Using effects, filters, and transitions – Apple Cinema Tools 4 User Manual
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• If you are going to export an audio Edit Decision List (EDL), you need to limit the audio
to the first eight tracks in the Final Cut Pro Timeline. See
for
more information.
Using Effects, Filters, and Transitions
Final Cut Pro and other Final Cut Studio applications provide extensive effects capabilities
for video, including common film effects such as dissolves, wipes, motion effects, titles,
color correction, and compositing. If your final output uses standard broadcast SD or HD
resolutions, these effects can often be included directly in the final output. However, if
your output is going to be higher-resolution video for digital projection (such as a 2K
DPX image sequence), if the output will be converted to film using a digital film printer,
or if you intend to conform the original camera negative, these effects will generally be
used only to preview the final effect, which will be created at a visual effects facility.
Effects and transitions are usually created for digitally edited film in the following ways
(because of the changing and diverse nature of the industry, your actual experience may
vary):
• Basic transitions, titles, and motion effects for DI workflows: These effects are typically
re-created by a digital visual effects facility. The facility uses a Cinema Tools–generated
film list to either pull the already scanned DPX image sequences for the required video
or have high-quality scans of the original film made, providing final-resolution video
clips to work with. See
Special Considerations for Effects in a DI Workflow
for more
information.
• Basic transitions, titles, and motion effects for film workflows: These effects are typically
re-created by a facility specializing in optical or contact printing, which uses the
instructions given in a Cinema Tools–generated film list. Certain types of transitions
can be created through contact printing (sometimes called A/B roll printing), where the
emulsion sides of the original camera negative and the print stock are in contact as
the original film is projected onto the print stock. Transitions, titles, and motion effects
can be made through optical printing, where effects are created via a process of
manipulating and projecting the original camera negative onto print stock through
the lens on an optical printer. This process is often called creating opticals. See
for more information about factors to consider when
choosing whether to use optical printing or contact printing.
• Complex effects that involve compositing for all workflows: Effects such as chroma-keying,
animation, and repositioning can be re-created digitally at high resolution at a digital
visual effects facility.
If you are using a DI workflow that uses low-bandwidth versions of the program’s clips,
draft versions of the effects are made and edited into the program, replacing the
temporary placeholder effects (if present). The original high-resolution effects are used
during the finishing process.
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Chapter 9
Editing with Final Cut Pro