THEGUIDE TO FCP

BYSANJAY GANGULY

Shoot/Edit Delhi Bureau

Index

CONTROL Click on the Blue items of the Index to go to the topics

FCP CONNECTIONS BETA SX and ADVC 1000

BETA SX ADVC 110DV CAMERA OR J30

SET UP

CREATING EDITING FOLDERS EASY SETUP

USER PREFERNCESSETTING SCRATCH DISKSYSTEM SETTINGSAUDIO/VIDEO SETTINGS

START FCP & START NEW PROJECT

THE FCP EDIT INTERFACECREATING AND ORGANISING BINSIMPORT CLOCK

LOG & CAPTURECAPTURE SETTINGCLIP SETTINGSLOG CLIPCAPTURING

UNDERSTANDING TIMELINE

EDITING

BASIC EDITING(interview)

EDITING CUT STORYROUGH EDIT

FINETUNINGPutting audio transition (Fade in, Fade out, Cross Fade)

VIDEO DISSOLVES

MULTIPLE SELECTIONS

COPY/CUT/PASTE/ DELETE

MOVING EDITED CLIPS IN THE TIMELINE

RESIZING CLIPS

CREATING SUBCLIPS

MATCH FRAME

SNAPPING

LINKING

STEREO PAIR

FINDING GAPS IN THE TIMELINE

FIXING SYNC ERROR(LIP SYNC etc)

RUBBER BANDING

BLADE TOOL

ARCING

SHORTCUTS

I will update it with more topics

FCP CONNECTIONS BETA SX and ADVC 1000

Select SDI to DV Mic Lead with Male XLR

SDI OUT

BNC

SDI IN

FIREWIRE

9PIN REMOTE CABLE FIREWIRE

SELECT SDI TO DV from THE FRONT PANEL OF ADVC1000 Connection : Cable:

SX SDI OUT to AVDC 1000 SDI IN BNC TO BNCSX REMOTE TO ADVC REMOTE 9 PIN REMOTE CABLE

FCP FIREWIRE TO ADVC FIREWIRE 6PIN TO 6 PIN FIREWIREFCP FIREWIRE TO EXTERNAL HDD F 800 FIREWIREFCP HEADPHONE TO SPEAKER Mic lead Male XLR

I am not writing the obvious like connecting mouse power chord etc

NOTE: It is very important to connect a remote between ADVC 1000 and SX as youcan control the player from FCP and on capturing you will get timecode of the rushestape captured also.

To activate 9 pin remote IN ADVC 1000 Press Menu, then Scroll down till you reachMenu 41 (9P remote), Press right arrow the display will change from OFF to ON

To Switch OFF 9P remote Press the left Arrow after selecting Menu 41

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BETASX

FCP

SPEAKER

ADVC1000

EXTHDD

FCP CONNECTION USING BETA SX ADVC 110

Select ANALOG IN Mic Lead with Male XLR

VideoOUT

BNC

Video IN

FIREWIRE

CH1 CH2 IN (XLR to RCA) FIREWIRE

SELECT ANALOG IN from THE FRONT PANEL OF ADVC110

Connection : Cable:SX VIDEO OUT to AVDC 1000 VIDEO IN BNC TO BNCSX CH1/CH2 OUT TO ADVC CH1/CH2 IN XLR TO RCA

FCP FIREWIRE TO ADVC FIREWIRE 6PIN TO 6 PIN FIREWIREFCP FIREWIRE TO EXTERNAL HDD F 800 FIREWIREFCP HEADPHONE TO SPEAKER Mic lead Male XLRI am not writing the obvious like connecting mouse power chord etcWe are trying to work out ways to remote ADVC 110

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BETASX

Ch1Ch2out

FCP

SPEAKER

ADVC1000

EXTHDD

FCP CONNECTION USING DV CAMERA OR J30

Mic Lead with Male XLR

FIRE WIRE

FIREWIRE

FIREWIRE

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DVCAMERAORJ30

FCP

SPEAKER

EXTHDD

THIS MANUAL IS ASSUMING YOUR FCP IS SET UPPROPERLY AND YOU KNOW NOTHING ABOUT FCPAnd gradually going back to the tough stuff

Terms

HDD = Hard Disk DrivePROJECT = STORY YOU ARE DOING INCLUDING CAPTURED RUSHES ANDTIMELINEMEDIA = captured rushes, graphics plate etcAPPLE Symbol on the Keyboard on the side of the Spacebar is very important, andmany FCP commands are done by pressing apple (APPLE + a number or Alphabet on thekeyboard )

Connect a windows mouse to MAC. This gives you the option to do a right Click .Otherwise you will be constantly CRTL + Clicking , which is a Pain.

CREATING EDITING FOLDERS

To Create a new Folder Right Click and do as you would normally do inWindow.FCP CLOCK in Mac HDDFCP EXPORT in Mac HDD

FCP PROJECT IN EXTERNAL HDDFCP MEDIA IN EXTERNAL HDD

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Basic Set up for Beginners

FCP SETTINGS

All setting are default except where shown with snapshot

EASY SETUP

CLICK FINAL CUT PRO on the top Task Bar

CLICK EASY SETUP

CLICK select SHOW ALL

CLICK In the Drop Down Menu saying CUSTOM SETUP

SELECT DV-PAL Anamorphic (BBC format for 16:9 video) from the Scroll listFor 4:3 Video Select DV-PAL

CLICK Setup in the Easy SETUP Box

ONCE YOU HAVE DONE THESE SETTINGS YOU ARE READY TO WORKON YOUR PROJECT_Go back to INDEX_

USER PREFERNCES

CLICK FINAL CUT PRO on the top Task BarCLICK User Preference

NOTE :USER PREFERENCE IS A PART OF SETTING UPFCP BETTER DO NOT TOUCH IT UNLESS YOUKNOW WHAT YOU ARE DOING

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VERY IMPORTANT:SETTING SCRATCH DISK

Assuming your FCP is set properly, the first thing to do on Launching FCP is to set upSCRATCH DISK.

This means telling the program which External HDD or its Partition the PROJECT isgoing to be SAVED. This is very important as if by mistake you save your Media(Rushes) in the Computer’s HDD your will end up a Clogged Hard Disk , and theComputer will Crash

TO SET SCRATCH DISK

CLICK FINAL CUT PRO on the top Task BarCLICK System Settings A box will openCLICK SCRATCH DISK

SYSTEM SETTINGS

You can set as many as 4 Scratch disks to dump stuff into

CLICK SETIn the next Box

CLICK the HDD or the Partition of HDD you want to work onCLICK the Folder called FCP MEDIACLICK CHOOSE (on the bottom right hand of the box)

Set the Waveform Cache, Thumbnail, Autosave Vault by CLICKING SETSET THE AUTO SAVE VAULT IN THE MAC HDD

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Ideally you should SET the Project in a EXTERNAL HDD Partition and SET theWaveform, Thumbnail, in the same Partition of the external disk

Set THE Autosave Vault in the Mac Hard disk (if your project gets corrupted then youcan Restore it from the autosave vault)

It makes sense to also set the other three scratch disks up to go to the same hard drive.This means if you run out of space on the first partition of the hard drive you can tell thecomputer to use the next partition, and so on. If you forget to do this it can be done laterwhen you realised you’ve run out of space but for the sake of being organised it makessense to do it at the start.

WHEN SCRATCH DISK IS SET CLICK OK IN THE SYSTEM SETTINGWINDOW

AUDIO/VIDEO SETTINGS

THERE IS NO NEED TO CHANGE AUDIO/VIDEO SETTINGS UNLESS FORSPECIFIC PURPOSE

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START FCP & START NEW PROJECT (i.e begin editing your story)

Click FCP Icon at bottom of screen to open application

NAME & SAVE PROJECT

CLICK FILECLICK SAVE PROJECT AS

IN THE BOX THAT APPEARS

Name Project in the SAVE AS SectionSELECT the external HDD or the Partition you selected in your Scratch DiskSELECT the Folder named FCP PROJECTS (assuming you FCP is set up properly ,if notrefer to setting FCP part of the Manual)

CLICK SAVE

Your FCP is set to Autosave every 10 minutes , but it is a GOOD Practise to SAVE afterevery Section you EDIT in the TIMELINE. (APPLE + S)

THE FCP EDIT INTERFACE (Opens by Default on launching FCP)

If you look at the interface there are 4 large windows and two sidebar.These are:

BROWSER window = Where all the RUSHES BINS, PROJECT BINS, GRAPHICS etcexist. It is your Project window from where you control the Project

VIEWER OR SLUG window = equivalent to Player Monitor of SX

CANVAS window = Equivalent to Recorder Monitor of SX

TIMELINE window = Where you EDIT SHOTS

On the right side of the timeline there are 2 long vertical boxes

The top one is TOOL PALLETTE and the bottom one is AUDIO MONITOR

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IMP: What we usually call the cut story is unfortunately called the sequence in FCP.So you’ll have to get used to calling the final product on the Timeline after you’vecompleted the Voice over, pictures and natural sound etc the Sequence not the cutstory.What we used to know as sequence is called a section in FCP.

So that’s the language we will use in this guide from now on.

CREATING AND ORGANISING BINSBINS

Bins are the folders you will be putting your material into.You need to make ‘BINS’ that name every section (sequence!) of the story. i.e a bin forsection one; a bin for the first interviewee, a bin for the next section; a bin for the PTCDumping stuff into the computer (digitising) is the most time consuming aspect ofnonlinear editing. So don’t just dump in every thing you’ve filmed. Choose the best PTCor best interview clip etc before you digitise. And then create a bin

Note: In FCP if you CLICK icon it opens it and and if youCLICKtext it gives you theoption to rename it.

CREATING AND NAMING BINS.

Note: When you create a new project the Browser Box opens with a file already in itcalled ‘Sequence 1’. This will become the first version of your cut story.

In the BROWSER BOX

RIGHT CLICKThen In the Drop down BoxCLICK New BinName it

You need to create and organise a clock and an edit bin. Then you’ll create as manyrushes bins as you think you’ll need.

So,Create CLOCK BIN and IMPORT a CLOCK

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IMPORT CLOCK

Double Click the CLOCK BIN to open itCLICK FILECLICK IMPORT and Select FilesCLICK Macintosh HDCLICK FCP CLOCK

SELECT the Clock you want

CLICK CHOOSEThen create

EDIT BIN and drag the folder SEQUENCE1 in there.

This becomes the folder where all the Sequences (different versions if you are doing it) aresaved.

Rename the sequence e.g.- CUT STORY

Create BINS FOR EVERY SECTION OF YOUR STORY and name it

e.g. Project name is Nepal uprising

Sections : 1. VICTIMS FAMILY 2. Mother’s sync 3. Violence on Street 4. PTC 5. Rally

6. Sync Leader 7. Kathmandu GVs

RENAME SEQUENCE 1 i.e naming you cut story/timelinedouble click on ‘sequence 1’ in browser windowType in new name when highlighted blue

AUDIOThe biggest enemy in non linear domain is AUDIO. Digital audio is less tolerant to Level peaks than Analog Audio. It meansthat Audio in Non Linear editing is prone to distortion.

The best way to tackle this is take care while inputting. Ideally yourcameraman should record Audio peaking below -18dB._Go back to INDEX_

You should ideally Log&Capture using a Deck (Player) which had Audiocontrol (Feeders) so that you can control the INPUT level.

This is possible in Beta SX but not in J30 or DV cameras.

Another caution to be kept in mind is Timecode BreaksFCP doesn’t like TC breaks particularily during Batch Capture and ClipCapture.If you checked your PTC etc in field it is useful to Press the Review Buttonin the Camera and queue the Tape to the last frame of the recordedfootage

LOG & CAPTURE

To go to LOG&CAPTURE window

CLICK FILECLICK Log&Captureor PRESS APPLE + 8

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Setting to be checked

CAPTURE SETTING:

Device Control – FireWire PALCapture/Input -- DV PAL 48 KHz Anamorphic

CLICK The SCRATCH DISK tab and you can select the HDD where youwant your rushes to be stored.

NOTE: That’s why Setting the other partitions of your external HDD is important sothat you can easily go to other partition when your main Partition of External HDD isnearly full(Always allow headroom in your HDD)

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CLIP SETTINGS

Tick Video and Audio

Select the number of Audio Channels you want to digitise

FCP allows 2 Audio at 48KHz and 4 Audio at 32 KHzFor now stick to 2 Audio

CLICK Preview (this helps you to hear the sound while digitising)Informations for logging

Log Bin : The BIN in Browser window where the rushes are savedIn the Browser where you have created the Bins for different sections of the story

Right Click on the relevant BINIn the Drop down box Click SET LOGGING BIN

Reel : Tape number the reel number changes automatically when youeject Tape from player and put a new one. It’s a good practise tomark the reel number on the Tape to avoid confusion specially bigprojects.

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The fields name description are important Fill them thoroughly on bigger projects and fillthem so that you understand on short packages edited in deadline

IMP: Never have Timecode breaks on the shoot tape this will mean you can BatchCapture and your life will be a lot more easier.

THERE ARE THREE WAYS OF CAPTURING

1.CLIP In this mode you log an individual Clip(Shot or and collection of Shots) , fill all the description fields and Capture it.you don’t need it unless you want to make the editing processPainfully slow

OR you have forgotten to Capture a CLIP which is a badPractise

2. NOW In this Mode you Crash Capture your queued rushes on Player. Itis similar to Crash edit in tape2tape editing

3. BATCH In this Mode you Log all the rushes in Different BINS youCreated and Capture them all at once.

Before we Proceed to Log and digitise in different ways let us learn some TapeTransport using Keyboard Commands. These are not only relevant duringLOG&CAPTURE but also during editing in the Timeline

J -- Rewind (Speed increases on every Push, upto 4 pushed allowed)K -- PauseL -- Forward (Speed increases on every Push, upto 4 pushed allowed)Spacebar -- Play/ Stop on alternate pushI -- Mark In PointO -- Mark Out Point

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LOG CLIP

In The Browser Window

RIGHT CLICK ON THE RELEVANT BIN WHERE CAPUTED MEDIA IS TOGO

CLICK SET LOGGING BIN

The Selected BIN will be displayed in the LOG BIN section of LOG&CAPTUREWindow

Play your rushes using the Keyboard Commands(J/K/L/Spacebar) mentioned above

Mark IN Point (Press I)Mark Outpoint (PressO)

CLICK Log Clip

Fill in a Name for the CLIP (e.g.—Mob on Street, Kathmandu GVs etc)

You can fill in description and other details specially for Large Projects (10 minute Film)

IMP : YOU SHOULD LOG A SECTION OF THE STORY as a single CLIP, ThisWAY YOU WILL HAVE SAY 10 SHOTS OF A PARTICULAR SECTION TO EDITIN A SINGLE CLIP, Rather than LOGGING INDIVIDUAL SHOTS

You should be really careful in identifying relevant BINS for each Section Otherwiseyou will create a mess of rushes digitised all over the BINS in the Browser Window andit will make life very difficult during editing.You should Assign a Reel no to every tape and Physically Mark it on the tape,otherwise when the computer asks for a particular Reel during Batch Digitise and youput a different tape, you will end up digitising rushes you dont want.

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CAPTURING

CLIP:Put In and Out to individual CLIPS and CLICK CLIP to CAPTURE it

Now :You don’t need to LOG tape, Just queue your rushes and CLICK NOW. It Will digitise until you stopTO STOP DIGITISING PRESS ESC key on the Keyboard

BATCH :After you have logged all tapes ,in the respective BINS with PROPERREEL No for every Tape .

1. You can Select all the LOGGED rushes and CLICK BATCH to Capture all theCLIPS in the Present Logging BIN

2. You Can Go to the Other Logged BINS , Select all Logged Rushes andCLICK FILECLICK BATCH

OR Right Click anywhere on the selected logged clipsAnd from the drop down box select Batch Capture

Note: For multiple selection

Build a BOX around the items to be selected, everything inside it will be selectedORClick the first ItemPress and Hold Down APPLE and CLICK the individual itemsORClick the first ItemPress and Hold Down SHIFT and CLICK the Last ItemEvery Item between First And Last Item will be selected

IN THIS CASE THE ITEMS ARE TH LOGGED CLIPS

Confirm in the Box that opens upA monitor will Open up and FCP will rewingd and Fast Forward the Tape and STARTCapturingAT ANY STAGE TO STOP BATCH CAPTURE PRESS ESC ON THE KEYBOARD

Once You have captured all the pictures the editing processbegins_Go back to INDEX_

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UNDERSTANDING TIMELINE

Timeline is the place where all VIDEO/ AUDIO(voice over , naturalsound)/EFFECTS edited. A series of edits cobine to become your CUT STORY

On the left compartments there are Green colour icons Speaker sign for Audio and Reelsign for video.

THESE ARE Audio and Video monitors Clicking it deactivate them and you cannot seeor hear the specific track. Clicking it again turns it ON

The Timeline in your FCP is set to have one Video and two audio tracksYou can add VIDEO AND AUDIO TRACKS if needed

To add VIDEO track:

RIGHT CLICK On the top most VIDEO TRACK where the REEL SIGN EXISTS

On the Drop down Menu CLICK ADD TRACKTo DELETE VIDEO track

Right CLICK on the same Space mentioned above andCLICK DELETE TRACK

You can ADD or DELETE AUDIO TRACKS by RIGHT CLICKING on the Lower mostAUDIO TRACKFollowing same procedure as explained for Video Tracks_Go back to INDEX_

To move FORWARD or move BACKWARD in TimelinePRESS ALT + or ALT –

To ZOOM + or ZOOM – in TimelinePRESS OPTION + or OPTION –

Click shift ZTo fit the entire Timeline to the Window (Very Important for big

stories) Player/RecorderTO Lock and Unlock Audio and Video Tracks

Lock / Unlock

Audio PRESS F5 followed by the track numberVideo PRESS F4 followed by the track number

In the timeline the two rows with V1s and A1s written are very usefulImagine the Left V1,A1,A2 represent player audios and videoImagine the Right V1,A1,A2 represent recorder audios and video

So while editing if you want, say, to put CH1 audio of Player to CH2 of Recorder Dragand drop A1 on player side to A2 on recorder side as shown in the diagramOn the top left of Timeline there is a small timecode box that shows thetime code of the Timeline where the Cursor is queued._Go back to INDEX_

click tolock andunlockchannels

The Keyboard Shortcut beside

Is Previous Edit

Is Next Edit

This is useful to jump through boundaries of every edit and queue cursor whileediting without balck frames

Snapping (two lights green Icon)This icon is on the top left side of the TimelineKEYBOARD SHORTCUT N (ON/OFF on alternate CLICKS)This tool when switched on keeps lipsync between Audio and Video always keepit on except when you are doing specific job like clearing an audio track etc

• Linked Selection (Dumb bell shaped green Icon)This is responsible for keeping sync between audio and videoThis icon is also found beside Snapping . It is called Linked Selection

KEYBOARD SHORTCUT SHIFT L (ON/OFF on alternate Clicks)

This Tool highlights all linked audio / videoKeep it ON TILL you know a bit more about Timeline

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BASIC EDITING

THE BEST WAY TO KNOW TIMELINE OPERATION IS TO LEARN TO EDITINTERVIEWS

In any Interview you will have the following rushes BIN

QS BINANS BIN2SHOT BIN with guest’s face2SHOT BIN with Corrospondent’s face

EDITING

Snapping and Linked Selection to be Switched ON

Snapping NLinked Selection Shift L

STEP1 PUT a CLOCK on Timeline

Double Click the CLOCK BIN to Open itDouble Click the 16:9 Clock It will Load on the SLUG:Viewer

thenClick the TIMELINE

Go to the top by Pressing or

Depending on the position of the Cursor on the Timeline

Put In Point PRESS I

Press F10 (Overwrite Edit)The CLOCK will be put on timeline with TONES on A1 and A2 with the Cursorat the end of the CLOCK

Press I To put an In point ON THE TIMELINE

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Use J/K/L/ SpaceBar Reminder: J RewindTo navigate through K PauseSlug:Viewer L Forward

Spacebar Paly/Pause I Mark in

O Mark OUTAltI Delete InAltO Delete OUTShiftI Go to INShift O Go to OUTSHIFT Z Fits entire timeline

into timeline window 1 Frame forward 1 Frame backward

Page Go to TOP of ClipOr Timeline

Page Go to END of Clip Or Timeline

As BBC interviews always starts with Answers so now is the time to put ANS1 onTimelineOpen Answer BIN by double clicking it.

It Should LookANS1ANS2ANS3ANS4ANS5

SAY: The Cameraman has recorded the questions on CH2 or A2(ofCaptured rushes)

and the Answers on CH1 or A1 (of captured rushes)

Double Click ANS 1 to Load it on the Slug:Viewer

Mark your IN Point And OUT Point for ANS1

Since the ANS 1’s main voice is on CH1

LOCK A2 by Clicking on the Lock ICON on A2 in TimelinePress F10

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ANS1 will be edited on Timeline with Cursor on the last Frame(Since you Locked A2 there will be no Audio on A2 Timeline)

Mark In Point on Timeline PRESS I

To Put Q2

Open by double Clicking Qs BIN

It will look likeQ1Q2Q3Q4Q5

Double Click Q2 to load on the Slug Viewer

Mark In &Out points

Lock A1 (since good Audio for corrospondent is on Ch2/ A2)

PRESS F10

The Answer with V1 and A2 will be placed on Timeline(Since A1 is locked)The Cursor as usual will be on the last frame of the Q2 on the Timeline

Mark in on TIMELINE PRESS I

Put all the Qand A

If you want to view your interview in the middle of your editOn the TIMELINE Click on the Clock and Press Play (Spacebar)

Say you do not want watch any more and carry on editing

Use Previous and Next edit keys

Till you go to the end shot of the Timeline and Mark IN and then carry onediting.

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After you edited all Questions and Answers

Overlaying (Audio/video SPLIT)

Switch OFF Snapping PRESS NSwitch OFF Linked Selection PRESS Shift L

Lock A1 and A2

Click to bring the Cursor near the edge of the Clip you want toOverlay.

e.g.- At the end of an answer you want to carry on with the Videoof the Guest and have the Audio of the Corrospondentunderneath.

LOCK A1 and A2 make sure V1 is unlocked

Click near the end of the guest’s answer

Press R --- this activates the Ripple Edit

With your mouse drag the edge of the guest video over the editedCorrospondents video

A Small meter comes up telling you the Duration of theOverlay.(1:15 maens 1sec 15 frames)

To Undo PRESS APPLE + ZAfter you are happy PRESS Ato return to Normal editing Mode

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EDITING (Cut Story)

To edit shots on the Timeline

Ther are two steps1. ROUGH EDIT2. FINE TUNING

ROUGH EDIT

In Rough edit you edit the shots in the Timeline and cut a section (sequence).

LOAD the Section you want to edit in the Slug:Viewer

Play the Clip (using JKL Spacebar)

Put MARKERS on the shots you plan to use PRESS M

After you have marked all the good shots

Assuming you have put a CLOCK and put an IN Point in the Timeline.

Click on the Marker you want to use as the first shot.

Set IN and OUT Point

LOCK A1 if you want edit Video and Natural Sound

Edit V1 and A2 in the Timeline by PRESSING F10

Set In point in the Timeline and Carry on editing the rest of the shots.

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Another way to edit is after putting IN Point in the Timeline and IN & OUT in theSlug:ViewerDrag the Shot from the Slug:Viewer to the CanvasThe options shown below will be activated.Drop your shot to the relevant box to perform desired task.

The Edit Overlay

The Edit Overlayappears when youdrag a clip from theBrowser or Viewer tothe Canvas. Positionyour clip over thedesired type of editto edit it into yoursequence.

Types of Edits

1. Insert-inserts the clip, moves time forward in the sequence2. Overwrite-overwrites other media, doesn't change total time of the sequence3. Replace- form of overwrite edit which replaces the current frame in Canvas with the

frame in Viewer, with additional frames of video on each side to fit available space4. Superimpose- lays on top of media, used to overlay titles and other text onto video5. Fit-to-Fill- inserts clip & speeds or slows the material to fill the available space.6. With transition-places the default transition at beginning of clip when inserted

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FINETUNING

PUTTING AUDIO TRANSITION (FADE IN, FADE OUT, CROSSFADE)

After cutting the sequence in the Timeline

Smoothening transition between different Natural Sounds

LOCK V1, A1

In A2 andA3 (If you used a third Audio Track to put the Natural Sound)

Click every boundary

PRESS OPTION +APPLE + T

This puts a 1 second dissolve between the two Audio clips edited in the TIMELINE.

This is useful as it smoothens the transition between the different Natural Sounds youhave put in. This is a good practice, unless you have particular reason when you want toCut in the Natural Sound (e.g.- BELL SOUND)

To DELETE AUDIO TRANSITION/ VIDEO DISSOLVE

For Deleting both Audio and Video dissolves CLICK to highlight the transition

PRESS DELETE

TO CHANGE TRANSITION PARAMETERS

RIGHT CLICK the transition

From the Drop down box

CLICK DURATION

In the Box type number

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PRESS ENTER

And again PRESS ENTER

For e.g. – If you type 215 then you have put in a dissolve of 2seconds and 15 frames

To put dissolve in frames e.g. – 5 frames

Type 5 and then Press ENTER twice

There are three types of dissolves

START AT CUT

CENTERED

END AT CUT

They can be selected by right CLICKING the transition and Selecting form the dropdown box

If you have two Natural Sounds on two different Audio tracks e.g.- A1 and A3 thendissolve them to Blank individually

The VIDEO DISSOLVE works on same principal and commands as audio

Just Lock the Audio tracks otherwise you will end up with dissolved Audio tracks alongwith the dissolve in Video.

COMMANDS FOR DISSOLVE

OPTION + APPLE + T

Or

CLICK EFFECTS

CLICK Video Transitions

You can also put dissolve while editing the clip in the Timeline

PRESS SHIFT + F10 for Overwrite editing with dissolve

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And

SHIFT + F9 for Insert editing with dissolve

MULTIPLE SELECTIONS

You can select multiple clips by

PRESS APPLE + CLICK ALL THE CLIPS you want to Select

Or

LASSO - Build a Box outside the Clips you want to select and all the Clips insidethe box will be Selected.

OR

Click the first Clip – PRESS and HOLD DOWN SHIFT and click the last clip

Everything between the first and the last CLIP will be selected

COPY/CUT/PASTE/ DELETE

You can COPY/CUT/PASTE/ DELETE Clips as you do it normally in worddocumentsHIGHLIGHT SINGLE OF MULTIPLE CLIP/S

COPY APPLE + CCUT APPLE + X

CLICK WHERE YOU WANT THE CLIP TO BE PASTE

PASTE APPLE + V

Note : you can also CUT, COPY, PASTE BY RIGHT CLICKING ANDCHOOSING FROM DROP DOWN BOX_Go back to INDEX_

DELETEHIGHLIGHT SINGLE OF MULTIPLE CLIP/S

DELETE IF YOU DELETE A CLIP IN THE TIMELINE BETWEEN TWO CLIPSTHEN THERE IS HOLE LEFT BEHIND (You can also cut by pressing X

SHIFT + DELETEIf YOU DO SHIFT+DELETE THE THE CLIP IS DELETED AND THEGAP IS CLOSED.(Or you can also SHIFT+X)

MOVING EDITED CLIPS IN THE TIMELINE

Edited clips in the timeline can be moved forward or backward simply bydragging (this performs overwrite edit)ORSelect a clip or a series if clips

Type a value e.g. 50 or -50Press enterWhen you type the number a box appears in the timeline called MOVE the clip will be moved forward or backward by 50 frames

You can also type a TC to move the selected clip/clips to the TC on theTimeline

NOTE: In FCP you don’t need to put the colons in the TimecodeSay you want to type 10:20:15:10, you can simply type 10201510FCP will figure out the rest

RESIZING CLIPSTake your cursor to the edge of the clip the black arrow changes to ResizePointer tool <II>Drag the clip the duration of the clip is increased right in the Timeline. Boxappears on the Timeline saying the Changed Length of the clip and the newduration of the Clip

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CREATING SUBCLIPS

Sub clip is a function to break large clip into smaller clips for convenience of editing

SUB Clip has a master/slave relationship with the MASTER CLIP from where it iscreated.If you delete the sub clip nothing happens to the Master Clip

To create sub clip load the original clip in the viewer and put In and Out

CLICK MODIFY MAKE SUBCLIP

ORPRESS APPLE +U

MATCH FRAME

Queue your Play head to the position in the timeline which you want Match Frame to theMaster clip in the BINPut an IN point in the position of Play head in the Timeline

CLICK ViewMatch FrameSource File

OrPRESS OPT+APPLE+FFCP match the frame of the clip in the Timeline with the Frame of theMaster CLIP in the BINLoads the Master Clip in the Viewer and Places the Play head therePut an In Point in the position of the Play head in the viewer

SNAPPINGPress N TO ACTIVATE / DEACTIVATE SNAPPINGLocated at the top right hand corner of the Timeline

• Green when ON and Grey when OFFTHE SNAPPING IS TRIGGERED BYIn & out PointsPlay headClip boundariesMarkersKey frames_Go back to INDEX_

Very Improtant tool you have to keep on switching it ON and OFF whileEditing . Useful during moving Clip/s in the Timeline

LINKING

FCP automatically detects and keeps a tab on the Sync relationships betweenAudio and Video

The relationship is called LINKINGWhen the Video and Audio/s of a Clip in the TIMELINE goes out of sync(e.g.—Lip Sync error) FCP indicates the duration of out of Sync in small dialog box both of Videoand Audio of the particular Clip in the Timeline

FCP does not indicate Out of Sync Duration if the Video and the Audio/ s donot overlap each other in the TimelineThere is a LINK SELECTION Button on the Top Right hand Side of theTimelineGreen when ONGrey when OFFSHIFT + L (ON/ OFF Alternately)

Keep the Linking ON when you put the shots in the Timeline, but need toTurn OFF during finer edits e.g.—Audio Overlap

To Switch OFF

Press SHIFT + L

Rather than pressing Shift + L continuouslyWhen doing selection or using tools like trim tools, Blade, etcPress OPTION and hold down then use the tool, this disables the LINKSelection temporarilyHold down OPTION while you select a clip the link selection is temporarilyswitched on/off depending on the selection in the timeline

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LINK UNRELATED Audios to Video

FCP allows you to LINK as many as 24 unrelated audios to 1 video trackThis function is useful when cutting montage , music videos etc

For LINKING highlight the video and the audios and

Press APPLE + LOrCLICK Modify

LinkThis is not needed for cutting News Stories. In fact keep it Switched OFF

STEREO PAIR

This is a special function in FCP where two Audio items which overlap eachother is treated as a Stereo Pair, and allows you to control-- Highlightingaudio Levels, pan setting etc at once

We have this activated in the clocks, that’s why we cannot Pan R and Pan Lthem.

The Stereo Paired Audio Clip Items are represented red triangles facing eachother. (Look at the Clock when put in the Timeline)

Deactivate Stereo Pair

Select the Paired audio items(By clicking on one of them)

CLICK MODIFYUntick the Stereo Pairs

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FINDING GAPS IN THE TIMELINE

GAPS are of two kinds 1. TRACK GAP (Where there is hole in one track) 2. GAP (Where there is hole in all the tracks in the

same place)Next GAP SHIFT + GPrevious GAP OPTION + GCLOSE GAP CRTL + G

FIXING SYNC ERROR (e.g.- LIP SYNC)

If by any chance you lose Sync there are two ways to sync up the Audiosand the video

1. MOVE CLIP ITEM INTO SYNC

Right click the out of sync indicator on the clipFrom the drop down box select MOVE INTO SYNCORChange the mathematical sign to oppositee.g.—if your clip says 4.12 change it to (- 4.12) and vice versa

Choose MOVE OTHERS INTO SYNC to sync up all the clip items in thetimeline at once.

NOTE: You can only move a clip item into sync if there is room in thetrack. If there is a clip in the way then FCP will move till as much as itcan and then there will be warning message – “Unable to put item in sync.Another item is the way”.

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2. SLIP A CLIP ITEM INTO SYNC

Right click the out of sync indicator on the clipFrom the drop down box select SLIP INTO SYNC

Choose SLIP OTHERS INTO SYNC to sync up all the clip items in thetimeline at once.

The difference between MOVE and SLIP is

In Move the Clip item is physically moved to correct the out of syncandin SLIP the clip item is does not move in the timeline just the IN and OUTare changed to correct the out of sync

MARK IN SYNC

ModifyMark in sync

Option is used to deliberately create sync error and registering it as newsync. Not necessary for us , used special effects. Not needed on NewsStories

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RUBBER BANDING

Your FCP is set to show waveform view Audio Tracks

Dissolving takes care of most of the Audio transitions

But to Raise or Lower the Levels of Audio or do specific Audio edits we use

Rubber banding(SAME AS COOL EDIT PRO)

To activate Rubber band CLICK on the icon on theLeft hand side ofLower task bar of FCP

The rubber band will be activated (PINK LINE) on the Audio Tracks

To ADD key frames

PRESS OPTION + Click on the place of the Audio track where you want do toAudio Edit

TO DELETE key frame Drag the Keyframe outside the boundary of the AudioTrack

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BLADE TOOL

This tool is used to CUT individual Audio and Video Clips from Timeline.

This is useful during editing specially in cut down versions.

TO Activated BLADE TOOL

QUEUE the cursor to the place in theTimeline where you want to cut the Video

DON’T NEED TO BOTHER ABOUT LOCKING OR UNLOCKING TRACKS WHILEBLADING

PRESS B Activates the Blade Tool and you can see a blade instead of the pointer inthe Timeline.

CLICK on the place and the video /audio s will be snapped from the rest of the Clip.

Once you have Bladed the Clip

PRESS A on the keyboard to go back to the arrow tool(normal Black arrow

Note: If you don’t then the Blade will remain active and snap wherever you click onthe timeline

Click to highlight the part of the snapped clip you want to delete

And then

Press DELETE.

or

PRESS Shift + DELETE as required

Press BB

This function Blades everything vertically in the timeline together

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ARCING

Converting 4:3 to 16:9

When you put a 4:3 clip in a 16:9 Timeline FCP automatically recognises the changein the aspect ratio of the picture and compensates for it.

Edit your 4:3 clip in your 16:9 timeline

Click on the timeline over the 4:3 clip you put in

DOUBLE Click on the Canvas window to load the clip in the Viewer window

Click on the Motion tab on the top of the Viewer

The motion window will open

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You will see that FCP has automatically changed the aspect ratio to 33.33 (if for somereason it has not done it, then type 33.33 in the aspect ratio box)

And change the scale to 133.33

The picture will blow up and become full screen

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TO compensate for thatClick the Image + Wireframe option in the Canvas

Click on the middle of the wireframe and drag the picture up and downTo adjust it(Reframe)

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To converted 16:9 to 4:3 follow the procedure mentioned above

Load the 16:9 clip in the timeline

FCP automatically changes to -33.33Change the Scale to 133.33And reframe the clip

Parameters to keep in mind during aspect ratio conversion

4:3 to 16:9

IN Motion tab aspect ratio = 33.33 (FCP automatically changes it. If it doesn’t type 33.33)

Scale = change to 133.33

16:9 to 4:3

IN Motion tab aspect ratio = -33.33 (FCP automatically changes it. If it doesn’ttype -33.33)

Scale = change to 133.33

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TRIMMINGADDING TRANSITION

SPLIT EDITMULTI CLIP EDITINGAUDIO SEPARATE MANUAL

SEQUENCE TO SEQUENCE EDITING

Methods for edit clip from one sequence to another

COPY/PASTE3POINT EDITING

NOTE: Editing clips between sequence of different image dimensions,aspect ratio, frame rates creates the issue of Adjusting MOTIONPARAMETERS (e.g.—ARCING ETC)

COPY/ PASTE

neSTING

SHORTCUTSUse J/K/L/ SpaceBar Reminder: J RewindTo navigate through K PauseSlug:Viewer L Forward

Spacebar Paly/Pause I Mark in

O Mark OUTAltI Delete InAltO Delete OUTShiftI Go to INShift O Go to OUTSHIFT Z Fits entire timeline

into timeline window

X MARK CLIPWHEREPLAYHEAD ISLOCATED

AltX Dlelte In &Out

1 Frame forward 1 Frame backward

Page Go to TOP of ClipOr Timeline

Page Go to END of Clip Or Timeline

PAGE VIEW SHORTCUTS

Apple 1 VIEWER SCREEN

Apple 2 CANVAS SCREEN

Apple 3 TIMELINE

Apple 4 BROWSER

Apple 5 EFFECTS TAB

Apple 6 FAVOURITES BIN

Apple H (Hide Final Cut Pro)

Apple Q (Quits a program)

Apple I (information – ie. Space available on media drives ) – opens filefor importingApple W (Closes a window)

Apple Z Undo action

Shift Apple Z Redo action

Apple O Open file

Apple Shift N New Project

Apple N New Sequence

Control B New Bin

Apple S Save

Apple A Select All

Option Q User Preferences

Control Q Easy Setup

Ctrl U (return to standard fcp layout)

ALT + EXPANDS THE TIMELINE

ALT - REDUCES THE TIMELINE

Apple = Zoom In

Apple - Zoom Out

Alt D (duplicate i.e. sequence)

Right click on project window - increase project text If no pc mouse then Control click – opens hidden menu within Projectwindow – text size (increase or decrease) is one ofthe options available within the menu

click instead of right click - select text size – see above

SHIFT Z brings entire timeline into the timeline window

Home go to beginning of timeline

End go to end of timeline

EDITING SHORTCUTS

Apple 8 (capture window)

I to mark in points

O to mark out points

Control I video in

Control O video out

Option Apple I audio in

Option Apple O audio out

Shift I go to in point

Shift O go to out point

Option I clear in

Option O clear out

X mark clip

Option X clear in and out

Option A select in to out

Shift Delete ripple delete deletes selection and closes the gap

Shift X ripple cut cut and close gap so you can paste

Shift \ play in to out plays from the in point to the out point

\ play around current frame

Option R render all

Control V add edit

V nearest edit takes you to the nearest edit

E extend edit click on the edge of tracks you want toshorten or lengthen and position the playhead where you want them to go to thenpress E

; or ‘up arrow’ go to previous edit

‘ or ‘down arrow’ go to next edit

F Match frame

J reverse play J repeatedly – reverse play faster

K stop

L play K repeatedly – play faster speeds

J + K reverse play low motion

L + K play slow motion

Forward arrow forward one frame

Reverse arrow go back one frame

Shift + forward arrow go forward 1 second

Shift + reverse arrow go back 1 second

Apple J speed changes allows to slow/speed up material

Control (or) audio +/- 3 db quickly trims audio levels up/down

N snapping button turns snapping on or off

SHIFT L linked selection highlights all unlocked tracks

Apple 9 item properties displays all the properties for the materialfrom pixel size to aspect ect.

Apple T add default video transition

Option Apple T add default audio transition

Drag + Option insert for dragging clips into the timeline

Drag (only) overwrite

Shift G go to next gap

Option G go to previous gap

Control G close gap or right click on a gap

Shift down arrow go to next marker

Control S solo selected item

Option V paste attributes

A Selector Tool

R ROLL adds material from one shot while removing an equalamount from the adjacent shot. Using ROLL does NOT affect theduration or sync of the timeline

RR RIPPLE - adds or subtracts material from one shot but the adjacent shot remains the same, forcing it along the timeline. It will affect

the duration and CAN move things out of sync!

S SLIP - both the in and out points of the selected clip change but the shots either side remain the same. Using SLIP does NOT affectthe duration or sync of the timeline as long as you keep the audioand video linked. With linking turn off this is the best way to re-sync rushes that are out of sync!!

SS SLIDE - the selected clip stays the same but SLIDES up and downthe timeline. It will uncover more of the shot to one side and covermore of the shot to the other as it moves. Things stay in sync.

Option (+Selected Tool) Linked Tracks off/on

U Toggle type of edit

. trim forward one frame

, trim backwards one frame

B BLADE cuts a clip with a left click of the mouse. Its good fortidying up voice track.

P PEN (MARKER)

M Add Marker

APPLE R RENDER ALL

Shift F11 Fit to Fill

Shift C Capture now (use on Capture page)

Esc Stop Capture (use on Capture page)

F10 overwrite editShift F10 OVERWRITE WITH TRANSITION

F9 INSERT editShift F9 INSERT WITH TRANSITION

F11 REPLACESHIFT F11 FIT TO FILL

F12 SUPERIMPOSE

A arrow

T TRACK SELECTION

Click timeline Select/deselect all clips in the timelineAP 3

To move FORWARD or move BACKWARD in TimelinePRESS ALT + or ALT –

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To ZOOM + or ZOOM – in TimelinePRESS OPTION + or OPTION –

Click shift ZTo fit the entire Timeline to the Window (Very Important for big

stories)

COPY APPLE + CCUT APPLE + XPASTE APPLE + V

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