Apple 6 manual Adding Volumes and Folders to the Browse Area, Selecting Clips in the Browse Area

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åMedia map indicators: Indicate how much of a clip’s media has been ingested into the current project. Before you ingest any media into a project, all the media map indicators are empty. If you ingest a portion of media from a clip on a volume, that segment is added to the project as a clip, and the corresponding media map indicator has a partially filled icon. If you create a new project or close the current one, the media map indicator for that clip becomes empty again.

Media map indicators have three states:

åEmpty: No media has been ingested.

åPartial: At least one frame, but not all frames, has been ingested.

åComplete: All of the media for the clip has been ingested.

åThumbnail Resize slider: Adjust the slider to change the size of clip thumbnails. Click the large or small thumbnail button to jump to the largest and smallest thumbnail sizes, respectively.

åAdd Selection to Queue button: Click this button to add the currently selected clips in the Browse area to the Transfer Queue for ingest.

Adding Volumes and Folders to the Browse Area

Mounted volumes appear automatically in the Browse area when you open the Log and Transfer window. You can add folders with valid folder structures by clicking the Add Folder button and then choosing the folder that you want. You can also add a folder by dragging it from the Finder to the Browse area.

Selecting Clips in the Browse Area

Final Cut Pro treats the selected clips in the Browse area as a continuous entity that you can navigate through using the transport controls in the Preview area. For example, if you have two clips selected in the Browse area, when the playhead reaches the end of the first selected clip, it continues playing the second clip. For more information, see “Transport Controls in the Preview Area” on page 83.

You can select clips in the Browse area by clicking anywhere in the row containing the clip’s name. You can select a range of clips by clicking one clip and then Shift-clicking a second clip. Command-click clips to add or remove them from the current selection.

You can select all clips in the Browse area by choosing Edit > Select All (or pressing Command-A). You can deselect all clips by choosing Edit > Deselect All (or pressing Command-Shift-A).

Chapter 4 Using the Log and Transfer Window

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Contents Final Cut Pro Apple Inc Copyright 2008 Apple Inc. All rights reserved Contents Using the Log and Transfer Window Choosing an IMX Easy SetupAdding Volumes and Folders to the Browse Area Working with IMXRecording Footage with a P2 Camcorder Working with Panasonic P2 CardsMounting P2 Cards, Disk Images, and Folders 109 Working with Avchd115 Working with AVC-Intra 130 Setting Up a Sony Video Disk Unit115 116Overview of High Definition Video Formats About High Definition and Broadcast FormatsNTSC-Compatible HD Formats PAL-Compatible HD FormatsFilm-Compatible HD Formats About the Apple ProRes 422 Codec Format Frame dimensions Frame rate Scanning methodAbout the Apple Intermediate Codec DV footage, making the switch to HDV is simple What Is ProHD?About HDV Fps Formats HDV Formats Supported by Final Cut ProStandard Definition Recording with an HDV Camcorder About Mpeg CompressionSpatial Intraframe Compression Temporal Interframe CompressionTranscoding HDV to Other Apple Codecs More About Long-GOP VideoWorking with HDV in Final Cut Pro Native HDV Editing WorkflowLog your footage and capture it to your scratch disk Steps for Native HDV EditingChoosing an Easy Setup Connecting an HDV Device to Your ComputerTo choose an Easy Setup To connect your HDV camcorder or VTR to your computerLogging and Capturing Native HDV Footage About the Log and Capture WindowTo open the Log and Capture window Preview Area Transport Controls Video Preview AreaMarking Controls Shuttle ControlLogging Tab Clip Settings TabLog and Capture Buttons Capture Settings TabCapturing Footage with Start/Stop Indicators Recapturing HDV Footage Improving HDV Rendering by Using the Apple ProRes 422 Codec Using an HDV Camcorder to Capture or Output DV FootageEditing HDV Footage About Long-GOP Editing and RenderingRendering and Conforming Long-GOP MPEG-2 Media Rendering HDVTo choose the render file format in an HDV sequence Conforming While Rendering in the Timeline Using the Print to Video Command to Output HDVTo output your HDV sequence to tape Steps for Transcoded HDV Editing Transcoded HDV Editing WorkflowCapturing and Transcoding HDV Video To choose an Easy Setup for transcoding HDVCapturing Footage with Scene Breaks Outputting HDV to Tape or Exporting to a QuickTime Movie Editing Video Using Transcoded HDV FootageTo export your sequence to a QuickTime movie Exporting HDV for DVD Studio ProTo change the FREERUN-PS setting on the camcorder Using the Canon XL H1 HDV CamcorderUsing the Sony HVR-V1 HDV Camcorder HDV Format Specifications Format Native frame size Data rate Data RateVideo Compression AudioTimecode Page About Dvcpro HD 2Working with Dvcpro HDFps-Based Formats Dvcpro HD Formats Supported by Final Cut Pro1080pA24 Dvcpro HD Dvcpro HD Frame Rates720p24 720p60 Dvcpro HD720p50 Dvcpro HD Setting System Frequency on a Panasonic Varicam Camcorder720pN Dvcpro HD Native Frame Rate Recording 720p Dvcpro HD Variable Frame Rate RecordingConnecting a Dvcpro HD Device to Your Computer To set up your computer for Dvcpro HD capture and outputWorking with Dvcpro HD in Final Cut Pro Choosing a Dvcpro HD Easy Setup Logging and Capturing Your Dvcpro HD FootageRemoving Duplicate Frames During Capture About Device Control for 720p50 and 720p60 Devices About Timecode for 720p50 and 720p60 FormatsChoosing Timecode Display Options for 720p60 Dvcpro HD Media Editing Dvcpro HD FootageOutputting Your Dvcpro HD Sequence To set the timecode display for 720p60 videoTo display clip time for a 720p30 or 720p24 clip Using the Dvcpro HD Frame Rate Converter Outputting Sequence Timecode Using Dvcpro HDChoosing an Intended Playback Rate What Is a Frame Rate Converter? How Dvcpro HD Variable Frame Rate Recording WorksHow a Frame Rate Converter Works Recording Variable Frame Rates with Dvcpro HD 720p About the Dvcpro HD Frame Rate Converter About Native Variable Frame Rate RecordingOriginal Media File Requirements Timecode and Audio Restrictions About the Frame Rate Converter OptionsRemove Duplicate Frames Why Is There an Option to Convert 59.94 fps to 59.94 fps?Make Self-Contained File Import Result Into Final Cut ProUsing the Frame Rate Converter Working with 24p Dvcpro HDWorking with 1080pA24 Dvcpro HD Video Shoot with advanced pull-down 23.98 fps at 29.97 fps 720p60 Dvcpro HD Recorded at 23.98 fps Working with 720p24 Dvcpro HD Video720p50 Dvcpro HD Recorded at 24 fps 720pN24 Dvcpro HD Native 24pDvcpro HD Format Specifications 1080i50 Format Recorded data rate Mbps Captured data rate MB/sec Video Compression Page About IMX 3Working with IMXWorking with IMX in Final Cut Pro IMX Formats Supported by Final Cut ProAbout MXF Transferring IMX Footage to Your Computer Choosing an IMX Easy SetupImporting MXF-Wrapped IMX Media Files into Your Project Editing IMX Clips into a SequenceIMX Format Specifications Data Rate and Video Compression Page 4Using the Log and Transfer Window About the Log and Transfer Window About File-Based MediaTo open the Log and Transfer window Choose File Log and Transfer or press Command-Shift-8File-Based Media Terminology Using the Log and Transfer Window Sample File-Based Media Workflow Using the Log and Transfer Window Using Folders with Valid File-Based Media Folder Structure Using the Browse AreaTo unmount a volume, do one of the following Mounting Media DevicesControls in the Browse Area Add Folder button Column headings Mounted volumeUsing the Log and Transfer Window Selecting Clips in the Browse Area Adding Volumes and Folders to the Browse AreaDeleting Clips Directly from Storage Media Using the Preview AreaRestrictions During Preview Transport Controls in the Preview AreaUsing the Logging Area Using Autofill Cache Logging InformationTo enter previously logged data from the autofill cache Setting Audio and Video Clip Import Settings To apply import settings to multiple clipsIncrementing Logging Fields Adding Clips to the Transfer Queue for Ingest Using the Transfer QueuePausing and Stopping Ingest Organizing Clips in the Transfer QueueFilenaming and Clip Naming During Ingest Reingesting Clip Media Choosing Reel Names and Understanding Volume NamesWorking with Spanned Clips Viewing Spanned Clips in the Browse Area Archiving to a Folder Archiving File-Based Media from CardsTo rename a mounted volume of an archived disk image Archiving to a Disk ImageTo create a disk image of a card Log and Transfer Plug-in Transcode Settings Setting Log and Transfer Import PreferencesRemove Advanced Pulldown and Duplicate Frames Clear Logging Autofill CachePage About Panasonic P2 Cards and Media Files 5Working with Panasonic P2 CardsRecording Footage with a P2 Camcorder Working with Panasonic P2 Cards and Final Cut ProMounting P2 Cards, Disk Images, and Folders To mount a P2 memory card using a P2 card readerMounting P2 Cards Using a PowerBook PC Card Cardbus Slot Mounting P2 Cards Using a Panasonic AG-HVX200 Camcorder Using Folders with Valid P2 Card Folder StructureUnmounting P2 Cards Deleting P2 Clips Directly in the Log and Transfer Window Working with Spanned Clips Press the Menu button Capturing over FireWire as if a P2 Card Were a Tape in a VTR 104 Panasonic AG-HVX200 Ntsc Panasonic AG-HVX200 Camcorder CompatibilityFormat Duplicate Timecode Frame rate Frame pattern Panasonic AG-HVX200E PALPanasonic P2 Card Format Specifications Page Avchd Formats Supported by Final Cut Pro About AvchdRestrictions When Working with Avchd Working with Avchd in Final Cut ProTransferring Avchd Footage Choosing an Avchd Destination Codec Avchd Format Specifications Specified Avchd frame rates are Panasonic Camcorder Avchd Quality Levels Sony Camcorder Avchd Quality LevelsAVC-Intra Formats Supported by Final Cut Pro About AVC-IntraRestrictions When Working with AVC-Intra Working with AVC-Intra in Final Cut ProChoosing an AVC-Intra Destination Codec AVC-Intra Format Specifications Data rate Frame dimensions Color sample ratio About XDCAM, Xdcam HD, and Xdcam EX 8Working with Sony Xdcam FormatsXdcam HD CBR Easy Setups Xdcam HD VBR Easy SetupsXdcam Formats Supported in Final Cut Pro Xdcam HD Formats Supported in Final Cut ProXdcam EX Formats Supported in Final Cut Pro Xdcam HD422 CBR Easy SetupsWorking with XDCAM, Xdcam HD, and Xdcam EX in Final Cut Pro Installing Sony Xdcam SoftwareConnecting an Xdcam or Xdcam HD Deck To enable the PC Remote mode on a Sony PDW-1500 Xdcam deckTo mount Xdcam or Xdcam HD media on your computer desktop Ingesting XDCAM, Xdcam HD, or Xdcam EX Media Rendering and Conforming Xdcam HD or Xdcam EX Media Exporting Sequences to XDCAM, Xdcam HD, or Xdcam EX MediaTo assign four mono audio outputs to your sequence XDCAM, Xdcam HD, and Xdcam EX Format Specifications Frame Color 128 About Sony Video Disk Units 9Working with Sony Video Disk UnitsTo unmount a FireWire hard drive from the desktop Setting Up a Sony Video Disk UnitImporting Footage from a Sony Video Disk Unit Importing DV Media from a Sony Video Disk UnitTo transfer media from a Sony Video Disk Unit
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6 specifications

The Apple iPhone 6, released in September 2014, marked a significant evolution in Apple's smartphone lineup. This model introduced a larger screen and a sleeker design, setting the stage for future devices in the iPhone series.

One of the most notable features of the iPhone 6 was its display. With a 4.7-inch Retina HD screen, the iPhone 6 offered a resolution of 1334 x 750 pixels, delivering vibrant colors and sharp images. This screen size was a departure from previous models, appealing to users who favored larger displays for better viewing experiences, whether for gaming, watching videos, or browsing the web.

The design of the iPhone 6 was another highlight. It featured a slim, curved aluminum body that not only made it more aesthetically pleasing but also improved its ergonomics. Weighing just 129 grams, the phone was light yet robust. The placement of volume buttons, the power button, and the headphone jack was thoughtfully designed to enhance usability.

Under the hood, the iPhone 6 was powered by the A8 chip, a 64-bit dual-core processor that offered impressive performance and energy efficiency. Coupled with the M8 motion coprocessor, the device could effectively handle demanding apps and services while optimizing battery life, providing users with a smooth experience throughout the day.

The camera capabilities of the iPhone 6 were also advanced for its time. It featured an 8-megapixel rear camera with optical image stabilization and a f/2.2 aperture, allowing for clearer low-light photography. The front-facing camera was improved as well, offering a 1.2-megapixel resolution and support for 720p HD video, making it great for selfies and video calls.

Connectivity options included LTE support, enabling faster download speeds, and Wi-Fi calling, which allowed users to make calls over Wi-Fi networks, enhancing communication in areas with poor cellular coverage. The iPhone 6 also introduced the Apple Pay feature, allowing users to make secure transactions using their devices.

In terms of software, the iPhone 6 originally came with iOS 8, which boasted new features such as HealthKit and HomeKit, further integrating technology into daily life. Regular software updates ensured that users could enjoy the latest features and security enhancements well into the device's lifecycle.

Overall, the iPhone 6 distinguished itself with a combination of innovative design, powerful performance, and a user-friendly experience, solidifying Apple's position in the smartphone market and paving the way for future iterations in the iPhone lineup.