Apple Final Cut Pro 5 - Manual (Page 1802)

Index 451
noise reduction filters III-156–III-157
OMF files and IV-159
parameters III-168
postproduction and IV-146
real-time adjustments III-166–III-167
recording automation III-167
removing III-166, IV-150
rendering III-115, III-530, III-546
stereo pairs and III-159
viewing in Viewer III-165
audio follows video behavior III-33
Audio Format option IV-257
audio formats
exporting QuickTime-compatible format IV-247
file formats IV-236
history of IV-373–IV-375
for video DVDs IV-219
audio generators III-491
Audio Insert control IV-192
Audio Interchange File Format. See AIFF files
audio interfaces
advantages I-191
device control I-206
output presets and III-62
selecting III-32
setting up III-137
setup I-160
types of I-201–I-203, III-24
Audio Keyframe Recording preference III-90
audio levels
adjusting I-292–I-294, III-58–III-60, III-83–III-86,
III-113–III-116
adjusting in Timeline III-109–III-113
adjusting in Viewer III-114–III-116
capture settings I-256
clipping indicators III-74
controlling III-111, III-128–III-129
copying settings III-289
eliminating clicks III-129
faders III-71, III-83–III-86
keyframes and III-111, III-114, III-121–III-127,
III-128–III-129, IV-291
labeling tapes III-60
measuring III-40
mixed III-55–III-56, III-127, IV-140
monitoring III-51–III-56
peaks I-294
recording settings III-90–III-93
reference tones III-60
settings I-233, III-58–III-60
subframe III-129
track meters III-72
Audio Levels setting IV-130
audio mapping IV-130, IV-204, IV-325
Audio Mapping setting IV-130, IV-325
audio meters I-44, I-289, IV-412
analog III-53
average III-52
clip indicators III-56
decibels III-40, III-41
digital III-53
floating audio meters III-21, III-57
Master meter III-74
overview III-55–III-57
peak meters III-52
types of III-55–III-57
Audio Mixer III-79–III-98, IV-157, IV-339, IV-412
adjusting levels III-21
controls III-68–III-76
controls unavailable III-80
control surfaces and III-98, III-104–III-107
customizing track views III-77–III-78
faders III-83–III-86
making basic adjustments with III-79–III-86
making pan adjustments with III-87–III-89
mixer automation III-89, III-89–III-98
mute button III-80–III-81
opening III-68
organizing tracks in III-77–III-78, III-181
overview III-67, III-79
recording audio filter automation III-167
recording level and pan keyframes III-90–III-93
recording over automation III-97
solo button III-82
track level meters III-72
views in III-77–III-78
audio mixers, external III-23
audio mixing I-20, I-142
32-bit resolution III-72
assigning tracks III-66
audio levels III-51–III-56, III-109–III-113, III-127,
IV-140
Audio Mixer. See Audio Mixer
audio sweetening IV-145
audio tracks III-529, IV-283
bars and reference tone III-60
compression III-44
control surfaces and III-104–III-107
downmixing III-64
EDLs and IV-140
eliminating clicks III-129
filters. See audio filters
Final Cut Pro features III-15–III-16
final mixes III-19–III-22
looping playback III-94–III-95
matching viewing environment III-26
mixer automation III-89
in other applications III-16
postproduction facilities IV-145
real-time audio mixing III-529, III-530, IV-283,
IV-403
reference levels III-58