Final Cut Pro Skills Test
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2. Audio should have an average level of:
A. 0 db for digital or analog output.
B. -12 db for digital output or analog output.
C. -12 db for digital output, -20 for analog output.
D. -20 db for digital output, -12 for analog output.

3. For output to DV, values in the Waveform Monitor should be between:
A. 7.5 and 100.
B. 0 and your superwhite setting in Preferences.
C. 0 and 100.
D. -7.5 and 100.

4. The best way to be sure skin tones are correct is:
A. Use the Crop tool to isolate a face in the Canvas, then check the skin tone line in the Vectorscope.
B. With the Range Check tool active with chrominance only checked, adjust the red slider in the RGB Balance filter until the zebra stripes appear, then back off slightly.
C. Use the split window feature in the Frame Viewer tool to compare to a color chip chart on a calibrated NTSC monitor.
D. A and B applied together.
E. None of the above.

5. To find audio levels possibly above the limit for your final output format:
A. Choose Modify>Levels and enter the desired maximum level.
B. Choose Auto from the Source pop-up menu in the Audio Mixer window.
C. Choose Mark>Audio Peak>Mark.
D. Turn on Audio Waveforms and Clip Overlays in the Timeline and look for peaks above the red audio level line.
E. A or C.

6. Use Range Check to:
A. Adjust the black, mids, and whites to be within broadcast-safe limits.
B. Display areas that do not have broadcast-safe chrominance.
C. Display areas that do not have broadcast-safe luminance.
D. Find audio peaks above the range that may cause distortion in analog devices.
E. B, C, or B and C.

7. To preserve the most quality and avoid re-rendering for delivery to DVD, export:
A. As a self-contained Quicktime movie using the MPEG-2 codec.
B. Using QuickTime Conversion with the Animation codec set to 100% (lossless).
C. To Compressor, then choose an MPEG-2 preset.
D. To a non-self-contained QuickTime movie, then import the file into Compressor.

8. To ensure you use the maximum luminance dynamic range while remaining broadcast safe:
A. Crush your blacks using the Color Corrector 3-way filter.
B. Use the Broadcast Safe filter on a nested sequence so it applies to all clips in that sequence equally.
C. Adjust the Luma Minimum and Luma Width sliders in the Color Corrector 3-way filter so that all points in the Waveform Monitor read between black and white.
D. None of the above.

9. With the Time Remapping tool, you can:
A. Create a "strobe" look.
B. Create still frames.
C. Reverse play direction, then resume forward play within a clip.
D. A and C.
E. B and C.

10. With secondary color correction, you can:
A. Adjust chrominance and luminance at the same time.
B. Apply the color correction of one clip to a second clip.
C. Replace one color with another or desaturate all but one color.
D. A and B.
E. None of the above.