fcp 7 user s manual
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fcp 7 user s manualThe problem is that many times, the online Help file is not complete. For example, today I was writing an article on the new Temperature settings in the Color Wheels. Searching for the word “temperature” in the online Help files turned up nothing. What you may not know is that you can download the much more complete User Manual for Final Cut Pro X in iBook format (ePub) from the iTunes Store. Best of all, this User Manual is free. Download it at this link. (Click to view larger image.) Here’s what the screen looks like when you get there. Click the Get button to download. The book will open automatically when the download is complete. NOTE: If you see a View in iBooks button, click it and you’ll see the Get button. After that, open iBooks, click the All Books tab at the top and the book should appear near the top. You can also search for it using the Search box in the top right. NOTE: ePub documents are stored in a hidden folder inside your Library. They do not show up in your downloads folder and are not the same as a PDF. (Click to view larger image.) To give you an idea of what the book looks like, here’s a sample page. This is great! Reply martymankins says: March 29, 2017 at 9:40 am Thanks for the link to this iBook. I have been reading it the last few months. A good official resource to have. Reply dhas says: March 30, 2017 at 2:36 am Thank u very much sir Reply James Duke says: February 12, 2018 at 6:44 am Thanks Larry. I had this book in my iBooks lib. It turns out that in my case it was v 10.3. In order to get v 10.4 I had to delete the one I had and download the new one. Reply Peter Snowdon says: February 12, 2018 at 9:59 am When I click on the link I get the screen you show but do not have a GET button. I have the chance to click on the box that says FCP user guide but it just refreshes. Reply jim mcquaid says: February 12, 2018 at 10:15 am The link apparently took me to the 10.3 version because when I searched for temperature there was nothing! ??http://profcareer.ru/UserFiles/energy-star-thermostat-manual.xml
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Reply Larry says: February 12, 2018 at 1:18 pm Jim: You may need to delete the 10.3 version in order to download the 10.4 version. Larry Reply Philip Snyder says: February 12, 2018 at 11:32 am I don’t have the Get button either. Just “View in iBooks”. Reply Leave a Reply Cancel reply Your email address will not be published. Access over 1,900 on-demand video editing courses. Become a member of our Video Training Library today. JOIN NOW Subscribe to Larry's FREE weekly newsletter and save 10 on your first purchase. Sign up for Larry’s FREE Weekly Newsletters. There's no finer resource on the web. See The Different Membership Tiers. ALL Rights Reserved. The manual is automatically downloaded on the desktop or in the file downloads of your computer. The same way is also possible if you prefer to search by choosing the menu: Brands.To view the documents, you must have Adobe Reader installed on your computer. To download free the most recent version of this software click here. The 13-digit and 10-digit formats both work. Please try again.Please try again.Please try again. Used: Very GoodFull of information relevant to both new users and professionals, this book wastes no time in teaching all the vital knowledge needed to edit your project from start to finish using Final Cut Pro. All the key features and essential techniques are presented in this easy to understand, full-color book. When time is of the essence, less is more. Learn invaluable workflow tips which show you how to tap into the full power of Final Cut Pro, whichever version of the program you are using.Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. Register a free business account Full of information relevant to both new users and professionals, this book wastes no time in teaching all the vital knowledge needed to edit your project from start to finish using Final Cut Pro.http://www.propiedadestalca.cl/dyn/uploads/energy-pro-series_5-manual.xml Learn invaluable workflow tips which show you how to tap into the full power of Final Cut Pro, whichever version of the program you are using. Praised by industry professionals, educators, and independent filmmakers, the Easy Guide to Final Cut Pro has earned a solid reputation as being the absolute best book on the market for those wishing to get up to speed with Final Cut Pro quickly. Rick Young (www.macvideo.tv) is the Director and Founding Member of the UK Final Cut pro User Group and an Apple Solutions Expert. A freelance television director and editor, Young has many years of broadcast experience, including work for the BBC, Sky, ITN, CNBC, and Reuters. Also a Final Cut Pro Consultant, Rick has been invited as a public speaker at numerous UK and US exhibitions, is a liaison to the US FCP user groups, and is author of the best-selling, The Focal Easy Guide to Final Cut Pro 6. A freelance television director and editor with many years of broadcast experience, including work for the BBC, Sky, ITN, CNBC and Reuters. Also a Final Cut Pro Consultant, Rick has attended numerous UK and US exhibitions, is a liaison to the US FCP user groups, and author of the best-selling series The Focal Easy Guides to Final Cut Pro. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzes reviews to verify trustworthiness. Please try again later. Mark in Dallas 4.0 out of 5 stars And no, it won't help you with the basics of video editing. It's well organized with clear, concise steps on how to accomplish many of the functions in the program. I find it helpful because I use FCPro only occasionally and with such a feature rich program, it's easy (for me) to forget some of the procedures.Focal Press always do a great job. A great reference if you are trying to find something out quickly.http://www.liga.org.ua/content/dfs-user-manual Pity though it's not available for the iPad!This book came to me in just a couple days. It was sent to me very fast. I was really impressed.At first blush the instant book being reviewed would probably be a good book to pick up to help you get acquainted with the computer and the software. Critical chapters that I wanted but did not see in this tome were 1, 2, and appendix C (as listed herein above). If the book had defined its terms, given us a simple but thorough overview of the video editing workflow process, and then given us chapters on each of the stages in the workflow as described, we would have had a pretty good book worthy of at least 4 stars and if well written then 5 stars. But what is the difference between footage, clips, scenes, sequences, and tracks. What is the difference between capturing and importing. Furthermore, I saw no need for Chapter 11 on high definition, and Chapter 12 on multicam since the book was clearly one for novices. Final Cut Pro is a great program, but it doesn't work in a vacume. It is part of suite of programs, and I think there should have been an appendix chapter that would have at least identified, explained, and interrelated the other programs that work with Final Cut Pro. The introduction and chapters 1 and 2 were fine and dandy, but they probably belonged in appendices rather than in the front of the book. The book really should have been centered on workflow, not on the basics of the computer or the software interface per se. Bottom line, if you are totally new to Final Cut Pro there is a lot of good information in this book. Unfortunately it was not presented in an easy to understand manner. You will almost certainly have to struggle reading, taking notes, and then organizing your notes so the book will have meaning for you. In my humble opinion such a book cannot be awarded anything higher than a average rating. 3 stars! PS. One other point. I didn't think it was appropriate to make so many references to how things were done before Final Cut Pro came into existence. I didn't need a history lesson. I just wanted a straightforward tome on the basics of Final Cut Pro. To compare and contrast how things were done then and how they can be done now made things way to complicated (at least for me).It does, out of necessity, touch on some of the other applications in the package--notably Compressor and Motion--but its primary focus is on getting you up, running, and comfortable with the editor. I have a long-standing habit of reading instructional books and manuals long before I get my hands on the actual product, and Rick Young's book is the latest addition to that list. I have experience with Final Cut Express 4.0, and much of what Young covers is applicable to that product, so I felt pretty comfortable covering the material in text without getting a chance to go hands-on. Young concentrates primarily on workflows, prefacing each with a description of why you will need to use the tool--and make no mistake, to use FCP effectively, you WILL need to use almost everything Young addresses, one way or another. There are a number of tools he skips over, yes, and he does so quite intentionally: when you're trying to get your feet wet with a product, the last thing you need to be worrying about is one of the more esoteric tools--no matter how powerful--that you won't be able to employ until you have a foundation of understanding and experience with the software. The workflows are concise and include many full-color screenshots and interface excerpts so that you know exactly what to click and when. The only complaint I have about the formatting is that the process steps are often flowed around the images in a way that will occasionally split steps: you may complete a step only to find yourself searching a bit for the next one. Small complaint, really. For a guide book intended to help you learn hands-on processes, the importance of the book's ease of handling can't be overstated. Definitely a worthwhile book to have when you're learning FCP7: in sharp contrast to many other Final Cut Studio technical guides, you won't find yourself drowning in an ocean of Too Much Information.It's clear, easy to read and well laid out so you can find what you need quickly. On such a complex subject, you might want another book or two but this book is on my desk all the time when I am editing being so easy to use and practical. It's small and neat and highly recommended. A great book! Well done, Rick! I promise that henceforth I will focus on the actual FCPX software and forget all the hullabaloo. From what I know, I have been editing with FCP longer than anyone in the world. (Outside the original dev team, of course.) With my wife Michelle (the brains of the operation), I produced the first FCP training course, Final Cut Pro PowerStart. I was the first to demo FCP 1.0 in public, launched the first FCP website (fcp411.net), taught the first FCP workshops, presented first FCP free seminar tours, hosted the first FCP user group meeting (May 1, 1999), co-hosted the first Apple trade show hands-on classroom (with Randy Ubillos), produced the first FCP marketing CDs for Apple, and I’m pretty sure I was the one that got Apple to start putting cool-looking reflections under all their graphics (okay, that’s not really an FCP first.). I’d shut it down and give the money back to the shareholders”. At that time, FCP 1.0 was not in any way a foregone conclusion. It could have come and gone faster than Avid Liquid. Bring on the flames and kudos in the comments! (I reserve the right to moderate). A brand-new editing app. Think of the buzz! Think of the awesome logo! FCP is the standard for professional editing.Major gaffe. Huh?!? Like a brand new app called “Z”, with a beautiful grey blue gradient glowing behind it, wouldn’t have attracted attention and buzz (you know, positive buzz). Come on, Apple, like no one knows who you are. It’s not 1999 anymore, have some confidence. You invented the smartphone and tablet, two things no one knew they needed before, and you are taking over the world. A brand new app would have avoided all this hullabaloo, (and made for a cooler logo as well). At any rate, with my positioning strategy, how could anyone bash Z, it never promised anything. It’s brand new, and it is what it is. If you don’t like it, don’t buy it. By not EOLing FCS3, the pressure would be off Apple (see below) and they could take their time adding features into Z. But I digress.) After years of anticipation of what new magical new Final Cut Pro would emerge from the sparkling Apple castle on the hill, being delivered to us by flying white-winged yaks surrounded by rainbows and 3D particle-system-generated pixie dust, an reaction of shock from users at a “Final Cut Pro”-branded app that threw 20 years of non-linear editing conventions out the window was inevitable. Articles like “ Did Apple screw up with Final Cut Pro X ?” and “ The Final Cut Pro Backlash ” are appearing by the hour. Even Fortune magazine has joined the fray, with “ The Final Cut Pro X debacle “. Refunds are being processed as you read this sentence.But if that’s what they’re thinking, they should be taking this initial reaction a little more seriously. It’s no exaggeration to say that billions, not millions of dollars, over time, are at stake. Do the math. At first glance, the footage organization and editing might look kinda similar to FCP7, but it’s not. When intelligent, experienced editors explore FCPX in depth, giving it a real, bona fide chance, and give up, you have a problem. Working with media, and editing, are as different from FCP7 and other editing apps as flying a helicopter is to driving a car. And FCPX is not as intuitive as FCP 1-7. You can read the helicopter manual. You can watch hours of manufacturer-certified training movies of people flying helicopters. But when you try to fly one yourself, you will most likely crash and burn before you master it. Apple can say helicopters are cooler than cars, but who cares if there’s no good way to learn how to fly the dang thing? Think this is ridiculous? Maybe. It’s at least as ridiculous as saying Blockbuster’s dominance of video rentals will someday be over, or Tower Records will someday not be the place you go to buy records, or MySpace won’t be the cool place to connect with friends any more. Technology, and the way it’s introduced, has a funny way of radically changing the path of the future, and no one knows this better than Apple. As a company, Apple is fine. With the release of FCPX, the Pro Apps division is at a crucial juncture. Search for yourself here: Listing is free and takes just a few seconds. They feared even more negative fallout from people screaming that their projects wouldn’t import than not including it at all. (With my “Z” strategy, they could have called it “limited” XML support, saying “Yeah, it will import FCP7 edits except for certain elements” and the pros would have said “cooool!”) One quickly extinguished ray of hope is a Brazilian MacMagazine article in which someone digging around in the code found a function called “ importFinalCutXML “. In addition, Final Cut Pro X features new and redesigned audio effects, video effects, and color grading tools. Because of these changes, there is no way to “translate” or bring in old projects without changing or losing data. But if you’re already working with Final Cut Pro 7, you can continue to do so after installing Final Cut Pro X, and Final Cut Pro 7 will work with Mac OS X Lion. You can also import your media files from previous versions into Final Cut Pro X. We never expected anyone to switch editing software in the middle of a project, so project migration was not a priority. With the original Premiere, he added a new dimension to the editing timeline, allowing “vertical” (compositing) as well as horizontal (storytelling) editing. Key Grip took this further, with keyframes, blend modes and keying. Randy is on a short list of my all-time personal heroes, I’ve known him for 12 years, and taught alongside him daily at NAB. Though we’re not close friends, I have been privileged to talk with him on several occasions and I feel like I know how he thinks. (Like Randy, when I design software, I always start from a blank slate and let common sense and user experience drive the process without any influence from “this is the way things have always been done.”) You would launch First Cut, import all your raw footage, then quickly skim through, keywording, organizing, marking as good or rejecting, and finally building a rough edit. Ensure that it’s backward-compatible with your existing documents. It’s not iMovie at all. In fact, it’s nothing like its predecessor and contains none of the same code or design. What was Apple thinking? I’m a film editor AND a journalist, so what you said about Pogue made me giggle. He’s completly gone off the deep end, again, on Apple software.You really pounded a lot of nails of truth into this review of the release. The thing that concerns me is that Apple succeeded to follow it’s current trend; making things consumer-centric. Outside FCP X, why does OsX every time I mount a disk image have to ask me if I trust the source. I know why, but I would really appreciate the opportunity to dismiss that prompt forever. With film or tape the workflow has been, import a couple of really long clips in a low resolution, either reel length or tape length. When you have a final edit, use an EDL to rescan or rebatch the material in an hi-res online environment, let’s say inside autodesk lustre color grading suite. Use the output from the grading session to reconnect your project and merge it with sound, or some more high-end productions do that in Autodesk Flame or After Effects, also based on that EDL. Will that be solved by a plugin. Yes, but If you import a clip that’s over 15 minutes, the skimming method is not precise enough. With a tiny flick of the wrist you skip over 4 minutes of material. Of course you can re-adjust the viewer so it shows you a bigger skimmable area but even then it’s hard not to skip over material as the time indicator is so easily moved.FCPX forces you to let it do all the thinking. But it’s not flexible enough to adapt to your preferences and workflow. And that is something I don’t think they’re going to solve with plug ins and upgrades. And that’s also something a lot of professionals, that work with weird formats and requests are going to hate about it. The software is dictating the way they have to think, as opposed to having software adjust to the way they like to work. It’s nice to hear this perspective from someone with your experience. My forte is finding different (hopefully better:)) ways to use software, I edit with FCP7 in a radically different method than anyone else I know of, I believe it is a much better way and I never got around to creating a tutorial about it, so now, I figure, I should focus on FCPX because people feel like they’ve been thrown into the icewater with the revolutionary new paradigm. I have to agree that FCP’s flexibility has been one of the most important ingredients for it’s success. The loss of flexibility is the factor I fear the most, in this new version. I also believe everything else will sort itself out with time, via or 3rd parties. I would love to know more about your workflow and would gladly share mine. Here we have an app that has been around for years, but was getting a bit long in the tooth in terms of the fundamental core upon which it was built. Apple decided to rebuild it, resign the whole UI and sacrifice certain features in order to build a far better and more modern architecture upon which it can build over the coming decades. There have been many who have hated it, and only use it kicking and screaming. They hate how certain features they rely upon have been removed and how some of the UI doesn’t work in a way suitable or sensible for them. Sure some features have been removed and some UI stuff could do with improving, but that’s missing the forest for the trees. The core improvements are amazing and make developing software much easier and more enjoyable. And those missing features will be re-added down the line. I largely suspect that, like Xcode, FCP couldn’t have gone too far beyond version 7 without doing what they’ve dine with FCPX. Those complaining about FCPX were only looking for the next version after FCP 7. Those who are more pragmatic aren’t focusing on FCPX but the version after, and the version after that and so on. We’re geeks and we learn software for fun. And if we don’t deliver, we don’t get paid. We can’t take a chance and wait 2 years for FCPX and its 3rd party plugins to all work in harmony for us to do our job. Especially now that we don’t trust Apple. As powerful as FCPX can be, if we can’t use it to do our job it’s useless. It’s that simple. I think Apple has 12 months to rectify their position, and that’s not a lot of time to get all those plugins made by other companies to work together. Nobody (Freelance editors, Young AE’s, post-houses) is going to wait longer than that and take the risk to become professionaly obsolete. It’s just pure pragmatism. I’ll come back. But seriously, I just wanted something that wasn’t fanboy excuses and defense, and also wasn’t “I hate it all!”, but something in the middle. I think much of your article is this, the middle ground, telling-it-like-it-is. Instead, they’re giving it a fair shake and finding good things about it, even saying that original feature they deemed “negative” is actually good, if not great. But I think I may get nervous and re-fire up FCP 7, much like in 1999 when I was first trying non-linear editing with my copy of Premiere 5.1 (shudder) NLE to cut scenes from my film, but I ran back to tape-to-tape, because I spent around four years editing via linear tape.Boy, those were the days, eh? Unless all 10 channels of audio will be properly listened to and the best one chossen for us I can’t see this working. I think it would be nice to not have a 68 ch dial session to edit but it’s just more work for the picture editors now. Avid sales might skyrocket unless this gets addressed soon. Peter Jackson is shooting Red, Cameron made the switch for Avatar, Lucas captured to hard drives on the last film. The quality of digital images has grown to the point where it is possible to compete directly with film. Digital delivery and projection are the future, as is digital acquisition. Focusing on dying formats instead of the way we’ll be operating going into the next ten years would be folly. Being in broadcast post, I get why people are in an uproar, but we moved to XDCAM tapeless acquisition 2 years ago, and we now deliver digitally throughout our pipeline. The only real piece missing for us is multicam, which sounds like it’s on the way. I see this product for what it is, an attempt to move into the future and broaden the potential userbase beyond the rarefied clique that still edits on celluloid and tape. I cannot count the number of hours wasted dealing with tape deck issues that I’ve had over the years. Digital is better, and I look forward to seeing where this is headed. Editors are rarely the shot-callers. If you need to give deliverables to someone to get paid, you give them what they ask for. I went tapeless nearly 7 years ago, but I have to hand of DVCam to the local affiliate. Which FCP can’t read. Cameron shot in 3D, which FCPX can’t read. What format? H.264? AVCHD? If not, FCPX likely can’t read it. So much so that I am now archiving in Jpeg2000. How do I export 2K Jpeg2000 for digital theater from FCPX. If we’re talking about the future here, can we request the the product actually export to those future standards? It’s because they MUST deal in tape in order to pay the mortgage and keep food on the table. RED native plugin is coming. Not sure about the rest yet. Or am I missing something? I think that might be acceptable in some cases, thought certainly not ideal. RED support on the way, I agree that the ability to edit 4K is not useful without support for cameras that shoot it! I’m an assistant editor who works on Hollywood movies and TV shows and I’ve done shows that shot on Red and the Alexa. In order to do the DI (which is no longer a digital intermediate of course!) the DI editor and the color timer work from EDLs. We Avid editors are feeling really grateful these days. An unusual but welcome feeling! I would love to not have to deal with that but I do. And don’t tell me that Aja has a plugin. That thing David Pogues was talking about is not intended to be used that way. And nobody talks about accurate timecode, which is crucial to the broadcast world. But what an extra hassle. It’s that simple. They have deep pockets, they can wait for the world to catch up to their vision. While they HAVEN’T been investing in legacy flows (as they will be) they WILL HAVE been investing in leveraging and mastering the new flows tapeless enables. And they are probably right. I’m sure I was one of the first few to buy and download it because of the time different between Japan and the state. I started to kick the tires on it and understand it’s a different beat. Even as is our new agency uses 5Ds and 7D to film reports and they way you can tag footage will make our lives easier because we reuse footage sometimes.My line of thought is: New Macs, new monitors, the works, and of course we would have been sticking with Final Cut. The things missing aren’t features, they’re functions.Who knows when exactly that will be. Apple hasn’t actually made any official announcements about adding anything, except a few snippets they gave to David Pogue. Even if we had a set date, trying to delay this project isn’t really a possibility when you get corporate budgets and purchasing involved. It just looks like now they won’t be Final Cut suites. As of Tuesday there are no more copies of FCS3 to be had. Who knows how long, if ever, it will be before FCSX is ready to handle many of the industries current workflows. Apple isn’t saying anything officially, which is the largest problem. Can FCPX share video files among different projects on different workstations. I am get ready to build a StorNext SAN and am concerned about making the significant investment if that workflow won’t work with the new product. Distributing on DVD is key for me, so without chapter markers, and to a lesser extent multi-cam, FCPX just will not work. I’ve now bought Adobe Premiere just to get Adobe Encore. Ridiculous! I may end up using Premiere in place of FCP. I don’t wanna be like David Pogue or any other Journalist or critic who just say something loud and later on would go on and say, well this mobile technology was not as bad I wrote about, or iMovie 08 or FCPX in this case. Interesting reading. From what I can see, FCP X signals an internal decision by Apple to move away from the professional market entirely. Will editing houses wait to find out. That’s another question. For example, you can’t read timecode from your source material. This means you can’t, for instance, edit a foreign language interview that has a timecode transcript accompanying it. A timecode viewer or overlay is very simple functionality that shouldn’t be hard to code.If you want another sequence, you have to start another project. There isn’t an editor on the planet that would consider editing a feature film with only one sequence. Heck, I use a folder full of sequences just to edit a single scene. If we accept that this is the case, it goes a long way to explaining all the other missing things that professional editors are complaining about with this release. But this move will have a very big ripple effect and they will lose a lot in terms of knock-on effects on software and hardware sales, and in terms of their reputation as a serious company that can be relied on by businesses and professionals in any field. If the serious editors jump ship, so will all the people who aspire to be serious editors. So will all the film students, the aspiring film students, and so on. This is bad news for everyone except Apple’s competitors. It’s extremely mysterious to me how Apple could have come to this decision. I am also in features but do commercials too and agree entirely with you. I live in South Africa where tech support has always been a bit poor. The suppliers of Avid are basically as knowledgeable and supportive as our Post Office! I can’t imagine using FCP X now or even in a year’s time when they have a few plugins sorted out. I would have to move material around every time I switched projects (today I worked on three separate commercials). I use hundreds of timelines and I am expected to do so by the directors and agency creatives I work with. There is no way this can change. Completely impossible to work without them. All these people who claim they can do so must be doing glorified home movies. I could go on and on, but I won’t. I love learning new software and I also try to use it in new ways rather than try to make the software support my own way of working.