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. If you’re asked if you want to conform this sequence to the new one, choose No.
4. 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).