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Final Cut Express HD User Manual K Apple Computer, Inc. © 2006 Apple Computer, Inc. All rights reserved. The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. and other countries. Use of the "keyboard" Apple logo (Option-Shift-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws. Apple, the Apple logo, DVD Studio Pro, Final Cut, Final Cut Pro, FireWire, iDVD, iMovie, Mac, Macintosh, Mac OS, PowerBook, Power Mac, QuickTime, Soundtrack, TrueType, and Xsan are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Cinema Tools, Finder, LiveType, and Pixlet are trademarks of Apple Computer, Inc. AppleCare is a service mark of Apple Computer, Inc., registered in the U.S. and other countries. Adobe, After Effects, Photoshop, and PostScript are trademarks or registered trademarks of Adobe Systems Incorporated in the U.S. and/or other countries. Helvetica is a registered trademark of Heidelberger Druckmaschinen AG, available from Linotype Library GmbH. OpenGL is a registered trademark of Silicon Graphics, Inc. Production stills from the films "Koffee House Mayhem" and "A Sus Ordenes" provided courtesy of Refuge Films. "Koffee House Mayhem" © 2005 Jean-Paul Bonjour; "A Sus Ordenes" © 2005 Eric Escobar. http://www.refugefilms.com 1 Contents Preface 25 25 25 26 Final Cut Express HD Documentation and Resources Getting Started Onscreen Help Apple Websites Part I Chapter 1 29 29 30 35 35 36 36 36 39 39 43 47 49 An Introduction to Final Cut Express HD About the Post-Production Workflow The Industry Workflow The Post-Production Workflow Video Formats and Timecode About Nonlinear and Nondestructive Editing Video Formats Compatible With Final Cut Express HD Audio Formats Compatible With Final Cut Express HD Video Format Basics Understanding Projects, Clips, and Sequences The Building Blocks of Projects Working With Projects About the Connection Between Clips and Media Files Filenaming Considerations Chapter 2 Chapter 3 Part II Chapter 4 55 55 57 59 63 64 Learning About the Final Cut Express HD Interface Overview of the Final Cut Express HD Interface Basics of Working in the Final Cut Express HD Interface Using Keyboard Shortcuts, Buttons, and Shortcut Menus Customizing the Interface Undoing and Redoing Changes Entering Timecode for Navigation Purposes 3 Chapter 5 65 65 66 67 69 70 79 79 80 82 83 84 85 87 88 90 91 91 92 93 94 95 96 98 99 101 101 108 111 111 113 114 123 127 128 Browser Basics How You Use the Browser Learning About the Browser Working in the Browser Using Columns in the Browser Customizing the Browser Display Viewer Basics How You Can Use the Viewer Opening a Clip in the Viewer Learning About the Viewer Tabs in the Viewer Transport (or Playback) Controls Playhead Controls Marking Controls Zoom and View Pop-Up Menus Recent Clips and Generator Pop-Up Menus Canvas Basics How You Use the Canvas Opening, Selecting, and Closing Sequences in the Canvas Learning About the Canvas Editing Controls in the Canvas Transport (or Playback) Controls Playhead Controls Marking Controls Zoom and View Pop-Up Menus Navigating and Using Timecode in the Viewer and Canvas Navigating in the Viewer and Canvas Working With Timecode in the Viewer and Canvas Timeline Basics How You Use the Timeline Opening and Closing Sequences in the Timeline Learning About the Timeline Changing Timeline Display Options Navigating in the Timeline Zooming and Scrolling in the Timeline Chapter 6 Chapter 7 Chapter 8 Chapter 9 4 Contents Chapter 10 135 135 135 137 139 Customizing the Interface Changing Browser and Timeline Text Size Moving and Resizing Final Cut Express HD Windows Using Screen Layouts Working With Shortcut Buttons and Button Bars Part III Chapter 11 145 145 146 146 150 151 153 153 153 154 156 157 161 161 162 163 167 167 Setting Up Your Editing System Connecting Your Equipment Connecting Your Camcorder Connecting an External Video Monitor and Audio Speakers Opening Final Cut Express HD and Choosing Your Initial Settings What Is FireWire? What Is Device Control? Determining Your Hard Disk Storage Options Working With Scratch Disks and Hard Disk Drives Data Rates and Storage Devices Determining How Much Space You Need Choosing a Hard Disk Types of Hard Disk Drives External Video Monitoring Using an External Video Monitor While You Edit Connecting DV/FireWire Devices to an External Monitor Using Digital Cinema Desktop Preview About the Display Quality of External Video Troubleshooting External Video Monitoring Problems Chapter 12 Chapter 13 Part IV Chapter 14 171 171 172 174 174 175 175 178 178 178 179 Capturing and Importing Capturing Your Footage to Disk Overview of the Capturing Process Overview of the Capture Window Transport Controls Jog and Shuttle Controls Marking Controls Capture Tab Capture Buttons Preparing to Capture Organizing and Labeling Your Tapes Logging Your Tapes Contents 5 180 180 181 185 187 188 188 189 189 191 192 192 193 194 195 196 196 Chapter 15 199 199 200 203 204 207 207 208 208 210 210 211 211 212 213 214 Choosing a Filenaming Scheme Determining How Much Disk Space You Need Capturing Individual Clips in the Capture Window Using Capture Now Adding Markers to Clips in the Capture Window Marker Controls in the Capture Window Setting Markers Recapturing Clips Using Capture Project About the Additional Items Found Dialog Finding Your Media Files After Capture Where Are Captured Media Files Stored? Consolidating Media Files to One Folder Modifying a Media File's Reel Name Property Avoiding Duplicate Timecode Numbers on a Single Tape Logging Tapes with Duplicate Timecode Numbers Avoiding Multiple Occurrences of the Same Timecode Number on a Single Tape Importing Media Files Into Your Project What File Formats Can Be Imported? Importing Media Files About Importing Video Files About Importing Audio Files Working With HDV About HDV HDV Formats Supported by Final Cut Express HD About MPEG-2 Compression HDV Apple Intermediate Codec Editing Workflow Connecting an HDV Device to Your Computer Choosing an Easy Setup Capturing HDV Video to the Apple Intermediate Codec Editing Video Using the Apple Intermediate Codec Outputting HDV to Tape or Exporting to a QuickTime Movie HDV Format Specifications Chapter 16 6 Contents Part V Chapter 17 219 219 220 221 222 225 227 228 228 231 233 235 235 238 251 251 254 257 Organizing Footage and Preparing to Edit Organizing Footage in the Browser Using Bins to Organize Your Clips Creating New Bins Opening Bins in the Browser Opening Bins in a Separate Window or Tab Moving Items Between Bins Sorting Items in the Browser Using Column Headings Searching for Clips in the Browser About Search Options Searching for Items in the Browser Manipulating Items in the Find Results Window Using Markers Learning About Markers Working With Markers Creating Subclips Learning About Subclips Manually Breaking Large Clips Into Subclips Automatically Creating Subclips Using DV Start/Stop Detection Chapter 18 Chapter 19 Part VI Chapter 20 261 262 262 262 262 263 265 265 266 266 267 268 269 270 270 271 272 Rough Editing Working With Projects, Clips, and Sequences Working With Projects Working With Multiple Projects in the Browser Choosing Whether the Last Previously Opened Project Opens on Launch Viewing and Changing the Properties of a Project Backing Up and Restoring Projects Learning About the Different Types of Clips Types of Clips Sequences as Clips Viewing and Changing the Properties of a Clip Changing Clip Properties in the Browser Viewing and Changing Clip Properties in the Item Properties Window Changing the Properties of Affiliate Clips Creating and Working With Sequences Creating and Deleting Sequences Opening and Closing Sequences Duplicating a Sequence Contents 7 272 273 273 Chapter 21 275 275 275 276 278 278 278 280 280 281 281 283 283 284 285 286 288 289 289 290 291 296 297 298 300 301 303 305 305 306 308 309 309 310 311 311 313 Copying a Sequence Into Another Project Nesting a Sequence Basic Sequence and Timeline Settings The Fundamentals of Adding Clips to a Sequence Creating a Rough Edit Basic Steps Involved in a Rough Edit How Clips Appear in the Timeline Undoing and Redoing Actions Overview of Ways to Add Clips to a Sequence Methods for Adding Clips to Sequences Determining What Parts of Clips You Want in Your Sequence Preparing a Sequence Order in the Browser Sorting to Create a Sequence Order Visually Storyboarding in the Browser Setting Edit Points for Clips and Sequences About In and Out Points Learning About the Out Point Inclusive Rule Things to Keep in Mind When Setting an Out Point Setting Clip In and Out Points in the Viewer Specifying an Edit Point Using Timecode Setting In and Out Points to Include a Whole Clip Reviewing Your Edit Points Setting Sequence In and Out Points in the Canvas or Timeline Options for Setting Sequence In and Out Points Setting Sequence In and Out Points Setting In and Out Points to Match a Clip or Gap Setting In and Out Points Based on a Selection in the Timeline Navigating to In and Out Points Moving In and Out Points Clearing In and Out Points Working With Tracks in the Timeline Adding and Deleting Tracks Adding Tracks Deleting Tracks Specifying Destination Tracks in the Timeline Understanding Source and Destination Controls Setting Destination Tracks Changing Source and Destination Control Connections Disconnecting Source and Destination Controls Resetting Destination Tracks to the Default State Chapter 22 Chapter 23 8 Contents 314 315 316 316 318 Chapter 24 321 321 322 323 326 329 329 329 330 332 333 333 335 336 338 339 346 348 348 350 352 353 355 355 356 357 357 358 360 363 364 365 367 Locking Tracks to Prevent Edits or Changes Disabling Tracks to Hide Content During Playback Customizing Track Display in the Timeline Resizing Timeline Tracks Creating a Static Region in the Timeline Drag-to-Timeline Editing Overview of the Drag-to-Timeline Editing Process Dragging Clips to the Timeline Doing Simple Insert and Overwrite Edits in the Timeline Automatically Adding Tracks to Your Sequence While Dragging Three-Point Editing Understanding Three-Point Editing Overview of the Three-Point Editing Process Different Ways to Do Three-Point Editing About Edit Types in the Edit Overlay Performing the Different Types of Edits Performing an Insert Edit Performing an Insert With Transition Edit Performing an Overwrite Edit Performing an Overwrite With Transition Edit Performing a Replace Edit Superimposing Clips Three-Point Editing Examples Example: Editing a Specific Clip Into Your Sequence Example: Editing a Clip Into a Gap in Your Sequence Example: Backtiming a Clip Into Your Sequence Example: Editing a Clip With No Specified In or Out Points Into Your Sequence Finding and Selecting Content in the Timeline Understanding What's Currently Selected Identifying Selections in the Timeline How Selections Are Prioritized in the Timeline Direct Methods for Selecting Content in a Sequence An Introduction to the Selection Tools Selecting Clips Selecting a Range of Timeline Content Selecting All Clip Items on a Track Selecting All Items on All Tracks Forward or Backward Selecting or Deselecting All Clips in a Sequence Chapter 25 Chapter 26 Contents 9 367 369 370 Chapter 27 373 373 375 375 376 378 380 380 382 385 385 386 387 391 391 395 396 397 397 398 401 402 402 404 405 406 406 408 409 411 411 413 Finding and Selecting Based on Search Criteria Selecting a Vertical Range Between In and Out Points Using Auto Select to Specify Tracks for Selections Arranging Clips in the Timeline Snapping to Points in the Timeline Moving Items Within the Timeline Moving by Dragging Moving Clips Numerically Performing Shuffle Edits Copying and Pasting Clips in the Timeline Copying Clips by Option-Dragging Copying, Cutting, and Pasting Clips in the Timeline Deleting Clips From a Sequence Deleting With a Lift Edit (Leaving a Gap) Deleting With a Ripple Edit (Leaving No Gap) Finding and Closing Gaps Cutting Clips and Adjusting Durations Performing Basic Cut Edits Changing the Duration of Clips in the Timeline Opening Sequence Clips in the Viewer to Change Durations Linking and Editing Video and Audio in Sync Linked Sync Relationships Between Video and Audio Clips When Linked Clips Are Moved Out of Sync Understanding Sync Relationships Between Multiple Linked Audio Items Linking and Unlinking Video and Audio Clip Items in the Timeline Linking Video and Audio Clip Items Unlinking Video and Audio Clip Items Selecting Individual Clip Items While They Are Linked Getting Clip Items Back in Sync Moving a Clip Into Sync Slipping a Clip Item Into Sync Moving or Slipping All Clip Items Into Sync at Once Establishing a Different Sync Relationship Between Linked Clip Items Marking a Clip as In Sync Learning About Linking Behavior in Audio Channel Pairs Chapter 28 Chapter 29 10 Contents Chapter 30 415 415 416 417 418 419 421 425 425 427 428 431 431 432 432 434 435 435 435 436 436 438 438 440 441 442 442 444 444 446 446 449 Split Edits Learning About Split Edits How Split Edits Look in the Viewer and Canvas Setting Up Split Edit Points in the Viewer Setting Up a Split Edit While Playing a Clip Modifying and Clearing Split Edits Split Edit Examples Audio Editing Basics The Goals of Audio Editing Using Waveform Displays to Help You Edit Audio Learning About the Audio Controls in the Viewer Editing Audio in the Viewer Opening Audio Clips in the Viewer Viewing Audio Tracks in the Viewer Zooming In or Out of the Waveform Display Area Scrolling Through a Zoomed-In Audio Clip Using the J, K, and L Keys to Hear Subtle Details Turning Off the Audio Scrubbing Sounds About Setting Edit Points for Audio Dragging an Audio Clip to the Canvas, Browser, or Timeline Trimming Audio Clips in the Viewer Editing Audio in the Timeline Timeline Audio Display Options Zooming In and Out of Waveforms in the Timeline Moving Audio Items From One Track to Another at the Same Frame Using Audio Transitions to Smooth Audible Changes Creating or Separating Stereo Pairs Working With Audio at the Subframe Level Subframe Synchronization of Audio and Video Examples of Ways to Easily Edit Audio Example: Replacing Unwanted Audio With Room Tone Example: Fixing Awkward Audio Cuts in the Timeline Chapter 31 Part VII Chapter 32 453 453 453 455 456 457 Fine-Tuning Your Edit Performing Slip, Slide, Ripple, and Roll Edits About Trimming With Slip, Slide, Ripple, and Roll Tools Sliding Clips in the Timeline Performing Slide Edits by Dragging Performing Precise Slide Edits Numerically Slipping Clips in the Timeline Contents 11 458 459 461 462 466 468 468 470 471 Chapter 33 477 477 479 480 481 482 482 483 483 485 486 487 491 493 493 495 496 500 501 501 501 504 504 505 507 507 508 509 509 510 510 Performing a Slip Edit Using the Slip Tool Performing Precise Slip Edits Numerically Using the Ripple Tool to Trim an Edit Without Leaving a Gap Performing Ripple Edits About Ripple Edits and Sync Relationships of Clip Items on Other Tracks Doing Ripple Edits on Multiple Tracks at Once Asymmetrical Trimming With the Ripple Tool Using the Roll Tool to Change Where a Cut Occurs Rolling the Position of an Edit Between Two Clips Learning About Trimming Clips What Is Trimming? Controls That Affect Trim Edits Selecting Edits and Clips to Trim Tools for Selecting Edit Points Selecting Single Edit Points Selecting Multiple Edit Points Trimming Clip In and Out Points Trimming With the Selection Tool Extending and Shortening Clips in the Timeline Trimming Clips in the Viewer Precision Editing Using Timecode Understanding Alert Messages When Trimming Trimming Clips Using the Trim Edit Window Learning About the Trim Edit Window Opening and Closing the Trim Edit Window Controls in the Trim Edit Window Using the Trim Edit Window Playing Incoming and Outgoing Clips in the Trim Edit Window Dynamic Trimming Trimming an Edit in the Trim Edit Window Reviewing and Playing Back Your Edits in the Trim Edit Window Slipping a Clip in the Trim Edit Window Listening to Audio While Trimming Adding Transitions Learning About Transitions Common Types of Transitions Using Transitions in Your Sequences How Transitions Appear in the Timeline Having Handles at Edit Points Aligning a Transition in the Timeline Chapter 34 Chapter 35 12 Contents 511 511 512 513 515 516 516 517 517 517 519 519 520 520 524 Chapter 36 525 525 532 532 536 539 539 540 540 544 547 551 551 552 553 553 554 554 555 555 556 Adding Transitions Adding Transitions With Clips You Add to the Timeline Quickly Adding the Default Transition to Clips in Your Sequence Adding Transitions to Clips in Your Sequence Moving, Copying, and Deleting Transitions Moving a Transition to Another Edit Point Copying and Pasting Transitions Deleting Transitions Modifying Transitions in the Timeline Changing the Duration of a Transition in the Timeline Changing the Alignment of a Transition in the Timeline Changing an Edit Point After Adding a Transition Replacing Transitions Video Transitions That Come With Final Cut Express HD Using After Effects Transitions Refining Transitions Using the Transition Editor Using the Transition Editor Applying a Modified Transition Directly to a Sequence in the Timeline Trimming Transitions and the Surrounding Clips Previewing and Rendering Transitions Sequence to Sequence Editing Methods for Editing Clips From One Sequence to Another Opening More Than One Sequence at a Time Copying Clips From One Sequence to Another Nesting Sequences Editing the Content of One Sequence Into Another Without Nesting It Matching Frames Working With Sequence Clips in the Viewer Opening a Sequence Clip in the Viewer Switching Between the Viewer, Canvas, and Timeline Using the Viewer to Adjust Sequence Clip In and Out Points Using the Viewer to Adjust Motion and Filter Parameters Matching Frames Between Sequence and Master Clips Matching a Frame in the Canvas to Its Master Clip Matching a Frame in the Canvas to Its Media File Matching a Frame in the Viewer to a Sequence Clip in the Canvas or Timeline Chapter 37 Chapter 38 Contents 13 Chapter 39 557 557 557 558 558 Working With Timecode About Timecode in Final Cut Express HD Displaying Timecode Affected by Speed Changes Clip Time Versus Source Time Changing Global Timecode Display Options Part VIII Chapter 40 561 561 562 565 567 567 568 569 570 572 572 574 574 576 576 577 579 579 580 581 582 584 584 585 586 588 589 590 Audio Mixing Overview of Audio Mixing Audio Finishing Features in Final Cut Express HD Overview of Audio Sweetening in Final Cut Express HD Making the Final Mix Setting Up Audio Equipment Choosing External Audio Monitoring Components Choosing an Audio Interface Choosing Speakers and an Amplifier for Monitoring Setting Up a Proper Audio Monitoring Environment Audio Cables, Connectors, and Signal Levels About Balanced Audio Signals Microphone, Instrument, and Line Level Audio Connectors Configuring External Audio Monitors Connecting Speakers to Your Editing System Setting Monitoring Levels and Muting System Sound Effects Audio Fundamentals What Is Sound? Fundamentals of a Sound Wave Frequency Spectrum of Sounds Measuring Sound Intensity Signal-to-Noise Ratio Headroom and Distortion Dynamic Range Stereo Audio Digital Audio Sample Rate Bit Depth Chapter 41 Chapter 42 14 Contents Chapter 43 593 593 593 594 595 596 597 598 598 598 600 600 601 601 605 607 607 608 608 609 610 610 611 623 623 624 627 631 636 639 639 640 640 642 643 644 645 Audio Levels, Meters, and Output Channels About Audio Meters Average and Peak Audio Levels Average Versus Peak Audio Meters Analog Versus Digital Meters About Audio Meters in Final Cut Express HD Avoiding Audio Clipping Setting Proper Audio Levels Setting Levels for Capture What Reference Level Should You Use for Mixing? Outputting Bars and Tone at the Head of Your Tape Stereo Versus Dual Mono Audio Mixing Audio in the Timeline and Viewer Adjusting Audio Levels in the Timeline Changing Audio Levels in the Viewer Panning Audio in the Timeline and Viewer Panning Audio in the Timeline Changing the Pan of Audio in the Viewer Changing Pan for an Entire Clip Copying, Pasting, and Removing Audio Attributes Adjusting Clip Levels and Pan Using Keyframes Tools for Adjusting Keyframes Creating, Modifying, and Deleting Keyframes in the Viewer Using the Voice Over Tool About the Voice Over Tool Setting Up Your Computer to Record Voiceover Controls in the Voice Over Tool Defining the Recording Duration and Destination Track Recording a Voiceover Using Audio Filters About Audio Filters Overview of Audio Filters Equalization (EQ) Filters Compression Expansion Noise Reduction Filters Echo and Reverb Filters Chapter 44 Chapter 45 Chapter 46 Contents 15 647 648 650 651 Chapter 47 653 653 654 654 658 660 Working With Audio Filters Applying Filters to an Audio Clip Modifying and Removing Filters Making Real-Time Audio Filter Adjustments Tips for Better Audio Learning to Describe Sound Accurately Efficiently Using the Frequency Spectrum Tips for Cutting Dialogue Tips for Cutting Music Organizing Your Tracks Part IX Chapter 48 663 663 664 666 667 673 673 674 675 676 689 689 690 695 697 707 707 708 709 710 719 719 720 721 722 723 724 Effects Video Filters Different Ways to Use Filters Applying a Filter to a Clip Applying Multiple Filters to Clips Viewing and Adjusting a Filter's Parameters Displaying Filter Bars in the Timeline Enabling and Rearranging Filters Copying and Pasting a Clip's Filters Removing Filters From Clips Video Filters Available in Final Cut Express HD Changing Motion Parameters Creating Motion Effects in the Viewer Adjusting Parameters in the Motion Tab Using Cartesian Geometry to Position Clips Examples Using Motion Settings Creating Motion Effects in the Canvas Choosing a Wireframe Mode Manipulating Images in the Canvas Zooming In to the Canvas Using Wireframe Handles to Transform, Scale, and Rotate Adjusting Parameters for Keyframed Effects Animating Motion Effects Using Keyframes How Keyframing Works Determining the Number of Keyframes to Use Keyframing Tools in Final Cut Express HD Setting Keyframes Adjusting and Deleting Keyframes Chapter 49 Chapter 50 16 Contents 725 731 731 732 734 735 735 736 737 738 740 743 Chapter 51 745 745 746 747 748 749 751 751 752 752 755 755 757 759 759 760 761 769 775 775 776 776 777 780 780 781 782 792 Moving Between Keyframes Adjusting All Opacity Keyframes of a Clip Smoothing Keyframes With Bezier Handles Understanding Bezier Handles and Curves Smoothing Keyframes Creating Keyframed Motion Paths in the Canvas What Are Motion Paths? Creating Motion Paths Adding, Moving, and Deleting Keyframes in Motion Paths Creating Curved Motion Paths Using Bezier Handles Controlling Speed Along a Motion Path Moving an Entire Motion Path in the Canvas Reusing Effect and Motion Parameters Copying and Pasting Specific Clip Attributes About the Paste Attributes Dialog Copying and Pasting Clip Attributes Removing Attributes From a Clip Applying Filters Across Multiple Tracks at Once Changing Clip Speed Speed Basics How Changing Speed Affects a Clip's Duration Performing a Fit to Fill Edit Speed Settings Frame Blending and Reverse Speed Making Speed Changes Working With Still Images and Photographs Using Still Images and Graphics in Your Sequences Creating Freeze Frame Stills From a Video Clip Considerations Before Creating and Importing Stills Changing the Duration of Still Images Compositing and Layering Introduction to Compositing and Layering Methods of Compositing Different Ways to Layer Clips in the Timeline Adjusting Opacity Levels of Clips Working With Composite Modes How Composite Modes Affect Images Applying Composite Modes to Clips Composite Modes in Final Cut Express HD Using Travel Mattes to Hide or Reveal Parts of a Clip Chapter 52 Chapter 53 Chapter 54 Contents 17 794 794 796 797 798 799 799 801 802 803 804 Chapter 55 805 805 805 806 807 808 808 810 813 822 822 824 824 827 827 828 829 830 830 831 832 832 833 835 836 837 837 837 838 844 Working With Layered Photoshop Files What Happens When You Import a Multilayered Photoshop File Using Video and Graphics Clips With Alpha Channels Types of Alpha Channels Recognized in Final Cut Express HD Working With Clips That Have Alpha Channels Importing Clips With Alpha Channels Changing a Clip's Alpha Channel Type Changing Canvas and Viewer Background Colors Temporarily Excluding Clips From Playback or Output Temporarily Disabling a Single Clip Soloing Clips in Multitrack Sequences Keying, Mattes, and Masks Ways to Layer and Isolate Elements in Clips What Are Mattes and How Can You Use Them? What Is Keying and How Can You Use It? What Are Masks and How Are They Used? Using Keying to Isolate Foreground Elements Shooting Footage That Keys Well Overview of Compositing Using the Chroma Keyer Filter Working With the Chroma Keyer Filter Using Mattes to Add or Modify Alpha Channels Matte Filters Available in Final Cut Express HD Using Masks to Replace or Modify Alpha Channels Mask Filters Available in Final Cut Express HD Color Correcting Clips What Is Color Correction? Why Color Correct Your Footage? Color Correction Starts During Your Shoot Measuring and Evaluating Video Luma (Luminance) Chrominance (Chroma) Whites Illegal Broadcast Levels The Color Correction Process Looking at the Picture Using the Color Corrector Filter The Color Corrector Filter General Controls Color Balance Controls The Color Corrector Filter Controls Hue Matching Controls in the Color Corrector Chapter 56 18 Contents Chapter 57 849 849 850 851 853 855 855 856 856 857 858 862 Using Built-in Generated Clips What Is a Generator Clip? Different Ways to Use Generators in Your Sequence Graphical Video and Audio Generators Available in Final Cut Express HD Creating and Adding Generated Clips to Sequences Creating Titles How You Can Use Titles in Your Project Installing and Choosing Fonts Making Sure Titles Fit on TV Screens Text Generators Available in Final Cut Express HD Creating and Adding a Title Clip Other Options for Creating and Adding Titles Chapter 58 Part X Chapter 59 865 865 866 870 871 871 872 873 873 876 876 877 877 878 879 879 882 883 883 885 887 888 889 889 890 Real Time and Rendering Using RT Extreme Introduction to Real-Time Processing Using RT Extreme How Many Effects Can Be Played in Real Time? Available Real-Time Effects Display Quality and Accuracy of RT Extreme Using Real-Time Controls in Final Cut Express HD About Render Status Bars Identifying Which Effects Can Be Processed in Real Time Setting Real-Time Playback Options Real-Time Audio Mixing in Final Cut Express HD Improving Real Time Audio Performance Rendering What Is Rendering? Reasons for Rendering Render Indicators in Final Cut Express HD About Render Status Bars in the Timeline About Item-Level Render Bars The Rendering Process Rendering Effects in Sequences Commands for Rendering Effects Rendering One or More Sequences Rendering Part of a Sequence Rendering Audio Items in a Sequence Using the Mixdown Command Temporarily Disabling Rendering Chapter 60 Contents 19 891 892 893 894 895 Auto-Rendering While You Are Away From Your Computer Changing Settings in the Render Control Tab Preserving Render Files Tips for Avoiding Unnecessary Rendering Reducing Render Time Part XI Chapter 61 899 899 900 901 901 902 903 903 903 904 906 907 907 908 909 911 911 915 916 921 921 922 922 923 925 926 928 929 929 Project Management and Settings Media Management What Is Media Management? Reasons to Manage your Media What You Need to Know to Manage Your Media Media Management Steps in Final Cut Express HD Strategies for Media Management Backing Up and Restoring Projects Backing Up and Restoring Projects Using the Revert Project Command Using the Autosave Feature Restoring Autosaved Projects Opening a Project File After Your Computer Is Unexpectedly Powered Off Archiving Completed Projects Creating an Archive of a Finished Project Updating Projects From Previous Versions of Final Cut Express HD Elements of a Final Cut Express HD Project About Clips, Media Files, and Sequences About Icons and Project Elements in the Browser Clip Properties Working With Master and Affiliate Clips Using Master and Affiliate Clips How Master Clips Connect to Media Files Identifying Master Clips Creating Master and Affiliate Clips Breaking the Relationship Between an Affiliated Clip and Its Master Independent Clips Using Keyboard Shortcuts to Modify Master-Affiliate Relationships Finding a Clip's Master Clip Master-Affiliate Relationships With Subclips and Freeze Frames Chapter 62 Chapter 63 Chapter 64 20 Contents