Final Cut Express 4 User Manual
K Apple Inc. Copyright © 2007 Apple Inc. All rights reserved. Your rights to the software are governed by the accompanying software license agreement. The owner or authorized user of a valid copy of Final Cut Express software may reproduce this publication for the purpose of learning to use such software. No part of this publication may be reproduced or transmitted for commercial purposes, such as selling copies of this publication or for providing paid for support services.
1 Preface 25 25 26 Part I Contents Final Cut Express 4 Documentation and Resources Onscreen Help Apple Websites An Introduction to Final Cut Express Chapter 1 29 29 30 About the Post-Production Workflow The Industry Workflow The Post-Production Workflow Chapter 2 35 35 36 36 37 Video Formats About Nonlinear and Nondestructive Editing Video Formats Compatible with Final Cut Express Audio Formats Compatible with Final Cut Express Video Format Basics Chapter 3 39 39 43 47 49 Understanding Projec
Chapter 5 65 65 66 67 69 70 Browser Basics How You Use the Browser Learning About the Browser Working in the Browser Using Columns in he Browser Customizing the Browser Display Chapter 6 79 79 80 81 83 84 85 87 88 91 Viewer Basics How You Can Use the Viewer Opening a Clip in the Viewer Learning About the Viewer Tabs in the Viewer Transport Controls Playhead Controls Marking Controls Zoom and View Pop-Up Menus Recent Clips and Generator Pop-Up Menus Chapter 7 93 93 94 95 96 97 98 100 101 Canvas Ba
Chapter 10 137 137 137 139 140 Part III Customizing the Interface Changing Browser and Timeline Text Size Moving and Resizing Final Cut Express Windows Using Window Layouts Working with Shortcut Buttons and Button Bars Setting Up Your Editing System Chapter 11 147 147 148 149 149 153 154 Connecting DV Video Equipment Components of a Basic Final Cut Express Editing System Setting Up a Final Cut Express Editing System Connecting Your Camcorder Opening Final Cut Express and Choosing Your Initial Setting
182 182 183 184 184 185 190 192 193 193 194 194 195 197 198 198 199 200 201 202 202 Preparing to Capture Organizing and Labeling Your Tapes Logging Your Tapes Choosing a Filenaming Scheme Determining How Much Disk Space You Need Capturing Individual Clips in the Capture Window Using Capture Now Automatically Creating Subclips Using DV Start/Stop Detection Adding Markers to Clips in the Capture Window Marker Controls in the Capture Window Setting Markers Recapturing Clips Using Capture Project About the
238 239 240 Part V Editing Video Using the Apple Intermediate Codec Outputting HDV to Tape or Exporting to a QuickTime Movie HDV Format Specifications Organizing Footage and Preparing to Edit Chapter 18 245 245 246 247 248 251 253 254 254 255 257 259 Organizing Footage in the Browser Using Bins to Organize Your Clips Creating New Bins Opening Bins in the Browser Opening Bins in a Separate Window or Tab Moving Items Between Bins Sorting Items in the Browser Using Column Headings Searching for Clips in
Part VI 8 Rough Editing Chapter 21 289 290 290 290 291 291 293 293 295 295 295 296 297 297 297 299 300 300 301 301 Working with Projects, Clips, and Sequences Working with Projects Working with Multiple Projects in the Browser Choosing Whether the Last Previously Opened Project Opens on Launch Viewing and Changing the Properties of a Project Backing Up and Restoring Projects Learning About the Different Types of Clips Types of Clips Sequences as Clips Viewing and Changing the Properties of a Clip Chang
320 321 326 327 328 330 331 332 Setting Sequence In and Out Points in the Canvas or Timeline Options for Setting Sequence In and Out Points Setting Sequence In and Out Points Setting In and Out Points to Match a Clip or Gap Setting In and Out Points Based on a Selection in the Timeline Navigating to In and Out Points Moving In and Out Points Clearing In and Out Points Chapter 24 335 336 336 338 339 339 340 341 341 343 344 345 346 346 349 349 Working with Tracks in the Timeline Adding and Deleting Tracks
377 380 380 382 383 385 Superimposing Clips Three-Point Editing Examples Example: Editing a Specific Clip into Your Sequence Example: Editing a Clip into a Gap in Your Sequence Example: Backtiming a Clip into Your Sequence Example: Editing a Clip with No Specified In or Out Points into Your Sequence Chapter 27 387 387 388 389 389 390 392 395 396 397 398 399 401 402 Finding and Selecting Content in the Timeline Understanding What’s Currently Selected Identifying Selections in the Timeline How Selections
Chapter 30 429 429 430 432 434 434 435 436 437 437 438 440 441 442 443 Linking and Editing Video and Audio in Sync Linked Sync Relationships Between Video and Audio Clips When Linked Clips Are Moved out of Sync Understanding Sync Relationships Between Multiple Linked Audio Items Linking and Unlinking Video and Audio Clip Items in the Timeline Linking Video and Audio Clip Items Unlinking Video and Audio Clip Items Selecting Individual Clip Items While They Are Linked Getting Clip Items Back in Sync Moving
472 474 474 476 476 479 Part VII 12 Creating or Separating Stereo Pairs Working with Audio at the Subframe Level Subframe Synchronization of Audio and Video Examples of Ways to Easily Edit Audio Example: Replacing Unwanted Audio with Room Tone Example: Fixing Awkward Audio Cuts in the Timeline Fine-Tuning Your Edit Chapter 33 483 483 484 485 486 487 488 489 491 492 496 498 498 501 502 Performing Slip, Slide, Ripple, and Roll Edits About Trimming with Slip, Slide, Ripple, and Roll Tools Sliding Clips
526 530 531 531 531 534 534 535 Controls in the Trim Edit Window Using the Trim Edit Window Playing Incoming and Outgoing Clips in the Trim Edit Window Dynamic Trimming Trimming an Edit in the Trim Edit Window Reviewing and Playing Back Your Edits in the Trim Edit Window Slipping a Clip in the Trim Edit Window Listening to Audio While Trimming Chapter 36 537 537 538 539 539 540 540 541 541 542 543 544 545 546 546 547 547 547 549 549 550 550 555 Adding Transitions Learning About Transitions Common Types
Chapter 39 576 579 Nesting Sequences Editing the Content of One Sequence into Another Without Nesting It 585 585 586 587 587 588 588 589 589 590 Matching Frames Working with Sequence Clips in the Viewer Opening a Sequence Clip in the Viewer Switching Between the Viewer, Canvas, and Timeline Using the Viewer to Adjust Sequence Clip In and Out Points Using the Viewer to Adjust Motion and Filter Parameters Matching Frames Between Sequence and Master Clips Matching a Frame in the Canvas to Its Master Clip M
619 620 621 622 622 623 628 629 630 633 Changing the Pan of Audio in the Viewer Changing Pan for an Entire Clip Copying, Pasting, and Removing Audio Attributes Adjusting Clip Audio Levels and Pan Using Keyframes Tools for Adjusting Keyframes Creating, Modifying, and Deleting Keyframes in the Viewer Example: Using Keyframes to Adjust Audio Levels Example: Using Keyframes in the Timeline to Automate Audio Levels Example: Setting Subframe Audio Level Keyframes to Eliminate Clicks Example: Using Keyframes to C
690 691 Copying and Pasting a Clip’s Filters Removing Filters from Clips Chapter 46 693 693 694 695 696 701 703 703 704 704 705 706 711 715 719 719 720 Color Correction What Is Color Correction? Why Color Correct Your Footage? Color Correction Starts During Your Shoot Managing Color During Post-Production The Color Correction Process The Final Cut Express Color Correction Filters Using the Color Correction Filters About the Controls in the Color Corrector Filter The Color Corrector Filter General Co
763 763 765 767 768 770 771 772 772 774 774 776 778 Adjusting All Opacity Keyframes of a Clip Example: Using Keyframes to Make Opacity Changes Example: Keyframing Opacity in the Timeline Smoothing Keyframes with Bezier Handles Understanding Bezier Handles and Curves Smoothing Keyframes Creating Keyframed Motion Paths in the Canvas What Are Motion Paths? Creating Motion Paths Adding, Moving, and Deleting Keyframes in Motion Paths Creating Curved Motion Paths Using Bezier Handles Controlling Speed Along a Mo
826 826 827 828 829 830 832 833 834 835 Working with Layered Photoshop Files Updating Photoshop Files in Adobe Photoshop Working with Layered Photoshop Sequences Using Video and Graphics Clips with Alpha Channels Working with Clips That Have Alpha Channels Changing a Clip’s Alpha Channel Type Choosing a Background Temporarily Excluding Clips from Playback or Output Temporarily Disabling a Single Clip Soloing Clips in Multitrack Sequences Chapter 53 837 837 837 838 839 840 840 842 844 854 854 854 856
Part X Real Time and Rendering Chapter 56 881 881 882 884 886 886 888 893 893 894 894 895 896 897 898 898 Using RT Extreme Introduction to Real-Time Processing How Real-Time Processing Works Identifying Which Effects Can Play Back in Real Time Changing Real-Time Playback Settings Locations for Changing Real-Time Playback Settings About Real-Time Playback Options Still-Image Real-Time Playback Improving Real-Time Performance Reporting Dropped Frames During Playback Factors That Affect Real-Time Performan
Chapter 58 919 919 920 921 921 921 922 922 923 924 926 927 928 928 928 933 933 Part XI 20 Working with Mixed-Format Sequences About Mixed-Format Sequences Determining Whether Clips in a Sequence Will Play Back in Real Time Formats That Support Real-Time Playback Formats That Don’t Support Real-Time Playback Viewing Clip Properties and Sequence Settings Working with Mixed-Format Sequences Conforming Sequence Settings to Match a Clip’s Settings Conforming Clips to Match Sequence Settings Mixing Frame Rate
Chapter 62 959 959 966 968 How the Connection Between Clips and Media Files Can Be Broken Reconnecting Clips to Media Files When Final Cut Express Reconnects Your Clips Reconnecting Media Files Automatically 969 969 970 975 977 977 978 978 979 980 981 982 982 Choosing Settings and Preferences Changing User Preferences General Tab Editing Tab Timeline Options Tab Render Control Tab Locating and Deleting the Preferences File Changing System Settings Scratch Disks Tab Search Folders Tab Memory & Cache Tab
Chapter 66 1013 1013 1014 1015 1017 Exporting QuickTime Movies About the Export QuickTime Movie Command Choosing the Type of QuickTime Movie to Export Exporting a QuickTime Movie File Exporting QuickTime Movies with Markers Chapter 67 1019 1019 1020 1021 1021 1023 1033 1036 1037 1038 Exporting Using QuickTime Conversion About the Export Using QuickTime Conversion Command Types of File Formats You Can Export with QuickTime About Color Space Conversion Exporting a QuickTime Movie File for Web Distributio
1079 1079 1080 1081 1081 Video Formats Supported by Final Cut Express DV Formats High Definition Video Formats Data Rate Comparisons A Brief History of Film, Television, and Audio Formats Appendix B 1085 1085 1086 1087 1088 1090 1090 Frame Rate and Timecode What Is Frame Rate? Understanding Flicker and Perceived Frame Rate Frame Rate Limits: How Many Frames per Second Is Best? Choosing a Frame Rate What Is Timecode? About Drop Frame and Non-Drop Frame Timecode Appendix C 1095 1095 1099 1100 1100 1102
Preface Final Cut Express 4 Documentation and Resources You can use Final Cut Express to create movies of any budget, style, and format. Final Cut Express comes with onscreen documentation to help you learn how. This preface provides information on the documentation available for Final Cut Express, as well as information about Final Cut Express resources on the web.
Apple Websites There are a variety of discussion boards, forums, and educational resources related to Final Cut Express on the web. Final Cut Express Websites The following websites provide general information, updates, and support information about Final Cut Express, as well as the latest news, resources, and training materials. For information about Final Cut Express, go to: Â http://www.apple.
Part I: An Introduction to Final Cut Express I Find out how Final Cut Express fits into the moviemaking process and learn about fundamental concepts of digital video editing and the basic elements of a Final Cut Express project.
1 About the Post-Production Workflow 1 No matter what your project, Final Cut Express is the cornerstone of your post-production workflow. This chapter covers the following: Â The Industry Workflow (p. 29) Â The Post-Production Workflow (p. 30) The Industry Workflow Before you start editing, it’s helpful to consider how post-production fits into the overall moviemaking workflow.
Step 4: Post-production Post-production is where you organize and assemble your production footage, putting scenes in proper order, selecting the best takes, and eliminating unnecessary elements. Production sound is synchronized (with the picture), edited, sometimes rerecorded, and mixed. Music is composed and added. Footage is color-corrected and special effects are created. The final movie is output to tape, film, or some other high-quality media format.
I Industry Workflow Final Cut Express Post-Production Workflow Scripting Planning Preproduction Setting Up Production Logging and Capturing Post-Production Editing Distribution Mixing Audio Adding Effects Outputting Step 1: Planning Planning is where you choose your basic workflow, such as offline and online editing (for projects with a lot of media) or editing the uncompressed footage (for shorter projects with quick turnaround times), choose input and output formats, and plan for equipment r
Step 2: Setting up In this phase, you set up your editing system by installing and connecting the hardware you need, as well as configuring your software. For example, before capturing, you need to connect the video and audio from your camcorder or VTR (video tape recorder) to your computer. You also need to make sure that the correct presets are chosen within Final Cut Express, so that Final Cut Express knows what video and audio formats you are capturing and what kind of device control you’re using.
I Step 5: Mixing audio Once your movie is edited and the picture is “locked,” meaning the duration of the movie is fixed and you no longer intend to change any of the edits, you can begin working more extensively on your audio.
2 Video Formats 2 Before you begin editing, you need to decide what video format you will capture, edit, and output. The format you choose determines your post-production workflow. This chapter covers the following: Â About Nonlinear and Nondestructive Editing (p. 35) Â Video Formats Compatible with Final Cut Express (p. 36) Â Audio Formats Compatible with Final Cut Express (p. 36) Â Video Format Basics (p.
Video Formats Compatible with Final Cut Express Long before editing begins, the most basic decision you need to make is which format to shoot with. The format you choose affects the equipment needed for editorial work, as well as how the finished product will look. Final Cut Express uses QuickTime technology, allowing you to use almost any digital video format available. This flexibility ensures that your Final Cut Express editing system always works with the latest video formats.
I Video Format Basics Most video formats are described by the following characteristics:  Standard  Image dimensions and aspect ratio  Frame rate  Scanning method For a more thorough explanation of video formats, see Appendix A, “Video Formats,” on page 1057. Video Standards A number of video standards have emerged over the years. Standard definition (SD) video formats have been used for broadcast television from the 1950s to the present.
Image Dimensions and Aspect Ratio The horizontal and vertical pixel dimensions of your format determine the frame size and aspect ratio. For example, DV NTSC video is 720 pixels wide and 480 pixels tall. HD video is either 1280 x 720 or 1920 x 1080, and is usually referred to by the vertical dimension and the frame rate (for example 720p30 or 1080i30). The aspect ratio of a video frame is the width with respect to the height. SD video has an aspect ratio of 4:3, while HD video uses 16:9.
3 Understanding Projects, Clips, and Sequences 3 The basic elements in Final Cut Express are projects, clips, and sequences. Once you learn what these are and how you can use them, you can begin working in Final Cut Express. This chapter covers the following: Â The Building Blocks of Projects (p. 39) Â Working with Projects (p. 43) Â About the Connection Between Clips and Media Files (p. 47) Â Filenaming Considerations (p.
What Are Clips? Once you have media files on your hard disk, you need a way of working with them in Final Cut Express. A clip is the most fundamental object in Final Cut Express. Clips represent your media, but they are not the media files themselves. A clip points to, or connects to, a video, audio, or graphics media file on your hard disk. (For more information on the relationship between media files and clips, see “About the Connection Between Clips and Media Files” on page 47.
I What Are Sequences? A sequence is a container for editing clips together in chronological order. The editing process involves deciding which video and audio clip items to put in your sequence, what order the clips should go in, and how long each clip should be. Sequences are created in the Browser. To edit clips into a sequence, you open a sequence in the Timeline from the Browser.
What Are Projects? A project contains all of the clips and sequences you use while editing your movie. Once you create or open a project, it appears as a tab in the Browser. There’s no limit to the number of items, including clips and sequences, that can be stored in your project in the Browser.
I What Are Bins? A bin is a folder within a project that can contain clips and sequences, as well as other items used in your project, such as transitions and effects. You use bins to organize these elements, sort them, add comments, rename items, and so on. Bins help you to design a logical structure for your projects, making your clips easier to manage.
Organizing Your Projects Typically, you create a new project file for each movie you work on, regardless of its duration. For example, if you’re working on a documentary about a bicycle manufacturing company, you would create a project for it. If you’re also working on an industrial training video about how to fix bicycles, that would be a second, separate project.
I To create a new project: m Choose File > New Project. A new, untitled project appears in the Browser with an empty sequence. You can name the project when you save it. This is your new project. A new sequence is automatically created when you create a new project. To save a project: 1 Click the project’s tab in the Browser. 2 Choose File > Save Project (or press Command-S). 3 If you haven’t named the project yet, a dialog appears. Enter a name and choose a location for the project, then click Save.
Opening and Closing Projects You can open and work on more than one project at a time. When you finish working and quit Final Cut Express, a message appears for each open project, asking if you want to save your changes. The next time you open Final Cut Express, all projects that were open at the end of your last session open automatically. You can have multiple projects open at the same time, each represented by its own tab in the Browser. To open a project: 1 Choose File > Open.
I To switch between several open projects: m In the Browser, click a project’s tab. To switch between projects, click a project’s tab. To close all open projects: m Close the Browser. Any project that has its own window (because you dragged the project’s tab out of the Browser) remains open. About the Connection Between Clips and Media Files Clips are not to be confused with the media files you captured to your computer’s hard disk.
To see a clip’s Source property: 1 Select a clip in the Browser by clicking it. 2 Choose Edit > Item Properties > Format (or press Command-9). The Item Properties window appears. 3 Look at the directory path in the clip’s Source field. 4 If you can’t see the complete directory path, you can do one of the following: Â Drag the right edge of the column heading to the right to increase the column width.
I An offline clip has a red slash through its icon in the Browser. In the Timeline, an offline clip appears white (when you play back your sequence in the Canvas, offline clips display a “Media Offline” message). To view these clips properly in your project, you need to reconnect the clips to their corresponding media files at their new locations on disk. This reestablishes the connection between the clips and their media files.
Avoiding Special Characters The most conservative filenaming conventions provide the most cross-platform compatibility. This means that your filenames will work in different operating systems, such as Windows, Mac OS X and other Unix operating systems, and Mac OS 9. You also need to consider filenaming when you transfer files via the Internet, where you can never be certain what computer platform your files may be stored on, even if temporarily. Most special characters should be avoided.
I Restricting Length of Filenames Although current file systems such as HFS+ (used by Mac OS X) allow you to create filenames with a 255-character limit, you may want to limit your filename length if you intend to transfer your files to other operating systems. Earlier versions of the Mac OS only allow 31-character filenames, and if you want to include a file extension (such as .fcp, .mov, or .aif), you need to shorten your Mac OS 9-compatible filenames to 27 characters.
Part II: Learning About the Final Cut Express Interface II Get familiar with the Browser, Viewer, Canvas, and Timeline, and learn how to customize the Final Cut Express interface to meet your specific needs.
4 Overview of the Final Cut Express Interface 4 The Final Cut Express interface has four main windows and a Tool palette. This chapter covers the following: Â Basics of Working in the Final Cut Express Interface (p. 55) Â Using Keyboard Shortcuts, Buttons, and Shortcut Menus (p. 57) Â Customizing the Interface (p. 59) Â Undoing and Redoing Changes (p. 63) Â Entering Timecode for Navigation Purposes (p.
Viewer: Used to preview and prepare source clips for editing, as well as adjust filter and motion parameters to clips. Canvas: Allows you to view your edited sequence, as well as perform a variety of editing functions. Works in parallel with the Timeline. Browser: This is where you organize the media in your project. Audio meters: These floating meters let you monitor audio levels. Timeline: This displays sequences.
II Using Keyboard Shortcuts, Buttons, and Shortcut Menus Final Cut Express offers several methods for performing commands. You can choose commands from the menu bar at the top of the screen or from contextual shortcut menus, or you can use keyboard shortcuts to perform many commands. Most people work fastest using keyboard shortcuts; others prefer to use shortcut menus or the mouse to access commands in the menu bar. Experiment to find out which method best suits your editing style.
Using Shortcut Menus Shortcut menus (also called contextual menus) are available in nearly every section of every window and offer a quick way to perform various tasks. The commands available in a shortcut menu depend on the location of the pointer. For example, a shortcut menu in the Browser shows options different from those available in a shortcut menu in the Timeline.
II Customizing the Interface Final Cut Express allows you to customize the interface in several ways. You can rearrange windows and move them to suit your needs and work style. You can also use various window layouts provided by Final Cut Express. You can also position the Dock in the Mac OS X interface so that it takes up less room or is hidden.
Working with Tabs and Tabbed Windows The Viewer and Browser contain tabs that let you access different functions. The Browser also contains tabs for open projects. Tabs in the Timeline and Canvas represent open sequences. The Viewer contains tabs that specify functions within clips. The Canvas contains a tab for each open sequence. The Browser contains tabs for open projects and effects. Like the Canvas, the Timeline contains a tab for each open sequence. To make a tab active: m Click the tab.
II To make a tab appear in its own window: m Drag the tab out of its parent window (Browser, Viewer, Canvas, or Timeline). The Effects tab is dragged out of the Browser and appears in its own window. To put a tab back in its original window: m Drag the tab to the title bar of its parent window. Drag the tab to the title bar of the original window to put it back.
Moving Windows There are several ways you can move windows in Final Cut Express. You can move a window by clicking its title bar, and then dragging it to a new position and releasing the mouse button. You can also hold down the Command and Option keys, and then click anywhere in a window and drag it to a new position. Using Different Window Layouts Final Cut Express comes with a set of predefined window layouts.
II Undoing and Redoing Changes You can undo changes you make in your projects, sequences, and clips. This is helpful if you make a change you don’t like and want to revert to an earlier version. You can also redo actions that you have undone. By default, you can undo 10 of your previous changes. You can set Final Cut Express to undo up to 32 changes. The more levels of Undo you select, the more memory is needed.
For example, if you enter 01221419, Final Cut Express interprets it as 01:22:14:19. This stands for 1 hour, 22 minutes, 14 seconds, and 19 frames. If you enter a partial number, Final Cut Express interprets it with the rightmost pair of numbers as frames and puts each successive pair of numbers to the left in the remaining seconds, minutes, and hours areas. Numbers you omit default to 00. For example, if you enter 1419, Final Cut Express interprets it as 00:00:14:19.
5 Browser Basics 5 The Browser is where you organize all of the clips in your project. This chapter covers the following: Â How You Use the Browser (p. 65) Â Learning About the Browser (p. 66) Â Working in the Browser (p. 67) Â Using Columns in he Browser (p. 69) Â Customizing the Browser Display (p. 70) Note: For information about organizing footage in the Browser, see Chapter 18, “Organizing Footage in the Browser,” on page 245.
Learning About the Browser By default, you view items in the Browser in icon view, which lets you easily see items by type. For video clips, you see a frame of video to help you distinguish the contents. Project Clip Sequence Bin You can also view items in the Browser in different ways. When the Browser displays items in list view, all items appear in a sorted list. You can also access effects through the Browser. Columns display clip properties. Each tab represents a project or an open bin.
II Working in the Browser Before you can work in the Browser, it must be the currently selected, or active, window. Otherwise, any commands or keyboard shortcuts you use may perform the wrong operations. To make the Browser window active, do one of the following: m Click anywhere in the Browser. m Press Command-4. Creating Sequences Before you can begin editing clips into a sequence, you must create a sequence. To create a new sequence: 1 Click in the Browser to make it the active window.
Navigating Within the Browser Using the Keyboard You can navigate to items in the Browser in various ways, depending on whether you are viewing items in list view or icon view (see “Customizing the Browser Display” on page 70). To navigate within the Browser, do one of the following: m Press the Up and Down Arrow keys to move up and down in a list of items in list view or move vertically between items in icon view. m Press the Right and Left Arrow keys to move horizontally between items in icon view.
II Renaming Clips, Sequences, and Bins You can rename items within Final Cut Express. Renaming clips does not change the names of media files on your disk. To rename clips, sequences, and bins within Final Cut Express: 1 Select the clip, sequence, or bin. 2 Once the item is selected, click the item’s name, type a new name, then press Return or Enter.
Customizing the Browser Display There are various ways you can display items in the Browser, depending on your needs and workstyle. You can display items in list or icon (thumbnail) view, choose columns you want to show or hide, and choose the frame you see for a clip in icon (thumbnail) view. Choosing Views in the Browser You can view items in the Browser in list view or icon view.
II Working with the Browser in List View When items are displayed as a list, the Browser displays information about the items in columns. You can customize these columns in several ways. You can:  Rearrange, resize, hide, and show individual columns  Sort clips by columns  Change the Master Comment column headings  Display, hide, and scrub (move) through thumbnails of clips To rearrange a column: m Drag the column heading to the new location. As you drag a column, the pointer changes to a rectangle.
To hide a column: m Control-click the column heading, then choose Hide Column from the shortcut menu. Note: You can’t hide the Name column; it’s always displayed. To display a hidden column: m Control-click the column heading to the right of where you want to display the column, then choose the column you want to display from the shortcut menu. To display thumbnails: m Control-click any column heading other than Name, then choose Show Thumbnail from the shortcut menu.
II To scrub, or move, through a thumbnail: m Drag the thumbnail image in the direction you want to view. The thumbnail you’re scrubbing through is highlighted. Note: You can also scrub through clips that are displayed in large icon view (see “Scrubbing Through Clips in Icon View” on page 74). To change the names of the Master Comment or Comment column headings: 1 Control-click a Comment column heading, then choose Edit Heading from the shortcut menu.
Working with the Browser in Icon View In large, medium, or small icon view, you arrange your clips graphically in the Browser. Video clips are displayed as a thumbnail of the starting frame of video, audio clips are displayed as a speaker, and bins are indicated by a folder icon. If a video clip has an audio track, a small speaker icon appears inside the clip’s thumbnail. Video clip with audio Thumbnails of clips in icon view Audio clip You can use different views for open Browser windows and tabs.
II To scrub through clips in large icon view: 1 Do one of the following: Â Select the Scrub Video tool in the Tool palette. Selection tool Select the Scrub Video tool. Note: When the Scrub Video tool is selected, you can hold down the Shift or Command key to temporarily make the Selection tool active to select, open, or move clips. Â With the Selection tool selected, press Control-Shift to temporarily make the Scrub Video tool active. 2 Drag the Scrub Video tool over the thumbnail.
Automatically Arranging Clips in Icon View When you’re in icon view in the Browser, you can organize clip icons however you want. You can use the Arrange commands to automatically arrange your icons from left to right, either in alphabetical order or by duration, within the current width of the Browser or bin window. This is useful if the Browser or a bin window has overlapping icons or if you find yourself constantly scrolling to see icons.
II Setting the Poster Frame The poster frame is the picture that represents a clip in icon view in the Browser. When you look at clips in the Browser in large icon view or when you show the Thumbnail column in list view, the icon or thumbnail picture you see reflects either the In point for that clip (or the first frame of the clip if no In point has been set), or the poster frame you set for the clip in the Browser.
6 Viewer Basics 6 The Viewer is used for viewing a clip’s media and preparing clips before editing them into a sequence. This chapter covers the following: Â How You Can Use the Viewer (p. 79) Â Opening a Clip in the Viewer (p. 80) Â Learning About the Viewer (p. 81) Â Tabs in the Viewer (p. 83) Â Transport Controls (p. 84) Â Playhead Controls (p. 85) Â Marking Controls (p. 87) Â Zoom and View Pop-Up Menus (p. 88) Â Recent Clips and Generator Pop-Up Menus (p.
 Adjust generator clip controls Generators are special clips that can be generated by Final Cut Express, so they don’t require source media. Final Cut Express has generators that create color mattes, text of different types, gradients, color bars, and white noise. For more information, see Chapter 54, “Using Generator Clips,” on page 861.  Open a transition, such as a dissolve or a wipe, from an edited sequence for detailed editing For more information, see Chapter 36, “Adding Transitions,” on page 537.
II To open a sequence clip in the Viewer from the Timeline or Canvas, do one of the following: m In the Timeline, double-click the clip. m In the Timeline or Canvas, move the playhead over the clip, then press Return or Enter. The clip on the lowest-numbered track with Auto Select enabled is opened in the Viewer. m In the Timeline, select the clip and press Return or Enter. m Drag the clip from the Timeline to the Viewer. Sprocket holes indicate that this is a sequence clip.
 Tabs: There are five tabs that can be shown in the Viewer—Video, Audio, Filters, Motion, and Controls—each providing certain editing functions. For more details, see “Tabs in the Viewer” on page 83.  Image display area: This is the area of the Viewer where you can see the video from your sequence play back.  In Point and Out point: In and Out points allow you to define a specific portion of a clip to include in a sequence. A clip In point marks the first frame of a clip to be edited into a sequence.
II Tabs in the Viewer Each tab in the Viewer provides a specific set of editing functions: Video, Audio, Filters, Motion, and Controls. You can drag tabs out of the Viewer so they appear in a separate window. This is useful, for example, if you want to adjust filter or generator parameters while watching the results in the Video tab. Video Tab The video tab lets you view a clip’s video media, set In and Out points, and add markers and keyframes.
Filters Tab You use this tab to adjust parameters for any video or audio filters you’ve applied to a clip. You can also set keyframes to adjust filter parameters over time. For more information, see Chapter 45, “Using Video Filters,” on page 677. For audio filters, see Chapter 44, “Using Audio Filters,” on page 653.
II Â Play Around Current Frame (\): Plays the selected clip “around” the current playhead position. When you click this button, the playback begins before the playhead position based on the value in the Preview Pre-roll field in the Editing tab of the User Preferences window. Playback continues through the original position of the playhead, and then continues for the amount of time in the Preview Post-roll field in User Preferences. When you stop playback, the playhead jumps back to its original position.
To move the playhead to the next In or Out point, or Media End: m Press the Down arrow key. To move the playhead to the previous In or Out point, or Media Start: m Press the Up arrow key. To move the playhead to the beginning of your clip: m Press Home on your keyboard. To move the playhead to the end of your clip: m Press End on your keyboard. Jog Control To move forward or backward in your clip very precisely, use the jog control.
II Marking Controls Marking controls let you set In and Out points, add markers and keyframes, and navigate to matching frames in master or affiliate clips (this is called performing a match frame). There are keyboard shortcuts for each control. Add Marker Add Motion Keyframe Mark Clip Mark In Show Match Frame Mark Out  Show Match Frame (F): When you click this button, Final Cut Express searches the current sequence for the same frame shown in the Viewer.
Zoom and View Pop-Up Menus The two pop-up menus near the top of the Viewer let you quickly select the magnification level and a viewing format to control the way media in the Viewer is displayed. Note: These menus also appear in the Canvas, and the options are the same. Zoom Pop-Up Menu Choose a magnification level from this pop-up menu. Your choice affects only the display size of the image; it doesn’t affect the scaling or frame size of the footage in the Viewer.
II  Fit All: This is similar to the Fit to Window command, but this command takes into account clips whose borders extend beyond the current Viewer boundaries. Before After  Show as Sq. Pixels: Displays non-square pixel images as square pixels so they look correct on your computer screen. Standard definition (SD) video equipment displays video using non-square pixels, whereas computer monitors display video with square pixels.
Important: Clips may not play back smoothly if you zoom in on them so far that part of the image is obscured, and you see scroll bars to the right and below the Viewer windows. Other windows blocking the Viewer will also affect playback. Choosing a window layout or pressing Shift-Z are easy ways to remedy playback quality in this situation. View Pop-Up Menu You can choose various options from this pop-up menu for how you view your clips and sequences in the Viewer.
II Recent Clips and Generator Pop-Up Menus The two pop-up menus near the lower-right corner of the Viewer let you quickly choose source clips and generators. Generator pop-up menu Recent Clips pop-up menu Recent Clips Pop-Up Menu This pop-up menu shows recently used clips. A clip is not added to this list when first opened in the Viewer, but only when another clip replaces it. The last clip that was replaced in the Viewer appears at the top of the list.
7 Canvas Basics 7 The Canvas provides an environment for viewing your edited sequence, and works in tandem with the Timeline while you edit. This chapter covers the following: Â How You Use the Canvas (p. 93) Â Opening, Selecting, and Closing Sequences in the Canvas (p. 94) Â Learning About the Canvas (p. 95) Â Edit Overlay in the Canvas (p. 96) Â Transport Controls (p. 97) Â Playhead Controls (p. 98) Â Marking Controls (p. 100) Â Zoom and View Pop-Up Menus (p.
Before you can work in the Canvas, it must be the currently selected, or active, window. Otherwise, any commands or keyboard shortcuts you use may perform the wrong operations. To display the Canvas, you must open a sequence from the Browser (see the next section, “Opening, Selecting, and Closing Sequences in the Canvas”). Note: Most of the commands you use in the Canvas also work in the Timeline. To make the Canvas window active, do one of the following: m Click the Canvas. m Press Command-2.
II Learning About the Canvas The following is a summary of the controls in the Canvas. Tab for the open sequence Name of the currently selected sequence and the project it’s in Current Timecode field Timecode Duration field Zoom pop-up menu View pop-up menu Image display area Playhead Out point In point Scrubber bar Jog control Shuttle control Transport controls Sequence marking controls  Tabs: Each tab in the Canvas represents an open sequence.
 Zoom pop-up menu: This lets you enlarge or shrink the image that appears in the Canvas.  Current Timecode field: This field displays the timecode of the frame at the current position of the playhead. You can enter timecode numbers here to navigate to a new position in your sequence.  Timecode Duration field: This field shows the current duration between the sequence In and Out points. You can change the duration here, which automatically adjusts the the sequence Out point.
II Variations of overwrite and insert, called overwrite with transition and insert with transition, add the default transition when you perform the edit. This allows you to perform transitions such as dissolves in a single move. These edits are covered in much more detail in Chapter 26, “Three-Point Editing,” on page 361. The Edit Overlay appears only when you drag clips from the Browser or Viewer to the image area of the Canvas. The Edit Overlay appears translucently over the image currently in the Canvas.
 Play Around Current Frame (\): Plays the selected sequence “around” the current playhead position. When you click this button, playback begins before the playhead position based on the value in the Preview Pre-roll field in the Editing tab of the User Preferences window. Playback continues through the original position of the playhead, and then continues for the amount of time specified in the Preview Post-roll field. When you stop playback, the playhead jumps back to its original position.
II To move the playhead to the beginning of your sequence: m Press Home on your keyboard. To move the playhead to the end of your sequence: m Press End on your keyboard. To move the playhead to the next edit point, do one of the following: m Choose Mark > Next > Edit. m Click the Go to Next Edit button. m Press the Down Arrow key. m Press Shift-E. Final Cut Express looks for the next edit, In point, or Out point.
Jog Control To move forward or backward in your sequence very precisely, use the jog control. The jog control allows you to move the playhead in the Canvas as if you were actually moving it with your hand, with a one-to-one correspondence between the motion of your mouse and the playhead’s motion. This control is useful for carefully locating a specific frame (for instance, if you’re trimming an edit).
II Â Add Motion Keyframe (Control-K): Click to add a keyframe to the current clip at the position of the playhead. This button adds keyframes for clip parameters such as Scale, Rotate, Crop, Distort, and so on. By default, this button sets keyframes for all motion parameters at once. To add keyframes for individual motion parameters, Control-click this button and choose a motion parameter from the shortcut menu. For more information, see Chapter 48, “Adjusting Parameters for Keyframed Effects,” on page 751.
8 Navigating and Using Timecode in the Viewer and Canvas 8 While the Viewer and Canvas serve different purposes, navigating and working with timecode are nearly the same in both windows. This chapter covers the following: Â Navigating in the Viewer and Canvas (p. 103) Â Working with Timecode in the Viewer and Canvas (p.
Playing Clips and Sequences You use the transport controls in the Viewer and Canvas to play forward, backward, between In and Out points, one frame at a time, or loop playback. You can also move around within clips and sequences by jogging, shuttling, and scrubbing, and by entering timecode numbers. To play a clip in the Viewer or a sequence in the Canvas: 1 Open a clip in the Viewer or make the Canvas or Timeline active. 2 Do one of the following: Â Â Â Â Click the Play button. Press the Space bar.
II To play a clip or sequence between In and Out points: 1 Open a clip in the Viewer or make the Canvas or Timeline active. 2 Do one of the following: Â Click the Play In to Out button. Â Press Shift-\ (backslash). Â Choose Mark > Play > In to Out. If you want to preview how the cut you’ve made at the Out point will play, you can play to the Out point. This is useful because it quickly shows you if you’ve left out a frame, or if you need to shave off more frames.
To play every frame of a clip: 1 Open a clip in the Viewer or make the Canvas or Timeline active. 2 Do one of the following: Â Choose Mark > Play > Every Frame. Â Press Option-\ (backslash) or Option-P. Scrubbing, or Moving, Through a Clip or Sequence The scrubber bar represents the entire duration of the clip that’s open in the Viewer and the entire duration of a sequence that’s open in the Canvas.
II Shuttling Through a Clip or Sequence While using the scrubber bar is a great way to quickly navigate to different parts of your clip or sequence, sometimes you want to play through your clip or sequence smoothly at varying speeds as you make decisions about where to place your edit points. The shuttle control gives you this kind of smooth control, playing back your video and audio at various speeds in either direction, much as the shuttle of a video deck does.
To begin forward playback at normal (1x) speed: m Press L. To begin reverse playback at normal (1x) speed: m Press J. To pause playback: m Press K. To double the current playback speed: m Press L or J again. You can play back up to eight times normal speed, switching from 1x to 2x to 4x to 8x normal speed (pressing either key a total of 4 times). Pressing the key for playback in the opposite direction halves the playback speed, slowing playback in that direction down until it reaches 1x playback.
II Jogging Through a Clip or Sequence To move through a clip or sequence more precisely, you can use the jog control. The jog control offers a one-to-one correspondence between the mouse and the playhead’s movement, but also provides frame-by-frame accuracy that’s not dependent on the duration of the clip or sequence. It’s a good tool to use to play through a section of a clip or sequence very slowly, looking for the right frame to cut on.
Looping Playback Normally, playback of a clip or sequence starts at the current playhead position and stops at the end of the clip or sequence. If you enable looped playback, the clip or sequence plays over and over again until you stop playback. When looped playback is enabled: Â Using Play In to Out loops playback only between your two edit points. Â Playing in reverse loops playback from the end of your clip to the beginning.
II Navigating with Timecode in the Viewer and Canvas You can move the playhead around in a clip or sequence by entering a new timecode number in the Current Timecode field. Â To move to a particular frame in your clip or sequence, enter a complete (or absolute) timecode number. Â To move the playhead forward or backward a precise number of hours, minutes, seconds, and frames from the current position, you enter a relative number.
To move the playhead forward relative to its current position: m Enter + (plus), then a timecode value. To move the playhead back: m Enter – (minus), then a timecode value. For example, if you type +1612, the playhead moves ahead 16 seconds and 12 frames. To move the playhead back by 16 seconds and 12 frames, you would type –1612. To move back 5 minutes, 20 seconds, and 10 frames, you would type –52010.
9 Timeline Basics 9 The Timeline shows a graphical representation of your edited sequence, with all of that sequence’s clips laid out in chronological order. This chapter covers the following: Â How You Use the Timeline (p. 113) Â Opening and Closing Sequences in the Timeline (p. 115) Â Learning About the Timeline (p. 116) Â Changing Timeline Display Options (p. 126) Â Navigating in the Timeline (p. 130) Â Zooming and Scrolling in the Timeline (p.
This shows several items in the Timeline. In Point Playhead Out Point Sequence tab Current Timecode field This shows the same items as they appear in the Canvas. Sequence tab Current Timecode field Playhead In Point Out Point Since the playhead in the Timeline mirrors the playhead in the Canvas, you can use the navigation, marking, and editing controls in the Canvas to navigate in the Timeline, and vice versa.
II Opening and Closing Sequences in the Timeline In the Timeline and Canvas, tabs represent sequences. Opening a sequence opens the Timeline and the Canvas windows simultaneously (if they’re not open already). If the Timeline and Canvas are already open, a newly opened sequence appears in its own tab on top of any other sequence tabs. To open a sequence in the Timeline and Canvas, do one of the following: m Double-click a sequence in the Browser. m Select the sequence in the Browser, then press Return.
Learning About the Timeline You can view the content of your sequences in many different ways in the Timeline. Track height, audio level overlays, and other sequence properties can be displayed and edited in the Timeline. Each sequence has its own unique display settings; changing the zoom setting or audio controls in one sequence doesn’t affect another. Editing controls Each tab represents a sequence.
II Editing Controls The Timeline editing controls determine which tracks are selected and enabled for editing and playback. Destination control Lock Track control Auto Select control Source control Track Visibility control Locked tracks are cross-hatched. Â Source and Destination controls: These allow you to connect (or patch) clip items of the source clip in the Viewer to tracks in the Timeline.
 Lock Track control: Prevents a track’s contents from being moved or changed in any way. Locked tracks are cross-hatched all the way across the Timeline. Tracks can be locked and unlocked at any time.  Auto Select control: Enabling the Auto Select controls of specific tracks in the Timeline limits which tracks are affected by various functions such as copying, pasting, deleting, the Match Frame command and so on.
II Â Unused area: This is the area either above or below the outermost video and audio tracks in your sequence. Ordinarily, this area is blank, but if you drag clips directly into this gray area, new tracks are created to accommodate them. Â Vertical scroll bars and thumb tabs: If you have more tracks than can be displayed in the Timeline window at one time, the scroll bars let you scroll through your video and audio tracks separately.
 Playhead: The playhead displays the current frame location in a sequence. You can also use the playhead to navigate through your sequence in the Timeline. For more information, see “Navigating in the Timeline” on page 130.  Current Timecode field: Indicates the timecode position of the playhead. Typing a new timecode number moves the playhead (as in the Viewer and Canvas). Current Timecode field  Zoom control: Lets you zoom in and out of the contents of your sequence in the Timeline.
II Â Zoom slider: Like the Zoom control, the Zoom slider allows you to zoom in and out of a sequence in the Timeline. Dragging the thumb tabs on either side of the slider adjusts both thumb tabs and leaves the visible area of the Timeline centered. Drag the slider to scroll through your sequence. Pressing the Shift key and dragging one of the thumb tabs locks the opposite thumb tab and moves the visible area of the Timeline in the direction you’re dragging.
Audio Controls  Audio Controls button: Click to display the mute and solo buttons to the left of each audio track in the Timeline. By default, these controls are hidden. Solo control Mute control Audio Controls button  Mute and solo controls: Use to enable and disable audio playback on individual tracks for monitoring purposes.  Mute: Click to turn off audio playback for that track. The mute button affects monitoring during playback only.
II Other Miscellaneous Controls Snapping button Linked Selection button  Snapping button: Click to turn snapping on and off. This button appears in the Timeline button bar by default. When snapping is on, the playhead “snaps to” key areas in the Timeline, such as the boundaries of other clip items, sequence markers, and sequence In and Out points.
 Stereo pair indicators (within clip items): Two pairs of triangles indicate that two audio clip items are linked as a stereo pair. If you select an audio clip item that is part of a stereo pair, the other clip item in the pair is also selected. This is useful when you are working with stereo audio clips such as music or sound effects. For more information, see Chapter 32, “Audio Editing Basics,” on page 455. Speed change is shown as a percentage.
II Â Render status bar: This bar at the top of the Timeline indicates which parts of the sequence have been rendered at the current render quality. The top line is for video, the bottom for audio. Â Video render bar (upper region): Indicates the presence and render status of video effects items. Â Audio render bar (lower region): Indicates the presence and render status of audio effects items. The upper area indicates the render status of video items.
Sequence Clips in the Timeline Clip items in a sequence are often called sequence clips, with the item’s name displayed at the head of the clip. If the clip item is long enough, the name is also displayed at the end. You can choose whether video clip items in the Timeline display thumbnails, and whether audio clip items display audio waveforms. These options are available in the Timeline options tab of the Sequence Settings window. Clip items can be linked so that they can be selected and edited together.
II About Timeline Display Options in the Sequence Settings Window You can access almost all of the Timeline display options in the Timeline Options tab of the Sequence Settings window. Exceptions and alternate ways of accessing the same options are noted when possible. To change Timeline display options in the Sequence Settings window: m Select a sequence in the Browser or Timeline, choose Sequence > Sequence Settings, then click the Timeline Options tab.
Track Display  Show Keyframe Overlays: Select this option to display opacity overlays (thin black lines) over your video tracks, and audio level overlays (thin red lines) over any clips in the audio tracks of the Timeline. These lines indicate video transparency or audio levels. For more information, see Chapter 48, “Adjusting Parameters for Keyframed Effects,” on page 751. You can also use the Clip Overlays control in the Timeline to show or hide overlays.
II About Timeline Display Controls in the Timeline Several controls in the Timeline allow you to change the display of certain items in the Timeline. Clip Overlays control Track Height controls  Clip Overlays control: Click this control to display opacity overlays (thin black lines) over your video tracks, and audio level overlays (thin red lines) over any clips in the audio tracks of the Timeline. These lines indicate video transparency or audio levels.
Navigating in the Timeline There are several ways you can navigate through your sequence in the Timeline: m Move the playhead by clicking or dragging in the ruler at the top of the Timeline window. Note: The playhead in the Timeline is locked to the playhead in the Canvas, and both windows mirror each other. The Canvas displays the frame currently at the position of the playhead in the Timeline, whether it’s playing or stopped. m Enter a new absolute or relative timecode value in the Current Timecode field.
II Using Timecode to Navigate in the Timeline The Current Timecode field shows the current position of the playhead. If you enter a new timecode number, the playhead moves to that position. You can enter either absolute or relative timecode numbers in this field. (For information on where this field is located in the Timeline, see “Horizontal Time Controls” on page 119.) To move the playhead to a specific location: 1 Make the Timeline or Canvas active.
To zoom in and out of the Timeline using the Zoom slider, do one of the following: m Drag the thumb tabs on either side of the Zoom slider to adjust both ends of your view at the same time. If the playhead is visible, it stays centered during the zoom. If the playhead is not visible, the visible area of the Timeline stays centered.
II To zoom in and out of the Timeline using the Zoom tools: 1 Select the Zoom In or Zoom Out tool in the Tool palette. 2 Do one of the following: Â Click in the Timeline. Â Drag to select a region to zoom in on or out of. As you drag, the box (or “marquee”) snaps to areas that correspond to the percentage of zoom in the Timeline. Clicking or dragging repeatedly increases the zoom factor. When the Timeline is zoomed in or out to the maximum level possible, the + and – signs on the zoom tools disappear.
To zoom in and out of the Timeline using menu commands or keyboard shortcuts: 1 With either the Canvas or the Timeline selected, move the playhead to the position in the Timeline where you want zooming to be centered, or select one or more clips in the Timeline that you want to center on as you zoom in or out. 2 Do one of the following: Â Choose View > Zoom In, or press Option-= (equal sign).
II To fit the entire contents of the Timeline into the available window size: m Press Shift-Z. The zoom factor changes so that the entire sequence fits into the available window size. To fit a selected area of the Timeline into the available window size: 1 Using the Selection, Group Selection, or Range Selection tool, select one or more items in the Timeline. 2 Press Option-Shift-Z. The zoom factor of the Timeline changes so that the selected items fit into the available window size.
Scrolling Vertically Through Multiple Tracks The tracks in the Timeline are divided by default into two regions, one for audio and one for video tracks. A divider between the two regions can be dragged up or down to resize the regions, giving more space to either the video or audio tracks in your Timeline.
10 Customizing the Interface 10 Final Cut Express lets you customize the way you work with windows, rearranging them and creating new layouts. You can also set up custom keyboard shortcuts and use shortcut buttons to work more efficiently. This chapter covers the following: Â Changing Browser and Timeline Text Size (p. 137) Â Moving and Resizing Final Cut Express Windows (p. 137) Â Using Window Layouts (p. 139) Â Working with Shortcut Buttons and Button Bars (p.
Note: You can also resize and move the Tool Bench window, a window used for specialized editing, including audio mixing and recording voiceovers. Default Two Up layout For example, you may want to increase the height of the Timeline while simultaneously shrinking the size of the Viewer and Canvas to work on a sophisticated multitrack sequence. You could also enlarge the Browser while shrinking the Timeline to perform multicolumn searches for clips in the Browser as you edit.
II To resize multiple windows at the same time: 1 Move the pointer over the border between the windows you want to resize. The pointer changes to the Resize Window pointer. Pointer between three or more windows Pointer between two windows 2 Drag the border in the desired direction to resize the appropriate windows. The windows on either side of the border are resized accordingly. Any border between two windows in Final Cut Express can be dragged.
Customizing Window Layouts If none of the existing layouts meet your needs, you can create up to two layouts that are available in the Arrange menu as Custom Layout 1 and Custom Layout 2. To create a custom layout: 1 Choose Apple > System Preferences, click Displays, then set the desired resolution of your computer monitor. The resolution you choose will become the minimum resolution for that particular window layout.
II Shortcut buttons display the icon of the command they perform, providing you with a visual cue to their function. In addition, when you move the pointer over a shortcut button, a tooltip for the specified command appears. Icon for a shortcut button Tooltip for a shortcut button Note: Shortcut buttons are automatically saved when you quit Final Cut Express. They are not saved per project.
A shortcut button with an icon for the specified operation now appears in the window. As more shortcut buttons are added to the button bar, tabs in the window move to accommodate them. Note: You may need to resize the window to view all shortcut buttons and tabs. If the buttons in a button bar exceed the width of the window, a dot appears on the left edge of the button bar, indicating there are more buttons that cannot be seen. To see the additional buttons, you need to widen the window.
II Changing Shortcut Button Colors You can change the color of individual buttons in a button bar. To change the color of a shortcut button: m Control-click any shortcut button in the button bar, choose Color from the shortcut menu, then choose a color from the submenu. Available colors are: Plain, Red, Yellow, Green, Cyan, Blue and Purple. The default color is Plain (gray). Removing Shortcut Buttons You can remove one or all shortcut buttons from a button bar at any time.
To save a shortcut button bar: 1 Do one of the following: Â Choose Tools > Button Bars > Save. Â Control-click any shortcut button in the button bar, then choose Save All Button Bars from the shortcut menu. 2 In the Save dialog, enter a new name for the button bar and choose where to save it. The default name is Custom Button Bars.
Part III: Setting Up Your Editing System III Design the editing system that’s right for you. Read this section to learn how to set up your system, specify initial settings, and connect video, audio, and storage devices.
11 Connecting DV Video Equipment 11 Setting up Final Cut Express to capture DV video is as simple as connecting your camcorder to your computer with a FireWire cable. This chapter covers the following: Â Components of a Basic Final Cut Express Editing System (p. 147) Â Setting Up a Final Cut Express Editing System (p. 148) Â Connecting Your Camcorder (p. 149) Â Opening Final Cut Express and Choosing Your Initial Settings (p.
Setting Up a Final Cut Express Editing System This section explains how to set up a DV editing system. Even if you are building a more complex editing system, you should read these basic steps first. References to more advanced information are included within each step. The basic steps for setting up a Final Cut Express editing system are: Step 1: Connect input and output devices for capture and output If you are using DV video, this means connecting your DV camcorder to your computer via a cable.
III Connecting Your Camcorder The following illustration demonstrates how to connect your DV camcorder to the FireWire port on your computer, so that you can capture video (transfer the video from your camcorder to your computer) and output your program back to DV tape. For more information on FireWire, see “About FireWire” on page 154.
Choosing an Easy Setup Final Cut Express comes with predefined Easy Setups based on the most common video formats and devices, such as DV NTSC and DV PAL. The Easy Setup you choose applies to all new projects and sequences until you choose another Easy Setup. If you always use the same type of camcorder or video deck, you may never have to change your Easy Setup. If you do change the device or the format you are using for capture and output, you should choose a matching Easy Setup.
III Specifying Scratch Disks A scratch disk is a hard disk, internal or external to your computer, where Final Cut Express stores captured digital video and audio, as well as rendered media files created during editing. (Rendering is the process of creating temporary video and audio render files for portions of your sequence that Final Cut Express cannot play in real time.) By default, Final Cut Express uses the hard disk on which the application is installed.
3 Select the checkboxes corresponding to the type of files you want to store on each scratch disk: Video Capture, Audio Capture, Video Render, and Audio Render. 4 To choose a folder where Final Cut Express will automatically save copies of your project for backup purposes: a Click Set next to Autosave Vault. b In the dialog that appears, locate and find the disk you want to use, then click Choose.
III When Scratch Disks Become Unavailable Scratch disks you’ve set can become unavailable for a number of reasons: they might be turned off, disconnected, or temporarily unmounted. Also, if the scratch disk folder you selected has been moved, deleted, or renamed, Final Cut Express might not be able to find it. When you open Final Cut Express and one or more of your scratch disk folders cannot be found, a dialog appears with three options: Â Quit: Lets you quit without changing the scratch disk preferences.
If Final Cut Express has communication problems with your DV device, try the following: m Make sure your FireWire cable is properly connected and plugged in all the way. m Verify that the camcorder is set to VCR mode. m Try changing to an Easy Setup that uses FireWire Basic. For more information, see “The Differences Between Apple FireWire and FireWire Basic” on page 154. m Quit Final Cut Express, shut down your computer, turn your camcorder or deck off and on, then restart your computer.
12 Determining Your Hard Disk Storage Options 12 To make the most of your Final Cut Express editing system, you need to make appropriate choices about hard disk selection and maintenance. This chapter covers the following: Â Working with Scratch Disks and Hard Disk Drives (p. 155) Â Data Rates and Storage Devices (p. 156) Â Determining How Much Space You Need (p. 156) Â Choosing a Hard Disk (p. 159) Â Types of Hard Disk Drives (p. 160) Â Fibre Channel Drive Arrays and RAIDs (p.
Data Rates and Storage Devices The data rate of the video you capture depends on the format of the source video and the codec you use for capture. The data rate for DV and HDV is 3.6 MB/sec.: Whatever disk drive technology you decide to use, your storage disk’s sustained transfer speed must be fast enough to keep up with the data rate.
III Planning for Additional Media Files In addition to space for captured files and project files, you need extra space for render files, graphics, movie files created in other applications (such as animations), additional audio files, and so on. A loose rule of thumb to determine how much space you need is to multiply the amount of space needed for your finished program by five. Ultimately, the amount of extra space you reserve depends on how much additional media you create during editing.
Example Calculation for Disk Space Requirements Suppose you want to create a music video that’s approximately four minutes long using DV video for capture, editing, and output. Consider a shooting ratio of 15:1, meaning you shot 15 times more footage than you will use in the final movie. Total duration of media captured to disk: Â 15 x 4 minutes = 60 minutes Data rate requirements for DV media: Â 3.6 MB/sec. video data rate x 60 seconds = 216 MB/min.
III Choosing a Hard Disk The disk that contains your computer’s operating system is called the startup disk or boot disk. In addition to the operating system, the startup disk also stores your applications (such as Final Cut Express), your application preferences, system settings, and other documents. Since the files on the startup disk are your most critical data, maintaining the startup disk is vital.
Types of Hard Disk Drives There are several disk drive technologies you can choose. The type appropriate for your needs depends on the format and data rate of the video you’re capturing. Each disk drive technology has benefits and limitations. The main choices currently available are:  ATA  FireWire  SCSI  RAID ATA Disk Drives There are two kinds of ATA disks:  Parallel (Ultra) ATA disks: These are found in Power Mac G4 and older Power Mac G3 computers.
III Serial ATA Disks Serial ATA (SATA) disks are newer than parallel ATA disk drives. The disk drive mechanisms may be similar, but the interface is significantly different. The serial ATA interface has the following characteristics: Â Serial data transfer (one bit at a time) Â 150 MB/sec.
SCSI disks can be installed internally or connected externally. Many users prefer external SCSI disk drives because they’re easier to move and they stay cooler. If your computer didn’t come with a preinstalled Ultra2 LVD, Ultra160, or Ultra320 SCSI disk drive, you need to install a SCSI card in a PCI slot so you can connect a SCSI disk drive externally. A SCSI card allows you to connect up to 15 SCSI disk drives in a daisy chain, with each disk drive connected to the one before it and the last terminated.
III If you require rock-solid data integrity, consider purchasing a RAID, or Redundant Array of Independent Disks. Many RAIDs record the same data on more than one disk, so that if a drive fails, the same data can still be retrieved from another disk. There are many RAID variations available, but one that offers high performance for both digital video capture and data redundancy is RAID level 3.
For all its advantages, a Fibre Channel disk array requires more setup than the other storage options previously described, making it unsuitable for portable use. Fibre Channel disk arrays usually have extremely high capacity (potentially several terabytes of disk storage). Although this can make them more expensive relative to other storage solutions, the cost per megabyte is often considerably lower.
13 External Video Monitoring 13 It’s best to preview your video on an external video monitor to accurately see how your final program will look. This chapter covers the following: Â Using an External Video Monitor While You Edit (p. 165) Â Connecting DV FireWire Devices to an External Monitor (p. 166) Â Using Digital Cinema Desktop Preview (p. 167) Â About the Display Quality of External Video (p. 171) Â Troubleshooting External Video Monitoring Problems (p.
Consumer Video Monitors Versus Broadcast Monitors In most cases, when you want to simply monitor your video signal as it will look to the audience, any standard NTSC or PAL video monitor is appropriate, and there are many inexpensive models to choose from. When performing critical tasks such as color correction, however, you should use a high-resolution broadcast monitor that can be properly calibrated to display your signal consistently and accurately.
III To connect an external NTSC or PAL monitor to your edit system to monitor DV video while you edit: 1 Connect a FireWire cable between a FireWire port on your computer and the FireWire port on your DV device. 2 Connect the analog video outputs of the DV device to an external video monitor. Depending on the device, the video output may be a composite or S-Video signal, using either an RCA, BNC, or S-Video connector.
About Digital Cinema Desktop Preview Options You choose the Digital Cinema Desktop Preview options in the Video Out submenu of the View menu. There are several settings you can choose:  Digital Cinema Desktop Preview - Main  Digital Cinema Desktop Preview  Digital Cinema Desktop Preview - Full-Screen Note: The Main option is available on single-display systems, but the remaining options are available only if you have two or more displays connected to AGP graphics cards.
III Digital Cinema Desktop Preview - Full-Screen The video is scaled to maximize its size on the display. If the aspect ratio of the video signal and the computer display do not match, the video on the display is letterboxed (black on top and bottom) or pillarboxed (black on sides) as necessary. For example, 16 x 9 video shown on a 4 x 3 display is scaled until the width of the video matches the width of the display, and the top and bottom are letterboxed.
Troubleshooting Digital Cinema Desktop Preview If you experience trouble when using Digital Cinema Desktop Preview, review the following: Â In Mac OS X System Preferences, the screen saver should be turned off (set the “Start screen saver” slider to Never in the Screen Saver pane of the Desktop & Screen Saver pane). Â Digital Cinema Desktop Preview works with AGP, PCI Express, and Intel Integrated graphics cards.
III About the Display Quality of External Video The display quality of your video depends on several factors:  Whether you have effects applied to your clips  Whether your clip or sequence settings match the video output device  The video and frame rate options selected in the Real-Time Effects (RT) pop-up menu in the Timeline or in the Playback Control tab of the System Settings window The external video signal is displayed at the quality selected in the RT pop-up menu and Playback Control tab of the Sy
Part IV: Capturing and Importing IV Learn how to capture video and audio files to your hard disk and import media into your Final Cut Express project.
14 Capturing Your Footage to Disk 14 Capturing is the process of transferring footage from your original tapes to media files on the computer hard disk. This chapter covers the following: Â Overview of the Capturing Process (p. 175) Â Overview of the Capture Window (p. 177) Â Preparing to Capture (p. 182) Â Capturing Individual Clips in the Capture Window (p. 185) Â Using Capture Now (p. 190) Â Adding Markers to Clips in the Capture Window (p. 193) Â Recapturing Clips (p.
Logging Logging is the process of transcribing the content of your videotapes. The purpose of logging tapes is to break down the content of your tapes into distinct, manageable clips, making your footage easier to locate and transfer to your hard disk. In Final Cut Express, you can add logging information to a clip in the Capture window, or you can enter logging information in Browser columns after you capture.
IV Overview of the Capture Window When you want to transfer footage from your tapes to your Final Cut Express system, you use the Capture window. The Capture window provides controls for controlling a VTR or camcorder, previewing video from tape, setting In and Out points, adding descriptive information to clips, and capturing media to your disk. Note: Before you use the Capture window, make sure your camcorder or VTR is properly connected and that you’ve chosen an appropriate Easy Setup.
 Current Timecode field: Displays the timecode number of the currently displayed frame of your source tape. You can enter timecode directly in this field to navigate to that timecode point on your tape.  Device status: If your DV camcorder is properly connected to your computer, this message says “VTR OK.” If the message says “No Communication”, Final Cut Express isn’t communicating properly with your DV camcorder.
IV Marking Controls Use these controls to set In and Out points for a clip on tape. Clip In Point Timecode field Clip Out Point Timecode field Go to In Point Go to Out Point Mark In     Mark Out Mark In (I): This sets the In point for a clip on tape. Clip In Point Timecode field: Shows the timecode value of the currently set In point. Go to In Point: This causes the connected VTR to cue to the currently set In point. Mark Out (O): This sets the Out point for a clip on tape.
Logging Fields You can use the logging fields to add descriptive information and notes to each clip that you capture. Slate button to increment last number or letter in field Checkboxes for including information in Name field  Reel: The reel name corresponds to the actual tape that the source media is on. All clips require a reel name. Make sure you enter the proper reel name before you capture. The reel name is necessary any time you need to go back to your original tapes.
IV Using Slate Buttons Clicking a Slate button increments the last number or letter in the corresponding field. You can also clear a field by Option-clicking the corresponding Slate button: Â To clear the Description along with the Shot/Take and Angle fields: Option-click the Slate button next to the Description field. Â To clear only the Shot/Take field: Option-click the Slate button next to the Shot/Take field.
Capture Buttons You can use one of the buttons in the Capture window when you’re ready to capture your media. Â Capture Clip: Captures the media between the current In and Out point and logs a corresponding clip in the current capture bin. Â Capture Now: Instead of using In and Out points, Capture Now immediately captures the current video and audio input signal to a media file until you press the Escape key.
IV Additional Tape Label Information For some projects, the following label information may also be helpful:  Location and date  Project name  Number of audio channels and microphone setup  Total running time (TRT)  Camcorder model used Logging Your Tapes Before you capture footage from your tapes, you should familiarize yourself with their content. One way to become acquainted with your footage is to log it, breaking your tapes down into a list of named clips defined by timecode In and Out points.
Choosing a Filenaming Scheme Before you start capturing clips, think about the filenaming scheme you want to use for your project. It’s easier to edit when you have an organized naming system, especially if there are several people working on a project at one time. This will help you avoid duplicate clip names. Using descriptive names makes organizing and editing your footage a lot easier. However, very detailed names can cause trouble too.
IV For example, if you want to create a music video that’s approximately four minutes long using DV video: Â 3.6 MB/sec. video data rate x 60 seconds = 216 MB/min. x 4 minutes = 864 MB needed for project files. Â 864 MB x 5 = 4320 MB needed for project, render, cache, and other files. Round off 4320 MB to 4.5 GB to be on the safe side. This is the amount of disk space you’ll need to allow just for this one project.
To capture individual clips: 1 Choose a scratch disk in the Scratch Disks tab of System Settings. For more information, see “Specifying Scratch Disks” on page 151. 2 Make sure your video device is connected and that you have chosen an Easy Setup that matches the format of your tape. For more information, see “Choosing an Easy Setup” on page 150. 3 Create or open a project to store your captured clips. For more information, see “Creating and Saving Projects” on page 44.
IV 7 In the Reel field, enter the name of the tape by doing one of the following: Â Â Â Â Enter the name or number of the tape, then press Enter. Control-click the field to choose from a list of recent reel names. Option-click the Slate button to clear the contents. Click the Slate button to increment the letter or number at the end of the name. Enter the source tape name here.
12 To adjust clip In and Out points using timecode, do one of the following: Â Enter a timecode number for the In or Out point. Â Click in the Clip In or Out point timecode field, then type + (plus sign) or – (minus sign) followed by the number of frames or seconds you want to adjust the In or Out point. For example, you could adjust the In point to be 10 frames earlier by clicking in the Clip In Point Timecode field and then typing –10.
IV Automatic Filenaming During Capture If you want, you can deselect the checkboxes next to the logging fields in the Capture window. In this case, the Name field remains empty, so Final Cut Express names your media file for you. Final Cut Express automatically names media files and their corresponding clips using the following convention: Untitled, Untitled1, Untitled2, and so on.
15 If you wish, you can select the Prompt checkbox to confirm the clip name after you click the Capture Clip button. This gives you one last chance to verify the clip and media filename and allows you to name it something unrelated to the Description, Scene, Shot/Take, and Angle fields. 16 Click the Capture Clip button. Final Cut Express rewinds the tape, captures the media file, and creates a corresponding clip in the current capture bin.
IV To capture a clip or an entire tape using Capture Now: 1 Choose Final Cut Express > System Settings. 2 In the Scratch Disks tab of System Settings, do the following: Â Choose a scratch disk. Â Select the “Limit Capture Now To” checkbox. Â Enter a number of minutes for the maximum duration of your tape. To be safe, you can add an extra minute or two. For more information, see “Specifying Scratch Disks” on page 151.
13 Click the Capture Now button. Final Cut Express begins capturing your media file to your scratch disk. The Media Start time of the resulting media file is the timecode number for the first frame Final Cut Express detects after you click the Capture Now button. 14 Press Esc (the Escape key) to stop capturing. If you don’t press the Escape key, Final Cut Express automatically stops when: Â The end of the tape has been reached. Â The maximum amount of time in the Limit Capture Now To field has been reached.
IV If you want to give any of the markers a more descriptive name, simply click the marker in the Browser, then click the marker’s name to select it. You can now change the name. 6 Drag in the Browser to select all the markers. 7 Choose Modify > Make Subclip. Note: If you gave your markers new names, your subclips will use them. The subclips appear in addition to the original clip with the markers. You can rename the subclips, if you want.
Setting Markers You can set as many markers as you like. Markers appear in a list and can be edited and deleted. To add markers to a clip in the Capture window: 1 Click the disclosure triangle next to Markers to see the marker controls. 2 Enter a name for the marker in the Marker field. 3 Find the frame where you want to set a marker In point by doing one of the following: Â Use the transport controls. Â Enter a timecode number in the Marker In Point Timecode field. 4 Click the Set Marker In button.
IV Using Capture Project The Capture Project button captures the media files for whatever clips, bins, or sequences you have selected in the Browser. If nothing is selected, the clips in the currently assigned capture bin are batch captured. To capture multiple clips selected in the Browser: 1 Do one of the following: Â If the Capture window is open, click the Capture Project button in the lower-right corner. Â Choose File > Capture Project (or press Control-C).
2 In the Capture Project dialog, specify your settings, then click OK. a In the Capture pop-up menu, choose whether you want to capture the currently selected clips or all the clips in the current capture bin. b If you want to capture clips with their original settings, select the Use Logged Clip Settings checkbox.
IV 6 Insert the selected reel into your camcorder or VTR. Make sure that your equipment is properly connected and turned on. For more information, see “Connecting Your Camcorder” on page 149. 7 Final Cut Express captures all the clips on that reel and then prompts you to select another, until all the clips in the batch have been captured.
Finding Your Media Files After Capture The most common question editors have after capturing is: Where did my media files go? Knowing the directory in which Final Cut Express stores captured media files, and being able to quickly navigate the Mac OS X file hierarchy, are two of the most important aspects of being a successful editor. Where Are Captured Media Files Stored? To determine where your media files are stored, you should first check the Scratch Disks tab in the System Settings window.
IV To summarize, captured media files aren’t really stored directly in the folder you choose as a scratch disk folder. Instead, they are stored two levels deeper, in folders called: Capture Scratch/[Project Name]/. Important: A very common mistake is to select a folder named Capture Scratch in the Scratch Disks tab. On the surface, that seems like the right thing to do, but make sure you don’t. Instead of selecting a Capture Scratch folder, select the parent folder of the Capture Scratch folder.
To consolidate media files into a single folder immediately after capture: 1 In the Browser, select a clip that corresponds to one of the media files you just captured. 2 Do one of the following: Â Choose View > Reveal in Finder. Â Control-click the clip and choose Reveal in Finder from the shortcut menu. A Finder window opens with the media file selected. 3 Click the Final Cut Express icon in the Dock to switch back to Final Cut Express.
IV To modify a single clip and media file’s reel name property: 1 Make sure the Reel column is visible in the Browser. For more information, see Chapter 18, “Organizing Footage in the Browser,” on page 245. 2 Select the clip whose Reel property you want to change. 3 Click in the Reel property field, enter a new name, then press Enter. A dialog appears warning you that you are about to modify the Reel property of the media file. 4 Click OK.
Worse, during logging and capturing, neither Final Cut Express nor the VTR will necessarily navigate to the proper timecode 00:00:00:00, because there are two. Device control uses timecode for positioning information, and always assumes that timecode numbers increase as the tape progresses. If the timecode starts over somewhere in the middle of the tape, you have to manually navigate to the correct area of the tape.
IV Here are some techniques for avoiding reset timecode counters when shooting with consumer DV camcorders: Prerecord a video signal (preferably black) on each tape before production to create a continuous timecode signal on the entire tape. This is called blacking a tape. You can do this in any camcorder by pressing Record with the lens cap on and the microphone disconnected (to avoid recording any audio signals). The more professional solution is to use a DV deck and its internal black generator.
15 Importing Media Files into Your Project 15 Final Cut Express can import almost any media file that QuickTime recognizes, allowing you to integrate different formats within a single project. This chapter covers the following: Â What File Formats Can Be Imported? (p. 205) Â Importing Media Files (p. 206) Â About Importing Video Files (p. 209) Â About Importing Audio Files (p. 211) Â Importing Still Images and Graphics (p.
 Graphics and still images: BMP, FlashPix, GIF, JPEG/JFIF, MacPaint (PNTG), Photoshop (layered), PICS, PICT, PNG, QuickTime Image File, SGI, TARGA (TGA), and TIFF For more information, see Chapter 51, “Working with Freeze Frames and Still Images,” on page 791.  Numbered image sequences: Numbered image sequences allow you to store a movie’s frames as individual graphics files. Compositing applications and film transfer equipment often use this format.
IV To import a file or folder: 1 In the Browser, select a project or bin where you want to store your imported clips. Â To import files or folders into the main, or root, level of a project, click that project’s tab. Â To import files into a bin within a project, double-click the bin. The bin opens in a separate window. For more information, see Chapter 18, “Organizing Footage in the Browser,” on page 245. To import files at the main level, click a project’s tab.
 Choose File > Import, then choose File or Folder from the submenu. (To import a file, you can also press Command-I.) Select one or more files or folders in the dialog, then click Choose. Select the file (or folder) you want to import, then click Choose.  Control-click in the Browser or a bin’s window, then choose Import > Files or Import > Folder from the shortcut menu. Select a file or folder in the dialog, then click Choose.
IV Tips When Importing When you import media files, keep the following in mind: Â If you want to import media files from removable storage media, such as a CD, do not import the files directly. Instead, copy the files to the folder on your scratch disk where your other project media is stored. Clips that refer to removable media become offline when you eject the disc.
Opening an iMovie Project in Final Cut Express You can open and edit projects created with iMovie using Final Cut Express. Important: Project files created in iMovie 2 or earlier cannot be opened in Final Cut Express. To open an iMovie project: 1 In Final Cut Express, choose File > Open. 2 In the dialog that appears, select the iMovie project you want to open. The iMovie project opens in the Browser and contains the sequence and the clips as they appeared in the iMovie Clips pane.
IV About Importing Audio Files Final Cut Express allows you to import audio files from other music and sound editing applications, as well as audio from audio CDs. When you import audio files into Final Cut Express, you need to make sure that their settings match your sequence settings. If your audio clips’ settings don’t match the sequence settings, you can still edit with them, but Final Cut Express does real-time conversion, which reduces overall playback performance.
Choosing Audio File Sample Rate and Bit Depth Final Cut Express can import audio with any bit depth and sample rate supported by QuickTime and Mac OS X Core Audio. Final Cut Express performs real-time bit depth conversion and sample rate conversion when your audio file settings don’t match your sequence settings. However, less processor power is required when your audio file settings and sequence settings match.
IV Converting Audio Clips to Match Sequence Settings If you are working with preexisting audio material, such as music from audio CDs, you need to convert the audio files so they match your sequence settings. For example, if you plan to use a lot of sound effects or music from audio CDs (which have a sample rate of 44.1 kHz) in a DV sequence with a sample rate of 48 kHz, it’s a good idea to convert your audio files to a sample rate of 48 kHz.
Using Audio CD Tracks in Your Project Mac OS X recognizes each track on a standard audio CD as an individual AIFF file. These files can be copied directly from a CD to your hard disk and then imported into Final Cut Express without any conversion. Files copied from an audio CD have a sample rate of 44.1 kHz and sample size (bit depth) of 16 bits. If you’re working with a DV sequence, you can convert the sample rate using Final Cut Express.
IV Converting a Numbered Image Sequence to a QuickTime Movie You can use QuickTime Pro to convert a numbered image sequence to a QuickTime movie. This is useful if you want to convert all your images to a single clip. You can then import the movie into Final Cut Express and use it the way you use any other clip. To convert a numbered image sequence to a QuickTime movie: 1 Open QuickTime Player. 2 Choose File > Open Image Sequence.
6 Choose a location and enter a name for the file. 7 Choose an option for how you want to save the movie, then click Save. Â Save as a self-contained movie: If you’re going to be giving this clip to someone else, the easiest thing to do is to make it self-contained. This type of movie takes longer to save and consumes more hard disk space than a reference movie. However, a self-contained movie isn’t dependent on other files and is a better option for exchanging and archiving files.
IV 4 Import all the image files associated with the numbered image sequence you want to use in your project. For more information, see “Importing Media Files” on page 206. 5 Do one of the following: Â Choose File > New > Sequence. Â Control-click in the Browser, then choose New Sequence from the shortcut menu. 6 Double-click the new sequence to open it in the Timeline. 7 Select the newly imported bin with all the image clips in it, open it, and press Command-A to select all these clips.
Making Movies from Still Images You can use one of the methods above to create your own animations as visual elements in your movie. You can even make a whole movie this way, although it takes patience to create 24 or more frames for every second of your finished movie.
16 Ingesting Media Files 16 Final Cut Express allows you to transfer footage recorded on non-tape-based media to your computer. This chapter covers the following: Â About File-Based Media (p. 219) Â Working with AVCHD Footage (p. 220) Â Sample Media File Workflow (p. 222) Â Working with the Log and Transfer Window (p. 224) About File-Based Media Historically, video footage has been recorded on videotape.
Working with AVCHD Footage You can use the Log and Transfer window to transfer footage recorded with an AVCHD camcorder to your scratch disk for editing. Important: Final Cut Express supports the ingesting of AVCHD footage only on Intel-based Macintosh computers. About AVCHD AVCHD is a high definition video format jointly developed by Sony and Panasonic. AVCHD uses Advanced Video Coding (AVC) compression (also known as MPEG-4 part 10 or H.264) to achieve high-quality images and low data rates.
IV Panasonic Camcorder AVCHD Quality Levels Format name Bit rate HF 13 Mbps (constant bit rate, or CBR) HN 9 Mbps (VBR) HE 6 Mbps (VBR) Transferring AVCHD Footage You can transfer AVCHD footage to your scratch disk using the Log and Transfer window in Final Cut Express. When performing the workflow for transferring AVCHD footage from a camcorder or disk, keep in mind the following: Â AVCHD camcorders typically connect to computers via USB 2.0.
Sample Media File Workflow When you transfer clips using the Log and Transfer window, Final Cut Express automatically transfers that media to QuickTime media files on your scratch disk. You can then edit the QuickTime media files as you would any other media.
IV To ingest media files using the Log and Transfer window: 1 In the Finder, mount the volumes holding your footage on the desktop. 2 Choose Final Cut Express > System Settings, then click the Scratch Disks tab. 3 Choose a scratch disk to determine where ingested media will be stored. 4 In the Final Cut Express Browser, choose a capture bin where ingested clips will be stored in your project. 5 Choose File > Log and Transfer (or press Command-Shift-8). Your media files appear in the Browse area.
Working with the Log and Transfer Window You use the Log and Transfer window to ingest media files. The Log and Transfer window is organized into four areas: Â Browse: Provides an overview of all mounted volumes and the clips contained within them. Â Preview: Allows you to view footage and add clips to the Transfer Queue. Â Logging: Use this area to add descriptive information about clips before ingesting.
IV Using the Browse Area The Browse area allows you to view the contents of any mounted volumes and select clips to be ingested in the Transfer Queue. Valid volumes appear automatically in the Browse area when you open the Log and Transfer window. Note: The Log and Transfer window shows all available mounted volumes and folders that were displayed last time the window was open.
Controls in the Browse Area The Browse area contains the following controls: Â Add Folder button: Click to add a folder with a valid structure. You can also drag a folder from the Finder to the Browse area. Â Eject button: Click to remove the currently selected volume or folder from the Browse area. If the volume is a mounted card or disk image, it is also unmounted in the Finder. Â Search field: An iTunes-like search field that limits which clips are displayed.
IV Â Clip properties: Most clip properties are read-only, but you can change some properties, such as Name, Scene, Shot, In, and Out, by double-clicking them, pressing Enter, or pressing Return. If a clip name is selected, you can press Tab to edit the name of the next clip in the Browse area. Changes to clip properties are temporarily stored within the current project, but clip properties remain unchanged on the volumes.
Using the Preview Area The Preview area allows you to view your clips to determine how much of each clip’s media is ingested. Clip name Timecode Duration field Current Timecode field Image display area Scrubber bar Previous Clip button Next Clip button Transport controls Transport Controls in the Preview Area The transport, navigation, and marking controls in the Preview area work in the same way as the controls in the Viewer and Canvas.
IV To move from clip to clip within the selected clips in the Browse area, do one of the following: m Click the Previous Clip button (or press Command–Control–Left Arrow). m Click the Next Clip button (or press Command–Control–Right Arrow). To add the current clip to the Transfer Queue, do one of the following: m Click the Add Clip to Queue button. m Click in the image display area and drag the clip to the Transfer Queue. m Press F2.
Using Autofill Cache Logging Information Unlike the fields in the Capture window, the fields in the Logging area retain an autofill cache of previously logged information in each field so that you can enter repetitive information more quickly. Note: Final Cut Express adds logging information to the autofill cache only when a clip is ingested. To enter previously logged data from the autofill cache: m Choose previously entered logging data from the pop-up menu next to the logging field.
IV Using the Transfer Queue The Transfer Queue shows a list of clips currently queued for ingest. The status of each clip is shown and a progress bar indicates how much of a clip’s media has already been ingested. You can pause or restart ingest at any time by clicking the Pause button or by pressing Command-Control-Q. Click to reveal the current capture (logging) bin in the Browser. Progress bar Pause button The Status column shows the ingest status.
Organizing Clips in the Transfer Queue The Status column displays the ingest status of each clip in the Transfer Queue: Â Ingesting: A spinning disc indicates media is being transferred to your scratch disk. Â Paused: A still disc indicates the current clip is partially transferred. Â Error: An exclamation point indicates that the source media for this clip may have been unmounted or moved since the clip was added to the Transfer Queue. Delete the clip and add it to the Transfer Queue again.
17 Working with HDV 17 Final Cut Express supports capturing, editing, and output of HDV media using the Apple Intermediate Codec. This chapter covers the following: Â About HDV (p. 233) Â HDV Apple Intermediate Codec Editing Workflow (p. 236) Â HDV Format Specifications (p. 240) About HDV HDV is a high definition video format created by a consortium of manufacturers including Sony, Canon, Sharp, and JVC.
HDV Formats Supported by Final Cut Express Within the HDV specification, several resolutions and frame rates are defined. HDV formats are usually distinguished by the number of lines per frame (the height of the image), the scanning method (progressive or interlaced), and the frame or field rate. For example, 1080i60 describes a format with 1080 lines, interlaced scanning, and 60 fields per second.
IV Temporal (Interframe) Compression Instead of storing complete frames, temporal compression stores only what has changed from one frame to the next, which dramatically reduces the amount of data that needs to be stored while still achieving high-quality images. Video is stored in three types of frames: a standalone I-frame that contains a complete image, and then predictive P-frames and B-frames that store subsequent changes in the image.
HDV Apple Intermediate Codec Editing Workflow When you edit using footage encoded with the Apple Intermediate Codec, you don’t need to worry about making cuts on GOP patterns or reencoding. You can edit just as you would with any other I-frame-only encoded footage, such as DV or uncompressed video.
IV 6-pin connector to computer H HDV camcorder in VTR mode FireWire Computer 4-pin connector to camcorder Choosing an Easy Setup Final Cut Express includes Easy Setups for capturing and editing HDV transcoded to the Apple Intermediate Codec. To choose the Apple Intermediate Codec HDV Easy Setup: 1 Choose Final Cut Express > Easy Setup. 2 Choose the appropriate Apple Intermediate Codec HDV Easy Setup from the Setup For pop-up menu. 3 Click OK.
To capture HDV footage to the Apple Intermediate Codec: 1 Click in the Browser to make it active, then choose File > New Bin. 2 Name the bin, then press Enter. 3 Choose File > Capture (or press Command-8). A Capture dialog appears instead of the Capture window. 4 In the Capture dialog, enter a name for the clip, then click Capture. The capture preview window appears and the camcorder begins playing back video from its current position.
IV Outputting HDV to Tape or Exporting to a QuickTime Movie After you finish editing, you can output your movie to videotape using your camcorder, or export your sequence to a QuickTime movie. If you want to output your movie back to tape, Final Cut Express needs to reencode (or conform) the movie into MPEG-2 data before outputting. Depending on the length of your sequence, this process can be fairly time-consuming, because every frame in your sequence must be reencoded.
HDV Format Specifications HDV has the following format specifications. Storage Medium HDV is recorded on standard mini-DV videocassette tapes. Video Standards The HDV standards were jointly created by a consortium of manufacturers including Sony, Canon, Sharp, and JVC. HDV supports both 1080i and 720p high definition standards. Aspect Ratio HDV has an aspect ratio of 16:9.
IV Scanning Methods HDV can record either interlaced or progressive scan images, depending on the frame size and format.  1080i: Interlaced  720p: Progressive Color Recording Method HDV records a 4:2:0 component (Y´CBCR) digital video signal. Each sample (pixel) has a resolution of 8 bits. Data Rate The following table lists the data rates for HDV transcoded to the Apple Intermediate Codec. DV data rates are included for comparison. Format Native frame size Data rate DV NTSC 720 x 480 3.6 MB/sec.
Video Compression HDV uses MPEG-2 compression with a constant bit rate (CBR). I-, P-, and B-frames are used, creating a long-GOP (group of pictures) pattern. MPEG-2 video and audio are composed of a hierarchy of data streams: Â Elementary stream: This can be a video, audio, subtitle, or other basic media stream. Formats like HDV contain both video and audio elementary streams.
Part V: Organizing Footage and Preparing to Edit V Organizing your footage before you edit makes editing go more smoothly. Read this section to learn how to organize and label clips, create subclips, and add markers to clips and sequences.
18 Organizing Footage in the Browser 18 After capturing media to your scratch disks, you can import clips into a project in the Browser and then organize them to save time during editing. You can also search for clips in various ways. This chapter covers the following: Â Using Bins to Organize Your Clips (p. 245) Â Sorting Items in the Browser Using Column Headings (p. 253) Â Searching for Clips in the Browser and Finder (p.
Bins are unique to project files. Although they behave similarly to folders on your hard disk, bins are not actually connected to folders on your hard disk in any way. Changes you make to the contents of a bin, such as deleting, moving, and renaming clips or renaming the bin itself, have no effect on the original files or folders on disk where the media files are stored. If you delete a clip from a bin, its associated media file is not deleted from your scratch disk.
V To create a bin by dragging a folder from your hard disk: 1 In the Finder, select the folder you want to be a bin. 2 Drag the folder from the Finder to the Browser. As soon as you release the folder over the Browser, a bin with the same name as the folder is created in your project. Note: Dragging folders and files from the Finder to the Browser creates bin and clip objects in your project file. However, unlike clips, which refer to media files on disk, bins do not refer to actual folders on disk.
Opening Bins in a Separate Window or Tab To preserve space on the screen or to avoid scrolling in the Browser, it’s useful to open a bin in its own window or tab. To open a bin in its own window: m Double-click the bin. The bin appears in its own window. The icon for this bin in the Browser indicates the bin is open in its own window.
V To close a bin that’s open in its own window, do one of the following: m Control-click the bin’s tab, then choose Close Tab from the shortcut menu. m Make sure the bin is the active window, then press Control-W. m Click the close button of the bin window. For easy access to a bin, you can create a tab for it in the Browser. To open a bin as a new tab in the Browser: m Press and hold the Option key while double-clicking a bin in the Browser.
To turn a bin in its own window into a tab in the Browser: 1 Double-click a bin to open it in its own window. 2 Drag the bin’s tab from the bin window to the top of any column heading in the Browser. Drag the bin’s tab above any column heading in the Browser. The bin now has its own tab in the Browser.
V To close a bin’s tab, do one of the following: m Control-click the tab, then choose Close Tab from the shortcut menu. m Make sure the bin is the active (frontmost) tab, then press Control-W. m Drag the bin’s tab out of the Browser, then click the close button to close the bin’s window. Moving Items Between Bins As you work on your project, you often reorganize clips and move them into different bins.
m If the bin in which you want to move items has its own window, drag items to that bin’s window. You can also move items into separate bin windows. To move an item to the top level of a project: m Drag the item to the Name column heading. Note: If you move items between projects, the items are copied, not moved. There is no relationship between items in different projects.
V Sorting Items in the Browser Using Column Headings Clicking column headings in the Browser allows you to sort items by any property displayed in list view, such as Name, Reel, Label, Timecode, and so on. By default, items are sorted by Name. In addition to the primary sorting property, secondary, tertiary, and further sorting refinements can be made by Shift-clicking a column heading.
5 To switch between descending and ascending sort order in the secondary columns, click the arrow. If you inadvertently select the wrong secondary column or too many secondary columns, you can clear all secondary sort columns by choosing a new primary sort column, and then selecting any secondary sort columns. 6 To sort by tertiary columns, you can Shift-click another column heading. You can continue to refine your sort by Shift-clicking additional column headings.
V About Search Options You can use the Find command to search for items in a project by any property or combination of properties. You can also limit your search to only the current project, or you can search every open project. If you are looking for clips you haven’t included in any of your sequences, you can limit your search to “unused media”. Or you may want to only search for clips that are included in your sequences. Search results appear in a separate window, called Find Results.
Options for Defining the Scope of a Search When you are searching for clips, you may sometimes want to search within a single bin, while other times you may need to search every open project. The Find window allows you to define the scope of your search and specify search criteria. Â Search: Choose an option from this pop-up menu to specify which open projects or folders you want to search—All Open Projects, the current open project, the Effects tab, or a single bin.
V Â Matching pop-up menu: Choose a matching option to further refine how your criteria are used: Starts With, Contains, Equals, Ends With, Less Than, or Greater Than. For example, you may have some clip names that end with “birds,” while others begin with “birds.” To find only the clips whose names end with “birds,” choose Ends With. Â Matching criteria: Enter your specific search criteria. If you are searching for clips that contain the name “wide shot”, enter “wide shot” here.
Searching for Multiple Items in the Browser You can also do a search to find multiple clips at once. To search for multiple items in the Browser: 1 Make the Browser active, then choose Edit > Find (or Press Command-F). 2 Select your search options, then enter your search criteria. For more information, see “About Search Options” on page 255. 3 Click Find All. A list of found items is displayed in the Find Results window. If necessary, you can restrict a search to the elements of the Find Results window.
V Manipulating Items in the Find Results Window When you do a search for multiple items, Final Cut Express displays the list of found items in the Find Results window. The items displayed in the Find Results window are literally identical to the items in the Browser. They are not copies of found clips, but the clips themselves, shown in a new context. Selecting an item in the Find Results window also selects the item in the Browser.
To see where found items are in the Browser: m Select the desired items in the Find Results window, then click Show in Browser. To delete found items: m Select the desired items in the Find Results window, then click Remove from Project. Note: As with deleting any clips in the Browser, the media on your scratch disk is not deleted. Only the clips in the project file are removed. Removing multiple clips from a project via the Find Results window can be undone.
19 Using Markers 19 Markers are reference points you can place within clips or sequences to identify specific frames. You can use them for a variety of purposes, and export them with your finished movie. This chapter covers the following: Â Learning About Markers (p. 261) Â Working with Markers (p. 264) Learning About Markers Markers are visible points on clips and sequences that can be used for commenting, synchronizing, editing, adding DVD chapter and compression markers, and even making subclips.
You can also include markers in QuickTime movies you export. You can: Â Export chapter markers for use with QuickTime and DVD-authoring applications. Â Export compression markers for use with video compression applications. Â Export scoring markers for use with supported music and audio applications. Differences Between Sequence and Clip Markers You can add markers to both clips and sequences. There are differences between clip markers and sequence markers that could affect your work.
V Markers in clips and sequences are visually different. Â Clip markers appear on individual clips in the Viewer and Timeline and are colored pink. You can add these markers in the Viewer or in the Timeline. Â Sequence markers appear both in the Timeline ruler and in the Canvas scrubber bar and are colored green. You can add these markers in the Canvas or in the Timeline. Green sequence markers Pink clip markers Types of Markers There are several kinds of markers that you can add in Final Cut Express.
Working with Markers You can create markers, add comments to them, and delete them at any point while you edit. You can also change the duration of markers. Viewing Markers in the Viewer or Canvas Marker icons appear in the scrubber bar, as well as in overlays over the video image whenever the playhead is positioned at a marker. For more information, see Chapter 6, “Viewer Basics,” on page 79 and Chapter 7, “Canvas Basics,” on page 93.
V Quickly Adding Markers If you want to quickly add markers to clips or sequences, and you don’t care about the names, you can follow these instructions. By default, Note markers are created and each is automatically named by Final Cut Express. If you prefer to add all of the information for a marker when you create the marker, see “Adding Markers Along with Detailed Information About Them” on page 266. To quickly add a marker to a clip in the Viewer: 1 Open the clip in the Viewer.
Note: You can only add markers to sequence clips in the Timeline if the clip is selected and the playhead intersects the clip. If the playhead doesn’t intersect the selected sequence clip, or if no sequence clip is selected, any markers you add are added to the sequence (appearing in the Timeline ruler). To quickly add a marker to a sequence: 1 In the Timeline, position the playhead where you want to place the marker in the sequence. Make sure no clips are selected.
V 4 In the Edit Marker window, do any of the following, then click OK. Â In the Name field, rename the marker. Â In the Comment field, add any information you want to include with the marker. Â Click a button to specify the kind of marker this is. The appropriate code is automatically added to the Comment field. Enter the desired name here. Add any comments in this field. If you want, click a button to choose the kind of marker.
To delete specific markers in a clip in the Viewer or Timeline: 1 Move the playhead to the marker you want to delete. ∏ Tip: You can easily navigate to the previous or next marker by choosing Mark > Previous > Marker or Mark > Next > Marker. 2 Do one of the following: Â Â Â Â In the Viewer or Canvas, Option-click the Add Marker button. Choose Mark > Markers > Delete. Press Command-` (the accent key). Press M or ` (the accent key) to open the Edit Marker window, then click Delete.
V To keep a marker but remove chapter, compression, or scoring annotations: 1 In the Viewer, Canvas, or Timeline, move the playhead to the marker whose annotations you want to remove. 2 Press M or ` (the accent key) to open the Edit Marker window. 3 In the Comment field, delete the appropriate marker annotation text, then click OK. Â To remove a chapter marker, delete the text . Â To remove a compression marker, delete the text . Â To remove a scoring marker, delete the text .
To move the playhead to a clip or sequence marker in the Timeline, do one of the following: m Drag the playhead to a sequence marker in the ruler. If snapping is turned on, the playhead snaps to the position of a nearby marker. m Control-click the Timeline ruler, then choose a marker from the list of sequence and clip markers in the shortcut menu. To move to the next marker (to the right), do one of the following: m Choose Mark > Next > Marker. m Press Shift-M. m Press Shift–Down Arrow.
V 4 In the Edit Marker dialog, do any of the following, then click OK. Â In the Name field, rename the marker. Â In the Comment field, add any information you want to include with the marker. Â Click a button to specify the kind of marker. Enter a name for the marker here. Add any comments in this field. If you want, click a button to choose the kind of marker. Moving a Marker You can move a marker within a clip by repositioning the playhead or by entering a different starting timecode value.
To move a marker in a clip by entering a new timecode value: 1 In the Viewer, do one of the following: Â Move the playhead to the marker, then do one of the following: Â Press M. Â Click the Add Marker button. Â Choose Mark > Markers > Edit. Â Press Option-Command-M to edit the nearest marker to the left. 2 In the Edit Marker dialog, enter a new start time in the Start field, then click OK. Enter the new time here.
V To align markers in sequence clip items to a sequence marker: 1 Add markers to important frames of individual video and audio clip items in your sequence. 2 Add a marker to the place in your sequence where you want to align your clip items. 3 Make sure snapping is enabled by doing one of the following: Â Click the Snapping button in the Timeline. Â Press N. Snapping button Add a sequence marker for aligning the sequence clip items. Add a marker to the video clip item. Add markers to the audio clip items.
Extending a Marker’s Duration When you create a marker in Final Cut Express, it is simply a marker that ‘s associated with a particular frame; it doesn’t have a duration. If you want, you can extend the duration of a marker so that it spans multiple frames. Markers with duration can be used to precisely define subclips in a clip. You can also use them to mark an entire area of a clip or sequence with notes, such as for color correction or audio mixing.
V To shorten a marker that has a duration: 1 Position the playhead within the duration of the marker. 2 Do one of the following: Â Choose Mark > Markers > Extend. Â Press Option-` (accent key). The marker is shortened to the location of the playhead. Editing Markers into Sequences You can edit markers into your sequence as if they were clips. However, a marker edited directly from the Browser into a sequence becomes an independent clip, with no affiliation to the clip from which it came.
20 Creating Subclips 20 Lengthy media files can be unwieldy for editing. If you capture an entire tape as a single media file, you can break the clip into shorter subclips. You can also break the media file into smaller media files. This chapter covers the following: Â Learning About Subclips (p. 277) Â Techniques for Breaking Large Clips into Subclips (p. 280) Â Automatically Creating Subclips Using DV Start/Stop Detection (p.
Final Cut Express places new subclips in the same Browser bin as the original clip they came from, automatically appending the word “Subclip” to the name and numbering each successive subclip you create from a particular clip. For example, if the original clip is named “Debra enters cafe,” the first subclip is named “Debra enters cafe Subclip,” the second is “Debra enters cafe Subclip 2,” and so on. When a new subclip is first created, its name is highlighted and ready to be changed.
V To open the original media file from which a subclip came: 1 Open the subclip in the Viewer. 2 Find the frame you want to match. 3 Do one of the following: Â Choose View > Match Frame > Source File. Â Press Option-Command-F. Final Cut Express opens the subclip’s entire media file as an independent clip in the Viewer. The playhead is located on the same frame in the new clip as in the original subclip.
Master-Affiliate Clip Relationships When you create a new subclip, it has master clip status. When you edit the subclip into a sequence, an affiliate subclip is created. This behavior is identical to the behavior of all other clips with master-affiliate relationships. You don’t need to worry about master-affiliate relationships too much while you are editing.
V To turn a clip’s markers into subclips: 1 Click a clip’s disclosure triangle in the Browser to reveal its markers. 2 Select the markers in the clip by dragging across all of them at once, or by clicking the first marker and then shift-clicking the last marker. 3 Do one of the following: Â Drag the markers outside of the clip and into the Browser. Â Choose Modify > Make Subclip.
How Markers Determine Subclip Durations When you drag markers out of a clip, a subclip is created for each marker. The duration of a subclip is determined from one marker to the next. For example, a clip with four markers produces four subclips. The last subclip created from a marker always contains the Media End point of the clip from which it was derived. Subclip 1 Subclip 2 Subclip 3 Subclip 4 Media End The duration of a subclip can also be defined by a marker with extended duration.
V Editing with Subclips You can edit with subclips in the same way as with any other clips. You can even add markers to subclips and create subclips from those. This is no different than creating subclips from clips. Final Cut Express also allows you to edit directly with markers, turning them into subclips when you release them in the Timeline. However, it’s usually best to not do this. A marker is never a master clip, so subclips created by dragging a marker into a sequence are independent clips.
5 Click the disclosure triangle to view the clip’s markers. Markers for a clip If you want to give any of the markers a more descriptive name, simply click the marker in the Browser, then click the marker’s name to select it. You can now change the name. 6 Drag in the Browser to select all the markers.
V 7 Choose Modify > Make Subclip. Note: If you gave your markers new names, your subclips will use them. All of the material between the markers you selected should now appear as subclips. The subclips appear in addition to the original clip with the markers. You can rename the subclips, if you want. You can review the subclips, deleting any clips you might not need.
Part VI: Rough Editing VI Learn the basics of adding, arranging, and synchronizing clips in a sequence to create a rough edit of your movie. If you are working with multicamera footage, you can learn how to edit it in real time.
21 Working with Projects, Clips, and Sequences 21 A project file contains everything you need to make your completed movie: clips, bins to organize clips, and sequences to arrange your clips into a finished movie. This chapter covers the following: Â Working with Projects (p. 290) Â Learning About the Different Types of Clips (p. 293) Â Viewing and Changing the Properties of a Clip (p. 295) Â Creating and Working with Sequences (p.
Working with Projects Before you can even capture media, import clips into your project, and edit the clips into one or more sequences, you need a project in which to do all of this. Note: Creating, opening, and closing projects is described in Chapter 3, “Understanding Projects, Clips, and Sequences,” on page 39. Working with Multiple Projects in the Browser You can have multiple projects open in Final Cut Express at the same time. Each project opens in a separate tab in the Browser.
VI Viewing and Changing the Properties of a Project Each project has a set of properties, including global timecode display options and custom Master Comment column names. You can change these properties at any time. To view or change the properties of a project: 1 Click the project’s tab in the Browser, then choose Edit > Project Properties. 2 Choose or enter your options, then click OK. Â Time Display: Choose a global time display option for all clips in your project— timecode or frames.
What Is Contained in a Project File Project files contain the following items and information:  Clips, including notes, comments, and other descriptive clip properties  Bins  Sequences  Effects and keyframe parameters applied to clips Note: A project file does not contain media files, including any QuickTime, audio, or graphics files. Returning to Saved Projects Two commands in the File menu can be used to open previously saved files— Revert Project and Restore Project.
VI Automatically Saving Projects with Autosave While you’re working, you may find it necessary to go back to an earlier version of a project you edited: perhaps you tried an alternate cut that didn’t work, or maybe you’re experiencing problems with your computer. The autosave feature in Final Cut Express gives you the option to step back to previous stages of your project, which can save you valuable time (not to mention unnecessary headaches).
 Master clip: When you log, capture, or import a media file into Final Cut Express, a master clip is created. Master clips exist exclusively in the Browser, and they are used to manage and reconnect multiple instances of the same footage used throughout your project. Master clips have a number of clip properties that are shared among any copies (referred to as affiliates) of the clip.
VI Sequences as Clips Sequences are special containers for clips arranged in chronological order. However, in some cases, sequences can also be treated as clips. For example, you can check the Item Properties of a sequence just as you can for a clip, and information about the sequence shows up in the Item Property columns in the Browser. You can also edit sequences into other sequences. This is called nesting a sequence. For more information, see “Nesting Sequences” on page 576.
To change the properties of multiple clips in a Browser column: 1 Select the desired clips. For more information, see Chapter 5, “Browser Basics,” on page 65. 2 Control-click the column of one of the selected clips, then choose a new setting or option from the shortcut menu.
VI Finding a Clip’s Start and End Timecode Values By definition, a clip’s Media Start and Media End properties represent the first and last frames of a media file. To identify the start and end timecode values of a clip’s media file: 1 Select a clip in the Browser and choose Edit > Item Properties > Timing (or press Command-9), then click the Timing tab. The Item Properties window appears, displaying all of the properties of the clip.
To create a new sequence in the current project: 1 Do one of the following: Â Choose File > New > Sequence. Â Control-click in the Viewer, then choose New Sequence from the shortcut menu. Â Press Command-N. A new sequence appears with the name highlighted, so you can change its name right away. 2 Enter a name for the sequence, then press Enter or Return.
VI Opening and Closing Sequences You can only edit clips into a sequence when it is open in the Timeline or Canvas. When you open a sequence, the Timeline and the Canvas open together, if they’re not open already. If the Timeline and Canvas are already open, a newly opened sequence appears in its own tab in front of any other sequence tabs. To open a sequence, do one of the following: m Double-click a sequence in the Browser. m Select the sequence in the Browser, then press Return.
Duplicating a Sequence If you want to test changes to your edited sequence that are more extensive than a few levels of Undo will permit, or if you want to create several versions of your program for a client to review, you can duplicate your current sequence and make changes to the duplicate. Changes you make to a duplicate of a sequence do not affect the original in any way.
VI To copy a sequence from one project to another by dragging: 1 Open the second project. This project appears as another tab in the Browser. 2 Tear away the second project tab in the Browser to make it its own window. 3 Drag the sequence from the Browser in the second project window to the Browser in the first project. The copied sequence appears in your first project. To create master clips for a sequence pasted into a project: 1 Select the sequence in the Browser. 2 Choose Tools > Create Master Clips.
Why Would You Change Your Sequence Settings? Although the instances are rare, there are a few situations that may prompt you to change your sequence settings: Â You’ve imported multiple video or audio formats, and you decide to change your sequence settings to accommodate the more dominant format in your sequence to reduce rendering. Â You’ve changed your video interface or capturing setup, allowing you to work in the Y´CBCR (YUV) color space rather than the RGB color space.
22 The Fundamentals of Adding Clips to a Sequence 22 Once your clips are captured and organized to your satisfaction in the Browser, you can begin moving your content into a sequence. This chapter covers the following: Â Creating a Rough Edit (p. 303) Â Overview of Ways to Add Clips to a Sequence (p. 306) Â Preparing a Sequence Order in the Browser (p. 309) Creating a Rough Edit During the rough editing phase of your project, the overarching structure of your movie begins to take shape.
Step 2: Arrange clips This is where you assemble the clips in the Timeline into the order you want by selecting, moving, copying, cutting, pasting, and deleting. Step 3: Make rough adjustments to clips in the Timeline In the process of assembling the rough edit, you typically find you want to change the duration of some clips, trim the heads or tails of some clips, or divide clips into smaller pieces and reposition them.
VI Since the audio and video items of each edited clip are linked, selecting the video clip item also selects the audio clip items, and edits you make to one are automatically made to the others. For example, if you move a video clip item from track V1 to track V2, the audio clip items move from tracks A1 and A2 to tracks A3 and A4. Video clip item on V1 Audio clip items on A1 and A2 When you move a video clip item to a new track... ...the audio clip items move as well because they are linked.
Undoing and Redoing Actions As you begin to edit in Final Cut Express, rest easy with the knowledge that you can undo actions you take in your projects, sequences, and clips, including editing clips into sequences. The Undo command is helpful if you make a change you don’t like, or make a mistake and want to revert to an earlier version. You can also redo actions that you have undone. By default, you can undo 10 of your previous actions before quitting Final Cut Express.
VI Methods for Adding Clips to Sequences There are two basic approaches to placing clips into a sequence—drag-to-Timeline editing and three-point editing. Three-point editing can be more precise than dragging clips directly to the Timeline, but it requires a few additional steps. In the earliest stages of editing, you may prefer the expediency of the drag-to-Timeline method.
For example, if you set In and Out points in a source clip and an In point in a sequence, the Out point in the sequence is determined by the duration of the source clip. In this case, the sequence In point determines where the source clip is placed, and the source clip determines the duration of the edit.
VI Determining What Parts of Clips You Want in Your Sequence To specify what part of a clip you want in your sequence, you open it in the Viewer and set In and Out points. The In point is the first frame of the clip you want to use in a sequence, and the Out point is the last frame. For information about setting In and Out points for clips, see Chapter 23, “Setting Edit Points for Clips and Sequences,” on page 313.
Visually Storyboarding in the Browser If you display your clips in icon view in the Browser, you see a thumbnail of each clip, which provides a quick visual way to arrange the icons of your clips into a storyboard for your sequence. If you then drag all of the arranged clips to the Canvas or Timeline, the clips are laid out in your sequence according to their position in the Browser. You can then adjust, or fine-tune, the content of each clip in the Timeline.
VI To create a storyboard in the Browser: 1 Control-click in the Browser, then choose View as Large Icons from the shortcut menu. 2 Drag the clips into the order in which you want them to appear, keeping the rows of clips relatively straight, so that Final Cut Express can properly determine their order. ∏ Tip: To ensure clips are placed in the Timeline in the proper order, place each subsequent clip several pixels lower and to the right of the previous clip.
23 Setting Edit Points for Clips and Sequences 23 To specify where a clip should be placed in your sequence, and to select a section of a clip for editing, copying, pasting, or any other operation, you set In and Out points. This chapter covers the following: Â About In and Out Points (p. 313) Â Setting Clip In and Out Points in the Viewer (p. 317) Â Setting Sequence In and Out Points in the Canvas or Timeline (p. 320) Â Navigating to In and Out Points (p. 330) Â Moving In and Out Points (p.
Learning About the Out Point Inclusive Rule Before you begin to set In and Out points, it’s important to understand the “Out point inclusive” rule that Final Cut Express follows, so you can avoid an unexpected extra frame at your Out point. Out point inclusive means that when you set an Out point at the position of the playhead, the frame that the playhead is on is included in your edit. This rule means that whenever you set In and Out points, the minimum duration set is always one frame long.
VI Things to Keep in Mind When Setting an Out Point When you want to mark the duration of a clip in a sequence, you need to remember to set the Out point one frame earlier than you might expect, or you may also include the first frame of the next clip. This often happens when you have snapping turned on and you snap to clip start and end points to set In and Out points. The Out point includes the first frame of the adjacent clip.
To avoid accidentally selecting the first frame of the next clip, do one of the following: m Press the Back Arrow key once before setting the Out point, so that you set it on the last frame of the clip you want to select. When you do this, the last frame of that clip is included with the Out point. The Out point ends at the last frame of the clip. m Make the Canvas active, then choose View > Show Overlays.
VI Setting Clip In and Out Points in the Viewer When you set In and Out points for a clip in the Viewer, only the frames from the In point to the Out point will be edited into your sequence. If you haven’t explicitly set an In or Out point, Final Cut Express uses the Media Start and the Media End points, respectively. To set an In or Out point for a clip in the Viewer: 1 Double-click the clip to open it in the Viewer.
To set an In or Out point while playing a clip: 1 Position the playhead at the beginning of the clip. 2 Press the Space bar or click the Play button to start playing a clip in the Viewer. 3 Do one of the following: Â Press I once to set an In point or press O once to set an Out point. Â Press and hold the I or O key. The In or Out point is set at the location of the playhead when you release the key. Â Click the Mark In or Mark Out button once. Â Click and hold the Mark In or Mark Out button.
VI Setting In and Out Points to Include a Whole Clip If you decide that you want to set In and Out points at the very beginning and end of your clip (the default), it’s easy to do. To set In and Out points at the clip Media Start and Media End (the beginning and end of the clip): 1 Open a clip in the Viewer. 2 Do one of the following:  Click the Mark Clip button. Mark Clip button  Choose Mark > Mark Clip.  Press X.
To view your clip from the position of the playhead to the clip’s Out point: 1 Position the playhead where you want to start viewing your clip. 2 Choose Mark > Play > To Out (or press Shift-P). To get a quick sense of what material is around a specific point in your clip, you can use the Play Around Current Frame option. This plays a section of your clip from before the current frame (based on a pre-roll setting) through the amount of time specified by the post-roll setting.
VI Options for Setting Sequence In and Out Points You have several options when setting sequence In and Out points. Each choice has certain ramifications, so make sure you understand the outcome when setting your In and Out points. Â Setting no In or Out points: When no edit points are set, the playhead position is considered the In point. The clip is placed at the playhead position in the Timeline.
When No Sequence In or Out Points Are Set If you don’t set any In or Out points in the Canvas or Timeline, Final Cut Express uses the playhead as an In point to determine the outcome of your edit. The position of the playhead determines the In point if you haven’t set any edit points in the Canvas or Timeline. The new clip starts where the playhead was prior to the edit. 322 Part VI Rough Editing After the edit, the playhead moves to the end of the clip.
VI When You Set One Sequence In or Out Point If you set only one In or Out point, that point determines where the clip being edited into your sequence will start or end: Â If you set a sequence In point, the In point of the source clip is placed at the sequence In point, and the clip extends from the In point to the right for the duration of the source clip. In point The new clip begins at the In point that you set.
 If you set a sequence Out point, the Out point of the source clip is placed at the sequence Out point, and the clip is “backtimed” for the duration of the source clip, extending from the Out point to the left. Out point The new clip ends at the Out point that you set.
VI When You Set Both Sequence In and Out Points Setting both sequence In and Out points limits the duration of your edit to the duration between these two points. How the source clip lines up within this duration depends on which clip In and Out points have been set in the Viewer: Â If you set an In point for the source clip, the clip’s In point lines up with the In point in your sequence, and the clip extends to the right for the duration defined by the sequence In and Out points.
Setting Sequence In and Out Points You can set sequence In and Out points in the Canvas or Timeline. The In and Out points in the Canvas are the same as the ones in the Timeline—they refer to the same timecode values and affect the same part of your sequence. If you set In and Out points in the Timeline, they also appear in the Canvas, and vice versa.
VI Setting In and Out Points to Match a Clip or Gap When you want to replace one clip with another using exactly the same location and duration in the Timeline, you can set both In and Out points simultaneously. This also comes in handy if you want to quickly set In and Out points to fit the boundaries of a gap in your sequence. To set In and Out points at the beginning and end of a clip or gap in the Timeline: 1 Place the Timeline playhead over a clip (or gap) in your sequence.
3 Do one of the following to set In and Out points: Â Press X. Â Click the Mark Clip button in the Canvas. Â Choose Mark > Mark Clip. In and Out points are set at the boundaries of the clip or gap. In and Out points are set at the clip’s boundaries. .
VI To set In and Out points based on the current selection in the Timeline: 1 Select clip items in the Timeline. You can select part of a clip, several clips, or parts of several clips using the Selection, Group Selection, or Range Selection tools. For more information on how to use these tools, see Chapter 27, “Finding and Selecting Content in the Timeline,” on page 387. If you want to set only video or only audio In and Out points, select only video or audio items in the Timeline.
Navigating to In and Out Points Often, you’ll want to position the playhead at the beginning or end of a specific clip, marker, or edit point in your sequence, in preparation for the next edit. Final Cut Express makes it easy to jump quickly between all of the edit points in your sequence. To move the playhead to the next edit point in your sequence, do one of the following: m In the Canvas, click the Go to Next Edit button. m Press the Down Arrow key. m Choose Mark > Next > Edit (or press Shift-E).
VI Moving In and Out Points You can always change clip In and Out points by simply setting new ones. Here are a few other options for changing In and Out points. To change the location of the In or Out point, do one of the following: m Drag In or Out point markers to the left or right. m To change the Out point, enter a new timecode number in the Timecode Duration field. Final Cut Express calculates the new location of the Out point by adding the duration you entered to the timecode value of the In point.
To slip both the In and Out points together, do one of the following: m Hold down the Shift key, then drag the In or Out point left or right in the scrubber bar. Note: The cursor must be directly over the In or Out point, or the slip edit won’t work and you will simply move the playhead. Hold down the Shift key, then drag the In point or Out point to a new location. m Select the Slip tool in the Tool palette, then drag a sequence clip in the Timeline to the left or right.
VI To clear an Out point, do one of the following: m Press Option-O. m Option-click the Mark Out button. m Control-click in the scrubber bar, then choose Clear Out from the shortcut menu. m In the Viewer or Canvas, drag an Out point vertically off the scrubber bar, either up or down. To clear both In and Out points at the same time, do one of the following: m Press Option-X. m Option-click the Mark Clip button. m Control-click in the scrubber bar, then choose Clear In and Out from the shortcut menu.
24 Working with Tracks in the Timeline 24 In the Timeline, you view your clips horizontally (in chronological order) and also vertically (stacked in multiple tracks). You can add, delete, and lock tracks, and you can customize how tracks are displayed. This chapter covers the following: Â Adding and Deleting Tracks (p. 336) Â Specifying Destination Tracks in the Timeline (p. 339) Â Locking Tracks to Prevent Edits or Changes (p. 344) Â Disabling Tracks to Hide Content During Playback (p.
Adding and Deleting Tracks In Final Cut Express, sequences can have up to 99 video and 99 audio tracks. Tracks contain clip items, which are the individual media items that make up a clip. When you edit, you arrange individual or linked clip items in a sequence. Adding Tracks You can add tracks to a sequence at any time. You can add tracks one at a time, or you can add multiple video and audio tracks at once.
VI To add multiple tracks to a sequence: 1 Choose Sequence > Insert Tracks. 2 In the Insert Tracks dialog, select your options, then click OK. Enter the number of tracks to add. Select the types of tracks you want to add. Specify where you want to add the tracks. Â Track type: Select the appropriate checkbox to add audio and/or video tracks. Â Number of tracks: Enter the desired number of tracks for either video or audio. A sequence can have a total of 99 video tracks and 99 audio tracks.
Deleting Tracks You can delete tracks from a sequence at any time. You can delete tracks one at a time, or you can delete multiple video and audio tracks at once. If you delete tracks that contain linked clip items, only the items on the deleted track are deleted; the linked items remain. For example, if you delete a video track, video clip items on that track are deleted, but the linked audio clip items remain in their tracks. Note: If you delete the wrong track, you can use the Undo command to restore it.
VI Specifying Destination Tracks in the Timeline When you edit a source clip into a sequence, you need to specify the sequence tracks where your source clip items are placed. You use the Source and Destination controls in the Timeline to specify which sequence tracks receive clip items from the source clip. Source and Destination controls are most often used when you perform three-point edits, but they can also affect some aspects of drag-to-Timeline editing.
Setting Destination Tracks To control which sequence track a source clip item is placed in, you connect the Source control to the corresponding Destination control. There are several different ways to do this. Important: While editing, make sure that Source controls are connected to the Destination controls for the correct tracks. If you don’t, individual video or audio items in your source clip will end up in the wrong tracks in the Timeline. V1, A1, and A2 are selected as destination tracks.
VI Changing Source and Destination Control Connections You can change source and destination track assignments in the Timeline in several ways. To change Source and Destination control connections, do one of the following: m Click a Destination control. The first Source control above that track moves to that track. m Option-click a Destination control. The first Source control beneath that track moves to that track. m Drag one Source control on top of another to switch their connections.
Disconnected Source controls remain disconnected even when you open a new clip in the Viewer. This is true even if the clip has a different number of video and audio clip items than the previously opened clip. To disconnect Source and Destination controls in the Timeline, do one of the following: m Click the Source or Destination control to break the track assignment.
VI Resetting Destination Tracks to the Default State You can reset Source or Destination controls to their default state at any time. All available Source controls are reconnected to the accompanying Destination controls. For example, the a1 Source control is reconnected to the A1 Destination control, the a2 Source control is reconnected to the A2 Destination control, and so on.
Locking Tracks to Prevent Edits or Changes If you want to set one or more tracks as temporarily “off limits” to edits or changes, you can lock them using the Lock Track control in each track’s header. While a locked track can be specified as a destination track, no media will be edited into a locked track. Locked tracks appear cross-hatched in the Timeline. Note: Clip items on locked tracks cannot be moved, edited, deleted, or modified in any way.
VI Disabling Tracks to Hide Content During Playback You can disable entire tracks to hide their contents during playback. The clips on a disabled track are not visible or audible when you play it, nor will they render or be output to tape. You can still edit items on disabled tracks; they just won’t appear in the Canvas during playback. A track can be enabled or disabled at any time. This does not permanently affect either your sequence or the clips edited into it.
Customizing Track Display in the Timeline You can modify the way tracks are displayed in the Timeline in several ways: Â Tracks in the Timeline can be resized, either individually or collectively. For more information, see the next section, “Resizing Timeline Tracks.” Â Clip items on video tracks can be displayed with name only, name and thumbnail frame, or filmstrip. All video tracks in the sequence share the same display settings.
VI To resize a single track in the Timeline: m If it’s a video track: Drag the upper boundary of the track in the Timeline patch panel. m If it’s an audio track: Drag the lower boundary of the track in the Timeline patch panel. Timeline patch panel Drag a boundary to resize a track. To resize all video or all audio tracks at once: m Hold down the Option key, then drag a track boundary to resize it. If you drag a video track boundary, all video tracks in the Timeline are resized by the same amount.
Resizing All Tracks Using the Track Height Control When you use the Track Height control to resize tracks, you resize all tracks together. By default, the Track Height control sets all tracks in the Timeline to the same size. To resize all tracks using the Track Height control, do one of the following: m Click the icon in the Track Height control that corresponds to the track size you want to use. The selected track height is highlighted blue.
VI Saving Track Layouts Once you’ve created a custom track layout for your sequence, you can save it for future use. Saved custom track layouts appear in the Track Layout pop-up menu, and can be applied to any sequence that’s open in the Timeline. Up to 40 custom track layouts can appear in the menu at once. To save a custom track layout: 1 Arrange the track heights of your sequence as you want them.
To create a static region for video and audio tracks: 1 Drag the upper thumb tab in the vertical scroll bar up to create a static area for as many video tracks as you want to keep in the middle. 2 Drag the lower thumb tab in the vertical scroll bar down to create a static area for as many audio tracks as you want to keep in the middle. Drag the upper thumb tab up to include video tracks in the static area. Slider Static area Drag the lower thumb tab down to include audio tracks in the static area.
VI To move the static region up or down in the Timeline: m Drag the center slider in the static region’s scroll bar to move the entire region, automatically resizing the scrollable regions above and below the static region. Drag the center slider to move the static region.
25 Drag-to-Timeline Editing 25 Drag-to-Timeline editing is a quick, intuitive way to move clips from the Browser or Viewer into your sequence. This chapter covers the following: Â Overview of the Drag-to-Timeline Editing Process (p. 353) Â Dragging Clips to the Timeline (p. 354) Â Doing Simple Insert and Overwrite Edits in the Timeline (p. 355) Â Automatically Adding Tracks to Your Sequence While Dragging (p.
In drag-to-Timeline editing, only two steps are involved: Step 1: Set clip In and Out points in the Viewer Here you specify which part of a clip you want to place in your sequence. You do this by opening the clip in the Viewer and setting the In and Out points (where the clip should start and end when placed in a sequence). If you want to place a whole clip or group of clips in the Timeline, you can skip this step.
VI To edit multiple clips into a sequence at the same time: 1 Select the group of clips you want to edit into your sequence by dragging a box around them in the Browser. Drag to select the clips you want to edit into your sequence. For more information, see “Preparing a Sequence Order in the Browser” on page 309. 2 Drag the group of clips directly into your sequence in the Timeline. The clips appear in your sequence according to how they’re organized in the Browser.
To drag a clip from the Video tab in the Viewer, click anywhere in the video picture in the Viewer and drag. To drag a clip from the Audio tab in the Viewer, click the drag hand and then drag. Drag hand As you drag your clip into the Timeline, a two-up display appears in the Canvas to show you the sequence In and Out points for the edit you’re performing. What appears in this display depends on the kind of edit.
VI To do an insert edit: m Drag the clip to the upper third of a track in the Timeline. Drag a clip to the upper third of a track to do an insert edit. To do an overwrite edit: m Drag the clip to the lower two-thirds of a track in the Timeline. Drag a clip to the lower two-thirds of a track to do an overwrite edit. Note: If you drag a sequence clip to another location within the sequence, an overwrite edit is performed by default.
Automatically Adding Tracks to Your Sequence While Dragging You can drag a source clip to the unused space above or below the current tracks to create a new track for that clip. If you drag your clip above the tracks already in the Timeline, you’ll create a new video track. If you drag your clips below the tracks in the Timeline, you’ll create a new audio track.
VI For example, suppose you have a clip that contains a video clip item and two audio clip items. If you drag that clip to a video track in the Timeline, the video clip item is placed in the video track, even if the Source and Destination controls for the video track are disconnected. Each audio clip item is placed in the corresponding Timeline audio tracks, but only if the Source and Destination controls of those audio tracks are connected. Video Source and Destination controls are disconnected.
26 Three-Point Editing 26 When you’re adding content to a sequence with three-point editing, you only need to set three edit points to tell Final Cut Express what content should go where in the Timeline. This chapter covers the following: Â Understanding Three-Point Editing (p. 361) Â About Edit Types in the Edit Overlay (p. 364) Â Performing the Different Types of Edits (p. 365) Â Three-Point Editing Examples (p.
Basic three-point editing follows several main steps: Step 1: Set clip In and Out points in the Viewer Specify which part of a source clip you want to place in your sequence. You do this by opening it in the Viewer and setting the In and Out points (where the clip should start and end). If you only set an In point, the Out point will be determined by the sequence In and Out points or the Media End time of the clip.
VI Dragging to the Edit Overlay in the Canvas When you drag a clip from the Browser or Viewer to the image area of the Canvas, the Edit Overlay appears. The overlay appears translucently over the image, with seven sections corresponding to seven types of edits you can perform. Drag to a section to perform the corresponding edit. Note: If you don’t drag directly to one of the overlay choices, the default edit is Overwrite, meaning the clip overwrites anything located at its destination in the Timeline.
About Edit Types in the Edit Overlay There are seven choices for placing clips into your sequence for three-point edits. The two basic edits are overwrite and insert; the other options are variations on inserting or overwriting. You choose an edit based on how you want your source clip to fit into your sequence, including what you want to happen to any clips that are already there. Most of these choices are covered in more detail in the following pages.
VI Performing the Different Types of Edits The following section tells you how to perform the most common types of edits for adding content to a sequence. These procedures assume that you’ve already set In and Out points and destination tracks in the Timeline. For more information, see Chapter 23, “Setting Edit Points for Clips and Sequences,” on page 313 and “Specifying Destination Tracks in the Timeline” on page 339.
To perform an insert edit: m Specify the necessary edit points and destination tracks, then do one of the following: Â Drag a clip from the Viewer or Browser to the Insert section of the Edit Overlay in the Canvas. Â Press F9. Insert section of the Edit Overlay in the Canvas After the edit, all clips on all unlocked tracks (including nondestination tracks) are moved forward in time, from the playhead position to the right, to make room for the clip or clips being inserted.
VI Performing an Insert with Transition Edit The insert with transition edit is a quick way to do an insert edit that includes the default transition between your new source clip and the clip before it in your edited sequence. When you first install Final Cut Express, the default transition is a 1-second cross dissolve. An insert with transition edit is exactly the same as an ordinary insert edit, but it places the default transition into your sequence, centered on the edit point.
The source clip is inserted into the sequence with the default transition. Before an insert with transition edit After an insert with transition edit New clip is inserted with transition Performing an Overwrite Edit Since this is the most commonly used edit type, it occupies the biggest overlay area in the Canvas. If you drag a clip into any part of the Canvas to the left of the Edit Overlay, an overwrite edit is performed.
VI To perform an overwrite edit: m Specify the necessary edit points and destination tracks, then do one of the following: Â Drag the clip from the Viewer or Browser to the Overwrite section of the Edit Overlay in the Canvas. Â Press F10. Overwrite section of the Edit Overlay in the Canvas The clip overwrites all items on the destination tracks from the playhead position through the duration of your edit. No items are moved.
Performing an Overwrite with Transition Edit The overwrite with transition edit is a quick way to do an overwrite edit that includes a transition between your new source clip and the clip before it in your edited sequence. When you first install Final Cut Express, the default transition is a 1-second dissolve. An overwrite with transition edit is exactly the same as an ordinary overwrite edit, but it places the default transition into your sequence, centered on the edit point.
VI The clip overwrites other items on the destination tracks for the duration of the edit, and uses the default transition. Before an overwrite with transition edit After an overwrite with transition edit New clip with transition overwrites existing clips Performing a Replace Edit A replace edit is a specialized form of overwrite edit. A replace edit places the frame at the current Viewer playhead position at the Canvas/Timeline playhead location in your sequence.
Replace edits follow a few special rules: Â Replace edits use the current playhead positions in the Timeline and the Viewer to place the source clip in the Timeline. Â Replace edits never use clip In and Out points specified in the Viewer. If these points have been set, they will be ignored. Â Replace edits only replace existing clip items in your sequence.
VI To replace an entire clip in the Timeline with a clip synchronized to a point in the sequence: 1 In the Timeline, move the playhead to a frame you want to match with a source clip. For example, if both the sequence and source clip are shots of a person jumping, you could move the Canvas/Timeline playhead to the first frame where the person’s feet leave the ground. 2 Make sure that the correct Source and Destination controls are connected in the Timeline for the clip you want to replace.
To use a replace edit to resync a video clip to an audio clip in another track: 1 In the Timeline, choose Mark > Clear In and Out (or press Option-X) to delete any sequence In and Out points. 2 In the Timeline, find the audio cue you want to sync your video clip to, and position the playhead there. 3 Make sure that the Source and Destination controls in the Timeline are set to the tracks containing your video clip, and not your audio clip. The video track should be the only destination track set.
VI 4 Without moving the Timeline playhead, press the F key to perform a match frame operation. This opens the master clip that the video clip in your sequence came from in the Viewer, placing the playhead in the Viewer over the same frame that was under the playhead in the Timeline. 5 Move the playhead in the Viewer to the new frame that you want to align with the audio cue that you selected in the Timeline.
Important: Make sure that the clip in the Viewer contains enough media on either side of the playhead to fill the duration of the clip you want to replace in the Timeline. If it doesn’t, you’ll see an “Insufficient content for edit” message. If you set In and Out points in a sequence, a replace edit can overwrite more than one clip at a time. A replace edit still works the same way: the Timeline and Viewer playheads are used as the matching points for the edit.
VI The selected area in the sequence is replaced by the source clip. Final Cut Express automatically calculates the clip duration. Before a replace edit After a replace edit New clip replaces the selected area of the sequence. Superimposing Clips In some cases, you may want to place one clip directly above another clip in a different track. This is called a superimpose edit. You can use a superimpose edit to quickly stack a source clip on top of a clip already in your sequence.
Likewise, if you perform a superimpose edit with several source clips at once, all of those clips are stacked on top of one another. The first clip in your selected group is on top, with each successive clip appearing underneath. Before edit D A B C D After edit A B C To perform a superimpose edit: 1 Do one of the following: Â Position the Timeline playhead over a clip above which you want to superimpose your source clip.
VI The clip in the Viewer is placed in the track above the destination track, starting at the beginning of the clip that intersects the Timeline playhead, or at the sequence In point. If there is no track above the destination track, one is created.
Three-Point Editing Examples There are a few key things to keep in mind when you are doing three-point editing: Edit points set Results  Clip In and Out points  Sequence In point The In point of the source clip is placed at the sequence In point, and the duration of the edit is determined by the clip In and Out points.
VI 3 In the Canvas or Timeline, move the playhead to the location in your sequence where you want the clip to start (the sequence In point). Move the playhead to the location in the sequence where you want the clip to start. 4 Now, if you do an overwrite edit, you’ll see that the duration of your clip, defined by the In and Out points in the Viewer, has been edited into the sequence. The new clip starts where the playhead was.
Example: Editing a Clip into a Gap in Your Sequence You can also do the reverse of the previous editing example. Suppose you have a gap in your edited sequence and you want to fill it with a new clip. You know where you want the source clip to start, and you don’t particularly care where it ends. You can specify an In point in the Viewer, and specify In and Out points in the Timeline to coincide with the gap: 1 Double-click a clip to open it in the Viewer. (This is your source clip.
VI 5 If you do an overwrite edit, you’ll see that your clip, defined by the In and Out points in your sequence, has been edited into the sequence. The new clip fills the gap. Example: Backtiming a Clip into Your Sequence Instead of editing a clip into your sequence using clip In and Out points in the Viewer and a sequence In point in the Canvas or Timeline, you can edit clips using only an Out point in the Canvas or Timeline. This is called backtiming a clip.
3 In the Timeline, move the playhead to the point in your edited sequence where you want your clip to end, and set an Out point. Set an edit point at the location where you want the clip to end. 4 If you do an overwrite edit, you’ll see that your clip has been edited into the sequence so that the Out point of your clip lines up with the Out point you specified in the Timeline.
VI Example: Editing a Clip with No Specified In or Out Points into Your Sequence If you don’t specify In or Out points for a clip in the Viewer prior to editing, Final Cut Express edits in the entire clip, either to the position of the playhead or to an edit point specified in the Canvas or Timeline: 1 Double-click a clip to open it in the Viewer, but don’t set In or Out points. No In or Out points are set.
27 Finding and Selecting Content in the Timeline 27 When you want to arrange, copy, delete, or otherwise manipulate items in a sequence, the first thing you need to do is select them. This chapter covers the following: Â Understanding What’s Currently Selected (p. 387) Â Direct Methods for Selecting Content in a Sequence (p. 389) Â Finding and Selecting Based on Search Criteria (p. 399) Â Selecting a Vertical Range Between In and Out Points (p.
Identifying Selections in the Timeline When you click a clip in the Timeline, it’s highlighted to indicate it’s selected. The selected clip is highlighted. Even if there are no clips highlighted, Final Cut Express usually considers something in the Timeline to be selected. This occurs in two situations: Â If no clips are highlighted and there are no In or Out points set, clips under the current position of the playhead are considered selected for many commands.
VI How Selections Are Prioritized in the Timeline With the exception of editing clips into a sequence, operations in the Timeline are prioritized in the following way: Â If clips are selected, any operations you perform affect those clips. Â If no clips are selected, content between In and Out points on tracks with Auto Select enabled is considered selected. Â If no In and Out points are set, the clips under the playhead on tracks with Auto Select enabled are considered selected for many commands.
The following cannot be selected in the Timeline: Â Filter and motion bars and their keyframes: You can double-click a bar directly in the Timeline to view filter or motion details in the Viewer. Even though you can’t select the keyframes, you can move them by dragging them. Â Tracks: Tracks themselves can’t be selected, although the contents of tracks can be selected using the track selection tools. An Introduction to the Selection Tools Several tools in the Tool palette can be used to select items.
VI These are the selection tools, in order of appearance:  Selection: Selects individual items, such as a clip, transition, edit point, or keyframe, or multiple items if they’re linked. The functions of this tool can be modified in a variety of ways using keyboard shortcuts. This is the default tool. Selection  Edit Selection: Selects an edit point between clips. You can select edits on as many tracks as you want, but you can only select one edit per track.
 Select Track Forward: Selects all the items in a track after the selection point you click. Selected items are ready for any group operation, such as moving or deleting. Items linked to selected items in this track are selected also.  Select Track Backward: Selects all the contents of the track before the selection point.  Select Track: Selects the entire contents of a single track, as well as any items linked to those items.
VI Selecting an Individual Clip This is the simplest kind of selection you can make in the Timeline. To select an individual clip: 1 Do one of the following: Â Click the Selection tool in the Tool palette. Â Press A. 2 In the Timeline, click anywhere in a clip. If the Canvas is set to display overlays, a cyan blue border appears around the video image to indicate that the clip beneath the playhead is selected.
Selecting Multiple Clips The Shift and Command keys allow you to select multiple clip items in the Timeline, either contiguous or noncontiguous. To select multiple noncontiguous clip items: m Hold down the Command key while selecting the desired clip items using either the Selection tool or the Group Selection tool. You can also Command-click a specific item again to deselect it.
VI Selecting a Range of Timeline Content When you want to copy, cut, or move an area of content that is not specified by clip boundaries, you can either select the area with the Range Selection tool, or use In and Out points to make a vertical selection across tracks. For more information about using In and Out points to select a range of content, see “Using Auto Select to Specify Tracks for Selections” on page 402.
Selecting All Clip Items on a Track Sometimes you may find that you want to select all of the clip items on a track in order to drag them to close a gap or to create space to accommodate new clip items in your sequence. After selecting a track’s contents, you can perform different operations on all the track’s items at once, such as moving, copying, or deleting them. The track selection tools provide many additional ways of selecting some or all of the content of one or more tracks in your sequence.
VI To select all clip items after a specified item on a single track: 1 Do one of the following: Â Select the Select Track Forward tool in the Tool palette. Â Press the T key once, so the Select Track Forward tool is selected in the Tool palette. 2 Click a clip item in the Timeline. The item you click and all items after it are selected. To select all clip items before a specified item on a single track: 1 Do one of the following: Â Select the Select Track Backward tool in the Tool palette.
All clip items in all tracks from the point you click onward (either forward or backward) are selected, as well as any items linked to those items. You can select entire clip items only; you can’t select a portion of a clip item. If you click here, all clip items on all tracks to the right are selected. If you click here, all clip items on all tracks to the left are selected.
VI Finding and Selecting Based on Search Criteria In a large sequence you may want to locate a clip in the Timeline with a particular name, timecode number, or marker text, but it would take a lot of effort to find it by visually scrolling and scanning. Final Cut Express can search your sequence for you and select clips that meet your criteria. You can search for individual items that meet the criteria, or select all matching items at once.
5 Choose the type of item to search for from the Search pop-up menu. Â Names/Markers: Search for the text in clip names, marker names, and marker comments. Â Timecode: Search for any source or auxiliary timecode in a clip. 6 Choose which tracks to search from the Where pop-up menu. Â All Tracks: Search all tracks in the sequence. Â Auto Select Tracks: Search only tracks with Auto Select enabled. Â From In to Out: Search between the sequence In and Out points on all tracks.
VI Selecting a Vertical Range Between In and Out Points When you want to copy, move, or cut a selection of content that ranges vertically across multiple tracks, a quick method is to select it by setting In and Out points. To select clip items between sequence In and Out points: 1 Set In and Out points in either the Canvas or the Timeline. 2 In the Timeline, enable the Auto Select controls for tracks that contain clip items you want to select.
Using Auto Select to Specify Tracks for Selections Auto Select controls determine which tracks are affected by an operation. When sequence In and Out points are defined, operations such as the Copy and Lift commands are limited to the regions of Auto Select–enabled tracks between the Timeline In and Out points. You can intentionally disable Auto Select controls for tracks that you don’t want to operate on.
VI If you press the Delete key, only the items on track V1 are deleted. After deleting; only the selected region is deleted. To enable or disable Auto Select on a track: m Click the Auto Select control for the track.
To enable Auto Select on one track while simultaneously disabling Auto Select on all other tracks: m Option-click the Auto Select control on the track you want single out for Auto Select. (If Auto Select is off for all tracks, you need to Option-click the control twice.) If you Option-click the Auto Select control on a video track, Auto Select is disabled on all other video tracks in the sequence.
28 Arranging Clips in the Timeline 28 After initial content has been added to the Timeline, the next part of the rough editing phase is assembling clips into the order in which you want them to appear. This chapter covers the following: Â Snapping to Points in the Timeline (p. 405) Â Moving Items Within the Timeline (p. 407) Â Copying and Pasting Clips in the Timeline (p. 412) Â Deleting Clips from a Sequence (p. 417) Â Finding and Closing Gaps (p.
Several elements trigger snapping in the Timeline:  Clip boundaries  The playhead  Markers  Keyframes  In and Out points When you drag the playhead or a selected clip item in the Timeline, it “snaps” to these elements when it encounters them. A small pair of arrows appears above or below the edit, marker, or keyframe to indicate that the playhead has snapped to this item.
VI Moving Items Within the Timeline Composing a sequence usually involves plenty of arranging and rearranging of content in the Timeline. There are a couple of ways to move clips around in the Timeline: Â The fast, visual way is to drag the clips. Â For precise, timecode-based movement, you can select the clips and enter timecode values in the Current Timecode field.
To move a clip to a new position by dragging (and do an insert edit): 1 In the Timeline, drag the clip to the desired location. 2 Press and hold down the Option key (after you’ve started dragging the clip). The pointer looks like a right arrow. 3 Release the mouse button. The arrow pointing right indicates that an insert edit will be performed. To move a clip to another track while keeping its horizontal position in a sequence the same: 1 In the Timeline, select the clip you want to move.
VI Note: Don’t click in the Current Timecode field before you do this, or you’ll move the playhead instead. The number of frames moved Clip items to be moved 3 Press Return. The clip moves to the new location if there aren’t any other clip items in the way. If there are, you’ll see a “Clip Collision” message indicating which track had a clip that interfered with your edit.
Using the Command Key to Drag More Slowly When you’re dragging clips, edit points, or keyframes, usually the default one-to-one correspondence between the motion of your mouse and the motion of the item you’re dragging works just fine. However, you can drag even more precisely by pressing the Command key to slow, or “gear down,” the dragging speed after you’ve started dragging.
VI To shuffle a clip item from one position to another: 1 Select a clip item you want to move in the Timeline with the Selection tool. Before 2 Drag the selected clip item to the beginning of the clip item you want to insert the dragged clip item in front of. If you have trouble aligning it with the edit point, press the N key to turn snapping on. 3 While continuing to hold down the mouse button, press the Option key. The pointer turns into the Shuffle Edit pointer.
4 Release the mouse button to place the selected clip at the insertion point. After Clip D moves here. Clips A, B, and C move right and fill the gap left by Clip D. Important: Shuffle edits are only possible if you move a clip item beyond the boundaries of its original position. If you don’t move a clip item far enough, pressing the Option key while you drag the clip item allows you to perform an insert edit, but not a shuffle edit.
VI Modifying Selections and Commands Using the Option Key When you’re working with clips in the Timeline, you can use the Option key to do one of three things: Â Hold down the Option key while you select a clip to temporarily turn off linked selection (if it’s on) or turn it on (if it’s off ). Â Hold down the Option key after an item is selected, then drag the item from its original position to make a duplicate of that item.
To copy (or cut) and paste clip items within the same Timeline tracks: 1 Select one or more clip items in the Timeline. 2 Do one of the following, depending on what you want: Â Copy the clip items by pressing Command-C. Â Cut the clip items by pressing Command-X. 3 Position the playhead where you want the paste to occur. 4 Paste the clip items at the playhead location by pressing Command-V.
VI 3 Option-click the Auto Select control for the track you want to paste clip items into. (If no Auto Select Controls are enabled, Option-click twice.) 4 Position the playhead where you want the paste to occur. 5 Paste the clip items by pressing Command-V. The copied clip items are pasted to the tracks with Auto Select enabled, except where no Auto Select change was made. Where no Auto Select change was made after copying, the clip items are pasted to the original tracks.
Example: Copying and Pasting Audio and Video Clip Items to Different Tracks in the Timeline To copy and paste clip items from tracks V3, A5, and A6 to tracks V2, A2, and A3, you would do the following: 1 Select the clip items on V3, A5, and A6. 2 Copy the clip items by pressing Command-C. 3 Position the playhead where you want to paste the items. 4 Option-click the track V2 Auto Select control. The video clip item will now be pasted into track V2.
VI Deleting Clips from a Sequence As you edit, you can delete items from your sequence at any time, provided that the track you want to remove them from is not locked. There are two ways to delete items from a sequence: Â Lift edit: Leaves a gap in the sequence. Â Ripple edit: Closes the gap from the deletion by moving all subsequent clips to the left.
3 Do one of the following: Â Choose Sequence > Lift. Â Choose Edit > Cut (or press Command-X) to cut the material, if you want to paste it somewhere else. Â Press Delete. Selected clip items After a lift edit, a gap is left in the sequence. Deleting with a Ripple Edit (Leaving No Gap) Deleting with a ripple edit (also called a ripple delete) removes selected items from the sequence and closes the resulting gap by moving all subsequent items on unlocked tracks to the left.
VI To delete a clip item and close the gap left behind: 1 Select the item or range of items you want to remove. 2 Do one of the following: Â Choose Sequence > Ripple Delete. Â Control-click the selected clip item or items, then choose Ripple Delete from the shortcut menu. Â Press Shift-Delete. Â Press Shift-X to cut the material, if you want to paste it somewhere else. Selected clip items After the ripple delete, the clip items are removed, with no gap remaining.
Finding and Closing Gaps As you edit, cut, paste, and move items around in Final Cut Express, empty spaces (called gaps) may be left between clips in your sequence. Sometimes they are extremely small (one or two frames), which makes them difficult to see in the Timeline. When a sequence with gaps plays back in the Canvas, however, even tiny gaps are apparent as flashes of black, so you don’t want to unintentionally leave them in the sequence.
VI To close a gap, do one of the following: m Position the playhead anywhere within the gap, then choose Sequence > Close Gap (or press Control-G). m Control-click anywhere within a gap, then choose Close Gap from the shortcut menu. m Select the gap by clicking it, then press Delete. All clips to the right of the gap move left to close the gap. Because this command shifts all clips to the right of the gap to the left, the command is not available if a clip on another track overlaps this gap.
To determine the duration of a track gap in the Timeline: 1 Option-click the Auto Select control for the track with the gap. 2 Position the playhead in the gap. 3 Do one of the following: Â Choose Mark > Mark Clip. Â Click the Mark Clip button in the Canvas. Â Press X. In and Out points set based on track gap on V1. Auto Select control enabled The track gap’s duration appears in the Timecode Duration field in the Canvas.
29 Cutting Clips and Adjusting Durations 29 Once you’ve assembled clips in your sequence, you can easily cut them and adjust their durations. This chapter covers the following: Â Performing Basic Cut Edits (p. 423) Â Changing the Duration of Clips in the Timeline (p. 427) Â Opening Sequence Clips in the Viewer to Change Durations (p. 428) Performing Basic Cut Edits The most basic edit is a straight cut, like the ones performed with a razor blade on a piece of film.
 Razor Blade: Adds an edit point to a sequence clip by cutting a single clip item, along with any clip items linked to it in the Timeline, into two pieces. This edit point is added at the frame of the clip item in the Timeline that you click.
VI Â Razor Blade All: Cuts all clip items on all tracks at the point where you click in the Timeline. Before After The Razor Blade All tool lets you cut clips across all tracks.
Using the Add Edit Command to Cut Clips The Add Edit command in the Sequence menu (Control-V) is similar to the Razor Blade All tool, cutting all clip items in the Timeline at the current position of the playhead. However, only clip items on tracks with Auto Select enabled are cut. It can be very handy to use the keyboard shortcut for the Add Edit command during playback of your sequence, so that you can make cuts as the playhead moves along the Timeline.
VI Changing the Duration of Clips in the Timeline Clips are represented in the Timeline as horizontal bars within tracks. The length of the bar represents the clip item’s duration. The beginning and end of the bar represent the clip’s In and Out points. You can drag the beginning or end of the clip to change the clip’s duration, right in the Timeline.
Opening Sequence Clips in the Viewer to Change Durations You can open a sequence clip in the Viewer to adjust its duration. Any changes you make to that clip in the Viewer modify the clip in the edited sequence. How these changes occur also depends on the editing tool that’s selected. To open a sequence clip in the Viewer from the Timeline for further editing, do one of the following: m Double-click the sequence clip in the Timeline. m Select the sequence clip, then choose View > Clip (or press Return).
30 Linking and Editing Video and Audio in Sync 30 Final Cut Express allows you to adjust the synchronization relationship between video and audio items in a clip. Linked clip items can be temporarily or permanently unlinked, resynchronized, and relinked. This chapter covers the following: Â Linked Sync Relationships Between Video and Audio Clips (p. 429) Â Linking and Unlinking Video and Audio Clip Items in the Timeline (p. 434) Â Selecting Individual Clip Items While They Are Linked (p.
When video and audio clip items are linked in the Timeline: Â The names of the linked clip items are underlined to indicate that they’re linked. The underlined clip name indicates the link between audio and video items. Â As long as linked selection is on in the Timeline (the Linked Selection button in the upper-right corner is green), clicking one clip item selects it and all the items linked to it. Click the Linked Selection button to turn linked selection on and off.
VI An out-of-sync indicator appears whenever the following conditions occur: Â Audio and video clip items from the same media file are out of sync. Because they come from the same media file, these items always show out-of-sync indicators, even if they are not currently linked. Â Audio and video clip items have been linked together in the Timeline, and then moved out of sync.
If you move the audio item to the left, so that it overlaps the first video item, out-of-sync indicators appear. The same happens if you move the audio item to the right. What if you move all three items so that they overlap, but all are out of sync with one another? The first two items show out-of-sync indicators relative to one another, and the third item shows an out-of-sync indicator relative to the item it overlaps.
VI In the following example, three stereo pairs of audio items are linked to a single video item. Moving a single pair of items out of sync results in a single out-of-sync duration, with out-of-sync indicators with positive and negative durations in both the video and audio items.
Linking and Unlinking Video and Audio Clip Items in the Timeline You can link additional clip items to already linked items, or remove items and then relink the remaining items. Linking Video and Audio Clip Items When you link clip items, a sync relationship is established between those items, according to their position in the Timeline. All linked clip items are marked in sync, and this new sync relationship is tracked.
VI 3 Choose Modify > Link (or press Command-L). Note: When you open linked items in the Viewer, each linked mono audio clip item or stereo pair of clip items appears in an Audio tab in the Viewer. Names of linked clip items are underlined in the Timeline. Unlinking Video and Audio Clip Items When you don’t want audio and video clip items to be linked in the Timeline, you can unlink them. To break the link between clip items: 1 Select one or more linked items in the Timeline.
Selecting Individual Clip Items While They Are Linked Even when clip items are linked together, you may want to perform an action on only a video or audio clip item. For example, you may want to copy just the audio, or delete just the video. The Linked Selection option tells Final Cut Express whether linked items are selected together, or if clip items can be individually selected even when they are linked to other items. The Linked Selection button is gray, indicating linked selection is turned off.
VI Getting Clip Items Back in Sync There are three ways to get clip items with out-of-sync indicators back into sync: Â Move the clip item back into sync with the Move into Sync command in the out-of-sync indicator shortcut menu. This moves the clip item’s position in the Timeline, if possible. Â Slip the clip item back into sync with the Slip into Sync command in the out-of-sync indicator shortcut menu.
If the item is an anchor item (either the sole video item among linked items, or the topmost audio item if there is no video item), it moves into sync with the topmost out-of-sync audio item in the group, starting on track A1 and going down. Otherwise, the selected item moves into sync with the anchor item to which it’s linked. Before syncing Control-click the out-of-sync indicator and choose Move into Sync.
VI To slip an out-of-sync clip item into sync using the out-of-sync indicator shortcut menu: m In the Timeline, Control-click the out-of-sync indicator on a clip item, then choose Slip into Sync from the shortcut menu. If the item is an anchor item, it slips into sync with the topmost out-of-sync audio item in the group, starting on track A1 and going down. Otherwise, the selected item slips into sync with the anchor item to which it’s linked.
Moving or Slipping All Clip Items into Sync at Once In cases where multiple audio items are out of sync by varying amounts from an anchor video or audio item, you have an additional option available to manage the sync relationships of all linked items at once.
VI To slip all out-of-sync clip items into sync with the anchor item: 1 In the Timeline, Control-click the out-of-sync indicator on the anchor clip item—either the sole video item in a group of linked items, or the topmost audio item if there is no video item among the linked items. Before syncing 2 Choose Slip Others into Sync from the shortcut menu.
Marking a Clip as In Sync If you’ve moved a selected clip item out of sync deliberately and you want to permanently change that item’s sync relationship to its corresponding linked audio or video items in the sequence, you can use the Mark in Sync command. Final Cut Express marks the items’ current relationship in your sequence as being in sync. If you move one of these items out of sync again, the out-of-sync indicator shows the number of frames to resync to the new sync point.
VI If you select just the audio and move it out of sync, out-of-sync indicators appear. The out-of-sync indicators show the new offset, not the original offset. The Mark in Sync command permanently affects the sync relationship of the selected clip items in your sequence.
If a clip contains two mono audio channels: Â In the Timeline, each mono audio item is treated like any other linked item. Clicking one item selects both items with linked selection on; with linked selection turned off, you can select one at a time. Â In the Viewer, each mono channel has its own tab, named Mono (a1) and Mono (a2), Mono (a3) and Mono (a4), and so on, depending on how many channels the clip has. Levels, pan settings, and filters applied to one mono channel are not applied to the other.
31 Split Edits 31 When video and audio are cut at the same time, the edit is usually more noticeable. Split edits help to “soften” edits by creating continuous audio beneath video edit points. This chapter includes: Â Learning About Split Edits (p. 445) Â How Split Edits Look in the Viewer and Canvas (p. 446) Â Setting Up Split Edit Points in the Viewer (p. 447) Â Setting Up a Split Edit While Playing a Clip (p. 448) Â Modifying and Clearing Split Edits (p. 449) Â Split Edit Examples (p.
The resulting edit would look something like this: Video edit point Video track Audio tracks Audio edit point Split edits can be used in many different situations—in dialogue scenes, like the one described above, when cutting to illustrative B-roll footage during an interview, or when transitioning from one scene to another. How Split Edits Look in the Viewer and Canvas The scrubber bar in both the Viewer and the Canvas is divided in half by a light gray line.
VI As with other types of edits, the Viewer scrubber bar shows edit points in your clip, while the Canvas scrubber bar shows edit points in your sequence. The light area between each set of edit points in the Viewer indicates which parts of the audio and video clip items in your source clip will be cut into your sequence. The light area between each set of edit points in the Canvas indicates where the audio and video clip items will appear in your sequence.
The resulting combination of video and audio edit points in your scrubber bar should look something like this: Once you’ve set your split edit points, you can perform your edit by using an overwrite edit or dragging directly into the Timeline. Setting Up a Split Edit While Playing a Clip You can mix and match simple edit points with split edit points, depending on what kind of edit you want to do.
VI Modifying and Clearing Split Edits If you’ve set up a split edit, but you want to adjust or remove any of the edit points, you have a number of options. To move either the In or the Out points of a split edit at the same time: m Drag either the video or audio In or Out points to a new position. By default, the video or audio edit points move together. To move either an audio or video split edit point individually: m Option-drag just the split edit point you want to move.
The positions of the different edit points you’ve selected don’t change relative to one another, but the selected area of your clip or sequence does. As it changes, you’ll see the first selected frame of video updated in the Viewer, and the last frame of video updated in the Canvas. The Viewer displays the updated frame of the In point with the new timecode value. The Canvas displays the frame of the new Out point.
VI Split Edit Examples The result of your split edit depends on the edit points you set. This section provides several examples of the combination of simple edit points and split edit points you might set up, along with their results.
4 Drag the clip in the Viewer to the Overwrite section of the Edit Overlay in the Canvas. The resulting edit looks like this: The audio precedes the video and begins at the sequence In point.
VI 3 Set a single split video In point in the Canvas or Timeline at the place where you want the video of your source clip to start. Split video In point 4 Drag the clip in the Viewer to the Overwrite section of the Edit Overlay in the Canvas. The resulting edit looks like this: Video begins at the In point you set. Audio precedes the video.
3 Set up a split edit in the Canvas or Timeline at the place where you want your source clip to appear. Split edit with audio preceding video 4 Drag the clip in the Viewer to the Overwrite section of the Edit Overlay in the Canvas. The resulting edit looks like this: Video begins at the split video In point. Audio precedes the video, and begins at the split audio In point.
32 Audio Editing Basics 32 Good audio edits are usually subtle and go unnoticed by the listening audience. After you assemble your video and audio, you can edit your audio independently in the Timeline. This chapter covers the following: Â The Goals of Audio Editing (p. 455) Â Using Waveform Displays to Help You Edit Audio (p. 457) Â Learning About the Audio Controls in the Viewer (p. 458) Â Editing Audio in the Viewer (p. 461) Â Editing Audio in the Timeline (p.
Make sure your audio edit points aren’t noticeable. Editing audio clips in a sequence mainly involves finding good edit points that sound natural. Audio edit points are often more effective when they are offset from the corresponding video edits. Although you may set your initial audio and video edit points in the same place to create a quick rough cut, editing your audio more finely may involve changing many of your edit points to split edits.
VI Using Waveform Displays to Help You Edit Audio As you work in Final Cut Express, waveform displays can be very useful for navigating through parts of your audio and seeing at a glance how the levels in a track indicate things like the words and pauses in dialogue and the beats in a piece of music. Waveforms are displayed in the audio tabs of the Viewer.
Use the J, K, and L keys to shuttle through your clips, and learn to listen for the edit points you want. Once you have set In and Out points, you can use the Play In to Out (Shift-\) and Play to Out (Shift-P) commands to preview your edits. As you do this, you’ll find yourself trimming one or two frames at a time and then setting new edit points, repeating the process until you’ve found the perfect audio editing points.
VI Â Level slider: This slider adjusts the amplitude, or volume, of the currently selected audio clip between +12 and –inf dB. As you drag the slider, the number in the dB field and the level overlay line are both updated. You can also adjust the volume by typing a number in the dB field to the right of the Level slider. The number you enter can include a decimal value, such as 6.23. If there are no level keyframes in the current clip, adjusting the Level slider affects the level of the entire clip.
 Pan Keyframe button: The keyframe button to the right of the Pan slider places a keyframe at the current playhead location on the pan overlay. You can add keyframes to change pan settings over time.  Pan keyframe navigation buttons: These buttons, to the left and right of the Pan Keyframe button, allow you to move the playhead forward or backward from one keyframe on the pan overlay to the next.
VI Â Zoom control: Using this control, you can expand or contract the ruler, decreasing or increasing the amount of the clip’s waveform that is displayed. Â Zoom slider: This slider lets you zoom in and out of the waveform displayed by dragging the thumb tabs on either side, which adjusts both thumb tabs and leaves the visible area of the keyframe graph centered.
To open an audio clip item from the Timeline: 1 Do one of the following: Â Double-click an audio clip item in your sequence. If the audio clip item is linked to other items, all of the clip items are opened in the Viewer in separate tabs. If the audio clip item is part of a stereo pair, the stereo clip item appears in a Stereo tab in the Viewer. Otherwise, it appears in a Mono tab. Â Drag a clip item from your sequence to the Viewer.
VI Zooming In or Out of the Waveform Display Area Navigating through audio clips in the Viewer is largely the same as navigating through video clips in the Video tab. There are some additional features, however, that you should be aware of. When you navigate through a clip in the Video tab of the Viewer, you only see the frame at the location of the playhead. Zooming in to this frame enlarges the visual image, but doesn’t change your position in time. Waveforms in an audio tab work differently.
To zoom in and out of the audio waveform using the Zoom slider, do one of the following: m Drag the thumb tabs on either side of the Zoom slider to adjust both ends of your view at the same time. If the playhead is visible, it stays centered during the zoom. If the playhead is not visible, the visible area of the Timeline stays centered. m Hold down the Shift key while you drag one of the thumb tabs from the selected end of the Zoom slider, while keeping the other thumb tab locked in place.
VI To scroll horizontally through a zoomed-in clip in the Viewer, do one of the following: m Drag the Zoom slider left or right. The displayed area of the audio waveform moves in the direction you drag. m Click the scroll arrows at either end of the scroll bar to move the displayed area of the audio waveform incrementally to the left or right.
About Setting Edit Points for Audio You set edit points in the audio tabs of the Viewer in the same way that you set edit points in the Viewer’s Video tab. Whether your clips have been opened from the Browser in preparation for editing into a sequence, or opened from a sequence in the Timeline for trimming, edit points work the same way.
VI To trim a sequence audio clip item in the Viewer: 1 Disable linked selection by doing one of the following: Â If linked selection is on, click the Linked Selection button (or press Shift-L) to turn it off. Â Hold down the Option key and click the audio item. Linked Selection button Audio selected independently of video 2 Drag the audio item from the sequence to the Viewer. The audio item opens in the Viewer by itself.
Editing Audio in the Timeline After editing a number of clips into a sequence, you can further trim the audio clips directly in the Timeline. While you can trim audio more precisely in the Viewer, trimming the audio in the Timeline has other advantages: Â You can see the audio item you’re trimming in relation to the rest of the clips in your sequence. Â You can work with multiple clips in your sequence, rather than just one.
VI Waveform on Waveform off Displaying Overlays and Adjusting the Track Height If you want to display waveforms in the Timeline, you may want to show audio level overlays and adjust the track height. Clip Overlays control Track Height control  Clip Overlays control: You can display or hide clip overlays at any time by clicking the Clip Overlays control at the bottom of the Timeline window. Audio level overlays appear as thin pink lines that indicate the sound level of each audio clip item.
Zooming In and Out of Waveforms in the Timeline There are several ways you can zoom in and out of waveform displays in the Timeline. Make sure you have waveform displays turned on (see “Displaying Waveforms in the Timeline” on page 468). You can also use the Zoom control and Zoom slider in the Timeline. These controls work the same way they do in the audio tabs of the Viewer. For information on using these controls, see “Zooming In or Out of the Waveform Display Area” on page 463.
VI Moving Audio Items from One Track to Another at the Same Frame From time to time, you’ll want to move an audio clip up or down to an adjacent track, but keep its In and Out points at the same location in your sequence.
Creating or Separating Stereo Pairs Although stereo pairs are meant to be used for intrinsically stereo audio like music or stereo sound effects, any two clips of audio in the Timeline can be made into a stereo pair or separated into two mono clips. This operation can only be performed in the Timeline. Note: Stereo pair linking is not the same as clip item linking. It is not necessary to break the link between clips prior to disabling stereo pairing.
VI If the clip items you want to make into a stereo pair have different durations, the clip items are trimmed to the region where they both overlap. The levels, pan settings, and filters that were applied to the top clip are applied to both, and the clip attributes from the bottom clip are ignored. Before Volume level overlays Two clips that are not a stereo pair; length and volume levels differ.
Working with Audio at the Subframe Level While the smallest unit of video is a single frame, the smallest adjustable unit of audio in Final Cut Express is 1/100th of a frame. Audio level and pan keyframes, as well as the sync between the video and audio tracks of a clip, can be set with an accuracy of 1/100th of a frame.
VI To slip an audio clip item by subframe units: 1 Open a clip with both video and audio items in the Viewer, then click the audio tab. 2 Move the playhead to the In or Out point of the clip, then press Command-= (equal sign) to zoom in on the audio waveform as far as possible. A wide playhead bar in the Viewer represents one video frame at full magnification. 3 Press the Shift key and position the playhead within the frame to a new point with better sync. 4 Click the Mark In or Mark Out button.
Examples of Ways to Easily Edit Audio As you work with audio, you may find it helpful to read through these two examples of ways you can fix audio issues using Final Cut Express. Example: Replacing Unwanted Audio with Room Tone As you edit dialogue, you’ll often need to cut out pieces of audio that you don’t want in the sequence.
VI To create a section of room tone from a short pause: 1 Find the longest pause you can in the dialogue clip with the gap you need to fill, then copy the section that contains the pause. If you’re in the Timeline, you can use the Range Selection tool. The long pause in your clip is selected. 2 Create a new sequence, name it “Room Tone,” and paste the audio pause into it twice. Paste the pause section you just copied twice into a new sequence.
5 Play the resulting clips. The looping sound should be gone, but if you hear a clicking at the edit point between the two clips, you may have to add a cross fade transition between them to smooth this out. For more information, see Chapter 36, “Adding Transitions,” on page 537. If the looping effect is not obvious, you may want to skip the speed reversal step. You may also need a longer section of ambient tone, or several different sections. Experiment to see what works best.
VI 4 Drag your Room Tone sequence into the Viewer, and move the Viewer playhead to the start of the section of room tone you want to use. 5 Set an In point in the Viewer. 6 Edit the room tone into your sequence by doing one of the following: Â Drag the Room Tone sequence from the Viewer to the Overwrite section of the Edit Overlay in the Canvas. Â Press F10. The section of unwanted audio is replaced with room tone.
1 Disable linked selection by doing one of the following: Â Click the Linked Selection button (or press Shift-L) so that it’s off. Â Click the edit point between the two audio items while holding down the Option key. 2 Select the Roll tool from the Tool palette (or press the R key). 3 Drag the audio edit point to the right so that the entire word plays at the end of the first clip.
Part VII: Fine-Tuning Your Edit VII Learn how to refine your edit by using trimming tools, adding transitions, nesting sequences within sequences, and synchronizing the Viewer, Canvas, and Timeline playheads together.
33 Performing Slip, Slide, Ripple, and Roll Edits 33 Once your rough edit is complete, you will want to fine-tune your edit. The advanced editing tools in Final Cut Express allow you to make fine adjustments to clips in your sequence. This chapter covers the following: Â About Trimming with Slip, Slide, Ripple, and Roll Tools (p. 483) Â Sliding Clips in the Timeline (p. 484) Â Slipping Clips in the Timeline (p. 487) Â Using the Ripple Tool to Trim an Edit Without Leaving a Gap (p.
Sliding Clips in the Timeline Performing a slide edit allows you to move a clip’s position in the Timeline between two other clips without creating a gap. The clip’s content and duration remain the same; only its position in the Timeline changes. When you slide a clip, the adjacent clips get longer and shorter to fill any gaps that would normally be created. The combined duration of these three clips does not change, and therefore the sequence’s duration remains unchanged as well.
VII To perform a slide edit, you can drag a clip with the Slide tool. For precision adjustments, you can use timecode. You can also move a clip with the Selection tool, but this method may leave gaps between clips. The Slide tool never creates gaps (with the exception of sliding the first or last clip). Performing Slide Edits Using the Slide Tool Selecting a clip with the Slide tool and dragging it is an easy way to perform a slide edit.
3 Release the mouse button. This clip is longer. This clip is shorter. This clip’s duration is the same. Performing Precise Slide Edits Numerically If you need to slide a clip just two or three frames, using the mouse may be difficult. For precision edits, it is much less cumbersome to slide a clip numerically. To slide a clip in the Timeline using timecode: 1 Select the Slide tool in the Tool palette (or press the S key twice).
VII Note: You can specify the default number of frames to trim by changing the Multi-Frame Trim Size setting in the Editing tab of the User Preferences window. (For more information, see Chapter 62, “Choosing Settings and Preferences,” on page 969.) Slipping Clips in the Timeline Performing a slip edit does not change a clip’s position or duration in the Timeline, but instead changes what portion of the clip’s media appears in the Timeline.
Note: To slip a clip, it must have handles on both sides, meaning that there must be additional media available on both the head and the tail of the clip. If you are having trouble slipping a clip, check that the clip has handles on both sides. You can perform slip edits by dragging with the Slip tool or, for greater precision, by using timecode. Performing a Slip Edit Using the Slip Tool You can perform slip edits in the Viewer or the Timeline.
VII At the same time, the Canvas displays the frames at the In point and the Out point. 3 Release the mouse button when the clip is positioned at a range of frames that you like. The duration and location of all clips in your sequence remain the same after this operation. 4 Click the Play In to Out button (or press Shift-\) to review the new section between your sequence clip’s In and Out points.
Note: You can specify the default number of frames to trim by changing the Multi-Frame Trim Size setting in the Editing tab of the User Preferences window. (For more information, see Chapter 62, “Choosing Settings and Preferences,” on page 969.) The timecode entry field shows how far you are slipping the clip. 4 Click the Play In to Out button (or press Shift-\) to review the new section between your sequence clip’s In and Out points.
VII Using the Ripple Tool to Trim an Edit Without Leaving a Gap A ripple edit adjusts a clip’s In or Out point, making the clip longer or shorter, without leaving a gap in the Timeline. The change in the clip’s duration ripples outward, moving all subsequent clips earlier or later in the Timeline. If you don’t use a ripple edit when you change the duration of a clip, you will either leave a gap when you make a clip shorter, or overwrite part of an existing clip if you make a clip longer.
Which Clip Items Move in the Timeline After a Ripple Edit? Clip items with In points later in the Timeline than the edit point(s) you are adjusting will move, or ripple, after you perform a ripple edit. All other clip items remain in the same position in the Timeline. Take special care when performing ripple edits with complex edit point selections on multiple tracks.
VII Performing a Ripple Edit in the Timeline When you use the Ripple tool to adjust the duration of a clip in the Timeline, always pay attention to where Final Cut Express previews the location of the new clip Out point. Even when you are adjusting a clip’s In point with the Ripple tool, the location of the clip’s Out point is what you should pay attention to.
To do a ripple edit in the Timeline: 1 Select the Ripple tool in the Tool palette (or press the R key twice). 2 Select a clip item’s In or Out point by clicking near the clip item boundary. The Ripple tool changes direction to indicate which clip item boundary you are about to select. If linked selection is on, the edit points of linked clip items are also selected. For more information, see “Selecting Edits and Clips to Trim” on page 510.
VII While you adjust the clip with the Ripple tool, the Canvas shows a two-up display with the Out point of the outgoing clip item on the left and the In point of the incoming clip item on the right (see also “About the Two-Up Display in the Canvas” on page 565). Use these two frames to decide exactly where to place the edit point. All clip items after the edit point move either left or right to accommodate the new duration of your clip. These clips move left to fill the gap. This clip shortens.
About Ripple Edits and Sync Relationships of Clip Items on Other Tracks When you perform ripple edits, it is fairly easy to cause linked clip items across tracks to go out of sync with each other. This usually happens when you perform a ripple edit on one track while other tracks are locked, so the clip items on that track can’t move in sync after the ripple edit.
VII In the example below, Final Cut Express won’t allow you to perform a ripple edit because the second music clip in tracks A3 and A4 would either need to be shortened, or would overwrite part of the first music clip in order to stay in sync with the clip items in V1, A1, and A2. Since the ripple edit cannot force the second music clip to overwrite the first music clip, Final Cut Express warns you that the ripple edit cannot be performed because there is a clip collision on track A3 (and A4).
Doing Ripple Edits on Multiple Tracks at Once You can perform a ripple edit to edit points in multiple tracks to modify several video and audio items simultaneously. To perform a ripple edit on multiple tracks simultaneously: 1 Do one of the following: Â Press the Command key while clicking to select multiple edit points. Â Select the Edit Selection tool in the Tool palette, then drag a box around multiple edit points.
VII To create a split edit using asymmetrical editing: 1 Select the Ripple tool. 2 Hold down the Option key, then click the Out point of a video clip to select it. Holding down the Option key while selecting an edit point selects only that point, ignoring any other items linked to that clip. 3 Hold down the Command key, then click the In point of an adjacent audio clip.
4 Use the Ripple tool to trim the above selection. The video and audio edit points move in opposite directions, creating a split edit. Audio/video synchronization is maintained in both clips. Outgoing video clip is trimmed shorter from its Out point. This clip remains the same length. After This clip remains the same length. Incoming audio clip is trimmed shorter from its In point.
VII Tips for Edits Made with the Ripple Tool  If you lengthen a clip item, clip items on the same track move forward in time. Clip items on other unlocked tracks that begin after the original location of the edit point you are adjusting also move forward in time.  If you shorten a clip item, clip items on the same track move backward in time, as do clip items after the initial location of the edit you are adjusting on other unlocked tracks.
Rolling the Position of an Edit Between Two Clips Using the Roll tool, you move the Out point of the outgoing clip and the In point of the incoming clip simultaneously. Before edit A B After edit A B C C In the example above, clip B gets shorter while clip C becomes longer, but the combined duration of the two clips stays the same. Roll edits are done using the Roll tool.
VII Rolling Edit Points in the Timeline The easiest place to see how a roll edit affects your clips is the Timeline. To do a roll edit in the Timeline: 1 Select the Roll tool in the Tool palette (or press the R key). 2 Select an edit point between two clips. If linked selection is on, the edit points of linked items are also selected. For more information, see “Controls That Affect Trim Edits” on page 509. Selected edit point 3 Do one of the following: Â Drag the edit point left or right.
 Type + (plus) or – (minus) followed by the number of frames to add or subtract from the current edit, then press Return. Edit being rolled After the roll edit, the outgoing clip is shorter and the incoming clip is longer.
VII To roll edit points on multiple tracks simultaneously: 1 Do one of the following: Â Press the Command key while clicking to select multiple edit points. Â Select the Edit Selection tool in the Tool palette (or press the G key), then drag to select the desired edit points. 2 Use the Roll tool to perform the roll edit across all of the tracks.
Doing Roll Edits in the Viewer Final Cut Express allows you to perform roll edits in the Viewer by setting In or Out points while the Roll tool is selected. To do a roll edit in the Viewer: 1 Open a sequence clip in the Viewer. 2 Select the Roll tool in the Tool palette (or press the R key). 3 Do one of the following: Â Drag the In or Out point along the Viewer’s scrubber bar to roll the edit. Â Press I or O to set a new In or Out point. Look in the Timeline to make sure the roll edit did what you expected.
34 Learning About Trimming Clips 34 Adjusting a clip’s duration by moving its In or Out point, or moving the edit point between two clips, is called trimming. This chapter covers the following: Â What Is Trimming? (p. 507) Â Controls That Affect Trim Edits (p. 509) Â Selecting Edits and Clips to Trim (p. 510) Â Trimming Clip In and Out Points (p.
You can trim edits anywhere you can adjust a sequence clip’s In and Out points— the Timeline, the Viewer, and the Trim Edit Window, which is designed specifically for fine-tuning edits. Â Viewer: You can open a sequence clip in the Viewer and adjust its In or Out point. This is useful if you want to find a particular frame for your In or Out point by looking at the clip’s entire media file.
VII Controls That Affect Trim Edits Before you perform a trimming operation, make sure to check that the following controls are set properly for the operation you need to perform. Linked Selection Clip items that refer to the same media file are linked together when you edit them into the Timeline. You can also link unrelated clip items together so you can operate on them simultaneously, keeping them in sync.
Locked Tracks Trim operations with the Ripple tool will only affect clip items on unlocked tracks. If there are clip items on certain tracks you don’t want to change inadvertently while trimming, you can lock these tracks in your sequence to prevent unwanted changes. Linked items on locked tracks aren’t affected when you move other linked clip items.
VII Tools for Selecting Edit Points There are two tools in the Tool palette that can be used to select edit points in the Timeline—the Selection tool and the Edit Selection tool. Selection Tool You can select individual edit points by clicking them with the Selection tool. Select the Selection tool by clicking it in the Tool palette or pressing the A key. Selection tool When you use the Selection tool to adjust a clip’s edit point, the icon changes to indicate it can be used for trimming.
Selecting Single Edit Points A single edit point refers to a single clip item’s In point or Out point, or two adjacent clip items’ Out and In points, respectively. To select a single edit point in the Timeline, do one of the following: m Select the Selection tool in the Tool palette, then click an edit point to select it in the Timeline. Note: You can double-click the edit point to open the edit in the Trim Edit window.
VII m Select the Edit Selection tool in the Tool palette (or press Command-G), then drag to select edit points on one or more tracks. As you drag in the Timeline, this tool selects one edit per track. The edits don’t have to be aligned in time. When you release the mouse button, the Trim Edit window appears. One edit per track is selected. m Select the Ripple or Roll tool in the Tool palette, then click the edge of the clip. Command-click to select multiple edit points.
Performing edits using the Selection tool is useful for filling in gaps between two clips and for creating gaps in preparation for another editorial operation. When you trim an edit point with the Selection tool, the Selection tool appears as a trimming tool. To trim a clip’s edit point in the Timeline using the Selection tool: 1 Select the Selection tool in the Tool palette (or press the A key). 2 Move the pointer to the In or Out point of a clip in the Timeline. The pointer changes to a Resize pointer.
VII Extending and Shortening Clips in the Timeline A convenient way to extend or shorten a clip in the Timeline is to tell Final Cut Express to adjust an edit point to the current position of the playhead. An extend edit moves an edit point between two clips to the playhead position in the Timeline. Note: Although these are often referred to as extend edits, you can just as easily shorten clips with this method.
3 Choose Sequence > Extend Edit (or press E). The selected edit point is rolled to the position of the playhead. This clip lengthens. This clip shortens. After If you selected multiple edit points on clip items on several tracks using the Edit Selection tool, all of these clip edit points are moved to the position of the playhead. Note: If you try to extend an edit farther than the total amount of media available in a clip, Final Cut Express does not extend the edit point.
VII When a sequence clip is opened in the Viewer, the scrubber bar shows sprocket holes to indicate that the clip is part of a larger sequence. Always check the scrubber bar in the Viewer to make sure you are working with a clip from a sequence instead of a clip opened from the Browser. The title area shows the name of the sequence clip and includes the name of the sequence that contains it. The Viewer scrubber bar has two rows of small dots when a sequence clip is open.
Precision Editing Using Timecode Most of the editing and trimming tools in the Timeline can be used numerically instead of manually. You can select one or more clip items or edit points and then enter a positive or negative number of frames, seconds, or even minutes or hours to adjust the position of the clip items or edit points. This allows you to make precise adjustments, or to quickly move clip items and edit points by specific values.
VII Moving Clips Using Timecode You can move one or more selected clips in the Timeline using timecode, even if they are nonadjacent. However, if the resulting clip movement will cause an overwrite, Final Cut Express does not allow the clips to move. In this case, you can manually move the clips. To move a clip in your sequence using timecode: 1 Select one or more clips in your sequence. 2 Do one of the following: Â To move the clips forward, press + (plus) and type a timecode duration for the move.
Using Timecode to Trim Clips in the Viewer If you’re trimming a clip in the Viewer, you can use timecode to navigate to a specific frame, rather than trying to find the frame you want using the transport controls or the J, K, and L keys. You then select the edit tool for the trimming operation you want to perform and set a new In or Out point. For more information on navigating in the Viewer using timecode, see Chapter 8, “Navigating and Using Timecode in the Viewer and Canvas,” on page 103.
VII Understanding Alert Messages When Trimming If you try to perform an edit that isn’t possible, Final Cut Express displays an alert message. Insufficient Content for Edit This message appears when you try to perform a three-point edit (for example, when dragging from the Browser or Viewer to the Canvas), and the source clip’s media file doesn’t have enough frames to achieve the requested edit. Click OK to close this dialog.
Clip Collision This message appears when you try to perform an edit that might inadvertently cause unselected clip items to overwrite others. This usually happens when you are trying to perform a ripple edit on one track, and unselected clip items on other tracks cannot ripple because there are other clip items in the way. For example, suppose you are rippling a clip item on track V1 to make it 10 seconds shorter.
35 Trimming Clips Using the Trim Edit Window 35 You can trim edits precisely in the Trim Edit window. As you trim, you can play back the section of your sequence around the selected edit point to see your changes. This chapter covers the following: Â Learning About the Trim Edit Window (p. 523) Â Opening and Closing the Trim Edit Window (p. 525) Â Controls in the Trim Edit Window (p. 526) Â Using the Trim Edit Window (p. 530) Â Listening to Audio While Trimming (p.
This window shows a two-up display, with the Out point of the outgoing clip on the left and the In point of the incoming clip on the right. Two green bars—one at the top of each clip—highlight which edit points the Trim Edit window will affect. Using the Trim Edit window, you can perform a ripple edit to either side of the selected edit point, or a roll edit to both sides.
VII Opening and Closing the Trim Edit Window The Trim Edit window opens when you select edit points with certain tools. You can also open the Trim Edit window manually at any time. To open the Trim Edit window, do one of the following: m Choose Sequence > Trim Edit (or press Command-7). The playhead jumps to the closest edit point on the lowest-numbered track with Auto Select enabled. The Trim Edit window shows the clips surrounding this edit point.
To close the Trim Edit window, do one of the following: m Move the playhead in the Timeline or Canvas away from the edit point. m Click anywhere in the Timeline away from an edit point to deselect all edit points in the Timeline. m Press Command-W. Controls in the Trim Edit Window Before you begin using the Trim Edit window, you may want to familiarize yourself with the controls.
VII Â Scrubber bar: The scrubber bar runs along the entire width of each of the two viewer areas in the Trim Edit window, below the video image. To scrub, or move, through a clip or sequence, drag the playhead across the scrubber bar. You can also click anywhere in the scrubber bar to instantly move the playhead to that location.
Playback Controls for Individual Clips These controls allow you to move the playhead on either side of the edit point without modifying the edit point itself. The outgoing and incoming clips have separate playback controls, which can also be controlled by the J, K, and L keys. The playback controls are for viewing only; they don’t change the position of an edit point.
VII Outgoing Clip Area Outgoing clip name Current timecode for the outgoing clip Outgoing clip duration Playhead Out Shift Mark Out button Out point  Outgoing clip duration: Displays the total time between the current In and Out points for the outgoing clip. This value changes to reflect any trim edits.  Current timecode for the outgoing clip: Displays the clip’s source timecode for the current position of the playhead.  Out Shift: Indicates the number of frames the Out point has been adjusted.
Incoming Clip Area Incoming clip duration Incoming clip name Current timecode for the incoming clip Playhead In Shift In point Mark In button  Incoming clip duration: Displays the total time between the current In and Out points for the incoming clip. This value changes to reflect any trim edits.  Current timecode for the incoming clip: Displays the clip’s source timecode for the current position of the playhead.  In Shift: Indicates the number of frames the In point has been adjusted.
VII Playing Incoming and Outgoing Clips in the Trim Edit Window If you are performing a ripple edit in the Trim Edit window, the side of the Trim Edit window with a highlighted green bar is controlled by the J, K, and L keys. However, if you are performing a roll edit, both sides are highlighted. In this case, you choose whether the outgoing or incoming clip is controlled by the J, K, and L keys by moving the pointer over the outgoing or incoming side of the window.
3 Choose a ripple or roll edit by doing one of the following: Â Click the left image to trim the outgoing clip with a ripple left edit. Trimming indicator bar only appears above the outgoing clip. The pointer temporarily turns into a Ripple tool. Â Click the center area between the images to do a roll edit. Trimming indicator bar appears over both clips. The pointer temporarily turns into a Roll tool. Â Click the right image to trim the incoming clip with a ripple right edit.
VII 4 Trim the edit point by doing any of the following: Â Click the trim buttons or use their keyboard equivalents to trim to the left or right using the displayed frame increments. Â Press [ (left bracket) or ] (right bracket) to trim backward or forward one frame. Â Press Shift-[ or Shift-] to trim backward or forward five frames. The number of frames to trim can be customized with the Multi-Frame Trim Size setting in the Editing tab of User Preferences.
Reviewing and Playing Back Your Edits in the Trim Edit Window To play the edit using the transport controls, do one of the following: m Click the Play In to Out button to play from the beginning of the first clip to the end of the second clip. m Click the Play Around Edit Loop button or press the Space bar to loop the playback of the edit. Extra frames surround your edit point, defined by the pre-roll and post-roll settings set in the Editing tab of the User Preferences window.
VII Listening to Audio While Trimming When you play back the outgoing or incoming clip in the Trim Edit window (using the J, K, and L keys), you can choose which audio tracks you hear. The following options are available in the Editing tab of the User Preferences window: Â Trim with Sequence Audio: With this option selected, you hear the entire audio mix when you play back the clip on either side of the Trim Edit window.
To hear only the selected audio tracks in the Timeline while using the J, K, and L keys in the Trim Edit window: 1 Choose Final Cut Express > User Preferences, then click the Editing tab. 2 Select the Trim with Edit Selection Audio (Mute Others) checkbox. Important: Make sure the Trim with Sequence Audio checkbox is also selected. 3 Select edit points in the Timeline and double-click them to open the Trim Edit window.
36 Adding Transitions 36 You can add cross dissolves and other transitions between cuts to make your program more interesting. You can also add a cross fade audio transition to smooth abrupt changes in audio. This chapter covers the following: Â Learning About Transitions (p. 537) Â Adding Transitions (p. 541) Â Moving, Copying, and Deleting Transitions (p. 545) Â Modifying Transitions in the Timeline (p. 547) Â Video Transitions That Come with Final Cut Express (p.
Video made this process faster and easier. By mixing two video signals together, you could watch a dissolve immediately and decide how you liked it. The more quickly you can see how an effect will look, the more quickly you can refine it to suit your needs. Film editors had to anticipate how transitions would look and how long they should last without actually being able to preview them; there was never the time or budget to try transitions during editing.
VII Using Transitions in Your Sequences Transitions, especially dissolves, generally give the viewer an impression of a change in time or location. When very long transitions are used, they become more of a special effect, useful in creating a different atmosphere in your sequence.
Having Handles at Edit Points Clips must have handles if you want to transition between them. Handles are additional media frames before the In point and after the Out point of your clips. The first shot in a transition (the outgoing clip) needs a handle after its Out point, while the second shot in a transition (the incoming clip) needs a handle before its In point.
VII  Centered on the cut: Choose this alignment if you want the cut point between the two clips to be the midpoint in the transition. A transition centered on the cut  Ending on the cut: Use this alignment if you want the first frame of the incoming clip to be fully visible. A transition ending on the cut Adding Transitions You can add transitions when you edit a clip into the Timeline, or you can add transitions between clips already in a sequence.
Quickly Adding the Default Transition to Clips in Your Sequence You can quickly add the default transition between two clips in your sequence. The default video transition is a 1-second cross dissolve and the default audio transition is a +3 dB cross fade. To add the default video transition, do one of the following: m Select an edit point between two video clips or position the Canvas or Timeline playhead at the desired edit point, then press Command-T.
VII To change the position of the transition, see “Changing the Alignment of a Transition in the Timeline” on page 549. To add the default audio transition, do one of the following: m Select an edit point between two audio clips or position the Canvas or Timeline playhead at the desired edit point, then press Option-Command-T. m Control-click an edit point between two audio clips in the Timeline, then choose Add Transition from the shortcut menu.
To add a transition from the Effects tab in the Browser: m Drag a transition from the Effects tab in the Browser to an edit point in the Timeline. If there are enough overlapping frames between the two clips, you can drag the transition to start on, center on, or end on an edit point. The transition snaps to one of these three areas as you drag it close to the edit point. To reposition the transition, see “Changing the Alignment of a Transition in the Timeline” on page 549.
VII To fade to or from black: m Add a cross dissolve transition to one of the following:  The beginning of the first clip in your sequence  The end of the last clip in your sequence  The beginning or end of any clip with a gap on one or both sides For more information, see “Adding Transitions to Clips in Your Sequence” on page 543. If the transition starts at the beginning of the sequence, you’ll see a fade from black. If the transition is placed at the end of the last clip, you’ll see a fade to black.
Moving a Transition to Another Edit Point You can move a transition from one edit point to another. The transition is removed from the previous edit point and located at the new edit point. If there’s already a transition at the new edit point, it’s replaced by the new transition. To move a transition in a sequence: m In the Timeline, drag a transition from its current edit point to the desired edit point.
VII Deleting Transitions Transitions that you’ve added to your sequence can easily be removed. To delete a transition from a sequence: 1 Select the transition you want to remove in the Timeline. 2 Do one of the following: Â Choose Edit > Clear (or press Delete). Â Control-click the transition, then choose Cut from the shortcut menu.
To change a transition’s duration in the Timeline by dragging: 1 Select the Selection tool, then move the pointer to the beginning or the end of the transition in the Timeline. 2 Drag either side of the transition to make the duration longer or shorter. The pointer changes to the Resize pointer, indicating that you can drag to the duration you want. To change a transition’s duration in the Timeline using timecode: 1 Do one of the following: Â Double-click the transition in the Timeline.
VII Changing the Alignment of a Transition in the Timeline Transitions can either start on, center on, or end on an edit point. This alignment can be changed at any time. Changing the alignment of a transition allows you to precisely control which frames are fully visible when a transition begins or ends.
Replacing Transitions If you change your mind about which transition you want in an edit, it’s easy to change it. To swap a transition in your sequence with another, do one of the following: m Move the Timeline playhead over the transition you want to change (or click to select it), choose Effects > Video Transitions or Effects > Audio Transitions, then choose another transition from the submenu. m Drag a transition from the Effects tab in the Browser onto the transition you want to change in the Timeline.
VII Dissolve Additive Dissolve Adds the two clips so that the first clip fades out and the second fades in. Cross Dissolve Blends the first clip into the second clip. Dip to Color Dissolve Blends the first clip into the plain color of your choice, and then blends the plain color into the second clip. You can adjust the speed of the blend. Dither Dissolve Dissolves the first clip into the second by removing random pixels from the first clip to reveal the second clip.
QuickTime QuickTime includes a set of built-in video effects listed here, some of which are implementations of standard effects defined by the Society of Motion Picture and Television Engineers (SMPTE). For more information, visit the Apple QuickTime website at http://www.apple.com/quicktime. 552 Channel Compositor Combines two images using the alpha channels of the images to control the blending.
VII Slide Band Slide Bands of the first clip slide in parallel directions to reveal the second clip. You can adjust the number of bands and the slide direction. Box Slide Bands of the first clip slide one at a time in perpendicular directions to reveal the second clip. You can adjust the number of bands and the slide direction. Center Split Slide Reveals the underlying clip by splitting the current clip down the center and horizontally sliding the two halves away from each other.
Wipe 554 Band Wipe Wipes a band across the first clip to reveal the second. You can specify the number of bands and the wipe direction. Center Wipe A linear wipe from a specified point on the first clip reveals the second clip. You can adjust the wipe direction. Checker Wipe Checkered boxes appear on the first clip to reveal the second clip. You can adjust the number of boxes and the wipe direction. Checkerboard Wipe Checkered boxes wipe individually on the first clip to reveal the second.
VII Using After Effects Transitions Final Cut Express supports After Effects plug-ins that have been specifically designed to be used as Final Cut Express transitions. These plug-ins appear in the Video Transitions folder of the Effects tab. After Effects transitions can be applied, modified, and removed like any other transition effect in Final Cut Express.
37 Refining Transitions Using the Transition Editor 37 Use the Transition Editor to precisely modify a transition and preview it before you render. This chapter covers the following: Â Using the Transition Editor (p. 557) Â Applying a Modified Transition Directly to a Sequence in the Timeline (p. 563) Â Trimming Transitions and the Surrounding Clips (p. 564) Â Previewing and Rendering Transitions (p.
Controls in the Transition Editor When you double-click a transition in the Timeline or the Effects tab of the Browser, a special tab for the transition opens in the Viewer. This Transition Editor window indicates that the transition is “loaded,” or opened, so you can view and modify the transition’s settings.
VII Alignment Buttons The selected button indicates the current alignment of your transition. You can change the alignment of a transition by clicking a button (if there are enough overlapping frames in the direction in which you want to realign the transition). Alignment buttons Recent Clips Pop-Up Menu This control lets you choose from a list of recently used clips. A clip is added to this list when another clip replaces it in the Viewer (not when the clip is opened in the Viewer).
Ruler The ruler displays a close-up view of the frames surrounding the transition in your sequence. The ruler and playhead in the Transition Editor are locked to those in the Timeline. The time scale of the ruler can be changed by using the Zoom In and Zoom Out tools or pressing Command-+ (plus) or Command-– (minus). Ruler Outgoing and Incoming Clip Handles A transition that appears as two overlapping clips on the same track in the Timeline is represented differently in the Transition Editor.
VII Dragging the transition bar from the middle results in a roll edit, which moves the edit point between two clips in a sequence. Dragging either of the transition edges shortens or extends the transition. Note: A roll edit adjusts the location of an edit point shared by two clips; the Out point of the first clip and the In point of the second clip are moved simultaneously, or rolled. This changes the location of the edit point in the sequence, as well as the duration of each clip.
To reverse the direction of an effect, click the Reverse Transition button. If you reverse the direction for the above examples, the wipe moves from right to left, the clock wipe moves in a counter-clockwise direction, and the spin 3D transition spins the incoming clip in to the left. Reset Button Click this to reset all of a transition’s parameters to the default values. Reset button Custom Parameters Many transitions have additional parameters that you can use to further customize their effect.
VII Opening and Modifying Transitions in the Transition Editor When you open a transition from your sequence in the Timeline in the Transition Editor, you can modify and trim it much more precisely than you can in the Timeline. All the transitions that come with Final Cut Express are different, but all of them share some essential properties and edit points that you can modify in the Transition Editor.
To apply a modified transition directly to your sequence in the Timeline: m Drag the transition’s drag hand to an edit point in the Timeline. Drag the hand from the Transition Editor to an edit point in your sequence. Trimming Transitions and the Surrounding Clips Trimming is the process of modifying the edit points of clips that are already in your sequence. After you’ve opened a transition in your sequence in the Transition Editor, you can fine-tune your edit.
VII About the Two-Up Display in the Canvas You can drag the pointer in the Transition Editor to trim the transition and change the duration of the transition or the actual location, or edit point, where the transition occurs between two clips. When you do this, a dual frame display appears in the Canvas to show how your change affects the clips surrounding this transition. Â The frame on the left: This displays the current frame at the transition’s start point in the outgoing clip.
Doing a Roll Edit to Change the Location of a Transition If you move the pointer over the middle of a transition in the Transition Editor, it changes to the Roll tool. You can then move the edit point along with the transition to the left or to the right, as long as there is available overlap between the outgoing and incoming clips. To do a roll edit, changing the location of a transition: 1 Open the transition in the Transition Editor. 2 Place the pointer anywhere on the transition.
VII Doing a Ripple Edit to Adjust the Length of a Clip in a Transition Even when a transition is applied between two clips, you can change the duration of the outgoing or incoming clip using the Ripple tool. Ripple edits do not cause gaps in your edited sequence. Â Rippling the Out point of the outgoing clip: This moves the transition and the edit point at the same time so that the outgoing clip is shortened or extended. The rest of your edited sequence moves forward or back to accommodate this change.
Previewing and Rendering Transitions Many transitions can play back in real-time, depending on your system and the transition you’re applying. Those that can’t need to be rendered. Rendering is the process of combining your video and audio with the applied effects, such as transitions or filters, one frame at a time. The result is a new file, called a render file, which can be played back in real time.
VII Previewing Transitions Before Rendering Them If you have to render your transitions, it’s a good idea to preview complex transitions first. You can preview transitions while you’re modifying them or any time before rendering them. To preview a transition, do one of the following: m Move the playhead in the Canvas, the Timeline, or the Transition Editor over a frame of the transition.
38 Sequence-to-Sequence Editing 38 You can edit from one sequence to another, either by nesting one sequence into another, or by actually editing the clips from one sequence to another. This chapter covers the following: Â Methods for Editing Clips from One Sequence to Another (p. 571) Â Opening More Than One Sequence at a Time (p. 572) Â Copying Clips from One Sequence to Another (p. 572) Â Nesting Sequences (p. 576) Â Editing the Content of One Sequence into Another Without Nesting It (p.
There are a few different ways to add content from one sequence to another:  Copying and pasting clips from one sequence into another  Using three-point editing to edit clips from a sequence open in the Viewer to a destination sequence in the Canvas or Timeline Important: Editing clips between sequences with different dimensions, frame rates, and codecs will apply motion parameters, such as distortion and aspect ratio adjustments, to the resulting clips in the destination sequence.
VII 4 Do one of the following: Â To do an insert edit, drag the clips where you want them to appear in the other sequence, positioning the pointer in the upper part of the track (the pointer looks like a right arrow).
 To do an overwrite edit, drag the clips where you want them to appear in the other sequence, positioning the pointer in the lower part of the track (the pointer looks like a down arrow). 5 Release the mouse button. The selected clips from the first sequence are copied into the second sequence. To copy clips from one sequence to another using the Copy and Paste commands: 1 Open the sequence that contains the clip or clips you want to copy.
VII 5 In the Timeline for the second sequence, do one of the following: Â Position the playhead where you want to place the beginning of the copied clip or clips. Â In the Current Timecode field, enter the timecode number where you want to place the beginning of the copied clip or clips. 6 Choose Edit > Paste (or press Command-V). The copied clips are pasted into the second sequence.
Nesting Sequences Final Cut Express allows you to treat sequences as clips. You can open sequences in the Viewer and set In and Out points, and you can even edit sequences into other sequences. Putting one sequence inside another is called nesting a sequence. The sequence inside another sequence is the nested sequence. The sequence that contains the nested sequence is sometimes called the parent sequence. Nested sequences can be used in the same way as clips.
VII Nesting a Sequence Inside Another Sequence You can edit the contents of a sequence, render it, and then edit that sequence into another sequence. This section explains the various ways you can nest a sequence into another sequence. To nest a sequence that is open in the Viewer: 1 Open the sequence you want to nest in the Viewer by doing one of the following: Â Drag the sequence from the Browser to the Viewer.
This is quite helpful, since otherwise you’d end up with gaps in your parent sequence whenever you change the length of one of your nested sequences. This is convenient when each of your movie scenes is in a separate sequence. After you’ve edited all your scenes together, if you decide to reedit any of the scene sequences, the changes you make will automatically ripple items in the entire master sequence.
VII Editing the Content of One Sequence into Another Without Nesting It Instead of nesting one sequence inside another, you can simply edit the clips of a sequence into another sequence.
If you hold down the Command key while dragging Sequence A into the Canvas, you’ll edit the clips contained within Sequence A into Sequence B. So each clip in Sequence A is still an individual clip in Sequence B. This allows for more flexibility should you want to make changes to any clips that are in Sequence A. However, future changes in Sequence A have no effect on Sequence B; Sequence B does not automatically update to reflect the changes.
VII To edit all content from one sequence into another using the Canvas Edit Overlay: 1 Open your destination sequence (where the copied clips will go) in the Timeline, then set an In point for the incoming clips by doing one of the following: Â Position the playhead in the Timeline. Â Set an In point in the Timeline or Canvas. Set an In point where you want to place clips from the source sequence. 2 If necessary, create additional tracks for each track present in the source sequence.
To edit all content from one sequence into another using keyboard shortcuts: 1 Open your destination sequence (where the copied clips will go) in the Timeline, then set an In point for the incoming clips by doing one of the following: Â Position the playhead in the Timeline. Â Set an In point in the Timeline or Canvas. 2 If necessary, create additional tracks for each track present in the source sequence.
VII 4 Keeping the mouse button held down, press the Command key. 5 Keeping the Command key held down, release the mouse button. The content of the sequence you dragged is edited into the currently active sequence in the Timeline, with all clips appearing individually.
39 Matching Frames 39 You can use the frame displayed in the Canvas to open the matching frame of a master clip in the Viewer. You can also open sequence clips directly in the Viewer. This chapter covers the following: Â Working with Sequence Clips in the Viewer (p. 585) Â Matching Frames Between Sequence and Master Clips (p. 588) Working with Sequence Clips in the Viewer The Viewer is a versatile window used for several different purposes.
Opening a Sequence Clip in the Viewer When you open a sequence clip in the Viewer, you can work with it directly in the Viewer instead of in the Timeline. To open a sequence clip in the Viewer from the Timeline: m Double-click a clip in the Timeline. m Select the clip, then choose View > Clip (or press Return). m Position the playhead at the In point of the clip in the Timeline (using the Up or Down Arrow key) or anywhere within the clip in the Timeline, then press the Return key.
VII Switching Between the Viewer, Canvas, and Timeline When you work with sequence clips in the Viewer, you can quickly switch between the Viewer and the Canvas or Timeline. For example, opening a sequence clip in the Viewer activates the Viewer, but you might want to open the clip in the Viewer and then play the sequence. To switch between the Canvas and Viewer: m Press the Q key. To switch between the Viewer, Canvas, and Timeline, do one of the following: m To make the Viewer active: Press Command-1.
To make a ripple, roll, slip, or duration change to a sequence clip in the Viewer: 1 Open the sequence clip in the Viewer. 2 Select the appropriate tool for the type of edit you want to do. 3 In the Viewer, navigate to the frame you want to use for the clip’s new In point. 4 Press I to set a new In point. 5 Navigate to a new Out point and press O to set a new Out point. If the new In or Out point is not accepted, check to see if Final Cut Express displays an alert message.
VII Matching a Frame in the Canvas to Its Master Clip Sometimes you’ll want to view the master clip that a sequence clip came from. Here are several reasons why: Â You want to open the original master clip without any of the motion, filter, or audio parameters from the sequence clip. This is useful when you want to add a “fresh” copy of the clip to your sequence. Â You want to open the master clip with all of its video and audio items, instead of the sequence clip, which may only be a single clip item.
Important: If you open a source media file in the Viewer and drag it to the Browser, a new master clip is created. If you drag it to the Timeline or Canvas, an independent clip is created in the sequence. This is true whenever you open a media file in the Viewer— either by using a match frame command or by dragging a media file from the Finder directly to the Viewer. Independent sequence clips can cause complications during media management and recapturing, so you should avoid editing with these clips.
Part VIII: Audio Mixing Learn how to connect audio equipment and use the Final Cut Express audio mixing tools to complete your movie’s soundtrack.
40 Setting Up for Audio Mixing in Final Cut Express 40 This chapter introduces basic concepts for mixing audio and configuring your audio system. This chapter covers the following: Â About Digital Audio (p. 593) Â Audio Signal Flow in Final Cut Express (p. 597) Â Configuring External Audio Monitors (p. 597) About Digital Audio Digital audio recording works by recording, or sampling, an electronic audio signal at regular intervals of time.
Sample Rate The sample rate is the number of times an analog signal is measured—or sampled— per second. You can also think of the sample rate as the number of electronic snapshots made of the sound wave per second. Higher sample rates result in higher sound quality because the analog waveform is more closely approximated by the discrete samples.
91015EXO Page 595 Friday, August 10, 2007 8:27 PM VIII When a sample is made, the audio level of the analog signal often falls in the spaces between rungs. In this case, the sample must be rounded to the nearest rung. The bit depth of a digital audio sample determines how closely the rungs are spaced. The more rungs available (or, the less space between rungs), the more precisely the original signal can be represented.
When the number of bits per sample is increased, each sample can more accurately represent the audio signal. 1-bit 2-bit 4-bit 16-bit To avoid rounding errors, you should always use the highest bit depth your equipment supports. Most digital video devices use 16- or 20-bit audio, so you may be limited to one of these bit depths. However, professional audio recording devices usually support 24-bit audio, which has become the industry standard.
VIII Audio Signal Flow in Final Cut Express When you play a sequence, you also need to hear the audio. Audio signal flow is the path audio takes from tracks in the Timeline to your speakers. Understanding signal flow helps you to properly set up audio equipment for output and monitoring. Your ability to follow the audio path also helps you to troubleshoot silent sequences or tracks that are routed to the wrong channels on an output deck.
Setting Monitoring Levels and Muting System Sound Effects When you mix your audio, it’s important to monitor using a consistent volume setting. If a sound is too loud in the mix, you should adjust the level of the audio in Final Cut Express, not the volume setting on the speakers themselves. Once you set up your audio monitoring levels, you should not need to adjust the overall volume setting of your audio very often.
VIII To route Mac OS X alert sounds and sound effects through your computer’s built-in speakers: 1 Choose Apple menu > System Preferences, then click Sound. 2 Click the Sound Effects button. 3 Choose “Built-in Audio: Internal speakers” from the “Play alerts and sound effects through” pop-up menu. While monitoring the audio of your program, avoid changing the volume setting of your speakers unless it is absolutely necessary.
Frequency Response and Dynamic Range The quality of speakers varies greatly depending on their purpose as well as their price. For example, speakers in a portable stereo or television are designed to play audio that has already been mastered by a mixing engineer. Mastered audio such as audio CD, radio, television, and movie sound has a compressed dynamic range (meaning levels are fairly consistent and loud).
VIII Amplifiers and Signal Levels for Unpowered Speakers Unpowered speakers require signals with higher voltage than consumer and professional equipment can provide directly. These levels are known as speaker level audio signals, while audio devices such as tape recorders and audio mixers usually provide line level signals. An audio amplifier boosts line level signals to speaker levels to properly drive speakers.
Speaker Placement and Listening Position Most video editing suites use near-field monitors, which are speakers designed to be listened to at fairly close range. Speakers should be at least a foot or two away from any walls to prevent early reflections of sound, which combine with and muddy the original sound. Position the speakers as far from your listening position as they are from each other (forming an equilateral triangle).
41 41 Evaluating Levels with Audio Meters You use audio meters to keep levels consistent throughout your movie and to make sure audio signals never get so high that they distort. This chapter covers the following: Â About Audio Meters (p. 603) Â Setting Proper Audio Levels (p. 606) About Audio Meters Audio meters display the level of your audio signal in an objective way, helping you to set consistent levels throughout your program and ensuring that you have sufficient headroom and dynamic range.
The most important distinction is the difference between an audio clip’s peaks and its average loudness: Â Peaks are short, loud bursts of sound. In spoken dialogue, letters like P, T, and K at the beginning of words can result in peaks if the person speaking is close to the microphone. In music, peaks occur at the very beginning of sounds from percussive instruments such as drums.
VIII 0 dBFS 0 dBFS 0 dBFS Original Too much gain causes clipping Clipping remains after gain is reduced Important: Final Cut Express can handle digital audio levels above 0 dBFS by internally using 32-bit floating-point resolution for all audio processing. However, when you export or output to tape, the bit depth of your audio is usually reduced to 16 or 24 bits, so you still need to be aware of the 0 dBFS limit.
About the Audio Meters in Final Cut Express Final Cut Express uses floating audio meters that display the output levels of the Viewer or Timeline with a simplified stereo display. The highest signal of any odd-numbered track is displayed in the left meter, and the highest signal of any even-numbered track is displayed in the right meter. The floating audio meters do not show levels above 0 dBFS.
VIII Â Audio gain and normalization: Before cutting and mixing multiple audio sources together, you may need to normalize varying audio levels that are intended to match. Audio that is too quiet should be raised to an acceptable level before mixing and output. Â Mixing and output: During mixing and final output, you need to ensure that audio levels are consistent compared to a reference audio level, such as audio tone.
To apply normalization gain to audio clip items in a sequence: 1 Select one or more audio clip items in a sequence. 2 Choose Modify > Audio > Apply Normalization Gain. The Apply Normalization Gain dialog appears. 3 In the “Normalize to” field, enter the value you want to raise each audio clip’s peak value to, then click OK. The dialog displays a progress bar and Final Cut Express begins calculating the peak value for each clip.
VIII Troubleshooting Audio Normalization There are a few issues to be aware of when you use the Gain filter and the Apply Normalization Gain command: Â Applying gain raises the level of an audio signal, including the noise. Very quiet audio, when normalized, may be very noisy. When possible, the best solution is to rerecord the audio. Â Loud peaks in audio clips that otherwise contain low audio levels make audio normalization more difficult to use.
How much dynamic range you allow in your audio mix depends on its ultimate destination. If you’re editing a program for TV broadcast, a reference level of –12 dBFS is fine, because you are only allowed 6 dB of dynamic range anyway. But if you’re working on a production to be shown in movie theaters, consider using a reference level closer to –18 or even –20 dBFS (both of these are frequently used standards).
42 Mixing Audio in the Timeline and Viewer 42 You can control audio levels and pan in the Timeline and the Viewer. You can make adjustments to multiple clips at once, as well as add keyframes to automate mixing levels over time. This chapter covers the following: Â Adjusting Audio Levels in the Timeline and Viewer (p. 611) Â Panning Audio in the Timeline and Viewer (p. 618) Â Adjusting Clip Audio Levels and Pan Using Keyframes (p.
To display clip overlays in the Timeline: 1 Open a sequence in the Timeline, then choose Sequence > Settings. 2 Click the Timeline Options tab, then select the Show Keyframe Overlays checkbox. You can also select the Clip Overlays control in the Timeline. To display audio waveforms in the Timeline: 1 Open a sequence in the Timeline, then choose Sequence > Settings. 2 Click the Timeline Options tab, then select the Show Audio Waveforms checkbox.
VIII To add a keyframe to the audio level overlay of a clip in the Timeline: 1 Do one of the following: Â Select the Pen tool in the Tool palette (or press the P key). Â If you’re using the Selection tool, press and hold down the Option key. 2 Move the Pen tool to the point in your sequence where you want to set a keyframe, then click the overlay to set the keyframe. The keyframe appears as a small diamond at the point where you clicked.
To adjust a section of a clip’s overlay in the middle of four keyframes: m Drag just that section up or down, as if you were dragging the entire overlay. To delete audio level keyframes in the Timeline, do one of the following: m Control-click the keyframe you want to delete, then choose Clear from the shortcut menu. m Select the Delete Point tool in the Tool palette (or press the P key twice). Place the Delete Point tool on the keyframe you want to delete, then click to delete the keyframe.
VIII Changing Audio Levels While a Sequence Is Playing You can use keyboard shortcuts to change the audio levels of clips in a sequence while it’s playing. Your changes affect the clip on the lowest-numbered audio track whose Auto Select control is enabled. The level of the clip at the current playhead position is adjusted. Use the following shortcuts: Â Press Control-+ (plus sign) to raise the level by 1 dB. Â Press Control- – (minus sign) to lower the level by 1 dB.
How these controls affect the level of your clip depends on whether or not you’ve set keyframes for either audio level or pan. Â If no keyframes are set: Moving the sliders or entering a numeric value changes the audio or stereo levels for the entire clip. Similarly, dragging one of the overlays changes the audio level or pan setting for the entire clip.
VIII To adjust the audio level using the Level slider: m Drag the Level slider to the left or right. To adjust the audio level by entering a numeric value: 1 Enter a value in the Level field. To enter a negative value, type – (minus sign) and the number. Enter a new value in this field. 2 Press the Return key to apply this value to your clip.
To adjust the audio level by using the Modify menu: 1 Select one or more clips in the Timeline, or place the Canvas or Timeline playhead over the clip whose audio level you want to modify. 2 Choose Modify > Audio, then choose one of the Gain items from the submenu to indicate how much you want to modify the level. The audio level of your clip is increased or decreased from its current value by the increment you choose. If you selected multiple clips, all clips are modified relative to their current values.
VIII Changing the Pan of Audio in the Viewer To adjust the stereo placement of your sound, you can change the pan of your audio clips. The Pan slider is actually one control with two modes. What the control does depends on what kind of audio you’ve opened in the Viewer: Â If the audio clip in the Viewer is a stereo pair: This slider lets you swap the left and right channels.
Changing Pan for an Entire Clip When you edit a new clip into a sequence, the default stereo value depends on what kind of audio clip it is. Â If it’s a mono clip: Its stereo pan is centered, with a value of 0 by default. You can change this level to whatever you like, from –1 to +1. Â If it’s a stereo pair: The pan value defaults to –1, sending the left audio track to the left channel and the right audio track to the right channel. You can use three controls to adjust the pan of a clip.
VIII To adjust pan by dragging the pan overlay: 1 In the waveform display area of the Viewer, place the pointer over the pan overlay of your clip (the overlay looks like a purple line, or—for stereo items—two purple lines). The pointer turns into an Adjust Line Segment pointer. 2 Drag the overlay up or down to change the pan of your clip. As you drag, a box displays the new pan value.
Adjusting Clip Audio Levels and Pan Using Keyframes Instead of setting the audio level or pan of an entire clip to the same level throughout a clip, you can mix your levels and stereo placement dynamically, raising and lowering the audio level or changing the stereo pan of a clip numerous times within the same clip. To do this, you use keyframes. Keyframes can be used throughout Final Cut Express with any feature whose parameters can be changed over time.
VIII Using the Command Key to Gear Down Adjustment Speed In Final Cut Express, items you drag onscreen normally move at the same speed at which you move your mouse across your work surface. When you’re dragging the audio level overlay, this usually works just fine. However, you can drag even more precisely by pressing the Command key after you start dragging an item.
Until you create at least one audio level or pan keyframe in your audio clip, changes you make affect the level or stereo placement of your entire clip. Although you need two keyframes to do anything useful, once you set the first audio level or pan keyframe, any changes you make to the keyframed levels anywhere else in the clip generate additional keyframes.
VIII To set additional keyframes: 1 Move the playhead to another point in the clip where you want to set a keyframe. 2 Do one of the following: Â Drag the Level or Pan slider to set a new keyframe at that level or value. Â Type a number in the appropriate field to set a new keyframe at that level or value. Â Click a keyframe button to add a keyframe to the audio level or pan overlay at the overlay’s current level.
To adjust a section of an overlay in the middle of four keyframes: m Move the pointer over the section you want to adjust. When the pointer turns into the Adjust Line Segment pointer, drag the section up or down to modify it. The rest of the overlay before and after the four keyframes remains untouched. Adjust Line Segment pointer To move a keyframe forward or backward in time: m Place the pointer over the keyframe you want to modify.
VIII To delete a keyframe, do one of the following: m Move the playhead to the position of the keyframe you want to delete, then click the Level or Pan Keyframe button to delete the keyframe. m Place the pointer over the keyframe you want to delete. When it becomes a crosshair pointer, drag the keyframe up or down out of the waveform display area. When the pointer turns into a small trash can, release the mouse button. Release the mouse button when the pointer becomes a trash can.
Example: Using Keyframes to Adjust Audio Levels You need at least two keyframes to make any dynamic change from one audio level to another in a clip. In the example above, the section of the clip to the left of the keyframes has a level of –30 dB, and the rest of the clip to the right of the keyframes has a level of 0 dB. This is the simplest type of level change you can make.
VIII Example: Using Keyframes in the Timeline to Automate Audio Levels Suppose you’ve edited a music clip and a clip with voice narration together in your sequence. There are long pauses between the narrator’s lines, during which you want the music to be the dominant audio track. So you set the overall level of your music to –4 dB, because that’s the level at which the audio sounds best between the narrator’s lines.
Then, releasing the Option key, you can drag the area in the middle of each group of four keyframes down, to lower the level of the music while the narrator speaks. Lowered level Finally, you’ll want to move the outside pair of each group of four keyframes outward a bit, so the volume of the music doesn’t change too abruptly and startle the audience. Less steep slopes between keyframes result in more gradual fades from one audio level to the next. Adjust the slope of the level change.
VIII To set and adjust subframe audio level keyframes: 1 Open the clip in the Viewer and click the Audio tab. 2 Move the playhead to the edit point that’s causing the click by pressing Shift-I or Shift-O, or by using the Up and Down Arrow keys to move from one sequence edit point to the next. 3 Zoom in to the clip as far as possible. When you’ve zoomed in all the way, the playhead in the Viewer is the width of one video frame.
5 Click the Level Keyframe button and reposition the playhead to place two keyframes at the beginning of the click and two keyframes at the end of the click. The two inner keyframes surround the problem samples, while the two outer keyframes are placed a few hundredths of a frame outside of these. The problem samples 6 Drag the part of the audio level overlay between the two inner keyframes down until the box indicates –60 dB. The overlay looks something like this.
VIII Example: Using Keyframes to Control Pan Setting keyframes to change pan dynamically works the same way as it does with levels. You need to set at least two keyframes to effect a change over time. Changing pan over time is often done to achieve stereo effects such as making a car sound zoom from left to right, or putting a particular sound effect on one side or the other of a stereo image.
3 Drag the Pan slider all the way to the left, so that the sound starts playing out of the left speaker. 4 Now, move the playhead to a position after the car sound effect has finished playing.
VIII 5 Drag the Pan slider all the way to the right, so that the sound ends playing out of the right speaker. Because you’ve already set a keyframe for this clip, dragging the Pan slider at another point in the clip automatically produces a new keyframe. When you play back the clip, you’ll hear the car sound move from left to right.
43 Using the Voice Over Tool 43 The Voice Over tool lets you record a single audio track directly into a sequence while you watch it. You can use the Voice Over tool to record narration, Foley effects, or any other single-channel audio source. This chapter covers the following: Â About the Voice Over Tool (p. 637) Â Setting Up Your Computer to Record Voiceover (p. 637) Â Controls in the Voice Over Tool (p. 641) Â Defining the Recording Duration and Destination Track (p. 644) Â Recording a Voiceover (p.
About Microphones and Room Noise The quality of your sound recording is dependent on the quality of the microphone and preamplifier used. A microphone converts (or transduces) sound to electricity, and the preamplifier (or preamp) boosts the tiny microphone level to line level for recording. Condenser microphones are much more sensitive than dynamic microphones and are usually best for voice recordings. Condenser microphones require power to operate, whereas dynamic microphones do not.
VIII Important: If you select a DV camcorder as your recording device and External Video is enabled in the View menu, a message appears saying that you cannot record using DV audio. Before you can record, choose View > External Video > Off. Step 2: Connect a microphone to a microphone preamplifier, and connect the preamplifier to your audio interface Some audio interfaces have microphone preamplifiers built in. For more information, see the documentation that came with the audio interface.
To determine the offset of your audio recording device: 1 In the Timeline, set the In point of your sequence at 10 seconds, then set the Out point at 20 seconds. 2 Hold the microphone that’s connected to your audio recording device to the speaker of your computer. 3 Choose Tools > Voice Over, then click the Record button. (What you’re doing is recording the audio cue beeps that your computer plays back.) Recording stops automatically and this new audio clip is placed in the Timeline.
VIII RAM Requirements When Using the Voice Over Tool The Voice Over tool stores audio in RAM during recording and then writes the audio data to the currently specified scratch disk. Make sure your system has enough RAM to accommodate the duration of your recording. The following chart shows some sample lengths for audio clips created with the Voice Over tool and the amount of additional memory required.
 Status area: Displays the recording status of the Voice Over tool, along with a progress bar that indicates the percentage of the recording that has been completed, based on the defined area of the Timeline. There are five states:  Ready to Record: Indicates that the Voice Over tool is ready and waiting to be activated.  Starting: Appears along with a progressive change in color from yellow to red during the 5-second countdown that occurs when you first click the Record button.
VIII Input Area  Level: This audio meter displays the input audio levels coming in via the chosen audio interface device.  Source: This pop-up menu lets you choose a connected Mac OS X–compatible audio device to record your audio. For example, if you’re using a microphone connected to an audio interface, you choose the audio interface here.  Offset: This pop-up menu allows you to correct for audio signal latency (delay), which is inherent in all digital audio interfaces.
Headphones Area  Volume: Use this slider to adjust the level of audio that plays through the headphone port while the Voice Over tool is recording. You can also enter a value, in decibels (dB), in the field next to the slider.  Sound Cues: Select this checkbox to hear audible beeps that indicate the status of recording. These include a beep at the 5-second starting phase of recording with the Voice Over tool, and at 15 seconds prior to the end of the defined range for recording.
VIII Â If no In point is set: The position of the playhead defines the In point, and recording continues to the Out point. Â If no Out point is set: The end of the sequence is used, defined by the end of the last clip in the Timeline. If Final Cut Express doesn’t have enough available memory to record the duration specified, a message appears when you click the Record button in the Voice Over tab, prompting you to set a shorter recording duration.
Defining the Destination Track Audio that you record using the Voice Over tool is placed in the audio track connected to the audio channel 2 (a2) Source control. The following example shows a sequence with one video track and three audio tracks. A video montage is edited onto track V1, with accompanying music edited onto tracks A1 and A2. To record on track A3, you need to connect the a2 Source control to the track A3 Destination control. Before Connect the a2 Source control to the A3 Destination control.
VIII In the next example, all three audio tracks already have audio edited onto them, and the a2 Source control is connected to track A3. After using the Voice Over tool, a new track A4 is created, and the new audio clip is placed there. Before After The newly recorded audio clip If another audio clip is already present in the audio track below the track connected to the a2 Source control, a new audio track is inserted below this track.
In the example below, tracks V1, A1, and A2 contain the video and audio for an interview clip. Tracks A3 and A4 contain a stereo music clip. Suppose you connect the a2 Source control to track A2. After using the Voice Over tool, a new audio clip is created and placed on track A3, and the music clip is moved to tracks A4 and A5.
VIII To record a voiceover (or any other single-channel audio source): 1 Choose Tools > Voice Over. In the Voice Over tab, the status area is green and displays “Ready to Record.” 2 Click the Record button in the Voice Over tab. Once you do this, several things happen before your clip is placed in the Timeline. Â Any audio within the defined duration of your sequence that requires rendering is rendered.
Recording Multiple Takes Each time you record a clip using the Voice Over tool, the a2 destination track automatically moves down one track. You can record multiple takes, one after the other, with the same specified duration in the Timeline. These new audio clips are placed beneath the one previously recorded. Recording multiple takes this way results in a stack of alternate takes, lined up at the same In point of the sequence.
VIII How Audio Recorded with the Voice Over Tool Appears in Your Sequence Audio is recorded during the pre- and post-roll period each time you use the Voice Over tool, giving you extra audio for trimming at the head and tail. Each clip has a 5-second handle at the head and a 2-second handle at the end. By definition, handles do not appear in the sequence clip, but they are visible if you open the clip in the Viewer.
44 Using Audio Filters 44 Audio filters are used for a variety of purposes, from audio cleanup to special effects. Filter parameters can be copied, pasted, automated, and adjusted in real time. This chapter covers the following: Â About Audio Filters (p. 653) Â Overview of Audio Filters (p. 654) Â Working with Audio Filters (p. 662) Â Installing Third-Party Audio Units Filters (p.
Overview of Audio Filters Filters in Final Cut Express are always nondestructive, meaning they are applied to clips but not to the media files themselves. You can disable or remove filters at any time, so you can experiment without worrying about altering your media.
VIII Frequency Ranges and Equalization The entire range of human hearing, from 20 Hz to 20,000 Hz, can be broken into a spectrum of frequency bands: low, midrange, and high. Note: Different devices define these ranges differently; the following ranges are approximate. Low (20–250 Hz) Audible bass frequencies start around 20 Hz, though many speakers cannot reproduce frequencies this low.
Equalization Filters Available in Final Cut Express The following equalization filters are included with Final Cut Express:  3 Band Equalizer  Band Pass Filter  DC Notch  High Pass Filter  High Shelf Filter  Low Pass Filter  Low Shelf Filter  Notch Filter  Parametric Equalizer Using Equalization Filters in Final Cut Express All of the Final Cut Express EQ filters use a combination of three controls.
VIII Gain Filter Unlike other audio filters in Final Cut Express, the Gain filter is applied automatically to selected clips when you use the Apply Normalization Gain command. Audio normalization amplifies an audio clip based on its peak (or loudest) value. For more information about how to use audio normalization, see “Raising Audio Levels Using Audio Normalization and Gain” on page 607. The Gain filter has a single parameter (also called Gain) measured in decibel (dB) units.
The Compressor/Limiter filter has five controls: Â Threshold: This parameter defines how loud the signal must be before the compressor is applied. This is the most important setting you need to adjust. Â Ratio: This slider determines how much compression is applied. Don’t overdo the compression; a little goes a long way. Too much compression can reduce the dynamic range to a flat, unvarying signal.
VIII Unlike a compressor, which affects the loud parts of a signal, expansion affects the quiet parts of the signal: Â Threshold: This slider defines how low the lowest portion of the clip can be before expansion is applied. This is the first setting you’ll adjust. Â Ratio: This slider affects how much expansion is applied to boost the signal. Â Attack Time: This slider defines how quickly the filter reacts to changes in audio level (the default is usually fine, but you may want to experiment).
 Gain: This slider lets you set how much of the signal you’re attenuating. By default, it’s set to the maximum value of –60 dB.  Harmonics: These options allow you to attenuate additional frequencies that may be introduced into your signal as a result of the primary cycle hum. These frequencies are automatically derived by the filter, and you can specify up to five.
VIII Both Echo and Reverberation filter settings are described below: Â Effect Mix: This slider determines how much of the “dry,” or original, sound from the audio clip is mixed with the affected audio. By keyframing this parameter over time, you can make it sound as if someone were walking from far away in a room (where there would be more reverberation) toward the microphone (where there would be less reverberation the closer they came).
Working with Audio Filters Filters can be added to any audio clip in a project. You can add filters individually or in groups. When you add filters to a clip, they appear in the Filters tab of the Viewer when that clip is opened in the Viewer. How they appear depends on whether the audio clip in the Viewer is a stereo pair: Â If the audio clip in the Viewer is a stereo pair: Every filter you add is applied to both channels equally, and only one set of controls appears.
VIII All filters have several controls in common: Enable/Disable checkbox and name of filter Parameter pop-up menu Parameter disclosure triangle Reset button  Parameter disclosure triangle: This allows you to show or hide a filter’s parameters.  Enable/Disable checkbox: This allows you to enable or disable filters without removing them from the clip. You can use it to disable filters temporarily to preview a different filter.
Applying Filters to an Audio Clip Applying audio filters to clips in Final Cut Express is easy. To apply an audio filter to a clip in a sequence, do one of the following: m Drag an audio filter from the Effects tab in the Browser to a clip in a sequence in the Timeline. If you drag the audio filter to a video clip, the filter is applied to any audio items linked to that clip. Drag a filter from the Browser... ...to the Timeline.
VIII To apply multiple filters to a clip in a sequence, do one of the following: m Continue to apply more filters to the clip, one at a time, using any of the methods described previously. m Shift-click or Command-click to select multiple filters in the Effects tab of the Browser, then drag them all to one or more selected clips in a sequence in the Timeline. Filters are applied to clips in the order they appear in the Effects tab. Select several filters in the Browser... ...
To copy filters from one clip and paste them into another: 1 Select a clip in the Timeline with a filter applied to it. 2 Copy the clip. 3 Select one or more clips in the Timeline to apply the filter to. 4 Choose Edit > Paste Attributes (or press Option-V). 5 In the Paste Attributes dialog, select these options: Â Scale Attribute Times: Shrinks or stretches the keyframes of your copied clip attributes to fit the duration of longer clips you may paste them into.
VIII Modifying and Removing Filters To modify filters in a sequence, open the clip to which the filter is applied in the Viewer. Note: Filters can be added to clips even if the clips aren’t in a sequence. If you want to modify or remove a filter for a clip in a sequence, make sure the sequence clip is open in the Viewer, not the master clip from the Browser. To view a clip’s filters in the Viewer, do one of the following: m If your sequence clip is already open in the Viewer, click the Filters tab.
Making Real-Time Audio Filter Adjustments You may find it easier to make adjustments to an audio filter while the clip it’s applied to plays. This way, you can hear how the adjustment sounds as you modify the filter’s parameter. To make real-time changes to an audio filter parameter: 1 In the Timeline, double-click the sequence clip with the audio filter you want to modify to open the clip in the Viewer. 2 In the Viewer, click the Filters tab to see that clip’s audio filter parameters.
VIII 3 Choose View > Loop Playback to enable looped playback. 4 To loop playback, choose Mark > Play > In to Out (or press Shift-\). Playback loops repeatedly between the In and Out points, and you can make real-time changes to any audio filter parameters. To stop playback, press the Space bar or the J key, or click the Stop button in the Canvas. Automating Audio Filter Parameters with Keyframes You can add keyframes for any audio filter parameter, just as you can with video filter parameters.
Adjusting Audio Filter Parameter Keyframes You can add keyframes to audio filter parameters using the Selection and Pen tools, just as you would for video filters. To set a keyframe while playback is paused, do one of the following: m Move the playhead in the keyframe graph area of the Viewer Filters tab to the time where you want to put a keyframe, then click the keyframe button for the parameter you want to set. Click here to create a keyframe for that parameter.
VIII To move the playhead in the Viewer from one keyframe to another, do one of the following: m Click the left or right keyframe navigation button for a parameter to move the playhead to the next keyframe to the left or right of the current position of the playhead. m Press Option-K to move the playhead to the next keyframe to the left of the playhead. m Press Shift-K to move the playhead to the next keyframe to the right of the playhead.
To delete a keyframe, do one of the following: m Move the playhead to the keyframe you want to delete, then click that parameter’s keyframe button to remove the keyframe. m Move the pointer over the keyframe you want to delete. When the pointer becomes a crosshair pointer, drag the keyframe up or down out of the keyframe graph area. When the pointer turns into a small trash can, release the mouse button.
VIII Installing Third-Party Audio Units Filters If you install third-party Audio Units filters, they will be available to all applications on your computer that are capable of using them, including Final Cut Express. You only need to install them in one location. Before purchasing third-party Audio Units filters for use with Final Cut Express, check with the third-party manufacturer to make sure the filters are compatible.
Part IX: Effects and Color Correction IX Learn how to use the powerful effects capabilities of Final Cut Express to enhance your project. Add filters, create motion effects, generate titles, composite graphics together, and color correct your footage.
45 Using Video Filters 45 Once you have clips in a sequence, you can apply filters to process and modify the visual content of your clips. This chapter covers the following: Â Different Ways to Use Filters (p. 677) Â Applying a Filter to a Clip (p. 678) Â Applying Multiple Filters to Clips (p. 681) Â Viewing and Adjusting a Filter’s Parameters (p. 682) Â Enabling and Rearranging Filters (p. 689) Â Copying and Pasting a Clip’s Filters (p. 690) Â Removing Filters from Clips (p.
 Create and manipulate transparency effects: Use filters like the Chroma Keyer or Garbage Matte to create and manipulate the alpha channel information of clips in your project. Key filters create alpha channels based on blue, green, white, or black areas in the image. Other filters, such as the Widescreen and Soft Edges filters, allow you to further manipulate the areas of transparency in a keyed clip, expanding, contracting, and feathering the area of transparency to fine-tune the effect.
IX To apply a filter to a clip in a sequence, do one of the following: m Select one or more clips in the Timeline, then drag a filter from the Effects tab of the Browser to one of the selected clips in the Timeline. Drag the filter from the Browser... ...to a clip in the Timeline. m Select one or more clips in the Timeline, choose Effects > Video Filters, then choose a filter from the submenus.
To apply a filter to part of a clip in a sequence: 1 Select the Range Selection tool in the Tool palette (or press the G key three times). Range Selection tool 2 In the Timeline, drag across the part of the clip to which you want to apply the filter. Drag to select the section of the clip to which you want to apply the filter. 3 Do one of the following: Â Drag a filter from the Effects tab of the Browser to the selected portion of the clip.
IX To reposition the filter Start and End points: m In the keyframe graph area, drag the Start or End point of the filter to the new time or location. The End point dragged to the new time Drag the Start or End point to change it. Applying Multiple Filters to Clips You can apply one or more filters to a clip at a time. You can also add one or more filters to multiple clips at the same time. You can add as many filters as you like to a clip.
m Shift-click or Command-click to select multiple filters in the Effects tab of the Browser, then drag them to one or more selected clips in the Timeline. Select multiple filters in the Browser. Then, drag the filters to selected clips in the Timeline. m Drag one or more filters from a clip’s Filters tab in the Viewer to a clip (or multiple selected clips) in the Timeline.
IX Controls in the Filters Tab of the Viewer There are various controls you can use to manipulate filters in Final Cut Express. While each filter has its own individual parameters and controls, all filters have some controls in common.
 Current Timecode field: This field displays the position of the playhead in the keyframe graph area. When you enter a new timecode value, the playhead moves to that time. Keyframe button Keyframe navigation buttons  Keyframe button: Click to place a keyframe for the corresponding parameter at the playhead location in the keyframe graph, in preparation for creating a dynamic change in an effect.
IX Â Keyframe graph ruler: The keyframe graph ruler corresponds to the duration of the clip or the location of a clip in a sequence: Â If a clip is opened from the Browser: The keyframe graph ruler shows the duration of the clip itself. The playhead in the Viewer moves independently of the playhead in the Timeline or Canvas. Â If a clip is opened from a sequence in the Timeline: The keyframe graph ruler shows the section of the Timeline that the clip is edited into.
Sliders By default, sliders only show whole integer values. Typical slider Numeric value of the slider setting To adjust the corresponding value to within two decimal places of precision: m Hold down the Shift key while dragging a slider. To gear down a slider, allowing you to make more precise changes to the parameter: m Hold down the Command key while dragging a slider.
IX Point Control Point controls are used to specify locations in the Canvas. To define a new location with x and y coordinates: 1 In the Filters tab of the Viewer, click the point control. Point control X and y coordinates 2 Move the pointer to the Canvas. The pointer changes to the crosshair pointer in the Canvas. 3 Click anywhere in the Canvas to position a coordinate at that location.
To gear down the dial’s movement for a more precise value: m Press the Command key while adjusting the control. To reset the dial to its previous setting while adjusting a parameter: m Drag the pointer all the way out of the effect parameter. Color Controls The color controls give you several ways to select a color value. Eyedropper Hue direction control Click the disclosure triangle to display the hue, saturation, and brightness controls.
IX Clip Well Some filters, such as the Bumpmap filter, contain a clip well that allows you to use video from any clip in your project as a parameter for the filter. Clip well To use a clip as a parameter in a filter: m Drag any clip from your project to the clip well in the Filters tab. ∏ Tip: Final Cut Express generators can be dragged to clip wells the same as other clips. To clear a clip that’s currently attached: m Control-click the clip well, then choose Clear from the shortcut menu.
To rearrange the order of filters in the Filters tab: m Drag a filter up or down in the list to change the order in which filters are applied. Move the selected filter up or down in the list to change the order in which it is applied to the clip. ∏ Tip: Rearranging filters may be easier if you hide the filters’ parameter controls before dragging. Click the small disclosure triangle to the left of a filter’s name to hide the filter controls.
IX To use the Paste Attributes command to paste filters into a clip: 1 Select a clip in the Timeline that has a filter (or filters) whose settings you want to copy. 2 Choose Edit > Copy. 3 Select one or more clips in the Timeline to apply the filter or filters to. 4 Do one of the following: Â Choose Edit > Paste Attributes (or press Option-V). Â Control-click the clip or clips you’ve selected in the Timeline, then choose Paste Attributes from the shortcut menu.
46 Color Correction 46 Final Cut Express includes powerful color correction features that let you analyze clips in your project and perform color correction on them. This chapter covers the following: Â What Is Color Correction? (p. 693) Â The Color Correction Process (p. 701) Â The Final Cut Express Color Correction Filters (p. 703) Â The Color Corrector Filter (p. 704) Â The Desaturate Highlights and Desaturate Lows Filters (p.
Why Color Correct Your Footage? There are a number of reasons why you may want to color correct your footage: Â Make sure that key elements in your program look the way they should: Every scene of your program has key elements that are the main focus of the viewer. In a narrative or documentary video, the focus is probably on the people in the shot. In a commercial, the key element is probably a product shot, such as the label of a bottle or the color of a car.
IX Â Achieve a “look”: The process of color correction is not simply one of making all the video in your piece match some objective model of black, white, and color tones. Color, like sound, is a property that, when subtly mixed, can result in an additional level of dramatic control over your program. With color correction, you have control over whether your video has rich, saturated colors or a more muted look.
Using a Chip Chart in Production In many productions, a chip chart is placed next to the slate at the beginning of every shot. This chart can be used during post-production to unambiguously correct each shot so that the color balance of your images can be perfectly corrected. This then gives the colorist a good neutral starting point for the color correction process. Chip charts are especially useful during multicamera shoots with consumer-grade camcorders.
IX The goals of color correction at this stage depend on the length of the project. Â Short projects, commercials, spots, and very short videos may get a detailed color correction pass right away. The colorist will first calibrate the telecine’s own color corrector to balance the whites, blacks, and color perfectly. Then the colorist, in consultation with the cinematographer, director, or producer, will work shot by shot to determine the look of each clip according to the needs of the project.
Other Advantages of Telecine Transfers In addition to color correction, a colorist working with a telecine has many other options available, depending on what kinds of issues may have come up during the edit. Â Using a telecine to pull the image straight off the film negative, the colorist can reposition the image to include parts of the film image that fall outside the action safe area of video. Â With the telecine, the image can also be enlarged optically up to 50 percent without distortion.
IX Color Correction in Final Cut Express With as much control as they afford, telecine sessions tend to be expensive, especially for longer projects. Tape-to-tape color correction can also be expensive, but in both cases you’re paying to work with a professional colorist who has years of experience. Color correction requires a practiced eye and careful attention to detail, because it is this final step that really differentiates the look of low-budget video programs from professional broadcast TV.
Keyboard shortcut shift control Temporarily moves the playhead to the Out point of the clip two edits back. control Temporarily moves the playhead to the Out point of the clip one edit back. control Temporarily moves the playhead to the In point of the clip one edit forward. shift 700 Function control Temporarily moves the playhead to the In point of the clip two edits forward. control Temporarily moves the playhead to the currently defined sequence In point.
IX The Color Correction Process As mentioned earlier, color correction has several goals. To outline the process of color correction, this section focuses on two of those goals:  Making the actors or key elements of your scene look the way they should  Determining the overall look that you want for the scenes making up your movie Every video project consists of a series of scenes.
Step 3: Add additional color correction as necessary It’s important to remember that you don’t have to do everything with a single application of the Color Corrector filter. For example, if you can’t get the colors in both the dimly lit areas and the highlights of your clip right with a single filter, focus only on the dimly lit area. You can then adjust the highlights with a second application of the Color Corrector filter.
IX The Final Cut Express Color Correction Filters There are a number of filters you can use to adjust the blacks, whites, and color balance of your clips: Â Color Corrector: The Color Corrector filter is the basic filter for performing color correction. Â RGB Balance: Allows you to raise or lower the levels of the highlights, midtones, and blacks of each channel—red, green, and blue—in RGB color space individually.
About the Controls in the Color Corrector Filter As with all other filters, clicking the disclosure triangle next to a filter’s name reveals a list of controls that allow you to make various adjustments. Unlike most other filters, the Color Corrector filter has two sets of controls—numeric and visual. To use the visual controls: m In the Filters tab, click the Visual button next to the Color Corrector filter. Click this button to view the filter’s visual controls tab.
IX General Controls There are several basic controls in the top-left corner of the filter. Keyframe controls Numeric button Enable/Disable checkbox  Numeric button (appears when viewing the visual controls): Click this button to view the numeric controls for the filter in the Filters tab.  Visual button (appears when viewing the numeric controls): Click this button to view the visual controls for the filter in the color correction tab.
Copy Filter Controls The Copy Filter controls give you an easy way to copy the Color Corrector filter and filter settings into other clips in your sequence. Copy To 1st Clip Forward Copy From 2nd Clip Back Copy To 2nd Clip Forward Drag Filter Copy From 1st Clip Back  Copy From 2nd Clip Back: Copies the settings from the Color Corrector filter that’s applied two clips behind the currently selected clip, and pastes those settings into the current Color Corrector filter.
IX Working with the Copy Filter Controls The Copy Filter controls are designed to help you color correct sequences that have shot-reverse-shot editing. For example, suppose you want to cut from a wide shot of two actors to a medium shot of them from a different angle, and then back to the wide shot. Assume you also already applied the Color Corrector filter to the first shot. A render bar appears above that clip. This render bar indicates that the first clip has a filter applied to it.
To copy Color Corrector filter settings forward to another clip: 1 Double-click a sequence clip with the Color Corrector filter applied to open the clip in the Viewer. 2 In the Viewer, click the Color Corrector tab. 3 Do one of the following: Â To copy the current color correction settings to the next clip: Click the Copy to 1st Clip Forward button (or choose Modify > Copy Filters > To 1st Clip Forward).
IX “Copy From” Rule If the current clip has multiple filters and you’re copying from a clip with multiple filters, Final Cut Express copies from a filter with the same index number as the current one being adjusted, if possible. For example, if the previous clip has three filters, and the current clip has three filters, clicking the Copy From 1st Clip Back button in the Color Corrector-3 tab copies the settings from the third Color Corrector filter in the previous clip.
“Copy To” Rule If the current clip has multiple filters and you’re copying to a clip with multiple filters, Final Cut Express copies the current filter’s settings to a filter with the same index number in the next clip as that of the current filter. For example, if the current clip has three filters, and the next clip has three filters, using the Copy To 1st Clip Forward button in the Color Corrector-2 tab copies that filter’s settings into the second Color Corrector filter in the next clip.
IX Keyboard Shortcuts for the Copy Filter Controls The Copy Filter controls have keyboard equivalents, described here. Using the Option key with these shortcuts modifies their operation. Keyboard shortcut Function control 2 Copies the settings from a single filter two clips back to the current one (Copy From 2nd Clip Back). control 3 Copies the settings from a single filter one clip back to the current one (Copy From 1st Clip Back).
The Color Corrector filter has a Balance control that lets you manipulate the whites in a clip, as well as a Hue control. You rarely use the Balance and Hue controls simultaneously in a single color correction operation. Â Balance control: The Balance control affects the color balance in the whites of your clip. Drag within the color wheel to move the color balance indicator and change the mix of red, green, and blue in the whites of your clip.
IX Â Hue control: Rotate the Hue control to change the overall hue of the affected clip. Â Hue Reset button: Click this button to reset the Hue control to its default settings and restore your clip to its original hue. Holding down the Shift key while clicking this button also resets the level and saturation controls (described in one of the next sections) to their default settings.
 Blacks slider: Drag this slider to adjust the minimum level of black in the affected clip, deepening or reducing the level of absolute black in your image. To move the slider in increments, click the small arrows to the right or left of the slider.  Saturation (Sat) slider: This slider raises or lowers the overall saturation, or intensity of color, in the affected clip. Drag the slider all the way to the left to desaturate the color from the clip completely. This results in a grayscale image.
IX Â Match Hue eyedropper: Clicking the Match Hue eyedropper turns the pointer into an eyedropper when it’s moved into the Canvas or into the Video tab of the Viewer. With the current clip open in the Viewer, open the clip you want to match it to in the Canvas. Click the eyedropper in the color of an adjacent clip in your sequence that you’re trying to match to the current clip. Once selected, the match color is displayed in the Match Color indicator.
5 Click the Auto Contrast button to maximize the range from white to black in your clip. Auto Contrast button The Whites and Blacks sliders automatically adjust themselves to achieve the best numeric distribution based on the luma levels. This gives you a starting point from which to proceed. 6 Because the image is underexposed, adjust the Mids slider to bring more detail out of the shadows. Moving the Mids slider to the right moves the distribution of midtones farther to the right.
IX Remember, don’t select an area that’s overexposed, like a light source or a shiny highlight. This does not give you the result you want. Instead, select a properly exposed area of your picture that’s white, like a well-lit shirt sleeve or white wall. You may have to try several different spots to get the result you want; don’t hesitate to undo this operation and try again if you’re not satisfied with the results of your initial selection.
Note: When using the Auto-Balance eyedropper, it’s important to recognize that the color temperature of the light illuminating the white area you select will affect the hue of the compensation that is made.
IX The Desaturate Highlights and Desaturate Lows Filters Sometimes, the use of the Color Corrector filter results in unwanted colors appearing in either the highlights or shadows of your image. The Desaturate Highlights and Desaturate Lows filters allow you to target a range of the brightest and darkest areas of your image and desaturate them, which helps to keep the highlights and shadows of your image free from coloration.
Highlight Desaturation Controls  Enable: Allows you to enable or disable the Highlight Desaturation controls.  Apply Above: Allows you to set the percentage of luma and above to desaturate.  Softness: Adjusts the transition between the affected and unaffected areas of the picture.  Amount of Desaturation: Determines how much to desaturate the selected highlights. Lows Desaturation Controls  Enable: Allows you to enable or disable the Lows Desaturation controls.
IX 1 Move the Apply Above slider to the left to gradually include more of the brightest areas of the picture in the range of what is to be desaturated. Move the Apply Above slider to the left to include more bright areas. You can see the effects of the filter in the Canvas. Move the Softness slider to the right to ease the transition. 2 Move the Softness slider to the right to ease the transition between the areas of the picture being desaturated and the areas that are unaffected.
47 Changing Motion Parameters 47 Every video and graphics clip in a project has a set of parameters that can be edited in the Motion tab of the Viewer. These parameters include Scale, Rotation, and Center. This chapter covers the following: Â Creating Motion Effects in the Viewer (p. 723) Â Creating Motion Effects in the Canvas (p.
Adjusting Parameters in the Motion Tab Motion parameters are located in the Motion tab of the Viewer.
IX To enable the Drop Shadow or Motion Blur attribute: m Select the checkbox next to Drop Shadow or Motion Blur. Some parameters must be enabled to use them. Drop Shadow parameters Motion Blur parameters To adjust motion parameters, do any of the following: m Drag the slider. m Enter a new value in the number field, then press Return. m Drag the corresponding overlay in the keyframe graph. m For settings with an Angle control: Drag the hand on the dial.
Keyboard Modifiers for Controls in the Motion Tab When using slider controls: Â To adjust the value by two decimal places of accuracy, hold down the Shift key. Â To slow down a slider’s movement and select a more precise value, hold down the Command key. When using an Angle control (a dial): Â To constrain the dial to 45-degree increments, hold down the Shift key. Â To slow down a dial’s movement and select a more precise value, hold down the Command key.
IX Distort Parameters Change a clip’s Distort parameters to alter the rectangular shape of a clip or to give it a different aspect ratio. Â Upper Left, Upper Right, Lower Right, Lower Left: You can change the shape of a clip by moving each of four corner points independently of one another. The corner points defining the relative distortion of a clip are offset relative to the center of the clip.
Motion Blur Parameters Motion blur affects any clip that has motion, whether it’s a moving subject in a video clip or keyframed motion effects that you’ve created. Motion Blur allows you to create or exaggerate motion blur in ordinary video clips. For example, if you apply motion blur to a clip in which someone is standing still and waving an arm, the arm becomes blurred, while the rest of the image remains sharp. This happens even though the arm waving is not a keyframed motion effect.
IX Using Cartesian Geometry to Position Clips Final Cut Express compositing features use simple Cartesian geometry to position clips within the frame defined by the Canvas. This makes the process of symmetrically arranging layered clips easy and precise. Even though it’s possible to “eyeball” a lot of compositions, a little math can go a long way, especially when you want to start creating more precise motion effects using keyframes.
To move a clip up: m Enter a negative value for the clip’s y coordinate. For example, suppose the center point of the clip on track V2 is –218, –119. This puts the clip 218 pixels to the left and 119 pixels up from the Canvas center point. Clip center point (–218, –119) Y offset (–119) X offset (–218) Canvas center point (0, 0) When you copy and paste these attributes to the clip on track V3, the clip appears in exactly the same place.
IX Examples Using Motion Settings The following two examples demonstrate how you can use motion settings to integrate a group of clips together to create a single, multilayer broadcast design shot. Example: Using Motion Settings to Create a Multiple Clip Layout In this example, you’ll create a layered interview segment using the Scale, Rotation, and Center Point parameters. This example assumes you’ve already created a new sequence and opened it in the Timeline.
3 From the Browser, open the first clip you want to arrange in the background of your composition, then edit it into the sequence using a superimpose edit. A new track is created above the current V1 video track, and your clip is inserted into it. 4 Double-click the sequence clip you’ve just edited into the Timeline (not the background clip) to open it in the Viewer, then click the Motion tab. Dots in the scrubber bar indicate the clip is in a sequence.
IX 6 Drag the Rotation Angle control (the dial) to the left so that it reads “–28.” A negative value rotates the clip to the left; a positive value rotates it to the right. The change is also reflected in the Canvas. This is the angle in degrees that your clip is rotated. Next, you’ll change the position of this clip in the Canvas. 7 Select the point control for the Center parameter and move the pointer to the Canvas (the pointer changes to a crosshair), then click in the upper-left corner of the Canvas.
Note: For more information about using basic geometry to position clips, see “Using Cartesian Geometry to Position Clips” on page 729. Next, you’ll add another clip to your composite. 8 In the Timeline, specify track V2 as the current destination track (click the V2 Destination control). Then, using a superimpose edit, edit in a second clip you want to place in the background. A second clip is placed in track V3 of the sequence, using the same In and Out points.
IX 10 Select the Basic Motion checkbox, then click OK. This setting is the only attribute you want to copy. The two clips occupy the same position in the Canvas, but the clip on track V3 takes precedence and appears in the Canvas. The new clip on track V3 now has the same motion settings as the clip in track V2. Although you want to keep the size of this new clip the same, you want to position it in the right corner, as a mirror image of your original clip.
12 In the left number field of the Center parameter (the x coordinate), delete the minus sign (–), then press Return. The value changes from negative 218 to positive 218. The results appear immediately in the Canvas. Note: The x and y coordinates of a clip in the Canvas are based on the offset between that clip’s center point and the center point of the Canvas. See “Using Cartesian Geometry to Position Clips” on page 729 for more information.
IX 14 Using the same sequence In and Out points that you’ve been using, set the destination track of your sequence to V3, then edit in the foreground clip using a superimpose edit. The fourth clip is now in your sequence. 15 Open this new clip in the Viewer, then click the Motion tab. 16 Click the Basic Motion disclosure triangle to reveal the Basic Motion parameters, then adjust the Scale slider to 66, so that this clip is 66 percent of its original size. Set the Scale slider to 66.
17 Choose View > Show Title Safe. The action safe boundary is 10 percent smaller than the size of the video frame. The title safe boundary is 20 percent smaller than the size of the video frame. ∏ Tip: Viewing title safe and action safe boundaries is especially important when creating work that will be broadcast on television. Televisions cut off the edge of the video frame to give the illusion that the picture takes up the entire TV screen.
IX Example: Using Additional Motion Settings to Refine the Layout In this example, the Crop, Opacity, and Drop Shadow parameter settings are changed to further customize the sequence you created in the previous example. 1 Open the clip on track V4 of your sequence in the Viewer, then click the Motion tab. First, you’ll feather the edges of your foreground clip to give it a soft border. 2 Click the Crop disclosure triangle to reveal the Crop parameters.
7 Drag the Top and Bottom sliders in the Crop attribute to the right until they are set to 5. Now, you’ll add a drop shadow to these three layers. 8 With the Motion tab of the foreground clip still open in the Viewer, select the checkbox next to Drop Shadow to enable the attribute, then click the Drop Shadow disclosure triangle. Using the appropriate controls, set the offset to 10, the angle to 135, the softness to 23, and the opacity to 65. Adjust the settings for the Drop Shadow attribute.
IX 11 Open the background clip on track V1, then click its Motion tab. Click the Opacity disclosure triangle, then set the opacity to 50 percent. The background clip now appears darker in the Canvas. Now you have your completed composite: three clips layered, cropped, scaled, and rotated, with edges feathered. Creating Motion Effects in the Canvas In the previous section, you learned about default motion parameters for clips and how to adjust those settings in the Motion tab of the Viewer.
To put the Canvas into Image+Wireframe mode, do one of the following: m Choose View > Image+Wireframe. m Press W to put the Canvas in Image+Wireframe mode. Press W again to change to Image mode. m Choose Image+Wireframe from the View pop-up menu at the top of the Canvas. Manipulating Images in the Canvas When a clip is selected in the Timeline or Canvas (and you are in a wireframe mode), there are handles attached to the clip that allow you to perform different geometrical manipulations.
IX Zooming In to the Canvas In the Canvas, you can choose a magnification level to help you work with your clips as you manipulate them. By zooming in to the Canvas, you can get a more detailed look at your layers, which can help you make more precise positioning decisions. By zooming out of the Canvas and making the image smaller, you can more easily move clips out of the frame, in preparation for creating keyframed motion from the outside of the frame to the inside.
Using Wireframe Handles to Transform, Scale, and Rotate In many instances, you may find that dragging the handles of a selected clip in the Canvas is faster and more intuitive than adjusting its parameters in the Motion tab of the Viewer. Note: You must be in Image+Wireframe to use wireframe handles. To scale a clip: 1 Select a clip in the Timeline. 2 Select the Selection tool in the Tool palette, then do one of the following: Â To scale the clip proportionally: Drag a Scale/Distort handle.
IX To move a clip: 1 Select a clip in the Timeline. 2 Select the Selection tool in the Tool palette, then drag the layer to a new position. You can move a clip partially or completely outside the Canvas. To rotate a clip: 1 Select a clip in the Timeline. 2 Select the Selection tool in the Tool palette, then drag any edge of the selected clip’s border in an arc around the clip’s center point. Drag any edge with the Selection tool to rotate the clip.
To scale and rotate a clip: m Command-drag a Scale/Distort handle. Command-drag a Scale/ Distort handle to scale and rotate the clip. To distort the shape of a clip: 1 Select a clip in the Timeline. 2 Select the Distort tool in the Tool palette, then drag a Scale/Distort handle. Drag a Scale/Distort handle with the Distort tool to distort the clip. ∏ Tip: To shorten one side and lengthen the other side of an image, hold down the Shift key while dragging.
IX To crop a clip: 1 Select a clip in the Timeline. 2 Select the Crop tool in the Tool palette, then do one of the following: Â To crop a particular side: Drag in from the edge of the clip. Drag an edge with the Crop tool to crop that side of the clip. Â To crop two sides at one time: Drag one of the corners of the wireframe. Drag a corner with the Crop tool to crop two sides at once. Â To constrain the rectangle’s aspect ratio: Hold down the Shift key while dragging a corner.
Example: Using Motion Parameters and Wireframe Handles In this example, you’ll put a graphic on the side of a building as if it were a sign. You’ll use the Scale, Center, and Distort parameters (in the Motion tab of the Viewer) to match the perspective of the building with the perspective of the sign, and the Selection and Distort tools to manipulate the graphic directly in the Canvas. This example assumes you’ve already created a new sequence and opened it in the Timeline.
IX 3 In the Canvas or Timeline, position the playhead over the clip you just edited into track V1, then set the sequence In and Out points to be the duration of the building clip (choose Mark > Mark Clip, or press X). Position the playhead anywhere within the clip. Set the In and Out points for the duration of this clip. 4 Perform a superimpose edit to place the sign in track V2 for the duration of the shot. The sign is now on top of the building.
6 With the Selection tool selected, hold down the Shift key, then drag one of the corners of the sign graphic to change its scale to match that of the building. Scale down the size of the sign graphic. 7 With the Selection tool, drag the center point of the sign graphic to move it so that its position matches that of the wall. Move the graphic so it’s positioned entirely on the building’s side.
48 Adjusting Parameters for Keyframed Effects 48 Automated audio level adjustments, opacity changes between layers, shifting color values, and spinning video clips are examples of what’s possible when using keyframes to adjust clip parameters over time. This chapter covers the following: Â Animating Motion Effects Using Keyframes (p. 751) Â Smoothing Keyframes with Bezier Handles (p. 767) Â Creating Keyframed Motion Paths in the Canvas (p.
Many clip parameters can be keyframed:  Opacity  Motion settings  Generators  Filters  Audio level  Pan settings Because you can add keyframes to filters and generators as well as motion settings, the information presented in this chapter can also be used to modify filters and generators (discussed in Chapter 45, “Using Video Filters,” on page 677 and Chapter 54, “Using Generator Clips,” on page 861).
IX First keyframe Second keyframe Overlay in the Timeline for the Opacity parameter Adding additional keyframes increases the complexity of the effect, but the area in between each pair of keyframes in your clip is still smoothly interpolated. Using more keyframes creates additional complexity, shown in the overlay. Determining the Number of Keyframes to Use The complexity of the changes in your effects depends on the number of keyframes that you add to a clip.
Using Three Keyframes With three keyframes, you can create more complex effects, such as a curved motion path. In the example below, the position of the clip starts at the location specified by the first keyframe, moves to the position specified by the second keyframe, and then continues on its journey until it reaches the position specified by the third keyframe. (For more information about creating motion paths in the Canvas, see “Creating Keyframed Motion Paths in the Canvas” on page 771.
IX Â Keyframe button: Click to place a keyframe for the corresponding parameter in the keyframe graph area at the current playhead location. Note: When the playhead in the keyframe graph area is directly on a keyframe, the keyframe button for that setting becomes a green diamond. Â Keyframe navigation buttons: Click these buttons, to the left and the right of the keyframe button, to move the playhead from one keyframe to another.
 Zoom slider: Lets you zoom in and out of the duration displayed by the keyframe graph ruler. Drag the thumb tabs on either side of the slider to adjust both thumb tabs and leave the visible area of the keyframe graph centered. Press the Shift key and drag one of the thumb tabs to zoom in or out of the keyframe graph, locking the opposite thumb tab and moving the visible area of the Timeline in the direction in which you’re dragging.
IX Setting Keyframes Until you create at least one keyframe for a parameter of a clip, changes you make to that parameter affect the entire duration of the clip. Once you set the first keyframe for a parameter, additional keyframes are generated automatically when you make any subsequent changes to that parameter anywhere else in that clip. You generally need to set at least two keyframes to make changes or effects that are useful or noticeable.
Adjusting and Deleting Keyframes After you add keyframes to a parameter, you can adjust keyframes to produce the effect you want. You can modify individual keyframes, interpolated values between keyframes, or all keyframes at one time. You can also move and delete keyframes at any time. To adjust the value of a single keyframe, do one of the following: m Move the playhead to the keyframe you want to adjust, then drag the appropriate parameter control to a new value.
IX As you drag, a box shows the timecode duration of the change you’re making. To delete a keyframe, do one of the following: m Move the playhead to the keyframe you want to remove, then click the keyframe button for the corresponding parameter. m Position the pointer over the keyframe you want to remove (the pointer turns into a crosshair), then drag the keyframe out of the keyframe graph area. When the pointer turns into a small trash can, release the mouse button.
Resizing the Keyframe Graph Area For precise keyframe adjustments, you can resize the display height and width of each parameter in the keyframe graph area and zoom in to a specific section of time. Resizing Parameter Display Height and Width If you need more vertical space to view your keyframes in the Viewer, you can adjust the display height of any parameter in the Filters or Motion tab.
IX To adjust the width of the keyframe graph area: m Drag the lower-right corner of the Viewer to the right to adjust its width. To temporarily work with the Motion or Filters tab in the Timeline: 1 Drag the Motion or Filters tab from the Viewer to the Timeline. The tab is now a tab within the Timeline. 2 When you’ve finished making adjustments, do one of the following: Â Drag the tab back to the Viewer. Â Control-click the tab, then choose Close Tab from the shortcut menu. The tab reappears in the Viewer.
To zoom using keyboard shortcuts: 1 With the keyframe graph area open, place the playhead at the location in the keyframe graph area where you want the center of your zooming to occur. 2 Do one of the following: Â To zoom in: Press Command-+ (plus sign). Â To zoom out: Press Command-– (minus sign). To zoom using the zoom tools: 1 Select the Zoom In or Zoom Out tool in the Tool palette. Zoom In tool Zoom Out tool 2 Do one of the following: Â Click in the keyframe graph area.
IX To scroll along the entire duration of your clip: m Drag the center of the Zoom slider to the left or to the right. To change the duration of the keyframe graph ruler: m Click or drag the Zoom control. Â To zoom out and show more of your sequence: Click the right side of the control. Â To zoom in and show more detail: Click the left side of the control. Note: The current area of the keyframe graph remains centered.
1 Edit two clips of equal duration into your sequence, each on its own video track. Note: The clip you want to appear in front should be placed on track V2; the other clip should be placed on track V1. Layer the clips, with one clip on track V1 and the other superimposed on track V2. 2 Open the clip on track V2 in the Viewer, then click the Motion tab. 3 Click the disclosure triangle for the Opacity parameter to reveal its keyframe graph line in the keyframe graph area.
IX 8 In the keyframe graph area, move the pointer to the left of the two keyframes on the Opacity keyframe graph line. When the pointer turns into the Adjust Line Segment pointer, drag down until the number field reads “0.” The shape you’ve given to the Opacity parameter’s keyframe graph line makes the top layer completely invisible for the first 2 seconds of playback. Over the next second it fades up until it reaches a total opacity of 50 percent, which looks like an even mix of both layers.
3 Position the pointer over the opacity overlay (located directly on top of the clip on track V2). When the pointer turns into the Adjust Line Segment pointer, drag the entire overlay down so that the opacity value is 50 percent. A box displays the opacity value as you drag.
IX 5 Release the Option key, then drag each of the opacity overlay segments between keyframes (or drag the keyframes themselves up or down to the values you want). Â To adjust an overlay segment using the Selection tool: Position the pointer so that it’s directly over an overlay segment. When the pointer turns into the Adjust Line Segment pointer, drag the segment up or down. Â To adjust a keyframe using the Selection tool: Position the pointer so that it’s directly over a keyframe.
Understanding Bezier Handles and Curves When adjusting the Bezier handles that are attached to a smoothed clip, there are several kinds of curves you can create, which result in different velocity rates. Â The steeper the curve of the Bezier handles in the parameter’s keyframe graph line (or overlay), the faster the rate of change. Â The shallower the curve of the parameter’s keyframe graph line (or overlay), the slower the rate of change.
IX Two-Sided Bezier Handles Keyframes that are in between other keyframes have two-sided Bezier handles. These handles are normally locked together, so that the curve of a parameter’s keyframe graph line has a smooth transition into and out of the keyframe, with no sudden changes. Two-sided Bezier handles for the smoothed keyframe between a beginning and end keyframe By default, if you change one of these handles, there’s an equal change to both sides of the handle.
Smoothing Keyframes Smoothing a keyframe, or adding Bezier handles to it, makes the change from one keyframe’s value to the next more gradual by applying a curve instead of a straight line. The ability to apply smoothing to a parameter in Final Cut Express depends on the kind of keyframes a parameter uses. Â One-dimensional keyframes: Parameters that contain multiple values can’t be represented by curved graph lines in the keyframe graph area.
IX To change the angle between one side of a Bezier curve and the other: m Hold down the Command key as you drag a Bezier handle. When you release the Command key, the new relative angle of the two handles is locked to the angle you set. Hold down the Command key to change the angle of a handle independently of the other handle. To change the length and the angle of one Bezier handle independently of the other: m Hold down the Command and Shift keys as you drag a Bezier handle.
What Are Motion Paths? The simplest motion path is a straight line defined by two center keyframes. Once the first keyframe is defined in the Motion tab, any time you move the Canvas or Timeline playhead to another location and then move that clip’s wireframe somewhere else in the Canvas, another keyframe is created automatically. For example, suppose you define a center keyframe for a video clip at the x and y coordinates of –160, 100.
IX 5 In the Canvas, drag the clip’s center point and position the clip at the starting point of the motion path you want to create. Starting point of motion path 6 Add a keyframe at the starting point. For more information, see “Setting Keyframes” on page 757. 7 Move the playhead to the location where you want to add your next keyframe. 8 Drag the clip to the next position in the Canvas. With the Selection tool still selected, drag the clip to the next position.
Adding, Moving, and Deleting Keyframes in Motion Paths You can edit a motion path directly in the Canvas by adding, dragging, or deleting keyframes. The playhead doesn’t need to be over a keyframe for you to move or delete it, nor does the playhead location prohibit you from adding additional keyframes to the motion path using the Pen tool.
IX To add Bezier handles to a keyframe in a motion path: m Select the Smooth Point tool in the Tool palette (or press the P key three times), then click a corner point to add Bezier handles. The velocity of these keyframes is automatically set to Linear, meaning that there is a steady rate of speed as the clip moves from one keyframe to the next on the motion path. You can add Bezier handles to a keyframe in a motion path and change the acceleration at the same time.
Controlling Speed Along a Motion Path The speed at which a clip travels along a motion path is determined by two factors: Â The spatial, or physical, distance between two keyframes in the Canvas. The farther a clip has to travel in a given duration, the faster its apparent movement. The less distance a clip moves, given the same amount of time, the slower it appears to go. Â The duration, or distance in time, between two keyframes in the Center parameter of a clip’s Motion tab.
IX To speed up a clip’s motion at the beginning and slow it down as it nears the next keyframe: m Drag the velocity handle in toward the selected keyframe. To slow down a clip’s motion at the beginning and speed it up as it nears the next keyframe: m Drag the velocity handle away from the selected keyframe. To add Bezier handles to a keyframe and change the acceleration: m Control-click a keyframe, then choose an option from the shortcut menu, depending on the kind of acceleration you want.
Moving an Entire Motion Path in the Canvas If you’re happy with the shape of a motion path, but you want to move it to a different position, you can move an entire motion path for one or more selected items directly in the Canvas. To move selected motion paths: 1 In the Canvas, do one of the following: Â Choose View > Image+Wireframe. Â Choose View > Wireframe. 2 Press and hold down the Command and Shift keys, select the clip in the Canvas, then drag it to move the motion path.
49 Reusing Effect and Motion Parameters 49 You can copy the attributes of specific clips and paste them on other clips as an efficient method of setting up your clips. This chapter covers the following: Â Copying and Pasting Specific Clip Attributes (p. 779) Â Removing Attributes from a Clip (p. 782) Â Applying Filters Across Multiple Tracks at Once (p.
About the Paste Attributes Dialog You select which attributes to paste by using the Paste Attributes dialog. The following options are available in the Paste Attributes dialog: Scale Attribute Times Repositions the keyframes of the copied clip’s attributes to fit the duration of longer or shorter clips you paste them into, maintaining the relative position of keyframes. For example, suppose you copied a 5-second clip with motion effect keyframes at the beginning, middle, and end.
IX Â Filters: Adds the parameter values and keyframes for all filters from the clip you copied. The pasted filters are added to any filters already existing in the clip to which you are pasting. Existing filters are left unchanged. For example, suppose that two clips, Clip A and Clip B, each have a Gaussian Blur filter applied. Clip A has a Radius parameter value of 100, and Clip B has a Radius parameter value of 13.
To paste the attributes of a copied clip into another clip: 1 In the Timeline, select a clip whose attributes you want to paste into another clip. 2 Choose Edit > Copy (or press Command-C) to copy the clip and its settings. 3 Select a clip or clips to paste the settings into. 4 Do one of the following: Â Choose Edit > Paste Attributes (or press Option-V). Â Control-click the clip or clips you’ve selected in the Timeline, then choose Paste Attributes from the shortcut menu.
IX Applying Filters Across Multiple Tracks at Once When working with multiple layers of video or audio in the Timeline, if you want to apply a filter to a clip or region on one track, you may want the filter to apply to the clips below and above it as well. You can make this happen automatically by first enabling Auto Select on all the tracks to which you want the filter applied.
50 Changing Clip Speed 50 You can adjust a clip’s speed parameters to create fast- or slow-motion effects. This chapter covers the following: Â Speed Basics (p. 785) Â Constant Speed Settings (p. 789) Speed Basics The default speed of all clips is 100 percent, but you can change a clip’s speed setting at any time. Â Slow motion: Speed is under 100 percent. Â Fast motion: Speed is over 100 percent. You may have different reasons for changing the speed settings.
How Changing Speed Affects a Clip’s Duration A change in a clip’s speed can affect the duration of the clip. If you choose 50 percent speed, your clip is twice the duration; if you change speed to 200 percent, the clip becomes half as long. For example, if you set a 10-second clip to play back at 50 percent speed, Final Cut Express duplicates frames in the clip so that the clip becomes 20 seconds long and plays back more slowly.
IX For example, suppose you want to replace a 5-second shot of a lizard with a 3-second shot of a desert landscape. In this case, you can use the fit to fill edit to make the landscape shot fit. Before edit D After edit A B C A D C You can also use the fit to fill edit with multiple clips. When you do so, each successive clip selected in the Browser replaces each successive clip in your sequence using a fit to fill edit, starting with the clip at the current position of the Timeline playhead.
5 Do one of the following: Â Drag the clip from the Viewer to the Fit to Fill section of the Edit Overlay in the Canvas. Â Press Shift-F11. Fit to Fill section of the Edit Overlay in the Canvas The material in the Viewer overwrites any material already between the sequence In and Out points you specified. The speed of the source clip is changed to compensate for the difference in duration.
IX Constant Speed Settings Applying a constant speed change to a clip alters the entire clip’s playback speed by the same percentage. For example, applying a speed setting of 25 percent to a clip makes the entire clip play in slow motion. Constant speed changes are useful when altering a clip’s timing to fit a larger or smaller gap in your sequence, or when trying to achieve a consistent speed change across an entire clip (making a car seem faster or slower, for example).
Smoothing Slow Motion Using Motion Blur Although using frame blending is an excellent way to smooth out the apparent motion of a slow-motion clip, extremely slow speeds such as those below 20 percent can still result in strobing. To further minimize this effect, you can use the Motion Blur attribute in the Motion tab.
51 Working with Freeze Frames and Still Images 51 You can use still images and photographs in your movie to previsualize scenes, create motion graphics, and provide visual continuity when no video is available. This chapter covers the following: Â Using Still Images and Graphics in Your Sequences (p. 791) Â Creating Freeze Frames from a Video Clip (p. 792) Â Exporting Still Images (p. 793) Â Considerations Before Creating and Importing Stills (p. 794) Â Changing the Duration of Still Images (p.
Creating Freeze Frames from a Video Clip Final Cut Express makes it easy to create a freeze frame from a video clip. No additional media is created on your hard disk; freeze frames are simply clips that refer to a single frame of a media file. Creating a Freeze Frame You can create a freeze frame whenever you need to, whether you are viewing a clip in the Viewer or working on a sequence in the Timeline.
IX About Sequence Freeze Frames Unlike a freeze frame of a clip, a sequence freeze frame will not update if you subsequently change the sequence the freeze frame was created from. However, the clip media referenced by the sequence freeze frame can still be updated and the freeze frame clip can be reconnected. Exporting Still Images You can easily export a still image of the current frame displayed in the Viewer or Canvas. You do not need to create a freeze frame clip to export a still image.
Considerations Before Creating and Importing Stills Before you start creating graphics and importing still images for video, there are a few things to be aware of if you are concerned about achieving the best possible quality in your final product.
IX Working with Graphics Clips of Different Sizes If you import a graphic or still image with a frame size that doesn’t match the frame size of your edited sequence, you have two choices. Â You can resize the image, enlarging or reducing it to fit the frame size of your image. Â You can leave the image as is, in which case you’ll be able to see only a small part of it if the image is too big, or the image will be surrounded by black if it’s too small.
Bit Depth of Imported Graphics Final Cut Express can import graphics with a bit depth of up to 16 bits per pixel per color channel, although 8 bits per color channel is the bit depth most commonly used. The more bits used to represent color in an image, the more accurately the color is represented. This is important when you are trying to preserve color detail in motion picture or still-image film.
IX Since every non-square video frame size has an equivalent square frame size that will look correct in SD video, it’s easy to create your graphics with a usable frame size. The steps below tell you how. See “Pixel Aspect Ratios in SD Video Signals Versus Computer Displays” on page 798 for more background information on this topic.
Frame Size Chart for Creating Graphics Use the chart below to determine the frame size you need for creating graphics. For example, if you’re working in DV PAL (which has a frame size of 720 x 576), your graphic should have a frame size of 768 x 576 to look correct on an SD video monitor.
IX SD NTSC pixels are taller than computer pixels and SD PAL pixels are wider than computer pixels. As a result, a 720 x 480 pixel image looks different (taller) on an NTSC video monitor than it does on a computer display. For example, if you capture a clip of video with a globe in the picture, export a frame, and look at this frame in a graphics application, you’ll see something like this: NTSC square vs.
Flattening Graphics with Layers Multilayer graphics can be useful for compositing and complex graphics, but most of the time you only need a single still-image clip. If your original image file is a Photoshop file, make sure you flatten it before you save it as media for importing into Final Cut Express.
IX Scaling Images and Video Clips to Match a Sequence Whenever you edit a still-image clip into a sequence, Final Cut Express compares and automatically adjusts the following properties of the image and the sequence: Â Horizontal and vertical dimensions: If the still-image dimensions are larger than the sequence dimensions, the still image is scaled to fit in both dimensions (without distorting the image). This means that you always see the entire still image within the frame of the sequence.
If you want to zoom in to and out of an image, such as a scanned map or photograph, you should use an image with higher resolution than the sequence. The more high resolution the image is, the less likely it is that you will need to scale more than 100 percent to show details. Scaling video and still images more than 100 percent creates artifacts: individual pixels become noticeable, causing a “stair-stepping” artifact on high-contrast diagonal lines.
IX To change a clip’s duration, do one of the following: m In the Browser, double-click in the Duration column for a clip, then enter a new duration. Enter a new duration in the Duration column for the image. m Double-click a clip in the Browser to open it in the Viewer, then enter a value in the Timecode Duration field. Example: Adding Camera Motion to Still Images You’ve probably seen documentaries that show a graceful camera pan or tilt across a still image, sometimes slowly zooming in or out.
Step 1: Prepare and import your still image into Final Cut Express There are two key things to be aware of before you import the image: Â Frame size: The still-image dimensions need to be significantly larger than the frame size of your sequence, so that the still image can move about the frame without displaying any edges.
IX Step 3: Open the image clip in the Motion tab of the Viewer 1 Double-click the clip in the Timeline to open it in the Viewer. 2 Click the Motion tab in the Viewer, then click the Basic Motion disclosure triangle to reveal parameters such as Scale, Rotation, and Center. 3 In the Motion tab of the Viewer, enter 100 in the Scale field. Step 4: Prepare the Viewer and Canvas settings To see the image as it will appear within the frame during playback, you need to make a couple of adjustments.
4 Move the playhead to the time when you want the pan to end. 5 Move the image in the Canvas to the ending position. You don’t need to add a keyframe this time because, once a single keyframe has been added to a parameter, new keyframes are automatically added each time you move the clip to a new position. You should see a line in the Canvas indicating the interpolated motion path between the starting and ending keyframes.
52 Compositing and Layering 52 Compositing is the process of stacking and blending multiple video or graphics clips over one another in a sequence to create multilayer motion graphics and special effects shots. This chapter covers the following: Â Introduction to Compositing and Layering (p. 807) Â Adjusting Opacity Levels of Clips (p. 809) Â Working with Composite Modes (p. 812) Â Working with Layered Photoshop Files (p. 826) Â Using Video and Graphics Clips with Alpha Channels (p.
Methods of Compositing Once you’ve layered clips in the Timeline, you can adjust how each one blends with the layers below using the following methods: Â Opacity levels: This adjusts the transparency of a clip. You can adjust the Opacity parameter to subtly blend two or more layers together, or you can animate this parameter over time to create fade-ins and fade-outs. For more information, see “Adjusting Opacity Levels of Clips” on page 809.
IX Â Perform a superimpose edit. You can use a superimpose edit to quickly stack a source clip on top of any clips already edited into your sequence in the Timeline in preparation for compositing. If there isn’t an available track in your sequence, Final Cut Express creates a new one for the source clip. For more information, see Chapter 26, “Three-Point Editing,” on page 361. When you layer clips, the clip in the topmost track in the Timeline is the one that appears during playback in the Canvas.
There are two ways you can adjust a clip’s opacity: Â Drag the opacity overlay of a clip in the Timeline. Â Open the clip in the Viewer and specify the Opacity parameter’s value in the Motion tab. The Opacity parameter in the Motion tab and the opacity overlay displayed in the Timeline have identical settings. A change made to one is mirrored in the other.
IX Note: The overlay appears as a black line if the clip is not selected and as a white line if the clip is selected. The pointer changes to the Adjust Line Segment pointer when it’s directly over the overlay. The actual percentage of opacity appears in this box. To adjust the opacity of a clip (with no keyframes) in the Motion tab: 1 Double-click the sequence clip you want to adjust to open it in the Viewer, then click the Motion tab.
3 Adjust the opacity by doing one of the following: Â Â Â Â Drag the Opacity slider to the right or left. Click the arrows at the right and left of the Opacity slider. Type a percentage in the number field. Adjust the Opacity parameter’s keyframe graph line. The pointer changes to the Adjust Line Segment pointer; a box shows the percentage of opacity as you drag the keyframe graph line.
IX These value ranges can be described as blacks, midrange values, or whites. These regions are loosely illustrated by the chart below. Blacks Midrange color values Whites For example, the Multiply composite mode renders color values that fall into the white areas of an image transparent, while the black areas of the image are left alone.
Applying Composite Modes to Clips Applying different composite modes to layered clips in a sequence is easy. The main thing to remember is that composite modes affect the interaction between one layered clip and whichever clip is underneath it in the sequence. Clips that are above a layered clip using a composite mode are unaffected. To apply a composite mode to a clip in your sequence: 1 With two layered clips edited into your sequence, select the topmost clip in the Timeline.
IX Composite Modes in Final Cut Express The following section describes how composite modes affect two layers in a sequence. About the Examples in This Section Most of the examples in this section combine the following two reference images to create a third composite image. The composite image illustrates how the color values from each image interact when using each composite mode.
Normal Normal is the default composite mode for clips. When a clip uses Normal composite mode, you can still adjust its transparency by using its Opacity parameter or an alpha channel. Add Add emphasizes the whites in each overlapping image, lightening all other overlapping colors. The color values in every overlapping pixel are added together. The result is that all overlapping midrange color values are lightened. Blacks from either image are transparent, while whites in either image are preserved.
IX Subtract Subtract darkens all overlapping colors. Whites in the foreground image go black, while whites in the background image invert overlapping color values in the foreground image, creating a negative effect. Blacks in the foreground image become transparent, while blacks in the background image are preserved. Overlapping midrange color values are darkened based on the color of the background image. In areas where the background is lighter than the foreground, the background image is darkened.
Multiply Multiply emphasizes the darkest parts of each overlapping image, except that midrange color values from both images are mixed together more evenly. Progressively lighter regions of overlapping images become increasingly translucent, allowing whichever image is darker to show through. Whites in either image allow the overlapping image to show through completely. Blacks from both images are preserved in the resulting image. The order of clips affected by the Multiply composite mode does not matter.
IX Screen Screen emphasizes the lightest parts of each overlapping image, except that the midrange color values of both images are mixed together more evenly. Blacks in either image allow the overlapping image to show through completely. Darker midrange values below a certain threshold allow more of the overlapping image to show. Whites from both images show through in the resulting image. The order of two clips affected by the Screen composite mode does not matter.
Overlay Whites and blacks in the foreground image become translucent and interact with the color values of the background image, causing intensified contrast. Whites and blacks in the background image, on the other hand, replace overlapping areas in the foreground image. Overlapping midrange values are mixed together differently depending on the brightness of the background color values. Lighter background midrange values are mixed by screening.
IX Hard Light Whites and blacks in the foreground image block overlapping areas in the background image. Whites and blacks in the background image, on the other hand, interact with overlapping midrange color values in the foreground image. Overlapping midrange color values are mixed together differently depending on the brightness of the background color values. Lighter background midrange values are mixed by screening. Darker background midrange values, on the other hand, are mixed together by multiplying.
Suggested uses: The Soft Light composite mode is useful for softly tinting a background image by mixing it with the colors in a foreground image. Darken Darken emphasizes the darkest parts of each overlapping image. Whites in either image allow the overlapping image to show through completely. Lighter midrange color values become increasingly translucent in favor of the overlapping image, while darker midrange color values below a certain threshold remain solid, retaining more detail.
IX Lighten Lighten emphasizes the lightest parts of each overlapping image. Every pixel in each image is compared, and the lightest pixel from either image is preserved, so that the final image consists of a dithered combination of the lightest pixels from each image. Whites in both images show through in the resulting image. The order of two clips affected by the Lighten composite mode does not matter.
Travel Matte - Luma The Travel Matte - Luma composite mode does the same thing as the Travel Matte Alpha composite mode, but the transparency is derived from the luma information (instead of the alpha channel) of the clip below. The luma information may be derived from a grayscale equivalent of the RGB channels, or directly from the luma (Y´) channel in the case of Y´CBCR video. White is equal to 100 percent transparency and black is equal to 100 percent opacity (solid).
IX To create a travel matte: 1 Place the clip you want to have appear in the background of your composite on track V1 in the Timeline. 2 Place the clip you want to use as your matte layer on track V2, above the background clip. Â When using the Travel Matte - Alpha mode: Make sure that the clip has a properly formatted alpha track (see “Using Video and Graphics Clips with Alpha Channels” on page 828).
Working with Layered Photoshop Files You can create multilayer graphics in Adobe Photoshop for use in a composited Final Cut Express sequence. This allows you to create a complex arrangement of separate graphic elements and import them as a group, with their position and layer ordering intact. Once you import layered Photoshop files, they appear as a sequence, with each individual layer stacked. At this point, it’s easy to manipulate each layer individually to create sophisticated composites.
IX Working with Layered Photoshop Sequences When you import a layered Photoshop file into Final Cut Express, all the layers of the source Photoshop file are composited together with a sequence frame size identical to the imported Photoshop file’s frame size. An imported Photoshop file becomes a sequence in the Browser. If you want to import a layered Photoshop file as a single clip, you must flatten the image in Photoshop and then import the file into Final Cut Express.
Don’t Add or Delete Layers from an Imported Photoshop File Final Cut Express keeps track of each imported Photoshop layer according to its position relative to the bottom layer. While editing a layered Photoshop file that’s already been imported into Final Cut Express, it’s not a good idea, under any circumstances, to: Â Add additional layers: If you add a layer, any layer pushed above the topmost layer that was imported into your Final Cut Express project is ignored when you go back to Final Cut Express.
IX Important: When you import a clip with an alpha channel that contains no data, the clip appears white. To display the clip properly, change the alpha channel for the clip to None (see “Changing a Clip’s Alpha Channel Type” on page 830).
Changing a Clip’s Alpha Channel Type When you import an image file, Final Cut Express identifies the type of alpha channel and sets the imported clip’s Alpha property appropriately. You should usually not change this setting, except in rare circumstances where Final Cut Express identifies an image alpha channel as premultiplied black or premultiplied white and you are certain that the alpha channel type is actually straight.
IX Â Black: Also known as premultiplied (with black). Most other alpha channels, especially channels that are hand drawn in Photoshop, are premultiplied. This means that, unlike a movie with a straight alpha channel that contains only the pixels of the foreground image, movies with alpha channels premultiplied against black always look right, even if they have translucent lighting effects. This is because the entire image is precomposited against black. Â White: Also known as premultiplied with white.
Exchanging Media with Alpha Channels Alpha channels are simply grayscale images or frames, where levels of white and black determine varying degrees of transparency. If you look at a clip with an alpha channel in the Viewer with the Alpha option selected in the View pop-up menu, you’ll see that the solid areas of the image are represented by 100 percent white and that transparent areas of the image are represented by 100 percent black.
IX There are several backgrounds to choose from.  Black  White  Checkerboard 1  Checkerboard 2  Red  Green  Blue Note: Red, Green, and Blue backgrounds are available from the submenu only when choosing View > Background. To choose a background for viewing a clip, do one of the following: m Choose View > Background, then choose a background from the submenu. m Choose the background from the View pop-up menu in the Viewer.
Temporarily Disabling a Single Clip If, instead of disabling an entire track, you only want to disable a single clip temporarily, you can do so. While a single clip is disabled, it will not be:  Played back  Rendered  Output to tape with the rest of the sequence To disable one or more clips: 1 Select the clip or clips using one of the selection tools. 2 Do one of the following:  Choose Modify > Clip Enable, so the menu item is no longer selected.
IX Soloing Clips in Multitrack Sequences When working with multiple tracks, you may find it helpful to quickly demo one clip within a sequence to the exclusion of the clips above and below it on other tracks. This helps you focus very closely on how one clip is working in a sequence. This feature, called solo item, works by disabling all unselected clips in the Timeline that appear in other tracks at the position of the playhead.
53 Keying, Mattes, and Masks 53 You can isolate specific elements of clips from the background and combine those elements with other clips by using keying, mattes, and masks. This chapter covers the following: Â Ways to Layer and Isolate Elements in Clips (p. 837) Â Using Keying to Isolate Foreground Elements (p. 840) Â Using Mattes to Add or Modify Alpha Channels (p. 854) Â Using Masks to Replace or Modify Alpha Channels (p.
In Final Cut Express, a matte is a customizable, polygonal shape used to make part of a clip transparent. By outlining part of an image with a matte, you can turn everything outside or inside the shape transparent. Final Cut Express allows you to create four- and eight-point mattes.
IX What Are Masks and How Are They Used? A mask is an image that is used to create areas of transparency in another image. For example, the luma in one clip can be used to create transparency in another clip. You can also assign the alpha channel of one clip to a completely different clip. (For more information about alpha channels, see “Alpha Channels and Key, Matte, and Mask Filters,” next.
Using Keying to Isolate Foreground Elements There are two different methods used for keying: chroma keying and luma keying. Chroma keying is a method of keying on a particular hue of color. Although any color can be keyed on, the colors most frequently used for chroma keying are blue and green.
IX With a high-quality DV camera and good lighting, it’s possible to pull a reasonable key using DV clips, but you cannot expect the kind of subtleties around the edges of a keyed subject that you can get with uncompressed or minimally compressed footage. For example, while you may be able to preserve smoke, reflections, or wisps of hair when keying uncompressed footage, with equivalent DV footage this probably won’t be possible.
Overview of Compositing Using the Chroma Keyer Filter Although you can use one of several different filters for keying, you often use more than one filter, depending on the qualities of the video clip. In general, the process of compositing two shots together by keying consists of seven main steps, using several different types of filters. For more details, see “Example: Using the Chroma Keyer Filter” on page 848.
IX A second Matte Choker filter can also be applied to fill holes in the foreground subject that appear as a result of aggressive settings applied to key out the background. By dragging the Edge Thin slider to the right, you can fill in semitranslucent areas in your foreground subject, without changing the background areas you’ve already keyed out.
Step 8: Perform additional adjustments to the background layer Finally, you should spend some time working on the appearance of the background layer. Editing a foreground clip in front of a background clip is just the beginning. There are numerous details you must now consider to make the shot look convincing. For example, the foreground and background of video you shoot in the field are seldom both in focus, so the shot may look more realistic if you put the background out of focus with a blur filter.
IX The visual controls appear in the Chroma Keyer tab. Copy Filter controls Visual interface of the Chroma Keyer Note: The visual controls also include several Copy Filter controls. For detailed information on these controls, see “Copy Filter Controls” on page 706. To use the standard numeric controls, do one of the following: m In the Chroma Keyer tab, click the Numeric button. In the Chroma Keyer tab, click this button to use the standard numeric controls. m Click the Filters tab.
Visual Controls in the Chroma Keyer Filter The following controls appear in the Chroma Keyer tab in the Viewer. Enable/Disable checkbox Color Range control Select Color eyedropper Reset button Saturation control View Final/Matte/Source button Invert Selection button Luma control Sliders for further adjustments  Enable/Disable checkbox: Make sure there’s a checkmark in this checkbox for the controls you want to use.
IX Â Saturation control: Allows you to adjust the degree and range of saturation that contributes to defining your key. The top and bottom handles work the same as those in the Color Range control. Drag left or right within the gradient to move all four handles simultaneously. Â Luma control: Lets you adjust the degree and range of luma that contributes to defining your key. The top and bottom handles work the same as those in the Color Range control.
 Invert Selection button: Click this button to invert the key you’ve defined. For example, suppose you’ve set up a key based on the color of a green car and used a grayscale copy of the clip in the background so that the car is grayscale and the background is color. Clicking the Invert Selection button reverses the key so that you see the car in color and the background appears in grayscale. Three sliders at the bottom of the Chroma Keyer let you make further adjustments.
IX 4 Click the Select Color eyedropper to pick a color in the clip to key, move the pointer to the Canvas (it turns into an eyedropper), then click the desired key color. Choose a color that’s fairly close to the edge of your foreground subject, so that the area near the subject is the first area of color you key out. The color range you select with the eyedropper becomes transparent in the clip.
You can perform this step as many times as you need to. The goal is to eliminate as much of the background as you can without affecting the foreground subject. If you start encroaching on the outline of your foreground element, you’ve gone too far and should undo. It is not necessary to remove all the background fringe around your foreground subject with this step; you should focus only on eliminating the major areas of the background screen.
IX 7 Depending on how the edges of your foreground subject look, you may want to make adjustments using the Edge Thin slider. The Edge Thin slider allows you to shrink the alpha channel created by the Chroma Keyer to begin to eliminate the light fringing that remains around the edges of the foreground subject. Before adjusting the Edge Thin slider After dragging the Edge Thin slider to the right 8 An optional step at this point is to use the Softening slider to blur the edges of the foreground subject.
9 If you still see light fringing at this point, or if you were forced to use settings so extreme in the Chroma Keyer that some of your foreground subject was eaten away around the edges, apply the Matte Choker filter. After you apply the Matte Choker filter, adjust the Matte Choker’s Edge Thin and Edge Feather sliders. This is the point where you should work to eliminate all the background fringing.
IX 13 Finally, you’re ready to insert the background image. Make sure that the clip you’re editing into your sequence to use as the background image appears in a video track below the foreground clip being keyed. The background image now appears. The background image is placed below the foreground clip that was keyed.
Using Mattes to Add or Modify Alpha Channels You can use the matte filters to create a new alpha channel or add to or subtract from a clip’s existing alpha channel. Matte filters work equally well with clips that already have an alpha channel and with clips that have alpha channels created using a key filter, such as the Chroma Keyer.
IX 3 Move the pointer to the Canvas (the pointer turns into a crosshair pointer), then click to change the location of the matte corner defined by Point 1. Before changing the location of the first point After changing the location of the first point 4 Repeat steps 2 and 3 for the Point 2, Point 3, and Point 4 point controls, until you’ve created a box that crops out everything outside the green screen surrounding the actor.
The Choke slider adjusts the overall size of the matte, without changing the shape; the Feather slider blurs the edges of the matte. The finished matte image The parameters of the Garbage Matte filters can be keyframed, in the same way as the parameters of any other filter. This can come in handy if you need to use one of the Garbage Matte filters to crop out the outside edge of a green screen in a shot where the camera is panning.
IX 3 Move the playhead to the last frame of the clip, then readjust the Point 1, Point 2, Point 3, and Point 4 point controls to fit the new position of the green screen. The four points are adjusted again. Click point controls to make an adjustable crosshair appear in the Viewer or Canvas. Keyframes are created automatically when you make these adjustments. The change of the matte’s shape and position is calculated for each frame in between the two sets of keyframes you’ve created.
 Mask Shape: Allows you to create an alpha channel in a clip that consists of a simple shape—a diamond, oval, rectangle, or round rectangle. The solid part of the clip that remains after applying the Mask Shape filter appears inside the shape that’s been created. The vertical and horizontal scale of the shape can be altered, as can the mask’s center. The Mask Shape filter can also be inverted to reveal areas of the clip outside the shape.  Soft Edges: Allows you to feather the edges of a clip.
IX 5 Choose Luminance from the Channel pop-up menu. Note: When using a clip’s luma to define transparency, white is used for 100 percent opacity, and black is used for 100 percent transparency. The clip now has a border that matches the Border.tif clip. You can further modify this new alpha channel, blurring it with the Mask Feather filter, for example. 6 Choose Effects > Video Filters > Matte > Mask Feather to apply the Mask Feather filter to the clip you want to blur.
54 Using Generator Clips 54 Final Cut Express can generate several types of clips for you to use in your sequences, including bars and tone, placeholders, and backgrounds. This chapter covers the following: Â What Is a Generator Clip? (p. 861) Â Different Ways to Use Generators in Your Sequence (p. 862) Â Video and Audio Generators Available in Final Cut Express (p. 863) Â Creating and Adding Generators to Sequences (p.
Different Ways to Use Generators in Your Sequence In creating composites and other effects, you may find some of the Final Cut Express generators helpful. They allow you to very quickly add certain types of built-in clips by simply choosing items from a menu.
IX Video and Audio Generators Available in Final Cut Express The following tables explain the generators available in Final Cut Express. Color Bars, Tone, and Other Signal Generators You use color bar and signal generators for calibration and testing purposes. Each Bars and Tone generator uses the image dimensions and color space intended for a particular video system. Generator Result Bars and Tone (NTSC) Generates reference color bars and audio tone for NTSC systems.
Matte Color and Slug You use the Color and Slug generators to create colored backgrounds or black. 864 Generator Result Usage information Color (From the Generator pop-up menu, choose Matte > Color.) Generates a frame of solid color. Â The color controls allow you to specify the color. Â You can create colored backgrounds behind other layered clips in a sequence. Â Color mattes can be used as containers for special effects filters that create visual images.
IX Render You can use the Render generators to create backgrounds filled with gradient shades of color or grays. Generator Result Usage information Custom Gradient (From the Generator pop-up menu, choose Render > Custom Gradient.) Generates a gradient layer that you can customize. Â A pop-up menu allows you to specify a linear or radial gradient. Â The Start control allows you to set the point in the frame where the gradient begins.
Generator Result Usage information Noise (From the Generator pop-up menu, choose Render > Noise.) Generates random pixel noise, similar to static. Â The random noise can be adjusted to appear in varying levels across every channel of the clip, including the alpha, red, green, and blue channels, using the appropriate slider controls. Â You can animate the noise with the Random checkbox and create color static with the Color checkbox.
IX Shapes You can use the Shape generators to create shapes of different colors and sizes that can appear in backgrounds. Generator Result Usage information Shapes  Circle  Oval  Rectangle  Square (From the Generator pop-up menu, choose Shapes, then choose the shape you want from the submenu.) Generates a circle, oval, rectangle,  You can change the size, or square, depending on what aspect, edge softness, and you choose. color of each shape.
To create a generator and add it to a sequence: 1 Do one of the following: Â Click the Video or Audio tab in the Viewer, then choose a generator from the Generator pop-up menu. Â In the Effects tab of the Browser, double-click a video generator. 2 Click the Controls tab to view that generator’s parameters, and adjust the controls to suit your purposes. Click the Controls tab to show the parameters of the generator. All generators have certain parameters that can be used to customize their effects.
55 Creating Titles 55 Titles, including opening and closing credits and titles used in the lower part of the screen, are important elements in your project. This chapter covers the following: Â How You Can Use Titles in Your Project (p. 869) Â Installing and Choosing Fonts (p. 870) Â Making Sure Titles Fit on TV Screens (p. 871) Â Text Generators Available in Final Cut Express (p. 872) Â Creating and Adding a Title Clip (p. 874) Â Other Options for Creating and Adding Titles (p.
Installing and Choosing Fonts If there are special fonts you want to install to use in Final Cut Express, you need to install the TrueType version of those fonts because Final Cut Express text generators use TrueType fonts. (Most professionally created fonts come in both PostScript and TrueType versions.) For information on installing fonts, see Mac Help. DV was designed for real-world images that blend together, and it is not optimized for rigid lines of text.
IX Making Sure Titles Fit on TV Screens If you plan to show your work on a TV screen or monitor at any time, you’ll want to avoid the possibility of having your titles disappear off the edge of the frame. To do this, turn on the Title Safe indicators before you create the title, and restrict any text you add to the space within the title safe boundary. Note: Because few video projectors use masking, title safe boundaries may not be important for movies displayed with video projectors.
Text Generators Available in Final Cut Express The table below describes each text generator and includes tips about settings for each generator. 872 Text generator Result Crawl Generates a single line of text  You can adjust the overall that moves horizontally across spacing of the text with the the screen. You type the text you Spacing slider, and the want to animate in a text entry location of the text as it crawls field.
IX Text generator Result Tips for making settings Outline Text Generates static text with an outline. This generator allows carriage returns. Â Text Graphic and Line Graphic clip wells allow you to fill the text or the outline with the image of a clip you apply, rather than a solid color. Â You can also modify the size, softness, color, and opacity of the background independently of the text. You can use the Back Graphic clip well to apply the image from any clip to the background.
Text generator Result Tips for making settings Text Creates a static element of text. This generator allows carriage returns. Â The font, size, style, alignment, and color of the generated text can be modified. These controls modify the entire text element at once. Tracking, Leading, and Aspect sliders allow you to control the layout of the generated text and can be keyframed to create interesting effects.
IX To create a title clip: 1 Select a text generator by doing one of the following: Â Click the Video or Audio tab in the Viewer, then choose a text generator from the Generator pop-up menu. Â In the Effects tab of the Browser, double-click a text generator. See “Importing a LiveType Project into Final Cut Express” on page 878 for detailed descriptions of the choices. 2 In the Viewer, click the Controls tab. 3 In the Text field, type the text that will appear in your movie.
 Font Color: Choose the color of your font by doing one of the following:  Disclosure triangle: Click to display sliders and number fields corresponding to the hue, saturation, and brightness of the range of colors available.  Eyedropper tool: Click the eyedropper, then click an image in the Viewer or the Canvas to pick up that color.  Color picker: Click to choose a color using the standard color picker.
IX To add the title clip to your sequence: 1 In your sequence in the Timeline, set your destination track. If you place the title clip on a track that’s above another track, the lower clip appears as the background to the title. 2 Set the sequence or clip In and Out points. 3 Click the Video tab in the Viewer, then drag the title clip from the Viewer to the Canvas or Timeline.
Using LiveType to Create Titles for Your Project When you want to create more dynamic and unique titles than the built-in text generators provide, you can use LiveType. LiveType provides dozens of fonts and hundreds of objects and textures you can incorporate into your Final Cut Express project. You can also create your own animated fonts using the LiveType FontMaker utility, building characters using virtually any graphical object—3D animations, images created in Photoshop, or QuickTime movies.
Part X: Real Time and Rendering X Learn how to maximize the real-time playback capabilities of Final Cut Express and render effects that cannot be played back in real time.
56 Using RT Extreme 56 RT Extreme is the real-time effects architecture that allows you to play back multiple video layers, video and audio filters, motion effects, and other effects in real time without needing to render them first. This chapter covers the following: Â Introduction to Real-Time Processing (p. 881) Â Changing Real-Time Playback Settings (p. 886) Â Still-Image Real-Time Playback (p. 893) Â Improving Real-Time Performance (p. 893) Â Real-Time Audio Mixing in Final Cut Express (p.
For basic editing tasks, Final Cut Express handles real-time processing automatically, keeping you focused on the creative choices at hand. However, if you work with a lot of effects or if you color correct video footage, you should take some time to learn the details about the real-time architecture of Final Cut Express. Real-Time Playback Versus Rendering For most stages of editing, reduced playback quality is more acceptable than losing the ability to play back effects in real time.
X Final Cut Express analyzes a sequence to determine the processor workload required for playback. Different portions of a sequence may require different amounts of processing. Final Cut Express breaks the sequence into segments and then indicates the processor workload for each segment with a colored status bar. For more information, see “About Render Status Bars” on page 884. Status bars in the Timeline indicate the workload for each segment; the upper bar is for video, and the lower bar is for audio.
What Are Dropped Frames? Dropped frames are frames that are unintentionally skipped during playback, either because the hard disk cannot keep up with the video data rate or because the computer processor cannot perform all of the applied effects in time. Some real-time playback modes allow dropped frames, while others require rendering to avoid dropped frames. Dropped frames during editing are usually tolerable. However, during output, dropped frames are almost always unacceptable.
X About Render Status Bar Tooltips If you position the pointer over a render bar, a tooltip appears with information about the real-time or render status of that section of your sequence. A tooltip tells you the status of a particular section of your sequence. Effect Names That Appear in Boldface In both the Effects tab of the Browser and the Effects menu, video transitions and filters that can play back in real time appear in boldface. Real-time effects appear in boldface.
A real-time effect appears in boldface based on: Â The video format used by the currently selected sequence. Video formats that have higher system requirements for real-time playback result in fewer effects displayed in boldface.
X Playback Control Tab in System Settings The Playback Control tab is located in the System Settings window. It shows you all real-time settings available, although some may not apply to certain sequences. Changes you make here are applied systemwide, so they remain the same for all currently open sequences and projects. To open the Playback Control tab: m Choose Final Cut Express > System Settings, then click the Playback Control tab.
To open the Render Control tab: 1 Select a sequence or click in the Timeline window to make it active. 2 Choose Sequence > Settings, then click the Render Control tab. About Real-Time Playback Options The following options, most of which are available in both the RT pop-up menu and the Playback Control tab of the System Settings window, allow you to control the quality of real-time playback.
X Unlimited RT Choosing this option tells Final Cut Express to play as many frames as possible when your effects exceed the processing power of your computer. Final Cut Express does this by spending time to process some frames in real time while skipping others completely. Unrestricted real-time playback allows you to play more effects but increases the likelihood that your sequence will drop frames during playback. This mode is useful for getting a real-time preview of complex effects compositions.
Play Base Layer Only The Play Base Layer Only option takes a unique approach to playing back processor-intensive segments. With this option selected, any segment that requires rendering in Safe RT mode (in other words, any segment with a red render bar) is restricted to original media playback, and all effects, including compositing modes, are disabled.
X Beep When Playing Unrendered Audio This option is available only in the Playback Control tab of the System Settings window. When this option is selected, audio clip items that require rendering are played back as audible beeps. This is the audio equivalent of the “Unrendered” screen you see when your video requires rendering. If the Play Base Layer Only option is not selected, the beeps are not heard. For more information, see “Play Base Layer Only” on page 890.
About Dynamic Real-Time Playback To maximize the number of effects you can see during real-time playback, you can choose to have Final Cut Express automatically adjust the video quality, the frame rate, or both during playback. This is called dynamic real-time playback. Dynamic real-time playback continually adjusts video quality on a frame-by-frame basis.
X Still-Image Real-Time Playback Still images and imported graphics can also play back in real time. The number of still images that play back in real time depends on the size of the still cache set in the Memory & Cache tab of the System Settings window. You can adjust the Still Cache slider or enter a value to change the number of still images that play back in real time. The size of the still cache is limited by the total amount of unused physical RAM installed in your computer.
 Render any clips whose render status bars indicate they can’t be played in real time before you play them back. For more information, see “Render Indicators in Final Cut Express” on page 900.  Turn off external video monitoring.  Disable dropped frame reporting during playback. For more information, see the next section, “Reporting Dropped Frames During Playback.
X Â Hard disk speed: The faster your hard disk can read data, the more video data Final Cut Express can access in real time. With some video formats, such as uncompressed video, hard disks may not be able to keep up with the video data rate, making real-time playback impossible. Multiple video layers require many video streams to play back simultaneously. A faster hard disk allows more streams to play back simultaneously in real time.
Calculating the Number of Tracks That Can Be Played Back in Real Time The number of tracks Final Cut Express attempts to mix in real time is determined by the Real-time Audio Mixing setting in the General tab of the User Preferences window. The number of tracks you can play back in real time is largely dependent upon your hardware, so performance will vary from system to system. Increasing the number of tracks in this field doesn’t mean they’ll all play.
X Improving Real-Time Audio Performance You can optimize real-time audio performance in the following ways: Â Render video effects prior to mixing: Playing real-time video effects reduces the number of audio tracks that can be mixed in real time. While mixing the audio in your program, you can maximize real-time mixing performance by first rendering all video effects in your sequence, including all transitions, layered video, and filters.
Choosing Real-Time Playback Versus Rendering Here are some practical examples of when you might use real-time playback versus rendering during the course of editing your movie. To monitor video or output to tape with perfect playback of all effects in a sequence (with no dropped frames and full-resolution video): 1 In the RT pop-up menu in the Timeline, choose Safe RT, so there’s a checkmark next to it. The Safe RT mode ensures that effects play back at the quality level and frame rate you specify.
57 Rendering and Video Processing Settings 57 When you apply more effects to a clip than your computer can process in real time, you need to render temporary media files to play your sequence in real time. This chapter covers the following: Â What Is Rendering? (p. 899) Â Render Indicators in Final Cut Express (p. 900) Â The Rendering Process (p. 904) Â Changing Render Settings (p. 912) Â Managing Your Render Files (p. 914) Â Tips for Avoiding Unnecessary Rendering and Reducing Render Time (p.
Rendering is generally required for: Â The use of filters, transitions, generators, or any combination of effects that exceeds your computer’s real-time playback capabilities. Â High-quality final output. Real-time effects that play back at preview quality must ultimately be rendered for high-quality video output.
X Video Render Status Bars The color of the video render status bar above the Timeline ruler indicates the real-time or render status of segments in your sequence. Bar color Render status Description Dark gray None No rendering is required. Blue-gray Rendered The material has already been rendered. Dark green Full Indicates a real-time effect that’s capable of playback and output to video at full quality with no rendering required.
Audio Render Status Bars The color of the audio render bar above the Timeline ruler indicates whether the items below need to be rendered. Bar color Render status Description Dark gray None No rendering is required. Blue-gray Rendered Sections of a sequence have been rendered using the Mixdown command. Red Needs Render Sections of the Timeline contain audio items that cannot play in real time and require rendering. Sections of sequences needing to be rendered play audible beeps.
X About Item-Level Render Status Bars An audio clip item in the Timeline may display an individual render bar within the clip item itself; this indicates that the audio clip requires resampling, or sample rate conversion, to match the current sequence audio settings. A green render bar indicates that an audio clip item is being resampled in real time, while a blue-gray render bar indicates that an audio clip item has been individually rendered so that real-time audio resampling is no longer necessary.
The Rendering Process When you are ready to render, you need to choose render quality settings for your sequence and decide which segments you want to render. Controlling Render Quality By default, render files are created at full quality, but you can speed up rendering by choosing lower-quality options in the Render Control tab of the Sequence Settings window. For more information, see “Changing Render Settings” on page 912.
X Rendering Segments in a Sequence Final Cut Express has three render submenus—Render Selection, Render All, and Render Only—that allow you to customize which segments of your sequences are rendered. Which render command you use depends on the scope of the rendering operation you want to perform.
To render a section of a sequence: 1 Do one of the following: Â In the Timeline, select one or more clips or transitions. Â In the Timeline or Canvas, set In and Out points for the area that you want to render. In and Out points for the section to be rendered 2 If necessary, choose Sequence > Settings, click the Render Control tab, then choose quality settings for rendered effects and select which effects are and are not rendered.
X Render All The commands in the Render All submenu render all the clips in a sequence corresponding to the selected render categories, regardless of what you have selected in the Timeline. Â Both: Renders both the video and audio of the sequence. Â Video: Renders all of the video items in the sequence. Â Audio: Renders all of the audio items in the sequence. You can restrict which segments are rendered by only selecting particular render status categories.
Rendering Audio Items in a Sequence The following commands allow you to render audio items when required for real-time playback. Audio filter rendering and sample rate conversion occur at the same time. To render individual audio items: 1 Select one or more clips with transitions and filters in the Timeline. 2 Choose Sequence > Render Selection > Audio. To render all audio items: 1 Select or open a sequence in the Timeline. 2 Choose Sequence > Render All > Audio.
X Using the Mixdown Command Sometimes, you may have so many audio items edited into a sequence or so many filters applied that rendering the items in your sequence doesn’t ensure real-time playback. In this case, use the Mixdown command in the Render Only submenu of the Sequence menu to render all audio in a sequence prior to playback or output to tape. To mix down audio in a sequence: 1 Select a sequence in the Timeline.
Temporarily Disabling Rendering Normally, Final Cut Express attempts to calculate all the effects applied to the frame at the current playhead position. Sometimes, especially with effects-intensive sequences, you will want to disable these calculations temporarily while you make changes to edits in a sequence or to the settings of a motion effect or filter. When rendering is disabled, all clips that require rendering (indicated by red render bars in the Timeline) do not appear in the Viewer or Canvas.
X Automatic Rendering While You Are Away from Your Computer The Auto Render option allows you to take advantage of idle computer time when you’re not editing—such as during a coffee break or lunch—to render open sequences in the Timeline. To change Auto Render settings: m Choose Final Cut Express > User Preferences, then click the General tab.
Changing Render Settings Each sequence has render options you can change in the Render Control tab of the Sequence Settings window. This tab allows you to choose the video quality and frame rate of rendered files. You can decrease rendering time by reducing image quality and frame rate. These settings are also available in the Render Control tab of the User Preferences window. In the User Preferences window, these settings determine the default render settings for newly created sequences.
X Render Settings The Render Control tab provides the following render settings: Â Frame Rate: You can use this pop-up menu to reduce the frame rate of rendered effects, dramatically speeding up rendering at the expense of lowering playback quality. For example, if you’re editing at 29.97 fps and you choose 50% from the Frame Rate pop-up menu, rendered effects in your sequence will play back at 15 fps.
Managing Your Render Files Rendering produces render files that are actual media files stored on your hard disk, the same as your captured media. Video and audio render files are saved to the disks you specify in the Scratch Disks tab of the System Settings window. For more information, see Chapter 62, “Choosing Settings and Preferences,” on page 969. When you’re working on multiple projects or a highly complex project, render files can accumulate very quickly.
X Preserving Render Files When you make changes to effects, composited media, and other edits that have already been rendered, the render file for the affected item is no longer valid. Â If the project has been saved since the render file was created: The render file is deleted when whichever of the following happens later: Â The project is saved again. Â The change falls off the “Undo queue” (the series of changes that can be reversed with the Undo command in the Edit menu).
Tips for Avoiding Unnecessary Rendering and Reducing Render Time Here are some suggestions to avoid rendering: Â Edit the majority of your project using cuts only; add only transitions, effects, or filters that can play back in real time or that are absolutely necessary in making decisions about your first cut. Avoiding unnecessary effects and time-consuming rendering can help you focus on your program’s overall pacing and structure.
X Here are some tips for reducing the amount of time it takes to render your sequence: Â Lower the frame rate and resolution of rendered effects in the Render Control tab of the Sequence Settings window. This lowers the playback quality of those effects but allows them to render substantially faster. Â Disable certain render-intensive effects in your sequence, including filters, frame blending, and motion blur.
58 Working with Mixed-Format Sequences 58 Final Cut Express allows you to mix formats in the Timeline so you can combine and play back footage with different codecs, frame rates, and image dimensions in a single sequence. This chapter covers the following: Â About Mixed-Format Sequences (p. 919) Â Determining Whether Clips in a Sequence Will Play Back in Real Time (p. 920) Â Working with Mixed-Format Sequences (p. 922) Â Combining SD and HD Video (p. 928) Â Rendering Mixed-Format Sequences (p.
Terminology for Discussing Mixed-Format Sequences The following definitions provide some shorthand for discussing the behavior of sequences containing mixed formats:  Format: The defining characteristics of a video media file—image size, frame rate, and codec  Native sequence: A sequence containing clips whose media files match the sequence format  Mixed-format sequence: A sequence containing clips whose media files don’t match the sequence format  Nonmatching clip: A clip whose media file format doesn’
X Formats That Support Real-Time Playback For a list of formats supported by the Final Cut Express real-time processing engine, check the list of Easy Setups included with Final Cut Express. Formats That Don’t Support Real-Time Playback Media with codecs, frame rates, or image dimensions not supported by the real-time processing engine in Final Cut Express, such as MPEG-4 or H.264 media, must be rendered before it will play back.
Working with Mixed-Format Sequences This section describes timesaving features for working with mixed-format sequences and discusses how Final Cut Express handles settings that don’t match, such as image dimensions, field dominance, and frame rate. Conforming Sequence Settings to Match a Clip’s Settings Although Final Cut Express can play back mixed-format sequences, you should still try to match clip and sequence settings so that less rendering is required before output.
X To automatically conform sequence settings to the settings of the first clip added to the sequence: 1 Choose File > New > Sequence (or press Command-N) to create a new sequence. 2 Double-click the new sequence to open it in the Timeline. 3 Select a clip whose settings do not match those of the sequence, then drag it to the sequence. A dialog appears asking if you want to conform your sequence settings to the clip settings.
When Are Clips Automatically Conformed to a Sequence? Most of the time, Final Cut Express automatically conforms clips when you edit them into a sequence. This makes it simple to mix video with different resolutions, aspect ratios, and field dominances.
X If a clip’s media file frame rate is faster than the sequence frame rate: Final Cut Express drops frames of the clip’s media file as necessary to create the appearance of playback at the sequence frame rate. Because frames are skipped, you won’t always be able to trim these clips with frame accuracy. In those cases, you may want to open the original clip in the Viewer to set a specific In or Out point before editing the clip into the sequence.
Combining Interlaced Footage with Different Field Dominances Field dominance determines the order in which fields are scanned on an interlaced monitor (such as an NTSC or PAL). If a format uses Upper (Odd) field dominance, the first field scanned (called field 1) is made up of the odd lines in the video frame. Lower (Even) field dominance scans the even lines first.
X Mixing Interlaced and Progressive Footage The scanning method of a clip or sequence is determined by its field dominance setting. There are three possible field dominance settings that determine clip and sequence scanning methods. Scanning method Field dominance setting Progressive None Interlaced Upper (Odd) Lower (Even) Interlaced clips added to a progressive sequence are deinterlaced during playback. Progressive clips added to an interlaced sequence are interlaced during export or output.
Adding Filters and Motion Effects to Mixed-Format Sequences You can add filters to nonmatching clips and adjust their motion parameters just as you would in a native sequence. With the exception of different real-time processing demands required by nonmatching clips, working with effects in a mixed-format sequence is essentially the same as working with native sequence clips.
X Letterboxing 16:9 Video in a 4:3 Frame To preserve the aspect ratio of widescreen movies on a 4:3 screen, widescreen movies are scaled until the width fits within the 4:3 frame. The remaining space at the top and bottom of the 4:3 frame is left empty and is usually black. If a film or video was shot to be exclusively viewed in a widescreen venue, this technique is usually the best approach for downconversion.
Cropping 16:9 Video to 4:3 If you keep both 16:9 and 4:3 aspect ratios in mind during the shoot, making sure important action stays within the 4:3 center of the 16:9 frame, you can choose to crop your entire clip within a 4:3 frame. This method allows you to fill the whole 4:3 screen with some portion (usually the center) of your 16:9 image.
X Pan and Scan The pan and scan method crops 16:9 clips within a 4:3 frame, but each clip can be uniquely cropped to focus on a particular portion of the frame. The pan and scan method does not necessarily refer to panning during the transfer, but rather the fact that each frame may be cropped differently. 16:9 to 4:3 pan and scan To crop and move a 16:9 clip within a 4:3 sequence: 1 Follow the instructions for scaling a 16:9 clip within a 4:3 sequence in “Cropping 16:9 Video to 4:3” on page 930.
16:9 Anamorphic You can use this method to preserve the 16:9 aspect ratio of HD video when scaling down to SD video. 16:9 anamorphic video squeezes a 16:9 image within a 4:3 aspect ratio, and the image is stretched during playback so it appears normally. Some DVD players and video monitors have an option to unsqueeze anamorphic video. 16:9 to16:9 anamorphic 16:9 16:9 anamorphic (4:3) To squeeze a 16:9 clip within a 16:9 anamorphic sequence: 1 Create a sequence with a 16:9 anamorphic aspect ratio.
X Upconverting SD Video Upconverting a 4:3 aspect ratio image to a 16:9 frame results in borders (or side panels) on the left and right sides of the 4:3 image. This type of frame is sometimes referred to as pillarboxed. If the aspect ratios of the original and destination formats match (for example, 720 x 480 anamorphic footage upconverted to 1920 x 1080), you can simply scale the original video to the destination size.
Part XI: Project Management and Settings XI Final Cut Express features project management tools that help you keep track of your footage. You can also customize Final Cut Express for the particular needs of your project and editing environment.
59 Backing Up and Restoring Projects 59 Routine backups are a critical part of the editing process. If necessary, you can go back to earlier versions of a project. This chapter covers the following: Â Backing Up and Restoring Projects (p. 937) Â Archiving Completed Projects (p. 941) Backing Up and Restoring Projects Final Cut Express has several methods for backing up, reverting, and restoring projects.
Using the Autosave Feature Autosave routinely saves copies of your project while you work. If something goes wrong with the current version of your project, you can restore an autosaved version to quickly pick up where you left off. By default, autosave files are stored in the following location: /Users/username/Documents/Final Cut Express Documents/Autosave Vault/ To turn on autosave: 1 Choose Final Cut Express > User Preferences, then click the General tab. 2 Select the Autosave Vault checkbox.
XI If you have more than one hard disk, you can routinely save your normal project file on one disk and specify an Autosave Vault folder on the other disk. This way, if you have trouble with one hard disk, you will still have project files on the other. Warning: The Autosave Vault folder is not locked. If you inadvertently delete this folder from the Finder, Final Cut Express automatically re-creates it. However, any autosave files in the deleted folder cannot be re-created.
Restoring Autosaved Projects If you’re working on your project and decide you want to go back to an earlier autosaved version, you can use the Restore Project command. Restore Project allows you to choose from all of the available autosaved versions of the currently active project, based on the time and date they were created. For example, suppose your client saw the newest cut of a project and didn’t like it.
XI Opening a Project File After Your Computer Is Unexpectedly Shut Down If your computer is abruptly shut down, you can open the most recently autosaved project file after you restart your computer. In this situation, you have several options: Â Open the project file and restore the latest autosaved version. Â Open the latest autosaved version of the project directly from the Finder.
Depending on the duration of your original footage, the captured media files that you used for your project are not necessarily worth archiving long-term, simply because they are extraneous copies of your original videotapes. Also, backing up to inexpensive formats, such as DVD-R, can be fairly time consuming. As long as you archive your project file and you have the original videotapes available to recapture clips from, your project is sufficiently archived.
60 Working with Master and Affiliate Clips 60 Master-affiliate clip relationships make it easy to manage multiple uses of media files in your project. This chapter covers the following: Â Using Master and Affiliate Clips (p. 943) Â Moving Clips Between Projects (p. 951) Using Master and Affiliate Clips As you edit, you may generate many copies of the same clip. For example, you may use different segments of the same clip multiple times in one sequence.
Master-affiliate clip relationships help you to:  Keep track of which clips in your project use the same media  Perform media management operations on one, some, or all affiliated clips  Trace your steps from an affiliate clip in a sequence back to the unmodified master clip Note: If you need to, you can break the relationship between affiliate clips and master clips, turning the affiliate clips into independent clips.
XI Because there is only one Name property shared between a master clip and its affiliates, you can change this property either from the master clip or from any of the affiliate clips. Regardless of where you change the Name property, all of the affiliate clips reflect the change simultaneously. Although master clips share most clip properties with their affiliate clips, there are a few properties that affiliate clips do not share. Most of these properties are for editing, trimming, or compositing.
Implicit and Explicit Master Clips Suppose you have a sequence that contains a lot of copies of the same clip. All of these clips are affiliate clips with a single master clip in the Browser. If you delete the master clip in the Browser, your project still contains the master clip information even though the master clip can no longer explicitly be seen in the Browser. This means that the affiliate clips still share their properties, which are stored in the implicit (now invisible) master clip.
XI Finding a Clip’s Master Clip Using the Reveal Master Clip command, you can identify the master clip of any clip in your project. To find a clip’s master clip: 1 In the Browser or Timeline, select an affiliate clip. If the Timeline is active but no clip is selected, the clip at the position of the playhead acts as the selected clip. 2 Choose View > Reveal Master Clip. The master clip is automatically selected in the Browser.
To create a master clip from an affiliate clip in the Browser, do one of the following: m Select an affiliate clip in the Browser, then choose Modify > Make Master Clip. m Control-click an affiliate clip in the Browser, then choose Make Master Clip from the shortcut menu. The selected clip becomes a master clip. To create a master clip from an affiliate or independent clip in the Timeline: 1 Press Option while dragging a clip from the Timeline into the Browser, then press Command.
XI Changing Independent Clips to Affiliate Clips If you have a sequence of independent clips, you can create new master clips for them in the Browser. This turns each independent clip into a clip affiliated with its new master clip. (If you imported a project from Final Cut Express 3 or earlier, all the clips in your project are independent.) To create a master clip from an independent clip in a sequence: m Drag a clip from the sequence to the Browser to create a copy of it.
When Can Independent Clips Become Affiliated with Existing Master Clips? For an independent clip to become affiliated with a preexisting master clip when using the Create Master Clips command, the following criteria must be met: Â The master clip must contain all tracks that are used by the independent clip. Â The master clip must contain all of the frames used by the independent clip. Essentially, all media used by the independent clip must exist in the master clip.
XI Moving Clips Between Projects For certain workflows, you may need to create multiple projects and move clips between the projects. In Final Cut Express, you can move a clip by dragging it from one project tab to another or by copying and pasting the clip. When you move or copy a clip from one project (called the source project) to another (the destination project), Final Cut Express checks to see if the destination project contains a matching master clip.
Resolving Property Differences Between Matching Clips Suppose you are editing a project and you send a copy to an assistant editor to work on a particular sequence. While editing, the editor modifies the Master Comment 1 property of several clips in the sequence. When you get the project back, you drag the newer sequence into your project and Final Cut Express determines the following: Â The clips in the source (newer) sequence match master clips in the destination (original) project.
XI A fourth option, described below, allows you to apply the option you choose to all clips added to your project. Use Properties from the Clip You Are Adding This option replaces a master clip’s properties in the project with the newly added clip’s properties, and the two clips become affiliated. Use Properties from the Existing Clip in This Project This option ignores the added clip’s properties and leaves the destination master clip’s properties unchanged. The two clips become affiliated.
Using the Copy Master Clip Dialog The options in the Copy Master Clip dialog determine the relationship between new clips added to a project and existing clips. To use the Copy Master Clip dialog: 1 Create two Final Cut Express projects (in this example, the projects are called Source and Destination). 2 In the Source project, import a media file and name the resulting clip Test. 3 Select the clip and then choose Edit > Copy. 4 Click the Destination project tab, then choose Edit > Paste.
61 Reconnecting Clips and Offline Media 61 Whenever a clip’s media file is modified outside of Final Cut Express, the connection between the clip and the media file breaks. You can easily reconnect clips and media files whenever you need to. This chapter covers the following: Â Finding Your Media Files After Capture (p. 955) Â About the Connections Between Clips and Media Files (p. 958) Â How the Connection Between Clips and Media Files Can Be Broken (p. 959) Â Reconnecting Clips to Media Files (p.
Where Are Captured Media Files Stored? To determine where your media files are stored, you should first check the Scratch Disks tab of the System Settings window. In the Scratch Disks tab, the folder with the Video Capture column selected is the folder that Final Cut Express captures media to. However, Final Cut Express does not store media files directly in that folder.
XI Revealing a Clip’s Media File in the Finder The fastest way to find a media file is to use the corresponding clip in the Browser. To reveal a clip’s media file in the Finder: 1 Select a clip in the Browser or Timeline. 2 Do one of the following: Â Choose View > Reveal in Finder. Â Control-click the clip, then choose Reveal in Finder from the shortcut menu.
6 Switch back to the Finder and move the media file to the folder where you want to keep all the media files associated with your project. 7 Drag the media file from its new folder in the Finder to the Browser in Final Cut Express. You now have the same clip as before, but it points to its media file in the proper location. If your clip has comments and notes that you don’t want to lose by deleting the clip, you can ignore the step where you delete the clip from the Browser.
XI How the Connection Between Clips and Media Files Can Be Broken There are several reasons the connection between the clips in your project and your media files on disk can break, causing the corresponding clips in your project to go offline: Â You modified your media files in any way that changes the modification date in the Finder. Â You moved your media files to another folder. Â You renamed your media files. Â You deleted your media files on disk.
About the Reconnect Files Dialog The Reconnect Files dialog has the following features: Click these buttons to filter which types of clips are displayed in the Files To Connect list. Displays all clips selected to be reconnected. Choose a directory and select this checkbox to limit your media file search to a single directory. Click to remove the currently highlighted clip from the Files To Connect area. Click this to tell Final Cut Express to search the specified locations for a clip’s media file.
XI Search Locations Area This area allows you to choose which folders are searched when Final Cut Express looks for media files. Â Skip File: Click this button to remove the current clip highlighted in the Files to Reconnect list. When this clip is removed, the next clip in the list is highlighted for reconnection. Â Search Single Location checkbox: When you select this option, only the directory path in the Search Single Location pop-up menu is searched, as well as any subfolders of that directory path.
Search Order and Speed in the Reconnect Files Dialog Final Cut Express searches folders in the order they appear in the Search Folders pop-up menu. To make searching for media files efficient, Final Cut Express searches designated folders before searching entire volumes. This way, if a media file is located in a specified search folder, Final Cut Express never has to perform a more time-consuming search through an entire volume.
XI Using the Reconnect Files Dialog The Reconnect Files dialog has many options, depending on the types of clips you are reconnecting and the number of volumes and folders you want to search for missing media files. The task below suggests one possible workflow. To use the Reconnect Files dialog: 1 Select the clips you want to reconnect.
Select the file. Deselect this option when reconnecting a media file whose name has changed. Choose an option to limit which kinds of files you are allowed to select. Select this option so that additional clips that need to be reconnected are automatically reconnected to media files in this folder. Several options can help you find your clip.
XI 7 When the correct media file is selected, click Choose to add the media file to the Files Located area in the Reconnect dialog. If certain attributes of the selected media file don’t match the clip you are reconnecting, the File Attribute Mismatch dialog appears.
When Final Cut Express Reconnects Your Clips In certain circumstances, Final Cut Express checks to make sure all of the media files that correspond to clips in your project have not been modified, and that none of the media files are missing. Final Cut Express checks for offline clips in the following situations: Â When you open a project file: If Final Cut Express detects missing media files that weren’t missing the last time you saved this project, the Offline Files window appears.
XI Information and Controls in the Offline Files Dialog The Offline Files dialog shows a summary of how many media files are missing, and what kind they are. Â Forget Files: When you select one or more types of media in this list, Final Cut Express removes (or “forgets”) the file path in each clip’s Source property. Once the Source property is empty, Final Cut Express no longer warns you that these clips are offline. Â Media Files: Select this checkbox to clear the Source property of each offline clip.
Reconnecting Media Files Automatically If you process your media files outside of Final Cut Express, Final Cut Express detects the change in the media file and any clips pointing to that file become offline. This can be inconvenient, especially when you are constantly modifying media files in another application. You can configure Final Cut Express to always reconnect modified media files in all circumstances.
62 Choosing Settings and Preferences 62 Final Cut Express has numerous settings and preferences that allow you to customize your system for particular video formats and editing styles. This chapter covers the following: Â Changing User Preferences (p. 969) Â Changing System Settings (p. 978) Changing User Preferences A preference modifies how a particular Final Cut Express feature behaves.
 General Tab (p. 970): Settings in this tab control a variety of features, such as warning dialogs during capture, the number of undos allowed, and Autosaving and Auto Rendering.  Editing Tab (p. 975): This tab contains preferences useful while editing, such as trimming and audio keyframing controls.  Timeline Options Tab (p. 977): These are the default display options used when a new sequence is created. This is where you can change the default number of video and audio tracks for new sequences.
XI Â Levels of Undo: Enter a value to specify the number of actions that can be undone. The maximum number of Undo levels you can specify is 32. The default is 10. For information on undoing an action, see Chapter 4, “Overview of the Final Cut Express Interface,” on page 55. Â List Recent Clips: This value determines how many clip names appear in the Recent Clips pop-up menu in the Viewer.
More About Audio Playback Quality Sample rate conversion occurs when you use clips with audio sample rates that differ from the sample rate in your sequence’s settings. If the sample rate of your media files matches the sample rate of the sequence, this pop-up menu has no effect. Transitions between rendered and nonrendered portions of audio clips are also affected by the quality setting chosen in the Audio Playback Quality pop-up menu.
XI Interface Options  Show Tooltips: Select this option to automatically display descriptions of interface elements and their corresponding keyboard shortcuts, called tooltips. Tooltips appear in small yellow boxes when you move the pointer over a control and pause briefly (without clicking the control). When you move the pointer away from the control, the tooltip disappears. The tooltip (interface element and keyboard shortcut) that appears when you place the pointer over the Play button in the Viewer.
Capture and Playback Options  Report dropped frames during playback: If you select this option, a message appears if any frames are dropped during playback from the Viewer, Canvas, and Timeline, or when outputting using Print to Video. When Final Cut Express drops frames, it is usually because there is a hardware or setup problem, such as scratch disks that are too slow compared to the media data rate.
XI Editing Tab The preferences in this tab affect editing behaviors in Final Cut Express. Default Timing Options  Still/Freeze Duration: This value determines the duration for imported graphics and freeze frames you create in Final Cut Express (when you choose Modify > Make Freeze Frame in the Canvas or Viewer). The default duration is 10 seconds. In and Out points are set around the middle of a clip, providing equal handles for trimming on either side of the clip.
 Preview Pre-roll: This value is used by the Play Around Current control and the Trim Edit window to determine how much time before the playhead should be played.  Preview Post-roll: This value is used by the Play Around Current control and the Trim Edit window to determine how much time after the playhead should be played. For more information, see Chapter 6, “Viewer Basics,” on page 79.
XI Visibility, Track Locking, and Audio Keyframe Options  Warn if visibility change deletes render file: Making an entire track invisible automatically deletes any render files associated with that track. Make sure you select this option to see a warning before this occurs. Note: As an alternative to hiding a track and losing its render files, you can make individual items invisible, which preserves these render files.
Locating and Deleting the Preferences File If you are having trouble with Final Cut Express, one common troubleshooting technique is to quit the application, delete the preferences file, and then relaunch. By default, preferences are stored in the following location: /Users/username/Library/Preferences/Final Cut Express User Data/ Final Cut Express N Preferences.fcset where N is the version number of the application.
XI Scratch Disks Tab You use the Scratch Disks tab to choose where you want to save captured video and audio media files and where to store the render, cache, and autosave files that Final Cut Express creates. You can also specify other settings related to the size of captured and exported files and the minimum available space allowed on scratch disks. You can specify a maximum of 12 scratch disks. For more information about scratch disks, see Chapter 11, “Connecting DV Video Equipment,” on page 147.
Search Folders Tab When reconnecting clips to media files, Final Cut Express uses the folders assigned in this tab to search for media. The folders listed here appear in the Search Folders pop-up menu in the Reconnect Files dialog, allowing you to limit your media search to specific media drives and folders. This is helpful when you have a large number of disks that contain footage for multiple projects, or when you are using a SAN (storage area network).
XI To remove a search folder: m Click Clear next to the search folder you want to remove from the list. Note: When a mounted volume is missing, Final Cut Express displays the message ”[Volume Name] is missing.” Memory & Cache Tab The settings in this tab affect memory usage in Final Cut Express. Memory Usage Use these fields to decide how much of the RAM available in your computer to use when running Final Cut Express.
Thumbnail Cache Settings The thumbnail cache stores the clip thumbnails displayed in the Timeline and the Browser. When you choose to display thumbnails, the thumbnail cache improves the responsiveness of the Timeline and Browser. There are two settings you can modify:  Disk  RAM Enter numbers in these fields to specify the sizes of the thumbnail caches.
XI In some cases, a clip’s Creator property determines what application will open it, such as LiveType clips. However, for generic media types such as audio and video, you can assign any application you want. For example, you could set Peak DV as your audio file editor so you could quickly make permanent changes directly to the source audio files on disk (such as using a noise reduction filter available in that application to clean up a particularly noisy clip).
Part XII: Output XII Learn how to output your completed movie to videotape or DVD, or export to any QuickTime-compatible video format.
63 Preparing to Output to Tape 63 Tape is still the most common means of acquisition, output, and transfer for professional projects. Final Cut Express allows you to output sequences or clips to tape at any phase of your project. This chapter covers the following: Â Output Requirements (p. 987) Â Methods for Output to Tape in Final Cut Express (p. 988) Â Setting Up Your Editing System to Output to Tape (p.
Methods for Output to Tape in Final Cut Express There are two main ways you can output your video from Final Cut Express to tape:  Print to Video  Recording to tape directly from the Timeline Print to Video In most cases, the Print to Video command doesn’t use device control, so it is useful when your deck can’t be controlled remotely (such as a VHS deck). You can’t specify timecode In and Out points for recording on the tape, so you can’t use this method for output to a precise location on your tape.
XII Recording to Tape Directly from the Timeline This method allows you to record whatever signal is currently playing on your editing system, regardless of the quality. Simply connect the video output of your computer (FireWire or third-party video interface) to a VTR or camcorder, enable external video monitoring in Final Cut Express, and press the record button. Whatever happens in the Timeline is recorded to tape.
Choosing Video and Audio Outputs Make sure that the A/V devices settings of your Easy Setup match the configuration of your external video and audio equipment. To view a summary of your Easy Setup: m Choose Edit > Easy Setup. Make sure the external video and audio settings in your Easy Setup match the way you configured your video equipment. This setting sends video out from the appropriate video output, whether it’s the FireWire port or a third-party video interface.
XII Selecting Render Settings The currently selected render quality is used to render any transitions, filters, or motion parameters in your edited sequence, as well as any added leader or trailer elements. For more information on render quality settings, see Chapter 57, “Rendering and Video Processing Settings,” on page 899. Note: Render settings can be adjusted in the Render Control tab of the current sequence.
64 Printing to Video and Output from the Timeline 64 You can output your sequence to videotape using the Print to Video command, or simply record from the Timeline. This chapter covers the following: Â Different Ways You Can Output Video from the Timeline (p. 993) Â Printing to Video (p. 994) Â Recording from the Timeline (p. 997) Â Outputting to VHS Tape (p.
Printing to Video The Print to Video command doesn’t allow you to set In or Out points on your tape. Instead, you manually press record whenever you want to begin recording on tape. This is considered a crash record. You can automatically add leader and trailer elements, such as color bars and tone, a countdown, a slate, and a black trailer, to your movie. You can also loop your movie as many times as you want, if you want to output your movie multiple times on the same tape.
XII Using the Print to Video Command Make sure you’ve read and followed the instructions in Chapter 63, “Preparing to Output to Tape,” on page 987 before you use the Print to Video command. Make sure everything is working properly before you start recording. To test playback: m Move the playhead to the position in the Timeline where you want output to begin, then press the Space bar to play back your clip or sequence.
4 Select elements you want to print along with your sequence or clip. In this section, select all of the options you want to add before the clip or sequence. In this section, select the media you want to print and choose looping options. Enter options to add a trailer at the end of the clip or sequence. All selected elements are sent to tape in the order listed. Make sure elements you don’t need are not selected. Some of these items may require rendering before you can start recording.
XII Recording from the Timeline The easiest way to output to tape is to enable external video output in Final Cut Express, play back your sequence in the Timeline, then press Record on your connected camcorder or deck. If you want to show black before and after your program, you have to add Slug generators to the beginning and end of your sequence, or move all the sequence clips to the right to leave a gap before the beginning of your sequence.
3 In the Timeline, move the playhead to where you want to start recording in your sequence. Move the playhead where you want to start recording. The first frame will be recorded immediately after you press Record on your camcorder or deck. To avoid an awkward freeze frame at the beginning of your sequence, you may want to move the playhead to an initial frame of black. 4 If you want to loop your sequence, choose View > Loop Playback so there’s a checkmark next to it.
XII Â Every Frame: Plays back every frame of the sequence, whether or not rendering is required. If there are transitions or effects in your sequence that haven’t been rendered, your sequence will not play back in real time, but every frame will be recorded on tape. Â Forward: Plays from the current position of the playhead forward to the end of the sequence in the Timeline. Â Reverse: Plays from the current position of the playhead back to the beginning of the sequence in the Timeline.
65 Learning About QuickTime 65 Final Cut Express uses QuickTime technology as a foundation for media file storage and as an import and export engine for opening multiple video, audio, and graphics file formats. This chapter covers the following: Â What Is QuickTime? (p. 1001) Â How Final Cut Express Uses QuickTime for Import, Export, and Capture (p.
The QuickTime Suite of Software Applications When someone mentions QuickTime, people often think of the free media player developed by Apple. However, QuickTime is much more than just that. QuickTime comprises a suite of applications that allow you to play, edit, and manipulate your media. The QuickTime software includes: Â QuickTime Player: Apple’s free easy-to-use application for playing, interacting with, or viewing video, audio, virtual reality (VR), or graphics files that are compatible with QuickTime.
XII How Is Information Stored in a QuickTime Movie? QuickTime movie files store media data in separate tracks. You create a QuickTime movie file by adding tracks that point to the media you want to use. The media may be embedded in the file itself or in a reference movie in another file. This track architecture is powerful and flexible, allowing you to store and synchronize multiple pieces of video and audio media in a single file. There are many types of tracks allowed in a QuickTime movie file.
The QuickTime framework supports codecs that are commonly used today as well as codecs that were once popular. When you go to export a QuickTime movie file, the long list of available codecs demonstrates how extensive QuickTime codec support is. At the same time, this list can be potentially daunting. Look for the codec you need and ignore the rest.
XII Â AIFF and WAVE: These are audio file formats that contain uncompressed audio data. Â DV: There are several DV codecs available for NTSC and PAL. A DV camcorder uses a DV codec to turn full-resolution image data into compressed media, which is then stored on tape. The raw data stream from tape can be captured to your hard disk in a file format called a DV stream.
Formats Supported by QuickTime QuickTime supports a lot of media formats and codecs, with many more coming all the time. Some examples of formats and codecs supported by QuickTime follow. Movie File Formats File formats are the overarching structure used to store data. Different movie file formats place video and audio media in different parts of the file, as well as the associated metadata. The most commonly used media file formats supported by QuickTime are described below.
XII Video Codecs Supported Within Video File Formats A video codec is an algorithm for encoding video images in space (within a frame) and time (across multiple frames) to compress the data requirements while still producing an acceptable image. Not all codecs are supported by all file formats. Uncompressed (None) This isn’t really a codec, but a way of storing QuickTime movies with no compression at all.
Apple M-JPEG There are two Apple M-JPEG codecs, M-JPEG A and M-JPEG B. These are variable data rate codecs similar to the ones used by video capture cards. If you need to deliver more heavily compressed material to keep files small, consider these codecs. M-JPEG is a “lossy” codec (meaning visual information is permanently removed from the video frames) and will result in artifacts in your video. The severity of these artifacts depends on the data rate you choose.
XII Graphics and Still-Image Formats  BMP: Standard bit-mapped graphics format used on Windows computers.  FlashPix: A format for storing digital images, especially digital photographs, developed by Eastman Kodak Company.  GIF: Graphic Interchange Format. A common bit-mapped graphics file format used on the web.  JPEG/JFIF: Joint Photographics Experts Group. A “lossy” compression file format used for images. JFIF is JPEG File Interchange Format.
Audio File Formats  AAC or .mp4: Advanced audio coding. This format is a continuation of the MP3 audio format, improving quality while reducing file size. This audio format is commonly used in MPEG-4 multimedia files, and can support features such as surround sound.  AIFF/AIFC: Audio Interchange File Format. An audio format for Macintosh computers commonly used for storing uncompressed, CD-quality sound (similar to WAVE files for Windows-based PCs).  Audio CD Data (.cdda): Compact Disc Digital Audio.
XII How Do You Export the Files You Need? There are two commands in Final Cut Express that you use to output QuickTime content. Â Export QuickTime Movie: This command allows you to export your Final Cut Express sequence as a QuickTime movie, choosing from available sequence presets and including markers for use in other applications (such as DVD Studio Pro).
The Export Using QuickTime Conversion Command Unlike the Export QuickTime Movie command, which only exports to a QuickTime movie file, the Export Using QuickTime Conversion command allows you to export to almost any file format QuickTime supports, using any video and audio codec supported by that format. Everything is customizable: image dimensions, frame rate, audio sample rate, video codec, audio codec, and so on.
66 Exporting QuickTime Movies 66 You can export your sequence to a QuickTime movie using any of the available sequence presets. Markers can also be included for use in other applications such as DVD Studio Pro and Soundtrack Pro. This chapter covers the following: Â About the Export QuickTime Movie Command (p. 1013) Â Choosing the Type of QuickTime Movie to Export (p. 1014) Â Exporting a QuickTime Movie File (p. 1015) Â Exporting QuickTime Movies with Markers (p.
Choosing the Type of QuickTime Movie to Export You can create two kinds of QuickTime movies with the Export QuickTime Movie command—a self-contained movie or a reference movie. Â Self-contained movie: A self-contained movie contains the video and audio media— all of the data used to create your movie is within a single file. This single file can be safely and easily copied to another computer without worrying that you need other files to play it back.
XII Exporting a Self-Contained Movie Without Recompressing the Media If you choose to export a self-contained movie, you have the option to not recompress the media in your clip or sequence. If you deselect the Recompress All Frames option and choose Current Settings from the Setting pop-up menu, Final Cut Express simply copies frames from existing media files into the new file with no recompression. This is a convenient way to export your media without subjecting it to recompression artifacts.
7 Choose a location and enter a name for the file. 8 Choose Audio and Video, Audio Only, or Video Only from the Include pop-up menu. Important: An audio track in a QuickTime movie file takes up disk space even if it is empty. If your QuickTime movie doesn’t need an audio track, choose Video Only. All audio that requires rendering is automatically rendered with a render quality of High, regardless of the render quality setting.
XII Exporting QuickTime Movies with Markers Final Cut Express can export the following marker types for use in other Apple applications: Â Chapter markers: Chapter markers allow easy access to index points throughout a DVD, QuickTime movie, or podcast. QuickTime Player can interpret any text track containing time stamps as a chapter track.
67 Exporting Using QuickTime Conversion 67 When you need to export video, audio, or still-image files for use in other applications, you can use the Export Using QuickTime Conversion command to export file formats supported by QuickTime. This chapter covers the following: Â About the Export Using QuickTime Conversion Command (p. 1019) Â Types of File Formats You Can Export with QuickTime (p. 1020) Â About Color Space Conversion (p. 1021) Â Exporting a QuickTime Movie File for Web Distribution (p.
What Is QuickTime and Why Do You Need to Know About It? QuickTime is Apple’s multiplatform, multimedia technology for handling video, sound, animation, graphics, text, interactivity, and music. For more information, see Chapter 65, “Learning About QuickTime,” on page 1001.
XII Still-Image File Formats and Image Sequences  Still-Image: This choice allows you to select one of many still-image file formats. See Chapter 69, “Exporting Still Images and Image Sequences,” on page 1049.  Image Sequence: This choice allows you to select a still-image file format and export each frame of your video as a separate file in the format you choose. See “Exporting Image Sequences” on page 1051. Audio File Formats  AIFF: This is the default audio format used on Macintosh computers.
To export a QuickTime movie file: 1 Choose Sequence > Settings, then click the Render Control tab. 2 Select the appropriate rendering options for the output quality you want. 3 Select a clip or sequence in the Browser or open a sequence in the Timeline. 4 Choose File > Export > Using QuickTime Conversion. 5 Choose a location and enter a name for the file. 6 Choose QuickTime Movie from the Format pop-up menu. 7 If you want, choose a preset compression setting from the Use pop-up menu.
XII 8 To customize video, audio, and Internet streaming settings, click Options. Click here to include video in your exported QuickTime file. Click here to include audio in your exported QuickTime file. Click here if your program is to be streamed on the Internet. Note: Unless you are creating movies for online distribution, turn off Internet streaming options for the best results. For detailed information on settings, see “Configuring QuickTime Movie Settings,” next.
QuickTime Movie Video Settings You can choose the following settings for the video track of your exported QuickTime movie. Â Settings: Click this to adjust the compression used to export your video track. Â Filter: Click this to add and adjust additional video filters. Â Size: Click here to set a size for the movie. Standard Video Compression Settings The Standard Video Compression Settings dialog appears when you click Settings in the Video area of the Movie Settings dialog.
XII Motion Area  Frame Rate: Define the frame rate of your exported movie. You should always match the frame rate of the clip or sequence you are exporting.  Key Frames: Key frames are available if your selected codec uses temporal compression. Most video frames in close proximity have a high percentage of visual redundancy. Compression key frames reduce data rate by only storing complete images at regular intervals or when abrupt visual shifts occur.
Data Rate Area  Data Rate: These options allow you to specify the data rate for your QuickTime video.  Automatic: The selected codec adjusts the data rate of your QuickTime video automatically.  Restrict to N kbits/sec: When available, you can use this field to set the number of kilobytes per second (KB/sec.) required to deliver your media file. This setting is useful if you have a specific bit rate (such as a DSL connection) or amount of space (on a DVD or CD ROM).
XII Filter Settings These options are available when you click Filter in the Video area of the Movie Settings dialog. QuickTime filters apply to your entire exported clip or sequence. This is different from applying a filter within Final Cut Express, where a filter is applied only to selected clips or parts of a clip. Adjust settings for the filter in this area. Click a disclosure triangle to see more filters. Select a filter in this list.
Depending on the option you choose, width and height fields may also appear. The following options are available in the Dimensions pop-up menu: Â Current: The current dimensions of your clip or sequence in the Viewer or Canvas, respectively. You should avoid this option in most cases because it’s difficult to set precise dimensions by scaling the Viewer or Canvas window. This option disables the “Preserve aspect ratio using” pop-up menu.
XII Preserve Aspect Ratio When the “Preserve aspect ratio using” checkbox is selected, the aspect ratio of your source movie is preserved by choosing one of three options. In the following examples, a 1280 x 720 (16:9) high definition sequence is shown scaled down to 320 x 240 (4:3). Important: These options do not take into account the effect of pixel aspect ratio when determining what aspect ratio to preserve.
 Fit within dimensions: Changes the shortest dimension of the exported movie (usually the height) so that the source sequence or clip fits within the exported movie dimensions when scaled. 16:9 within 320 x 180 (16:9) For example, if your sequence dimensions are 1280 x 720 (16:9) and the exported movie dimensions are 320 x 240 (4:3), the exported movie dimensions are changed to 320 x 180 (16:9) and the exported sequence is scaled to these dimensions.
XII Â Format: To reduce file size and download bandwidth, choose a codec to compress the audio tracks. If you’re outputting full-resolution audio, choose Linear PCM. Â Channels: Select Mono, Stereo (L R), or 2 Discrete Channels. If you’re delivering material for the Internet, you may want to choose Mono because it cuts your audio file size in half. Some formats support additional channel configurations.
 Linear PCM Settings: These options are only available when you choose Linear PCM from the Format pop-up menu.  Sample size: Choose a bit depth for your audio samples. For most situations, 16-bit audio is the minimum bit depth you should choose, but sometimes 8-bit audio is useful when creating small, low-quality movies for the web. If you choose 32-bit, you have the option of using integer or floating-point values. You can also choose 64-bit, but only if the Floating Point checkbox is selected.
XII If you choose Hinted Streaming, click Settings to specify additional export settings. Â Make Movie Self-Contained: Select this checkbox to export a QuickTime movie with all video, audio, and render material contained in one file. Leave this checkbox unselected to export a reference movie, which is a small movie that contains pointers to audio and render files located elsewhere. For more information, see “Choosing the Type of QuickTime Movie to Export” on page 1014.
To change the aperture display mode of a QuickTime movie: 1 Make sure a QuickTime Pro registration code is entered in the Register tab of the QuickTime pane in System Preferences. 2 Open a QuickTime movie in QuickTime Player. 3 Choose Window > Show Movie Properties. 4 In the Properties window, select the main movie track (not the video or sound tracks). 5 Click Presentation, then choose an aperture mode from the “Conform aperture to” pop-up menu.
XII In this mode, the video track is cropped to the Clean aperture mode and scaled according to the track’s pixel aspect ratio. For example, a 4:3 DV NTSC track appears as 640 x 480; a 16:9 DV NTSC track appears as 853 x 480. Clean: pixel aspect ratio correction applied and edges cropped Production Aperture Mode Content may appear differently than in QuickTime 7. The video track is not cropped to the Clean aperture mode, but it is scaled according to the pixel aspect ratio.
Encoded Pixels Aperture Mode Content typically appears the same as in Classic aperture mode. The video track is not cropped to the Clean aperture mode and is not scaled according to the pixel aspect ratio. The encoded dimensions of the image description are displayed. This option is typically used to preview rendering (where you want all pixels) in a professional application. A DV NTSC (4:3 or 16:9) track appears as 720 x 480.
XII To export a movie for use on an iPod, iPhone, or Apple TV device: 1 Select the project or sequence you want to export. 2 Choose File > Export > Using QuickTime Conversion. 3 In the dialog that appears, enter a name for the movie in the Save As field, and choose a file location from the Where pop-up menu. 4 Choose the device option you want from the Format menu: Â Â Â Â iPod iPhone iPhone (Cellular) (for .3gp format phone-sized video) Apple TV 5 Click Save.
6 To customize settings, click Options. Â DV Format: Choose a DV format here. Â Video Format: Choose the video standard, scan mode, and aspect ratio for the exported file. Â Audio Format: Choose your options. Â Locked: Conforms the audio tracks to the “locked audio” standard, in which the audio and video sample clocks are synchronized. Â Rate: Choose a sample rate for the exported file from this pop-up menu. 7 When you’re ready to export, click Save. A dialog shows you the progress of the export.
XII To export an AVI file: 1 Select a clip or sequence in the Browser, or open a sequence in the Timeline. 2 Choose File > Export > Using QuickTime Conversion. 3 Choose a location and enter a name for the file. 4 Choose AVI from the Format pop-up menu. 5 Choose a setting from the Use menu. Each setting in this list is a predefined group of codecs and settings. If your needs are more specific, skip ahead to step 6. 6 To customize settings, click Options.
8 Click Settings in the Video area to adjust the compression settings used for the video tracks. The video compression settings here are similar to the QuickTime movie file compression settings, although fewer codecs are supported. For more details, see Chapter 66, “Exporting QuickTime Movies,” on page 1013. 9 Click Settings in the Audio area to adjust the compression settings used for the audio tracks.
68 Exporting Sequences for DVD 68 Making a DVD of your movie is a great way to show and distribute it. Video DVDs contain high-quality media and can be played in most set-top DVD players, as well as most computers with DVD playback capability. This chapter covers the following: Â The DVD Creation Process (p. 1041) Â Adding Chapter and Compression Markers to Your Sequence (p. 1044) Â Using iDVD (p. 1047) Â Exporting a QuickTime Movie for DVD Use (p.
There are four phases to creating a DVD: Step 1: Create and edit your source material In addition to the main movie created in Final Cut Express, you can create still graphics or short movies for use as menu backgrounds. All edits, special effects, audio fades and mixes, and scene transitions must be created in Final Cut Express before exporting them for use in the DVD authoring application.
XII Here are some guidelines to help you maintain high quality: Â Capture and edit your video at the frame dimensions that you will use on the DVD (typically 720 x 480 at 29.97 fps for NTSC or 720 x 576 at 25 fps for PAL). DVDs also support anamorphic 16:9 video. For more information, see Appendix C, “Working with Anamorphic 16:9 Media,” on page 1095. Â When saving video material to a QuickTime movie file, you should use the native codec of your source material.
About Surround Sound Audio Surround sound audio usually consists of six independent audio channels: front left, front right, front center, rear left, rear right, and low-frequency effects (LFE, also known as the subwoofer). Mixing audio for use as surround sound is best left to specialized audio facilities that have the required equipment and experience. Nothing can ruin a movie quite like badly done surround sound audio.
XII More About Chapter Markers You can add chapter markers so that DVD authoring applications can create a navigable chapter list for your exported QuickTime movie. Chapter markers also appear in QuickTime Player as a chapter list for jumping to specific parts of the movie using a pop-up menu. A chapter marker is distinguished by the text appearing in the Comment field of its Edit Marker window. For details on adding and deleting markers, see Chapter 19, “Using Markers,” on page 261.
More About Compression and Edit/Cut Markers Compression markers identify areas of abrupt visual changes in video, such as a cut from a dark room to a bright, grassy plain. There are two kinds of compression markers: Â Compression markers: Also known as manual compression markers. These are markers you can manually add to a sequence to ensure a particular section of video is encoded using I-frames where you think they are necessary. Â Edit/cut markers: Also known as automatic compression markers.
XII Using iDVD iDVD only imports standard QuickTime movies as video sources. This means that if you intend to use iDVD as your DVD authoring application, you only need to export a QuickTime movie from Final Cut Express. iDVD automatically encodes the video and audio sources to be DVD-compliant. The video is encoded as MPEG-2 video at a quality controlled by a preference setting and the video length. The audio is encoded as an uncompressed AIFF file.
69 Exporting Still Images and Image Sequences 69 At many points during your project, you may need to export still images of your video for graphics, posters, the press, email, or the web. This chapter covers the following: Â Determining the Image Format for Still-Image Export (p. 1049) Â Exporting a Single Still Image (p. 1050) Â Exporting Image Sequences (p.
Exporting a Single Still Image Exporting a still image from Final Cut Express is easy. First, you create the still image and then export it to the graphics file format you need. To export a still image: 1 In the Canvas or Viewer, position the playhead at the frame you want to export. Move the playhead to the frame you want to export. 2 Choose File > Export > Using QuickTime Conversion. 3 Choose a location and enter a name for the file. 4 Choose Still Image from the Format pop-up menu.
XII 6 To select custom settings, click Options, and in the Export Image Sequence Settings dialog, choose your settings, then click OK. Custom settings allow you to choose any graphics file format supported by QuickTime. You can also make particular adjustments to the compression method or color depth. In most cases, the default values are fine, but if you need particular settings, you can adjust the settings here. Each graphics file format has a unique set of adjustable parameters. Choose a format.
4 Choose a location and enter a name for the file. Note: You may want to create a new folder for the sequence of numbered image files. 5 Choose Image Sequence from the Format pop-up menu. 6 Choose a setting from the Use pop-up menu. Choose an export setting from the pop-up menu. If none of the options you need are listed in the Use pop-up menu, see Step 7. 7 To select custom settings, click Options. 8 In the Export Image Sequence Settings dialog, choose your settings, then click OK.
XII 9 When you’re ready to export, click Save. A dialog shows you the progress of the export. To cancel your export, press Esc or click Cancel. Each file of the image sequence is named in the form of “Filename 001.ext,” where “Filename” is the name you gave, the number (001) is the number of the frame, and “.ext” is the filename extension indicating the format. A file is saved for each frame of video.
Part XIII: Appendixes XIII Find specific information on video formats, frame rate and timecode, and solutions to common user problems in this section.
Video Formats A Appendix A This appendix covers the following: Â Characteristics of Video Formats (p. 1057) Â Video Formats Supported by Final Cut Express (p. 1079) Â A Brief History of Film, Television, and Audio Formats (p. 1081) Characteristics of Video Formats All video formats achieve the same basic goal: they store black-and-white or color information as electronic lines that make up a video frame.
 Color sampling: For component digital formats, the ratio of color samples to black-and-white (or luma) samples (for example, 4:4:4, 4:2:2, and 4:1:1).  Sample rate: The number of samples per second of each video line. This is just like the sample rate for audio, except the signals sampled are video lines, where each sample represents light intensity instead of sound intensity.
XIII About File-Based Media Historically, video footage has been recorded on videotape. As digital acquisition quickly replaces analog technology, camcorders are starting to record footage as files on non-tape-based media such as hard disks, solid-state cards, and optical discs.
High Definition Video In the late 1990s, HD video formats were standardized in the United States by the Advanced Television Standards Committee (ATSC). These HD video formats are the next generation of broadcast and recording video formats. Unlike SD formats, which are restricted to fixed frame rates and numbers of lines per frame, HD video provides several options per format. While the increased flexibility is convenient, it also makes format interchange more complicated.
XIII The luma (black-and-white channel) and chroma (color channels) information can be recorded and transmitted several different ways in a video signal. Â RGB (Red, Green, Blue): This is the native format for most computer graphics and video files. This signal is also used inside traditional color CRTs, video cameras, flat-panel displays, and video projectors.
Aspect Ratio of the Video Frame The ratio of horizontal to vertical dimensions of a film or video frame is called the aspect ratio. Aspect ratio is independent of absolute image size or resolution. Standard definition 1.33:1 (4 x 3) High definition 1.78:1 (16 x 9) Standard cinema 1.85:1 Widescreen cinema 2.40:1 Aspect ratio can be expressed as absolute dimensions (4 x 3), a ratio (4:3), a fraction (4/3), or as the decimal equivalent of a ratio (1.33:1, or simply 1.33).
XIII Below is a list of commonly used aspect ratios, mostly from the film and television industry, plus a few others for comparison. Aspect ratio Medium 1.33 (4:3) Early 35 mm film and SD television 1.37 4-perforation 35 mm camera footage (prior to projection)— also known as “Academy” aspect ratio 1.66 (15:9) Standard European film; masked in projector 1.78 (16:9) HD television 1.85 Standard North American and UK film; masked in projector 2.40 (also referred to as 2.35 and 2.
Anamorphic Anamorphic techniques use special lenses or electronics to squeeze a widescreen image to fit in a narrower aspect ratio. During projection or playback, the squeezed image is stretched back to its original widescreen aspect ratio. 1.78 anamorphic 2.40 anamorphic 2.40 letterbox in 1.78 anamorphic 1.33 frame 1.33 frame 1.33 frame Anamorphic video can also be letterboxed. For example, 16:9 anamorphic DVDs may contain letterboxed 2.40 aspect ratio footage.
XIII Pixels (Samples) per Line In digital video formats, each line is sampled a number of times. In an attempt to create a single digital VTR that could digitize and record both NTSC and PAL signals, the ITU-R BT. 601 specification uses 720 samples per line for both NTSC and PAL video. Therefore, a digital NTSC video frame is 720 pixels x 486 lines, and a PAL video frame is 720 pixels x 576 lines. HD video with 1080 lines uses 1920 pixels per line (1920 x 1080).
Pixel Aspect Ratio A pixel usually refers to a physical picture element that emanates light on a video display. But a pixel is also a term for a sample of light intensity—a piece of data for storing luma or chroma values. When stored on tape or on hard disk, the intensity of a pixel has no inherent shape, height, or width; it is merely a data value. For example, one pixel may have a value of 255, while another may have a value of 150.
XIII These days, the biggest challenge comes when exchanging graphics between applications that use different pixel aspect ratios, or when using an application that does not support rectangular pixels with one that does. The key to a simple workflow is to use applications that can work at the native, non-square pixel image dimensions and compensate on the computer display.
Because the fields are changing at twice the frame rate, there is less perceived flicker than if each frame was scanned progressively. For example, with NTSC, a field of odd lines is scanned in 1/60 of a second and a field of even lines follows in the next 1/60 of a second, resulting in a complete frame every 1/30 of a second. Field 1 Field 2 Frame About Progressive Scanning Progressive scanning is much simpler than interlaced scanning: each line is scanned consecutively until a complete frame is drawn.
XIII About Field Dominance Field dominance is an issue when recording and playing back interlaced video material. With progressive video, there is only one way to play back a video frame: start at line 1 and scan until the end of the last line. With interlaced video, the video player must know whether to scan the odd lines first, or the even lines.
Color Recording Method The color recording method of a video format may be either RGB, Y´CBCR (component), Y/C (S-Video), or composite. The more discrete channels a format has, the higher the quality of the image, but the more data required to store and transmit that information.
XIII Color Sample Ratio Color sample ratio refers to the ratio of luma (Y´) samples to each color difference sample (CB and CR). For example, 4:2:2 color sampling means that for every four pixels of Y´ data stored, only two CR samples and two CB samples are stored. By reducing the number of chroma samples, less color detail is recorded and less bandwidth is required for storage and transmission.
Video signal bit depth is usually described per channel. For example, DV and DVCPRO HD use 8 bits per color component (in other words, 8 bits for Y´, 8 bits for CB, and 8 bits for CR). Other formats, such as D-5, use 10 bits per component. This provides 1024 possible gradations instead of 256, which means much more subtle variations in intensity can be recorded. In fact, 8-bit Y´CBCR video does not use all 256 codes to represent picture information. Black is stored as code 16 and white is code 235.
XIII Some simple methods of data compression are: Â Throw away pixels at regular intervals: This essentially scales the image, or makes it more blocky. Â Average several pixel values together (subsampling): This involves taking several adjacent pixel values and averaging them together, resulting in a single rectangular pixel that approximates the value of several. For more information, see “Pixel Aspect Ratio” on page 1066.
Lossy Codecs Most video codecs are necessarily lossy, because it is usually impractical to store and transmit uncompressed video signals. Even though most codecs lose some information in the video signal, the goal is to make this information loss visually imperceptible. When codec algorithms are developed, they are fine-tuned based on analyses of human vision and perception.
XIII Interframe Compression Instead of storing complete frames, temporal compression stores only what has changed from one frame to the next, which dramatically reduces the amount of data that needs to be stored while still achieving high-quality images.
GOP Length Longer GOP lengths encode video more efficiently by reducing the number of I-frames but are less desirable during short-duration effects such as fast transitions or quick camera pans. MPEG video may be classified as long-GOP or short-GOP. The term long-GOP refers to the fact that several P- and B-frames are used between I-frame intervals. At the other end of the spectrum, short-GOP MPEG is synonymous with I-frame–only MPEG.
XIII Open and Closed GOPs An open GOP allows the B-frames from one GOP to refer to an I- or P-frame in an adjacent GOP. Open GOPs are very efficient but cannot be used for features such as multiplexed multi-angle DVD video. A closed GOP format uses only self-contained GOPs that do not rely on frames outside the GOP. The same GOP pattern can produce different results when used with an open or closed GOP.
MPEG-1 MPEG-1 is the earliest format specification in the family of MPEG formats. Because of its low bit rate, MPEG-1 has been popular for online distribution and in formats such as Video CD (VCD). DVDs can also store MPEG-1 video, though MPEG-2 is more commonly used. Although the MPEG-1 standard actually allows high resolutions, almost all applications use NTSC- or PAL-compatible image dimensions at quarter resolution or lower. Common MPEG-1 formats include 320 x 240, 352 x 240 at 29.
XIII MPEG-2 supports the same audio layers as MPEG-1 but also includes support for multichannel audio. MPEG-2 Part 7 also supports a more efficient audio compression algorithm called Advanced Audio Coding, or AAC. MPEG-2 elementary stream files often have extensions such as .m2v and .m2a, for video and audio, respectively.
High Definition Video Formats For HD formats, you need an appropriate third-party capture interface and hard disks with sufficient speed and capacity. HD formats are often defined by their vertical resolutions (number of lines), scanning method (interlaced versus progressive), and frame or field rate. For example, 1080i60 HD video has 1080 lines per frame, uses interlaced scanning (indicated by the i), and scans 60 fields per second.
XIII Uncompressed High Definition Formats HD requires extremely high data rates (around 1.4 Gbps). There are no camcorder formats currently available for recording uncompressed HD video. High-capacity, general-purpose digital tape formats like D-6 can be used in combination with camera heads and digital telecine machines capable of outputting uncompressed RGB and component HD video data. High-speed disk arrays can also be used to record uncompressed HD video.
Year Event 1895 Lumière brothers demonstrate combination camera/projector (16 fps). 1918 First color motion picture appears. 1920 Commercial radio broadcasts begin. 1923 16 mm film is introduced. 1927 First major motion picture with sound is released (1.37 aspect ratio), ending the silent movie era. 1932 BBC begins official monochrome, 30-line video broadcast. 1934 RCA experiments with 343-line, 30 fps television format, removing flicker by introducing interlacing.
XIII Year Event 1968 The computer mouse is invented. 1970 3/4-inch U-Matic video format is introduced. 1970 Computer floppy disk is introduced. 1971 First permanent IMAX film system is installed. 1972 FCC establishes rules for cable TV. 1972 The first computer editing system, the CMX-300, is introduced. 1975 JVC introduces the Video Home System (VHS). 1977 First preassembled personal computer, the Apple II, is introduced.
Frame Rate and Timecode B Appendix B This appendix covers the following: Â What Is Frame Rate? (p. 1085) Â Understanding Flicker and Perceived Frame Rate (p. 1086) Â Frame Rate Limits: How Many Frames per Second Is Best? (p. 1087) Â Choosing a Frame Rate (p. 1088) Â What Is Timecode? (p. 1090) Â About Drop Frame and Non-Drop Frame Timecode (p. 1090) What Is Frame Rate? Think of a motion picture camera as a relentless still camera, taking many still photographs every second.
Because film cameras are relatively simple compared to video cameras, they allow shooting and playing back with a wide range of frame rates (although the standard projection speed is 24 fps). Video formats are much less flexible, partly because of their electronic complexity and partly because a television is designed to play video at only one frame rate.
XIII Early television systems used a different approach for the same result: increased flicker without increasing the necessary electronic bandwidth. Interlaced scanning fills a television frame with only half the video lines of a frame (this is known as a field), and then fills in the remaining lines (the other field). A field effectively fills the television screen with an image, even though it is only half-resolution, and it does so in half the time it would take to draw the full frame.
Recording Slow Frame Rates for Time-Lapse Photography Slow frame rates are used for time-lapse photography, in which a scene is recorded relatively slowly, perhaps one frame every second, hour, or day. This is useful when you are trying to capture gradually changing events, such as growing plants, the movement of clouds, or the rising and setting of the sun. When played back at standard frame rates, events occur rapidly on screen and otherwise undetectable patterns emerge.
XIII Some digital video formats actually support several frame rates within a single format, allowing variable frame rate video recording and film (24 fps) compatibility. Frame rate Media Description 24 Film; high definition video This is the universally accepted film frame rate. Movie theaters worldwide almost always use this frame rate. Many high definition formats can record and play back video at this rate, though 23.98 is usually chosen instead (see below). 23.98 (23.
What Is Timecode? Timecode is a signal recorded with your video that uniquely identifies every frame of your tape using a time stamp in hours, minutes, seconds, and frames. Timecode uses the following format: SMPTE timecode 01:32:15:28 Hours Minutes Seconds Frames Timecode was invented in the late 1960s so that computer video editing systems could automatically find specific frames on tape and record editing decisions that could then be performed over and over again.
XIII Drop frame timecode compensates for the fact that the NTSC format has a frame rate of 29.97 fps, which is .03 fps slower than the nearest whole number frame rate of 30 fps. Timecode can only be represented by whole numbers, so timecode numbers are periodically skipped in drop frame timecode. This way, the timecode number always matches the seconds and minutes of video that have played. NTSC can use either drop frame or non-drop frame timecode.
Now, instead of using a five-letter code to uniquely tag each frame, consider using an address code in the format 00:00:00:00. Remember that these numbers don’t reflect time; they are simply unique identifiers. The first frame of NTSC video will be labeled 00:00:00:00. The 29th frame will be labeled 00:00:00:29 and the 30th frame will be labeled 00:00:01:00. Again, just because a frame is labeled 00:00:01:00 does not mean that one second has passed.
XIII If you edit an hour-long program on NTSC video, the 30 fps timecode will indicate the last frame of the program is frame 108,000, labeled as timecode 01:00:00:00 (non-drop frame). However, the table above shows that because the video actually runs at 29.97 fps (each frame is slightly longer than if it were running at 30 fps), one hour has actually passed at frame 107,892 (3.6 seconds earlier than the 30 fps timecode shows).
Working with Anamorphic 16:9 Media C Appendix C This appendix covers the following: Â About Anamorphic 16:9 Media (p. 1095) Â Recording Anamorphic Video (p. 1099) Â Capturing Anamorphic Media (p. 1100) Â Viewing and Editing Anamorphic Media (p. 1100) Â Rendering Items That Contain Anamorphic Media (p. 1102) Â Exporting Anamorphic Video to a QuickTime Movie (p. 1103) About Anamorphic 16:9 Media In Final Cut Express, you can capture, edit, and export anamorphic 16:9 media.
Video can also be recorded anamorphically. For example, using a standard definition NTSC camcorder, the recorded video frame is still 720 x 480 pixels, but the active area of the 16:9 frame is vertically stretched to fill all 480 lines. This picture is slightly distorted after being stretched vertically. The advantage of this is that producers can shoot widescreen material using inexpensive equipment.
XIII About Letterboxing When 16:9 video is displayed on a standard definition 4:3 monitor, you’ll see black bars at the top and bottom of the picture. The result is known as letterboxing. This picture is letterboxed. If the original, unmodified 16:9 anamorphic image has 480 active lines (NTSC DV, for example), then the letterboxed version of this image will only be 360 lines tall, comprising 75 percent of the total viewable area of the monitor.
Why Shoot 16:9 Video? There are three main reasons to shoot 16:9, or anamorphic, video. Achieve a Cinematic Look Even if you end up letterboxing your output for standard definition televisions, viewers tend to associate the widescreen look with a cinematic feel. Using the widescreen format also allows videomakers more room for creativity in their shot composition.
XIII Recording Anamorphic Video Anamorphic video can be acquired in one of three ways: Â Using an anamorphic lens: An anamorphic lens is a wide angle lens that optically distorts the 16:9 image to fit into a 4:3 frame before sending it into your camcorder’s CCD (charge-coupled device). Because this is done optically, the result is clean and clear and takes advantage of the full resolution of the DV frame. This method is recommended by some for users looking for the best possible quality.
Capturing Anamorphic Media When you capture video, Final Cut Express uses the settings in the currently selected Easy Setup. If your footage was shot anamorphically, you can select an anamorphic Easy Setup. If you used the 16:9 Wide button on your camcorder when recording video: You typically don’t need to worry about the Anamorphic option in the capture preset. Some cameras can embed metadata regarding the selected aspect ratio directly in the video signal.
XIII Specifying Sequence Settings for Anamorphic Media When you use anamorphic media in a sequence, the Anamorphic option needs to be enabled in its sequence settings so the media can be viewed properly. To make sure the Anamorphic option is turned on when you create a sequence: m Choose an anamorphic Easy Setup, then create a sequence. This should be done before adding any 16:9 clips to a 16:9 sequence.
The Anamorphic column in the Browser also lets you select this option for clips and sequences. A checkmark in this column denotes anamorphic media. Rendering Items That Contain Anamorphic Media There are several things to keep in mind before you render sequences that contain anamorphic 16:9 media: Â When adding anamorphic 16:9 clips to an anamorphic 16:9 sequence, no rendering is necessary.
XIII Outputting Anamorphic Video to Tape When outputting an edited sequence to tape using anamorphic video, you have two choices, depending on what kind of equipment you want to play back from: Â Output as is, with the video appearing squeezed on a 4:3 monitor: This is the preferable option if you’re planning on playing back your video on hardware that will compensate for the proper aspect ratio, or if you’re planning on transferring to film.
7 In the Compression Settings window, choose a codec from the Compression Type pop-up menu. If you are making a movie for web distribution, choose a codec such as Sorenson, MPEG-4 video, or H.264. 8 Customize the compression settings as necessary, depending on the file size and quality you want, then click OK. 9 In the Movie settings window, click Size. 10 Select Use custom size, then enter horizontal and vertical dimensions with a 16:9 aspect ratio.
Solving Common Problems D Appendix D This appendix covers the following: Â Resources for Solving Problems (p. 1105) Â Solutions to Common Problems (p. 1106) Â Contacting AppleCare Support (p. 1111) Resources for Solving Problems If you run into problems while working with Final Cut Express, there are several resources you can use to find a solution. Â This appendix: This appendix includes information about some of the most frequent issues users encounter. Problems are grouped by category.
Solutions to Common Problems The following section describes common problems and solutions in Final Cut Express. Problems with Video Devices If you experience the following issues when working with video devices, try these solutions. Your camcorder or deck is not recognized. Â Make sure your device control cable or FireWire cable is properly connected and plugged in all the way. Â Verify that the camcorder is set to VCR mode.
XIII Your external NTSC or PAL monitor is displaying an orange frame with the message “Video card not supported for RT Effects, it may have insufficient video memory or be an unsupported type.” Â Make sure the monitor displaying the Viewer and Canvas is connected to a video graphics card that’s compatible with Final Cut Express. The audio is not in sync with the video, or you’re experiencing dropped frames in your video. Many audio sync issues stem from dropped frames on capture or output.
 Another source of dropped frames on capture or playback may be fragmented hard disks. In general, it’s preferable to capture to disks that are specifically reserved for video. To avoid fragmentation, you should avoid filling up your disks with numerous files unrelated to the projects you’re working on. If you’re editing a long project where some clips are captured, others are deleted, and then more are captured, and so on, even the cleanest storage volume may become fragmented.
XIII An error message appears during capture reporting a “Break in the Timecode.” Â When capturing clips for your program from source tapes that were shot in the field, or from old source tapes that have been played to the point of wearing the media, timecode breaks may appear, disrupting the computer’s ability to read a continuous stream of timecode.
You’re having problems playing a reference movie. Â If you encounter playback problems with a reference movie, export the media as a self-contained movie (which includes all its media files), and not as a QuickTime reference movie. To do this, make sure there is a checkmark in the Make Movie Self-Contained checkbox in the Export dialog. For more information, see “Exporting a QuickTime Movie File” on page 1015. Video does not play through to the computer screen.
XIII Other Issues If you experience the following issues, try these solutions. Final Cut Express seems to be working slowly. Â The amount of memory available to Final Cut Express can make a big difference in performance, especially with long projects. More RAM is also needed for software-based real-time effects and long projects. You may not have enough RAM allocated to Final Cut Express. This can be changed in the Memory & Cache tab of the System Settings window.
% of Blur setting 728 DV-25 format data rates 156 3D simulation transitions 550 3G format 1020 3GPP and 3GPP2 devices 1020 3-point editing. See three-point editing 4:3 monitors 1103 4:3 video 1098, 1100 16:9 button 1096 16:9 video. See anamorphic video 16:9 Wide button 1099, 1100 0 dB and 0 dBFS measurements 605 A A/V sync.
Alpha Type menu 831 ambience 456 amplified speakers 599 amplifiers 600 analog audio meters 604 analog-to-digital capture cards 165 analog video 37 anamorphic lens 1099, 1100 Anamorphic option for sequence settings 1101– 1102 Anamorphic property 1101 anamorphic video 798 advantages 1098 capturing 1095–1100 described 1095–1096 disadvantages 1096 editing 1100–1102 exporting to QuickTime 1103 recording 1099 rendering 1102, 1103 rescaling 1096 viewing 1100–1102 anchor items 432, 438, 440 anchor points 726 angles
Audio CD Data format 205 audio CD format 36, 212, 214, 1010 audio channels discrete audio 462 stereo pairs 124, 443, 462, 472–473 audio clips adding to sequences 303, 307 applying filters to 664–666 audio/video sync 429–433 average loudness 604 backtiming 324, 380, 383–384 boundaries 427 clip names 184 copying 68 copying and pasting 412–416 copying to other sequences 571, 572–575 currently-selected 388 cutting 423–425 deleting 68 described 40, 293 deselecting 394 displaying in Transition Editor 562 dragging
sample rate and bit depth 212 setup 148 speakers 599 for voiceover 638–641 audio files conversion 212–213 file formats 36 formats that can be imported 205 sample rates 212–213 audio filters 653–661 See also filters; specific filter names applying 664–666 applying multiple filters 665 Audio Units filters 673 categories 654–661 changing order of 667 compression filters 657 controls 663 copying/pasting between clips 665–666, 781 effects filters 660 enabling/disabling 667 equalization (EQ) filters 654–656 expan
render status 902 resizing in Timeline 346–348 ripple edits 498 roll edits 505 scrolling through 136 scrolling vertically through 349–351 selecting 390, 396–398, 402–404 selecting all clips on 396 selecting items forward or backward on 397 selection tools 396–398 separation 359 in sequences 298 Source controls 117 stereo pairs 444 in Timeline 118 voiceover 639, 642, 646 waveforms 468 working with regions 349–351 audio transitions adding 543 default 543 swapping 550 types of 538 Audio Units plug-ins 654, 673
renaming 69 searching 255–257 sorting 253–254 bit depth digital audio 594 imported audio files 212 imported graphics 796 imported video files 209 still images 1049 video formats 1058, 1071 bitmap files 1009 black black alpha channel 831 black, fading to or from 544 blacking tapes 203 Blacks slider 713, 714 Blue Screen filter 842 blurring drop shadows 727 around keyed subjects 848 Motion Blur parameter 728 BMP extension 206 BMP files 1009 boot disks 160 Box Slide transition 553 “Break in the Timecode” messag
illustrated 56 keyframed motion paths in 771–777 markers in 262–264 match frame operations 590 moving and resizing window 137 navigating in 103 opening sequences in 94, 299 overview 95–96 playing clips in 104–106 split edits in 446 switching to Timeline or Viewer 587 tabs 60, 94 Timeline and 113 two-up display in 565 “Unrendered” message 902 using timecode in 111–112 View pop-up menu 90, 101 wireframe handles 744–750 zoom controls 743–744 Zoom pop-up menu 101 Canvas Edit Overlay 580 Capture Bin button 179 C
arranging in storyboard 310–311, 354–355 attributes 779–782 audio.
in Timeline 304 title clips 874 trimming 401, 510–517, 564–567 types of 293–295 undoing changes in 63, 306 unused 258 varying speeds 107–108 video.
viewing or changing a clip’s 814 composite recording method 1070 composite video signals 1061 compositing Chroma Keyer filter and 842 composite modes 807, 812–825 described 807 examples 731–741 Photoshop files and 826 strategies 807–812 using external editing applications 826 compositing modes Add 816 Lighten 823 Normal 816 Overlay 820 Screen 819 compressed high definition tape formats 1080 compression artifacts 1046 audio 1031 audio filters 657 keying quality and 840 overview 1072–1074 quality and 1007, 10
D D-5 HD 36 D-5 HD format 1080 D-9 format 1080 D-9 HD format 1080 Data Rate option 1026 data rates comparison chart 1081 scratch disks 972 data transfer rates 156 DAT devices 212 dates in filenames 51 DAT format 36 dBFS units 604 DCT encoding 1074 “dead” rooms 601 decibels 606–610 decks.
dragging files to Timeline 208 dragging items clips in Timeline 407 “gearing down” 410 Option-dragging 412 sequences 301 drag hand 356, 460, 466, 559 drag-to-Timeline editing adding tracks 358–359 described 307 overview 353–355 drives.
asymmetrical edits 497, 498–501 audio/video sync 441–443 audio in Timeline 468–471 audio in Viewer 461–462, 466–467 audio waveform displays and 457 backtiming clips 380, 383 in Canvas 361–363 changing simple edits to split edits 448 clip properties 295 clips into sequences 380–381 clips with transitions 549 controls in Canvas 96–97 copying clips from other sequences 572–575 cut edits 423 drag-to-Timeline editing 307, 353–359 editorial process 32 edit points 99 extend edits 515–516 fit to fill edits 364, 786
QuickTime movies 1011–1012, 1013–1016, 1019– 1033 QuickTime movies for Apple devices 1036–1037 QuickTime movies for iDVD 1047 reference movies 1014 sequences 1046 sequences as QuickTime movies 1015–1016 sequences for DVD 1041 still images 1049–1051 Export QuickTime Movie command 1011, 1013– 1016 Export Using QuickTime Conversion command 213, 1011, 1012, 1019–1021, 1050, 1051 exposure 694 extend edits 515–516 external editing applications 826 clearing 983 opening a clip in 982 specifying 983 External Editors
Filters tab 84, 683–685, 703 Final 606 Final Cut Express basic interface 55–56 customizing interface 137–144 editing system components 147 formats supported 1079–1081 generators 872–874 memory allocated to 1111 performance 1111 projects 39–47 Support ID 1111 workflow 30–33 Find All command 257, 258 Find command 257, 258, 399 Finder (Mac OS X) reconnecting files and 966 finding items in Browser 257–260 commands for 257 gaps in sequences 420–422 media files 296 offline clips 963 options 255–257 in sequences 3
G gain adjusting frequency ranges 656 reducing 658 voiceover 643 gaps 420–422 closing with ripple edits 418 creating with lift edits 417–418 editing clips into 382–383 matching In and Out points 327 Garbage Matte filters alpha channels and 678 Eight-Point Garbage Matte filter 854 example of using 854–857 Four-Point Garbage Matte filter 854 irregular cropping and 852 keyframing 856 unkeyable elements and 843 “gearing down” 410, 510 general preferences 289 General tab 289, 970 generator clips adding to a sequ
outputting to tape 239 HDV camcorders 234 HDV devices connecting to computer 236–237 HDV formats about 1074, 1080 Final Cut Express support 234 specifications 240–242 HD video about 1080–1081 anamorphic video and 1098 compressed formats 1080 data rates 1081 data transfer rates 156 downconverting 928–932 Final Cut Express support 36 formats 1060 frame rates 1089 pixel shape 796 stills from 804 headphones 602, 644 heads of clips 540 heat buildup 159, 163 help onscreen help 25 tooltips 58 help features 1105 hi
setting 87, 95, 100, 317–318, 320–329 slipping 332 split edits 445–450 split In and Out points 329 three-point editing 361, 380 timecode settings 318 transitions and 546 trim edits 507, 510–513, 524 incoming clips 508, 524, 530, 560 independent clips 68, 208, 283, 588, 590 creating 948 In points.
adjusting 613, 671, 758 animating motion effects with 751–767 audio filters 670–672 audio levels and 977 Bezier handles and 767–771, 775, 777 clip keyframes 121 clip parameters and 753–767 clip settings 624–625 color correction and 705 controlling pan 625, 633–635 controls 669, 705, 754–762 creating 622 curved keyframes 777 deleting 622, 627, 672, 759, 774 described 723, 751, 752–753 determining number to use 753–754 eliminating clicks 630 examples of using 763–767 Garbage Matte filters and 856–857 generato
linking items audio channel pairs 443–444 breaking links 435 in Timeline 434–435 video and audio items 434–435 links broken 959 between clips and source media 959 list view 70, 71–73 LiveType freeze frame of project 792 using with Final Cut Express 878 LiveType titles 877 Load option 1027 Locked option 1038 locked tracks 344, 421, 510 Lock Track control 118, 344, 421, 510 Log and Transfer window 222–232 logarithmic sliders 686 logging clips entering descriptions and information 179 logging process capturing
Soft Edges filter 858 Mask Shape filter 678, 858 Master Clip property 946 master clips 68, 678 affiliate clips and 947 copied clips and 575 creating 945, 949–950 creating from pasted sequences 301 described 294 duplicating 946 editing 945 identifying 946 independent clips and 950 locating 947 properties 297 sequence clips and 588–590 Source property 946 subclips and 277, 280 master shots 701 Match Color indicator 715 match cuts (matching on action) 502 Match Frame button 87 match frame operations opening me
Mono tabs 462 More option for searches 256 Motion freeze frame of project 792 motion bars 390 Motion Blur rendering 916 smoothing slow motion 790 Motion Blur parameter 725, 728 motion-camera techniques 791 motion control cameras 803 motion effects 84 animating with keyframes 751–767 controls 726–728 copying 780 creating in Canvas 741–750 described 723 examples of using 731–741, 748–750 keyframe controls 754 motion parameters 724–728 settings 724–726, 731–741, 748–750 speed 785–790 still images 803–806 Motio
with timecode values 131 in Timeline 116–121, 130–136 in Viewer 103–109 near-field monitors 602 nested sequences avoiding 579–583 creating 577 described 295, 301, 571 duration changes 577 opening 516 preserving render files 915 pros and cons 576 New Bin button 179 New Project command 45 Next Frame button 528 noise gates 658 Noise generator 866 noise reduction filters 659–660 Non-Additive Dissolve transition 551 noncontiguous clips 394 nondestructive editing 35 nondestructive filters 654 non-drop frame timec
described 90 displaying 393, 469 ends of clips 316 level overlays 458, 617 pan overlays 458, 621 oversaturation 718 overwrite edits 96 avoiding nested sequences 581 as default 363 described 364 keyboard shortcuts 363 performing 355–357, 368–369 in sequences 574 in Timeline 355 overwrite with transition edits 97, 363, 364, 370– 371, 541 P Packet Duration Limit option 1033 packets 1033 Packet Size Limit option 1033 Page Peel transition 551 PAL format 798, 1059 described 37 fps 1085 frame rates 1089 PAL monit
playback disabling clips 833 dropped frames and 974 keyboard controls 84, 97 looping 110, 668, 998 options 998 playing clips in reverse 789, 790 problems during 1106–1110 quality 90 real-time effects settings 886–888 render bars 884 reverse playback 104 settings 982 speed 785–790 stopping 104 testing 995 voiceover controls 641 Playback Control tab 886, 982 playback settings 990 Playback Video Quality option 891 Play Base Layer Only feature 890 Play button 528 Play command 998 playhead in Canvas 95, 98–99 de
project files 292 projects adding bins to 246 archiving 941–942 autosaving open projects 289 backing up and restoring 291–293 changing properties of 291 closing 46, 47 components of 39–43 copying sequences between 300 creating 44 deleting items from 68 described 42 filenaming schemes 49–50, 184 missing files and 966 multiple open projects 290 opening 46 organizing 44, 245–252 project files 292 prompting for new settings 973 Redo command 63 redoing changes in 306 reopening after power failures 941 reopening
Random Edge Wipe transition 554 Range Selection tool 391, 395, 680 Rate option 1031, 1038 Ratio slider 658, 659 Razor Blade All tool 425 Razor Blade tool 424 readability of fonts 870 real-time audio filter adjustments 668 mixing 610, 895–897 real-time audio mixing 895, 971, 1107 Real-time Audio Mixing field 896 real-time effects 161 dynamic real-time playback 892 external video monitoring 892 identifying transitions and filters for 884 overview 881–886 playback settings 888–892 record settings 892 render ba
reference movies and 1014 render files.
S Safe RT mode 888, 892 sample rate conversion 972 sample rates 1031, 1038 conversion 212, 972 digital audio 594 DVD audio 1043 imported video 209 mismatched 1110 overview 212–213 sample rate conversion 903 sampling ratio 1071 video formats 1058, 1070 voiceover 643 samples per line in video frames 1065 SATA disks 161 saturation adjusting 714 Chroma Keyer filter 847 font color 876 oversaturation 718 saturation controls 713 Saturation slider 714 Save All command 45 Save Normally option 216 Save Project comman
Select Track Forward tool 392, 397, 421 Select Track tool 392, 396, 397 self-contained movies 216, 1014–1016, 1033 self-powered speakers 597, 600 sequence clips 126, 428, 678 described 293 duration 428 In and Out points 587 independent clips 588, 590 master clips for 588–590 match frame operations 589, 590 media files for 589 opening 462, 517, 586 sprocket holes 585 switching to Canvas or Timeline 587 in Viewer 585–588 Sequence Preset Editor 1011 sequence presets new sequences and 973 prompting for 289, 298
keyframing 754–762 memory and cache 981–982 motion 84, 724–741, 748–750 paste attributes 691 playback quality 982 QuickTime 1023–1033 QuickTime sound 1030–1031 QuickTime video 1023–1030 rendering 912–913 scratch disks 979 search paths 980 sequence presets 912–913 sequences 289, 301–302 System Settings window 978–983 thumbnail cache 982 Timeline 301–302 Timeline recording 998 transitions 562 Trim Edit window 526–530 video decks 989 video filters 683–685 Settings option 1024 setup in post-production process 3
source time 291 Space bar 104 in Trim Edit window 528 space on hard disks 177, 184 spaces in button bars 142 spacing, text 876 speakers amplified speakers 599 configuring 597 dynamic range 600 external 1107 frequency response 600 passive 600 placement 602 problems with 1107, 1110 quality 599 self-powered 600 volume settings 599 special characters in filenames 50 special effects 997 speed, processing rendering and 899 scratch disks and 888 Speed dialog 790 speed indicators 123 speed of clips clip duration an
stopping playback 104 storage disks.
hiding 72 poster frames 77 scrubbing through 73, 982 thumb tabs 119 TIFF format 206, 214, 1002, 1004, 1009, 1049 timecode 1090–1093 absolute and relative values 518 breaks 1109 clip duration and 318 compared to frame rates 1093 consumer mini-DV devices 991 Current Timecode field 178 described 1090 determining type of 1090 dragging values to other fields 112 drop frame timecode 1090–1093 duplicate timecode numbers 201–203 ending timecode 297 entering 63–64 format of 1090 In and Out point settings 318 incomin
speed indicators 123 static regions for tracks 349–351 switching to Canvas or Viewer 587 tabs 60 Track Height controls 348, 469 transitions in 539, 540, 547–549, 563, 563–564 transparency effects 809–811 trimming clips in 508, 514 unused area 119 working with Canvas and 115 zoom controls 120 zooming view of 120, 131–133, 465, 470 Timeline Options tab 127–128, 977 Time Mode pop-up menu 291 time scales in keyframe graphs 763 times in filenames 51 titles fitting on screen 871 LiveType 878 overview 869 text gen
overwrite with transition edits 370–371, 541 previewing 569 properties 562 rendering 568–569, 899, 916 replacing 550 reversing direction 561, 562 ripple edits 567 roll edits 566 in sequences 537–541 settings 562 Start/End percentages slider 561 swapping 550 Transition Editor 558, 563 trimming 564–567 transparency effects 809–812 masks 839 overlays 128 transport controls 177, 527, 534 in Canvas 84, 95, 97 in Capture window 178 in Viewer 82, 84, 97 trashing Preferences file 978 travel mattes 825 trim edits Se
uncompressed video 1007, 1074 Undo command 63, 289, 306, 971 Unlimited RT mode 916 unlinking linked items 435 “unrendered” message 902 unused clips 258 unused media 256 Up button in Capture Bin controls 179 Update button for markers 181 updating software 26 used media 256 User Preferences window 289, 969–978 V VCR mode 989 velocity handles 776, 777 Venetian Blind Wipe transition 554 ventilation 163 versions of projects, reopening 941 vertical ranges of clips 401 vertical scroll bars 119 VHS systems printin
manipulating in Canvas 741–742 markers 87, 100, 194, 262, 264, 266 master clips.
output requirements 987 output settings 989 outputting to 165 playback settings 990 printing to VHS 999 Print to Video operations 988, 993, 994–996 recording from Timeline 989 recording to 989–991, 993–999 television broadcast 165 types of 1058 write-protection tab 991 video tracks See also audio tracks, tracks adding 118 adding to sequences 358 applying filters to multiple tracks 783 compression 1040 described 336 destination tracks 339–342 disabling 118 disabling in clips 833–835 display size 129 dragging
W warnings.
