2

.

. ( )

.
.

Edit Mix Composite .

The Only limit is your creativity

System Preferences
Final Cut Pro

 Desktop & Screen Saver

Desktop
Change Picture

 Desktop & Screen Saver

Screen Saver
Never

 Dock

 Expose& Space
Expose
()

 Expose& Space
Space
Enable Spaces

 International

10

 Dipsplay
1024 x 768

11



Display

Arrangement
Mirror Extended

12

 Energy Saver
Never
Never

13

 Mouse

14

 Keyboard Shortcuts
( )

15

 Print & Fax

16


Final Cut Pro User Data
Final Cut Pro User Data

17

18


DV-PAL

Render

19

Capture Scratch

20

21

22

23

24

25


Timeline

Canvas

26

Canvas

Tools

Viewer

Browser

Timeline

Audio meters

27

Viewer
Canvas
Bench
Timeline
Audio Meters
Browser
Effects
Favorites
Export Queue

Arrange
1
2




Viewer - Canvas

28

Import Browser

29

30

 Browser

Browser Bin Clip
Bin Clip Clip

Browser
Bin1

Sequance

Clip

Clip

Clip

Bin2

Clip

Clip

Clip

Clip

Clip

Clip

Clip

Clip

Tab
Sequence
Bin
Audio and
video clips

31

 4 +
U +

32

A
V

Sequance

Bin

( )

Subclip

Marker

33

 Effect
5 +
U +

34

Sequence

35

Large icon view

Medium icon view

Small icon view

Scrub Video
tool
Clip

36



-1 Import File
-2 I +
-3 Browser Import File
-4 Browser

1
3

+I

37

Viewer
1 +
U +

Clip name and the project it's in

Duration Time

Current Time

Zoom Pop-Up
Menu

View Pop-Up
Menu
PlayHead
Sync Pop-up
Menu

Shuttle Control

Jog Control
Transport Control
Editing and Marking Control

Recent Clips
Pop_up Mneu

Generator
Pop_up Mneu

38

 Viewer
PlayHead

()O
()Option+O
()Option+Click

Clip

Clip

()O

Clip

()/

)M( Clip
)Ctr+K( Motion

Clip

()I
()Option+I
()Option+Click

Clip

()X

Frame Canvas

()F

()
Frame()/
()Space

()\+
()

39


Clip

PlayHead

01:32:15:28
Frame

Browser

TimeLine

PlayHead
PlayHead

Clip Browser Option Clip

40


()Ctr+I

()Ctr+O

()Opt+Command+I

()Opt+Command+O

Opt

Viewer
Opt+X

Slip Item

41

Motion
Motion

Clip

Clip
Clip
Clip

42

Time Remape

Frame

Frame

Time

Time

Frame

Frame

Time

Time

Frame

Frame

Frame

Time

Time
Frame

Time

43



Z +

44

 Viewer

Fit to window
Fit All

Timecode

1
2

45

Clip

46

 Clip Viewer
Clip Viewer
Clip

Frame Canvas Viewer
Clip Browser
MultiClip Browser
Cinema Tools

Viwer
Viwer
Viwer



Browser
Clip Browser

Luma
Channels Alpha
..


Clip
Multiclip

Playhead Viewer Canvas

Multiclip
Multiclip

Playhead





Multiclip

47




Clip
Clip


Frame Clip Browser
DV





Frame Clip Browser

48

Canvas
2 +
U +

Sequance Timeline Canvas
Clip Viwer Viewer Canvas
Sequance Canvas
Name of the currently selected
sequence and the project its in

Duration Time

Current Time

Zoom Pop-Up
Menu

View Pop-Up
Menu
PlayHead
Sync Pop-up
Menu

Shuttle Control

Jog Control
Transport Control
Edit buttons

49

Sequence
marking controls

 Pro Final Cut

7
Browser Canvas
in , Out Clip Browser in, Out Sequance
Canvas
Insert
Insert with Transition

Overwrite
Overwrite with Transition
Replace
Fit to Fill
Superimpose

Insert
Clip Playhead Clip
Track V1
Insert with Transition
Clip Playhead Clip
Transition
Track V1
Insert

Insert

Clip Insert

50

Overwrite
Clip Playhead Clip
Track V1
Overwrite with Transition
Clip Playhead Clip
Transition
Track V1

Insert

Insert

Clip Overwrite
Fit to Fill
Clip Viewer

Fit to Fill

Fit to Fill

Clip Fit to Fill

Clip

51

Superimpose
Clip Viewer Track Track Source Playhead

Superimpose

Superimpose

Clip Superimpose
Replace
Clip Clip Viewer

Replace

Replace

Clip Replace

52

 Clip

Insert
Overwrite

Overwrite with Transition

Insert with Transition

Replace

Fit to Fill

Superimpose

Insert
Clip
Track

Overwrite
Clip

Track

53

 Timeline
3 +
U +

Timeline Clips Sequance

Clip Playhead Timeline Playhead Canvas
Canvas Timeline
Canvas Timeline
Linking control
Snapping control
Playhead

Current Timecode field

Video track
Divider
Base tracks
Audio tracks

Audio Controls
Zoom slider

Clip Keyframes control

Zoom control
Track Layout menu

Clip Overlays control

Track Height control

Track
Canvas
Render

Timeline

Clip

54

Motion

 Timeline

Timeline
Timeline

55

 Source Destination
Clip Clip

Track

Auto Select
Track

Track

56

Mute Control
Solo Control

Render

TimeLine
Render
Render
Realtime
Render
Render
Render
Unlimeted Realtime
Realtime
Frame

Render

Clip

57

R + R +
Timeline
P +

58

 Clip

Frame

Frame

Backspace Clip
Delete Clip

59

Displaying the Timeline Keyframe Area

Video filter bar

(the upper
green bar)
Video motion
bar
(the lower blue
bar)
Keyframe
editor

Keyframe
editor column

Speed indicators

Timeline Speed Indicators

Normal Speed

Slow Speed

Fast Speed

60

Normal Speed

Reverse Speed

61


Log & Capture File
8 +

Sequance

62

Jog control

Go To Out

Forwoard Mark Out

Play around current

Shuttle control

Stop Play

Rewind
Play in to out

Clip out point timecode

Mark In

Go to In

Clip in point timecode

63

Logging

Log Bin Capture Bin

Reel CTRL

CTRL
Description Scene Shot/Take
Name
FCP
CTRL

Log Note CTRL

Markers

Log Clip F2 Clips offline Clip

logging bin
Clip Capture online Clip
logging bin
Now Capture

camcorder or deck Device Control Capture
camcorder or deck Device Control Capture

Batch Capture logged Clips Capture
Clips HardDisk

64

Clip Settings

Stereo

Mono

65

Capture Settings
FireWre PAL
Non Controllable Device

66


Sequance
QuickTime Movie Export File

67

68

69

Reconnect

Clip

70

71

Modify Menu

Clip Viewer
Subclip Clip

Frame
Clip Clip
Sequence
Clip TImeline

2Track

Label Clip Browser
Clip
Clip



Timecode
Clip
Clip Clip
Alpha
Alpha

73

Sequence Menu

Render
Render
Render
Sequence
Clip
Clip Clip

Clip
Clip Sequence
Playhead
Edit
Video Transition
Audio Transition
Transition
Edit
Tracks
Tracks

74

Effects Menu

Effect Favorite Effect

Clip






Clip






Motion
Motion

75

Basic Editing

Clip Edit Paste/attributes

76

Tool Palette

Tool Palette

Selection tool

Edit Selection
Group Selection
Range Selection

Track Selection tools

Roll Edit and Ripple Edit tools

Slip Item and Slide Item tools

Razor Blade tools

Zoom In, Zoom Out, Hand, and

Scrub Video tools

Razor Blade tools

Pen, Pen Delete, and Pen Smooth

tools

Select Track
Forward

Select All Tracks

Backward
Select
Track

Select Track
Backward
Select All Tracks
Forward

77

Ripple Edit
Tool

Roll Edit
Tool

Time Remap
Tool

Tool Palette
Clip

Clip Clip

Frame

Slide Item
Tool

Clip Clip

Slip Item
Tool

78

Tool Palette
Razor Blade
Tool

Razor Blade All

Tool

Zoom In Tool
Zoom Out Tool
Hand Tool
Scrub Tool

Crop Tool
Distort Tool

Pen Tool
Delete Point Tool
Smooth Point Tool

Clip

Clips

Clip

Clip
Clip

79

)Exporting Edit Decision List (EDLs

Sequence Online
Text Shot

erorr

80

How to Create a Better EDL

1-Before You Capture Video
Calibrate your timecode.
Organize source tapes with unique reel names.
003b 003a

CMX 340
1-3 characters
Numbers only up to 253
CMX 3600
8 characters
Uppercase letters; numbers 0-9
GVG 4 Plus
6 characters
Uppercase letters; numbers 0-9
Sony 5000
1-3 characters
Numbers only up to 998
Sony 9100
6 characters
Uppercase letters; numbers 0-9; underscore
(_)
2- After You Capture, Set the Default Timecode Tracks for Your Clips
GVG 4 Plus Sony 9100 9999 CMX 340 CMX 3600 Sony 5000 999 Edit
Edit Edit EDL FCP

3- While Youre Editing
I-Keep Track of the Number of Edits
II-Dont Put Transitions in Tracks Other Than V1
V2 V1 Transitions
III-Join Through Edits
Edits
IV-Keep Track of Duplicate Frames

V-Keep Track of the Number of Audio Tracks You Use
Audio Tracks
EDL format
Number of audio tracks
CMX 340
2
CMX 3600
4
Sony 5000
2
Sony 9100
4
GVG 4 Plus
4
VI-Dont Rely on Audio Mix Levels
time line Audio overlays Audio mix levels
VII-Avoid Nested Sequences
Nested Sequance V1 V2 FCP
VIII-Avoid Nonstandard Video Transitions
primarily the cross dissolve and various wipes EDL 43Transitions FCP
IV-Be Careful Using Still Frames and Speed Settings
50% Speed
57%

81

How to Create a Better EDL

To export a sequence as an EDL:
1 Select a sequence in the Browser or open the sequence in the Timeline.
2 Choose File>Export>EDL.

EDL Title:

EDL 60 77

Format:

Sorting

Clips Master, Audio Merged Source, Au

dio Merged
Audio

Target Video Track Only:

Omit Transitions:

Transitions Sequance Clips EDL

Transitios Online

Reel conflicts:

B-Reel Edits Clips Transitions EDL

Pre-read Edits Transitions

Generic Edits FCP

EDL Notes:

Master:

Start Time Timecode Sequance

Drop Frame Drop Frame

Audio Mapping:

Audio track Track EDL

B-Reel Edits Transitions 2clips
EDL B-Reel Edits
Eroor Option EDL

82

Importing Edit Decision Lists (EDLs)

EDL

filters motion effects any composited video tracks above the first two tracks any audio tracks above
the first four tracks non-SMPTE standard video transitions
Choose File>Import>EDL

FCP RTF

Select Preset:

Present

Import For:

Non Quick time stander nonliner Liner Recapture

Clips
EDL Sequance HardDisk Reconnect
Not Enough Media Quick Time
Custom
handle size, drop frame timecode, and unique clip names
Untiteled Sony 5000 Brewser Sequence EDL
Recapturing Clips From an Imported EDL
Clips Offline Sequance EDL HardDisk
batch capture the clips Sequance Recaptureing

83

Working With Clips and the Viewer

Working With Sequences

Sequences Clips Clip
Sequences Clip Sequance Sequence Clip
Sequence Sequence QuickTime
Sequence

Sequence

Sequence Ctr Sequance Setting

Sequence Clip

Frame

Frame

84

Basic Comositing

Basic Comositing
Adjusting Opacity Levels of Clips

Motion
Timeline Clip The opacity overlay

Composite Modes and opacity

Normal

Clip

Add

=
Subtract

+
85

Basic Comositing

Difference

=
Multiply

=
Screen

=
Overlay

86

Basic Comositing

Hard Light

=
Soft Light

=
Darken

=
Lighten

+
87

Basic Comositing

Travel Matt - Alpha or Luma

88


Analog

Composite video

Analog

768 x 576i @ 50
640 x 480i @ 59.94

S-Video

Analog

768 x 576i @ 50
640 x 480i @ 59.94

Component video

Analog

19201080 @ 60

XLR

Analog

89

Digital

Up to 3 Gbit/s

Digital

Serial Digital
Interface
)SDI(

2560 x 1600 @ 75

Digital

High-Definition
Multimedia
)Interface (HDMI

Up to 800 Mbit/s

Digital

Firewire 800
IEEE 1394

Up to 400 Mbit/s

Digital

Firewire 400
IEEE 1394

Up to 480 Mbit/s

Digital

USB 2.0

Up to 12 Mbit/s

Digital

USB 1.0

90

VHS

DVCAM

Betacam

91

Analog tape formats

1 inch Type B video tape (Bosch)

1 inch Type C videotape (Ampex and Sony)
2 inch Quadruplex videotape (Ampex)
Ampex
Betacam
Betacam SP
Betamax (Sony)
S-VHS (JVC)
U-matic (Sony)
VCR, VCR-LP, SVR
VERA (BBC experimental format ca. 1958)
VHS (JVC)
VHS-C (JVC)
Video 2000 (Philips)

Digital tape formats

Betacam IMX (Sony)

D-VHS (JVC)
D-Theater
D1 (Sony)
D2 (Sony)
D3
D5 HD
Digital Betacam (Sony)
Digital8 (Sony)
DV
HDV
ProHD (JVC)
MicroMV
MiniDV

92

USB Firewire

93

Supported File Formats

Uncompressed data rates for capture and playback

The data rates for uncompressed video are quite high, and listed below are minimum recommended

disk requirements for uncompressed standard definition and high definition video.
Uncompressed 10 bit YUV (4:2:2)
Standard Definition
Frame Size

MB per second

MB per minute

GB per hour

720x486/29.97fps

27

1 600

94

720x576/25fps

26

1 582

93

1280x720p/60fps

141

8 438

494

1920x1080/24PsF

127

7 594

445

1920x1080/50i

132

7 910

463

1920x1080/60i

158

9 482

556

211

12 656

742

11 391

667

High Definition

Uncompressed 10 bit RGB (4:4:4)

High Definition
1280x720p/60fps

1920x1080/24PsF
190
Data
Rates and Storage Devices

The
data rate of the video you capture
of the source video and695
1920x1080/50i
198 depends on the format
11 865
the codec you use for capture. If you are capturing low data rate video, chances are you
1920x1080/60i
237
14 238
834
can use more inexpensive storage devices. If you need to capture extremely high data
rate to
video,
maywhen
needcalculating
a faster hard
disk.
Here
arerequired
some examples
datasystem,
rates for
Due
diskyou
seeks,
the
data
rates
for yourofdisk
it is a good idea

common
capture
formats:
to add a safety margin due to fluctuations in disk speed. Disk speeds can be increased by adding
more disks.
Format

Typical data rate

Serial
ATA
(SATA)
disks
can reduce
to half their
speed
as they become full, so in a 2-disk SATA array
OfflineRT
(using
Photo
JPEG)
Varies between
300 and
500 KB/sec.
you should aim for a 100% safety margin. In an 8-disk SATA array, a 30% safety margin should be
25:1 Motion JPEG (M-JPEG)
1 MB/sec.
adequate. SCSI disk arrays seem to display less fluctuation and so a 20% safety margin should be
DV (25)
3.6 MB/sec.
adequate
for an 8-disk SCSI array.
Generally the more disks in the array, the better.
HDV (1080i)

Note: Although other vendors and third parties may provide different data rates for uncompressed
DVCPRO 50
7.2 MB/sec.
video, the above recommendations are tested for use with Multibridge.
DVCPRO HD (1080i60)
DVCPRO HD 720p60)

11.75 MB/sec.

DVCPRO HD (720p24)

5 MB/sec.

Using
for JPEG
Capture
and Playback
2:1 Motion
(M-JPEG)
12 MB/sec.
Uncompressed SD video

24 MB/sec.

Uncompressed 8-bit
1080 29.97i HD video

121.5 MB/sec.

Uncompressed
10-bit
182.3 MB/sec.
Video
Format
Audio Format
1080 29.97i HD video
3GP
ACC
Whatever disk drive technology you decide to use, your storage disks sustained
Windows
Media Player (.asf, .wma, .wmv)
Aiff
transfer speed must be fast enough to keep up with the data rate. Depending on the
data rate of the video youre capturing, a single drive may or mayMP3
not be enough.
AVI
DivX
Mediaif Format
(.divx)
For example,
you plan to
capture uncompressed SD video at 24 megabytes per
secondVideo
(MB/sec.),
its unlikely that a single hard disk will be able to record the data fast
Flash
(.flv)
enough. Even if you somehow successfully get the data on disk, Final Cut Pro may drop
MPEG
frames during playback or output.
Quicktime (.mov, .qt)
VOB+IFO

94

MPEG

95


Fram rate
Pal 25 fps - NTSC 29.7 fps
Interlacing
)Progressive (p


)Interlace (i

. Tow interlaced fields of video
, .
, )odd field (upper field (even field
(lower field

96

 Display resolution
( Pixel) ( )Analog

97

 Aspect ratio
, .
)SD( Standard Definition

4:3
1.33 : 1

( High Definition (HD

16 : 9
1.78 : 1

CinemaScope Anamorphic-lens system

2.35 : 1

2.35 : 1

98

NTSC square vs. non-square pixels example

Looks right
on a video monitor

Looks wrong
on a computer monitor

Color space and bits per

pixel
and the Canvas let you display non-square pixel

display. You can choose this option
by
choosing
YUV
Pal

The Viewer
vid
computers
Sh

the Zoom pop-up menu in both
windows.

.
- Luminance ( Y ( ,
Pixel Aspect Ratios in HD VideoChrominance ( C ( ,
, R - Y = U ,
Uncompressed HD video transferred
via
an
HD-SDI
signal

. B - Y = Vhas p

either 1280 x 720 or 1920 x 1080. However,

HD,
video
recorded
o

DVCPRO
, HD, H
horizontally compressed to reduce
the
data
rate.
.

three examples of formats whose native horizontal dimensions

example, 1080i60 DVCPRO HD is 1280 x 1080. 1080i50 DVCPRO
Because of the discrepancy in dimensions even within a single

to create HD graphics at either
1920 x 1080 or 1280 x 720, depe
output format. If you are uncertain which HD format you plan t
always be safe by creating your graphics at the largest size pos
then scaling down if necessary.
DVCPRO
)NTSC and PAL(
NTSC DV - DVCAM

99

All versions of MPEG,

PAL DV - DVCAM
HDV

Digital Betacam
DVCPRO50-DVCPRO HD
ProRes 422

HD-DSI

100