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A common starting point happens to be Final Cut Pro X. It happens to have a Share menu, which automatically has been used in Compressor, but it's worth the fifty dollars to actually be able to send directly to Compressor to further enhance your control over compressed files, particularly choosing one they are going to compress, as well as being able to send more than one file over, so you can compress multiple files, batching your time in the most efficient way. So I have sent this over to Compressor, and the way Compressor works here is we've got really three things we need to do.
We've got a source--that's this file right here. That's the little Final Cut Pro icon you're looking at. And the source file is communicating with Final Cut Pro, so it will take a moment before it's visible on screen. When I click on this, you will see that I can scrub through this here in the Compressor Preview window, and it's actually communicating with Final Cut Pro. It takes a moment for that communication to occur. But the idea is that we start here with this Final Cut Pro file, and all we need to do is drag a setting and a destination up here. So I am going to go ahead and drag its setting.
This one happens to be a high- definition file for Apple devices. And it's going to go automatically to where that source file is. I had the option of sitting back and saying where I'd like it to go, but it's doing it automatically. Instead of it going to this spot, I am going to right-click and choose where I'd like it go here as a destination in Other. Just so you know--of course, very Apple--we are not doing stuff only via right-click; we also can do that by targeting a specific spot. I'll choose Destination, and the destination I am going to choose happens to be here on my Scratch Disk in a folder I have already built called Encoded.
I happened to believe in the idea that, as much as you can, you want to contain your work, so creating folders and files that help you know what these specific files are really will help you over time, because you are going to build a lot of files and being able to figure out one another can be difficult. So I have already got this encoded file separate from everything else. I am going to say Open. We are going to take this batch file-- again our starting point with this setting-- going to our Encoded folder, and I am going to hit the magic Submit button.
We get a batch window up top. It's going to tell us how high the priority. Maybe if we were doing a lot of other work, maybe we would want to take it to a lower priority. I am going to say Submit, and it's going to go ahead down here off in the bottom and start to send this off to Final Cut Pro. This prior job here I am just going to click and say Delete. This came from an earlier compression I did. This will take a moment to get started, and as it gets started, it's actually going to be communicating the entire time with Final Cut Pro. The negative of this is that it actually takes a little bit longer than giving Compressor a QuickTime file.
The real positive of this is it will leave all of your graphics, any of your imported elements, your stills, in the most pristine quality until it does the compression, so elements stay as clean as possible until the very last step. Now through the magic of time compression that we have here at lynda, we are going to see that go a little bit faster, and then we will compare the two output files: the original file, something about half a gigabyte, to what the final finished compressed file should be. My guess is it's going to be somewhere around a hundred megabytes or so.
Let's take a look after this has finished compressing. And Compressor has told us that we are successful. I am going to come out to the Finder. We are going to look inside of our Encoded folder. There is our Mission Statement. It's thirty-four megabytes. The original one, if we had exported just straight out from Final Cut, would have been about five hundred megabytes. So we've taken it down roughly about fifteen to one and gotten a file that will play beautifully on a computer or on a high-def Apple device, such as an iPad or an iPhone 4.
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