| Introduction |
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xvi | |
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Chapter 1 Video Fundamentals |
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1 | (48) |
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1 | (1) |
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1 The One Overriding Rule of Media |
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2 | (1) |
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2 | (1) |
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2 Is It Final Cut Pro or Final Cut Pro X? |
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2 | (1) |
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3 Basic Final Cut Pro Concepts |
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2 | (1) |
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4 Why Is It Called a "Library," Not a Project? |
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3 | (1) |
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3 | (24) |
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5 Final Cut Uses Three Types of Video |
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3 | (1) |
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6 Why Do We Need to Compress Video? |
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4 | (1) |
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7 Formats, Codecs What Are These Things? |
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5 | (2) |
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8 What's the Best Format for Still Images? |
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7 | (1) |
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9 Not All Codecs Need Optimization |
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8 | (1) |
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10 I-frame vs. Long-GOP: Two Ways to Compress Media |
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8 | (2) |
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11 Which to Pick: HEVC vs. H.264 |
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10 | (1) |
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12 ProRes Was Invented by Apple for Video |
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11 | (1) |
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13 Meet the ProRes Family |
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12 | (1) |
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14 Which Version of ProRes Should You Use? |
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13 | (1) |
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14 | (1) |
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15 | (1) |
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16 | (1) |
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17 | (1) |
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19 Apple's ProRes White Papers Are a Great Resource |
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17 | (1) |
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20 Media Is Stored in Containers |
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18 | (1) |
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21 Standard Video Frame Sizes |
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18 | (1) |
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22 Standard Video Frame Rates |
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19 | (1) |
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23 A Note on "Cinema Quality" |
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20 | (1) |
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20 | (1) |
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21 | (1) |
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22 | (1) |
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27 Which to Choose: SDR vs. HDR Media? |
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22 | (1) |
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23 | (1) |
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29 What Does Video Bit Depth Determine? |
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24 | (2) |
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30 What's 4:2:0, 4:2:2, and 4:4:4 Color? |
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26 | (1) |
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27 | (4) |
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31 What's the Best Computer for Video Editing? |
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27 | (1) |
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32 What Stresses Your Computer During Editing? |
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28 | (1) |
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33 Optimizing Your Computer for Video Editing |
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29 | (1) |
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34 Which to Choose: Mouse, Trackball, or Trackpad? |
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30 | (1) |
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31 | (13) |
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35 What Type of Storage Hardware Do You Need? |
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31 | (1) |
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36 Internal, Direct- and Network-Attached Storage |
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32 | (1) |
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37 What About Storing Media in the Cloud? |
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33 | (1) |
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38 Storage Specs to Consider |
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34 | (1) |
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39 How Much Storage Capacity Do You Need? |
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34 | (2) |
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40 How Much Speed Do You Need? |
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36 | (1) |
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36 | (2) |
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42 Multicam Editing Is a Special Case |
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38 | (1) |
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39 | (1) |
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44 Final Cut Creates Lots of Files |
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39 | (1) |
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45 What's Interlaced vs. Progressive Video? |
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40 | (2) |
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46 Deinterlacing Degrades Video Image Quality |
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42 | (1) |
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47 A Fast Way to Deinterlace a Clip |
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42 | (1) |
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48 When to Deinterlace Interlaced Video |
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43 | (1) |
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44 | (4) |
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49 Understand Keyboard Shortcuts |
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44 | (1) |
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50 Create a Custom Command Set |
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44 | (1) |
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51 Create Custom Keyboard Shortcuts |
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45 | (2) |
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52 A Fast Way to Switch Shortcuts |
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47 | (1) |
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53 Find a New Favorite Shortcut |
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47 | (1) |
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Chapter 1 Video Fundamentals Shortcuts |
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48 | (1) |
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48 | (1) |
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Chapter 2 The Final Cut Pro Interface |
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49 | (52) |
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49 | (1) |
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54 Download the Final Cut Pro User Guide |
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50 | (1) |
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The Final Cut Pro Interface |
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50 | (1) |
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Get to Know the Interface |
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50 | (10) |
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55 Modify the Final Cut Interface |
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51 | (2) |
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56 Workspaces--Hidden Enablers of Productivity |
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53 | (1) |
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57 What Can You Put in a Workspace? |
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54 | (1) |
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58 Create Your Own Custom Workspace |
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54 | (1) |
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59 Create a Custom Workspace Keyboard Shortcut |
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55 | (1) |
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60 Expand the Interface with Two Computer Monitors |
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56 | (1) |
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61 Play Video on a Calibrated Video Monitor |
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56 | (1) |
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62 The Background Tasks Window |
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56 | (1) |
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63 Interface Icon Colors Are Significant |
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57 | (1) |
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64 There Is One Inspector--with Multiple Faces |
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58 | (1) |
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65 Change the Height of the Inspector |
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58 | (1) |
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59 | (1) |
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67 The Hidden Extensions Icon |
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59 | (1) |
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60 | (6) |
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68 Optimize General Preference Settings |
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60 | (1) |
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69 A Quick Note on Measurements |
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60 | (1) |
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70 Optimize Editing Preferences |
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61 | (1) |
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71 Optimize Playback Preferences |
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62 | (1) |
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72 What Do Dropped Frame Errors Mean? |
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63 | (1) |
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73 Use a High-Quality Audio Monitor |
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64 | (1) |
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74 Optimize Import Preferences |
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65 | (1) |
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75 Optimize Destination Preferences |
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65 | (1) |
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66 | (10) |
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76 The Browser Settings Menu |
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67 | (1) |
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77 Eight Ways to Sort Browser Clips |
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67 | (1) |
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78 Group Clips in the Browser |
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68 | (1) |
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79 Display Audio Waveforms in the Browser |
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68 | (1) |
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80 The Hidden Meaning of Clip Color Lines |
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69 | (1) |
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81 Turn Off Those Color Lines in the Browser |
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70 | (1) |
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82 Deleted Browser Clips Are Not Actually Deleted |
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70 | (1) |
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83 Browser Badges--Explained |
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70 | (1) |
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84 Even Browser Clip Edges Share Secrets |
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71 | (1) |
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85 The Skimmer: A Tool I Love to Hate |
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71 | (1) |
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86 Top-Secret Hidden Browser Clip Menu |
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72 | (1) |
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72 | (1) |
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88 View Clip Labels (Metadata) in Browser |
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73 | (1) |
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89 Hidden Browser Metadata Fields |
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74 | (1) |
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90 Different Ways to View the Browser |
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74 | (1) |
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91 The Photos, Music, Apple TV & Audio Sidebars |
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75 | (1) |
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92 The Sound Effects Sidebar |
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75 | (1) |
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76 | (4) |
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93 Why Doesn't the Timeline Scroll? |
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76 | (1) |
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94 Manage Projects with This Hidden Menu |
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76 | (1) |
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95 Switch Projects Faster Using Timeline History Chevrons |
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77 | (1) |
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96 Timeline Control Icons |
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78 | (1) |
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97 Timecode Displays Location |
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78 | (1) |
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98 The Timecode Display Holds Secrets |
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79 | (1) |
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99 Two Floating Timecode Windows |
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79 | (1) |
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100 Moving Around the Timeline |
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80 | (1) |
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80 | (8) |
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101 Even the Viewer Has a View Menu |
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81 | (1) |
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102 Enlarge the Viewer Full Screen |
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81 | (1) |
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103 Display Action Safe and Title Safe Zones |
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82 | (1) |
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104 Better Quality vs. Better Performance |
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83 | (1) |
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105 Custom Viewer Overlays |
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83 | (2) |
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106 How to Enable Proxies |
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85 | (1) |
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107 How to View Transparency |
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86 | (1) |
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108 Make the Viewer Background Transparent |
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87 | (1) |
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109 The Little Red Box in the Viewer |
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87 | (1) |
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88 | (2) |
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88 | (1) |
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89 | (1) |
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90 | (10) |
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112 Four Troubleshooting Techniques |
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90 | (2) |
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113 When Final Cut Pro Unexpectedly Quits |
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92 | (1) |
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114 How to Trash Third-Party Plug-ins |
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93 | (1) |
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93 | (1) |
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116 Does Zapping PRAM Still Work? |
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93 | (1) |
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117 Saving Is Automatic--So Are Backups |
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94 | (1) |
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118 Restoring from a Backup |
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94 | (1) |
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119 How to Change Where Final Cut Stores Backups |
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95 | (1) |
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120 Monitor Your Mac Using Activity Monitor |
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96 | (1) |
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121 Archive Active Versions of Final Cut |
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97 | (1) |
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122 The Dock Holds Secrets |
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98 | (1) |
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123 But Wait There's More! |
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99 | (1) |
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Chapter 2 Interface Shortcuts |
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100 | (1) |
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100 | (1) |
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Chapter 3 Libraries & Media |
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101 | (88) |
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101 | (2) |
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102 | (1) |
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Libraries, Events & Projects |
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103 | (19) |
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125 Create, Rename, and Close a Library |
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103 | (1) |
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126 The Library List Menu |
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104 | (1) |
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127 Create a New Library from an Event |
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105 | (1) |
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128 Change Library Storage Locations |
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106 | (1) |
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129 Final Cut Pro Statistics |
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107 | (1) |
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130 How Big Is Your Library? |
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107 | (1) |
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131 Consolidate Library Media |
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107 | (1) |
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132 Final Cut Library Manager |
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108 | (1) |
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133 Create, Rename, and Modify an Event |
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109 | (1) |
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134 Create as Many Events as You Need |
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110 | (1) |
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135 Copy Events Between Libraries |
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110 | (2) |
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136 Move Events Between Libraries |
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112 | (1) |
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137 Store the Same Media in Multiple Events |
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112 | (1) |
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138 An Empty Library Simplifies Collaboration |
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113 | (2) |
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139 Another Collaboration Option: Proxy Libraries |
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115 | (1) |
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140 Consolidate Motion Templates |
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115 | (1) |
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141 Create a New Project for SDR Media |
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116 | (2) |
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142 Don't Duplicate a Project-Create a Snapshot |
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118 | (1) |
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143 The Fastest Way to Format a New Project |
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118 | (1) |
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144 Modify an Existing Project |
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119 | (1) |
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145 Create an HDR Project |
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120 | (1) |
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146 Be Careful Changing File Names |
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121 | (1) |
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122 | (6) |
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147 Before You Import Media |
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122 | (1) |
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148 Drag Clips into Final Cut Pro |
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123 | (1) |
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149 Import Media Using the Media Import Window |
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123 | (1) |
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150 Multiple Ways to Play a Clip |
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124 | (1) |
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151 Import Photoshop Files with Layers |
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125 | (1) |
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126 | (1) |
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153 Import Media Display Options |
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126 | (1) |
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154 How to View Timecode During Import |
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127 | (1) |
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128 | (11) |
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155 Create Favorite Import Locations |
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128 | (1) |
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156 Choose the Right Media Import Settings-Part 1 |
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128 | (2) |
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157 Choose the Right Media Import Settings-Part 2 |
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130 | (1) |
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158 Choose the Right Media Import Settings-Part 3 |
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130 | (1) |
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159 Choose the Right Media Import Settings-Part 4 |
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131 | (1) |
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160 Assign Custom Audio Roles During Import |
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132 | (1) |
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161 Record the FaceTime Camera |
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133 | (1) |
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162 Create Proxies After Importing Media |
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133 | (1) |
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134 | (1) |
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164 What a File with a Broken Link Looks Like |
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135 | (1) |
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135 | (2) |
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137 | (1) |
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167 Delete Generated Media |
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137 | (2) |
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139 | (12) |
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139 | (1) |
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169 Use Favorites to Flag Shots You Like |
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139 | (1) |
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140 | (1) |
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171 Add Notes to One or More Clips |
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141 | (1) |
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172 The Highly Efficient Search Box |
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141 | (1) |
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142 | (1) |
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143 | (1) |
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175 Keywords Allow More Flexible Organization |
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144 | (1) |
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176 A Faster Way to Add Keywords |
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144 | (1) |
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177 Keywords Create Keyword Collections |
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145 | (1) |
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178 Two Keyword Speed Tips |
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146 | (1) |
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179 Keywords Enable a Very Powerful Search |
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146 | (1) |
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147 | (1) |
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148 | (1) |
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148 | (1) |
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149 | (1) |
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184 It's OK to Rename Clips in Final Cut |
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150 | (1) |
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185 Rename Clips in Batches |
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150 | (1) |
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151 | (4) |
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186 Customize the Timeline |
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151 | (1) |
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187 A Super-Fast Way to Zoom In to the Timeline |
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151 | (1) |
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152 | (1) |
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189 What If Frame Rates Don't Match |
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152 | (1) |
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190 How to Change the Frame Rate of a Project |
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153 | (1) |
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191 Correct the Aspect Ratio of a Clip |
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154 | (1) |
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Chapter 3 Libraries & Media Shortcuts |
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155 | (1) |
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155 | (2) |
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157 | (1) |
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157 | (1) |
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Definitions for This
Chapter |
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158 | (1) |
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159 | (3) |
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159 | (1) |
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193 Snapping--the Secret to Precision |
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160 | (1) |
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194 Marking a Clip Sets the In and Out |
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160 | (1) |
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195 Select Multiple Ranges in One Clip |
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161 | (1) |
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162 | (1) |
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162 | (12) |
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197 The Magnetic Timeline Is Not Evil! |
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162 | (1) |
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198 Final Cut Pro Supports Four Edit Options |
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163 | (1) |
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199 Editing Icons, Tools, and Shortcuts |
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164 | (1) |
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200 What's a Connected Clip? |
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165 | (1) |
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201 What's a Clip Connection? |
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165 | (1) |
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165 | (1) |
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203 Move Primary Storyline Clips |
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166 | (1) |
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204 Constrain Clip Movement |
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167 | (1) |
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205 Change Clip Durations |
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167 | (1) |
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206 Use Three-Point Edits for Greater Precision |
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168 | (1) |
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207 Create a Back-Time Edit |
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169 | (1) |
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208 Replace Edits Replace a Timeline Clip |
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169 | (1) |
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209 Use a Replace Edit to Replace Audio |
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170 | (1) |
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210 When to Use Replace with Retime to Fit |
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171 | (1) |
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171 | (1) |
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212 Create
Chapter Markers |
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172 | (1) |
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213 Gaps and Timeline Placeholders |
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173 | (1) |
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214 Find Duplicated Media |
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173 | (1) |
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174 | (4) |
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174 | (1) |
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216 The Power of the Position Tool |
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175 | (1) |
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217 The Range Tool Doesn't Select Anything |
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175 | (1) |
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218 Cut Clips with the Blade Tool |
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176 | (1) |
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176 | (1) |
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177 | (1) |
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221 The (Hidden) Delete Key |
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177 | (1) |
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222 The Timeline Clip Menu |
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178 | (1) |
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178 | (6) |
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178 | (1) |
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224 Handles Are Essential for Trimming |
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179 | (1) |
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225 Trim the Top and Tail of a Clip |
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180 | (1) |
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226 The Hidden Precision Editor |
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180 | (1) |
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181 | (1) |
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228 A Super-Fast Trimming Shortcut |
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182 | (1) |
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229 Split Edits: The Workhorse of Editing |
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182 | (1) |
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182 | (1) |
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231 How to Use Audio Clip Skimming |
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183 | (1) |
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232 A Slip Trim Optimizes B-Roll |
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183 | (1) |
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184 | (5) |
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184 | (1) |
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234 Timeline Index: Customization |
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185 | (1) |
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235 Timeline Index: Navigation |
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185 | (1) |
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236 Timeline Index: Clips |
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185 | (1) |
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186 | (1) |
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238 Timeline Index: Roles |
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187 | (1) |
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239 Timeline Index: Captions |
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187 | (1) |
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240 Timeline Index: Markers |
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188 | (1) |
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Chapter 4 Basic Editing Shortcuts |
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189 | (2) |
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190 | (1) |
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Chapter 5 Advanced Editing |
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191 | (38) |
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191 | (1) |
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Definitions for This
Chapter |
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192 | (1) |
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192 | (4) |
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193 | (1) |
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242 Reframe Clips Using Smart Conform |
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193 | (1) |
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243 Auditions Preview Possibilities |
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194 | (1) |
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244 Create Auditions in the Timeline |
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195 | (1) |
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196 | (7) |
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245 What's a Compound Clip? |
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196 | (1) |
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246 Use Compound Clips to Organize Clips |
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197 | (1) |
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247 Compound Clips Are Dynamic |
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198 | (1) |
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248 Make a Compound Clip Independent |
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198 | (1) |
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249 Caution: Compound Clip Audio |
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198 | (1) |
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250 Caution: Compound Clips Hide Markers |
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199 | (1) |
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251 Create a Transition Between Compound Clips |
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199 | (2) |
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252 Create Oversized Compound Clips |
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201 | (1) |
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253 Apply Effects to Compound Clips |
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202 | (1) |
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203 | (12) |
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254 Multicam Clips Are for Editing |
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203 | (1) |
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255 Multicam Clips Require Lots of Bandwidth |
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204 | (1) |
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256 Prep Multicam Clips Before You Start |
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204 | (1) |
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257 Sync Multicam Clips the Easy Way |
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205 | (1) |
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258 Advanced Multicam Syncing |
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206 | (1) |
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259 The Multicam Angle Editor |
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207 | (1) |
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260 Change the Display Order of Multicam Clips |
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208 | (1) |
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261 Set a Multicam Clip for Editing |
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209 | (1) |
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262 Change the Multicam Viewer Display |
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210 | (1) |
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263 Editing a Multicam Clip |
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210 | (1) |
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264 Trim a Multicam Edit Point |
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211 | (1) |
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265 Don't Flatten a Multicam Clip |
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211 | (1) |
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266 Put Multiple Clips in One Multicam Angle |
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212 | (1) |
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267 Modify a Multicam Clip After It's Built |
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213 | (1) |
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268 Add Effects to a Multicam Clip |
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213 | (1) |
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269 Access Audio Channels Inside a Multicam Clip |
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214 | (1) |
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215 | (5) |
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270 Not All Captions Are Alike |
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215 | (1) |
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271 Two Ways to Import Captions |
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216 | (1) |
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272 Enable Captions Using the Timeline Index |
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217 | (1) |
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273 Start with the Right Role |
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217 | (1) |
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218 | (1) |
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275 Easily Edit SRT Captions |
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219 | (1) |
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276 Caption Translation Tip |
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219 | (1) |
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Color Basics & Video Scopes |
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220 | (8) |
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277 Grayscale, Even More Than Color, Drives Emotions |
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220 | (1) |
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278 Color Is Like a Grapefruit |
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221 | (1) |
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279 Colors, Like Grayscale, Are Denned Using Regions |
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222 | (1) |
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280 Intro to Video Scopes |
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223 | (1) |
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224 | (1) |
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225 | (1) |
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283 Display Video Scopes on a Second Monitor |
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226 | (1) |
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284 The Video Scope View Menu |
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226 | (1) |
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227 | (1) |
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Chapter 5 Advanced Editing Shortcuts |
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228 | (1) |
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228 | (1) |
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229 | (54) |
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229 | (1) |
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Definitions for This
Chapter |
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230 | (1) |
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231 | (10) |
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286 Human Hearing and Sample Rate |
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232 | (1) |
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287 What Does Audio Bit Depth Determine? |
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232 | (1) |
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288 Which to Pick: Speakers or Headphones |
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233 | (1) |
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233 | (1) |
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290 Supported Audio Formats |
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234 | (1) |
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291 Audio Import Settings |
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235 | (1) |
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292 Timeline Settings Affect Audio Display |
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236 | (1) |
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293 What an iXML File Looks Like |
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236 | (1) |
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294 Sync Double System Audio Automatically |
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237 | (1) |
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295 Sync Double System Sound Manually |
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238 | (1) |
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296 Manually Adjust Audio Clip Sync |
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239 | (1) |
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240 | (1) |
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241 | (14) |
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241 | (1) |
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299 Edit Audio to the Timeline |
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242 | (1) |
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300 Trim Audio Separately from Video |
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242 | (1) |
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301 Expand vs. Detach Audio? |
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243 | (1) |
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302 When Should You Break Apart Clip Items? |
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244 | (1) |
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303 How to Sync Out-of-Sync Audio |
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244 | (1) |
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304 Trim Audio Clips in the Primary Storyline |
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245 | (1) |
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305 Split Trims Edit Audio Separately |
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246 | (1) |
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306 Trim Connected Audio Clips |
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247 | (1) |
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307 Unlike Video, Trim Audio to the Subframe |
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247 | (1) |
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308 Audio Configuration Settings Affect Editing |
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248 | (1) |
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309 Display Audio Components |
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249 | (1) |
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310 Automatically Apply a Crossfade |
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250 | (1) |
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311 Apply an Audio Transition Manually |
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251 | (1) |
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312 A Faster Way to Create an Audio Fade |
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252 | (1) |
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313 Change the Shape of an Audio Fade |
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252 | (1) |
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314 Enable Audio Skimming |
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253 | (1) |
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315 Turn On Clip Skimming |
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253 | (1) |
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316 Retime Audio to Match Dialogue |
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254 | (1) |
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317 Retime Audio to Stretch a Closing Chord |
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255 | (1) |
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255 | (5) |
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318 Display and Read Audio Meters |
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255 | (2) |
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257 | (1) |
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320 Absolute vs. Relative Audio Levels |
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257 | (1) |
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321 Adjust Audio Levels with the Range Tool |
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258 | (1) |
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322 A Shortcut to Change Audio Levels |
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259 | (1) |
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323 Add and Modify Keyframes |
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259 | (1) |
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260 | (7) |
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324 Introducing the Audio Inspector |
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260 | (1) |
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325 Set Audio Levels Faster |
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261 | (1) |
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326 Pan Places a Sound in Space |
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261 | (1) |
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262 | (1) |
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328 Convert Multichannel Audio to Dual Mono |
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263 | (1) |
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329 Audio Configuration Does More |
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264 | (1) |
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330 Automatic Audio Enhancements |
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264 | (1) |
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331 Adjust Automatic Audio Enhancements |
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265 | (1) |
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332 Improve Speech Clarity |
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266 | (1) |
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333 Final Cut Pro Supports 5.1 Surround Sound |
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267 | (1) |
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267 | (6) |
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267 | (2) |
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335 What Can You Do with Roles? |
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269 | (1) |
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336 Assign Roles to Clips |
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269 | (1) |
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337 Switch Languages Using the Timeline Index |
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270 | (1) |
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338 Organize the Timeline Using Roles |
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271 | (1) |
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339 Display Subroles Using the Timeline Index |
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271 | (1) |
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340 Focus on Specific Clips Using Roles |
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272 | (1) |
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341 Create Audio Stems Si Submixes |
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272 | (1) |
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273 | (9) |
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342 Audio Mixing in Final Cut Pro |
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273 | (1) |
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343 Where to Set Audio Levels for a Final Mix |
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274 | (1) |
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344 Apply, Modify, and Remove Audio Effects |
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275 | (1) |
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345 Create a Default Audio Effect |
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275 | (1) |
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346 The Stacking Order of Audio Effects Is Important |
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276 | (1) |
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347 The Audio Animation Bar |
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276 | (1) |
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277 | (1) |
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349 Create a "Voice Heard Over the Telephone" Effect |
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277 | (1) |
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350 Use EQ to Enhance Voice Clarity |
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277 | (2) |
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351 The Graphic Equalizer Shapes Sound |
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279 | (1) |
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352 Space Designer Creates the Sound of a Space |
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280 | (1) |
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281 | (1) |
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Chapter 6 Audio Shortcuts |
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282 | (1) |
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282 | (1) |
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Chapter 7 Transitions & Titles |
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283 | (38) |
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283 | (1) |
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Definitions for This
Chapter |
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284 | (1) |
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284 | (8) |
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354 The Three Types of Visual Transitions |
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284 | (1) |
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285 | (1) |
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356 Handles Are Essential for Transitions |
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286 | (1) |
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357 The Transitions Browser |
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286 | (1) |
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358 Use Search to Find a Specific Transition |
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287 | (1) |
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359 Apply a Transition from the Transitions Browser |
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287 | (1) |
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288 | (1) |
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361 Change the Transition Duration |
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288 | (1) |
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362 Trim a Clip Under a Transition |
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288 | (1) |
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289 | (1) |
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364 Hidden Dissolve Options |
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289 | (1) |
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365 Create a New Default Transition |
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290 | (1) |
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366 Flow Minimizes Jump Cuts |
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290 | (1) |
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367 Here's What Those Yellow Dots Mean |
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291 | (1) |
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368 Modify Transitions Using Motion |
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291 | (1) |
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369 Create or Delete Custom Transitions |
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292 | (1) |
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292 | (18) |
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370 Larry's "10 Rules for Titles" |
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292 | (1) |
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371 Fonts Wrap Text with Emotion |
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293 | (1) |
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294 | (1) |
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373 Add a Title to the Timeline |
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294 | (1) |
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295 | (1) |
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375 Modify Text Position More Precisely |
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296 | (1) |
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376 A Simple Way to Add Depth to Text |
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297 | (1) |
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377 Add Cast Shadows to Text |
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298 | (1) |
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378 Format How Titles Look |
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298 | (2) |
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379 Fonts Don't Need to Be White |
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300 | (1) |
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380 Pick Your Color Picker |
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301 | (1) |
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381 Kerning Improves Large Text Titles |
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301 | (1) |
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382 Change the Default Titles |
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302 | (1) |
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383 Review Timeline Titles Quickly |
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303 | (1) |
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384 There's a Hidden Shortcut for Titles |
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303 | (1) |
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304 | (1) |
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386 Many Titles Include Animation |
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305 | (1) |
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387 Access More Complex Animation |
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305 | (1) |
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388 3D Text Is Just Like 2D-Almost |
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306 | (1) |
|
389 3D Textures Provide Stunning Versatility |
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307 | (1) |
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308 | (1) |
|
391 Modify Any Title in Motion |
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309 | (1) |
|
392 Remove a Custom Title (or Transition) |
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310 | (1) |
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310 | (9) |
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311 | (1) |
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394 Generator Backgrounds |
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311 | (1) |
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312 | (1) |
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396 How to Burn Timecode into a Project |
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313 | (1) |
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314 | (1) |
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314 | (1) |
|
399 Modify the Default Generator |
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315 | (1) |
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315 | (1) |
|
401 Put Video Inside Text |
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316 | (1) |
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402 Put Video Inside Text Over Video |
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317 | (2) |
|
Chapter 7 Transitions & Titles Shortcuts |
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319 | (1) |
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319 | (2) |
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321 | (70) |
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321 | (1) |
|
Definitions for This
Chapter |
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322 | (1) |
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322 | (12) |
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323 | (1) |
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324 | (1) |
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405 Timeline Stacking Matters |
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324 | (1) |
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406 Blend Modes 8i Opacity Create Composite Images |
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325 | (1) |
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407 Remove Pixels Using Crop or Trim |
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326 | (1) |
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408 The Crop 8i Feather Effect |
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327 | (1) |
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327 | (3) |
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330 | (1) |
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411 Spatial Conform Fits Odd-Sized Clips |
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330 | (1) |
|
412 Resize Video Without Losing Image Quality |
|
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331 | (1) |
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332 | (1) |
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414 Rolling Shutter Correction |
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333 | (1) |
|
415 Rate Conform Sets How Frame Rates Are Converted |
|
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333 | (1) |
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334 | (16) |
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416 The Transform Settings |
|
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334 | (1) |
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417 Create a Picture-in-Picture Effect |
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335 | (1) |
|
418 Enable Onscreen Viewer Controls |
|
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336 | (1) |
|
419 Two More Ways to Enable Onscreen Viewer Controls |
|
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337 | (1) |
|
420 Rotate a Clip in the Viewer |
|
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337 | (1) |
|
421 Two Quick Ways to Flip a Clip |
|
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338 | (1) |
|
422 Calculate Clip Positions |
|
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338 | (1) |
|
423 Change the Anchor Point |
|
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339 | (1) |
|
424 Copy Effects to Multiple Clips |
|
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340 | (1) |
|
425 Remove Effects from One or More Clips |
|
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341 | (1) |
|
426 Apply Video Keyframes |
|
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341 | (2) |
|
427 What's a Motion Path? |
|
|
343 | (1) |
|
428 Add or Modify a Motion Path |
|
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344 | (1) |
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|
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344 | (1) |
|
430 Modify Clips in Drop Zones |
|
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345 | (1) |
|
431 Reframe Clips in a Drop Zone |
|
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346 | (1) |
|
432 Be Careful Moving a Generator |
|
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346 | (1) |
|
433 What Does "Analysis" Mean? |
|
|
347 | (1) |
|
434 The Video Animation Bar |
|
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348 | (1) |
|
435 Use the Video Animation Bar to Adjust Opacity |
|
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349 | (1) |
|
|
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350 | (1) |
|
436 Change Default Keyframe Acceleration |
|
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350 | (1) |
|
437 Create or Navigate Keyframes in the Viewer |
|
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350 | (1) |
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351 | (6) |
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351 | (1) |
|
439 Effects Are Adjusted in the Video Inspector |
|
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352 | (1) |
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353 | (1) |
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353 | (1) |
|
442 The Timeline Index Finds Clips |
|
|
354 | (1) |
|
443 Remove Effects vs. Remove Attributes |
|
|
355 | (1) |
|
444 Effects Stacking Changes Results |
|
|
355 | (1) |
|
445 Create a Default Video Effect |
|
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355 | (1) |
|
446 Some Effects Require Compound Clips |
|
|
356 | (1) |
|
447 How to Remove Custom Plugins from Final Cut |
|
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357 | (1) |
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357 | (6) |
|
|
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357 | (1) |
|
449 Use Pixelization to Hide Identities |
|
|
358 | (1) |
|
|
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359 | (1) |
|
451 Pick the Right Black & White Look |
|
|
359 | (1) |
|
452 Create a Better Sepia Effect |
|
|
360 | (1) |
|
|
|
360 | (1) |
|
454 Reduce Light Flickers |
|
|
361 | (1) |
|
|
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361 | (1) |
|
456 Create an Adjustment Layer |
|
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362 | (1) |
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363 | (13) |
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363 | (2) |
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365 | (1) |
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365 | (2) |
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367 | (1) |
|
461 Track an Effect with Object Tracking |
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368 | (2) |
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462 Adjust an Object Track |
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370 | (1) |
|
463 Track Two Objects Using One Track |
|
|
371 | (2) |
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|
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373 | (1) |
|
465 Chroma Key Effect (aka Green-Screen Key) |
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374 | (2) |
|
466 Advanced Chroma Key Settings |
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376 | (1) |
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376 | (14) |
|
467 Introduction to Color |
|
|
377 | (1) |
|
468 One Click to Fix Color |
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378 | (1) |
|
469 Match Color Matches Color Between Clips |
|
|
378 | (1) |
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379 | (1) |
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380 | (1) |
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381 | (1) |
|
|
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382 | (1) |
|
474 Advanced Color Wheel Tips |
|
|
382 | (1) |
|
475 How to Quickly Fix Skin Tones |
|
|
383 | (2) |
|
|
|
385 | (1) |
|
477 Hue/Saturation Curves |
|
|
385 | (1) |
|
478 The "Pleasantville" Effect |
|
|
386 | (1) |
|
479 Range Check Provides a Warning |
|
|
387 | (1) |
|
480 Apply the Broadcast Safe Effect |
|
|
388 | (1) |
|
|
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389 | (1) |
|
Chapter 8 Visual Effects Shortcuts |
|
|
390 | (1) |
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|
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390 | (1) |
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|
391 | |
|
|
|
391 | (1) |
|
Definitions for This
Chapter |
|
|
392 | (1) |
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393 | (11) |
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|
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393 | (1) |
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|
393 | (1) |
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|
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394 | (1) |
|
485 Export a High-Quality Finished File |
|
|
395 | (1) |
|
|
|
395 | (1) |
|
487 Change the Info (Metadata) Tags |
|
|
396 | (1) |
|
488 Export Projects for Social Media |
|
|
397 | (1) |
|
489 Which to Pick: "Faster" or "Better"? |
|
|
398 | (1) |
|
490 Which to Pick: H.264 or HEVC? |
|
|
399 | (1) |
|
|
|
399 | (1) |
|
492 Why Proxies Have Lower Image Quality |
|
|
400 | (1) |
|
|
|
400 | (1) |
|
494 Use XML to Send a Project to Adobe Apps |
|
|
401 | (1) |
|
495 Send a Premiere Project to Final Cut Pro Using XML |
|
|
402 | (1) |
|
496 Use XML to Archive Your Project |
|
|
403 | (1) |
|
|
|
404 | (2) |
|
497 What to Do When the Project Is Done |
|
|
404 | (2) |
|
Chapter 9--Sharing & Export Shortcuts |
|
|
406 | (1) |
|
|
|
406 | (1) |
|
|
|
407 | (1) |
|
Larry Jordan's Most Useful Shortcuts |
|
|
408 | (1) |
|
|
|
409 | |
|
|
|
|
Instructions for downloading this bonus chapter are in the "Free Additional
Chapter--Online" section |
|
|
|
498 15 Principles for a Media Career |
|
|
2 | (1) |
|
499 A Workflow That Works |
|
|
3 | (1) |
|
500 What to Discuss with a Client Before Production Starts |
|
|
4 | (2) |
|
501 Plan the Technology of Your Project |
|
|
6 | (1) |
|
502 Make Sure Your Media Is Licensed |
|
|
7 | (1) |
|
503 What's a Speed Change? |
|
|
8 | (1) |
|
|
|
8 | (1) |
|
|
|
9 | (1) |
|
|
|
10 | (1) |
|
|
|
11 | (1) |
|
508 Create a Stills Montage |
|
|
11 | (1) |
|
509 Convert a Clip to Slow Motion |
|
|
12 | (1) |
|
510 Frame Blending Smooths Slowmo |
|
|
13 | (1) |
|
511 Automatic Speed Creates Glossy Slow Motion |
|
|
13 | (1) |
|
512 Increase Clip Playback Speed |
|
|
14 | (1) |
|
513 Use Reverse to Play a Clip Backward |
|
|
15 | (1) |
|
514 Speed Ramps Vary Playback Speed |
|
|
15 | (1) |
|
515 Create Speed Transitions Manually |
|
|
16 | (1) |
|
516 Instant Replay and Act Like a Sportscaster |
|
|
17 | (1) |
|
517 Export Multiple Projects At Once |
|
|
17 | (1) |
|
518 Export a Timeline Range |
|
|
18 | (1) |
|
519 Export Multiple Ranges at Once |
|
|
18 | (1) |
|
520 Change the Poster Frame for a Movie |
|
|
18 | (1) |
|
|
|
19 | (1) |
|
522 Check File Compatibility |
|
|
19 | (1) |
|
|
|
20 | (1) |
|
524 Create a Share Bundle |
|
|
20 | (1) |
|
525 Export a Smaller File |
|
|
21 | (1) |
|
|
|
22 | (1) |
|
527 How to Export Files with Transparency |
|
|
23 | (1) |
|
528 Use QuickTime Player to Check Movie Specs |
|
|
24 | (1) |
|
529 Select Different Compression Settings |
|
|
24 | (1) |
|
530 Send Files to Apple Compressor |
|
|
25 | (1) |
|
531 Burning DVDs or Blu-ray Discs |
|
|
26 | (1) |
|
|
|
26 | (1) |
|
533 Create a 360° Video Project |
|
|
27 | (1) |
|
534 How to View 360° Video |
|
|
28 | (1) |
|
535 Adjust the Angle of View |
|
|
29 | (1) |
|
536 Most 360° Video Is Shot on a Tripod |
|
|
29 | (1) |
|
537 Editing & Transitions in 360° Video |
|
|
30 | (1) |
|
538 Use 360° Generators for 360° Video |
|
|
30 | (1) |
|
539 Use 360° Titles for 360° Video |
|
|
31 | (1) |
|
540 Add HD Video to a 360° Video Project |
|
|
31 | (1) |
|
541 Add 360° Video to an HD/4K Project |
|
|
32 | (1) |
|
542 Export 360° Video or Stills |
|
|
32 | (1) |
|
|
|
32 | (1) |
|
Websites for Final Cut Pro Editors |
|
|
33 | (1) |
|
Count Words for Voice-Over Timing |
|
|
34 | (1) |
|
CommandPost: A Utility That Extends Final Cut |
|
|
35 | (1) |
|
Final Cut Library Manager |
|
|
35 | (1) |
|
|
|
36 | (1) |
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|
|
36 | |
|
Chapter 10 Special Cases Shortcuts |
|
|
38 | |
