Apple Final Cut Pro 5 - Manual (Page 1809)

458 Index
number of III-33
selecting for capture I-288
shortcut menu III-69
stereo III-44
Channels option IV-253
chapter markers II-55, II-60, II-62, IV-217, IV-220,
IV-220–IV-221, IV-243
chapter tracks IV-221
Character Generator (CG) IV-414
checkerboard backgrounds I-84
Checkerboard Wipe transition II-395, IV-143
Checker Wipe transition II-395, IV-143
chip chart III-414, IV-414
Choke slider III-406
chroma (chrominance) IV-353, IV-362, IV-414
chroma. See chrominance
chroma gain I-331
Chroma Keyer filter
chroma keying process III-388
controls III-195
described III-208
examples of using III-391–III-392, III-398–III-402
lighting background screens III-390
numeric controls III-395
settings III-396–III-398
transparency effects III-186
visual controls III-394, III-396–III-398
Chroma Keyer tab III-393
chroma keying III-386
chroma keying. See blue screening, green screening
Chroma Key transition II-394
chroma levels I-321, I-332
chrominance
broadcast legal levels III-421–III-423
described III-419
saturation display III-426
cinematic effects IV-394
Cinema Tools II-251, III-525
Cinema Tools clips IV-34
Clamp Above slider III-487
clamped color conversions III-552
clamping I-323
cleaning audio noise III-18
Clear Long Frame Markers command IV-110
Clear Long Marks command IV-114
Clear Peak Marks command IV-110, IV-116
Clear Split command II-242
click sounds
eliminating III-129
subframe keyframes and III-176
“Clip Collision” message II-338, II-359, II-199, II-355
clip control III-199
Clip Enable command III-382
clip icon IV-33
clip indicators in audio meters III-56
clip items
copying into sequences I-29
described II-78, II-123, IV-32
illustrated II-94
linked I-119
linked items II-146
selecting for Media Manager IV-79
in sequence clips II-78
clip keyframes I-117
Clip Keyframes area II-134, III-283–III-284
Clip Keyframes control I-117, I-127, I-128, III-164,
III-200, III-273, III-283, III-320
Clip Name option IV-130
Clip Overlays control I-117, I-125, I-128, II-305, III-97,
III-109, III-359
clipped audio I-292, I-294
clipped peaks III-52
detection III-57
indicators III-56, III-74
clipped color conversions III-552
clipping distortion IV-415
clipping indicators I-289, III-74
clips
adding to sequences II-93, II-96–II-98
affiliate clips I-57
affiliate clips. See affiliate clips
alpha channels and III-371–III-378
analyzing IV-111–IV-113
anamorphic media and IV-398
anchor points III-220
arranging in storyboard II-99–II-100, II-142–II-143
attributes III-287–III-291
audio. See audio clips
backgrounds III-380
backtiming II-112, II-169, II-172–II-173
batch capturing I-262–I-269, I-300
batch exporting IV-267–IV-276
batch lists I-299
blending III-357, III-358–III-378
boundaries II-217
capturing audio I-285–I-297
capturing process I-226–I-228
changing settings after logging I-254
clip names I-239, I-241, I-249–I-251, I-263
color-coding II-212
compared to media files IV-15
composite modes III-361, III-362
compositing, uses for III-356
compression markers and IV-222
conflicting properties IV-47
connections to media files IV-64
controls I-78–I-79, I-93–I-94
copying I-57, II-202–II-205, II-413, II-414–II-417
copying and pasting attributes III-201, III-222,
III-287–III-290
copying portions of IV-99
copying to other projects IV-45