Apple Final Cut Pro 6 - Manual (Page 2030)

Index 547
external monitors I-219, I-221, II-278
input and output devices I-172
inputs I-162
logging tapes I-310
switching I-205
synchronizing I-200
troubleshooting I-203, IV-438
video signals I-178–I-182
video switchers II-268
warnings I-225
video filter icon IV-36
video filters I-128, II-279, III-241–III-252, IV-144
advantages of III-217
After Effects filters III-240
applying III-218–III-222
categories III-224
copying and pasting into clips III-231–III-232
filter bars III-230
FxPlug plug-ins III-234–III-235
FXScript III-234, III-235
keyframing III-218
multiple filters III-222, III-605
rearranging III-231
removing III-232
settings III-223–III-226
using controls III-226–III-230
Video Format option IV-264
video formats III-424
characteristics IV-375–IV-393
data rates IV-401
Final Cut Pro-supported IV-398–IV-401
frame rates IV-385
high definition video IV-399–IV-401
history of IV-401–IV-403
supported IV-398–IV-401
video frames IV-375, IV-382
video generator icon IV-35
videographers IV-477
video inputs I-162
Video Insert control IV-203
video interfaces I-189
advantages I-174
choosing I-175–I-177
PCI cards I-176
settings I-224
setup I-162
switching I-231
video latency I-230
video levels
analog video III-536
capture settings I-266
measurements III-536
Video Levels setting IV-139
video monitors
vs. broadcast monitors I-220
color and I-219
connecting I-173, I-219
NTSC video monitors I-219
PAL video monitors I-220
video monitors. See broadcast monitors
Video Processing tab III-659, III-662–III-667, IV-365
video rates II-448, II-449
video render bars I-123, I-320
video render status bar III-647
video scopes IV-477
display options III-519–III-521
Histogram III-517–III-518
in Final Cut Pro III-512–III-523
in real time III-522
Parade scope III-518–III-519
Vectorscope III-515–III-516
Waveform Monitor III-513–III-514
Video Scopes tab III-551, III-552, IV-477
opening in the Tool Bench III-512
options III-513
video signals I-178–I-182, IV-378
video switchers II-268, IV-477
Video tab I-76, IV-201, IV-201–IV-205
videotape
as acquisition media I-235
archiving IV-24
assemble editing to tape IV-199
audio on I-23
blacking IV-194–IV-195
blacking tapes I-268
capturing entire tapes I-281–I-285
color correction III-550
cueing IV-194, IV-213
device control presets IV-354
duplicate timecode numbers I-267–I-269
dynamic range III-67
editing methods IV-197–IV-200
Edit to Tape operations IV-190, IV-201–IV-218
equipment choices IV-187
formats IV-187, IV-398
labeling I-249, I-250
labeling audio levels III-68
master IV-139
organizing IV-146–IV-147
output requirements IV-189
output settings IV-191
outputting to I-219
playback settings IV-193
printing to VHS IV-225
Print to Video operations IV-190, IV-219, IV-220–
IV-222
recording from Timeline IV-191
recording to IV-191–IV-195, IV-197–IV-218,
IV-219–IV-225
reel names I-256
source IV-146–IV-147
television broadcast I-219