Logic pro x advanced audio production pdf

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This article has multiple issues. Unsourced material logic pro x advanced audio production pdf be challenged and removed. 2015 Final Cut Pro Logo.

The most recent version, Final Cut Pro X 10. Apple in 2011, with the last version of the legacy Final Cut Pro being version 7. Avid system of some kind. The Viewer, where individual media files can be previewed and trimmed, replicates the source monitor of older tape-based systems. The Canvas replicates the “program” monitor in such systems, where the edited material is viewed.

There is also a small Toolbox window and two audio-level indicators for the left and right audio channels. As in most digital non-linear editing applications, the Browser is not an interface to the computer’s file-system. Browser and the actual media. This results in a ‘media offline’ situation, and the media must be ‘reconnected’. Final Cut Pro can search for the media itself, or the user can do this manually. If multiple clips are offline at the same time, Final Cut can reconnect all the offline media clips that are in the relative directory path as the first offline media clips that is reconnected. The browser has an ‘effects’ tab in which video transitions and filters can be browsed and dragged onto or between clips.

To add clips to the Timeline, besides dragging them there, it is possible to drag clips from the Browser or Viewer onto the Canvas, whereupon the so-called ‘edit overlay’ appears. The edit overlay has seven drop zones, into which clips can be dragged in order to perform different edits. The default is the ‘overwrite’ edit, which overwrites at an in point or the space occupied after the playhead with the incoming clip. The ‘insert’ edit slots a clip into the sequence at the in point or playhead’s position, keeping the rest of the video intact, but moving it all aside so that the new clip fits. There are also drop zones to have the application automatically insert transitions. The ‘replace’ edit replaces a clip in the Timeline with an incoming clip, and the ‘fit to fill’ edit does the same thing, but at the same time, it adjusts the playback speed of the incoming clip so that all of it will fit into the required space .

Finally there is the ‘superimpose’ edit, which automatically places the dropped clip on the track above the clip in the Timeline, with a duration equal to the clip below it. Unless an in or out point are set, all edits occur from the position of the playhead in the Timeline. Using the wireframe view on the canvas, the clip can be manipulated directly – dragging it around in the canvas to change its position, for example, or resizing it. Precise adjustment controls for these things are in the viewer. The viewer has tabs for each channel of the selected clip’s audio, in which the waveform for the audio can be viewed and scrubbed, and where its volume can be keyframed. The filters tab is where effects for the clip appear and where their parameters can be adjusted and keyframed.

Mini-timelines to the right of each parameter allow the property to be keyframed. The Viewer is not present in Final Cut Pro X. Clips can be edited together in timelines called sequences. Sequences can be nested inside other sequences, so that a filter or transition can be applied to the grouped clips. Final Cut Pro allows 99 video tracks to be layered on top of each other.

The size of a video clip can be altered, and the clips can be cropped, among many other settings that can be changed. Viewer’s ‘motion’ tab, where precise percentage opacity values can be entered. For either matte modes, the clip that will perform the key is placed overneath the fill clip on the Timeline. Final Cut Pro uses a set of hot-keys to select the tools. There are almost 400 keyboard commands that allow the user to increase the speed of edits.

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