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final cut pro 5 manualUsed: Very GoodPlease try again.Please try again.Please try again. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. Register a free business account To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzes reviews to verify trustworthiness. It is the editing software of choice for multimedia journalists using Apple computers, and is comparable to Adobe’s Premiere video editing program. Final Cut Pro does not make a version for Windows. It is always important to set your scratch disk before you begin editing or importing media on a project, otherwise you maybe importing media to an undesired or incorrect location on your computer. The drive and project folder are called your “scratch disk,” which could be a portable firewire drive on which you are storing all your video files. If you already have a folder for your project, just click on it. If you don’t have a folder, then click on the New Folder button to create one and give a name to it. This time look further down on the screen for the other three buttons labeled Set: You want to be sure that these automatically saved files are being saved to your scratch disk drive and folder. Save the Final Cut Pro project file in that folder. If someone else has used that computer in the interim for a different Final Cut Pro project, they probably set it to use a different scratch disk. In that case at the prompt you’ll need to reset the scratch preferences to your disk, as described above. The method will depend on the type of camera you have. If you you are using a camera that records to tape media, you must use a process called logging and capturing. If your video camera records to a memory card, you will have to go through a process called logging and transferring.http://96stone.ru/userfiles/euromatic-komfur-manual.xml

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It also is used by Windows PC computers to do video capture, although in some cases you’ll have to purchase a firewire card to insert into an expansion slot in your PC to create a FireWire port. Then connect the other end to the firewire jack in your digital video camera. Cameras that record footage to memory cards do not require you to plug the camera into the computer. The easiest way is to ingest the footage directly from the memory card using a card reader. Then follow the process of logging and transferring video. The new columns will tell you which files are video, which are audio, which are both video and audio, how many tracks of audio there are, the duration of each clip, etc. To stop playing the clip, just press the spacebar again. Click on the control and drag your mouse quickly to the right to move rapidly through a clip. If you click and drag to the left, it similarly will allow you to move backward through a clip either slowly or rapidly. Click on and drag the control to points further to the right to play the clip at faster than normal speed. If you click on and drag the control to the left of center, it similarly will allow you to vary the speed of a clip playing in reverse. The box on the left shows the duration of the clip currently displayed in the Viewer.Thus if you select an audio clip, or a video clip that has audio in it, you’ll see an audio tab at the top of the Viewer. You can have up to 99 tracks of each stacked on top of one another. Final Cut then will try to squash all the clips in your sequence together into a single screen view on the Timeline. Thus if you had a video track with audio, but wanted to substitute different audio to accompany the video, you could use the button to turn off the existing audio track. Then you could drag a new audio clip to a different green audio track in the Timeline to play instead of the original audio. This means you will not be able to edit or change it accidentally.http://www.thermcom.cz/userfiles/euromatik-espresso-machine-manual.xml Cliick on the icon again to unlock the track. This will allow you to separate the audio from the video, and then move them to different places in the timeline or delete one or the other. Thus if you release your playhead near the beginning of a clip on the Timeline, it will snap back to the beginning of the clip. If your playhead is near the end of the clip and you release it, it will snap to the end of the clip. You then can place clips near to each other on your Timeline, but keep empty space between them. It also will play a clip in the Timeline, or an entire sequence of clips in the Timeline. To stop playing the clip, just press the spacebar again. Click on the control and drag your mouse quickly to the right to move rapidly through a clip. If you click on and drag the control to the left of center, it similarly will allow you to vary the speed of a clip playing in reverse. The one on the left shows the duration of the sequence of clips in your Timeline.You should get a screen stating Final Cut Pro has found the camera.The settings include: So just check with the top Set button to make sure your scratch disk is selected. If it’s not, then go through the instructions for setting the Scratch Disk Settings. In most cases you’d select Audio and Video (you might select Video Only if the audio for that clip is unusable, or you might select Audio Only if you used your camera to record a voice-over for use with other video clips). It’s probably best to use the same name that you used for your mini-DV tape. To stop playing the clip, just press the spacebar again. The one on the left shows the duration of the clip currently displayed in the Viewer.Instead go through your tape and capture only the segments you think you might use in your video project. As a rule of thumb, every 5 minutes of video you capture will take up about 1 GB of space on your hard drive. Click on Log Clip, give this clip another name, and click on OK.https://congviendisan.vn/vi/dodge-caravan-instruction-manual But the files will have red slashes through them, indicating they have been logged, but they have not yet been captured to the computer). This gives you a little added wiggle room when you’re doing your final editing, such as allowing you to include a tiny bit more of a clip than you originally selected when you logged its in or out points) Logging and transferring is the process of extracting the footage into an editable format. Most video cameras record video into a compress format like H.264 or AVCHD, which is difficult or impossible to edit natively. Logging and transferring will allow you to ingest footage into Final Cut Pro in a format that is easier for Final Cut to edit. It should automatically find the memory card that is plugged into the system. If not, click the plus-shape folder icon at the upper left-hand corner of the window and locate the media. It is extremely important to identify clips with relevant information. Once they have been identified, you should properly label your clips then drag the clips to the queue. You should avoid renaming the clips in Final Cut Pro later. The status column will show a swirl to indicate that clip is processing. The processing can also be paused using the pause button at the top of the queue. By using this feature, Final Cut Pro will automatically determine when a divide occurs in your video, (such as when you stopped and started the camera for a scene change), and create a new clip for each different scene. And you will see sub clips appear beneath the file for the main clip in the Browser, with each sub clip representing a different scene or segment in the master clip. That will make copies of the segments that you then can drag into your timeline, while also leaving the main clip and the original copies of the segments in the original bin. Then start playing the clip. Then hit the O Key (for OUT) at the point you want your clip to end. You will see arrows appear in the window at the points you pressed the I and O keys. Only the portion of the clip where you set your in and out points will be placed in the Timeline. If it’s an audio-only clip, you need to click on the tiny hand in the upper right of the Viewer above the waveform, and then hold down your mouse button and drag the audio clip down into the Timeline. Click on the clip in the Viewer and drag it down into the track on the Timeline to an area to the right of the existing clip. There you’ll see gray buttons labeled V1 (for the video clip you’ve selected) and possibly A1 and A2 (the A1 and A2 buttons will appear if the video clip you’ve selected has audio attached to it). Overwrite Edits ). The clip (and any attendant audio tracks) will be inserted onto the new track in the Timeline and at the point you specified with the playhead. Then you can click on the horizontal black audio level line in the middle of your audio track and drag it to the bottom to lower the audio level to zero. This will preserve the entirety of the existing clip, and move segments of it to the left and right to make room for the new clip. The portions replaced will be equal to the duration of the new clip you’re moving to the Timeline. You’ll see a small version of the clip appear where you’ve selected it. Release your mouse button to do the overwrite. Release your mouse button to do the insert. When you do this, you’ll see several colored editing option boxes pop up on the Canvase screen, including Insert Edit and Overwrite Edit. Dropping the clip in one of these highlighted areas will then place the clip into the Timeline at the point where you’ve set the playhead, either inserting it between or within existing clips (if you drop the clip on the Insert Edit box) or overwriting a portion of the existing clips (if you drop the clip on the Overwrite Edit box). Click on the yellow icon to do an Insert Edit, or click on the red icon to do an Overwrite Edit. Then press the O Key (for OUT) at the point you want the inserted clip to end. You will see arrows appear in the window at the points you pressed the I and O keys. Your cursor will change to a small razor icon. If you select multiple tracks the cut will apply to all the tracks in your sequence at that point in the Timeline. That will split the clip in two. A gray area will appear on the Timeline in place of the deleted piece of the clip. The remaining segments of the clip to the left and right of the deleted piece should now slide together. Your clips should butt up against each other in the Timeline. Hold down your mouse button and you’ll see different options for moving clips. This way the audio and video in accompanying tracks won’t wind up out of sequence. Thus no gaps will be created elsewhere in the Timeline when you drag your clips to the left. It will be stored there with the rest of your clips for future use (you should rename it, so you can distinguish it from the original, full clip that’s also listed in the Browser). You can set a marker during audio editing at the downbeat so you then can add the video clip to begin at precisely that point. The marker will appear as a tiny red triangular icon just below the playhead (it also will be displayed in the clip in the Timeline as a tiny red triangular icon). The marker will appear as a tiny green triangular icon at the top of the Timeline. Similarly, if you created a marker on the Timeline, you’ll need to click in the gray area of the Timeline in order to delete the marker that’s on the Timeline. The audio then will not play as part of your sequence of clips. This will display a horizontal purple audio level line in the middle of on your audio track. This will display the horizontal purple audio level line in the middle of your audio track and allow you to set multiple points or keyframes to adjust the audio level up or down. Your cursor will change to a pen-like icon when you move it over the horizontal purple audio level line in the Timeline. Click, hold down your mouse button and drag the keyframe point higher to increase the audio, or drag it lower to decrease the audio at that point. In the pop-up box that appears, select clear. Thus if you have two video clips stacked on top of each other in the Timeline, you can have the top clip fade out to reveal the video clip underneath. Soundtrack Pro has a more sophisticated set of audio editing tools. And it will help ensure that when you edit the audio it doesn’t wind up out of synch with the video. Turn off other tracks. Export one stero pair at a time. Or you can export the entire sequence by selecting all of it. You might create a folder named “Exported FCP Audio” for this purpose, so you can keep track of the exported files. Use the “shuffle” mode to snap files to 0:00 in the time line. Make sure the File Type is AIFF, and the the Sample Rate at 4800 Make sure you have snapping on in Final Cut Pro, so your edited audio track keeps in synch with the existing video in the timeline. That’s because there’s no extra video to use for the transition, in which a portion of one clip overlaps with part of the other clip. But that would shorten the movie and disrupt the timing of audio on any adjacent track. Use the In and Out points to create enough extra, unused video for the duration of the transition you want to apply. Then check to see if there’s an Out point near the end of the clip and enough excess material after the Out point to accommodate half the transition. If not, then you’ll need to drag the Out point to the left until the unused portion of the clip is long enough to accommodate half of the transition you’re going to apply. Double click on it to display it in the Viewer. Then check to see if there’s an In point near the beginning of the clip and enough excess material before the In point to accommodate half the transition. If not, then you’ll need to drag the In point to the right until the unused portion of the clip is long enough to accommodate half of the transition you’re going to apply. Finally click on the file for the transition you want to apply. Then click on the Video Transitions folder, and within that select a subfolder, such as Dissolves. Finally click on the file for the transition you want to apply. In the box that appears in the Viewer area at the top of your screen, just type a new number into the time box, which usually is set at a 1 second duration by default. Then click on the Video Transitions folder and select a subfolder and file for another transition. The new transition will replace the old transition. The time it takes to render depends on how sophisticated your transition is. More advanced transitions could take up to a minute to render. Then at the bottom of the Viewer click on the button with a large A on it, which is the text button. The text will be placed on a new track above your clip. Click on the point in the middle where the lines intersect, and you can drag the title anywhere on the screen. Release your mouse button, and the new text will replace the old text on the Timeline. Then at the bottom of the Viewer click on the button with a large A on it, which is the title button. The title will display much better if its on top of a color bar. You then can change the color of the bar, by clicking below on the white box to the right of the word Color. The title will be placed on a new track above your clip. The time it takes to render depends on how sophisticated your title is. More advanced titles could take up to a minute to render. See the tutorial Exporting Video for the Web. It was written by Paul Grabowicz and edited and illustrated by Tim Gnatek. Check out the latest posts in our blog. Please check your email for further instructions. Please check your entries and try again. By using our site, you consent to the placement and use of cookies and similar technologies on your device. This Cookie Policy forms part of our Privacy Policy. Ok Privacy policy. Once your tape is entered into the audio-video database, you can begin to process the footage on your physical media. Although this documentation focuses exclusively on media processing in Final Cut Pro on an Apple computer, many of the principles described here can be used with media editing software on other platforms. TIP: Save your work often. TIP: The following websites have some great tutorials for Final Cut Pro:Using the wrong video format settings can result in unusable videos and lost work. Final Cut Pro will save your settings so if you are working primarily with PAL or NTSC you will not have to change the settings every time as long as you are consistently working with one format.If your DV deck can play both NTSC and PAL tapes, there is usually a switch on the deck to set the video format of the source data. Logging also allows you to add descriptive comments to clips that may be helpful to editors using your logging files to recapture your project in the future when video compression standards improve. TIP: As you become more comfortable with the entire media production process you will be able to refine your logging technique to streamline your editing work but when you are learning it is best to err on the side of including more footage than you think is necessary when you are logging to give yourself ample room for making transition and cuts during editing. Start Final Cut Pro and insert your tape into the DV-deck. IMPORTANT: THL’s naming convention for logging files is to save the project in XXXX-YYMMDD format (“XXXX” represents the unique four-digit ID assigned to the tape in the Audio-Video Database). The date entered should be the date at the time of logging Example: 0575-051215. The log and capture window will open up in Final Cut Pro. Enter your tape’s four-digit ID into the “Reel” text field. The description entered here will not be represented in the final media file (unless assign the final file name as such) but it should be as descriptive and clear as possible to ensure future staff using your logging file will be able identify the the content of the clip by glancing at the file name assigned in the description field. IMPORTANT: Depending on your familiarity with the project, you may have to watch a clip before you can give it a description. The complete description including the ID, underscores and hyphens cannot exceed 21 characters. As this description will be visible to the final user in the form of the compression’s file name, the title should be as descriptive and non-idiosyncratic as possible. You can now begin to play the tape by pressing the play button on the DV-deck itself or clicking on the play button in the log and capture window. You will be able to view the footage in the preview window. TIP: Some useful shortcuts that you can use during the logging process are: Spacebar: Plays and stops the DV-deck.The “in point” indicates where you would like to begin capturing a clip.The “out point” indicates where you would like to finish capturing a clip. Mark a clip for capture by setting in points and out points. TIP: In final Cut Pro the timecodes follow the HH:MM:SS;FF format (HH: hours, MM: minutes, SS: second and FF: frames per second). Note that NTSC (the video standard in the US) runs at 30 frames per second. Half a second is 15 frames (00:00:00;15) not 30. PAL, on the other hand runs at 24 frames a second. Half a second in PAL is 12 frames (00:00:00;12). TIP: Make sure to add about 5 seconds to your in points and out points to make room for adding transitions later in the editing process. For example; if your clip ends at 00:02:54;12, set your out point at 00:02:59;12. IMPORTANT: You must allow at least four seconds after the timecodes begin on a tape to set an in point or four seconds before the time codes end to set an outpoint otherwise Final Cut Pro will not be able to capture the clip. This means the first four seconds and the last four seconds of footage on any tape are unusable. TIP: After capturing this footage you will have the opportunity to refine the clip during the editing process. When marking in and out points err on the side of including any footage that has the potential to be used in the final version of the title. As you gain experience in Final Cut Pro and media processing in general, you will be able to make some editing decision during the logging process. TIP: Sometimes there are breaks in timecodes on a tape that will cause difficulties during the log and capture process. Timecodes get broken when people try to rewind and view what they are filming in the field. The best way to deal with the problem is to trick Final Cut Pro into thinking it is starting a new tape to capture the portion of the footage after the point where the timecode is broken. When a timecode is broken, the counter starts over at 00:00;00, therefore you will have a situation where there are multiple instances of the same timecode on one tape. If there are 2 timecodes the computer doesn't know which one you are referring to when you tell it to capture a clip containing that timecode. To trick the computer you have to manually cue up the tape for every break in the timecode. If you have one break in the timecode you will have to capture footage in two separate sessions. Capture the footage that falls before the timecode break in one capture session, stop, fast forward the tape so the counter is in the timecode after the break, and capture the remaining footage (the 4 second rule applies to the beginning and ending of broken timecodes as well the same it as it applies to complete tapes). If the break in the time code does not come at a natural break in the video, then you will have to make a break and try and fix the transition during the editing process. Sometimes these methods to fix the broken timecodes do not work. In this case, one possible solution is to try copying the footage to a new tape. After setting in and out points for a clip stop the tape and write a short description of the clip in the “Log Note” text field. As a rule, the more information provided the better. You will now see your clip appear as a grey box with a diagonal red slash though it indicated it has not been captured in Final Cut Pro’s “Browser” window. The capture process will begin and will proceed in real time. TIP: Make sure you have enough hard drive space to capture your footage. Every five minutes of footage usually requires about one gig of hard drive space. The complete description including the ID, underscores and hyphens cannot exceed 21 characters or contain any punctuation or spaces. As this description will be visible to the final user in the form of the compression’s file name, the title should be as descriptive and non-idiosyncratic as possible. The title board integrates the title into THL by providing information from the AVDB. The title consists of three layers:Make sure to change the title, THL ID number and make sure the copyright date is correct. Double click on a sequence and it will appear in the “Timeline” window at the bottom of the screen. Under the “Text” heading click and drag the “Text” icon into the first video track (V1). Repeat this step and you will have three video tracks, V1, V2, and V3. TIP: Make sure the play bar in the timeline window is set to the beginning of the timeline before dragging a text bar into the timeline. You can jump the play bar to the beginning by hitting the up arrow key. The text in the video track is 10 seconds long by default so you will have to reduce each of the three text bars down to 5 seconds by left clicking on the end of the text footage and dragging left.If you do not see the Tool Palette, active it by selecting “Tool Palette” in the “Window” tab of the top menu. Repeat this action for all three video tracks. TIP: If you are having trouble working with the footage, zoom in or zoom out by shortening or lengthening the bar at the bottom of the Timeline window. Mark the end of the title board fade out by left clicking on end point of the footage located at the 00:00:05;00 point. Repeat this action for all three video tracks. Repeat this action for all three video tracks. In the Control window, change the Font to “Geneva”. Then enter “Video (insert the title’s five-digit ID here) at www.thdl.org”. TIP: The title will often have to be broken up so it does not run off the screen. Use the “return” key to balance the title in the title board frame. In the Control window, change the Font to “Times New Roman”. TIP: The origin of the title will often need to be adjusted to center the text in the title board. Use positive numbers in increments of 10 to adjust the title downwards. Conversely, use negative numbers to raise the title. Use increments of 5 for finer adjustment.TIP: The footage should automatically snap to the title board footage, if it does not, turn on the “Snapping” function in Final Cut Pro by clicking on the “Snapping” icon in the top right corner of the Timeline window or by hitting the “n” key shortcut. Watch the video and decide where you would like the video to begin. TIP: The audio and video levels should be full when the speaker begins to speak or when the main footage appears on the screen. After you have decided on a starting point for the video subtract 1 second and 15 frames from the start point. For example if you would like the video to begin 8 seconds into the footage subtract 1 second and 15 frames and set the play bar at the 000:00:06;15 point. The video and audio tracks should now reach full level 1.5 seconds (1 second, 15 frames) into the media. Note: 1.5 seconds into the video footage is 6.5 seconds (00:00:06;15) into the sequence because the 5 second title board has been added to the beginning of the sequence. TIP: Shorten the bar at the bottom of the Timeline window to zoom in on your footage to make fine adjustments. TIP: The vertical purple line in the track of the bar that adjusts the scale of the timeline view represents the position of the play bar in the timeline. If you zoom in too far and lose your place use this marker to reorient yourself. Make another mark at the start point on the video and audio level overlays using the pen tool. The fade out should begin 1.5 seconds (1 second, 15 frames) before the end of the footage. No valuable footage or audio should fall within this time span; therefore begin the fade-out after important speech or footage. TIP: You won’t always be able to make a fade-in or fade-out exactly 1.5 seconds long. Important footage and speech is more important than this effect, so feel free to shorten or even eliminate the fade-in or fade-out to save important material.In most cases, they will be used as language instructional units and the clarity of the speech is crucial to aid non-native listeners to comprehend the dialog. The audio level of the footage can be raised and lowered in Final Cut Pro.If the audio level reaches the top of the scale or consistently stays in the red area above the ”-6” mark the audio level is too high and will sound distorted in the final compression. On the other hand, if the audio level rarely rises above the “-12” mark, the audio level is likely too low. Move the audio level line by grabbing by left clicking and dragging up or down. Please note the numerical level display that appears when the line is moved. TIP: You can make fine adjustments to the audio level to certain points using the pen tool if you do not want to change the global audio level. This technique is effective in reducing the level of harsh sound such as coughing or to raise the level when the sound is too low. Isolate the section in which you would like to raise or lower the sound level by using the pen tool to make a mark in both the left and right audio track at the beginning and end of the segment where you would like to adjust the audio. Then place another set of marks within those points with the pen tool for a total of 4 points on each track. Notice the global audio levels outside these points remains unchanged. TIP: It is better to raise or lower the audio level before undertaking other editing tasks. If there are breaks in the footage, you will need to adjust the audio level for each segment separately.There are no clear rules for what should be included and what should be edited; the most important goal is maintain the cohesiveness and flow of the video and narrative. TIP: Any biographical information should be noted and added to the credit tab of the title’s metadata in the AVDB. This footage should be edited out of the final compression. After selecting a section of footage to be edited out of the final video, select natural breaks in the speech or footage which would allow for smooth transitions. TIP: Although Final Cut Pro allows for many different transition styles, in general, THL editors aim for a transition that does not call attention to the break in the footage. Transitions are often simply cuts in the footage without any fancy effects. This general policy does not exclude more advanced transition effects, but it does caution against the overuse or misuse of transitions that draw attention to the break in footage and breaks the flow of the video. Save the project to complete the editing process.