1. Shut down the computer to avoid any improper dismounting of media drives.
   2 Isolate the suspected “problem” device.
2. Be sure to reseat both ends of the cable.
   4 If that doesn’t work, try swapping out the cable.
3. Continue to add devices until the problem recurs. Then repeat this cycle.

• Leave the frequency set to 60 (as in 60 cycles) if you were shooting in the U.S. or set it to 50 if you were shooting in a country where the power is 50 cycles.
• Q adjusts the filter resonance. Higher values result in a narrower but stronger resonance, which limits the frequencies affected by the filter.
• Gain is essentially the sound pressure level (a.k.a. how loud the audio is).
  
  

1. 1 Open the clip in the Viewer by double-clicking, and choose the Audio tab.
   2 Place the playhead over the click.
2. Zoom in as far as possible by pressing Command + =. When zoomed in all the way, you’ll see a highlighted region that’s one frame wide.
   4 Hold the Shift key down, and drag the playhead. Park over the exact place where the pop appears.
3. Use the Pen tool to add four keyframes in a row. The center two keyframes should straddle the audio problem. The outer keyframes are placed a few 100ths of a frame from the pop.
   6 Drag the inner keyframes down to –60 db. The unwanted noise should now be inaudible. The rest of the clip should sound unaltered.
   

1. To access this content from inside Motion choose the Library tab in the Utility pane (Command + 2).
   2 Then choose the Content folder from the list.
   

1. Select the Paint Stroke Tool (P).
   2 Make sure your HUD is active (F7). From here you can choose several options, such as brush color, width, pen pressure and pen speed (yes, this works with graphics tablets).
2. At the bottom of the HUD there is a pull-down for shape style. Here you can choose dozens of different pre-built shape styles for the Paint Stroke Tool. Be sure to check out the very cool light strokes and organic elements.
   4 To really get the effect right, make sure the check box for Write On is checked.
3. Draw your stroke.
4. Play back your Timeline and watch this ultra-cool effect.
   

1. Apply the Color Corrector 3-way filter, and access the filter’s visual controls.
2. Using the Select Color eyedropper in the Limit Effect controls, select the desired color you’d like to keep.
3. Click the key icon to view the matte. Use the Select Color eyedropper while holding down the Shift key to add to the matte. You can click in the Viewer or Canvas window.
4. Finesse the matte by adjusting the Width and Softness sliders for the Chroma, Saturation, and Luma values in the Limit Effect controls. When the desired color is clearly selected, there will be no holes in your matte. Also, adjust the Softening slider to improve the matte. You may get a better matte by using fewer limiting ranges.
5. Click the key icon twice to toggle back to View Final.
6. Adjust the color balance wheels and saturation of the shot.

1. Choose the Effects tab in the Browser > Master Templates.
2. Choose the Generators pulldown in the Viewer > Master Templates.
3. Choose the Sequence menu > Add Master Template.
   

1. Edit the template from the Viewer into your sequence.
2. Right-click on the template and notice at the top of the contextual menu you have two options: Open in Editor and Open Copy in Editor. Since the template is a prebuilt one from Apple, you can’t save over it (it’s locked) so you need to choose Open Copy in Editor.
3. Make your changes in Motion and save the file. Your changes will update in FCP.

1. Inside Final Cut Pro select the sequence you want to export.
2. Choose File > Export > Using Compressor.
3. Inside Compressor select the setting you’d like to apply to the file. With the setting active, select the Inspector window and click the Filters tab.
4. Choose Timecode Generator.
5. Change the settings for the Timecode Generator as you see fit.
6. Apply the setting to the clip in the Batch window.
7. Submit the job.
   

• YouTube has two limitations: no more than 10 minutes per video and no larger than 100 MB per video.
  • YouTube converts everything that is uploaded to Flash 7 video at 320X240 (although they've started to also do 640X480 in H.264).
  • Remember the good old days of VHS distribution? You wouldn’t give the duplicator a VHS copy of the show to duplicate. No, you’d give them the highest quality master you could. Therefore, to get the best quality from YouTube, give them a high quality “master” that is close to 99 MB.
  

1. Use QuickTime Pro or Final Cut Pro to exports to .mp4 with H.264 video.
   2 Export as MPEG-4 with H.264 and set the size to 320X240. There is no point providing more resolution than YouTube’s finished size. By going direct to that size means that you can devote bandwidth to making that master look great, instead of sending excess size that will be scaled down. The bonus is that you get to control de-interlacing and scaling.
2. From here on there are two choices: calculate the maximum data rate that will keep the file under 99 MB, or use some general purpose settings.
   

It’s possible to trim on the fly. This way you can listen for an audio edit or look for a particular visual cue. Just make sure the Dynamic trimmimg checkbox is marked.

1. Enter Trim Edit mode, and press the space bar to cycle your trim. The sequence will play around your edit point and loop. The pre-roll and post-roll are set in the Editing tab of User Preferences.
2. When you reach the desired edit point, press the I key to move your In point.
3. Press the up or down arrow to move through the Timeline to your next edit point.

Several different options are available when dragging within the Timeline.

When dragging in the Timeline, use these tips:

• Dragging in the Timeline horizontally results in an overwrite edit by default.
• Dragging in the Timeline horizontally results in an insert or swap edit when you hold down the Option key.
• Dragging in the Timeline vertically results in an overwrite edit by default.
• Dragging in the Timeline vertically results in an insert edit when you press the Option key after you start to drag.
• Pressing the Option key and then dragging in the Timeline vertically results in a cloned copy added to the Timeline via an insert edit.
• Pressing the Option and Shift keys and then dragging in the Timeline vertically results in a cloned copy added to the Timeline directly above the clip.

When dragging tracks in the Timeline, where you drag is as important as what you drag. Careless dragging may result in an unintended overwrite edit when you intended
an insert edit.

If you look closely at the Timeline, you’ll notice that it’s divided by a thin gray line. When dragging, look to see which region you enter to determine the edit type.

When dragging from the Viewer or a bin, use these tips:

• Dragging to the upper-third of the track results in an insert edit.
  • Dragging to the lower two-thirds of the track results in an overwrite edit.
  

1. Select a clip in your Final Cut Pro Timeline.
   2 Right-click and choose Send To > Soundtrack Pro Audio Project File. The audio moves from your Timeline into Soundtrack Pro.
2. Zoom into a part of your audio file that contains just the background noise that you’d like to remove. Select the audio in the Soundtrack Pro Timeline.
   4 Choose Process > Noise Reduction > Set Noise Print. The noise print identifies the frequencies that you’d like to remove from the file.
3. Select the audio in the Timeline that you’d like to repair (this will usually be the entire Timeline).
   6 Choose Process > Noise Reduction > Reduce Noise. The Reduce Noise dialog appears.
4. Click the Preview button (play icon) to hear the noise reduction previewed.
   8 Drag the Noise Threshold slider left to lower the threshold, or drag it right to raise the threshold.
5. Drag the Reduction slider to the right to increase the amount of noise reduction.
   10 Use the Tone Control slider left to preserve more of the bass or treble content.
6. To toggle a before and after state, click the Bypass button.
   12 When satisfied, click the Apply button.
   

1. Open iTunes.
   2 Open Preferences under the Edit menu.
2. Click the Advanced icon in the toolbar then choose Importing.
3. Under Import Using, select AIFF Encoder.
   5 Under Setting, select Custom.
4. Another dialog box opens. Here, select a sample rate of 48.000 kHz. Click OK and then OK again.
   7 Now click the General button.
5. Under iTunes Music Folder Location, change it to target your desktop. (This will make it real easy to find and move your newly ripped tracks.)
   9 Pop in your CD. If you’re connected to the Internet, iTunes will go to the CDDB and grab the album name and track names. (Yes, it seem as if most of our library music is listed in the CDDB.) This is great because most of the work is done. Create a playlist of all the tracks you want to rip.
6. Click Import, and you’re done!
   

• Gain –3db Control [
• Gain –1db Control –
• Gain +1db Control +
• Gain +3db Control ]
  

1. 1 Choose Effect>Video Filters>Channel>Channel Offset.
   2 Switch the Channel to move only the Alpha Channel.
2. Offset the channel to taste, usually a value of three to ten pixels for the X and Y axis will work, but you may need to vary this based on the size of your graphic.
   4 Experiment with the Edges settings to refine your look.
   

1. Open your capture presets (Final Cut Pro > Audio Video Settings and choose the Capture Presets tab) and select a DVCPRO HD preset to edit.
2. Make sure the Remove Advanced Pulldown and/or Duplicate Frames from Firewire sources is checked.
3. If you forgot to do this you can always remove the duplicate frames after the fact. Select your clip in the Timeline and choose Tools > Remove Advanced Pulldown.
   

• you might possibly be going back to film.
  • you might have to create additional versions of the show. It’s easier to create interlaced versions from a progressive master than the other way around.
  • you have a lot of motion. Progressive footage tends to look “smoother.”
  

• compatibility with existing NTSC interlaced television is a must. Not having to convert from progressive reduces the possibility of introducing artifacts.
  • you have a lot of detail. Interlaced footage tends to look “sharper” when compared to progressive footage.

1. Open up User Preferences by pressing Option + Q.
2. Choose the Editing tab and in the lower right-hand corner make sure Always scale clips to sequence size is checked. With this box checked, Final Cut Pro will scale your SD footage to the HD frame but it will not distort the aspect ratio. The result will be a blown up pillar boxed image.
3. Open up your sequence settings by choosing Sequence > Settings or Command + 0 and choose the Video Processing tab.
4. Change the Motion Filtering Quality pulldown to Best. This ensures Final Cut Pro will scale your SD clip using the highest quality. Click OK.
   

1. Select the SD clip you want to scale.
2. Choose Modify > Scale to Sequence.
3. The clip’s scale has automatically been adjusted to fit the HD frame size.
   

1. Create a new sequence and load a new sequence preset (for example, Apple Pro Res 422 NTSC).
2. Take your high def sequence and nest it in the new one you just created.
3. 
   
4. If you’re asked if you want to conform this sequence to the new one, choose No.
5. Voila! You now have a letterboxed version of the show because FCP maintains aspect ratio of the original sequence its scale was reduced to fit in the 4x3 frame.
   

1. Choose File > Export QuickTime Movie.
2. Name the file, and choose to not make the movie self-contained. This will save you disk space by referencing back to the media on your local drives. That being said, the media can’t be deleted, moved, or on a different machine that’s unreachable via a network.
3. Import the file into your other video application, and start working.
   

• Most filters that you have applied in Final Cut Pro will not be previewed or rendered by Color. Once you have rendered and sent your project back to Final Cut Pro from Color, the filters you’ve applied will once again take effect. This is especially important for Color Correction or Image Control filters (with the exception of the Color Corrector 3-way which is translated as a correction in the Primary Room in Color). Prior to sending to Color, it’s a good idea to remove those filters, as you might get weird results when your project has returned to Final Cut Pro and those filters are again active. In general, you want to choose either Color or Final Cut Pro to do your color correction and grading work, and not mix the two.
  
• Track layering will be maintained in Color, however Opacity and composite modes will not be previewed or rendered out of Color. Instead, this information is maintained and rendered in Final Cut Pro.
• Like filters, transitions are not previewed or rendered by Color, instead, the transitions are rendered when the project returns to Final Cut Pro.
• Speed effects are maintained and previewed by Color (although variable speed effects do not play properly in Color). They aren’t, however, rendered by Color; instead, Final Cut Pro renders them.
• Generators like text and shapes, still frames, Motion and LiveType Project files that are in your sequence are ignored by Color and will not be previewed. Their position on the Timeline is maintained and when the project is sent back to Final Cut Pro, they will relink and be displayed again.
• If you do need to color correct or grade generators or graphics material, you will need to render them out of Final Cut Pro as self-contained QuickTime files and reedit them back into your sequence.

• Explode: This warps the outgoing clip into a tunnel-like wipe. We find this particularly useful when going between graphics and an incoming clip. Offset the center of the wipe to match the focal point of the incoming clip.
• Iris: The QuickTime Iris transition is worlds better than the Final Cut Pro Iris transition. Choose from 26 different shapes. Particularly nice is the ability to repeat the Iris pattern with separate controls horizontally and vertically. Be certain to check this one out.
• Radial: With similar options to the Iris transition and 39 patterns to choose from, this effect needs to be on your radar screen.
• Wipe: This one transition has more options and possibilities of all the transitions contained in Final Cut Pro’s wipe category.

1. Load the clip you’d like to effect into the Viewer and choose Effects > Video Filters > Blur > Gaussian Blur.
2. Position the playhead at the head of the clip and set a keyframe for the Radius parameter with a pretty high value; something like 50 works well.
3. Move about one second forward into the clip (further for a slower rack) and change the Radius parameter to 0 (a new keyframe is automatically inserted).
   

1. Open up your System Settings window by pressing Shift + Q. and choose the Search Folders tab. It is empty until you add a search folder.
2. Click the last Set button in the list to add a new search folder. You can click the Set button next to an existing search folder to change it.
3. Use the File dialog box to select a folder. Select a folder, then click Choose.
4. Click OK to store the list of search folders.
   

1. Choose Final Cut Pro>Audio/Video Settings.
2. Go to the Device Control Presets tab, and modify your current Device Control preset that has worked for you.
3. Check the Auto Record and PTV after: X seconds box, and specify a time to wait. Three seconds is usually enough.
   

1. Start by creating a new sequence and load the uncompressed 10-Bit preset.
2. If you’re working in HD simply change your frame size and pixel aspect ratio to the flavor of your choice. Click OK to save the changes to your new sequence.
3. Find your original sequence in your Browser and drag it to the Canvas. Make sure you’re holding down the Command key as you don’t want to nest this sequence (Command will make all the clips come in as individual clips, not as a nest) and choose Overwrite. Also make sure you have the same number of video and audio tracks as your original to ensure clips don’t get lost.
4. All of your clips will be placed in the Timeline and simply choose to render the sequence.
   

• Duplicate the project file and label it with a suffix like for _bob_72207 where Bob is the person getting the file and the numbers are the date.
• If you don’t like duplicating project files (to prevent clutter) make sure that you ask others on the SAN before opening. An easy way to do this is by using iChat and enabling Bonjour messaging. That way everyone can talk without having to leave their edit suite/office and it doesn’t require they have an AIM or .Mac account.

• Map Out Coverage: What sort of angles do you need? A two-person interview looks great with three cameras but a concert event might need eight cameras to capture the experience.
• Use a Floor Plan: You’ll need to create a floor plan for your shoot that identifies talent and camera positions. Be sure to plan this out ahead of time and distribute to all of your crew.

• Plan for Lighting: Camera coverage will have a HUGE impact on your lighting strategies. Try to avoid lights getting too far behind cameras and operators; otherwise, you’ll get unwanted shadows on the set.
• Make Sure You Have Enough Power: Eight cameras plus a three-ton grip truck’s worth of lights can put a big drain on a circuit. Make sure you have identified where your power is coming from and that you have enough extension cords/stingers to get you the needed juice.
• 
  

Or at least it used to be hard. Final Cut Pro 6 is a lot more willing to share. As long as you have Tooltips active (see your User Preferences) you can better tell what’s going on. Just roll your cursor over a red segment and hover. Render status bars now provide detailed Tooltips as to why a segment with red render status bars can’t play back in real-
time.

Now, if we could just use the same trick to figure out why our kids and spouses get mad sometimes.

By default, Adobe Photoshop creates a premultiplied alpha channel (an alpha channel that follows the edge exactly). This causes problems, however, because the background color will be visible around the edges of your graphic. If you do nothing, this will be a problem, because your glows will look “dirty,” and partially transparent drop shadows will come through too strong.

In Final Cut Pro, it’s important to identify what the graphic was on top of when the alpha channel was created. If you had a black background, choose Black. If you had a white background or the transparency grid, choose White.

1. Send the narration file to Soundtrack Pro.
2. Accurately select the region that needs to be retimed.
3. Choose Process > Time Stretch.
4. Change the Length of selection to measure in Seconds.
5. Enter a new duration for the audio and click OK.
6. Soundtrack Pro retimes the audio and attempts to keep the pitch identical to the original.
7. Close and save the project to return the audio to Final Cut Pro.
   

Instead of buying a new keyboard, check out Logic Keyboard. They sell a do-it-yourself kit (complete with a key ripper). It’s an easy swap and they have keys for both types of recent Apple keyboards. Plus it’s far cheaper than buying a whole new keyboard. Installation takes about 10 minutes. But here’s an important tip: take one key off at a time and replace; the first time we tried it we had trouble remembering where every key went.

Consider “up-rezing” to an uncompressed sequence when you’re done with your show to help with the text and graphics. If you’re going back to tape you’ll need pretty fast hard drives to play this sequence back, but if you’re outputting to DVD or QuickTime you don’t need to worry if your drives can play this back.

To “uprez” your sequence use the following steps:

1. Duplicate your final sequence so you can have a back up.
2. Open the duplicate sequence and go the Sequence Menu > Sequence Settings (Command + 0).
3. From the compressor pulldown choose 8- or 10-bit uncompressed (10-bit will create bigger render files compared to 8-bit).
4. Click OK.
5. You will have to re-render your sequence but your text and graphics will thank you for it!
   

There are a number of ways to work with ProRes 422 in FCP.

• Capture and edit in ProRes 422 using capture and sequence presets.
• Transcode your video to ProRes 422 using the Media Manager or Compressor.
• Render to ProRes 422. Sequences that use either native HDV or XDCAM HD and that use long-GOP MPEG-2 can see significant increases in RT performance by rendering to ProRes 422. To do this, choose Sequence > Settings or Command + 0 and then Render Control. In the Render section, choose ProRes 422 in the codec pulldown.
  

• Use the Whites eyedropper to click on something that should be white. Don’t go for the whites of someone’s eyes; go with a large area such as a wall.
• Use the Blacks eyedropper to click something that should be black.
• The Mids eyedropper really only works when using a chip chart or something with 50-percent gray.
• If the color balancing is overcompensated, you may need to drag back toward the center in the color wheel.
  

1. Launch Motion and create a project to match your FCP project size.
2. In the Utility pane click the Library tab (Command + 2).
3. Choose Replicators > Transitional.
4. Click on one of the prebuilt Replicators listed. As you choose different ones, they will be previewed in the top part of the Library tab.
5. Choose one you like (we chose Dots Burst Edge Out) and drag it to the Canvas
6. Play back the Canvas with the space bar. Pretty cool right? Problem is, it’s just a little boring. Let’s fix that.
7. Click on the Replicator in the Canvas.
8. Choose the Inspector tab in the Utility pane (Command + 3) and then the Replicator tab.
9. About three quarters of the way down, find the Color Mode pulldown. Here you can keep the original (white); Colorize it, which lets you pick a color; Over Pattern, which lets you create or choose a pattern of color by picking a number of repetitions; or Pick From Color Range, where you can choose or create a range of colors for the Replicator.
10. Lets choose Over Pattern. Notice below the Color Mode pulldown a new parameter appears called Color Gradient. We could make our own gradient but for simplicity’s sake, lets choose a prebuilt one from the Gradient pulldown to the right of the display of the gradient.
11. Choose one you like (we chose Candy Corn).
12. Next, setup the Timeline for export. To do this simply drag the playhead in the mini Timeline (which is right above the transport controls).
    

1. Determine the clip you want to effect.
2. Select either the Generators pulldown in the Viewer or choose the Video Generators bin in the Effects tab of the Browser and choose Render > Noise.
3. 
   Edit the clip on the track above the video clip you want to effect, making sure it’s the same length as the video clip below.
4. Toggle your clip overlays on (Option + W).
5. Adjust the opacity of the Noise generator in the sequence down to a low value (10–15).
6. Right-click on the Noise generator and Choose Composite Mode > Screen.
7. If needed, go back and adjust the opacity level of the noise generator to taste.
   

Final Cut Pro

1. Choose Final Cut Pro > Easy Setup. Pick the profile that matches your hardware.
2. Choose View > External Video > All Frames (Command + F12).
3. If you have more than one device, you can specify it by choosing View > Video Playback > and choosing the device.
   

1. Choose the Setup Room by pressing Command + 1.
2. Locate the Video Output menu toward the right edge.
   

1. Choose Motion > Preferences and click the Output tab.
2. Select an Output path based on your active hardware.
   

1. Choose Soundtrack Pro > Preferences and click the Video Out tab.
2. Select a device from the popup menu.
   

1. Choose DVD Studio Pro > Preferences. and click the Simulator tab.
2. Choose a Video and Audio path for the Simulator and click OK.
3. To invoke, click the Simulator button and use the virtual controls on the Simulator window.

It’s called Log and Transfer because you’re simply just transferring digital files from disk to disk. This is unlike tape-based media that you have to capture into a file on disk, i.e. Log and Capture. To launch Log and Transfer choose File > Log and Transfer or Shift+Cmd+8.

Overall, the Log and Transfer window operates like the Log and Capture window. The big difference, of course is how it ingests the media. Unlike Log and Capture where you have a few options for how to get the footage on to disk, with Log and Transfer you simply log your clip and then click Add Clip/Selection to the Queue to begin the transfer to your scratch disk.

1. Select your sequence (you can only send sequences to Color) and choose File > Send To > Color.
   
2. A dialog box will open describing your selection, as well as letting you name the Color project. The name defaults to the name of the selected sequence.
3. After correcting and grading your footage you will need to render the clips in Color by choosing Render Queue > Add All and then choose Render Queue > Start Render.
4. Then from inside Color go to the File Menu > Send To > Final Cut Pro. This will generate an XML file that FInal Cut Pro will use to reconnect to the rendered clips from Color.
   

1. Open up the Sequence Settings (Command + 0) window for your sequence.
2. In the General tab in the bottom right-hand corner there is an area labeled Audio Settings.
3. Change the Config pulldown option to Discrete and click OK to save the change.
4. Choose the File menu > Export > QuickTime Movie.
5. Save the file as you normally would. Discrete channels will be saved in the export.
   

1. Select the sequence you wish to trim in the Browser.
2. Choose File > Media Manager.
3. From the Media pulldown, choose Use existing.
4. Check the Delete unused media from duplicated items box.
5. Check Use handles and add a couple seconds of handles.
6. Uncheck Duplicate selected items and place into a new project if you’d like to stay in this project, or check it to create a new project. The new project will contain only the sequence you have selected and master clips folder with the trimmed media.
7. If you have the duplicate selected items and place in new project box checked, you also have the option to Include nonactive multiclip angles. Check this if you aren’t sure if you will be switching back to other angles or uncheck it if you’re satisfied with the current selection of angles in a multiclip.
8. Click OK to start processing the media. If you chose to create a new project, you’ll be prompted to name and save the project.
   

• Clicking Add will bring along that additional media in other projects;
• Continue will not bring along that media, but may make the clips offline in the other projects;
• Abort cancels the operation.
  

These are especially helpful when editing dialogue because they give the editor better control over pacing and reaction shots. You can also use an L-cut to hide a continuity error. Although the difference may sound small, you’ll soon discover what an impact they have on a professional edit. Follow these steps:

1. Move through your Timeline and select edit points with the Rolling Edit Tool.
2. Double-click to enter Trim Edit mode.
3. Use the comma (,) and period (.) keys to make minor one-frame edits.
4. Better yet, click the Dynamic trimming box, and you can use the J-K-L keys to quickly trim your show.
   

1. Restart your Mac.
2. Immediately press and hold Command + Option + S. You’ll see a bunch of text begin scrolling on your screen. (Cool, you’re now a geek.) Soon you’ll see the Unix command line prompt (#). Don’t cry; it’s still your Mac—you’re just a true Unix god–well, demi-god.
3. Type fsck -fy (that’s fsck + space + minus + f + y).
4. Press Return.
   

• They are small and lightweight, easily fitting in your gear bag.
• Relatively inexpensive and disposable, so you can use a fresh card periodically. Old cards tend to fade in the light.
• It’s adhesive on the back so you can easily attach it to your clapboard.
• With a white, black, and neutral grey surface, color correcting with Final Cut Pro’s three-way color corrector is a snap.
• $5 spent per shoot is well worth hours saved on color correction. In most circumstances, just three clicks per angle will calibrate across each camera.
  

It’s easy, however, to create a static region in the middle of the Timeline. The static region can contain video tracks, audio tracks, or both. When you create a static region, you end up with three regions in the Timeline. The top video portion and bottom audio portion are scrollable. The middle portion can be resized and repositioned, but not scrolled. This style of Timeline makes it easy to constantly see your dialogue and A-Roll, while still having access to your other tracks.

To create the static region, drag the thumb tabs to set the number of tracks. Grab the central tab in the static region to move it up and down your Timeline. To eliminate the static region, drag the video tab downward and the audio tab upward.

1. Highlight the Timeline or Canvas, and press Command + 0 to access the Timeline settings.
2. Select the Timeline Options tab.
3. Check the “Show Audio Waveforms” box.
4. Make the desired tracks larger to see the audio waveform data in the Timeline.
   

• Command 1 = Viewer
• Command 2 = Canvas
• Command 3 = Timeline
• Command 4 = Browser
• Command 5 = Effects Tab in the Browser
• Command 6 = Favorites Bin in new Window
• Command 7 = Trim Edit.
• Command 8 = Log and Capture Window
• Shift Command 8 = Log and Transfer Window

• Option + [ for “
• Option + Shift + [ for ”
• Option + ] for ‘
• Option + Shift + ] for ’
  

• The first part describes the vertical resolution.
• The P or I describes whether the footage is progressive or interlaced.
• The last part describes its frame or field rate.
  

• When an HD format is interlaced, the number generally describes field rate (1080i60 would describe 60 fields per second).
• When an HD format is progressive, the number generally describes frame rate (720p60 would be 60 frames per second).
  

• Nattress Productions: This manufacturer offers several powerful tools for processing video; in the color correction and grading space there are a few standouts. The Film Effects package offers great control over 3:2 pulldown, 24p conversion, and de-interlacing. Plus it has a great library of preset looks, proper film-style dissolves, sharpening, and gamma control. Another option is their Big Box of Tricks, which offers several filters (more than 70). The package includes several plug-ins that fix specific image problems such as noise and flicker. Plus the package offers great control over levels, curves, and image stylization effects. (http://www.nattress.com)
  

• Magic Bullet: The latest version of Magic Bullet is a suite of products that consists of three different products. Magic Bullet Looks allows for the creation of special looks that process your image. There are several presets as well as great options to customize. Magic Bullet Frames offers conversion from interlaced material to 24p. Magic Bullet Colorista allows for powerful color correction. (http://www.redgiantsoftware.com)
• Noise Industries: The Editing Pack offers several useful tools for improving video images. A strong collection of blurs is complemented by a Dewrinkler filter for improving skin. The Vignette and Matte Generator also offers several options for creating interesting power window effects. (http://noiseindustries.com)

1. Choose your Effects tab in the Browser > Video Transitions > Slide > Push Slide. Double-click Push Slide to load into the Viewer.
2. Make the duration of the transition something short (four frames works well).
3. Change the angle to 90 for a Fly By to the right or -90 for a Fly By to the left.
4. Locate an edit point you want to add a transition to.
5. Drag the transition from the Viewer (use the little hand in the upper right hand corner) to the edit point on the Timeline. Make sure that you don’t center the transition on the edit; you want to start on the edit. If you’re not sure what you did, right-click on the transition and choose Transition Alignment > Start on Edit.
6. Position your playhead at the end of the transition you just added (it helps to have snapping on) and press Control + V to add an edit (make sure you either lock your audio tracks or toggle Auto Select off or you’ll be adding the edit to your audio as well).
7. Drag the transition from the Viewer to that edit point again, making sure it starts on the edit.
8. Repeat the process one more time.
   

1. Choose a clip you’d like to effect.
2. Choose Effects > Video Filters > Stylize > Line Art. Whoa! Isn’t that cool? Your footage has instantly been transformed into a moving illustration!
3. Load the clip into the Viewer and click on the Filters tab. Here you can adjust paper color and opacity, and ink color.
4. You can also control threshold and smoothness to adjust what is included as a line and the blend between the lines and the paper.
5. Use the Mix control to blend in your original image.