Apple Final Cut Pro 5 - Manual (Page 1819)

468 Index
Edge Thin slider III-477
Edge Wipe transition II-395, IV-143
edging around keyed subjects III-398, III-402
edit buttons I-91, II-151, IV-190
Edit Decision Lists. See EDLs
editing
anamorphic media IV-397–IV-398
assemble editing. See assemble editing
asymmetrical edits II-335, II-336–II-338
audio in Timeline II-304–II-308
audio in Viewer II-295–II-297, II-301–II-303
audio-video sync II-233–II-234
audio waveform displays and II-291
backtiming clips II-169, II-172
canceling edits IV-199, IV-203
in Canvas II-149–II-152
changing simple edits to split edits II-240
clip properties II-81
clips into sequences II-169–II-170
clips with transitions II-388
in color spaces III-552
controls in Canvas I-90–I-91
copying clips from other sequences II-414–II-417
cut edits II-213
described IV-420
drag-to-Timeline editing II-97, II-141–II-147
Easy Setups IV-304
edit buttons II-151
editorial process I-19
Edit Overlay I-91
edit points I-94
EDL considerations IV-124, IV-139–IV-141
extend edits II-352–II-353
fit to fill edits II-153, III-308–III-310
“gearing down” II-199
In and Out points II-101–II-106, II-169
insert editing. See insert editing
insert edits II-143, II-152, II-154–II-155, II-415
insert with transition edits II-152, II-155–II-156,
II-379
keyboard shortcuts II-152, II-274, II-425
lift edits II-206–II-208
linear editing I-21, IV-18, IV-424
marker information II-60, II-64
master clips IV-43
match cuts II-339
match frame editing IV-426
media management and IV-16
montages II-247
Multiclip Playback mode II-281–II-283
multiclips II-250, II-274, II-282
multiple clips II-142–II-143
non–Final Cut Pro systems IV-60
nonlinear and nondestructive I-21
nonlinear editing IV-18, IV-427
offline/online editing IV-18, IV-51–IV-53, IV-428
overwrite editing IV-428
overwrite edits II-143–II-145, II-153, II-157–II-159,
II-416
overwrite with transition edits II-153, II-158–
II-159, II-379
performing II-243–II-246
preferences IV-287
presets IV-308
preview editing IV-187
previewing edits IV-202
razor blade edits IV-431
replace editing IV-431
replace edits II-153, II-160–II-166
resize editing IV-431
resize edits II-354–II-355, II-401, II-407
ripple editing IV-432
ripple edits II-207–II-208, II-330–II-333, II-370,
II-408–II-409
roll editing IV-432
roll edits II-338–II-343, II-370, II-401, II-408
rough cut I-19
rough edit II-93–II-95
rough editing IV-432
sequence clips II-429
sequences II-425
short edits IV-404
shuffle edits II-200–II-201, IV-434
slide edits II-321–II-324, IV-434
slip edits II-120, II-312, II-325–II-329, IV-434
split edits II-237–II-240, II-243–II-246, II-290,
II-316–II-317, II-336, IV-436
stereo vs. dual mono audio III-66
straight edits II-213
streamlining EDL exports IV-139–IV-141
subclips and II-41
superimpose edits II-131, II-153, II-166–II-168,
III-357, IV-436
swap edits IV-437
swap edits. See shuffle edits
switching and cutting between angles II-275–
II-281
system components I-163
three-point editing II-97, IV-437
through edits I-126, II-216, IV-139
with timecode II-355
timecode in media files II-446–II-450
transferring projects IV-61
trim edits II-302–II-303, II-345–II-346, II-351–
II-352, II-357
types noted in EDLs IV-122
types of edits II-149–II-153
undoing and redoing actions II-96
video latency and I-220
to videotape IV-197–IV-203
videotape editing methods IV-185–IV-188
without In and Out points II-174