Apple Final Cut Pro 7 - Manual (Page 17)

Managing Media and Motion Analysis Data 1268
Improving SmoothCam Filter Results and Troubleshooting 1268
Creating Titles 1271 Chapter 75
How You Can Use Titles in Your Project 1271
Installing and Choosing Fonts 1272
Making Sure Titles Fit on TV Screens 1272
Text Generators Available in Final Cut Pro 1273
Creating and Adding a Title Clip 1276
Other Options for Creating and Adding Titles 1279
Working with Motion and Shake 1281 Chapter 76
Using Motion with Final Cut Pro 1281
Using Shake with Final Cut Pro 1286
Working with Master Templates 1289 Chapter 77
About Motion Template Files and Master Templates 1289
Working with Master Templates 1290
Modifying Master Templates 1295
Converting a Template Clip to a Motion Project 1297
Installing Motion Template Files for Use in Final Cut Pro 1298
Measuring and Setting Video Levels 1299 Chapter 78
RGB Color Model 1299
Y
′
C
B
C
R
Color Model 1300
Measuring Video Levels with the Final Cut Pro Video Scopes 1304
Preventing Illegal Broadcast Levels 1315
Displaying Excess Luma and Chroma Levels in the Viewer and Canvas 1317
Using the Broadcast Safe Filter 1318
Using the RGB Limit Filter 1323
Working with Analog Video 1325
Using Color Bars for Video Calibration 1331
About Color Correction 1337 Chapter 79
Why Color Correct Your Footage? 1337
Color Correction Starts During Your Shoot 1339
Managing Color During Post-Production 1340
The Final Cut Pro Color Correction Process 1342
Color Correction Features 1345 Chapter 80
Color Correction Features in Final Cut Pro 1345
Using Scopes Versus Looking at an External Monitor 1346
Window Layouts for Color Correction in Final Cut Pro 1347
17 Contents