Apple Final Cut Pro X 10.1.2 User Guide

							 Chapter 16    Keyboard shortcuts and gestures 4 71
Command ShortcutAction
Show/Hide Video Animation Control-VShow or hide the Video Animation 
Editor for the selected Timeline 
clips
Show More Filmstrip Frames Shift-Command-Period (.)Show more filmstrip frames in 
Browser clips
Show One Frame per Filmstrip Option-Shift-Command-Comma (,)Show one frame per filmstrip
View Clip Names  Option-Shift-NShow or hide clip names in the 
Browser
View Browser as Filmstrip Option-Command-1Switch the Browser to filmstrip 
view
View Browser as List Option-Command-2Switch the Browser to list view
Zoom In Command–Equal Sign (=)Zoom in to the Timeline, Browser, 
or Viewer
Zoom Out Command-Hyphen (-)Zoom out of the Timeline, Browser, 
or Viewer
Zoom to Fit  Shift-ZZoom the contents to fit the size of 
the Browser, Viewer, or Timeline
Zoom to Samples Control-ZTurn zooming in to audio samples 
on or off
Windows
CommandShortcutAction
Background Tasks  Command-9Show or hide the Background 
Tasks window
Go to Audio Enhancements Command-8Make the Audio Enhancements 
inspector active
Go to Color Board Command-6Make the Color Board active
Go to Browser Command-1Make the Browser active
Go to Inspector Option-Command-4Make the current inspector active
Go to Timeline Command-2Make the Timeline active
Go to Viewer Command-3Make the Viewer active
Next Tab Control-TabGo to the next pane in the 
Inspector or the Color Board
Previous Tab Control-Shift-TabGo to the previous pane in the 
Inspector or the Color Board
Record Voiceover Option-Command-8Show or hide the Record Voiceover 
window
Show Histogram Control-Command-HShow the Histogram in the Viewer
Show Vectorscope Control-Command-VShow the Vectorscope in the 
Viewer
Show Video Waveform Control-Command-WShow the Waveform Monitor in the 
Viewer
Show/Hide Angles Shift-Command-7Show or hide the Angle Viewer
Show/Hide Audio Meters Shift-Command-8Show or hide the Audio meters
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Command ShortcutAction
Show/Hide Browser Control-Command-1Show or hide the Browser
Show/Hide Effects Browser Command-5Show or hide the Effects Browser
Show/Hide Libraries list Shift-Command-1Show or hide the Libraries list
Show/Hide Event Viewer Control-Command-3Show or hide the Event Viewer 
Show/Hide Inspector  Command-4Show or hide the Inspector pane
Show/Hide Keyword Editor Command-KShow or hide the Keyword Editor
Show/Hide Timeline Index Shift-Command-2Show or hide the Timeline Index 
for the open project
Show/Hide Video Scopes Command-7Show or hide the video scopes in 
the Viewer
Multi-Touch gestures
If your computer has a Multi-Touch trackpad, you can use the Multi-Touch gestures listed in the 
table below when working with Final Cut Pro.
For more information about Multi-Touch gestures, see the documentation that came with 
your computer.
GestureAction
Scroll (two-finger): Moves the Timeline left, right, up, or down. 
Scroll (three-finger): Swipe up to move the playhead to the beginning 
of the Timeline. Swipe down to move the playhead to the end of the 
Timeline. Swipe left or right to move the playhead left or right.
Customize keyboard shortcuts
View keyboard shortcuts in the Command Editor
Final Cut Pro provides a wide variety of menu commands and keyboard shortcuts that let you 
control almost every aspect of your project, from playback to displaying windows and inspectors 
to working with tools. You can use the Command Editor to modify existing shortcuts, create new 
shortcuts, and save multiple sets of keyboard shortcuts that you can export for others to use. You 
can also import a set of shortcuts that someone else created. And if you’re more familiar with 
keyboard shortcuts from other applications, you can use the Command Editor to substitute those 
shortcuts in place of the default set for Final Cut Pro.
The Command Editor provides a set of keyboard shortcuts for Final Cut Pro in English, Japanese, 
French, and German. The language that is shown is determined by your computer’s operating 
system. To learn how to change the language used by Final Cut Pro, see OS X Help, available from 
the Help menu when the Finder is active.
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							 Chapter 16    Keyboard shortcuts and gestures 473
View keyboard shortcuts
 1 Choose Final Cut P ro > C ommands > C ustomize (or press Option-Command-K). 
The Command Editor appears.
 2 To find keyboard shortcuts in the Command Editor, do any of the following:
 •Click one or more keys on the virtual keyboard (or click one of the four modifier buttons at the 
top of the Command Editor).
The Command groups associated with the selected key or keys appear in the bottom-left 
corner of the window, and a list of all the keyboard shortcuts associated with the key you 
selected appears in the bottom-right corner of the window. 
Select a key to see the Command groups associated with the key.
When you hold down any modifier buttons on the keyboard, the key colors update. Key colors 
correspond with command classifications; for example, playback commands, such as Play/
Pause (Space bar), are blue. The Command Groups window on the left side of the Command 
List contains a clickable color key for reference.
 •Enter a command name, description keywords, or a key name in the search field at the top-
right corner of the window.
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The commands that match the search term are listed in the Command List at the bottom of 
the window.
Tip:  To show the keys that correspond with the items in the Command List, click the Keyboard 
Highlight button to the left of the search field.
Click any command in the list to view its details in the Command Detail area in the bottom-
right corner of the window. 
Commands located 
by the search
Enter a term to search for here.
 •Click a Command group to quickly filter the Command List to display only the commands and 
keyboard shortcuts in that group.
Click any command in the list to view its details in the Command Detail area in the bottom-
right corner of the window. 
Click a Command group to 
quickly filter the Command List.
View shortcuts from a different command set
If your system has multiple command sets, you can easily switch between them. For more 
information, see Export and import command sets in the Command Editor
 on page 476 .
Do one of the following:
 mChoose Final Cut Pro > Commands, and then choose a command set from the submenu.
The Command Editor window appears, showing the command set you chose.
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							 Chapter 16    Keyboard shortcuts and gestures 475
 mIf you’ve already opened the Command Editor, choose a command set from the pop-up menu at 
the top-left corner of the window.
Command sets are 
listed in the bottom 
of the pop-up menu.
Modify keyboard shortcuts in the Command Editor
You can quickly and easily customize keyboard shortcuts in the Command Editor. If you want to 
add a few custom commands to the default set in Final Cut Pro, you can duplicate the default set 
and assign keyboard shortcuts to some of the unassigned commands. You can also create a new 
set that contains only your commands.
Duplicate a command set
 1 Choose Final C ut P ro > C ommands > C ustomize (or press Option-Command-K).
 2 If the command set that you want to duplicate is not shown, choose a different command set 
from the pop-up menu in the top-left corner of the Command Editor.
 3 Choose Duplicate from the pop-up menu.
 4 In the window that appears, type a name for the command set, and click OK.
The duplicate set is added to the Command submenu of the Final Cut Pro menu and to the 
pop-up menu in the Command Editor.
Modify a command set
You can add keyboard shortcuts to a command set or reassign keyboard shortcuts.
 1 Choose Final Cut P ro > C ommands > C ustomize (or press Option-Command-K).
 2 If the command set that you want to modify is not shown, select a different different command 
set from the pop-up menu at the top of the Command Editor.
 3 Select the command to which you want to assign a new keyboard shortcut by doing one of the 
following:
 •Type a command name in the search field at the top-right corner of the Command Editor window.
 •Browse the command list to find the command you want.
 4 Press the combination of keys you want to use for the command (for example, Option-Shift-T, or 
any other keys).
Note:  Keys on the Command Editor virtual keyboard that are shaded with diagonal lines are 
reserved for system use and cannot be assigned.
If the key combination is not already assigned to a command, the virtual keyboard updates to 
show the new key assignment. A gray dot appears on a newly assigned key (or keys), and a color 
is applied if the command belongs to a color-coded Command group.
If the key combination is already assigned to a command, Final Cut Pro displays the current 
setting, and prompts you to confirm the change.
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 5 To save your changes to the command set, click the Save button in the lower-right corner of the 
Command Editor.
If you close the Command Editor with unsaved changes, Final Cut Pro prompts you to save 
your changes.
Delete a command set
 1 Choose Final Cut P ro > C ommands > C ustomize (or press Option-Command-K).
 2 If the command set that you want to delete is not shown, select a different command set from 
the pop-up menu at the top of the Command Editor.
 3 Choose Delete from the pop-up menu in the top-left corner of the Command Editor.
 4 In the window that appears, click Delete.
The command set is removed.
Export and import command sets in the Command Editor
After you save a command set, you may want to export it to create a backup or to share the new 
set with another user. Exported command sets are saved in a file that can be imported back into 
Final Cut Pro at a later time.
Export a set of custom keyboard shortcuts
 1 Choose Final Cut P ro > C ommands > C ustomize (or press Option-Command-K).
 2 If the command set that you want to export is not shown, select a different command set from 
the pop-up menu at the top of the Command Editor.
 3 Do one of the following:
 •Choose Final Cut Pro > Commands > Export.
 •Choose Export from the pop-up menu in the top-left corner of the Command Editor.
 4 Type a name for the exported command set in the Save As field, and navigate to the location 
where you want to save the exported set and click Save.
The file is saved in the location you chose, with the filename extension .commandset.
Import a command set
 1 Do one of the following:
 •Choose Final Cut Pro > Commands > Import.
 •Open the Command Editor by choosing Final Cut Pro > Commands > Customize, and choose 
Import from the pop-up menu in the upper-left corner of the Command Editor.
 2 In the window that appears, navigate to the location where you’ve stored a command set file, 
select it, and click Open.
If you’re already using a command set with the same name, a window appears and prompts you 
to rename the command set.
The new command set is added to the Commands submenu of the Final Cut Pro menu and to 
the pop-up menu in the Command Editor.
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							  477
4:3  The aspect ratio for standard-definition (SD) broadcast video. The ratio of the width to the 
height of the visible area of the video frame is 4:3, or 1.33. See also standard-definition (SD).
16:9
  A widescreen aspect ratio for video. The ratio of the width to the height of the visible area 
of the video frame is 16:9, or 1.78. The 16:9 aspect ratio is used for high-definition video. See also 
high-definition (HD).
AAC (Advanced Audio Coding)
  Also called MPEG-4 Audio. A standard way of compressing and 
encoding digital audio. AAC-encoded files rival the quality of audio CDs and generally sound as 
good as or better than MP3 files encoded at the same or even a higher bit rate.
AC3 (Audio Codec 3, Advanced Codec 3, Acoustic Coder 3)
  A Dolby Digital compressed audio 
format often used for encoding surround sound.
AIFF (Audio Interchange File Format)
  A cross-platform audio file format developed by Apple. 
Like WAV files, AIFF files contain “chunks” of information such as the Sound Data Chunk, which 
contains the actual sample data, and the Common Chunk, which contains sample rate and bit 
depth information.
alpha channel
  An image channel in addition to the R, G, and B color channels that is used 
to store transparency information for compositing. Alpha channels are often 8-bit, but some 
applications support 16-bit alpha channels. In Final Cut Pro, black represents 100 percent 
transparency, and white represents 100 percent opacity. Only certain formats, such as Targa, TIFF, 
PNG, PSD, Apple ProRes 4444, and the QuickTime Animation codec, support alpha channels. See 
also compositing, RGB.
Angle Editor
  You can open multicam clips in the Angle Editor to adjust the synchronization and 
the angle order, or to add or delete angles. You can also use the Angle Editor to make edits to 
the individual clips inside a multicam clip (such as trimming, making color corrections, adding 
transitions, and so on). See also multicam clip.
Angle Viewer
  A viewer used to watch all angles of a multicam clip simultaneously while 
switching or cutting to different angles in real time. You can cut and switch video and audio 
at the same time or independently. For example, you can use the audio from angle 1 while 
switching the video between angles 1 to 4. See also multicam clip.
Animation Editors
  See Audio Animation Editor, Video Animation Editor.
Apple ProRes
  Apple codecs that provide an unparalleled combination of multistream, real-
time editing performance, impressive image quality, and reduced storage rates. Apple ProRes 
codecs take full advantage of multicore processing and feature fast, reduced-resolution decoding 
modes. All Apple ProRes codecs support any frame size (including SD, HD, 2K, and 4K) at full 
resolution. The data rates vary based on codec type, image content, frame size, and frame rate.
Glossary
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							 Glossary 478
Apple ProRes 4444 XQ  The highest-quality version of Apple ProRes for 4:4:4:4 image sources 
(including alpha channels), with a very high data rate to preserve the detail in high-dynamic-
range imagery generated by today’s highest-quality digital image sensors. Apple ProRes 4444 XQ 
preserves dynamic ranges several times greater than the dynamic range of Rec. 709 imagery—
even against the rigors of extreme visual effects processing, in which tone-scale blacks or 
highlights are stretched significantly. Like standard Apple ProRes 4444, this codec supports up to 
12 bits per image channel and up to 16 bits for the alpha channel. Apple ProRes 4444 XQ features 
a target data rate of approximately 500 Mbps for 4:4:4 sources at 1920 x 1080 and 29.97 fps.
Apple ProRes 4444
  An extremely high-quality version of Apple ProRes for 4:4:4:4 image 
sources (including alpha channels). This codec features full-resolution, mastering-quality 4:4:4:4 
RGBA color and visual fidelity that is perceptually indistinguishable from the original material. 
Apple ProRes 4444 is a high-quality solution for storing and exchanging motion graphics and 
composites, with excellent multigeneration performance and a mathematically lossless alpha 
channel up to 16 bits. This codec features a remarkably low data rate compared to uncompressed 
4:4:4 HD, with a target data rate of approximately 330 Mbps for 4:4:4 sources at 1920 x 1080 and 
29.97 fps. It also offers direct encoding of, and decoding to, both RGB and Y’C
BCR pixel formats.
Apple ProRes 422 HQ
  A higher-data-rate version of Apple ProRes 422 that preserves visual 
quality at the same high level as Apple ProRes 4444, but for 4:2:2 image sources. With 
widespread adoption across the video post-production industry, Apple ProRes 422 HQ offers 
visually lossless preservation of the highest-quality professional HD video that a single-link 
HD-SDI signal can carry. This codec supports full-width, 4:2:2 video sources at 10-bit pixel depths, 
while remaining visually lossless through many generations of decoding and reencoding. The 
target data rate of Apple ProRes 422 HQ is approximately 220 Mbps at 1920 x 1080 and 29.97 fps.
Apple ProRes 422
  A high-quality compressed codec offering nearly all the benefits of Apple 
ProRes 422 HQ, but at 66 percent of the data rate for even better multistream, real-time editing 
performance. The target data rate of Apple ProRes 422 is approximately 147 Mbps at 1920 x 1080 
and 29.97 fps.
Apple ProRes 422 LT
  A more highly compressed codec than Apple ProRes 422, with roughly 70 
percent of the data rate and 30 percent smaller file sizes. This codec is perfect for environments 
where storage capacity and data rate are at a premium. The target data rate of Apple ProRes 422 
LT is approximately 102 Mbps at 1920 x 1080 and 29.97 fps.
Apple ProRes 422 Proxy
  An even more highly compressed codec than Apple ProRes 422 
LT, intended for use in offline workflows that require low data rates but full-resolution video. 
The target data rate of Apple ProRes 422 Proxy is approximately 45 Mbps at 1920 x 1080 and 
29.97 fps.
aspect ratio
  A film or video frame’s width-to-height ratio on any viewing screen. Standard-
definition (SD) video (used for regular television screens) has an aspect ratio of 4:3. High-
definition (HD) video has an aspect ratio of 16:9.
Audio Animation Editor
  You can show the Audio Animation Editor for clips in the Timeline 
to adjust effect parameters, create fade-ins or fade-outs, or change effects over time 
using keyframes.
audio components
  Audio files can contain a single audio channel or multiple audio channels. 
Final Cut Pro automatically groups audio channels into audio components according to how the 
channels are configured for the clip. In Final Cut Pro, you can expand the audio portion of clips to 
view and edit audio components down to the individual channel level.
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							 Glossary 479
audio sample rate  The number of times an audio signal is measured, or sampled, per second. A 
higher sample rate produces higher-quality audio and larger file sizes, and a lower sample rate 
produces lower-quality audio and smaller file sizes.
Audio Units
  The standard real-time audio filter format for audio applications used with OS X.
audio waveforms  Audio waveforms are visual representations of the actual sound. An audio 
waveform’s amplitude and length change according to the underlying sound’s volume and 
duration. A short, loud sound such as a drum beat has a sharp, peaked waveform, whereas low-
level crowd noise has a lower, more uniform waveform. These properties make it easier to find 
specific edit points when trimming clips or keyframing effects.
audition
  In Final Cut Pro you can organize related clips into sets, called auditions, from which 
you can choose one clip to use. You can create an audition composed of different clips to try out 
multiple takes, or you can create an audition composed of multiple versions of the same clip to 
preview different effects. Auditions appear in the Browser and Timeline as clips with an Audition 
icon in the upper-left corner.
automatic audio sync
  The “Use audio for synchronization” option in the multicam clip creation 
process makes precision sync adjustments using audio waveforms in the angles of a multicam 
clip. This is the same audio sync technology that you can use to automatically analyze and sync 
clips together into a compound clip.
AVCHD
  A high-definition (HD) video format that uses Advanced Video Coding (AVC) 
compression (also known as MPEG-4 part 10 or H.264). Many Blu-ray players can play red laser 
discs with AVCHD format content, making this a common way to distribute short HD video 
projects using a standard red laser disc.
Background Tasks window
  The Background Tasks window shows the progress of importing, 
transcoding, analysis, rendering, sharing, and other tasks.
batch
  Compressor uses a batch to contain one or more source media files that you want to 
convert, or transcode, to another format. Each source media file creates its own job. This means 
that a batch can contain multiple jobs, with each job based on its own source media file. Each 
job also has at least one setting that defines the format of the transcoded file.
Bezier curves
  A parametric curve used to create smooth movement for keyframes and animated 
objects in the Viewer. Bezier curves contain two kinds of points: smooth points with handles that 
can be manipulated to curve the adjacent line segment, and corner points that have no handles 
and therefore their adjacent line segments are straight (or linear). 
bit rate
  The number of bits per second that makes up a digital video or audio asset. The higher 
the bit rate, the better the quality. However, higher bit rates require larger file sizes.
Blade tool
  The editing tool that allows you to cut clips in the Timeline. You can select the Blade 
tool by pressing the B key.
blue laser media
  Blu-ray burners and players use a blue laser when working with Blu-ray media. 
The blue color has a shorter wavelength, making it possible to store more data on a disc when 
compared to red lasers.
blue or green screening
  See chroma key.
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							 Glossary 480
broadcast-safe  Broadcast facilities have limits on the maximum values of luma and chroma that 
are allowable for broadcast. If a video exceeds these limits, distortion can appear, resulting in 
unacceptable transmission quality. You can use the Final Cut Pro video scopes to make sure that 
the luma and chroma levels you set stay within acceptable limits.
B-roll
  A term used to describe alternate footage shot to intercut with the primary shots used in 
a program. B-roll is frequently used for cutaway shots.
Browser
  The Browser displays the clips and projects for the item selected in the Libraries list. 
You select clips or portions of clips in the Browser to work with them. Open projects by double-
clicking them in the Browser. You can sort or group items in the Browser by creation date, name, 
and duration. You can also view your clips as filmstrips or in a list.
BWF (Broadcast Wave Format)
  An extension of the WAV file format that includes additional 
metadata such as timecode and production information.
CAF (Core Audio Format)
  Apple’s Core Audio Format (CAF) is a flexible file format for storing 
and manipulating digital audio data. It is fully supported by Core Audio APIs on Mac OS X v10.4 
and later and on Mac OS X v10.3 with QuickTime 7 or later. CAF provides high performance and 
flexibility, and is scalable to future ultra high-resolution audio recording, editing, and playback.
chroma
  The color information contained in a video signal, consisting of hue, which represents 
the color itself, and saturation, which represents the intensity of the color.
chroma key
  A special effects technique that allows you to derive an alpha channel or matte 
from the blue or green background of a video clip in order to make it transparent for the 
purpose of compositing it against other clips. Blue-screen technology is what makes weather 
forecasters appear to be standing against an animated map, when in reality they’re standing in 
front of a blue wall. Also known as blue or green screening. See also alpha channel.
clip
  The term used to describe a video or audio asset, especially after it has been imported 
into Final Cut Pro. Clips appear in the Browser, the Timeline, and the media browsers. Clips in 
Final Cut Pro point to (link to) source media files stored on a disk. When you modify a clip, you 
are not modifying the media file, just the clip’s information in Final Cut Pro. ( This is known as 
nondestructive editing.)
clipping
  Distortion occurring during the playback or recording of digital audio because of a 
signal that exceeds the maximum sample value of 0 dBFS.
clip selection
  A selection of whole clips in the Browser or the Timeline. In contrast to a range 
selection, a clip selection is limited to clip boundaries. You cannot adjust a clip selection to 
include portions of clips. However, you can add or remove whole clips.
codec
  Short for compressor/decompressor, or encode/decode. A software component used to 
translate video or audio from its current form to the digital compressed form in which it is 
stored on a computer’s hard disk. DV, Photo JPEG, and Apple ProRes are common QuickTime 
video codecs.
color balance
  Refers to the mix of red, green, and blue in a clip. In Final Cut Pro, you can adjust 
the color balance of the highlights (bright areas), midtones, or shadows (dark areas) of your clip 
using the Color Board.
color bars
  A standard color test signal displayed as columns, often accompanied by a reference 
audio tone. Color bars are used to adjust the video signal of the incoming source to maintain 
proper color from import through output.
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