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Editor’s note: The following tip on changing keyframe interpolation in Motion 3 is excerpted from Apple Pro Training Series: Motion 3 by Damian Allen, Mark Spencer, Bryce Button, Tony Huet. published by Peachpit Press. Changing Keyframe Interpolation From: Designing and Animating Motion Graphics in Final Cut Studio 2; pgs. 382-385 To make the motion more dynamic, you want the mountains to move very quickly into the frame and slowly recede into the distance.

Editor’s note: The following tip on importing CD tracks into Final Cut Pro 6 is excerpted from Apple Pro Training Series: Final Cut Pro 6 by Diana Weynand published by Peachpit Press.

Importing CD Tracks

From: Professional Editing in Final Cut Studio 2; pgs. 464-467

The Special Effects kit is a set of 30 video filters offering a range of effects, including image correction, photographic effects and stylizing special-effects. Advanced effects include sketching & watercolor effects and a mask-based time-warping effect that delays individual pixels in a scene based on a supplied mask.

The Special Effects kit include these following filters and more:

- Bad Reception -

Editor’s note: The following tip on bit budgeting for the web in DVD Studio Pro 4 is excerpted from Apple Pro Training Series: DVD Studio Pro 4, Second Edition by Martin Sitter and Adrian Ramseier with JemSchofield, published by Peachpit Press. Bit Budgeting From: Authoring Professional DVDs in Final Cut Studio 2; pgs. 392-394

The Masked Effects kit includes special versions of several standard Final Cut filters, enhanced so their effects can be masked by a Matte filter or existing alpha-channel. This lets you exercise fine control over the application of these effects within areas of the frame, such as applying a graduated tint across the frame or a noise-softening blur to the stationary areas in a clip or a saturation bump to just the low-saturation areas, and so on.

The Masked-Effects kit includes these following effects and more:

Editor’s note: The following tip on encoding for the web in Compressor is excerpted from Apple Pro Training Series: Compressor 3 Quick-Reference Guide, by Brian Gary, published by Peachpit Press.

Working With Bit Rates

Editor’s note: The following tip on exploring the Primary Room in Color is excerpted from Apple Pro Training Series: Color, by Michael Wohl and David Gross, published by Peachpit Press.

Exploring the Primary Room

From: Correcting and Grading in Final Cut Studio; pgs. 52 - 55

Lyric Media's 15 Matte Filters produce and manipulate mattes, also known as alpha-channels, that control the transparency of areas within a clip. You use these when layering several clips to form a composite, or to limit the effect of other filters to certain areas within a clip. Several of the filters produce mattes based on the content in each frame, such as color or saturation or luminance levels or object edges or frame-to-frame changes. Others let you construct geometric or gradient or grid-based mattes.

Editor’s note: The following tip on encoding for the web in Compressor is excerpted from Apple Pro Training Series: Compressor 3 Quick-Reference Guide, by Brian Gary, published by Peachpit Press.

The "CGM DVE Vol.4+" is a set of 50 filters, transitions and generators for use in Final Cut Pro and Final Cut Express. In addition to the professional plug-ins the package also includes a series of Final Cut Pro workshops and 68 softwipe patterns. Like its predecessors, CGM DVE Vol. 4+ is compatible for Final Cut Pro versions 3 through 6 and Final Cut Express versions 1 through 4.

Filters to especially look out for in Volume 4 include:

A weekly roundup of buzzworthy tips, tricks, and topics from the Final Cut Studio community:

-Finally there's a way to view Apple ProRes in Windows and in Mac without Final Cut Pro! Download the Apple ProRes Quicktime Decoder 1.0. Apple ProRes is a visually lossless format that provides uncompressed HD quality at SD data rates. It is an excellent choice for mastering and can easily be transcoded to distribution formats like H.264.