Final Cut Pro 7 - Audio/Video Software APPLE - Free user manual and instructions

Product Type	Professional Video Editing Software
Version	7.0
Developer	Apple Inc.
Compatible Operating System	Mac OS X 10.5.7 (Leopard) or later
Minimum Processor	Intel Core 2 Duo or faster
Minimum RAM	2 GB (4 GB recommended)
Graphics Card	AGP or PCIe Quartz Extreme compatible card
Hard Disk Space	4 GB for installation, additional space for media
Main Functions	Timeline editing, multicam editing, color grading, audio editing, compositing, effects, transitions, title tools
Supported Video Formats	ProRes, DV, HDV, AVCHD, MPEG-2, H.264, QuickTime, RED, XDCAM, etc.
Supported Audio Formats	AIFF, WAV, MP3, AAC, AC-3, etc.
Export Options	QuickTime, Apple ProRes, MPEG-4, DVD, Blu-ray, and custom presets
Language Support	English, Japanese, French, German, Spanish, etc.
License Type	Commercial, single user
Updates	Discontinued; no further updates from Apple
Training Resources	Online tutorials, books, Apple Pro Training Series

Frequently Asked Questions - Final Cut Pro 7 APPLE

What are the system requirements for Final Cut Pro 7?

Final Cut Pro 7 requires an Intel Core 2 Duo processor or faster, 2 GB of RAM (4 GB recommended), a Quartz Extreme compatible graphics card, and Mac OS X 10.5.7 or later. At least 4 GB of free hard disk space is needed for installation.

Can I install Final Cut Pro 7 on macOS Catalina or later?

No, Final Cut Pro 7 is a 32-bit application and is not compatible with macOS Catalina (10.15) or later, which dropped 32-bit support. It runs on macOS Mojave (10.14) and earlier.

How do I export a video from Final Cut Pro 7?

Go to File > Export > QuickTime Movie. Choose your settings (e.g., Apple ProRes, H.264) and click Save. You can also use Share for presets or Compressor for advanced options.

Where can I find tutorials for Final Cut Pro 7?

Apple offers the Apple Pro Training Series book. Additionally, many online resources exist, including YouTube channels and forums like CreativeCOW. However, some tutorials may be outdated.

Does Final Cut Pro 7 support 4K video?

Yes, but with limitations. It can handle 4K footage if converted to ProRes, but real-time playback may be slow on older hardware. It is not optimized for modern 4K workflows.

How do I fix crashes in Final Cut Pro 7?

Common fixes include: clearing render files, trashing preferences (go to ~/Library/Preferences/com.apple.FinalCutPro.plist), and repairing disk permissions. Ensure you are using compatible codecs.

Can I use Final Cut Pro 7 on Windows?

No, Final Cut Pro 7 is exclusively for Mac. It does not run natively on Windows. However, you can use virtualization software like VMware with macOS guest, but performance may be poor.

What is the difference between Final Cut Pro 7 and Final Cut Pro X?

Final Cut Pro X is a complete rewrite with a magnetic timeline, background rendering, and 64-bit support. It is not backward compatible with FCP 7 projects. FCP 7 is a traditional track-based editor.

How do I add transitions in Final Cut Pro 7?

Drag a transition from the Effects tab onto the edit point between two clips. You can adjust duration and alignment in the Viewer or Timeline. Common transitions include Cross Dissolve, Ripple, and Wipe.

Is Final Cut Pro 7 still available for purchase?

No, Apple discontinued Final Cut Pro 7 and it is no longer sold. It may be available from third-party resellers or used copies. For modern needs, consider Final Cut Pro X.

USER MANUAL Final Cut Pro 7 APPLE

Copyright © 2010 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 Studio 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.

The Apple logo is a trademark of Apple Inc., registered in the U.S. and other countries. Use of the "keyboard" Apple logo (Shift-Option-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws.

Every effort has been made to ensure that the information in this manual is accurate. Apple is not responsible for printing or clerical errors.

Note: Because Apple frequently releases new versions and updates to its system software, applications, and Internet sites, images shown in this manual may be slightly different from what you see on your screen.

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Contents

Welcome to Final Cut Pro27Preface

About Final Cut Pro27

About the Final Cut Pro Documentation28

Additional Resources 28

Chapter 1

29 About the Post-Production Workflow

The Industry Workflow 29

The Post-Production Workflow 30

Chapter 2

35 Video Formats and Timecode

35 About Nonlinear and Nondestructive Editing

Video Formats Compatible with Final Cut Pro 35

Audio Formats Compatible with Final Cut Pro 37

Video Format Basics 37

About Timecode 39

Chapter 3

41 Understanding Projects, Clips, and Sequences

41 The Building Blocks of Projects

45 Working with Projects

48 About the Connection Between Clips and Media Files

50 Filenaming Considerations

Chapter 4

53 Overview of the Final Cut Pro Interface

53 Basics of Working in the Final Cut Pro Interface

55 Using Keyboard Shortcuts, Buttons, and Shortcut Menus

57 Customizing the Interface

62 Undoing and Redoing Changes

63 Entering Timecode for Navigation Purposes

Browser Basics 65 Chapter 5

65 How You Use the Browser

66 Learning About the Browser

67 Working in the Browser

71 Using Columns in the Browser

73 Customizing the Browser Display

Viewer Basics 85 Chapter 6

85 How You Can Use the Viewer

86 Opening a Clip in the Viewer

87 Learning About the Viewer Tabs in the Viewer 90

92 Transport Controls in the Viewer

93 Playhead Controls in the Viewer

95 Marking Controls in the Viewer

96 Zoom and View Pop-Up Menus in the Viewer

99 Playhead Sync Pop-Up Menu

100 Recent Clips and Generator Pop-Up Menus

103 Canvas Basics

103 How You Use the Canvas

104 Opening, Selecting, and Closing Sequences in the Canvas

105 Learning About the Canvas

107 Editing Controls in the Canvas

109 Transport Controls in the Canvas

110 Playhead Controls in the Canvas

112 Marking Controls in the Canvas

113 Zoom and View Pop-Up Menus in the Canvas

113 Playhead Sync Pop-Up Menu in the Canvas

Navigating 5 Chapter Using Timecode in the Viewer and Canvas

115 Navigating in the Viewer and Canvas

121 Working with Timecode in the Viewer and Canvas

127 Timeline 9 Basics

127 How You Use the Timeline

129 Opening and Closing Sequences in the Timeline

130 Learning About the Timeline

141 Changing Timeline Display Options

149 Navigating in the Timeline

151 Zooming and Scrolling in the Timeline

150 Customizing the Interface

157 Changing Browser and Timeline Text Size; Moving and Resizing Final Cut Pro Windows

159 Using Window Layouts

162 Ways to Customize Keyboard Shortcuts

171 Working with Shortcut Buttons and Button Bars

Connecting DV Video Equipment 177 Chapter 11

Components of a Basic Final Cut Pro Editing System 177

Setting Up a Final Cut Pro Editing System 178

Connecting Your Camcorder 179

Opening Final Cut Pro and Choosing Your Initial Settings 179

Confirming Remote Device Control Between Final Cut Pro and Your DV Device 184

About FireWire 185

Connecting Professional Video and Audio Equipment 187 Chapter 12

Components of a Professional Final Cut Pro Editing System 187

191 About Video Interfaces, Signals, and Connectors

197 Connecting Professional Video Devices

202 Audio Interfaces

206 Audio Connectors and Signal Formats

212 Connecting Professional Audio Devices

215 Connecting Remote Device Control

218 Connecting Euphonix Control Surfaces

219 Configuring Euphonix Control Surfaces

221 Hard Disk Storage Options

221 Working with Scratch Disks and Hard Disk Drives

221 Data Rates and Storage Devices

223 Determining How Much Space You Need

225 Choosing a Hard Disk

226 Types of Hard Disk Drives

23 Chapter Video Monitoring

233 Using an External Video Monitor While You Edit

240 Using Digital Cinema Desktop Preview

243 Compensating for Video Latency by Specifying a Frame Offset

244 Troubleshooting External Video Monitoring Problems

Overview of Capturing Tape-Based Media

247 What Are Logging and Capturing?

247 Ways to Log and Capture Footage in Final Cut Pro

250 The Importance of Logging

251 Benefits of Logging

251 Preparing to Log

254 Additional Sources for Logging Information

255 About Capturing Footage

255 Are You Ready to Log and Capture?

About the Log and Capture Window 257 Chapter 16

Opening the Log and Capture Window 257

Controls in the Log and Capture Window

Preview Area in the Log and Capture Window

Logging Tab in the Log and Capture Window

Clip Settings Tab in the Log and Capture Window

Capture Settings Tab in the Log and Capture Window

Log and Capture Buttons in the Log and Capture Window

Logging from Tape

Overview of Logging Steps

Opening the Log and Capture Window

Inserting a Tape in the VTR

Using a Logging Bin to Store Logged Clips

Entering a Reel Name for the Current Tape

Setting Clip In and Out Points

Entering a Clip Name and Other Logging Information

Adding Markers to Clips While Logging

Selecting Which Tracks to Capture

Changing Capture Settings

Viewing Video and Audio Levels for Analog Video

Logging a Clip

Printing Video from Tape

Capturing Clips as You Log

Capturing Entire Tapes

Batch Capturing Clips

Capturing Audio from Tape

About Capturing Audio

Capturing Audio-Only Media Files

Capturing Multiple Audio Channels

Adjusting Analog Audio Levels for Capture

Capturing Audio from an Audio Deck Using Device Control

Capturing from an Audio Device Without Device Control

3 Capturing Synchronized Audio Independently from Video

Chapter 20 315 Advanced Topics in Capturing Tape-Based Media

316 Capturing Footage Without Device Control

317 Capturing Video and Audio Separately

318 Recapturing Clips

319 Avoiding Duplicate Timecode Numbers on a Single Tape

320 Capturing Footage with Timecode Breaks

324 Renaming Media Files After Capture

324 Using the Media Manager After Capturing

Chapter 21 325 Overview of Transferring File-Based Media

325 About File-Based Media

326 Introduction to the Log and Transfer Window

327 File-Based Media Terminology

328 Example File-Based Media Workflow

Chapter 22 331 About the Log and Transfer Window

Opening the Log and Transfer Window 331

Controls in the Log and Transfer Window 333

Logging File-Based Media 343 Chapter 23

Preparing to Log File-Based Media 344

Entering Logging Information 345

Automatically Naming Your Clips 347

Transferring File-Based Media 351

About Transferring File-Based Media 352

Choosing a Scratch Disk and Logging Bin 353

Mounting Media Devices 353

Browsing Media Volumes in the Log and Transfer Window 354

Choosing a Destination Codec 355

Viewing Clips to Be Transferred 355

Selecting Clips 356

Previewing Clips 357

Clips in the Log and Transfer Window

Placing Clips in the Transfer Queue

Topic 25: Transferring File-Based Media

Setting Log and Transfer Import Preferences

Retransferring Clip Media

Viewing Spanned Clips in the Browse Area

Archiving File-Based Media from Cards

Chapter 26: Importing Media Files into Your Project

What File Formats Can Be Imported?

Importing Media Files

About Importing Video Files

About Importing Audio Files

Importing Still Images and Graphics

Importing Numbered Image Sequences

Chapter 27: Organizing Footage in the Browser

Using Bins to Organize Your Clips 391

Using Labels to Organize Your Clips 397

Sorting Items in the Browser Using Column Headings 401

Searching for Clips in the Browser and Finder 403

Creating Subclips 411 Chapter 28

Learning About Subclips 411

Techniques for Breaking Large Clips into Subclips 415

Creating Independent Media Files from Subclips After Capturing 418

Merging Clips from Dual System Video and Audio 421 Chapter 29

Working with Dual System Video and Audio

Using Synchronization Points to Create Merged Clips

Duration of Merged Clips

Creating Merged Clips from the Timeline

Changing the Sync of Merged Clips 426

Work through Projects, Clips, and Sequences

Specifying Preferences Before You Start Editing

Working with Projects

1. Learning About the Different Types of Clips

Saving and Changing the Properties of a Clip

Creating and Working with Sequences

Chapter 31: The Fundamentals of Adding Clips to a Sequence

Creating a Rough Edit

Overview of Ways to Add Clips to a Sequence

Preparing a Sequence Order in the Browser

Using Markers

Learning About Markers

Viewing Markers in the Viewer or Canvas

Viewing Markers in the Browser

Adding Markers in Clips and Sequences

1. Selecting Markers in Clips and Sequences

Navigating with Markers

Modifying Markers

Moving Markers

Using the Ripple Sequence Markers Setting

Editing Multiple Markers on the Same Frame

Aligning Items in the Timeline by Their Markers

Extending a Marker's Duration

Editing Markers into Sequences

Exporting Markers with Your QuickTime Movies

Exporting Marker Lists as Text

Setting Edit Points for Clips and Sequences

About In and Out Points

Setting Clip In and Out Points in the Viewer

Setting Sequence In and Out Points in the Canvas or Timeline

Navigating to In and Out Points

Moving In and Out Points 494

Clearing In and Out Points 495

Workthrough 3acks in the Timeline

497 Adding and Deleting Tracks

50pecifying Destination Tracks in the Timeline

506king Tracks to Prevent Edits or Changes

5017abling Tracks to Hide Content During Playback

509 Customizing Track Display in the Timeline

Drag-to-Timeline Editing 515 Chapter 35

5 Overview of the Drag-to-Timeline Editing Process

51 Dragging Clips to the Timeline

Ding Simple Insert and Overwrite Edits in the Timeline

510matically Adding Tracks to Your Sequence While Dragging

523 Chapter Point Editing

523 Understanding Three-Point Editing

Edit Types in the Edit Overlay

Performing the Different Types of Edits

Three-Point Editing Examples

Selecting Content in the Timeline

Understanding What's Currently Selected

Direct Methods for Selecting Content in a Sequence

Finding and Selecting Based on Search Criteria

Selecting a Vertical Range Between In and Out Points

Using Auto Select to Specify Tracks for Selections

Arranging Clips in the Timeline

Snapping to Points in the Timeline

Moving Items Within the Timeline

Copying and Pasting Clips in the Timeline

Deleting Clips from a Sequence

Finding and Closing Gaps

583 Color-Coding Clips in the Timeline

Cutting Clips and Adjusting Durations 585 Chapter 39

585 Performing Basic Cut Edits

589 Changing the Duration of Clips in the Timeline

589 Opening Sequence Clips in the Viewer to Change Durations

Linking and Editing Video and Audio in Sync 591 Chapter 40

591 Linked Sync Relationships Between Video and Audio Clips

596 Linking and Unlinking Video and Audio Clip Items in the Timeline

599 Selecting Individual Clip Items While They Are Linked

600 Getting Clip Items Back in Sync

604 Establishing Different Sync Relationships Between Linked Clip Items

606 Learning About Linking Behavior in Audio Channel Pairs

607 Synchronizing Dual System Recorded Video and Audio

609 Split Edits

609 Learning About Split Edits

610 How Split Edits Look in the Viewer and Canvas

611 Setting Up Split Edit Points in the Viewer

612 Setting Up a Split Edit While Playing a Clip

613 Modifying and Clearing Split Edits

615 Split Edit Examples

61 Working with Multiclips

620 About Multiclips

621 Multiclip Workflow

623 Preparing Clips to Be Used as Multiclip Angles

624 Creating Individual Multiclips

628 Creating Multiclip Sequences

638 Identifying and Naming Multiclips in the Browser

639 Working with Multiclip Angles in the Viewer

646 Editing with Multiclips in Real Time

646 Using Keyboard Shortcuts and Shortcut Buttons for Multiclip Editing

Editing Multiclips into the Timeline

Switching and Cutting Between Angles

Editing in Multiclip Playback Mode

Applying Filters, Speed, and Motion Parameters to Multiclips

Collapsing and Expanding a Multiclip

Working with Multiclip Master-Affiliate Relationships

Match Frame Commands Used with Multiclips

Media Management and Project Interchange

Audio Editing Basics

The Goals of Audio Editing

Using Waveform Displays to Help You Edit Audio

Learning About the Audio Controls in the Viewer

Editing Audio in the Viewer

Editing Audio in the Timeline

Creating or Separating Stereo Pairs

684 Working with Audio at the Subframe Level

686 Examples of Ways to Easily Edit Audio

Performing Slip, Slide, Ripple, and Roll Edits 693 Chapter 44

693 About Trimming with Slip, Slide, Ripple, and Roll Tools

694 Sliding Clips in the Timeline

697 Slipping Clips in the Timeline

701 Using the Ripple Tool to Trim an Edit Without Leaving a Gap

711 Using the Roll Tool to Change Where a Cut Occurs

Leachingter About Trimming Clips

717 What Is Trimming?

719 Controls That Affect Trim Edits

720 Selecting Edits and Clips to Trim

723 Trimming with the Selection Tool

725 Extending and Shortening Clips in the Timeline

726 Trimming Clips in the Viewer

728 Precision Editing Using Timecode

730 Understanding Alert Messages When Trimming

Trimming Clips Using the Trim Edit Window733Chapter 46

733 Learning About the Trim Edit Window

734 Opening and Closing the Trim Edit Window

736 Controls in the Trim Edit Window

741 Using the Trim Edit Window

746 Listening to Audio While Trimming

749 Adding Transitions

749 Learning About Transitions

753 Adding Transitions Between Clips

759 Moving, Copying, and Deleting Transitions

761 Modifying Transitions in the Timeline

764 Working with Default and Favorite Transitions

766 Detecting Duplicate Frames over Transitions

766 Video Transitions That Come with Final Cut Pro

771 Using Alpha Transitions

Refining Transitions Using the Transition Editor

779 Using the Transition Editor

787 Applying a Modified Transition Directly to a Sequence in the Timeline

787 Trimming Transitions and the Surrounding Clips

791 Previewing and Rendering Transitions

Sequence-to-Sequence Editing

793 Methods for Editing Clips from One Sequence to Another

794 Opening More Than One Sequence at a Time

794 Copying Clips from One Sequence to Another

Nesting Sequences

Matching Frames and Playhead Synchronization Chapter 50

Matching Frames and Playhead Synchronization

810 Matching Frames Between Sequence and Master Clips

813 Synchronizing the Canvas/Timeline Playhead and the Viewer Playhead

81Working with Timecode

817 About Timecode in Final Cut Pro

818 Displaying Timecode in Final Cut Pro

825 Modifying Timecode in Media Files

828 Modifying Sequence Timecode

830 Working with 60 fps Timecode

830 Working with 24 @ 25 fps Timecode

830 Generating Timecode Window Burns

833 Audio Fundamentals

833 What Is Sound?

837 Measuring Sound Intensity

839 Signal-to-Noise Ratio

839 Headroom and Distortion

840 Dynamic Range and Compression

841 Stereo Audio

843 Digital Audio

Assign 847 Chap Output 53 Channels and External Audio Monitors

847 Audio Signal Flow in Final Cut Pro

851 Configuring Audio Outputs

854 Creating and Saving Audio Output Presets

855 Assigning a Default Audio Output Preset for New Sequences

855 Assigning Tracks in the Timeline to Audio Outputs

855 Matching Audio Outputs to Clip Items in the Timeline

Assigning More Audio Outputs Than Your Hardware Supports 857

Audio Output Export Settings 857

Downmixing Multiple Audio Channels to a Stereo Mix 858

Configuring External Audio Monitors 861

Evaluating Levels with Audio Meters 869 Chapter 54

About Audio Meters 869

Setting Proper Audio Levels

Overview of the Audio Mixer

About the Audio Mixer

Controls in the Audio Mixer

Using Audio Mixer Views

Using the Audio Mixer

Making Basic Audio Adjustments with the Audio Mixer

Making Stereo Pan Adjustments with the Audio Mixer

About Mixer Automation and Keyframe Recording

Using a Control Surface with the Audio Mixer

Controlling the Audio Mixer with a Control Surface

Recording Audio Mixer Keyframes Using a Control Surface

Mixing Audio in the Timeline and Viewer

Adjusting Audio Levels in the Timeline

Changing Audio Levels in the Viewer

Danning Audio in the Timeline

Changing the Pan of Audio in the Viewer

930 Changing Pan for an Entire Clip

931 Copying, Pasting, and Removing Audio Attributes

Adjusting Clip Audio Levels and Pan Using Keyframes

Using Chapter Voice Over Tool

94 About the Voice Over Tool

Setting Up Your Computer to Record Voiceover

RSM Requirements When Using the Voice Over Tool

95 Controls in the Voice Over Tool

95 Defining the Recording Duration and Destination Track

959 Recording a Voiceover

963 Singpt Audio Filters

964 Overview of Audio Filters

966 Equalization Filters

968 Gain Filter

969 Compressor/Limiter Filter

970 Expander/Noise Gate Filter

970 Noise Reduction Filters

972 Echo and Reverberation Filters

973 Applying Filters to an Audio Clip

975 Displaying Filter Keyframes in the Timeline

977 Modifying and Removing Filters

978 Automating Audio Filter Parameters with Keyframes

982 Making Real-Time Audio Filter Adjustments

984 Saving a Filter or Transition as a Favorite

985 Installing Third-Party Audio Units Filters

Chapter 60 987 Exporting Audio for Mixing in Other Applications

987 Ways You Can Finish Your Audio

988 Organizing Your Audio Clips for Multitrack Export

990 About Exporting Audio Tracks to Individual Audio Files

990 Preparing to Export Audio Tracks as Audio Files

994 Exporting Audio Tracks as Individual Audio Files

995 Exporting Audio Output Groups to AIFF Files

999 Exporting Multichannel QuickTime Files

999 Exporting OMF Audio Files

1002 Exporting Audio Clip Information to an EDL

1003 Exporting Audio for DVD

Chapter 61 1005 Tips for Better Audio

1005 Learning to Describe Sound Accurately

1005 Efficiently Using the Frequency Spectrum

1006 Tips for Cutting Dialogue

1008 Tips for Cutting Music

Chapter 62 1011 Working with Soundtrack Pro and Logic Pro

1011 Using Soundtrack Pro with Final Cut Pro

1012 Sending Individual Audio Clips from Final Cut Pro to Soundtrack Pro

1017 Creating Soundtrack Pro Multitrack Projects

1022 Initiating Soundtrack Pro Conform with Final Cut Pro

1024 Using Logic Pro with Final Cut Pro

Chapter 63 1027 Using Video Filters

1027 Different Ways to Use Filters

1028 Applying a Filter to a Clip

1031 Applying Multiple Filters to Clips

1032 Viewing and Adjusting a Filter's Parameters

1040 Displaying Filters Bars in the Timeline

1041 Enabling and Rearranging Filters

1042 Copying and Pasting a Clip's Filters

1042 Removing Filters from Clips

Chapter 64 1045 Installing and Managing Video Effects

Plug-in Formats Supported by Final Cut Pro 1045 Installing Video Filters 1046

1047 Identifying and Organizing Video Effects

1049 Transferring Effects Between Systems

1050 Plug-in Restrictions and Troubleshooting

Video Filters Available in Final Cut Pro1053Chapter 65

About Final Cut Pro Video Filters1053

Video Filters Installed with Final Cut Pro1054

Chapter 66 1075 Changing Motion Parameters

1075 Creating Motion Effects in the Viewer

1076 Adjusting Parameters in the Motion Tab

1082 Using Cartesian Geometry to Position Clips

1084 Examples Using Motion Settings

1097 Creating Motion Effects in the Canvas

1099 Manipulating Images in the Canvas

1100 Zooming In to the Canvas

1101 Using Wireframe Handles to Transform, Scale, and Rotate

1104 Example: Using Motion Parameters and Wireframe Handles

Chapter 67 1109 Adjusting Parameters for Keyframed Effects

1109 Animating Motion Effects Using Keyframes

1129 Smoothing Keyframes with Bezier Handles

1133 Creating Keyframed Motion Paths in the Canvas

1143 About the Timeline Keyframe Graph Area

1145 Customizing the Keyframe Graph Area in the Timeline

Chapter 68 1149 Reusing Effect and Motion Parameters

1149 Copying and Pasting Specific Clip Attributes

1154 Using Favorite Filters and Transitions

Chapter 69 1159 Changing Clip Speed

1159 Speed Basics

1161 Using the Change Speed Dialogs

1168 Using the Speed Tool

1171 Making Speed Changes in the Timeline

Using the Speed Parameter in the Motion Tab

Performing a Fit to Fill Edit

Using Speed Settings with Multiclips

Working with Freeze Frames and Still Images

Using Still Images and Graphics in Your Sequences

Creating Freeze Frames from a Video Clip and Exporting Still Images

Creating Graphics with the Correct Frame Size for Video

Working with Graphics Clips of Different Sizes

Bit Depth of Imported Graphics

Scaling a Graphic to Fit the Frame Size

Creating Graphics with the Correct Color Settings for Video

Choosing the Maximum White Sequence Setting

Flattening Graphics with Layers

Using Alpha Channels

Selecting Fonts and Creating Line Art for Video

Scaling Images and Video Clips to Match a Sequence

Changing the Duration of Still Images

Example: Adding Camera Motion to Still Images

Compositing and Layering

Introduction to Compositing and Layering

Working with Composite Modes

Composite Modes in Final Cut Pro

Using Travel Mattes to Hide or Reveal Parts of a Clip

Working with Layered Photoshop Files

Using Video and Graphics Clips with Alpha Channels

Temporarily Excluding Clips from Playback or Output

Chapter: Mattes, and Masks

Ways to Layer and Isolate Elements in Clips

Using Keying to Isolate Foreground Elements

Overview of Compositing Using the Chroma Keyer Filter

1247 Working with the Chroma Keyer Filter

1258 Using Mattes to Add or Modify Alpha Channels

1261 Using Masks to Replace or Modify Alpha Channels

1269 Singpt Generator Clips

1265 What Is a Generator Clip?

1265 Different Ways to Use Generators in Your Sequence

1266 Creating Generator Clips and Adding Them to Sequences

1268 Video and Audio Generators Available in Final Cut Pro

1256 Chapter SmoothCam Filter

1275 About the SmoothCam Filter

1276 Working with the SmoothCam Filter

1286 Managing Media and Motion Analysis Data 1286 Improving SmoothCam Filter Results and Troubleshooting

Creating Titles1289Chapter 75

1289 How You Can Use Titles in Your Project

1290 Installing and Choosing Fonts

1290 Making Sure Titles Fit on TV Screens Text Generators Available in Final Cut Pro 1291

1293 Creating and Adding a Title Clip

1296 Other Options for Creating and Adding Titles

Working with Motion and Shake 1297 Chapter 76

1297 Using Motion with Final Cut Pro

1302 Using Shake with Final Cut Pro

1305 Working with Master Templates

1305 About Motion Template Files and Master Templates

1306 Working with Master Templates

1311 Modifying Master Templates

1313 Converting a Template Clip to a Motion Project

1314 Installing Motion Template Files for Use in Final Cut Pro

Measuring and Setting Video Levels

1315 RGB Color Model

1316 Y'C_B C_R Color Model

1320 Measuring Video Levels with the Final Cut Pro Video Scopes

1331 Preventing Illegal Broadcast Levels

1333 Displaying Excess Luma and Chroma Levels in the Viewer and Canvas

1334 Using the Broadcast Safe Filter

1339 Using the RGB Limit Filter

1341 Working with Analog Video

1347 Using Color Bars for Video Calibration

135&bapteCol70 Correction

1353 Why Color Correct Your Footage?

1355 Color Correction Starts During Your Shoot

1356 Managing Color During Post-Production

1358 The Final Cut Pro Color Correction Process

1360clbaptCorr80tion Features

1361 Color Correction Features in Final Cut Pro

1362 Using Scopes Versus Looking at an External Monitor

1363 Window Layouts for Color Correction in Final Cut Pro

Color Correction Filters 1369 Chapter 81

The Final Cut Pro Color Correction Filters 1369

1371 The Color Corrector Filter

1384 The Color Corrector 3-Way Filter

1399 The Desaturate Highlights and Desaturate Lows Filters

RGB Balance Filter 1400

Color Correction Examples 1403 Chapter 82

1404 Example: Using the Color Corrector Filter

1408 Example: Using the Color Corrector 3-Way Filter

1416 Example: Color Correcting a Three-Shot Sequence for Continuity

1422 Example: Using the Color Corrector 3-Way Filter Match Hue Controls

1426 Example: Using the Limit Effect Controls to Isolate a Specific Color Against Grayscale

1427 Example: Using the Limit Effect Controls of the Color Corrector Filter to Change a Specific Color

1431 Example: Using the Desaturate Highlights Filter

143 Color Correction with Color

1433 Using Color for Color Correction

1435 Singpter RT 8 Extreme

1435 Introduction to Real-Time Processing

1440 Locations for Changing Real-Time Playback Settings

1442 About Real-Time Playback Options

1449 Still-Image Real-Time Playback

1450 Improving Real-Time Performance

1451 Real-Time Audio Mixing in Final Cut Pro

1453 Choosing Real-Time Playback Versus Rendering

1454 Supported Real-Time Playback Codecs

1455 Using a Third-Party Video Effects Accelerator Card

1456 Using RT Extreme for Video Output

1456 Viewing Your Composition in the QuickView Tab

Chapter 85 1461 Rendering and Video Processing Settings

1461 What Is Rendering?

1462 About Render Status Bars in the Timeline

1465 About Item-Level Render Status Bars

1465 The Rendering Process

1474 About Changing Render and Video Processing Settings

1474 Changing Settings in the Render Control Tab

1477 Changing Settings in the Video Processing Tab

1482 Adjusting Gamma

1486 Managing Your Render Files

1489 Tips for Reducing Render Time

Chapter 86

1491 Working with Mixed-Format Sequences About Mixed-Format Sequences 1491

1492 Determining Whether Clips in a Sequence Will Play Back in Real Time

1494 Conforming Sequence Settings to Match a Clip's Settings

1495 Conforming Clips to Match Sequence Settings Mixing Frame Rates 1497

1498 Combining Interlaced Footage with Different Field Dominances

1500 Mixing Footage with Different Codecs; Nesting Nonmatching Sequences 1500

1501 Adding Filters and Motion Effects to Mixed-Format Sequences

1501 Combining SD and HD Video

1501 Downconverting HD Video

1506 Upconverting SD Video

1507 Rendering Mixed-Format Sequences

1507 External Monitoring and Output

1508 Media Management and Project Interchange

Chapter 87

1511 Media Management

1511 What Is Media Management?

1512 Reasons to Use Media Management

1513 What You Need to Know to Manage Your Media

1513 Media Management Process in Final Cut Pro

1514 Strategies for Media Management

Chapter 88

1517 Backing Up and Restoring Projects

1517 Backing Up and Restoring Projects

1521 Archiving Completed Projects

1522 About Updating Projects from Previous Versions of Final Cut Pro

1523 Choosing Project Update Options

Chapter 89

1527 Elements of a Final Cut Pro Project

1527 About Clips, Media Files, and Sequences

1531 About Icons and Project Elements in the Browser

1532 Clip Properties

Chapter 90

1539 Working with Master and Affiliate Clips

1539 About Using Master and Affiliate Clips

1540 Shared and Unique Clip Properties

1543 Working with Master Clips

1545 Working with Affiliate Clips

1546 Creating Independent Clips

1547 Changing Independent Clips to Affiliate Clips

1548 Modifying Master-Affiliate Clip Relationships

1549 Moving Clips Between Projects

How Does Final Cut Pro Identify Matching Clips? 1549

1550 Resolving Property Differences Between Matching Clips

Offline and Online Editing 1553 Chapter 91

1553 About Offline and Online Editing

Offline/Online Editing Workflows 1555

Using the OfflineRT Format in Final Cut Pro 1557

1559 Reingesting Media at Full Quality and Full Resolution

1562 Online Editing on Non-Final Cut Pro Editing Systems

1563 Trading Project Files Using Email or the Internet

R567 Checking 9 Clips and Offline Media

1567 Finding Your Media Files After Capture

1569 About the Connections Between Clips and Media Files

1570 Renaming Media Files and Clips

1571 How the Connection Between Clips and Media Files Can Be Broken

1572 Making Clips Offline

1574 Reconnecting Clips to Media Files

1581 When Final Cut Pro Reconnects Your Clips

1582 Reconnecting Media Files Automatically

0585 Chapter of the Media Manager

1585 What Can You Do with the Media Manager?

1587 Selecting Items to Process with the Media Manager

1588 Settings and Options in the Media Manager Window

1595 How the Media Manager Processes Selected Items

1598 Limiting How Much Media Is Copied or Deleted

1600 Media File Formats Supported by the Media Manager

1600 About Color Space Conversion in the Media Manager

Example 1601 Chapter 94 to Use the Media Manager

1601 Media Manager Workflow

1602 Using the Media Manager

1605 Example: Removing Unused Media from a Sequence

1606 Example: Duplicating a Sequence and Its Corresponding Media Files

1607 Example: Duplicating a Portion of a Sequence and Its Media Files

1608 Example: Copying Sequences with New Settings, but Without Media Files

1610 Example: Recompressing Media Files for Editing on a Portable Computer

1611 Example: Removing Portions of Media Files After Creating Subclips

1613 Example: Consolidating Media Files into One Folder

1614 Example: Consolidating Your Project and Media Files for Archiving

Chapter 95 1617 Diagnostic Tools for Clips

1617 Different Tools for Diagnosing Clips

1618 About the Analyze Movie Command

1621 Finding and Marking Long Frames

Chapter 96 1623 Importing and Exporting EDLs

About EDLs 1623

Exporting EDLs 1628

Importing EDLs 1635

1638 EDL Considerations Before Capturing

1641 EDL Considerations During Editing

1644 Transition Wipe Codes for EDL Export

Using Final Cut Pro XML and QuickTime Metadata 1647 Chapter 97

1647 What Is the Final Cut Pro XML Interchange Format?

1648 About XML

1651 Overview of the Final Cut Pro XML Interchange Format

1653 Exporting XML in Final Cut Pro

1654 Importing XML into Final Cut Pro

1655 Working with Metadata in QuickTime Media

1655 Controlling Final Cut Pro with Apple Events

Chapter 98 1657 Remote Previewing with iChat

1657 About iChat Theater Preview and Final Cut Pro

1660 Initiating an iChat Theater Preview Session

1661 Using iChat Theater Preview

Chapter 99 1663 Working with Film and Cinema Tools

1663 An Overview of the Film Editing Process

1666 About Using Cinema Tools with Final Cut Pro

1667 Creating a New Final Cut Pro Project

1667 Importing a Telecine Log to Create a Cinema Tools Database

1669 Batch Capturing Video from Tape

1669 Removing 3:2 Pull-Down or Conforming 25 fps PAL to 24 fps

1672 Synchronizing Clips with the Cinema Tools Database

1674 Editing Clips in Final Cut Pro

1674 Using Edge Code Overlays and Feet+Frame Rulers

1676 Opening Final Cut Pro Clips in Cinema Tools

1677 Exporting Film, Change, and Audio Lists

Chapter 100 1685 Preparing to Output to Tape

1685 Choosing a Videotape Format and Equipment for Output

1686 Output Requirements

Methods for Output to Tape in Final Cut Pro 1687

1689 Setting Up Your Editing System to Output to Tape

Assemble and Insert Editing Using Edit to Tape 1695 Chapter 101

1695 Overview of Tape Editing Methods

1698 About the Edit to Tape Window

1707 Using the Edit to Tape Window

Printing to Video and Output from the Timeline 1717 Chapter 102

1717 Different Ways You Can Output Video from the Timeline Printing to Video 1718

1720 Recording from the Timeline Outputting to VHS Tape

1725 Chapter About QuickTime

1725 What Is QuickTime?

1726 The QuickTime Suite of Software Applications

1726 The QuickTime Movie File Format

1729 Formats Supported by QuickTime

1733 How Do You Export the Files You Need?

1735 Using Share

1735 About the Share Window

1746 Exporting Single Clips and Sequences with Share

1748 Exporting Groups of Clips and Sequences with Share

1752 Creating Multiple Outputs

1753 Using Share with Compressor

1754 Working with Share Output Types

1773 Using Batch Monitor with Share

1775 Exporting QuickTime Movies

1775 About the Export QuickTime Movie Command

1776 Choosing the Type of QuickTime Movie to Export

1777 Exporting a QuickTime Movie File

1780 Exporting QuickTime Movies with Markers

Chapter 106 1783 Exporting Using QuickTime Conversion

1783 About the Export Using QuickTime Conversion Command

1784 Types of File Formats You Can Export with QuickTime

1785 About Color Space Conversion

1785 Exporting a QuickTime Movie File for Web Distribution

1787 Configuring QuickTime Movie Settings

1797 About QuickTime Aperture Display Modes

1800 Exporting a DV Stream

1801 Exporting an AVI File

Chapter 107 1805 Exporting Sequences for DVD 1805 The DVD Creation Process 1810 Adding Chapter and Compression Markers to Your Sequence 1813 About DVD Authoring Applications 1813 Exporting a QuickTime Movie for DVD Use 1814 Using Compressor to Create DVD-Compliant Sources for DVD Studio Pro

Using Compressor with Final Cut Pro 1815 Chapter 108

About Compressor 1815

The Two Ways to Use Compressor with Final Cut Pro 1816

1817 Using Compressor as a Standalone Application

1819 Sending from Final Cut Pro to Compressor

1820 About Color Space Conversion in Compressor

Chapter 109 1821 Exporting Still Images and Image Sequences 1821 Determining the Image Format for Still-Image Export 1822 Exporting a Single Still Image 1823 Exporting Image Sequences

Chapter 110 1827 Batch Exporting Clips and Sequences 1827 Overview of the Batch Exporting Process 1827 Selecting Items in the Browser to Batch Export 1829 Selecting Batch Export Settings 1834 Doing a Batch Export 1835 Opening Batch Exported Files in the Viewer 1836 Redoing Batch Exports 1837 About Color Space Conversion During Batch Exporting

Chapter 111 1839 Choosing Settings and Preferences 1839 Changing User Preferences 1851 Changing System Settings

Chapter 112 1859 Audio/Video Settings and Easy Setups 1859 The Audio/Video Settings Window 1861 Choosing Easy Setups 1863 Changing Audio/Video Presets 1868 Creating and Modifying Easy Setups 1872 Installing and Restoring Easy Setups 1872 Loading Settings from a Network Server

Chapter 113 1873 Capture Settings and Presets 1873 About Capture Preset Settings

1879 Creating a Preset to Capture Audio Only

Chapter 114 1881 Device Control Settings and Presets

1881 About Device Control Presets Device Control Protocols Supported by Final Cut Pro 1885

1886 Using FireWire Device Control

1887 Using Serial Device Control

1890 Using a Non-Controllable Device

1890 Troubleshooting Your Device Control Setup

Chapter 115 1893 Sequence Settings and Presets

1893 What Are Sequence Settings?

1893 About Sequence Settings and Presets

1899 Timeline Display, Render, and Audio Output Options

1903 Changing Sequence Settings

Appendix A 1905 Final Cut Pro Keyboard Shortcuts

General Interface Commands 1905

1907 Viewer and Canvas Commands

1910 Timeline Commands

1913 Canvas Editing Commands

1914 Browser Commands

1915 Marker Commands

1916 Multiclip Commands

1919 Trim Edit Commands

1920 Ingest Commands

1921 Motion Tab Commands

1921 Effects Commands

1922 Tools and Modifier Keys

Appendix B 1925 Solving Problems

1925 Resources for Solving Problems

1925 Solutions to Common Problems

1931 Contacting AppleCare Support

Appendix C 1933 Video Formats

1933 An Overview of Video Format Characteristics

1935 Storage Medium

1936 Video Standards

1937 Types of Video Signals

1939 Aspect Ratio of the Video Frame

1941 Frame Dimensions, Number of Lines, and Resolution

1943 Pixel Aspect Ratio

1944 Frame Rate

Scanning Method 1944

Color Recording Method 1946

1947 Video Sample Rate and Bit Depth

Video Compression 1949

Video Formats Supported by Final Cut Pro 1956

Appendix D 1961 Frame Rate and Timecode

What Is Frame Rate? 1961

1962 Understanding Flicker and Perceived Frame Rate

1963 How Many Frames per Second Is Best?

Choosing a Frame Rate 1964

What Is Timecode? 1966

1966 About Drop Frame and Non-Drop Frame Timecode

1969 Timecode on Tape

1970 Comparison of Various Timecode Formats

Appendix E 1973 Working with 24p Video

1973 What Is 24p Video?

1974 Telecine, Pull-Down, and Reverse Telecine

1982 Film, 24p Video, and Cinema Tools

1982 Working with 24p NTSC Video

1983 Using an AG-DVX100 NTSC Camcorder with Advanced Pull-Down

Appendix F 1985 Working with Anamorphic 16:9 Media

1985 About Anamorphic 16:9 Media

1986 Recording Anamorphic Video

1987 Capturing Anamorphic Media

1988 Changing Clip Properties for Anamorphic Media

1989 Viewing and Editing Anamorphic Media

1989 Specifying Sequence Settings for Anamorphic Media

1990 Outputting Anamorphic Video to Tape

1990 Exporting 16:9 Anamorphic Video

Appendix G 1993 Using Multi-Touch Gestures with Final Cut Pro

1993 Using Multi-Touch Gestures in the Timeline

1993 Using Multi-Touch Gestures in the Viewer or Canvas

1995 Glossary

Welcome to Final Cut Pro

The first choice of professional editors worldwide, Final Cut Pro delivers high-performance digital nonlinear editing, native support for virtually any video format, and professional-level extensibility and interoperability. Its workflow extends through the other Final Cut Studio applications and Final Cut Server for even more power. Whether you're working solo or collaborating with a team, Final Cut Pro gives you the creative options and technical control that you need.

This preface covers the following:

• About Final Cut Pro (p. 27) • About the Final Cut Pro Documentation (p. 28) • Additional Resources (p. 28)

About Final Cut Pro

Final Cut Pro is the hub of Final Cut Studio, with powerful capabilities for working with the other Final Cut Studio applications.

Final Cut Pro lets you edit everything from uncompressed standard definition video to HDV, DVCPRO HD, and uncompressed high definition video—as well as Panasonic P2 and Sony XDCAM HD tapeless formats. You can mix and match a wide range of formats and even frame rates in the open format Timeline. Final Cut Pro includes a complete set of professional editing and trimming tools that let you work quickly, with a full range of customization options to give you flexibility and control. Also included are powerful multicamera editing tools that allow you to view and cut video from multiple sources in real time.

About the Final Cut Pro Documentation

Final Cut Pro comes with various documents that will help you get started as well as provide detailed information about the application.

• Exploring Final Cut Pro: The Exploring Final Cut Pro manual presents the basics of Final Cut Pro in an easy, approachable way. Each chapter presents major features and guides you in trying things out. A PDF version of the printed manual is available in Final Cut Pro Help (in Final Cut Pro, choose Help > Exploring Final Cut Pro).
• Final Cut Pro 7 User Manual: This is a comprehensive document that describes the Final Cut Pro interface, commands, and menus and gives step-by-step instructions for creating Final Cut Pro projects and for accomplishing specific tasks. It is written for users of all levels of experience. The user manual is available in Final Cut Pro Help (in Final Cut Pro, choose Help > Final Cut Pro Help).
• Professional Formats and Workflows: The Professional Formats and Workflows document covers how to use digital cinema, high definition, and broadcast formats (such as DVCPRO HD, HDV, AVC-Intra, Sony XDCAM, REDCODE, and Apple ProRes) and devices (such as Sony Video Disk Units and Panasonic P2 cards) with Final Cut Pro. The Professional Formats and Workflows document is available in Final Cut Pro Help (in Final Cut Pro, choose Help > Final Cut Pro Help).

Additional Resources

Along with the documentation that comes with Final Cut Pro, there are a variety of other resources you can use to find out more about Final Cut Pro.

Final Cut Pro Website

For general information and updates, as well as the latest news on Final Cut Pro, go to:

- http://www.apple.com/finalcutstudio/finalcutpro

Apple Service and Support Websites

For software updates and answers to the most frequently asked questions for all Apple products, go to the general Apple Support webpage. You'll also have access to product specifications, reference documentation, and Apple and third-party product technical articles.

- http://www.apple.com/support

For software updates, documentation, discussion forums, and answers to the most frequently asked questions for Final Cut Pro, go to:

- http://www.apple.com/support/finalcutpro

For discussion forums for all Apple products from around the world, where you can search for an answer, post your question, or answer other users' questions, go to:

About the Post-Production Workflow

1

No matter what your project, Final Cut Studio is the cornerstone of your post-production workflow. This section covers the post-production workflow in general terms. For more detailed information, see Final Cut Studio Workflows, available at http://documentation.apple.com/en/finalcutstudio/workflows.

This chapter covers the following:

• The Industry Workflow (p. 29) • 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. Even though no two movie projects follow exactly the same steps, there is a common workflow that almost every project adheres to. From conception to completion, the basic steps to complete a film or video project are described below.

Stage 1: Scripting

Scripting is where the movie is conceived and written.

Stage 2: Preproduction

This is where budgeting, casting, location scouting, equipment and format selection, and storyboarding take place.

Stage 3: Production

Production is where you create your footage, capturing performances using video or film cameras, as well as audio recorders. Lighting, cinematography, acting, and directing all come together to create the elements used to tell your story or deliver your message. For practical reasons, scenes are usually shot out of order, which means they have to be properly arranged during editing.

Stage 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.

Stage 5: Distribution

Distribution is when you release a movie for viewing. This may involve theater screenings, video and DVD releases, festival submissions, or web delivery.

The Post-Production Workflow

The post-production phase begins with the raw source footage and ends with a completed movie, ready for making distribution copies. As technology evolves, post-production continues to proliferate into an increasing variety of jobs and tasks. Where there was once a single editor who was responsible for the majority of the post-production process, there may now be a whole special effects team, an audio department, a colorist (responsible for color correction), and a number of assistant editors keeping track of all the footage. Final Cut Pro is at the heart of the post-production pipeline, allowing you to organize and assemble media from multiple sources into a finished product.

Here is an overview of the basic Final Cut Pro post-production workflow. As you begin your project, remember that there are no hard and fast rules for editing. Different editors have different working styles and, given the same source material, no two editors will cut the same finished program. The workflow described here offers just one example of how you might approach a typical project.

Stage 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 requirements (such as hard disk space), timecode and sync requirements, effects shots and color correction, audio mixing requirements, and so on.

Planning for post-production primarily means preparing for each of the upcoming post-production phases: choosing input and output formats; acquiring your original footage, music, and graphics; deciding on a logging and capturing method; choosing an editing strategy; and planning the scope of effects you will be adding so you can determine how much time and support you will need to dedicate to them.

Stage 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 logging and ingesting, you need to connect your computer either to the video and audio from your camcorder or VTR (video tape recorder) or to a device containing your file-based media. You also need to make sure that the correct presets are chosen within Final Cut Pro, so that Final Cut Pro knows what video and audio formats you are capturing and what kind of device control you're using. (Device control allows Final Cut Pro to remotely control video and audio devices.)

Depending on the format and device you are using, setup can be fairly simple (as it is with DV formats) or more complex. For example, if you are working with an uncompressed video format, you need to install a third-party video interface in your computer, as well as a serial port adapter to communicate with the deck.

For more information, see the various chapters on setup, starting with Connecting DV Video Equipment.

Stage 3: Ingesting

Ingesting is a general term for capturing, transferring, or importing video, audio, still images, and metadata to your computer's hard disk, which creates media files. You can ingest media files at any time, although most footage should be ingested before you start editing.

Logging is the process of identifying which shots you want to ingest for editing. While you log, you can add scene and shot descriptions, logging notes, and markers. Logging also helps you become familiar with your footage before you begin editing.

The order in which you log and ingest your footage is up to you. There are several possible workflows, depending upon your work style, the needs of your project, and the availability of footage. You can log all or most clips before batch ingesting them (in an automated way), or you can log and then ingest each clip individually. You can also log clips after ingesting your footage to a hard disk.

For more information, see Overview of Capturing Tape-Based Media, Overview of Transferring File-Based Media, and Importing Media Files into Your Project.

Stage 4: Editing

The editing process involves taking the video and audio you've captured, along with any music or graphics you've imported, and arranging these raw materials into a final edited sequence of clips. Most editors start with a rough cut, where they quickly arrange all of the clips for a movie in sequence. Once that's finished, they work on fine-tuning, subtly adjusting the edit points between clips and refining the pacing of each cut. Basic audio editing and synchronizing are also part of this process, as well as adding transitions, such as fades and dissolves.

Often, the type of project you're working on determines your method of editing. For example, documentary editing, in which the script often evolves in parallel with the editing, is quite different from commercial television and film editing, in which there is already a finished script to provide an order for clips.

Stage 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. This involves:

• Cleaning up the dialogue with more detailed audio editing, balancing audio levels, and applying equalization
• Adding sound effects, music, and voiceover on additional audio tracks in the sequence
• Mixing the levels of all the different clips together to create a balanced sound mix

You can use Final Cut Pro for each of these processes. For more information, see Audio Fundamentals.

Note: You can also sweeten your audio with another audio application, perhaps even at another facility. To export your movie audio, see Exporting Audio for Mixing in Other Applications.

Stage 6: Adding Effects

Creating effects tends to be more time-consuming than cuts-only editing, so it's good to focus on basic edits first and work on effects when the timing of your project is finalized. Effects are any enhancements you want to make to your footage, such as color correction, special transitions, animation, still or motion graphics, multilayered images (compositing), and titles. Final Cut Pro has a wide variety of video and audio filters, each with parameters that you can keyframe to adjust over time in your sequence. You can also create professional titles and motion graphics in Motion.

Stage 7: Finishing and Outputting

Once editing is finished, effects are added, and the final audio mix is complete, you can output your movie to videotape or export your sequence to Compressor or send it to Color for finishing. You can also use Share to quickly create and deliver output media files in iPod, iPhone, Apple TV, MobileMe, DVD, Blu-ray Disc, and YouTube formats.

• To output to tape, follow the standard procedures for using the Print to Video command. For more information, see Preparing to Output to Tape.
• For more information about sending to Color, see the Color User Manual, available in Color Help.
• For more information about Share, see Using Share.
• For more information about Compressor, see the Compressor User Manual, available in Compressor Help.