Final Cut Pro 4: Informations de dernière minute
Fiches techniques
- Apple
- Final Cut Pro/Studio
- DVD Studio Pro
- Matrox
- Blackmagic Design
- Aurora Video
- Final Cut Express
- Cinema Tools
- LiveType
- Compressor
- Soundtrack/Soundtrack Pro
- DVD
- AJA Vidéo
- Motion
- Xsan
- Logic Express/Pro/Studio
- Shake
- Color
- Episode Desktop/Engine
- Final Cut Server
- Sonnet Technology
- Demande de RMA
- GB Labs
Ce document contient des informations de dernière minute à propos de Final Cut Pro 4. Pour accéder aux toutes dernières informations de mises à jour, trucs et astuces, et obtenir la liste des périphériques tierce parties certifiés, consultez
le site web de Final Cut Pro
.
Fonctionnalités de dernière minute
L'attribution automatique de noms aux clips capturés n'utilise plus de zéros
La fonction d'attribution de noms aux clips capturés dans Final Cut Pro 4 a été modifiée afin de supprimer les zéros additionnels utilisés dans le début du nom du clip. Par exemple, dans les versions précédentes de Final Cut Pro, une série de clips serait automatiquement nommée et numérotée en respectant la convention suivante: Sans titre 0001, Sans titre 0002, Sans titre 0003. Les zéros additionnels en début de numéro ne servent qu'à maintenir un ordre séquentiel des clips jusqu'à 0010 et 0100 respectivement. Final Cut Pro 4 n'a plus besoin de ces zéros addtionnels pour maintenir un ordre de tri cohérent. Désormais, les clips sont nommés et numérotés automatiquement de la manière suivante: Sans titre 1, Sans titre 2, Sans titre 3.
Réglages supplémentaires disponibles dans la fenêtre de Capture par lots
Dans la fenêtre de Capture par lots, lorsque vous activez l'option pour utiliser les réglages des clips consignés, vous avez maintenant accès à de nouvelles options pour les clips capturés:
- Réglages d'image et de gain (capture en mode analogique).
- Réglages de Capture à partir du menu local Capture.
- Réglages Audio à partir du menu local Format de l'audio.
Remarque:
Ces réglages sont accessibles dans l'onglet Réglages de clip de la fenêtre Consigner et Capturer. Les nouvelles séquences sont créées par défaut avec une piste vidéo et quatre pistes audio. Vous pouvez modifier ce réglage dans l'onglet Options de la Chronologie accessible dans la fenêtre Préférences Utilisateur.
Création de clips maîtres dupliqués dans le Navigateur
Pour créer un nouveau clip mâitre à partir d'un clip dans le Navigateur, maintenez la touche Option en déplaçant le clip de la Chronologie vers le Navigateur, puis appuyez sur la touche Commande. Lorsque l'apparence du curseur affiche un M+, cela signifie qu'un nouveau clip maître va être créé dès lors que vous relachez les touches.
Utilisation du filtre d'incrustation de Code Temporel
Lorsque vous utilisez le filtre d'incrustation de Code Temporel, et que vous sélectionnez Lecteur à partir du menu local Mode dans l'onglet Filtres, le code temporel du média source est affiché. Ce filtre est accessible dans la catégorie Filtres au sein du Navigateur, dans le chutier Filtres Vidéo.
Nouveaux filtres améliorés pour l'incrustation avec les formats DV-25, DVCPRO-50 et non compressé
Deux nouveaux filtres de couleurs (accessibles dans le chutier Incrustation dans le chutier Filtres Vidéo) sont disponibles pour faciliter les opérations d'incrustation couleur de clips dans Final Cut Pro. Le filtre d'atténuation couleur - 4:1:1 améliore la qualité des incrustations en Chrominance réalisées sur des clips vidéo au format DV-25. Le filtre d'atténuation couleur - 4:2:2 améliore la qualité des incrustations en Chrominance réalisées sur des clips vidéo aux formats DVCPRO-50 et vidéo 4:2:2 non compressé 8 et 10 bits.
Pour améliorer la qualité de votre incrustation en chrominance, appliquez dans un premier temps le filtre d'atténuation approprié sur le clip concerné. Au fur et à mesure que vous rajoutez des filtres d'incrustation, assurez vous que le filtre d'atténuation couleur utilisé reste en toute première position dans la section vidéo de l'onglet Filtres.
Remarque:
Ces filtres peuvent, dans certains cas particuliers, être utilisés pour atténuer les effets de marches d'escalier diagonales présentes dans les clips vidéo incorporant des zones colorées à fort contraste.
Application de filtres sur des pistes multiples
When you apply a filter to a clip in a sequence, it's applied to all clips in tracks that have Auto Select turned on, just as if you'd used the Range Selection tool. However, filters are applied to the entire clip regardless of whether In and Out points are set.
Add Edit Command Works on Auto Select Tracks
The Add Edit command (Control-V ) in the Sequence menu works like the Razor Blade tool, adding an edit point to all clips in the Timeline at the current position of the playhead. This command works on all tracks with Auto Select turned on.
Using the Make Independent Clip Command
As a result of the relationship between master and affiliate clips, changes made to certain properties of a master clip, such as Clip Name, Reel Name, or Timecode are automatically made to all affiliated clips within the current project. These same changes, if made to an affiliate clip, are also made to that clip's master clip, as well as to all other affiliated clips in the current project.
The online or offline state of clips is also automatically updated among all affiliated clips in a project, all at once. Suppose you open a project in which all the clips are offline. Relinking that project's master clips in the Browser automatically relinks all the affiliate clips that appear in each of that project's sequences. Depending on your project, you may choose to sever an affiliate clip from its master. This prevents the affiliate clip from updating with its master clip and other affiliate clips.
To make an affiliate clip in a sequence independent:
* Control-click the affiliate clip in the Timeline, then choose Make Independent Clip from the shortcut menu. Your affiliate clip is now an independent clip. Any changes you make to this clip do not affect the master clip.
New Dynamic Trimming Option Added to Trim Edit Window
The Trim Edit window now has a Dynamic checkbox that you can use to toggle dynamic trimming on and off, without having to go to the User Preferences window. This checkbox is located at the bottom of window, between the -1 and +1 Trim buttons.
New Sequence Audio Option For Trimming
You can now choose if want to hear a sequence's audio when doing a trim edit. The Trim with Sequence Audio checkbox is located in the General tab of the Preferences window, below the Dynamic Trimming option; this option is enabled by default. If the checkbox is enabled, you hear the sequence audio when trimming; if the checkbox is disabled, you hear the linked audio (similar to earlier versions of Final Cut Pro).
Asymmetrical Trimming
Asymmetrical trimming allows you to ripple edit opposing video and audio edit points in opposite directions to create split edits. Asymmetrical trimming can be done either in the Timeline or in the Trim Edit window. To trim an edit asymmetrically:
1. Select the Ripple tool.
2. Hold down the Option key, then click the In point of an incoming video clip to select it. Holding down the Option key while selecting an edit point selects only that point, ignoring any other items linked to that clip.
3. Hold down the Command key, then click the Out point of an outgoing audio clip. Holding down the Command key while selecting an edit point allows you to add edit points to the current selection without deselecting previously selected edit points. Note: In this example, Command-clicking the Out point of a stereo pair audio clip results in adding both audio items to the selection. You can also Command-Option-click a single audio item to add it to the selection individually, without including other audio items linked to it. This can be especially useful for clips in which many audio items are linked to a single video item in the Timeline.
4. Use the Ripple tool to trim the above selection.
Each opposite set of edit points moves in opposite directions, allowing you to create a split edit. A/V sync is maintained.
Removing Subclip Limits Affects All Affiliate Clips
As a result of the relationship between master and affiliate clips, changes made to certain properties of a master clip or subclip are automatically made to all affiliated clips within the current project. The same is true of subclips and any affiliates associated with them.
In particular, if you extend the In and Out points on a subclip to those of the original master clip, your subclip now has all of the media in the original master clip. Therefore, if you remove the limits from one subclip, Final Cut Pro removes the limits from all other subclips associated with it.
Duplicate Frame Detection Over Transitions
When Show Duplicate Frames is turned on in a sequence's settings, duplicate frames that occur over the duration of a transition between two clips are indicated by white dots to the left and/or right of that transition. The side of the transition the dots appear on indicates the clip or clips that use duplicate frames.
If you use a clip more than once within a single edited sequence, the duplicated frames are marked by a colored bar appearing at the bottom of the clip's video item in the Timeline.
However, if the duplicated frames fall outside the boundaries of the clip in the Timeline or fall within a transition, a special indicator-four white dots-appears where the duplicate frames are located. When you zoom out, the white dots decrease in range from four to zero, depending on the zoom level.
Additional Options in the Track Layout Menu in the Timeline
The Track Layout menu now includes five additional options. These options can also be set in the Timeline Options tab of the Sequence Settings window.
* Show Video Filmstrips
* Show Audio Waveforms
* Show Through Edits
* Show Duplicate Frames
* Show Clip Labels
To choose an option in the Track Layout menu:
Open the Track Layout menu (the arrow next to the Track Height control), then choose an option. A checkmark next to a setting indicates that it is on. Choose the option again to remove the checkmark.
Command Key Gears Down Faders and Panning Sliders in the Audio Mixer Tab
Holding down the Command key while moving faders and panning sliders gears down their motion, allowing you to make more precise changes.
Indicator Colors for Mute Button, Mute Control, and Solo Button
The mute buttons for each channel in the Audio Mixer and the mute control in the Timeline editing controls are light amber when mute is enabled. The solo button is dark red when turned on. When you solo a track, the mute controls of all non-soloed tracks are automatically turned light amber; this way, you can tell which tracks are soloed and which are muted, if other tracks are not displayed in the Timeline window.
Ability to Export 16-Bit or 24-Bit Resolution OMF Files
You can now export OMF files at either 16-bit or 24-bit resolution, which is useful if your project includes 24-bit OMF files. Choose File > Export > Audio to OMF, and in the OMF Audio Export dialog, choose an option from the Sample Size pop-up menu-16-bit or 24-bit. If you choose to export as 24-bit files, keep in mind that these OMF files are large due to the wider data format and Final Cut Pro has a 2 GB limit for OMF files.
Display of Items in the Render Manager
Items in the Render Manager are now displayed in three groups: audio, audio mixdown (sequence level audio render files), and video.
Display of Real-Time Effects in Bold
The effects that appear in bold depend on the video format used by the currently selected sequence. Video formats that have higher system requirements for real-time playback result in fewer effects displaying in bold.
New DV Sequences Created With White Setting
DV sequence presets in Final Cut Pro 4 use a default white point setting of White instead of Super-White. (There are several DV sequence presets that use Super-White; these are labeled as such.)
Master Comment Information Can Be Included in EDLS
When you export an EDL, you can now choose to export Master Comments 1-4 or Comment A-B in the EDL Export dialog. These appear as notes in the EDL, letting offline editors give notes to the online editor about complicated entries on the list.
Late-Breaking Issues
Changes in the Final Cut Pro 4 Tutorials
In the "Distributing Media" section of the Final Cut Pro Tutorials , the instructions for exporting a QuickTime movie on page 114 are incorrect. For correct instructions on how to export a QuickTime movie, see the Final Cut Pro User's Manual or Final Cut Pro Help.
Interface Name Changes
The following names of interface items have changed.
Former name New name Found
External Video tab A/V Devices tab Audio/Video Settings window
External Video Video Playback Audio/Video Settings window, Summary tab
External Audio Audio Playback Audio/Video Settings window, Summary tab
Media Time Source Time Timecode Duration and Current Timecode fields in Canvas and Viewer
Image Sequence Layered Graphic Sequence Item Properties window, Format tab, Type entry
23.976 fps 23.98 fps Sequence Settings window, Timeline Options tab, Editing Timebase pop-up menu
Insert Settings tab Mastering Settings tab Edit to Tape window
Record Settings option Record to Tape option RT pop-up menu in the Timeline
Duplicate Frames option Dupe Frames option Timeline shortcut menu for a clip with duplicate frames
Current w/o FX option Current w/o Filters option Frame Viewer pop-up menu in the Frame Viewer tab of the Tool Bench window
Menu Command Name and Location Changes
The following menu commands have changed names and in some cases, locations.
Formerly found and named Now found and named
Mark>Go To>Match Frame View>Match Frame>Source File
View>Match Frame>Master Clip
File>Export> Movie File>Export>QuickTime Movie
File>Export>QuickTime Movie File>Export>Using QuickTime Conversion
Changes to the RT Pop-Up Menu in the Timeline
One menu option has been added and one renamed in the RT pop-up menu in the Timeline.
* Safe RT: This real-time effects playback mode ensures that no frames will be dropped during real-time effects playback. If you choose Unlimited RT instead, you increase the number of real-time effects that can be played back, at the expense of potentially dropping frames during playback.
* Record to Tape section: The Record Settings option in the RT pop-up menu has been renamed Record to Tape.
3:2 Pull-Down Pattern Setting Renamed to 2:3:3:2
Pull-down insertion is a method of converting 23.98 fps video to the NTSC standard of 29.97 fps video. The 3:2 pull-down pattern setting in the Playback Control tab of the System Settings window is now labeled 2:3:3:2 to be more specific about what is actually happening. Because it's the most commonly supported pull-down pattern for NTSC devices, it is the default.
Note: These options are only available when you are editing a sequence with a 23.98 fps timebase.
Pull-Down Pattern Settings With 24P
If you are editing a 23.98 frames per second (fps) DV sequence and you change the pulldown pattern in the Playback Control tab of the System Settings window and the pattern does not change, you must choose High from the Video Quality pop-up menu in the Playback Control tab. Even then, some slower systems may be limited to 2:2:2:4, which is indicated in the RT pop-up menu in the Timeline.
Note: The pull-down capabilities for a particular sequence are based on system performance. Check the RT pop-up menu in the Timeline for the capabilities of a particular sequence.
Changes in the Audio Mixer Interface
* The Master audio meters in the Master pane of the Audio Mixer have numeric values from +12 decibels (dB) to -96 dB.
* There are no clip indicators on audio meters in the Track Strips pane of the Audio Mixer.
* The Record Audio Keyframes setting is now a button in the button bar of the Audio Mixer window. Click it to toggle the setting on (green) and off (gray).
Default Location of Easy Setup Files
By default, the files for Easy Setups you create are stored in the following location: Library/Application Support/Final Cut Pro System Support/Custom Settings.
New Location for Third-Party Presets
To install third-party preset files or use preset files that you've moved, you must drag the desired preset files to the following folder:
Library/Application Support/Final Cut Pro System Support/Plugins.
The next time you open Final Cut Pro, the presets will be available in the Audio/Video Settings window.
New Location for Locked Presets
Presets are stored with the Easy Setup they are used with. If you want to lock a preset that you've created, you can make a custom Easy Setup and store it in the folder where locked Easy Setups are located. To lock a preset that you've created, as part of a custom Easy Setup, drag your custom Easy Setup from
Library/Application Support/Final Cut Pro System Support/Custom Settings
to
Library/Application Support/Final Cut Pro System Support/Plugins.
Note: You must quit Final Cut Pro and reopen the application for the preset to appear locked in one of the preset tabs in the Audio/Video Settings window.
About Audio Units Plug-ins
Audio Units plug-ins that do not support mono-to-mono processing will not load in Final Cut Pro. Audio Units plug-ins that do not support the "TailTime" property will load and will be adjustable in real time when low quality is selected for audio playback, but will always require rendering at medium or high quality. Custom Audio Units interfaces are not supported.
Opening Projects Created in Earlier Japanese Versions of Final Cut Pro
If you want to use a project that you created in an earlier Japanese version of Final Cut Pro, you must have Japanese specified as the primary language in the Language pane of the International pane in System Preferences. This ensures that the system encoding is Japanese.
Master/Affiliate Relationships Don't Automatically Work in Imported iMovie Projects
When you first open an iMovie project into Final Cut Pro, there is no master/affiliate clip relationship in the newly created project. Once you import an iMovie project, there are two ways to correctly create the master/affiliate relationships in the sequence: using the Media Manager, or using the Create Master Clips command.
To import and correctly establish master/affiliate relationships in an iMovie project:
1. Choose File>Open, navigate to where the iMovie project is located on your computer, then click Choose.
2. To use the Media Manager:
1. Click the tab in the Browser corresponding to the imported iMovie project, then select the sequence in the project.
2. Choose File>Media Manager.
3. In the Media Manager, choose the following options, then click OK.
# Media pop-up menu: Use existing
# Delete unused media checkbox: Off
# Duplicate selected sequence and place into a new project: On
4. In the Save dialog, enter a name for the new project, choose a location, then click Save. A new bin is created which contains the master clips. All master/affiliate relationships will work properly in the new project you created. You can discard the originally imported iMovie project file.3. To copy and paste and use the Create Master Clip command:
1. Double-click the sequence to open it in the Timeline, then Choose Edit>Select All to select all clips in the sequence. Note: Don't select the sequence itself (in the Browser), or you'll end up with a nested sequence.
2. Choose Edit>Copy to copy all the clips.
3. Choose File>New>Sequence to create a new sequence.
4. Double-click the sequence to open it in the Timeline, then choose Edit>Paste to paste all the clips into the new sequence.
5. In the Browser, select the new sequence, then choose Tools>Create Master Clips. A new bin is created which contains the master clips. All master/affiliate relationships will work properly in the new project you created. You can discard the originally imported iMovie project file.
Sequences Not Flagged as Anamorphic When Importing iMovie Projects
If you import an iMovie project with anamorphic clips, those clips do not appear as anamorphic. For the clips to appear properly, you must change the anamorphic setting in the sequence. To change imported iMovie clips to anamorphic:
1. Open the imported sequence in the Timeline.
2. Choose Edit>Select All, then choose Edit>Cut.
3. Choose Sequence>Settings.
4. In the General tab, select the Anamorphic 16:9 checkbox, then click OK.
5. Choose Edit>Paste to paste the clips into the anamorphic sequence.
Opening Items Into the Viewer When the Playhead Sync Pop-Up Menu Is Set to Open
When you choose the Open setting in the Playhead Sync pop-up menu in the Viewer, the playhead in the Viewer is locked to the playhead in the Canvas whenever a sequence clip is opened into the Viewer, so that both playheads scrub together, displaying the same frame. As the playhead moves through your sequence, the clip that appears at the current position of the playhead is automatically opened into the Viewer.
The order in which items open into the Viewer has changed. Final Cut Pro looks first for a video item on an Auto Select track, from top to bottom tracks, then for an audio item on an Auto Select track (bottom to top), then for a video item on any video track (top to bottom), then finally, an audio item on any track (bottom to top).
If you place the playhead over a gap, no new slug is opened into the Viewer. The Viewer displays the last clip opened.
Opening Multichannel Clips Into the Viewer
If the In and Out points of a merged or linked clip's audio don't match, and you double-click the clip in the Timeline, only the individual item you clicked opens into the Viewer. If you are in the Browser and open the same merged clip into the Viewer, all linked video and audio items open simultaneously in individual tabs in the Viewer.
Field Dominance of Sequences With Progressive Scan Clips Must Be Set to None
Whenever you capture clips from progressive scan sources (such as cameras with a progressive scan mode), the field dominance of these clips should be set to None in the Format tab of the Item Properties window. You must also must make sure that all sequences you edit progressive scan clips into have their field dominance set to None. This prevents artifacts from occurring in motion effects that you apply to these clips.
Multiple Edits Window Layout Removed From Arrange Submenu
Final Cut Pro comes with a set of predefined screen layouts. These layouts determine the size and location of the four main windows in Final Cut Pro (the Browser, Viewer, Canvas, and Timeline), along with the Tool palette and audio meters.
To choose a screen layout, Choose Window > Arrange, then choose an option from the submenu. The Multiple Edits layout has been removed from the submenu and is no longer available.
Using Imported Clips and Sequence Settings
The following information is an update to the section, "Using Imported Clips and Sequence Settings" found in the Final Cut Pro User's Manual, Volume I, page 372. When you view the clip
in the Canvas, there's a black border around it because the Canvas is set to properly view clips at 720 x 480. (The manual incorrectly stated the resolution of 720 x 486.)
Sync Adjust Movies Over Preference Has Been Removed
The Sync Adjust Movies Over preference available in earlier versions of Final Cut Pro has been removed from the General tab of the User Preferences window. The A/V sync of all captured clips in Final Cut Pro 4 is automatically maintained no matter which video device you capture from.
RT Scrubbing Command Removed From the Sequence Menu
The RT Scrubbing command available in the Sequence menu of earlier versions of Final Cut Pro has been removed. Improved performance makes it no longer necessary.
Viewing Item Properties for Clips
The Item Properties window provides you with information for an individual clip. Three tabs in this window-Format, Timing, and Logging Information-allow you to view or change various properties of a clip.
In the Browser, you can only view the Item Properties of one clip at a time. If you select more than one clip, you'll only see information for the first clip. However, in the Timeline, you can select multiple clips and view all of their Item Properties in the same window.
To view Item Properties:
1. Do one of the following:
+ Select a clip in the Browser.
+ Select one or more clips in the Timeline.
2. Do one of the following:
+ Choose Edit>Item Properties, then choose an option from the submenu.
+ Control-click the clip, then choose Item Properties from the shortcut menu.
Keyboard Shortcuts for Play Every Frame Command
In the Viewer and Canvas, you can choose to play every frame of a clip. To do this using keyboard shortcuts, press Option-\ or Option-P.
Tracks Are Not Added to the Timeline When Using the Edit Overlay in the Canvas or Keyboard Shortcuts
When you use the Edit Overlay in the Canvas or press a keyboard shortcut to perform an edit, no tracks are added to the Timeline. If a clip that you want to edit into the Timeline has more tracks than are currently present in the Timeline, you must create the necessary number of additional tracks before you can edit the clip in. If you don't, the additional tracks are not edited into the Timeline. You can also drag a clip to the audio tracks area to create an additional track.
Timecode Navigation and Shortcuts
There are several ways to enter and navigate using timecode. You can move the playhead to a specific frame by entering a complete timecode number in the Current Timecode field in the Canvas or Viewer, then press Return or Enter. You don't need to click in the field to enter a new timecode; simply enter the timecode.
To avoid typing zeroes when moving by larger amounts, type a period instead. And instead of moving the playhead to an absolute timecode number, you can move it relative to its current position by pressing the + and - keys. For example, to move the playhead 1 minute and 20 frames back from the current position, type
-01.20.
Note: The period automatically adds 00 to the minutes and seconds field.
Marking and Matching Controls
The marking and matching controls in the Canvas shown in the Final Cut Pro User's Manual, Volume II, page 105, are called out incorrectly. These controls are used to place sequence In and Out points, markers, and keyframes in the current sequence. You can also use the Match Frame control to do match frame editing in the Canvas and Viewer. The correct location of each control is shown below.
Editing Information for a Marker
The following is an update replacing the information found in the Final Cut Pro User's Manual, Volume II, pages 274 and 275 regarding renaming and moving markers.
If you want to edit information for a marker, either the name or the position by entering new timecode, press Command-Option-M to open the Edit Marker dialog for the nearest preceding marker to the playhead (not the nearest marker).
Scrolling Vertically Through a Zoomed-In Timeline
If you're using a PowerBook computer, Shift-Page Up and Shift-Page Down do not scroll horizontally through the Timeline; instead, they scroll vertically.
Using Keyboard Shortcuts to Zoom In and Out of the Timeline
Pressing Option-+ (plus) or Option-- (minus) zooms in or out of the contents of the Timeline, as long as the Browser is not the active window.
Mute Overrides Solo in the Timeline and Audio Mixer Tab
If a track's solo control is already turned on, turning on mute overrides the solo status of that track and the track is silenced.
Determining the Duration of a Gap in the Timeline
The following is an update replacing the information found in the Final Cut Pro User's Manual, Volume II, page 262.
To determine the duration of a gap in the Timeline:
1. Make the track with the gap the destination track.
2. Lock all audio tracks or make sure Auto Select is turned off for all other tracks.
3. Position the playhead in the gap.
4. Do one of the following:
+ Choose Mark>Mark Clip.
+ Click the Mark Clip button in the Canvas.
+ Press X. The gap's duration appears in the Timecode Duration field in the Canvas.
Changing the Label of a Clip Changes Labels of All Affiliated Clips
If you use labels to identify and sort your clips in the Browser, the clips' names are highlighted in the color that matches each label. Using keyboard shortcuts, you can change the labels of clips directly in the Timeline. Changes made to the label of any clip are also applied to all of that clip's affiliated clips.
Playhead Sync Pop-Up Menu Uses Icons
The Playhead Sync pop-up menu in both the Viewer and Canvas has options listed in text, but displays the selected option with an icon, with a different icon for each option.
Keyboard Shortcut for Deselect All Has Changed
The default keyboard shortcut for Deselect All is now Shift-Command-A (not Command-D).
Assigning or Changing Destination Tracks Using the Shortcut Menu
There are several ways to assign a destination track in the Timeline or change destination track assignments. One of these is to choose an option from the shortcut menu, using the Control key. (This replaces information in the Final Cut Pro 4 User's Manual, which states that Command-clicking will display the shortcut menu.)
To assign a destination track in the Timeline:
* Control-click a Source control, then choose a new destination track from the shortcut menu.
* Control-click a destination control, then choose a Source control to assign to it from the shortcut menu.
To change destination track assignments:
* Control-click a Source control in the Timeline, then choose a track from the shortcut menu.
* Control-click a Destination control, then choose a Source control from the shortcut menu.
Timecode Overlays Information
Video and audio timecode overlays are shown at the bottom (not the center) of the Canvas and Viewer. This includes the time code for every clip in the Timeline that intersects the current position of the playhead. The column on the left shows video and the column on the right displays audio.
Drop Frame Timecode Not Available for 23.98 fps Sequences
Selecting the Drop Frame checkbox in the Timeline Options tab of the Sequence Settings window makes your timecode drop frame. This option is not available for PAL sequences or 23.98 fps sequences.
DV Timecode Is Not Always Drop Frame
DV timecode is not always drop frame only. DV timecode is always non-drop frame for 25 frames per second (fps) (PAL) and 23.93 fps (24P) recording. All DVCPRO, most DVCAM, and some DV cameras allow you to choose drop or non-drop frame timecode in their menus. For more information, see the documentation that came with your equipment.
Linking Clips in the Timeline Prior to Creating a Merged Clip
When creating a single merged clip by dragging multiple items from the Timeline into the Browser, all clips to be merged need to be selected and linked in the Timeline before they are dragged into the Browser. If you don't link them in the Timeline first, each unlinked clip will appear as a separate item when the group is dragged into the Browser.
Note: Only one video and up to 24 audio items can be linked together in the Timeline in preparation for making a merged clip.
Finding Master Clips
You may find it necessary to find the master clip in the Browser that is affiliated with a particular clip in the Timeline. You can do so using the Master Clip command.
To find an affiliate clip's master clip:
1. Select a clip in the Timeline.
2. Choose View>Match Frame>Master Clip. The master clip is automatically highlighted in the Browser.
Locating a Match Frame
Finding a match frame can be useful if you want to quickly reedit a clip that's already been edited into your sequence, or if you need to quickly access a sequence clip's master clip to edit another part of it into your program.
To open a sequence clip's master clip into the Viewer using the Match Frame option:
1. Position the playhead in the Canvas or Timeline on the clip you want to copy into the Viewer, at the specific frame that you want to locate.
2. Make sure the track that contains the clip you want to match is the destination track.
Audio Sync Tool for the Panasonic DVX-100
To address the way the Panasonic DVX-100 handles audio/video sync, the DVX-100 Audio Sync Tool plug-in is available in the DV Camera Tuner Scripts folder on the Final Cut Pro 4 installation DVD. If you're working with clips captured from the Panasonic DVX-100, you should move this plug-in to the following location:
Library/Application Support/Final Cut Pro System Support/Plugins
When the DVX-100 Audio Sync Tool plug-in is installed, a new menu item appears in the Tools menu, Offset Audio Sync.
To use the Offset Audio Sync tool:
1. In the Browser, select any clips you captured that were recorded with the DVX-100.
2. Choose Tools>Offset Audio Sync. The audio of all selected clips will be offset 2 frames later than the video to adjust their sync.
Note: Adjustments made to clips using the Offset Audio Sync command are only saved in the Final Cut Pro project file where the adjustment was made. The corresponding source media on disk is unaffected.
Using the Solo Item Command to Disable Multiple Audio Clips
The following is an update replacing the information found in the Final Cut Pro User's Manual, Volume II, page 264. The Solo Item command disables all unselected audio clips in the Timeline that appear in other tracks at the position of the playhead. (An audio clip can be enabled and disabled using the Enable command in the Modify menu.)
To disable multiple clips simultaneously:
1. In the Timeline, position the playhead on the audio clip you want to solo.
2. Select the audio clip that you want to keep enabled.
3. Do one of the following:
+ Choose Sequence>Solo Selected Item(s).
+ Press Control-S. All audio clips on tracks other than the audio clip you selected are disabled.
4. Choose Sequence>Solo Selected Item(s) again to reenable the disabled audio clips.
Outputting Timecode During a Print to Video Operation to the DVX-100
Drop frame timecode is always written to an unstriped blank tape whenever you output video from Final Cut Pro using the Print to Tape command with the Panasonic DVX-100 camera, regardless of what timecode is set in your sequence.
To output a sequence with non-drop frame timecode:
1. Turn off 1394 TC Regen in the DVX-100 menu settings. See the documentation that came with the Panasonic DVX-100 for more information.
2. Stripe the tape you want to output to using the Black and Code control in the Edit to Tape window.
Edit to Tape Audio Insert Pop-Up Menu Has New States
Audio channels that are available to be recorded to can be enabled and disabled individually, or all at once. To record-enable an audio track, choose it from the Audio Insert pop-up menu and a checkmark appears next to it. Choose it a second time to remove the checkmark and disable the track.
Eight audio channel indicators in the Audio Insert pop-up menu indicate which audio tracks are being output. The color of an audio channel indicator indicates its state. The colors have changed. The following is an update replacing the audio channel indicators listed in the Final Cut Pro User's Manual.
* Yellow: Indicates the audio track is available.
* Gray: Indicates the audio track is unavailable.
Changes to Automatic Rendering
The following information replaces that found in the Final Cut Pro 4 User's Manual, Volume I, page 160.
The Auto Render preference allows you to take advantage of idle computer time when you're not editing to render open sequences in the Timeline. Three options determine what parts of your opened sequences are rendered and when: Start Render After, Which Sequences, and Render Real-Time Sequences. When the number of minutes specified in the Start Render After field has elapsed with no user activity, a progress dialog appears indicating the following sequence of events:
1. If Autosave is selected, the project is automatically saved prior to rendering.
2. All selected regions of the currently open sequence are rendered in this order: red, yellow, dark yellow, and orange video, then red audio (for playback).
3. Second, all red video sections are rendered.
4. All red audio (for playback) sections are rendered.
5. All yellow and dark yellow sections are rendered.
6. All orange video sections are rendered.
7. If the Render Real Time Segments option has been selected, all item render audio and green sections of the Timeline are rendered.
8. If the Which Sequences pop-up menu is set to Open Sequences, then steps 2 through 7 are followed for each open sequence. The project is automatically autosaved after each render.
Edit to Tape Window Has New Icons
In the Video tab of the Edit to Tape window, two icons have changed. The Insert Timecode icon is now a yellow round clock icon, similar to the Timecode Duration and Current Timecode icons found in the Viewer and Canvas. The Insert Video icon is now a yellow frame of film with no letters.
Support for Audio Interfaces With Multiple Input Channels
During capture, Final Cut Pro only supports the first two channels of audio interfaces with multiple input channels. Any additional channels do not appear in the Audio/Video Settings window, and appear to have fewer output channels than they really support.
Despite this, the actual number of audio output channels supported by your audio interface is available for playback, Edit to Tape, and Print to Video operations. Audio outputs in sequences may be assigned to a maximum of 24 audio channels. In this situation, you may get a warning dialog improperly stating that the output map you've selected for this sequence contains more channels
than the output device. If you know your audio interface supports the appropriate number of audio channels, you can ignore this alert.
Rendering Nested Audio
When you add a nested audio sequence to a sequence in the Timeline and then render it, audio levels of individual channels are not reflected during playback in the Audio Mixer. A rendered nested audio sequence is mixed down to a stereo pair. Final Cut Pro 4 saves processing at the track level by reading the output only. This is also why you can't perform mixer automation within a rendered nested audio sequence.
L'attribution automatique de noms aux clips capturés n'utilise plus de zéros
La fonction d'attribution de noms aux clips capturés dans Final Cut Pro 4 a été modifiée afin de supprimer les zéros additionnels utilisés dans le début du nom du clip. Par exemple, dans les versions précédentes de Final Cut Pro, une série de clips serait automatiquement nommée et numérotée en respectant la convention suivante: Sans titre 0001, Sans titre 0002, Sans titre 0003. Les zéros additionnels en début de numéro ne servent qu'à maintenir un ordre séquentiel des clips jusqu'à 0010 et 0100 respectivement. Final Cut Pro 4 n'a plus besoin de ces zéros addtionnels pour maintenir un ordre de tri cohérent. Désormais, les clips sont nommés et numérotés automatiquement de la manière suivante: Sans titre 1, Sans titre 2, Sans titre 3.
Réglages supplémentaires disponibles dans la fenêtre de Capture par lots
Dans la fenêtre de Capture par lots, lorsque vous activez l'option pour utiliser les réglages des clips consignés, vous avez maintenant accès à de nouvelles options pour les clips capturés:
- Réglages d'image et de gain (capture en mode analogique).
- Réglages de Capture à partir du menu local Capture.
- Réglages Audio à partir du menu local Format de l'audio.
Remarque:
Ces réglages sont accessibles dans l'onglet Réglages de clip de la fenêtre Consigner et Capturer. Les nouvelles séquences sont créées par défaut avec une piste vidéo et quatre pistes audio. Vous pouvez modifier ce réglage dans l'onglet Options de la Chronologie accessible dans la fenêtre Préférences Utilisateur.
Création de clips maîtres dupliqués dans le Navigateur
Pour créer un nouveau clip mâitre à partir d'un clip dans le Navigateur, maintenez la touche Option en déplaçant le clip de la Chronologie vers le Navigateur, puis appuyez sur la touche Commande. Lorsque l'apparence du curseur affiche un M+, cela signifie qu'un nouveau clip maître va être créé dès lors que vous relachez les touches.
Utilisation du filtre d'incrustation de Code Temporel
Lorsque vous utilisez le filtre d'incrustation de Code Temporel, et que vous sélectionnez Lecteur à partir du menu local Mode dans l'onglet Filtres, le code temporel du média source est affiché. Ce filtre est accessible dans la catégorie Filtres au sein du Navigateur, dans le chutier Filtres Vidéo.
Nouveaux filtres améliorés pour l'incrustation avec les formats DV-25, DVCPRO-50 et non compressé
Deux nouveaux filtres de couleurs (accessibles dans le chutier Incrustation dans le chutier Filtres Vidéo) sont disponibles pour faciliter les opérations d'incrustation couleur de clips dans Final Cut Pro. Le filtre d'atténuation couleur - 4:1:1 améliore la qualité des incrustations en Chrominance réalisées sur des clips vidéo au format DV-25. Le filtre d'atténuation couleur - 4:2:2 améliore la qualité des incrustations en Chrominance réalisées sur des clips vidéo aux formats DVCPRO-50 et vidéo 4:2:2 non compressé 8 et 10 bits.
Pour améliorer la qualité de votre incrustation en chrominance, appliquez dans un premier temps le filtre d'atténuation approprié sur le clip concerné. Au fur et à mesure que vous rajoutez des filtres d'incrustation, assurez vous que le filtre d'atténuation couleur utilisé reste en toute première position dans la section vidéo de l'onglet Filtres.
Remarque:
Ces filtres peuvent, dans certains cas particuliers, être utilisés pour atténuer les effets de marches d'escalier diagonales présentes dans les clips vidéo incorporant des zones colorées à fort contraste.
Application de filtres sur des pistes multiples
When you apply a filter to a clip in a sequence, it's applied to all clips in tracks that have Auto Select turned on, just as if you'd used the Range Selection tool. However, filters are applied to the entire clip regardless of whether In and Out points are set.
Add Edit Command Works on Auto Select Tracks
The Add Edit command (Control-V ) in the Sequence menu works like the Razor Blade tool, adding an edit point to all clips in the Timeline at the current position of the playhead. This command works on all tracks with Auto Select turned on.
Using the Make Independent Clip Command
As a result of the relationship between master and affiliate clips, changes made to certain properties of a master clip, such as Clip Name, Reel Name, or Timecode are automatically made to all affiliated clips within the current project. These same changes, if made to an affiliate clip, are also made to that clip's master clip, as well as to all other affiliated clips in the current project.
The online or offline state of clips is also automatically updated among all affiliated clips in a project, all at once. Suppose you open a project in which all the clips are offline. Relinking that project's master clips in the Browser automatically relinks all the affiliate clips that appear in each of that project's sequences. Depending on your project, you may choose to sever an affiliate clip from its master. This prevents the affiliate clip from updating with its master clip and other affiliate clips.
To make an affiliate clip in a sequence independent:
* Control-click the affiliate clip in the Timeline, then choose Make Independent Clip from the shortcut menu. Your affiliate clip is now an independent clip. Any changes you make to this clip do not affect the master clip.
New Dynamic Trimming Option Added to Trim Edit Window
The Trim Edit window now has a Dynamic checkbox that you can use to toggle dynamic trimming on and off, without having to go to the User Preferences window. This checkbox is located at the bottom of window, between the -1 and +1 Trim buttons.
New Sequence Audio Option For Trimming
You can now choose if want to hear a sequence's audio when doing a trim edit. The Trim with Sequence Audio checkbox is located in the General tab of the Preferences window, below the Dynamic Trimming option; this option is enabled by default. If the checkbox is enabled, you hear the sequence audio when trimming; if the checkbox is disabled, you hear the linked audio (similar to earlier versions of Final Cut Pro).
Asymmetrical Trimming
Asymmetrical trimming allows you to ripple edit opposing video and audio edit points in opposite directions to create split edits. Asymmetrical trimming can be done either in the Timeline or in the Trim Edit window. To trim an edit asymmetrically:
1. Select the Ripple tool.
2. Hold down the Option key, then click the In point of an incoming video clip to select it. Holding down the Option key while selecting an edit point selects only that point, ignoring any other items linked to that clip.
3. Hold down the Command key, then click the Out point of an outgoing audio clip. Holding down the Command key while selecting an edit point allows you to add edit points to the current selection without deselecting previously selected edit points. Note: In this example, Command-clicking the Out point of a stereo pair audio clip results in adding both audio items to the selection. You can also Command-Option-click a single audio item to add it to the selection individually, without including other audio items linked to it. This can be especially useful for clips in which many audio items are linked to a single video item in the Timeline.
4. Use the Ripple tool to trim the above selection.
Each opposite set of edit points moves in opposite directions, allowing you to create a split edit. A/V sync is maintained.
Removing Subclip Limits Affects All Affiliate Clips
As a result of the relationship between master and affiliate clips, changes made to certain properties of a master clip or subclip are automatically made to all affiliated clips within the current project. The same is true of subclips and any affiliates associated with them.
In particular, if you extend the In and Out points on a subclip to those of the original master clip, your subclip now has all of the media in the original master clip. Therefore, if you remove the limits from one subclip, Final Cut Pro removes the limits from all other subclips associated with it.
Duplicate Frame Detection Over Transitions
When Show Duplicate Frames is turned on in a sequence's settings, duplicate frames that occur over the duration of a transition between two clips are indicated by white dots to the left and/or right of that transition. The side of the transition the dots appear on indicates the clip or clips that use duplicate frames.
If you use a clip more than once within a single edited sequence, the duplicated frames are marked by a colored bar appearing at the bottom of the clip's video item in the Timeline.
However, if the duplicated frames fall outside the boundaries of the clip in the Timeline or fall within a transition, a special indicator-four white dots-appears where the duplicate frames are located. When you zoom out, the white dots decrease in range from four to zero, depending on the zoom level.
Additional Options in the Track Layout Menu in the Timeline
The Track Layout menu now includes five additional options. These options can also be set in the Timeline Options tab of the Sequence Settings window.
* Show Video Filmstrips
* Show Audio Waveforms
* Show Through Edits
* Show Duplicate Frames
* Show Clip Labels
To choose an option in the Track Layout menu:
Open the Track Layout menu (the arrow next to the Track Height control), then choose an option. A checkmark next to a setting indicates that it is on. Choose the option again to remove the checkmark.
Command Key Gears Down Faders and Panning Sliders in the Audio Mixer Tab
Holding down the Command key while moving faders and panning sliders gears down their motion, allowing you to make more precise changes.
Indicator Colors for Mute Button, Mute Control, and Solo Button
The mute buttons for each channel in the Audio Mixer and the mute control in the Timeline editing controls are light amber when mute is enabled. The solo button is dark red when turned on. When you solo a track, the mute controls of all non-soloed tracks are automatically turned light amber; this way, you can tell which tracks are soloed and which are muted, if other tracks are not displayed in the Timeline window.
Ability to Export 16-Bit or 24-Bit Resolution OMF Files
You can now export OMF files at either 16-bit or 24-bit resolution, which is useful if your project includes 24-bit OMF files. Choose File > Export > Audio to OMF, and in the OMF Audio Export dialog, choose an option from the Sample Size pop-up menu-16-bit or 24-bit. If you choose to export as 24-bit files, keep in mind that these OMF files are large due to the wider data format and Final Cut Pro has a 2 GB limit for OMF files.
Display of Items in the Render Manager
Items in the Render Manager are now displayed in three groups: audio, audio mixdown (sequence level audio render files), and video.
Display of Real-Time Effects in Bold
The effects that appear in bold depend on the video format used by the currently selected sequence. Video formats that have higher system requirements for real-time playback result in fewer effects displaying in bold.
New DV Sequences Created With White Setting
DV sequence presets in Final Cut Pro 4 use a default white point setting of White instead of Super-White. (There are several DV sequence presets that use Super-White; these are labeled as such.)
Master Comment Information Can Be Included in EDLS
When you export an EDL, you can now choose to export Master Comments 1-4 or Comment A-B in the EDL Export dialog. These appear as notes in the EDL, letting offline editors give notes to the online editor about complicated entries on the list.
Late-Breaking Issues
Changes in the Final Cut Pro 4 Tutorials
In the "Distributing Media" section of the Final Cut Pro Tutorials , the instructions for exporting a QuickTime movie on page 114 are incorrect. For correct instructions on how to export a QuickTime movie, see the Final Cut Pro User's Manual or Final Cut Pro Help.
Interface Name Changes
The following names of interface items have changed.
Former name New name Found
External Video tab A/V Devices tab Audio/Video Settings window
External Video Video Playback Audio/Video Settings window, Summary tab
External Audio Audio Playback Audio/Video Settings window, Summary tab
Media Time Source Time Timecode Duration and Current Timecode fields in Canvas and Viewer
Image Sequence Layered Graphic Sequence Item Properties window, Format tab, Type entry
23.976 fps 23.98 fps Sequence Settings window, Timeline Options tab, Editing Timebase pop-up menu
Insert Settings tab Mastering Settings tab Edit to Tape window
Record Settings option Record to Tape option RT pop-up menu in the Timeline
Duplicate Frames option Dupe Frames option Timeline shortcut menu for a clip with duplicate frames
Current w/o FX option Current w/o Filters option Frame Viewer pop-up menu in the Frame Viewer tab of the Tool Bench window
Menu Command Name and Location Changes
The following menu commands have changed names and in some cases, locations.
Formerly found and named Now found and named
Mark>Go To>Match Frame View>Match Frame>Source File
View>Match Frame>Master Clip
File>Export> Movie File>Export>QuickTime Movie
File>Export>QuickTime Movie File>Export>Using QuickTime Conversion
Changes to the RT Pop-Up Menu in the Timeline
One menu option has been added and one renamed in the RT pop-up menu in the Timeline.
* Safe RT: This real-time effects playback mode ensures that no frames will be dropped during real-time effects playback. If you choose Unlimited RT instead, you increase the number of real-time effects that can be played back, at the expense of potentially dropping frames during playback.
* Record to Tape section: The Record Settings option in the RT pop-up menu has been renamed Record to Tape.
3:2 Pull-Down Pattern Setting Renamed to 2:3:3:2
Pull-down insertion is a method of converting 23.98 fps video to the NTSC standard of 29.97 fps video. The 3:2 pull-down pattern setting in the Playback Control tab of the System Settings window is now labeled 2:3:3:2 to be more specific about what is actually happening. Because it's the most commonly supported pull-down pattern for NTSC devices, it is the default.
Note: These options are only available when you are editing a sequence with a 23.98 fps timebase.
Pull-Down Pattern Settings With 24P
If you are editing a 23.98 frames per second (fps) DV sequence and you change the pulldown pattern in the Playback Control tab of the System Settings window and the pattern does not change, you must choose High from the Video Quality pop-up menu in the Playback Control tab. Even then, some slower systems may be limited to 2:2:2:4, which is indicated in the RT pop-up menu in the Timeline.
Note: The pull-down capabilities for a particular sequence are based on system performance. Check the RT pop-up menu in the Timeline for the capabilities of a particular sequence.
Changes in the Audio Mixer Interface
* The Master audio meters in the Master pane of the Audio Mixer have numeric values from +12 decibels (dB) to -96 dB.
* There are no clip indicators on audio meters in the Track Strips pane of the Audio Mixer.
* The Record Audio Keyframes setting is now a button in the button bar of the Audio Mixer window. Click it to toggle the setting on (green) and off (gray).
Default Location of Easy Setup Files
By default, the files for Easy Setups you create are stored in the following location: Library/Application Support/Final Cut Pro System Support/Custom Settings.
New Location for Third-Party Presets
To install third-party preset files or use preset files that you've moved, you must drag the desired preset files to the following folder:
Library/Application Support/Final Cut Pro System Support/Plugins.
The next time you open Final Cut Pro, the presets will be available in the Audio/Video Settings window.
New Location for Locked Presets
Presets are stored with the Easy Setup they are used with. If you want to lock a preset that you've created, you can make a custom Easy Setup and store it in the folder where locked Easy Setups are located. To lock a preset that you've created, as part of a custom Easy Setup, drag your custom Easy Setup from
Library/Application Support/Final Cut Pro System Support/Custom Settings
to
Library/Application Support/Final Cut Pro System Support/Plugins.
Note: You must quit Final Cut Pro and reopen the application for the preset to appear locked in one of the preset tabs in the Audio/Video Settings window.
About Audio Units Plug-ins
Audio Units plug-ins that do not support mono-to-mono processing will not load in Final Cut Pro. Audio Units plug-ins that do not support the "TailTime" property will load and will be adjustable in real time when low quality is selected for audio playback, but will always require rendering at medium or high quality. Custom Audio Units interfaces are not supported.
Opening Projects Created in Earlier Japanese Versions of Final Cut Pro
If you want to use a project that you created in an earlier Japanese version of Final Cut Pro, you must have Japanese specified as the primary language in the Language pane of the International pane in System Preferences. This ensures that the system encoding is Japanese.
Master/Affiliate Relationships Don't Automatically Work in Imported iMovie Projects
When you first open an iMovie project into Final Cut Pro, there is no master/affiliate clip relationship in the newly created project. Once you import an iMovie project, there are two ways to correctly create the master/affiliate relationships in the sequence: using the Media Manager, or using the Create Master Clips command.
To import and correctly establish master/affiliate relationships in an iMovie project:
1. Choose File>Open, navigate to where the iMovie project is located on your computer, then click Choose.
2. To use the Media Manager:
1. Click the tab in the Browser corresponding to the imported iMovie project, then select the sequence in the project.
2. Choose File>Media Manager.
3. In the Media Manager, choose the following options, then click OK.
# Media pop-up menu: Use existing
# Delete unused media checkbox: Off
# Duplicate selected sequence and place into a new project: On
4. In the Save dialog, enter a name for the new project, choose a location, then click Save. A new bin is created which contains the master clips. All master/affiliate relationships will work properly in the new project you created. You can discard the originally imported iMovie project file.3. To copy and paste and use the Create Master Clip command:
1. Double-click the sequence to open it in the Timeline, then Choose Edit>Select All to select all clips in the sequence. Note: Don't select the sequence itself (in the Browser), or you'll end up with a nested sequence.
2. Choose Edit>Copy to copy all the clips.
3. Choose File>New>Sequence to create a new sequence.
4. Double-click the sequence to open it in the Timeline, then choose Edit>Paste to paste all the clips into the new sequence.
5. In the Browser, select the new sequence, then choose Tools>Create Master Clips. A new bin is created which contains the master clips. All master/affiliate relationships will work properly in the new project you created. You can discard the originally imported iMovie project file.
Sequences Not Flagged as Anamorphic When Importing iMovie Projects
If you import an iMovie project with anamorphic clips, those clips do not appear as anamorphic. For the clips to appear properly, you must change the anamorphic setting in the sequence. To change imported iMovie clips to anamorphic:
1. Open the imported sequence in the Timeline.
2. Choose Edit>Select All, then choose Edit>Cut.
3. Choose Sequence>Settings.
4. In the General tab, select the Anamorphic 16:9 checkbox, then click OK.
5. Choose Edit>Paste to paste the clips into the anamorphic sequence.
Opening Items Into the Viewer When the Playhead Sync Pop-Up Menu Is Set to Open
When you choose the Open setting in the Playhead Sync pop-up menu in the Viewer, the playhead in the Viewer is locked to the playhead in the Canvas whenever a sequence clip is opened into the Viewer, so that both playheads scrub together, displaying the same frame. As the playhead moves through your sequence, the clip that appears at the current position of the playhead is automatically opened into the Viewer.
The order in which items open into the Viewer has changed. Final Cut Pro looks first for a video item on an Auto Select track, from top to bottom tracks, then for an audio item on an Auto Select track (bottom to top), then for a video item on any video track (top to bottom), then finally, an audio item on any track (bottom to top).
If you place the playhead over a gap, no new slug is opened into the Viewer. The Viewer displays the last clip opened.
Opening Multichannel Clips Into the Viewer
If the In and Out points of a merged or linked clip's audio don't match, and you double-click the clip in the Timeline, only the individual item you clicked opens into the Viewer. If you are in the Browser and open the same merged clip into the Viewer, all linked video and audio items open simultaneously in individual tabs in the Viewer.
Field Dominance of Sequences With Progressive Scan Clips Must Be Set to None
Whenever you capture clips from progressive scan sources (such as cameras with a progressive scan mode), the field dominance of these clips should be set to None in the Format tab of the Item Properties window. You must also must make sure that all sequences you edit progressive scan clips into have their field dominance set to None. This prevents artifacts from occurring in motion effects that you apply to these clips.
Multiple Edits Window Layout Removed From Arrange Submenu
Final Cut Pro comes with a set of predefined screen layouts. These layouts determine the size and location of the four main windows in Final Cut Pro (the Browser, Viewer, Canvas, and Timeline), along with the Tool palette and audio meters.
To choose a screen layout, Choose Window > Arrange, then choose an option from the submenu. The Multiple Edits layout has been removed from the submenu and is no longer available.
Using Imported Clips and Sequence Settings
The following information is an update to the section, "Using Imported Clips and Sequence Settings" found in the Final Cut Pro User's Manual, Volume I, page 372. When you view the clip
in the Canvas, there's a black border around it because the Canvas is set to properly view clips at 720 x 480. (The manual incorrectly stated the resolution of 720 x 486.)
Sync Adjust Movies Over Preference Has Been Removed
The Sync Adjust Movies Over preference available in earlier versions of Final Cut Pro has been removed from the General tab of the User Preferences window. The A/V sync of all captured clips in Final Cut Pro 4 is automatically maintained no matter which video device you capture from.
RT Scrubbing Command Removed From the Sequence Menu
The RT Scrubbing command available in the Sequence menu of earlier versions of Final Cut Pro has been removed. Improved performance makes it no longer necessary.
Viewing Item Properties for Clips
The Item Properties window provides you with information for an individual clip. Three tabs in this window-Format, Timing, and Logging Information-allow you to view or change various properties of a clip.
In the Browser, you can only view the Item Properties of one clip at a time. If you select more than one clip, you'll only see information for the first clip. However, in the Timeline, you can select multiple clips and view all of their Item Properties in the same window.
To view Item Properties:
1. Do one of the following:
+ Select a clip in the Browser.
+ Select one or more clips in the Timeline.
2. Do one of the following:
+ Choose Edit>Item Properties, then choose an option from the submenu.
+ Control-click the clip, then choose Item Properties from the shortcut menu.
Keyboard Shortcuts for Play Every Frame Command
In the Viewer and Canvas, you can choose to play every frame of a clip. To do this using keyboard shortcuts, press Option-\ or Option-P.
Tracks Are Not Added to the Timeline When Using the Edit Overlay in the Canvas or Keyboard Shortcuts
When you use the Edit Overlay in the Canvas or press a keyboard shortcut to perform an edit, no tracks are added to the Timeline. If a clip that you want to edit into the Timeline has more tracks than are currently present in the Timeline, you must create the necessary number of additional tracks before you can edit the clip in. If you don't, the additional tracks are not edited into the Timeline. You can also drag a clip to the audio tracks area to create an additional track.
Timecode Navigation and Shortcuts
There are several ways to enter and navigate using timecode. You can move the playhead to a specific frame by entering a complete timecode number in the Current Timecode field in the Canvas or Viewer, then press Return or Enter. You don't need to click in the field to enter a new timecode; simply enter the timecode.
To avoid typing zeroes when moving by larger amounts, type a period instead. And instead of moving the playhead to an absolute timecode number, you can move it relative to its current position by pressing the + and - keys. For example, to move the playhead 1 minute and 20 frames back from the current position, type
-01.20.
Note: The period automatically adds 00 to the minutes and seconds field.
Marking and Matching Controls
The marking and matching controls in the Canvas shown in the Final Cut Pro User's Manual, Volume II, page 105, are called out incorrectly. These controls are used to place sequence In and Out points, markers, and keyframes in the current sequence. You can also use the Match Frame control to do match frame editing in the Canvas and Viewer. The correct location of each control is shown below.
Editing Information for a Marker
The following is an update replacing the information found in the Final Cut Pro User's Manual, Volume II, pages 274 and 275 regarding renaming and moving markers.
If you want to edit information for a marker, either the name or the position by entering new timecode, press Command-Option-M to open the Edit Marker dialog for the nearest preceding marker to the playhead (not the nearest marker).
Scrolling Vertically Through a Zoomed-In Timeline
If you're using a PowerBook computer, Shift-Page Up and Shift-Page Down do not scroll horizontally through the Timeline; instead, they scroll vertically.
Using Keyboard Shortcuts to Zoom In and Out of the Timeline
Pressing Option-+ (plus) or Option-- (minus) zooms in or out of the contents of the Timeline, as long as the Browser is not the active window.
Mute Overrides Solo in the Timeline and Audio Mixer Tab
If a track's solo control is already turned on, turning on mute overrides the solo status of that track and the track is silenced.
Determining the Duration of a Gap in the Timeline
The following is an update replacing the information found in the Final Cut Pro User's Manual, Volume II, page 262.
To determine the duration of a gap in the Timeline:
1. Make the track with the gap the destination track.
2. Lock all audio tracks or make sure Auto Select is turned off for all other tracks.
3. Position the playhead in the gap.
4. Do one of the following:
+ Choose Mark>Mark Clip.
+ Click the Mark Clip button in the Canvas.
+ Press X. The gap's duration appears in the Timecode Duration field in the Canvas.
Changing the Label of a Clip Changes Labels of All Affiliated Clips
If you use labels to identify and sort your clips in the Browser, the clips' names are highlighted in the color that matches each label. Using keyboard shortcuts, you can change the labels of clips directly in the Timeline. Changes made to the label of any clip are also applied to all of that clip's affiliated clips.
Playhead Sync Pop-Up Menu Uses Icons
The Playhead Sync pop-up menu in both the Viewer and Canvas has options listed in text, but displays the selected option with an icon, with a different icon for each option.
Keyboard Shortcut for Deselect All Has Changed
The default keyboard shortcut for Deselect All is now Shift-Command-A (not Command-D).
Assigning or Changing Destination Tracks Using the Shortcut Menu
There are several ways to assign a destination track in the Timeline or change destination track assignments. One of these is to choose an option from the shortcut menu, using the Control key. (This replaces information in the Final Cut Pro 4 User's Manual, which states that Command-clicking will display the shortcut menu.)
To assign a destination track in the Timeline:
* Control-click a Source control, then choose a new destination track from the shortcut menu.
* Control-click a destination control, then choose a Source control to assign to it from the shortcut menu.
To change destination track assignments:
* Control-click a Source control in the Timeline, then choose a track from the shortcut menu.
* Control-click a Destination control, then choose a Source control from the shortcut menu.
Timecode Overlays Information
Video and audio timecode overlays are shown at the bottom (not the center) of the Canvas and Viewer. This includes the time code for every clip in the Timeline that intersects the current position of the playhead. The column on the left shows video and the column on the right displays audio.
Drop Frame Timecode Not Available for 23.98 fps Sequences
Selecting the Drop Frame checkbox in the Timeline Options tab of the Sequence Settings window makes your timecode drop frame. This option is not available for PAL sequences or 23.98 fps sequences.
DV Timecode Is Not Always Drop Frame
DV timecode is not always drop frame only. DV timecode is always non-drop frame for 25 frames per second (fps) (PAL) and 23.93 fps (24P) recording. All DVCPRO, most DVCAM, and some DV cameras allow you to choose drop or non-drop frame timecode in their menus. For more information, see the documentation that came with your equipment.
Linking Clips in the Timeline Prior to Creating a Merged Clip
When creating a single merged clip by dragging multiple items from the Timeline into the Browser, all clips to be merged need to be selected and linked in the Timeline before they are dragged into the Browser. If you don't link them in the Timeline first, each unlinked clip will appear as a separate item when the group is dragged into the Browser.
Note: Only one video and up to 24 audio items can be linked together in the Timeline in preparation for making a merged clip.
Finding Master Clips
You may find it necessary to find the master clip in the Browser that is affiliated with a particular clip in the Timeline. You can do so using the Master Clip command.
To find an affiliate clip's master clip:
1. Select a clip in the Timeline.
2. Choose View>Match Frame>Master Clip. The master clip is automatically highlighted in the Browser.
Locating a Match Frame
Finding a match frame can be useful if you want to quickly reedit a clip that's already been edited into your sequence, or if you need to quickly access a sequence clip's master clip to edit another part of it into your program.
To open a sequence clip's master clip into the Viewer using the Match Frame option:
1. Position the playhead in the Canvas or Timeline on the clip you want to copy into the Viewer, at the specific frame that you want to locate.
2. Make sure the track that contains the clip you want to match is the destination track.
Audio Sync Tool for the Panasonic DVX-100
To address the way the Panasonic DVX-100 handles audio/video sync, the DVX-100 Audio Sync Tool plug-in is available in the DV Camera Tuner Scripts folder on the Final Cut Pro 4 installation DVD. If you're working with clips captured from the Panasonic DVX-100, you should move this plug-in to the following location:
Library/Application Support/Final Cut Pro System Support/Plugins
When the DVX-100 Audio Sync Tool plug-in is installed, a new menu item appears in the Tools menu, Offset Audio Sync.
To use the Offset Audio Sync tool:
1. In the Browser, select any clips you captured that were recorded with the DVX-100.
2. Choose Tools>Offset Audio Sync. The audio of all selected clips will be offset 2 frames later than the video to adjust their sync.
Note: Adjustments made to clips using the Offset Audio Sync command are only saved in the Final Cut Pro project file where the adjustment was made. The corresponding source media on disk is unaffected.
Using the Solo Item Command to Disable Multiple Audio Clips
The following is an update replacing the information found in the Final Cut Pro User's Manual, Volume II, page 264. The Solo Item command disables all unselected audio clips in the Timeline that appear in other tracks at the position of the playhead. (An audio clip can be enabled and disabled using the Enable command in the Modify menu.)
To disable multiple clips simultaneously:
1. In the Timeline, position the playhead on the audio clip you want to solo.
2. Select the audio clip that you want to keep enabled.
3. Do one of the following:
+ Choose Sequence>Solo Selected Item(s).
+ Press Control-S. All audio clips on tracks other than the audio clip you selected are disabled.
4. Choose Sequence>Solo Selected Item(s) again to reenable the disabled audio clips.
Outputting Timecode During a Print to Video Operation to the DVX-100
Drop frame timecode is always written to an unstriped blank tape whenever you output video from Final Cut Pro using the Print to Tape command with the Panasonic DVX-100 camera, regardless of what timecode is set in your sequence.
To output a sequence with non-drop frame timecode:
1. Turn off 1394 TC Regen in the DVX-100 menu settings. See the documentation that came with the Panasonic DVX-100 for more information.
2. Stripe the tape you want to output to using the Black and Code control in the Edit to Tape window.
Edit to Tape Audio Insert Pop-Up Menu Has New States
Audio channels that are available to be recorded to can be enabled and disabled individually, or all at once. To record-enable an audio track, choose it from the Audio Insert pop-up menu and a checkmark appears next to it. Choose it a second time to remove the checkmark and disable the track.
Eight audio channel indicators in the Audio Insert pop-up menu indicate which audio tracks are being output. The color of an audio channel indicator indicates its state. The colors have changed. The following is an update replacing the audio channel indicators listed in the Final Cut Pro User's Manual.
* Yellow: Indicates the audio track is available.
* Gray: Indicates the audio track is unavailable.
Changes to Automatic Rendering
The following information replaces that found in the Final Cut Pro 4 User's Manual, Volume I, page 160.
The Auto Render preference allows you to take advantage of idle computer time when you're not editing to render open sequences in the Timeline. Three options determine what parts of your opened sequences are rendered and when: Start Render After, Which Sequences, and Render Real-Time Sequences. When the number of minutes specified in the Start Render After field has elapsed with no user activity, a progress dialog appears indicating the following sequence of events:
1. If Autosave is selected, the project is automatically saved prior to rendering.
2. All selected regions of the currently open sequence are rendered in this order: red, yellow, dark yellow, and orange video, then red audio (for playback).
3. Second, all red video sections are rendered.
4. All red audio (for playback) sections are rendered.
5. All yellow and dark yellow sections are rendered.
6. All orange video sections are rendered.
7. If the Render Real Time Segments option has been selected, all item render audio and green sections of the Timeline are rendered.
8. If the Which Sequences pop-up menu is set to Open Sequences, then steps 2 through 7 are followed for each open sequence. The project is automatically autosaved after each render.
Edit to Tape Window Has New Icons
In the Video tab of the Edit to Tape window, two icons have changed. The Insert Timecode icon is now a yellow round clock icon, similar to the Timecode Duration and Current Timecode icons found in the Viewer and Canvas. The Insert Video icon is now a yellow frame of film with no letters.
Support for Audio Interfaces With Multiple Input Channels
During capture, Final Cut Pro only supports the first two channels of audio interfaces with multiple input channels. Any additional channels do not appear in the Audio/Video Settings window, and appear to have fewer output channels than they really support.
Despite this, the actual number of audio output channels supported by your audio interface is available for playback, Edit to Tape, and Print to Video operations. Audio outputs in sequences may be assigned to a maximum of 24 audio channels. In this situation, you may get a warning dialog improperly stating that the output map you've selected for this sequence contains more channels
than the output device. If you know your audio interface supports the appropriate number of audio channels, you can ignore this alert.
Rendering Nested Audio
When you add a nested audio sequence to a sequence in the Timeline and then render it, audio levels of individual channels are not reflected during playback in the Audio Mixer. A rendered nested audio sequence is mixed down to a stereo pair. Final Cut Pro 4 saves processing at the track level by reading the output only. This is also why you can't perform mixer automation within a rendered nested audio sequence.