Document Outline

• Final Cut Pro 7 User Manual
  • Contents
  • Welcome to Final Cut Pro
    • About Final Cut Pro
    • About the Final Cut Pro Documentation
    • Additional Resources
  • About the Post-Production Workflow
    • The Industry Workflow
    • The Post-Production Workflow
  • Video Formats and Timecode
    • About Nonlinear and Nondestructive Editing
    • Video Formats Compatible with Final Cut Pro
      • Using Multiple Video Formats in a Sequence
      • Offline and Online Editing
    • Audio Formats Compatible with Final Cut Pro
    • Video Format Basics
      • Video Standards
      • Image Dimensions and Aspect Ratio
      • Frame Rate
      • Scanning Method
    • About Timecode
      • About Drop Frame and Non-Drop Frame Timecode
  • Understanding Projects, Clips, and Sequences
    • The Building Blocks of Projects
      • What Are Media Files?
      • What Are Clips?
      • What Are Sequences?
      • What Are Projects?
      • What Are Bins?
    • Working with Projects
      • Organizing Your Projects
      • Using More Than One Sequence in a Project
      • Creating and Saving Projects
      • Opening and Closing Projects
    • About the Connection Between Clips and Media Files
      • Relationship Between Source Tapes, Media Files, and Clips
      • Reconnecting Clips to Media Files
    • Filenaming Considerations
      • Avoiding Special Characters
      • Restricting Length of Filenames
      • Using Filename Extensions
      • Adding Times and Dates to Final Cut Pro Project Names
      • Using Multiple Hard Disks
  • Overview of the Final Cut Pro Interface
    • Basics of Working in the Final Cut Pro Interface
    • Using Keyboard Shortcuts, Buttons, and Shortcut Menus
      • Using Keyboard Shortcuts
      • Using Button Bars
      • Using Shortcut Menus
      • Learning Commands by Using Tooltips
    • Customizing the Interface
      • Moving and Resizing Windows
      • Working with Tabs and Tabbed Windows
      • Moving Windows
      • Using Different Window Layouts
      • Showing and Positioning the Dock
    • Undoing and Redoing Changes
    • Entering Timecode for Navigation Purposes
  • Browser Basics
    • How You Use the Browser
    • Learning About the Browser
    • Working in the Browser
      • Creating Sequences
      • Selecting Items in the Browser
      • Navigating Within the Browser Using the Keyboard
      • Copying and Deleting Items in the Browser
      • Renaming Clips, Sequences, and Bins
    • Using Columns in the Browser
      • Viewing Columns in Standard or Logging Formats
      • Creating Custom Column Layouts
    • Customizing the Browser Display
      • Choosing Views in the Browser
      • Working with the Browser in List View
      • Working with the Browser in Icon View
        • Scrubbing Through Clips in Icon View
        • Automatically Arranging Clips in Icon View
      • Setting the Poster Frame
      • Saving and Using Custom Column Layouts
  • Viewer Basics
    • How You Can Use the Viewer
    • Opening a Clip in the Viewer
    • Learning About the Viewer
    • Tabs in the Viewer
      • Video Tab
      • Audio Tabs
      • Filters Tab
      • Motion Tab
      • Controls Tab
    • Transport Controls in the Viewer
    • Playhead Controls in the Viewer
      • Playhead and Scrubber Bar in the Viewer
      • Jog Control in the Viewer
      • Shuttle Control in the Viewer
    • Marking Controls in the Viewer
    • Zoom and View Pop-Up Menus in the Viewer
    • Playhead Sync Pop-Up Menu
    • Recent Clips and Generator Pop-Up Menus
      • Recent Clips Pop-Up Menu
      • Generator Pop-Up Menu
  • Canvas Basics
    • How You Use the Canvas
    • Opening, Selecting, and Closing Sequences in the Canvas
    • Learning About the Canvas
    • Editing Controls in the Canvas
      • Edit Overlay
      • Edit Buttons in the Canvas
    • Transport Controls in the Canvas
    • Playhead Controls in the Canvas
      • Playhead and Scrubber Bar in the Canvas
      • Jog Control in the Canvas
      • Shuttle Control in the Canvas
    • Marking Controls in the Canvas
    • Zoom and View Pop-Up Menus in the Canvas
    • Playhead Sync Pop-Up Menu in the Canvas
  • Navigating and Using Timecode in the Viewer and Canvas
    • Navigating in the Viewer and Canvas
      • Playing Clips and Sequences
      • Scrubbing, or Moving, Through a Clip or Sequence
      • Shuttling Through a Clip or Sequence
      • Jogging Through a Clip or Sequence
      • Looping Playback
    • Working with Timecode in the Viewer and Canvas
      • Navigating with Timecode in the Viewer and Canvas
      • Dragging Timecode Values
      • About Timecode Overlays and Sync Color Coding
        • Viewing Timecode Overlays
        • Information Displayed by Timecode Overlays
  • Timeline Basics
    • How You Use the Timeline
    • Opening and Closing Sequences in the Timeline
    • Learning About the Timeline
      • Sequence Tabs in the Timeline
      • Editing Controls
      • Vertical Multitrack Controls
      • Horizontal Time Controls
      • Timeline Display Controls
      • Audio Controls
      • Other Miscellaneous Controls
      • Real-Time Effects and the Render Status Bar
      • Sequence Clips in the Timeline
    • Changing Timeline Display Options
      • About Timeline Display Options in the Sequence Settings Window
      • About Timeline Display Controls in the Timeline
      • Timeline Display Options in the Track Layout Pop-Up Menu
      • Options for Displaying Duplicate Frames
    • Navigating in the Timeline
      • Positioning the Playhead Using the Ruler
      • Using Timecode to Navigate in the Timeline
    • Zooming and Scrolling in the Timeline
      • Zooming In and Out of the Timeline
      • Scrolling Horizontally Through a Zoomed-In Timeline
      • Scrolling Vertically Through Multiple Tracks
  • Customizing the Interface
    • Changing Browser and Timeline Text Size
    • Moving and Resizing Final Cut Pro Windows
    • Using Window Layouts
      • Choosing a Window Layout
      • Customizing Window Layouts
        • Creating Custom Layouts
        • Saving Additional Window Layouts
    • Ways to Customize Keyboard Shortcuts
      • Learning About the Keyboard Layout Window
      • Viewing Commands in the Command List
      • Assigning Keyboard Shortcuts
      • Avoiding Keyboard Shortcut Conflicts
      • Clearing and Restoring Keyboard Layouts
      • Saving Commands and Keyboard Shortcuts as Text Files
      • Saving and Loading Keyboard Layouts
      • Using Different Keyboards and Languages
    • Working with Shortcut Buttons and Button Bars
      • Adding Shortcut Buttons to a Button Bar
      • Rearranging, Moving, and Copying Shortcut Buttons
      • Changing Shortcut Button Colors
      • Removing Shortcut Buttons
      • Saving and Using Custom Shortcut Button Bars
  • Connecting DV Video Equipment
    • Components of a Basic Final Cut Pro Editing System
    • Setting Up a Final Cut Pro Editing System
    • Connecting Your Camcorder
    • Opening Final Cut Pro and Choosing Your Initial Settings
      • Choosing an Easy Setup
      • Specifying Scratch Disks
      • About Scratch Disk Capture Order
      • When Scratch Disks Become Unavailable
      • Assigning Search Folders for Reconnecting Media Files
    • Confirming Remote Device Control Between Final Cut Pro and Your DV Device
    • About FireWire
  • Connecting Professional Video and Audio Equipment
    • Components of a Professional Final Cut Pro Editing System
      • Video and Audio Input and Output Devices
        • Video Device
        • Audio Device
      • External Video and Audio Monitors
        • External Video Monitor
        • External Audio Speakers
      • Video and Audio Interfaces
      • Using a Breakout Box with Video and Audio Interfaces
      • Scratch Disks
    • About Video Interfaces, Signals, and Connectors
      • Video Interfaces
        • FireWire for DV
        • FireWire for Uncompressed Digital Video
        • PCI Express Video Interface Card
        • USB Video Interface
      • Video Signals and Connectors
        • Composite
        • S-Video
        • Component YUV and Component RGB
        • SCART
        • FireWire 400
        • FireWire 800
        • SDI
        • HD-SDI
        • SDTI
        • VGA
        • DVI
        • HDMI
    • Connecting Professional Video Devices
      • Connecting Professional SD Video Devices
      • Connecting Professional HD Video Devices
      • Connecting Professional Component Analog Video Devices
      • Connecting Consumer Analog Video Devices
      • Connecting Non-DV Devices to a DV Converter
    • Audio Interfaces
      • Built-in Audio Interfaces
        • Built-in Analog Audio
        • Built-in S/PDIF Digital Audio
        • DV FireWire
      • Choosing a Third-Party Audio Interface
        • Benefits of a Third-Party Audio Interface
        • Tips for Selecting a Third-Party Audio Interface
      • USB Audio Interfaces
      • FireWire for Digital Audio
      • PCI Express Audio Interface Card
        • PCI Express Audio Interface Card with Built-in Connectors
        • PCI Express Audio Interface Card with Breakout Box
    • Audio Connectors and Signal Formats
      • Analog Audio Connectors and Signal Formats
        • 1/8" Mini Connectors
        • RCA Connectors
        • 1/4" Tip-Sleeve Connectors
        • 1/4" Tip-Ring-Sleeve Connectors
        • XLR Connectors
      • Digital Audio Connectors and Signal Formats
        • AES/EBU
        • S/PDIF
        • Dolby Digital (AC-3)
        • DTS
        • TOSLINK
        • ADAT Lightpipe
        • TDIF
      • About Analog Audio Levels
        • About Units of Analog Audio Measurement
        • About Balanced Audio Signals
    • Connecting Professional Audio Devices
      • Connecting Professional Digital Audio Devices
      • Connecting Consumer Digital Audio Devices
      • Connecting Professional Analog Audio Devices
      • Synchronizing Equipment with a Blackburst Generator
    • Connecting Remote Device Control
      • DV FireWire for Device Control
      • Using RS-422 Serial Remote Device Control
      • Confirming Remote Device Control Between Final Cut Pro and Your Video Device
      • Choosing a Device Control Preset
      • Understanding Device Control Status Messages
      • Switching Device Control Presets When Changing Decks
  • Determining Your Hard Disk Storage Options
    • Working with Scratch Disks and Hard Disk Drives
    • Data Rates and Storage Devices
    • Determining How Much Space You Need
      • Know Your Shooting Ratio
      • Planning for Additional Media Files
      • Calculating Hard Disk Space Requirements
      • Sample Calculation for Disk Space Requirements
    • Choosing a Hard Disk
    • Types of Hard Disk Drives
      • ATA Disk Drives
        • Parallel (Ultra) ATA Disks
        • Serial ATA Disks
      • FireWire Disk Drives
      • SCSI Disk Drives
      • Using a RAID or Disk Array
      • Fibre Channel Drive Arrays and RAIDs
      • Storage Area Networks
  • External Video Monitoring
    • Using an External Video Monitor While You Edit
      • Connecting Final Cut Pro to an External Video Monitor
        • Connecting a DV FireWire Device to an External Monitor
        • Connecting a Third-Party Video Interface to an External Monitor
      • Choosing Playback and Edit to Tape Output Settings
      • About the A/V Devices Tab
      • Controlling When External Video Output Is Updated
    • Using Digital Cinema Desktop Preview
      • About Digital Cinema Desktop Preview Options
        • Digital Cinema Desktop Preview - Main
        • Digital Cinema Desktop Preview
        • Digital Cinema Desktop Preview - Full-Screen
        • Digital Cinema Desktop Preview - Raw
      • Using Digital Cinema Desktop Preview to Monitor Your Video
      • Troubleshooting Digital Cinema Desktop Preview
    • Compensating for Video Latency by Specifying a Frame Offset
    • Troubleshooting External Video Monitoring Problems
  • Overview of Capturing Tape-Based Media
    • What Are Logging and Capturing?
    • Ways to Log and Capture Footage in Final Cut Pro
    • The Importance of Logging
    • Benefits of Logging
    • Preparing to Log
      • Keeping Track of Footage with Reel Names and Timecode
      • Choosing Reel Names
      • Choosing Names and Logging Information for Clips
        • Logging Suggestions for Projects That Are Tightly Scripted
        • Logging Suggestions for Documentary-Style Projects
    • Additional Sources for Logging Information
    • About Capturing Footage
    • Are You Ready to Log and Capture?
  • About the Log and Capture Window
    • Opening the Log and Capture Window
    • Controls in the Log and Capture Window
    • Preview Area in the Log and Capture Window
      • Video Preview Area in the Log and Capture Window
      • Transport Controls in the Log and Capture Window
      • Jog and Shuttle Controls in the Log and Capture Window
      • Marking Controls in the Log and Capture Window
    • Logging Tab in the Log and Capture Window
      • Logging Bin Controls
      • Marker Controls in the Logging Tab
    • Clip Settings Tab in the Log and Capture Window
    • Capture Settings Tab in the Log and Capture Window
    • Log and Capture Buttons in the Log and Capture Window
  • Logging from Tape
    • Overview of Logging Steps
    • Opening the Log and Capture Window
    • Inserting a Tape in the VTR
    • Setting a Logging Bin to Store Logged Clips
    • Entering a Reel Name for the Current Tape
    • Setting Clip In and Out Points
    • Entering a Clip Name and Other Logging Information
      • Adding Notes and Marking Good Shots
      • Confirming Your Logging Information
    • Adding Markers to Clips While Logging
    • Selecting Which Tracks to Capture
      • Multichannel Audio Capture Track Selection
      • Changing a Clip’s Track Selections After Logging
    • Changing Capture Settings
    • Setting Video and Audio Levels for Analog Video
    • Logging a Clip
  • Capturing Video from Tape
    • Capturing Clips as You Log
    • Capturing Entire Tapes
      • Limiting the Duration of the Capture Now Process
      • Capturing an Entire Tape Using Capture Now
      • Automatically Creating Subclips Using DV Start/Stop Detection
    • Batch Capturing Clips
      • Before You Batch Capture
      • Learning About the Batch Capture Dialog
      • Batch Capturing Selected Clips
      • Stopping and Restarting the Batch Capture Process
      • About the Additional Items Found Dialog
      • Working with Batch Lists
      • Creating a Batch List
        • Using Equipment That Displays a Timecode Window
        • Creating and Logging Window Dubs
        • Rules to Follow When Creating a Batch List
        • Using an Exported Final Cut Pro File as a Batch List Template
      • Importing a Batch List
  • Capturing Audio from Tape
    • About Capturing Audio
      • Preparing for Audio Capture
      • Choosing a Method for Capturing Audio
    • Capturing Audio-Only Media Files
    • Capturing Multiple Audio Channels
      • Setting Up for Capturing Multiple Audio Channels
      • Multichannel Audio Channel Selection
      • Choosing the Audio Channels to Capture
      • How Multichannel Audio Files Are Stored on Disk
      • How Multichannel Audio Clips Appear in the Viewer
      • About Capturing Multiple Audio Channels from DV Devices
    • Adjusting Analog Audio Levels for Capture
    • Capturing Audio from an Audio Deck Using Device Control
    • Capturing from an Audio Device Without Device Control
    • Capturing Synchronized Audio Independently from Video
  • Advanced Topics in Capturing Tape-Based Media
    • Capturing Footage Without Device Control
      • Capturing Footage That Doesn’t Have Timecode
      • Using a Non-Controllable Device for Capture
    • Capturing Video and Audio Separately
    • Recapturing Clips
      • Recapturing Subclips
      • Recapturing Merged Clips
    • Avoiding Duplicate Timecode Numbers on a Single Tape
      • Logging Tapes with Duplicate Timecode Numbers
      • How to Avoid Multiple Occurrences of the Same Timecode Number
    • Capturing Footage with Timecode Breaks
      • The Importance of Avoiding Timecode Breaks
      • How to Avoid Capturing Clips with Timecode Breaks
      • Using the Make New Clip Option
        • Ordered Timecode Breaks
        • Reset Timecode Breaks
        • Timecode Gaps
    • Renaming Media Files After Capture
    • Using the Media Manager After Capturing
  • Overview of Transferring File-Based Media
    • About File-Based Media
    • Introduction to the Log and Transfer Window
    • File-Based Media Terminology
    • Example File-Based Media Workflow
      • Understanding the Relationship Between Folders, Volumes, and Reels
  • About the Log and Transfer Window
    • Opening the Log and Transfer Window
    • Controls in the Log and Transfer Window
      • Controls in the Log and Transfer Browse Area
      • Controls in the Log and Transfer Preview Area
        • Transport Controls in the Log and Transfer Window
        • Jog and Shuttle Controls in the Log and Transfer Window
        • Navigation and Marking Controls in the Log and Transfer Window
      • Options in the Log and Transfer Logging Area
        • Logging Options in the Log and Transfer Window
        • Import Settings Options in the Log and Transfer Window
      • Controls in the Transfer Queue
  • Logging File-Based Media
    • Preparing to Log File-Based Media
      • Choosing Reel Names for Folders of File-based Media
    • Entering Logging Information
    • Automatically Naming Your Clips
      • Applying Valid Filenames
        • Avoiding Special Characters
        • Creating Custom Name Formats
  • Transferring File-Based Media
    • About Transferring File-Based Media
    • Choosing a Scratch Disk and Logging Bin
    • Mounting Media Devices
    • Mounting Media Volumes in the Log and Transfer Window
    • Choosing a Destination Codec
    • Viewing Clips to Be Transferred
    • Selecting Clips
    • Previewing Clips
    • Logging Clips in the Log and Transfer Window
      • Naming Clips During Transfer
      • Using Autofill Cache Logging Information
      • Incrementing Logging Fields
      • Setting Audio and Video Clip Import Settings
    • Placing Clips in the Transfer Queue
      • Adding Clips to the Transfer Queue for Transfer
      • Organizing Clips in the Transfer Queue
      • About Pausing and Stopping Transfer
      • Using Automatic Transfer
  • Advanced Topics in Transferring File-Based Media
    • Setting Log and Transfer Import Preferences
    • Retransferring Clip Media
    • Viewing Spanned Clips in the Browse Area
    • Archiving File-Based Media from Cards
      • Archiving to a Folder
      • Archiving to a Disk Image
  • Importing Media Files into Your Project
    • What File Formats Can Be Imported?
    • Importing Media Files
    • About Importing Video Files
      • About MXF-Based Formats
      • Importing from a Sony VDU
      • About Media File Optimization
    • About Importing Audio Files
      • What Kinds of Audio File Formats Can Be Imported?
        • Recommended Audio File Formats
        • Audio Formats to Avoid
      • Choosing Audio File Sample Rate and Bit Depth
      • Choosing Sequence Bit Depth
      • Mixing Sample Rates and Using Real-Time Sample Rate Conversion
      • Converting Audio Clips to Match Sequence Settings
      • Importing Broadcast Wave Files
      • About Broadcast Wave File Timecode at a Video Rate of 29.97 fps
        • The True Frame Rate of NTSC Video
        • Mapping Audio Samples to Video Frames
        • Drop Frame Indicators in Broadcast Wave Files
      • Using Audio CD Tracks in Your Project
    • Importing Still Images and Graphics
    • Importing Numbered Image Sequences
      • Converting a Numbered Image Sequence to a QuickTime Movie
      • Importing a Numbered Image Sequence into Final Cut Pro
      • Making Movies from Still Images
  • Organizing Footage in the Browser
    • Using Bins to Organize Your Clips
      • Creating New Bins
      • Opening Bins in the Browser
      • Opening Bins in a Separate Window or Tab
      • Moving Items Between Bins
    • Using Labels to Organize Your Clips
      • About Label Names and Colors
      • Assigning Labels and Setting Label Names to Help Manage Media
      • Changing Names of Labels
      • Sorting Clips by Labels
    • Sorting Items in the Browser Using Column Headings
    • Searching for Clips in the Browser and Finder
      • Revealing a Clip’s Media File in the Finder
      • About Search Options
      • Searching for Items in the Browser
        • Searching for Single Items in the Browser
        • Searching for Multiple Items in the Browser
        • Searching for Unused Clips in Your Project
      • Manipulating Items in the Find Results Window
  • Creating Subclips
    • Learning About Subclips
      • Master-Affiliate Clip Relationships
      • Removing Subclip Limits
    • Techniques for Breaking Large Clips into Subclips
      • Turning Markers into Subclips
      • Creating Subclips Manually
      • Editing with Subclips
    • Creating Independent Media Files from Subclips After Capturing
  • Merging Clips from Dual System Video and Audio
    • Working with Dual System Video and Audio
    • Using Synchronization Points to Create Merged Clips
    • Duration of Merged Clips
    • Creating Merged Clips from the Timeline
    • Changing the Sync of Merged Clips
  • Working with Projects, Clips, and Sequences
    • Specifying Preferences Before You Start Editing
    • Working with Projects
      • Working with Multiple Projects in the Browser
      • Choosing Whether the Last Previously Opened Project Opens on Launch
      • Viewing and Changing the Properties of a Project
      • Backing Up and Restoring Projects
        • What Is Contained in a Project File
        • Returning to Saved Projects
        • Using the Revert Project Command
        • Automatically Saving Projects with Autosave
    • Learning About the Different Types of Clips
      • Types of Clips
      • Sequences as Clips
    • Viewing and Changing the Properties of a Clip
      • Changing Clip Properties in the Browser
      • Viewing and Changing Clip Properties in the Item Properties Window
        • Viewing and Modifying Clip Properties
        • Finding a Clip’s Media File
        • Finding a Clip’s Start and End Timecode Values
      • Changing the Properties of Affiliate Clips
    • Creating and Working with Sequences
      • Creating and Deleting Sequences
      • Opening and Closing Sequences
      • Duplicating a Sequence
      • Copying a Sequence into Another Project
      • Nesting a Sequence
      • Basic Sequence and Timeline Settings
        • Why Would You Change Your Sequence Settings?
        • Viewing an Existing Sequence’s Settings
  • The Fundamentals of Adding Clips to a Sequence
    • Creating a Rough Edit
      • Basic Steps Involved in a Rough Edit
      • How Clips Appear in the Timeline
      • Undoing and Redoing Actions
    • Overview of Ways to Add Clips to a Sequence
      • Methods for Adding Clips to Sequences
        • About Drag-to-Timeline Editing
        • About Three-Point Editing
      • Determining What Parts of Clips You Want in Your Sequence
    • Preparing a Sequence Order in the Browser
      • Sorting to Create a Sequence Order
      • Visually Storyboarding in the Browser
  • Using Markers
    • Learning About Markers
      • What Can You Do with Markers?
      • Differences Between Clip and Sequence Markers
      • Types of Markers
      • Marker Colors and Labels
        • Marker Colors
        • Default Colors for Marker Types
        • Marker Color Labels
    • Viewing Markers in the Viewer or Canvas
    • Viewing Markers in the Browser
    • Adding Markers in Clips and Sequences
      • Quickly Adding Markers
      • Adding Markers with Detailed Information
      • Adding Chapter, Compression, and Scoring Markers
    • Deleting Markers in Clips and Sequences
    • Navigating with Markers
    • Modifying Markers
    • Moving Markers
    • Using the Ripple Sequence Markers Setting
    • Editing Multiple Markers on the Same Frame
    • Aligning Items in the Timeline by Their Markers
    • Extending a Marker’s Duration
    • Editing Markers into Sequences
    • Exporting Markers with Your QuickTime Movies
    • Exporting Marker Lists as Text
  • Setting Edit Points for Clips and Sequences
    • About In and Out Points
      • Learning About the Out Point Inclusive Rule
      • Things to Keep in Mind When Setting an Out Point
    • Setting Clip In and Out Points in the Viewer
      • Specifying an Edit Point Using Timecode
      • Setting In and Out Points to Include a Whole Clip
      • Reviewing Your Edit Points
    • Setting Sequence In and Out Points in the Canvas or Timeline
      • When No Sequence In or Out Points Are Set
      • When You Set One Sequence In or Out Point
      • When You Set Both Sequence In and Out Points
      • Setting Sequence In and Out Points
      • Setting In and Out Points to Match a Clip or Gap
      • Setting In and Out Points Based on a Selection in the Timeline
    • Navigating to In and Out Points
    • Moving In and Out Points
    • Clearing In and Out Points
  • Working with Tracks in the Timeline
    • Adding and Deleting Tracks
      • Adding Tracks
      • Deleting Tracks
    • Specifying Destination Tracks in the Timeline
      • Understanding Source and Destination Controls
      • Setting Destination Tracks
      • Changing Source and Destination Control Connections
      • Disconnecting Source and Destination Controls
      • Resetting Destination Tracks to the Default State
    • Locking Tracks to Prevent Edits or Changes
    • Disabling Tracks to Hide Content During Playback
    • Customizing Track Display in the Timeline
      • Resizing Timeline Tracks
        • Resizing Tracks by Dragging
        • Resizing All Tracks Using the Track Height Control
        • Resizing All Tracks Using the Track Layout Pop-Up Menu
      • Saving Track Layouts
      • Creating a Static Region in the Timeline
  • Drag-to-Timeline Editing
    • Overview of the Drag-to-Timeline Editing Process
    • Dragging Clips to the Timeline
    • Doing Simple Insert and Overwrite Edits in the Timeline
    • Automatically Adding Tracks to Your Sequence While Dragging
  • Three-Point Editing
    • Understanding Three-Point Editing
      • Overview of the Three-Point Editing Process
      • Different Ways to Do Three-Point Editing
        • Dragging to the Edit Overlay in the Canvas
        • Using the Edit Buttons in the Canvas
        • Using Keyboard Shortcuts
    • About Edit Types in the Edit Overlay
    • Performing the Different Types of Edits
      • Performing an Insert Edit
      • Performing an Insert with Transition Edit
      • Performing an Overwrite Edit
      • Performing an Overwrite with Transition Edit
      • Performing a Replace Edit
      • Superimposing Clips
    • Three-Point Editing Examples
      • Example: Editing a Specific Clip into Your Sequence
      • Example: Editing a Clip into a Gap in Your Sequence
      • Example: Backtiming a Clip into Your Sequence
      • Example: Editing a Clip with No Specified In or Out Points into Your Sequence
  • Finding and Selecting Content in the Timeline
    • Understanding What’s Currently Selected
      • Identifying Selections in the Timeline
      • How Selections Are Prioritized in the Timeline
    • Direct Methods for Selecting Content in a Sequence
      • An Introduction to the Selection Tools
      • Selecting Clips
        • Selecting an Individual Clip
        • Selecting a Group of Clips by Dragging
        • Selecting Multiple Clips
        • Deselecting an Item in a Multiple Selection
      • Selecting a Range of Timeline Content
      • Selecting All Clip Items on a Track
      • Selecting All Items on All Tracks Forward or Backward
      • Selecting or Deselecting All Clips in a Sequence
    • Finding and Selecting Based on Search Criteria
    • Selecting a Vertical Range Between In and Out Points
    • Using Auto Select to Specify Tracks for Selections
  • Arranging Clips in the Timeline
    • Snapping to Points in the Timeline
    • Moving Items Within the Timeline
      • Moving by Dragging
      • Moving Clips Numerically
      • Performing Shuffle Edits
    • Copying and Pasting Clips in the Timeline
      • Copying Clips by Option-Dragging
      • Copying, Cutting, and Pasting Clips in the Timeline
      • Example: Copying and Pasting Clip Items to Different Tracks in the Timeline
    • Deleting Clips from a Sequence
      • Deleting with a Lift Edit (Leaving a Gap)
      • Deleting with a Ripple Edit (Leaving No Gap)
    • Finding and Closing Gaps
    • Color-Coding Clips in the Timeline
  • Cutting Clips and Adjusting Durations
    • Performing Basic Cut Edits
      • Cutting Clips in the Timeline
      • Using the Add Edit Command to Cut Clips
      • Joining Through Edits (Splicing Cut Clips Back Together)
    • Changing the Duration of Clips in the Timeline
    • Opening Sequence Clips in the Viewer to Change Durations
  • Linking and Editing Video and Audio in Sync
    • Linked Sync Relationships Between Video and Audio Clips
      • When Linked Clips Are Moved out of Sync
      • Understanding Sync Relationships Between Multiple Linked Audio Items
    • Linking and Unlinking Video and Audio Clip Items in the Timeline
      • Linking Video and Audio Clip Items
      • Unlinking Video and Audio Clip Items
    • Selecting Individual Clip Items While They Are Linked
    • Getting Clip Items Back in Sync
      • Moving a Clip into Sync
      • Slipping a Clip Item into Sync
      • Moving or Slipping All Clip Items into Sync at Once
    • Establishing Different Sync Relationships Between Linked Clip Items
      • Marking a Clip as In Sync
    • Learning About Linking Behavior in Audio Channel Pairs
    • Synchronizing Dual System Recorded Video and Audio
  • Split Edits
    • Learning About Split Edits
    • How Split Edits Look in the Viewer and Canvas
    • Setting Up Split Edit Points in the Viewer
    • Setting Up a Split Edit While Playing a Clip
    • Modifying and Clearing Split Edits
    • Split Edit Examples
      • Example: Split Edit in the Viewer and a Simple Edit Point in the Canvas
      • Example: Split Edit in the Viewer and a Single Split Edit Point in the Canvas
      • Example: Simple Edit in the Viewer and a Split Edit in the Canvas
  • Working with Multiclips
    • About Multiclips
    • Multiclip Workflow
    • Preparing Clips to Be Used as Multiclip Angles
      • Assigning Angle Numbers to Clips
      • Cinema Tools Clip-Naming Conventions
      • Deriving Clip Angle Numbers from Reel Names and Filenames
    • Creating Individual Multiclips
      • About the Make Multiclip Dialog
      • Synchronizing Angles in a Multiclip
      • Creating a Multiclip
    • Creating Multiclip Sequences
      • When Should You Use the Make Multiclip Sequence Command?
      • About the Make Multiclip Sequence Dialog
      • Choosing a Timecode Synchronization Option
      • Creating a Multiclip Sequence
      • Example: Creating Multiclips Using a Starting Timecode Offset
        • Starting Timecode Offset Is 0:00
        • Starting Timecode Offset Is 5:00
        • Starting Timecode Offset Is 10:00
      • Example: Creating Multiclips Using the Minimum Overlap Options
        • Minimum Overlap Is 100%
        • Minimum Overlap Is 38%
    • Identifying and Naming Multiclips in the Browser
    • Working with Multiclip Angles in the Viewer
      • Viewing Multiclip Angles in the Viewer
      • Identifying Active Video and Audio Angles
      • Viewing Multiclip Overlays
      • Rearranging and Deleting Multiclip Angles in the Viewer
      • Adding Angles to a Multiclip in the Viewer
        • Inserting a New Angle
        • Inserting a New Angle into Many Multiclips at Once
        • Overwriting an Angle
      • Resynchronizing Angles in the Viewer
    • Editing with Multiclips in Real Time
    • Using Keyboard Shortcuts and Shortcut Buttons for Multiclip Editing
    • Editing Multiclips into the Timeline
    • Switching and Cutting Between Angles
      • Switching Angles
      • Cutting Between Angles
      • Switching and Cutting Video and Audio Items Separately
      • Switching Angles on Locked Tracks
    • Editing in Multiclip Playback Mode
      • Optimizing Real-Time Performance for Multiclip Playback
      • Viewing Multiclip Playback on an External Video Monitor
    • Applying Filters, Speed, and Motion Parameters to Multiclips
      • Applying Filters to the Active Multiclip Angle
      • Switching Angles with Effects
    • Collapsing and Expanding a Multiclip
    • Working with Multiclip Master-Affiliate Relationships
      • About Angle Master-Affiliate Relationships
      • About Multiclip Master-Affiliate Relationships
    • Match Frame Commands Used with Multiclips
    • Media Management and Project Interchange
      • Working with Multiclips in the Media Manager
      • Reconnecting and Recapturing Multiclips
  • Audio Editing Basics
    • The Goals of Audio Editing
    • Using Waveform Displays to Help You Edit Audio
    • Learning About the Audio Controls in the Viewer
    • Editing Audio in the Viewer
      • Opening Audio Clips in the Viewer
      • Viewing Audio Tracks in the Viewer
      • Zooming In to or Out of the Waveform Display Area
      • Scrolling Through a Zoomed-In Audio Clip
      • Using the J, K, and L Keys to Hear Subtle Details
      • Turning Off the Audio Scrubbing Sounds
      • About Setting Edit Points for Audio
      • Dragging an Audio Clip to the Canvas, Browser, or Timeline
      • Trimming Audio Clips in the Viewer
    • Editing Audio in the Timeline
      • Displaying Waveforms in the Timeline
      • Displaying Overlays and Adjusting Track Height in the Timeline
      • Zooming In to and Out of Waveforms in the Timeline
      • Naming Audio Tracks
      • Moving Audio Items from One Track to Another at the Same Frame
      • Using Audio Transitions to Smooth Audible Changes
    • Creating or Separating Stereo Pairs
    • Working with Audio at the Subframe Level
      • Viewing an Audio Clip at Single-Frame Resolution
      • Subframe Synchronization of Audio and Video
    • Examples of Ways to Easily Edit Audio
      • Example: Replacing Unwanted Audio with Room Tone
      • Example: Fixing Awkward Audio Cuts in the Timeline
  • Performing Slip, Slide, Ripple, and Roll Edits
    • About Trimming with Slip, Slide, Ripple, and Roll Tools
    • Sliding Clips in the Timeline
      • Performing Slide Edits Using the Slide Tool
      • Performing Precise Slide Edits Numerically
    • Slipping Clips in the Timeline
      • Performing a Slip Edit Using the Slip Tool
      • Performing Precise Slip Edits Numerically
    • Using the Ripple Tool to Trim an Edit Without Leaving a Gap
      • Tips for Edits Made with the Ripple Tool
      • Performing a Ripple Edit in the Timeline
      • Performing a Ripple Edit in the Viewer
      • Ripple Edits and Sync Relationships of Clip Items on Other Tracks
      • Doing Ripple Edits on Multiple Tracks at Once
      • Asymmetrical Trimming with the Ripple Tool
    • Using the Roll Tool to Change Where a Cut Occurs
      • Rolling Edit Points in the Timeline
      • Doing Roll Edits in the Viewer
  • Learning About Trimming Clips
    • What Is Trimming?
    • Controls That Affect Trim Edits
    • Selecting Edits and Clips to Trim
      • Tools for Selecting Edit Points
      • Selecting Single Edit Points
      • Selecting Multiple Edit Points
    • Trimming with the Selection Tool
    • Extending and Shortening Clips in the Timeline
    • Trimming Clips in the Viewer
    • Precision Editing Using Timecode
      • Determining What Kind of Edit Occurs When Entering Timecode Numbers
      • Moving the Playhead in the Timeline Using Timecode
      • Moving Clips Using Timecode
      • Using Timecode to Trim Clips in the Viewer
    • Understanding Alert Messages When Trimming
  • Trimming Clips Using the Trim Edit Window
    • Learning About the Trim Edit Window
    • Opening and Closing the Trim Edit Window
    • Controls in the Trim Edit Window
    • Using the Trim Edit Window
      • Playing Incoming and Outgoing Clips in the Trim Edit Window
      • Dynamic Trimming
      • Trimming an Edit in the Trim Edit Window
      • Reviewing and Playing Back Your Edits in the Trim Edit Window
      • Slipping a Clip in the Trim Edit Window
    • Listening to Audio While Trimming
  • Adding Transitions
    • Learning About Transitions
      • Common Types of Transitions
      • Using Transitions in Your Sequences
      • How Transitions Appear in the Timeline
      • Having Handles at Edit Points
      • Aligning a Transition in the Timeline
      • Using Transitions in Projects to Be Exported as EDLs
    • Adding Transitions Between Clips
      • Adding Transitions with Clips You Add to the Timeline
      • Quickly Adding the Default Transition to Clips in Your Sequence
      • Adding Transitions to Clips in Your Sequence
      • Quickly Adding Multiple Transitions to a Sequence
      • Example: Transitioning to or from Black
    • Moving, Copying, and Deleting Transitions
      • Moving a Transition to Another Edit Point
      • Copying and Pasting Transitions
      • Deleting Transitions
    • Modifying Transitions in the Timeline
      • Changing the Duration of a Transition in the Timeline
      • Changing the Alignment of a Transition in the Timeline
      • Changing an Edit Point After Adding a Transition
      • Replacing Transitions
    • Working with Default and Favorite Transitions
      • Changing the Default Transition
      • Saving a Transition as a Favorite
      • Deleting Favorite Transitions
    • Detecting Duplicate Frames over Transitions
    • Video Transitions That Come with Final Cut Pro
      • 3D Simulation
      • Dissolve
      • Iris
      • Map
      • Page Peel
      • QuickTime
      • Slide
      • Stretch
      • Wipe
    • Using Alpha Transitions
      • Adding Alpha Transitions to the Timeline
      • About the Alpha Transition Controls
      • Creating and Modifying Alpha Transitions
        • Asset Wipe Transition Using Three Clips
        • Asset Wipe Transition Using Two Clips
        • Custom Transition Using One Clip
        • Alpha Transition Using the Mid-point Offset Slider
      • Creating Your Own Alpha Transition Elements
        • Frame Rates
        • Media Elements with Alpha Channels
        • Media Elements Without Alpha Channels
  • Refining Transitions Using the Transition Editor
    • Using the Transition Editor
      • Controls in the Transition Editor
      • Displaying Clips in the Transition Editor
      • Opening and Modifying Transitions in the Transition Editor
    • Applying a Modified Transition Directly to a Sequence in the Timeline
    • Trimming Transitions and the Surrounding Clips
      • About the Two-Up Display in the Canvas
      • Trimming the Duration of a Transition
      • Changing the Location of a Transition with a Roll Edit
      • Adjusting the Length of a Clip in a Transition with a Ripple Edit
    • Previewing and Rendering Transitions
      • Determining the Render Status of Transitions
      • Previewing Transitions Before Rendering Them
      • Rendering Transitions
  • Sequence-to-Sequence Editing
    • Methods for Editing Clips from One Sequence to Another
    • Opening More Than One Sequence at a Time
    • Copying Clips from One Sequence to Another
    • Nesting Sequences
      • When Do You Nest Sequences?
      • Pros and Cons of Nested Sequences
      • How Many Audio Items Does a Nested Sequence Have?
      • Nesting a Sequence Inside Another Sequence
      • Making a Section of Clips into a Nested Sequence
      • About Changing the Duration of Nested Sequences
    • Editing the Content of One Sequence into Another Without Nesting It
      • Editing Sequence Content Versus Nesting
      • Editing Clips from One Sequence into Another
  • Matching Frames and Playhead Synchronization
    • Working with Sequence Clips in the Viewer
      • Opening a Sequence Clip in the Viewer
      • Switching Between the Viewer, Canvas, and Timeline
      • Using the Viewer to Adjust Sequence Clip In and Out Points
      • Using the Viewer to Adjust Motion and Filter Parameters
    • Matching Frames Between Sequence and Master Clips
      • Matching a Frame in the Canvas to Its Master Clip Frame
      • Matching a Frame in the Canvas to Its Media File Frame
      • Matching a Frame in the Viewer to a Clip in the Canvas or Timeline
    • Synchronizing the Canvas/Timeline Playhead and the Viewer Playhead
      • Why Synchronize Playheads?
      • About Working with Playhead Sync
      • Using the Open Playhead Sync Option
      • Using the Gang Playhead Sync Option
      • Example: Trimming a Browser Clip by the Duration of a Sequence Clip
  • Working with Timecode
    • About Timecode in Final Cut Pro
    • Displaying Timecode in Final Cut Pro
      • Choosing a Timecode Display Option
      • Displaying Timecode Affected by Speed Changes
      • Choosing Source and Auxiliary Timecode Track Display
      • Clip Time Versus Source Time
      • Changing Global Timecode Display Options
      • Timecode Overlays
      • Timecode Viewer
      • Determining Speed Settings in the Timecode Field
    • Modifying Timecode in Media Files
      • Using the Modify Timecode Command
      • Modifying Timecode in the Browser or Item Properties
      • Modifying the Timecode of Merged Clips
    • Modifying Sequence Timecode
    • Working with 60 fps Timecode
    • Working with 24 @ 25 fps Timecode
    • Generating Timecode Window Burns
  • Audio Fundamentals
    • What Is Sound?
      • Fundamentals of a Sound Wave
        • Frequency
        • Amplitude
        • Phase
      • Frequency Spectrum of Sounds
    • Measuring Sound Intensity
      • What Is a Decibel?
      • Decibel Units
    • Signal-to-Noise Ratio
    • Headroom and Distortion
    • Dynamic Range and Compression
    • Stereo Audio
      • Identifying Two-Channel Mono Recordings
      • Identifying Stereo Recordings
      • Interleaved Versus Split Stereo Audio Files
    • Digital Audio
      • Sample Rate
      • Bit Depth
  • Assigning Output Channels and External Audio Monitors
    • Audio Signal Flow in Final Cut Pro
      • Audio Tracks
      • Busses
      • Hardware Outputs
      • Defining Output Busses by Grouping
        • Dual Mono Output Groups
        • Stereo Output Groups
      • Speakers
    • Configuring Audio Outputs
      • Stage 1: Choosing an Audio Interface for Output
      • Stage 2: Choosing an Audio Output Preset
    • Creating and Saving Audio Output Presets
    • Assigning a Default Audio Output Preset for New Sequences
    • Assigning Tracks in the Timeline to Audio Outputs
    • Matching Audio Outputs to Clip Items in the Timeline
      • How Audio Outputs Are Assigned Automatically
      • Using the Match Audio Outputs Command
    • Assigning More Audio Outputs Than Your Hardware Supports
    • Audio Output Export Settings
      • Audio Outputs Tab of the Sequence Settings Window
      • Config Pop-Up Menu
    • Downmixing Multiple Audio Channels to a Stereo Mix
      • How Downmixing to Stereo Works
      • Adjusting a Channel’s Downmix Volume
      • Downmixing for Stereo Monitoring
      • Downmixing During Export
    • Configuring External Audio Monitors
      • Connecting Speakers to Your Editing System
      • Monitoring 5.1-Channel Surround Sound
      • Setting Monitoring Levels and Muting System Sound Effects
      • Tips for Choosing Speakers and an Amplifier
        • Frequency Response and Dynamic Range
        • Self-Powered Versus Passive Speakers
        • Amplifiers and Signal Levels for Unpowered Speakers
      • Setting Up a Proper Audio Monitoring Environment
        • Speaker Placement and Listening Position
        • Using Headphones
  • Evaluating Levels with Audio Meters
    • About Audio Meters
      • Average and Peak Audio Levels
      • Analog Versus Digital Meters
      • About Audio Meters in Final Cut Pro
        • Clipping Indicators
        • Floating Audio Meters
    • Setting Proper Audio Levels
      • Setting Levels for Capture
      • Detecting Audio Peaks
      • Raising Audio Levels Using Audio Normalization and Gain
        • How Normalization Gain Works in Final Cut Pro
        • How Linked Mono and Stereo Clips Are Normalized
        • Reapplying Normalization Gain
        • Choosing Normalization Gain Versus Audio Level Keyframing
        • Troubleshooting Audio Normalization
      • What Reference Level Should You Use for Mixing and Output?
      • Outputting Bars and Tone at the Head of Your Tape
  • Overview of the Audio Mixer
    • About the Audio Mixer
    • Controls in the Audio Mixer
      • Track Visibility Area
      • Track Strips Area
      • Master Area
      • View Buttons
      • Record Audio Keyframes Option
      • Source Pop-Up Menu
    • Using Audio Mixer Views
  • Using the Audio Mixer
    • Making Basic Audio Adjustments with the Audio Mixer
      • Using the Mute Button to Silence Audio Tracks
      • Using the Solo Button to Listen to Individual Tracks
      • Using Faders to Adjust Audio Levels
      • Adjusting the Master Level of Your Sequence
    • Making Stereo Pan Adjustments with the Audio Mixer
      • Pan Controls for Stereo and Dual Mono Audio
        • About Mono and Stereo Clip Items
        • How Audio Outputs Affect Panning Sliders
      • Changing a Clip’s Pan
    • About Mixer Automation and Keyframe Recording
      • Specifying Audio Keyframe Recording Resolution
      • Recording Audio Level and Pan Keyframes
      • Looping Playback to Mix Each Track
      • Modifying Recorded Keyframes
        • Using the Audio Mixer to Record over Previously Existing Automation
        • Modifying Keyframes in the Timeline and Viewer
      • Deleting Audio Level and Pan Keyframes
    • Using a Control Surface with the Audio Mixer
      • Choosing an External MIDI Interface
      • Installing a MIDI Interface
      • Choosing a Control Surface
      • Connecting a Control Surface
      • Configuring Final Cut Pro to Work with a Control Surface
      • Working with a Control Surface
      • How Audio Mixer Tracks Correspond to Control Surface Faders
      • Arranging Control Surface Order
      • Working with Fader Banks
    • Controlling the Audio Mixer with a Control Surface
      • Preparing to Use a Control Surface
      • Adjusting Levels, Pan, Mute, and Solo Using a Control Surface
      • Using Control Surface Transport Controls
      • Control Surface Commands Supported by Final Cut Pro
    • Recording Audio Mixer Keyframes Using a Control Surface
  • Mixing Audio in the Timeline and Viewer
    • Adjusting Audio Levels in the Timeline
    • Changing Audio Levels in the Viewer
    • Panning Audio in the Timeline
    • Changing the Pan of Audio in the Viewer
    • Changing Pan for an Entire Clip
    • Copying, Pasting, and Removing Audio Attributes
    • Adjusting Clip Audio Levels and Pan Using Keyframes
      • Tools for Adjusting Keyframes
        • Using the Option Key to Temporarily Enable Pen Tools
        • Using the Command Key to Gear Down Adjustment Speed
      • Keyframe Controls in the Viewer
      • Working with Keyframes
      • Using Keyframes to Adjust Audio Levels
      • Example: Using Keyframes in the Timeline to Automate Audio Levels
      • Example: Setting Subframe Audio Keyframes to Eliminate Clicks
      • Example: Using Keyframes to Control Pan
  • Using the Voice Over Tool
    • About the Voice Over Tool
    • Setting Up Your Computer to Record Voiceover
      • Stage 1: Installing or Connecting an Audio Interface
      • Stage 2: Connecting a Microphone and Microphone Preamplifier
      • Stage 3: Opening the Voice Over Tool and Choosing Audio Input Settings
      • Stage 4: Choosing an Audio Track and Duration for Your Voiceover
      • Stage 5: Determining the Offset of Your Audio Interface
      • Stage 6: Plugging In Your Headphones
    • RAM Requirements When Using the Voice Over Tool
    • Controls in the Voice Over Tool
    • Defining the Recording Duration and Destination Track
      • Setting the Recording Duration
      • Defining the Destination Track
    • Recording a Voiceover
      • Recording a Voiceover Clip
      • Recording Multiple Takes
      • About Audio Recorded with the Voice Over Tool
  • Using Audio Filters
    • Overview of Audio Filters
    • Equalization Filters
      • Frequency Ranges and Equalization
        • Low Frequencies
        • Midrange Frequencies
        • High Frequencies
      • Using Equalization Filters in Final Cut Pro
    • Gain Filter
    • Compressor/Limiter Filter
    • Expander/Noise Gate Filter
    • Noise Reduction Filters
      • Hum Remover
      • Vocal DeEsser
      • Vocal DePopper
    • Echo and Reverberation Filters
    • Applying Filters to an Audio Clip
    • Displaying Filter Keyframes in the Timeline
    • Modifying and Removing Filters
    • Automating Audio Filter Parameters with Keyframes
      • Keyframe Controls in the Filters Tab of the Viewer
      • Adjusting Audio Filter Parameter Keyframes
    • Making Real-Time Audio Filter Adjustments
      • Looping Playback While Making Real-Time Filter Adjustments
      • Recording Audio Filter Automation
    • Saving a Filter or Transition as a Favorite
    • Installing Third-Party Audio Units Filters
  • Exporting Audio for Mixing in Other Applications
    • Ways You Can Finish Your Audio
    • Organizing Your Audio Clips for Multitrack Export
    • About Exporting Audio Tracks to Individual Audio Files
    • Preparing to Export Audio Tracks as Audio Files
      • Stage 1: Making a Duplicate of Your Sequence
      • Stage 2: Inserting Sync Beeps for Each Audio Track
      • Stage 3: Arranging Audio Clips So They Don’t Overlap
      • Stage 4: Removing Audio Filters and Deleting Level or Pan Keyframes
    • Exporting Audio Tracks as Individual Audio Files
    • Exporting Audio Output Groups to AIFF Files
      • Example: Exporting 12 Tracks to Three Stereo Audio Files
      • Automatic Filenaming During Export to AIFF Files
      • Preparing to Export Audio to AIFF Files
      • Exporting Audio to AIFF Files
    • Exporting Multichannel QuickTime Files
    • Exporting OMF Audio Files
      • Limitations of OMF Exporting in Final Cut Pro
      • Exporting Sequence Audio to an OMF File
    • Exporting Audio Clip Information to an EDL
    • Exporting Audio for DVD
  • Tips for Better Audio
    • Learning to Describe Sound Accurately
    • Efficiently Using the Frequency Spectrum
    • Tips for Cutting Dialogue
    • Tips for Cutting Music
  • Working with Soundtrack Pro and Logic Pro
    • Using Soundtrack Pro with Final Cut Pro
    • Sending Individual Audio Clips from Final Cut Pro to Soundtrack Pro
      • Sending Clips from Final Cut Pro to the Soundtrack Pro File Editor
      • Processing a Clip’s Media File with a Soundtrack Pro Script
      • Opening a Final Cut Pro Clip’s Media File in Soundtrack Pro
    • Creating Soundtrack Pro Multitrack Projects
      • Creating a Multitrack Project from a Final Cut Pro Selection
      • Sending a Mixdown Back to Final Cut Pro Automatically
    • Initiating Soundtrack Pro Conform with Final Cut Pro
      • About Conforming Manually
      • Using Soundtrack Pro Conform
    • Using Logic Pro with Final Cut Pro
      • Importing Final Cut Pro XML Files into Logic Pro
      • Exporting Final Cut Pro XML Files from Logic Pro
  • Using Video Filters
    • Different Ways to Use Filters
    • Applying a Filter to a Clip
    • Applying Multiple Filters to Clips
    • Viewing and Adjusting a Filter’s Parameters
      • Viewing a Filter’s Parameters
      • Controls in the Filters Tab of the Viewer
      • Using Filter Controls
        • Sliders
        • Logarithmic Sliders
        • Point Control
        • Angle Control
        • Color Controls
        • Clip Well
    • Displaying Filters Bars in the Timeline
    • Enabling and Rearranging Filters
    • Copying and Pasting a Clip’s Filters
    • Removing Filters from Clips
  • Installing and Managing Video Effects
    • Plug-in Formats Supported by Final Cut Pro
      • About FXScript
      • About FxPlug
    • Installing Video Filters
      • Installing FxPlug Plug-ins
      • Installing FXScript Plug-ins
      • Loading Plug-ins from a Network Server
    • Identifying and Organizing Video Effects
      • Viewing Preferred Effects
      • Identifying Video Filters in the Viewer
      • Identifying Video Effects in the Find Results Window
    • Transferring Effects Between Systems
      • Real-Time Playback and Rendering Plug-ins
      • Real-Time Playback and Rendering of FXScript Effects
      • Real-Time Playback and Rendering of FxPlug Effects
    • Plug-in Restrictions and Troubleshooting
      • FxPlug Plug-in Restrictions
  • Video Filters Available in Final Cut Pro
    • FXScript Plug-ins
      • Blur Filters
      • Border Filters
      • Channel Filters
      • Color Correction Filters
      • Distort Filters
      • Image Control Filters
      • Key Filters
      • Matte Filters
      • Perspective Filters
      • Sharpen Filters
      • Stylize Filters
      • Video Filters
    • FxPlug Plug-ins
      • Using the Mix Parameter
      • FxPlug and FXScript Plug-ins with Similar Behavior
  • Changing Motion Parameters
    • Creating Motion Effects in the Viewer
    • Adjusting Parameters in the Motion Tab
      • Working with Motion Parameters
      • Controls in the Motion Tab
        • Basic Motion Parameters
        • Crop Parameters
        • Distort Parameters
        • Opacity Parameter
        • Drop Shadow Parameters
        • Motion Blur Parameters
        • Speed Parameters
    • Using Cartesian Geometry to Position Clips
    • Examples Using Motion Settings
      • Example: Using Motion Settings to Create a Multiple Clip Layout
      • Example: Using Additional Motion Settings to Refine the Layout
    • Creating Motion Effects in the Canvas
    • Manipulating Images in the Canvas
      • Crop and Distort Tools
    • Zooming In to the Canvas
    • Using Wireframe Handles to Transform, Scale, and Rotate
    • Example: Using Motion Parameters and Wireframe Handles
  • Adjusting Parameters for Keyframed Effects
    • Animating Motion Effects Using Keyframes
      • How Keyframing Works
      • Determining the Number of Keyframes to Use
        • Creating Simple Effects with Two Keyframes
        • Using Three Keyframes
        • Using Four or More Keyframes for Complex Effects
      • Keyframing Controls in the Viewer
      • Keyframing Tools in Final Cut Pro
      • Setting Keyframes
      • Adjusting and Deleting Keyframes
      • Moving Between Keyframes
      • Resizing the Keyframe Graph Area
      • Zooming In to the Keyframe Graph Area
      • Adjusting All Opacity Keyframes of a Clip
      • Example: Using Keyframes to Make Opacity Changes
      • Example: Keyframing Opacity in the Timeline
    • Smoothing Keyframes with Bezier Handles
      • Understanding Bezier Handles and Curves
        • One-Sided Bezier Handles
        • Two-Sided Bezier Handles
      • Smoothing Keyframes
    • Creating Keyframed Motion Paths in the Canvas
      • What Are Motion Paths?
      • Creating Motion Paths
      • Adding, Moving, and Deleting Keyframes in Motion Paths
      • Creating Curved Motion Paths Using Bezier Handles
      • Controlling Speed Along a Motion Path
      • Moving an Entire Motion Path in the Canvas
      • Creating and Applying Motion Favorites
    • About the Timeline Keyframe Graph Area
    • Customizing the Keyframe Graph Area in the Timeline
      • Working with the Filters and Motion Bars
      • Working with the Timeline Keyframe Editor
  • Reusing Effect and Motion Parameters
    • Copying and Pasting Specific Clip Attributes
      • About the Paste Attributes Dialog
      • Copying and Pasting Clip Attributes
      • Removing Attributes from a Clip
      • Reapplying the Most Recently Used Effect
      • Applying Filters Across Multiple Tracks at Once
    • Applying Favorite Filters and Transitions
      • Creating Favorite Filters and Transitions
      • Organizing and Renaming Favorites
      • Applying Favorite Filters and Transitions
  • Changing Clip Speed
    • Speed Basics
    • Using the Change Speed Dialogs
      • About the Change Speed Dialogs
      • Applying Speed Effects with the Change Speed Dialog
      • Frame Blending, Optical Flow, and Motion Blur
    • Using the Speed Tool
    • Making Speed Changes in the Timeline
      • Adjusting Speed Segments with the Shortcut Menu
      • Learning to Read Timeline Speed Indicators
    • Using the Speed Parameter in the Motion Tab
      • About the Speed Keyframe Graph Area
        • The Y Axis
        • The X Axis
        • Speed and the Keyframe Graph
      • Making Speed Adjustments in the Speed Keyframe Graph Area
    • Performing a Fit to Fill Edit
    • Using Speed Settings with Multiclips
  • Working with Freeze Frames and Still Images
    • Using Still Images and Graphics in Your Sequences
    • Creating Freeze Frames from a Video Clip
      • Creating a Freeze Frame
      • Setting the Duration of a Freeze Frame
      • Creating Freeze Frames of Embedded Motion Projects
      • Reconnecting Freeze Frame Clips
      • About Sequence Freeze Frames
    • Exporting Still Images
    • Creating Graphics with the Correct Frame Size for Video
    • Working with Graphics Clips of Different Sizes
    • Bit Depth of Imported Graphics
    • Scaling a Graphic to Fit the Frame Size
      • Understanding Digital SD Video Non-Square Pixels
      • Frame Size Chart for Creating Graphics
      • Pixel Aspect Ratios in SD Video Signals Versus Computer Displays
      • Pixel Aspect Ratios in HD Video
    • Creating Graphics with the Correct Color Settings for Video
    • Choosing the Maximum White Sequence Setting
    • Flattening Graphics with Layers
    • Using Alpha Channels
    • Selecting Fonts and Creating Line Art for Video
    • Scaling Images and Video Clips to Match a Sequence
    • Changing the Duration of Still Images
    • Example: Adding Camera Motion to Still Images
      • Stage 1: Preparing Your Image and Importing It into Final Cut Pro
      • Stage 2: Editing the Still Image into Your Sequence
      • Stage 3: Opening the Image Clip in the Motion Tab of the Viewer
      • Stage 4: Preparing the Viewer and Canvas Settings
      • Stage 5: Moving an Image by Changing Its Center Location
  • Compositing and Layering
    • Introduction to Compositing and Layering
      • Methods of Compositing
      • Different Ways to Layer Clips in the Timeline
      • Adjusting Opacity Levels of Clips
    • Working with Composite Modes
      • How Composite Modes Affect Images
      • Applying Composite Modes to Clips
    • Composite Modes in Final Cut Pro
      • Normal
      • Add
      • Subtract
      • Difference
      • Multiply
      • Screen
      • Overlay
      • Hard Light
      • Soft Light
      • Darken
      • Lighten
      • Travel Matte - Alpha
      • Travel Matte - Luma
    • Using Travel Mattes to Hide or Reveal Parts of a Clip
    • Working with Layered Photoshop Files
      • Updating Photoshop Files in Adobe Photoshop
      • Working with Layered Photoshop Sequences
      • Changing the Frame Rate of Layered Photoshop Sequences
    • Using Video and Graphics Clips with Alpha Channels
      • Working with Clips That Have Alpha Channels
      • Changing a Clip’s Alpha Channel Type
      • Viewing RGB and Alpha Channels in the Viewer
      • Choosing a Background
    • Temporarily Excluding Clips from Playback or Output
      • Temporarily Disabling a Single Clip
      • Soloing Clips in Multitrack Sequences
      • Disabling and Soloing Clips and the Effect on Rendering
        • Clip Enable and Solo Item
        • Turning Track Visibility On or Off
  • Keying, Mattes, and Masks
    • Ways to Layer and Isolate Elements in Clips
      • What Are Mattes and How Can You Use Them?
      • What Is Keying and How Can You Use It?
      • What Are Masks and How Are They Used?
    • Using Keying to Isolate Foreground Elements
      • Choosing an Appropriate Video Format
      • Using Proper Lighting
    • Overview of Compositing Using the Chroma Keyer Filter
    • Working with the Chroma Keyer Filter
      • Specifying the Type of Controls to Use for the Chroma Keyer Filter
      • Visual Controls in the Chroma Keyer Filter
      • Example: Using the Chroma Keyer Filter
    • Using Mattes to Add or Modify Alpha Channels
      • Matte Filters Available in Final Cut Pro
      • Example: Using the Four-Point Garbage Matte Filter
      • Example: Keyframing Garbage Mattes
    • Using Masks to Replace or Modify Alpha Channels
      • Mask Filters Available in Final Cut Pro
      • Example: Using the Image Mask and Mask Feather Filters
  • Using Generator Clips
    • What Is a Generator Clip?
    • Different Ways to Use Generators in Your Sequence
    • Video and Audio Generators Available in Final Cut Pro
      • Color Bars, Tone, and Other Signal Generators
      • Matte Color and Slug
      • Render
      • Shapes
      • Text
      • FxPlug Generators
    • Creating and Adding Generators to Sequences
  • Using the SmoothCam Filter
    • About the SmoothCam Filter
      • How the SmoothCam Filter Works
      • About Queuing and Background Processing
      • Where Is Motion Analysis Data Stored?
    • Working with the SmoothCam Filter
      • Applying the SmoothCam Filter
      • About Motion Analysis States
      • Checking Motion Analysis Status
        • Overlays in the Canvas or Viewer
        • The Background Processes Window
        • The SmoothCam Browser Column
      • Starting and Stopping SmoothCam Motion Analysis
      • Analyzing All SmoothCam Clips in a Sequence
      • Reanalyzing Clips
      • Reprioritizing Clips in the Processing Queue
      • Adjusting SmoothCam Filter Parameters
        • About SmoothCam Filter Parameters
        • Correcting Black Borders Around Your Clip
        • Factors That Affect SmoothCam Scaling
        • About the Actual Scale Value
        • Using the Auto Scale Parameter
      • Setting Clip In and Out Points to Improve SmoothCam Rendering
        • Avoiding Through Edits
        • Using QuickTime Reference Movies to Limit Clip Analysis
      • Rendering and Exporting Clips with the SmoothCam Filter Applied
    • Managing Media and Motion Analysis Data
      • Using the Media Manager
      • Modifying QuickTime Source Files
      • Transferring SmoothCam Motion Analysis Data to Motion
    • Improving SmoothCam Filter Results and Troubleshooting
      • Making Sure Clips Are Analyzed
      • Improving SmoothCam Filter Results
  • Creating Titles
    • How You Can Use Titles in Your Project
    • Installing and Choosing Fonts
    • Making Sure Titles Fit on TV Screens
    • Text Generators Available in Final Cut Pro
    • Creating and Adding a Title Clip
    • Other Options for Creating and Adding Titles
  • Working with Motion and Shake
    • Using Motion with Final Cut Pro
      • Importing a Motion Project into Final Cut Pro
      • Making Changes to a Motion Clip in Final Cut Pro
      • Restrictions When Working with Motion Clips in Final Cut Pro
      • Sending Final Cut Pro Clips and Sequences to Motion
        • Selecting Clips or Sequences to Send to Motion
        • Sending Browser Clips from Final Cut Pro to Motion
        • Sending a Sequence from Final Cut Pro to Motion
        • Sending Selected Sequence Clips from Final Cut Pro to Motion
        • About the Embed Motion Content Option
        • What Properties Are Exported to Motion?
      • Rendering Motion Projects for Use in Final Cut Pro
    • Using Shake with Final Cut Pro
      • Sending Clips from Final Cut Pro to a Shake Script
      • How Imported Clips Are Arranged in Shake
      • Sending Media from Shake Back to Final Cut Pro
  • Working with Master Templates
    • About Motion Template Files and Master Templates
    • Working with Master Templates
      • Previewing Master Templates
      • Adding Master Templates to a Sequence
      • Customizing Template Clip Parameters in the Viewer
        • Modifying Text
        • Modifying Video and Still-Image Content
        • Modifying Speed and Template Clip Timing
    • Modifying Master Templates
      • Updating All Template Clips That Use the Same Master Template
      • Updating a Single Template Clip
      • Updating and Replacing Template Clips Using Drag and Drop
    • Converting a Template Clip to a Motion Project
    • Installing Motion Template Files for Use in Final Cut Pro
  • Measuring and Setting Video Levels
    • RGB Color Model
    • Y′CBCR Color Model
      • Luminance
      • Color Difference Channels
      • Luma
      • Blacks, Midtones, and Whites
      • Chroma
        • Hue
        • Saturation
    • Measuring Video Levels with the Final Cut Pro Video Scopes
      • Opening Video Scopes Tabs
      • Layout Options in Video Scopes Tabs
      • Learning to Read the Waveform Monitor
      • Learning to Read the Vectorscope
      • Learning to Read the Histogram
      • Learning to Read the RGB Parade Scope
      • Choosing Display Options for Video Scopes
        • Adjusting Scope and Scales Brightness
        • Additional Video Scope Display Options
      • Using Video Scopes in Real Time
      • Choosing Video Scope Accuracy
      • Video Scope Restrictions and Performance
    • Preventing Illegal Broadcast Levels
    • Displaying Excess Luma and Chroma Levels in the Viewer and Canvas
      • Turning on Range Checking
      • Options in the Range Check Submenu
    • Using the Broadcast Safe Filter
      • Broadcast Safe Filter Controls
      • About Custom Luminance Limiting and Custom Saturation Limiting
      • Applying the Broadcast Safe Filter to Nested Sequences
    • Using the RGB Limit Filter
      • About Illegal RGB Levels
      • RGB Limit Filter Controls
      • How the RGB Limit Filter Works
    • Working with Analog Video
      • How Analog Video Signals Are Measured
      • How Digital Video Signals Are Measured in Final Cut Pro
      • Using an External Waveform Monitor and Vectorscope to Calibrate Analog Video Levels
      • Outputting Accurate Analog Black Levels Using DV FireWire
      • Using Built-in Video Scopes During Capture
        • Adjusting Capture Settings with the Log and Capture Video Scopes
        • Adjusting Capture Settings on Source Tapes Without Color Bars
    • Using Color Bars for Video Calibration
      • About Color Bars
      • Using Color Bars to Adjust Brightness and Color
      • Calibrating Video Monitors with Color Bars
  • About Color Correction
    • Why Color Correct Your Footage?
    • Color Correction Starts During Your Shoot
    • Managing Color During Post-Production
      • Telecine Color Correction
      • Tape-to-Tape Color Correction
      • Color Correction in Final Cut Pro
    • The Final Cut Pro Color Correction Process
  • Color Correction Features
    • Color Correction Features in Final Cut Pro
    • Using Scopes Versus Looking at an External Monitor
    • Window Layouts for Color Correction in Final Cut Pro
      • Comparing Two Frames in the Frame Viewer
      • Controls in the Frame Viewer Tab
      • Choosing Display Options in the Frame Viewer
  • Color Correction Filters
    • The Final Cut Pro Color Correction Filters
    • The Color Corrector Filter
      • General Controls in the Color Corrector Filter
      • Copy Filter Controls in the Color Corrector Filter
        • Working with the Copy Filter Controls
        • Menu Commands for the Copy Filter Controls
      • Color Balance Controls in the Color Corrector Filter
      • Auto Level and Contrast Controls in the Color Corrector Filter
      • Level and Saturation Controls in the Color Corrector Filter
      • Match Hue Controls in the Color Corrector Filter
      • Limit Effect Controls in the Color Corrector Filter
    • The Color Corrector 3-Way Filter
      • General Controls in the Color Corrector 3-Way Filter
      • Copy Filter Controls in the Color Corrector 3-Way Filter
        • Working with the Copy Filter Controls
        • Menu Commands for the Copy Filter Controls
      • Color Balance Controls in the Color Corrector 3-Way Filter
      • Auto Level Controls in the Color Corrector 3-Way Filter
      • Level and Saturation Controls in the Color Corrector 3-Way Filter
      • Match Hue Controls in the Color Corrector 3-Way Filter
      • Limit Effect Controls in the Color Corrector 3-Way Filter
    • The Desaturate Highlights and Desaturate Lows Filters
      • Desaturate Highlights and Desaturate Lows Filter Controls
    • RGB Balance Filter
      • RBG Balance Filter Controls
  • Color Correction Examples
    • Example: Using the Color Corrector Filter
    • Example: Using the Color Corrector 3-Way Filter
    • Example: Color Correcting a Three-Shot Sequence for Continuity
    • Example: Using the Color Corrector 3-Way Filter Match Hue Controls
    • Example: Using the Limit Effect Controls to Isolate a Specific Color Against Grayscale
    • Example: Using the Limit Effect Controls of the Color Corrector Filter to Change a Specific Color
    • Example: Using the Desaturate Highlights Filter
  • Color Correction with Color
    • Using Color for Color Correction
  • Using RT Extreme
    • Introduction to Real-Time Processing
      • How Real-Time Processing Works
        • How Final Cut Pro Calculates Processor Workload
        • Achieving Real-Time Playback When Processor Power Is Exceeded
      • Identifying Which Effects Can Play Back in Real Time
        • About Render Status Bars
        • About Render Status Bar Tooltips
        • Effect Names That Appear in Boldface
    • Locations for Changing Real-Time Playback Settings
      • Playback Control Tab in System Settings
      • RT Pop-Up Menu in the Timeline
      • Render Control Tab in Sequence Settings
    • About Real-Time Playback Options
      • Safe RT
      • Unlimited RT
      • Play Base Layer Only
      • Beep When Playing Unrendered Audio
      • Scrub High Quality
      • Playback Video Quality
      • Playback Frame Rate
      • Multiclip Playback
      • Pull-down Pattern
      • Gamma Correction
      • Record Settings
        • Full Quality
        • Use Playback Settings
      • Video Scopes Playback
    • Still-Image Real-Time Playback
    • Improving Real-Time Performance
      • Reporting Dropped Frames During Playback
      • Factors That Affect Real-Time Performance
    • Real-Time Audio Mixing in Final Cut Pro
      • Calculating the Number of Tracks That Can Be Played Back in Real Time
      • Improving Real-Time Audio Performance
    • Choosing Real-Time Playback Versus Rendering
    • Supported Real-Time Playback Codecs
    • Using a Third-Party Video Effects Accelerator Card
    • Using RT Extreme for Video Output
    • Viewing Your Composition in the QuickView Tab
      • Controls in the QuickView Tab
      • Playback in the QuickView Tab
  • Rendering and Video Processing Settings
    • What Is Rendering?
    • About Render Status Bars in the Timeline
      • Video Render Status Bars
      • Audio Render Status Bars
    • About Item-Level Render Status Bars
    • The Rendering Process
      • Order of Effects Rendering
      • Selecting Clips for Rendering
      • Rendering Segments in a Sequence
        • Render Selection
        • Render All
        • Render Only
      • Rendering Audio Items in a Sequence
      • Using the Mixdown Command
      • Keeping Track of Rendering Progress
      • Temporarily Disabling Rendering
      • Automatic Rendering While You Are Away from Your Computer
    • About Changing Render and Video Processing Settings
    • Changing Settings in the Render Control Tab
      • Render & Playback Settings
      • Render Settings
      • Changing Render Settings for Sequences
    • Changing Settings in the Video Processing Tab
      • Choosing RGB Versus Y′CBCR Color Space
      • Compositing in Y′CBCR and RGB Color Spaces
      • Changing Video Processing Settings
      • About Color Space and Bit Depth Settings
        • Always Render in RGB
        • Render in 8-bit YUV
        • Render 10-bit material in high-precision YUV
        • Render all YUV material in high-precision YUV
      • Maximum RGB White Level Settings
        • Choosing White
        • Choosing Super-White
      • Motion Filtering Quality Pop-Up Menu
    • Adjusting Gamma
      • About Gamma
      • Nonlinear Coding
      • About Gamma Correction
      • Choosing Real-Time Playback Gamma Correction Options
      • Changing Gamma Settings for Video and Imported Still Images
        • Supported File Formats
        • Adjusting Gamma in Imported Still-Image and Video Clips
    • Managing Your Render Files
      • Locating Render Files
      • Using the Render Manager
      • Preserving Render Files
        • Using Nested Sequences to Preserve Render Files
        • Disabling Tracks Affects Render Files
    • Tips for Reducing Render Time
  • Working with Mixed-Format Sequences
    • About Mixed-Format Sequences
    • Determining Whether Clips in a Sequence Will Play Back in Real Time
      • Formats That Support Real-Time Playback
      • Viewing Clip Properties and Sequence Settings
    • Conforming Sequence Settings to Match a Clip’s Settings
      • Choosing Automatic Sequence Conform Options
      • Rules for Automatic Sequence Conforming
    • Conforming Clips to Match Sequence Settings
      • When Are Clips Automatically Conformed to a Sequence?
      • Manually Conforming Clips to Match Sequence Settings
      • Choosing High-Quality Scaling Options
      • Mixing 720 x 480 Footage and 720 x 486 Footage
    • Mixing Frame Rates
      • Issues When Working with Mixed Frame Rates
      • Working with Subclips in Mixed-Frame-Rate Sequences
    • Combining Interlaced Footage with Different Field Dominances
      • Using the Shift Fields Filter
      • Mixing Interlaced and Progressive Footage
    • Mixing Footage with Different Codecs
    • Nesting Nonmatching Sequences
    • Adding Filters and Motion Effects to Mixed-Format Sequences
    • Combining SD and HD Video
    • Downconverting HD Video
      • Letterboxing 16:9 Video in a 4:3 Frame
      • Cropping 16:9 Video to 4:3
      • Pan and Scan
      • 16:9 Anamorphic
    • Upconverting SD Video
      • Pillarboxing 4:3 Video in a 16:9 Frame
      • Upconverting 4:3 Anamorphic Video to 16:9 Video
    • Rendering Mixed-Format Sequences
    • External Monitoring and Output
    • Media Management and Project Interchange
      • Using the Media Manager with Mixed-Format Sequences
      • Exporting an EDL from a Mixed-Format Sequence
      • Working with Cinema Tools and Mixed-Format Sequences
  • Media Management
    • What Is Media Management?
    • Reasons to Use Media Management
    • What You Need to Know to Manage Your Media
    • Media Management Process in Final Cut Pro
    • Strategies for Media Management
      • Reel Name Conventions
      • Clip Name Conventions
      • Media Filename Conventions
      • Working with Full-Resolution Media
      • Working with Multiple Editing Workstations and Trading Project Files
      • Using Multiple Workstations with a Storage Area Network
      • Using Another Linear or Nonlinear System
  • Backing Up and Restoring Projects
    • Backing Up and Restoring Projects
      • Using the Revert Project Command
      • Using the Autosave Feature
      • Restoring Autosaved Projects
      • Opening a Project File If Your Computer Is Unexpectedly Shut Down
    • Archiving Completed Projects
    • About Updating Projects from Previous Versions of Final Cut Pro
      • Before Updating Projects
      • Keeping a Copy of Your Project in an Older Format
    • Choosing Project Update Options
      • Updating Projects from Final Cut Pro 5 or Earlier
        • Nonmatching Sequence Clip Aspect Ratios
        • Shift Fields Filter
      • Updating Projects from Final Cut Pro HD (version 4.5) or Earlier
        • Scaling Quality
        • Removing Existing Render Files
        • Improved Color Accuracy When Rendering High Definition Sequences
      • Updating Projects from Final Cut Pro 3.0 or Earlier
      • Updating Projects from Final Cut Pro 1.2.1
  • Elements of a Final Cut Pro Project
    • About Clips, Media Files, and Sequences
      • Media Files
      • Types of Clips
      • Clips Described by Their Properties
        • Clips Defined by Their Relationship to Other Clips
        • Clips Defined by Media File Connection
        • Clips Defined by Location in Project
      • Sequences
    • About Icons and Project Elements in the Browser
    • Clip Properties
  • Working with Master and Affiliate Clips
    • About Using Master and Affiliate Clips
    • Shared and Unique Clip Properties
      • Shared Properties Stored in Master Clips
      • Media File Properties
      • Modifiable Media File Properties
      • Unique Clip Properties
    • Working with Master Clips
      • Implicit and Explicit Master Clips
      • How Master Clips Connect to Media Files
      • Identifying Master Clips
      • Creating a Master Clip by Duplicating a Master Clip
      • Finding a Clip’s Master Clip
    • Working with Affiliate Clips
    • Creating Independent Clips
    • Changing Independent Clips to Affiliate Clips
    • Modifying Master-Affiliate Clip Relationships
    • Moving Clips Between Projects
    • How Does Final Cut Pro Identify Matching Clips?
    • Resolving Property Differences Between Matching Clips
      • About the Copy Master Clip Dialog
        • Use Properties from the Clip You Are Adding
        • Use Properties from the Existing Clip in This Project
        • Create a New Master Clip
        • Apply to All Added Clips with Clip Property Conflicts
      • Using the Copy Master Clip Dialog
  • Offline and Online Editing
    • About Offline and Online Editing
      • Offline Editing
      • Edit Decision List or Other Project Interchange File
      • Online Editing
      • How Audio Is Handled in the Offline/Online Editing Process
    • Offline/Online Editing Workflows
    • Using the OfflineRT Format in Final Cut Pro
      • Setting Up and Capturing Media to an OfflineRT Format
      • Capturing or Recompressing Media to an OfflineRT Format
      • Editing with Low-Resolution OfflineRT Media Files
    • Reingesting Media at Full Quality and Full Resolution
      • Reingesting Full-Quality, Full-Resolution Media for Your Sequence
      • Adding Final Color Correction, Effects, Transitions, and Titles
      • Output to Tape, MPEG-2 (for DVD), or a QuickTime Movie File
    • Online Editing on Non–Final Cut Pro Editing Systems
    • Trading Project Files Using Email or the Internet
  • Reconnecting Clips and Offline Media
    • Finding Your Media Files After Capture
      • Where Are Captured Media Files Stored?
      • Revealing a Clip’s Media File in the Finder
      • Consolidating Media Files to One Folder
    • About the Connections Between Clips and Media Files
    • Renaming Media Files and Clips
    • How the Connection Between Clips and Media Files Can Be Broken
    • Making Clips Offline
    • Reconnecting Clips to Media Files
      • About the Reconnect Files Dialog
      • Using the Reconnect Files Dialog
    • When Final Cut Pro Reconnects Your Clips
      • About the Offline Files Dialog
      • Clip Properties Replaced by Media File Settings
    • Reconnecting Media Files Automatically
  • Overview of the Media Manager
    • What Can You Do with the Media Manager?
    • Selecting Items to Process with the Media Manager
    • Settings and Options in the Media Manager Window
    • How the Media Manager Processes Selected Items
      • Processing Steps in the Media Manager
      • How Independent Clips Are Processed
      • How Subclips Are Processed
      • How Clips with Speed Adjustments Are Processed
    • Limiting How Much Media Is Copied or Deleted
      • Preserving Media Only for the Selected Item
      • Preserving Media for the Selected Item and Its Master Clip
      • Preserving Media for Selected Items, Master Clips, and Affiliated Clips
    • Media File Formats Supported by the Media Manager
    • About Color Space Conversion in the Media Manager
  • Examples of How to Use the Media Manager
    • Media Manager Workflow
    • Using the Media Manager
    • Example: Removing Unused Media from a Sequence
    • Example: Duplicating a Sequence and Its Corresponding Media Files
    • Example: Duplicating a Portion of a Sequence and Its Media Files
    • Example: Copying Sequences with New Settings, but Without Media Files
    • Example: Recompressing Media Files for Editing on a Portable Computer
    • Example: Removing Portions of Media Files After Creating Subclips
    • Example: Consolidating Media Files into One Folder
    • Example: Consolidating Your Project and Media Files for Archiving
  • Diagnostic Tools for Clips
    • Different Tools for Diagnosing Clips
    • About the Analyze Movie Command
      • Using the Analyze Movie Command
      • Information Reported by the Analyze Movie Command
    • Finding and Marking Long Frames
  • Importing and Exporting EDLs
    • About EDLs
      • Learning to Read an EDL
      • Elements of an EDL
        • Title and Sequence Timecode Format
        • Event Number
        • Reel Name
        • Track Type
        • Edit (or Transition) Type
        • Transition Duration
        • Source In and Out, Record In and Out
        • Notes
      • Limitations of EDLs
    • Exporting EDLs
      • Settings and Options in the EDL Export Dialog
        • EDL Title
        • Format Pop-Up Menu
        • Sorting Pop-Up Menu
        • Target Video Track Only
        • Omit Transitions
        • Reel Conflicts
        • B-Reel Edits
        • Pre-Read Edits
        • Generic Edits
        • EDL Notes
        • Master
        • Audio Mapping
      • Reviewing an EDL
    • Importing EDLs
      • Limitations of Importing EDLs
      • Importing EDLs into Final Cut Pro
      • Settings and Options in the EDL Import Dialog
      • How Clips from an EDL Are Named
      • Master Clips Created from EDLs
      • Recapturing Clips from an Imported EDL
    • EDL Considerations Before Capturing
      • Maintaining Accurate Timecode
      • Reel Name Restrictions in EDLs
      • Unique Reel Names for Each Tape and Timecode Breaks
      • Choosing a Timecode Track Used for a Clip
      • Choosing a Sequence Frame Rate
    • EDL Considerations During Editing
      • Limit the Number of Edits in Your Sequence
      • Only Use Transitions in Track V1
      • Join Through Edits
      • Keep Track of Duplicate Frames
      • Limit the Number of Audio Tracks You Use
      • Don’t Rely on Audio Mix Levels
      • Avoid Nested Sequences
      • Avoid Nonstandard Video Transitions
      • Be Careful Using Still Frames and Speed Settings
    • Transition Wipe Codes for EDL Export
  • Using Final Cut Pro XML and QuickTime Metadata
    • What Is the Final Cut Pro XML Interchange Format?
    • About XML
      • Tags and Elements
      • Attributes of XML Elements
      • Whitespace
      • Document Type Definitions
      • Working with XML Created in Different Applications
    • Overview of the Final Cut Pro XML Interchange Format
      • Main Final Cut Pro XML Elements
      • Example: Creating an XML File and Importing It into Final Cut Pro
    • Exporting XML in Final Cut Pro
    • Importing XML into Final Cut Pro
    • Working with Metadata in QuickTime Media
    • Controlling Final Cut Pro with Apple Events
  • Remote Previewing with iChat
    • About iChat Theater Preview and Final Cut Pro
    • Initiating an iChat Theater Preview Session
    • Using iChat Theater Preview
  • Working with Film and Cinema Tools
    • An Overview of the Film Editing Process
      • About the Telecine Process
        • About Edge Code
        • About Burned-in Timecode on Video
      • Importing a Telecine Log to Create a Cinema Tools Database
      • Exporting a Film Cut List
      • About the Cinema Tools Database
    • About Using Cinema Tools with Final Cut Pro
    • Creating a New Final Cut Pro Project
    • Importing a Telecine Log to Create a Cinema Tools Database
    • Batch Capturing Video from Tape
    • Removing 3:2 Pull-Down or Conforming 25 fps PAL to 24 fps
      • Standard Reverse Telecine
      • Removing Advanced Pull-Down
      • Conforming 25 fps Video to 24 fps
        • About 24 @ 25 Timecode
        • Creating 24 @ 25 Sequences and Easy Setups
    • Synchronizing Clips with the Cinema Tools Database
    • Editing Clips in Final Cut Pro
    • Using Edge Code Overlays and Feet+Frame Rulers
      • Showing Film-Related Information in the Item Properties Window
      • Showing Film-Related Information in the Browser
      • Showing Film-Related Overlays in the Viewer and Canvas
      • Showing Film-Based Frame Counts
    • Opening Final Cut Pro Clips in Cinema Tools
    • Exporting Film, Change, and Audio Lists
      • About Film Lists
      • About Change Lists
      • About Audio EDLs
      • Exporting a Film List
      • Exporting a Change List
      • Exporting an Audio EDL
  • Preparing to Output to Tape
    • Choosing a Videotape Format and Equipment for Output
    • Output Requirements
    • Methods for Output to Tape in Final Cut Pro
    • Setting Up Your Editing System to Output to Tape
      • Stage 1: Connecting Your Video Equipment
      • Stage 2: Choosing Video and Audio Outputs
      • Stage 3: Selecting Playback Settings
      • Stage 4: Selecting Render Settings
      • Stage 5: Selecting Edit to Tape and Print to Video Preferences
      • Stage 6: Preparing Your Videotape with Black and Timecode
      • Stage 7: Cueing the Videotape
      • Stage 8: Calibrating Your Timecode
      • Stage 9: Choosing Device Control and Edit Preview Settings
  • Assemble and Insert Editing Using Edit to Tape
    • Overview of Tape Editing Methods
      • About Assemble Editing to Tape
      • About Insert Editing to Tape
      • Requirements for Assemble or Insert Editing to Tape
    • About the Edit to Tape Window
      • Video Tab
      • Mastering Settings Tab
        • Adding Standard Leader and Trailer Elements
      • Device Settings Tab
    • Using the Edit to Tape Window
      • Performing an Assemble Edit to Tape
      • Performing an Insert Edit When Editing to Tape
      • Using Edit to Tape to Output Multichannel Audio
  • Printing to Video and Output from the Timeline
    • Different Ways You Can Output Video from the Timeline
    • Printing to Video
      • Automatically Recording with Print to Video
      • Using the Print to Video Command
    • Recording from the Timeline
    • Outputting to VHS Tape
  • Learning About QuickTime
    • What Is QuickTime?
    • The QuickTime Suite of Software Applications
    • The QuickTime Movie File Format
      • How Is Information Stored in a QuickTime Movie?
      • Codecs Supported in QuickTime
      • Understanding Codec and File Format Naming Conventions
      • Time in QuickTime Movie File Tracks
    • Formats Supported by QuickTime
      • Movie File Formats
      • Video Codecs Supported Within Video File Formats
      • Graphics and Still-Image Formats
      • Audio File Formats
    • How Do You Export the Files You Need?
      • The Export QuickTime Movie Command
      • The Export Using QuickTime Conversion Command
  • Using Share
    • About the Share Window
      • Post-Transcoding Actions
    • Exporting Single Clips and Sequences with Share
      • Making Selections for Share Export
      • Using Share with Chapter Markers
    • Exporting Groups of Clips and Sequences with Share
      • Types of Group Selections
      • About the Multiple Sources Dialog
      • Exporting a Single Output from a Group Selection
    • Creating Multiple Outputs
    • Using Share with Compressor
      • Sending Outputs to Compressor
      • Using the Other Output Type to Access Compressor Settings
    • Working with Share Output Types
      • Using Share to Create Apple TV Output
      • Using Share to Create Blu-ray Output
      • Using Share to Create DVD Output
      • Using Share to Create iPhone Output
      • Using Share to Create iPod Output
      • Using Share to Create MobileMe Output
      • Using Share to Create YouTube Output
      • Using Share to Create Apple ProRes 422 Output
      • Using Share to Create Apple ProRes with Alpha Output
      • Using Share to Create QuickTime H.264 Output
      • Using Share to Create Other Output Types
    • Using Batch Monitor with Share
  • Exporting QuickTime Movies
    • About the Export QuickTime Movie Command
    • Choosing the Type of QuickTime Movie to Export
      • Exporting a Self-Contained Movie Without Recompressing the Media
      • Determining Processing Color Space During QuickTime Movie Export
    • Exporting a QuickTime Movie File
    • Exporting QuickTime Movies with Markers
  • Exporting Using QuickTime Conversion
    • About the Export Using QuickTime Conversion Command
    • Types of File Formats You Can Export with QuickTime
    • About Color Space Conversion
    • Exporting a QuickTime Movie File for Web Distribution
    • Configuring QuickTime Movie Settings
      • QuickTime Movie Video Settings
        • Standard Video Compression Settings
        • Filter Settings
        • Export Size Settings
      • QuickTime Movie Sound Settings
      • Internet Streaming Settings
    • About QuickTime Aperture Display Modes
      • Classic Aperture Mode
      • Clean Aperture Mode
      • Production Aperture Mode
      • Encoded Pixels Aperture Mode
    • Exporting a DV Stream
    • Exporting an AVI File
  • Exporting Sequences for DVD
    • The DVD Creation Process
      • Video for Standard DVDs
      • Video for High Definition DVDs
      • HD DVD Editing Formats
        • Starting with DVCPRO HD or Uncompressed Sources
        • Starting with HDV Sources
      • Audio for DVD
    • Adding Chapter and Compression Markers to Your Sequence
      • More About Chapter Markers
      • More About Compression and Edit/Cut Markers
    • About DVD Authoring Applications
      • Using iDVD
      • Using DVD Studio Pro
    • Exporting a QuickTime Movie for DVD Use
    • Using Compressor to Create DVD-Compliant Sources for DVD Studio Pro
  • Using Compressor with Final Cut Pro
    • About Compressor
      • Video and Audio Encoding
      • Performing Standards Conversion
      • Previewing Video Output
      • Creating AC-3 Dolby Digital Audio
      • Batch Processing and Distributed Processing
      • Compressor Droplets
    • Using Compressor with Final Cut Pro
    • Using Compressor as a Standalone Application
      • Using QuickTime Reference Movies
      • Creating Encoding Jobs in Compressor
      • Applying Encoder Settings and Submitting Jobs
    • Sending from Final Cut Pro to Compressor
    • About Color Space Conversion in Compressor
  • Exporting Still Images and Image Sequences
    • Determining the Image Format for Still-Image Export
    • Exporting a Single Still Image
    • Exporting Image Sequences
  • Batch Exporting Clips and Sequences
    • Overview of the Batch Exporting Process
    • Selecting Items in the Browser to Batch Export
    • Selecting Batch Export Settings
      • Choosing Export Settings with the Settings Button
      • Selecting Batch Export Settings from Columns
      • Columns in the Export Queue Window
      • Options When Exporting a QuickTime Movie
    • Doing a Batch Export
    • Opening Batch Exported Files in the Viewer
    • Redoing Batch Exports
    • About Color Space Conversion During Batch Exporting
  • Choosing Settings and Preferences
    • Changing User Preferences
      • General Tab
      • Editing Tab
      • Labels Tab
      • Timeline Options Tab
      • Render Control Tab
      • Audio Outputs Tab
      • Locating and Deleting the Preferences File
    • Changing System Settings
      • Scratch Disks Tab
        • About Waveform and Thumbnail Cache Files
        • About Waveform Cache Files
        • About Thumbnail Cache Files
      • Search Folders Tab
      • Memory & Cache Tab
      • Playback Control Tab
      • External Editors Tab
      • Effect Handling Tab
  • Audio/Video Settings and Easy Setups
    • The Audio/Video Settings Window
      • Learning About Audio/Video Presets
      • Viewing a Summary of the Current Presets
    • Choosing Easy Setups
    • Changing Audio/Video Presets
      • Choosing Individual Presets
      • Viewing Settings in a Preset
      • Creating a New Preset
      • Editing a Preset
      • Deleting Presets
    • Creating and Modifying Easy Setups
      • Creating an Easy Setup
      • Moving, Deleting, and Restoring an Easy Setup
      • Example: Creating a Custom Preset and Easy Setup
    • Installing and Restoring Easy Setups
    • Loading Settings from a Network Server
  • Capture Settings and Presets
    • About Capture Preset Settings
      • General Settings for Capture Presets
      • QuickTime Video Settings for Capture Presets
      • Advanced QuickTime Video Settings for Capture Presets
        • Compression Tab
        • Source Tab
      • QuickTime Audio Settings for Capture Presets
      • Finding the Maximum Data Rate When Using the Limit Data Rate Field
    • Creating a Preset to Capture Audio Only
  • Device Control Settings and Presets
    • About Device Control Presets
      • Viewing Settings for a Device Control Preset
      • Settings in the Device Control Preset Editor
    • Device Control Protocols Supported by Final Cut Pro
    • Using FireWire Device Control
    • Using Serial Device Control
      • Timecode Transferred via Serial Device Control
      • Calibrating Timecode Capture with Serial Device Control
      • Determining and Entering the Timecode Offset
    • Using a Non-Controllable Device
    • Troubleshooting Your Device Control Setup
  • Sequence Settings and Presets
    • What Are Sequence Settings?
    • About Sequence Settings and Presets
      • General Tab for Sequences
      • QuickTime Video Settings for Sequences
        • Confirming Alpha Channel Status
      • QuickTime Audio Settings for Sequences
      • Video Processing Tab for Sequences
    • Timeline Display, Render, and Audio Output Options
      • Timeline Options Tab
      • Render Control Tab
      • Audio Outputs Tab
    • Changing Sequence Settings
  • Appendix A: Solving Problems
    • Resources for Solving Problems
    • Solutions to Common Problems
      • Problems with Video Devices
      • Problems During Playback
      • Problems with Audio Quality
      • Other Issues
    • Contacting AppleCare Support
  • Appendix B: Video Formats
    • An Overview of Video Format Characteristics
    • Storage Medium
      • Tape Size, Cassette Shape, and Tape Coating
      • About File-Based Media
    • Video Standards
      • Standard Definition Video
      • High Definition Video
    • Types of Video Signals
    • Aspect Ratio of the Video Frame
      • Letterboxing
      • Pan and Scan
      • Anamorphic
      • Pillarboxing
    • Frame Dimensions, Number of Lines, and Resolution
      • Number of Lines
      • Pixels per Line
    • Pixel Aspect Ratio
    • Frame Rate
    • Scanning Method
      • About Interlaced Scanning
      • About Progressive Scanning
      • About Field Dominance
      • Setting Field Dominance in Final Cut Pro
    • Color Recording Method
    • Video Sample Rate and Bit Depth
      • Color Sample Ratio
      • Bit Depth
      • Perceptual Coding and Gamma
    • Video Compression
      • Lossless Codecs
      • Lossy Codecs
      • About Uncompressed Video
      • About MPEG Compression
        • Intraframe Compression
        • Interframe Compression
        • Groups of Pictures
        • GOP Pattern
        • GOP Length
        • Open and Closed GOPs
        • MPEG Containers and Streams
      • MPEG-1
      • MPEG-2
      • MPEG-4
      • MPEG-4 Part 10, or H.264
    • Video Formats Supported by Final Cut Pro
      • DV Formats
      • 24p Video
      • High Definition Video Formats
        • Scanning Methods
        • Compressed High Definition Formats
        • Uncompressed High Definition Formats
      • Data Rate Comparisons
  • Appendix C: Frame Rate and Timecode
    • What Is Frame Rate?
    • Understanding Flicker and Perceived Frame Rate
    • How Many Frames per Second Is Best?
      • Recording High Frame Rates for Slow-Motion Effects
      • Recording Slow Frame Rates for Time-Lapse Photography
      • Examples of How Different Frame Rates Are Used
    • Choosing a Frame Rate
    • What Is Timecode?
    • About Drop Frame and Non-Drop Frame Timecode
      • More About Drop Frame Timecode and the NTSC Frame Rate
    • Timecode on Tape
    • Comparison of Various Timecode Formats
  • Appendix D: Working with 24p Video
    • What Is 24p Video?
    • Telecine, Pull-Down, and Reverse Telecine
      • Standard 3:2 Pull-Down
      • 2:3:3:2 Advanced Pull-Down
      • 2:2:2:4 Pull-Down
      • 720p DVCPRO HD Duplicate Frames
      • Progressive Segmented Frame Recording
      • 24 @ 25
      • 24 @ 25 Pull-Down
      • 24 @ 25 Repeat
      • Native 24p
    • Film, 24p Video, and Cinema Tools
    • Working with 24p NTSC Video
    • Using an AG-DVX100 NTSC Camcorder with Advanced Pull-Down
      • Stage 1: Shooting with Advanced Pull-Down
      • Stage 2: Removing Advanced Pull-Down from 24p Video During Capture
      • Stage 3: Editing at 23.98 fps
      • Stage 4: Outputting to 29.97 fps Video with Advanced Pull-Down
  • Appendix E: Working with Anamorphic 16:9 Media
    • About Anamorphic 16:9 Media
      • Why Use 16:9 Anamorphic Video?
      • Displaying 16:9 Anamorphic Video
      • About Letterboxing
    • Recording Anamorphic Video
    • Capturing Anamorphic Media
    • Changing Clip Properties for Anamorphic Media
    • Viewing and Editing Anamorphic Media
    • Specifying Sequence Settings for Anamorphic Media
    • Outputting Anamorphic Video to Tape
    • Exporting 16:9 Anamorphic Video
      • Calculating the Dimensions for an Exported 16:9 QuickTime Movie
      • Exporting a 16:9 QuickTime Movie for the Web
      • Exporting a 16:9 Video File for DVD Distribution
  • Appendix F: Using Multi-Touch Gestures with Final Cut Pro
    • Using Multi-Touch Gestures in the Timeline
    • Using Multi-Touch Gestures in the Viewer or Canvas
  • Glossary