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Final Cut Express

Users Manual

Users Manual

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Apple Computer, Inc.

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2003 Apple Computer, Inc. All rights reserved. Under the copyright laws, this manual may not be copied, in whole or in part, without the written consent of Apple. Your rights to the software are governed by the accompanying software license agreement. 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.Every effort has been made to ensure that the information in this manual is accurate. Apple Computer, Inc. is not responsible for printing or clerical errors. Apple Computer, Inc.1 Innite LoopCupertino, CA 95014-2084408-996-1010www.apple.com Apple, the Apple logo, AppleTalk, AppleWorks, Final Cut, Final Cut Pro, FireWire, Mac, Macintosh, PowerBook, Power Macintosh, QuickTime, and TrueType are trademarks of Apple Computer, Inc., registered in the U.S. and other countries.DVD Studio Pro, Extensions Manager, Finder, iDVD, iMovie, Power Mac, and Sound Manager are trademarks of Apple Computer, Inc.Adobe is a trademark of Adobe Systems, Inc.Times is a registered trademark of Heidelberger Druckmaschinen AG, available from Linotype Library GmbH.Other company and product names mentioned herein are trademarks of their respective companies. Mention of third-party products is for informational purposes only and constitutes neither an endorsement nor a recommendation. Apple assumes no responsibility with regard to the performance or use of these products.

20464.Book Page 2 Tuesday, November 26, 2002 3:01 PM

3

Contents

Part I Getting Started, Input, and Output

1 Video Creation in Final Cut Express 11

The Basics: Clips, Sequences, and Projects 12

The Video Creation Process in Final Cut Express 13

2 Setting Up Your System 15

Additional Equipment to Consider 15

Types of Video Signals 17

Hard Disk Storage for Digital Media 18

Setting Up Your Hardware 19

3 Installing Software and Choosing Your Initial Setup 23

Installing Final Cut Express 23

Choosing an Initial Setup 23

4 Learning About the Interface 27

Easy Setups 28

Preferences 29

About the Editing and Project Windows 32

Acquiring and Distributing Media 44

Using Menus, Shortcuts, and Controls 46

About Timecode 53

Changing the Layout of Windows 55

Undoing and Redoing Changes 57


4

Contents

5 Using the Browser and Managing Projects and Clips 59

Getting Started 60

Learning About the Browser 61

Working With Projects 67

Working in the Browser 75

Using Bins to Organize Your Clips 81

Customizing the Browser Display 84

Performing Searches in the Browser 93

Viewing and Changing the Properties of a Clip 99

About Links Between Clips and Source Media 104

6 Capturing Media 109

The Capture Window 110

Preparing to Capture Clips 115

Capturing Video and Audio 123

Auto-Segmenting an Entire Tape 128

7 Importing Graphics, QuickTime, and Audio Files 131

Importing Media Files Into Final Cut Express 132

About Importing QuickTime Files 134

About Importing Still Images 136

About Importing Audio Files 140

8 Recording to Videotape 141

Setting Up to Record to Videotape 142

Recording From the Timeline 143

Printing to Video 144

9 QuickTime Export of Video, Images, and Sound 149

Supported File Formats for Distribution 149

Exporting a Final Cut Express Movie 150

Exporting Markers from Final Cut Express 152

Exporting a QuickTime File 154

Exporting a Single Still Image 162

Exporting Audio Only 164


Contents

5

Part II Editorial

10 Getting Started With Editing 169

How to Edit Using the Interface 170

11 Working With Clips and the Viewer 175

About the Viewer 176

Working With Clips Between the Browser and Viewer 185

Navigating in the Viewer 193

Using Timecode in the Viewer 196

Changing How Video Is Displayed in the Viewer 197

Setting and Modifying In and Out Points 203

Creating and Working With Subclips 215

Using Markers 218

12 Working With Sequences, the Timeline, and the Canvas 227

Working With Sequences 228

Working With the Timeline and Canvas 235

About the Canvas 236

Navigation and Marking Controls in the Canvas 238

Editing Controls in the Canvas 239

About the Timeline 241

Customizing the Timeline Display 250

Zooming and Scrolling in the Timeline 250

Navigating With the Playhead in the Timeline 257

How Clips Appear in the Timeline 260

Working With Tracks in the Timeline 262

Working With Items in the Timeline 270

Searching for Items in the Timeline 304

Opening and Modifying Item Properties in the Timeline 305

Indicators in the Render Bar 306

13 Basic Editing 309

Editing in Final Cut Express 311

Setting Up an Edit 321

Performing an Edit 337


6

Contents

Setting Up and Performing Split Edits 359

Locating a Match Frame 371

Removing Clips From a Sequence 373

14 Adding and Editing Transition Effects 377

Using Transitions in Your Sequences 377

Adding Transitions 381

Moving, Copying, and Deleting Transitions 385

Modifying Transitions in the Timeline 387

Making Precise Adjustments to Transitions 389

Previewing and Rendering Transitions 402

Video Transitions That Come With Final Cut Express 403

15 Advanced Editing and Trimming Techniques 409

Where You Can Perform Trim Edits 410

About the Tool Palette 411

Controls That Affect Trim Edits 412

Selecting Edits and Clips to Trim 413

How to Perform Trim Edits 425

Trimming Edits Using the Trim Edit Window 461

Audio/Video Synchronization in Final Cut Express 471

16 Working With Audio 479

Evaluating the Audio in Your Program 479

Ways to Import Audio Into Your Project 480

Working With Audio in the Viewer 481

Opening Clips in the Viewer 488

Dragging an Audio Clip to the Canvas, Browser, or Timeline 488

Zooming and Scrubbing Through Audio Clips 489

The Goals of Audio Editing 496

Editing Audio in the Viewer 497

Working With Audio in the Timeline 502

Using Audio Transitions 509

About Mixing Volume and Stereo Levels in Final Cut Express 512

Setting Audio Levels in the Viewer 513

Setting Stereo Pan or Spread in the Viewer 516


Contents

7

Mixing a Clips Levels and Pan/Spread Dynamically Using Keyframes 519

Adjusting Volume Levels and Pan/Spread in the Timeline 526

Real-Time Audio Mixing in Final Cut Express 531

Audio Filters 532

Rendering Audio Filters and Transitions 543

Final Cut Expresss Audio Filters 545

17 Using the Voice Over Tool 549

18 Viewing and Setting Preferences 561

Setting General Preferences 562

Setting Options for the Timeline 570

Setting Up Scratch Disks for Storing Media 572

Part III Effects

19 Overview of Effects 577

20 Compositing, Applying Motion Effects, and Using Keyframes 579

Layering Clips 580

Nesting Sequences 597

Motion Effects 598

Animating Visual Effects Using Keyframes 618

Working With Graphics Clips of Different Resolutions 636

21 Working With Video Filters, Generators, and Speed Settings 639

Video Filters 639

Final Cut Expresss Video Filters 649

Video Generators 661

Using Final Cut Expresss Generators 665

Speed Settings 671

22 Color Correction 673

What Is Color Correction? 673

The Color Corrector Filter 674

The Desaturate Highlights and Desaturate Lows Filters 681


8

Contents

23 Rendering 683

The Basics of Rendering 683

Rendering 686

Rendering Audio 688

Rendering Real-Time Effects 690

24 G4 Real-Time Effects 691

Appendix Solutions to Common Problems and Customer Support 695

Solutions to Common Problems 696

Calling AppleCare Support 700

Glossary 703

Index 715


Part I

II

Getting Started, Input, and Output


11

C H A P T E R

1

1

Video Creation in Final Cut Express

Welcome to Final Cut Express, a low-cost, streamlined editing solution for digital video enthusiasts. Final Cut Express has been specically designed to work with a wide variety of inexpensive consumer digital video equipment, allowing anyone with a Macintosh computer and a camcorder to produce sophisticated videos incorporating video effects, titles, and mixed audio.

Since Final Cut Express lets you import and export standard QuickTime video les, your nished movies can be imported into iDVD and DVD Studio Pro to create high-quality DVDs, or easily compressed for multimedia use and Web playback. If youve reached the limits of what you can accomplish with iMovie, then Final Cut Express is for you.

Before you start using Final Cut Express, you need to understand the basic components of Final Cut Express and the four basic steps of video editingacquisition, editorial, effects, and distribution.

About Digital Video

The term

digital video

can mean a variety of thingsa movie on DVD, a home video stored on a DV tape, or a QuickTime movie trailer on the Web. All represent video stored digitally, but in different formats. DV is a digital video format.

Unlike analog video, a digital video signal is stored as a series of ones and zeroes on tape. This allows computer-based video editing programs, such as Final Cut Express, to capture DV, a specic digital video format, without any additional hardware. Since the video signal is already digital, it can be imported using the FireWire interface of your Macintosh computer.

Capturing digital video is similar to copying a computer le. As long as you use FireWire, there is no generational loss. You can make as many copies as you like and theyll all look as good as the original.


12

Chapter 1

The Basics: Clips, Sequences, and Projects

The key components of Final Cut Express are clips, sequences, and projects.

m

A

clip

is an individual section of a video, audio, or graphics le. All video, audio, and graphics les that you import into Final Cut Express appear as clips. A clip can be the smallest individual part of an edited program, analogous to a shot in a movie, or it can be an entire program. How much or how little you capture in a clip is up to you.

m

A

sequence

is a series of clips edited together to create a program. Sequences can be up to four hours long and contain as many clips as you need to tell your story. A sequence can contain your entire edited program or be limited to a single scene. Final Cut Express gives you the exibility to organize your edit however you like, with as many sequences as you need.

m

A

project

contains all the clips, sequences, and les that relate to a particular program or programs. You can have more than one project open at a timefor example, if youre working on various programs at once.

About Nonlinear and Nondestructive Editing

Final Cut Express is a nonlinear, nondestructive editing program. Almost nothing you do in Final Cut Express has any effect on the original digital video les you captured to disk. Even if you delete entire clips, they are still stored in the folder to which you captured them, until you drag them to the Trash in the Finder. The one exception to this is changing a clips reel number. Whenever you change this item property, the change is saved to the original clip on your hard disk.

Similarly, if you edit a clip in a sequence and you cut it short, the edited piece is not irretrievably gone unless you delete the original le.

m

Nonlinear editing

describes the process of editing the digital video that you captured on your hard disk. Once all your material is captured, you can easily cut, paste, add, and delete material from any part of the sequence. You can begin editing at any point. If you want, you can start from the end of the program and work your way back to the beginning.

m

Nondestructive editing

means that you can change a captured clip in Final Cut Express without affecting the original source clip stored on your hard disk. Clips in Final Cut Express are pointers to your original source material, not the actual source material.


Video Creation in Final Cut Express

13

The Video Creation Process in Final Cut Express

The video creation process in Final Cut Express involves four main steps: acquisition, editorial, effects, and distribution.

Step 1: Acquisition

Acquisition refers not only to capturing video clips for use in your project, but also to accumulating all the media you need to complete your project. Final Cut Express allows you to capture DV and audio from a wide variety of sources, if you have the appropriate hardware. You can also import a variety of QuickTime, audio, and graphics le formats. Once they are imported, you can organize these clips in a variety of ways using bins and tabs.

Step 2: Editorial

This process involves taking the video youve captured, along with any audio or graphics you imported, and turning these raw materials into an edited sequence of clips. Most editors start with a rough cut, where they assemble all the clips for their program very quickly to provide the general structure of their edit. Once thats nished, they work on ne-tuning, adding the polish and pizzazz desired for the nal product. Adding transitions such as wipes and dissolves as well as music, voiceover, and sound effects are also a part of this process.

Step 3: Effects

With the timing of your edit largely completed, you can then add effects such as titles, superimpositions, and lters. You can also add keyframes and motion effects for rotating, resizing, and moving video and images. Final Cut Express has a wide variety of video and audio effects with parameters that can change over time.

Step 4: Distribution

The last step is deciding how you want to distribute your nal product. Will you output your program back to DV? Do you want to create a professional-looking DVD using iDVD? Or do you want to post QuickTime movies to the web using .Mac? Final Cut Express lets you do all of these and more.


15

C H A P T E R

2

2

Setting Up Your System

This chapter presents ways you can set up your computer, camcorder, and other hardware for use with Final Cut Express. Its a good idea to set up and connect your system before you install the software. Final Cut Express can then detect the type of camcorder connected to your computer and automatically set certain preferences based on your conguration.

m

For information on system and hardware requirements, see the Read Before You Install document on the Final Cut Express CD.

m

For the latest information on Final Cut Express and Mac OS updates, go to the Final Cut Express website at www.apple.com/nalcutexpress

Final Cut Express is specically designed for use with and DV.

DV

You can easily connect a DV-format camcorder or deck to a FireWire port on your computer. DV-format equipment uses the FireWire interface to transfer video, audio, timecode, and device control data over a single FireWire cable. FireWire (also referred to as IEEE 1394 and i.LINK) is a high-speed technology for connecting and transmitting data to and from various external devices. This standard is supported by many professional and consumer-level DV camcorders and decks.

You can set up a DV system using FireWire or serial device control. For more information, see Setting Up a DV System Using FireWire Device Control on page 20.

Additional Equipment to Consider

You may consider using additional hardware and equipment, depending on your video format and workow:

m

additional random-access memory (RAM) and storage space

m

an NTSC or PAL video monitor

m

external speakers for monitoring audio


16

Chapter 2

Additional RAM and Storage Space

If you plan to work on large projects or with multiple media applications at one time, its useful to have extra random-access memory, or RAM, installed in your computer. You must have at least 192 megabytes (MB) of RAM to use Final Cut Express, but its a good idea to have 256 MB or more. (Some third-party video capture cards may require more than 256 MB.)

Its also a good idea to have as much hard disk space as you can possibly afford. Editors commonly capture far more material than appears in their nal programs, and even highly compressed full-screen video requires a lot of space. The more disk space you have, the more source material you can capture to work with. For more information on hard disk requirements and recommendations, see Hard Disk Storage for Digital Media on page 18.

An NTSC or PAL Monitor

NTSC and PAL are standards for video. NTSC, or National Television Systems Committee, is the television and video standard used in most of the Americas, Taiwan, Japan, and Korea. PAL, or Phase Alternating Line, is the television and video standard used in most of Europe, Brazil, Algeria, and China. (SECAM, a video standard based on PAL and used in France, Poland, Haiti, and Vietnam, is not supported by Final Cut Express. However, editing work is usually done in PAL and converted to SECAM.)

If youre outputting to videotape for television playback, you might want to watch your video output on an NTSC or PAL monitor. Color is represented differently on computer and video displays. Color-correcting video lters and other visually oriented effects dont look the same on a computer monitor as they will when played back from videotape.

You can connect a video monitor to your computer through a camcorder or deck that is connected to the FireWire port on your computer.

External Speakers

External speakers allow you to monitor audio output from your computer or from a camcorder or deck at higher quality than youd get from the speakers in your computer, camcorder, or deck. This is important if you do a lot of audio editing, since hearing what youre working on determines how you adjust the relative volumes of sound clips used in your projects. You can use self-powered speakers or speakers that include an amplier.

For information on connecting external speakers to your video equipment, see the documentation that came with the speakers and your video equipment.



17

Note:

If youre using a video monitor thats connected to a camcorder or deck via FireWire connect your speakers to the same set of outputs that your video monitor is connected to. If external video is enabled in Final Cut Express, delays in the signal paths cause audio output through the computers speakers or headphone jack to be slightly out of sync with the video displayed on your connected NTSC or PAL monitor. In this case, your computers audio is disabled and audio is sent to your external device via FireWire. This is also the case whenever youre capturing from a DV device.

Types of Video Signals

When connecting video equipment, you can use different video signals. The signal you use determines the quality of your video when you capture and output it. Camcorders can use different combinations of signal types, depending on their quality. Consumer video equipment use these video signals and connectors:

m

Composite

m

S-Video (Y/C)

Composite

Composite is the lowest common denominator of video signals. A composite signal runs all color and brightness information through a single pair of wires. This creates analog artifacts, making this the lowest quality video signal. Nearly all video equipment has Composite outputs. This format uses a single RCA or BNC connector.

S-Video

S-Video, also known as Y/C, is typically the highest quality of video used by high-end consumer video equipment. The image looks sharper and has better color than Composite video because S-Video sends the color and brightness information separately along two pairs of wires, keeping the signals cleaner. Most camcorders have S-Video as their highest quality video connector.

RCA connector

BNC connector

S-Video connector


18

Chapter 2

FireWire (Also Called IEEE 1394 or i.LINK)

This is the consumer and professional standard for DV-format digital video. FireWire is now included on nearly all Macintosh computers and is an inexpensive and easy way to capture and export high-quality digital video using a variety of camcorders and decks.

There are two kinds of FireWire connectors: a 4-pin connector (typically found on video equipment, such as your camcorder or deck) and a 6-pin connector (used for computer equipment). However, some newer video equipment uses the 6-pin connector and some video cards use the 4-pin connector. See your equipments documentation for more information.

Hard Disk Storage for Digital Media

Digital video can take up an enormous amount of storage space. Your computers internal hard disk may have enough storage space for DV capture, or you can use dedicated volumes for capturing and playing back your digital video and other media les. You can use separate disks or partitions of your internal disk to store the Final Cut Express software and other media.

You may be able to add both internal and external hard disks to your computer. Here are the pros and cons for both kinds of disks:

6-pin connector to computer(Sometimes labeled i.LINK)

4-pin connector to camcorder or VTR

Internal disks

m

May be less expensive.

m

Are inside your computer, causing less noise.

m

Are limited by the expansion capabilities of your computer.

External disks

m

Let you switch easily between projects by changing the disk connected to the computer.

m

Let you move a project quickly from one computer system to another in a different location.

m

May be more expensive.

m

May be noisy.



19

Using FireWire Device Control

FireWire (also called IEEE 1394 or i.LINK) is a standard supported by many professional and consumer-level camcorders and decks. FireWire transmits device control data, timecode, video, and audio signals over a single FireWire cable. Using FireWire, you can capture video directly from DV camcorders with a built-in FireWire port and from older analog-only equipment using an analog-to-FireWire converter.

Final Cut Express also outputs media to your camcorder or deck through the FireWire connection so you can record the media on tape. All DV-format tapes have DV timecode on them. Final Cut Express uses this timecode when exporting and importing clips and sequences to and from tape.

Video devices vary greatly in their functionality and adherence to FireWire specications for device control. For this reason, there are two versions of the FireWire protocol you can use in Final Cut Express:

m

Apple FireWire:

This is the default.

m

Apple FireWire Basic:

This is a simplied device control protocol for camcorders and decks that arent compatible with Apple FireWires full set. Using this protocol doesnt affect the quality of captured video or audio.

Setting Up Your Hardware

To set up your hardware, you can simply connect your video camcorder or deck to your computers built-in FireWire port or approved third-party video card and do all your video and audio monitoring using your computers monitor and speakers.

Its also useful to have an external NTSC or PAL monitor and speakers connected. This way, you can see what youre working on at full broadcast resolution, with NTSC or PAL colors, as it will look to your viewer. Using external speakers lets you hear your audio with much more clarity as you mix your tracks together.

The next sections describe how to connect your camcorder or deck with both a video monitor and external speakers.

Important

After you connect a DV camcorder to your computer, switch it to VCR mode. You can record to a camcorder from Final Cut Express in Camera mode, but to do so, you need to turn off device control in Final Cut Express, which limits your control during output.


20

Chapter 2

Setting Up a DV System Using FireWire Device Control

With this setup, a DV device is connected to the FireWire port of your computer, letting you capture video and output your program to tape. For more information about FireWire technology, see Using FireWire Device Control on page 19.

FireWirecable

DV camcorderin VTR mode

Computer NTSC monitor

OptionalCompositeor S-Video

AudioAmplified speakers

FireWireFireWire

A Recommended DV System Using FireWire Device Control

m

your computer and display

m a DV device, such as a DV camcorder or deck

m a 4-to-6-pin FireWire cable, available at an electronics store or an Apple-authorized retailer

m the analog audio and video cables that came with your DV device

Note: Some camcorders use a special cable to separate left and right audio and Composite video.

m an NTSC or PAL video monitor

m external speakers

For more information about some of this equipment, see Additional Equipment to Consider on page 15.


Setting Up Your System21

The following are basic instructions for connecting DV equipment to your computer. For detailed information, see the documentation that came with your equipment and your computer.

To set up your DV system using FireWire device control:

1 With your DV camcorder or deck turned off, connect the 6-pin connector of the FireWire cable to the FireWire port on your computer.

2 Connect the 4-pin connector on the other end of the cable to the FireWire port on the camcorder or deck.

On some DV devices, the FireWire port may be labeled IEEE 1394 or i.LINK. Make sure you align the connector and port properly by matching the indentation on the connector to the indentation in the port. Do not force the two together.

3 Turn on your camcorder or deck.

4 If you are using a camcorder, switch it to VCR mode (sometimes labeled VTR).

5 Connect the analog video output (S-Video or Composite) of your DV camcorder or deck to the appropriate input on your NTSC or PAL video monitor.

Note: If youre using Composite, you may need a male BNC-to-female RCA video adapter.

6 Connect the analog audio output (stereo RCA) on your DV camcorder or deck to the audio input of your external speakers or amplier.


23

C H A P T E R

33 Installing Software and

Choosing Your Initial Setup

Installing Final Cut ExpressInstallation places Final Cut Express and its components on the hard disk you specify, typically your startup disk.

To install Final Cut Express for Mac OS X:

m Insert the Final Cut Express CD into your CD or DVD drive, open the Final Cut Express folder, double-click the Install Final Cut Express icon, and follow the onscreen instructions.

Choosing an Initial SetupThe rst time you open Final Cut Express, the Choose Setup dialog appears, prompting you to choose a few items: an Easy Setup, and a primary scratch disk.


24 Chapter 3

m Easy Setup: Use this pop-up menu to choose a collection of settings Final Cut Express uses for controlling your video device, capturing media, editing, and exporting video. It includes presets, or groups of settings, for sequences, capture, device control, and external video that dene how Final Cut Express works with your particular DV setup.

m Primary Scratch Disk: This is where the clips you capture in Final Cut Express are saved. Its also where render les are saved, les that Final Cut Express generates when you use transitions and effects.

Note: If you reinstall Final Cut Express, your settings are cleared and you need to choose an Easy Setup again.

About Easy Setups

Final Cut Express comes with Easy Setups for some of the most common video congurations, and you can create your own custom Easy Setups. Choose an Easy Setup based on the system and media youre using and the type of project youre working on.

For example, if you have an NTSC FireWire DV camera, choose the Easy Setup that includes those settings, DV-NTSC. This Easy Setup includes the following settings:

m Sequence preset: DV NTSC 48 kHz

m Capture preset: DV NTSC 48 kHz Capture

m Device control preset: FireWire NTSC

m External video: Apple FireWire NTSC (720 x 480) for playback and print to video

The Easy Setup you choose becomes your default setup and all projects and sequences use its settings until you change it. You can change your Easy Setup or individual presets and settings at any time: however, you dont need to change the Easy Setup unless you change your video hardware or source media. Changing your Easy Setup only affects new projects that you create. It doesnt change the settings of a project thats already created or thats currently open.


Installing Software and Choosing Your Initial Setup25

To choose your initial setup:

1 Double-click the Final Cut Express icon to open the application.

2 Choose an Easy Setup from the Setup For pop-up menu.

The Easy Setup you choose should be based on the video interface, video hardware, or media youre working with and the type of project youre working on.

A summary of the selected Easy Setup appears below the menu. The summary includes information about the purpose of the Easy Setup, along with a list of the presets and external video settings the Easy Setup is based on.

3 Choose a primary scratch disk.

This is where you want to save your captured video, audio, render, and cache les. By default, Final Cut Express uses the disk where the application is installed.

Note: Its best to use a separate disk dedicated to video capture. For more information, see Hard Disk Storage for Digital Media on page 18.

Only connected external and internal disk drives are listed. If your hard disk doesnt appear in the pop-up menu, make sure its properly connected to your computer, correctly initialized using drive-formatting software compatible with Final Cut Express, and mounted. For more information, see the documentation that came with your computer, the hard disk, or your drive-formatting software.

Scratch disks are listed by the amount of available disk space, those with the largest amount listed rst.

Choose an Easy Setup to use predened sequence, capture, device control, and external video settings.


27

C H A P T E R

44 Learning About the Interface

In Final Cut Express, you do the most of your work in four windows: the Browser, the Viewer, the Canvas, and the Timeline. A oating Tool palette contains tools for selecting, navigating, performing edits, and manipulating items. A set of oating audio meters lets you monitor audio levels. There are also numerous menus, shortcuts, and controls.

Before you begin working, you need to specify settings for your video setup. These include an Easy Setup that you choose the rst time you open Final Cut Express, along with a scratch disk for storing media and a user mode that determines which Final Cut Express features will be available to you as you work. You may also want to select preferences before you begin.


28 Chapter 4

Easy SetupsThe rst time you open Final Cut Express, youre prompted to choose an Easy Setup, and a scratch disk. For more information, see Chapter 3, Installing Software and Choosing Your Initial Setup.

Easy Setup Window

Each Easy Setup consists of a set of presets that are summarized in the Easy Setup window.

To access the Easy Setup window:

m Choose Easy Setup from the Edit menu.

m Press Control-Q.

This shows thepresets and externalvideo settings for theselected Easy Setup.

This gives a brief explanation of the setup.


Learning About the Interface29

PreferencesYou choose settings for how you work in Final Cut Express in the Preferences window. This window includes tabs for each main group of settings: General, User Mode, Timeline Options, Labels, and Scratch Disks.

To view and set preferences:

1 Do one of the following:

m Choose Preferences from the Edit menu.

m Press Option-Q.

2 Click the desired tab.

Click a tab to view andset preferences for avariety of settings in

Final Cut Express.


30 Chapter 4

Setting Preferences Before You First Start Working

You may want to set or change some important preferences before you start working. These preferences are briey described in the following sections. For more information, see also Viewing and Setting Preferences on page 561.

General

You may want to set the following general preferences before you start working in Final Cut Express.

m Levels of Undo: This species the number of actions that can be undone (up to 32). The default is 10. The more levels of undo you specify, the more memory is required.

m Report dropped frames during playback: With this option enabled, a message appears when frames are dropped during playback from the Viewer, Canvas, or Timeline.

m Abort capture on dropped frames: With this option enabled, a message appears when frames are dropped during capture and the capture process is stopped.

m Prompt for settings on New Sequence: By default, this option is disabled and new sequences use the sequence settings specied in the current Easy Setup. If you enable this option, when you create a new sequence, a message asks you to choose a sequence preset.

m Preview Pre-roll and Post-roll: Enter durations in these elds to specify the amount of a clip played when you use the Play Around Current control. Pre-roll species the amount of material played before the position of the playhead; post-roll species the amount of material played after the playhead. These amounts are used for all clips on disk.

m Autosave Vault: Several autosave options let Final Cut Express automatically save backup copies of your opened projects at regular intervals while you work. (Your original project les arent touched until you choose the Save command.) You can specify how often to save, along with the number of backup copies saved for each project and the maximum number of projects to maintain.



Timeline Options

You may want to set the following options for viewing items in the Timeline before you start working in Final Cut Express.

m Track Size: Choose a track size to set the initial vertical height of tracks in the Timeline for new sequences.

m Thumbnail Display: Choose your preferred thumbnail display type in the Timeline.

m Default Number of Tracks: Enter the number of video and audio tracks you want created in new sequences.

m Show Keyframe Overlays: Check this box to display keyframe overlays in the Timeline.

m Show Audio Waveforms: Check this box to display audio as audio waveforms rather than plain media bars in the Timeline.

Audio waveform

Plain media bar


32 Chapter 4

Scratch Disks

This tab lets you specify up to 12 scratch disks for storing les. Its best to set these after you set up your hardware but before you start to work in Final Cut Express. When you capture or render clips, les are saved to the rst disk in the list. When that disk is full, Final Cut Express goes to the next disk in the list until its full, and so on.

About the Editing and Project WindowsThere are four main windows in Final Cut Express: the Browser, Viewer, Canvas, and Timeline. Tabs organize sets of commands or represent open sequences. Click a tab to use its functions and controls or to bring a sequence forward to work in it.

CanvasViewer

Browser

Timeline

Audio meters

Tool palette



The Standard window arrangement in Final Cut Express displays the windows as shown. You can choose a different window arrangement with the Arrange command in the Window menu. For more information, see Changing the Layout of Windows on page 55.

To make a window active so you can work in it:

m Click the window.

m Choose the desired window from the Window menu.

m Use a keyboard shortcut to select it.

Browser

The Browser is the central storage area where you organize all of the source material youll use in your project. The Browser lists all lesvideo and audio clips, sequences, and markersin a project. Each project is represented by a tab that contains that projects les. You can organize your media clips in bins, or folders, within a project. You can have multiple projects open.

To open (and close) the Browser:

m Choose Browser from the Window menu.

m Press Command-4.

The Browser is not a collection of les, but a collection of references to les. The actual media les exist on your hard disk. Final Cut Express is a nondestructive editing application; when you modify clips, the original source material stored on your disk is not affected.

Important The Canvas and Timeline are only displayed for open sequences. If your project doesnt contain any sequences or none of your sequences are open, the Canvas and Timeline do not appear.

Audio and video clips

Sequence

Tabs representopen projects.

Bin for organizing clips


34 Chapter 4

You can display several columns of information for items in the Browser, such as notes, clip duration, type of audio, and In and Out points. You can also show and hide columns and view items by list or by large or small icons (no columns appear in icon views).

You can open clips and sequences from the Browser. Double-click a clip to open it in the Viewer. Double-click a sequence to open it in the Timeline. For detailed information about the Browser, see Chapter 5, Using the Browser and Managing Projects and Clips, on page 59.

The Browser also contains the Effects tab, which provides drag-and-drop access to Final Cut Expresss video and audio effects, lters, and generators.

Drag the scroll box to view additional columns.

The Name columnis always shown. Click the arrow in a

column heading to sort information.

The Effects tab stores all effects, lters, and generators.You can put frequently

used effects in theFavorites bin.

These are some ofthe effects you can

use in your projects.



Viewer

The Viewer acts as your source monitor. Use the Viewer to watch individual source clips and mark In and Out points in preparation for editing them into your sequence. You can also customize transitions, modify lters, and view and edit various effects. Clips from the current sequence in the Timeline can be opened in the Viewer to rene edits, effects, and audio volume.

To open (and close) the Viewer:

m Choose Viewer from the Window menu.

m Press Command-1.

There are several controls in the Viewer for playing, jogging, and shuttling through your clip. Most of these controls are found in other windows as well. There are also controls for setting In and Out points, zooming, displaying title and action safe boundaries, and opening generators to create graphics such as color mattes, text, and gradients. For information about some of the basic controls, see Using Playback and Editing Controls in the Viewer and Canvas on page 50.

Tabs provide accessto different functions

and controls.

Transport controls

Shuttle control Jog control

Editing and marking controls


36 Chapter 4

The tabs at the top of the Viewer provide certain functions and controls for clips.

m Video tab: (Shown above.) Click this to view video frames and locate and mark your edit points (In and Out points).

m Audio tab: Click this to view the waveforms of your audio channels and change volume levels and stereo pan (or spread) settings. You can also set In and Out points and markers for mixing levels of your audio clips. Clips with stereo audio have two tabs, one for the left channel and one for the right.

These controls arethe same as those

in the Video tab.

You can modify settingsusing these controls.

Audio waveformfor an audio clip



m Filters tab: Click this to change settings for video and audio lters applied to a clip.

m Motion tab: Click this tab to apply and modify motion effects to a clip, such as scaling, cropping, and rotating.

The type of lterapplied to the clip

The settings for aparticular lter

Motion settingsyou can specify


38 Chapter 4

m Controls tab: The Controls tab appears only if youve added a generator. Click it to change the generators parameters and customize output.

For detailed information about the Viewer, see Working With Clips and the Viewer on page 175.

Parameters you canspecify for a generatoreffect, such as a title.



Canvas

The Canvas is the equivalent of a record monitor and shows what your edited sequence looks like when it is played. The Canvas looks similar to the Viewer and has many of the same transport, editing, and marking controls.

To open (and close) the Canvas:

m Choose Canvas from the Window menu.

m Press Command-2.

You can perform seven types of edits in the Canvas: insert, overwrite, replace, t to ll, superimpose, insert with transition, and overwrite with transition.

Each open sequencehas its own tab.

The Canvas is whereyou edit clips togetherand play them to seewhat your sequence

will look like.

Transportcontrols

Editing and marking controls

Jog control Shuttle control


40 Chapter 4

There are two ways to edit in the Canvas:

m Drag a clip from the Browser or Viewer to a section of the Edit Overlay.

Note: The Edit Overlay only appears when you drag an item to the Canvas.

For detailed information about the Canvas, see Working With Clips and the Viewer on page 175.

Edit Overlay

Drag a clip from theBrowser or Viewer to

the desired sectionof the Edit Overlay.



Timeline

The Timeline displays a chronological view of an open sequence. Each sequence has its own tab in the Timeline. You can have multiple sequences open.

To open (and close) the Timeline:

m Choose Timeline from the Window menu.

m Press Command-3.

Video tracks are displayed in descending order, with track V1 as the bottom layer. When you edit clips to the tracks above, they obscure clips in the lower tracks. The order of the tracks in the Timeline determines layering order when you composite multiple tracks of video. A sequence can have up to 99 video and 99 audio tracks.

Each track has visibility and lock controls. There are Target Track controls to specify the audio and video tracks to which clips are edited. There are also controls for track height, the scale of the Timeline, and navigating from one end of the Timeline to the other. A render bar appears at the top of the Timeline to indicate if any transitions or effects in your sequence need to be rendered before playback.

The Timeline and the Canvas windows work together. When you play back your sequence in the Timeline, your program plays in the Canvas. Changes you make to a sequence in the Timeline are seen when you play back that sequence in the Canvas. If you modify clips in the Canvas, the changes are stored with the clips in the Timeline.

For detailed information on the Timeline, see Working With Clips and the Viewer on page 175.

Audio tracks

Video tracks

Tab representing anopen sequence

Move the slider to navigate through your sequence.

Track Height control


42 Chapter 4

Tool Palette

The Tool palette contains tools for editing, zooming, cropping, and distorting items in the Timeline.

To view the Tool palette:

m Choose Tools from the Window menu.

To select a tool:

1 Click a tool in the Tool palette.

2 Choose the tool you want from the pop-up menu.

For detailed information on various tools, see Working With Clips and the Viewer on page 175. Similar information can also be found in Working With Sequences, the Timeline, and the Canvas on page 227,

Track Selection tools

Edit, Group, and Range Selection tools

Slip Item andSlide Item tools

Zoom In, ZoomOut, Hand, and

Scrub Video tools

Selection tool

Pen, Pen Delete, andPen Smooth tools

Press and hold tochoose additional tools.

Roll Edit and Ripple Edit tools

Razor Blade tools

Crop and Distort tools



Audio Meters

The audio meters let you monitor audio output levels from your computer. Use them for editing and outputting your program. For more information, see Working With Audio on page 479.

To open (and close) the audio meters:

m Choose Audio Meters from the Window menu.

m Press Option-4.

The boxes show the top level for each audio channel.

When you play audio, the meter moves up and down to show the decibel level.


44 Chapter 4

Trim Edit Window

When you ne-tune the edit point between two clips in the Timeline, youre trimming an edit. You can trim your edits using the Ripple, Roll, Slide, and Slip tools or keyboard shortcuts. These tools and shortcuts can also be used in the Viewer, Timeline, and Trim Edit window.

The Trim Edit window displays both sides of your edit: the Out point of the outgoing clip on the left and the In point of the incoming clip on the right. In this window you can rene your edits very precisely, frame by frame.

For more information on using the Trim Edit window, see Advanced Editing and Trimming Techniques on page 409.

Acquiring and Distributing MediaYou use the Capture window and the Import command to bring media into Final Cut Express. Once youve edited material together, you can export it in various ways: printing to videotape, editing directly to tape, or exporting sequences or clips in several formats.

Outgoing clip Incoming clip



Capture

You use the Capture window to enter information about the clips from source tapes. You then capture these clips to the designated scratch disk so you can edit them in Final Cut Express.

To open the Log and Capture window:

m Choose Capture from the File menu.

For more information about capturing media, see Chapter 6, Capturing Media.

Print to Video Window

The Print to Video command in the File menu allows you to output clips or sequences to videotape quickly. You can add elements on the tape such as color bars and tone, a countdown, a slate, and a black trailer. You can also loop your footage if you want to output your program multiple times on the same tape. Your video equipment does not need device control to use this function. For more information, see Chapter 8, Recording to Videotape, on page 141.

Use this area to specify settings and capture clips.

Transport controls and status of your video equipment

The Preview area letsyou determine whatfootage you want to

capture.


46 Chapter 4

To open the Print to Video window:

m Choose Print to Video from the File menu.

m Press Command-M.

Using Menus, Shortcuts, and ControlsFinal Cut Express offers several methods for performing video-editing tasks. Some people work fastest using keyboard shortcuts; others prefer to use their mouse to access the menu bar or shortcut menus. Experiment to nd out which method best suits your editing style.

Menu commands and keyboard shortcuts apply to the active window. Click a window or use keyboard shortcuts to make it active.

This section species the time needed for elements you add.

To add a trailer, click the checkbox and specify a duration.

Add elements to yoursequence or clips.

Use these settings toloop your program.



Using Keyboard Shortcuts

Keyboard shortcuts let you perform actions on your computer using the keyboard instead of pointing and clicking. These shortcuts can help you work more efciently.

Keyboard shortcuts for tasks are presented throughout this manual and in the onscreen help. They are also shown in menu commands and tooltips; for more information, see Showing Descriptions of Interface Elements (Tooltips) on page 48.

Viewing and Using Shortcut Menus

Shortcut menus (also called contextual menus) are available in nearly every section of every window and offer a quick way to perform various tasks. The commands in a shortcut menu depend on the location of the pointer in the selected window. For example, the shortcut menu for a column heading in the Browser shows different options from the menu for an item within the column.

To view and use a shortcut menu:

1 Press the Control key and click an item.

2 In the shortcut menu that appears, choose the command you want, then release the Control key and mouse button.

A shortcut menufor the selected clip


48 Chapter 4

Showing Descriptions of Interface Elements (Tooltips)

When you move the pointer over a control in Final Cut Express, a small box called a tooltip appears with a description of the control. Next to the description is the keyboard shortcut for using the control. You can turn tooltips off and on in the General tab of the Preferences window. For more information, see Viewing and Setting Preferences on page 561.

Working With Tabbed Windows

The Viewer and Browser contain tabs that let you access different functions. Tabs in the Timeline and Canvas represent open sequences. You can drag tabs out of their main, or parent, window so they appear in a separate window. This is useful when you are working on more than one sequence or project at a time.

This tooltip appears when the pointer is over the Play button in the Canvas.

The Browsercontains tabs

for open projectsand effects.

Like the Canvas, the Timeline contains tabs for each open sequence.

The Viewer containstabs that specify

functions within clips.

The Canvas contains tabs for each open sequence.



To make a tab appear in its own window:

m Drag the tab out of its parent window (Browser, Viewer, Canvas, or Timeline).

To put a tab back in its original window:

m Drag the tab to the title bar of its parent window.

The Effects tab is dragged out of the Browser and appears in its own window.

Drag the tab backto the title bar of themain window to put

the tab back in itsoriginal window.


50 Chapter 4

Using Playback and Editing Controls in the Viewer and Canvas

Transport (or playback) controls

Transport controls let you play clips and sequences in the Viewer and the Canvas, as well as move the playhead in the Timeline. (The same controls also appear in the Log and Capture and Edit to Tape windows.) These controls play clips and sequences at 100 percent (or 1x) speed. There are keyboard shortcuts for each control.

Control Function Keyboard shortcut

Previous Edit

Moves the playhead backward from its current position to a preceding edit in the Canvas or to a preceding edit point (start, In, or Out) of a clip in the Viewer.

Use this control to navigate quickly in a sequence of edits.

Up Arrow

Play In to Out

Moves the playhead to the current In point of a clip and plays forward from that point to the Out point.

Use this control to play the clip youre editing from beginning to end.

Shift-\ (backslash)

Play Plays your clip or sequence from the current location of the playhead to the end, regardless of the Out point. Clicking it again stops playback.

Space bar

Play Around Current

Plays the selected clip or sequence from before the current playhead position (based on a pre-roll setting) to the amount of time specied by the post-roll setting (you specify these settings in the General tab of the Preferences window).

Use this control to get a quick view of material at the current position of the playhead.

\ (backslash)

Next Edit Moves the playhead forward from its current position to the next edit in the Canvas or to the next edit point (In, Out, or end) of a clip in the Viewer.

Down Arrow

Next Edit

Play Around CurrentPlay In to Out Play

Previous Edit



Playhead, clip and sequence controls

These three controls are used to navigate and play through clips and sequences at speeds other than 100 percent (or 1x) playback speed. The shuttle and jog controls are on opposite sides in the Viewer (shown below) and Canvas.


Shuttle control

Drag the slider to the right to fast-forward and to the left to rewind. Playback speed depends on the distance of the slider from the center. When the slider is green, playback speed is normal, or 100 percent.

Use this to play clips and sequences at different speeds in fast and slow motion. It also shifts the pitch of audio as you play at varying speeds.

J (Reverse)K (Stop)L (Forward)

Press J or L up to four times to increase or decrease speed.

Jog control Use this control in the Viewer and Canvas to move forward or backward precisely.

Use this to locate a specic frame, such as when youre trimming an edit.

Press the Left and Right Arrow keys to move one frame at a time.

Press ShiftLeft Arrow and ShiftRight Arrow to move one second at a time.

Playhead and scrubber bar

The scrubber bar covers the entire width of the Viewer and Canvas below the video image. To scrub (or move though) a clip, drag the playhead in the scrubber bar. Click anywhere in the scrubber bar to move the playhead to a different location.

Use this to quickly navigate a clip or sequence.

Press the Left and Right Arrow keys to move one frame at a time.

Press ShiftLeft Arrow and ShiftRight Arrow to move one second at a time.

Playhead

Shuttle controlScrubber bar

Jog control


52 Chapter 4

Marking controls

These controls let you set markers, In and Out points, and keyframes and match audio and video for clips and sequences.


Match FrameClick to match the currently displayed frame of a clip in the Canvas with the same frame in the original source clip in the Viewer. This is useful to synchronize audio and video or locate exact frames.

F

Mark Clip Click to use the current boundaries of a clip to set In and Out points.

X

Add Keyframe

Click to add a keyframe to the current clip at the position of the playhead. A keyframe is a special-purpose marker that denotes a change in value of an applied effect, such as motion or audio level.

Control-K

Add Marker Click to add a marker at the current position of the playhead. This lets you bookmark a location in your clip or sequence as you edit, such as potential In or Out points, edit points, or where you may want to apply effects.

M

Mark In Click to set the In point at the current position of the playhead.

For clips, this denes the rst frame you edit into your sequence.

I

Press Shift-I to move the playhead to the next In point.

Mark Out Click to set the Out point at the current position of the playhead.

For clips, this denes the last frame you edit into your sequence.

O

Press Shift-O to move the playhead to the next Out point.

Mark Clip

Mark OutMatch Frame

Mark In

AddKeyframe

Add Marker



About TimecodeTimecode uniquely identies every frame of your clip. Timecode always uses the following format:

In Final Cut Express, the timecode of each clip you capture begins at 00:00:00:00. Each clip, however, preserves information about which part of which tape it came from for purposes of recapturing.

Entering Timecode

When you enter timecode in a eld, such as the Current Timecode eld, you dont need to enter all of the colons or semicolon. Final Cut Express automatically adds them for you after each set of two digits.

For example: If you enter 01221419, Final Cut Express interprets it as 01:22:14:19.This stands for 1 hour, 22 minutes, 14 seconds, and 19 frames.

If you enter a partial number, Final Cut Express formats it with the rightmost pair of numbers as frames and puts each successive pair of numbers to the left in the remaining seconds, minutes, and hours areas. Numbers you omit default to 00.

For example: If you enter 1419, Final Cut Express interprets it as 00:00:14:19.

Each hour, minute, second, or frame number must contain two digits. Therefore, you must add a leading zero to single numbers.

For example: You must enter 03 to represent frame 3.

Hours Minutes Seconds Frames

SMPTE timecode

01:32:15:28


54 Chapter 4

Timecode Fields

The Viewer and Canvas have two timecode elds:

m Timecode Duration: Species the time between In and Out points for a clip or sequence. If no points are marked, the entire duration of the clip is displayed.

m Current Timecode: Represents the current position of the playhead. If you set an In or Out point, that timecode number is used.

Timecode Navigation and Shortcuts

There are several ways to enter and navigate using timecode. You can move the playhead to a specic frame by entering a complete timecode number in the Current Timecode eld in the Canvas or Viewer, then press Return or Enter. You dont need to click in the eld to enter a new timecode; simply enter the timecode.

To avoid typing zeroes when moving by larger amounts, type a period instead.

m To move to timecode 00:00:03:00, type 3. (3 and a period). The period is automatically interpreted by Final Cut Express as 00 in the frames eld.

m To move to 00:03:00:00 from the previous position, type 3.. (3 and two periods). These periods insert 00 into both the frames and seconds elds.

m Type 3... to move to 03:00:00:00.

Instead of moving the playhead to an absolute timecode number, you can move it relative to its current position by pressing the + and keys.

m To move the playhead 15 frames forward from the current position, type +15.

m To move the playhead 1 minute and 20 frames back from the current position, type 01.20 (the period automatically adds 00 to the seconds eld).

For detailed information, see Working With Clips and the Viewer on page 175.

Timecode eldsin the Viewer

Timecode Duration eld Current Timecode eld



The Browser has a corresponding Duration column for clips and sequences so you can quickly see how long a clip or sequence is.

Changing the Layout of WindowsScreen layouts determine the size and location of the four main windows in Final Cut Express (the Browser, Viewer, Canvas, and Timeline). Final Cut Express comes with a predened set of layouts. Choose a layout that maximizes your screen real estate in the best way for your source material, editing function, screen resolution, and monitor type.

For example, if youre compositing, you can choose the Compositing layout. The Timeline is expanded in this layout so you can easily see multiple layers. To compensate, the Canvas is smaller, since the focus is on building layers, not viewing your nal output.

If none of the existing layouts meets your needs, you can create up to two of your own and save them for future use.

Note: All screen layouts arrange the size of windows based on the selected screen resolution of your monitor.

The Duration column in the Browser shows the length of a clip or sequence.


56 Chapter 4

To choose a screen layout:

m Choose Arrange from the Window menu, then choose an option from the submenu.

To customize the screen layout:

1 Arrange the four main windows, Tool palette, and audio meters as you want them.

2 Hold down the Option key and choose Arrange from the Window menu, then choose one of the Set Custom Layout options.

3 The next time you open Final Cut Express, you can choose the custom layout you created from the Arrange submenu of the Window menu.

Arrange the fourwindows, Tool palette,

and audio meters whereyou want them.



Undoing and Redoing ChangesYou can undo changes you make in your projects, sequences, and clips. This is helpful if you make a change you dont like and want to revert to an earlier version. You can also redo actions that you have undone.

By default, you can undo 10 of your previous changes. You can set this to undo up to 99 changes. The more levels of undo you select, the more memory is needed to save all of your changes. For more information on modifying the number of changes to undo, see Viewing and Setting Preferences on page 561.

To undo a change:

m Press Command-Z or choose Undo from the Edit menu.

To redo a change:

m Press Command-Y or choose Redo from the Edit menu.

When you use the Undo or Redo command, Final Cut Express makes the window where the last or next action occurred the active window.

For example, lets say you delete a clip from the Browser, then select a clip in the Timeline and duplicate the clip there. Choosing Undo once eliminates the duplicate clip you created in the Timeline, which is still the active window. Choosing Undo a second time undeletes the clip you deleted in the Browser and makes the Browser the active window.


59

C H A P T E R

55 Using the Browser

and Managing Projects and ClipsYou use many kinds of media to create your projects in Final Cut Express. To organize your media so you can work efciently, you need to understand the basic organizational elements of Final Cut Expressclips, sequences, projects, and binsand how they relate to the Browser.

m Project: A project contains all the clips, sequences, and les for a particular program. If you captured your clips using timecode and a camcorder or deck with device control, your project le contains all the information necessary to recreate your edit, except for imported audio and graphics les. You can copy your project le to another Final Cut Express workstation along with the associated audio and graphics les, then recapture all your original source clips.

Browser

Bin 1 Sequence 1

Clip

Clip

Clip

Clip Clip Clip

Clip

Clip

Bin 2

Clip

Clip

Clip


60 Chapter 5

m Bin: Within projects you can create bins, which are similar to folders, to store your clips and sequences. These are useful for le management. You can use bins to

m separate different kinds of footage

m organize your video, audio, and graphics les separately

m separate sequences along with their supporting clips

m Sequence: A sequence is a container where you edit together a series of clips to create a new program. A sequence can be only one part of a project. You can have multiple sequences within a project; sequences can also be used as source clips and edited into other sequences. You cannot save sequences outside a project, but you can export them as movies or clips.

Sequences are analogous to bins in that they also contain clips.

m Clip: A clip is an individual section of a video, audio, or graphics le. A clip is not the actual media le, but a reference to the media le stored on your hard disk. Clips are the building blocks from which all sequences are created.

m Browser: Although media les are actually stored on your hard disk, you use the Browser and all of its features to help manage your projects, sequences, and clips. The Browser is the central storage area where you organize the source material for your project and the nished program.

Getting StartedBefore you begin working on projects or capturing material, you can change your preferences to suit how you want to work with Final Cut Express. For more information, see Viewing and Setting Preferences on page 561.


Using the Browser and Managing Projects and Clips61

Learning About the BrowserThe Browser is the central storage area where you organize the source material for your project and the nished product. It also contains all the effectsvideo and audio transitions and lters and generatorsin a separate tab that you can drag and drop into your sequences. Within each project, or tab, you can have bins, similar to folders, where you organize your media.

In list view, the Browsers scrollable columns provide information about your les. You can sort and search for items within the Browser. You can also view the Browser using two other modes: small icon view or large icon view. The picture below shows list view, which is the default. For more information, see Customizing the Browser Display on page 84.

About Browser Columns

The Browser displays many columns of information. You can customize the display to view only the columns you want, as well as rearrange columns and change their width. The Name column always appears at the far left.

Information in the Browser columns is based on one of the following:

m the item properties of a clip

m device control preset and capture preset

m the sequence settings of an individual sequence (sequence preset)

You can change properties in some columns directly in the Browser by Control-clicking within the column, then choosing an option from the shortcut menu. For more information, see Viewing and Changing the Properties of a Clip on page 99. You can also modify these properties in the Item Properties window for a clip (see Viewing and Changing Clip Properties in the Item Properties Window on page 100).

Each projecthas its own tabin the Browser.

This is a sequence.

These are audioand video clips.


62 Chapter 5

There are also two sets of columns that can be displayed: a standard set and a logging set. The Standard Columns display shows default columns and is typically used when editing. The Logging Columns display shows only logging information for clips and media and is useful when capturing media. Both sets can be modied. For more information, see Working With Standard or Logging Columns on page 93.

Tooltips Display Long Names

If an item in the Browser has a name or contains information longer than the available size of the eld or column, you can now view the longer entry. Move the pointer over the item and a tooltip appears with the full text of the entry.

A tooltip shows the entire name of a clip or sequence.

Browser column Information provided

Name Name of the media le (from the Name eld in the Logging tab of the Log and Capture window).

The name is typically entered when capturing, but you can also add or change it in the Browser or Item Properties window. Changing the name of a clip doesnt change that clips source le on your hard disk.

Alpha Shows the type of alpha channel presentNone/Ignore, Straight, Black, or White.

Graphics or animation les created outside Final Cut Express may have an alpha channel. Different kinds of channels display different results, depending on whether transparency is used. Final Cut Express discerns the correct type when you capture or import your media.



Anamorphic A checkmark in this column indicates the media is anamorphic. You can also set this property to force a clip to be widescreen.

For clips, this property is based on the capture preset; for sequences, its based on the sequence preset. For imported DV clips, Final Cut Express automatically detects whether the clip was captured anamorphically.

This property can be set or changed in the Browser or Item Properties window.

Aud Format Audio format, including the bit size and type of sound (stereo or mono).

Aud Rate Audio sample rate. If you captured a DV clip with the Sync Adjust Movies feature enabled, the true sample rate of the clip will be calculated and indicated here.

Audio Indicates whether or not a clip has audio.

Capture Displays the capture state of a clip in the Capture queue: Not Yet, OK (captured already), Queued, or Aborted.

Comment 1-4 Displays comment information (notes youve added for an item after its been captured).

You can add or change this property in the Browser or Item Properties window. You can rename the Comment columns in the Project Properties window.

Composite Shows the composite mode of the clip, such as Normal, Add, or Travel Matte. This controls how the colors in a clip combine with the colors in clips in underlying video layers, or how the clip visually interacts with the clip on the track immediately below it.

For more information on composite modes, see Compositing, Applying Motion Effects, and Using Keyframes on page 579.

Compressor Displays the codec used by a clip. For clips, this property is based on the clip; for sequences, its based on the codec specied in the sequence preset.

Different codecs have different ways of compressing video and audio clips to save bandwidth. Video clips in a sequence must use the codec specied in the sequence preset if you want them to play without rendering.



64 Chapter 5

Data Rate Rate of data ow per second; a clips data rate is set when its captured.

Often, a clips data rate determines its visual quality. For example, the data rate of clips captured using the DV codec is 3.6 MB/sec. Since DV is a xed data rate codec, visual quality is at its highest. Other codecs may use different data rates, with different resulting quality.

Description Displays descriptive text about a clip (from the Description eld in the Logging tab of the Log and Capture window). This is typically entered when capturing, but you can also add to it or change it in the Browser or Item Properties window.

Duration Shows the duration between a clips In and Out points.

Frame Size Displays the video frame size in pixels. For clips, this property is based on the size of the clips frame; for sequences, its based on the sequence preset.

Good Identies clips that are marked Good (indicating shots you want to use) in the logging tab of the Log and Capture window. Clips are typically marked Good during capturing, but you can also mark a clip in the Browser or Item Properties window.

In Timecode of the In point of a clip. The In point species the beginning of a section of a clip or sequence used in editing.

Out Timecode of the Out point for a clip.The Out point species the end of a section of a clip or sequence used in editing.

Label and Label 2 You can assign label names to items to help organize and manage your mediaNone, Good Take, Best Take, Alternate Shots, Interviews, B Roll. Each label has an associated color, so clips and sequences with labels are easily identiable in the Browser.

The label names appear in the Label columns and each items icon is colored appropriately. Label names can be changed in the Labels tab of the Preferences window; colors cannot be changed.

Last Modied Indicates the date and time an item was modied, or the last time a sequence was edited. This information is similar to the creation date of the le, or what you see when you select an item in the Finder, then choose Get Info from the File menu.

Length Shows the total length of a clips source media on disk. The length is different from the duration of a clip, which reects the number of frames between the In and Out points of a clip (and can be changed).




Log Note Displays text from the Log Note eld in the Logging tab of the Log and Capture window. This is typically entered when capturing, but you can also add to it or change it in the Browser or Item Properties window.

Ofine A checkmark indicates a clip is ofine, meaning it hasnt been captured yet or the source media on disk is missing or has been moved.

Pixel Aspect Displays the pixel type of the source medianon-square for NTSC and PAL video or square for multimedia and HDTV video. This property is determined by the capture preset and your third-party capture card (if one is installed).

Reel Identies a clips reel number (specied in the Logging tab of the Log and Capture window). This is typically entered when capturing, but you can also change it in the Browser or Item Properties window. Changing the reel number of a clip also changes the reel number of its source le on disk.

Reverse Alpha This property can be set to Yes or No. Selecting Yes places a checkmark in the column, indicating the alpha channel is set to the reverse of the current setting. Reverse Alpha compensates for graphics and video les imported from other applications that display the solid and transparent areas of an alpha channel as the reverse of how Final Cut Express displays them.

Scene Identies a clips scene (specied in the Logging tab of the Log and Capture window). You can enter this when capturing or in the Browser or Item Properties window.

Shot/Take Identies a clips shot or take, which is entered in the Logging tab of the Log and Capture window. It can also be added or changed in the Browser or Item Properties window.

Size Shows the les size on the hard disk in megabytes (MB).

Source Shows the directory path of the source media le on disk. For example:Capture Disk: Capture Scratch: Interview Clip.mov

TC Timecode currently displayed in the Viewer; can be the source or auxiliary timecode.

Thumbnail Displays the rst frame of the clip. You can drag to scrub, or move through, a thumbnail icon for a clip.

Tracks The total number of video and audio tracks in a clip or sequence.



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About Icons in the Browser

Icons appear next to the name of each item in the Browser and represent the items le type.

Type Type of itemclip, subclip, merge clip, sequence, bin, or effect.

Vid Rate Shows the frame rate in frames per second (fps). For clips, this property is based on the frame rate of the le on disk, which is determined by the capture preset. For sequences, its based on the sequence preset and can be changed.


Icon Name Description

Bin Similar to folders, bins are used to organize clips, sequences, and even other bins.

Locked bin A locked bin contains all effects except those in the Favorites bin that you cannot move to another bin or delete (such as those that were installed with Final Cut Express).

Bin opened in its own window

A bin thats been opened as a separate window from its project.

Sequence An edited series of clips and edit information.

Clip A media le. A clip can be an individual section of a video or graphics le, other imported content, or a merged clip (a clip created by merging an audio and a video clip).

Audio clip A media clip composed of audio samples; can be any kind of audio clip, including QuickTime, AIFF, or Wave.

Offline clip A placeholder clip that references media not yet captured or source media thats missing from your hard disk.

Video transition

Transition effect; applied to a video track between any two overlapping video clips.

Audio transition

Transition effect; applied to an audio track between any two overlapping audio clips.



Working With ProjectsTo start working, you must create a new project in the Browser. How you use and organize your projects depends on what youre working on, as well as your work style. Typically, you create a new project for each program you work on. For example, if youre working on a documentary and a training piece for different clients that use completely different media, it makes sense to create two separate projects.

On the other hand, if youre cutting two different programs using the same media, it makes sense to keep everything together in one project le and create multiple sequences for your different edits. For example, you may use the same material to edit together a thirty-second version and a two-minute version of the same public service announcement video. Your footage would be in one project, but youd create two sequences, one for each version.

Video filter Effects lter applied to a video clip.

Audio filter Effects lter applied to an audio clip.

Video generator

Effects utility that generates color mattes, gradients, tones, and text.

Subclip A segment of a clip dened by In and Out points. Any number of subclips may reference one master clip (and therefore one source media le on your hard disk). Subclips exist in the Browser inside other clips and can be viewed hierarchically.

Marker A reference point in a clip; used to denote areas of special interest.

Icon Name Description


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Creating and Saving Projects

When you create a new project in Final Cut Express, a new blank sequence is automatically created and named Sequence 1. You can change the sequence name to better reect its content or the type of program youll be working on. The new sequence is based on settings specied in your current Easy Setup. (To see these settings, choose Sequence Settings from the Sequence menu.)

As you work in new projects, you capture and import clips and edit them into one or more sequences. You can also set and save preferences to customize the way you work in individual projects and sequences.

To create a new project:

m Choose New Project from the File menu.

A new, untitled project appears in the Browser with an empty sequence. You can name the project when you save it.

To save a project:

m Select the projects tab in the Browser, then choose Save Project from the File menu, or press Command-S.

If you havent named the project yet, a dialog box appears where you can enter a name and choose a location for the project.

A new sequence isautomatically created

when you create anew project.

This is yournew project.

Backing Up Project and Media Files

Make sure you back up your project les frequently on your computers hard disk or on separate removable media. If anything happens to your project le, its important to have a backup version. Its also a good idea to back up any graphics or audio les you may be using in your project.

Get into the habit of saving frequently. If you think youll forget, you can use Final Cut Expresss autosave feature.



Autosave Vault Option

While youre working, you may nd it necessary to go back to an earlier version of a project you edited: your client may change their mind, perhaps you tried an alternate cut that didnt work, or maybe youre experiencing problems with your computer. Final Cut Expresss Autosave Vault feature gives you the option to step back to previous stages of your project, which can save you valuable time (not to mention unnecessary headaches).

Make sure you enable this feature if you want Final Cut Express to periodically save copies of all open projects as separate les after a specied duration. Your original project le is not touched until you use the Save command. To go back to an autosaved version of your project, you use the Restore Project command (for more information, see Restoring an Autosaved Project on page 73).

To view or change the settings for the Autosave Vault option:

m Choose Preferences from the Edit menu. (If necessary, click the General tab.)

Autosave Vault Settings

m Save a copy every N minutes: Enter a value to indicate how long Final Cut Express should wait between creating autosaved copies.

m Keep at most N copies per project: Enter a value to specify how many autosaved copies of a particular project you want Final Cut Express to store.

m Maximum of N projects: Enter a value to set the maximum number of projects you want to keep archived in this way. If you simultaneously open more projects than are specied in this eld, Final Cut Express overrides this number and autosaves all open projects.

Default settings for the Autosave Vault option


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The autosave les are stored in the Final Cut Express Documents folder, within a folder called Autosave Vault. All autosaved copies for a given project are stored in their own project folder within the Autosave Vault folder. You can change the location of the Autosave Vault in the Scratch Disks tab of the Preferences window.

Once autosave is enabled, new autosaved versions of your project are created according to the time specied in the Save a copy every N minutes eld. If no changes have been made to your project since the last autosave le was created, Final Cut Express doesnt autosave the project again until you make further changes. For example, if you have ve projects open and make changes to only two of them, Final Cut Express only creates autosave les for the two projects you changed.

Autosave les use the following naming scheme:

ProjectName_MM-DD-YY_HHMM

where Final Cut Express is the rst 17 characters of your project.

Important The Autosave Vault folder is not locked. If you inadvertently delete this folder from the Finder, Final Cut Express automatically re-creates it. However, any autosave les in the deleted folder cannot be re-created.

Autosave les forone project



Note: Two commands in the File menu also affect saved lesRevert Project and Restore Project. (For more information, see the next two sections, Reverting to a Previously Saved Project, and Restoring an Autosaved Project.) If you restore a project, your project inherits the autosave name MyProject_MM-DD-YY_HHMM. Final Cut Express then creates a new aut