| Introduction |
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xix | |
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1 | (98) |
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Chapter 1 Welcome to Final Cut Express |
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3 | (20) |
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Your First Final Cut Express Project: Start to Finish |
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4 | (3) |
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What Is Nonlinear Nondestructive Editing? |
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6 | (1) |
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Touring Your Desktop Post-Production Facility |
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7 | (3) |
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8 | (1) |
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Menus, shortcuts, and controls |
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9 | (1) |
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Editing and Effects Windows |
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10 | (8) |
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10 | (1) |
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11 | (1) |
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11 | (1) |
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12 | (1) |
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The Viewer's Effects tabs |
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13 | (1) |
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14 | (2) |
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16 | (1) |
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17 | (1) |
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17 | (1) |
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18 | (2) |
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18 | (1) |
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19 | (1) |
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Import and export options |
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19 | (1) |
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Customize Your Environment |
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20 | (3) |
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22 | (1) |
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Do You Need Final Cut Pro? |
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22 | (1) |
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Chapter 2 Installing and Setting Up |
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23 | (30) |
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24 | (2) |
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Real-Time System Requirements |
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24 | (1) |
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Storage Strategy for Final Cut Express |
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25 | (1) |
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Hardware Selection and Connection |
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26 | (6) |
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Connecting a DV camcorder |
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28 | (1) |
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FireWire Cables: Handle with Care |
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28 | (1) |
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29 | (1) |
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What's the Difference Between DV and Digital Video? |
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29 | (1) |
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Connecting an external NTSC or PAL video monitor |
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30 | (1) |
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FCE Protocol Controlling External Video Output |
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31 | (1) |
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FCE Protocol Monitoring Audio Playback |
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31 | (1) |
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Installing Final Cut Express |
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32 | (4) |
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33 | (1) |
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Registering and choosing an initial setup |
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34 | (2) |
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Using Presets and Preferences |
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36 | (1) |
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How to "Trash Your Prefs" |
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36 | (1) |
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37 | (4) |
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Modifying the Settings of an Existing Item |
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37 | (1) |
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How to choose an easy setup |
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38 | (2) |
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Apple Fire Wire vs. Basic Fire Wire |
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40 | (1) |
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41 | (3) |
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Customizing the Timeline Display |
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44 | (1) |
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Setting External Editors Preferences |
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45 | (1) |
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Setting Scratch Disk Preferences |
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46 | (3) |
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FCE Protocol: Scratch Disks |
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48 | (1) |
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49 | (2) |
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The Bottom Line: Running FCE on a G3-based Mac |
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50 | (1) |
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51 | (2) |
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Chapter 3 How to Manage an FCE Project |
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53 | (46) |
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Anatomy of an FCE Project |
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54 | (2) |
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54 | (2) |
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56 | (6) |
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Using Save As to Protect Your Work |
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58 | (2) |
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Viewing and Setting Project Properties |
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60 | (2) |
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62 | (2) |
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Setting Autosave vault location and preferences |
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62 | (1) |
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Using Autosave to recover from a crash |
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63 | (1) |
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63 | (1) |
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64 | (1) |
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FCE Protocol Undoing Changes in Multiple Projects |
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64 | (1) |
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Reconnecting Offline Files |
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65 | (5) |
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Reconnecting online files |
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68 | (1) |
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Using the Offline Files window to reconnect |
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68 | (1) |
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FCE Protocol: Broken Links |
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68 | (1) |
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FCE Protocol: Offline vs. Missing Clips |
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69 | (1) |
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70 | (2) |
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FCE Protocol Deleting Media |
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71 | (1) |
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72 | (6) |
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74 | (1) |
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The Last Mile: Tips for Final Assembly of BIG Projects |
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74 | (1) |
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75 | (1) |
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Tracking used and unused clips |
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76 | (1) |
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Removing a project from your drives |
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77 | (1) |
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Setting Up for Multiple Projects and Users |
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78 | (3) |
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78 | (1) |
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Creating and saving files |
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79 | (2) |
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81 | (4) |
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81 | (1) |
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FCE Protocol Clips and Sequences |
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82 | (1) |
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83 | (2) |
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Changing the Settings of an Existing Sequence |
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85 | (2) |
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Viewing and Setting Item Properties |
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87 | (3) |
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Working with Multiple Sequences |
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90 | (11) |
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Nesting and Sequences: A Glossary |
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90 | (1) |
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Creating nested sequences |
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91 | (1) |
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Copying and pasting from sequence to sequence |
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92 | (1) |
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Editing a sequence into another sequence |
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93 | (2) |
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Making changes to a nested sequence |
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95 | (1) |
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FCE Protocol: Updating Nested Sequences |
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96 | (1) |
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Assembling Nested Sequences with Transitions |
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97 | (2) |
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99 | (52) |
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Chapter 4 Capturing Video |
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101 | (32) |
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DV Timecode vs. FCE Timecode: Whats the Difference? |
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102 | (1) |
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Anatomy of the Capture Window |
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103 | (5) |
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104 | (1) |
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105 | (1) |
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106 | (2) |
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108 | (2) |
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Is Your System Capture Ready? |
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109 | (1) |
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Entering Information on the Logging Tab |
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110 | (7) |
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110 | (1) |
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111 | (1) |
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Entering clip information on the Logging tab |
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112 | (3) |
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FCE Protocol: Auto-Incrementing on the Logging Tab |
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115 | (1) |
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FCE Protocol: What are Offline Clips? |
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115 | (1) |
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116 | (1) |
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Capture Clip: Capturing Video with Device Control |
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117 | (3) |
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Capture Strategies to Manage Project Media |
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117 | (3) |
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Capture Now: Capturing Video without Device Control |
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120 | (3) |
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122 | (1) |
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Capture Project: Batch Recapturing |
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123 | (4) |
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Preparing to recapture a project |
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124 | (3) |
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Using DV Start/Stop Detection |
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127 | (2) |
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Troubleshooting Capture problems |
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129 | (4) |
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FCE Protocol Sync Adjust Mo vies Feature |
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132 | (1) |
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Chapter 5 Importing Digital Media |
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133 | (18) |
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135 | (2) |
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FCE Protocol: File Location Is Critical |
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135 | (1) |
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Setting the default duration for stills |
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136 | (1) |
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Working with Adobe Photoshop Files |
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137 | (7) |
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Preparing a Photoshop file for use in FCE |
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137 | (3) |
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FCE Protocol: Updating Photoshop Files in FCE |
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140 | (2) |
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Importing a layered Photoshop file into Final Cut Express |
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142 | (1) |
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FCE Protocol: Layered Photoshop Files |
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143 | (1) |
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144 | (2) |
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Convert Audio to 48 kHz on Import with iTunes |
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146 | (2) |
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Importing an Movie 3 Project |
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148 | (3) |
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PART III: GETTING READY TO EDIT |
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151 | (54) |
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Chapter 6 Organize Your Clips in the Browser |
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153 | (20) |
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154 | (3) |
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155 | (1) |
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156 | (1) |
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What Does 'Not Set' Mean? |
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156 | (1) |
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Using the Browser to Organize Your Project |
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157 | (10) |
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159 | (1) |
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Customizing the Browser display |
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160 | (3) |
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Custom Browser Layouts on a Budget |
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163 | (1) |
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Searching for items in the Browser |
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164 | (2) |
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Using the Find Results window |
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166 | (1) |
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Search the Project or Search the Sequence? |
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166 | (1) |
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167 | (1) |
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What's That Little Doodad? |
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167 | (6) |
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Chapter 7 Working with Clips in the Viewer |
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173 | (32) |
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174 | (4) |
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175 | (1) |
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176 | (1) |
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176 | (1) |
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177 | (1) |
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Timecode navigation and display |
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177 | (1) |
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Working with Clips in the Viewer |
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178 | (9) |
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FCE Protocol: Saving Clip Changes |
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181 | (3) |
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JKL Keys: The Way to Move |
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184 | (1) |
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Other ways to move: jogging, scrubbing, and shuttling |
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185 | (1) |
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FCE Protocol: Entering Timecode Numbers |
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186 | (1) |
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187 | (1) |
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Working with In and Out Points |
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188 | (2) |
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Other Ways to Set In and Out Points |
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189 | (1) |
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190 | (2) |
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192 | (5) |
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196 | (1) |
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Adjusting the Viewer Display |
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197 | (4) |
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Changing magnification and window size in the Viewer or Canvas |
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197 | (4) |
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201 | (6) |
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Viewing Title Safe and Action Safe boundaries |
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202 | (1) |
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Viewing with different backgrounds |
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203 | (1) |
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203 | (2) |
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205 | (170) |
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207 | (30) |
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208 | (1) |
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Basic Editing Step-by-Step |
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209 | (7) |
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Many Ways to Make an Edit |
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210 | (2) |
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FCE Protocol: Three-point Editing |
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212 | (1) |
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213 | (1) |
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FCE Protocol:Target Tracks |
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213 | (1) |
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FCE Protocol:Editing Multiple Tracks in Final Cut Express |
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214 | (1) |
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215 | (1) |
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215 | (1) |
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Using FCE's Many Edit Types |
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216 | (12) |
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217 | (1) |
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218 | (1) |
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219 | (1) |
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219 | (2) |
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221 | (1) |
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222 | (1) |
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223 | (1) |
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224 | (2) |
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Deleting clips from a sequence |
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226 | (2) |
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Performing Edits in the Timeline |
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228 | (5) |
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230 | (1) |
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Tips for Quicker Split Edits |
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231 | (2) |
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Shortcuts for Marking Sequence Edit Points |
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233 | (4) |
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235 | (2) |
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Chapter 9 Editing in the Timeline and the Canvas |
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237 | (62) |
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238 | (5) |
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Onscreen controls and displays |
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239 | (2) |
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Timecode navigation and display |
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241 | (1) |
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Anatomy of the Canvas Edit Overlay |
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242 | (1) |
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243 | (3) |
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Creating and exporting still frames |
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244 | (1) |
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Adjusting the Canvas Display |
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245 | (1) |
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Anatomy of the Tool Palette |
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246 | (3) |
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247 | (1) |
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247 | (1) |
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247 | (1) |
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247 | (1) |
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247 | (1) |
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248 | (1) |
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249 | (6) |
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250 | (1) |
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Onscreen controls and displays |
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251 | (3) |
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Color coding in the Timeline |
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254 | (1) |
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Customizing Timeline Display Options |
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255 | (5) |
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Timeline scaling and scrolling |
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257 | (1) |
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258 | (2) |
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Navigating in the Timeline |
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260 | (7) |
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Positioning the playhead in a sequence |
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261 | (1) |
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Navigating with timecode in the Timeline |
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261 | (2) |
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About snapping in the Timeline |
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263 | (1) |
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Using markers in the Timeline and the Canvas |
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264 | (3) |
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Working with Timeline Tracks |
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267 | (7) |
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FCE Protocol: Lock vs. Target |
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271 | (1) |
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Making a Timeline track invisible |
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272 | (2) |
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Working with Items in the Timeline |
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274 | (20) |
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Selecting items in the Timeline |
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274 | (1) |
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Selecting items with the track selection tools |
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275 | (4) |
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279 | (1) |
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280 | (1) |
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FCE Protocol: Linked Clips |
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280 | (1) |
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281 | (3) |
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284 | (1) |
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FCE Protocol: Gaps and Track Gaps |
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284 | (5) |
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Copying and pasting clip attributes |
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289 | (2) |
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Making multiclip adjustments |
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291 | (1) |
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Changing the playback speed of a clip |
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292 | (2) |
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Working with Keyframes in the Timeline |
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294 | (2) |
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Searching for Items in the Timeline |
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296 | (3) |
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Chapter 10 Fine Cut: Trimming Edits |
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299 | (26) |
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Types of Trimming Operations |
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300 | (2) |
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Selecting an Edit for Trimming |
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302 | (3) |
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302 | (1) |
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303 | (1) |
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All Keys: Mouseless Trimming in FCE |
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304 | (1) |
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Anatomy of the Trim Edit Window |
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305 | (3) |
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Using the Trim Edit Window |
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308 | (5) |
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FCE Protocol: Trimming Error Messages |
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308 | (5) |
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Trimming Edits in the Timeline |
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313 | (8) |
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Trimming Edits in the Viewer |
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321 | (2) |
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Correcting Out-of-Sync Clips |
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323 | (2) |
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Chapter 11 Audio Tools and Techniques |
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325 | (32) |
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Audio Tracks vs. Timeline Tracks |
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326 | (1) |
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327 | (5) |
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Modifying Audio Channel Formats |
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328 | (1) |
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FCE Protocol: Want Stereo? You'll Have to Make It Yourself |
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329 | (1) |
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The Browser's Audio format columns |
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330 | (1) |
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What's Bit Depth and Sampling Rate Got to Do with My Audio Quality? |
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331 | (1) |
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332 | (3) |
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Audio tab onscreen controls and displays |
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333 | (2) |
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Using the Viewer's Audio Tab |
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335 | (5) |
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Scaling and scrolling an audio file |
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336 | (1) |
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Setting edit points in the Audio tab |
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337 | (1) |
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Lost in the Waveforms? Audio Tab Editing Tips |
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337 | (3) |
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Editing Audio in the Timeline |
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340 | (2) |
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Recording Audio with the Voice Over Tool |
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342 | (7) |
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Anatomy of the Voice Over tool |
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342 | (1) |
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343 | (1) |
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343 | (1) |
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344 | (2767) |
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3111 | |
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345 | (1) |
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Voice Over tool set-up checklist |
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345 | (3) |
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348 | (1) |
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349 | (6) |
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349 | (1) |
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Monitor Levels and Mixing |
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350 | (2) |
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Adjusting the pan position |
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352 | (1) |
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353 | (1) |
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Modifying audio transitions |
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354 | (1) |
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355 | (2) |
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Chapter 12 Creating Transitions |
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357 | (18) |
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Adding Transition Effects |
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358 | (4) |
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FCE Protocol: Transitions |
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358 | (2) |
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FCE Protocol: Saving Changes to Modified Transitions |
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360 | (2) |
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Working with Default and Favorite Transitions |
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362 | (4) |
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365 | (1) |
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Editing Video Transitions |
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366 | (11) |
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Using the Transition Editor |
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367 | (4) |
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Editing transitions in the Timeline |
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371 | (1) |
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Modifying audio transitions |
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372 | (1) |
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372 | (1) |
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373 | (2) |
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PART V ADDING TITLES AND EFFECTS |
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375 | (88) |
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Chapter 13 Compositing and Effects Overview |
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377 | (14) |
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Basic Building Blocks of Effects Creation |
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378 | (2) |
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Locating and Applying Effects |
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380 | (4) |
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Onscreen effects controls |
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381 | (2) |
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Effects Production Shortcuts |
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383 | (1) |
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Saving Effects Settings as Favorites |
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384 | (3) |
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Tuning in Effects: Using Dial Slider, and Point Controls |
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386 | (1) |
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387 | (4) |
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Keyframe Navigation Shortcuts |
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387 | (2) |
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Precision control of a keyframe's positioning |
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389 | (2) |
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391 | (36) |
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Setting motion properties |
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392 | (3) |
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393 | (1) |
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Motion Properties Modem an Image or Make It Move |
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394 | (1) |
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395 | (16) |
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Wireframe keyframe indicators |
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396 | (1) |
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Using Motion Properties to Change a Clip's Appearance |
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397 | (1) |
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Pressin', Clickin', and Draggin', Using Keyboard Shortcuts with Wireframes |
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397 | (2) |
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399 | (1) |
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400 | (1) |
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FCE Protocol: Center Point vs. Anchor Point vs. Origin Point |
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400 | (1) |
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401 | (1) |
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402 | (2) |
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Distorting a clip's shape |
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404 | (1) |
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405 | (1) |
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Setting a clip's opacity in the Timeline |
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406 | (1) |
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Adding a drop shadow to a clip |
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407 | (2) |
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Adding a motion blur effect |
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409 | (2) |
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Animating Clip Motion with Keyframes |
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411 | (6) |
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Working with basic motion keyframe commands |
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411 | (1) |
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The Best Way to Fine-Tune a Motion Sequence |
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411 | (4) |
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Setting motion keyframes with timecode entry |
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415 | (2) |
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417 | (4) |
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421 | (6) |
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Adjusting motion path curves and corners |
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422 | (1) |
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Adjusting speed along a motion path |
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423 | (2) |
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Setting a Single Motion Path for Multiple Clips |
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425 | (2) |
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Chapter 15 Filters and Compositing |
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427 | (18) |
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431 | (1) |
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Using Color Correction Filters |
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432 | (6) |
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432 | (1) |
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The color correction filter suite |
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433 | (1) |
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Using the Broadcast Safe filter |
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434 | (1) |
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Monitors and Color Correction |
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434 | (1) |
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Anatomy of the Color Corrector tab |
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435 | (3) |
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438 | (1) |
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438 | (1) |
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439 | (2) |
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441 | (4) |
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442 | (3) |
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Chapter 16 Titles and Generators |
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445 | (18) |
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Particle Noise = Generator Fun |
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|
447 | (1) |
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448 | (5) |
|
Assembly-Line Text Generation |
|
|
448 | (1) |
|
Complex Text: Other Options |
|
|
449 | (1) |
|
Text generator options checklist |
|
|
450 | (2) |
|
Tips for Better-Looking Titles |
|
|
452 | (1) |
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|
|
452 | (1) |
|
The Wonders of Outline Text |
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|
453 | (2) |
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Using Animated Text Generators |
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455 | (10) |
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455 | (3) |
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|
458 | (1) |
|
Creating animated typewriter text |
|
|
459 | (2) |
|
Creating titles with Boris Calligraphy |
|
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461 | (2) |
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|
463 | (68) |
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465 | (24) |
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466 | (2) |
|
What needs to be rendered |
|
|
466 | (1) |
|
What doesn't need to be rendered |
|
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466 | (1) |
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466 | (1) |
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|
467 | (1) |
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468 | (2) |
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|
468 | (2) |
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470 | (4) |
|
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|
471 | (1) |
|
FCE Protocol: Track Costs |
|
|
471 | (1) |
|
FCE Protocol: Estimating Render Processing Time |
|
|
472 | (2) |
|
|
|
474 | (2) |
|
Rendering Real-Time Effects |
|
|
476 | (2) |
|
G4 Real-Time Effects Menu |
|
|
477 | (1) |
|
FCE Protocol Real-Time Rendering Options |
|
|
477 | (1) |
|
|
|
478 | (2) |
|
Specifying storage locations for render files |
|
|
478 | (1) |
|
|
|
479 | (1) |
|
|
|
480 | (3) |
|
Avoiding unnecessary rendering |
|
|
480 | (3) |
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|
|
483 | (1) |
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|
|
483 | (1) |
|
|
|
483 | (1) |
|
|
|
484 | (5) |
|
Using nested sequences to preserve render files |
|
|
484 | (1) |
|
FCE Protocol: Salvaging Renders with Undo |
|
|
484 | (1) |
|
FCE Protocol: Nested Sequences and Rendering |
|
|
485 | (1) |
|
Using nested sequences to preserve audio render files |
|
|
486 | (2) |
|
Export to preserve render files |
|
|
488 | (1) |
|
Chapter 18 Creating Final Output |
|
|
489 | (26) |
|
|
|
490 | (3) |
|
Setting up for recording to tape |
|
|
491 | (2) |
|
Recording Timeline Playback |
|
|
493 | (2) |
|
Touching Up Your Timeline Playback |
|
|
494 | (1) |
|
|
|
495 | (5) |
|
Print to Video: Rendering Tips |
|
|
495 | (1) |
|
Print to Video settings checklist |
|
|
496 | (4) |
|
Exporting Sequences and Clips |
|
|
500 | (7) |
|
FCE Protocol: Exporting Audio Tracks for Finishing |
|
|
501 | (1) |
|
What's a Reference Movie? |
|
|
502 | (1) |
|
|
|
503 | (1) |
|
Exporting a Final Cut Movie |
|
|
504 | (2) |
|
FCE Protocol: DVD
Chapter Markers |
|
|
506 | (1) |
|
Exporting Other Quicktime Formats |
|
|
507 | (2) |
|
FCE Alert: Web Video Uses the Whole Video Frame |
|
|
509 | (6) |
|
Appendix A Online Resources |
|
|
515 | (4) |
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|
|
515 | (1) |
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|
516 | (1) |
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|
|
517 | (1) |
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|
|
517 | (1) |
|
|
|
518 | (1) |
|
Appendix B Keyboard Shortcuts |
|
|
519 | (12) |
|
|
|
519 | (1) |
|
To open application windows |
|
|
520 | (1) |
|
Select, cut, copy, and paste |
|
|
521 | (1) |
|
|
|
521 | (1) |
|
|
|
522 | (1) |
|
|
|
522 | (1) |
|
Screen layout and display |
|
|
523 | (1) |
|
|
|
523 | (1) |
|
|
|
523 | (1) |
|
|
|
524 | (1) |
|
|
|
524 | (1) |
|
|
|
525 | (1) |
|
|
|
525 | (1) |
|
|
|
526 | (1) |
|
|
|
527 | (1) |
|
|
|
527 | (1) |
|
|
|
528 | (1) |
|
Compositing and special effects |
|
|
529 | (1) |
|
Quick navigation keys and modifiers |
|
|
530 | (1) |
| Index |
|
531 | |
