Apple Final Cut Pro 5 - Manual (Page 1799)

448 Index
Assemble Edit button IV-198
assemble editing IV-197–IV-199
blacking tapes and IV-183
described IV-186, IV-411
editing to tape IV-178, IV-187
requirements IV-188
asymmetrical trimming II-335, II-336–II-338
ATA disks I-185
atmospheric sound effects IV-146
A-to-D converters III-24
A tracks IV-121
ATSC (Advanced Television Standards
Committee) IV-352
Attack Time control III-155, III-156
attenuating audio signals III-155
attenuating signals IV-343, IV-411
attributes (XML) IV-165, IV-168
Aud Format property IV-35, IV-50
audio III-175–III-181
acoustic environments III-158
amplitude III-40
analog levels I-293
angles II-268
audio attributes III-120, III-162–III-163, III-289
audio-only media files I-287
audio sweetening IV-145
background noise III-179
bit depth I-313, II-90, III-48
bit resolution IV-254
capture presets IV-320–IV-322
capturing I-285–I-297, IV-321–IV-322, IV-407
channel indicators IV-411
channels IV-130, IV-342–IV-343
clipped I-292, I-294, III-57, IV-115
clips. See audio clips
controls I-126
cross fades II-308, III-176, III-180
decibels III-40
describing to sound designers III-175
digital audio overview III-46–III-49
discrete audio II-296
distortion III-42
downmixing III-64
dual system recordings II-236
dynamic range III-43
editing out problems with III-176–III-179
expansion filter III-155
exporting IV-147–IV-160
exporting audio only IV-236
exporting OMF format IV-159–IV-160
exporting sequences IV-338
external audio monitoring systems III-23
file space requirements I-182
filters II-284
flattening IV-150
formats II-90
frame offset settings I-218
frequencies III-39
gain I-292–I-294
headroom III-42
imported video file settings I-311
importing I-313–I-315
inadequate channel warnings I-215
interfaces IV-320
laybacks IV-53
levels II-292, III-19, III-21
levels of IV-130
matching for clips and sequences I-80, I-95
mixdown audio III-530, III-546
mixed levels IV-140
mixing I-20, I-142
mixing. See audio mixing
monitoring during logging process I-242
monitoring on speakers III-16
mono and stereo channels I-120, I-254
multichannel audio IV-204–IV-205
muting II-373
output rate IV-254
output settings IV-342–IV-343
pan III-21
peak detection III-57
peak markers II-56
peaks I-294
pops/clicks in III-128–III-131, III-176
postproduction III-17
problems with III-176–III-179, IV-403–IV-404,
IV-407
professional vs. consumer equipment III-49
quality IV-338, IV-407
QuickTime settings IV-253–IV-254, IV-320–IV-321
real-time effects and III-524
recording keyframes IV-291
reference tone I-292–I-293
reference tones III-60
rendering III-115, III-538, III-543
resampling III-538, III-543
room tone II-290, II-313–II-316, III-177
sample rate conversion IV-284
sample rates I-313–I-315, II-90, III-47, III-538
scrubbing through clips and I-100
settings I-75
signal-to-noise ratio III-42
sound, described III-37
sound bytes IV-435
sound effects III-179, III-181, IV-146, IV-435
sound recordists IV-435
soundtracks IV-435
sound waves III-38
stem mixes III-19
stereo III-44–III-46
stereo pairs II-235, II-297, II-309–II-310
surround sound IV-219