Apple Final Cut Pro 6 User Manual
Page 1978
Index
495
shown in Timeline III-419
shuttling through I-103–I-104
sliding II-318–II-320
sliding frames to new times III-356
slipping II-369
snapping to points II-189–II-190
sorting II-27–II-28, II-97
source tapes I-36
speed adjustments IV-101
speed of IV-477
speed settings I-121, III-337–III-363
start and end timecode II-84
subclips I-35, I-283–I-285, I-288
subclips. See subclips
synced clip items I-110
synthesized. See generator clips
tail clips IV-474
thumbnail display I-125
timecode I-110
timecode breaks in I-290, I-291
timecode display II-442
timecode tracks IV-147
in Timeline II-92
title clips III-476
transferring projects to other systems IV-16
transitions II-373–II-380
trimming II-184–II-185, II-344–II-351, II-404–II-407
types of II-78–II-80, IV-31–IV-33
undoing changes in I-52, II-94
unused II-32
varying speeds I-103–I-104
video. See video clips
volume II-290, III-111–III-115, III-128–III-130
XML elements for IV-158
Clip Settings tab I-243, I-264, I-296
clip time II-75, II-443, II-445
clock-based counters IV-352
Clock Wipe transition II-392, IV-152
Close Project command I-34
closing gaps II-202–II-204
closing items
projects I-34
sequences I-90, I-113
CMX 340 format IV-145
CMX 3600 format IV-130, IV-145
CMYK color space IV-451
codecs
See also names of specific codecs
artifacts and IV-233, IV-234
in capture presets IV-341
compared to file formats IV-230
data rates IV-401
described IV-232, IV-451
lossless IV-233, IV-392
lossy IV-393
output formats and IV-188
quality setting IV-342
QuickTime support IV-229
real-time effects III-638
selecting IV-250
sequence presets and IV-364
temporal compression and IV-251
third-party IV-234
uncompressed codecs IV-232
video codecs IV-232
for video file exchange IV-234
video formats and IV-376
video quality and IV-233–IV-234
video quality resolution settings III-628
Y´CbCr color space support IV-28
YUV processing and IV-28
codecs for imported files I-320
collapsing multiclips II-281
“Collision” message II-334, II-356
color
adjusting without color bars III-539
bit depth III-370
broadcast colors III-375
broadcast safe III-524, III-544
calibrating broadcast monitors with III-541–
III-544
color coding in Timeline II-206
computer display vs. broadcast video
monitor III-375
computer monitors and I-219
computer vs. broadcast video III-544
conversions III-664
correction I-220
distorted III-375
drop shadows III-259
duplicate frames, color-coding I-131
external monitors and I-220
filter controls III-229
fonts III-478
gradients III-432
in render status bars I-123, III-647
selecting III-229
shortcut buttons I-157
sync color coding I-109, I-110
video levels III-537
video monitors and I-219
Color Balance controls III-559, III-569–III-570, III-571–
III-572, III-579–III-581
Color Balance filter III-245
color balance process III-546, IV-451
color bars IV-206, IV-451
calibrating broadcast monitors with III-541–
III-544
calibrating video signals with III-541
described III-540
in Waveform Monitor III-537