Real-Time Support for MPEG IMX at 30 Mbps
Final Cut Pro 5.1.2 solves an issue that allows real-time playback and effects support for MPEG IMX at 30 Mbps (this includes both NTSC and PAL standards).
PCI Express Card Compatibility
When using a Mac Pro computer, there are restrictions concerning which slot you can install a PCI Express card into. For more details, see the documentation for the Expansion Slot Utility included with the Mac Pro computer.
Changing Broadcast WAVE Audio File Timecode to Drop Frame
When you import Broadcast WAVE files into Final Cut Pro, the timecode within the file is always interpreted as non-drop frame timecode. To modify the timecode of a Broadcast WAVE file to drop frame: 1 In the Browser, select the audio clip whose timecode you want to modify. 2 Choose Modify > Timecode, then choose Drop Frame from the Format pop-up menu.
Select Previous and Next Tab Commands
In Final Cut Pro 5.1.2, you can move through the tabs of the active window using the following keyboard shortcuts: Select Previous Tab: Command-[ Select Next Tab: Command-] These commands appear in the Tools category within the Button List window. Choose Tools > Button List (or press Option-J) to open the Button List window.
Managing and Revealing Master Clips
In previous versions of Final Cut Pro, affiliate clips shared data with a master clip stored in the Browser. If you deleted the master clip, a dialog would appear requesting confirmation that you wanted to break the master-affiliate clip relationship. If you clicked OK, all of the affiliated clips would become independent. In Final Cut Pro 5.1.2, deleting a master clip no longer breaks the relationship between affiliated clips. Instead, the master-affiliate clip relationship still exists even when the master clip in the Browser is deleted. No dialog appears when you delete a master clip. Also, when you open an older project in Final Cut Pro 5.1.2, master clips are no longer created in the Browser. To create master clips for your sequence clips, you can use the Create Master Clips command described below. To create one or more master clips from independent sequence clips: m Select one or more independent sequence clips and drag them from the sequence to the Browser. Master clips are created for each independent clip dragged to the Browser.
To create master clips for one or more selected sequences in the Browser: 1 Select one or more sequences in the Browser. If no sequences are selected, Final Cut Pro behaves as though all sequences are selected. 2 Choose Tools > Create Master Clips. If one sequence was selected, a bin named after the sequence is created, containing master clips for each independent clip in the sequence. If multiple sequences were selected, a bin named after the project is created, containing master clips for each independent clip in the selected sequences. To create a new master clip in the Browser using the Reveal Master Clip command: 1 In the Timeline, select (or move the playhead over) an affiliate sequence clip that no longer has a master clip in the Browser. 2 Choose View > Reveal Master Clip (or press Shift-F). A dialog appears asking if you want to create a new master clip. 3 Click OK to create a new master clip in the Browser. A master clip for all affiliated clips is created in the Browser. To make all clips in a sequence independent: m Select a sequence in the Browser, then choose Modify > Make Sequence Clips Independent.

Multiclip Master Clips and Project Size Reduction
Multiclips now have a master-affiliate relationship that allows angle information to be shared among multiple instances of a multiclip. This relationship significantly reduces the file size of projects that contain a large number of multiclips. In previous versions of Final Cut Pro, every instance of a multiclip was completely independent. In Final Cut Pro 5.1.2, the first instance of a multiclip is considered a master multiclip. Copies of this clip, created by duplicating the multiclip in the Browser or editing it into a sequence, are considered affiliate multiclips. However, when you perform an operation on a multiclip that affects its angle structure, such as adding, deleting, or rearranging the order of multiclip angles, the modified multiclip loses its affiliation with the original master multiclip, and a new master multiclip is automatically created. Note: The new master multiclip does not automatically appear in the Browser, but if you attempt to reveal the master multiclip for a multiclip whose angles you just restructured, Final Cut Pro asks if you want to create a master multiclip in the Browser.
To reveal an affiliate multiclips master multiclip in the Browser: 1 Select a multiclip in a sequence or in the Browser. 2 Choose View > Reveal Master Multiclip. The master multiclip appears in the Browser, selected. If the multiclip has no master multiclip, Final Cut Pro asks if you want to create one. 3 Click OK to create a new master multiclip in the Browser. The new master multiclip is selected in the Browser. Note: You cannot make multiclips in a sequence independent. Multiclips in a sequence are always affiliated with a master multiclip.
Video Scopes Issues Fixed
Final Cut Pro 5.1.2 corrects the following issues in the Video Scopes tab that occurred in previous versions of Final Cut Pro: Not every line of video was analyzed. Video scopes did not update in real time during playback. Video scopes updated slowly while the playhead was scrubbing. To open the Video Scopes tab: m Choose Tools > Video Scopes (or press Option-9). Full-Line Video Analysis In previous versions of Final Cut Pro, the video scopes analyzed half the pixels of 16 lines of video. In Final Cut Pro 5.1.2, you can choose three levels of accuracy from the Real Time Effects (RT) pop-up menu in the Timeline: All Pixels: Every pixel of every video line is analyzed and pixel values are displayed in the Video Scopes tab. The word all appears in the lower-right corner of the Video Scopes tab. All Pixels Except Top & Bottom: Displays every line except the top nine and bottom nine lines, which are reserved for signals such as closed captioning. The word most appears in the lower-right corner of the Video Scopes tab. Select Pixels (Fastest): This mode has the same accuracy as the video scopes in previous versions of Final Cut Pro. This is also the mode used during real-time playback. Important: The accuracy level you choose here affects video scopes when the playhead is paused or scrubbing; real-time video scopes updating always uses the Select Pixels (Fastest) option. The lower-right corner of the Video Scopes tab indicates the Scope Display option selected in the RT pop-up menu.

Note: Preferred effects settings are not affected if you delete your Final Cut Pro preferences file. The following list shows Motion FxPlug plug-ins that closely match the behavior of existing FXScript plug-ins in Final Cut Pro, but whose names are slightly different:
FXScript (Final Cut Pro) Basic Border Brightness and Contrast Brightness and Contrast Blue and Green Screen Spill Suppressor - Blue Spill Suppressor - Green Gamma Correction FxPlug (Motion) Simple Border Brightness Contrast Blue Green Screen Spill Suppressor Gamma
Note: In Final Cut Pro 5.1.2, three additional video filter bins appear in the Effects tab and Effects menu: Glow, Tiling, and Time. Identifying Video Filters in the Filters Tab of the Viewer You can identify FxPlug plug-ins in the Filters tab of the Viewer by moving the pointer over the filter name and then waiting until a tooltip appears. FxPlug plug-ins are identified with the word FxPlug after the filter name. Identifying Video Effects in the Find Results Window If you use the Find command to search for effects, keep in mind that the Find Results window does not display the Effect Class column, which helps to distinguish between FXScript and FxPlug plug-ins. If you see duplicate filters in the Find Results window after using the Find command, you can identify each effect by selecting it in the Find Results window and then clicking Show in Browser. Final Cut Pro displays the selected filter in the Effects tab, where you can identify the effect by looking in the Effect Class column. Moving Projects Between Systems If you have a project that uses particular FxPlug plug-ins, you need to install those plug-ins on each machine where you want to open the project. If you open a project on a system that does not have the necessary FxPlug plug-ins installed, Final Cut Pro warns you that plug-ins are missing, although it does not specify which ones. Note: When sending sequence clips from Final Cut Pro to a Motion project, effects are not preserved. When moving projects from one system to another, be aware that the capabilities of each computers graphics card may be different, limiting which FxPlug plug-ins you can render at high resolution and high-precision YUV quality. For more information, see Real-Time Playback and Rendering, next.
Real-Time Playback and Rendering Unlike FXScript plug-ins, whose performance improves only with increased RAM and CPU processing power, many FxPlug plug-ins achieve high performance by processing effects with your computers graphics card. Upgrading your graphics card or switching to a system with a better graphics card can improve FxPlug plug-in performance. Using very high-resolution clips or turning on high-precision rendering in your sequence settings may exceed the capabilities of older graphics cards. In these circumstances, Final Cut Pro displays one of the following warnings: Rendering the effect in high-precision requires a graphics card with more capabilities: Your graphics card does not support high-precision rendering. The effect cannot be rendered in a sequence of this size with the current graphics card: Your graphics card supports high-precision rendering, but the dimensions of the sequence containing clips with applied FxPlug filters are too large for the graphics card. The effect cannot render this media at full resolution. The media will be scaled in order to render: Your graphics card has enough memory to store the sequence dimensions, but the clip with an applied FxPlug filter is too large for the graphics card. When you enable high-precision rendering in your sequence settings, some systems with older graphics cards may be able to play back clips with FxPlug plug-ins in real time, but may not be able to render those clips. Keep in mind that a green render status bar indicates only the real-time playback status of a clip in the Timeline; it does not indicate whether or not it is possible to render that clip. In these cases, disable high-precision rendering in the Video Processing tab of the Sequence Settings window or move your project to a system with a more powerful graphics card. To improve FxPlug plug-in real-time performance, try the following: m Hold down the Option key when scrubbing through video clips with filters applied. This works for both FXScript and FxPlug plug-ins. m Turn off the Digital Cinema Desktop playback option by choosing View > External Video > Off.

FxPlug Restrictions and Troubleshooting When using FxPlug plug-ins with Final Cut Pro, the following restrictions apply: Some plug-ins with custom controls are not supported. Onscreen controls, such as control points in the Viewer and Canvas, are not supported. Effects that result in subtle gradations (such as a Gradient generator or Gaussian Blur filter) can cause colored vertical banding after rendering. This kind of banding is likely an artifact of rendering in a low-resolution codec (such as DV) and not an issue with the filter. Try setting your sequence settings to an Uncompressed 8- or 10-bit sequence preset instead. FxPlug plug-ins that render in RGB color space may cause clipping, especially when applied to YCBCR clips with high chroma or luma values. This may be particularly noticeable when applying an FxPlug filter to a range of a clip, instead of an entire clip.
Full Frame Bars and Tone Generators for 25 fps (PAL) Formats
The following PAL-compliant Bars and Tone generator clips have been added to Final Cut Pro 5.1.2: Bars and Tone (HD 25p/50i Full Frame) Bars and Tone (PAL Full Frame) Also, the Bars and Tone (HD 1080i50) generator has been renamed Bars and Tone (HD 25p/50i). In the Mastering Settings tab in the Edit to Tape window, you can now choose the Full Frame Bars option when the current device control preset has a frame rate of 25 fps (PAL). When you select this option, full-frame bars are output to tape. When this option is not selected, SMPTE bars are output just as in earlier versions of Final Cut Pro. Note: If the current device control preset does not have a frame rate of 25 fps, this option is unavailable.
Gamma Control for Imported Still Images
Because many graphics applications do not embed gamma information in still-image files, Final Cut Pro 5.1.2 allows you to define the gamma setting of imported still-image clips. You may want to adjust the gamma of an imported still image when: You know its gamma value but Final Cut Pro cannot determine the value automatically You want to control image brightness, especially when you need to match a still image to similar-looking video clips A still-image clips Gamma Level property tells Final Cut Pro what brightness curve it should assume the clip has. Final Cut Pro compensates for the Gamma Level property by applying an opposing brightness curve to the still-image clip.

Tip: To see how a clips gamma affects its brightness, try changing the Gamma Level property of a clip while viewing the clip in the Viewer or Canvas.
To view the Gamma Level column in the Browser: m Control-click in any column in the Browser, then choose Show Gamma Level from the shortcut menu. To change the Gamma Level property of a single clip in the Browser: 1 Select a clip in the Browser. 2 Click in the Gamma Level column next to the selected clip, enter a value between 0.01 and 10.00, then press Enter. To change the Gamma Level property of multiple still-image clips in the Browser: 1 Select multiple clips in the Browser. 2 Control-click in the Gamma Level column, then choose Source, 1.8, or 2.2.
Choosing Audio Mapping for Multichannel Audio Output
If you have a VTR or audio device that supports RS-422 remote control, you can enable recording of individual audio channels during output with the Edit to Tape window (also known as insert editing). Final Cut Pro 5.1.2 allows you to enable recording of up to 16 individual audio channels for insert editing. Note: If you use FireWire or the Print to Video command for output to tape, you can skip this section. You can record-enable individual audio channels in the Edit to Tape window by choosing channels from the Audio Insert pop-up menu.

Audio Insert pop-up menu

When you start the output process, Final Cut Pro sends a channel insert message that tells the deck which channels you chose from the Audio Insert pop-up menu. However, different decks expect audio channel information to be in different places within the message, potentially leading to unexpected enabling or disabling of channels. To ensure that Final Cut Pro sends audio channel insert information in the proper format, you need to choose an audio mapping setting in your device control preset before you edit to tape. Important: The audio mapping setting does not determine which audio channels are inserted. Instead, it determines the format in which Final Cut Pro communicates which audio channels to insert. The following chart shows some common video and audio recording decks and the appropriate audio mapping setting for each.
Recording device Sony UVW-1800, Sony BVW-70 (BetacamSP) Sony DVW-500 (Digital Betacam), Sony HDW-2000 (HDCAM), Panasonic AJ-SD930 (DVCPRO 50) Sony MSW-2000 (IMX), Panasonic AJ-HD3700 (D5-HD) Tascam DA-98 Sony SRW-5505 (HDCAM SR) Channels available for insertion on deck 2 channels 4 channels Audio mapping 2 channels 4 channels

8 or more channels 8 channels 12 channels
8 channels 8 channels (legacy) 12 channels
If you are uncertain which audio mapping setting to use for your deck, here are several guidelines: 2 channels: Older decks that only have analog audio inputs (for example, BetacamSP and U-Matic 3/4") typically allow two channels of audio insert editing. Note: Some BetacamSP decks have four audio channels, but channels 3 and 4 cannot be inserted independently from the video channel (thus these decks are still considered two-channel decks for the purpose of audio insert editing). 4 channels: Many professional digital video decks today (Digital Betacam, DVCPRO 50, HDCAM) support at least four channels of audio insert editing. 8 channels: Some newer digital video decks (D5-HD, IMX) support eight channels of audio insert editing. 8 channels (legacy): Several older audio-only decks such as the Tascam DA-98 support eight-channel insert editing, but they communicate differently than newer digital video decks. If you are using a Tascam DA-98 or similar device, try this option. 12 and 16 channels: Newer high definition HDCAM SR decks support 12 channels of audio insert editing.

EDL Import and Export

A number of EDL import and export issues have been resolved: Final Cut Pro warns you when exporting an EDL containing clips without reel names. EDLs with drop frame timecode no longer contain invalid frame numbers (for example, 01;01;00;00 and 01;01;00;01) at 1-minute transition points. EDLs exported from mixed-rate sequences (sequences containing clips whose frame rate and timecode do not match) no longer have invalid timecode. The following types of EDLs now have accurate timecode: EDLs generated from Panasonic VariCam footage 30 fps EDLs containing 24 fps clips EDLs generated from sequences containing both 29.97 and 25 fps footage
Final Cut Pro XML Interchange Format
In previous versions of the Final Cut Pro XML Interchange Format, importing XML could generate new project items (bins, sequences, clips), but existing project items could not be updated. Final Cut Pro 5.1.2 supports version 3 of the Final Cut Pro XML Interchange Format, which allows imported XML to modify existing items in your project. For a complete list of Final Cut Pro XML Interchange Format updates, see the documentation for the Final Cut Pro XML Interchange Format at http://developer.apple.com/appleapplications.
QuickTime Metadata Support
Final Cut Pro 5.1.2 adds support for QuickTime metadata elements stored within QuickTime movie files. Any metadata stored in a QuickTime movie that Final Cut Pro uses is: Accessible and modifiable via the Final Cut Pro XML Interchange Format Maintained by Media Manager Copy, Move, and Remove Unused operations Maintained when using the Export QuickTime Movie command Metadata is also cached within Final Cut Pro project elements so that it is still available via the Final Cut Pro XML Interchange Format when a media file is offline. After adding or changing metadata within Final Cut Pro project elements, you can update metadata in the corresponding QuickTime media files using the Reconnect Media command. For more information about working with metadata within QuickTime movies, go to http://developer.apple.com/appleapplications.

Support for Apple Events

Final Cut Pro 5.1.2 responds to seven custom Apple events, allowing developers to write software that can externally modify projects, clips, and sequences directly within Final Cut Pro. By combining Apple events and version 3 of the Final Cut Pro XML Interchange Format, you can easily customize Final Cut Pro to fit your post-production pipeline. For details about custom Apple events, go to http://developer.apple.com/appleapplications.
Previous Release Information About Final Cut Pro 5.1.1
Final Cut Pro 5.1.1 optimizes application compatibility on specific hardware and fixes critical bugs.
Real-Time Processing on Intel-Based Macintosh Computers
Final Cut Pro 5.1.1 resolves a real-time processing issue on Intel-based Macintosh computers.
Intel-Based Macintosh Canvas Display Issue Resolved
Final Cut Pro 5.1.1 resolves an issue with display errors in the Canvas window on Intel-based Macintosh computers.
Issue with Import Panasonic P2 and 720p/24PN Footage Resolved
Final Cut Pro 5.1.1 resolves an issue in using the Import Panasonic P2 feature with 720p/24PN footage resulting in duplicate frames in rendered sequences.
Previous Release Information About Final Cut Pro 5.1
This version of Final Cut Pro is designed to run natively on both PowerPC-based and Intel-based Macintosh computers.
Installing Final Cut Pro 5.1
Final Cut Pro 5.1 uses the new Universal application format, so the entire application must be installed (as opposed to updating your existing Final Cut Pro 5 application). For more information, see Installing Your Software.
Removing Duplicate Frames During Import from Panasonic P2 Media
Using a new option in the Import Panasonic P2 window, you can now remove duplicate frames when transferring footage to your scratch disk. This option provides several benefits: the transferred QuickTime files require less disk space and they can be edited at their native frame rate.
Format on P2 media 720p60 720p60 480i60 1080i60 Camcorder recording mode 24p 30p 24p (advanced pulldown) 24p (advanced pulldown) Original data rate 100 Mbps 100 Mbps 25 Mbps 100 Mbps Format on scratch disk 720p24 720p30 480p24 1080p24 Scratch disk data rate 40 Mbps 50 Mbps 20 Mbps 80 Mbps
DVCPRO HD Frame Rate Converter Plug-in
The DVCPRO HD Frame Rate Converter plug-in is now available in the Extras folder of the Final Cut Studio 5.1 installation disc. This plug-in processes 720p60 DVCPRO HD footage shot with a variable frame rate. Installation instructions and documentation for the plug-in can be found in the same folder.

Shuttle Control Issue with Wacom Tablets Resolved
Final Cut Pro 5.1 resolves an issue in which the shuttle controls in the Viewer and the Canvas did not function with Wacom tablets.
Issue with Play to Next Marker and Play Current Marker Resolved
Final Cut Pro 5.1 resolves an issue in which the Play to Next Marker and Play Current Marker commands (available when you choose Tools > Button List and click the Transport disclosure triangle) would play one too many frames, and then back up and stop on the correct frame.
XML File Import Issue Resolved
Final Cut Pro 5.1 resolves issues in Final Cut Pro 5.0 and later versions involving importing XML files, telecine logs (FLEx files), and Avid Log Exchange (ALE) files.
Autosave and Auto Render Alert Message Issue Resolved
Final Cut Pro 5.1 resolves performance and reliability issues involving the display of Autosave, Auto Render Complete, and Drop Frame alert message dialogs.
Third-Party Video Plug-in Support
Final Cut Pro 5.1 does not support Adobe After Effects plug-ins on Intel-based Macintosh computers. Note: Boris Calligraphy has been updated for Final Cut Pro 5.1, and is supported on both PowerPC-based and Intel-based Macintosh computers.
Final Cut Pro 5.1 Project Format
The Final Cut Pro 5.1 project format has been updated, so you cannot open Final Cut Pro 5.1 projects in previous versions of Final Cut Pro.
Previous Release Information About Final Cut Pro 5.0.4
The following information was included with Final Cut Pro 5.0.4, a maintenance release of Final Cut Pro 5 that resolves performance and other issues.
Performance Issue Resolved
Final Cut Pro 5.0.4 improves the performance of the application with sequences that exceed 1 hour in duration or contain many markers.
720p Captures with PCI Cards
Final Cut Pro 5.0.4 addresses an issue with 720p captures using PCI cards, which sometimes resulted in problematic captures.
Video and Audio Sync with Panasonic DVCPRO 50 Devices
Final Cut Pro 5.0.4 resolves an issue in which media captured via FireWire in the DVCPRO 50 format may have had a variance in video and audio sync of as much as 1.5 frames.
Panasonic AG-HVX200 Support
Final Cut Pro 5.0.4 enables the Panasonic AG-HVX200 camcorder to be recognized for most Final Cut Pro operations, including Log and Capture and Print to Video. If you use the Panasonic AG-HVX200 to shoot on the camcorders P2 solid-state memory cards, you have the following options (described below) for getting media into Final Cut Pro: Using the Camera as a P2 Card Reader over FireWire (p. 24) Capturing over FireWire as if the P2 Card Were a VTR (p. 25) Inserting the P2 Card into the PC Card Slot of a PowerBook (p. 26) Using a USB 2.0 P2 Card Reader or P2 Store Drive (p. 27) Note: If you use the camcorder to shoot on DV or DVCPRO tape, Final Cut Pro can access the camcorder using FireWire device control, as is done with any other DV camcorders and decks. This tape-based method is limited to DV-25 formats. For more information about this camcorder or the Panasonic P2 products, go to http://www.panasonic.com/broadcast. Preparing the AG-HVX200 The AG-HVX200 camcorder requires some configuration in Camera mode before you can use it to capture or import P2 media. To adjust the AG-HVX200 Camera mode settings for capture and import: m The camcorders Record setting must match the format of the clips you want to play back. For example, if the clips on the P2 card are 720/60p, choose 720/60p in Camera Record mode before attempting to capture or import in Final Cut Pro. Note: A quick way to confirm that you have the correct format selected is to look at the thumbnails in VCR mode. If the clip numbers are black, you can capture or import the clips. If they are red, you have a mismatch and you must first change the Record setting. m Depending on which of the import or capture methods you use, you must first set the camcorders PC Mode. In Camera mode, press the Menu button and choose Other Functions/PC Mode/. Then select one of the following: USB device (for USB connections) 1394 device (for FireWire connections) (Select 1394 device for the first two methods described below.) 1394 host (for FireWire transfers without a computer)

Importing P2 Media from a Hard Disk This procedure is almost identical to importing from a P2 card. To import P2 media from a hard disk: 1 Choose File > Import > Panasonic P2. 2 Click the Add Path (+) button to the right of the Volumes/Paths pop-up menu. An Open dialog appears. 3 Select a folder that contains Panasonic P2 media, then click Open. 4 In the Reel Name field, enter a reel name for the selected folder. 5 When the list of media files appears in the Import Panasonic P2 window, do one of the following: Select one or more media files to be imported, then click Import. Click Import All to import all the media files in the selected folder. Warning: Final Cut Pro only recognizes P2-compliant folders that include the original media files, descriptive metadata, and a corresponding set of XML index files. If you need to copy the contents of a P2 card to a hard disk, duplicate the contents without making any changes. (Dont copy only the CONTENTS folder; copy the enclosing folder.) For additional information about SD and HD formats and about working with P2 cards, see the Working With High Definition and Broadcast Formats document. To access the document: m In Final Cut Pro, choose Help > HD and Broadcast Formats.
Previous Release Information About Final Cut Pro 5.0.3
The following information was included with Final Cut Pro 5.0.3, which improves multiclip and multichannel audio reliability. The issues listed below have been resolved.

Working with Multiclips

Matching Frames When Working with Multiclips Several multiclip match frame issues in Final Cut Pro 5.0.2 and earlier have been resolved: Choosing View > Match Frame > Master Clip would sometimes open a master clip in the Viewer without audio items. Now, both video and audio items are opened. Choosing View > Match Frame > Multiclip Angle for a multiclip whose angles have offset sync points would open certain angles with the playhead positioned on the wrong frame. Now, multiclip angles open with the playhead positioned on the proper frame.
Setting In and Out Points in a Multiclip In Final Cut Pro 5.0.2 and earlier, multiclip In and Out points were removed if you switched the active angle. Now, In and Out points remain when you switch the active angle. Setting Markers in a Multiclip In Final Cut Pro 5.0.2 and earlier, markers added to an angle of a sequence multiclip disappeared if you switched the active angle. Now, markers remain when you switch the active angle. Reduced File Sizes with Duplicated Multiclip Sequences File sizes of projects containing duplicated sequences with multiclips have been reduced.

Working with Multichannel Audio
Capturing Multichannel Audio In Final Cut Pro 5.0.2 and earlier, capturing lengthy media files with more than two channels of audio sometimes resulted in media files that were shorter than expected. This issue has been resolved. Exporting AIFF Files from a Sequence with Multiple Audio Outputs In Final Cut Pro 5.0.2 and earlier, exporting AIFF files from a sequence using the Channel Grouped option caused a General Error alert message to appear. In Final Cut Pro 5.0.3, AIFF files are properly exported without an alert message. Rendering Audio Items In some cases, in Final Cut Pro 5.0.2 and earlier, rendering stereo audio items created render files without stereo channel separation. This issue has been resolved. Sending Selected Audio Clip Items to a Soundtrack Pro Multitrack Project In certain situations in Final Cut Pro 5.0.2 and earlier, some audio clip items were omitted when sending selected audio clip items in the Timeline to a Soundtrack Pro multitrack project. This issue has been resolved.
Using Subclips with 24@25 Timecode
Final Cut Pro 5.0.3 resolves cases where subclips created from clips with 24@25 fps timecode had inaccurate timecode.
Using DVCPRO HD Easy Setups with Panasonic AJ-HD1200A (Japanese Version Only)
Final Cut Pro 5.0.3 updates the Japanese DVCPRO HD Easy Setups to properly communicate with Panasonic AJ-HD1200A VTRs.
Updating Uncompressed 8- and 10-Bit PAL Easy Setups
The field dominance settings of the capture and sequence presets within the Uncompressed 8- and 10-bit PAL Easy Setups are now both properly set to Upper (Odd). The Final Cut Pro 5.0.3 installer copies an updated version of these Easy Setups into each language folder within /Applications/Final Cut Pro Additional Easy Setups/. To make the Uncompressed 8- and 10-bit PAL Easy Setups available for use in Final Cut Pro: 1 In the Finder, navigate to /Applications/Final Cut Pro Additional Easy Setups/, then open the folder for the language you prefer. This folder contains the updated versions of the Uncompressed 8- and 10-bit PAL Easy Setups. 2 Choose File > New Finder Window (or press Command-N), then navigate to /Library/ Application Support/Final Cut Pro System Support/Custom Settings/. This folder contains the older version of the Uncompressed 8- and 10-bit PAL Easy Setups. 3 Select the updated version of the Uncompressed 8- and 10-bit PAL Easy Setups. Note: If you are using the Japanese version of Final Cut Pro 5.0.3, also include the Uncompressed 8- and 10-bit NTSC Easy Setups in your selection. 4 Do one of the following: Choose File > Copy (or press Command-C), click in the Custom Settings window, then choose File > Paste (or press Command-V). Option-drag the updated version of the Uncompressed 8- and 10-bit PAL Easy Setups to the Custom Settings window. Note: Users of the Japanese version of Final Cut Pro 5.0.3 must also Option-drag Uncompressed 8- and 10-bit NTSC Easy Setups. 5 If a Copy dialog appears asking if you want to replace the Easy Setup files, click Replace.

Choosing How Final Cut Pro Handles HDV Start/Stop Detection
When capturing HDV footage from a Sony HDV camcorder using Final Cut Pro 5.0.2, you can choose how Final Cut Pro creates media files and clips when start and stop indicators are detected. (Start/stop indicators occur on a tape in places where recording was stopped and then started again.) To choose how Final Cut Pro handles start/stop detection when capturing HDV footage: 1 If you have not already done so, choose Final Cut Pro > Easy Setup, then select an HDV Easy Setup from the Setup for pop-up menu. 2 Choose File > Log and Capture (or press Command-8), then click Clip Settings. 3 Click Create new clip on Start/Stop to select from the following two options: Start/Stop detection on: When the checkbox is selected, a new media file and corresponding clip are created each time Final Cut Pro detects start/stop indicators in the incoming HDV stream. Start/Stop detection off: When the checkbox is deselected, one continuous media file and corresponding clip are created, and start/stop indicators are ignored. Note: The option to turn off start/stop detection is available only when you capture HDV footage shot on a Sony camcorder. When capturing footage shot on a JVC HDV camcorder, the nature of the MPEG-2 stream requires creation of a new media file at each start/stop indicator.
Updating the IMX PAL Easy Setup
The field dominance settings of the capture and sequence presets within the MPEG IMX 8-bit PAL - 50 Mbs - 48kHz Easy Setup are now both properly set to Upper (Odd). The Final Cut Pro 5.0.2 installer copies an updated version of this Easy Setup into each language folder within /Applications/Final Cut Pro Additional Easy Setups/. To make the IMX PAL Easy Setup available for use in Final Cut Pro: 1 In the Finder, navigate to /Applications/Final Cut Pro Additional Easy Setups/, then open the folder for the language you prefer. This folder contains the updated version of the MPEG IMX 8-bit PAL - 50 Mbs - 48kHz Easy Setup. 2 Choose File > New Finder Window (or press Command-N), then navigate to /Library/ Application Support/Final Cut Pro System Support/Custom Settings/. This folder contains the older version of the MPEG IMX 8-bit PAL - 50 Mbs - 48kHz Easy Setup. 3 Select the updated version of the MPEG IMX 8-bit PAL - 50 Mbs - 48kHz Easy Setup. 4 Do one of the following: Choose File > Copy (or press Command-C), click the Custom Settings window, then choose File > Paste (or press Command-V). Option-drag the updated version of the MPEG IMX 8-bit PAL - 50 Mbs - 48kHz Easy Setup to the Custom Settings window. 5 If a Copy dialog appears asking if you want to replace the Easy Setup file, click Replace.

Working with HDV

Print to Video Limitations Using HDV Formats On computers with the minimum system requirements for HDV playback (1 GHz processor, 1 GB of RAM, and 167 MHz bus speed), the Print to Video command cannot be used if the Mirror on desktop option is turned on. To turn off the Mirror on desktop option: 1 Choose Final Cut Pro > Audio/Video Settings, then click the A/V Devices tab. 2 Deselect the Mirror on desktop checkbox. 3 Click OK. HDV Log and Capture Preview Is Disabled When a PCI Graphics Card Is Installed If your computer has a PCI graphics card installed and you are logging or capturing HDV footage, Final Cut Pro does not preview video or audio in the Log and Capture window. You can still log and capture, but you need to use your HDV camcorder display to preview video. Sony Native MPEG-2 Media Must Be Exported for Use in DVD Studio Pro Sony HDV media records MPEG-2 media using an open GOP structure, which means that B-frames in the MPEG stream may be reliant on frames in adjacent GOPs (groups of pictures). In some cases, using open GOP media in DVD Studio Pro can cause DVD decoder problems. This is particularly a problem at the start and end frames of the media files. To properly transfer open GOP MPEG-2 HDV media to DVD Studio Pro after capturing in Final Cut Pro, you should export your media from Final Cut Pro using the Export QuickTime Movie command. This command conforms the beginning of the MPEG-2 media to a closed GOP structure, which is compatible with DVD decoders.
HDV Footage with Timecode Breaks May Report a Stream Error During Capture If you choose the Abort Capture option from the On timecode break pop-up menu in the General tab of User Preferences, capturing stops when a timecode break is detected. Depending on the signal on tape, you may see one of two messages: A stream error message A timecode break error message

Capturing and Outputting

Capturing Footage Across Timecode Hour 23 and 00 Results in Two Clips When you capture footage that spans timecode hour 23 and timecode hour 00, Final Cut Pro handles this timecode transition as a timecode break. If you choose the Make New Clip option from the On timecode break pop-up menu in the General tab of User Preferences, Final Cut Pro creates two clips. The Media Start timecode of the second clip begins shortly after the pre-roll time specified in the Editing tab of User Preferences has passed. This provides sufficient pre-roll time for the VTR to recapture the clip later while avoiding the timecode break.

Importing and Exporting

Turning Off Internet Streaming Options When Exporting QuickTime Movies For best results, turn off Internet streaming options when using the Export Using QuickTime Conversion command. Avoid Using QuickTime for High Definition to Standard Definition Downconversion When converting high definition media to standard definition media, you should do one of the following: Use the Export Using Compressor command. Edit (or nest) high definition clips or sequences into a standard definition sequence with the appropriate settings, and then export the sequence. This option properly deinterlaces video before scaling, and then reintroduces interlacing after scaling. For example, if you want to export a high definition sequence to DV NTSC settings, create a sequence using the DV NTSC Easy Setup, drag the original high definition sequence into the DV sequence, and then export the DV sequence using the Export QuickTime Movie command. Note: Avoid converting high definition media directly to standard definition media by using the Export Using QuickTime Conversion command with Browser clips in your project. This approach may introduce interlacing artifacts when the video is scaled.

Installing Final Cut Pro 5
When you install Final Cut Pro 5, you can also install its accompanying applications Cinema Tools 3, Compressor 2, and LiveType 2. The Final Cut Pro 5 installer does not install Soundtrack or Soundtrack Pro. For more information about installing Final Cut Pro 5 and its accompanying applications, see the Installing Your Software booklet.
Corrections to Final Cut Pro Documentation
The following information covers corrections and updates to the documentation included with Final Cut Pro 5. Loading Final Cut Pro Settings and Plug-ins from a Network Server In the Final Cut Pro 5 User Manual (Volume IV, pages 304, 311, and 313) and in the New Features document, the feature that allows Final Cut Pro to load settings from a network server is described inaccurately. Each time Final Cut Pro is opened, it checks two local directories for Easy Setups, plug-ins, window and keyboard layouts, button bars, and so on. The local directories that Final Cut Pro checks are: /Users/username/Library/Preferences/Final Cut Pro User Data/ /Library/Application Support/Final Cut Pro System Settings/ In addition, Final Cut Pro can also check the directory path /Network/Library/ Application Support/Final Cut Pro/ for additional settings and plug-ins. This directory path is accessible if: Your computer is connected to a server using Mac OS X Server software Your system administrator has properly configured the accounts within your local network so that your computer has access to the directory /Network/Library/ Application Support/Final Cut Pro/ For more information about setting up accounts within your local network, contact your system administrator or see the documentation included with the Mac OS X Server software.
Using Merged Clips Within Multiclips The Final Cut Pro 5 User Manual (Volume II, page 248) incorrectly states that merged clips can be used when creating multiclips. Merged clips cannot be used as multiclip angles. Sending an Audio Clip to Soundtrack Pro from Final Cut Pro In the section of the Final Cut Studio Workflows document titled Sending a Clip From Final Cut Pro to the Soundtrack Pro Waveform Editor, step 1 is incorrect. The correct text is: Control-click the clip in either the Final Cut Pro Browser or Timeline, then choose Send to > Soundtrack Pro Audio File Project. Adding Effects to Multiclips In the Final Cut Pro 5 User Manual (Volume II, Chapter 16, page 285), the names of the multiclip filter overlays are incorrect. Share with Active Angle is now Apply to Source Angle (yellow overlay). Apply to Clip Only is now Apply to Multiclip (red overlay).
2007 Apple Inc. All rights reserved. Apple, the Apple logo, DVD Studio Pro, Final Cut, Final Cut Pro, Final Cut Studio, FireWire, LiveType, Mac, Macintosh, Mac OS, PowerBook, QuickDraw, QuickTime, Soundtrack, and Xsan are trademarks of Apple Inc., registered in the U.S. and other countries. Cinema Tools, Finder, and Safari are trademarks of Apple Inc. AppleCare is a service mark of Apple Inc., registered in the U.S. and other countries. Adobe and After Effects are trademarks or registered trademarks of Adobe Systems Incorporated in the U.S. and/or other countries. Intel, Intel Core, and Xeon are trademarks of Intel Corp. in the U.S. and other countries. OpenGL is a registered trademark of Silicon Graphics, Inc. PowerPC is a trademark of International Business Machines Corporation, used under license therefrom. Other company and product names mentioned herein are trademarks of their respective companies. February 20, 2007 019-0924

Final Cut Pro 7 Level One Exam Preparation Guide and Practice Exam
Final Cut Pro 7 Level One
Exam Preparation Guide and Practice Exam

Updated January 2011

Contents
About this Guide....3 About the Final Cut Pro 7 Level One Practice Exam..3 Becoming an Apple Certified Pro...4 Exam Details....5 Recommended Exam Preparation....5 Lesson One objectives....7 Lesson Two objectives....9 Lesson Three objectives....10 Lesson Four objectives....12 Lesson Five objectives....13 Lesson Six objectives...15 Lesson Seven objectives...16 Lesson Eight objectives....18 Lesson Nine objectives...19 Lesson Ten objectives....21 Lesson Eleven objectives....22 Lesson Twelve objectives....24 Lesson Thirteen objectives...25 Lesson Fourteen objectives....27 Taking the Final Cut Pro 7 Practice exam...28 Taking the Final Cut Pro 7 certification exam..30 Prometric Exam FAQs....30
TM and 2011 Apple Inc. All rights reserved. Other product and company names mentioned herein may be trademarks of their respective companies. Mention of third-party products is for information purposes only and constitutes neither an endorsement nor a warranty. Apple assumes no responsibility with regard to the selection, performance or use of these vendors or products.

About this Guide

This guide provides all the information that you need to prepare for the Final Cut Pro 7 exam to earn Apple Certified Pro Level One certification. From this guide you can:
Learn about Apple Certification. Find out how to take the exam or practice exam. Locate resources to help you prepare for the exam. Review the range of objectives that the exam may cover. Get a feel for the type of questions that appear on the exam.
About the Final Cut Pro 7 Level One Practice Exam
The practice exam is based on the objectives of the Level One Final Cut Pro End User certification exam. The content is similar to the actual exam and covers the exam objectives. However, the practice exam is about half the length of the real exam. While the actual certification exam includes 66 questions, the practice exam only includes 37 questions. Both exams are timed. You are allowed one hour to complete the practice exam. When you finish, you will see the correct answers so that you can identify the areas that you need to review. However, the actual Level One Final Cut Pro End User exam is an hour-and a-half exam and you wont see answers and explanations when you finish. Only your final score will be visible. Both exams display your results immediately after completing the exam. A score of 80% is considered passing (please note that passing the practice exam does not earn certification). The practice exam does not necessarily predict how well you will perform on the actual exam, although its a good indicator of areas that you need to review. Although the certification exam uses a random pool of questions, the types of questions in the practice exam mirror those found in the certification exam. Both exams include multiple-choice, fill-in-theblank and interactive-media questions. Some practice exam questions are similar in content, but worded differently. Some multiple-choice questions come from the actual exam, but include different distracters (wrong answers). The practice exam is a pre-certification exam. Passing the practice exam doesnt mean that youre certified; no certificate is awarded. You must pass the Level One Final Cut Pro 7 End User exam to earn your Level One certification. Because the practice exam doesnt count towards certification, you can make it an open-book test if you like. However, you wont be allowed to consult your book when taking the actual certification exam. To more accurately simulate the certification exam experience, you may want to take the practice exam without referring to your book or other resources.

Becoming an Apple Certified Pro
The Apple Training & Certification program is designed to keep you at the forefront of Apple technology. Certification creates a benchmark to demonstrate your proficiency in specific Apple technologies and gives you a competitive edge in todays evolving job market.
What is an Apple Certified Pro?
An Apple Certified Pro is a user who has reached the highest skill level in the use and operation of Apples Pro Applications as attested to by Apple.
How do I become an Apple Certified Pro?
To become an Apple Certified Pro, you must pass an online exam administered at an Apple Authorized Training Center (AATC). Some exams, including Aperture, may be taken online by individuals with a promotional code. Level One exams are administered at the end of specific courses at the centers. If you prefer to learn on your own or believe you already have the necessary skills, you may take the Aperture exam online for a fee. Level One certification attests to basic operational knowledge. Level Two certification attests to a deeper understanding of the application. Level Two exams can be taken only after Level One certification is earned. Class attendance is recommended, but not required. Final Cut Pro offers both Level One and Level Two certification. Final Cut Pro 7 Level One certification also counts towards Final Cut Studio Master Pro certification. Master Certification recognizes your skills with the entire product suite. Since workflow is such a significant component of Final Cut Studio, the curriculum requires you to earn certification in multiple applications
What are the benefits of being an Apple Certified Pro?
Beside differentiating you as a skilled user of an Apple application, becoming an Apple Certified Pro allows you to leverage the power of the Apple brand. When you pass a Certification exam, you receive an email with a PDF copy of your Apple certificate, along with instructions on how to order a printed or a printed and framed certificate. The email includes LinkedIn, Facebook, and Twitter icons to make it easy for you to share your certification news with your networks on these sites. You also receive a login for the Apple Certification Records System, where you can:
Update your profile information and opt in to display your Apple Certification(s) on the Apple Certified Professionals Registry. Review your certification progress. Download your certification logo(s) to use on business cards, resumes, websites, and more. Provide access to employers to verify your certifications.

Exam Details

The Final Cut Pro 7 Level One exam is a computer-based test offered at AATCs and Prometric Testing Centers. To find the closest AATC, please visit training.apple.com/locations. To find a Prometric Testing Center, visit www.prometric.com/apple. Many AATCs schedule Certification Exam sessions attraining.apple.com/ schedule. If you don't see a session scheduled at your nearest AATC, contact the AATC and they will often schedule a session. Please note thatall AATCs offer all Mac OS X and Pro Apps exams, even if they dont offer the corresponding course. The Final Cut Pro 7 Level One exam details:
Exam number: 9L0-827 Number of test questions: approximately 66 technical, five demographic (unscored). The exam uses a random pool of multiple-choice, fill-in-the-blank and interactive-media questions. Passing score: 80% (scores are not rounded; you must earn a score of 80% or higher to pass the exam). Details on exam scoring appear at training.apple.com/certification/faq. Exam duration: One hour thirty minutes. This exam is also available in other languages. For details, please visit training.apple.com/certification/localized.
The exam timer does not start until you view the first technical question. You may not access any resources or references during the exam.
Recommended Exam Preparation
We recommend the following exam preparation strategies:
Gain experience with the application. Learn from experts: FCP 101: Introduction to Final Cut Pro or FCP 102: Introduction to Final Cut Pro, Prime Time. Study the Apple Pro Training Series book Final Cut Pro 7 by Diana Weynand (ISBN 0-321-63527-3). Review the optional study materials. Review the objectives and sample questions in this guide.
Gain Experience with the Application
Nothing can substitute for time spent learning the technology first hand. After you read the book and/or take the class, spend time increasing your familiarity with the software on your own to ensure your success on the certification exam.

Learn from Experts

Apple Authorized Training Centers (AATCs) offer classes where you can learn hands-on with the technology and benefit from the expertise of Apple Certified Trainers and your peers. Visit the Apple Training & Certification website to find course offerings at nearby AATCs.
Study the Apple Pro Training Series Book
Apple Pro Training Series books are the basis for the related Apple Certification exams. The book for this exam is Apple Pro Training Series Final Cut Pro 7 by Diana Weynand (ISBN 0-321-63527-3). You can purchase the book at peachpit.com (click herefor a 30% discount code). Creative Edge, an on-demand digital library, offers subscription access to the Apple Training and Apple Pro Training Series, as well as thousands of other reference videos and books. If you are an iPad user, an electronic version is available on the iBookstore. This book is also available in other languages. Click here for details.

Review the Optional Study Materials
The following resources may also help you to prepare for your certification exam, as well as to expand your general knowledge:
Review the tutorials at www.apple.com/finalcutstudio/resources/. Over five hours and 150 topics of free online tutorials are provided by leading video training developers, including some lessons from the Apple Pro Training Series book. Review the appropriate sections of the Final Cut Pro User Manuals. The complete documentation for the entire studio is available at: documentation.apple.com. You can also launch the Final Cut Pro documentation by choosing Help > Final Cut Pro User Manual when Final Cut Pro is launched. Information on new features is available by choosing Help > New Features when Final Cut Pro is launched. Review the Apple Pro Training Series book Final Cut Pro 7 QuickReference Guide by Brendan Boykin (ISBN 0-321-69468-6). You can order this book with a 30% discount at Peachpit Press by entering coupon PP-APL-DISC at checkout. Many online resources allow you to ask questions and learn tips and tricks. To access white papers, discussion forums, and learn about the many other online materials, visit Apples training resources www.apple.com/finalcutstudio/resources/ Although the end user exam does not cover this material, you may want to review the Apple ProRes white paper: www.apple.com/ finalcutstudio/finalcutpro/apple-prores.html. For information on the Apple Pro Training Program, visit training.apple.com/. To provide comments and feedback to Apple about Final Cut Pro, visit www.apple.com/feedback/finalcutpro.html Take the Final Cut Pro tour at www.apple.com/finalcutstudio/ finalcutpro/.
Read the late breaking news at www.apple.com/support/manuals/. Read the Final Cut Pro News for information about Apple Pro Apps and everything related to them. Many third-party manufacturers create reference, troubleshooting and tutorial DVDs for the novice to power user. A quick Internet search will provide you with dozens of options. If you have any questions, you can post them to the Final Cut Pro Discussion Forum, which is hosted by Apple. You can also post questions to the Yahoo group FinalCutPro-L. You can join at the following link: movies.groups.yahoo.com/group/FinalCutPro-L/.
Review the Objectives and Review Questions
Even if youre self-taught or have taken courses that do not use the Apple Pro Training Series curriculum, you can still prepare yourself for the certification exam by making sure that you can complete all the tasks and answer all the review questions in the following sections. The Exam Objectives describe the knowledge domains assessed by the exam. The Review Questions summarize what you should have learned in each chapter. Please note that although this guide divides the objectives into lessons or knowledge areas, questions are presented randomly during the exam.

Lesson Three objectives

Upon completion of Lesson Three, Finishing the Rough Cut in Final Cut Pro 7, you should be able to complete the following tasks. Items from this lesson are included in the pool of exam questions, drawn randomly from the following objectives:
Set edit points in the Timeline Add cutaways Edit narration and music tracks Backtime clips Edit sound effects to video clips Copy and paste clips Edit using markers
Play a sequence full screen and via iChat
Lesson Three review questions
After completing Lesson Three, you should be able to answer the following questions. 1. What are the keyboard shortcuts for setting In and Out points in the Timeline? 2. What are two ways for marking the duration of a clip in the Timeline? 3. What does the Auto Select control in the Timeline patch panel determine? 4. When you mark an area of the Timeline and press Delete, will you leave a gap? 5. What happens to the marked area of the Timeline when you press Shift-Delete or the Forward Delete key? 6. In what menu do Lift and Ripple Delete appear? 7. What mark is necessary in the Viewer when backtiming a source clip into a marked area in the Timeline? 8. How do you patch Source controls to Timeline tracks? 9. Which video track will you see when there is more than one video clip at the same location in the Timeline? 10. What is a three-point edit? 11. What marks are left behind after cutting with the Razor Blade tool? 12. What key do you press to add a marker at the playhead location? 13. How do you create In and Out points from Timeline markers? 14. In what menu can you find the Digital Cinema Desktop Preview? 15. With what Apple application can you screen your sequence long-distance in real time?
1. Press I to set an In point; press O to set an Out point. 2. Position the playhead over the clip in the Timeline and press X to mark the duration of that clip. You can also click the Mark Clip button in the Canvas. 3. If the Auto Select control is turned on for a track, the clips between the edit points on that track will be highlighted and included in the next action. 4. Yes, pressing Delete alone leaves a gap where the material was edited. This type of delete is referred to as a lift.

5. Pressing Shift-Delete or Forward Delete removes both clip and gap within the marked area. This type of delete is referred to as a ripple delete. 6. The lift and ripple delete appear in the Sequence menu. 7. You should have no In point and only an Out point in the Viewer to backtime the clip into the Timeline edit points. 8. Drag a Source control to the desired Destination control, or Control-click either the Source or the Destination control and choose the appropriate option from the shortcut menu. 9. You see the clip in the uppermost video track. 10. Using just three edit points to determine location, duration, and content. 11. Red through edit indicators. 12. The M key. Press M again to open the Edit Marker dialog. 13. Choose Mark > Mark to Markers, or press the shortcut, Control-A. 14. In the View menu. 15. iChat.

Lesson Four objectives

Upon completion of Lesson Four, Trimming Clip Duration in Final Cut Pro 7, you should be able to complete the following tasks. Items from this lesson are included in the pool of exam questions, drawn randomly from the following objectives:
Understand trimming Trim using the Ripple tool Trim clips in the Viewer Trim an edit point by dragging Trim clips in the V2 track Extend an edit point Trim one track of a linked clip
Lesson Four review questions
After completing Lesson Four, you should be able to answer the following questions. 1. What does turning off linked selection in the Timeline do? 2. What does the Ripple tool do when you use it for trimming? 3. What is the keyboard shortcut to select the Ripple tool? 4. What keys can you use as shortcuts to ripple a clips edit point by a few frames?
5. What is one advantage of trimming a clip in the Viewer? 6. How can you disable a single clip in the sequence? 7. What tools can you use to drag an edit point in the Timeline? 8. What is the keyboard shortcut for extending an edit? 9. How do you reposition a clip to an upper Timeline track without moving it horizontally? 10. What is the advantage of editing on the V2 track?
1. It allows you to select and trim one track of a linked clip. 2. It ripples the trim amount through the unlocked tracks in the sequence. 3. Pressing RR selects the Ripple tool. 4. Press [ and ] (bracket keys) or < and > (angle bracket keys). 5. You can view material outside the marked area. 6. Control-click the clip in the sequence and deselect Clip Enable in the shortcut menu. 7. Use the default Selection tool and the Ripple tool. 8. The E key extends an edit. 9. Hold down the Shift key as you drag, or select the clip and press OptionUp Arrow. To move a clip down, you press OptionDown Arrow. 10. It allows you to lengthen a clip without bumping into a bordering clip on either side.

Lesson Five objectives

Upon completion of Lesson Five, Refining Edit Points in Final Cut Pro 7, you should be able to complete the following tasks. Items from this lesson are included in the pool of exam questions, drawn randomly from the following objectives:
Trim two edit points at the same time Slip In and Out points Roll edit points Extend edit points Slide a clip Reposition a clip Keep clips in sync
Lesson Five review questions
After completing Lesson Five, you should be able to answer the following questions. 1. How can you display a list of markers that are in a sequence? 2. Where can you change the Timeline settings of the active sequence? 3. Which two edit points does the Slip tool adjust? 4. Which two sets of shortcut keys allow you to adjust edit points one frame at a time? 5. Which two edit points does the Roll tool adjust? 6. How do you adjust one track of a linked clip? 7. How many clips are affected when you apply the Slide tool? 8. Is extending two edit points most similar to rolling, slipping, or sliding edit points? 9. What modifier key is essential to reposition a clip in a sequence without overwriting any other material? 10. What does Option-dragging a clip do? 11. If one track of a clip has gotten out of sync with the other tracks, by being either slipped or moved, how do you resync those tracks?
1. Control-click in the Timeline ruler. The markers appear at the bottom of the shortcut menu. 2. In the Sequence Settings window (Sequence > Settings). 3. The Slip tool adjusts the In and Out points of one clip. 4. The < and > (angle bracket) keys, and the [ and ] (bracket) keys. 5. The Roll tool adjusts one clips Out point and the adjacent clips In point. 6. Turn off linked selection, or hold down Option before clicking the track. 7. The Slide tool affects three clips: the position of the middle clip, and the durations of the adjacent clips. 8. Extending changes an edit point in the same way rolling does. 9. The Option key is used to shuffle a clip and ripple all other clips in the sequence. 10. Option-dragging creates a copy of a sequence clip and repositions the copy in a different location, leaving the original sequence clip in place.
11. Press Command-Z, or Control-click the red out-of-sync indicators on the tracks you want to adjust and choose Slip into Sync or Move into Sync.

Lesson Six objectives

Upon completion of Lesson Six, Refining the Editing Process in Final Cut Pro 7, you should be able to complete the following tasks. Items from this lesson are included in the pool of exam questions, drawn randomly from the following objectives:

Label and rename project elements
Create subclips using In and Out points Create subclips using markers Use markers to sync clips Change poster frames Create a storyboard Work with replace edits Edit multicam footage
Lesson Six review questions
After completing Lesson Six, you should be able to answer the following questions. 1. How do you add a color label to a clip, bin, or sequence? 2. How do you create a subclip from another clip? 3. Where can you place markers? 4. Does snapping affect markers? 5. What modifier key is used to create a new poster frame? 6. What does the replace edit do? 7. How should clips be organized in a bin before making a storyboard-type edit? 8. What does it mean when a production is shot multicam? 9. How do you create a multiclip? 10. When creating a multiclip, what are the three ways you can sync clips or angles? 11. What modifier key do you use to modify the arrangement of multiclip angles in the Viewer?
1. In the Browser, Control-click the item and choose Label, then select a color.
2. Set In and Out points in the clip, then choose Modify > Make Subclip. 3. Place markers in the Timeline ruler or on a selected clip in the Timeline. You can also add markers to a clip in the Viewer. 4. Yes. When snapping is on, you can snap the playhead to markers and snap a clip marker to a sequence marker or to another clip marker. 5. The Control key creates a new poster frame (Control-P). 6. It replaces a sequence clip with a source clip, aligning the Viewer and Timeline playhead positions. 7. Clips should be placed in rows, with each clip in a row appearing slightly lower than the previous clip. 8. Multiple cameras were used to shoot the same action at the same time but from different angles. 9. In the Browser, select the clips you want to include in the multiclip and choose Modify > Make Multiclip, or Control-click a selected clip or bin and choose Make Multiclip from the shortcut menu. 10. You can sync clips or angles by In points, Out points, or timecode. 11. The Command key.

Lesson Seven objectives

Upon completion of Lesson Seven, Customizing Final Cut Pro in Final Cut Pro 7, you should be able to complete the following tasks. Items from this lesson are included in the pool of exam questions, drawn randomly from the following objectives:
Reconnect unlinked media files Play sequences with multiple formats Work with master clips and match frames Log notes in Browser columns Find project items Customize shortcut keys and button bars Save and reload customized layouts Optimize user preferences

1. Choose transition effects from the Effects tab in the Browser and from the Effects menu. 2. Before applying a transition from the Effects menu, you must target the edit point. 3. Select a clip, select a group of clips, set In and Out points, or select all the clips in the sequence. 4. Drag the edge of the transition icon; Control-click the transition icon, choose Duration from the shortcut menu, and enter an amount in the Duration window; or open the Transition Editor and change it in the Duration field. 5. Use Center On Edit, Start On Edit, and End On Edit. 6. Selecting a transition and pressing Command-C copies the transition. Deselecting the transition, moving the playhead to the target edit point, and pressing Command-V pastes the copied transition. 7. Either Control-click one side of the transition icon and choose Open [transition] from the shortcut menu, or double-click one side of the icon in a sequence clip. 8. They have additional parameters, such as border width and color, that can be adjusted in the Transition Editor. 9. Choose Unlimited RT and Dynamic.
10. From the Transition Editor, drag the drag hand icon to the Effects tab and release it in the Favorites bin; choose Effects > Make Favorite; or press Option-F. 11. Control-click the transition in the Effects tab and choose Set Default Transition from the shortcut menu.

Lesson Ten objectives

Upon completion of Lesson Ten, Mixing Audio Tracks in Final Cut Pro 7, you should be able to complete the following tasks. Items from this lesson are included in the pool of exam questions, drawn randomly from the following objectives:
Edit and organize audio effects Monitor and adjust audio levels in the Timeline Use the razor blade to add edits and create audio fades Create audio fades using keyframes Use the Audio Mixer Record a voiceover
Lesson Ten review questions
After completing Lesson Ten, you should be able to answer the following questions. 1. What button do you click in the Timeline to display the Mute and Solo buttons? 2. What result do you get when you click the Solo button on a track? 3. How can you add several tracks to the Timeline at one time? 4. How do you make the audio level overlay appear on clips in the Timeline? 5. When would you turn on audio waveforms in the Timeline? 6. What tool do you use to set a keyframe on the audio level overlay? 7. How can the Pen tool be accessed without selecting it from the Tool palette? 8. How do you reposition a keyframe or change its volume level? 9. How can you paste just the audio level from one clip to another? 10. In what menu do you find the Audio Mixer? 11. To mix tracks in real time and automatically create keyframes on a clip, what must you do in the Audio Mixer?
12. What tool do you use to record your own voiceover, and where do you access it? 13. What two commands in the Modify menu help to change audio levels, and in what way?
1. The Audio Controls button in the lower left of the Timeline. 2. That track becomes the only audible track as you play the sequence. 3. Choose Sequence > Insert Tracks. 4. Press Option-W, or click the Clip Overlays control in the lower left of the Timeline, to the left of the Track Height control. 5. When you want a visual representation of a clips audio signals to evaluate or to edit audio clips. 6. The Pen tool. 7. Press Option and move the pointer over the audio level overlay on a Timeline clip. The Pen tool appears on the overlay line. 8. Drag left and right to change its position and up and down to change its volume level. 9. Copy the clip that has the desired audio level and paste just the audio levels using the Paste Attributes command. 10. The Tools menu. 11. In the Audio Mixer button bar, click the Record Audio Keyframes button to turn it on. Then play the sequence and adjust the clip volume by dragging its track fader. 12. The Voice Over tool, found in the Tools menu. 13. Modify > Levels brings up the Gain Adjust dialog, where you can raise or lower volume for all selected clips. Modify > Audio > Apply Normalization Gain resets the peak decibel level of the clip.

Lesson Eleven objectives

Upon completion of Lesson Eleven, Creating Titles in Final Cut Pro 7, you should be able to complete the following tasks. Items from this lesson are included in the pool of exam questions, drawn randomly from the following objectives:
Add color bars and slugs Create and edit text clips Superimpose a title Create a lower third
Work with Boris text Add color mattes and render effects Import still images Create a multilayer effect Prepare graphic images for editing Add Motion templates
Lesson Eleven review questions
After completing Lesson Eleven, you should be able to answer the following questions. 1. From what two places can you choose a generated item such as text? 2. What tab in the Viewer do you select to make changes to text clips? 3. When you superimpose an edit over a V1 clip, to what track should the Source control be patched for the superimposed clip to be placed on V2? 4. What type of generated text identifies a person, place, or thing? 5. In what menu can you find the Show Title Safe option? 6. What generated item is used as a color and sound reference at the head of a sequence? 7. Where can you find the Drop Shadow attribute? 8. In what text generator does a separate window appear for making text changes? 9. What automated text generator is often used for credit rolls? 10. How can you adjust a clips opacity? 11. When you choose a color for a color matte, you can pick a color only from the Colors window. True or false? 12. What is it called when you edit one sequence inside another? 13. What category of generated items can you use to apply a Motion template?
1. Choose from the Browser Effects tab or from the Generator pop-up menu in the Video tab in the Viewer. 2. The Controls tab. 3. The V1 track. 4. A lower third.
5. The View menu, and the View pop-up in the Viewer and Canvas. 6. Bars and tone. 7. In the Motion tab in the Viewer. 8. The Boris text generator. 9. The Scrolling Text generator. 10. Drag the opacity overlay on a video clip in the Timeline, or open a clip in the Viewer and change the Opacity parameter in the Motion tab. 11. False. You can use the Select Color eyedropper to pick a color from any clip in any open sequence. 12. Nesting. 13. Master templates.

Lesson Twelve objectives

Upon completion of Lesson Twelve, Changing Motion Properties in Final Cut Pro 7, you should be able to complete the following tasks. Items from this lesson are included in the pool of exam questions, drawn randomly from the following objectives:

1. Drag a filter from the Effects tab to the clip in the Timeline, or select the clip (or move the playhead over it) and choose a filter from the Effects menu. 2. To view the filters effect, position the playhead over the clip in the Timeline. Open the clip in the Viewer, and click the Filters tab. To change the priority of a filter, drag the filter name above or below another filter. To disable the filter, click the Enable/Disable checkbox to deselect it. 3. Click the filter name, and press Delete. To delete all video filters, click Video Filters, and press Delete. 4. The Color Corrector 3-way filter. 5. The Frame Viewer.
6. In the Filters tab. 7. Drag the filter name from the Filters tab to another clip in the Timeline. To copy a filter to several clips at once, select those clips before dragging the filter. You can also use the Paste Attributes command. 8. Drag the filter name from the Viewer window to the Favorites bin, press Option-F, or choose Effects > Make Favorite Effect. 9. Position the playhead where you want to start or end a filter change, and click a parameter Keyframe button. Reposition the playhead, and change that parameter. 10. No, filters that appear last in the Filters tab affect all the filters above it.
Lesson Fourteen objectives
Upon completion of Lesson Fourteen, Finishing and Outputting in Final Cut Pro 7, you should be able to complete the following tasks. Items from this lesson are included in the pool of exam questions, drawn randomly from the following objectives:
Detect audio peaks Adjust video levels for broadcast Share clips and sequences Export a QuickTime movie Export using QuickTime conversion Export a still image Output a sequence to tape Create a timecode window burn Back up a project
Lesson Fourteen review questions
After completing Lesson Fourteen, you should be able to answer the following questions. 1. What is the most efficient way to find the audio peaks in a sequence? 2. How are audio peaks indicated in the Timeline? 3. What can you do to determine whether an image falls within the broadcast safe range? 4. How can you correct an out-of-range clip so that its range is acceptable for broadcast? 5. What two tools can you use to help prepare the audio and video of your sequence for output?

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