Apple Final Cut Pro 5 User Manual
Page 1863
512
Index
analog-to-digital IV-371
analog-to-digital capture I-209
capture presets and IV-315
connecting I-165
connecting analog equipment to I-195–I-197
effect handling settings IV-300
external video monitors I-210
gamma correction III-518
play through IV-316
real-time playback and III-515
third-party IV-176, IV-315, IV-366
video interface cards I-165
videocassette recorders. See VCRs, video decks
video clips
adding to sequences II-93, II-96
affiliate clips. See affiliate clips
alpha channels III-371, III-373
analyzing IV-111–IV-113
anamorphic media and IV-398
animation. See animation
applying multiple filters III-190
arranging in storyboard II-99–II-100, II-142–II-143
automatic filenaming I-273
backtiming II-112, II-169, II-172–II-173
basics III-418–III-421
batch capturing I-262–I-269
batch exporting IV-267–IV-276
batch lists I-299, I-300
boundaries II-217
capturing 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
color correction. See color correction
compared to media files IV-15
compositing III-356
compression markers and IV-222
conflicting properties IV-47
connections to media files IV-64
copying I-57
copying and pasting II-202–II-205
copying and pasting attributes III-201, III-287–
III-290
copying portions of IV-99
copying to other projects IV-45
copying to other sequences II-413, II-414–II-417
currently selected II-176
cutting II-213–II-215
deleting I-58
described I-28, II-78
deselecting II-183
displaying in Transition Editor II-404
dragging to Timeline II-131, II-141–II-147
duplicate frames I-131
duplicate names I-263
duration II-106, II-217, II-354, II-408–II-409
DV video and fuzziness IV-406
editing into sequences II-169–II-170
editing multiple clips II-142–II-143
in EDLs IV-120, IV-126
exporting audio from IV-236
exporting to QuickTime IV-237
filenames I-241, I-263
filters IV-130
filters. See video filters
frame rates I-268
freeze frames III-336
ganging playhead II-436
generator clips I-72
handles I-248, I-266, II-101, II-378
head clips IV-422
heads and tails II-378
hiding portions of III-367
In and Out points I-80, I-95, I-232, I-247, II-98,
II-101–II-106, II-115, II-116, II-169, II-169–II-174
incoming and outgoing II-346, II-362, II-367,
II-368, II-400
independent clips I-309, II-41, II-430
independent clips. See independent clips
jogging through I-102
keyboard shortcuts III-437
keyframes I-80, I-95
labels I-119, I-139, II-23–II-26
linked I-119
linked clip items II-146
linked clips II-180, II-220, II-224
links to source media IV-65–IV-67
logging I-226–I-228, I-237, I-249–I-251, I-256–
I-257, IV-137
looping playback I-103
managing. See media management
manipulating in Canvas III-236–III-237
markers I-80, I-95, I-252, II-54, II-57, II-59
marking while logging I-251–I-252
master clips. See master clips
matching audio for I-80, I-95
media files and I-35–I-37, I-276
media files for II-28, II-83
merged clips I-35
merged clips. See merged clips
modifying timecode in II-446–II-449
motion parameters III-218
motion paths for III-272
moving II-66, II-196–II-199, II-355, II-356
moving playhead I-93
multiclip layouts III-225
multiclips. See multiclips
names IV-17, IV-86, IV-130, IV-134
naming conventions II-251
in nested sequences II-420–II-421
notes about I-250