Apple Final Cut Pro 6 - Manual (Page 2022)

Index 539
poster frames I-70
scrubbing through I-65, IV-320
thumb tabs I-117, IV-474
.tif extension IV-296
TIFF format I-316, I-328, IV-228, IV-230, IV-234,
IV-285, IV-296, IV-474
timbre III-21
time
available capture time I-240
listing for batch captures I-276
timebase (video rate) II-448, II-449
timecode I-25–I-26, IV-410–IV-416
24 @ 25 timecode II-451
60 fps timecode II-451
60 @ 30 timecode II-441
absolute and relative values II-352
accuracy of IV-145
analyzing in media files IV-123
audio I-110, I-304
audio from non-timecoded sources III-200
auxiliary timecode II-47
batch capturing and I-272
in batch lists I-311
blacking video IV-195
breaks IV-146, IV-441
Browser columns for II-446
calibrating IV-145, IV-194, IV-353, IV-357–IV-359
capturing IV-354–IV-355
capturing footage without I-286
clip duration and II-104
clip time vs. source time II-443
compared to frame rates II-440, IV-413
compared to video rates II-448
comparison chart IV-414
consumer mini-DV devices IV-194
custom hour numbers I-250
default mode in presets IV-352
described I-25, II-439, IV-410, IV-475
determining type of IV-410
device control presets IV-352
display options II-440–II-445
dragging values to other fields I-108
drop frame and non-drop frame I-26, I-125, I-254
drop frame timecode II-441, IV-139, IV-411–
IV-416, IV-455
duplicate timecode II-440
duplicate timecode numbers I-267–I-269
DVCPRO HD format and IV-209
edit to tape operations IV-203
EDLs and III-199, IV-130, IV-145, IV-147
ending timecode II-84
entering I-52
feet + frames timecode II-441
format of IV-410
gaps I-293
In and Out point settings II-104
incoming clips II-364
leader and trailer elements IV-208
longitudinal timecode IV-352, IV-414
LTC IV-414
marker duration and II-68
Media Manager operations and IV-99
merged clips and II-46, II-449
modifying II-446–II-450
moving clips with II-190–II-193, II-353
moving markers with II-65
moving playhead III-225
multiclip sequences and II-247, II-251
multiple camera shoots II-243
navigating with I-107–I-108, I-133
non-drop frame timecode II-441, IV-410–IV-416,
IV-463
NTSC footage and I-238
offset IV-357, IV-358–IV-359
overlapping II-253, II-259–II-260
overlays I-85, I-109, I-110, II-445
precision editing II-351
problems with IV-441, IV-442
QuickTime files IV-231
rates in sequence presets IV-363
recapturing process and II-446
searching for items by II-183–II-184
serial connection IV-356
sliding clips with II-320
slipping clips with II-324
source timecode II-440
speed settings and III-363
starting timecode II-84, II-253, II-257–II-258
start time I-125, IV-139
sync color coding I-109, I-110
synchronized audio and video capture I-308
synchronizing merged clips with II-46
synchronizing multiclips with II-249, II-255
timecode breaks I-279, I-289–I-293
timecode burn-ins I-311
timecode gaps IV-475
timecode tracks II-443, IV-125, IV-200, IV-229
transferring audio to timecoded media I-306
trim edits and II-354
in Trim Edit window II-363
understanding IV-15
user-programmable IV-146
vertical interval timecode IV-352, IV-414
video I-110
on videotape IV-413
window burns II-445, II-452
timecode breaks
accounting for I-273
avoiding I-289
capturing process and I-289–I-293
capturing techniques I-279
recapture process and I-294