Timecode in Final Cut Pro

In video editing, a timecode is a special signal that is recorded with your video that provides a unique identifier for every frame on a videotape by creating a timestamp in hours, minutes, seconds and frames. The timecode of a video uses the following format: 01:23:45:28 (hours: minutes: seconds: frames).

The timecode was invented in the late 1960s in order to give editors the ability to use computer video editing systems that can find specific frames and also record editing decisions that can be performed over and over again. In 1967, the Society of Motion Picture and Television Engineers (SMPTE) recognized several electronic timecode formats. However, the format shown above has since become the standard for timecodes in video.

Timecodes and Final Cut Pro

Final Cut Pro uses the video timecode for synchronization between audio and video clip items. It also uses timecode is to create project interchange objects (such as Edit Decision Lists). Additionally, Final Cut Pro uses the timecode for recapturing clips from tape or other media. Whenever you play clips in Final Cut Pro, the program displays the timecode of the media and also uses the timecode to allow you to navigate in your clips and sequences.

Displaying the Timecode in Final Cut Pro

In Final Cut Pro, a clip's timecode is displayed by default, and the program reads the timecode from the timecode track on the tape or media. Final Cut Pro stores timecodes in media files and not directly on the clip. This timecode is often referred to as the source timecode because it is the same value as the timecode on the original source tape. If the display source timecode is being displayed, you are viewing the timecode that comes directly from the timecode track on the media files or tape.

Timecode Display Options in Final Cut Pro

Final Cut Pro offers many display options for timecodes. However, not all of the display options will be available for all frame rates. Nevertheless, the program supports the following timecode display options:

• Non-Drop Frame: The counter of the timecode updates at a consistent rate without skipping or dropping numbers in the count. The non-drop frame timecode display is available for all frame rates supported by the program.
• Drop Frame: With this display type, frame 0 and 1 are skipped during the very first second of every minute of footage. The exception to this is when the minute number is exactly the advisable by 10. Final Cut Pro does not display dropped numbers as they have been dropped and are not located on your media or tape. This type of display is only available for frame rates of 29.97fps or NTSC media files.
• Frames: When timecodes are displayed this way, an absolute frame rate count is displayed rather than hours, minutes, seconds and frames. This this option is available for any frame rate.
• 60 @ 30: This display option shows 60 fps video with a 30 fps timecode. You can use this option to display timecode for 60fps formats, such as 720p60, using a more familiar 30fps timecode. This option will allow you to match the timecode display on many VTR's that support 60fps formats. Each timecode number represents two video frames, and the second frame is indicated by an asterisk (*). Final Cut Pro only allows this option with 60 and 59.94 frames per second high definition files.
• Feet + Frames: This option displays the timecode in terms of film feet and frames and uses the default film standard assigned in Project Properties. You can change the current film standard in your project by going to Project Properties and selecting an option from the Default Film Standard pop-up menu

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Three Point Lighting

Three-point lighting is a standard method used in visual media such as video, film, still photography and computer-generated imagery. By using three separate positions, the photographer can illuminate the shot's subject (such as a person) however desired, while also controlling (or eliminating entirely) the shading and shadows produced by direct lighting.

The key light, as the name suggests, shines directly upon the subject and serves as its principal illuminator; more than anything else, the strength, color and angle of the key determines the shot's overall lighting design.

In indoor shots, the key is commonly a specialized lamp, or a camera's flash. In outdoor daytime shots, the Sun often serves as the key light. In this case, of course, the photographer cannot set the light in the exact position he or she wants, so instead arranges it to best capture the sunlight, perhaps after waiting for the sun to position itself just right.

The fill light also shines on the subject, but from a side angle relative to the key and is often placed at a lower position than the key (about at the level of the subject's face). It balances the key by illuminating shaded surfaces, and lessening or eliminating chiaroscuroeffects, such as the shadow cast by a person's nose upon the rest of the face. It is usually softer and less bright than the key light (up to half), and more to a flood. Not using a fill at all can result in stark contrasts (due to shadows) across the subject's surface, depending upon the key light's harshness. Sometimes, as in low-key lighting, this is a deliberate effect, but shots intended to look more natural and less stylistic require a fill.

In some situations a photographer can use a reflector (such as a piece of white cardstock mounted off-camera, or even a white-painted wall) as a fill light instead of an actual lamp. Reflecting and redirecting the key light's rays back upon the subject from a different angle can cause a softer, subtler effect than using another lamp.

The back light (a.k.a. the rim, hair, or shoulder light) shines on the subject from behind, often (but not necessarily) to one side or the other. It gives the subject a rim of light, serving to separate the subject from the background and highlighting contours.

Back light or rim light is different from a kick in that a kick (or kicker) contributes to a portion of the shading on the visible surface of the subject, while a rim light only creates a thin outline around the subject without necessarily hitting the front (visible) surface of the subject at all.

Time Line

Introduction to Final Cut Space

Example of Final Cut Space

Filters that are Useful

Converting Kodak Zi8 Files for use in IMovie and Final Cut

Open MPEG - Streamclip

Select this icon from your applications folder or the Dock






Opening Files
To Open a video file, simply drag it into the centre of this window

Example of an open file


Export for Editing
On the top menu select: File
Then select: Export to Quicktime


Ensure you match these settings:
- Apple Intermediate Codec
- Frame Size: 1280x720


Using Final Cut Express or Pro

Open Final Cut from the Dock by selecting this icon.


The Final Cut Interface


Check your project setting
Click on the Browser window
This is where your clips and sequences will later be stored


Adjust your settings
Go to the Final Cut Pro menu and select easy setup



Adjust your project settings
Set your project Format to Apple Intermediate Codec with a Rate of 29.97 fps (frames per second)
Use the exact options indicated below


System Setting and Sequences

Go to the Final Cut Pro menu and select System Settings
Set all scratch disks to the location of your project
Create a new sequence for your project by ring to the file menu and selecting new sequence.