut menu you can choose options to add a keyframe remove the speed effect or a speed segment and choose a smoothing option 7 Inthe Change Speed Segment dialog enter the speed percentage or rate To ramp or smooth the speed from this segment to the next click the Curve Centered on Start button and or the Curve Centered on End button Click OK Segment Duration Curve Centered on Start Change Speed Segment Duration 0000 02 11 Rate 71 43 Reverse Original 00 00 02 11 Start ma oe I Smoothing 17 Ent 4 3 EA A Smoothing 17 E Ripple Sequepce Frame Bending Curve Centered on End NOTE P The Ripple Sequence option is dimmed in this dialog because changing a speed segment cannot ripple the sequence To adjust speed in the Viewer Once you ve added speed keyframes to a Timeline clip you might want to fine tune those keyframes in a larger viewing
250. gle this function off or on in the Timeline button bar or on the clip itself Avid Link Selection button To select one portion of a linked clip Do one of the following gt Toggle off the Linked Selection control located in the Timeline button bar gt Press Shift L 205 From the Library of michiel pilgram 206 Editing Sound These two options turn linking off or on for the entire Timeline gt To override Timeline linking temporarily or to apply it to a single clip Option click a clip s video or audio track to select just that track Now the clip s video or audio can be moved independently However once the clip is dese lected the link is restored NOTE P If a clip was captured with stereo audio selecting one audio track will auto matically select the other as well even with linked selection off ETT To get completely discreet selection for any clip on any track you must either capture audio as discrete mono tracks or turn off stereo pairing then turn off Linked Selection While you can only re pair audio one clip at a time you can select multiple clips in FCP and toggle off stereo pairing with one operation Linking and Unlinking Clips Let s say you captured a clip as both audio and video In your sequence you may want to work with that source material separately perhaps to trim the audio differently than the video In FCP when you unlink the tracks of a linked clip you have independent c
251. gories of FCP effects Video Transitions Video Filters Audio Transitions Audio Filters Video Generators and Master Templates All but the Video Generators can also be accessed from the Effects menu as a submenu Video Generators and Master Templates are discussed in Lesson 11 Plasmawipe Avid Borders Plasmawipe Avid Center Plasma ipe Avid Horiz Plasmawipe Avid Lava Plasma ipe Avid Paint Plasma ipe Avid Techno Push RT AS Mono Delay RT AS Mono Dynamics ETAS Mona E RT AS Mono Harmonic RT AS Mono Modulation Avid Effect palette FCP Effects tab Effects Tab and Effects Menu An Effects tab is always present in the FCP Browser if you closed the Effects tab you can reopen it by pressing Command 5 Whether you re working with one project open or several all projects draw from the same palette or bin of effects just as Avid draws from the same Effect palette In the Effects tab there are separate folders also referred to as bins for each effect category There is also a Favorites bin in which you can save custom ized effects From the Library of michiel pilgram Exploring Effects 231 Each category has its own set of bins or submenus from which to choose For example displaying the contents of the Video Transitions bin and then the Dissolve bin offers the same options as if you chose Effects gt Video Transitions gt Dissolve Make Favorite Effect Clear Default A
252. h for the marker Extended marker region You can extend any marker for color coding regions of interest From the Library of michiel pilgram 158 Advanced Editing To move to a marker In Avid you can choose to navigate to Timeline locators as an option A similar capability is hard wired into the default FCP keyset Do one of the following gt Press Shift M or Shift Down Arrow to move forward to the next Timeline marker gt Press Option M or Shift Up Arrow to move backward to the previous Timeline marker NOTE P As in Avid when you park the playhead over a Timeline marker the marker name or caption appears in the Canvas as long as Show Overlays is selected in the Canvas View pop up menu gt To move to clip markers in addition to Timeline markers press Command A to select all clips in the Timeline and then apply the preceding shortcuts gt Control click the Timeline ruler or a clip in the Timeline and choose the desired marker number or name from the shortcut menu Naming markers is covered in the next section au Drop Frame Feet Frame Frames View Native Speed Clip Time Source Time Clear In and Out Clear in Clear Out Clear Split Mark In Mark Dut Mark Split man feed dolphin ranger helps girl ranger instructs dolphin jumps Ei To align a clip frame with a specific sequence location create a marker on a clip and one on a sequence Using the Slip or Slide tool drag and
253. h individual sequence This allows FCP to work with various sequences with different settings within the same project Let s say you have a project that was shot on high definition but you have edited sequences using DVCAM Digibeta and HD In FCP all these sequences with their different settings can be contained in one project Since two systems are never the same it s nice to be able to customize the interface and make it feel more like home FCP has a customizable key board where you can map your favorite functions in the same location as on your Avid keyboard There is also a button bar in each FCP window where you can choose and arrange your own layout of command buttons This chapter also covers bin organization and describes storyboard edit ing which is performed largely by working within a bin 51 From the Library of michiel pilgram 52 Customizing Your Project Selecting Editing Presets Avid settings are divided into User Project and Site settings They are collected under the Settings tab in the Project window These options combine personal preferences along with settings for various aspects of the Avid editing process Avid Settings tab Final Cut Pro settings cover similar territory but are organized and accessed a little dif ferently into User Preferences System Settings Easy Setup and Audio Video Settings options These can be selected from the Final Cut Pro menu or accessed using the letter
254. h the three Image Wireframe modes Image Image Wireframe and just Wireframe with no image 3 Drag just one of the corner handles of the image wireframe toward the center to scale the image smaller Bes UNEN DEHE Bn BEEBE EE HEEB EEEN yE EE Se Ree Ree eee eee NE BERBER EeEeEeeeeeeeee 8 eee ee foe 2 6 A BEERE 124 CA EEN Be a a M ee ae E E EE anaE E BES ee eee es Pr 2 El eed Gan ho HmRReReEeEeREREEBEBEEB Bg HE oo 8 8 ee EE RBHRE BE EReREREEH EE E E E REEREERERBERBEE EE EE EENE E a sem nom i ee ee i maran Ba u a nar kE ERE EER eee eee E E E EE EEEEENnNEESnNNEEEEEE bReEREREEABREREEBE EEE E E EESE EENEEEEE EESE ERN i O ia E IE i ae eeEEeEeREEREEEE EE EE is ve P Fi EENE E FAN nA dE After the image has been resized smaller you can see the image area appear behind it The image area shown here has been changed in the View pop up menu to Checker board This can be a helpful aid when lining up multiple images The number 1 in the center of the wireframe indicates that the clip is on the V1 track EXE The wireframe overlay will only appear in the Canvas when a clip is selected and the playhead is over it You can select a clip either in the Timeline or in the Canvas or Viewer with Image Wireframe mode active To reposition the image 1 To reposition a clip manually in the Canvas using the Image Wireframe mode move the pointer int
255. hange or reel number will be applied to all affiliate clips automatically as you d expect in Avid systems Clips edited into a sequence are referred to as sequence clips and are also affiliates of the master clip It also works in reverse If you change an affiliate clip it will change the master clip This helps to maintain the relation ship with the originating clip so that FCP can ensure that all clip references link back to the appropriate media file NOTE gt In FCP nothing you do to a master clip will affect the associated media files You can even delete a master clip and the media files will remain on the hard drive as if you had deleted a master clip in Avid and left the Delete Associated Media Files checkbox deselected Items to Delete Delete 3 master clip s _ Delete 6 associated media file s Resolutions to Delete vW Audio V DV 25 411 NTSC Avid Delete dialog To identify a master clip It s easy to determine whether FCP considers a clip to be a master clip or not 1 In the Browser make sure View as List is chosen as the view option From the Library of michiel pilgram Working with Master Clips 141 2 Locate the clip you want to view 3 Drag the scroll bar on the bottom of the Browser window to the far right until you see the Master Clip column Its default position is between the Comment B and Offline columns EM If a check mark is present in this column on th
256. hanges gt Add Combines the color values of the clips The resulting image is lighter The added values can exceed absolute white gt Subtract Subtracts the color values of the clips The resulting image is darker The subtracted values cannot fall below absolute black gt Difference Subtracts the color values of the underlying clip from the selected clip The result is the difference in the two images gt Multiply Compares the color values for each pixel in the clip with those of the track below and multiplies them If the image is already dark there is little or no effect If the image is light Multiply darkens it From the Library of michiel pilgram 272 Transitions and Effects Screen Compares the color values for each pixel in the clip with those of the track below and multiplies the inverse of each If the image is already light there is little or no effect If the image is dark Screen lightens it Overlay On a scale of 0 to 255 Screen is applied wherever the color value is greater than 128 Multiply is applied wherever the color value is less than 128 Hard Light Darkens or lightens the colors depending on the color values of the clip The effect simulates shining a hard spotlight on a scene Soft Light Darkens or lightens the colors depending on the color values of the clip The effect simulates shining a diffused spotlight on a scene Darken Compares the color values of each pixel in the clip wi
257. has an effect attached to it FCP displays that single frame of the total effect as though it were rendered While this is helpful when creating an effect the simple act of dragging or scrubbing your playhead over a Timeline full of these clips can slow down your editing Like Avid s Render on the fly FCP performs this automatic frame rendering as a back ground activity but it takes additional time and processing power You can disable background rendering by using the Caps Lock key With Caps Lock selected automatic rendering is disabled If you want FCP to turn the background rendering back on turn Caps Lock off which is the default mode ohare Canvas Training Dolphins in Lesson 12 Project 7 Training Dolphins Ei 00 03 26 05 5247 WY T Ez 01 02 44 01 The Caps Lock key on rendenng is disabled From the Library of michiel pilgram 406 Project Management When rendering is disabled using Caps Lock FCP will play all real time clips in the sequence but will not play any clips that need rendering Instead an Unrendered proxy message appears in the Canvas during those clips that need rendering Training Dolphins 00 03 42 14 gt ae Unrendered Managing Render Files In Avid you use the Media tool to remove unwanted precomputes In Final Cut Pro you use the Render Manager tool FCP handles render management very much like Avid it finds the render files you direct it to and deletes them While FCP doe
258. hat choosing a codec with a lower data rate such as DV or one of the Apple ProRes 422 codecs such as ProRes LT or Proxy will provide better multicam performance than will uncompressed SD or HD Like Avid the Final Cut Pro open format Timeline allows you to add clips of any format to the same sequence without losing real time playback Choosing Capture and Sequence Settings In Avid you can choose a capture resolution either in Media Creation settings or directly in the Capture tool Media Creation Current PEA DV 25411 OMF P DV 50 OMF 10 1m OMF fom 15 1 OMF 20 1 OMF 10 1 OMF 1 1 OMF Avid s Media Creation capture options ean Capture Tool DV 25 411 OMF DV 50 OMF x 10 1m OMF 15 15 OMF 20 1 OMF 10 1 OMF 1 1 OMF Avid s Capture Tool capture options From the Library of michiel pilgram Organizing a Multiclip Editing Workflow 173 In Final Cut Pro you have the same two options You can either choose an Easy Setup prior to capture or choose a capture preset from the Capture Settings tab in the Log and Capture window DV NTSC z DV NTSC Anamorphic Ls DV NTSC FireWire Basic DV50 NTSC DV50 NTSC Anamorphic IMX NTSC 30 Mb s IMX NTSC 40 Mb s IMX NTSC 50 Mb s Uncompressed 10 bit NTSC 48 kHz Uncompressed 8 bit NTSC 48 kHz The FCP Easy Setup options DY NTSC 48 kHz x DW NTSC 48 kHz Advanced 2 3 3 28 Pulldown Removal DV NTSC 48 kHz Anamorphic DV PAL 48 kHz DV PAL 4
259. he Library of michiel pilgram 110 Capturing and Transferring NOTE P If you have trouble capturing with these options disable one or more and try to capture again DV Start Stop Detection An alternative to having FCP create new clips is to open a clip captured from a DV format DV DVCAM DVCPRO DVCPRO 50 or DVCPRO HD in the Viewer and choose Mark gt DV Start Stop Detect This function will place markers like Avid locators in the clip auto matically wherever the camera started or stopped Then you can create subclips using the markers Avid s locators Markers are covered in more detail in Lesson 6 Targeting a Bin What Avid calls a target bin Final Cut Pro calls a logging bin You can set a logging bin in several ways through a main menu through a shortcut menu or from the Logging tab in the Log and Capture window As with Avid you re free to move clips to different bins afterward as you organize for editing i 1 e T y Australia Fun E Australia Fun 2 E ayr Avid target bin pop up menu FCP uses the last project opened as the default logging bin but you can change the log ging bin at any time Since you can work with multiple projects open at the same time in FCP make sure you have selected the project tab you want to capture to before you initi ate capturing To set a logging bin 1 Inthe Browser click the tab of the appropriate project or open that project 2 Ifyou want to captur
260. he Show Overlays option is selected in both the Viewer and Canvas but turn off all other Show overlays in the View pop up menu for the moment To see additional Canvas overlays 1 Inthe Canvas click the View button and make sure Show Overlays is selected 2 To see the appropriate overlay in this default setting do any one of the following gt Move the playhead to the first frame of a clip in the Timeline and look for an L in the lower left of the screen gt Move the playhead to the last frame of a clip and look for the reverse L in the lower right of the screen gt Move the playhead to the end of the sequence to see the blue end of sequence bar First frame indicator Last frame indicator End of sequence 3 To see a display of timecode for all video and audio tracks as well as timecode for sequence In and Out points click the View pop up menu and choose Show Timecode Overlays You can also choose View gt Show Timecode Overlays or press Option Z From the Library of michiel pilgram Enabling View Overlays 39 ABOO Canvai Finish F Ss ere E o0 0003 24 PST 0100272 Audio Al OOD AP WINES PF cts S m m aera AMOCOG To see additional Viewer overlays 1 Open a clip in the Viewer and in the View pop up menu make sure Show Overlays is chosen 2 Do one of the following gt Move the playhead to the head of the clip to see the left side film strip or beginning of clip indic
261. he clip after it s been edited into the Timeline 1 Open the desired clip into the Viewer and position the playhead where you want a marker to appear 2 Press M to set a marker at the playhead location By default a red marker is applied NOTE P To apply a specific marker color use Shift 1 through Shift 8 In the Browser a master clip that has markers attached displays a disclosure triangle next to it When clicked the markers attached to that master clip are displayed MS man feed fish Marker 1 Marker 2 Marker 3 Marker 4 Browser clip markers revealed EXT Later in this lesson you will learn to create subclips from Browser markers From the Library of michiel pilgram 156 Advanced Editing To create a clip marker in the Timeline This is similar to Avid s approach of creating locators on clips in the Timeline 1 Park the playhead at the desired location in a clip in the Timeline 2 Select the clip and press M or Shift 1 through 8 for a specific marker color Be sure the clip is highlighted or you ll simply create a Timeline marker When the clip is deselected you see a pink marker on the clip at the playhead loca tion If a clip has linked tracks a marker appears on all the tracks that are associated with that clip NOTE gt You can also add markers on the fly as the highlighted clip is playing or on source clips in the Viewer before or after it is edited into the sequence To create a
262. he one you load Audio Mixer 6 Frame Viewer 7 QuickView YA Timecode Viewer T Video Scopes 9 Voice Over 0 Background Processes Save Load Button List Control Surfaces FXBuilder Audio Editing Keyboard Layout b Media Logging Render Manager 2 Choose Tools gt Keyboard Layout gt Multi camera Editing Later in this lesson you will learn what specific options the buttons and keyboard layout offer for multicam editing While these options are helpful for many workflows they are not required for performing multicam editing in FCP To begin multiclip editing Once your button bars and keyboard layout are loaded all you need to do to begin multi clip editing is cut the multiclip into a sequence 1 To edit a multiclip into a sequence do one of the following gt Drag the multiclip icon from the Browser to the Timeline gt Option drag the multiclip from the Viewer into the Canvas and onto the Overwrite option of the Edit Overlay From the Library of michiel pilgram Editing with Multiclips 183 gt Option drag the multiclip from the Viewer directly into the Timeline gt Click the Overwrite button gt Press F10 ET Because clicking a multiclip in the Viewer selects the active angle you must hold down the Option key to drag the multiclip thumbnail to another window 2 Inthe Canvas or Viewer from the Playhead Sync pop up menu choose Open OO v sync off Op
263. he playhead through the sequence to see which clips need adjusting You can also press the Down Arrow key to move forward from clip to clip in the sequence Correcting Video Levels Using the Final Cut Pro range checking function will tell you where you might have video level problems but it doesn t fix those problems To correct your video levels you must apply a filter to those clips that are out of acceptable broadcast range Avid can also make these corrections by adding an effect but it cannot identify which clips need correcting Adding a Corrective Filter To correct or improve the video in your sequence you can add one of several FCP filters designed to change specific aspects of the image You will find more than one filter that can get the same job done For example a Broadcast Safe filter can be applied that rounds From the Library of michiel pilgram Correcting Video Levels 435 off any portion of the luma or chroma signal that is above broadcast standards But you can also apply the Brightness and Contrast filter to lower brightness on the offending clips If you are familiar with setting levels via a timebase corrector you can apply a Proc Amp filter and feel at home with those options You can use two color correction filters to improve the color of an image as well as adjust brightness and even drop out or change specific colors from an image You apply these filters to clips like any other filters and you can combine the
264. head Sync pop up menu in the Viewer The default setting for playhead sync is the off position Notice that the icon in the pop up menu appears as two tiny playheads next to each other with an X in between This is the off position From the Library of michiel pilgram Ganging Clips 163 To gang Viewer and Canvas material The mode similar to Avid s ganging function is the Gang mode This will lock the source in the Viewer with the sequence in the Timeline and Canvas at their respective playhead positions You can initiate this mode from either the Viewer or the Canvas 1 Load a source clip in the Viewer and park the playhead at the sync point EXT You can also open a sequence in the Viewer and gang that sequence to the current sequence in the Timeline 2 Inthe Timeline or Canvas park the playhead at the desired sync point 3 Inthe Canvas or Viewer click the Playhead Sync pop up menu and choose Gang to lock the playheads together in this location K 7 r z T e wer m oe Sync O vel 240 E rea E m LE Open O Ti Gang 4 Drag the playhead in the Viewer Canvas or Timeline to see the material scrub together in sync NOTE P In the playhead sync modes you can press the Left Arrow and Right Arrow keys to move the playhead one frame at a time press Shift Left or Right Arrow to move one second The Open Playback Sync Mode There is another playhead sync mode Open The Open mode is helpful
265. hen an edit point is opened in the Trim Edit window press the Down Arrow to open the following edit point in the Trim Edit window or the Up Arrow to open the previous edit point A familiar big trim window opens on top of the Viewer and Canvas window areas NOTE P The size of the trim window will match the current layout size of the Viewer and Canvas windows Only the A side Out point and Current Edit point Track B side In point source Clip duration location selector are active timecode ssp Q QO mam OO 30g em 1OQo m 10 ie E 10 00 03 03 Frame Duration for multiframe Play Around Edit Loop New Mark counter trim keys can be changed button like Avid s tilde button in User Preferences key the spacebar stops Option Q and starts looped playback FCP Trim Edit window For every function on the A side of the window you will find corresponding functions on the B side The preview and trim keys are in the middle of the window beneath the A and B images To close the Trim Edit window Do one of the following gt Press Command W Click anywhere in the Timeline except an edit point From the Library of michiel pilgram 84 Trimming Clips Performing Dual Roller and Single Roller Trimming Avid has purple rollers in the Timeline that indicate a dual roller or single roller trim The Final Cut Pro Timeline display for dual and single sided editing is very similar to Avid s You see the similar ty
266. hen you activate and adjust Bezier handles on a keyframe the Custom smoothing option in the Change Speed Segment dialog is engaged automatically Change Speed Segment Duration 00 00 02 12 Rate 225 35 Reverse Original O0 00e02 12 Start fe rj Smoothing 83 End Fai Fal Smoothing EXE To add additional keyframes in the Speed section of the Motion tab Option click the speed line and then drag to position the keyframe left or right and up or down Any changes made to an edited clip in the Viewer will automatically appear in the Timeline speed tick area Using the Speed Tool In addition to controlling variable speed by setting it you can also create speed changes by applying the Speed tool in the Timeline With this tool you can change the speeds of two adjacent clips at the same time For example let s say you have two exterior shots The first one contains a slow pan while the next clip contains a fast pan If you wanted the two pans to play at closer speeds you could use the Speed tool to make the first clip go faster and slow the second clip It s similar to changing speed segments but you re using two clips instead of two areas of the same clip And by pressing a modifier key you can use the Speed tool to change the speed of just one clip and compensate for the duration change in the adjacent clip To apply the Speed tool The Speed tool is applied at the edit point between two clips in the Timeline By
267. hile a red render bar like a red stoplight indicates the clip will not play unless rendered the yellow and orange ren der levels offer play but with some loss of quality Effects with Safe RT chosen in the RT Effects with Unlimited RT chosen in the pop up menu RT pop up menu The colors that may appear on the render status lines are as follows gt Dark gray lIndicates clip does not require rendering gt Steel gray lIndicates clip or material has already been rendered gt Dark green lIndicates a real time effect capable of playback and output to video at full quality with no rendering required gt Green Will play in real time but not at full quality gt Yellow Transition can play in real time but may approximate certain attributes gt Orange When Unlimited RT is chosen this effect may play back in real time although normally it might exceed your computer s real time capability gt Red A transition or effect needs rendering for viewing or playback From the Library of michiel pilgram Rendering Effects 261 NOTE gt Depending on the processing power of your Mac FCP can view four or more streams of real time effects at one time This means you can have at least four different clips with real time effects applied each clip on a separate track and see the clips and effects play in real time Of course render settings also make a difference in the amount of real time effects you can view Render Co
268. his tab so they can be easily selected in the Summary tab or selected as an Easy Setup preset From the Library of michiel pilgram 56 Customizing Your Project gt Capture Presets Defines the format from which you will capture gt Device Control Presets Displays the settings for FireWire or any noncontrol lable device such as a camera If you are working with a capture card or an RS422 source it will appear here as an option gt A V Devices Selects a setup if you are using an external video monitor NOTE gt Every sequence must have its own settings for format aspect ratio frame rate and so on and those settings should match the capture settings of the material you are editing If you intend to mix clips with different capture codecs in the FCP Open Format Timeline try to match the sequence settings to the settings that apply to the bulk of your material Selecting User Preferences Like Avid User Settings the Final Cut Pro User Preferences window is where you set your personal editing preferences FCP user information follows the Mac OS X protocol When you sign on as a user in Mac OS X the FCP User Preferences are saved in your Preferences folder Macintosh HD gt Users gt User Name gt Library gt Preferences gt Final Cut Pro User Data folder Many Avid editors like to take their user settings with them from system to system This folder can also be taken to another FCP system and installed in this location to
269. hoose to transfer the footage as a specific format From the Library of michiel pilgram Adding Volumes and Changing Preferences To add a volume in the Browse area Insert any card volumes you want FCP to see In the upper left of the Browse area click the Add Volume button Volume Name Scene Add Volume 1 T or fa 2010_0914 Clip 2 2010_0914 Navigate to the volume you want to add and click Open You can also navigate to a disk image img and open that To display the volume contents in other than a flat list view in the upper right of the Browse area click the Hierarchical List View button gt 2010_0914 Y 2010_0705 Media Duralen Duratrer T Clip 1 eo Clip 2 Flat and Hierarchical List View buttons Volumes displayed in Hierarchical List view The Hierarchical List view allows you to hide and show one volume at a time rather than displaying all the clips in a Flat List view EIT To automatically transfer an entire volume of clips when a volume is mounted in the Transfer Queue area click the Automatic Transfer button To change the Transfer preferences In the upper right of the Browse area from the Action pop up menu choose Preferences Log and Transfer SA LES Not Set Media Start ad Custom Path a 121 From the Library of michiel pilgram 122 Capturing and Transferring 2 In the Source Format column select the originating format
270. hortcuts 189 loading multiclip button bars and keyboard layout 182 logging and capturing multiclip source media 174 modifying multiclips in Viewer 179 moving angle to different position in multiclip view 179 organizing workflow for 172 overview of 171 resynchronizing angle in a multiclip 181 review 188 189 switching and cutting video and audio independently 185 186 switching angles with effects 186 187 switching from one angle to another 183 turning on multiclip overlays 178 viewing multiclips 176 177 Multiclip Overlays 178 multiclips see multicam editing multiframe images creating 305 306 nesting clips from 306 307 overview of 304 Multiframe Trim field 91 multilayered images importing 358 359 multiple edit points trimming clips with 93 94 Multiple Edits preset options for window layout 63 multiple still images exporting 373 375 From the Library of michiel pilgram 472 Index multi touch gestures for scrolling Timeline 22 muting audio tracks 195 196 names changing clip properties 395 397 changing naming preferences 122 124 logging clips and 112 nest items creating multilayered effects and 304 nesting clips from multiframe images 306 307 nesting window burns 447 Nine Split Avid 172 177 NLE nonlinear editing xiii 1 non controllable device for capture directly from camera 105 NTSC Compressor and 381 controlling NTSC devices 105 importing graphics and
271. ia Total FCP calculates a total length based on media length and selected options and takes into account drop frame or non drop frame timecode formats Closed Captioning If closed captioning was recorded on the clips in the current sequence that information can be decoded during output From the Library of michiel pilgram Making a Timecode Window Burn 447 Making a Timecode Window Burn As in Avid Final Cut Pro lets you create a window burn so you have a visual reference to your sequence timecode when you output to tape But in FCP you can apply the Timecode Reader filter to a single clip a group of clips or the entire sequence You can also nest your sequence and then apply the Timecode Reader filter Nesting is the best choice if you want to make changes to the timecode size location or opacity and have those changes apply to the entire sequence plus it will display the sequence timecode and not the source timecode of individual clips While some older systems cannot play the fil ter in real time without rendering most newer systems can making it a perfect option for daily or spur of the moment manual outputs To make a window burn 1 Inthe Timeline press Command A to select all the clips in the current sequence ET Select a single clip or clips if you want to apply this filter selectively 2 Choose Sequence gt Nest Items or press Option C In the Nest Items dialog give the sequence a name add NEST to the name a
272. ibrary of michiel pilgram Viewing and Modifying Multiclips 179 Show Overlays Show Excess Luma Show Multiclip Overlays f Show Source Angle Effects Gilly_cu 01 01 31 10 d F Black White ye Checkerboard 1 T Checkerboard 2 Ai Gilly_Dean s Gilly med ic y a d we Multiclip 1 Up z as a s Multiclip 4 Up 7 E 01 01 31 10 8 Multiclip 9 Up t f g Fi el Multiclip 16 Up F p i 3 All tours CD Track Timecode Modifying Multiclips in the Viewer You can change the arrangement of clips in the split view add or delete angles or even slip the media of an angle to resynchronize it with the other angles In both Avid and Final Cut Pro you hold down a modifier key while using your mouse to rearrange the order of angles in a split view but where Avid uses a shortcut menu FCP allows you to simply drag and drop an angle to another position To move an angle to a different position in the multiclip view gt Command click the angle you want to move drag it over an existing angle and release the mouse button The angle drops into its new position and all other angles shift and renumber accordingly From the Library of michiel pilgram 180 Multicam Editing CH orarseor sul fours Box Office Stud To delete an angle from a multiclip gt Command click the angle you want to remove drag it out of the Viewer and release the mouse button The angle will disappear in a puff of
273. id you select the audio and video tracks target bin Log or Digitize mode compres sion rate and media target drive in the upper half of the Capture Tool In Final Cut Pro these options are organized in the Clip Settings and Capture Settings tabs Here we ll cover the options on the Clip Settings tab Click to display video scopes Select to Capture video Select to capture audio Choose number of audio channels Select to preview audio through computer Clip Settings tab Audio and Video Track Selection As in Avid you can choose to capture just audio just video or both The upper slider area is used to control video input levels for analog video only If you don t have a capture card for analog video this area is dimmed To select tracks and format 1 Inthe Clip Settings tab select Audio Video or both From the Library of michiel pilgram 104 Capturing and Transferring 2 In the Audio area of the tab from the Input Channels pop up menu choose the number of audio tracks you want to capture Then click the Toggle Stereo Mono button to choose whether you want to control the two audio tracks individually mono or together stereo pair sue aT ii Toggle Sterea Mono i E ETT Click the Video Scopes button to open the Waveform Monitor and Vectorscope in the interface Remember that digital video levels can t be changed during capture but you can check them here and adjust them during edi
274. ide Out point indicator Trim Edits 84 85 aspect changing text parameters 323 aspect ratio importing graphics and 355 358 of shapes 337 asymmetrical trimming of clips 93 attributes copying and pasting audio and video attributes 256 258 copying and pasting clip attributes 256 258 copying and pasting motion attributes 307 308 removing clip attributes 258 Audible controls muting vs disabling 195 196 in Timeline tracks 19 audio changing settings for 54 56 copying and pasting audio attributes 256 258 creating loading audio output preset 428 429 encoding with Compressor 381 exporting OMF files 378 audio clips adjusting levels of multiple 202 203 changing levels in Timeline 201 202 creating merged clips in Browser 221 222 creating merged clips in Timeline 220 221 editing to Canvas or Timeline 198 keyframing 211 linking unlinking 206 207 merging 219 220 monitoring single clips or tracks 196 From the Library of michiel pilgram out of sync indicators 209 210 putting back in sync 210 selecting linked 205 selecting one portion of linked clip 205 206 soloing 197 trimming without clip collision 208 209 working with stereo and mono 203 204 Audio Controls toggle button on Timeline 197 audio editing Audio tab in Viewer 192 194 changing audio levels in Timeline 201 202 changing audio levels in Viewer 200 creating static track area 199 customizing Audio M
275. iel pilgram Importing Graphics 357 1 Create a file in your graphics program with an image size of 720 x 534 NOTE gt When importing an oversized graphic such as 1440 x 960 pixels set the image size measurement from Pixels to Percentage and apply 90 to the height readout 2 Before leaving the application change the image size to 720 x 480 Make sure that you deselect the Constrain Proportions checkbox Click OK then save your resized docu ment which you might rename with an NTSC or _PAL suffix for convenient iden tification Image Size Pixel Dimensions 1012 5K was 952 7K Width 720 pixels ES Height 480 pixels H Document Size Width 10 inches H Height 6 667 inches 4 Resolution 72 pixels inch HH Vv Scale Styles a Constrain Proportions MResample Image Bicubic E 3 In FCP choose File gt Import gt Files and import the 720 x 480 image E 720x480 image tif 720x480 Image tif Graphic icon in View as List Graphic icon in View as Large Icons In the Browser list view a generic graphic icon represents the image In one of the icon views you see a thumbnail of the graphic image In the Viewer or Canvas the image will look like the original image you created in your graphics program 4 After you edit this clip into a sequence choose Sequence gt Settings or press Command 0 zero and click the Video Processing tab From the Process Maximum White as pop up
276. ieve the same result gt Control click the Keyframe button in the Canvas and select the specific param eter for which you want to set a keyframe When the playhead is over a keyframe in Image Wireframe mode the wireframe appears green Move the playhead to where you want the image to be fully on the screen In the Canvas click the image and drag it hold down Shift to constrain horizontal or vertical movement to its center position or wherever you want to place it FCP auto matically adds a new keyframe at that point to reflect the change from the original keyframed position EXE You can also apply the preceding keyframing steps to other motion effects such as scale and rotate From the Library of michiel pilgram Modifying a Motion Path 311 Modifying a Motion Path Modifying a motion path can be a lot of fun because you can work on it directly in the Canvas window You can for example take a simple two keyframe motion path like the one in the previous example and modify it to fly the image around the screen with just a few easy steps Motion Path as Time Before you start to modify the motion path take a close look at it and you will see how it represents time In the following image the line in the middle is the last part of the motion path The green square at the right of the path represents the last keyframe that was set Each dot or bead along the motion path represents an element of time Dragging one of th
277. if you have to make changes to one clip after another in the sequence For example prior to outputting you may want to make color correction changes When you choose the Open mode from the playhead sync pop up menu and drag the playhead through the sequence whatever clip the playhead is over in the Timeline or Canvas opens automatically in the Viewer You can make adjustments to that clip in the Viewer and then move to the next clip which opens automatically in the Viewer and make changes to it and so on throughout the sequence From the Library of michiel pilgram 164 Advanced Editing Sequence clip opened in Viewer using the Open sync mode NOTE gt The Open sync mode is also used in multicam editing so that all the multi camera sources can be displayed in the Viewer as you edit See Lesson 11 for more on multicam editing What You ve Learned gt In Final Cut Pro you can select and reposition clips in the Timeline without entering a different editing mode In the Timeline clicking the body of a clip not the edit points selects the entire clip You can select a contiguous group of clips by clicking the first clip and Shift clicking the last clip or by dragging a marquee around the group You can select noncontiguous clips by clicking the first clip and Command clicking additional clips Track selection tools enable you to select all clips forward or backward on one or more tracks or from the Timeline point where
278. il emerges from whale and dolphin tail sinks from whale and dolphin whale hump from whale and dolphin Markers are automatically converted to subclips when dragged into a bin At the bottom of the Export Queue window click the Settings button In the Batch 1 settings window do the following gt Set the desired destination gt From the Format pop up menu choose Still Image gt Click the Options button and in the Export Image Sequence Settings window click the Format pop up menu and choose the desired still image format such as JPEG TIFF or PSD Then click OK gt Inthe bottom of the Export Queue window click OK From the Library of michiel pilgram Using Other Export Options 375 8 In the Export Queue window and with the subclips still selected click Export tail emerges from whale and dolphin jpg YF Preview tail sinks from whale and dolphin jpg j whale hump from whale and dolphin jpg Name tail sinks from whale and dalphin jpa Kind JPEG image Size 143 KB on disk The still images appear as new media assets at the destination location To export for Soundtrack Pro Avid bundles products such as Boris Red Avid FX to add more of a suite to the central product offering similar to Final Cut Studio 3 Soundtrack Pro which is bundled with FCS 3 is a stand alone Apple application that you can incorporate into your post finish ing Soundtrack Pro is a powerful audio finishing applicat
279. ile gt Log and Transfer gt Press Command Shift 8 The four areas in the Log and Transfer window provide functions similar to those in the Log and Capture window gt Browse Display all mounted media volumes and their clips gt Preview Similar to the Preview area of the Log and Capture window here you view clips mark In and Out points and add clips to the Transfer Queue You can use the Mark shortcut keys I and O along with modifiers Shift and Option to go to or delete a mark You can also use the Spacebar and L key to play a clip forward You can t use the J key to play backward or the other J K L shortcuts to move frame by frame or in slow motion From the Library of michiel pilgram 118 Capturing and Transferring gt Logging Name clips and enter relevant information before ingesting As with the Clip Settings tab in the Log and Capture window you click the Import Settings but ton to select audio or video channels gt Transfer Queue Display a list of clips currently in line to be ingested Preview Browse Logging Transfer Queue FCP Log and Transfer window EXEL You can dynamically resize the Log and Transfer window by dragging any of the resize bars near the edge of the window or between panes For example to pre view a clip in a larger screen drag the vertical resize bar to the far left to completely hide the Browse area Transferring Clips When your footage is on a media card or device yo
280. iles are imported as a sequence and open in the Timeline with each layer on its own track In FCP you can use the External Editor function to open a Timeline clip directly into the program where it was created dedicating one external editor each for still images audio files or video files Changes made and saved via an external editor are reflected in the sequence automatically You can import and export clips with alpha channels choosing one of the three types of alpha channels FCP recognizes straight black or white The FCP Share dialog offers a way to export one or more items in many formats at one time in the background allowing you to continue editing From the Library of michiel pilgram 384 Importing and Exporting The QuickTime format offers two export options QuickTime Movie and QuickTime Conversion as well as options that work in conjunction with the entire set of Final Cut Studio applications With Export QuickTime Movie you can export a self contained version to create a stand alone file you can play on another computer or burn to DVD or CD if it s not self contained you will create only a reference movie containing none of the actual media but which points to the files used to create the sequence With Export Using QuickTime Conversion you can export to a variety of formats and destinations including the Web or to broadcast audio files still images and so on You can export a sequence for use in Fi
281. ilgram Using the Transition Editor 241 Avid s Quick Transition window To open the Transition Editor After applying any type of transition such as a dissolve wipe or page turn to an edit point you can access the Transition Editor in two ways NOTE gt Audio transitions are created deleted copied and modified in the same way as video transitions However they do not open in the Transition Editor as video transitions do Do one of the following gt Control click the transition and choose Open Type of Transition from the short cut menu Duration 00 00 07 00 Transition Alignment From the Library of michiel pilgram 242 Transitions and Effects NOTE gt Remember that double clicking an edit point will open the Trim Edit win dow Make sure you double click one side or the other of the transition and not on the edit point itself When the Transition Editor opens the transition name appears on a tab in the Viewer along with the options that are available for that transition Any change you make in the Transition Editor window is active immediately in the Timeline If rendering is required that is done in a separate step discussed later in this lesson Transition name Alignment Recent clips Transition Effect duration Drag hand Transition Edit point display area Percentage Reverse start end direction Transition m options wpa EY FCP Transition Editor Changing and Copying Tra
282. im amount set in User Preferences Move a selected clip one frame backward Move a selected clip one frame forward Move a selected clip the default trim amount set in User Preferences Move a selected clip the default trim amount set in User Preferences Copy selected material to a buffer or Clipboard Cut selected material and hold it in the buffer or Clipboard Paste Clipboard content at the current playhead location and overwrite whatever is there Ripple Cut extracts selected material and holds it in the buffer or Clipboard Insert Clipboard content at the current playhead location and push ahead whatever is there Pull a copy from the selected material and leave the original Swap edit function with curved arrow cursor a form of Avid s Extract Splice edit Move to the next gap Move to the previous gap From the Library of michiel pilgram 168 Advanced Editing Keyboard Shortcuts Control G Option D Shift F F Command Option F S SS F11 Control V B BB E M M Shift M Option M Shift Down Arrow Shift Up Arrow Command Control Shift 1 through 8 Close gap where the playhead sits Duplicate a clip Reveal a master clip in the Browser Find a match frame from sequence in Viewer or from Viewer in sequence reverse Match Frame Match a sequence frame to a frame in the source file Choose the Slip tool Choose the Slide tool Perform a replace edit Create an add edit Choose the Razor B
283. in c dramatic music New Sequence frolicking music c narration waves sfx Set Logging Bin View as Small loons x 4 Video Clips View as Medium loons Aerial of Western Australia circle View as Large Icons Aerial of Western Australia r l MCU TS 3 dophins swims l r Tourists wade in water 1 dolphin MWS Tourists wade in water MS Arrange TS dolphin swims l r MS Text size TS dolphin swims l r WS Paste 2 Click the disclosure triangle next to the bin whose contents you want to view then enlarge the Browser window by clicking the Zoom button in the upper left corner You can also drag the lower right corner of the window down and out 3 Doany one of the following gt gt gt To move a column drag the column heading to a new location To change how the elements in the bin are sorted click a new column heading To reverse the sort from ascending to descending values on any column simply click the column heading To add a second sorting parameter Shift click a different column heading You can repeat this step to add additional sorting parameters NOTE P This is similar to Avid s multilevel column sort capability To enter log notes or comments click under that column to create a text field and type notes directly in the column field for that item From the Library of michiel pilgram 72 Customizing Your Project gt To rename a Master Comment 1 4 or Comment A and B column Control click that
284. in Avid or press a Shift Bracket key to slip the multiframe trim amount However be aware that FCP trim forward and trim back keys will affect the clip exactly the opposite of what you would expect in Avid That is in FCP slipping using trim forward slips the clip media relative to the sequence adding the previous source frame at the head and slipping the tail frame into the handle whereas in Avid the same operation would do exactly the opposite To slip a clip in the Viewer 1 2 With the default Selection tool A double click a clip in the Timeline In the Viewer Shift drag either edit point The In and Out edit points move in tandem The Viewer displays the new In point and the Canvas displays the new Out point NOTE P You can also use the Slip tool to drag an edit point in the Viewer scrubber bar With the Slip tool active it isn t necessary to use the Shift key as you drag To slide a clip in the Timeline 1 2 Choose the Slide tool from the Tool palette or press SS In the Timeline drag a clip left or right An outline appears indicating the selected clip and the clip on either side of it The familiar information box displays the drag amount From the Library of michiel pilgram Replacing Edits 149 00 RR me z As you drag the Canvas window reflects the new tail and head frames of the border ing clips MS man feeds fish f Ranger reverse NOTE gt You can drag the middle clip
285. in other FCP window tools the Audio Mixer is displayed as a tab within the Tool Bench You can open several tools within the Tool Bench at the same time and you can access each by clicking its tab From the Library of michiel pilgram Working with the Audio Mixer 215 Click a preset to save or recall a track layout Click triangle to show or hide track selection pane Record automated keyfames button Track selection pane Mute control Toggle to display specific tracks Solo control Track fader Master output volume fader To monitor real time audio mixing FCP can play back multiple tracks of audio in real time While Avid can only monitor up to 16 tracks FCP can technically play up to 99 tracks in real time although that number depends on your computer hardware Finding this magic number is a bit of a sleuthing process so before you begin mixing tracks follow these steps to find out what your com puter capabilities are 1 Press Option Q to open the User Preferences window and make sure the General tab is visible 2 Inthe Real Time Audio Mixing field enter the ideal number of tracks you would like to monitor From the Library of michiel pilgram 216 Editing Sound EXT To improve the performance of audio playback enter a higher number of tracks in this field than you want to preview 3 On the right side of the General tab click the Report Dropped Frames During Playback box not shown here and click OK
286. in purple line in the zoom slider area until the playhead comes back into view The thin purple line indicates where the playhead is parked in relationship to the entire sequence FS er oa are REER cme To magnify an area select the Zoom In tool from the Tool palette or press Z Then either click directly on a clip or drag a marquee across several clips in the sequence as you would using Command M in Avid To zoom out press Option as you click the Zoom In tool EXT To zoom into a particular clip or clips select the clips and press Shift Option Z In addition to using the zoom slider to move the sequence left or right you can use a mouse scroll button or trackball to scroll through the sequence You can also use the Hand tool which shares position in the Tool palette with the Zoom tool To display the entire sequence in the Timeline press Shift Z The pointer or default Selection tool is the tool you will use for all basic editing functions To get back to it press A From the Library of michiel pilgram 22 Projects and Interface ET When working with a laptop trackpad multi touch gesture options will scroll the Timeline two finger swipe left or right or move the playhead to the previous or next edit three finger swipe left or right You can also pinch to zoom in and out of the Timeline Using Keyboard Shortcuts Like Avid Final Cut Pro allows for the keyboard to be mapped to your personal prefer ences Keyb
287. in the Consolidating Media section earlier in this lesson To decompose a sequence using drag and drop 1 Open the sequence in the Timeline or make sure it is the active sequence 2 In the Browser create a bin and give it an appropriate name 3 Inthe Timeline press Command A to select all the clips in that sequence CBG Se E Br EENet Gsl UGGEGEISEIE IEM AC EI ut a a H MS TA H CH Se EH E kH Mg hel SS lt Et eg a h h h h ah SEEE EEE EEEE EEEE ENEE 4 Drag the selected clips from the Timeline into the new bin you created in the Browser From the Library of michiel pilgram 420 Project Management T Lesson 13 Project We b J Two Dolphins Dolphins Sequence Clips raining Dolphins Clips P g Sequences Dragging clips to bin To sort the clips open the clips bin and click the appropriate column heading Shift click a column to add a secondary sort criteria You can also drag a column left or right to rearrange the columns To recapture these clips at a different resolution select them all in the bin Control click one of the clips and choose Make Offline from the shortcut menu You can use the shortcut Shift D when clips are selected to invoke the Make Offline dialog From the Make Offline dialog you can choose how you want to handle your existing media files being careful not to remove or delete any unnecessary files The selected clips in your Browser will now be unlinked from their original
288. in the Timeline for the location of the Fit to Fill edit as well as In and Out points for the source fill material gt Variable speed changes can be keyframed to create a combination of speeds direc tions and even freeze frames gt FCP motion effects such as crop distort rotate and scale are located on the Motion tab in the Viewer gt The Center parameter is used to reposition a clip gt You can view ongoing changes in the Canvas by peeling off the Motion tab from the Viewer gt Itis helpful to reduce the viewing size of an image in the Canvas to manipulate it more easily especially when dragging the clip outside the active image area using Image Wireframe From the Library of michiel pilgram What You ve Learned 315 gt You can nest multiple clips in a single sequence for ease of editing and to preserve render files gt Motion attributes can be copied and pasted to other clips gt In FCP you can create and edit motion paths directly on a clip in the Canvas or on the Motion tab gt Motion paths can be modified directly in the Canvas window and can be copied pasted and saved as favorites Keyboard Shortcuts Command J Shift N Shift F11 Command Command minus W C D Option V Option C Control F Open the Change Speed window Create a freeze frame from the frame at the playhead position in the Viewer Canvas or Timeline Apply a Fit to Fill edit Magnify the view
289. ind fewer dedicated mark buttons in the Viewer and Canvas than in Avid s Source and Record monitors For example the default Avid mark buttons include a Clear Marks button and a Go To Mark button whereas FCP relies on keyboard shortcuts for these functions However you do always have the option of mapping additional mark commands to the appropriate keys which is discussed in Lesson 3 All of the FCP play and mark shortcuts work for a clip in the Viewer or a sequence in the Canvas or Timeline and follow the same protocol as in Avid The mark play and Go To keyboard shortcuts can be found on the Mark menu FCP mark buttons and scrubber bar In the following list only the FCP mark buttons that are present in the default layout are listed Placing new buttons for marking and other functions is covered in Lesson 3 But as the list shows most FCP mark functions have keyboard shortcuts Again note the simi larities between the buttons Avid Final Cut Pro Function FCP Keyboard Shortcuts Dial wel Mark In Out lor O LLI C Mark clip X No button Clear In Out Option I or Option O T No button Clear In and Out Option X No button Go to In or Out Shift I or Shift O From the Library of michiel pilgram Patching Tracks in the Timeline 31 EXE You can also clear marks by using the Mark menu Control clicking or right clicking in the Viewer scrubber bar or Timeline ruler area or pressing Option plus the Mark In Mark Out or Mark Clip butto
290. ind the layout of the screen and the design of your effect Select images that you don t have to scale up too much or you might get an unwanted pixilated look Scaling down isn t a problem unless an image has too much detail to see clearly at a smaller scale You will probably want to work with the Title Safe overlay on so you can monitor the Action Safe area which is represented by the outer box NOTE gt When a movie is published on the Internet the full frame including elements outside the Action or Title Safe areas will probably be visible 1 Open each image in the Viewer and select marks If this is a video only effect unpatch the audio source controls in the Timeline From the Library of michiel pilgram 306 Speed and Motion Effects 2 Edit each image on the next available video track on the Timeline 3 Make sure Image Wireframe mode is active in the Canvas 4 Scale each image smaller by dragging one of its corner handles If necessary change the Canvas viewing zoom size to 50 percent or smaller to see the outer edges of the images 5 Position each image by dragging it into place using the outer square of the Title Safe overlay as a reference for the Action Safe area 6 Select the Crop tool C and drag each side of every image that needs cropping 7 If necessary apply a Flop video filter Effects gt Video Filters gt Perspective gt Flop so the images face the desired direction 8 Toggle on Drop Shadow for
291. ing 3D control of individual characters Title 3D and preset styles Boris Title Interface and Options The Boris windows have sets of tabs on the lower left side The tabs represent different sets of parameters for Text Text Wrap Fill Edge Style and Shadow With the Boris text options you can skew your text or you can add a gradient fill or drop shadow directly in the title parameters You can also choose one of the available styles or no style at all Styles can be applied to a line of text or even a single letter From the Library of michiel pilgram Using Slugs Mattes and Render Items 333 The Boris Title Crawl offers rich control over styled scrolling text You can also choose to either roll the entered text vertically or crawl it horizontally EE To minimize line twitter often associated with vertical movement of text especially DV select the 1 2 1 Deflicker option in the Boris Title Crawl Animating 3D Text You can skew the letters of your text to create some interesting effects such as letters that revolve fall down or pivot into position as in the example here You can set keyframes for these parameters in the FCP Controls tab just as you would for other text items filters and motion effects i Tha J P at pe E k mes p P i P Bae i P d d ai yt Australia ty Using Slugs Mattes and Render Items In Avid you use Load Filler to create a space filler in your sequence
292. ing the clip Only the marked portion will be transferred Clip 3 201 00 00 04 07 Clip ingest status in the Transfer Queue area To transfer a clip from the Browse area without previewing it drag it into the Transfer Queue area To transfer a group of clips at one time select the clips in the Browse area and then drag them into the Transfer Queue area When you transfer a marked clip a half filled circle called a media map indicator appears next to the clip name in the Browse area to indicate that only a portion of that clip was transferred A solid indicator shows that the entire clip was transferred and an empty indicator shows that no part of that clip was transferred Log andl 7 Ee CELS tent wolune Medea Mart Media Durabon 2010 0914 OMMON 0000 06 0 2010_0914 OOOO 8 Moles 17 miaa onoono onors 2010_0914 Oot oo OOQ Ose Media map indicators Adding Volumes and Changing Preferences At times FCP may detect more than one media card or volume For example you may have backed up the contents of a card directly on your computer or an attached FireWire drive and also inserted a card in a media device FCP will display whatever contents it finds from any volumes it can detect Those contents are displayed in the Browse area of the Log and Transfer window But you can also search or browse a specific volume and add it to the dis play list and change how you view the card s contents You can also c
293. ion or dividing a clip by using Add Edit Working with the Trim Edit Window While Avid 5 has adopted many of the direct trimming features available in Final Cut Pro there are many versions of Avid Media Composer in which you have to select a separate mode to trim In Final Cut Pro you never change modes per se but one way to trim is to access a Trim Edit window which is much like Avid s big trim window Inside the Trim Edit window FCP handles trimming virtually the same way Avid does To open the FCP Trim Edit window you can lasso an edit point with a special tool or simply double click the edit point If you want to map a Trim Edit button to simulate clicking Avid s Trim Mode button you can map it to one of the button bars You can also use keyboard shortcuts E l IN Edit Selection Tool g Avid Trim Mode button FCP Trim Edit button FCP Edit Selection tool To open the FCP Trim Edit window Do one of the following gt Double click the edit point between two clips in the Timeline gt From the Tool palette choose the Edit Selection tool the second tool or press G and lasso an edit point gt From the button list Option J add the Trim Edit button to your Timeline button bar and click it to open the edit point closest to the playhead gt Inthe Timeline press Command 7 to open the edit point closest to the playhead From the Library of michiel pilgram Working with the Trim Edit Window 83 ET W
294. ion with tools for fixing and mixing sound in stereo or 5 1 surround sound as well as for complex sound design using over 6 000 royalty free sound effects music beds and music loops With Soundtrack Pro you can import and play a sequence you created and exported from FCP to use as a refer ence while you create your music and effects When your work is done in Soundtrack Pro you can export the sound file back into FCP 1 Select the sequence you want to export to view in Soundtrack Pro ET When exporting to Soundtrack Pro make sure you have placed any scoring markers you may want to use in the Edit Markers dialog 2 Choose File gt Export gt For Soundtrack The same Save window appears with the same options that come up when you export using QuickTime Movie 3 Name the movie set a save destination choose the appropriate settings and click OK NOTE gt If you have LiveType the animating titling program from a previous ver sion of FCS you can follow these steps to export a movie for use in that app as well From the Library of michiel pilgram 376 Importing and Exporting Batch Exporting Media In addition to exporting as a single QuickTime movie still image or other format you can export a group or batch of files all at one time These files can include freeze frames clips with speed adjustments clips with filters applied or an entire sequence You can also easily export multiple sequences at one time as a batch e
295. ip sequence graphic file and so on is displayed In Avid you may be used to peeking at clip info by highlighting a segment and pressing Command I In FCP select a clip or sequence and press Command 9 for a very rich display of item properties To open the Item Properties window 1 Identify the clip or item you want to view by selecting it in the Browser opening it in the Viewer or parking the playhead over it in the Timeline NOTE P You can also view properties of a sequence by selecting it in the Browser From the Library of michiel pilgram Dynamically Resizing the Interface 61 2 Choose Edit gt Item Properties and choose an option from the Item Properties submenu Or press Command 9 and click the tab you want to view The Item Properties shortcut Command 9 is next to the Sequence Settings shortcut Command 0 on the keyboard EXE You can also Control click or right click an item in the Browser or Timeline and choose Item Properties from the shortcut menu 3 Click one of the Item Properties tabs to view the following properties gt Format Displays the parameters of how this clip was captured gt Timing Displays the media length In and Out points if any clip speed and so on gt Logging Displays logged information about the item that you entered while capturing it or in the Browser gt Film Displays logged information if media originated on film Some properties can be changed in the
296. ip you choose Fast Menu gt Audio Data gt Auto Gain In FCP you toggle the Clip Overlays control which is in the lower portion of the Timeline next to the Track Height control When this option is selected a thin pink hori zontal line appears in the upper portion of all audio clips This is the same pink volume overlay line you saw in the Viewer audio tab To change the clip audio level in the Timeline 1 In the lower left track area of the Timeline click the Clip Overlays control Toggle Clip Overlays W From the Library of michiel pilgram 202 Editing Sound In the Timeline a pink overlay line appears on all audio clips and a black overlay line appears on video clips The video overlay line discussed in Lesson 9 controls video opacity 2 Ina Timeline audio clip move the mouse pointer over the pink overlay line and drag up or down A gain amount will be displayed If two tracks were captured as a stereo pair their volume level lines will move in tandem 3 To change levels of the selected clip from the menu choose Modify gt Audio and select one of the options One of the Modify gt Audio options is Apply Normalization Gain This applies a filter to a selected clip that raises the peak level of an audio clip to the desired level 4 To raise or lower the level of any clip using keyboard shortcuts park the playhead over the clip and press Control or Control plus or minus to raise or lower the
297. ip Settings ltem Properties Label Clip to Match File File to Match Clip EXE You can also find these options by choosing Modify gt Rename 3 To change a reel number drag the horizontal scroll bar in the Browser to the right until you see the Reel column heading Click in the appropriate clip field under that heading and enter the new reel name or number This will change your underlying QuickTime media file NOTE gt If you move forward with a reel change or timecode modification you will see the following prompt reminding you the media file itself will be modified Changing the reel name will modify the file on disk Do you wish to continue 4 To change timecode for a clip select the clip then choose Modify gt Timecode The Modify Timecode dialog opens In the Frame to Set pop up menu choose First to assign the new timecode number to the first frame of the clip or choose Current to assign the new timecode to the current frame Choose the appropriate timecode for mat drop frame or non drop frame timecode and frame rate Click OK This will change your underlying media file From the Library of michiel pilgram Changing Clip Properties 397 You can also change the reel number in this dialog Remember changing the reel number or timecode will change it on the QuickTime media file itself Modify Timecode ie Frame To Set First CU 2 dolphins by side of pool Reel Roll Timecode Format Rate
298. ip in its current Timeline position but slip it so that it is in sync with the other tracks gt From the video clip choose Move Others into Sync or Slip Others into Sync to conform multiple tracks of audio to the desired sync relationship NOTE gt These functions will not overwrite existing clips in the Timeline From the Library of michiel pilgram Keyframing Audio Levels 211 Keyframing Audio Levels Just as in Avid you can set keyframes in Final Cut Pro directly on a clip You can also set keyframes in the Viewer audio tab area In the Viewer you can actually perform subframe audio keyframing down to 1 100th of a frame and these edit decisions can even be sent to Soundtrack Pro or exported in an OMF for finishing on another station MS man feeds fish 1 E__ _ _ _ _ __ _ _ _ _ a _ _ Avid keyframe and volume ramp FCP keyframe and volume ramp Keyframing an Audio Clip The process of setting keyframes in FCP is very similar to the process in Avid but the tool is different Rather than using a keyframe command button which you can map to your button bars FCP uses a Pen tool which may be familiar if you have worked with Photoshop After Effects or some other graphics programs When you set a keyframe on an audio clip that is part of a stereo pair the keyframes are applied to both clips This can be a very valuable tool if for example you want to dupli cate custom level changes on two concu
299. is applied to the source angle and will stay applied to that angle even if you switch to another angle allowing you to switch back to the original angle with the effect still applied From the Library of michiel pilgram Collapsing Multiclips 187 gt Apply to Multiclip tThe filter is applied to the angle in the multiclip but if you switch to a different angle the effect will be lost Similarly motion effects will disappear from the multiclip segment unless you choose to switch using the Switch Video or Audio with Effects buttons included in the Timeline multiclip buttons In general choosing to switch with these commands either by click ing the buttons in the button bar or by using the keyboard shortcuts will ensure that the effects stay applied to the segment even after switching camera angles Loo Switch Video with Effects to Angle 1 7 NOTE gt If you apply a filter to a source angle instead of to the multiclip when you switch to another angle using Switch Video with Effects the filter is applied to the source angle of the new active angle If instead you have applied a filter to the multi clip the filter will move from one active angle to another Collapsing Multiclips Once you ve completed editing your multiclip refined your edit points and settled on your camera angles you may need to output your sequence and pass it along to someone else such as a colorist or an audio mixer Inste
300. is chosen as the Format option Click Save From the Library of michiel pilgram 452 Finishing and Outputting Save As Australian Dolphins Project Where 5 Desktop ke l Format Tabbed Text hS l b Cancel a Launch a spreadsheet program such as Excel or Numbers Within a new document choose File gt Open and navigate to the saved batch list you created in FCP ane m Australian Dolphin Project amp EH T w s Ta alll 7 T ka 5 fe View Sheet Tables Reorganize Function Formulalist Charts TextBox Shapes Comment iWork com Mame Aerial of Westem Australia circle Aerial of Westem Australia r l CU woman and kids CU woman leans over water CU TS dolphin face MS man feeds fish Sheets E MS Ranger teaches MINS tourists wade in water Duration O0 00 12 05 00 00 02 19 O0 00 08 02 O0 00 04 28 O0 00 08 21 00 00 07 17 00 00 79 04 O0 00 07 28 Ini 01 00 05 18 01 02 13 06 07 07 33 01 01 07 46 20 01 01 56 19 01 02 36 05 01 00 11 11 01 07 18 08 Out 01 00 17 22 01 02 15 24 01 01 41 02 01 01 51 17 01 02 07 11 01 02 43 21 07 00 30 174 07 01 26 05 Media Start 01 00 00 00 01 02 11 18 01 01 29 289 07 07 44 19 07 07 54 17 01 02 32 26 01 00 00 00 01 01 14 03 Media End 01 00 26 18 O1 02 17 14 07 07 44 78 01 01 54 166 01 02 11 17 01 02 45 285 01 00 47 11 01 01 29 286 Tracks Tv 2A TV ZA iW 1V ZA TV 2A TV 2A TV 2A TV ZA Because the batch list i
301. isn t active just click the edit point to select it 3 Command click additional edit points 4 Enter an amount for the trim and press Return ETT To roll one clip s audio and a different clip s video or vice versa Option click one edit point with the Roll tool and Command click additional edit points Enter a trim amount and press Return Trimming in the Viewer The Final Cut Pro Viewer is used for more than just viewing source material For example you can also edit clips transitions filters motion effects and titles from the Timeline in this window To work with a clip that has already been edited into a sequence you must first open it from the Timeline NOTE gt While working in the Viewer you can trim both the head and tail of a single clip or view audio waveforms in the Audio tab something you cannot do in the Trim Edit window To open a sequence clip into the Viewer In the Timeline do one of the following gt Double click the clip you want to trim gt Select a clip you want to trim and press Return Scrubber bar dots or sprocket holes in the Viewer You can tell whether a clip has been opened from the Timeline by looking at the Viewer scrubber bar under the image If two lines of dots sprocket holes appear the clip is a sequence clip and has been opened from the Timeline These dots appear From the Library of michiel pilgram What Youve Learned 95 in the Trim Edit window scrubber
302. it back again This roundtripping process gives you access to the most effective application in the Studio suite for the job at hand while still centering your work around Final Cut Pro 343 From the Library of michiel pilgram 344 Importing and Exporting To expand the FCP export functions even further there is a program called Compressor which comes bundled with Final Cut Studio and offers additional export options includ ing exporting for the Internet and DVD Cinema Tools which allows you to import and export film lists and work with other 24p HD material is also bundled with Final Cut Studio Importing Files Since Media Composer 3 5 Avid users have had a feature called Avid Media Access AMA an evolving function that enables native format editing of P2 AVC IntraHD and other file based media without first encoding it in Avid s proprietary MXF format FCP has sup ported P2 formats natively since version 4 5 and supported XDCAM through Sony s free plug in transfer software Also in FCP the new HD formats that require transcoding can be output in one of five super efficient ProRes422 codecs for real time playback of mul tiple streams at very high quality similar to Avid s DNxHD codecs Select files to Import bm Gj Documents a a eae cn Shot Log Documents ae Graphic Documents E iDisk Audio Documents WEYNAND HDV Documents PLACES AVCHD with Dolby AC 3 Documents OMFI Documents CamCutter Documents
303. itch Audio to Previous Angle Option Switch Audio to Next Angle Shift 1 through Shift 9 Switch Video with Effects to Angle 1 through 9 Shift Clear Switch Video with Effects to Previous Angle Shift Switch Video with Effects to Next Angle From the Library of michiel pilgram s p From the Library of michiel pilgram Lesson 8 Editing Sound In the area of audio Avid and Final Cut Pro share many similarities Both systems have audio mixers rubberbanding capability audio effects such as equalizers and direct Timeline keyframing and both indicate when audio tracks have gotten out of sync Yet they have a few major differences as well Among these is their interface layouts The FCP Viewer has a separate Audio tab which provides a place to set levels and keyframes for a clip and quickly lets you view the clip s audio waveform and perform audio edits Some minor differences include the FCP Timeline sync indicators which are red flags in contrast to Avid s more subtle frame references In addition FCP can have 99 Timeline audio tracks compared to Media Composer s 24 audio tracks You can create a merged clip in FCP which can be one video clip combined with up to 24 different audio clips and then treat it as a single clip With Final Cut Studio 3 you can send a file or sequence to Soundtrack Pro for fixing or enhancing You can also create a mix in surround sound and then monitor the surround sound seq
304. ith the playhead positioned on the clip in the Timeline you will see it in the Canvas You can also drag the item to the Timeline and press Command Option before releasing it to automatically open the clip to the Viewer Controls tab From the Library of michiel pilgram What You ve Learned 341 gt You can keyframe text parameters the same way you do an effect gt You can add filters and motion effects to text or any generated item via the Filters and Motion tab in the Viewer gt FCP has text generators to create scrolling Avid s rolling and crawling text gt FCP has preprogrammed generators including Lower 3rd Outline Text and Typewriter Text gt FCP provides a Boris set which provides 3D Text and Title Crawl tools Although the Boris FX options open in a separate window you can edit non text parameters like other generated items in the Viewer Controls tab gt From the Video Generators pop up menu you can select Slug clips that act like Avid s black Filler in the Timeline gt FCP has a generator for color mattes all of whose parameters can be edited in the Viewer Controls tab gt You can select either preprogrammed or custom gradients from the Generator pop up menu gt You can use the FCP generated shapes to create static or animated mattes or to build composites and effects gt You can apply a Motion master template and make text and image changes to it in Final Cut Pro gt You can
305. itions to the selected edit point Apply one of four favorite filters to the selected clip or clips Open the Paste Attributes dialog Open the Remove Attributes dialog Render selected items or sequence range Render everything in the Timeline Preview unrendered selections Open the QuickView window Create a superimpose edit Toggle Clip Overlays on and off Move the playhead to the next keyframe Move the playhead to the previous keyframe Toggle Clip Keyframes on and off Change transition alignment Fit clip duration in keyframe graph area to window From the Library of michiel pilgram then ean f 7 Da l EEE yee REY ore From the Library of michiel pilgram Lesson 10 Speed and Motion Effects Avid provides the staples of motion effects freeze frames slow and fast motion reverse motion strobe and many 3D effects depending on your software version and hardware support Final Cut Pro also sup plies these effects but with FCP a bold new world was introduced that utilizes a powerful desktop graphics approach to creating motion effects By using this hybrid approach to building composites which some Avid systems are doing now as well you will learn how to scale position crop distort an image s perspective and even set keyframes all directly on the sequence clip in the Canvas Because FCP isn t modal and doesn t require that you step out of your sequence into a special editing envi ronment
306. ixer 217 displaying audio waveforms in Timeline 194 195 enabling disabling sound 196 expanding audio tracks area 199 keyboard shortcuts 226 227 keyframing audio levels 211 214 monitoring audio tracks 195 monitoring real time audio mixing 215 216 opening audio meters 192 opening Audio Mixer 216 out of sync indicators 209 210 overview of 191 recording voiceovers 223 224 review 224 226 scrubbing audio 197 198 setting automated keyframes 218 219 setting levels in Audio Mixer 217 218 switching audio independently of video 185 186 syncing tracks in Timeline 207 208 viewing audio levels 192 working with Audio Mixer 214 215 working with stereo and mono audio 203 204 Index 457 audio filters accessing 247 applying to selected range 249 as effect category 230 overview of 246 viewing and modifying filter parameters 251 252 audio levels adjusting multiple clips 202 203 changing in Timeline 201 202 changing in Viewer 200 keyframing 211 214 setting in Audio Mixer 217 218 viewing 192 audio meters detecting correcting audio peaks 424 in FCP interface 5 opening 192 working with 18 Audio Mixer creating keyframes automatically 218 219 customizing 217 detecting correcting audio peaks 424 modifying audio output levels 426 427 monitoring real time audio mixing 215 216 opening 216 preset options for window layout 63 setting levels in 217 218 Solo
307. ized them in the sequence and simply want to treat or save those tracks as one merged clip To create a merged clip in the Timeline 1 In the Timeline configure the clips the way you want them to be synchronized using any of the FCP editing tools ch MS Ranger how to hold fish aperea fe MS Ranger how to hold fish MS Ranger how to hold fish coip Australia Music 1 1 Australia Music 1 Dolphin SFX You can use one video clip and up to 24 audio clips You can also merge just a group of audio clips Click to select the first item you have synchronized and want to merge Then Command click all additional items to add them to the selection Choose Modify gt Link or press Command L to link these items together C Australia Music 1 Dolphin SFX h Narration A line appears underneath the name of each selected clip to show they are linked together NOTE gt If you do not link the clips you want to merge before performing the next step dragging them into the Browser each item will be duplicated in the Browser separately 4 Drag the linked clips from the Timeline to the Browser and release them From the Library of michiel pilgram Merging Clips 221 A new merged clip appears in the Browser named after the topmost video or audio item in the Timeline 5 Double click this clip to open it in the Viewer Gi oono Say a a ES 12222320 h re og Eae ons t J a
308. k Pro From the Library of michiel pilgram 368 Importing and Exporting 1 To identify your export selection do one of the following gt To export an entire sequence select it in the Browser or click the appropriate sequence tab in the Timeline Make sure there are no In or Out marks or that they encompass the sequence head to tail gt To export a clip or portion of a sequence mark In and Out points in the Timeline gt To export a clip from the Browser select it gt To export a clip from the Viewer open it in the Viewer and make that the active window gt To export desired tracks and exclude others toggle the Visible or Audible controls on those tracks 2 Choose File gt Export gt QuickTime Movie Save As Training Dolphins Where L Import Export Setting Current Settings FH include Audio and Video H Markers None LH _ Recompress All Frames vi Make Movie Self Contained EEE 3 Inthe Save dialog name the sequence choose a save destination the preset setting what tracks you want to export and what types of markers you want to include Markers DVD Studio Pro Markers Compression Markers Chapter Markers Audio Scoring Markers All Markers From the Library of michiel pilgram Using Other Export Options 369 4 Click the Recompress All Frames checkbox if you want FCP to re render each frame of your clip or sequence before exporting If this option is left deselected FCP simpl
309. k the playhead on the frame you want 6 6 Viewer CU UW dolphins in pool in Lesson 11 Project video Mono al Mono a2 Filters A 6 00 00 08 19 52k BIT ti Ens 1 11 07 20 aaa Haiii Jodan 2 To export the frame choose File gt Export gt Using QuickTime Conversion 3 Name the file and select the export destination 4 Under Format choose Still Image 5 Ifyou don t see the format you want in the Use pop up menu click the Options but ton to select Photoshop or another file format for the image BMP JP2 JPEG MacPaint PICT PNG QuickTime Image SGI TGA TIFF 6 When you have made the appropriate selections and are back at the Save window click OK From the Library of michiel pilgram Using Other Export Options 373 If you have to repeat the export process for a number of frames choose Most Recent Settings from the Use pop up menu in subsequent save operations EXT You can also export a sequence of video frames by using the Image Sequence format and specifying your desired options To export multiple still images at one time If your graphics designer is getting greedy and wants you to send her several still images from a single video clip Final Cut Pro provides a simple yet elegant solution You can set markers on only those frames you want to convert to still images and then export the marked frames using one of the batch functions in FCP 1 Inthe Timeline select the
310. key on your numeric keypad that corresponds to the number of the angle you want to switch to With the Multicam button bar loaded click a Cut Video to Angle or Cut Audio to Angle button in the Timeline button bar Cut Video to Angle 1 32 The cut buttons have a razor blade icon When you choose a cut function an edit is added at the playhead position and the multiclip following the edit is switched to the chosen angle If edit points are located to the right only the segment of the multiclip between edit points is switched Ei The default Multiclip button bar displays buttons for only the first four angles You can add buttons from the Button List for up to 16 additional angles To open the Button List window choose Tools gt Button List To cut multiclips live on the fly Cutting on the fly is almost exactly the same in Final Cut Pro as it is in Avid Make sure the Canvas or Timeline is the active window and that the multiclip is not selected in the Timeline Play the sequence With the playhead sync set to Open the sequence will play simultaneously in the Viewer and Canvas windows The Canvas window will display the active angle in 1 up mode as will your external monitor while the Viewer will show the angles in your chosen view such as 4 up 9 up and so on From the Library of michiel pilgram Switching and Cutting Video and Audio Independently 185 3 To cut toa different multiclip angle do one of the followi
311. keyframes to create your effect FCP makes changing the opacity of a clip simple and direct As with audio volume overlays in audio clips you must first toggle on the Clip Overlays control in the Timeline When on a black opacity overlay line appears on all video clips in the Timeline as well as the pink audio overlay lines in the audio clips 1 Toggle on Clip Overlays or press Option W Toggle Clip Overlays WW From the Library of michiel pilgram 266 Transitions and Effects 2 Move your pointer to the overlay line in a video clip When you see the resize arrow drag down Et Hold down the Command key to gear down to more precise opacity adjustments A percentage amount appears indicating the new clip opacity 3 To set an opacity keyframe do what you did when working with the audio overlay lines Use the Pen tool or Option click to set keyframes on the opacity line Drag a keyframe down to decrease the opacity Adding opacity keyframes this way creates video fades To create video transitions that have different rates going in and coming out position two clips on separate tracks and add fades of different rates to these clips EXE When placing a keyframe at the head or tail of a clip it may be easier to place it inside the edge so you can select it and move it more easily You can also toggle off snapping for greater control Keyframing Filter Parameters In Avid keyframing control is done in Effect mode in
312. l Cut Pro User Data If you want to use that keyboard layout on a different com puter you can take either the entire User Data folder or individual Keyboard Layout files with you and load them onto that computer to use it in Final Cut Pro 1 To save the current keyboard layout choose Tools gt Keyboard Layout gt Save Keyboard Layout Enter a name for the new layout and click OK The layout file will be saved on your hard disk in your Final Cut Pro User Data folder From the Library of michiel pilgram 68 Customizing Your Project 2 To load a saved layout choose Tools gt Keyboard Layout and if you see the saved lay out listed in the menu choose it If not choose Load Keyboard Layout and select the keyboard layout you want to load 3 To load a saved layout onto a different computer station do the following gt Open a Finder window navigate to Macintosh gt Users gt User Name gt Library gt Preferences gt Final Cut Pro User Data gt Keyboard Layouts gt Copy the keyboard layout you want to use or the entire folder of layouts to a flash drive or other storage device Load that device into a different computer Changing Command Buttons Like Avid Final Cut Pro lets you map commands directly into special areas of the inter face For example Avid maps commands under the Source and Record monitors and above the Timeline from a catchall Command palette FCP maps commands into any one of the four primary interface wi
313. l S Solo a selected clip or clips Control B Toggle Clip Enable for a selected clip or clips Shift S Toggle audio scrubbing on or off Command Option L Open the Gain Adjust dialog Control or Control Adjust gain up or down 1 db plus or minus Control or Control Adjust gain up or down 3 db left or right bracket From the Library of michiel pilgram What You ve Learned 227 Keyboard Shortcuts Control comma Change pan to left or pan sound to left channel Control period Change pan to center or pan sound to center channel Control slash Change pan to right or pan sound to right channel Command L Toggle off and on the link between selected video and audio tracks Option L Unpair or re pair a stereo link between audio tracks Shift L Toggle off and on the Linked Selection control in the button bar P Choose the Pen tool PP Choose the Pen Delete tool Option 6 Open the Audio Mixer From the Library of michiel pilgram s p From the Library of michiel pilgram Lesson 9 Transitions and Effects Like Avid Final Cut Pro has numerous transitions and effects In Avid you Select these from the Effect palette or the Effect tab in the Project window in FCP you choose them from a dedicated Effects tab in the Browser or from the Effects menu Similar to Avid s transitions and segment effects categories FCP organizes its effects into transitions and filters Motion effects to zoom or rotate a
314. l tool or press R From the Library of michiel pilgram Using Asymmetrical Trimming 93 3 Drag the clip s audio or video edit point left or right EXT To temporarily override linked selection select the Ripple or Roll tool and Option click an edit point Using Asymmetrical Trimming Like Avid Final Cut Pro can trim two or more edit points on different tracks in two direc tions at the same time this is often referred to as asymmetrical trimming But there are some differences in how FCP approaches this type of trimming First of all you get different asymmetrical trim behavior depending on which side of a clip and which track you trim In Avid because filler is like a clip you get a single kind of drag trim behavior for each selected trim and track In FCP even though gaps are not treated the same as clips they can be included in the trim when applying an asymmetrical trim Also remember that many Avid versions assume that no tracks are bound together or linked as you trim while FCP defaults to selecting all linked tracks in a clip similar to having Link Selection turned on in Avid 5 One asymmetrical trim setup Another asymmetrical trim setup To trim multiple edit points 1 From the Tool palette choose the Ripple tool or press RR From the Library of michiel pilgram 94 Trimming Clips 2 If linked selection is active in the Timeline Option click the first edit point you want to trim if linked selection
315. l trash can icon to the right of the pointer release the mouse button From the Library of michiel pilgram 214 Editing Sound To modify a keyframe When you modify a keyframe s location or level a Gain or Offset box appears next to the keyframe to indicate the amount of change If you are modifying both the location and level the box will indicate both amounts 1 Move the Pen tool or pointer over a keyframe until a crosshair appears 2 Doone of the following gt To change the level drag the keyframe up or down An information box appears with the amount of the volume change gt To modify the placement move the keyframe left or right An information box appears with the amount of the placement change If you move up or down and left or right both sets of information will appear EXT You can set modify and delete keyframes in the Viewer s audio tab or tabs using these same methods Working with the Audio Mixer Like Avid s Audio Mix tool Final Cut Pro has an Audio Mixer which you can customize to display the number of tracks you want to mix or view You can control a track s solo and mute functions and create automated keyframes as you would with Avid s Audio Gain Automation tool Avid users may be looking for the tie in button to two other audio functions the Audio EQ tool and the AudioSuite filters tool These functions are handled in FCP using dedicated audio effect filters NOTE P Like certa
316. laced in the Filename field of the Share window Notice that there are no visible compression settings just a target destination YouTube FCP will use the best settings for each target output type 3 To choose a location for the new file in the Destination Folder area click the Choose button and navigate to the desired destination 4 To add an additional format or output type for the clip or sequence click the Add Output button to the right of the Filename field 5 From the Output Type pop up menu choose another output To increase your selec tion from the pop up menu choose Other YouTube D _ Australia Fun __ _ YouTube _ i L Publish to YouTube Filename You Apple TV Australia Fun Apple TY Blu ray DvD iPad and iPhone 4 Filename iPod MobileMe YouTube Apple ProRes 422 Apple ProRes with Alpha QuickTime H 264 Other Cluster This Computer 6 After adding the desired outputs select the output type for each output and click Export From the Library of michiel pilgram 366 Importing and Exporting NOTE gt If you see a format you don t want to export click the Remove Output but ton for that output FCP will create separate files for each destination and include the destination or for mat type in the name of the file YF Preview Name Australia Dolphins iPhone m4v Kind MPEG 4 Video File To export multiple clips or sequences You can also u
317. lack levels or to match colors This is a good filter for changing overall color balance in an image Drag filter control Hue control Balance control Hide reset button Balance Level sliders reset button Select Saturation Auto slider balance color Auto level controls Color Corrector filter From the Library of michiel pilgram 438 Finishing and Outputting In the Color Corrector 3 way filter you have three color balance controls one each for Blacks Mids and Whites This combination provides more control over the color in your image than the Color Corrector filter SP 01 01 12 08 i w iuu a uy gt Color Corrector 3 way filter NOTE P Color correcting is a complex art that can t be covered in a few pages The intent of this section is to show you where you can find the tools to adjust your images and generally what those tools do Under the Numeric button at the top of the visual interface in both color correction filters you will see four arrow icons and a hand icon You can drag the center hand icon to any clip in the Timeline to copy this filter to a clip You can click one of the arrows to apply this filter to the first clip after the current clip or the second clip after the current clip This is useful when correcting dialogue scenes that cut back and forth between the same two people or shot setups From the Library of michiel pilgram Correcting Image Color 439 To apply the Color Corrector
318. lade tool Chose the Razor Blade All tool Create an extend edit Place a marker on a clip at the playhead location When playhead is over a marker opens the Edit Marker window Move forward to the next Timeline marker Move backward to the previous Timeline marker Move forward to the next Timeline marker Move backward to the previous Timeline marker Delete a single Timeline marker at the playhead position or a single marker on a selected clip at the playhead position Delete all Timeline markers or all markers in a selected clip when the playhead is over that clip Set specific marker color at playhead location From the Library of michiel pilgram Keyboard Shortcuts Shift Option M Shift Option 1 through 8 Command Option M Control Spacebar Command U What You ve Learned 169 Set marker on the fly and opens Edit Marker window without stopping playback Set specific marker color and open Edit Marker window without stopping playback Open the Edit Marker window for the marker to the left of the playhead Start and stop sequence playback while Edit Marker window is open Make a subclip of the selected marker in the Browser From the Library of michiel pilgram s p From the Library of michiel pilgram Lesson 7 Multicam Editing A wide variety of productions including music videos reality shows talk shows and scripted dramatic series use more than one camera to simultaneously record the sam
319. lian Dolphins 59 From the Library of michiel pilgram 60 Customizing Your Project 3 Click the different tabs to view the following options gt General Change the selected sequence s frame size aspect ratio field domi nance sampling rate and so on gt Video Processing Define how FCP processes the video whether you are work ing with DV or 10 bit superwhite DV or white broadcast levels You can also choose the filtering quality when rendering motion effects gt Timeline Options Modify the Timeline settings track height thumbnail display number of tracks and so on This is where you can change the starting timecode for the current sequence You can access several of these options directly in the Timeline window by clicking the Timeline Layout pop up menu discussed in Lesson 8 gt Render Control Determine what will be rendered and how Again there are other ways you will control your render options gt Audio Outputs Here you can load an audio output preset you set up in the User Preferences NOTE P The third fourth and fifth tabs in the Sequence Settings window contain the same information that appears on the last three User Preferences window tabs However changing the information in the corresponding User Preferences tabs applies to all new sequences not the current one Viewing Item Properties The Item Properties window is where all the information about a selected item such as a cl
320. line after Find command When the search is complete FCP will highlight all the items it found using the search criteria and it will move the playhead to the first frame of the first highlighted or found clip ETT Being able to highlight desired clips all at once can be a real timesaver when applying effects to a group of clips 7 To initiate another search perhaps for a particular transition deselect any selected clips by pressing Command Shift A Then reposition the playhead at the beginning of the sequence or at least before the search items appear in the Timeline 8 To open the Find ate press Command F In the Find field enter the name of a transition such as cross dissolve If you want to find all cross dissolves and cross fades simply enter cross in the Find field Click Find All When the transitions are selected you can press Delete to remove them from the edit points You can also choose Effects gt Video Transitions and choose a different transi tion to replace those already selected From the Library of michiel pilgram Using the Find Command 391 Selected transitions replaced by choosing new transition from the Effects menu EXT You can search for markers by name content by any word contained in the marker Comment field or by the type of marker it is such as compression scoring and so on Unlike transitions or clips however markers in the Timeline ruler are not selected when you choose Find All I
321. line or become disconnected from their media files and you ll need to relink them This is true in Final Cut Pro as well as in Avid Where Avid s terminology to connect a clip to a media file is relinking the FCP terminology is From the Library of michiel pilgram 352 Importing and Exporting reconnecting media You can use this function to reconnect a single clip or a group of clips such as from an imported EDL Media Offline CU TS dolphins face over side of tank FCP offline clip in the Canvas To reconnect project clips When you open a project if FCP cannot find media files associated with that project an Offline Files window appears indicating how many files went offline and whether they were media files or render files Here you have three options You can click Continue and reconnect the files at a later time from within the project or if you no longer want to use the offline files in the project you can select Media Files in the Forget Files section and then click Continue and Final Cut Pro won t ask you to reconnect these files in the future or you can click Reconnect to begin the reconnection process Some files went offline Some of the media your project references have either changed moved or gone away You can either reconnect these files or continue with them being offline Forget Files _ Media Files 21 Offline _ Render Files 0 Offline 1 Inthe Offline Files window click the
322. lit view in the order in which they are sorted To assign an angle to a clip Do one of the following gt gt Enter a letter or a number in the Angle field of the Log and Capture window In the Browser enter a letter or a number in the field for a captured clip in the Angle column NOTE gt If you do not assign Angle numbers or letters to clips prior to making a multiclip Final Cut Pro uses the names of the clips to determine the sorting of angles in the multiclip Creating Multiclips Once you ve captured the different camera angles you can select and group them just as you would in Avid The Final Cut Pro command for grouping these clips is Make From the Library of michiel pilgram Creating Multiclips 175 Multiclip instead of Avid s Group Clips As in Avid you can synchronize clips using one of three methods by source or auxiliary timecode by In points or by Out points The last two options allow you to sync material that was not shot concurrently or has no timecode To group clips into a multiclip 1 In the Browser click the Angle column header to sort by angle letter or number 2 Select the clips you wish to group 3 Do one of the following gt Choose Modify gt Make Multiclip gt Control click or right click any of the selected clips and choose Make Multiclip from the shortcut menu The Make Multiclip window opens displaying the clips sorted in the order of their angle numb
323. ll give you different options in the short cut menu Control clicking the In column allows you to clear all In points for all selected clips From the Library of michiel pilgram Changing Clip Properties 399 Drop Frame Feet Frame Frames View Native Speed Clip Time Source Time gt ee oS Show in Erowser Remove from Project A Control clicking in the Label column brings up different preset options to label selected clips enters water from s side g f None Good Take Best Take Alternate Shots Interviews an and dolphin lifts from un Show im Browser Remove from Project EXE You can undo clip changes by pressing Command Z even if you made the changes globally to several clips at once To make clips offline There may be times during an edit session when you want to unlink one or more clips disconnecting the clip from its originating media file FCP refers to this as making a clip offline Perhaps a clip or group of clips needs to be recaptured to improve video or audio levels You can do this very simply in the Browser Making an entire sequence offline to recapture at a higher resolution is covered in the Working with the Media Manager section later in this lesson From the Library of michiel pilgram 400 Project Management Do one of the following gt To make one or more Browser clips offline select the clip s Control click in the Browser and choose Make Offline from the shortcut menu
324. lly doing through the Add Edit function is not so much adding new clips as dividing existing clips into separate parts Maybe you want to set a different audio level for a portion of a clip add an effect to only a portion of a clip or divide a long narration track into smaller parts 1 Inthe Timeline play the clip you want to divide or park the playhead over the divide location 2 Choose Sequence gt Add Edit or press Control V You can do this repeatedly as a clip is playing Avid through edit indicators FCP through edit indicators In the Timeline ruler area red markers appear where you added an edit Once you stop playing the clip red through edit stitches appear like Avid s equal signs From the Library of michiel pilgram 152 Advanced Editing between adjacent clip parts You can toggle the through edit markings off and on in the Sequence Settings window Command 0 on the Timeline Options tab or in the Timeline Track Height pop up menu EE If there are several tracks in the Timeline Add Edit will cut through all exist ing tracks To disable Add Edit for any track either lock or toggle off Auto Select for tracks you want to exclude To use a Razor Blade tool An alternative method of adding an edit or dividing a clip is to approach the situation as a good film cutter would with a razor blade cutting through film One Razor Blade tool is available for cutting through all the unlocked tracks in one clip and one
325. loyers and clients as a skilled pro level user of Apple products For those who prefer to learn in an instructor led setting Apple also offers training courses at Apple Authorized Training Centers worldwide These courses which use the Apple Pro Training Series books as their curriculum are taught by Apple Certified Trainers and bal ance concepts and lectures with hands on labs and exercises Apple Authorized Training Centers for Pro products have been carefully selected and have met Apple s highest stan dards in all areas including facilities instructors course delivery and infrastructure The goal of the program is to offer Apple customers from beginners to the most seasoned pro fessionals the highest quality training experience To find an Authorized Training Center near you go to training apple com Loading Software and Staying Current Before you get started you will need to load the Final Cut Pro application or the entire Final Cut Studio set of applications onto your hard drive To do this follow the direc tions that came with the application Also it is very important to download and install all the latest updates to Final Cut Pro In addition to including additional features these revi sions often contain minor fixes to the software You can download these software updates from www apple com support finalcutpro GT As an Avid editor you may be used to having your software and computer configured by an engineer or te
326. m Most of these filters are located in the Color Correction and Image Control submenus under Effects gt Video Filters Applying filters was discussed in Lesson 9 Blur b Border b Channel b Color Correction gt Distort p Glow gt Image Control b Brightness and Contrast Bezier Key gt Color Balance Matte p Color Reduce Perspective Colorize QuickTime b Desaturate Sharpen gt Gamma Stylize gt Gamma Correction Tiling gt Gradient Colorize Time gt HSV Adjust Video gt Levels Proc Amp Effects gt Video Filters gt Image Control options To change the video level 1 Choose View gt Range Check to turn on the visual range checking display NOTE gt Overlays do not need to be active for the range checking display to be visible 2 Park the playhead in the Timeline over the clip that needs correcting 3 Double click the clip to open it in the Viewer and then click the Viewer s Filters tab 4 Choose Effects gt Video Filters gt Image Control gt Brightness and Contrast From the Library of michiel pilgram 436 Finishing and Outputting yee ee OF 5 Lower the brightness level to reduce the amount of luma in the image until you see just a check mark in a green circle in the Canvas image 6 Disable that filter so you can see how some others tackle the job Do the following gt Choose Effects gt Video Filters gt Image Control gt Proc Amp and adjust the Video parameter to reduce the excess
327. m Edit window Click in the cen ter of the Trim Edit window to select a roll edit dual roller mode A green bar appears above both images Roller tool in Trim Edit window Single Roller Editing The equivalent of Avid s single roller mode is the FCP Ripple tool which appears when the pointer moves into the A or B side image in the Trim Edit window Click the left or right image to select single roller mode A green bar appears above the selected side of the edit point FCP refers to this as a ripple edit because it pulls up or pushes back ripples the other clips in the sequence by the amount of the trim without leaving any gaps From the Library of michiel pilgram 86 Trimming Clips Ripple tool in Trim Edit window You have several ways to perform a roll dual roller trim mode or ripple single roller trim mode type of trim in FCP The following are a few methods others are discussed in the following pages To trim numerically 1 Click either the A or B side clip to work with the Ripple single roller tool or click between the two images to work with the Roll double sided roller tool 2 Click the minus or plus sign and enter a trim amount in the Trim Edit window The trim amount is displayed in the Current Sequence Timecode field above the two image areas 3 Press Return All trim changes made in the Trim Edit window are reflected in the Timeline To trim using shortcuts With either
328. m in the Viewer do one of the following gt In the Viewer from the Video Generators pop up menu choose one of the options gt Drag one of the Video Generators items from the Effects tab in the Browser into the Viewer The selected option opens in the Viewer as a new clip and a Controls tab appears All generated clips are given a marked 10 second duration although 2 minutes of mate rial is available You can change the default marked duration in the User Preferences Editing tab Option Q 2 Click the Controls tab and make changes to the clip s parameters Custom Gradient with all controls displayed From the Library of michiel pilgram Creating Titles 321 3 On the Video tab mark the clip for whatever duration you want 4 Edit the clip into the Timeline by dragging it or using one of the edit options ETE If you drag a generated item directly from the Effects tab to the Timeline but hold down the Command and Option keys before releasing the mouse button the sequence generator clip will automatically open in the Viewer with the Controls tab in front To view changes to a generated item Like making changes on the Filters tab when you work in the Controls tab you can t see the changes you make if the Viewer Video tab is hidden You can peel away the Video tab and reposition it as a separate window elsewhere on your screen to see the changes This will give you the Avid like text against background you are familiar with
329. m the Library of michiel pilgram 204 _ Editing Sound NOTE gt When two clips are a stereo pair you will see two sets of double triangles that point toward each other These are stereo pair indicators You can think of them as the metal clips that hold elastic bandages together the triangles are binding the two audio clips together ir Unaired Audio Unaired Audio Avid mono and stereo tracks FCP stereo pair indicators Mono tracks can be selected together if they are linked but making a change to one track such as adding an effect or changing its volume level will not affect the other mono track To unpair or re pair audio tracks 1 Select the clip or clips in the Timeline that you want to pair or unpair 2 Choose Modify gt Stereo Pair or press Option L If the clip is already a stereo pair the Modify menu option will have a check mark by it and the clip will have the stereo pair indicators EET To change the pan of a selected clip using shortcuts press Control comma Control minus or Control slash to pan left center or right respectively Linking Clips Like Avid 5 s clip linking and Link Selection features Final Cut Pro also has clip linking and linked selection features that help editors maintain audio video sync when trimming or moving clips in the Timeline FCP locks the sync of a clip s audio and video tracks dur ing editing if those tracks were digitized or captured
330. ma Show Multiclip Overlays Show Source Angle Effects 7 RGE Alpha Alpha RGB Black White Checkerboard 1 Checkerboard 2 Multiclip 1 Up Multiclip 4 Up Multiclip 9 Up Multiclip 16 Up If you have more angles than the view allows arrows will appear in the upper right and lower right corners of the Viewer that allow you to scroll down or up one row at a time to view the other angles From the Library of michiel pilgram 178 Multicam Editing aco Garner ee Ca EB _00 00 5406 aia ae Gool Click to scroll and view additional angles NOTE gt A green arrow indicates that the active angle is in a hidden row in the direction of the arrow In Avid you can display the clip name for an angle in the Quad or Nine Split view only while holding down the Control key but in Final Cut Pro you can toggle on overlays that continuously display not only the clip name but also the angle number and source time code for each angle To turn on multiclip overlays Do one of the following gt gt Choose View gt Show Multiclip Overlays In the Viewer click the View pop up menu and choose Show Multiclip Overlays NOTE gt The multiclip overlays will stay on until you toggle them off again Like any overlay they will not appear during playback but only during scrubbing or when playback is paused Title Safe and Timecode overlays are not viewable when a multi clip is loaded into the Viewer From the L
331. mage 371 373 exporting with QuickTime conversion 370 storyboard editing 75 77 strobe types of motion effects 279 subclips creating 39 41 creating from markers 161 162 removing limits on 41 Summary tab Audio Video Settings window 55 superimpose edits changing opacity 265 266 making 264 265 surround sound 216 switching multiclips to another angle 183 video and audio independently 185 186 Sync Lock 95 207 208 Synchronize using pop up menu 176 syncing audio tracks out of sync indicators 209 210 selecting linked clips 205 in Timeline 207 208 System Settings Shift Q 359 360 accessing 52 choosing 58 External Editors tab 359 360 Playback Control tab 232 T tape outputting to see outputting to tape target bins Avid 110 target clips selecting in Timeline 235 target media capture settings 107 templates creating effect templates 253 master templates 339 340 text animating 3D 333 applying drop shadow to 324 applying filters or motion effects to 325 changing text parameters 323 324 creating 3D text 331 332 creating crawling text 327 328 creating lower third text 328 329 creating outline text 329 331 creating scrolling text 326 327 creating typewriter text 331 editing text clip 322 323 importing as batch list 349 utilizing bin text view 70 72 Video Generator options 319 in Viewer 12 Text control options Viewer window 322 third party software Au
332. mands to the keyboard 1 Choose Tools gt Keyboard Layout gt Customize or press Option H 2 In the lower left corner click the Lock button to unlock the keyboard 3 Determine the key location for the new command and if necessary click the appro priate modifier tab to go to that location 4 Inthe button list find the command you want to map by doing one of the following gt Type the function or command in the search field but do not press Return From the Library of michiel pilgram Customizing the Keyboard 67 Scroll through the button list and click one of the main topics to reveal the sublist of commands Commands are grouped both by pulldown menu location and by function type 5 To map a command to a button do one of the following gt With the desired modifier tab selected drag the command from the button list to a specific key gt Select the command in the button list and press the key combination you would like to use for that command The shortcut will appear along with the command NOTE P You can place a new command over an existing one to replace it If you want to remove a command from an existing location drag the command icon away from the key and release it You will see a puff of smoke appear indicating the command is no longer mapped to that key To save and load a keyboard layout Once you ve customized the keyboard layout you can save it to your hard disk as part of your Fina
333. mark area From the Library of michiel pilgram 102 Capturing and Transferring The Log and Capture window s preview area has many features in common with the FCP Viewer window For example the Timecode Duration field at the upper left and the Current Timecode field at the upper right are the same Also the shuttle control the jog wheel and the transport controls are placed below the preview area as they are in the Viewer The keyboard shortcuts for playing shuttling and marking are also the same Amount of computer space and capture time available Current Timecode field Timecode Duration field Transport controls Jog wheel Shuttle control Go to Mark In _ Go to Mark Out Shift 1 eg 2255017 0y Shift O Mark In l VTR status Mark Out O Log and Capture preview area To view and mark a clip 1 Click the Play button or other transport controls to locate the footage you want to capture 2 Click the Mark In button or press I to mark an In point 3 Click the Mark Out button or press O to mark the Out point 4 To view the marks or marked area do one of the following gt Press Shift I to go to the In mark gt Press Shift O to go to the Out mark From the Library of michiel pilgram Selecting Clip Settings 103 Click the Play In to Out button to view the marked area or press Shift backslash me Playinto Out it 12 24 00 04 Ciu Selecting Clip Settings In Av
334. me keep in mind that the first time you sat down at an Avid system it probably didn t feel as good as your previous editing system either whether it was a linear GVG or a Kem And if you have dabbled in desktop graphics or compositing programs such as Adobe Photoshop or After Effects your transition will be even easier because of the similarities between the programs xiii From the Library of michiel pilgram xiv Getting Started The Methodology This is one book where in fact we do wish to compare apples to oranges As often as pos sible we describe an Avid function and then describe the equivalent Final Cut Pro func tion and how to access and apply it In addition the book offers images of Avid screens buttons and icons so you can get your bearings before turning to the FCP interface In many instances FCP and Avid terminology bear a marked similarity but at times each system will have its own names for things Whenever possible the book points out the ter minology differences so you can find the function you need quickly As you begin to work using FCP you ll see that it has a lot of depth as a nonlinear desktop editing program In addition to having a lot of functionality FCP often gives you several ways to perform each function We include multiple approaches throughout the book so you can begin to get a feel for the flexibility of FCP But we have not tried to be compre hensive and include absolutely everything the progr
335. meline 1 Select the clip group of clips or material range using In and Out marks 2 Choose Sequence gt Lift or press Delete To extract material from the Timeline Do one of the following gt Select the clip group of clips or material range and choose Sequence gt Ripple Delete or press Shift Delete gt Control click a clip in the Timeline and choose Ripple Delete from the short cut menu From the Library of michiel pilgram Performing Split Edits and L Cuts 43 Et Unlike Avid when using the Lift and Ripple Delete functions FCP does not place the lifted or extracted material into the clipboard memory If you wish to do this to paste it elsewhere for example substitute Cut Command X for Lift and Ripple Cut Shift X for Ripple Delete Open MCU TS 3 dolphins Open in Editor Open Copy im Editor Reveal Affiliated Clips in Front Sequence Reveal in Finder Duration 00 00 02 10 Make Independent Clip ltem Properties Send To Paste Attributes Remove Attributes Ripple Delete Clip Enable Change Speed Composite Mode Dupe Frames Uncollapse MMulticlipts Reconnect Media Media Manager Capture Performing Split Edits and L Cuts Avid provides several ways to perform a split or L cut edit In Final Cut Pro you also have several options You can mark any of the four points of a split edit by choosing a menu option using shortcut keys or dragging the mark points directl
336. menu choose White if you want to conform to broadcast standards From the Library of michiel pilgram 358 Importing and Exporting and view white at 100 units in the FCP waveform monitor or choose Super White if youre working within DV NOTE P Super white at 109 units is above broadcast safe limits but is fine if youre staying within the DV realm Ei To prepare any graphic for a sequence that uses nonsquare pixels both NTSC and PAL versions of DV and SD divide the video format frame s height by 0 9 to derive the correct height value of your composition frame and then bring the photo scan into it or build the graphic within that file For example for DV NTSC 480 divided by 0 9 is 534 whereas NTSC 601 would be 486 pixels divided by 0 9 which is 540 Graphics for HD formats which use square pixels only can be created at the same aspect ratio as the sequence for example 1280 x 720 or 1920 x 1080 To import multilayered images Working with layered Photoshop files in Final Cut Pro is very easy You can even import multilayered images created in Photoshop into FCP without merging their layers As in newer Avid systems layers from Photoshop remain discrete in FCP as long as you saved the image file as a Photoshop document with the psd file extension 1 Create a multilayered file in Photoshop with the psd extension 2 Import that file using any one of the importing methods described earlier From the Librar
337. mine the problem Images that fall between 90 and 100 percent appear with a check mark and an upward arrow indicating that parts of the image are reaching the upper limit Green diagonal lines appear over those areas that are close to 100 When an image is well within acceptable range a check mark within a green circle appears and there are no diagonal lines over the image EXT To ensure your levels are broadcast safe adjust your images until you see the all s clear check mark without an arrow From the Library of michiel pilgram 434 Finishing and Outputting To use range checking The range checking function checks either the luma or chroma of your media or both together When it s active you can position the playhead on any frame of any clip and you immediately will see whether that clip is broadcast safe You can use range checking in both the Viewer and the Canvas 1 Select a clip or clips in the Timeline or deselect all clips to perform a range check on the entire sequence 2 Choose View gt Range Check and do one of the following Text Size Range Check gt v Off Channels gt Background gt Excess Chroma _ Both v Show Overlays AXW Timecode Overlays gt Show Title Safe gt Choose Excess Luma Control Z to check just the luma or white levels gt Choose Excess Chroma to check just the chroma levels gt Choose Both to check both luma and chroma levels 3 Move t
338. mmands The Final Cut Pro render commands appear on the Sequence menu but like Avid there are keyboard shortcuts for rendering as well Before rendering you choose what level of rendering you want from the Render submenu and then you invoke the render command In the Sequence menu there are two primary render commands The first renders a selected clip clips or segment of your sequence identified by In and Out points The sec ond command in the Sequence menu enables you to render everything in the Timeline regardless of In and Out points You can also choose to render just the video or audio Sequence Render Selection Render All Render Only attin Render options in Sequence menu when a clip is selected in the Timeline To render a clip or selection With rendering the general rule of thumb is that you press Command R to render selected items and Option R to render everything in the Timeline 1 To select the render target do one of the following gt Select the clip or clips in the Timeline to render those clips gt Set In and Out points in the Timeline to render a segment 2 From the Sequence gt Render Selection submenu choose the levels of rendering you want to include in the rendering process For example if there is an orange render level bar above an effect that color render bar must be checked otherwise the effect will not be included in the render operation From the Library of michiel pilgram 262
339. monitor tracks scrub through them and isolate or solo single tracks Both Avid and FCP can turn off sound for a track but in FCP as well as in Avid 5 its important to distinguish between muting a track and disabling it Avid Track Monitor control In FCP there is a green Audible control at the far left of each Timeline track If the Audible control is toggled on you will hear the audio from that track If it is toggled off the track will go dark and you won t hear any audio from that entire track You can also disable sound for a selected clip or clips in the Timeline Disabling audio in this way doesn t only mute the track or clip it literally removes it from the processing equation similar to click ing off the Audio Track Monitor button in the Avid 5 track control panel NOTE P Disabled tracks or clips will not be part of an export or Edit to Tape opera tion whereas track mute or solo controls are ignored when exporting oo jap p al aj ot peal La FCP Audible control From the Library of michiel pilgram 196 Editing Sound To enable or disable sound Do one of the following gt Toggle off the Audible control on the far left of the Timeline track that you don t want to hear gt To disable all but one track Option click that track s Audible control gt To disable sound for a single clip Control click the clip and choose Clip Enable from the shortcut menu or press Control B You ca
340. move Attributes dialog 258 Render Control tab 57 60 441 442 render files default location 407 deleting 408 409 disable playing of 405 406 managing 406 407 preserving 404 405 viewing 407 408 render management deleting render files 408 409 disable playing of rendered files 405 406 From the Library of michiel pilgram managing render files 406 407 performing partial render 404 preserving render files 404 405 previewing render effects 403 viewing render files 407 408 Render Manager tool 406 409 render options Video Generator creating custom gradients 335 336 overview of 319 335 render status area on Timeline 259 rendering effects overview of 258 259 previewing 263 real time effects and 231 232 render commands 261 render levels 260 261 render status areas on Timeline 259 260 rendering clips or selections 261 263 replace edits F11 overview of 149 151 replacing existing audio 198 repositioning images 299 300 Res pop up menu Avid 105 Resize Avid 302 Resize effect Avid 298 302 resizing images 298 299 resolution capture settings 105 resources for material in this book xvi restoring saved projects from Autosave Vault 450 451 Results pop up menu 392 Reverse Match Frame Avid 145 146 reverse motion types of motion effects 279 RGB channels viewing 430 RGB Parade 429 Ripple Delete extraction 41 43 Ripple tool RR dragging edit poi
341. moves the extra frames added during the 3 2 pull down process that is used when transferring film to standard NTSC video or when down converting high definition video shot on a 24 fps camera to standard NTSC This function also allows you to convert PAL video at 25 fps to 24 fps The conversion process allows you to edit in FCP at true 24 fps just like Avid s Film Composer providing a one to one reference one digital video frame for each original film or HD frame Cinema Tools database tracks information on the relationships among your original film negative the transferred videotapes the captured video clips in FCP and your audio and original production sound It also tracks film key numbers video and audio timecode and the opticals created when editing Like the discontinued Avid Film Composer Cinema Tools can print lists from the data base of the information that negative cutters sound editors and other members of the finishing process require to put all the film elements together to create a 35 mm release print Additional features allow you to create dupe lists pull lists change lists and missing elements lists for better list and project management From the Library of michiel pilgram What Youve Learned 383 What You ve Learned gt The Final Cut Pro QuickTime format offers a large variety of codec compression decompression formats for exporting to a variety of destinations FCP will import any audio video
342. mposing Clips In Final Cut Pro as in Avid you superimpose a clip by placing one clip on top of another in the Timeline In Avid the Superimpose effect is added to the top clip for the purpose of altering opacity You then step into the Effect Editor to tweak its opacity setting In FCP you can alter opacity simply and directly on the clip in the Timeline Alternately the FCP Superimpose is not an effect as it is in Avid it is an edit type that appears in the Canvas Edit Overlay and edit buttons Superimpose will edit a clip on top of an existing clip and conform the new clip to match the underlying clip s length and position but it will not affect opacity on the top clip You must change opacity in a separate operation cu women Ue wade 2 dolphins swim Ei 1 ca2 Avid Superimpose FCP opacity line effect applied to being adjusted a clip To make a superimpose edit Superimpose looks to the playhead in the Timeline to identify the location of the base clip and refers to the source patching to identify the specific track FCP will then superimpose a new clip on the track above the base clip matching the base clip s duration This type of edit is very effective for editing titles or lower thirds above another clip It can also be used to build a composite image in which all clips need to be the same length and appear at the same location in the Timeline 1 Inthe Timeline park the playhead anywhere on the clip you want to use as the b
343. music 2 c narration c sound efx Y Video Clips MCU TS 3 dolphins swim l r WS TS dolphin swims l r Aerial of Westem Austrailia r Aerial of Westem Austrailia circle MAS tourist wade in water 1 dolphin MS back of people wade in water MS TS dolphin swims l r 08 00 44 01 00 00 00 00 O0 00 21 18 00 00 11 16 00 00 3 1 20 OO 0044502 00 00 04 14 0 00 04 15 O0 00 07 03 0000 03 21 i DiE 0000 03 11 0000 02 17 Not Set Not Set O0 00 00 20 Not Set 14 27 10 1959 14 25 40 27 13 32 56 2421 13 32 07 12 13 20 54 03 11 19 05 19 14 25 53 14 Not Set Not Set 00 00 32 09 Not Set 14 27 14 02 1425 45 11 13 33 03 23 13 32 11 02 13 20 58 27 11 19 08 29 14 25 56 00 Alo oo0 0 ao ood 00 ATA ear ay A boomed boo osoe Ado o00 Ah ba 061d 14 25 36 10 13 32 53 18 E3209 223 13 20 50 05 ifiseoa ls dese Po Alona bases 029 Gosooee 11 Oooo Ls 1s 00 0 3322 AT ae E S bp Paes M2 S480 13 3320805 13 3214 29 B32 10126 1119 1226 14 25 5805 new Music original music From the Library of michiel pilgram Utilizing the Bin Text View 71 To customize a bin in text view 1 Make sure you are viewing the contents of the bin as a list not by icons To do this Control click the Browser s empty gray area under the Name column and choose View as List from the shortcut menu Sequences r p 2vunu Australian Dolphins_v1 import Australian Dolphins_v2 Reveal Project in Finder New B
344. n Control click in the Label column field for that item and choose the desired color reference from the shortcut menu Best Take FRE Alternate Shots Interviews Roll In the Timeline Control click a clip in a sequence and choose Item Properties gt Logging Info Control click in the Label field for the desired track and choose a color from the shortcut menu With this approach you can colorize individual clip tracks From the Library of michiel pilgram Working with Tools and Audio Meters 17 After a color label is applied to a clip or sequence that color is displayed in the Viewer or Canvas and Timeline windows respectively 00O rin A Rea eee eee Pe Fee eee ee eee Gers 91 00 10 13 gogo 01 00 04 00 EPa 00 00 06 13 ERK OF HEY ETJ 00 00 16 24 Clip with color label appears with colored video and Sequence with color label appears with audio tabs colored tab in the Timeline and Canvas Working with Tools and Audio Meters You select Avid tools by using the keyboard pressing command buttons or selecting an option from the Fast menu Final Cut Pro follows the design of certain desktop graphics programs such as Adobe Photoshop by placing editing tools in a Tool palette This is like tearing off the Fast menu of functions in Avid The FCP Tool palette provides a con venient way to select many editing operations In addition each of the four primary FCP interface windows has its own button bar that you can cus
345. n also create view or edit Timeline transitions effects mattes and so on activities that Avid associates with the Effects Editor The Viewer has tabs that allow you to access not only the video portion of your clip or material but also the audio filters and motion effects These tabs and functions will be covered in later lessons as will playing clips and sequences Clip name and project Current Clip length or Timecode field marked duration Source scrubber bar Avid s position bar Playhead Avid s position indicator Shuttle control Jog wheel Text and other Editing and Transport Recent internally generated items marking controls buttons clips To open a clip in the Viewer Do one of the following gt Double click the clip in the Browser gt Drag a clip from a project or bin window and drop it into the Viewer gt Select the clip you want to open via the mouse or an arrow key and press Return NOTE gt When a clip bin or sequence is selected and you press Enter the name will become highlighted and you can rename it From the Library of michiel pilgram Viewing Sequences Viewing Sequences 13 What Avid calls the Record monitor Final Cut Pro calls the Canvas The Canvas serves the same purpose as Avid s Record monitor letting you view your sequence and make or modify edits The FCP edit buttons which in Avid appear between the Source and Record monitors appear on the bottom left c
346. n accurate look at the peaks gt Lower the audio levels of the appropriate clips in the marked areas with audio rubberbanding Sometimes this can take care of the problem From the Library of michiel pilgram 426 Finishing and Outputting gt Edit around the audio peaks in the clip gt Recapture those sections of audio 4 Test again for audio peaks If the corrections were successful FCP removes the peak markers and the following note appears No audio peaks were detected 5 To clear any remaining audio peak marks choose Mark gt Audio Peaks gt Clear Modifying Audio Output Levels When you want to raise or lower the overall output level of the sequence you have a few options While Avid s Audio tool is used to monitor audio input and output levels the FCP Audio Mixer is used for both mixing and outputting audio In Avid you can output up to 16 channels of audio FCP supports up to 24 output channels You can also use the FCP Gain Adjust function which modifies overall levels by specific dB increments or the Apply Normalization Gain option which applies a Gain filter to a clip to reset its peak level Avid Audio tool FCP Audio Mixer with 24 track output From the Library of michiel pilgram Modifying Audio Output Levels 427 To modify levels using the Audio Mixer Controlling the audio output using the Audio Mixer Master fader does not affect the vol ume level overlays of the individual clips
347. n also apply this method to a group of selected clips ae Open whale cu ea whale cu Open in Editor Open Copy in Editar Reveal Affiliated Clips in Frost Sequence Reveal in Hiner Duration 0000 10 25 Make Independent Clip item Properties fend To whale cu whale cu Cut Copy Paste Paste Attributes Remove Attributes Ripple Delete Clip Enable p Change Speco Composite Mode Dupa Frames Uncollapse Mhu Reconnect Media Media Manager Capture NOTE P Clip Enable works for both video and audio to toggle a clip s visibility temporarily Monitoring Single Clips or Tracks To isolate just one audio track out of many you don t have to toggle off each track s Audible control Instead do what you do in Avid and isolate or solo that track When you solo one track you automatically mute the others You can solo an entire track by using the audio controls in the Timeline or you can solo clips by selecting a clip or clips and choosing that option from a menu or shortcut You can also control the Solo and Mute functions in the Audio Mixer which is covered later in this lesson Avid 5 Mute and Solo controls From the Library of michiel pilgram Monitoring Audio Tracks 197 To solo a clip or track Do one of the following gt In the far left corner of the Timeline track area click the Timeline Audio Controls button to reveal two additional track controls You will see speaker icons to mut
348. n image are found else where and are covered in Lesson 10 Transitions are applied to edit points between clips As with Avid segment effects you apply FCP filters such as keys flops or mattes to the body of the clip And like Avid 5 where you find the RTAS Audio filter tools in the Effects pal ette FCP includes audio transitions and filters alongside video transi tions and filters Final Cut Pro provides some interesting filter and transition effects In addition to the basic transitions wipes and keys it shares with Avid FCP offers effects such as travel mattes to create iPod commercial like comps loads of 3D effects two different garbage mattes and a package of image controls and composite modes that follow the approach of Adobe s Photoshop and After Effects New to FCP 7 you can also create dramatic effects by applying alpha transitions 229 From the Library of michiel pilgram 230 Transitions and Effects In addition to the filters just mentioned FCP has several color corrector filters which give you real time color correction for finishing and completing your project right in FCP These filters along with other finishing options are covered in Lesson 14 Exploring Effects In Avid all of the system s transition and effect options appear in the Effect palette In Final Cut Pro you can choose effects from category folders in the Effects tab in the Browser and also from the Effects menu There are six cate
349. n most of the editing examples that follow Avid and FCP functions are very similar so what you ll be learning is what the FCP tools and shortcuts do not new concepts of editing There are a few differences to note however What Avid calls locators FCP calls markers and nei ther the Avid clipboard icon nor the Clipboard window appears in FCP although all of the Mac copy and paste shortcuts apply Also the use of filler or gaps between clips in the Timeline is handled a little differently In this lesson you will use three FCP editing tools from the Tool pal ette the Slip and Slide tools plus the Razor Blade tool which you can use to add edits This lesson also covers Timeline editing In FCP there are so Many ways you can work in the Timeline that some editors cut their entire sequence by using Tool palette tools and accessing Timeline clips directly This method can really speed up the editing process If it s not familiar to you yet from your Avid 5 experience it s certainly worth a try in FCP 127 From the Library of michiel pilgram 128 Advanced Editing Selecting Clips in the Timeline Before jumping into drag and drop editing in Final Cut Pro it s helpful to explore the concept of selecting and moving clips directly in the Timeline Working with clips in the FCP Timeline feels similar to working with Avid s Segment mode options In previ ous versions of Avid in order to select and move clip segments you change
350. n next to the project folder name The amount of hard drive space that will be freed after the selected render files are deleted is listed below the project information area Render Files Selected 356 7 MB Check in the Remove column to delete unwanted render files or free up disk space NOTE gt If you delete a render file it cannot be restored using the Undo command You must re render the affected clip 2 To complete the deletion click OK EXE If you want to delete a single render file you can do so at the desktop level in the Finder FCP will not be able to track it as it can in the Render Manager but you will certainly encounter a reconnect dialog as a result of the deletion Working with the Media Manager Like managing your render files managing media files is an important part of the editing process You will often begin this process after you have completed your project to free up space on your hard drive or to recapture your media at a higher resolution From the Library of michiel pilgram 410 Project Management CU TS 2 dolphins swim by 1CA2 15 00 FPS Motion Effect 1 CU TS 2 dolphins s4033FC12 omft Aerial of Western AFOSSEO09F om Aerial of Western AFOSSEO9F aif Aerial of Western4033E09F O aif Aerial of Western Austrail Aerial of Western AFOSSE094 om Aerial of Western AFOSSE094 aif Aerial of Western4033E094 0 aif Aerial of Western Austrail CU dolphin beneath 4033E096 0mf CU dolphin beneath 4033E096
351. n to which you are moving To perform the equivalent of an Avid Extract Splice edit drag a selected Timeline clip hold down the Option key just after starting to drag and release the clip at the desired location before releasing the Option key To perform the equivalent of an Avid lift overwrite edit drag a sequence clip s to a new location and release it You can use menu options or shortcuts to move forward and backward to gaps which FCP plays through as black video and no audio You can close a gap by selecting it and pressing the Delete key following a menu path choosing from a shortcut menu or pressing Control G In FCP a clip is considered a master clip if it was the first use of that clip in the project In a given project any copy of a master clip is dubbed an affiliate and any changes to the logging information of the master will apply to the affiliate Likewise changes to an affiliate will apply to the master Clips edited to the Timeline are known as sequence clips and are also affiliates You can turn an affiliate clip into a master by selecting it and choosing Modify gt Make Master Clip or by choosing Modify gt Duplicate as New Master Clip To make a sequence clip independent of its master clip select it in the Timeline and choose Modify gt Make Independent Clip To reveal a master clip in the Browser position the playhead over the affiliate in the sequence and choose View gt Reveal Master Clip F
352. n6 Advanced Editing cece ee eees 126 Selecting Clips in the Timeline 404 128 Performing Segment Mode Editing 129 Moving Clips in the Timeline 02008 130 Performing Drag and Drop Editing 131 Copying and Pasting s 0cassc enbaetendesecesttas cea x 133 Working with Gapss0 lt lt dosessacose2dceues2 deed ecetaast 138 Working with Master Clips 0 cee cece eee eee 139 Finding Match Frames 02 c lt 2 esepcan nee xmew eaten cee wees 143 Slipping and Sliding Clips srs0 lt 0 c0nceaeeaecind od ceed ec 146 Replacing NGS accccuuataeesenaoees secures Sune ees es 149 Adding EUS s 200vececwnverectavewrerereeeereoemeeas 151 PX CHGING HS 5204006050 seue bese vaeeeseoe ne A E 153 Placing Markel Ses occ ccne ees etree erria ee ce be ee acd t 154 Editing Markers errorerik rens dei eR Seeeeseeeeness 159 Ganen COS cirerers rnern Enr ENEI coennesesenvecs 162 What Youve Learned oscrsesacriarscitessaiitininiites 164 Lesson7 Multicam Editing 0 000 170 Organizing a Multiclip Editing Workflow 172 Creating MUIUICHDS 240605400 ce8see0 enaeeamedenaaeards 174 Viewing and Modifying Multiclips 005 176 Editing with MUNICIDS lt 34e a0 eretereaee naka nennen 182 Switching and Cutting Video and Audio Independently 185 Collapsing Malichips s lt 2cs4 4seeuewdeusheedetauced es 187 What You ve Learned c
353. nal Cut Studio s bundled applications Soundtrack Pro or LiveType You can batch export stills clips or sequences even if each uses a different codec and quality settings and you can mark clips for multiple stills batch export FCP allows you to export self contained OMF files which retain cross fades key frames and edit points when imported into ProTools A third party plug in by Automatic Duck allows you to export an FCP sequence and import it into Avid without an EDL and vice versa You can export FCP batch lists by selecting a project or bin window in the Browser It will include all currently active Browser columns Compressor allows you to export clips and sequences using numerous encoding presets for specific purposes and speeds Cinema Tools allows you to originate in film or 24p HD work in FCP in a 24 fps editing environment and return to film to cut negative or to HD to assemble the master video You can send a file from a sequence to Motion or Soundtrack Pro work on the file in that application save it and then see the changed clip in FCP From the Library of michiel pilgram What Youve Learned 385 Keyboard Shortcuts Commancd Open the Choose a File window for importing files Command 9 Open the Item Properties window Command Shift E Open the Share dialog Shift W Toggle between Alpha RGB or Aloha RGB displays in the Viewer or Canvas window From the Library of michiel pilgram then ean f 7
354. nal Render Files folder at the top of the list and a Lesson 12 Project folder at the bottom of the list The top folder includes all render files from unopened projects that were saved to this location 3 To sort the items in the Render Manager window click one of the column heads To delete render files using the Render Manager All render files from one sequence are grouped together and appear as a separate clip icon in the Render Manager window Deleting the render file group will delete all render files associated with that sequence You can delete a single render file group several render file groups all render files of one or more sequences or all render files of an entire project or several projects From the Library of michiel pilgram Working with the Media Manager 409 1 Inthe Render Manager window do one of the following gt To delete a render file group click in the Remove column on the same line as the specific file gt To delete all render files associated with a specific sequence click in the Remove column next to the sequence name The individual render file groups associated with that sequence are selected Additional Render Files E Lesson 3 Project C Timeline Edit EJ Audio Items b Lesson 10 Project Training Dolphins Y 7 Program Cut Bin 349 9 MB Video Render Files Mas MB gt To delete all of the render file groups associated with a project click in the Remove colum
355. nd Positioning the Timeline Except for minor differences in terminology youll find many similarities in how Avid and Final Cut Pro let you size and position the Timeline Both use a combination of sliders and keyboard shortcuts Although FCP does not have a specific focus button or zoom sec tion function there are several ways to zoom and position a sequence in the Timeline The FCP zoom slider which looks a lot like Avid s position slider can both zoom and position Zooming in or out of the FCP Timeline always occurs around the playhead position indicator position Zoom control Playhead location Zoom slider Zoom slider end tab NOTE gt Some zoom options can also be selected from the View menu From the Library of michiel pilgram Zooming and Positioning the Timeline 21 To zoom and position the Timeline Do any of the following gt Move the zoom control to the left to zoom in More Detail or to the right to zoom out Less Detail Move the zoom slider left or right to move the sequence left or right respectively Drag either end tab of the zoom slider to expand or contract the sequence To zoom in where the playhead is parked press Option plus sign To zoom out from where the playhead is parked press Option minus sign If a clip is selected you will zoom into the selected clip or clips because FCP prioritizes selection over playhead position If the playhead has moved out of view click the th
356. nd on the Effects tab in the Browser gt If you have installed Motion more than 50 Motion FxPlug filters will appear in your Effects tab You can filter by Recommended or Preferred effects gt In FCP superimpose is an edit type that places one clip above another in the Timeline gt You can set opacity levels after toggling on the opacity overlay line in the Timeline You can set keyframes directly on the overlay line with the Pen tool or by using Option with the default Selection tool gt You can keyframe filter parameters in the Filters tab time graph area of the Viewer or by toggling on Clip Keyframes to add or modify keyframes directly in the Timeline gt FCP offers several composite modes that determine how two clips will interact From the Library of michiel pilgram Keyboard Shortcuts Command 5 Command T Command Option T Shift F9 Shift F10 Option 7 Option F Shift Control 1 Q A or V Shift Control 2 W S or X Option V Command Option V Command R Option R Option P Option 8 F12 Option W Shift K Option K Option T Option 1 2 3 Shift Z What You ve Learned 277 Open the Effects tab in the Browser if it is closed Apply the default video transition Apply the default audio transition Add an insert with transition Add an overwrite with transition Open the Frame Viewer in the Tool Bench Make a favorite of the filter at the playhead position Apply one of four favorite trans
357. ndow resized to display the Text control options To edit the basic Text clip 1 From the Video Generators pop up menu choose Text gt Text You can also press Control X to open the basic Text generator in the Viewer In the Viewer you see the words SAMPLE TEXT appear against the background on the Viewer s Video tab The default text color is white and the default marked dura tion is 10 seconds 2 Drag the Text clip to the appropriate track in the Timeline and park the playhead over the clip From the Library of michiel pilgram Creating Titles 323 To make changes to the text double click the clip to open it back into the Viewer and then click the Controls tab This enables you to make changes in the Controls tab while viewing these changes in the Canvas Follow this procedure for all text clips NOTE P All FCP text clips have alpha channels attached and will be keyed over an underlying background clip automatically To change the Text parameters 1 Type some text in the Text field and press Return to create a new line or press Tab to enter the changes Select a font size and style Choose an Alignment option NOTE gt Left aligns the left side of the text with the center of the screen Right aligns the right side of the text with the center of the screen To change the font color click the color box to work with one of five color pickers or use the Select Color eyedropper to pick a color from a cli
358. ndows in an area called a button bar Command Palette fi ee Avid Command palette Each FCP window has a button bar in the upper right corner of the window With no buttons in this area you see two bookends that contain the buttons The default FCP interface comes with three buttons already placed in the Timeline button bar Ripple Sequence Markers Linked Selection and Snapping You can color code and arrange command buttons Button bars like layouts can also be saved Customized Timeline button bar From the Library of michiel pilgram Changing Command Buttons 69 To add a command button to the button bar 1 Choose Tools gt Button List or press Option J This is the stand alone version of the same button list that appeared when you customized the keyboard in the previous exercise You can use either list to add command buttons to a button bar Locate the command you want to use from the list or enter it in the search field at the top of the list If after entering a function you want to return to the default menu list click the X to the right of the entry area Drag the command into any one of the FCP window button bars and drop it between the two button bookends or between any existing buttons NOTE gt Mapping commands is highly flexible in FCP You can drag a key command from the keyboard layout directly to a button bar You can move a button by dragging it from one button bar to another To copy a
359. ng gt Click an angle in the Viewer Click a Switch Video or Switch Audio button in the Timeline button bar gt Press Command plus the number of the desired multiclip angle When you cut to a different active angle three things happen The Canvas and exter nal monitor displays the new active angle the blue green box indicating the active angle frames the new angle and a blue marker appears in the Timeline ruler area indicating the angle switch point oF ED D En Gh ELL S T EE ore 2413 Active angle box es Cut point markers When you stop playback edits are added at every blue marker position and the angle at each marker position switches to the angle you chose Switching and Cutting Video and Audio Independently At times you will want to cut or switch video and audio separately For example in music performance or music video projects you might want a particular audio track say the board mix or studio recording to remain the active audio while you switch video angles only Final Cut Pro does not have a Group menu but you can choose the appropriate options in the Playhead Sync menu in the Viewer From the Library of michiel pilgram 186 Multicam Editing To cut or switch video or audio only 1 In the Viewer click the Playhead Sync pop up menu and choose Video to switch or cut just video or choose Audio to switch or cut just audio E i Sync Off Op
360. ng in Viewer 155 creating sequence markers 156 157 creating subclips from 161 162 deleting 159 editing 159 161 extending 157 moving 158 searching for 391 to use during logging 113 marking controls in Canvas 13 in FCP interface 4 in Viewer 12 Marquee Avid 331 master clips applying filters to 247 changing clip properties and 394 creating 141 142 identifying 139 140 making sequence clips independent 142 143 opening unmarked 146 overview of 139 140 revealing 143 speed changes and 282 viewing and modifying filter parameters 251 master templates adding to Timeline 340 as effect category 230 opening in Viewer 339 340 Video Generator options 319 mastering options 445 446 From the Library of michiel pilgram 470 Index match frames F finding for sequence clips 143 144 finding multiple occurrences of frames 145 finding to source clip 145 opening unmarked master clip 146 mattes changing color of 334 335 creating travel mattes 337 overview of 334 using shapes to build 336 Video Generator options 319 media batch exports 376 377 consolidating in sequences 414 417 managing 410 412 mastering options 445 446 recompressing media files 417 418 reconnecting see reconnecting media searching for in Browser 392 settings 51 media cards adding 121 capturing footage from 345 Media Creation Avid 172 Media Manager consolidating media in sequences 415 417 copying
361. ng off sync lock in Avid What You ve Learned gt As in Avid you can trim clips in Final Cut Pro by dragging an edit point in the Timeline gt Opening the FCP Trim Edit window is equivalent to entering Avid s Trim mode From the Library of michiel pilgram 96 Trimming Clips Yy vyv y 7y You can open the Trim Edit window by double clicking an edit point by lassoing an edit point using the Edit Selection tool G or by pressing Command 7 In the Trim Edit window a green bar above either side of the window signifies a single roller trim two green bars indicate a dual roller trim Clicking either side in the Trim Edit window dictates a single roller trim clicking in the middle dictates a dual roller trim The FCP Roll tool R is equivalent to Avid s dual roller Trim mode The FCP Ripple tool RR is equivalent to Avid s single roller Trim mode You can make a trim by entering a numerical trim amount in the Trim Edit window You can perform J K L trimming or dynamic trimming in FCP You can toggle it on or off via a checkbox in the Trim Edit window or in the Editing tab of the User Preferences window When dynamic trimming is active press K to execute a trim You can trim an edit point in the scrubber bar of the Trim Edit window by dragging one of the blue edit point triangles You can trim directly in the Timeline using the Ripple and Roll tools or by selecting an edit point with a trim tool and entering
362. nge to a clip in the Viewer or to a selected clip in the Timeline where you have the choice to ripple edits and change the length of your sequence or not Unlike Avid s speed function the FCP speed function also affects the audio portion of a clip if video and audio are linked together You can set the speed in different ways and From the Library of michiel pilgram Applying a Speed Change 281 even apply speed settings in a reverse direction As in Avid setting a percentage sets a new clip duration and setting a duration sets a new speed percentage To create a speed change 1 2 Open a clip in the Viewer or select a clip in the Timeline Choose Modify gt Change Speed or press Command J to open the Change Speed window NOTE P You can also Control click or right click a clip in the Timeline and from the shortcut menu choose Change Speed Change Speed Duration O0200 16 08 Rate 100 00 Reverse Original 00 00 16 08 Smoothing End ral al a A Smoothing mi Ripple Sequence mi Frame Blending Ei Scale Attributes Remove Speed In the Change Speed dialog enter either a specific duration for the clip or a speed rate percentage To change the direction the clip is playing click the Reverse checkbox You can also add a minus sign before the percentage number as you would in Avid To smooth the speed change by ramping up to it and or down from it click the Curve From Start or Curve to
363. ns When you open FCP for the first time an Easy Setup dialog appears in which you set two options to prepare for editing and capturing gt Easy Setup Choose a setting that represents your hardware and capture setup gt Primary Scratch Disk Choose where you want the media and render files to be saved NOTE P These settings can be changed at a later time and are covered in more depth in Lesson 3 Exploring the FCP Interface Opening Avid Media Composer takes you to the Select User and Project dialog by default Opening FCP takes you directly into the FCP interface Whatever project settings you chose at startup will be applied to this project although the settings can be easily changed Select Project You won t encounter this dialog when you open Final Cut Pro From the Library of michiel pilgram 4 Projects and Interface Project tab Browser Browser button bar Viewer Shuttle control Editing and marking controls Sequence tabs Timeline ruler area A oot Lael Ta Track controls area Timeline From the Library of michiel pilgram Exploring the FCP Interface 5 Scrubber bar Jog control Timecode duration field Current timecode field Canvas pom me el S a ANRT IRALA I an Transport controls a j CC Ea ee SS IWQOY am aS OQUV ooo Editing controls Ti t Playhead L Audio meters Tool palette Recent clips Video Generators pop up menu pop up menu
364. ns in the Viewer or Canvas Patching Tracks in the Timeline Before making an edit you want to make sure the source track is targeted to the correct audio or video track in the Timeline The process in Final Cut Pro is very similar to Avid However what Avid calls record tracks Final Cut Pro calls destination tracks Also both applications use menu options or shortcuts to create or add new tracks Avid Timeline tracks When you open a clip into the Viewer in FCP the clip s audio and video source tracks are represented in the Timeline track area by an individual source control for each track For example if a clip contains only one track of video and one of audio just a v1 and an al source control appear If you hold your mouse over one of the source controls the word Source appears Source controls use a lowercase v for video and a lowercase a for audio To the right of the source controls are destination controls which use an uppercase V for video and A for audio m pa k T n TE L E 1 a B _ E sE Sy Destination ees Source control tooltip Destination track tooltip From the Library of michiel pilgram 32 Translating Basic Editing Skills To patch a source track to its destination Do one of the following gt gt Drag a track source control to the desired destination track Control click a source control and choose the desired destination track from the shortcut menu Control click the desired destina
365. nsitions Avid makes it easy to apply transitions to a group of selected clips in the Timeline at one time Final Cut Pro 7 handles multiple transitions identically Also once a transition has been placed in an FCP sequence there are several ways to swap that transition for a differ ent one align it copy it or move it to another edit point Avid multiple dissolves From the Library of michiel pilgram Changing and Copying Transitions 243 FCP multiple dissolves To swap transitions Swapping the selected transition for a different one will replace the previous transition type but maintain the duration and alignment properties 1 Park the playhead over the transition 2 Doone of the following gt gt Select the transition and choose Effects gt Video Transitions and the transition you want Select the Effects tab in the Browser and choose a different transition from the Video Transitions bin Drag and drop the new transition on top of the current one gt Use the following keyboard shortcuts to navigate through the Effects tab folders select the desired effect assign it as the Default Transition and apply it to a selected edit point Up Arrow Select the previous bin or item at the same level Down Arrow Select the following bin or item at the same level Right Arrow Open the selected bin or step into the next level Left Arrow Step out to the higher level or close a selected open bin C
366. nsitions and Effects In the Canvas with the playhead placed halfway through the transition effect you see the clip image leaves wiping through two sources hiding the outgoing source on the bottom of the image area as the leaves move through the screen revealing the incom ing source on the top Sequence 1 Outgoing source D Gy Incoming source Applying Segment Effects Filters What Avid calls segment effects Final Cut Pro calls video filters Both are the type of effect applied to the entire clip as opposed to just the transition point You ll find FCP video and audio filters in the Effects menu or on the Browser s Effects tab FCP has a wide variety of video and audio filters but only one icon that represents them all In FCP you can apply a filter to a single clip a group of clips or a range of clips or material in the sequence And just as Avid 5 has RTAS plug in effects for audio tracks FCP has many filters that can be applied to audio clips for various effects Avid effect FCP generic effects icon applied to a clip From the Library of michiel pilgram Applying Segment Effects Filters 247 NOTE gt If Final Cut Studio 2 or later is installed Motion filters are available to apply in addition to Final Cut Pro filters Motion effects can be identified by the FxPlug reference under the Effects Class column in the Effects tab of the Browser To see all the Motion effects in FCP Control click in an empty area
367. nstead the playhead is moved to the first marker that contains the search criteria You can choose Edit gt Find Next or press F3 to jump to the next marker You can also jump to a previous marker that contains the search criteria by pressing Shift F3 To search within the Browser Similar to Avid s Bin Sort and Sift capabilities the FCP Find dialog when applied to the Browser opens a different dialog and enables additional search criteria In fact all of the Browser column heads can be included in the criteria list You can search within a project or all open projects and you can make a bin into a tab in the Browser window and search that bin The Effects tab can also be targeted for a search 1 Open any projects you want to include in the search If you want to search only one specific project select that project s tab in the Browser 2 Ifyou want to search within a specific bin Option double click the bin icon and it will open as a tab in the Browser window NOTE gt If youre searching a specific bin or project it must be selected in the Browser before opening the Find dialog 3 If you want to search through a specific sequence in a project for example to locate any media that was not used in the sequence so you can delete it or to find all the media clips that were used select the sequence icon in the Browser From the Library of michiel pilgram 392 Project Management 4 Choose Edit gt Find or press Command F
368. nts in Trim Edit window 88 rippling single edit points in Timeline 90 91 Select Ripple tool 97 Index 475 single sided editing 85 86 trimming clips in Viewer 95 trimming edit points beneath a transition 238 trimming edit points without clip collision 208 trimming multiple edit points 93 94 trimming numerically 86 trimming using shortcuts 86 Roll tool R changing clip duration while retaining clip speed 291 dragging edit points in Trim Edit window 88 dual sided editing 84 85 extend edits and 154 rolling two edit points in Timeline 89 90 Select Roll tool 97 trimming edit points beneath a transition 238 trimming numerically 86 trimming using shortcuts 86 rotating images 300 301 roundtripping with Motion or Soundtrack Po 343 RS 422 104 RT pop up menu 233 rubberbanding for correcting audio peaks 425 editing sound and 191 ruler area Timeline 4 S saturation adjusting 439 Vectorscope for viewing 430 scalability of FCP and Avid architectures 3 scratch disks capture settings 107 108 scrolling text creating 326 327 Scrub tool HH 73 79 scrubber bar Audio tab 193 in Canvas 13 From the Library of michiel pilgram 476 Index dots or sprocket holes in the Viewer 94 in FCP interface 5 mark buttons 29 position in Viewer 12 scrubbing audio modes for 197 198 SD capture settings 105 Search pop up menu 392 searches see Find command segment effects Avid 246
369. nvas You can turn the snapping function off or on by pressing N clicking the Snapping button in the Timeline button bar or choosing View gt Snapping By choosing Show Overlays in the Viewer or Canvas View pop up menu you can see a variety of overlays in the image area including the head and tail of clip In and Out points and end of sequence blue bar From the Library of michiel pilgram What You ve Learned 47 gt You can make a subclip of a marked clip by choosing Modify gt Make Subclip or by pressing Command vU gt You can remove the limits of a subclip to access the original material by selecting the subclip in the Timeline or opening it in the Viewer and choosing Modify gt Remove Subclip Limits gt You can lift or delete one or more selected clips by choosing Sequence gt Lift or by pressing Delete gt To extract one or more clips choose Sequence gt Ripple Delete or press Shift Delete gt To add the lifted material to the clipboard memory you can use the Cut and Ripple Cut commands Command X and Shift X respectively gt Choose Sequence gt Insert Tracks or Delete Tracks to add or delete multiple tracks and Control click in the Timeline track area to add or delete one at a time gt You can create split edits by Option dragging existing In or Out mark points or by selecting the appropriate option from the Mark menu or the scrubber bar short cut menu gt You can clear a split
370. nversion 370 4 up real time view options 177 5 1 Monitoring in surround sound 216 9 up real time view options 177 A Abort Capture 109 AC 3 381 Active angle box in Canvas and external monitor 185 Add Audio Keyframe button in Viewer window 213 Add Audio Transition button in Viewer window 233 234 Add Edit adding edits 151 dividing clips with 82 Add Video Transition button 233 234 advanced editing adding edits 151 adding or dividing clips with 152 153 Auto Select controls 135 copy and paste edits 133 134 copying clips 133 134 creating markers in Timeline 156 creating markers in Viewer 155 creating master clips 141 143 creating sequence markers 156 157 creating subclips from markers 161 162 deleting markers 159 drag and drop edits 131 133 editing markers 159 161 extend edits 153 154 extending clips or sequence markers 157 finding and closing gaps in sequences 138 139 finding match frames for sequence clips 144 finding match frames to source clip 145 finding multiple occurrences of frames 145 ganging Viewer and Canvas material 163 identifying master clips 139 140 keyboard shortcuts 167 169 moving clips in Timeline 130 131 moving markers 158 Open playhead sync mode 163 164 opening unmarked master clip 146 Option drag in 136 overview of 127 performing extract insert edits 137 performing lift overwrite edits 138 replace edits 149 1
371. ny Avid systems the program icon is on the desktop and you double click to open it But it can also be accessed in the OS X Dock To open Final Cut Pro There are four ways to open FCP depending on how you have configured your computer Do one of the following gt Like in Avid if you have placed an alias icon of FCP on your desktop double click it gt Double click the FCP icon in the Applications folder of the Finder window gt If the FCP icon is in your Dock single click it Final Cut Pro Opening Final Cut Pro using any of these methods will open the program with a default project gt Double click a saved FCP project file from your hard disk FCP project files can be aliased to the Dock or saved to the desktop NOTE P Avid can be set up to require a user name and password for security and preferences In FCP individual user settings are saved via the Mac OS X User functions From the Library of michiel pilgram Exploring the FCP Interface 3 First Use While Avid has dedicated scalable architecture that expands the hardware and software capabilities of the system Final Cut Pro has scalable software that can be used to capture and edit DV HDV and certain HD formats via FireWire You can use third party hard ware to digitize and edit analog digital and other HD formats see Lesson 5 or edit film or 24P using Apple Cinema Tools software see Lesson 12 The same FCP software can handle all of these situatio
372. o display the edit interface Final Cut Pro adapts easily to adding a sec ond monitor where you can display your bins and interface more like you would in Avid But like Avid FCP can also be used quite effectively on a single monitor configuration or portable Mac FCP lets you choose among several preset window layouts these can help facilitate the type of editing you are doing whether it s color correction audio mixing From the Library of michiel pilgram Changing Window Layouts 63 or standard editing as well as the number of displays For even more flexibility you can arrange the FCP windows and save that arrangement as a custom layout similar to Avid s Workspaces EXE If you are using an external monitor and want to display the output of the Canvas window on that monitor choose View gt External Video and make sure All Frames is chosen Then choose View gt Video Playback and choose where you want to send the video Choose View menu once again and choose Refresh A V Devices To choose a preset window layout Do one of the following gt Press Control U to select the Standard preset layout option gt Choose Window gt Arrange and select one of the preset options from the submenu Minimize 4 M Send Behind Custom Layout 1 vu Custom Layout 2 WU Audio Mixing Color Correction Canvas H2 Dual Screen Color Correction fool Bench 4 Dual Screen Editing Timeline 3 Standard Uo ivf Audio Meters wd Two U
373. o intention of infringement of the trademark No such use or the use of any trade name is intended to convey endorsement or other affiliation with this book ISBN 13 978 0 321 74192 9 ISBN 10 0 321 74192 7 98765432 1 Printed and bound in the United States of America From the Library of michiel pilgram May this book inform and inspire you along your editorial journey just as my mother s life has informed and inspired me Mom this one s for you Acknowledgments It takes a village to produce a book or at least to support the author writing it This has always been the case for me and this book was no exception Special thanks to Shirley Craig my business partner for supporting Weynand Training s Apple Authorized Training Center and our other training projects www weynand com Steve Kanter for skillfully navigating both FCP and Avid editing streams as my technical editor Loren S Miller for providing editorial feedback and assistance when I needed a helping hand and to Michael Kammes at KeyCode Media for technical support To all the folks at Peachpit Press for their continued support and unending patience as I moved slowly through this process especially to Nancy Peterson for keeping us on track Bob Lindstrom for keeping my words and meanings intact and to the entire editorial and production team for making the book a fact At Apple I d like to thank Steve Bayes for always taking the time to provide me with a clear and
374. o level of specific area 432 video scopes 429 waveforms displaying in Timeline 192 194 195 viewing audio peaks 425 white levels adjusting 439 window burns 447 449 windows changing layouts 62 63 dynamically resizing 61 62 saving layouts 64 65 Index 483 Wipe transition options of Effects tab 244 workflow organizing for multicam editing 172 X XDCAM 344 Y YouTube exporting to 363 Z zoom controls Audio tab 193 on Timeline 20 Zoom pop up menu 296 297 Zoom tool Z changing image view in Canvas or Viewer 296 297 in Tool palette 17 21 24 zooming in on clips 21 image view 295 on Timeline 20 22 From the Library of michiel pilgram Apple q The Apple Pro Training Series The best way to learn Apple s professional digital video and audio software The Apple Pro Training Series is the official training curriculum of the Apple Pro Training and Certification program Upon completing the course material in these books you can become an Apple Certified Pro by taking the certification exam at an Apple Authorized Training Center To find an Authorized Training Center near you visit www apple com software pro training Motion 4 Denger eed deere Werte L Hmn nira Tai bisis DVO Studio Pro 4 Third I dition marar Preteen Sound Editing in Color Correction in Final Cut Pro 7 Final Cut Pro 7 eee a an Final Cut Studio Final Cut Studia Advanced Editing Fin
375. o the image When you see the Move tool appear drag the image sA B aaant oon ia a M BEN _ nose ura E E E E E 5 E E E 2 ail E E nnna DEED E nenna ee na o a a ara ma oa a a a aa a From the Library of michiel pilgram 300 Speed and Motion Effects 2 To reposition the image in the Motion tab do one of the following gt Inthe Center fields enter the number of pixels horizontally and vertically that you want to move away from center Click the Center crosshairs button and then click anywhere in the image where you want the center of the image to be NOTE P All parameter controls are connected Changing a parameter in the Canvas or Viewer will also change it in the Motion tab and vice versa Rotating an Image Avid provides a Spin option to create X Y and Z spins in 2D In FCP when you spin or rotate an image you use some of the same features used in scaling and centering the Image Wireframe mode for example to manipulate clips Here it is also helpful to use the Zoom pop up menu to change the image view area so you have space to work with your image E s Spin E Y Spin m Avid spin options To rotate an image 1 Change the Canvas zoom to 25 percent and make sure the Image Wireframe mode is active 2 If you re working with a new clip double click the clip in the Timeline and park the playhead over it to see it in the Canvas 3 Doone of the following Click any edge of
376. oard enthusiasts will find that almost every FCP function has an assigned key board shortcut These shortcuts employ the four keyboard modifier keys Shift Control Option and Command Apple 4 shift AN Control L Option 8 Command FCP organizes its keyboard shortcuts around specific functions It may give one func tion a letter and then use different modifier keys with that same letter to produce similar options For example note the different shortcuts for screen layouts Window gt Arrange that combine the U key with modifier keys Custom Layout 1 Custom Layout 2 Audio Mixing Color Correction Multiple Edits Standard Two Up Save Window Layout Load Window Layout dU Another example is the shortcuts for Undo and Redo found in the Edit menu Undo is Command Z and Redo is Command Shift Z FCP can have up to 99 undo steps or levels From the Library of michiel pilgram What You ve Learned 23 The number of undos in FCP can be changed in the User Preferences window which you can access via the Final Cut Pro menu This menu is another example of how you can access several settings using the same key in this case Q with one or more modifiers What You ve Learned gt You can open Final Cut Pro by double clicking its icon in the Finder window clicking its icon in the Dock double clicking an alias on the desktop or double clicking an FCP project file FCP interface windows can be opened
377. ocation You might want to place a black slug before the sequence and park the playhead within the slug to ensure a smooth start Similarly you can add a slug to the end of the sequence so the playhead will stop on a black frame rather than on the last frame of your sequence 3 If you want to loop the sequence and have it play again automatically until you stop it choose View gt Loop Playback or press Control L 4 Connect your deck or camcorder to your computer and make sure the camera is set to VCR and not Camera Put your deck or camera into Record mode and give it a few seconds run up time 5 Play the sequence You can also choose one of the Play options from the Mark menu Markers Play b In to Out y Go to 1 To Out lt tP Previous p Around Next gt EveryFrame Forward Reverse To output using Print to Video The Print to Video command like the manual output method does not require deck control but it does enable you to incorporate the mastering options in your output Also Print to Video will automatically render any unrendered items at the current render settings prior to output 1 Make sure the render options are at their appropriate settings 2 Choose File gt Print to Video or press Control M From the Library of michiel pilgram Outputting to Tape 443 Leader Element Sec Color Bars 60 Tone Level 4 4 12 d z Full Frame Bars Black 10 J Slate 10
378. ock Track control Then click the Lock Track control for that one track to lock it as well From the Library of michiel pilgram 226 Editing Sound gt You can toggle on and off the link between a selected video track and its audio by choosing Modify gt Link gt If red out of sync flags appear you can accept the out of sync status by choosing Modify gt Mark in Sync or you can restore the original sync status by Control clicking the red out of sync indicator and choosing an option from the shortcut menu gt You can create and delete keyframes with the Pen and Pen Delete tools or by using the default Selection tool and holding down the Option key gt You can modify a keyframe up or down to change levels or right or left to change placement gt FCP has an Audio Mixer which you can customize to display up to 99 tracks for mixing or viewing Also you can save the track layouts in one of four Audio Mixer presets gt The Audio Mixer can create keyframes automatically as faders are adjusted gt The FCP merge clip function enables you to add up to 24 tracks of audio to one video clip which can then be treated as a single clip When dragged to the Browser it appears as a new master clip gt The FCP Voice Over tool is similar to Avid s Punch In tool to record a basic scratch track narration Keyboard Shortcuts Option 4 Open or close the Audio Meters window Command Option W Display Timeline audio waveforms Contro
379. of an image in the Viewer or Canvas Reduce the image view in the Viewer or Canvas Make Image Wireframe active and rotate through the three Image Wireframe modes Change the pointer to the Crop tool Change the pointer to the Distort tool Open the Paste Attributes window Nest selected items Identify a motion effect as a favorite From the Library of michiel pilgram then ean f 7 Da l EEE yee REY ore From the Library of michiel pilgram Lesson 11 Title Tool and Generators You can create more than just text with Avid s Title and Marquee tools You can also create mattes gradients lines arrows and many other effects to use along with the text You don t need to import these items into the system you can create them within the system In Final Cut Pro the same capabilities apply just a little differently Titles are one of many items that FCP generates for you all according to your specifications FCP crawl and scroll texts are very similar to Avid s FCP also offers several specialized text generators including Lower 3rd Outline Text and Typewriter Text that are preprogrammed to get you going In addition FCP includes the more powerful Boris FX set which offers four vector based titling options Other items include color mattes color bars custom gradients noise highlights and even shapes When creating titles you may also want to consider delving into the Final Cut Studio application M
380. of outputting a sequence to tape EXT Before outputting your clip or sequence from the RT pop up menu choose Safe RT and be sure that Record To Tape is set to the default Full Quality From the Library of michiel pilgram Outputting to Tape 441 Sate RT Unlimited RT Play Base Layer Only Scrub High Quality Playback Video Quality Dynamic High Medium Low Playback Frame Rate Dynamic Full Half Quarter 5 Multiclip Playback Record To Tape Use Playback Settings To output your sequence manually Outputting to tape manually is widely used because it does not require deck control so you can record to a camera or noncontrollable deck In FCP as in Avid you must first edit into your sequence any bars and tone slate black or other desired header material prior to recording You must also render your effects and transitions 1 To render any unrendered effects deselect all clips in the Timeline and choose Sequence gt Render All or press Option R Make sure your RT settings are set to Safe RT and Full Quality before you render NOTE gt You can choose additional render options in the Render Control tab of the Sequence Settings window From the Library of michiel pilgram 442 Finishing and Outputting 2 Move your playhead to the beginning of the sequence or to the point where you want to begin recording ET Until you play the sequence FCP will output a freeze frame from the play head l
381. of the Effects tab and choose Show All Effects If you want to remove the duplicate filter options choose Only Show Recommended Effects You can customize your selection by clicking the Preferred column for those effects you use frequently and choosing Only Show Preferred Effects Working with Filters You can access video and audio filters just like transitions from the Effects tab in the Browser from the Effects menu and from up to nine saved favorites four already mapped to your default keyset Use the Effects tab when you want to drag and drop a filter onto a clip as you did with transitions Also like transitions to apply a filter from the Effects menu first you must select a clip You can apply filters to different target media gt Timeline clip Apply a filter to a sequence clip in the Timeline In this case that single use of the sequence clip is all that is affected Timeline clips Apply a filter to several selected clips in the Timeline or to a range of material selected by the Range Selection tool covered later in this lesson Master clip Just as in Avid apply filters to a source clip in the Viewer Do this only if you want future uses of this clip to have that filter or group of filters Sequence Apply a filter or group of filters to an entire sequence by creating a nest of the sequence and applying the filter to the nested sequence Nesting is discussed in Lesson 10 To apply a filter Do one of
382. oggle Auto Select V3 363 In this example the copied clip will be pasted over the V3 Text clip ExT If you want to copy one or more clips from a single track and paste them to another location on the same track you need not use Auto Select control in FCP As in Avid simply copy the clip and paste it at the playhead location From the Library of michiel pilgram 136 Advanced Editing To copy using Option drag 1 Select one or more clips release the mouse button and then hold down the Option key This adds a tiny plus sign to the move icon to indicate that you re moving a copy of the selected material 2 Move the copy of the clip to the new location but don t release the mouse button yet 3 To insert the clip or clips at this location continue to hold down the Option key and release the mouse button To overwrite the clips at this location release the Option key first which changes the pointer from the right pointer to the down pointer and then release the mouse button Overwriting with a copy of a clip with the Option key released NOTE gt As in drag and drop editing the solid clip box represents an overwrite edit and the hollow clip box represents an insert edit Notice too that the arrow changes from a forward insert arrow with Option held down to a downward overwrite arrow when released From the Library of michiel pilgram Copying and Pasting 137 To perform an extract insert edit Extract inse
383. om the Media pop up menu choose Copy to copy the new media files to a new location or choose Use Existing to trim the current media files 4 Select the Delete unused media from duplicated items option Modified oo 1 2 GB 1 1 GB on Destination Volume 00 10 58 02 of Media Now the Modified media bar is half the size of the Original Read the new informa tion in the Summary area of the Media Manager to see how the process is being tracked 5 Ifyou want to add handles to these media files beyond the In and Out points used in the sequence click the Use Handles checkbox and enter the desired amount NOTE gt If you enter handles that exceed the available media limit a warning will appear WARNING The specified handle size exceeds the available media for one or more items 6 Ifyou are using the Copy function deselect the Include affiliate clips outside selec tion option From the Library of michiel pilgram 416 Project Management C Include master clips outside selection Delete unused media from duplicated items C Use Handles 00 00 01 00 include affiliate clips outside selection w Base media file names on existing file names Because of the FCP master affiliate relationships this option will find any master clips affiliated with the sequence clips and if In and Out points exist will include that material as part of the copy process This can seriously undermine the goal of reduc ing m
384. on Media Copy media referenced by duplicated items _ Include render files Recompress media using DV NTSC 48 kHz _ Include master clips outside selection _ Delete unused media from duplicated items Use Handles 00 00 01 00 include affillate clips outside selection Base media file names on existing file names From the Library of michiel pilgram Copying and Moving a Project 413 5 Deselect the Delete unused media from duplicated items option 6 Keep the Base media file names on option on the default existing file names 7 Select the Duplicate selected items and place into a new project option 8 In the Media Destination area click the Browser button and navigate to the external drive where you want the copied media files to be placed Create a folder for the new files 9 When the Save dialog appears enter a name for the new project and a destination Click Save NOTE P Dont forget about the FCP master affiliate clip relationship Each affiliate clip in the sequence originated from a master clip If you have multiple affiliate clips in your sequence that came from the same master clip a separate master clip will be cop ied for each and every one of those affiliate clips If you have multiple affiliates from the same master clip that means you will capture the whole master clip multiple times To move a project Moving a project can occur on the same computer or on a
385. on MS man feeds fish Bi static tracks R Drag down to create static MS Rangeri audio tracks How far you drag determines the number of tracks that will be visible in the static area You can move the static area box by dragging the center slider up or down or return to the default layout by dragging the lower tab back to the center A1 and A2 static tracks above A5 and A6 scrolled tracks From the Library of michiel pilgram 200 Editing Sound Ei When you want to focus on a single audio track perhaps to add keyframes or change the audio volume of a clip you can change the track height by dragging its boundary line up or down as discussed in Lesson 3 You can change all audio tracks to the same height by Option dragging any audio boundary line Changing Audio Levels in the Viewer Although both Avid and FCP have an audio mix tool which is discussed later in this les son you can perform many of the FCP audio level changes directly on the clips in the Viewer or Timeline You can change the audio level of a clip at either the source level or the sequence level In other words you can make changes in the Viewer or in the Timeline If you open a clip from the Browser and change its audio level in the Viewer that level will remain with the source clip no matter how many times you use it in the Timeline If you change the level of a clip in the Timeline you are adjusting the level of that single sequence clip for that specific use only
386. onally deleting original media Consolidate Transcode 20100914 Avid Consolidate Transcode dialog Final Cut Pro handles these procedures in much the same manner For clarity this exercise focuses on sequence trimming Using the Media Manager you can trim sequence media so that the media files are changed to reflect just what you want and need You can also apply these steps to trimming clips down to the marked portion only To consolidate media in a sequence The logical media processing option to trimming clips is to choose the Use Existing option from the Media pop up This option will delete existing clips or remove any media within these clips that are not currently associated with the selected sequence Only the trimmed From the Library of michiel pilgram Consolidating Media 415 media files that make up the sequence will remain While this is the logical choice you may choose to take the safer approach and copy the media that is used in the selected sequences then delete the original media in a separate step This allows for any unforesee able power failures that could disrupt or corrupt the process 1 Select the sequence or sequences in the Browser for which you want to trim media NOTE gt When you use the Use Existing option you must have enough space for the original amount of your media in order to save the project before making any trims or deletions in FCP 2 Choose File gt Media Manager 3 Fr
387. one of the clips and set the parameters Then copy that clip and paste just those attributes to the other split screen clips Ei If you are going to use any of these image sizes and positions again you can save them as some of your favorite motion effects This is discussed later in this lesson To nest the clips from the split screen image 1 Select all three clips in the Timeline 2 Choose Sequence gt Nest Items or press Option C Name Training Dolphins_nest Width Height Aspect Ratio 720 x 480 NTSC DV 3 2 iwi Keep Effects Markers and Audio Levels with Clip _ Mixdown Audio Coane SO 3 Inthe Nest Items dialog title the nest select the appropriate aspect ratio information and click OK From the Library of michiel pilgram Copying and Pasting Motion Attributes 307 EXT Adding the word nest to the clip name will make for easy identification in the Browser and Timeline The new nested sequence appears in both the Timeline and in the Browser 4 To make changes to the original stack of nested clips double click the nest in the Time line A sequence automatically opens displaying the clips in their original configuration When you make changes to the clips those changes appear immediately in the nest in the parent sequence ETT If the original clips have effects that need to be rendered render them inside the nest in their original configurations Rendering inside the nest will preserve fil
388. ons Keep in mind that in FCP the default is just like Overwrite Segment mode If you drag one clip on top of another the new clip will overwrite the portion of the existing clip when you release the mouse button Later in this lesson you ll learn how to drag a clip and create an insert edit To move clips in the Timeline 1 Select a clip or clips that you want to move 2 With the default Selection tool A do one of the following gt Using the pointer which changes to a move tool when a clip is selected drag the selected clip s to the left or right and release it at a new location As you drag a clip in the Timeline an information box appears next to the clip with the amount of the move while the Canvas two up display shows the frames in the adjacent clips or gap to the left and right of the clip you are moving just like the outer two of the Avid four frame display From the Library of michiel pilgram Performing Drag and Drop Editing 131 _ EXE To slow down or fine tune your move press Command to gear down as you drag the clip gt To use a time value type anywhere in the Timeline the amount of time you want to move the selected clip forward in the sequence and press Return Use a minus sign to move a clip earlier in the Timeline Entering a time value like entering a trim amount appears in a Move box in the Timeline NOTE gt If you use this method to move a clip over another clip you will hea
389. ons 5 displaying Canvas output on external monitor 63 dissolves adding transitions in Timeline 234 applying to multiple edit points 235 Video Transitions 231 distorting images 302 304 Dock opening FCP from 2 drag and drop 131 133 adding transitions with 233 as alternative to segment editing 130 decomposing sequences 419 420 importing files 348 insert edits 133 overview of 131 132 overwrite edits 132 transitions 244 drop shadow applying effects to text 324 drop zones master templates and 339 dual monitor configuration 5 dual roller trim mode Avid 84 85 dual sided editing numerical trimming 86 overview of 84 86 duplicate frames finding in sequences 401 402 duration changing clip duration while retaining clip speed 291 of clips 83 193 duration field in Canvas 13 duration field in Viewer 12 mastering options 445 446 of transitions 238 User Preferences Option Q 320 Duration dialog Control D 238 DV formats for multicam performance 172 DV Start Stop Detection capture preferences 110 DVD 381 Dynamic playback rendering options 259 dynamic trimming 87 88 Index 463 Easy Setup accessing options 52 first use and 3 format options 173 174 opening 125 presets 53 54 edit decision lists see EDLs edit decision lists Edit Overlay edit overwrites with 182 183 editing with transitions 239 Edit Overwrite option of Edit Overlay 182 183 edit points adding tran
390. ons for your EDL 3 Click OK To export a batch list Exporting a batch list is helpful when you need to recapture your clips on a different sys tem to create a database of your clips in a program such as FileMaker Excel or Numbers or if you just want to have a record of your clip information As with importing batch lists you must keep in mind that all of the columns in the bin or Browser window wherever From the Library of michiel pilgram 380 Importing and Exporting the list is being exported from no more no fewer will appear in the batch list so tailor them for your needs You can export a batch list from an open project or bin If you are exporting from a bin open the bin first as its own window 1 Select the project or bin window and choose View as List from the shortcut menu 2 Arrange the columns as you would like them to appear To hide a column Control click the column s heading and from the shortcut menu choose Hide Column To show an additional column Control click any column heading and from the shortcut menu choose the column you want to show 3 Choose File gt Export gt Batch List GT After you export a batch list you can open it in a spreadsheet program and customize its layout For steps on how to open a batch list in a spreadsheet program see Lesson 5 Automatic Duck for FCP Export to Avid In addition to the FCP native exporting options you can use third party plug ins to expand you
391. ontrol over each track and can treat the audio and video as two separate clips in the sequence Once the clip is unlinked you can even reconnect the video portion to a different audio clip To link or unlink a clip 1 Select an audio video clip in the Timeline Linked clips have an underline under their names to indicate they are linked Linked clip with line under name Unlinked clip mono tracks 2 Choose Modify gt Link or press Command L When you toggle the Link command on a selected clip it will reverse its linking status linking an unlinked clip or unlink ing a linked one From the Library of michiel pilgram Syncing Tracks in the Timeline 207 NOTE gt When a clip becomes unlinked the linking line is removed from the name in all tracks If the remaining audio is a stereo pair the line remains under the name in the audio tracks Unlinked clip stereo tracks ET If you have two individual clips you want to link perhaps to combine a generic sound effect to a specific visual action or a double system dialogue track to the corresponding video place them in proper sync in the Timeline select them and press Command L to link them together as one clip Syncing Tracks in the Timeline When working in the Avid Timeline the sync lock feature is an indispensable tool for controlling the audio video sync relationship Some editors keep sync lock turned on con stantly for all tracks so that Splice In or single roller t
392. ontrol T While not an FCP default shortcut you can map the Set Default Video Transition command to this location and use it to make a selected transi tion the default Command T Apply the default transition to the selected video edit point Option Command T Apply the default transition to the selected audio edit point Command 5 Open or bring to the front the Effects tab of the Browser From the Library of michiel pilgram 244 Transitions and Effects To move or copy transitions You can move or copy a transition using the drag and drop approach or keyboard shortcuts Of course you place a transition only if there is enough material or handles between the two new clips to create a transition gt To move a transition drag the transition and release it onto a different edit point To copy and paste a transition to a different edit point do one of the following gt Option drag a copy of the transition to another edit point gt Select a transition press Command C to copy it select another edit point and press Command V to paste it or Control click a new edit point and choose Paste from the shortcut menu E Trim Tae Add Transition Cross Dissobve Paste p Working with Alpha Transitions In Final Cut Pro 7 one of the Wipe transition options is the alpha transition Rather than wipe from one image to another using a standard geometric design FCP uses the alpha channel of an animated matte to tran
393. oose the Browser Label column to change the color of a clip or Control click the clip in the Name column and choose Label plus the color or category The FCP View as Icons mode is similar to Avid s Frame mode Adding the Browser Thumbnail column simulates Avid s Script mode You can reset poster frames in your clip thumbnails In storyboard editing FCP enables you to bring the group of clips directly into the Timeline or to the Canvas Keyboard Shortcuts Control Q Open the Easy Setup window Command Option Q Open the Audio Video Settings window Option Q Open the User Preferences window Shift Q Open the System Settings window Command 0O zero Open the Sequence Settings window Command 9 Open the Item Properties window Shift U Recall Custom Layout 1 Option U Recall Custom Layout 2 Control U Reset the Standard window layout Shift Option U Open the list of saved layouts Option H Open the Keyboard Layout Button List window Option J Open the stand alone button list From the Library of michiel pilgram What You ve Learned 79 Keyboard Shortcuts HH Select the Scrub tool Shift Control click On a clip s thumbnail image in a bin scrub the clip Control P Set a new poster frame in a clip in the Viewer at the playhead location From the Library of michiel pilgram s p From the Library of michiel pilgram Lesson 4 Trimming Clips In this lesson we will cover the basic Avid approach to trimming and show h
394. or DV a single Stereo ala2 tab displays the waveforms for the stereo pair of tracks If the clip was captured with two mono tracks Mono al and Mono a2 tabs appear with the appropriate track in each tab If a clip has a single mono track of audio a Mono al tab will appear Of course if a clip has no video the video tab will not appear nor will an audio tab if no audio is present in the clip 12 15 54 26 Two channel Mono audio tabs The Audio tab shares features with the Video tab including clip duration and timecode location fields at the top of the window and scrubber bar jog and shuttle controls and Play and Mark buttons at the bottom of the window Above the scrubber bar are the zoom controls to zoom and slide the waveform display The shortcuts and methods you used to zoom and control the Timeline display also work in the Viewer audio tabs There are also specific audio controls for level and pan as well as keyboard shortcuts which will be cov ered later in the lesson Pan control Level control TT lo mer arene A Same as Video tab d i Y Fiers CA me ome IG 3 a Go 2 Audio volume level Zoom slider Zoom control Same as Video tab From the Library of michiel pilgram 194 Editing Sound NOTE gt If your audio is mono tracks you can adjust a separate pan direction for each track If audio is a stereo pair adjusting the pan swaps the direction of the two tracks making the left channel go to the
395. orner of the Canvas window FCP lets you have multiple sequences open at the same time As with projects each sequence has its own tab in the Canvas and Timeline NOTE gt Some of the functions under the image area in the lower part of the Canvas window mirror those in the Viewer Sequence name and project _ l Lawas FELIS in Lesson TOC 3 amp Gay GE gay rosa Duration field Scrubber bar Avid s position bar Jog wheel Edit buttons Transport buttons Editing and marking controls Location in Timeline Playhead Avid s position indicator Shuttle control Look closely at the FCP icons to familiarize yourself with the FCP interface Current Timecode icon and field Duration icon and field From the Library of michiel pilgram 14 Projects and Interface Working with the Timeline The Timeline windows in Avid and Final Cut Pro are very similar in function and track layout While you may be more familiar with making an edit to begin a sequence FCP Timeline tracks appear in any new sequence based upon defaults you set in your User Preferences In fact the FCP Timeline window opens with an empty sequence containing the factory default of one video and four audio tracks whenever you create a new project Timeline Eden s Rules ih When you create a sequence in Avid if more than one bin is open you are prompted to designate the bin in which you will store the sequence In FCP
396. ose time beads changes the position of the clip at that point in time Thus the motion path represents the clip over time To change a motion path 1 Move the pointer to a time bead The main Pen tool icon appears 2 Clicka time bead and drag up or down to create a new keyframe Since this move created a curve two handles appear next to the keyframe These are B zier handles From the Library of michiel pilgram 312 Speed and Motion Effects 3 To widen the curve drag a handle out To make the curve narrower drag it in To change the angle of the curve drag up or down on either handle 4 To make changes to a keyframe along the path Control click and choose one of the following options Make comer point Linear Delete point gt To change a curve to a square corner choose Make Corner Point gt To slow down the image as it approaches that point and ease it back out choose Ease In Ease Out gt To make all points even in time choose Linear gt To delete a keyframe choose Delete Point EXE You can also change the motion parameters in the Timeline As you did when adjusting speed segments click the Clip Keyframe control in the lower left of the Timeline Control click the control again and make sure Motion Bar is selected from the Video submenu Control click the keyframe editor area under the clip and select the motion parameters you want to control then make changes on the keyframe graph jumpin pools
397. osing a Sequence 419 In the Browser a new project tab appears with the offline clips You can now use the Batch Capture function to recapture these clips at a higher resolution ET The magic of Undo will actually change these clips from their offline status back to being linked to their original media Decomposing a Sequence Avid users are familiar with the process of decomposing a sequence so you have more control over how the clips are organized for recapture In Final Cut Pro decomposing can be handled in two ways by dragging clips from the sequence into a Browser bin or by using one of the Media options in the Media Manager tool discussed in the previous sections If your goal is to decompose a sequence to treat the sequence clips in isolation for the purposes of color correction making them offline and recapturing then dragging clips from the sequence to a bin will be an easy and direct approach However if your goal is to consolidate your project trim the fat copy and relink to a tar get drive then you will want to use the Media Manager for that process Using the Media Manager to decompose your sequence lets you create a new project sequence and bin of trimmed media files Once the operation is finished you can work with the decomposed sequence and new master clips in the new project or tear off the Project tab and drag the sequence icon and media bin back to your original project The steps for this process were outlined
398. otion which creates sophisticated visual effects You can send individual clips to Motion but you can also apply a Motion master template to use as a bumper open or lower third and edit it directly in FCP Motion is covered in Apple Pro Training Series Motion 4 by Mark Spencer published by Peachpit Press 317 From the Library of michiel pilgram 318 Title Tool and Generators Exploring Video Generators To lay the foundation for creating titles we ll start with an overview of the Final Cut Pro generated items so you will know where the title options are located and how you can access them In addition to text the FCP generated video items include color bars slugs mattes and render items such as gradients Even though these are fabricated clips generated within FCP you still edit them as clips and can even apply effects to them You can find the video generators by clicking the icon in the lower right corner of the Viewer window aa SSeS 0900 oE nmmn ere 3 4a Cu a By ay JA NOTE gt By default all generators render in the current project color space and sequence codec but you can select different render options by choosing Sequence gt Settings Click the Video Processing tab to change the color space or render qual ity of the FCP motion effects and click the Render Control tab to render HDV or XDCAM HD effects in Apple ProRes 422 or to set the quality of embedded Motion projects and templates
399. our in each category in the order they are listed in the Favorites bin From the Library of michiel pilgram 256 Transitions and Effects By default pressing one of these four keys in combination with Control Shift allows instant access to your top four favorite filters Copying and Pasting Attributes As you have seen it s easy to copy and paste entire clips from one location to another in Final Cut Pro or copy transitions and paste them to another edit point You can also paste specific video or audio attributes from one clip to another Anything that you do to a clip to change it such as applying an audio or video filter changing its speed cropping it rotating it turning it blue or panning or adjusting the audio level is considered an attri bute of the clip and can be copied and pasted to another clip When you copy a clip its attributes are copied along with it Even the content is thought of as an attribute that FCP can paste Paste Attributes Attributes from MS Ranger welcome Scale Attribute Times Video Attributes Audio Attributes L Content C Content L Basic Motion M Levels Wi Crop L Pan l Distort I Filters L Opacity L Drop Shadow L Motion Blur Filters M Speed Clip Settings capture Cancel FCP Paste Attributes dialog From the Library of michiel pilgram Copying and Pasting Attributes 257 To copy and paste clip attributes The Paste Attributes dialog enables you to choo
400. ow it Applying the Luma travel matte will cause an image to be revealed in the shape of the luminance of the track below it These masks are referred to as travel mattes because the underlying image may have move ment that will define how the image above it is revealed against the background below To create a travel matte 1 Place a clip on the V1 track that has either a luminance effect or an alpha channel 2 On the V2 track place the clip you want to use to fill the alpha or luma area in the clip below it 3 Select the upper clip 4 Choose Modify gt Composite Mode gt Travel Matte Alpha or Travel Matte Luma depending on whether you used an alpha or luma source for the lower clip The composite image will be that of the upper image showing through the shape of the lower alpha channel or luminance area From the Library of michiel pilgram What You ve Learned 275 In the preceding illustration the lower image is of white clouds against a dark blue sky The white clouds are providing the luma source The upper image of people standing on the shore is the V1 clip used in the composite mode example This clip is providing the fill for the white cloud shapes NOTE gt If you are not sure whether a clip has an alpha channel open the clip s Item Properties window Command 9 or choose Alpha in the View pop up menu What You ve Learned gt Audio transitions video transitions and filters are organized within
401. ow to perform those same functions in Final Cut Pro In gen eral FCP is far less modal than Avid You can perform trims in FCP just as you can with Avid s Smart Tool without entering a trim mode whereas with previous Avid versions you always enter Trim mode to trim Both however have similar trim windows that behave in similar ways Like Avid FCP lets you trim clips by dragging an edit point in the Timeline or entering a trim duration In addition FCP also has dedi cated trim tools in the Tool palette You have numerous ways to trim clips in FCP The trick is to find your comfort zone of what s familiar and then to explore the new alternatives Also in Avid unless you lock tracks or turn off Link Selection in Avid 5 you are free to adjust individual tracks separately In FCP the default is to bind or link the video and audio portions of a clip so that when you select one track all tracks are selected However FCP also has a linked selection feature This feature is covered in depth in Lesson 8 but this lesson includes steps to select just the audio or video portion of a clip so that you may trim one track at a time to create a split edit or L cut 81 From the Library of michiel pilgram 82 Trimming Clips Although most trim functions are covered in this lesson a few additional techniques for changing the length of a clip in the Timeline are covered in Lesson 6 such as trimming an edit using the Extend funct
402. p re Center S Font Color a la Select Color To set the origin click the Origin crosshairs button and then click the image where you want the text to align The text will follow the current Alignment option Ei If you drag the crosshairs button onto the image you can see the text posi tion update in the Canvas Set Tracking Leading and Aspect using their respective sliders Select Auto Kerning to have FCP kern the text for you Select Use Subpixel to have FCP render the text with subpixel accuracy From the Library of michiel pilgram 324 Title Tool and Generators NOTE gt You can add keyframes to text parameters as you would a filter or motion effect You can also change the text opacity by dragging the clip overlay line in the Timeline Applying Effects to Generated Items In Avid you directly apply drop shadows to text in the Title Tool window In Final Cut Pro however drop shadow is a motion effect you can activate in any clip in the project therefore it appears on the Motion tab for general use You can apply any FCP filter or motion effect to text or any other generated item just as you can to captured video clips This can be very helpful when compositing effects To apply a drop shadow to a text clip 1 Open a text or other generated item from the Timeline into the Viewer 2 Position the playhead over the generated item in the Timeline so that you can see your changes in the Canvas 3 Click the
403. p s Browser Ha Save Window Layout Effects 365 Load Window Layout OU Favorites 266 Export Queue Viewer Slug Canvas Motion Templates in Integration_Motion Timeline Motion Templates in Integration_Motion Browser Audio Mixing Includes the Audio Mixing tool as part of the interface Color Correction Includes video scopes to use when correcting color or applying color filters Multiple Edits Includes two frame viewers to display previous and next edits Standard Creates a large Timeline with smaller Browser Viewer and Canvas windows Two Up Creates large Viewer and Canvas windows and a smaller Timeline NOTE gt Some options such as dual screen layouts or Multiple Edits appear only if you are configured for dual screen monitor display and if your resolution is set for 1280 x 854 or higher From the Library of michiel pilgram 64 Customizing Your Project Saving Layouts If you have customized your Avid Toolset layout you may want to configure your own Final Cut Pro window layout as you become comfortable working within the program You can do this by changing the size and position of the Browser Viewer Canvas and Timeline windows and then saving the layout You can even change and save the Timeline tracks layout All layouts are saved in the Final Cut Pro User Data folder To set a custom window layout You can save two custom window layouts that are accessible by choosing Window gt Arrange gt
404. p percentages in the number boxes gt With Image Wireframe active select the Crop tool from the Tool palette or press C and drag any image side Image before crop Image after crop 5 To Distort do one of the following gt Enter numerical pixel values or change the overall aspect ratio with the slider gt Choose the Distort tool from the Tool palette or press D and drag an image corner EXE You can use the Distort tool to reposition an image s anchor point by clicking and dragging it You can also change the Distort parameters to create a forced perspec tive as in the following example From the Library of michiel pilgram 304 Speed and Motion Effects Cut Training Dolphins Without 014 Chi coovos20 wy a ty EF orooosze Upper Lett Upper Right Lower Right Lower Left Aspect Ratio i CD ED Doe Ol aon ls NOTE P This image is cropped and the edges are feathered The image has also been distorted to create a forced perspective The background was changed to white using the View pop up menu Creating and Nesting Comps Using the Image Wireframe mode in Final Cut Pro it is easy to create multilayered motion effects such as split screens or multiframe images Once a multilayered effect or comp has been created it is often convenient to nest the tracks so they can be more easily managed or edited In Avid you combine elements you want to keep together for ease of effects editing and renderin
405. pe an asterisk between the two column entries Set the gap distance using the Gap Width slider NOTE P The gap width is not applied when using left or right justified text From the Library of michiel pilgram Creating Scrolling and Crawling Text 327 Starring Scientist lom Heiss Educator Susan Gee Politician Andy Shull Professor Katrin Arne If you want to fade in and fade out the text at the top and bottom choose Fade Size Choose a direction for the scroll Starving Scientist Tow Heisy Educator SusawGee Politiciaw Andy Shull Profesor Katrin Arne To create crawling text 1 2 From the Generator pop up menu choose Text gt Crawl Edit the generated clip to the Timeline open it in the Viewer click the Controls tab and type the text Select the font style attributes If you want to change the space between letters adjust the Spacing slider Use the Location slider to move the text up or down on the screen Zero percent places the text at the top of the screen and 100 percent places it at the bottom The default 85 percent places the text just above the title safe boundary From the Library of michiel pilgram 328 Title Tool and Generators 6 Select the direction in which the text will move or early election returns following the end of Applying Lower Thirds and Preprogrammed Text Final Cut Pro offers a few preprogrammed text options One is the Lower 3rd which auto matically plac
406. pears in which you can edit the clip information you entered in the Log tab including adding or removing a Mark Good selection or just click OK FCP will begin to capture the clip After the clip is captured it appears in the current logging bin From the Library of michiel pilgram Batch Capturing 115 To use Capture Now While the Capture Now function lets you capture from a noncontrollable device you can also use it to capture on the fly from a controllable deck as you may be used to doing in Avid 1 Set the logging bin 2 Cue the noncontrollable device to about 10 seconds before the desired material 3 Press Play on the device 4 A few seconds before the desired material appears click the Capture Now button or press Shift C 5 To stop capturing press the Esc Escape key Batch Capturing The Final Cut Pro batch capture mode operates much like Avid s You log a group of clips from each source tape and then capture the clips in one batch Batch is the third Capture button on the Logging tab Offline Clips In Avid and FCP clips that have been logged but not captured are called offline clips The information about the source content is there but without the content itself Avid media offline clip in Source monitor From the Library of michiel pilgram 116 Capturing and Transferring In FCP when a clip is offline a red diagonal line appears over the clip icon in the Browser ay T Feeding Dolphins al dolphin
407. pes of A side and B side rollers around the edit point in the Timeline Avid single rollers in Timeline Avid dual trim rollers FCP Roll tool in Trim in Trim mode window Edit window As with Avid s purple active bars in its Trim mode window a green active bar above an image in the FCP Trim Edit window indicates that it will be adjusted in the trim One green bar over either the A or B side image indicates a single roller trim green bars over both images indicate a dual roller trim Trim Edit Track W1 r z i F 12 21 42 2725 01 00 20 02 i 0000 14 04 FCP trim side Fe ts a indication bar A side Out point indicator B side In point indicator FCP Trim Edit indicators As in Avid clicking one side or the other of the FCP Trim Edit window selects a single roller trim mode Clicking the space between the two images selects a dual roller trim From the Library of michiel pilgram Performing Dual Roller and Single Roller Trimming 85 mode When these selections are made the Timeline edit point reflects the active side or sides just as in Avid A and B edit points selected B side edit points selected ETL Pressing U toggles between the trim modes in both the Trim Edit window and the selected edit points in the Timeline Dual Roller Editing Whereas Avid has its dual roller trim mode FCP has its Roll tool which appears when the pointer moves between the A and B images in the Tri
408. phic wells Filled Image with text graphic and soft background graphic well From the Library of michiel pilgram Creating 3D Text with Boris Calligraphy 331 3 To clear a graphic Control click in the graphic well and choose Clear from the short cut menu To create typewriter text The FCP Typewriter option displays individual characters of a title one by one as if they were being typed on the screen gt Enter the text and parameters for font size location color alignment indent and pause Creating 3D Text with Boris Calligraphy When you want a little more control over individual characters or lines of text you can choose a Boris text option in the Video Generators pop up menu Like Avid s Marquee the Boris text generators offer individual character control as well as other effects The Boris submenu lists four text generators When you select either of these title options the Control tab offers access to a new window EXEL The keyboard shortcut for placing a Boris Title 3D text clip into the Viewer is Option Control X From the Library of michiel pilgram 332 Title Tool and Generators Title 3D Click for options Once you add a Boris title effect to the Timeline double clicking it enables you to change parameters in the Controls tab just as you would for any other FCP text option Or you can click in the Title 3D area to open the Boris window which offers a wide variety of parameters includ
409. placed in the sequence in the order in which they appear in the bin FCP will observe any marks if they exist ET When using the drag and drop editing approach you can drag a clip into an empty area above or below an existing track in the Timeline The next consecutive track will be added to your Timeline automatically and the clip will be placed on that track To constrain the movement of the clip from side to side hold down the Shift key as you drag vertically Copying and Pasting Avid s Clipboard doesn t exist in the Final Cut Pro interface but the basic Mac copy and paste functions still apply FCP uses other Mac functions and keyboard shortcuts as well In addition to using the keyboard shortcuts listed here you can Control click or right click a clip in the Timeline to access the copy and paste functions In Avid enabled track buttons dictate what is copied and paste will echo it without regard to changed track selections In FCP the Auto Select controls in the Timeline track area and the playhead position in the Timeline or Canvas dictate where Paste places your copied clips From the Library of michiel pilgram 134 Advanced Editing Mac Functions Function Shortcut Description Copy Command C Copy selected material to a buffer or Clipboard Cut Command X Like Delete but cuts selected material and holds it in the buffer or Clipboard similar to Avid s Lift Paste Command V Paste Clipboard content to the current play
410. porting graphics and 357 358 pan control Audio tab 193 passwords user settings 2 From the Library of michiel pilgram Paste Attributes dialog 257 258 patching tracks in Timeline 19 30 peaks Audio tool for viewing 18 detecting correcting audio peaks 424 426 Pen tools deleting keyframes 213 modifying keyframes 214 setting keyframes 268 270 setting subframe keyframes in Viewer 212 213 in Tool palette 17 Photoshop creating graphics in 356 importing from 343 importing multilayered images from 358 359 opening files from Timeline with external editor 359 360 Picture In Picture Avid 302 pixels subpixel accuracy 323 Play Around Edit Loop button in Trim Edit window 83 Play buttons Audio tab 193 play commands 28 29 playback control System Settings 232 playhead end of clip beginning of clip indicators 39 in FCP interface 5 location in Viewer 12 Open sync mode 163 164 183 position in Canvas 13 position on Timeline 14 20 Playhead Sync pop up menu cutting video or audio only 186 Open mode 163 164 Open option 183 in Viewer 162 position bar Avid 29 Poster Frame setting 74 preferences see User Preferences Option Q Index 473 presets Audio Mixer 217 for capture and input 105 choosing preset window layout 63 creating loading audio output preset 428 429 Easy Setup 53 54 editing 52 Preview area Log and Transfer window 117 previewing effects 263 render effects
411. preprogrammed custom gradient you can change start and end colors direction width and other options You change colors in the same way you change colors for the preprogrammed gradients 1 From the Generator pop up menu choose Render gt Custom Gradient From the Library of michiel pilgram 336 Title Tool and Generators 2 Drag the custom gradient clip from the Viewer Video tab to the Timeline and double click to open it into the Viewer 3 In the Controls tab specify whether the gradient shape will be linear or radial nee re ee bed ao poom EE Pe g 4 Click the Start crosshairs button and click in the Canvas where you want the gradient to start Alternatively you can enter pixel values 5 Choose a gradient direction 6 Choose a width for the gradient 7 Choose starting and ending colors 8 Set Dither and Gaussian to modify the smoothness quality of the gradient Applying Shapes The Final Cut Pro Shapes category includes convenient Circle Oval Rectangle and Square generators You can modify the shape size and color of each By default a white shape appears against a black background You can use the shapes to create mattes or build composites and effects Favorites Bars and Tone Boris Matte Render Slug l aj Text T F MF Y Master Templates From the Library of michiel pilgram Applying Shapes 337 To use a shape clip to create an effect In the following example a shape clip was com
412. ptions appear as white letters over a black background From the Library of michiel pilgram 446 Finishing and Outputting Black aAdds a duration of black after the slate Countdown You can either add the FCP built in countdown which counts from 8 seconds down to 2 0 or add a countdown that you have saved as a separate file Media options In the Media options area you can choose the portion of your sequence you are outputting and whether you want the sequence to loop Between each loop place A lack 5 Seconds Print You can choose to mark In and Out points for a selected output or output the entire media in your Timeline regardless of whether In or Out points are present Loop Looping enables you to record your sequence to tape several times automatically Black Select to add black of any duration between looped sequences Trailer options The only option available in the Trailer area is Black which you select to add black of any duration to the end of your sequence or group of looped sequences Duration Calculator You can use the Duration Calculator to add the entire length of your output All you have to do is enter the length of your sequence FCP adds the length of the options you ve selected and displays the total amount in the Total field Duration Calculator Trailer W Black 5 Seconds Media 00 10 00 00 Tota Media Enter the length of your med
413. r a sys tem beep and in the Timeline see a Clip Collision warning gt Press the Left or Right Bracket key or to move the clip one frame or press Shift or Shift to move the multiframe trim size set in User Preferences gt Press the Left or Right Angle Bracket key lt or gt to move the clip one frame or press Shift lt or Shift gt to move the multiframe trim size Performing Drag and Drop Editing In Final Cut Pro drag and drop editing offers a unique and fast approach to the editing process You can drag a clip from the Viewer or from the Browser and drop it directly into the Timeline As in Avid if a clip has In and Out points those marks will determine the clip length If it doesn t the entire clip duration will be placed where you release it From the Library of michiel pilgram 132 Advanced Editing FCP has provided region sensitive drag and drop editing from early on Avid 5 introduces the same behavior but in reverse to FCP To drag and perform an overwrite edit you posi tion the pointer in the upper half of the track To splice in you position the pointer in the lower portion of the track While Avid has an imaginary drop line halfway through the track FCP clearly divides the track the insert edit area in the upper third and the over write area in the lower two thirds Avid 5 Segment Mode options above and below imaginary line When you drag a clip into the FCP Timeline from the Viewer or Bro
414. r clips using one of the Easy Setup presets you ve seen before NOTE gt While recompressing from a high resolution to a low resolution is a smart way to manage your project recompressing from a low resolution to a higher resolu tion is not recommended because your media quality will not be any better than the original source 1 Inthe Browser select the bin of clips you want to recompress and choose File gt Media Manager 2 Click the Media pop up and choose Recompress from the menu Then click the Recompress Media Using pop up and select an appropriate compression format based on your project s needs Modified 75 8 ME fest T6 MB on Destination Volume 00 02 14 19 of Media From the Library of michiel pilgram 418 Project Management When changing from DV NTSC to OfflineRT NTSC as in this image the Modified media bar becomes much shorter indicating that the media requires a lot less media drive space than the original media files 3 If you want to recompress the full length of your media files deselect the Delete unused media from duplicated items option If you don t want to recompress media that wasn t used select the Delete unused media from duplicated items option You would probably want to add handles with this method 4 Select Duplicate selected items and place into a new project option choose a desti nation and click OK Enter a name for the new project and click Save The new proj
415. r exporting possibilities For instance Automatic Duck the same company that creates the Pro Import FCP 2 0 plug in to import sequences from Avid into FCP dis cussed earlier in this lesson also creates an export plug in Pro Export FCP 4 0 This plug in translates all of your sequence layers into one Avid compatible OMF file Many effects are supported during this process such as dissolves some motion effects constant speed changes freeze frames nested sequences with some limitations subclips master clip Log Notes and audio keyframes NOTE P For a complete list of Avid systems this software supports go to www auto maticduck com If you ve loaded the Pro Export FCP 4 0 plug in onto your computer you can access it from the File gt Export options Another plug in that provides some of these features is Boris AAF Transfer www borisfx com AAF Understanding Compressor and Cinema Tools While this book covers only operational functions for Final Cut Pro two other programs are bundled with FCP along with Soundtrack Pro Motion and DVD Studio Pro that you wont find in Avid systems and you may find them valuable for exporting your proj ects These are Compressor and Cinema Tools From the Library of michiel pilgram Understanding Compressor and Cinema Tools 381 Compressor Compressor is a video and audio encoding application that offers additional com pression formats to create media files or sequences for online and DVD
416. r exporting with QuickTime Conversion 370 QuickTime formats used for import export 363 Frame Blending modes Optical Flow 282 frame counter in Trim Edit window 83 Frame mode Avid 72 frame rate setting from Rate pop up menu 53 Frame Viewer Option 7 252 frames on Timeline finding duplicate frames in sequences 401 402 last frame and first frame indicators 38 freeze frames creating using menu options and keyboard shortcuts 293 294 creating using speed segments 292 293 types of motion effects 279 function keys Mac OS X Expos 198 G Gain Adjust modifying audio output levels 426 427 opening Gain Adjust dialog 203 219 Gain or Offset box modifying keyframes 214 Gang button Avid 162 ganging clips of Viewer and Canvas material 163 Gap Width slider setting gap between columns 326 gaps finding and closing gaps in sequences 138 139 replacing using Fit to Fill 283 285 trimming with Ripple tool 91 generators video see video generators global changes to clip properties 397 399 Go to Mark In Go to Mark Out Log and Capture window 102 gradients creating custom 335 336 graphics importing 355 358 options for outline text 330 331 grouping clips into multiclips 175 H H 264 381 Hand tool H moving image in Viewer or Canvas 296 overview of 24 in Tool palette 17 working with 21 hardware scalability of 3 HD capture settings 105 choosing format 53 support for 344 H
417. r to the nest like collapsing layers in Avid this isn t the equivalent of applying an RTAS plug in to an entire audio track However by sending the sequence to Soundtrack Pro which is included in the Final Cut Studio suite you have access to a full range of high quality Logic plug ins that can be applied and adjusted exactly like the RTAS plug ins in Avid or Pro Tools For more information on applying Audio Filters see Lesson 9 For more information on Soundtrack Pro see Apple Pro Training Series Sound Editing in Final Cut Studio published by Peachpit Press What You ve Learned gt Final Cut Pro and Avid handle audio in similar fashion but FCP can have 99 Timeline audio tracks gt The FCP Viewer has a separate tab or tabs to display the audio portion of a clip From the Library of michiel pilgram What You ve Learned 225 You can show audio waveforms in the Timeline by choosing Sequence gt Settings and selecting the appropriate option in the Timeline Options tab by selecting that option in the Timeline Layout pop up or by pressing Command Option W You can expand your Timeline tracks as a group or individually to more clearly see the sample plot You can toggle the audio of a Timeline track off or on by clicking the Timeline Audible control You can disable or enable the audio of a sequence clip or clips by Control clicking the clip or clips and choosing Clip Enable from the shortcut menu You can solo a clip
418. r tracks Remember pressing Command 0 on a numeric keypad toggles off or on all video tracks pressing Option 0 toggles all audio tracks NOTE gt Using Auto Select is somewhat like working with a grid The playhead identi fies the clip stack in the sequence and the Auto Select controls determine the specific track within that stack Fl waje a oee a orci ORE a From the Library of michiel pilgram Finding Match Frames 145 3 Doone of the following gt In the Canvas click the Match Frame button gt Inthe Timeline or Canvas press F gt Choose View gt Match Frame gt Master Clip The marked master clip appears in the Viewer with the playhead on the match frame To find a match frame to a source clip Reverse Match Frame As with Avid s Reverse Match Frame in FCP you can look for a specific match frame from a master clip opened in the Viewer to any use of that clip s frame in the sequence For example you may want to edit another portion of a master clip but may not be sure if this portion has been used already in the current sequence 1 In the Viewer open a clip for which you want to find a match in the current sequence 2 Park the Viewer playhead over the frame you want to match 3 Click the Viewer Match Frame button or press F If you select a frame in the Viewer clip that is not in the sequence you will hear a beep indicating that no match was found To find multiple occurrences
419. ram 424 Finishing and Outputting When your re ready to output your sequence to tape to DV DVCAM or DVCPRO via FireWire or to high end formats such as Digital Betacam or HD you will find that the FCP dialog list approach to selecting leader items color bars and tone slate countdown and so on is simple elegant and efficient Detecting Audio Peaks While both Avid and Final Cut Pro have audio meters that let you view audio levels if you ve ever checked for audio peaks using Avid s Audio tool and the Console window for a peaks listing you ll find the FCP detection system dramatically easier to use The Mark Audio Peaks function checks the audio tracks in the Timeline and places mark ers where the audio exceeds an acceptable level Digital Audio Peaks All digital audio is capped at an incoming level of 0 decibels dB Digital audio that reaches this level or goes beyond it is clipped This 0 dB level is called an audio peak Audio that has been clipped at 0 dB often sounds distorted and may not be acceptable for the final edited version of your sequence If you ve ever encoded a DVD with audio just a little over peak you know how critical this 0 dB level really is Using the Mark Audio Peaks function makes control over distortion very easy As in Avid the FCP Audio Meters window and Audio Mixer has peak indicators that light up and remain lit to indicate the digital audio in your sequence has either reached or gone beyond 0
420. reates two speed segments From the Library of michiel pilgram Creating and Changing Speed Segments 287 EXT To add additional keyframes and create more speed segments click other frames within the clip Position the pointer over the middle keyframe and drag left or right to change the speeds of the two segments In the Canvas you can see the new source frame that will begin the next segment As you drag left the first segment becomes shorter and its speed ticks move closer together indicating a faster play speed As you drag right the first segment becomes longer and the speed ticks move farther apart indicating a slower play speed Also when the speed is changed a thin blue line appears at the top of the keyframe area to indicate that the clip contains a motion effect Shorter and faster first segment Longer and slower first segment NOTE gt When you change a speed segment Variable is added to the clip name because the clip now contains various speeds eq lime Delta 01 13 Time 01 01 23 14 Left Speed 175 for 01 28 Right Speed 65 for 04 05 EXT As you drag a speed keyframe watch the tooltip that appears It indicates the number of frames and the direction that you have moved the middle keyframe Time Delta the Timeline timecode Time and the left and right speed percentages and segment durations After you ve created a speed segment you can adjust it in the Change Speed Segment dialog as thou
421. rect aspect ratio From the Library of michiel pilgram 356 Importing and Exporting Import Settings Current Image mage Size Ad UST Ment Hield Ordering in File File Pixel to Video Mapping Frame import uration Similar to Avid s Single Frame Import duration in the Import Settings pop up FCP imports still images with a 2 minute length and a default 10 second marked duration The marked duration is in the middle of the clip and allows for transition handles You can change the default marked duration in the User Preferences Editing tab at any time prior to importing still images EXE If you are building a sequence with several graphics and you know you will be editing 1 second from each graphic change the Still Freeze Duration to 1 second before you import those images and you won t have to mark them before editing Avid s Single Frame Import The FCP Still Freeze Duration in duration field User Preferences Editing tab To create and import a graphic file If you re creating a graphic in Photoshop for FCP DV NTSC editing you will need to end with an aspect ratio of 720 x 480 pixels or 4 3 If you want to zoom and enlarge the still image or add pan and scan effects in FCP use a multiple of the format s dimensions to increase its size For example 1440 x 960 would yield a 2x enlargement of a 720 x 480 image To compensate for the square to oblong pixel difference do the following From the Library of mich
422. rim Edit window The transition will remain intact You can also Option roll an edit point with a transition attached to get an asymmetrical transition placement as you do in Avid From the Library of michiel pilgram Editing with Transitions 239 Editing with Transitions While Avid 5 offers Transition Effect Preservation during Timeline cutting and pasting Final Cut Pro has a unique capability to add any transition you choose while you are first editing the clip into the Timeline This is a great way to save time if you are editing several clips that you want to begin with a particular type of transition You can do this in both the Overwrite and Insert edit modes To create an edit with a transition using Edit Overlay 1 If you want to use a transition other than the FCP default Cross Dissolve set your chosen default transition before continuing 2 Mark your edit points in the Viewer window 3 Drag the clip into the Canvas window The Edit Overlay options appear Next to the Overwrite option is a red box that says with Transition This Overwrite icon has stripes representing a transition effect There is also an Insert with Transition option Finished 1 Starting Ea 00 00 44 01 MOSO 4 Drop the clip on the appropriate edit choice In the Timeline the clip will appear with the default transition at the beginning of the clip From the Library of michiel pilgram 240 Transitions and Effects To create
423. rim operations cannot knock audio and video tracks out of sync Other editors may add edits to track gaps so they can select them in Trim mode and have complete control over synchronous or asynchronous editing across all tracks Trimming with sync lock turned off in Avid Avid editors who are used to applying sync lock to all tracks all the time can rejoice As long as you leave linked selection turned on the FCP Timeline will operate as if sync lock is on for all tracks whenever you perform an insert edit or ripple trim which is exactly as From the Library of michiel pilgram 208 _ Editing Sound you would expect However when you turn off sync lock for a track for example to trim back an SOT clip on Al and A2 without introducing a gap into a music track on A7 and A8 you may be at a loss as to what to do when FCP prevents you from making the trim and flashes a Clip Collision warning Clip collision is how FCP prevents you from making a trim that would change the sync relationship between tracks it s like a safety feature for novice editors but one that you can easily bypass al 01 00 15 10 01 00 15 21 0 4 00 00 00 Clip Collision on A5 Clip Collision warning while trimming in FCP Because FCP assumes that all tracks are sync locked you use the Lock Track controls to essentially turn off sync lock for tracks that you don t want affected by the edit Since a locked track cannot be affected
424. rking with analog you also change incoming video levels here On the Capture Settings tab you set the scratch disk Avid s target drive and resolu tion of the material as well as the device control When video audio and render boxes are selected for a scratch disk FCP automati cally creates three folders in each scratch disk location Audio Render Files Capture Scratch and Render Files Clips are captured to the Capture Scratch folder Some settings in the User Preferences window apply to the capture process When selected from the menu Mark gt DV Start Stop Detect places markers loca tors on a clip wherever the camera started or stopped A clip name will consist of entries in the Description Scene Angle and Shot Take fields provided their individual boxes are selected You can include markers locators as part of the capture process to help create sub clips at a later time As in Avid FCP can capture one clip via the Clip button or batch capture a group of clips via the Batch button at the bottom of the Logging tab From the Library of michiel pilgram What You ve Learned 125 FCP can capture from a noncontrollable recording device using the Capture Now but ton This button can also be used to capture on the fly from a controllable deck as well You can save logging information without capturing a clip with the Log Clip button Logged clips that arent captured are called offline clips and appear with a r
425. ro uses black slugs FCP slugs which are discussed in Lesson 11 are edited just as Avid s filler is However as in Avid in FCP you don t have to edit slug or filler between clips You can simply leave a space or gap of whatever length you desire and both systems play through those gaps as though they were black clips FCP gaps can be selected deleted repositioned and even trimmed but unlike an Avid filler segment you cannot apply effects to them Avid gap or black hole To find a gap in your sequence Do one of the following gt To move the playhead forward in the Timeline to the next gap press Shift G or choose Mark gt Next gt Gap gt To move the playhead backward in the Timeline to the most recent gap press Option G or choose Mark gt Previous gt Gap From the Library of michiel pilgram Working with Master Clips 139 To close or delete a gap Do one of the following gt Select a gap by clicking in the gap area as you would a clip and then press Delete This removes the gap and pulls up the clips that follow in all of the tracks V1 Al A2 and so on by the gap amount gt Park the playhead over a gap and press Control G or choose Sequence gt Close Gap gt Control click in the gap area and choose Close Gap from the shortcut menu Fill with Slug Deleting gaps across all tracks as described here will not throw your clips out of sync because this procedure pulls all tra
426. rols to modify those settings Effect Editor Luma Key Key Color Hue Sat Lum Gain Shoe Aa Foreground 2 2 2 gt gt gt ell n E __ Swap Sources Invert Key Show Alpha Scaling Wid Ba BN ee Lg ef ote ___ Fixed Aspect Position Al Pig eel Eman W Pog Gates assesses PEE Avid s Effect Editor When you click the Avid Effect Mode icon the Effect Editor window opens and you can adjust the different parameters for the selected effect In FCP you access a clip s filter parameters by opening the clip in the Viewer and clicking the Filters tab s SS ls _ sa te Ce aay 63 e227 Selecting FCP Filters tab in the Viewer FCP filters have controls for editing effects similar to Avid There are sliders numerical entry fields degree wheels and tiny adjustment arrows on either end of the sliders for fine tuning the parameter settings From the Library of michiel pilgram Modifying Filters Filters tab Naw aC Video Filters Filter details iimakey JO E H revealed Ed Key Mode Be Parameter Pe controls Threshold ae Tolerance ay Ea Y W Sepia Jea Filter Keyframe Amount e __ buttons and graph Highlight IGE Bass Filter details Tint Color Toy Pa collapsed Four Point x Ef Audio filters F S25 aen P W 3 Band Equ e sH Enable Reset to checkbox default setup Pa To view and modify filter parame
427. rom the Library of michiel pilgram 166 Advanced Editing gt You can find a match frame in the Viewer Canvas or Timeline via the dedicated Match Frame button or keyboard shortcut F gt You can also use a match frame function to match back to an unmarked copy of the original source clip gt You can use match functions to reveal affiliated clips with used frames in the Timeline gt FCP has dedicated tools to make Slip and Slide edits gt The replace edit functions in FCP are as in Avid matching a Timeline sync point with a corresponding sync point in the source clip gt The add edit functions in FCP as in Avid You can also use Razor Blade editing tools as well as a mappable Add Edit button gt The Razor Blade tool divides all unlocked tracks of a single clip the Razor Blade All tool divides all unlocked tracks of the sequence gt The extend edit functions in FCP similar to Avid but extends a clip s In or Out point to the location of the playhead You can also apply it to two adjacent edit points creat ing a roll type of adjustment or to multiple edit points to make a stack of clips even gt In FCP you can place markers Avid s locators on a clip in the Viewer a selected clip in the Timeline as well as in the Timeline ruler to specify a location in the sequence gt Delete markers by choosing Mark gt Markers gt Delete or by pressing a keyboard shortcut gt In FCP you name markers in the Edit
428. rowser it appears as an unmarked master clip Slipping and Sliding Clips Unlike Avid Final Cut Pro has dedicated tools for slipping and sliding clips Rather than lassoing a clip to slip or slide its pink rollers in a modal situation as you would in Avid From the Library of michiel pilgram Slipping and Sliding Clips 147 you choose the Slip or Slide editing tool from the FCP Tool palette As in Avid the Slip and Slide functions in FCP keep the overall length of the sequence unchanged i Slip Tool s PFEPEE EEE To slip a clip in the Timeline 1 Choose the Slip tool from the Tool palette or press S 2 Drag the clip left or right in the Timeline In the Timeline an information box appears with the duration you are slipping the clip The hollow box or ghost outline around the clip reflects the total length of the master clip or the available clip handles dalphin and girl w bucket dolphin and girl w bucke Also as you drag the Canvas provides a two frame display similar to the Avid Small Trim mode that reflects the new head and tail frames of the clip From the Library of michiel pilgram 148 Advanced Editing 3 To enter a specific slip amount with the Slip tool chosen Shift click the clip to tem porarily access the default Selection tool and select the clip Then type the amount and press Return EXE With the clip selected you can also press the Bracket keys to slip a single frame as
429. rrent tracks Linking those clips and then applying keyframes to one of them gives you the exact levels and keyframe controls in both When these clips are unpaired the keyframes remain To set audio keyframes in the Timeline 1 Inthe Timeline make sure that the Clip Overlay option is toggled on 2 Do one of the following Select the Pen tool from the Tool palette or press P When you move the mouse pointer over the pink overlay line a Pen tool appears Click the overlay line in the clip where you want your keyframe to be gt Hold down Option which temporarily converts the default Selection tool to a Pen tool and click the pink overlay line From the Library of michiel pilgram 212 Editing Sound When you add a keyframe to a clip whose audio is a stereo pair keyframes are applied to both tracks at the same time NOTE P You do not have to move the playhead to a particular point before setting a keyframe as you do in Avid but you can if you like You can use the Audio Mixer tool to deposit keyframes on the fly This is discussed later in this lesson To set subframe keyframes in the Viewer Setting audio keyframes in a Viewer audio tab uses the same Pen tool or Option shortcut and pink overlay line as working in the Timeline Although you can set subframe key frames in the Timeline when you zoom into a clip you may find that it s a little easier to do it in a Viewer audio tab because the waveform display is taller
430. rts are a great way to instantly shuffle a shot in the Timeline just as you would in Avid s Segment Insert mode 1 Make sure snapping is enabled so you can snap to current edit points and make swap ping a clip easier 2 With the default Selection tool A select the clip you want to move 3 Begin to move the clip After you have started to move it hold down the Option key A downward hooked arrow appears the clip shape becomes hollow and an informa tion box appears indicating the move amount In the Canvas you see the bordering frames that come before and after the clip or clips you are moving 4 Release the clip at an edit point look for the snapping triangles with snapping on or anywhere in the sequence and then release the Option key This creates an insert edit and closes the gap that was left by the original clip just like an Avid extract splice edit From the Library of michiel pilgram 138 Advanced Editing To perform a lift overwrite edit 1 With the default Selection tool A select the clips you want to move 2 Drag the clips to wherever you want to place them and release the mouse button If you are overwriting at an edit point look for the snapping triangles to appear This creates an overwrite edit and leaves a gap at the original location just like an Avid lift overwrite edit Working with Gaps While Avid uses the Load Filler command to edit black spacers into a sequence Final Cut P
431. ruler park the playhead on a marker and press M To edit a clip marker in the Timeline first select the clip and then position the play head on the clip marker Edit Marker Name Marker 1 Comment Start 01 00 07 08 Duration 00 00 00 00 Color M AOOO AAA Add Chapter Marker ae Add Compression Marker Add Scoring Marker e Delete Cancel An Edit Marker window appears with the current default name highlighted In this window you can name a marker add comments choose a marker color give the marker a specific timecode start point and specify a marker duration You can also add DVD and Soundtrack Pro markers and delete a marker 2 Enter a name for the marker and click a marker color if you want a color other than the default red Choosing a specific marker color for certain purposes can be an excellent organiza tional tool For example you can choose one color for audio notes another for color correcting another for director notes one for graphics or effects needed and so on Throughout FCP 7 colored markers are used for this purpose for example orange markers are used to identify audio peaks when that function is accessed EXT You can choose to hide specific marker colors for all sequences by choosing Edit gt Project Properties In the Marker Visibility section choose the color of the markers you do not want to appear Toggle on that color s visibility at any tim
432. s To create an independent clip When a clip has been edited to the Timeline that sequence clip becomes an affiliate of the master clip from which it was created But you can choose to make a sequence clip independent of its own master clip Then you can make changes to it such as renaming it without affecting its affiliated master clip 1 In the Timeline do one of the following Select a clip and choose Modify gt Make Independent Clip gt Control click a clip and choose Make Independent Clip from the shortcut menu Make Subclip Remove Subclip Limits Make Independent Clip Make Freeze Frame Merge Clips Scale to Sequence Conform to Sequence The new independent clip becomes its own master clip To change a sequence clip into a master clip in one step Option drag the clip from the Timeline into the Browser Before releasing the mouse button press Command When you see the tiny M on the clip icon indicating master clip you can release the mouse button From the Library of michiel pilgram Finding Match Frames NOTE gt If you ve experienced relinking clips in Avid you understand the strength of the master clip relationship in FCP If your clips become offline you can relink just the master clips in the Browser and all affiliate clips in all sequences throughout the project will be relinked automatically If you make a clip independent it will not automatically relink along with the master clip
433. s 366 367 exporting single clip or sequence 364 366 overview of 363 364 Shift key modifier keys for keyboard shortcuts 22 shortcut menus accessing 8 Show Overlays option in Viewer and Canvas windows 38 39 Show Thumbnail column 74 75 shuttle control in Canvas 13 in FCP interface 4 scrubbing audio with 198 in Viewer 12 Sift command Avid 387 single roller Avid 95 From the Library of michiel pilgram single sided editing keyboard shortcuts for 86 87 numerical trimming 86 overview of 84 86 Size slider resizing text 325 slate mastering options 445 Slide tool SS 17 148 sliding clips 148 149 Slip tool S 17 147 slipping clips in Timeline 147 148 in Viewer 148 slow motion types of motion effects 279 slugs filling gaps in Timeline 334 Video Generator options 319 working with gaps 138 Small Trim mode Avid 90 Smart tool Avid 81 snapping in Timeline 35 37 software loading software accompanying this book xv scalability of FCP and Avid architectures 3 third party see third party software Solo control Audio Mixer 196 soloing audio tracks 218 clips or tracks in Timeline 197 Sort command Avid 387 sorting columns 71 sound editing see audio editing sounds enabling disabling 196 Soundtrack Pro 5 1 Monitoring 216 exporting to 375 sending clips to 343 sending files to Final Cut Studio applications 362 source clips finding match frames to 145 viewing 12 so
434. s a helpful reference and click OK Nest Items Name Sponge Dolphins_NEST Width Height Aspect Ratio 720 480 NTSC DV 3 2 He wi Keep Effects Markers and Audio Levels with Clip Mixdown Audio Conc XD 3 Single click the nested item to select it and choose Effects gt Video Filters gt Video gt Timecode Reader The sequence timecode at the playhead location will appear in the Canvas NOTE gt When applied to a nest the filter displays sequence timecode When applied to an individual clip it displays the source timecode of the clip From the Library of michiel pilgram 448 Finishing and Outputting TCR 01 00 05 523 EXIT To view both source and sequence Master timecode at the same time step inside the nest press Command A to select all the clips and apply the Timecode Reader filter to all the selected clips Then step out of the nest and apply the filter to the nest itself Rearrange the windows so that both source and sequence timecode can be seen 4 To change the Timecode Reader settings Option double click the selected nested item to open it into the Viewer and then click the Filters tab E gt if you Option double click one track of an unselected nest only that track will open in the Viewer Be sure to select all tracks associated with the nested item before Option double clicking _ e M m a 5 Adjust the visual timecode s size position font and back color and opacity u
435. s and Interface You can open a sequence by double clicking its icon or selecting it and pressing Return You can add a color label to any clip bin or sequence The clip and sequence colors appear on the clip or sequence tabs in the Viewer or Timeline and Canvas windows You can reveal the name and keyboard shortcut for any tool or button by moving the pointer over a tool or button to open a tooltip The Timeline track area is where you control certain aspects of each track by per forming tasks such as locking it turning the monitoring of sound or image off or on and so on You can zoom into a Timeline using the zoom scale control the Zoom In tool or key board shortcuts You can reposition it using the zoom slider or Hand tool You can use multi touch gestures to zoom and navigate the Timeline You change the number of undos in the User Preferences window Keyboard Shortcuts Command Shift N Command Shift S Command S Command Option S Command O Control click Command B Command W Control W Command N Shift T Create a new project Rename and save a project Save changes to the current project Save changes to all open projects Open a project Open a shortcut menu Create a new bin Close an active window Close the current tab in the active window Create a new sequence in the Browser Cycle through different track heights From the Library of michiel pilgram Keyboard Shortcuts Option plus sign Option
436. s in Avid an Absolute entry raises or lowers all selected tracks from their original 0 dB level by a single value This is an excellent strategy for boosting low level recordings but use it carefully if you ve already balanced your tracks Changing Audio Output Channels Final Cut Pro can output up to 24 channels of audio that as in Avid you can route and downmix to just as many or fewer output channels provided you have the hardware to support that many tracks Like creating an Easy Setup preset for your specific video attri butes you can also create presets for your audio Once you create a preset you can load it into any existing sequence To create an audio output preset 1 Choose Final Cut Pro gt User Preferences or press Option Q to open the User Preferences window 2 Click the Audio Outputs tab and then click the Duplicate button in the bottom of the window to duplicate the default settings You will make changes to the duplicate An Audio Outputs Preset Editor dialog opens in which you can choose the number of tracks you want to output and the type of each track stereo or mono 3 Give the preset a name such as 24 tracks stereo and click OK From the Library of michiel pilgram Working with Video Scopes 429 When this preset is selected in the User Preferences window all newly created sequences will be set up for 24 channel stereo output To load an audio output preset If you have already started editing or
437. s in a tab delineated format the information is placed into separate cells in the spreadsheet Adjust the column widths to allow the information to be read easily You can now print the batch list and archive it with your other project elements What You ve Learned gt Final Cut Pro can detect audio peaks in one or more clips or in an entire sequence and mark those locations in the Timeline ruler area or on a selected clip You can adjust audio levels using the Gain Adjust window or the Audio Mixer You can also control audio levels at the clip level by adjusting the volume overlay lines and any keyframes on that line The Range Check function alerts you to chroma or luma levels that exceed acceptable broadcast limits From the Library of michiel pilgram What You ve Learned 453 When you open the Video Scopes tab in the Tool Bench you can check video levels using any of the four scopes Vectorscope Waveform RGB Parade and Histogram FCP provides filters that you can apply to make your sequence broadcast safe as well as two color correction filters to adjust a clip s color You can use the Limit Effect portion of a color correction filter to adjust just the selected color range of an image You can output your project by recording it manually on a noncontrollable device printing to video or editing to tape The Print to Video and Edit to Tape functions enable you to automatically add mas tering options su
438. s these and other methods to perform those edits Do one of the following gt Click the red Overwrite or yellow Insert Splice edit button FCP Canvas edit buttons NOTE gt The FCP edit icons reflect the direction and consequences of the edit Insert pushes edits over and Overwrite lays down edits on top of what s already in the Timeline gt Press F9 to make an insert edit Avid s V key or F10 to make an overwrite edit Avid s B key If you are working on a laptop hold down the Fn key in the lower left of the keyboard in addition to the function keys EXE These function keys are also used in Mac OS X Expos functions to show and hide programs and documents on your desktop You can remap these editing func tions to the familiar Avid V and B keys or change the Expos defaults in Apple System Preferences gt Drag the clip image from the Viewer onto an edit button in the Canvas gt Drag the clip image from the Viewer into the Canvas window When the Edit Options overlay appears release the clip onto the red Overwrite or yellow Insert option From the Library of michiel pilgram 34 Translating Basic Editing Skills ds i a a FCP Canvas Edit Overlay You can also drag a source clip from the Viewer or even from the Browser directly into the Timeline This approach is covered in detail in Lesson 6 Conforming Sequence Settings In Final Cut Pro settings are attached to individual
439. se where in the project Double check your clip choices and marks before proceeding If your new clip marks are all correct click Continue not Add From the Library of michiel pilgram Recompressing and Creating Offline Clips 417 When this process is complete check the new project to determine that all the neces sary files are intact If they are and you don t need the original media files any longer you can select the items in the old project and use the Make Offline command to unlink the clips and delete the media files from your disk Recompressing and Creating Offline Clips As in Avid you can capture clips at a lower resolution to do an offline edit This lets you store much more media on your media drives as you make your initial editing choices When you have identified the clips you want in your final sequence you can recapture those clips at a higher resolution In FCP as in Avid you can use the same clip informa tion to recapture This can be done by unlinking the clips from their media files and batch capturing new media files at the higher resolution If however you captured at a high resolution FCP lets you create a low resolution version of your current project by recompressing existing higher resolution media files This can be helpful if you want to work with the low res media on your laptop To recompress your media files The Recompress option in the Media Manager will change the resolution of an existing clip o
440. se just those attributes that you want to paste from the copied clip to the new clip Filters are listed together in a single group Certain motion effects which are discussed in Lesson 10 appear as separate attributes You can also copy a clip and paste its attributes to a group of selected clips or a range of material 1 Select the clip that has the attributes you want to use and press Command C to copy it 2 To open the Paste Attributes dialog do one of the following gt Control click the clip to which you want to paste those attributes and choose Paste Attributes from the shortcut menu item Properties Send To Cut Copy Paste Paste Attributes Remove Attributes Ripple Delete Clip Enable Change Speed Composite Mode Select a clip and choose Edit gt Paste Attributes or press Option V A Paste Attributes dialog appears with a list of all the audio and video attributes that can be pasted 3 Select the checkbox beside each attribute you want to paste 4 Click OK When you paste attributes into a clip you are adding the copied filters to whatever filters already exist in that clip not replacing them However speed and motion attri butes will completely replace any other speed or motion attributes EIT To paste attributes into more than one clip select the clips and paste as in the preceding steps From the Library of michiel pilgram 258 Transitions and Effects To remove attributes from
441. se the Share dialog to export multiple clips or sequences from the Browser When you choose to export multiple items you can combine the sources into one or export the items as separate sources 1 Inthe Browser select the clips and or sequences you want to export Then do one of the following gt Choose File gt Share Control click one of the selected items and choose Share from the shortcut menu gt Press Command Shift E When you select several items to export Share displays a dialog in which you can choose to export the items as separate sources or combine them into one long source Multiple items have been selected for export O Export as separate sources fs Combine sources into one source All sources will be conformed to the settings of the first source Custom Name Australia Dolphins Total Duration 00 05 31 25 E Add chapter markers at the beginning of each source Name markers with Ccancei Gans From the Library of michiel pilgram Using Other Export Options 367 2 Choose the appropriate option and click OK 3 Choose the destination where you want to save the file 4 From the Output Type pop up menu choose the desired output EXT To view the compression settings for a specific output click the Show Info button for that output 5 To add another output type click the Add Output button next to the Filename field and from the Output Type pop up menu choose the target format Then click E
442. segments of your sequence in the same general way as you do with Avid selecting a clip or setting In and Out points in the Timeline While Avid indicates the need to render by using colored render dots that appear in the Effect Editor on an effect in a sequence clip or a bar in the timecode track Final Cut Pro uses separate colored audio and video render lines that appear in the Timeline ruler area NOTE gt As with Avid regardless of real time capability during the editing or pre viewing process your entire FCP sequence should be rendered at the highest quality for final export or Edit to Tape to guarantee the full resolution synchronization and color you ve specified Lesson 14 discusses exporting and outputting From the Library of michiel pilgram Rendering Effects 259 Avid render status dots As outlined earlier in this lesson you can choose Unlimited RT and a Dynamic playback from the RT pop up menu to see the greatest number of effects play Final Cut Pro has some additional functionality in this area For example you can choose to render a clip or segment at any one of the different render levels However FCP doesn t have email notifi cation upon render completion as does Avid 5 Render Status Lines The render status area lies just above the timecode reference in the Timeline ruler area The upper portion of the bar represents video render need and the lower portion repre sents audio render need When a clip is edite
443. selection np 7 Rate Gain apy and input ee type Headset controls Avid Punch in tool FCP Voice Over tool To record a voiceover NOTE P The voiceover function records mono audio on only one track at a time 1 To practice delivering the narration track play the sequence and speak into the mic You can track your audio levels in the Voice Over window 2 Either mute your speakers or toggle off the Audible controls for any tracks you do not wish to record through your mic 3 To record click the red Record button There will be an audio countdown to prepare you Begin recording when the recording light turns on From the Library of michiel pilgram 224 Editing Sound 4 To stop recording click the black Stop button After you begin recording the Record button changes to a black Stop button Fm an ah oar F ah FI hel rr L j j i f i E n j The recorded track is saved in the Capture Scratch folder of your scratch disk Check your scratch disk designation in the System Settings window NOTE gt You can import and export a voiceover file just like any other audio file You can also drag the clip from the sequence into the Browser rename it and use it again NOTE P Real Time Audio Suite RTAS plug ins can be applied to entire tracks in Avid 5 whereas FCP audio effects are applied to an individual clip or group of clips While you can nest FCP audio clips on a track and apply a single audio filte
444. sequence clip just your view of it i E i Ee a Feduce Avid Reduce button From the Library of michiel pilgram 296 Speed and Motion Effects To change the image view in the Canvas or Viewer You can apply the following zoom options in both the Viewer and Canvas windows Make sure either the Viewer or Canvas window is active before trying to change the image view Do one of the following gt Select the Zoom pop up menu and choose a percentage 3 sa Aii Lho di LEETE t ALLEE er ras bri mst az Dolphins and Whales 00 00 02 Z Y Fit to Window ey 01 00 00 14 ED 7 709 i Fit All e s00 z i J 400 E 200 100 50 25 12 ae h pE a gt Press Command plus sign to zoom in and view more detail in the image press Command minus sign to zoom out and view the image smaller Don t confuse these with the Timeline zoom shortcuts Option and Option gt Select the Zoom In tool magnifying glass from the Tool palette or press Z and click the image to zoom in You can also press H for the Hand tool to move the image within the Viewer or Canvas Zoom In tool gt Use the Zoom In tool to draw an invisible marquee around the part of an image you want to view larger gt To zoom out choose the Zoom Out tool the magnifying glass icon with a minus sign or press ZZ and click the image With the Zoom In tool active you can hold down the Option key to access the Zoom Out tool wi
445. sing the parameter controls Now you can output this sequence to tape with a window burn From the Library of michiel pilgram Backing Up Projects 449 EXT You can also apply the Timecode Generator filter to display a timecode based on something other than your sequence frame rate For example you can display 24 frames per second timecode as a reference even though your sequence may be 29 97 or 25 fps Backing Up Projects As experienced Avid editors know the Attic has saved many a day after an unexpected power failure or some other event interrupts an edit On certain occasions it s even easier to restore a saved version than to completely undo an involved edit session that ist fruitful In Final Cut Pro you ll find that the Autosave Vault is operationally similar It is located in the Macintosh HD gt Users gt User Name gt Documents gt Final Cut Pro Documents folder and contains copies of every active project In addition to backing up your project you may also find it helpful to archive a list of clip information found in the Browser columns Final Cut Pro Documents 6 items 644 83 GB available Color Documents 9 Audio Render Files Final Cut Pro Documents E Autosave Vault Final Cut Pro Project Files Capture Scratch Thumbnail Cache Files Waveform Cache Files 9 Motion Documents al Soundtrack Pro Documents i 0 Microsoft User Data Render Files i If the Autosave Vault is acti
446. sition from image to image You can create your own animated graphic in Motion or experiment with several professional mattes by download ing them from the Apple website EET To download a free set of nine Apple alpha transitions go to http support apple com downloads Alpha_Transitions Once downloaded import them into your project To apply an alpha transition 1 Inthe Browser Effects tab display the Wipe transition options Drag the Alpha Transition icon to the desired edit point location NOTE gt If you want a transition to appear at both ends of a clip drop the transition onto the middle of the clip and not on an edit point From the Library of michiel pilgram Working with Alpha Transitions 245 2 To open the transition in the Transition Editor double click the alpha transition in the Timeline In the Alpha Transition parameters you have three wells where you can drop the clips Clip Clip Alpha Matte and Wipe Matte that make up the Alpha Transition effect 3 Inthe Browser find the elements you ve created or downloaded Each of the Apple clip elements is labeled according to its use Clip Clip Alpha Matte or Wipe Matte Some alpha transitions contain elements for both HD and SD sequences The SD elements are contained in a separate bin 4 Drag each element into the well of the same name in the Alpha Transition param eters area 5 Preview the effect From the Library of michiel pilgram 246 Tra
447. sitions to multiple 235 adding transitions to single 233 234 dragging in Trim Edit window 88 89 location in Trim Edit window 83 navigating in Trim Edit window 83 opening Trim Edit window by double clicking 242 rippling in Timeline 90 91 rolling in Timeline 89 90 selecting 82 setting 44 trimming multiple 93 94 Edit Selection tool G 82 97 Edit to Tape command 443 444 Edit with Transition 236 editing adding deleting tracks 45 46 audio see audio editing conforming sequence settings 34 35 creating subclips 39 41 enabling Canvas and Viewer view overlays 37 39 lifting and extracting 41 43 mark commands 29 30 markers 159 161 multicam editing see multicam editing overview of 27 overwrite and insert edits 32 34 From the Library of michiel pilgram 464 Index patching tracks in Timeline 30 play commands 28 29 review 46 47 selecting editing presets 52 shortcuts 47 49 snapping in Timeline 35 37 split edits and L cut edits 43 45 with transitions 239 240 editing controls in Canvas 13 33 in FCP interface 4 in Viewer 12 Editing tab User Preferences 57 87 EDL manager Avid 348 EDLs edit decision lists creating master clips 142 exporting 378 379 importing 348 349 Effect palette Avid 229 230 Effect tab Avid Project window 229 effects adjusting playback control 232 applying composite modes 272 273 applying drop shadow to text clip 324 applying
448. sn t have a specific Reverse Selection or Select Media Relatives sift option you can use Column view and Quick Look on the Finder level to search for and delete specific render files Media Drivets Projects s Avid Hew Project Media Universal Mastering Test Media Drive 2 f o Master Clips W gt Precompute Clips Media Files Cancel From the Library of michiel pilgram Managing Render Files 407 FCP render files are saved to the scratch disk which can be set in the System Settings win dow Shift Q or during the capture process When you assign a scratch disk location a Render folder is created to store render files When you render an effect another folder is created within the Render folder with the project name The render file itself has the name of the sequence along with a unique FCP number to identify it The default location for render files is Macintosh HD gt Users gt User Name gt Documents gt Final Cut Pro Documents gt Render Files gt Project Name While this is the default loca tion for render files you will probably want to change this path to a dedicated scratch disk during your initial setup Render files are bona fide media files and you may encounter playback issues if they are on your boot drive 0 Constant Frames a Training 00000003 Y Preview I Lesson 4 Project I Lesson 8 Project gt I Lesson 9 Project E Lesson 13 Project Training Dolp FIN 00000004 Kind Final Cut
449. snap the clip marker to the sequence marker From the Library of michiel pilgram Editing Markers 159 To delete markers Do one of the following gt To delete a single Timeline marker move the playhead to the marker and press Command tilde gt To remove a single marker placed on a clip select the clip first move the playhead to the marker and press Command gt To delete all markers in the Timeline ruler area press Control gt To delete all markers in a clip move the playhead over the clip in the Timeline and select it or open it in the Viewer and press Control Editing Markers Avid has a Locator window in which you can view a list of clip locators and add locator names In Final Cut Pro you name your markers in an Edit Marker window With FCP markers you can also create marker durations and convert markers to subclips You can even use markers as a reference for DVD chapters and DVD compression change points and to add scoring markers to use in the Apple software Soundtrack Pro The menu options for markers appear on the Mark menu Locators CU TS 2 dolphins swim by Avid Locator window To access the Edit Marker window You can access the Edit Marker window from the Viewer Canvas Timeline and even the Browser window although that approach is a little different than the others From the Library of michiel pilgram 160 Advanced Editing 1 In the Viewer Canvas or Timeline
450. so used in the tail portion of the second clip The tail of the third clip has frames duplicated at the head of the fourth clip 3 To move to where those duplicate frames occur again in your sequence Control click one of the duplicate frame clips From the shortcut menu choose Dupe Frames and then select a clip from the submenu This works just like finding a marker in the sequence Cut Copy Paste Paste Attributes Remove Attributes Ripple Delete Clip Enable Speed Composite Mode Dupe Frames 95 Uncollapse Multiclipts Reconnect Media Madia Manager Capture 4 To include handles in the frame detection press Option Q to open the User Preferences window and enter the desired handle frames in the Dupe Detection area Still Freeze Duration 00 00 10 00 Preview Pre roll 00 00 05 00 Preview Post roll 00 00 02 00 Dupe Detection Handle Size 1 frames Threshold 0 frames Render Management Tips While Final Cut Pro can play back several streams of real time effects at once on even a moderately powerful Macintosh there will be times when you max out your system s real time capability or choose a combination of effects that are not real time As in Avid you may feel the need to render an effect immediately to see it and evaluate it But before you jump in and create a hefty render file know that there are other ways to view and evaluate your effects before committing to a full render
451. such as AVCHD From the Target Format pop up menu choose the desired format Log and Transfer Import Preferences E Remove Advanced Pulldown and Duplicate Frames Clear Logging Autofill Cache in Source Format Target Format Y MPEG Consumer Cameras MPEG25D Apple ProRes 422 Y P2 Plugin Apple ProRes 422 HQ P2 AVC Intra Apple ProRes 422 Y AVCHD Plugin Apple ProRes 422 LT AVCHD _ Apple ProRes 422 Proxy f Apple Intermediate Codec Changing Naming Preferences You can rename a clip in the Clip Name column in the Browse area or in the Clip Name field in the Logging area of the Log and Transfer window But you can also choose a preset naming option or create a customized name Doing so allows you to maintain consistency and use similar names as you transfer a group of clips To choose a naming option do the following 1 In the upper left of the Logging area from the Name Preset pop up menu choose one of the preset options Name Prese g o Current Name and Clip Date Time Current Name with Counter Clip Date Time Custom Name with Counter Clip n Scene 2 To customize a preset name choose Custom Name with Counter and enter a name in the Custom Name field From the Library of michiel pilgram Changing Naming Preferences 123 The name you entered will be the name of all of the clips followed by the number of the item as it was transferred such as 001 To
452. t Clear Default Video Filters Favorites Audio Transitions Favorites Default Cross Fade 3a0B Set Default Clear Default Audio Filters Favorites Make Favorite Motion Motion Favorites From the Library of michiel pilgram 314 Speed and Motion Effects The effect is placed in the Effects folder in the Browser under Favorites The new favorite is named after the clip it was made from but you can change the name by clicking it and entering a new name Motion on stay off You can also save a combination of keyframed and nonkeyframed motion effects as a favorite For example you can apply a speed change opacity scale and crop and then save the group together What You ve Learned gt You can make speed or freeze frame motion effects using a menu selection or key board shortcut gt Unlike the one in Avid the FCP constant speed function also affects the audio por tion of a clip if the audio and video are linked gt You can set keyframes to create speed segments within a clip to create variable speed effects gt When you choose Modify gt Make Freeze Frame FCP creates freeze frames with a default duration set in the User Preferences window gt FCP has a dedicated Fit to Fill editing button as well as a Fit to Fill Edit Overlay in the Canvas gt Unlike Avid FCP requires only playhead positions to prepare a clip for a simple Fit to Fill edit But you can also set In and Out points
453. t Both or press Option R EXT In the User Preferences window you can set FCP to render the current sequence all opened sequences or all but the current sequence in the Timeline auto matically when you take a break Before you activate this function make sure you ve set your render scratch disk in the System Settings window FCP does not however have an email notification option as does Avid 5 From the Library of michiel pilgram Rendering Effects 263 M Auto Render Render RT Segments To preview effects Before rendering there are other ways to view frames of your effect Do one of the following gt Press the Left and Right Arrow keys to move through an effect one frame at a time gt Hold down the Left or Right Arrow key to see the effect play in slow motion gt Park the playhead before an effect and press Option P to review the effect in slow motion gt Choose Tools gt QuickView or press Option 8 A QuickView tab opens within the Tool Bench window on top of the Viewer This window or tab can be repositioned anywhere in the interface NOTE P QuickView is a RAM preview tool that loads effects into RAM so you can preview them in real time without rendering You can choose a length of time using the Range slider or set In and Out points in the Timeline Canvas or Viewer to play In to Out Tool Bench FCP QuickView window From the Library of michiel pilgram 264 Transitions and Effects Superi
454. t Cross Fade 3dB From the Library of michiel pilgram 236 Transitions and Effects Group of clips selected with In and Out points Video transition applied to edit points within selected area ETT If you used edit points to select a group of clips the edit points will remain after you apply transitions Press Option X to remove any In and Out points 3 To apply a transition by dragging it from the Effects tab select the target clip or clips without using edit points Then drag the desired transition from the Effects tab onto the body of the selected clip or clips and not directly on the edit point Modifying Transitions If you like using keyboard shortcuts to apply transitions but don t want to apply the cur rent default transition you can easily change the default transition option And once you ve applied a transition to an edit point you can modify it by changing its duration or alignment To change the default transition The default transition responds to shortcut keys and toolbar buttons for creating and placing transitions and to another transition option called Edit with Transition covered in the next section You can designate only one default video and one default audio transi tion at a time although FCP also assigns keyboard shortcuts to your top four favorites in each category video and audio NOTE P An additional five shortcut keys are unmapped but available to place a full transition keyset at your finger
455. t i eet io BEHZ Pal et Preset WW NIM 48 kHz W From the Library of michiel pilgram Importing EDLs and Batch Lists 349 2 Make the following settings choices Select Preset Determine the capture codec for the clips in the EDL Import For Recapture Use for EDLs from linear editing systems or non Quick Time standard nonlinear editing systems It can automatically add handles to clip length Import For Reconnect Use when files are already on disk and you simply need to link to them Import For Custom Use when you want to customize your settings 3 When the Choose a File window appears navigate to the EDL and click Choose NOTE gt When you import an EDL you do not need to create a separate batch cap ture list You can simply batch capture the clips in the Master Clips for sequence name folder To import a batch list You can also create a batch list or logging list on another system in a word process ing program even SimpleText will do or a spreadsheet such as Excel or Numbers and import it directly into FCP Make sure the document is not saved as RTF rich text for mat Once imported you can capture and edit your material in FCP The primary point to remember when creating a batch list is that any column heading used in the list must match those in the current Browser or bin column layout and all of the information must be delineated by tabs not spaces 1 Make sure the column headings in the b
456. t not the speed of the adjacent clip You only change its length by rolling it just as you would when editing a clip in Avid with a Trim to Fill segment effect NOTE gt If either clip has speed segments only the outer segments will be affected when you apply the Speed tool to the edit point Applying a Freeze Frame Effect Creating a freeze frame in the Timeline is as easy as creating speed segments To create a freeze frame you change a speed segment to 0 You can also create a freeze frame in FCP in almost the same way as in Avid However rather than choosing a freeze length from a list of durations FCP freeze amounts follow the Still Freeze Frame default duration in the User Preferences window Option Q To create a freeze frame using speed segments 1 Inthe Timeline click the Clip Keyframes control to display the track speed ticks 2 Park the playhead on the frame you want to freeze Snap the pointer to the playhead and click in the speed tick area to create a speed keyframe at that location 3 Control click the segment to the right of the playhead and from the shortcut menu choose Change Speed Segment 4 Inthe Rate field enter 0 and click OK From the Library of michiel pilgram Applying a Freeze Frame Effect 293 In the speed tick area beneath the clip the speed segment displays no speed ticks because there is no clip motion past the freeze frame keyframe location ET To create a run freeze run effect simply ad
457. te change will flatten the audio levels so that they are all at one specific level gt Use the keyboard shortcuts on all selected clips Working with Stereo and Mono Audio In most capture situations in Avid audio brought in from an analog source is converted to two discrete audio channels In Avid 5 after capture you can convert discreet tracks to a stereo track using the Set Multichannel Audio option in the Modify menu In Final Cut Pro discrete audio channels appear as two separate Mono tabs in the Viewer But you can also choose to capture two audio tracks as a stereo pair in FCP which then share one Stereo tab Regardless of whether tracks are captured as a stereo pair or separate left and right channels in FCP they can be unpaired or re paired according to your needs during editing However whereas Avid allows you to split multichannel tracks into mono tracks in the bin or Timeline FCP clips can only be unpaired or re paired in the Timeline window FCP treats a stereo pair of audio clips as if they were one track although they appear as two separate clips on two separate tracks in the Timeline The benefit of working with stereo pairs is that whatever you do to one track also affects the other Change a level on one track and the level also changes on the other track Add an effect or cross fade to one track and it s applied to both tracks simultaneously Add a level keyframe to one and it appears on the other Fro
458. terial isn t available to extend to that location nothing will happen You may need to readjust your playhead location EiT You can also extend multiple edit points to the same location for example to end music tracks or composited clips at the same time To select multiple edit points select the first one then Command click additional edit points to add to the selection Placing Markers Avid s locators are markers in FCP Like FCP markers Avid locators label a particular frame in a clip on any track in the Timeline and allow you to store a displayable caption Final Cut Pro performs this same function with one primary difference In addition to placing From the Library of michiel pilgram Placing Markers 155 markers on individual clips for example to maintain sync between tracks you can also place markers directly on the Timeline ruler With one marker in the Timeline ruler that never moves and another one on a clip that follows clip movement you have the abil ity to sync a specific location in a clip with a specific location in a sequence FCP 7 offers new marker functionality You can choose from eight marker colors view selected marker colors export a markers list and ripple sequence markers with sequence cuts echoing Avid s default locator behavior Avid locators on clips To create a clip marker in the Viewer Markers set in the Viewer are attached to the master clip and also appear on that portion of t
459. ters As mentioned before you can apply a filter to a master clip in the Viewer or a sequence clip in the Timeline If you apply a filter to a sequence clip you must open it in the Viewer before you can make changes to its filter When you select the Filters tab in the Viewer you can no longer see the clip s image on the Video tab But there are several ways you can view the filter parameters as you make your adjustments 1 Make sure you have applied a filter to a clip in the Timeline 2 Double click the clip to open it in the Viewer Now you can use the Viewer Filter tab to modify your effect parameters as you would in Avid s Effects Editor 3 To view the filter changes do one of the following gt Park the playhead over that clip in the Timeline you will see the filter changes in the Canvas gt Drag the Video tab away from the Viewer window The Video tab becomes a sep arate window and you can see the Viewer image as you change the filter param eters This method is a good option for editing a master clip in the Viewer 251 From the Library of michiel pilgram 252 Transitions and Effects gt Choose Tools gt Frame Viewer or press Option 7 to open a Frame Viewer win dow in the Tool Bench F A Hr a A Bi None 2nd Edit Back Previous Edit Current Frame a Current w o Filters at Next Edit N 2nd Edit Forward In Point Gut Point Viewing clip with Sepia filter applied A Frame Viewer allo
460. th those of the clip on the track below and selects the darker of the two You can use Darken to remove white backgrounds easily Lighten Compares the color values of each pixel in the clip with those of the clip on the track below and selects the lighter of the two You can use Lighten to remove black backgrounds easily Travel Matte Alpha See Travel Mattes later in this lesson Travel Matte Luma See Travel Mattes later in this lesson To apply an FCP composite mode effect 1 2 Superimpose one video clip on top of another in the Timeline Select the uppermost clip To select a composite mode do one of the following Choose Modify gt Composite Mode and select the desired mode Composite Mode a wv Normal Alpha Type gt Add Reverse Alpha Subtract Difference Multiply Overlay Hard Light Soft Light Darken Lighten Travel Matte Alpha Travel Matte Luma From the Library of michiel pilgram Applying a Composite Mode 273 gt Control click a clip choose Composite Mode from the shortcut menu and then select the specific composite mode you want to apply from the submenu NOTE P Unlike filters you can t combine multiple composite modes in one clip V1 clip V2 clip Composite image with overlay applied to V2 clip When you apply a composite mode to a clip a red render bar may appear depending on your RT settings You can view the composite by dragging the playhead throu
461. the Final Cut Pro Effects menu and in the Effects tab in the Browser gt Real time transitions in boldface type require no rendering for playback even out to video preview gt You can adjust real time settings in the RT pop up menu in the Timeline gt You can add transitions either by dragging them directly to the Timeline or via the Effects menu after selecting an edit point gt You can change a transition s alignment via a shortcut menu or in the Transition Editor tab and with keyboard shortcuts gt You can modify the length of a transition by Control clicking an existing transition and changing it in the Duration dialog by dragging the edge of the transition left or right or by entering a new duration on the Transition Editor tab gt You can apply an alpha transition and incorporate animated mattes gt You can add overwrite or insert edits with the default transition already attached either in the Canvas overlay or by dragging the clip atop the blue Replace button and choosing Insert with Transition or Overwrite with Transition option or with key board shortcuts gt To open the Transition Editor double click either side of the transition icon in the Timeline gt You can set any transition you choose as the default transition gt To add the default transition to multiple clips at one time select them all and with the playhead on the first frame of the selected group drag them to the Canvas and
462. then drop them onto the Overwrite with Transition Edit Overlay option From the Library of michiel pilgram 276 Transitions and Effects gt You can access the FCP video and audio filters and apply them to a single clip a group of clips a range of clips or material or even to an entire sequence gt To modify a clip s filter parameters in the Filters tab in the Viewer double click to open the clip in the Viewer gt The Frame Viewer gives you a split screen view of a clip with and without the filter effect or other viewing options gt You can delete filters in the Viewer or by Control clicking in the Timeline and choos ing Remove Attributes gt You can save a transition filter or a group of filters as a favorite template gt FCP automatically assigns keyboard shortcuts to your top four favorite effects from each category gt Unlike Avid FCP allows you to copy and paste video and audio attributes including filters motion effects and clip content from one clip to another gt Similar to Avid s render dots and bars FCP displays render lines in the Timeline color coded to indicate render status and need gt You can choose various render options in the Sequence menu gt You can preview an unrendered clip by scrubbing through it pressing Option P or by choosing Tools gt QuickView gt You can add third party filters to the FCP Plugins folder and they will appear as options in the Effects menu a
463. thout selecting it from the Tool palette When you change to a zoomed out view of an image the entire image area becomes smaller When you work with motion effects the gray space around the image area becomes your work palette where you can position clips to move in and out of the active image area From the Library of michiel pilgram Zooming the Image View 297 Finished Ci 00 00 55 26 OH iss e3 01 00 50 29 SSE a a el Dl hd ny OM OO 0 6 The active image area is what you will see when you output your sequence For edit ing purposes it can be black white or checkerboard depending on what you have selected in the View pop up menu Canvas image area black with image repositioned offscreen ETT To restore the image to its default view choose Fit to Window from the Zoom pop up menu or press Shift Z When Fit to Window is selected you can resize the win dow and the image will resize along with it To allow FCP to accommodate the discrep ancy between video and computer monitors keep Correct for Aspect Ratio selected From the Library of michiel pilgram 298 Speed and Motion Effects Sizing and Positioning an Image You can adjust a clip s size position and other motion parameters by entering numbers and dragging sliders in the Motion tab as you might in Avid systems But while Avid requires you to be in Effect mode to use wireframes which allow a more direct approach
464. ticlip editing You can enter angle information into the Angle field in the Log and Capture window or into the Browser s Angle column As in Avid angles in multiclips are synchronized using either In points Out points or common timecode as a sync reference As in Avid you group clips by selecting them in the Browser and choosing Modify gt Make Multiclip or by Control clicking one of the selected clips and choosing Make Multiclip from the shortcut menu While you can group up to 128 angles into a multiclip only 16 can be viewed and played in real time Multiclip angles can be viewed as 1 up 4 up 9 up or 16 up These options are found in the View pop up menu in the Viewer You can toggle multiclip overlays on or off to display source angle name number and source timecode from the View pop up menu in the Viewer or by choosing View gt Show Multiclip Overlays To change the order or arrangement of angles in split view you hold down the Command key and drag an angle to a new position To resynchronize an angle in a multiclip hold down Shift and Control and drag left or right to slip the angle s source media backward or forward in time You can drag a multiclip to the Timeline or Canvas only by holding down the Option key before you drag the multiclip from the Viewer From the Library of michiel pilgram What You ve Learned 189 gt To delete angles from a multiclip hold down the Command key and drag the angle
465. tifying range for audio peak detection 425 removing 236 Input Channel pop up menu 104 insert edits F9 conforming sequence settings and 35 drag and drop edits 133 extract insert edits 137 inserting source audio 198 making 32 34 48 Insert with Transition Shift F9 240 inserting tracks 45 46 interface dynamically resizing 61 62 exploring FCP interface 4 6 Trim Edit window 83 invert filters 337 Item Properties 60 61 J J K L keys dynamic trimming 87 88 97 play backward stop play forward 47 playing and extend editing on the fly 153 scrubbing audio with 198 shuttling to source media 113 jog and shuttle controls Audio tab 193 Jog control in FCP interface 5 jog wheel in Canvas 13 Log and Capture window 102 in Viewer 12 JPEG files 367 K keyboard layout loading for multiclips 182 mapping FCP commands to keyboard 66 67 overwrite edits 65 66 saving and loading 67 68 From the Library of michiel pilgram 468 Index keyboard shortcuts advanced editing 167 169 audio editing 226 227 capturing and transferring 125 customizing projects 78 79 dual roller trimming 86 87 editing 47 49 effects 277 finding shortcut keys 237 freeze frames 293 294 generators 341 importing and exporting 385 motion effects 315 multicam editing 189 project management 421 projects and sequences 22 trimming clips 97 keyboards customizing 65 68 mapping FCP comman
466. times Variable js Basic Motion p Crop C p Rotation Distort Canter Opacity Anchor Point Drop Shadow Motion Blur Show All Time Remap Hide All Show All Hide All In the motion path shown in the following figure the beads between the first key frame and the top keyframe are farther apart than those between the top and end keyframe The closer together the time beads the more time there is between those From the Library of michiel pilgram Creating Favorite Motion Effects 313 two keyframes In other words the more beads the slower the movement Here the image will move more quickly between the first and second keyframes than between the second and third In this way the time beads that indicate Motion Path speed are exactly the opposite of the tick marks that represent clip speed in the Timeline Creating Favorite Motion Effects If there is a specific combination of motion effects that you want to reuse such as a pic ture in picture with a colored border effect or a split screen you can save it as a favorite motion effect Doing this saves you a lot of valuable editing time and ensures that your effects are repeated consistently To create a favorite motion effect 1 Select the clip that has the motion effect you want to save as your favorite 2 Choose Effects gt Make Favorite Motion or press Control F Effects Make Favorite Effect Video Transitions Favorites Default Cross Dissolve Set Defaul
467. ting Selecting Capture Settings As in Avid in Final Cut Pro you must set the destination and resolution of the mate rial you are going to capture In FCP these options appear on the Capture Settings tab of the Log and Capture window You also use this tab to specify how your device will be controlled For instance FCP supports both FireWire and several popular serial control protocols such as RS 422 You can even repurpose your Avid deck control cable by adding a USB adapter on the Macintosh end Many FCP users choose RS 422 control to improve the accuracy of FireWire timecode while capturing DV FireWire NTSC i DY NTSC 48 kHz Capture Settings tab From the Library of michiel pilgram Selecting Capture Settings 105 NOTE gt If you programmed an Easy Setup for your specific media format you will see that preset in the Capture Input pop up menu or you can choose different options Device Control In FCP you can control devices through FireWire in both NTSC and PAL standards You can also capture material directly from a camera by choosing Non Controllable Device If your deck supports RS 422 control you can choose this as an option in FCP DVCPRO HD 1080150 FireWire DVCPRO HD FireWire FireWire NTSC 7 FireWire NTSC Basic W FireWire NTSC NDF FireWire PAL FireWire PAL Basic Non Controllable Device Device Control options Capture Input The Final Cut Pro Capture Input pop up menu in the Log and
468. ting 45 46 audio see audio tracks From the Library of michiel pilgram 480 Index controlling Timeline tracks 19 20 dynamically resizing 62 patching in Timeline 30 saving track layout 65 Sync Lock 95 Track Height control in Timeline 14 video see video tracks trailers mastering options 445 446 Transfer Queue area Log and Transfer window 118 120 transferring clips adding clips to transfer queue 119 120 changing transfer preferences 121 122 overview of 118 Transition Alignment options 237 238 Transition Editor applying alpha transitions 245 opening 240 241 saving favorite transitions 254 Transition Effect Preservation Avid 239 transitions adding to multiple edit points 235 adding to single edit point 233 234 applying alpha transitions 244 246 changing and copying 242 changing default 236 237 duration of 238 editing with 239 240 finding in Timeline 390 391 keyboard shortcuts 243 modifying 236 moving or copying 244 opening Transition Editor 240 241 overview of 229 positioning on clips 237 238 previewing 245 246 saving favorites 254 swapping one for another 243 transparency alpha channels and 360 362 transport buttons in Canvas 13 in Viewer 12 transport controls in FCP interface 5 in Viewer 28 travel mattes creating 274 275 337 working with alpha channels and 360 Trim commands 43 Trim Edit window closing 83 dragging edit points in 88 89
469. tion The audio clip will fill whatever tracks have been targeted Use the shortcuts F9 to insert the source audio F10 to overwrite with it or F11 to replace existing audio NOTE P These shortcuts will apply only if you changed the Mac OS X Expos func tion keys as outlined in Lesson 2 From the Library of michiel pilgram Editing and Viewing Audio Tracks 199 To expand the audio tracks area You can change the height of individual audio tracks in the Timeline by dynamically resiz ing them individually or as a group using Option drag You can also drag the dividing line between video and audio tracks so the Timeline favors video tracks over audio or vice versa 1 Move the pointer over the middle A V dividing line in the Timeline 2 When the pointer changes to the up and down Resize pointer drag upward to mini mize the video track space and increase the audio track space To create a static track area To focus on or isolate just a few audio tracks while you are editing you can make a portion of the Timeline static This keeps the static tracks in constant view while you scroll through the others allowing you to compare waveforms in non adjacent tracks side by side gt Find the Timeline static tab to the right of the tracks Drag the lower tab downward to include the tracks and create a static audio display f gp eu Drag up to create static video tracks nr F MS manfeeds fish x B Drag up or down to repositi
470. tion control and choose the desired source from the shortcut menu Dragging source control to Using shortcut menu to V2 destination track choose destination track ET To make a video or audio only edit click a patched source control to disconnect it from its destination track Performing Overwrite and Insert Edits Avid has two primary edit types overwrite and splice In Final Cut Pro the two primary edits do the same thing but what Avid calls a splice edit FCP calls an insert edit Both Avid and FCP use a graphic display to demonstrate how that edit will lay a clip into the Timeline and both share the same colored edit buttons Although not the same both have dedicated shortcut keys for these functions You will learn to remap these shortcuts in Lesson 3 a Avid Splice and FCP Insert and Overwrite buttons Overwrite buttons From the Library of michiel pilgram Performing Overwrite and Insert Edits 33 You prepare an edit just as you would in Avid by marking the clip checking to see that the clip s source track is assigned to the proper destination track in the Timeline and making sure that the playhead position indicator is parked where you want to place the new clip You can also mark an In and or an Out point in the Timeline or Canvas as you would in Avid To make overwrite and insert edits While many Avid editors perform an overwrite or insert edit using the keyboard shortcuts or edit buttons FCP use
471. tions toggle scrubbing on or off in the Viewer Canvas and Timeline similar to enabling Caps Lock in Avid GIT You can also use the shuttle control in either the Viewer or the Canvas to scrub through audio or the J K L keys Hold down K and press L to scrub forward slowly or J to scrub backward slowly Using the shuttle control offers a much more analog style of scrubbing than dragging the playhead Editing and Viewing Audio Tracks When editing a clip that has audio and video you can use an appropriate shortcut or easily drag the clip s image to the Canvas Edit Overlay or into the Timeline When a clip is only audio and has no video image you must use a different approach when you drag Audio tracks are targeted to destination tracks just as video tracks are and all of the Overwrite and Insert keyboard shortcuts still apply Once an audio clip is in the Timeline there are ways to focus on specific tracks and adjust the Timeline so that more audio tracks can be displayed To edit an audio only clip to the Canvas or Timeline Do one of the following gt Find the drag hand in the upper right area of the Viewer s audio tab and drag the audio clip directly to the desired location in the Timeline tracks If no tracks exist they ll be created automatically Pan 4 5 c E3 E A g 01 10 20 00 COO 01 10 50 00 Drag the drag hand from the audio tab into the Canvas Edit Overlay and release it over the appropriate op
472. tiple edit points New to Final Cut Pro 7 you can add global transitions by applying a single transition to multiple edit points just as you can in Avid To do this you can use the shortcut keys the Effects menu options or the Effects tab drag and drop method Your first step is to target the clip or group of clips to receive a transition When applying global transitions you have many ways you can do this 1 To select a group of target clips in the Timeline do one of the following gt Select a single clip Drag a selection rectangle around a group of clips Shift click contiguous clips to select them Command click non contiguous clips Use one of the track selection tools to select clips on one or more specific tracks YYY Yy Mark an area of the Timeline using an In point an Out point or both Turn Auto Select on for each track you want to receive the transitions NOTE gt When a single clip is selected the default transition will be applied to both the head and tail of the clip at the same time 2 To apply a transition to the selected clip or group of clips do one of the following gt Press Command T to apply the default video transition Single clip selected in the Timeline Transition applied to head and tail of selected clip gt Press Command Option T to apply the default audio transition Choose Effects gt Video Transitions gt Dissolves gt Cross Dissolve gt Choose Effects gt Audio Transitions g
473. tips 1 Inthe Browser Effects tab select the transition you want to set as the default transition From the Library of michiel pilgram Modifying Transitions 237 2 Do one of the following Choose Effects gt Set Default Control click the transition in the Effects bin and choose Set Default Transition from the shortcut menu EJ gt HHBREEES Dip to Calor Open in Viewer Open in New Viewer Open in Editor Open Copy in Editor Set Default Transition EJ EEL Discover keyboard shortcuts for your favorite transitions by choosing Tools gt Button List Option J and entering transition or favorite in the search field You can also find every available FCP 7 shortcut in the iKeysToGo for FCP 7 iPhone application available on iTunes http itunes apple com us app ikeystogo final cut pro 7 id329947097 mt 8 To position a transition on a clip In Avid you invoke the Quick Transition window to select and align a transition to a cut In FCP you position a transition as you place it or use commands to alter alignment after placing the transition An FCP transition can be positioned at the end or beginning of a clip or between two clips Instead of Avid s Ending on Cut Centered on Cut and Starting on Cut terminology FCP uses End on Edit Center on Edit and Start on Edit You can position a transition before you release it onto the clip or edit point Or you can change positioning via a shortc
474. to a single edit point When using the Effects menu to add a transition in the Timeline you must first target the edit point between the two transitioning clips This is not required however if you are dragging an effect from the Effects tab options Either approach yields the same results From the Library of michiel pilgram 234 Transitions and Effects To apply a transition directly to the Timeline do one of the following gt To apply a dissolve from the Effects tab display the contents of the Dissolve bin in the Effects tab and drag the Cross Dissolve transition to the desired edit point The same process is used to apply a transition to any single edit point gt Control click the edit point in the Timeline and choose Add Transition Default Transition To add a dissolve or transition from the Effects menu or to use a keyboard shortcut first target the edit point by selecting it or placing the playhead directly on it and then do one of the following Edit point selected Playhead targeting edit point gt Choose Effects gt Video Transitions gt Dissolves gt Cross Dissolve gt Press Command T to apply the default video transition or press Command Option T to apply the default audio transition If you added an Add Video or Audio Transition button to the Timeline or Canvas button bar click that button From the Library of michiel pilgram Adding Transitions 235 To apply a transition to mul
475. to reopen a project automatically if it was saved and left open prior to quitting This option appears in the User Preferences General tab To create save open and close projects 1 To create a new project choose File gt New Project or press Command Shift N A tab for that new project appears in the Browser along with any other projects that may already be open From the Library of michiel pilgram 8 Projects and Interface 2 To save a project do one of the following gt To name and save an untitled project choose File gt Save Project As or press Command Shift S When an untitled project is named the project tab displays the new name gt To save changes to the active project only press Command S gt To save changes to all open projects press Command Option S 3 To open a project choose File gt Open and navigate to the destination on your hard disk Click Choose to open the project A tab for the project appears in the Browser along with any other projects that may already be open such as the projects titled Vertigo and Giant in the following image NOTE gt When you open a named project the most recently created untitled project will close automatically 4 To close a project do one of the following gt Select its tab in the Browser and choose File gt Close Project Press Control W to close the active or front project tab in the Browser gt Control click the project tab and choose Close
476. tomatic Duck for exports 380 Automatic Duck for imports 350 DigiTranslator software 378 filters 253 Media Mover 412 thumbnails Show Thumbnail column 74 75 TIFF files 367 Time Remap tool 17 time values using in Timeline 131 Timecode Duration field Log and Capture window 102 Timecode Reader filter 447 timecodes Audio tab 193 in Canvas 13 changing clip properties 395 397 in FCP interface 5 going to timecode location in Timeline 20 overlays 178 timecode window burn 447 449 in Timeline 14 From the Library of michiel pilgram in Trim Edit window 83 view overlays and 37 Timeline adding master templates to 340 adding transition in 233 234 applying Speed tool 290 292 Audible control in 196 audio waveforms displayed in 194 195 changing audio levels in 201 202 controlling speed segments in 285 288 controlling tracks in 19 20 creating markers in 156 creating merged audio clips in 220 221 creating sub sequence from 40 41 dynamically resizing tracks 62 editing audio only clip to 198 in FCP interface 6 filling gaps using slugs 334 importing multilayered images and 359 last frame and first frame indicators 38 Layout pop up menu 401 lifting and extracting material from 42 Linked Selection control in 92 97 205 modifying duration of transitions 238 modifying motion parameters in 312 moving clips in 130 131 opening Photoshop files with external editor 359 360 patching
477. tomize with your personal set of command buttons This is discussed more in Lesson 3 Tool Palette When working within FCP the default tool is the Selection tool which is a black arrow Its shortcut key is the letter A You use this tool to select clips transitions and groups of clips it s the tool you will work with most of the time The FCP Tool palette contains editing selection and trim tools as well as other tools which are covered in upcoming lessons Default selection tool More tool options Selection tools p Track selection Trim tools Slip Slide and Speed tools Razor Blade tool Zoom and Hand tools Crop and Distort tools Pen tools From the Library of michiel pilgram 18 Projects and Interface If a tool icon includes a tiny arrow there are more tools of a similar nature associated with that tool Click and hold a tool icon to see those options Some tool icons such as the Zoom In magnifying glass Crop and Pen tools may look familiar if you have worked in desktop graphics programs These tools perform the same functions in FCP ET To see what a tool icon represents hold the cursor over it with your pointer The name of the tool and the shortcut key will appear as a tooltip Tooltips with key board shortcuts will also appear over most buttons in the interface While this option is turned on as a default you can toggle tooltips off or on in the User Preferences window Option Q Slip
478. tte to use for backgrounds Yy VvV vy 7y Render Choose generated items such as Clouds Custom Gradient Lens Flare and Particle Noise gt Shapes Choose one of four types of shape generators to use for matting or effects Circle Oval Rectangle and Square gt Slug Like Avid s Load Filler insert black video with two blank audio tracks gt Text lInsert text using several options including Crawl Lower 3rd Outline Text Scrolling Text Text and Typewriter gt Master Templates Animated templates that were created in Motion but can be applied and edited text and images within Final Cut Pro Working with the Controls Tab When you select a generated clip in FCP it opens in the Viewer and a Controls tab appears In the Controls tab you can make changes to all of your generated clips The bars and tone and slug items also open in the Viewer but without a Controls tab Whether the From the Library of michiel pilgram 320 Title Tool and Generators generated clip is text a color matte or a gradient the Controls tab displays parameters that you can select and control ij 00 00 10 00 S57 BMY oy Ea 00 00 55 00 Once a generated item is open in the Viewer you can apply filters and motion effects to it by applying the same methods you used for video clips When edited generated items always take on the frame size of the current sequence To create a generated item 1 To open a video generated ite
479. tting edit points in 44 two up display 90 viewing sequences 13 Capture Batch button 114 116 Capture Clip button 114 Capture Now button 114 115 Capture Preset tab Audio Video Settings window 56 capture settings Capture Input options 105 Device Control options 105 DV start stop detection 110 for multicam editing 172 174 overview of 104 From the Library of michiel pilgram 460 Index scratch disks or target media 107 setting 107 108 user preferences 109 110 Capture tool Avid 100 101 172 Capture window Capture Settings tab 173 capturing multiclip source media 174 Capture Input options 105 capturing and transferring adding volumes or media cards 121 audio and video track selecting 103 104 batch capture 115 117 capture options 114 115 capture preferences 109 110 capture settings 104 108 changing naming preferences 122 124 changing transfer preferences 121 122 clip settings 103 exploring Log and Transfer window 117 118 keyboard shortcuts 125 logging clips 111 113 opening Log and Capture window 100 101 overview of 99 review 124 125 targeting bins 110 111 transferring clips 118 120 viewing and marking source material 101 103 CD backing up to 450 Center on Edit positioning transitions on clips 237 238 Change Speed dialog 280 282 290 Change Speed Segment dialog 287 288 290 channels audio 428 429 chroma changing video levels 436 Range Check indicators 4
480. u can forget about shuttling a vid eotape backward and forward to cue to a location Footage is already in clip formation based on camera start stop points so all you need to do is click to play From the Library of michiel pilgram Transferring Clips 119 To view mark and log a clip 1 In the Browse area click a clip to open it into the Preview area 2 Press the Spacebar to play the clip or press L to navigate to the point in the clip where you want to begin ingesting 3 To ingest a portion of a clip set In and Out points by pressing I or O or by clicking the In or Out button at the desired location Mark In button Mark Out button 4 To preview the marked portion of the clip click the Play In to Out button or press Shift backslash 5 In the Logging area enter any desired clip information such as reel number clip name scene shot take and so on 6 To change the audio or video channels for example to ingest just audio or just video click the Import Settings button and choose the appropriate options To add a clip to the Transfer Queue When you mark a clip in the Preview area you ingest only the marked portion of that clip But you can also transfer one or more clips without viewing or marking them first From the Library of michiel pilgram 120 Capturing and Transferring 1 With a clip open in the Preview area mark it as desired and then click the Add Clip to Queue button to begin ingest
481. u see the tab order change release the tab in its new location Applying Color to Clips Bins and Sequences In Avid you can choose from an extensive color palette to colorize Timeline tracks In FCP however you don t apply color to individual Timeline tracks you apply color to bins clips and sequences When you give an item a color label that color will follow that item into other windows For example a sequence with a color label will display a sequence tab with that color in the Canvas and Timeline windows A clip with a color label will display colored tabs in the Viewer and so on In the FCP User Preferences you can rename the color labels but you can t change the existing colors From the Library of michiel pilgram 16 Projects and Interface To apply a color label to a bin clip or sequence gt gt In the Browser Control click the bin clip or sequence icon and choose Label from the shortcut menu Then choose a color reference from the Label submenu Open in Viewer Open in New Viewer Open in Editor Reveal in Finder Batch Capture Reconnect Media Media Manager Make Offline Make Master Clip Reveal Affiliated Clips in Front Sequence Merge Clips Make Multiclip Make Multiclip Sequence I Best Take J E Alternate Shots E interviews E 8 Roll In the Browser select the item you want to colorize Scroll the Browser columns to the right to find the Label colum
482. uce the clutter to work only with the ones you need you can choose Select None and add back the ones you want from the Video or Audio submenu Or you can deselect one at a time those overlays you dort want to see beneath your clips in the Timeline 4 Make sure that Video gt Filters Bar and Keyframe Editor are both chosen from the Clip Keyframes shortcut menu From the Library of michiel pilgram 270 Transitions and Effects In the keyframe editing area a green filter bar appears under any clip that has a filter applied to it If you previously applied a keyframe to the filter on this clip it will appear on the green bar as well 5 To prepare to set filter keyframes Control click in the keyframe editing area beneath the green filter bar From the shortcut menu choose the filter you want to modify and then from that filter s submenu choose the specific parameter for which you want to set a keyframe Basic Motion Crop Distort Opacity Drop Shadow Motion Blur Time Remap Beneath the green filter bar a keyframe graph appears similar to a clip overlay line 6 Use the Pen tool or Option click to add keyframes on the keyframe graph for this clip s filter As before drag the keyframe left right or up and down to modify its value or position EXE To change the height of a track s keyframe editing area drag up or down in the Keyframe Editor Size column in the Timeline track control area the tiny column j
483. udio Filters Favorites Make Favorite Motion Motion Favorites Real Time Effects and Render Control Video Transitions 3D Simulation b Favorites P i Additive Dissolve Default Cross Dissolve T Iris gt Cross Dissolve Set Default Map Dip to Color Dissolve Clear Default Page Peel b Dither Dissolve QuickTime gt Fade In Fade Out Dissolve Video Filters P Slide Non Additive Dissolve Favorites P stretch Ripple Dissolve Audio Transitions b Wipe d Favorites Default Cross Fade 3dR T Set Default Editors coming from Avid systems are familiar with its rendering options including Render at Position Render In to Out and Render on the fly Similar capabilities can be found in FCP Avid editors also use Expert Render a way to optimize selected effect sections and render only those effects needed for smooth Timeline playback FCP has From the Library of michiel pilgram 232 Transitions and Effects a similar mechanism allowing you to pick and choose which kind of effect should be rendered by color from the Sequence menu The goal of these features is the same to leverage your system power and to save you render time and storage space FCP has the capability of playing numerous effects in real time without having to render them Real time transitions appear as boldface type either on the Effects tab or in the Effects menu In addition FCP allows for one default video transition and one
484. udio capture to video source if present Report dropped frames during playback Settings that affect Mi Abort ETT PTV on dropped frames the capture process Abort capture on dropped frames n timecode break Make New Clip he To set user preferences for capturing 1 Press Option Q to open the User Preferences window 2 Select the Sync audio capture to video source if present checkbox if you are captur ing audio from a device controllable audio deck for the purpose of synchronizing it with a video clip Selecting this option ensures that audio captured from a genlocked audio deck will be accurately synced 3 Select the Abort capture on dropped frames checkbox if you want FCP to stop cap turing if or when a frame is dropped 4 From the On timecode break pop up menu choose one of the following Make New Clip Creates a new clip every time there is a break in source timecode New clips use the name of the previous clip with the addition of a number This option is good when batch capturing an entire tape at once assuming there are breaks at the end of each shot Abort Capture Stops capturing when FCP detects a timecode break Warn After Capture Continues capturing when the timecode breaks but provides a warning The media file is preserved This is useful because FCP is very sensitive and sometimes detects small anomalies at the very beginning of a clip that don t affect sync or capture From t
485. uence from within FCP 191 From the Library of michiel pilgram 192 Editing Sound Viewing Audio Levels In both Avid and Final Cut Pro it s helpful to view a representation of the audio to fine tune your audio adjustments In Avid s Timeline you see the audio activity by choosing Fast Menu gt Audio Data gt Waveform a similar option is available in the FCP Timeline In addition the FCP Viewer has a separate tab that displays just the audio portion of a clip Avid s waveform display in Timeline Audio Meters There are two ways you can view your project s audio levels through the audio meters or the Audio Mixer tool The audio meters are part of the default FCP interface but you can choose to close them They can display source audio from the Viewer or mixed audio from the Timeline You can also view your audio levels in the Audio Mixer tool which is covered later in this lesson To open the audio meters gt Choose Window gt Audio Meters or press Option 4 FCP audio meters Audio Tab In Avid when you want to view the waveform of an unedited clip you have to click the Toggle Source Record button in the Timeline to view the source clip waveform In FCP when you open a video clip that also has audio you ll see the audio waveform represented on a tab in the Viewer If a clip has stereo audio which is the default capture configuration From the Library of michiel pilgram Viewing Audio Levels 193 f
486. ular scene or find those labeled CU for close up so you can make color correction changes to them as a group In addition to searching for clips in the Timeline you can also search to find markers or specific transitions to either change or delete them 1 Open the sequence you want to search in the Timeline 2 Choose Edit gt Find or press Command F A Find dialog titled after the current sequence appears Find in Training Dolphins Find IDr Pack Search Names Markers H Find All Where All Tracks L Cancel In the Find field enter the name of the clip or a part of a name In the example shown here the search is for all the clips in the Training Dolphins sequence that have Dr Pack in the name or marker In the Search pop up menu make sure Names Markers is chosen In the Where pop up menu choose All Tracks You can also search just auto selected tracks and between In and Out points Find in Training Dolphins Find IDr Pack Search Names Markers le Find All Where All Tracks E Cancel Auto Select Tracks From In to Out 6 Click Find All to find all occurrences of the name you entered in the locations you specified for the current sequence From the Library of michiel pilgram 390 Project Management IECIce tf ERIETIECE TMCS ECIECIEECCIPIEStet 5J Ai s K i cr LTE hae n ET hoes Time
487. ull quality reel numbers are essential for later batch recapture of your clips Capture Tool Avid Log mode FCP Log Clip button From the Library of michiel pilgram 112 Capturing and Transferring Naming Protocol On the Logging tab note that the Name box is gray This isn t a text entry field but rather a summation of the four text entry fields beneath it Description Scene Shot Take and Angle To the far right of each of these four entry fields is a checkbox If the box is selected that information will be added to the Name field You can include one two three or all four of these fields to create the Name text If none of the boxes is selected the clip name will default to the Description field text Any information entered in any of these fields will appear in those columns in the Browser when in View as List The clip name entered here is also used to name the actual media file ET Because Mac and PC operating systems use the forward and backward slashes to indicate file path names you should avoid using them when naming clips Prompts for verification prior to logging or capturing ee Name crystal window_take 3 m DAs SE Prompt Description E w F Scene E r Adds text field Shot Take 2 info to clip name Angle E Log Mote wide shot j Good Appears in the Browser Updates entries to Adds a check in the Log Note Column next letter or number Browser Good column To log a
488. urce media Index 477 logging and capturing multiclip source media 174 viewing and marking for capture 101 103 Source monitor Avid 12 28 37 source tracks patching tracks in Timeline 31 32 speed effects adjusting speed in Viewer 288 290 applying speed change 280 282 applying Speed tool 290 292 changing clip speed with Fit to Fill 283 controlling speed segments in Timeline 285 288 creating freeze frame effect using menu options and keyboard shortcuts 293 294 creating freeze frame effect using speed segments 292 293 keyboard shortcuts 315 replacing clip or gap using Fit to Fill 283 285 review 314 switching angles with effects 186 187 speed segments controlling in Timeline 285 288 creating freeze frame effect using 292 293 overview of 285 Speed tool SSS Timeline 290 292 splice edits Avid 32 split edits creating 92 93 performing 43 45 split screens see multiframe images squares applying shapes 336 Standard preset options for window layout 63 Start on Edit positioning transitions on clips 237 238 static audio tracks 199 stereo audio audio tabs in Viewer 192 193 linking unlinking audio clips 207 From the Library of michiel pilgram 478 Index selecting audio tracks to trim 92 Stereo Mono button 104 unpairing re pairing stereo link between audio tracks 204 working with 203 204 still images batch exporting multiple 373 375 exporting single frame as still i
489. ust to the right of the Auto Select control l crane corse Keytrame Editor Size From the Library of michiel pilgram Applying a Composite Mode 271 EXE With snapping enabled you can scrub the playhead through clips in your Timeline and a snapping indicator appears at the clip baseline revealing the location of filter keyframes you ve already set Applying a Composite Mode Included in the Final Cut Pro group of effects although not found in the Effects menu is a set of image mixing options or composite modes that you can apply to any clip in and from the Timeline at any time Photoshop like composite modes are available only in special effects applied in Avid If you have done any work in Adobe Photoshop or After Effects or other desktop graphics programs you may be familiar with composite modes The FCP composite modes work the same as those used in Photoshop and After Effects but FCP offers a few additional options FCP Composite Modes A composite mode is a mathematical equation that determines how the luminance or chrominance of an image interacts with another image A composite mode is applied to the clip on the upper track That clip takes on the properties defined by the composite mode The mode determines how the upper clip will act in relation to the clip immedi ately below it in the Timeline The following is a list of the composite modes available in FCP gt Normal Displays the clip without any c
490. ut menu or keys after the transition has been placed Do one of the following gt When dragging a transition to an edit point position it left right or center before releasing it You will see the left center or right side of the cut highlighted End on Edit Center on Edit Start on Edit From the Library of michiel pilgram 238 Transitions and Effects Control click the current transition and choose one of the Transition Alignment options from the shortcut menu Open Cross Dissolve Duration 00 00 01 sh Start On Edit Center On Edit With the transition selected press Option 1 2 or 3 for Start on Edit Center on Edit or End on Edit respectively The transition will be placed as long as there is enough material or handles to cover the transition To modify transition durations Do one of the following gt Control click an existing transition in the Timeline Choose Duration from the short cut menu When the Duration dialog appears enter the transition duration you want and click OK Select the transition and press Control D to open the Duration dialog Enter the new duration and click OK Drag the edge of the transition left or right to make it shorter or longer To delete a transition select it and press Delete EXE In FCP you can trim the edit points beneath a transition by applying the Roll or Ripple tool on the edit point or by double clicking the edit point to open the T
491. ve Final Cut Pro will save a backup of your project automati cally at set time intervals as you work You can make changes to the Autosave Vault set tings in the User Preferences window Option Q Wl Autosave Vault Save a copy every 30 minutes Keep at most 40 copies per project Maximum of 25 projects From the Library of michiel pilgram 450 Finishing and Outputting In addition you should keep a few other backup strategies in mind gt Periodically back up your project on a flash drive CD FireWire device or server remote from the Autosave Vault That way if either system or media drive goes down you will always have your project available to reconnect or recapture any lost material gt Save different versions of your project as you work over the life of the edit This reduces the chance of file corruption by ensuring that you don t work on the same physical file for an extended period of time To restore a saved project from the Autosave Vault 1 In the Browser click the desired project tab and choose File gt Restore Project 2 Inthe Restore Project dialog click the From pop up menu choose the project version you want to open and click Restore NOTE P FCP saves your project backups using the project name date and time that it was saved Restore Project Restore Project Lesson 6 Project fcp From Yesterday 7 26 PM Yesterday 3 13 PM Yesterday 2 43 PM Yesterday 2 13 PM Yesterday
492. ven if all of the sequences use completely different codecs and quality settings For example you could have three sequences one set for the DV NTSC 48kHz codec one set for Offline RT HD 23 98 and one set for Uncompressed 10 bit PAL 48kHz You can export all of these sequences along with other media at the same time To batch export media and sequences 1 Inthe Browser window select the clips or sequences that you want to export 2 Doone of the following gt Choose File gt Batch Export gt Control click one of the highlighted clip or sequence icons and choose Export gt Batch from the pop up shortcut menu The Export Queue window opens NOTE P You can repeat this process to add additional export items from other proj ects The combination of batch export requests appears as separate bins in the Export Queue window as in the following image El Eal From the Library of michiel pilgram Exporting Files 377 3 Select an item and click the Settings button You can set your export options here just as you did using QuickTime Conversion Destination Render Files Set Destination Format QuickTime Movie Settings DV NTSC 48 kHz H Optionsa Naming Set Naming Options Include Audio and Video HA _ Recompress All Frames Make Self Contained Use Item In Out Coa gt 4 After you choose each item s settings click OK then click the Export button to begin the batch
493. ving the clips from the project not the media files from your hard drive From the Library of michiel pilgram Using the Find Command 393 Find Results CU dolphin by side of pool 00 07 1316 56 00 CU trainer by pool claps 00 00 08 23 Not Set 1274609 CU TS 2 dolphins lift tails in pool 00 00 08 15 Not Set 13282801 MCU trainer by pool gives signals 00 00 08 14 Not Set t Set 13 19 13 17 MS 2 dolphins jump in pool 2 times 00 00 32 2726 Not Set 13 29 39 12 MS front trainer by pool signals to d 00 00 10 0656 Not Set Not Set BANIA MS front trainer by pool w dolphin 00 00 07 13 Not Set Not Set ARLE M5 trainer by pool signals ta 2 dolpl 00 00 09 2723 Not Set Not Set 10802 18 MS LA UW trainer dolphins thru wa Q0 00 09 03 Not Set Not Set iP eee OO0G02 18 11 27 07 16 2 7210 03 12750406 MS TS 2 dolphins lift tails in pool 00 00 07 27 Not Set Not Set 13 2007 25 MS TS dolphins in pool play catch s 00 00 16 04 Not Set Not Set 13 31 54 1 es rir Items in the Find Results window can be copied or moved to a different location in the Browser or edited into a sequence You can perform additional searches and com bine the results make the clips offline so they can be recaptured at a different resolu tion or modify clip information in the Browser columns The latter two options are discussed in the next exercise Once you have your find results sort them As with Avid s bins and Media tool click any column he
494. w Source TC DFO13 01 02 22 18 Non Drop Frame 3 30 g Aux TE 1 Aux TC 2 WARRING Modifying a timecode will change the timecode for all users of this file including other clips and other programs Cancel 5 To add an additional auxiliary timecode number to a clip rather than change a clip s original timecode click the Aux TC 1 or Aux TC 2 checkbox and enter the reel and timecode information in those fields Reel Roll Timecode Format Rate M Source TC DFO13 13 16 56 00 Non Drop Frame EB 30 Le w AuxTCl 001 00 00 00 00 Drop Frame H 30 A Aux TC 2 In the Find dialog you can use Aux TC 1 and Aux TC 2 as search criteria or even sort by those column heads when they are showing in the Browser ET To sync several cameras or reels that were not recorded with the same sync timecode or to work with multicam material park the playhead on the frame you want to use as a reference choose Current from the Frame to Set pop up menu and then enter a new aux timecode number When setting up an FCP multicam you can choose the aux timecode as the sync reference for that source To make global clip changes Some column properties have options you can select from a pop up menu As in Avid bins to access certain properties such as reel number you must enter a change From the Library of michiel pilgram 398 Project Management to one clip manually so that the change can then be selected for a group of clips via
495. w Sequence Set logging Rin Whew as List View as Small loons View at Medium boone View as Large loons From the Library of michiel pilgram 10 Projects and Interface NOTE P Before creating a new bin with the keyboard shortcut make sure either the Browser Canvas or Timeline window is active Like in Avid when a new bin is created the name is highlighted To enter a new bin name begin typing in the highlighted area You can apply Apple drag and drop methods to place one or more clips or sequences into a bin Opening and Closing Bins Typically you have to double click an Avid bin icon to view its contents in a separate win dow But in Final Cut Pro there is another way to see and work with all of your bin con tents inside the Browser window This approach takes up much less space in the interface and allows you to work effectively on one computer monitor But you can also open a bin as a separate window Avid open bins FCP open bins NOTE gt Like Avid FCP offers different bin views The default view is View as List like Avid s Text view See Lesson 3 for more information on changing bin views To open a bin Do one of the following gt Double click a bin to open it as a separate window A bin window can be repositioned anywhere in the interface gt Click the disclosure triangle next to a bin to view its contents DOD Browser Lesson 1 Project Lesson 1 Project MENEE Name b Sequences
496. ws you to split the viewing area either horizontally or vertically between two images You can choose the image options from the two pop up menus in the lower portion of the window For example you could set one image for Current Frame and the other for Current w o Filters and see a side by side comparison of the clip with and without the filter You can have several Frame Viewers open simultane ously comparing different clips in the Timeline 4 Modify the parameters using the slider adjust arrows numerical entry fields or any other options that may appear while monitoring their effect on the video in the Video tab Frame Viewer or Canvas window NOTE P You apply and modify audio filters in the same way as video filters To remove a filter Do one of the following gt In the Viewer Filters tab select the filter name and press Delete From the Library of michiel pilgram Creating Effect Templates 253 gt Control click the filter name and choose Cut from the shortcut menu gt Control click the clip in the Timeline choose Remove Attributes and select the Filters checkbox if it isn t already selected Click OK Paste Attributes Remove Attributes p EXT You can change the order of filters by dragging the filter name above or below other filters Third Party Filters Several third party companies produce filters that can be used in FCP To work with third party filters place them in the Final Cut Pro Plugins
497. wser you will see one of two arrow icons appear on the pointer depending on where you position your pointer Each arrow represents a different type of edit an overwrite edit or an insert edit Before you release the mouse button make sure that you are choosing the type of edit you want by positioning your pointer above or below the overwrite and insert dividing line Overwrite and insert dividing line in FCP To make an overwrite drag and drop edit 1 Draga clip from the Viewer or Browser and position the tip of the pointer arrow in the overwrite edit area beneath the one third dividing line on the targeted track The arrow points downward like the overwrite icon and the clip is a dark solid image 2 Release this clip as an overwrite edit From the Library of michiel pilgram Copying and Pasting 133 To make an insert drag and drop edit 1 Drag a clip from the Viewer and position the tip of the pointer arrow in the insert edit area above the one third dividing line on the targeted track The arrow icon points sideways like the insert icon and the clip is represented by an outline of its length with a hollow fill 2 Release this clip as an insert edit NOTE P In both overwrite and insert drag and drop editing you ll see a semi opaque thumbnail or shadow of your clip until you release the clip You can also drag a clip or group of clips from the Browser or an entire bin directly into the Timeline Clips will be
498. xport Using Other Export Options As in Avid you have several choices in FCP to export via QuickTime In addition to shar ing your sequence to a variety of destinations Final Cut Pro has other export options that allow you to choose a preset format and customize the settings For example you may want to export your sequence using its current settings on another occasion you may need to convert your sequence audio to a WAVE file or extract a still image such as a TIFF or JPEG file from one of the video clips Each of these export options which are accessed by choosing File gt Export can be customized to achieve the result you want for your project s needs You can also export movies of your material batch lists of your media EDLs or OMF files output stills from video to use in graphics preparation use third party software to export an entire sequence to Avid or employ Apple Cinema Tools to output film cut lists change lists and more These options are discussed later in this lesson To export using QuickTime Movie The Export gt QuickTime Movie option provides a simple convenient way to export the current or selected sequence The beauty of this option is that you can export a sequence without duplicating the media which creates a smaller file size You can also use this option to export a sequence for use in DVD Studio Pro or iDVD and include DVD compression and chapters markers as well as markers to use in Soundtrac
499. y copies frames from existing media files into the new file with no recompression 5 Click the Make Movie Self Contained checkbox if you want the movie to be self con tained Deselect it if you want to create a reference movie Both options can be used in DVD Studio Pro and Compressor Selected Create a stand alone file you can play on another computer or burn to DVD or CD Deselected Create a reference movie that does not contain any of the actual media files but points to the original audio video and render files that were used to create the sequence This type of file is much smaller than a self contained movie file but cannot play independent of its original files To export using QuickTime Conversion The Export gt Using QuickTime Conversion option is best used for conversion types that may not be accessible in the Share window That could include creating a still image from a video clip exporting audio tracks as WAVE files or converting a sequence to an AVI file All options have default settings but you can change the options to conform to your proj ect s specific requirements 1 Select open or mark the sequence or clip you want to export 2 Choose File gt Export gt Using QuickTime Conversion Save As Training Dolphins mov Where J Import Export Options Cancel From the Library of michiel pilgram 370 Importing and Exporting 3 Name the clip and choose the save destination 4
500. y and Backward gt Press Command A to select all the clips in the Timeline To deselect clips in the Timeline Do one of the following gt Press Command Shift A gt With the default Selection tool A click in the gray area just above any clip in the Timeline Performing Segment Mode Editing You access Avid s Segment mode by clicking one of the Segment mode buttons or las soing a clip or clips in the Timeline New in Avid 5 you can toggle the Smart tool in the Timeline palette to give you FCP like segment sensitivity once the clip is edited into the From the Library of michiel pilgram 130 Advanced Editing Timeline Final Cut Pro does not use Segment mode buttons nor do you need to lasso clips to initiate segment editing In FCP you can perform Avid style segment editing quite easily using drag and drop Timeline editing and modify segment operations with the Option key Avid Lift Overwrite and Extract Splice in buttons In Segment mode Avid displays the four frame display called the Segment Drag Quads to show the In and Out points of the clip youre moving and the frames on either side of the clip FCP displays just the frames on either side of the location to which you are moving It also displays a ghost or shadow image of the clip as you drag in the Timeline which you ll find very intuitive Moving Clips in the Timeline Moving clips in the Timeline is a simple matter of dragging them to their new locati
501. y in the Viewer or Timeline You can also create split edits very easily using Trim commands covered in Lesson 4 and by using the Extend Edit command covered in Lesson 6 Avid L cut edit There are two different menus that have Mark Split and other Mark options the Mark menu and a shortcut menu that appears by Control clicking the Viewer or Canvas scrub ber bar The keyboard shortcuts for split edits use I and O along with modifier keys You can create an L cut or split edit in the Viewer or the Timeline From the Library of michiel pilgram 44 Translating Basic Editing Skills To mark a split edit 1 Park the playhead either in the Viewer or the Timeline where you want to place an edit point Do one of the following gt Choose Mark gt Mark Split and choose an edit point option Mark In Mark Out Mark Split Mark Clip i Mark to Markers gt A Mark Selection A Select In to Out XA Set Poster Frame Video In zl video Out o Audio In XSI Audio Out 0 gt Use the keyboard shortcuts from the Mark gt Mark Split menu gt Control click the Viewer or Canvas scrubber bar and choose an edit point option from the shortcut menu Audio Out gt Set an edit point in the Viewer Canvas or Timeline To adjust just the video aspect of the mark Option drag the upper portion of either the In or Out mark To adjust just the audio Option drag the lower portion of either mark Video
502. y of michiel pilgram Using the External Editor 359 When the multilayered Photoshop image is imported FCP creates a sequence to con tain the layers The sequence takes on the frame size of the graphic image itself 3 In the Browser double click the graphic sequence icon to open the graphic in the Timeline green rectangle In the Timeline the individual layers of the graphic appear as separate tracks in the sequence You can apply motion effects or filters to the individual clips keyframe individual tracks and turn visibility off or on 4 To edit a multilayered graphic into a sequence drag the sequence icon from the Browser into the Timeline Or you can drag the sequence into the Viewer mark it and edit it using any of the edit options This edits the graphic as a nest into the current sequence NOTE P As in Avid when you import a layered Photoshop image into FCP you will lose Photoshop effects such as layer mask drop shadow and all other layer effects To include these effects rasterize or merge those layers before importing Using the External Editor Not only can you import multilayered files from Photoshop but you can also open files in Photoshop directly from the Timeline using the External Editor function This function allows you to go back to the application that was used to create the file and then make changes when you save the changes they will be reflected in the current sequence auto matically You
503. ystems 1 Click the Timeline Layout Popup arrow next to the Track Height columns in the Timeline Lig a Timeline Layout Popup 2 From the pop up menu choose Save Track Layout Show Video Filmstrips Show Audio Waveforms Show Through Edits Show Duplicate Frames Show Clip Labels Show Audio Clip Names Show Video Clip Names t i 7 i i Save Track Layout i Restore Track Layout I Reduced Small Medium Large In the file browser the automatic destination for the saved layout is the Track Layout folder in the Final Cut Pro User Data folder 3 To restore a saved track layout click the Timeline Layout Popup arrow and choose the saved layout from the pop up menu If it doesn t appear there choose Restore Track Layout and then choose the desired layout EXE To restore the default Standard window and track layout press Control U Customizing the Keyboard The Avid command palette lets you map functions or commands to the Avid keyboard Final Cut Pro can also map commands to the keyboard using its Keyboard Layout tool From the Library of michiel pilgram 66 Customizing Your Project You can map over 840 FCP functions to the keyboard In addition you can save and load your customized keyboard layout to use on another computer BO ERGEEEIGEbRIGLD SP LMM aM Ish E lade un P Pere hoe PE lll all ols Cl Ree hE PL E a a L ee Avid s mappable keyboard To map FCP com

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