Apple Final Cut Pro 5 - Manual (Page 1865)

514 Index
video filter icon IV-34
video filters II-284, III-203–III-215, IV-135
advantages of III-185
After Effects filters III-202
applying III-186–III-190
categories III-193
copying and pasting into clips III-201
filter bars III-199
FXScript III-195
keyframing III-186
multiple filters III-190, III-478
rearranging III-200
removing III-202
settings III-192–III-195
turning on or off III-200
using controls III-195–III-199
Video Format option IV-256
video formats III-388
characteristics IV-349–IV-365
data rates IV-369
Final Cut Pro-supported IV-366–IV-369
frame rates IV-358
high definition video IV-367–IV-369
history of IV-373–IV-375
supported IV-366–IV-369
video frames IV-349, IV-355
video generator icon IV-33
videographers IV-440
video inputs I-160
Video Insert control IV-191
video interfaces III-24
advantages I-191
choosing I-192–I-194
described I-165
device control I-206
PCI cards I-165
settings I-214
setup I-160
switching I-221
video latency I-220
video levels
analog video I-325
capture settings I-256
measurements I-323, I-325
Video Levels setting IV-130
video monitors
vs. broadcast monitors I-210
color and I-209
connecting I-164, I-209
NTSC video monitors I-210
PAL video monitors I-210
setup I-160
video monitors. See broadcast monitors
Video Processing tab III-549–III-553, III-553–III-556,
IV-339
video rates II-448, II-449
video render bars I-121, I-311
video render status bar III-536
video scopes III-417, IV-441
display options III-426–III-427
Histogram III-431–III-432
in Final Cut Pro III-424–III-433
Parade scope III-432–III-433
Vectorscope III-429–III-430
Waveform Monitor III-427–III-428
Video Scopes tab III-417, III-436, IV-441
opening in the Tool Bench III-424
options III-425–III-427
video signals IV-353, IV-369–IV-373
video switchers II-273, IV-441
Video tab I-74, IV-189, IV-189–IV-193
videotape
as acquisition media I-225
archiving IV-24
assemble editing to tape IV-187
audio on I-23
blacking IV-183–IV-184
blacking tapes I-258
capturing entire tapes I-272–I-275
color correction III-416
cueing IV-182, IV-201
device control presets IV-328
duplicate timecode numbers I-257–I-259
dynamic range III-58
editing methods IV-185–IV-188
Edit to Tape operations IV-178, IV-189–IV-205
equipment choices IV-175
formats IV-175, IV-366
labeling I-239, I-240
labeling audio levels III-60
master IV-130
organizing IV-137–IV-138
output requirements IV-177
output settings IV-179
outputting to I-209
playback settings IV-181
printing to VHS IV-213
Print to Video operations IV-178, IV-207, IV-208–
IV-210
recording from Timeline IV-179
recording to IV-179–IV-184, IV-185–IV-205,
IV-207–IV-213
reel names I-246
source IV-137–IV-138
television broadcast I-209
timecode on IV-386
tracks on IV-188
types of IV-351
unique reel names IV-137–IV-138
write-protection tab IV-182
videotape recorders. See video decks, VTRs
videotape recorders. See VTRs