IntroductionWelcome| 00:00 | (Music playing)
| | 00:03 | Hi! I'm Abba Shapiro and welcome to
| | 00:06 | Final Cut Pro 7 Essential Training.
| | 00:09 | If you are new to the application, you
| | 00:10 | will learn everything you
need to know to build a show.
| | 00:13 | If you are using Final Cut Pro already,
| | 00:15 | you will learn about many of the new
| | 00:16 | features of Final Cut Pro 7, and
| | 00:18 | discover how you can work smarter and faster.
| | 00:21 | Some of the areas that we'll cover
| | 00:23 | include using keyboard shortcuts to quickly
| | 00:25 | scan, select, and edit your media,
| | 00:29 | mixing audio, working with
| | 00:31 | transitions and filters, and
color correcting your footage.
| | 00:34 | We will also explore some advanced
| | 00:36 | editing techniques, such as
zooming in and around still
| | 00:39 | images, and stabilizing bumpy shots with
| | 00:42 | the SmoothCam Filter.
| | 00:44 | Now let's explore Final Cut Pro 7.
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| Remapping operating system functions| 00:00 | Before we start editing in Final Cut
Pro, there are a few system settings we need to adjust.
| | 00:06 | Go to the Apple pull-down menu
and select System Preferences.
| | 00:10 | Once System Preferences opens up,
click on the Expose & Spaces icon, and
| | 00:14 | then click on Expose.
| | 00:16 | We want to remap the Expose functions
of F9, F10, and F11, because we use these
| | 00:21 | in Final Cut to do insert,
overwrite, and replace edits.
| | 00:25 | I like to still keep F9 and F10 and F11
for Expose, but I usually put a couple
| | 00:30 | of modifiers in front of them.
| | 00:32 | Hold down the Option and the Command key,
Click on F9 next to All windows, and
| | 00:37 | now click again to modify
this to Command+Option F9.
| | 00:41 | Do the same thing to the next two pull-down
windows, and for good measure, also
| | 00:47 | change F12 to Command+Option F12.
| | 00:50 | While we are here, let's go ahead and
change Mouse Button 4 to a dash, as well
| | 00:55 | as Mouse Button 3 to a dash.
| | 00:59 | The next setting I would like you
to change is in Keyboard & Mouse.
| | 01:02 | If you are using a mighty mouse,
you need to remap a couple of buttons.
| | 01:06 | You need to make sure the right
button acts as a Secondary Button when
| | 01:10 | editing with Final Cut Pro.
| | 01:11 | Remember, the mighty mouse
acts likes a rocker switch.
| | 01:14 | Rock it to the left for a Primary
Button, and rock it to the right for the
| | 01:18 | Secondary Button, commonly
referred to as a right-click.
| | 01:22 | Next, make sure that the top button
and the side buttons are not mapped to
| | 01:26 | Dashboard and Expose.
| | 01:28 | Go ahead and close your System
Preferences window and now with these settings,
| | 01:33 | you are now ready to use Final Cut Pro.
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| Using the exercise files| 00:00 | As you view this course, you will
notice that I have prepared some Exercise
| | 00:04 | Files that I use to
demonstrate the techniques in each movie.
| | 00:07 | If you have a subscription to the
Lynda.com Online Training Library that
| | 00:11 | includes exercise files, or if you are
viewing this course on a DVD, you will
| | 00:15 | have access to the same exercise
files that I'm using in the movies.
| | 00:20 | I have organized those files by chapter.
| | 00:23 | The same chapters that you see in
the Table of Contents for the course.
| | 00:27 | Here you can see my
exercise files open on my Mac.
| | 00:30 | Inside the Exercise Files folder are
Chapter folders, and inside each of the
| | 00:35 | Chapter folder are a number
of Final Cut Pro sequences.
| | 00:38 | I start the movies with the projects
already open and you can open the same
| | 00:42 | files to follow along.
| | 00:43 | I have also saved a version of the
finished show, so that you can see where we are going.
| | 00:48 | There is also an Assets folder.
| | 00:50 | Inside this folder are three sub-folders
containing all of the Audio, Images,
| | 00:54 | and Video we'll be using in this course.
| | 00:56 | We are very excited that all of the
video we are using is using the new
| | 01:00 | ProRes Proxy format.
| | 01:02 | If you don't have the Exercise Files,
don't worry, you can follow along with
| | 01:06 | the course using your own files and still be
able to learn the essentials of Final Cut Pro.
| | 01:12 | Now let's get started.
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1. Using the InterfaceLaunching the application for the first time| 00:00 | To launch Final Cut Pro, simply
click on the Final Cut Pro clapboard icon in your dock.
| | 00:07 | Now you will be greeted by several
different dialogs when you launch Final Cut,
| | 00:11 | and the first one is the Choose Setup dialog.
| | 00:13 | Now, when you are editing video,
there is a variety of formats that you can work with.
| | 00:18 | It can actually be rather intimidating.
| | 00:20 | If we look at the Use drop-down menu,
you see all the variety of formats
| | 00:25 | that you can edit with.
| | 00:27 | There is XDCAM, there is Offline,
there is Online, there is Cinema Tools.
| | 00:31 | This can be very daunting.
| | 00:33 | So what we are going to do is
we are going to refine this list.
| | 00:37 | I want you to click on the Format
drop-down menu, and you see a variety of selections.
| | 00:43 | There is HD, which stands for High Definition.
| | 00:46 | NTSC, this is the North
American Television Standard.
| | 00:50 | PAL, which is used in Europe and
Australia, as well as a variety of other choices.
| | 00:55 | In this instance let's choose the
North American Format, which is NTSC.
| | 01:00 | Now, this partially will refine our
list, but we want to further refine our list.
| | 01:04 | So we are going to go to the Rate drop-
down menu, and there's three rates to
| | 01:07 | choose from, 23.98, 24 fps, and 29.97 fps.
| | 01:15 | Let's choose 29.97.
| | 01:17 | Now, what you will notice when we go
back to the Use menu, that long list that
| | 01:21 | we had before has been refined
down to about 10 or 12 selections.
| | 01:25 | Now, we are going to
choose DV-NTSC and Anamorphic.
| | 01:30 | This is the North American
Format, but its Anamorphic.
| | 01:33 | Now, what is Anamorphic?
| | 01:34 | Anamorphic, think of as wide screen,
so we are going doing some wide screen
| | 01:38 | North American Standard Definition editing.
| | 01:42 | The next part of the dialog that we
are going to look at is the Primary Scratch Disk.
| | 01:46 | Now, when you are editing video, you
often want to have all of your media on a
| | 01:51 | separate dedicated hard drive.
| | 01:53 | On our current system, we
have two hard drives internally.
| | 01:57 | We have our Primary FCP Drive, which is
where we have all of our applications,
| | 02:02 | and we also have a Scratch Disk Hard Drive.
| | 02:05 | We are going to switch our Primary
Scratch Disk to the Scratch Disk Hard Drive.
| | 02:09 | Now, your second hard drive may be
labeled media, or you may not even have a
| | 02:13 | second hard drive, in which case
you can leave it at the default.
| | 02:17 | Once we have made these decisions,
simply hit OK, and this takes us to the next
| | 02:21 | dialog box, which says External A/V Devices.
| | 02:25 | What Final Cut Pro is looking for is a
camera or a deck or a television monitor
| | 02:31 | that's hooked up to your Final Cut Pro system.
| | 02:33 | Well, oftentimes when we edit, we don't
always have a television hooked up or a
| | 02:37 | deck hooked up or a camera hooked up,
and having this turn on every time we
| | 02:42 | launch Final Cut is less than ideal.
| | 02:44 | So in this case we are going to
click on, Do not warn again, and simply hit Continue.
| | 02:50 | The third dialog that you
see says Profiling RT Extreme.
| | 02:54 | What Final Cut is doing, it is
analyzing all aspects of your hardware to
| | 02:59 | determine how fast it can
playback different video clips.
| | 03:03 | Now, we are in the Final Cut Pro interface.
| | 03:05 | The first thing you need
to do is save your project.
| | 03:08 | You say why, I haven't done anything yet?
| | 03:10 | Well, once you save your project,
Final Cut knows where to store all those
| | 03:15 | little elements that you may be working with.
| | 03:17 | When you capture something, it knows
to store it in a folder named after that project.
| | 03:22 | It can also auto save, so that if
something happens to your computer while you
| | 03:25 | are editing, you have a backup of your program.
| | 03:28 | To save your project, go on to the File
menu, click on Save Project As, and you
| | 03:34 | will get a dialog box.
| | 03:36 | What I want you to do is name your
project, and we are going simply name this
| | 03:40 | First Launch, and click Save.
| | 03:46 | Now you have saved your project, you are
ready to go forward and work with Final Cut Pro.
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| Adjusting essential preferences| 00:00 | Before we dig in and start learning
to edit with Final Cut Pro, we need to
| | 00:03 | change some essential preferences.
| | 00:05 | Now what are preferences?
| | 00:06 | It's the way you like to do something.
| | 00:08 | What works with somebody else, doesn't
necessarily work for you but there is
| | 00:12 | a couple of preferences that when we
change it, will make your editing life easier.
| | 00:16 | To find the preferences in Final Cut Pro,
simply move your cursor the menu bar,
| | 00:21 | and click where it says Final Cut Pro.
| | 00:23 | In the drop-down menu, you
see a variety of options.
| | 00:25 | You see User Preferences, System
Settings, Easy Setups, Audio/Video Settings,
| | 00:32 | there is a lot of things you can
change in Final Cut Pro but we are going to
| | 00:35 | just change a couple under User Preferences.
| | 00:38 | Click on User Preferences and you see
a variety of choices and a lot of tabs.
| | 00:43 | We are not going to go in and change everything.
| | 00:45 | We are just going to change a couple of things.
| | 00:47 | The first thing we want to
change is Levels of Undo.
| | 00:50 | By default, Final Cut has 10
levels or 10 actions that you can undo.
| | 00:55 | You can change this number anywhere
from as little as one to up to 99 actions.
| | 01:00 | Now I personally can't remember 99 actions.
| | 01:02 | 35 to 50 is a good number for me.
| | 01:05 | The other thing to keep in mind is the
larger you make this number, the more RAM
| | 01:09 | Final Cut Pro may use and if you don't
have a lot of RAM to start with, if you
| | 01:13 | are really pushing your system,
you don't want to pick a big number.
| | 01:16 | For this course, let's set
our Levels of Undo to 35.
| | 01:21 | The next thing we want to
change is the Autosave Vault.
| | 01:24 | The Autosave Vault
basically is your emergency reserve.
| | 01:27 | Final Cut will make a copy of your
project file every X number of minutes and in
| | 01:32 | this case X is every 30
minutes but we can change that.
| | 01:36 | We can change this from every
minute to every 120 minutes.
| | 01:40 | Since, we are working on a shorter
projects, we are going to have Final Cut save
| | 01:43 | a copy or clone of our show every five minutes.
| | 01:46 | Now keep in mind we are not
copying on top of the original file.
| | 01:50 | That's all we save.
| | 01:51 | We are making a backup in an Autosave location.
| | 01:54 | Now the reason we are choosing five
minutes is because we are going to be making
| | 01:57 | a lot of changes very quickly.
| | 01:59 | Much like if you are cutting a
commercial that's a 30 or 60 seconds spot, you
| | 02:03 | are probably making a lot
of changes very quickly.
| | 02:05 | So, five minute saves are good.
| | 02:07 | On the flip side, if I was cutting a
documentary, which might be an hour or two
| | 02:11 | hours long, and I was cutting it over
the course of several months, I don't
| | 02:15 | need to save a copy every five minutes,
I can save a copy every 60 minutes or every two hours.
| | 02:21 | The other thing we are going to
change is the Keep at most per project.
| | 02:25 | By default, it's 40.
| | 02:27 | I always switch this to 100.
| | 02:30 | This is the maximum number, the nice
thing is it doesn't take up a lot of
| | 02:33 | hard-drive space and it's nice to have
that many insurance policies behind you.
| | 02:39 | Once you have made these changes, go
ahead and accept them by hitting OK and we
| | 02:42 | are going to make one more useful change.
| | 02:45 | If you notice the dock is still showing
at the bottom of our screen and when you
| | 02:49 | are editing, screen real estate is everything.
| | 02:52 | The more space you have to see your
Timeline, to see the other windows, the better.
| | 02:56 | So, we are going to actually hide the dock.
| | 02:58 | Now to hide the dock, simply go to
the Apple pull-down menu in the upper
| | 03:02 | left-hand corner of your screen.
| | 03:04 | And you will see there is an option
for Dock and you simply want to turn Hiding on.
| | 03:09 | Click on turn Hiding on and you will
see that the dock will now recede into the
| | 03:13 | bottom of the screen.
| | 03:14 | So, we have gotten rid of the dock
but how do we make use of that extra
| | 03:17 | space with Final Cut Pro?
| | 03:19 | Simply, go to the Window pull-down
menu and you see there is a something that
| | 03:24 | says Arrange and there is a variety
of arrangement options and we are going
| | 03:27 | to switch to Standard.
| | 03:29 | Now the keyboard shortcut for your
standard window arrangement is Ctrl+U. And I
| | 03:34 | use this keyboard shortcut all the time.
| | 03:36 | Anytime my windows get out of control,
I have moved them, I have closed them, I
| | 03:40 | say to myself 'I Control U'
and it gets the windows lined up.
| | 03:45 | And you see now, we are using all of
the screen real estate for Final Cut Pro.
| | 03:49 | With these few preferences set,
we are ready to use Final Cut Pro.
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| Learning the interface| 00:00 | The first time you launch any
application and look at its interface, it can be
| | 00:04 | kind of scary and Final Cut Pro is no exception.
| | 00:07 | So, let's take a quick moment and get
an overview of the main windows inside of Final Cut Pro.
| | 00:13 | The first window, we're going to
look at is our Browser in the upper left-hand corner.
| | 00:16 | Now, the browser is where we organize
all the media that we're going to use
| | 00:20 | to create our show.
| | 00:21 | And there are three basic types of
media that you're going to work within your
| | 00:24 | program, video files, Audio files, and Images.
| | 00:29 | If we look at our Video file folder and
in Final Cut Pro this is called the Bin
| | 00:33 | and it goes back to the days of film.
| | 00:35 | So in our Video bin, we see a variety
of clips and the icon next to them looks
| | 00:40 | like a 35-millimeter filmstrip.
| | 00:42 | If we move up to the top bin, they
put Audio, we see a different icon.
| | 00:47 | This icon looks like a speaker.
| | 00:48 | But note that if you look at the names
or the end of the names on each of these
| | 00:52 | files, you see both WAV and AIF.
| | 00:56 | Final Cut Pro can use a
variety of audio formats.
| | 00:59 | In this case we have a WAV file and
AIF file and finally in our Images bin,
| | 01:05 | you see yet another icon and this looks
like the film clip with the letters a, b, c on it.
| | 01:10 | Now, if we look closely, we can see
the Final Cut can use different kinds of still images.
| | 01:14 | We can use a TIF image, PNG, as well as JPEGS.
| | 01:19 | In addition to those types Final Cut
can use any still image file type that
| | 01:24 | Quick Time can read.
| | 01:25 | You'll also notice there is a fourth
item in here with a different icon and it's labeled .psd.
| | 01:32 | This stands for a Photoshop document.
| | 01:34 | Final Cut Pro can use Photoshop
documents quite well as a matter of fact, if
| | 01:38 | you've ever used Photoshop, you may have
discovered that Photoshop can save each
| | 01:42 | element as a separate layer.
| | 01:44 | When brought into Final Cut Pro,
you can access these layers and modify them individually.
| | 01:50 | The final element we're going to look
at in our browser is the sequence or
| | 01:53 | Timeline and has a similar
icon to that of .psd file.
| | 01:58 | Moving on to the Viewer, let's grab a
clip, drag it into the Viewer and take a
| | 02:02 | look at what happens in our Viewer window.
| | 02:04 | Think of the Viewer window as a
sandbox where you can choose what part of the
| | 02:09 | clip you want to put into your show.
| | 02:11 | You'll be marking an end point, an out point.
| | 02:14 | You can also modify the clip by adding
filters to change it's color, using a
| | 02:18 | Color Corrector filter or maybe even
modify in the audio, by making it louder,
| | 02:23 | softer, or adding plug ins to
give it an effect, such as Reverb.
| | 02:28 | To the right of the Viewer window is
our Canvas window and the Canvas window
| | 02:32 | represents what your viewer
sees when watching your program.
| | 02:35 | (Music Playing)
| | 02:44 | (Narrator: It's the most unforgiving place on Earth.)
| | 02:48 | (Narrator: Over 3.5 million square miles.)
| | 02:52 | All the special effects, all your sound
effects, all your titles are seen here
| | 02:56 | in the Canvas window
when you playback your show.
| | 02:59 | Now, in the bottom of the
interface, you see it says Timeline.
| | 03:02 | And the Timeline is simply a graphical
representation of what is being shown
| | 03:06 | in your Canvas window.
| | 03:08 | It has 99 video tracks and up to 99
audio tracks and if you notice when I play
| | 03:13 | the Timeline by hitting the spacebar.
| | 03:15 | (Narrator: A vast wilderness. It's the Sahara Desert.)
| | 03:22 | You'll notice, as I play this, you
can see it graphically happened in the
| | 03:25 | Timeline and then you can visually
see what's happening in the Canvas.
| | 03:29 | Finally, the last two windows that
we're going to look at are our Tool
| | 03:32 | palette and you're probably familiar
with the Tool palette for your Word
| | 03:36 | Processing program.
| | 03:37 | Here you can select different tools,
so you can do different activities
| | 03:41 | within your Timeline selecting all of
the clips, selecting part of a clip,
| | 03:45 | cutting clips in half.
| | 03:46 | We'll go more into the Tool palette
later on in the lessons and finally, we
| | 03:51 | have our Audio meters.
| | 03:52 | The Audio meters allow us to
see the volume of our sound.
| | 03:56 | If it's too loud, if it's too soft,
or maybe if it's over modulated.
| | 04:00 | Let's go ahead and play the
Timeline and you can take a look at the Audio meters.
| | 04:04 | (Narrator: With people and cultures
as unpredictable as the landscape.)
| | 04:10 | Well, there you have it.
| | 04:12 | A quick overview of the Final Cut Pro interface.
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| Customizing the window layout| 00:00 | Earlier, we showed you a basic
overview of the main window in Final Cut Pro.
| | 00:05 | Let's look a little bit deeper into
the interface and how it operates.
| | 00:09 | First off all, how can
you tell a window is active?
| | 00:12 | One of the biggest challenges to a new
user in Final Cut Pro is knowing which
| | 00:16 | is your active window.
| | 00:17 | It's actually pretty simple.
| | 00:19 | If you look at the Title bar, you'll
see that there is a light gray background
| | 00:23 | with dark gray text.
| | 00:25 | This indicates the active
window in Final Cut Pro.
| | 00:27 | As we move around the interface,
you'll notice where it says Viewer.
| | 00:31 | It's actually kind of a dark
gray background and light gray text.
| | 00:34 | The contrast is not that great and I
know that this is not an active window.
| | 00:38 | To make a window active, simply click
on it and you can click anywhere in a
| | 00:43 | window to make it active.
| | 00:44 | So, let's go over to the Canvas,
I'm clicking right in the middle.
| | 00:47 | We can go down to the Timeline and
click the Timeline anywhere to make that
| | 00:51 | active and once again go back to the Browser.
| | 00:54 | To open or close a window in Final Cut
Pro, notice that there are three circles
| | 00:59 | in the left corner of each window.
| | 01:02 | The button on the far left of each
window allows you to close that window.
| | 01:07 | If the window is closed and you need
to reopen it, you can use a keyboard
| | 01:10 | shortcut and there is a keyboard
shortcut of Command+1, Command+2, Command+3 and
| | 01:14 | Command+4, I'm going to hit Command+1
to bring back our Viewer window and
| | 01:18 | remember think of it as a clock.
| | 01:20 | Command+1 is for the Viewer, Command+2
is for the Canvas, Command+3 is for the
| | 01:25 | Timeline, and Command+4 is for the Browser.
| | 01:27 | Now, this keyboard shortcut is
also useful for selecting a window.
| | 01:31 | For instance, if I wanted to select the
Canvas window, all I have to do is hit
| | 01:36 | Command+2 and now the Canvas window is active.
| | 01:40 | If I hit Command+2 again, while the
window is active, it actually hides that
| | 01:44 | window and if I hit it a third time
Command+2, it brings that window back.
| | 01:50 | So using this same analogy, let's
take a look at working with the Timeline.
| | 01:54 | Command+3 will select it, Command+3
again will hide it, Command+3 again will
| | 01:59 | now make the window reappear.
| | 02:01 | So, it's very easy to select, hide,
or reopen a window using Command+1,
| | 02:07 | Command+2, Command+3, and Command+4.
| | 02:11 | The second circle in our window,
allows us to minimize a clip.
| | 02:16 | So, if I click this in the Viewer, it
will minimize the Viewer and place it into the dock.
| | 02:23 | To get it back out of the dock, the
easiest thing to do is go back to our
| | 02:27 | keyboard shortcuts, and what is at
12 o'clock, Command+1 will now reopen that window.
| | 02:33 | The third circle here is our Resize window.
| | 02:37 | So, for instance, let's go over and
select the Browser window and we're going to
| | 02:41 | click that third circle and you'll
notice that suddenly our Browser is no longer
| | 02:45 | confined to the left-hand corner.
| | 02:47 | It actually utilizes the bulk of our
screen space and this is nice because if
| | 02:51 | I want to see more detail in any of
my windows, I can simply click on that
| | 02:55 | third dot and resize it.
| | 02:58 | Now, if I wanted to reset my windows,
I can simply go to Window > Arrange > Standard.
| | 03:05 | The keyboard shortcut here is Ctrl+U.
The next thing you may want to do is
| | 03:11 | actually move a window around and to
move a window you need to grab it by it's
| | 03:16 | name and you can simply slide it
anywhere around your desktop and this is really
| | 03:21 | useful, if for instance, I have a
document in the background, I want to copy
| | 03:24 | something from or even if I want to
drag Media in, to import it to my Browser.
| | 03:29 | Once again, I have messed up my windows.
| | 03:32 | I'll go back to my keyboard shortcut of Ctrl+U.
| | 03:35 | Finally, you'll notice as you move your
mouse between windows, its icon changes
| | 03:41 | from an arrow to two vertical lines.
| | 03:44 | If you click-and-drag, you see you
can actually manipulate the size of the
| | 03:47 | windows and how they relate to each other.
| | 03:50 | So, if I'm working in an environment
where I need to see more of my Browser and
| | 03:54 | don't need as much space in my Timeline,
I can simply click on the edge and drag
| | 03:58 | it down, giving me much more real
estate here and once again to reset your
| | 04:03 | windows, simple go back,
Window > Arrange > Standard.
| | 04:09 | Now, you can control your windows in Final
Cut Pro, instead of letting them control you.
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| The four ways to drive Final Cut Pro| 00:00 | The good thing about Final Cut Pro
is that there is four or five ways to do everything.
| | 00:05 | The bad thing about Final Cut Pro
is that there is four or five ways to do everything.
| | 00:10 | In this lesson, we are going to look
at four different ways that you can edit in Final Cut Pro.
| | 00:15 | The first way is simply using pull-down menus.
| | 00:18 | Now many of you are already
familiar with pull-down menus.
| | 00:21 | If you notice in Final Cut Pro, your
pull-down menus are organized in different
| | 00:25 | editing function, putting on effects,
tools that you might need, things you will
| | 00:30 | do in your sequence, how to
modify a clip, editing effects.
| | 00:34 | Then within each of these pull-down
menus, there is actually sub-menus
| | 00:38 | for things you can do.
| | 00:40 | So for instance, you can create a New
and then within that, you see a sub-menu
| | 00:44 | Sequence, Bin or Offline Clip.
| | 00:48 | The other thing you'll notice is there
is keyboard shortcuts associated with
| | 00:52 | each of these menu items.
| | 00:54 | And that brings us to our second way of
editing within Final Cut Pro and that is
| | 00:59 | using keyboard shortcuts.
| | 01:00 | Now most editors like to use keyboard
shortcuts, they are much faster and the
| | 01:04 | nice thing about Final Cut Pro is if
you start by using pull-down menus because
| | 01:09 | you don't know the keyboard shortcuts,
next to each item in the pull-down menu
| | 01:14 | that has a keyboard shortcut,
you'll see what the keyboard shortcut is.
| | 01:19 | The challenge is which symbol means
what and it can get very, very confusing.
| | 01:24 | So when it comes to keyboard shortcut,
there is only four things you need to
| | 01:26 | remember, Command, Control, Shift, and Option.
| | 01:30 | But which of the four symbols
represent those four different tasks?
| | 01:35 | It's actually pretty easy once you've
gotten to get your head wrapped around it.
| | 01:39 | The most frequently modifier key is
the Command key and the Command key is
| | 01:44 | pretty easy to remember because if you
look at your keyboard, to the left and
| | 01:47 | right of the spacebar, you actually see
the words Command, and you see the exact
| | 01:51 | same icon on your keyboard
that you do in the pull-down menu.
| | 01:55 | The next keyboard command that you
would probably use would be the Option key.
| | 02:00 | Now, I can never remember what the Option key is.
| | 02:02 | So let's go down and find an Option
symbol and a really good way to remember it.
| | 02:07 | If I want to clear my in point, the
keyboard shortcut is Option+I and if I look
| | 02:12 | closely at this symbol, to me,
it looks like an escalator.
| | 02:15 | And if I'm on an escalator, I have an
option to go down or I have an option to go up.
| | 02:20 | So that's how I remember the Option key.
| | 02:22 | The next key we are going
to look at is the Shift key.
| | 02:24 | Now the Shift key is a pretty easy
key to remember, because it's simply an Up arrow.
| | 02:30 | So I can remember Up arrow, Shift,
which leaves our fourth key, which is the Control key.
| | 02:36 | Now, the Control key is a little tricky
to remember at first, but when I was a
| | 02:40 | kid, there was a game I used to play
and whoever had the hat on was the leader.
| | 02:44 | They were in control and to me,
that little triangle is the hat.
| | 02:48 | So if you have the hat, you are in control.
| | 02:50 | So in this case, if I want to do Clip
enable, I would hit Ctrl+B.Now one more
| | 02:56 | thing about keyboard shortcuts.
| | 02:57 | A lot of times you'll get a keyboard
shortcut that requires two modifier keys.
| | 03:02 | In this case, Levels control uses
both the Option, the escalator as well as the Command key.
| | 03:08 | So if I want to use this keyboard
shortcut, I simply would hold down
| | 03:12 | Option+Command+L and by the way, when
using keyboard shortcuts, I have seen
| | 03:17 | a lot of folks try to hit the
Modifier key and then the letter all at the same time.
| | 03:22 | Trying to time all three fingers
striking those keys at the same point.
| | 03:26 | You don't have to work that hard.
| | 03:27 | Simply hold down the one or in this
case, two modifier keys first and then
| | 03:32 | you can press the letter, and you
will get the exact keyboard shortcut you are looking for.
| | 03:36 | The third way that you can work with
the Final Cut Pro interface is simply with buttons.
| | 03:41 | As you see we have a variety of
buttons here in our viewer as well as in our
| | 03:45 | canvas, as well as in our Tool palette.
| | 03:48 | Now a lot of folks find it's
really challenging to remember what that button does.
| | 03:53 | If you notice, if you hover your
mouse over any button, you'll actually get
| | 03:57 | what's called a tool-tip and a tool-tip
tells you what that button does, and
| | 04:03 | also tells you what the
keyboard shortcut for that button is.
| | 04:06 | So for instance, this button
represents play into out, and the keyboard
| | 04:11 | shortcut is Shift+Backslash.
| | 04:14 | If you notice I can go over here
to the tooltips, do the same thing,
| | 04:17 | select Track forward. It's the T key.
| | 04:20 | Now the Tool palette works a little
bit differently than the other buttons.
| | 04:24 | If you've worked in other programs
such as your Word Processing program or
| | 04:28 | Photoshop, you'll notice that if you
click and hold on a Tool palette icon,
| | 04:33 | you'll actually reveal other
tools below the primary one.
| | 04:37 | In this case, we have Slip,
Slide, and the Speed tool.
| | 04:41 | If I go up to the Arrow and click and
hold, it's my select track forward, select
| | 04:46 | track backwards, both ways,
everything forward, and everything backwards.
| | 04:51 | But we'll get to more detail about all
the tools in our Tool palette later on in other lessons.
| | 04:57 | One more key thing to know about
working with tools in the Tool palette is that
| | 05:01 | they all have a keyboard
shortcut to switch them.
| | 05:04 | So if you notice, if I go over to the
Selection tool, it says the A for arrow,
| | 05:09 | will switch to that tool.
| | 05:10 | So I'm going to click on the A key
and you will see that it's switched over
| | 05:14 | to the selection tool.
| | 05:16 | In the case of the keyboard shortcut,
we saw earlier that T was for the
| | 05:19 | Track Selection tool. S was for Slip.
| | 05:22 | So a lot of times, if you have the
wrong tool selected because you clicked in
| | 05:26 | the wrong place, simply go back and
click on the Tool palette, or use the
| | 05:31 | keyboard shortcut that switches you back
to ideally your Selection tool which is
| | 05:36 | the Arrow and is letter A.
| | 05:38 | The fourth way that you can edit
within the Final Cut Pro interface is by
| | 05:42 | right-clicking or Ctrl-clicking.
| | 05:45 | What Ctrl-clicking does is it opens up
a context sensitive menu, which means
| | 05:50 | wherever you right-click, whatever you
can do in that section of the interface
| | 05:54 | will be shown to you.
| | 05:56 | So if I click on the Scrubber bar in
my Viewer, I see things that I can do in
| | 06:00 | that specific location, clearing in
and out, marking splits, and marking in and outs.
| | 06:05 | If I go over to my browser, do the same
thing, by right-clicking or if you are
| | 06:10 | on a laptop and don't
have a mouse, Ctrl-clicking.
| | 06:13 | You see these are different
ways that I can view my browser.
| | 06:18 | In the same browser, if I right-
click on a clip, I don't get the ways I
| | 06:22 | can change my browser.
| | 06:23 | I can find ways that I can modify that clip.
| | 06:27 | A good exercise to learn more about
what you can do in Final Cut Pro is simply
| | 06:31 | right-clicking in different areas of
the interface to discover what you might be able to do.
| | 06:36 | For instance, clicking over here in a
clip within the time line, can give me
| | 06:40 | some functionality that I wasn't even aware of.
| | 06:43 | So most new users to Final Cut Pro asked,
so what way should I use when I edit
| | 06:49 | within the Final Cut Pro interface?
| | 06:51 | Should I use menus, should I use
keyboard shortcuts, should I right-click,
| | 06:55 | should I use buttons?
| | 06:56 | Well, the truth is whatever works
best for you is the way you should edit.
| | 07:00 | Now most editors like to use
keyboard shortcuts because it's much more
| | 07:04 | efficient and a lot faster.
| | 07:06 | But if your hand is on your mouse, and
you want to scrub through a clip, that
| | 07:10 | may be a lot quicker than moving your
hands over to the keyboard to hit J, K,
| | 07:14 | and L, or if you are finding you are
doing something you don't do a lot and you
| | 07:18 | need to go to the pull-down menu, a
lot of times that will be quicker than
| | 07:22 | trying to remember the keyboard shortcut.
| | 07:24 | The trick with Final Cut Pro is edit
the way you are most comfortable, and
| | 07:29 | you'll ultimately become a faster editor.
| | Collapse this transcript |
| Organizing the browser| 00:00 | Organization is one of the key
elements in being a good editor, and having an
| | 00:05 | organized browser is the best way to start.
| | 00:07 | So let's take a look at how we can
make our browser more functional, and more useful.
| | 00:13 | The first thing I want you to do is
we're going to stretch out the browser, so
| | 00:16 | this is really our focus and to do that,
we could click the little circle in the
| | 00:21 | upper left-hand corner, but we're
going to manually stretch it out.
| | 00:24 | And I find that if you stretch it in a
little bit first, you can break it away
| | 00:28 | from the other windows and then
stretch it out, so you can actually have it
| | 00:31 | fill your entire screen.
| | 00:33 | The first thing we want to do is we
want to put all of these clips into some
| | 00:37 | organized structure.
| | 00:38 | So we're going to create three bins.
| | 00:40 | Now, bins is what we call Folders in
Final Cut Pro, and it comes from the film industry.
| | 00:45 | So we need to create three new bins.
| | 00:47 | There is a couple of ways to do that.
| | 00:49 | If I go under File, I can go New, and
we see we have a choice to create a Bin.
| | 00:55 | But it's much easier to use the
keyboard shortcut and we've learned that little
| | 00:59 | symbol means command.
| | 01:00 | So Command+B will create a new bin.
| | 01:03 | So go ahead, click in the gray area
of your browser, and click Command+B three times.
| | 01:10 | This will create three bins, which we
are going to label Audio, Video.
| | 01:22 | Now, one thing you'll notice is when
you name the bin, it will be alphabetized.
| | 01:26 | So be careful that when you click on it
that you're actually changing the name
| | 01:30 | of your bin, and not
changing the name of the clip.
| | 01:33 | This final one is going to be Images.
| | 01:35 | Now what we want to do is we
want to drop our clips into their
| | 01:39 | respective folders.
| | 01:40 | There are a lot of ways to
select a video clip in Final Cut.
| | 01:43 | I can simply grab it by its icon,
and in this case, I see it looks like a
| | 01:48 | 35-millimeter film frame.
| | 01:50 | So I know it's a video clip,
and I drop it in the Video folder.
| | 01:54 | But that's not necessarily so
efficient to drop them one at a time.
| | 01:57 | What I really want to do is be
able to select multiple clips.
| | 02:01 | So if you hold down the Command key, I
can select all the icons that look like
| | 02:06 | film clips, and drag an entire
series of clips into my Video folder.
| | 02:14 | Another way to select
clips is to simply lasso them.
| | 02:18 | You click outside of the icon, hold
your mouse down, and drag over the clips,
| | 02:24 | and in this way, I can select multiple
clips at once, and drag these in this
| | 02:28 | case, because they say A B C
on them into the Images folder.
| | 02:33 | Now another clip that we want to
drag into the Images folder says Running The Sahara.psd.
| | 02:38 | Now, though this looks like a
sequence, it is a Photoshop document.
| | 02:42 | So we'll go ahead and drag that into
the Images folder, and finally our .JPEG
| | 02:47 | into the Images folder.
| | 02:49 | One more way that you can select clips
within the browser is to select the first
| | 02:53 | one that you want to work with.
| | 02:54 | In this case Sand Blowing, pull down
the Shift key, and select a clip from the
| | 03:00 | other end of the group, and all the
clips in between will have been selected.
| | 03:04 | I see these are all Speaker icons,
so I know immediately that they are audio files.
| | 03:09 | Let's go ahead and drop
that into the Audio folder.
| | 03:11 | So now we have a very organized
environment, but I want to see what's inside
| | 03:16 | each of these folders, and there
is a couple of ways to do that.
| | 03:19 | One way is simply to click on this
triangle to the left of the Bin icon.
| | 03:24 | This is called the Disclosure Triangle.
| | 03:25 | If I click on that, it will
reveal the contents of that bin.
| | 03:31 | Another way that I can look at the
contents of a Bin is to double-click on the folder.
| | 03:35 | Now, I'm going to double-click in this
folder, and you see it opens up as this
| | 03:39 | floating window on top of everything else.
| | 03:42 | This can make things very confusing.
| | 03:44 | In an ideal environment, I want to
open up my Bins as attached tabs on the
| | 03:49 | top part of my window.
| | 03:52 | So we're going to close this window,
we learned how to do this earlier by
| | 03:55 | clicking on the left button.
| | 03:57 | Instead of double-clicking on the icon,
I'm going to hold down a Modifier key,
| | 04:02 | the Option Modifier key before I double-click.
| | 04:05 | Now, when it opens up that window,
it opens it up as an attached tab and
| | 04:10 | it's very easy for me to step through
my different tabs, and find the items I'm looking for.
| | 04:15 | Let's go ahead and do the same
thing with our Images folder.
| | 04:18 | We are currently looking
at a browser in a list form.
| | 04:21 | But sometimes, it would actually work
better if we could actually look at it as icons.
| | 04:26 | You can switch back and forth from
whether you view something as a list to
| | 04:29 | viewing something as an icon, simply by
right-clicking or Ctrl-clicking in the
| | 04:33 | empty area, and switching from
View As List to View As Icons.
| | 04:39 | I find viewing as large
icons to be the most convenient.
| | 04:42 | Now, you'll notice that you can
actually see in the case of these images, a
| | 04:46 | small representation of
what that picture looks like.
| | 04:49 | Let's jump back over to our Video tab.
| | 04:52 | You'll notice that the Video tab
has not switched to large icons also.
| | 04:57 | Each tab is independent from each other.
| | 04:59 | So one tab can be as large icons,
the next one small icons, the next one
| | 05:03 | could be as a list.
| | 05:05 | Now another thing we can do to take
advantage of our browser is organize the
| | 05:09 | spreadsheet of information. There is a lot of
information located in our browser.
| | 05:14 | You can see the duration of our clips,
where the in and out point is in our
| | 05:17 | timeline, when we captured at
the Media Start and Media End.
| | 05:21 | But sometimes, it's too much information
or perhaps there is information further
| | 05:26 | down to the right that will be useful to us.
| | 05:29 | You can easily modify your
browser to suit your needs.
| | 05:33 | If for instance, I wrote log notes that
gave me detailed information about each
| | 05:37 | clip, and I felt oh, I want to see
that first, I can simply grab that column
| | 05:42 | header and move it over to the left.
| | 05:45 | Conversely, if maybe I had nothing in
my log notes and I just wanted to hide
| | 05:49 | that column, if I right-clicked on it
or Ctrl-clicked on it, I can hide that
| | 05:54 | column from view, because I don't use it.
| | 05:57 | If I right-click on the Duration
column and look down, you see there is a
| | 06:01 | variety of other options
for viewing information.
| | 06:04 | One that I find really
valuable is Show Thumbnail.
| | 06:08 | When I click on Show Thumbnail, I
actually see a small poster-frame representing
| | 06:13 | each of my video elements.
| | 06:15 | What's really cool about this is if I
left-click on any of these, and move my
| | 06:20 | mouse left to right, I can
actually scrub through this clip.
| | 06:24 | And more so, if I'm scrubbing
through a clip and I find, you know, this
| | 06:28 | represents the image more than the
very first frame, I just queue it up by
| | 06:33 | moving my mouse to the right and
before I release the mouse button, I hit the
| | 06:37 | Ctrl key and then I let go of the
mouse button, and it saves this as the poster frame.
| | 06:43 | If I want to close any of my
tabs, it's very easy to do.
| | 06:47 | I can either right-click on that tab
and close it, or if I'm inside the top
| | 06:53 | level of my browser, I can simply go
over here to the Images folder, which we
| | 06:58 | have as a separate tab, click on the
Disclosure triangle, and as you see it
| | 07:02 | immediately closes the tab.
| | 07:04 | So one thing to keep in mind is when
looking at any Bin, you can either click on
| | 07:08 | the Disclosure triangle and see the
contents within your browser, or you could
| | 07:13 | open it up as a separate tab,
one or the other, but not both.
| | 07:17 | Another way of organizing your browser
is color coding both the clips as well as the folders.
| | 07:23 | To do this, simply select a clip, right-click
on it, go down to the bottom of
| | 07:29 | the pull-down window to label, and
pick the color that works best for you.
| | 07:34 | As you see, now I can very easily
discern this clip from the other ones.
| | 07:39 | I can also right-click on a Bin.
| | 07:42 | If I right-click on a Bin to change its
color, in this case we'll make it red,
| | 07:46 | when I open that Bin as a tab,
Option+Double-click, that tab maintains the
| | 07:52 | color of the folder.
| | 07:53 | Again, making it very easy for
me to find what I'm looking for.
| | 07:58 | Once you have your browser organized
exactly how you want it, simply reset
| | 08:02 | your windows by hitting Ctrl+U. Your
browser is back where it belongs, and you
| | 08:07 | can continue to edit.
| | Collapse this transcript |
| Tab improvements| 00:00 | One of the enhancements to Final Cut
Pro 7 is that the tabs have been modified
| | 00:04 | so that they are much more user-friendly.
| | 00:08 | For instance, the Project tab now has a
Final Cut Pro Project Icon, which makes
| | 00:12 | it much more easy to distinguish
from all the bins that might be open.
| | 00:17 | In the past we could always color-code
both our sequences and our bins.
| | 00:22 | But now when you color-code a
Sequence or Bin, its tab is color-coded too.
| | 00:27 | So, for instance, I have color-coded
Running with the Sahara in my Browser to Yellow.
| | 00:32 | And as you can see down here, it
shows up as Yellow in my Timeline.
| | 00:36 | Now Running the Sahara color
corrected doesn't have a color code to it.
| | 00:41 | But if I go up here to my Browser, right-click
and change its Label color to say
| | 00:46 | Red, it immediately updates in the
Timeline with that Red color code.
| | 00:50 | I can do the same thing with tabs in my Browser.
| | 00:53 | So, for instance, let's say I have my Audio Bin.
| | 00:57 | First we'll double-click with the
Option key to open that and as you can see
| | 01:01 | it's right now Gray.
| | 01:03 | And I'll go back to my primary project
file, right-click on the folder, go down
| | 01:07 | to Label, and make it Green.
| | 01:10 | It's immediately updated in
the Browser as being Green.
| | 01:13 | Now, as you can see if I look at the
flow of the tabs in my Browser, I see
| | 01:18 | Audio, Tab Improvements, Video, and Images.
| | 01:22 | Well, I want my project
file to be on the far left.
| | 01:25 | With Final Cut Pro 7, I can simply grab
the audio tab and drag it to the right
| | 01:30 | and reorganize it right in the Browser.
| | 01:32 | As a matter of fact all four
windows can be organized just as easily.
| | 01:37 | If I go down to my Timeline, I can
switch the order of Running with Sahara.
| | 01:41 | In my Canvas I can also switch order,
and I can do the same thing if I wanted to in my Viewer.
| | 01:47 | Another great enhancements to tabs is
the ability to right-click and be able to
| | 01:51 | close all of your bins in your Browser at once.
| | 01:55 | You can do the same thing in your Timeline.
| | 01:57 | As a matter of fact, a lot of times
I'll have multiple sequences open, and I
| | 02:01 | want to close them all
except for the one I'm working on.
| | 02:03 | Now, if I right-click on it, I have the
choice of closing just that one tab, but
| | 02:08 | being able to close all
other tabs is a real time-saver.
| | 02:12 | So, as you can see, working with tabs
in Final Cut Pro 7 is much easier than
| | 02:17 | it's ever been in the past.
| | Collapse this transcript |
|
|
2. Working with ClipsEditing with the Viewer window| 00:00 | Throughout these lessons we are going
to cut together a short minute-and-a-half
| | 00:04 | promo piece for a documentary called
Running the Sahara, about three runners who
| | 00:09 | ran over 4000 miles across north Africa.
| | 00:12 | The first thing we need to do
is add an establishing shot.
| | 00:15 | The first shot that we are
going to use is Niger, camels.
| | 00:19 | Simply left-click on it, on the icon
and drag it from the Browser, and drop it
| | 00:25 | directly into the Viewer.
| | 00:26 | Now, as you can see in our Viewer there
are lots of buttons, and these buttons
| | 00:32 | reflect what you would see on a simple VCR.
| | 00:34 | Play, Rewind, Fast-Forward, lots of sliders.
| | 00:38 | Well, these are fine for the average
Viewer, but if you really want it to edit
| | 00:42 | smart and fast, you need
to use keyboard shortcuts.
| | 00:47 | So, the first thing we are going to do
is learn how to use keyboard shortcuts to
| | 00:50 | navigate through this clip.
| | 00:52 | So, what I want you to do is I want
you to take your right-hand and then take
| | 00:55 | the thumb of your right-hand and
simply place it over the Spacebar and tap
| | 00:59 | the Spacebar.
| | 01:00 | Tap it once and it plays, tap
it a second time and it stops.
| | 01:04 | Now, while we are playing, I want you
to take a look at a couple of specific
| | 01:07 | areas of our Viewer.
| | 01:09 | Specifically in the upper right-hand
corner, you see there are four sets
| | 01:13 | of numbers.
| | 01:14 | This represents time code.
| | 01:15 | It's the hours, the minutes, the seconds,
and the frames that were assigned to
| | 01:23 | this clip the moment it was recorded.
| | 01:26 | When clips are recorded using
Broadcaster Clip and this includes DV and HDV,
| | 01:31 | information is encoded into the
metadata that allows you to find a specific
| | 01:36 | frame by knowing its time code.
| | 01:38 | And this time code doesn't change
when you bring it in from your camera or
| | 01:42 | deck into Final Cut Pro.
| | 01:44 | Now, on the left side of the
Viewer is another set of numbers.
| | 01:48 | This is the duration of your clip, and
in this case there are no hours to deal
| | 01:53 | with, no minutes to deal with.
| | 01:55 | It's just 11 seconds long and 14 frames.
| | 01:58 | And you are going to see this number
change as we mark a new in point and cut
| | 02:03 | off the head and mark a new out point
and cut off the tail of these camels.
| | 02:07 | Now, we are not going to literally
cut off the heads and the tails of
| | 02:10 | the camels.
| | 02:11 | It's just the heads and the tail of the shot.
| | 02:13 | One last thing that I want to show you
is this item here below the camels or
| | 02:18 | below the video of the camels and
this is called the Scrubber bar.
| | 02:21 | And you'll notice there is an object
here, a Yellow triangle, with a line
| | 02:25 | through it, and that's called the playhead.
| | 02:27 | As I move the playhead left and right
in the Scrubber bar, I can actually go
| | 02:31 | forwards and backwards in time.
| | 02:33 | Also note as I do this my time code in
the upper right-hand corner is changing.
| | 02:39 | Now, let's return to our keyboard shortcuts.
| | 02:41 | We have used our thumb to start and
stop playback with the Spacebar, but one
| | 02:46 | thing you'll notice is that if you've
used your right-hand your three middle
| | 02:49 | fingers naturally fall on the J, K, and L keys.
| | 02:54 | And if you press the J key you'll
be able to play the clip in reverse.
| | 02:58 | If you press the L key, you'll
be able to play the clip forward.
| | 03:02 | Think of the K as a Modifier key, not
only does it pause/playback when you click
| | 03:07 | on it, but if you hold it down before
you press L or J, you can play forward in
| | 03:13 | slow motion by hitting K and L simultaneously.
| | 03:17 | And if you press down the K and the J
key simultaneously, you will play in
| | 03:21 | reverse in slow motion.
| | 03:23 | You can also hold down the K key and
tap the L key, and this will move you
| | 03:28 | forward a frame at a time.
| | 03:30 | Holding down the K key and tapping the
J key will move you backwards a frame
| | 03:35 | at a time.
| | 03:36 | And this allows you to be extremely
precise in selecting, where you want your
| | 03:40 | shots to start and where
you want your shots to end.
| | 03:44 | In addition to be able to play things
back slowly or step through them, you
| | 03:48 | can also fast-forward and fast-rewind
through your clips, and this is as
| | 03:52 | simple as multiple taps to the L key
to fast-forward and multiple taps of the
| | 03:57 | J key to fast-rewind.
| | 03:59 | As a matter of fact, you can tap the L
key or the J key up to six times, and
| | 04:04 | each time it's going to
playback successively faster.
| | 04:08 | Lucky for us when they were developing
the QWERTY keyboard, they knew we were
| | 04:12 | going to be video editing a
mere 110 years in the future.
| | 04:16 | So they put the I and the O key
directly above J, K, and L on the keyboard, and
| | 04:21 | what does the I and O stand for?
| | 04:23 | I allows you to mark where you want
your clip to begin or the in point, and O
| | 04:27 | allows you to mark where you want
your clip to end or the out point.
| | 04:31 | So, there you have I for In, O for Out.
| | 04:34 | I am going to navigate through the
clip, pick a point where I want to start
| | 04:38 | my clip.
| | 04:39 | I'm going to pause it by clicking on
the Spacebar, and now, I'll press the
| | 04:43 | I key.
| | 04:44 | You'll notice a couple of
things have happened in the Viewer.
| | 04:47 | First of all there was a Blue line and
a little triangle pointing to the right
| | 04:51 | that indicates our in point.
| | 04:53 | In the upper left-hand side of the
window you'll note that the duration
| | 04:56 | is changed.
| | 04:57 | Before it was 11 seconds
and now it's down to eight.
| | 05:01 | Because we've trimmed-off three
seconds at the head of the shot.
| | 05:04 | I'm going to go ahead and hit the
Spacebar to let this play forwards a
| | 05:07 | little bit.
| | 05:08 | And instead of stopping, and I'm
going to hit the O key while it's playing.
| | 05:11 | So, you can mark in and out on the fly.
| | 05:14 | You don't have to necessarily stop
playback to mark an in point and an
| | 05:17 | out point.
| | 05:18 | Now, going back to our Duration
window in the upper left-hand corner of our
| | 05:22 | Viewer, you'll see that before where
we were at eight seconds the duration of
| | 05:28 | our clip is now four seconds long.
| | 05:30 | Now, suppose this is not exactly where
you want your in points and out points
| | 05:35 | to be.
| | 05:36 | Changing in points and out points
in Final Cut Pro is extremely easy.
| | 05:40 | All I have to do is queue up the
playhead and I can do that with J, K, L, or
| | 05:44 | simply grab my playhead and position it
where I want the out point to be, and I
| | 05:50 | simply press the O key again, and the
out point will be repositioned to the
| | 05:54 | location of the playhead.
| | 05:56 | I can do the same thing by positioning
my playhead before my current in point
| | 06:00 | and pressing the I key.
| | 06:02 | Now, what if you want to
remove the in and out points.
| | 06:05 | Well, there are a couple
of ways you can do this.
| | 06:07 | There is a keyboard shortcut
to remove the in and out points.
| | 06:10 | We know I makes an in
point and O makes an out point.
| | 06:14 | Well, the Modifier key of
option helps you remove them.
| | 06:18 | So Option+I will remove the in point
and Option+O will remove the out point.
| | 06:25 | I'm going to go ahead and undo that.
| | 06:28 | So I can Command+Z twice and now we
have our in points and out points back
| | 06:31 | into our Timeline.
| | 06:33 | Another way I can remove
these is by right-clicking.
| | 06:37 | Now, a lot of times when I'm editing
I'm not sure exactly how to do what I
| | 06:42 | need to do.
| | 06:43 | I know where it is, but I don't know
if I can do something or what I can do.
| | 06:47 | So I often will right-click or
Ctrl-click in the general area of what I'm
| | 06:51 | working on and I'll get a pull-down
menu that often provides me the solution
| | 06:55 | I'm looking for.
| | 06:56 | In this case I have the option to
clear my in and out, clear my in or clear
| | 07:01 | my out.
| | 07:02 | And by simply selecting Clear Out, I can
remove the out point from the Timeline.
| | 07:07 | Now, there is a keyboard shortcut to
clear the in and out simultaneously.
| | 07:12 | I'm going to quickly hit the O key so
we have both in and out point in our
| | 07:15 | Timeline, and remove it
with one keyboard shortcut.
| | 07:19 | And once again we are using the Option
key as a Modifier, but in this case, it's
| | 07:23 | option X. So, now we are ready to once
again mark an in and an out, and pick
| | 07:28 | precisely the part of the clip
that we want to put into our Timeline.
| | 07:31 | So, revisiting the controls that we
learned earlier, I'll hit the J key to
| | 07:36 | rewind back to where I like the camels.
| | 07:38 | I think the camels
working really good right here.
| | 07:41 | I like the way he is walking.
| | 07:42 | I'm going mark an in point.
| | 07:43 | I'm going to now hit the Play
button, get the feel that camel leaves
| | 07:48 | frame, marks an out point.
| | 07:51 | So, now I have a in point and an
out point and a clip of 4 seconds and
| | 07:54 | 22 frames.
| | 07:56 | The next thing we are going to do is
we are going to grab the clip from the
| | 07:58 | Viewer and we are going to
drag it over into the Canvas.
| | 08:02 | When you drag a clip from the
Viewer into the Canvas, you'll see a
| | 08:05 | multicolor pop-up.
| | 08:06 | Ignore those for now.
| | 08:08 | We are going to simply drop the clip
into the black area to the left side of
| | 08:12 | our Canvas.
| | 08:13 | This creates an overwrite edit
and puts it into the Timeline.
| | 08:17 | Notice that the clip is at the
beginning of the Timeline on Track 1.
| | 08:21 | We'll explore this in more
detail with our next clip.
| | 08:24 | But for now, sit back and congratulate
yourself on your very first Final Cut Pro Edit.
| | Collapse this transcript |
| Marking clips| 00:00 | Using the J-K-L keys is quick,
but not necessarily very precise.
| | 00:05 | If you really want to be precise,
you can enter a timecode and a duration
| | 00:09 | directly in the Viewer window.
| | 00:11 | Let's take a look at how we would do that.
| | 00:14 | The first thing we need to do is
remove the current clip from our timeline.
| | 00:17 | So to cut the clip from the timeline,
simply right-click or Ctrl-click on the
| | 00:22 | clip in the timeline, and select Cut.
| | 00:25 | Now we need to load the clip back
from the browser into the Viewer.
| | 00:29 | We've been dragging it from
the browser into the Viewer.
| | 00:32 | Let's try something different.
| | 00:34 | If you simply double click on the icon,
it will load the clip directly into
| | 00:38 | the Viewer.
| | 00:39 | You'll also notice that if you've used
this clip before, it will maintain the
| | 00:43 | previous in and out points that you used.
| | 00:46 | So let's go ahead and delete those
in and out points, by simply hitting
| | 00:50 | Option+X.Now I know from my notes,
the exact frame I want to start this
| | 00:55 | shot from.
| | 00:56 | It's 16 hours and 18 minutes, and 53 seconds.
| | 01:00 | So we're going to go to the timecode
field in the upper right hand corner of the
| | 01:03 | Viewer window, and I'm
going to type 16, 18, 53, 00.
| | 01:10 | I don't need to type any colons, I
just type the number, and as soon as I hit
| | 01:14 | Return, you'll see the colons are in
place and the playhead will jump to the
| | 01:17 | exact frame I want to start my shot on.
| | 01:20 | The next step is to mark an end point.
| | 01:23 | So we have a precise end point marked,
now we want to set a precise duration.
| | 01:27 | I want this clip to be
exactly three seconds long.
| | 01:30 | So I'm going to move my mouse over
to the timecode duration field, select
| | 01:34 | that and type in 300.
| | 01:37 | As soon as I hit the Return key, you'll
see that an out point is going to appear
| | 01:41 | on my timeline giving me an
exact three second duration.
| | 01:44 | The next step is easy.
| | 01:45 | We're just going to bring it
into a timeline like we did before.
| | 01:49 | Simply grab the clip, move it from the
Viewer into the canvas, and there in our
| | 01:53 | timeline is a precise three second long clip.
| | Collapse this transcript |
| Marking in the timeline| 00:00 | One thing you may have noticed when
we dragged our clip our Viewer into the
| | 00:04 | canvas that's making it appear in our
timeline is that the playhead, which was
| | 00:08 | originally at the very head of our
timeline, now is at the very end of our clip.
| | 00:12 | What we're going to look at here is how
the playhead works within context of the
| | 00:16 | timeline, and how end points work
within the context of the timeline.
| | 00:20 | We're going to pick another clip, in
this case we're going to choose Senegal
| | 00:24 | Aerial 1, and we'll simply drag
that from our browser into our Viewer.
| | 00:29 | It's a rather generic clip, so I'm
going to just arbitrarily mark an end point.
| | 00:33 | I want this to be about five seconds
long, so I'm going to go into the timecode
| | 00:36 | duration field, and simply hit 500,
Return, creating a 5 second clip.
| | 00:43 | Now watch, as I drag this from my
Viewer to my canvas, you'll see it appear in
| | 00:47 | the timeline exactly where the playhead
is parked, and the playhead will jump to
| | 00:51 | the very end of that clip.
| | 00:53 | As you see, we have our 5 second
clip and there is our playhead.
| | 00:57 | But if the playhead has been moved
further down the timeline, and this can
| | 01:00 | easily happen if you're reviewing your
show and playing it, and then you just
| | 01:04 | leave it parked somewhere.
| | 01:05 | The next time you bring your clip
in, it's going to go exactly where
| | 01:08 | that playhead is parked.
| | 01:10 | Let's take a look that with Senegal Aerial 3.
| | 01:12 | We're going to grab and load that
into the Viewer, mark an end point.
| | 01:16 | This time let's make it a quicker
shot, three seconds, 300 Return.
| | 01:22 | And once again I'll drag it to the timeline.
| | 01:25 | Watch what happens when I let go.
| | 01:27 | It puts the clip exactly where the
playhead is parked and moves the playhead to
| | 01:31 | the end of that clip, not
necessarily what I wanted to do.
| | 01:35 | I'm going to go ahead and hit undo,
which is Command+Z.Now we know I can put the
| | 01:40 | clip at the end of the previous clip
by moving the playhead, but we haven't
| | 01:44 | talked much about marking in
and out points in our timeline.
| | 01:47 | And an end point trumps the playhead.
| | 01:50 | So if I have an end point marked in
timeline, no matter where the playhead is
| | 01:54 | parked, and I grab a clip and drag
it from the Viewer into the canvas.
| | 01:59 | It's going to ignore the position of
the playhead, and put the clip where the end point is.
| | 02:03 | It will also reposition the
playhead to the end of that clip.
| | 02:08 | Once again, it did what I wanted it
to do, but not necessarily a good edit for our program.
| | 02:13 | So we're going to undo.
| | 02:13 | I'm going to move my end point simply
by dragging it all the way to the end of clip number 2.
| | 02:21 | Now no matter where my playhead is
parked, when I drag this clip from the
| | 02:24 | Viewer and bring it into the canvas,
it will show up exactly where I want the clip to be.
| | 02:29 | And the playhead is repositioned to
the end of clip number 3, preparing us for the next edit.
| | 02:35 | At this point you should be
comfortable working with clips in your Viewer.
| | 02:39 | Scrubbing through them, marking ins and outs.
| | 02:42 | And placing them into your timeline.
| | 02:43 | It's the first step in organizing your story.
| | Collapse this transcript |
|
|
3. Building the StoryWorking with audio in the Viewer window| 00:00 | In the previous lessons we've had the
opportunity to learn how to mark in and
| | 00:04 | out points in our clips and
bring clips into our timeline.
| | 00:07 | What we're going to work with now is
enhancing our story by bringing in some
| | 00:11 | voice over narration, and working
with audio for the very first time.
| | 00:14 | So now let's bring some
narration into our Viewer.
| | 00:18 | Instead of clicking and dragging it,
let's just right-click on it and Open in Viewer.
| | 00:23 | As you see, when you bring an audio
file into the Viewer window, it looks a lot
| | 00:27 | different than working with a video file.
| | 00:29 | For instance, we can see the waveform
of the narrator, and this allows us to do
| | 00:33 | something very specific.
| | 00:35 | We can really fine tune exactly where
we want the narrator to start talking to
| | 00:39 | mark our end points, and stop
talking to mark our out points.
| | 00:43 | Now I'm going to hit the Home key,
just to move my playhead to the very
| | 00:45 | beginning of the clip.
| | 00:46 | There is a couple of great keyboard
shortcuts that you can use to zoom in.
| | 00:50 | It's the Command+Plus sign
and the Command+Minus sign keys.
| | 00:54 | I like to use the ones directly to
the left of the large Delete key on
| | 00:56 | my keyboard.
| | 00:57 | So if I hit Command+Plus sign, you
see I'm zooming in a step at a time to
| | 01:02 | my audio waveforms.
| | 01:04 | I also see a black line
that's getting bigger and bigger.
| | 01:07 | Let me move that to the center.
| | 01:09 | That black line represents one frame of video.
| | 01:12 | Final Cut Pro can actually edit down
to a thirtieth of a second when it comes
| | 01:16 | to audio.
| | 01:17 | As a matter of fact, if I want to
interframe edit my audio, I can go down to
| | 01:21 | 1/100th of a second.
| | 01:23 | Not bad for a video application.
| | 01:26 | Now if I want to zoom out, I go Command+Minus
sign, and it will step me back to
| | 01:30 | a more global view of my audio.
| | 01:32 | Another great keyboard shortcut that
compliments the Command+Plus sign and the
| | 01:36 | Command+Minus sign is the
Shift+Z keyboard shortcut.
| | 01:40 | What this will do, it will zoom out
and fit everything inside your Viewer
| | 01:44 | window, which is great when you're
dealing with longer narration bytes.
| | 01:48 | With a 30 second clip like we have now.
| | 01:50 | It's easy to go back and forth and
find where the narrator starts and
| | 01:53 | stops talking.
| | 01:54 | But if you have about 20 or 30 minutes
of voice over that your working with,
| | 01:58 | being able to see it globally and
jump to a specific point can really speed
| | 02:03 | up your workflow.
| | 02:04 | Now these keyboard shortcuts are great
for working with audio in Final Cut Pro,
| | 02:08 | but I also use them in
other parts of my edit workflow.
| | 02:11 | As a matter of fact, if I'm working in
my timeline, the same keyboard shortcut
| | 02:15 | of Command+Plus sign and the Command+Minus
sign allows me to zooms into specific
| | 02:20 | clips or specific areas of my timeline.
| | 02:23 | And Shift+Z will show me all the
clips in my timeline, and make it a
| | 02:26 | perfect fit.
| | 02:28 | So if I'm zoomed way out, Shift+Z will
bring me in and if I'm zoomed way in,
| | 02:34 | Shift+Z will zoom me out, showing
me all the clips on my timeline.
| | 02:39 | Now here is a secret keyboard command.
| | 02:40 | Let's say I want to zoom in to
just a couple of clips in my timeline.
| | 02:44 | I can select them, hit Shift+Option+Z,
and I zoom in just to that selection.
| | 02:51 | Now, let's go back to our Viewer window
and mark an out point for out narrator.
| | 02:55 | We're going to have this narrator
start talking from the very beginning of the clip.
| | 02:59 | (Narrator: It's the most unforgiving place on Earth.)
| | 03:02 | But I'll probably want to stop him
after he finishes his first set of phrases.
| | 03:07 | Now if I take the mouse and I move it
left and I move it left and right through
| | 03:11 | the clip, I'm going to be
doing something called scrubbing.
| | 03:14 | This is very useful when trying to find
exactly the phrase that you want to edit
| | 03:18 | in, or edit out of our narrator.
| | 03:21 | If you need it to be even more precise,
you can zoom in, and really get that
| | 03:26 | fine control when scrubbing through your clip.
| | 03:29 | Let's go ahead.
| | 03:30 | We can visually see where
the end of his phrase is.
| | 03:33 | I'm going to mark an out point.
| | 03:35 | Now we're ready to bring
this clip into our timeline.
| | Collapse this transcript |
| Track targeting| 00:00 | Now, we are ready to bring our
audio clip into our timeline.
| | 00:04 | So, the first thing we want to do is
make sure that Sahara voice Over is
| | 00:07 | loaded into the viewer.
| | 00:09 | And you will notice that when we are
working with any clip in the viewer, I want
| | 00:12 | to drag it from the viewer into the
timeline, we can't do the traditional
| | 00:16 | grab-and-drag that we did
before because it scrubs the clip.
| | 00:20 | So the trick here is you need to
grab it by the little hand and at that
| | 00:24 | point, you can drag it in.
| | 00:26 | As a matter of fact, if you notice, your
cursor changes from an arrow to a hand.
| | 00:30 | So, now that we are ready to bring it
in, we need to tell Final Cut where we
| | 00:34 | wanted to go in our timeline.
| | 00:36 | So let's move to the timeline, select it,
and we are going to move the playhead
| | 00:41 | in between clips, 1 and 2, and
we are going to mark an in point.
| | 00:46 | So, now when we drag from the viewer
to the canvas, Final Cut Pro will know
| | 00:49 | exactly where to put our audio file.
| | 00:51 | I am going to go up to the hand, drag
it, bring it across, and let go, and
| | 00:57 | something didn't work very well here.
| | 00:58 | We actually just erased all of our
ambient sound that was on tracks 1 and 2.
| | 01:03 | So, let's go ahead and undo that
and learn how to do it the proper way.
| | 01:08 | What you need to be able to do is not
only tell Final Cut where you wanted to
| | 01:11 | put it in the timeline chronologically,
but physically where you want to put it
| | 01:16 | on which tracks, and we want to
put this on to tracks 3 and 4.
| | 01:19 | So, we are going to use
something called track targeting.
| | 01:22 | If you look over here to the left side
of your timeline, you see a small a1 and
| | 01:27 | a large A1, and a small a2 and a
large A2, A standing for audio.
| | 01:32 | So, what we want to do is we want
to move our source here down to a new
| | 01:36 | destination at the bottom.
| | 01:38 | So, A2 will go to A4 and
then I want A1 to go to A3.
| | 01:43 | So, audio 1 is going to 3,
audio 2 is going to go to 4.
| | 01:47 | Now, watch what happens when I drag this over.
| | 01:51 | Not only does it go to my in point,
but now it successfully goes on to tracks
| | 01:55 | 3 and 4.
| | 01:56 | Now track targeting works
for more than just audio.
| | 01:59 | It actually works the same way for video.
| | 02:01 | Now, you can't see any track targeting
in the video area of our timeline, and
| | 02:06 | let me explain why that is and how it works.
| | 02:09 | Because we have an audio only clip
in our viewer, we only see the track
| | 02:13 | targeting for audio.
| | 02:14 | If I jump down here in my browser to
the bottom clip, which is called Woman
| | 02:18 | with bag on head.
| | 02:19 | This is a video only clip.
| | 02:21 | As a matter of fact, if you look here in
your viewer, you see it says Video, and
| | 02:25 | there is no audio track.
| | 02:26 | Now, looking down here in the left side
of our timeline, we see Video 1 to Video
| | 02:31 | 1 here, and no audio targeting.
| | 02:34 | So targeting is dependent upon
the clip that's in the viewer.
| | 02:37 | If we go ahead and pick a clip
that has both video and audio.
| | 02:40 | I'm going to use Niger, Sand 1.
| | 02:43 | This clip as you see has both
video and a stereo audio track.
| | 02:47 | Looking down here into our timeline,
we have targeting for V1 and we have
| | 02:51 | targeting for A1 and A2.
| | 02:53 | As a matter of fact, Final Cut remembers
the last location that you targeted to,
| | 02:58 | so you don't have to keep switching
back to 3 and 4 if you were slugging in or
| | 03:02 | putting in multiple audio tracks.
| | 03:04 | Let's take a look exactly how this
works within your normal Final Cut workflow.
| | 03:09 | So, if I brought this clip in from the
viewer into the canvas now, it brings in
| | 03:14 | both video and audio where I have targeted to.
| | 03:17 | Another thing I could do is I could
say the video is perfect but the audio
| | 03:22 | is just noised.
| | 03:23 | It wasn't true ambiance.
| | 03:24 | And if I go over here to the left side
and click on A3 and A4, you see there's a
| | 03:30 | small gap that's created.
| | 03:32 | Now when I bring the video over from
the viewer into the canvas, it only brings
| | 03:36 | the video part of my clip.
| | 03:38 | I can do the same thing with audio.
| | 03:40 | Let me reconnect the audio by clicking
on it, and break the video, and now when
| | 03:45 | I bring it over, it just brings over the audio.
| | 03:48 | A really great use of this is
often in the field you record audio on
| | 03:52 | two separate tracks.
| | 03:53 | For instance, you might have your main
audio lavalier mic on your talent
| | 03:58 | and backup audio just
recorded with the camera mic.
| | 04:00 | While when you are editing, you don't
necessarily want to bring in that backup
| | 04:03 | audio, if the lavalier mic was perfect.
| | 04:06 | So, what I'm going to do is make
sure the video is attached, Audio 1 is
| | 04:10 | attached, but I'm going to break Audio 2.
| | 04:13 | And now, when I drag this over, take
a look at what happens to my timeline.
| | 04:17 | It just brings audio track 1 into our show.
| | 04:21 | So, let's go ahead and
look at our whole timeline.
| | 04:23 | We learned earlier that Shift+Z was fit
to window, and I now have a lot of stuff
| | 04:28 | that I want to get rid of.
| | 04:29 | So, we are going to simply undo all
this and get back to where we want it to be
| | 04:33 | just with our voice over
narrator in our timeline.
| | 04:36 | As you can see, track targeting can
help get your clips exactly where you want
| | 04:41 | right from the start.
| | Collapse this transcript |
| Three-point editing| 00:00 | Well, at this point in our program, we
have learned to bring several clips into
| | 00:03 | our timeline, and we have
brought in the audio from the narrator.
| | 00:07 | We are going to do something a
little bit different at this stage.
| | 00:09 | Before when we brought the clips in, we
have always marked an in and out point
| | 00:12 | in our source or the viewer, and
just an in point in our destination.
| | 00:17 | And as a matter of fact, this
is called a three-point edit.
| | 00:19 | A three-point edit is simply where
you pick three points and Final Cut
| | 00:22 | determines the fourth point.
| | 00:24 | So, in this case, we have a choice
of two in points and two out points.
| | 00:28 | So, we choose the two in points
from our viewer, and the in point from
| | 00:30 | our timeline.
| | 00:31 | But there's actually three other types
of three-point edits that you can use
| | 00:35 | when working in Final Cut Pro.
| | 00:37 | The next one we are going to look at
instead, of marking the in and out in the
| | 00:40 | viewer, we are going to actually mark
the in and out point in our timeline,
| | 00:44 | because instead of cutting based upon
the part of the picture we want to use, we
| | 00:48 | want to cut based upon
what the narrator is saying.
| | 00:51 | So, in this case, we'll mark an in point,
when the narrator starts a phrase we
| | 00:54 | want to cut into, and an out point when
the narrator stops saying that phrase.
| | 00:58 | So, let's listen to our narration track.
| | 01:00 | (Narrator: It's the most unforgiving place on Earth.)
| | 01:04 | (Narrator: Over 3.5 million square miles.)
| | 01:08 | (Narrator: A vast wilderness. It's the Sahara Desert.)
| | 01:12 | So, one thing you may have noticed
is that the video doesn't necessarily
| | 01:15 | correspond directly with
what the narrator is saying.
| | 01:18 | We'll fix that later on in the program.
| | 01:21 | But from this point on, let's
start cutting to our narrator.
| | 01:24 | So, what we want to do is we want to
pick a phrase that we want to cut our video
| | 01:27 | to, and the phrase starts about here
and what the narrator is about to say is
| | 01:32 | "it's the Sahara desert."
| | 01:34 | So, I listen and when he is about to
say, "it's," I'll mark an in point, and
| | 01:38 | when he is done, I'll mark an out point.
| | 01:39 | (Narrator: It's the Sahara Desert. With people...)
| | 01:43 | So, there I have it.
| | 01:44 | It's the Sahara desert.
| | 01:46 | I have an in point and an
out point in my timeline.
| | 01:49 | Let's go ahead and load a clip
into the viewer that we can cut in.
| | 01:52 | And the clip we are going to
work with us called Niger, Sand 3.
| | 01:56 | Now this is a rather generic clip, we
actually sometimes may call this wallpaper
| | 02:01 | because I can use any
part of the clip in my show.
| | 02:03 | So I'm going to pick a point about a
third of the way in and mark an in point.
| | 02:07 | Here we have the
beginnings of our three-point edit.
| | 02:09 | I have an in point in my viewer and an
in point and an out point in my timeline.
| | 02:14 | All I have to do is grab the clip,
drag it from the viewer into the canvas,
| | 02:18 | and perform the edit.
| | 02:20 | Now something else
interesting has happened here.
| | 02:23 | If you notice when I marked the in
point, it actually overlapped the
| | 02:27 | previous shot.
| | 02:28 | Now, what happens is when I grab the
clip and dragged it into the timeline,
| | 02:31 | it deleted the tail end of the
previous shot replacing it with the entire
| | 02:36 | Niger, Sand 3 clip.
| | 02:37 | I am going to go ahead and undo and
redo my timeline just so that you can see
| | 02:41 | what happens, Command+Z to undo, and
there you see I have highlighted just the
| | 02:46 | tail end of that clip that gets
erased and if I redo that, which is
| | 02:49 | Shift+Command+Z, you see
that it's erased that shot.
| | 02:53 | I would also want to point out we
have not modified the original media
| | 02:56 | in anyway.
| | 02:57 | Final Cut Pro is completely non destructive.
| | 02:59 | If I wanted too, I could go
ahead and get that footage back.
| | 03:03 | Now let's watch this edit.
| | 03:04 | (Narrator: It's the Sahara Desert.
With people and cultures...)
| | 03:06 | It's perfect.
| | 03:11 | My three-point edit worked, marking
the in and out point in my timeline.
| | 03:14 | Now, we are going to look at two other
types of three-point edits and they are
| | 03:18 | both very similar to each other.
| | 03:20 | Previously, we have been marking
two in points and an out point.
| | 03:23 | Now, we are going to look at the
advantages of marking two out points and
| | 03:26 | a single in point, and that in point
can either be in the viewer or in the
| | 03:30 | timeline.
| | 03:31 | What this will allow me to do is
backtime the clip, so that I can have an event
| | 03:35 | happen at a specific point in time.
| | 03:38 | The clip that we are going to work
with is called Senegal, mother and baby.
| | 03:40 | Now, we'll load this clip into our
viewer and as we scrub through, we see
| | 03:44 | there's the mother with the child on her
back and she starts walking to the left
| | 03:48 | of the frame and then she clears frame.
| | 03:50 | So, this is a really nice shot and I
just want to make sure that as my narration
| | 03:54 | ends, she clears frame.
| | 03:56 | So, I'm going to mark an out point
after she clears frame and then I'm going to
| | 04:01 | go to my timeline mark an out point
at the very end of when the narrator is
| | 04:04 | speaking, and then I'll mark an
in point at end of the last clip.
| | 04:08 | Now let's drag the clip from the
viewer into the canvas and perform
| | 04:11 | our three-point edit.
| | 04:13 | Final Cut does the math and
backtimes it, and let's watch the clip.
| | 04:16 | (Narrator: With people and cultures
as unpredictable as the landscape.)
| | 04:22 | Well, the timing is perfect for when
she leaves frame, but I don't want to see
| | 04:25 | all that information at
the beginning of the shot.
| | 04:27 | I want to really focus on her and
the child and walking out of frame.
| | 04:31 | I don't want my eyes distracted by the bag.
| | 04:33 | So, let's go ahead and undo this and
instead of marking an in and out in our
| | 04:37 | timeline and an out in our viewer, we
are going to do a slightly different
| | 04:41 | variation of backtiming.
| | 04:42 | I'm going to remove the in point from
my timeline, and I can do that simply by
| | 04:47 | right clicking and going Clear In.
| | 04:49 | I could also use the keyboard
shortcut of Option+I. Now, going back to the
| | 04:53 | viewer, we'll select the Viewer tab
and I'm going to scrub through the clip,
| | 04:56 | and pick a point where I'm not
distracted by the back and I really am focused
| | 05:01 | on the baby on her back.
| | 05:02 | And now I'm going to mark an in point.
| | 05:04 | I'll grab the clip, drag it from the
viewer again, back to the canvas, and
| | 05:09 | this time Final Cut will backtime the
clip but only the part of the clip that
| | 05:12 | I want in the show.
| | 05:14 | And if we go ahead and we play it
| | 05:15 | (Narrator: ...as unpredictable as the landscape.)
| | 05:18 | We are not distracted by
her walking with the back.
| | 05:21 | Three-point editing is one of the most
powerful tools you have in your Final Cut Pro arsenal.
| | 05:25 | It's as simple as you pick three points and
Final Cut Pro does the math for the fourth.
| | Collapse this transcript |
| Manipulating the playhead| 00:00 | Before we start finessing our program
by adjusting clips and their edit points,
| | 00:04 | let's learn how to quickly
navigate ourselves around the timeline.
| | 00:08 | There is a lot of great shortcuts that
you can use to move your playhead exactly
| | 00:11 | where you need it to be without
ever having to touch your mouse.
| | 00:15 | One of the most frequently used
keyboard shortcuts is the Up and Down
| | 00:18 | arrow keys.
| | 00:20 | By using the Up arrow key, you can jump
to previous edits and the Down arrow key
| | 00:25 | jumps you forward in the
timeline to subsequent edits.
| | 00:28 | If you want to quickly get to the
beginning of your timeline or to the end of
| | 00:32 | your timeline, the Home key and the End
key will get you there and you can find
| | 00:37 | the Home key and End key directly above
the Up and Down arrows on your keyboard.
| | 00:41 | Now, if you are working off a laptop on
one of Apple's smaller keyboards you may
| | 00:45 | not have a dedicated Home and End key,
usually you will have a dual purpose key
| | 00:50 | which is the Left and Right arrow
keys modified with the function key.
| | 00:54 | Hold down the Fn key and press on the
left arrow or the right arrow and that
| | 00:58 | will jump you to the head or tail of
your program when you are working on one of
| | 01:01 | these smaller keyboards.
| | 01:03 | Another very useful keyboard shortcut
is again using the Left and Right arrow
| | 01:07 | keys but this time
holding down the Shift+Modifier.
| | 01:10 | If you hold down the Shift key and
Press say the Left arrow, you will jump
| | 01:14 | backwards in your timeline
by one second increments.
| | 01:18 | Holding down the Shift and pressing the
right arrow key, will move you forward
| | 01:22 | by 1 second increments.
| | 01:24 | Now, of course, we learned in one of
our very first lessons the ability to use
| | 01:28 | J, K, and L to navigate through your timeline.
| | 01:30 | But there is two additional keys, if
your pinky is not getting the workout that
| | 01:34 | it should, and that's the
apostrophe key and the semi colon key.
| | 01:37 | So, if your three-middle fingers are
resting on J, K, and L, simply use your
| | 01:41 | pinky to hit the apostrophe key to
move forward or the semi colon key to move
| | 01:45 | backwards by one edit point.
| | 01:48 | We also learned you can zoom in and
zoom out on your timeline by holding down
| | 01:52 | the Command key and pressing Plus or Minus.
| | 01:56 | Now, this keyboard shortcut also
works, if you have your viewer or your
| | 01:59 | canvas selected but what happens
here if you press Command+Plus is you
| | 02:02 | actually are zooming into the framing
of your picture or zooming out to the
| | 02:07 | framing of your picture.
| | 02:08 | If you do this accidentally, simply use
Shift+Z, which is the same Fit to Window
| | 02:14 | command that you would use in your timeline.
| | 02:15 | Now, there's another really useful
keyboard shortcut to zoom in and zoom out
| | 02:19 | which can avoid this problem.
| | 02:21 | Command+Plus and Command+Minus is
great but you need to make sure you have
| | 02:25 | the timeline selected.
| | 02:26 | If you use Option+Plus and Option+Minus,
no matter which window is selected, you
| | 02:32 | will always zoom in on your timeline.
| | 02:34 | Now, while talking about zooming in on
our timeline, let's take a look at how
| | 02:37 | Final Cut Pro thinks.
| | 02:39 | If nothing is selected and you zoom in,
using Option+Plus, it will of course
| | 02:42 | zoom in wherever the playhead is parked.
| | 02:45 | Now, if you have a clip selected,
Final Cut ignores where the playhead is and
| | 02:49 | when you hit Option+Plus it zooms in
specifically to that clip on the timeline.
| | 02:54 | Here is a little known keyboard
shortcut that can really save you some time.
| | 02:58 | If you are working on a very large show,
where you have a lot of edits and you
| | 03:02 | want to zoom into to just a section of
that show, simply Lasso the clips you
| | 03:05 | want to work on and instead of
hitting Shift+Z for Fit to Window, hit
| | 03:09 | Shift+Option+Z and that's Fit
Selection to Window and you will zoom into
| | 03:14 | precisely those clips to work on them.
| | 03:16 | I am going to click on Shift+Z, so we
fit the entire timeline to our window and
| | 03:20 | I want to talk to you a little bit
about other ways we can move the playhead.
| | 03:24 | First of all, let's deselect
all the clips in the timeline.
| | 03:27 | The easiest way to do this is to simply
click on any gray area or the keyboard
| | 03:32 | shortcut for that is Shift+Command+A.
That's deselect all.
| | 03:37 | Now, with no clips selected, we can
start using some numerical entry to navigate
| | 03:41 | through our timeline.
| | 03:42 | Now, you don't have to select any
specific dialog box simply go over to your
| | 03:46 | numeric keypad and start typing in a number.
| | 03:48 | For instance, let's say I wanted to
work at exactly 5 seconds into my show.
| | 03:52 | I simply press 500, now I didn't click
anywhere within the interface, but you
| | 03:57 | will notice in the upper left-hand
corner of my timeline in the text entry
| | 04:00 | box, you will see 500.
| | 04:02 | As soon as I press the Return key, I'll
see the colon pop in for 5 seconds and
| | 04:07 | my playhead is going to
jump to 5 seconds into my show.
| | 04:10 | Also take a look at what happens in my canvas.
| | 04:13 | That will also jump to 1 hour and 5
seconds and you will notice that we'll jump
| | 04:17 | to a different shot.
| | 04:19 | Now take note, you do not need to
type in the 1 hour, whenever you do this.
| | 04:23 | Final Cut assumes that 1 hour has
been entered, so you can just simply type
| | 04:26 | minutes, seconds and frames and
jump exactly to where you want to work.
| | 04:31 | This is incredibly useful, for instance,
if you are working on say a 60 minute
| | 04:34 | documentary and you want to jump right
to 59 minutes into your show, instead of
| | 04:39 | zooming in and dragging or figuring
out how to get there, simply type in 59
| | 04:43 | minutes, 0 seconds, 0 frames.
| | 04:45 | By the way, here is
another great little shortcut.
| | 04:48 | Instead of hitting 00, you
can press the period key.
| | 04:51 | Let's take a look.
| | 04:52 | I'm going to jump to 1 minute into my show.
| | 04:54 | 1 Period period.
| | 04:56 | Now, when I hit Return, it jumps
me right to the 1 minute point.
| | 05:01 | I'm going to go ahead and hit Shift+Z,
so you can see the entire timeline again.
| | 05:04 | And we are going to talk about some
other ways that we can move the playhead Up
| | 05:07 | and Down the timeline.
| | 05:08 | I'm going to park the
playhead at this arbitrary location.
| | 05:11 | It's about 4.5 seconds in and
let's say I wanted to move precisely 5
| | 05:16 | seconds forward.
| | 05:17 | All I have to do is hit the plus key
before I enter the number +500 and now when
| | 05:24 | I hit Return instead of jumping to 5
seconds in, it's going to jump 5 seconds
| | 05:28 | forwards to 9 seconds and 16 frames.
| | 05:31 | I can do the same thing going backwards.
| | 05:33 | Simply type in minus, I'm going to get a
-16 frames, hit Return and it will take
| | 05:38 | me to precisely 9 seconds in.
| | 05:40 | Now, you can get your playhead
exactly where you want it to be without ever
| | 05:44 | having to touch your mouse.
| | Collapse this transcript |
| Moving clips in the timeline| 00:00 | By now you should be familiar
with moving the playhead throughout
| | 00:03 | the timeline.
| | 00:03 | Now let's talk about moving
clips up and down your timeline.
| | 00:07 | The easiest way to move a clip
throughout the timeline is simply grabbing it and
| | 00:10 | sliding to the left or to the right.
| | 00:13 | You can also grab multiple clips and
drag those around the timeline as a group.
| | 00:17 | Now if you notice, as I move these
clips forward and backwards, if I get two
| | 00:21 | clips close to each together, they
will snap together as if there is magnets
| | 00:25 | at either end.
| | 00:26 | This is called snapping, and it's
a very useful tool in Final Cut.
| | 00:29 | It keeps you from having
something called a Flash Frame.
| | 00:32 | If you literally have just one frame of
black between two clips, you may not see
| | 00:37 | it visually, but your viewer is
going to see it on a subconscious level.
| | 00:40 | So just to be safe, we have
Snapping in Final Cut Pro.
| | 00:43 | However, this is a feature that you
can turn on and turn off as necessary,
| | 00:47 | because sometimes you may not
want to snap to the clip next to you.
| | 00:51 | To do this, you can go over to this
button right here on the upper right hand
| | 00:54 | corner of your timeline interface.
| | 00:56 | As a matter of fact you will notice it's green.
| | 00:58 | It says the word Snapping, and the
keyboard shortcut for this is N, as
| | 01:01 | in Snapping.
| | 01:03 | A simply way to remember if a button
is on or off is green is on as in go,
| | 01:08 | and gray is off.
| | 01:10 | Now if you are snapping on when you are
working in Final Cut, and you get close
| | 01:13 | here and it starts snapping you in,
while you are dragging, you can simply hit
| | 01:17 | the N key, toggle it off, and put the
clip exactly where you wanted to be.
| | 01:22 | In addition to moving a clip left and
right, you can also move clips up and
| | 01:26 | down in their timeline.
| | 01:27 | So for instance, if I wanted to move
this clip from track 1 to track 2, it's as
| | 01:31 | simple as grabbing it and moving it up.
| | 01:33 | One thing that can happen when you do
this is instead of moving it perfectly
| | 01:37 | straight up, you can often move it a
little bit to the left or a little bit
| | 01:40 | to the right.
| | 01:41 | The trick here is to hold down the
Shift key, which will constrain if you're
| | 01:44 | moving left or right, and it will
move directly below where it was.
| | 01:47 | A lot of editors like to use the
keyboard shortcut for this action, and that's
| | 01:51 | simply holding down the Option
key and pressing the Up arrow.
| | 01:55 | Holding down the Option key and
pressing the Down arrow will move the clip back
| | 01:58 | to its original position.
| | 02:00 | You can also move a clip around the
timeline without ever touching your mouse
| | 02:03 | and this is using numerical entry.
| | 02:05 | With the clip selected in the timeline,
simply go to your numeric keypad and
| | 02:09 | enter the distance you want to move the clip.
| | 02:11 | In this case we'll move the
clip forward by 2 seconds.
| | 02:14 | Now, I don't have to highlight any
textbox, as soon as I start typing with a
| | 02:18 | clip selected, in this case 200, you
see that Final Cut has created a textbox
| | 02:23 | and labeled it Move.
| | 02:25 | As soon as I hit Return, the clip will
move 2 seconds forward in my timeline.
| | 02:29 | Now I can do the same thing moving
the clip backwards, but I do have to hit
| | 02:33 | Minus in this case if I
want to move it to the left.
| | 02:35 | Now I'm going to do
something a little different here.
| | 02:37 | I'm going to move it further than
the space that I have available.
| | 02:41 | So let's go ahead and move this
about 10 seconds to the left and see
| | 02:44 | what happens.
| | 02:45 | Minus to move it to the left, Final Cut
creates the textbox, and now let's enter
| | 02:49 | 1000, hit Return, and what you see
happens is you get a clip collision on V1.
| | 02:55 | What Final Cut is telling you is it
moved the clip as far as you can, but it
| | 03:00 | won't let you accidentally
overwrite existing clips in your timeline.
| | 03:04 | Now it's pretty obvious when you move
the clip to the left, but you didn't
| | 03:07 | want to do that.
| | 03:08 | But a lot of times when you move
clips to the right, you may not see what's
| | 03:11 | off screen, and you don't want to
accidentally erase or delete any clips that
| | 03:15 | you don't see.
| | 03:16 | This is a way that Final Cut is protecting you.
| | 03:19 | Now you can also move your clip left
and right by very precise increments,
| | 03:24 | literally one frame at a time, and
to do this, you will use the keyboard
| | 03:27 | shortcut of the less than
or greater than symbols.
| | 03:30 | Now you will find these directly
above the period and the comma key on
| | 03:33 | your keyboard.
| | 03:34 | If I press the greater than symbol,
I'll move one frame at a time to the right.
| | 03:39 | If I press the less than symbol,
I'll move frame at a time to the left.
| | 03:43 | I can also hold down the Shift key as
a modifier, and now I'll be moving by
| | 03:46 | the default value of 5 frames, and
this can be changed in the Preferences if
| | 03:50 | you like.
| | 03:51 | This may seem like a lot at first
blush, but once you start using these
| | 03:55 | techniques, you will be able to
quickly and efficiently move clips on the
| | 03:58 | timeline exactly where you want.
| | Collapse this transcript |
| Adjusting edit points in the timeline| 00:00 | Now, we have learned about moving the
playheads throughout the timeline, and
| | 00:03 | moving clips through out the timeline.
| | 00:05 | Now, we are going to learn about
adjusting the length of the clip in the timeline.
| | 00:09 | Often, you need to make a clip longer or
shorter, while you are working on it in
| | 00:12 | the timeline, and the most obvious way
to do this is simply grab the edge of a
| | 00:15 | clip, and to click on the Edit point.
| | 00:18 | Not on the body of the clip, because
that's going to be moving it around, but
| | 00:21 | on the edge of the clip and notice
that it doesn't select the whole clip, and
| | 00:24 | here I can move my mouse to the right
or move it to the left, making the clip longer or shorter.
| | 00:29 | You will also notice, as you move
this left and right, you will see a
| | 00:33 | Duration Pop-up window.
| | 00:35 | It tells you how long the clip
currently is and how much time you are adding or
| | 00:39 | subtracting from the clip.
| | 00:41 | Now, you don't have to just move an
edit point by grabbing it and dragging it,
| | 00:45 | just like with the playhead and with
the clips, you can do this numerically.
| | 00:48 | The key here is selecting the Edit point first.
| | 00:51 | To select the Edit point,
once again you can click on it.
| | 00:53 | I'm going to move my mouse aside,
so you are can see what's happening.
| | 00:57 | In this case, if I wanted to add time
to the end of my clip, I don't have to
| | 01:01 | select anything, I can simply type in plus.
| | 01:04 | If you notice as soon, as I hit the
Plus key, I get a textbox with the words Roll.
| | 01:08 | I'm actually rolling more time into my
clip, or rolling time out of my clip.
| | 01:13 | So now, with the plus we'll be adding
time to our clip, we are going to say add
| | 01:17 | a second, and I can type in 100, and
when I hit Return, the clip will get
| | 01:23 | longer by one second.
| | 01:24 | Again, if I wanted to subtract time
from the end of the clip, I'll make the clip shorter.
| | 01:29 | I go Minus, let's go say
15 frames, and I hit Return.
| | 01:33 | Now, here is a great little shortcut
when adding time to a clip or subtracting.
| | 01:38 | If I know I want to go exactly one
second, instead of typing 100, I can simply
| | 01:42 | type one period and any time I add a
period in Final Cut, it's the same thing as
| | 01:47 | pressing the zero key twice.
| | 01:49 | I know it's only one keystroke, but
think about this over a year, over ten
| | 01:54 | years, or for 50 years, that you are
editing with this program, you will save
| | 01:57 | yourself hundreds and
hundreds of zeros, and that adds up.
| | 02:00 | So let's go ahead and hit the Return
key and we see we'll move now forward by one second.
| | 02:06 | Now of course, numerical entry of an
Edit point only works if you can click and
| | 02:10 | select that Edit point, and that kind
of defeats the purpose, because if you
| | 02:14 | need to click on an Edit point,
you might as well drag it.
| | 02:17 | Here is a great little shortcut.
| | 02:19 | I have nothing selected in my
timeline, and my playhead is parked
| | 02:22 | arbitrary location.
| | 02:24 | Now, instead of grabbing my mouse, I
simply hit the V key, V as in Victory, and
| | 02:29 | that will jump me to the closest Edit
point in my timeline to where the playhead
| | 02:33 | was parked and selected.
| | 02:35 | I can now use the Up and Down arrow
keys to go precisely to the Edit that I want to modify.
| | 02:41 | Let's go to a point, where we
actually have two clips touching each other.
| | 02:44 | What's going to happen if we move the
Edit point numerically, at this stage?
| | 02:48 | We'll do a Roll Edit, and we can
subtract information from one clip, while
| | 02:52 | adding information to the following clip.
| | 02:54 | So in this case I want to roll the
edit by one second, so I'm going to move to it to the left.
| | 02:58 | So Senegal Aerial will end one second
earlier, and we'll start Niger Sand 3,
| | 03:03 | one second earlier.
| | 03:04 | So I'm going to hit -100, and when
I hit Return, we actually roll two
| | 03:10 | edits simultaneously.
| | 03:12 | Finally, you can use some of the
keyboard shortcuts that we used in moving clips
| | 03:16 | around to move edit points around.
| | 03:18 | Specifically, the Greater than and Less
than bracket keys, which once again you
| | 03:21 | will find above the
period key and the comma key.
| | 03:24 | By pressing the greater than key, we
can actually roll or edit one frame at a
| | 03:28 | time forwards, and by pressing the less
than key, we can move it one frame at a
| | 03:32 | time to the left, and by holding down
the Shift key, we can do the same thing,
| | 03:36 | except now we are trimming it by the
default value of five frames at a time.
| | 03:40 | We have covered a lot of timeline
shortcuts, and it may seem a bit overwhelming.
| | 03:44 | Don't worry, we'll referring to them
through out the rest of the training, and
| | 03:47 | once you get used to them you will
be a faster and more confidant editor.
| | Collapse this transcript |
| Splitting clips| 00:00 | Whenever you are editing a show, you're
constantly playing it over and over and
| | 00:03 | over again, just to see if you like
the feel and rhythm of your program.
| | 00:08 | Let's go ahead and play from this point
on and see if we like what's happening.
| | 00:11 | (Narrator: It's the Sahara Desert. With people
and cultures as unpredictable as the landscape.)
| | 00:19 | I have a big problem here.
| | 00:21 | The narrator doesn't give enough
time for the scene to breathe before he
| | 00:24 | talks about people.
| | 00:25 | What I want to do is be able to split
the clip, and move the narrator further
| | 00:29 | down the timeline to give us a chance
to breathe and look at some of the video.
| | 00:34 | To do this we are going to use the Blade tool.
| | 00:36 | Now you can get to the Blade
tool in a couple of places.
| | 00:39 | We are going to get to it
from the Tool palette initially.
| | 00:42 | If you notice, here in the tool palette,
you actually have two Blade tools, a
| | 00:45 | Double Blade and a Single Blade.
| | 00:46 | We are going to use the Single Blade tool now.
| | 00:49 | I can also get to the Blade
tool by simply typing the B key.
| | 00:53 | What I want to do is get to exact spot
where the narrator stops talking about
| | 00:57 | the Sahara Desert and
starts talking about the people.
| | 00:59 | So let's listen and see if we
can pause at just the right spot.
| | 01:02 | (Narrator: It's the Sahara Desert.)
| | 01:04 | So right there is where the
narrator has finished his statement.
| | 01:07 | And if I move my cursor over that clip,
it's no longer the Selection tool, which
| | 01:12 | is indicated by an arrow.
| | 01:14 | It's now a Razor Blade.
| | 01:15 | So I simply click exactly where my
playhead is parked, and what happens is Final
| | 01:20 | Cut slices that clip into two.
| | 01:22 | And you can tell that it's in two is
because of those two little red arrows that
| | 01:25 | are pointing at each other.
| | 01:27 | This is called a Through Edit.
| | 01:29 | Now a Through Edit on any Final Cut
Pro Timeline simply indicates continuous
| | 01:33 | time code, or continuous video
between the first clip and the second clip.
| | 01:37 | Now what I want to do is move this
clip forward, say about 4 seconds.
| | 01:42 | The key here is I need to
switch away from Blade tool.
| | 01:45 | Otherwise I'll start cutting up my
timeline every time I click on a clip.
| | 01:49 | To do this I can either click the
A key or simply press the Selection
| | 01:53 | tool button.
| | 01:54 | Once I have switched to the Selection
tool, I can go ahead, highlight the clip
| | 01:58 | and move it down the
timeline using numerical entry.
| | 02:00 | Let's go +400 and hit Return.
| | 02:04 | It's a little bit off-screen, so
let's hit Shift+Z, so we can fit all our
| | 02:08 | clips into the window.
| | 02:09 | I want to once again grab the Senegal
woman and baby clip, and move it all the
| | 02:13 | way to the end, because we worked so
hard earlier to back time that clip, so
| | 02:16 | it was just perfect.
| | 02:17 | Now let's stretch Niger Sand to
fill the space that we created.
| | 02:21 | We are going to go back and we are
going to watch this clip to see if we
| | 02:24 | like the rhythm.
| | 02:25 | (Narrator: It's the Sahara Desert.)
| | 02:32 | (Narrator: With people and cultures...)
| | 02:33 | I like the idea of letting it breathe
but I think we let it breathe too long.
| | 02:37 | So we are going to go ahead and
remove some of the media that we just added
| | 02:40 | to our timeline.
| | 02:41 | To do this, we are going to show you
another way that you can split a clip.
| | 02:45 | I'm going to go ahead and play the
clip till I feel the cut point should be.
| | 02:49 | Because a lot of times
editing is not about time.
| | 02:52 | It's about visceral, feel and rhythm.
| | 02:53 | So you will be playing
clips over and over again.
| | 02:55 | Let's hit the Spacebar and find
the exact spot that we want to stop
| | 02:58 | the playback.
| | 03:02 | I simply hit the pause key and said
that's a good point to make my cut.
| | 03:06 | Instead of going over and grabbing
the Blade tool, we are going to use
| | 03:08 | a keyboard shortcut.
| | 03:09 | We are going to do what's called an Add Edit.
| | 03:12 | The keyboard shortcut for this is
the Ctrl key and V as in victory.
| | 03:16 | When you hit Ctrl+V, wherever your
playhead is parked, you will split
| | 03:20 | your clips.
| | 03:21 | Now I'll simply highlight the
clips that I want to remove.
| | 03:23 | I'll go right-click and Cut.
| | 03:26 | And grab the clips that we worked with,
and I can drag those back, and with
| | 03:29 | Snapping turned on, they will
pop right next to each other.
| | 03:32 | Let's take a look to see
if we like what we have.
| | 03:34 | (Narrator: ...the Sahara Desert.
With people and cultures...)
| | 03:40 | I think with a little bit of
music that's going to be just perfect.
| | 03:44 | I want to revisit a tool that we
saw earlier in the lesson, and that's
| | 03:47 | the Double Blade tool.
| | 03:49 | First, let's once again look how
the Single Blade tool works so you can
| | 03:52 | compare the difference.
| | 03:53 | With a Single Blade tool selected, if
I click on a clip, it just cuts through
| | 03:58 | that clip leaving all other clips unaffected.
| | 04:00 | Now let me go ahead and undo that,
Command+Z. With the Double Blade tool I'll
| | 04:04 | click and select that tool, and now
when I click here, you will not only cut
| | 04:09 | through Niger Sand 1, you
will also cut through Sahara VO.
| | 04:13 | So I can successfully cut through
all clips vertically in all tracks with
| | 04:17 | a Double Blade tool.
| | 04:18 | One last thing I want to show you which
complements the idea of cutting a clip
| | 04:22 | in half, and that's
putting them back together again.
| | 04:25 | Before we do anything we always
have to switch from our Blade tool to
| | 04:28 | our Selection tool.
| | 04:30 | We used the Tool palette last time to switch.
| | 04:32 | From now on let's get used to just
pressing the A key anytime we want to be
| | 04:36 | in the Selection tool.
| | 04:37 | With the Selection tool activated, I
can right-click on my Through Edit, and
| | 04:40 | in the drop-down window I see an
option that says Join Through Edit and Join
| | 04:44 | All Through Edits.
| | 04:45 | Well, if I clicked on just Join
Through Edit, it would only actually repair
| | 04:49 | Niger Sand 1, leaving the
Sahara VO still cut in half.
| | 04:53 | Since, I used the Blade tool to cut
through all the clips, I'm going to use the
| | 04:57 | Join All Edits command to
glue them all back together.
| | 05:00 | You'll find that using the Blade tool
and the Add Edit tool can really speed up
| | 05:04 | your editing, allowing you to quickly
trim a clip, or cut clips in half that you
| | 05:08 | want to move around your timeline.
| | Collapse this transcript |
| Multitrack editing| 00:00 | In this lesson we are going to learn
about the advantages of cutting on multiple
| | 00:03 | videos tracks over cutting on a single track.
| | 00:06 | Now the first clip we are going to work
with is called woman with bag on head.
| | 00:10 | It's at the very bottom of your browser,
and now I'm going to double-click and
| | 00:13 | load this into the viewer.
| | 00:14 | Now let's scrub through the clip and
pick the part of the clip that we want.
| | 00:17 | Now if you notice, she is looking
directly into the camera here, so I don't want
| | 00:21 | to necessarily use that shot.
| | 00:22 | It's a little disconcerting, but as soon
as she blinks, and starts looking away,
| | 00:26 | that's the shot that we want to work with.
| | 00:28 | It doesn't distract my viewer, and it
doesn't call too much attention to itself.
| | 00:32 | So at this point I'm going to
simply mark an in point in my viewer.
| | 00:36 | Now using our three point edit
technique, we are going to mark in an out
| | 00:39 | point in our timeline.
| | 00:41 | We are going make the in point, right
with the narrator's line with people
| | 00:44 | and cultures.
| | 00:45 | So we are going to mark an in point here,
and let's play till we hear the end of the line.
| | 00:49 | (Narrator: With people and cultures as...)
| | 00:52 | So we'll mark an out point here.
| | 00:54 | If I drag it over at this point,
it's going to cut into track V1.
| | 00:58 | And I have some plans for this
clip a little bit later on the show.
| | 01:01 | So I want to put it on track V2.
| | 01:03 | So before I let go, I'm going to down
to our track targeting and move the V1 to
| | 01:08 | V2, and now I'm going to bring
it from the viewer to the canvas.
| | 01:11 | If you notice these clips overlap each
other, but when we play, it's as if we
| | 01:15 | made a cut, right at that point.
| | 01:17 | (Narrator: With people and cultures
as unpredictable as the landscape.)
| | 01:24 | So that works perfectly for me, but I
want to cut away from her right before she
| | 01:28 | looks back into the camera.
| | 01:29 | So let's watch the video, and find
the exact point before she looks back.
| | 01:33 | (Narrator: ...people and cultures...)
| | 01:36 | So right before cultures, so I'm
going to step back using my left arrow
| | 01:40 | key, right, so where she's still
looking down, and mark a new in point in
| | 01:44 | my timeline, hit Play.
| | 01:46 | (Narrator: ...cultures as unpredictable...)
| | 01:48 | And we'll have the out point,
just as the next clip starts.
| | 01:52 | And I also have plans for this clip.
| | 01:53 | We are going to be working with some
transitions later on, so I want to put
| | 01:56 | this on track 3.
| | 01:57 | But as you can see we don't have a track 3.
| | 02:00 | It's very easy to add video/audio
tracks by simply right-clicking in the gray
| | 02:05 | area, and select Add Track.
| | 02:07 | Once we have added the track, I simply
move small v1 to v3 and we were ready to
| | 02:12 | edit it on to the third line.
| | 02:14 | The clip that we are going to
use is called Maur, boy on rock.
| | 02:17 | So let's load that into the viewer, and
once again let's watch it to pick what
| | 02:20 | part of the clip you want to use.
| | 02:21 | Now the camera is little jumpy here.
| | 02:23 | So we want to wait for it to
settle and then we mark our in point.
| | 02:26 | Once again we drag it from the
viewer over into the canvas, and perform
| | 02:30 | our edit.
| | 02:31 | Let's watch these three
clips and see how they feel.
| | 02:33 | (Narrator: With people and cultures
as unpredictable as the landscape.)
| | 02:39 | Perfect. As you can see, whether I cut
it on a single track or across multiple
| | 02:44 | tracks, it looks exactly the same to our viewer.
| | Collapse this transcript |
| Deleting clips| 00:00 | Well, our edit is really coming along,
and I have reviewed it a few times,
| | 00:03 | and as much as I love this camel shot,
it's not the appropriate shot to start
| | 00:07 | our program with.
| | 00:08 | So I'm going to need to remove it, I
need to replace it with the shot of
| | 00:10 | the desert.
| | 00:11 | So we are going to go ahead and
remove this clip from our timeline.
| | 00:14 | But there are actually two ways that
you can delete a clip from your timeline.
| | 00:18 | One is a regular Delete, often called
they Lift Edit, and the other is called
| | 00:22 | a Ripple Delete.
| | 00:23 | Now a lift edit simply means, I
select the clip, and I remove it from the
| | 00:26 | timeline without affecting
anything else in the timeline.
| | 00:29 | I'll simply hit Delete on my keyboard.
| | 00:31 | Now if you have a full size keyboard,
and you take a look at it, you'll notice
| | 00:35 | there is actually two
Delete keys on your keyboard.
| | 00:37 | A large Delete key, above the
Backslash key, and a small forward Delete key,
| | 00:41 | between the numeric keypad and the letters.
| | 00:44 | And they do two very distinct things.
| | 00:46 | Now if you have a laptop keyboard or
one of the newest small Apple keyboards,
| | 00:50 | you only have one Delete key.
| | 00:52 | So in this case it's going to do
double duty, and we'll get to that in just
| | 00:54 | a moment.
| | 00:55 | If I hit the large Delete key, I
perform what's called the lift edit.
| | 00:59 | As you see the clip is no longer there,
but nothing has moved in my timeline,
| | 01:02 | I'm going to undo that and
now perform a Ripple Delete.
| | 01:05 | I can perform the Ripple Delete by
simply hitting the forward Delete key on a
| | 01:09 | full size keyboard, or if you are
using a laptop, or the small keyboard,
| | 01:13 | you'll go Shift+Delete.
| | 01:14 | Take a look at the effect
of doing a Ripple Delete.
| | 01:17 | It not only removes the clip from your timeline.
| | 01:20 | It also closes the gap that's
created sliding everything to the left.
| | 01:24 | In this case it's not really that big
of a deal, but it can really mess up your
| | 01:27 | timeline, if you Ripple Delete the wrong clips.
| | 01:30 | Let me go ahead and undo my Ripple Delete,
and we are going to move further down
| | 01:34 | the timeline, and remove one of the clips.
| | 01:36 | Let's select the Woman with baby, and
if I did a regular lift edit, by clicking
| | 01:40 | the large Delete key, it's fine.
| | 01:42 | It removes the clip.
| | 01:43 | It keeps the timing with my narrator perfect.
| | 01:46 | Let me undo that and perform a Ripple Delete.
| | 01:49 | Once again I can do that by pressing
the forward Delete key or Shift+Delete on
| | 01:54 | a laptop.
| | 01:55 | As you see the Senegal mother and
baby clip slides all the way to the left
| | 01:59 | completely throwing off the timing
that I created earlier, and even being
| | 02:03 | obscured by the clip above it.
| | 02:05 | So that's the last thing I want
to do here is a Ripple Delete.
| | 02:07 | Let me undo that.
| | 02:08 | So you can see the advantages and
disadvantages of a lift edit and a
| | 02:13 | Ripple Delete.
| | Collapse this transcript |
| Performing an insert edit| 00:00 | At this point we are ready to
remove our camels and replace them with
| | 00:03 | another shot.
| | 00:05 | I have discovered a great shot called
Sun Panning that would perfect shot to
| | 00:09 | start our show with.
| | 00:10 | Let's load this in the viewer
and take a quick look at it.
| | 00:12 | If I scrub through this, you see that
the shot is basically the sun flares that
| | 00:16 | moves right to left and left
to right across our screen.
| | 00:19 | What I want to do is use this right
when it reaches this apex in the upper
| | 00:23 | right-hand corner of the screen.
| | 00:25 | Let's go ahead and mark an in point.
| | 00:27 | Now let's go down to our
timeline and replace the camel shot.
| | 00:31 | To do this we need set up a couple of
things, first of all take note that our
| | 00:35 | video is right now targeted to
land on track 3 from earlier on.
| | 00:39 | You want to bring this down and make
sure that when we bring our edit in, it's
| | 00:43 | going to replace the clip on track 1.
| | 00:45 | The second thing is I want to mark
an in and an out point on my camels.
| | 00:49 | Though I could do this by going to
the head of the shot and marking in, and
| | 00:52 | going to the tail of the shot and
making out, but it's much simpler to use the
| | 00:56 | X key.
| | 00:57 | The X key is the
keyboard shortcut for mark clip.
| | 01:00 | Now we have everything lined up.
| | 01:02 | I can simply drag this across to do
the overwrite edit, or another way to do
| | 01:06 | this is to press the red Overwrite button.
| | 01:09 | As you see the Sun Panning clip has
replaced the clip of the camels in our
| | 01:12 | timeline, and let's
watch and see how we like it.
| | 01:15 | I'm going to press the Home key and play.
| | 01:17 | (Narrator: It's the most unforgiving...)
| | 01:21 | I really love that opening shot
but I completely messed the sun flare
| | 01:25 | panning across the screen.
| | 01:26 | It's just not long enough.
| | 01:28 | So what we need to do is remove that
shot completely, and time it out in the
| | 01:31 | viewer, instead of
timing it out in our timeline.
| | 01:34 | To remove this clip, I can simply
select it and perform the Ripple Delete
| | 01:38 | that we learned earlier.
| | 01:40 | Once again, you can use the forward
Delete key if you are on a full size
| | 01:43 | keyboard, or if you are working on a
laptop or a smaller keyboard, simply
| | 01:47 | press Shift+Delete.
| | 01:49 | This removes the clip and closes the gap.
| | 01:51 | Now let's go back to our viewer
window, and make this clip as long as we
| | 01:55 | need to.
| | 01:56 | I think about 8 seconds is what we
need, simply enter 800, and hit Return.
| | 02:01 | Now we have an 8 second clip
that we can bring into our show.
| | 02:05 | We have been do overwrite edits all
along, and we are going to learn a new
| | 02:08 | type of edit at this point.
| | 02:09 | It's called an Insert Edit.
| | 02:11 | It allows me to bring a clip into my
show, and instead of replacing what's
| | 02:15 | there, it pushes what's
there further down the timeline.
| | 02:18 | I use this a lot in a variety
of different edit situations.
| | 02:21 | If I'm working on a film, and I want
to add a scene at the beginning of a
| | 02:25 | sequence, I can simply do an insert edit
at that scene and move everything down.
| | 02:30 | And when I'm working on news programs,
a lot of times I get that great sound by
| | 02:34 | just before we need hit AIR.
| | 02:36 | So I can do an insert edit, put the
sound byte in at the beginning of the
| | 02:39 | package and push everything down the
timeline, and not lose any of my footage.
| | 02:44 | Let's go ahead and perform our insert edit.
| | 02:46 | Now what we are going to do is drag it
across from the viewer to the canvas just
| | 02:50 | like before, but instead of letting go
here, we are going to take it all the way
| | 02:53 | across to this yellow
highlight and drop it on insert.
| | 02:57 | Now as I do this, take a look
at what happens to my timeline.
| | 03:00 | The Sun Panning clip is put in, and
everything else is moved 8 seconds down
| | 03:03 | the timeline.
| | 03:04 | Let me hit Shift+Z, hit the Home key,
and take a look of the timing of my
| | 03:08 | Sun Panning.
| | 03:09 | (Video playing. No audio.)
| | 03:15 | (Narrator: It's the most unforgiving...)
| | 03:16 | I think with a little bit of music
and a title, this is going to be just perfect.
| | Collapse this transcript |
| Performing a shuffle edit| 00:00 | With the Sun Panning shot in place, our
program is really coming into its own.
| | 00:04 | But as I was reviewing this I noticed
that the third shot we used as beautiful
| | 00:08 | as it is really gives away the end of our story.
| | 00:10 | Since the Runners were running to Egypt.
| | 00:13 | So I want to be able to use this shot
later, so let's go ahead and replace this
| | 00:16 | with another shot from our Browser.
| | 00:17 | We are going to use Senegal, Aerial 3,
which will really fit in with the flow of
| | 00:21 | the program at this point.
| | 00:22 | Now, we already have an in and out
point here and I'm going to make it a little
| | 00:25 | bit longer, because I want to show
you something that's very important when
| | 00:28 | editing with Final Cut Pro.
| | 00:30 | So, we have a nice seven seconds clip here.
| | 00:32 | And now we are going to go to the
Timeline and I want to mark Cairo Pyramids.
| | 00:35 | We learned if we simply hit the X
key, the Mark Clip key, though we can
| | 00:39 | highlight the in and out point.
| | 00:40 | Now, if you look in the upper left-
hand corner of our Viewer, we see the
| | 00:44 | duration is 7 seconds, 17 frames.
| | 00:47 | And we look in the upper left-hand
corner of our Canvas, our destination space
| | 00:50 | is 2 seconds, 16 frames.
| | 00:53 | What happens at this point,
if we do an Overwrite Edit?
| | 00:55 | It's simple!
| | 00:56 | Final Cut ignores the out point of the
clip in the Viewer, using only the in and
| | 01:00 | out point in the Timeline and
the in point in our Viewer clip.
| | 01:04 | Now, I really like the flow of this.
| | 01:06 | But as I watched this, I felt that
Aerial 1 should come before Aerial 3.
| | 01:10 | (Narrator: ...million square miles.
A vast wilderness. )
| | 01:16 | So, we are going to perform
what's called a Shuffle Edit.
| | 01:19 | To perform a Shuffle Edit, I simply
grab the second clip and drag it to
| | 01:23 | where the first clip is located and
you see with snapping on it snaps right
| | 01:26 | to the head of that clip.
| | 01:27 | Before I let go, I'm going to press
the Option key, and take a look what
| | 01:30 | happens to my Arrow.
| | 01:32 | It switches from a general down arrow to
a curved arrow, and when I let go, it's
| | 01:37 | going to swap, Senegal,
Aerial 1 with Senegal, Aerial 3.
| | 01:40 | As simple as the Shuffle Edit seems,
you'll find you actually use this quite a
| | 01:44 | bit, because you are flip-flopping
clips all the time when you are editing.
| | Collapse this transcript |
| Other ways to work with clips| 00:00 | Up until this point we have brought
clips into the Timeline by dragging them
| | 00:04 | from the Viewer into the Canvas.
| | 00:06 | Now, we'll use an audio file to show
you several other ways that you can get a
| | 00:09 | clip into your Timeline.
| | 00:11 | We need to do a couple of things to
prepare our Timeline to bring the clip in.
| | 00:15 | The first thing we want to do is we
want to add a couple more audio tracks.
| | 00:18 | Now, you can add an audio track by
simply right-clicking on the gray area and Add Track.
| | 00:22 | We're going to bring in a stereo pair,
so go ahead and add two audio tracks.
| | 00:27 | The next thing we want to do is make
sure that these tracks are targeted, so go
| | 00:30 | ahead and bring a2 down to A6 and a1 down to A5.
| | 00:35 | The clip that we're going to work
with is called Running the Sahara Different Feels.
| | 00:39 | It's a music clip that's
going to bring to life our promo.
| | 00:42 | Now, currently we're only seeing part
of the clip, so I'm going to hit Shift+C,
| | 00:45 | so we can see the entire music file.
| | 00:47 | And obviously the Composer
worked very hard and gave us a lot of
| | 00:50 | different versions.
| | 00:51 | We're only going to use the very
beginning, we don't need all 5 minutes and 11 seconds.
| | 00:55 | I think about 30 seconds will be good as
we only have about 25 seconds of video.
| | 01:00 | Go to the Timecode Duration
textbox and enter 3000, and hit Return.
| | 01:06 | Now, we have an out point
30 seconds into our music.
| | 01:08 | Well, we know we could have dragged
this from the Viewer into the Canvas, and
| | 01:11 | everything would work just fine.
| | 01:13 | But it's time to learn
some new ways of doing things.
| | 01:15 | One way of doing things is
simply go over here and press the red Overwrite button.
| | 01:21 | As a matter of fact, there is a
keyboard shortcut for that which is F10.
| | 01:24 | If we click this you'll notice it
puts the clip in exactly where we want.
| | 01:27 | I'm going to hit Shift+Z, so
we see the entire Timeline.
| | 01:30 | Now, we can see the clip went in perfectly.
| | 01:33 | But let's try a couple of
other ways of doing that.
| | 01:35 | I'm going to go ahead and hit Undo.
| | 01:37 | We saw that the keyboard
shortcut of F10 was very useful.
| | 01:41 | Now as a matter of fact I personally
like to use a keyboard shortcut to bring my
| | 01:44 | clips into the Timeline.
| | 01:46 | Now, depending on what keyboard you
have on your Mac, it's going to work a
| | 01:49 | little bit differently.
| | 01:50 | If you have a traditional legacy
Macintosh keyboard the white keyboards that
| | 01:55 | have being shipping for years you
can use your function keys without changing anything.
| | 01:59 | And simply pressing F10 will
bring that clip into your Timeline.
| | 02:02 | However, if you have one of the new
aluminum keyboards, or you working off a
| | 02:06 | laptop, you need to press the
Modifier key Fn before pressing the Function key F10.
| | 02:12 | You can make a modification to your
System Preferences so you don't have to hold
| | 02:16 | down that Fn key before
you hit your Function key.
| | 02:19 | Simply go to the Apple menu
and select System Preferences.
| | 02:23 | Once you are in System Preferences I
want you to click on Keyboard & Mouse.
| | 02:27 | Now, under Keyboard & Mouse there is a
little button here that you can check or uncheck.
| | 02:31 | By default this is unchecked.
| | 02:33 | So, when you press the function keys
on your laptop or aluminum keyboards
| | 02:37 | you may increase or decrease
screen brightness, increase or decrease
| | 02:40 | volumes, and other actions.
| | 02:42 | By checking this, those keys will
now work as traditional function keys.
| | 02:46 | And because you are editing most of the
time your systems, I usually keep this
| | 02:50 | checked because the Function key is much
more important to me than being able to
| | 02:53 | brighten or darken my screen.
| | 02:55 | If you did want to brighten or darken
your screen, or increase or decrease the
| | 02:59 | volume, you can still do that, but
this time you hold down the Fn key to
| | 03:03 | activate those special features.
| | 03:06 | Now, back in Final Cut.
| | 03:08 | In addition to the F10 key there is
also a keyboard shortcut for an insert, and
| | 03:12 | that would be the Function key of F9.
| | 03:15 | I'm going to zoom back a little bit
before I hit the F9 key and you can see what happens.
| | 03:19 | By pressing F9 at this point, you see
we've performed an Insert Edit and it
| | 03:24 | threw everything out of whack.
| | 03:25 | So, of course that's not what we need to
do in this specific instance but it can
| | 03:29 | be very useful when needing to perform
an Insert Edit at the appropriate time.
| | 03:33 | Let's go ahead and undo that.
| | 03:35 | This is all leading me to my favorite
of bringing audio into Final Cut Pro, and
| | 03:39 | that's simply dragging a clip
from the Viewer into the Timeline.
| | 03:43 | Now, there are some special things
that happen when you drag a clip from the
| | 03:46 | Viewer into the Timeline, and Final
Cut Pro follows a specific set of rules.
| | 03:50 | I'm going to set up a coupe of things
so you can see what it does, and what it ignores.
| | 03:55 | Let's move our track targeting to its
original positions, a1 going to A1 and
| | 03:59 | a2 going to A2, and I'm going to
actually mark an in and an out point in my Timeline.
| | 04:05 | Now, everything we've learned so far
indicates that if I drag my clip from my
| | 04:10 | Viewer to my Canvas it's going to
put this clip on Track 1 and Tract 2.
| | 04:14 | It's going to start it here and end it there.
| | 04:16 | But when you drag a clip to the
Timeline all these rules are ignored.
| | 04:21 | As a matter of fact, if I drag this down,
and I'm going to grab it by the hand,
| | 04:24 | Final Cut will let me drag-and-drop it
wherever I want ignoring track targeting,
| | 04:29 | and ignoring the in and out points.
| | 04:31 | Why does it do this? Simple!
| | 04:33 | It assumes that you know where you
want to put your clip, and that you don't
| | 04:36 | care about the in points, you
don't care about track targeting.
| | 04:39 | This is great because I can drag it
where I want, slide it up, and I'm ready to go.
| | 04:43 | There are a lot of ways to get your
clips from the Viewer to the Timeline.
| | 04:47 | You should pick the way that works best for you.
| | Collapse this transcript |
|
|
4. Advanced Editing TechniquesPerforming a replace edit| 00:00 | The basic framework of the
opening of our show is done.
| | 00:03 | Now it's time to fine-tune the Edit and
really take it where we want it to be.
| | 00:08 | The first technique we are going to
learn is something called a Replace Edit.
| | 00:12 | We have two shots back-to-back that
are very similar, the Senegal, Aerial 1
| | 00:17 | and Senegal, Aerial 3.
| | 00:19 | So to break things up, we are going to
bring back that camel shot that I loved
| | 00:23 | and used earlier on in the program.
| | 00:25 | We are going to go ahead and
load Niger, camels into our Viewer.
| | 00:30 | Now the ReplaceEdit is an
incredibly useful technique.
| | 00:33 | It allows me to literally swap out
a shot in my Viewer with a shot in
| | 00:36 | my Timeline.
| | 00:37 | Now you can use this in a lot of instances.
| | 00:40 | If I had a matching action shot, for
instance, I cut a program of the baseball
| | 00:44 | game and I had a wide shot of the guy
hitting the ball with the bat, and I
| | 00:48 | wanted to cut to the close up, I can
simply do a match action with ReplaceEdit
| | 00:52 | by placing the playhead over when he
strikes the ball in the close up, over
| | 00:56 | when he strikes the ball in the wide
shot, and simply swap them out at that
| | 01:00 | moment of impact.
| | 01:01 | I can also use it with completely
different shots and that's what we are
| | 01:04 | going to do here.
| | 01:05 | I really like this camel shot, and I'm
going to pick the frame that I think is
| | 01:09 | most critical in the middle of my shot.
| | 01:11 | I really like when I have
the two camels in the frame.
| | 01:15 | The first thing we want to do is get
rid of all of our in and out points.
| | 01:18 | The keyboard shortcut for that is simply
Option+X. The reason we are getting rid
| | 01:23 | of in and out points is we don't use them.
| | 01:25 | We are literally matching the
playhead in our Viewer to the playhead in
| | 01:28 | our Timeline.
| | 01:29 | So I'm going to move the Timeline
to about the middle of the shot here.
| | 01:33 | If I wanted to match the two camels to
the beginning of the frame I could put it
| | 01:37 | there, but I wanted to work in the middle.
| | 01:39 | Now one more thing to keep in
mind when doing the Replace Edit.
| | 01:42 | It's critical you have enough media
before the playhead and after the playhead
| | 01:48 | to match the amount of media before the
playhead in the Timeline and after the
| | 01:52 | playhead in the Timeline.
| | 01:53 | If you don't, you go in to get an
insufficient content for edit alert.
| | 01:58 | As a matter of fact, let's do it wrong
first, so you can see what it looks like.
| | 02:02 | I am going to drag this all the way
to the beginning, before I perform my
| | 02:06 | Replace Edit, and as you can see,
there is no media ahead here, but I have
| | 02:10 | plenty of space here, so it's not going to work.
| | 02:13 | To do the Replace Edit, you would
simply drag it from the Viewer into the
| | 02:16 | Canvas, and drop it over
into the Replace dialog box.
| | 02:19 | And as you see, it says
Insufficient content for edit.
| | 02:22 | I'm going to simply hit OK and not
perform the edit, and now I'm going to slide
| | 02:27 | my playhead back over to
where I see the two camels.
| | 02:30 | Once again we are going to
perform our Replace Edit.
| | 02:33 | Drag it from the Viewer over into
the Canvas and drop it on Replace.
| | 02:36 | Now take a look at what happens in
the Timeline on clip number four.
| | 02:40 | It swaps out the clip that was there,
the Aerial shot with Niger, camels.
| | 02:44 | So now when I go ahead and I Play.
| | 02:46 | (Narrator: ...square miles.
A vast wilderness. It's the Sahara...)
| | 02:51 | The camels are perfectly
positioned where I want them to be.
| | 02:54 | Now that's the power of the Replace Edit.
| | Collapse this transcript |
| Linking and unlinking| 00:00 | In the previous lesson, we learned how
to use the Replace Edit and we swapped
| | 00:04 | out the camels in place of the Aerial shot.
| | 00:07 | So let's take a look how that works.
| | 00:09 | (Narrator: A vast wilderness.)
| | 00:11 | Well, the video works perfectly, but
if I'm listening to the audio, it sounds
| | 00:14 | like the camels are being attacked by
helicopters, and that's just not going to
| | 00:17 | work in our program.
| | 00:19 | So we're going to go ahead and we need
to delete that audio and perhaps replace
| | 00:22 | it with some other audio.
| | 00:24 | So if I want to delete that
audio, I would simply select it.
| | 00:27 | But the problem here is that
the audio is linked to the video.
| | 00:31 | So we're going to learn how to
break that linking relationship at least
| | 00:34 | temporarily, so we can take those
helicopters out and keep those camels safe.
| | 00:38 | There are actually three ways that I
can unlink these clips, and I'm going to
| | 00:43 | tell you from my least preferred way to
my most preferred way, just so you know
| | 00:47 | the different ways to do things.
| | 00:48 | If you read it somewhere you say huh,
why don't we look at it that way?
| | 00:52 | And I'm going to tell you why I feel the
first two ways are a lot more dangerous
| | 00:55 | than the way I like to do it.
| | 00:57 | The first way to unlink clips in Final
Cut Pro is simply go over here to this
| | 01:01 | button, which says Linked Selection,
and the keyboard shortcut is Shift+L.
| | 01:06 | Now, if I click this button and turn
it off, something great happens and
| | 01:10 | something dangerous happens.
| | 01:12 | All linking of all clips in
my Timeline is now shut down.
| | 01:15 | So if I click on any clip here, this
video is no longer related to that audio.
| | 01:20 | My camel shots, they're now
separate, the Niger, Sand, now separate.
| | 01:25 | This is a good thing, but the
dangerous part about doing this is if I forget
| | 01:29 | to turn it back on and I move my video,
suddenly it may go out of sync with my
| | 01:35 | audio.
| | 01:36 | So let me go ahead and undo
that and turn linking back on.
| | 01:40 | So global linking is very valuable,
but it's pretty dangerous if you forget
| | 01:44 | to turn it back on.
| | 01:45 | The second way that I can unlink
these clips, let me go ahead and select my
| | 01:49 | camel shot again, is I
can unlink just those clips.
| | 01:53 | I can do this under the Modify menu
over here and it's Command+L.Now this
| | 01:58 | is very useful.
| | 01:59 | It's a one-time situation and I
want you to notice what happened.
| | 02:02 | As soon as I turned off linking, there
were little underlines underneath the
| | 02:06 | camel video as well as
underneath Senegal, Aerial 3.
| | 02:10 | Let me undo that so you can see it
and let me redo that so you can see
| | 02:14 | them gone.
| | 02:15 | So if you see an underline under the
video and the audio, that indicates that
| | 02:20 | those clips are linked together.
| | 02:22 | Now at this point, if I wanted to
delete them, I can simply uncheck it.
| | 02:27 | Now select my audio.
| | 02:28 | Now these audio files are independent
mono audio files so I can select them
| | 02:33 | individually and simply
hit the large Delete key.
| | 02:38 | So now I've gotten rid of my
helicopters and I want to bring some more
| | 02:41 | ambiance in.
| | 02:42 | So I think the next shot, Niger, Sand 3
would be really good audio to bring in
| | 02:47 | under the camels, not only is it
appropriate, but it will provide a nice, smooth
| | 02:51 | transition from the first shot to the next shot.
| | 02:55 | As a matter of fact when editing programs,
a lot of times if you lead the audio,
| | 02:59 | it makes the transition into
the video that much smoother.
| | 03:02 | On the flip side we also could lead
video, in which case you may cut to a
| | 03:07 | reaction shot before you
actually hear the person speak.
| | 03:10 | So all I want to do is go over here and
grab the audio and drag it to the left.
| | 03:14 | However, there is another problem.
| | 03:16 | This video and this audio
is linked to each other.
| | 03:19 | So I can move it to the right,
because as I move the audio, the video has a
| | 03:23 | place to go, but if I move it to
the left, it's going to bump into the
| | 03:27 | camel shot.
| | 03:28 | So I need to break the linking here,
just long enough so I can bring the
| | 03:32 | audio over.
| | 03:34 | Now it's too much work to click on
this and unlink them, bring them over, and
| | 03:38 | then I'm going to have to relink them,
so I'm going to show you the third way,
| | 03:41 | and my preferred way of
working with linking and unlinking.
| | 03:45 | I want to temporarily unlink the
video to the audio, and there is a great
| | 03:49 | keyboard shortcut to do this.
| | 03:50 | It's the Option key.
| | 03:52 | If I hold down the Option key, I can
now click on my audio and drag it to the
| | 03:57 | left, because I've temporarily broken the link.
| | 04:00 | Now as soon as I led up on the Option
key, they once again link together so
| | 04:05 | they move as a group.
| | 04:06 | But I've already fixed my problems.
| | 04:08 | My camels are safe.
| | 04:10 | (Narrator: A vast wilderness. It's the Sahara Desert.)
| | 04:13 | They are now walking to
the sound of sand blowing.
| | 04:15 | (Narrator: With people and cultures...)
| | 04:19 | Another use for linking is when I bring
an audio clip in and I want to tie it to
| | 04:23 | video that's already there.
| | 04:25 | What we're going to do is we're
going to go to the very beginning of our
| | 04:27 | Timeline, we have that really nice
shot of the Sun, but I wanted to feel more
| | 04:32 | desert like, so I want to add
some sand-blowing audio to that.
| | 04:37 | The first thing we want to do is we want
to select the in and out point for this
| | 04:41 | and we've learned how to do that
already with the Mark Clip option.
| | 04:44 | So simply press the X key and now we
have an in point and an out point for
| | 04:49 | Sun Panning.
| | 04:50 | Our track targeting is perfect and we're
going to go up here, grab Sand Blowing,
| | 04:54 | load it into our Viewer and simply
grab that over and do an overwrite at it.
| | 05:00 | Now we have the Sand Blowing here with
the Sun and I can play it, and that's
| | 05:04 | great, but what if I wanted to
change the length of this shot?
| | 05:07 | I want the audio to live with that.
| | 05:10 | So let's go ahead, we'll drag it back
and the trick here before I link them is
| | 05:14 | to select them both.
| | 05:16 | I can go up under Modify, and if you
notice Link is unchecked, so I'll either
| | 05:21 | hit Command+L or simply
click on the pull-down menu.
| | 05:24 | Take a look at what happens to the
word Sun Panning as soon as I do this.
| | 05:27 | There is now an underline, which
indicates that these clips are linked together.
| | 05:32 | If I choose to make them longer
or shorter, they work as a group.
| | 05:37 | So that's a quick overview of linking.
| | 05:40 | Once you have command of this skill, you're
ready to take your editing to the next level.
| | Collapse this transcript |
| Roll and ripple edits| 00:00 | In this lesson, we're going to learn
the Roll tool and the Ripple tool, a great
| | 00:04 | way to really fine-tune your edit points.
| | 00:07 | Now the first thing I want you to look
| | 00:08 | at is go over to the Tool palette
and there are actually two elements
| | 00:11 | that you can use, the Roll
tool and the Ripple tool.
| | 00:14 | To remember their icon, the Roll tool
| | 00:16 | looks like two canisters of film on top
of each other and the Ripple tool looks
| | 00:20 | like a single canister of film unrolling.
| | 00:22 | Now the Roll tool you'll use a lot
| | 00:24 | when editing in Final Cut Pro and
the keyboard shortcut for that is the R
| | 00:28 | key, which is easy to remember
because that's what you use the most and
| | 00:31 | Roll is only a four-letter word.
| | 00:33 | The Ripple tool, you'll use a little
| | 00:35 | less frequently and that keyboard
shortcuts is RR, and it's a longer word.
| | 00:39 | We're going to use the Roll tool to get started.
| | 00:42 | Now let's take a look at what
| | 00:43 | the Roll tool actually does.
| | 00:45 | I'm going to switch over to my
| | 00:46 | Selection tool just for a second.
| | 00:48 | If I wanted to end this clip over here
| | 00:50 | when the narrator pauses, I could go
over here and make this clip shorter and go
| | 00:54 | over here and make this clip
longer and yes, you could do this.
| | 00:57 | But if you do this over and over and
| | 00:59 | over again, day after day, it can
get very cumbersome and time-consuming.
| | 01:04 | Let's go ahead and undo that with two steps.
| | 01:06 | I simply hit the R key to switch to the
| | 01:08 | Roll tool and now when I click on it
and drag to the left, I'm actually moving
| | 01:14 | the out point of the first clip and the
in point of the second clip all at once.
| | 01:18 | As a matter of fact, if you look in the
| | 01:20 | upper right-hand corner of your screen,
which was the canvas window, I actually
| | 01:24 | see the last frame of the first shot
and its time code and the first frame of
| | 01:29 | the following shot and its time code.
| | 01:31 | So not only can I be precise as I look
| | 01:33 | at my timeline, I can see the
exact frame that I'm cutting out of and
| | 01:37 | the frame that I'm cutting in to.
| | 01:39 | So, obviously, you can move an edit
| | 01:40 | point with your mouse, but you can also
do it numerically and with the keyboard.
| | 01:45 | If I want to do with the keyboard, I can
| | 01:47 | use the same keyboard shortcuts that
we learned earlier, which is the Greater
| | 01:50 | Than and Less Than arrow keys
which you find above the Period and
| | 01:53 | the Comma on your keyboard.
| | 01:54 | This allows me to roll the edit one
| | 01:57 | frame at a time and I can be very precise.
| | 02:00 | The only downside of this is I don't
| | 02:01 | get that visual reinforcement in my
canvas of seeing the last frame of the
| | 02:05 | first clip and the first
frame of the second clip.
| | 02:08 | I can also do this numerically.
| | 02:10 | So if I have this Edit point selected,
| | 02:12 | I can simply type in a
duration that I want it to move.
| | 02:15 | So if I want the edit to happen a little
| | 02:16 | bit earlier, say five frames, I
simply hit 5, you see it opens up the
| | 02:21 | Roll textbox and I hit Return.
| | 02:24 | Now let's look at a variation on the roll edit.
| | 02:27 | I'm going to switch back to my Selection tool.
| | 02:29 | It's always good practice when you're
| | 02:31 | not using a tool to immediately hit the A
key and switch back to your Selection tool.
| | 02:35 | As I'm looking at my timeline, I can
| | 02:37 | see exactly where the narrator pauses
between this phrase and this phrase.
| | 02:42 | So instead of going to the Roll tool,
| | 02:44 | selecting it, clicking on it and
dragging it over, there is another
| | 02:47 | great shortcut that I can use.
| | 02:49 | It's called the Extend Edit.
| | 02:51 | Once again, all I need to do is
| | 02:53 | position my playhead exactly where I
want the cut to be, I then select the Edit
| | 02:58 | point that I want to move and I
hit the E key for Extend Edit.
| | 03:03 | As you see, it immediately moves the
| | 03:05 | edit to the exact point I want it to be.
| | 03:08 | Extend Edit is one of my favorite
| | 03:10 | keyboard shortcuts because it really
cuts down on my edit time and puts my
| | 03:13 | edits precisely where I want them.
| | 03:15 | Now let's take a look at Ripple edits.
| | 03:18 | Now, Ripple edits are a little tougher
| | 03:20 | to get your head around, because
whereas the Roll edit only affects two clips,
| | 03:24 | the out point and the in point of
the previous and the following clip.
| | 03:28 | When you do a Ripple edit, it
| | 03:30 | actually affects the duration of
your timeline and everything that
| | 03:33 | happens later in your timeline.
| | 03:35 | We're going to go towards the end of the
| | 03:37 | timeline so you can see how this works.
| | 03:39 | The clip we're going to work on is the
| | 03:40 | boy on rock clip and I'm going
to switchover to my Ripple tool by
| | 03:44 | clicking on the R key twice.
| | 03:46 | So RR and now I'm in my Ripple tool.
| | 03:49 | Let's load this clip into the viewer
| | 03:51 | and to load a clip into the viewer,
I simply am double-clicking on it.
| | 03:54 | As you can see, in the viewer, I see
| | 03:56 | the clip that's in my timeline, I see
what the in point is and what the out
| | 04:00 | point is and here's
something else to take note of.
| | 04:03 | I know I'm working with the clip for my
| | 04:04 | timeline, because I see little
sprocket marks in the scrubber bar.
| | 04:08 | We'll look at this a little bit more in
| | 04:10 | later lessons, but for now, let's
take a look at how the Ripple works.
| | 04:15 | So if I hover my mouse over that
| | 04:17 | clip, you notice that the
icon is a little different.
| | 04:19 | As I said, it looks like a spool of
| | 04:21 | film on rolling and it has a tail.
| | 04:24 | Whichever way that tail is
| | 04:25 | pointing is the side of the
clip that we're affecting.
| | 04:28 | So if I was actually between two clips,
| | 04:30 | as I move between the edit points,
the side that the tail is pointing to,
| | 04:34 | indicates which clip I'm going to be working on.
| | 04:36 | We're going to go over here and work on
| | 04:38 | the boy on rock, and what I want you to
note is when I click on it and drag it,
| | 04:43 | it looks like it's getting shorter
from both sides, but what I'm really doing
| | 04:47 | is as I trim off the front end of
the clip, everything further down this
| | 04:51 | timeline, slides to the left to fill
the gap that I would have been creating.
| | 04:56 | So when I let go of this, take a look
| | 04:58 | at what happens in the timeline, but
also take a look in the viewer window.
| | 05:01 | You'll notice that the in point moves
| | 05:03 | over to the right, but the
out point doesn't move at all.
| | 05:06 | So two things are happening here.
| | 05:08 | I'll undo and redo this so you can
| | 05:10 | look at both the viewer window
and also what's happening in the
| | 05:12 | back half of the timeline.
| | 05:14 | Did you notice the in point now
| | 05:15 | moved from this location
here to this location here?
| | 05:19 | Also, as this slid to the left, the
| | 05:21 | woman and baby shot also slid to the left.
| | 05:24 | Let me undo that and redo that and
| | 05:26 | take a look at both of those areas.
| | 05:28 | Undo, you see in the viewer, the in
| | 05:30 | point moves to the left and in the
timeline, the woman and baby shot has
| | 05:33 | now moved back to the right.
| | 05:35 | When I redo that, Shift+Command+Z,
| | 05:38 | we see the reverse happen.
| | 05:39 | My in point will move to the right and
| | 05:41 | the woman and baby will slide to the
left as the boy on rock clip gets shorter.
| | 05:46 | Just like with the Roll tool, you
| | 05:48 | can use keyboard shortcuts with the Ripple tool.
| | 05:50 | So if I have an edit selected and I
| | 05:52 | grab my Greater Than and Less Than bracket
keys, I can start trimming a frame at a time.
| | 05:57 | This is really a good way to see
| | 05:58 | what's happening, if you notice you can
see the woman shot moving to the left, and
| | 06:02 | you can see the front end
trimming from the boy on the rock.
| | 06:05 | Then I simply go back and hit
| | 06:07 | Play and see if I like my timing.
| | 06:08 | (Narrator: and cultures
as unpredictable as the landscape.)
| | 06:13 | You can also do this numerically.
| | 06:15 | Once again, with this selected, I can
| | 06:17 | say I want to trim off
five frames. I simply hit +5.
| | 06:19 | Now take a look at the textbox.
| | 06:22 | It doesn't say Roll anymore; it says Ripple.
| | 06:24 | So it knows and it's telling me
| | 06:26 | that we're doing a Ripple edit.
| | 06:28 | I hit Return, trims off five frames
| | 06:30 | from the head of the clip and we're good to go.
| | 06:33 | So to sum it up, Ripple and Roll, two
| | 06:35 | very valuable editing tools to fine-
tune what's happening at edit points.
| | 06:41 | The Roll does not affect
| | 06:42 | the duration of your show.
| | 06:43 | It just moves the edit point between two clips.
| | 06:46 | The Ripple, though extremely valuable,
| | 06:48 | is a little more dangerous, because it
could affect what's happening downstream.
| | 06:53 | So when performing Ripple edits, take a
| | 06:54 | look at what's happening after
that edit to make sure you're not
| | 06:57 | changing the way your program looks.
| | Collapse this transcript |
| Adjusting edit points on the fly| 00:00 | Now when rippling and rolling edits, a
lot of times you want to be able to feel
| | 00:04 | when the edit is going to happen.
| | 00:05 | So it's something you want to do on the
fly, and Final Cut lets you do this with
| | 00:09 | a couple of nice keyboard shortcuts.
| | 00:11 | We're going to modify a few things
so it works that much better for you.
| | 00:15 | If I'm on an edit point and I press the
Backslash key, it's going to actually do
| | 00:20 | what's called play around current.
| | 00:21 | It jumps back x number of seconds,
plays through the clip and then plays
| | 00:26 | beyond the clip.
| | 00:27 | The default is -5 seconds, so it
jumps five seconds back, which I'm
| | 00:32 | already taking a nap.
| | 00:34 | I see my edit and now I go two seconds forward.
| | 00:37 | Now conceptually, this is a great idea.
| | 00:40 | I'm going to go ahead and pause
playback and it jumps back to the edit point.
| | 00:44 | But five seconds before and two
seconds after when I'm trying to find tune an
| | 00:47 | edit, way too much time.
| | 00:49 | User Preferences, and under the second
tab called Editing, we're going to switch
| | 00:54 | this to one second before and one
second after and then we're going to hit OK.
| | 01:01 | Now when I hit the Backslash key, it
jumps one second before and plays to one
| | 01:06 | second after and then it stops.
| | 01:09 | And this is kind of nice, but if I
want to really finesse this, I may want to
| | 01:13 | do something called looping my
playback, because watching it once I don't
| | 01:16 | really get the rhythm.
| | 01:18 | And you can loop playback pretty easily
by going to the View menu, going down to
| | 01:22 | is the bottom of the list
and switching to Loop Playback.
| | 01:25 | The keyboard shortcut for this is simply
Ctrl+L.With Looping Playback turned on,
| | 01:31 | if I hit the same keyboard shortcut,
which is the Backslash key, you'll notice
| | 01:39 | now that it's cycling through back
over and over where my edit point is.
| | 01:45 | Now the nice thing about this is is I
can use a keyboard shortcut, the same
| | 01:49 | Greater Than and Less Than keyboard
shortcuts to move my edit one frame at a
| | 01:54 | time, and as soon as I let go, it just
picks up from that edit point and I can
| | 01:59 | really develop a rhythm for
when I want to make that cut.
| | 02:02 | Now sometimes you want to control where
the playback is starting and where the
| | 02:06 | playback is stopping
when you're looping an edit.
| | 02:09 | And to do this, you simply mark at in
point where you want the loop to start and
| | 02:14 | an out point where you want the loop to end.
| | 02:16 | And instead of hitting the Backslash
key, hit Shift+Backslash and now you're
| | 02:22 | going to loop from the in point to the
out point, and once again, I can tweak
| | 02:27 | my edit.
| | 02:28 | This is not only useful when working
with edit points, I use this all the time
| | 02:32 | when I'm working with filters and
transitions and we'll look at that when we
| | 02:36 | start working with transitions and filters.
| | Collapse this transcript |
| Slip and slide edits| 00:00 | In this lesson, we're going to work
with two tools, the Slip tool and the Slide
| | 00:04 | tool, which effects how we work with a clip.
| | 00:07 | To see how this works, let's take
a look at a problem clip we have in our timeline.
| | 00:11 | It's the woman walking, and if I watch
this clip and I'm going to pause it at
| | 00:15 | this time, she is looking right into the camera.
| | 00:17 | A little later on, she blinks and she
looks away, but that's really what I want in my shot.
| | 00:21 | I don't want her looking into the
camera because that's very disconcerting for the viewer.
| | 00:26 | She is just broken the fourth wall.
| | 00:27 | So what I want to do is I want to take
this clip and move the in point a little
| | 00:31 | bit later and I want to be able to
move the out point later also, so that I
| | 00:35 | don't change the duration of my clip.
| | 00:36 | So let's go ahead and load the
clip into our viewer, so we can see what's happening.
| | 00:40 | We're going to double-click to load
the clip into the viewer, there is our
| | 00:44 | sprocket marks and if I scroll
through this, there is the problem.
| | 00:47 | She is looking directly at the
viewer here and then I get the part of the shot that I like.
| | 00:52 | So what I want to do is I want to be
able to move the in point and the out
| | 00:55 | point simultaneously.
| | 00:57 | If I just go ahead and grab my out point
and move it, it changed the duration of
| | 01:01 | my shot, not doing what I want it to do.
| | 01:04 | Let's go ahead and undo that.
| | 01:06 | So to move these simultaneously, I'm
going to use a tool called the Slip tool
| | 01:10 | and I can get that from
my Tool palette over here.
| | 01:13 | If I click and hold, I see three separate tools.
| | 01:16 | We have the Slip tool and the Slide tool,
which we'll get to a little bit later
| | 01:20 | in this lesson, and then of course,
the Speed Tool which we'll get to later.
| | 01:24 | So with the Slip tool selected, I
go back to the clip and click on it.
| | 01:28 | Now notice when I click on
this clip, two things happen.
| | 01:32 | First of all, I see a little
ghosting element in my timeline.
| | 01:35 | This is showing me the handles or the
extra media that I have before and after
| | 01:39 | the part of the clip that's in the timeline.
| | 01:41 | Also notice that the canvas is changed.
| | 01:44 | In the canvas, I actually see the very
first frame of video and the very last
| | 01:48 | frame of video that's in my timeline.
| | 01:50 | I see my in point and my out point.
| | 01:53 | Now, if I move my mouse left to right,
I can actually move both the in point
| | 01:58 | and the out point simultaneously and
kind of tweak until I suggest when she is looking away.
| | 02:04 | Now this is very useful to do in the
timeline but it's much easier to do in the viewer.
| | 02:10 | So we're going to double-click to
make sure you have the clip loaded in your viewer.
| | 02:14 | And if I grab either end here,
you'll notice something different happens than before.
| | 02:18 | Before when I grab the end,
it just made the clip longer.
| | 02:21 | Now if I grab it and I move it around,
you see it's moving both the in point and the out point.
| | 02:27 | Another thing that's happened is the in
point is showing in the viewer and the
| | 02:31 | out point is showing in the canvas and
they are much larger images than we had
| | 02:36 | before when they were
both showing in the canvas.
| | 02:38 | So very easily I can slide this back
and forth until she stops looking at the
| | 02:42 | camera in my in point, she blinks and
then she hasn't opened her eyes yet on the
| | 02:48 | out point, so this is perfect.
| | 02:50 | I simply will let go.
| | 02:51 | It will update in my timeline and I can
simply hit Play and let's take a look if
| | 02:55 | we get the shot we want.
| | 02:57 | (Narrator: With people and cultures...)
| | 03:00 | Perfect!
| | 03:01 | Now this is something I do
use all the time when I edit.
| | 03:04 | Whenever I have large crowd, it's
inevitable I have somebody who looks into the
| | 03:08 | camera or waves, and I just
want a generic wallpaper shot.
| | 03:12 | So what I do is if I see the problem,
I go into the Slip tool and I just
| | 03:16 | tweak it a little bit.
| | 03:18 | I don't have to worry about changing duration.
| | 03:19 | I get the basic shot I want but
I get rid of the part of the shot
| | 03:23 | that's distracting.
| | 03:25 | We're going to use the same technique to
fix a problem I have with my music clip
| | 03:29 | that we brought in earlier.
| | 03:30 | If we notice in the timeline, the
music actually starts much too late.
| | 03:35 | If I hit Play at this point, we're
just going to hear a dead air and then the
| | 03:38 | music starts at this point.
| | 03:40 | I want the music to start at the
beginning, but I don't want to go ahead and
| | 03:43 | trim it and drag it, and trim it and drag it.
| | 03:45 | So once again, we're going to click
on this and as a matter of fact, let's
| | 03:48 | load it into the viewer.
| | 03:50 | So we'll double-click on it.
| | 03:51 | There is our audio.
| | 03:52 | I'm going to press Shift+Z,
so I see my entire timeline.
| | 03:56 | There it is and I see
it's a little bit late here.
| | 03:59 | Now I can grab this and move these
over until it just about lines up at the
| | 04:03 | beginning, and let go and
let's go ahead and hit Play.
| | 04:11 | Now that was pretty successful.
| | 04:12 | It was pretty spot on to where I want
it to be, but maybe I just want to tweak
| | 04:16 | it a little tiny bit, so that I
don't cut off the very head of the music.
| | 04:21 | And this is a perfect opportunity to
use my numerical entry or keyboard entry to do a slip edit.
| | 04:27 | Now the trick in doing a slip edit with
numerical entry is selecting it in the
| | 04:31 | timeline, but I can't select
it while I'm in the Slip tool.
| | 04:35 | I need to switch over to my Selection tool.
| | 04:37 | So I'm going to press the A key
and now I can select the clip.
| | 04:40 | Once the clip is selected, I can go
ahead and press the S key in return to the Slip tool.
| | 04:46 | With the Slip tool in place, all I need
to do is press the Greater Than or Less
| | 04:50 | Than keys on my keyboard.
| | 04:51 | Remember, those are above the Comma
and the Period and I can one frame at a
| | 04:55 | time move these forward or backwards
until I get the audio exactly where I want it to be.
| | 05:01 | I am going to just move it up a few frames.
| | 05:03 | If I know I want to move a little
bit further, I can do numerical entry.
| | 05:07 | I can simply hit a Plus or a Minus.
| | 05:10 | It opens up a dialog box that says Slip.
| | 05:12 | I'm going to enter 10 frames and hit
Return and it's going to slip my clip
| | 05:16 | by exactly 10 frames.
| | 05:18 | Let's go ahead, hit Home,
play it and see how it sounds.
| | 05:21 | (Music playing,)
| | 05:25 | That's more like it.
| | 05:26 | As you can see, the Slip
tool is incredibly valuable.
| | 05:30 | Complementing the Slip tool is the Slide tool.
| | 05:33 | Now where the Slip tool moves the in
and out points of a clip simultaneously,
| | 05:37 | the Slide tool actually moves a
chunk of a clip up and down the timeline.
| | 05:42 | And the clips we're going to work with,
are going to be the camel shot in the
| | 05:44 | middle and the Sand shot and the
Aerial shot to the left and to the right.
| | 05:48 | Let's go ahead and switch to the Slide tool.
| | 05:50 | I'm going to press the S key twice,
SS, now we're in the Slide tool.
| | 05:54 | And what we can do with the Slide tool
is I can move the clip up and down the
| | 05:58 | timeline, but what I'm not doing is I'm
not changing the duration of the camel
| | 06:02 | shot or what we see in the camel shot,
I'm just having that shot happened
| | 06:05 | earlier or later in my show.
| | 06:09 | So as I move it to the right, we're
adding media to the end of the Aerial shot,
| | 06:14 | and of course, as I move it to the left,
we're deleting media at the end of the
| | 06:17 | Aerial shot, but replacing it with more
media at the beginning of the Sand shot.
| | 06:22 | The nice thing about this is the
timing was perfect for my narrator.
| | 06:25 | So I can just slide it back and forth,
just until it's over my narrator and
| | 06:30 | let's take a listen.
| | 06:31 | (Narrator: A vast wilderness. It's the Sahara Desert.)
| | 06:37 | Much like the Slip tool, I
can tweak this numerically.
| | 06:40 | Again, I need to switch to the Arrow
tool to select it and then hit the S key
| | 06:45 | twice to turn on the Slide tool.
| | 06:47 | Now at this point, I can use the
Greater Than and Less Than bracket keys and
| | 06:50 | just tweak it so it's directly above
the sound bite that I'm looking for.
| | 06:54 | Of course, I can do
numerical entry on this also.
| | 06:57 | Now a lot of people have trouble
remembering, which is the Slip and which is the
| | 07:02 | Slide and which does what?
| | 07:03 | Here's a great little way to remember it.
| | 07:06 | Its winter, you're walking
on the ice, and you slip.
| | 07:08 | Your feet go up in the air
and you'll end on your butt.
| | 07:11 | You were physically in the same
place, but a different part of you is
| | 07:14 | touching the ground. That's a slip.
| | 07:17 | Same day, still winter, you're
walking across another patch of ice and now you slide.
| | 07:22 | Your feet move from one
location to another location.
| | 07:25 | Your feet are still touching the ground.
| | 07:27 | It's the same part of the clip, but
it's in a different part of your timeline.
| | 07:30 | So that's the difference
between a Slip and a Slide.
| | 07:34 | Now for a lot of folks out there,
until you really need to use a Slip or a
| | 07:38 | Slide, you don't find its true value.
| | 07:41 | But the moment you need to tweak a
shot, and you say aha, there is your
| | 07:44 | epiphany, you'll learn to love
slipping and sliding your clips.
| | Collapse this transcript |
| Creating subclips| 00:00 | In this next lesson, we're
going to talk about making subclips.
| | 00:04 | Now, making a subclip is simply taking
a smaller section of a longer take and
| | 00:08 | making it its own clip.
| | 00:09 | This is extremely useful, for instance,
if you have captured an entire 60-minute
| | 00:13 | tape and you don't want
it all labeled entire tape.
| | 00:16 | You want to be able to work
with each individual clip.
| | 00:19 | Now, we're going to use this on a much
smaller scale with the clip, runners 1.
| | 00:22 | I am going to load runners 1 into the viewer.
| | 00:25 | Now, if we scrub through, we can see
there is a couple of good sections here.
| | 00:28 | I have their feet and I have their torsos.
| | 00:31 | So I want to cut this into two separate clips.
| | 00:34 | So I need to find where I want the
first subclip to start, not I'll need any of
| | 00:38 | this junk of the cameraman
trying to catch up to them.
| | 00:40 | So I'm going scrub over just to where I
start seeing their feet and I'm going to
| | 00:44 | mark an in point with the I key.
| | 00:46 | I'm going to continue to scrub through
the clip, just until I see their feet
| | 00:50 | starting to run outer
frame and marked an out point.
| | 00:53 | With an in point and an out point
selected in my viewer, I'm going to go up to
| | 00:57 | Modify to Make Subclip.
| | 01:00 | The keyboard shortcut for Make Subclip
is Command+U. Now, when I select this,
| | 01:04 | I want you to see what happens in my
browser window underneath my current
| | 01:09 | runners 1 clip.
| | 01:10 | You'll see it's created a brand new
clip called runners 1 Subclip and if you
| | 01:14 | look closely at the edges, they
look a little bit ragged or torn.
| | 01:18 | This is a visual indication
that I'm working with a subclip.
| | 01:21 | Let's go ahead and subclip
the back half of this clip.
| | 01:24 | Going back into the viewer, I scroll to
where the camera actually tilts up and
| | 01:28 | we see the torsos of the runners.
| | 01:30 | I mark an in point.
| | 01:32 | I continue to scroll through until a
good end point, but we start losing
| | 01:35 | our image around here.
| | 01:36 | So I'll just back it up a little
bit and I'll mark an out point.
| | 01:40 | Once again, we go up
under Modify and Make Subclip.
| | 01:44 | Notice that as we make each
additional subclip, it just gets a new name.
| | 01:47 | We can then rename our
subclips with a more appropriate name.
| | 01:52 | In this case, instead of runners 1
Subclip, let's call it runners 1 feet, and
| | 01:57 | instead of runners 1 Subclip 2,
we'll call it runners 1 torso.
| | 02:02 | Now, what happens when we want
to start working with these clips?
| | 02:06 | Well, you use them just like
you would in the other clip.
| | 02:08 | I'm going to double click to load
runners 1 feet into my viewer and if
| | 02:13 | you notice, when I scrub through
here, it's just the part of the clip
| | 02:16 | that I subclipped.
| | 02:17 | I don't have any handles on here.
| | 02:19 | I don't have any of that extra
garbage before and after the shot of the
| | 02:22 | cameraman shooting the ground.
| | 02:24 | And now, I can go ahead and I can
bring this clip into my timeline.
| | 02:27 | I want to just grab it and drop it
off at the very end of my timeline and
| | 02:31 | look at it in place.
| | 02:32 | Now, one of the challenges with the
subclip is perhaps I decide I need the clip
| | 02:36 | to be a little bit longer.
| | 02:38 | So I go to stretch it out but I can't.
| | 02:40 | If I load the clip back in the viewer
by double-clicking on it, I see once
| | 02:45 | again, I have no handles.
| | 02:47 | Now, I know I have handles in my original clips.
| | 02:50 | I just cut them out in the subclip.
| | 02:52 | So there is a great little
workaround to make your subclip bigger.
| | 02:56 | Simply select your subclip, go back
under the Modify menu and you see there is
| | 03:01 | now a new element that you can
select which is Remove Subclip Limits.
| | 03:05 | I'm going to select that and I want you
take a look at what happens to the clip
| | 03:09 | in the browser and then we're going
to reload it back into the viewer.
| | 03:12 | As soon as I click Remove Subclip
Limits, the little rip marks go away.
| | 03:17 | And if I load it from the browser, I
see the in and out points that I selected
| | 03:22 | and there is all my handles.
| | 03:23 | The clip in the timeline, if I select
it and I'm going to double-click to load
| | 03:26 | it in the viewer, also has my handles
and I can stretch it as long as I need.
| | 03:31 | So just because you made something into
a subclip doesn't mean you can't convert
| | 03:36 | it back to the full media.
| | 03:37 | We're going to come back and look
at subclips a little more when we
| | 03:40 | start discussing markers.
| | Collapse this transcript |
| Match framing| 00:00 | I have no clue where that clip is.
| | 00:03 | Now, how many times you've said this to
yourself when editing in Final Cut Pro.
| | 00:07 | You can't find the clip in the browser.
| | 00:09 | You don't know where you might
have used the clip in your timeline.
| | 00:11 | Well, the Match Frame function in
Final Cut Pro can help solve this problem.
| | 00:15 | The Match Frame function will allow you
to take a clip in your browser and find
| | 00:19 | out if and where you might have
used the clip in your timeline.
| | 00:22 | It also lets you take a clip from
your timeline and find out where it's
| | 00:24 | located in the browser.
| | 00:26 | Let's take a look at this in detail.
| | 00:28 | Like most parts of Final Cut Pro, you
can use the Match Frame with the keyboard
| | 00:31 | shortcut, or with the pull-down menu.
| | 00:33 | We're going to be using most of the
keyboard shortcuts, but in case you need to
| | 00:37 | find them, they'll be located in the
View pull-down menu and in the Match Frame
| | 00:41 | sub-menu in the View pull-down menu.
| | 00:43 | So, the first thing we want to do is
simply show you how to do a Match Frame
| | 00:47 | from a clip in the timeline to a
copy of that clip in the viewer.
| | 00:51 | For instance, let's say I want to use
my favorite camel shot in another part
| | 00:56 | of the program.
| | 00:57 | Well, if I double-click to load it in
the viewer, that's not another version
| | 01:00 | of the clip.
| | 01:01 | That's the one that's in my timeline.
| | 01:03 | And I don't want to go digging
anywhere in my browser to find that shot.
| | 01:07 | So I simply park the playhead over the
shot that I want and press the F key.
| | 01:11 | This will automatically load a copy of
the clip into my viewer and even position
| | 01:16 | the playhead on the exact frame
where it's positioned in my timeline.
| | 01:20 | So it's very easy for me to now take
this camel shot and drag it to the end
| | 01:24 | of my show.
| | 01:25 | So I have a version here and a version here.
| | 01:28 | I do this a lot when I do like a wrap
around with the show, where I use the same
| | 01:32 | shots at the beginning and in the end,
but I might want the clips to be of
| | 01:35 | different lengths, I might
have different effects on them.
| | 01:37 | So I don't want to copy that clip.
| | 01:40 | Now, much like match framing from a
clip in the timeline to bring a clip into
| | 01:43 | the viewer, I can also take a clip
that might be in my browser and I can load
| | 01:48 | this into my viewer and I can find out
if I have used that in my show, and where
| | 01:53 | I have used that in my show.
| | 01:54 | So I'm going to scrub over here to a
specific part of my music and I simply hit
| | 01:59 | the F key with the viewer active and it
shows me exactly where I have used the
| | 02:03 | same frame of video in my program.
| | 02:05 | So we can match from the timeline
to the viewer or from the viewer to
| | 02:09 | the timeline.
| | 02:10 | Another really useful matching function
in Final Cut Pro is being able to have a
| | 02:14 | clip that's in your timeline and
finding where it's located in your browser.
| | 02:18 | Often, I'll be working on a film and I
actually might have done, 5, 6, 7, maybe
| | 02:22 | even 15 takes and I have used
maybe Take #7 in my timeline.
| | 02:27 | I say maybe I want to try 8, but I have
no idea where to find that clip, or how
| | 02:31 | to find it very quickly.
| | 02:33 | So what I can do is on any clip, for
instance, we'll do Niger, Sand and in this
| | 02:37 | case, instead of just parking my
playhead on it, I'm going to select the clip
| | 02:41 | and instead of hitting the F key, I'm
going to hit Shift+F. Now, take a look at
| | 02:45 | what happens in my browser.
| | 02:46 | Note that my Video bin is closed, but
as soon as I hit Shift+F, Final Cut opens
| | 02:51 | the bin that contains the
clip and highlights that clip.
| | 02:55 | So, it's very easy for me to find
that clip or find clips that might have
| | 02:58 | been next to it.
| | 02:59 | In the case of the film, I might have
all the different takes that the actor
| | 03:03 | performed of that line.
| | 03:05 | In the previous lesson, we created
subclips and they worked the same way
| | 03:08 | with Match Frame.
| | 03:10 | So we put our playhead directly above
runners 1 torso and I'm about to hit
| | 03:14 | F just like before.
| | 03:16 | But before I do that, I see a potential problem.
| | 03:18 | If I click now, it won't match frame
to the shot that I'm thinking I'm going
| | 03:23 | to, which is the torso shot, Niger,
Sand 1 is still selected and it will
| | 03:27 | default to that.
| | 03:28 | So when match framing, always make
sure that either nothing is selected by
| | 03:32 | clicking on the gray area or you
can always select the actual shot.
| | 03:36 | Now, if I hit F, it loads
that clip into the viewer.
| | 03:40 | If I hit Shift+F, it actually
highlights runners 1 torso, the subclip in
| | 03:45 | my browser.
| | 03:46 | But there is a new feature in Final Cut Pro 7.
| | 03:50 | Suppose I wanted to find the original
parent clip, the original clip that I made
| | 03:54 | that subclip out of, because there
might be another part of that shot that I
| | 03:57 | want to find and use.
| | 03:59 | In this case, I'll go up, under the
View menu and I'll say Reveal Subclip
| | 04:03 | Parent clip.
| | 04:04 | If I click on that, it reveals
runners 1, the original clip that I created
| | 04:09 | the subclip out of.
| | 04:11 | Now, earlier on, we showed you that if
you load a clip from the browser into the
| | 04:15 | viewer and I'm going to load Niger,
Sand 1, I could click on that clip, hit the
| | 04:19 | F key and it will match frame to my timeline.
| | 04:23 | Now, if you notice, I actually have
multiple copies of Niger, Sand 1 in
| | 04:27 | my timeline.
| | 04:29 | So how can I find all of those clips at once?
| | 04:32 | Another new match framing feature in
Final Cut Pro 7 is Reveal Affiliated
| | 04:37 | Clips in Front Sequence.
| | 04:39 | By simply clicking this drop-down
menu, it actually will highlight every
| | 04:42 | instance of Niger, Sand 1 in my timeline.
| | 04:46 | And one of my favorite features in
Final Cut Pro is the ability to reveal the
| | 04:50 | master clip, to reveal the
original clip in the finder.
| | 04:54 | Now, to do this, I can simply right-click
on the clip and I simply say Reveal
| | 04:58 | in Finder.
| | 04:59 | This will show me exactly where this
clip is anywhere in my operating system.
| | 05:04 | This is really useful if I want to
find a clip that I may have captured at
| | 05:08 | the same time as the clip I used in my
timeline, but I had never brought into
| | 05:11 | my browser.
| | 05:13 | Understanding the power of match
framing can save your time and frustration by
| | 05:17 | quickly getting you to the
media you want when you need it.
| | Collapse this transcript |
| Editing audio and video| 00:00 | One of the biggest challenges in editing
is taking a great five-minute interview
| | 00:04 | and turning it into an even
better 30-second interview.
| | 00:07 | The first challenge is cutting down the
story to its essential elements and then
| | 00:11 | editing them together and making it
appear that it was 30 seconds long to start.
| | 00:15 | This is done with careful
editing and a clever use of cutaways.
| | 00:18 | Let's take a look at how we can do this.
| | 00:21 | Now I have taken the liberty of editing
the first five interview segments into
| | 00:24 | our timeline and we'll add the last one.
| | 00:26 | But first, let's watch our story,
hear what's going on and watch how
| | 00:30 | abrupt those edits seem.
| | 00:32 | I'm going to, simply, press the Home
key, the Spacebar and we can watch the
| | 00:35 | first three interviews.
| | 00:37 | (Male Speaker 1: We did in fact go to one well that was being
dug and it dawned on me, what better way to experience a well,)
| | 00:45 | (Male Speaker 1: ...than to go down in it myself.)
| | 00:48 | (Male Speaker 1: So they put me on this crossbar
and I sit down the edge and they start to lower me down.)
| | 00:53 | (Male Speaker 1: I carried a camera, my little video
camera again, and I took it down there and it was dark.)
| | 00:58 | (Male Speaker 1: When I put it on the night shot...)
| | 01:00 | As you can see, those edit
points were rather abrupt.
| | 01:03 | We are going to add one more abrupt
edit and we're going to fix those with an
| | 01:06 | audio dissolve and a series of cutaways.
| | 01:09 | Let's load Interview 5 into our
viewer and find the edit point.
| | 01:13 | From the notes from the
producer, the cutaway starts at
| | 01:15 | approximately 01:41:40:00.
| | 01:17 | So I'm going to type those numbers in,
1414000 and hit Return and now let's hit
| | 01:24 | Play to listen to the sound bite.
| | 01:28 | Well, the producer gave me a number
that was close but it wasn't quite spot-on.
| | 01:31 | So we are going to find the exact spot
where we can cut into the story and I'm
| | 01:36 | going to show you a really cool trick
so you can see your video and your audio
| | 01:39 | waveform at the same time.
| | 01:41 | If you grab the Video tab, I can
grab it and pull it right off the viewer
| | 01:45 | window, and now, I can simultaneously
watch his facial expressions and see the
| | 01:49 | waveform of what he is saying.
| | 01:51 | I'm going to go ahead and scroll
back because I know that we overshot by
| | 01:54 | a little bit and I can ballpark it
right here to see if this is the right in point.
| | 01:58 | (Male Speaker 1: Slate, it what it's...)
| | 02:01 | It still is a little bit too far forward.
| | 02:03 | So let's go ahead and hit the Command+Minus
key to zoom out a little bit and try
| | 02:08 | the next set of waveforms.
| | 02:09 | (Male Speaker 1: I get down
to the bottom and it's about...)
| | 02:12 | Based upon the notes that producer
gave me, and I get down to the bottom is
| | 02:15 | where they wanted the in point to be.
| | 02:17 | So I'm simply going to place my
playhead over here, and press I on the keyboard
| | 02:21 | to mark an in point.
| | 02:22 | You will notice that the in point
appears both in the waveform and in the
| | 02:26 | video part of the clip.
| | 02:27 | I can remarry the clips by simply
dragging the Video tab and attaching it
| | 02:31 | directly to the audio or even simpler,
I just press Close window and it's
| | 02:36 | automatically reattached.
| | 02:38 | Before we drag the clip into the timeline,
let's go ahead and mark an out point.
| | 02:42 | (Male Speaker 1: I get down to the bottom and
it's about half slate, is what it seemed like to me.)
| | 02:48 | (Male Speaker 1: And there was water there.)
| | 02:50 | And there was water there.
| | 02:52 | That's my out point and it's going to
be kind of hard finding that out point by
| | 02:55 | looking just at the video.
| | 02:56 | So once again, we can keep
these together this time.
| | 02:59 | I can go back to the waveform and
watch it and listen, and mark the out point on the fly.
| | 03:03 | (Male Speaker 1: And there was water there.)
| | 03:05 | Water there, and then we go ahead,
press O for Out and then I want to drag this
| | 03:08 | back into my timeline.
| | 03:09 | We'll go ahead, switch to the Video
tab, drag it from the viewer, into the
| | 03:14 | canvas and perform the edit.
| | 03:16 | Let's see how it sounds.
| | 03:17 | (Male Speaker 1: I get down to the bottom and
it's about half slate, is what it seemed like to me.)
| | 03:23 | (Male Speaker 1: And there was water there.)
| | 03:26 | So the Out is absolutely perfect but
I need to fix a couple of problems.
| | 03:29 | I have a couple of audio hiccups,
where I cut from one clip to the other one.
| | 03:33 | Even if I cover them with B-roll it
still might not sound perfectly smooth.
| | 03:37 | So one way I can fix this is to
put a very short dissolve between two
| | 03:42 | audio clips.
| | 03:43 | Let's go ahead and play one of those in points.
| | 03:45 | I'm going to put the playhead before
the clip, hit the Spacebar, and play.
| | 03:48 | (Male Speaker 1: So they put me on this crossbar...)
| | 03:51 | You will notice there is a little bit
of an audio pop as we go from the second
| | 03:54 | to the third clip and we are going to
fix this by simply putting in a very
| | 03:58 | short audio dissolve.
| | 04:00 | What you want to do is you
want to select the edit point.
| | 04:03 | Now if you notice, when I select the
edit point, something is going to go wrong.
| | 04:06 | It's going to select both
the audio and the video.
| | 04:09 | We just want to put a transition in the audio.
| | 04:11 | So I'm going to go ahead and
deselect it by clicking on the gray area.
| | 04:14 | Now I'm going to hold down the
Option key and select the audio again.
| | 04:18 | In this case, we've isolated just the
audio track and I can right-click and
| | 04:22 | add a Cross Fade.
| | 04:24 | By default, Final Cut puts
in a one-second audio fade.
| | 04:27 | But this is a problematic because I'm
going to actually hear audio from the
| | 04:30 | first interview overlapping into the
second one and from the second interview,
| | 04:34 | overlapping into the first.
| | 04:35 | Let's go ahead and listen to that problem.
| | 04:40 | As you hear, there is a little bit
of an echo of the other interview.
| | 04:42 | So we are going to go ahead, select
Cross dissolve, right-click on it and
| | 04:46 | change the duration.
| | 04:48 | I think about a tenth of a second, our
three frames would be enough to smooth
| | 04:51 | out the audio bump without
hearing his additional audio.
| | 04:54 | So once we are into the Duration
dialog, I'll type in 3, hit Return and
| | 04:58 | now select OK.
| | 05:00 | We now have a three-frame audio dissolve.
| | 05:03 | (Male Speaker 1: So they put me on this...)
| | 05:05 | That sounds much smoother to me.
| | 05:07 | Now another way that we can fix our
problematic jump cuts is to use B-roll.
| | 05:10 | The first B-roll we are going to use is
going to be the well point-of-view shot,
| | 05:15 | which is simply a shot of the camera,
zooming into the bottom of the well.
| | 05:18 | And we are going to use
this cover over our first edit.
| | 05:21 | Now in this case, I just want the video
because we slo-mo the clip and not the
| | 05:25 | audio associated with it.
| | 05:26 | So before we make the edit, let's
go ahead and deselect A1 and A2.
| | 05:32 | Now when we go ahead and drag it to our
timeline, it's only going to put in the
| | 05:35 | video, and not the audio associated with it.
| | 05:38 | Let's go ahead and play this
clip and listen to our audio.
| | 05:41 | (Male Speaker 1: ...well that was being dug
and it dawned on me, what better way...)
| | 05:44 | If you weren't aware that we made an
edit, you wouldn't have noticed it.
| | 05:47 | Now we are going to do
something even trickier next.
| | 05:50 | We are going to hide edits 3, 4, and 5
with a single clip and we are going to
| | 05:55 | make sure that clip is as short as it can be.
| | 05:58 | So I want to mark an in point on the
first edit that we want to cover and I'll
| | 06:01 | press I in my timeline.
| | 06:03 | I then want to drag my playhead to the
third edit that we are looking to cover
| | 06:07 | and mark an out point.
| | 06:08 | At this point, he is talking
about being lowered into the well.
| | 06:11 | We have a great shot of him being
lowered into the well that we can load
| | 06:14 | into our viewer.
| | 06:15 | Now since we marked an in point and an
out point in our timeline, we don't need
| | 06:18 | an in point and an out point in our viewer.
| | 06:20 | So we can simply right-click
and we can clear the Out.
| | 06:24 | At this point, if I dragged it from
my viewer to my canvas, I would have
| | 06:27 | several problems.
| | 06:28 | First, I would erase this
video and I won't get any of the
| | 06:30 | ambient sound.
| | 06:31 | The ambient sound is really useful here.
| | 06:33 | It does two things.
| | 06:34 | It brings me into the moment and also,
if helps hide any audio glitches from
| | 06:39 | the interview.
| | 06:40 | So what we want to do is we want to go
back to track targeting, click v1 to V2
| | 06:44 | and then drag down our audio 2 down to
audio 4, and make sure it's connected and
| | 06:49 | drag down audio 1 to audio 3.
| | 06:51 | If it doesn't connect immediately,
simply click on the buttons and it will
| | 06:54 | automatically connect.
| | 06:56 | Now we'll drag the clip from our
viewer into the timeline and it will land on
| | 07:00 | the exact tracks that we want.
| | 07:02 | Let's go ahead and play
this and see how it sounds.
| | 07:05 | (Male Speaker 1: So they put me on this crossbar
and I sit down on the edge and they start to lower me down.)
| | 07:10 | (Male Speaker 1: I carried...)
| | 07:11 | As you can see, because we are
hearing the sounds, not only does it add
| | 07:14 | more presence to the shot, but we
have no clue that we actually did three
| | 07:17 | audio edits.
| | 07:18 | The next area we are going to cover is
when he is talking about being lowered
| | 07:21 | down and he has his night camera.
| | 07:23 | (Male Speaker 1: It was dark.
When I put it on the night shot...)
| | 07:26 | So we have a perfect
example of covering it over.
| | 07:28 | We have a night shot from the camera and
I'm going to simply grab it and drag it
| | 07:32 | back down to the timeline.
| | 07:33 | And because, video is targeted to
track 2 and audio is to 3 and 4, our clips
| | 07:38 | will land exactly where we want them to be.
| | 07:39 | Let's go ahead, drop it on the timeline,
we move our playhead back to before the
| | 07:43 | clip and press the Spacebar to play.
| | 07:45 | (Male Speaker 1: It was dark.
When I put it on the night shot...)
| | 07:49 | (Male Speaker 1: I get down to the bottom
-Wow!- and it's about half...)
| | 07:52 | So this is pretty nice.
| | 07:53 | It covers over the edit but the
problem we have here is that he says wow,
| | 07:57 | which I really like but I want him to
say wow during a silent part of the
| | 08:01 | interview.
| | 08:02 | So here is another great trick.
| | 08:03 | Let's go ahead and turn on our waveforms.
| | 08:06 | You can do that here with Show Audio
Waveforms and we can see right there is
| | 08:11 | the word, wow.
| | 08:13 | And I'm simply going to go here.
| | 08:14 | Press Play.
| | 08:15 | (Male Speaker 1: When I put it on the night shot...)
| | 08:17 | Right after night shot is
where I want the word, wow, to be.
| | 08:20 | I can simply drag that back.
| | 08:23 | The wow is going to come in
at the right moment in time.
| | 08:25 | (Male Speaker 1: When I put
it on the night shot... Wow!)
| | 08:26 | (Male Speaker 1: I get down to the bottom...)
| | 08:27 | Not only does that happen at the right
moment, it also covers up our edit and
| | 08:31 | then you can simply trim the edits so
it starts when you want and ends when
| | 08:34 | you want.
| | 08:35 | So I'm going to have it start a
little bit later, and maybe have it last
| | 08:39 | a little bit longer.
| | 08:40 | Let's go ahead and go to the beginning
of our timeline and see how smoothly this
| | 08:44 | edit feels with a few
cutaways and then audio dissolve.
| | 08:47 | (Male Speaker 1: We did in fact go to one well that was being
dug and it dawned on me, what better way to experience a well,)
| | 08:56 | (Male Speaker 1: ...than to go down in it myself.)
| | 08:58 | (Male Speaker 1: So they put me on this crossbar
and I sit down on the edge and they start to lower me down.)
| | 09:03 | (Male Speaker 1: I carried a camera, my little video
camera again, and I took it down there and it was dark.)
| | 09:08 | (Male Speaker 1: When I put it on the night shot... Wow!)
| | 09:10 | (Male Speaker 1: I get down to the bottom and
it's about half slate, is what it seemed like to me.)
| | 09:16 | (Male Speaker 1: And there was water there.)
| | 09:17 | One last tweak and we'll be all done.
| | 09:19 | I not only heard but I can see there
was a little bit of audio that I didn't
| | 09:23 | want at the end of my cutaway.
| | 09:24 | I'm going to simply grab the end of the
clip, drag it to the left, so we don't
| | 09:28 | see or hear that additional element.
| | 09:30 | As you can see, a sharp ear and a keen
eye and a basic understanding of how to
| | 09:35 | refine your edit in Final Cut
Pro can make your story fly.
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|
|
5. Mastering the InterfaceTaking control of your timeline| 00:00 | Now the doom working with the timeline&Pro.
| | 00:03 | You may wish it look to our
operating a bit differently.
| | 00:06 | In this last summer going show you
how to take control of your timeline
| | 00:10 | and customize it for your specific needs.
| | 00:12 | The first thing you want a show you is
how to change the height of the tracks
| | 00:15 | depending on your screen resolution.
| | 00:18 | And what you're doing at
that moment in final cut Pro.
| | 00:21 | Sometimes you want to see
more tracks in your timeline,
| | 00:23 | and sometimes you want to see less
| | 00:25 | and sometimes you may
need to see just more detail
| | 00:27 | to change the head of tracks in your timeline.
| | 00:30 | Even go to this interface
| | 00:32 | and click on these four different broadens it, looks like
a bar graph and you need to click on each individual bar as
| | 00:38 | opposed to globally in that area.
| | 00:40 | Now of course there's a keyboard
shortcut that allows you to do the same thing.
| | 00:44 | The keyboard shortcut for
changing your track paid
| | 00:47 | is shift tee tee as an track to shift teeth will
cycle you between the four different heights of tracks.
| | 00:54 | And as you see sometimes very useful when doing
with audio you can see a much larger waveform.
| | 00:59 | And you can also see a much larger poster frame
| | 01:02 | or icon at the beginning of each clip.
| | 01:04 | The default type
| | 01:06 | is the second far from the left.
| | 01:08 | Sometimes you don't want to change the height of all your
tracks you just may want to change the height of one track.
| | 01:13 | So for instance, if I'm working in cutting my video I just
want track V1 to be taller. I can simply hover my mouse
| | 01:20 | between tracks one and two.
| | 01:21 | It changes its shape from an arrow
| | 01:23 | to a bar,
| | 01:25 | and I clicked and I dragged out if I
want larger write-down if I want a smaller.
| | 01:29 | The same thing would be the case, if I wanted
to make when my audio tracks larger or smaller.
| | 01:34 | Now, perhaps I want to change all of
my audio tracks to be the same height,
| | 01:39 | but not one of the default heights.
| | 01:41 | I can do this very easily by
holding down the command key.
| | 01:44 | Prior to stretching a single track.
| | 01:46 | All tracks will match that same height, I can
do the same thing and audio as well as an video
| | 01:51 | tour for instance, if I want all
my video tracks to be really small.
| | 01:55 | But all my audio tracks
to be a little bit bigger.
| | 01:57 | I can set that up as a personal preference.
| | 02:00 | If I wanted all my tracks to be exactly the same
night and again not being one of the default four heights.
| | 02:06 | I can hold down the shift key before
I change the height in a single track.
| | 02:10 | Now all my audio and all my video
tracks will be the exact same custom height.
| | 02:15 | Another area of controlling our interface
| | 02:17 | can be accessed by clicking on
the timeline control pop-up window
| | 02:21 | located at the very bottom of your timeline.
| | 02:24 | If you click and hold on
the timeline layout pop-up
| | 02:27 | do several things that you can modify them
and make your workflow a little smoother.
| | 02:31 | First of all when I'm cutting audio I find that
the names of the audio files tends to interfere
| | 02:37 | with the seeing the waveform.
| | 02:39 | So, what I like to do
| | 02:40 | is turn off show audio clip names.
| | 02:43 | Now I just do the waveforms and it's
not blocked by the name of the clips.
| | 02:47 | Another option that I find very useful
| | 02:50 | is the ability to turn off show clip labels,
| | 02:53 | however my mouse or for just a second but if you look over
my browser I've used color to label specific clips with in
| | 02:59 | the browser.
| | 03:00 | I turned to her voiceover to green
| | 03:03 | Niger sand 32 yellow and
panning, which is below to read.
| | 03:08 | Its use for my browser, but I find
a little distracting in my timeline
| | 03:12 | to being able to turn off clip
labels makes them much easier on the eyes
| | 03:17 | is a variety of different options that you
can turn on and turn off in this pop up window
| | 03:21 | to choose the ones that work best for you.
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| Changing track visibility and locking| 00:00 | The next thing we're going
to look at is Clip Visibility.
| | 00:03 | Those are the green buttons that are
in the far left side of your Timeline.
| | 00:06 | You find them in both of your video
track as well as in your audio track.
| | 00:10 | Simply clicking on this where it
goes from green to gray, we'll turn that
| | 00:14 | track off.
| | 00:15 | So if I playback my Timeline,
I won't see Track 1 at all.
| | 00:18 | Now in this case that's not very useful,
but a lot of times when I'm working and
| | 00:22 | I cut a show, for instance in news, we
need to feed out one version with our
| | 00:26 | titles and one version without titles.
| | 00:28 | So I can simply print it to tape,
or export the file with the titles
| | 00:32 | all turned on and turn them all
off in one fell swoop by clicking on the
| | 00:36 | title track and turning it off.
| | 00:38 | In this example, I may want to listen
to the narrator's voice only and not
| | 00:42 | listen to the ambient sound or the music.
| | 00:45 | So I can simply go over here, turn off
my ambient sound, turn off my music and I
| | 00:50 | can focus just on the narrator's voice.
| | 00:52 | (Narrator: ...most unforgiving
place on Earth. Over 3.5 million...)
| | 00:57 | Now when you only have six tracks,
it's pretty easy to turn the once off that
| | 01:02 | you want off, and leave
the ones on that you want on.
| | 01:05 | But if you have say 15 tracks or 20
tracks, which is not uncommon when you are
| | 01:09 | cutting a show, being able to turn
off all the tracks but one can be very
| | 01:13 | time-consuming if you do it this way.
| | 01:16 | Here is another great keyboard shortcut.
| | 01:18 | Simply hold down the Option key and
click on the track that you want to stay on,
| | 01:23 | because the Option key will
turn off all the other tracks.
| | 01:26 | When you're ready to turn those tracks
back on, continue to hold down the Option
| | 01:30 | key, click on the track that's on,
now all tracks are available to you.
| | 01:34 | The next thing we're going
to look at is Track Locking.
| | 01:37 | And you can find this by looking at
the column with all the locks on it.
| | 01:40 | If I click on any of these locks,
the icon closes and you notice a
| | 01:44 | cross-hatch in your Timeline.
| | 01:46 | So for instance, say I'm cutting a
music video when I lay down the audio track,
| | 01:51 | and I don't want to accidentally
change it, or move it, or modify it.
| | 01:55 | Once I have the audio track perfect, I
can simply lock that track and not have
| | 01:59 | to worry about changing it.
| | 02:01 | If I do change my mind, and want to
unlock it, I simply click on the icon again,
| | 02:05 | and now I can modify it.
| | 02:07 | Track Locking also takes advantage of
the Option key, so if I wanted to lock all
| | 02:11 | my tracks but one, I can hold down the
Option key, click on the track that I
| | 02:16 | want to stay unlocked and
all the other ones get locked.
| | 02:19 | And once again, hold down the
Option key, click on that track and I can
| | 02:23 | open them all up again.
| | 02:25 | Track Visibility and Track Locking, just two
more ways you can control your Timeline's interface.
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| Auto Select| 00:00 | The Auto Selection feature is one of
the more mysterious elements of Final Cut Pro.
| | 00:04 | Even experienced editors are
not quite sure how it works.
| | 00:08 | Well, it's useful when copying and
pasting, and also when deleting clips
| | 00:11 | from your Timeline.
| | 00:12 | Let's take a look at how it works.
| | 00:14 | If I wanted to copy a clip in my
Timeline I would simply click on it to
| | 00:18 | select it, go Command+C to Copy, move
my playhead further down the Timeline
| | 00:24 | and hit Command+V to Paste.
| | 00:26 | If you've noticed, it pasted the clip
on the exact same track that will be
| | 00:29 | copied it from.
| | 00:30 | Let me go ahead and hit Undo.
| | 00:32 | Suppose I wanted to copy this onto
Track 2 or to Track 3, this is where Auto
| | 00:37 | Select comes into play.
| | 00:39 | By default Final Cut Pro wants to
paste the clip on the lowest selected Auto
| | 00:44 | Select track that's available.
| | 00:46 | In this case, 1 is activated,
so wants to paste it on 1.
| | 00:50 | If I click on the Auto Select button
of Track 1 and deactivate it, now when I
| | 00:54 | hit Paste, Command+V, it
pastes the video clip on to Track 2.
| | 00:59 | So it always looks for the lowest active track.
| | 01:02 | If I undo this again, and de-select 1
and 2 for our audio, now when I hit Paste
| | 01:08 | you see it goes to tracks 2 for the
video, and tracks 3 and 4 for the audio.
| | 01:13 | Auto Select is also very useful, if
you want to delete some tracks from your
| | 01:17 | Timeline and leave others intact.
| | 01:19 | First of all, let's de-select the
clip in our Timeline that we just pasted.
| | 01:23 | I'm going to go over to my Timeline
and simply mark an in point, and notice
| | 01:28 | how I have a highlight to the right of
that in point and now I'm going to mark
| | 01:31 | an out point.
| | 01:32 | And as soon as I mark that out
point that highlight is restricted just
| | 01:36 | between the in and the out.
| | 01:38 | You'll also notice that some tracks
are highlighted, and some are not.
| | 01:41 | The tracks that are highlighted are
simply the tracks that have active Auto
| | 01:45 | Selects, or in other words,
the track is turned on.
| | 01:49 | If at this point, I press the Delete
key only the tracks that have their
| | 01:52 | highlights turned on are
deleted from my Timeline.
| | 01:55 | Let me undo that, turn on some
different tracks and you'll see how it tracks
| | 02:00 | just a tad differently.
| | 02:01 | Now I hit the Delete key and
it only removes those tracks.
| | 02:05 | So there you go, Auto Select in
Final Cut Pro, mystery solved!
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| Creating keyboard shortcuts| 00:00 | As you can tell by now, I'm a
huge fan of keyboard shortcuts.
| | 00:04 | Now not only do I like the keyboard
shortcuts that Final Cut gives me, I want to
| | 00:07 | be able to assign keyboard
shortcuts within the interface.
| | 00:11 | And Final Cut Pro lets me do
that in the Tool pull-down menu.
| | 00:15 | Now to get to the menu to assign
keyboard shortcuts, simply scroll-down under
| | 00:19 | Tools to Keyboard Layout and go to Customize.
| | 00:22 | But if you're going to be assigning
extra keyboard shortcuts, you might as well
| | 00:25 | know what the keyboard shortcut is to get there.
| | 00:28 | It's Option+H. So we're going to open
up the Keyboard Shortcut menu, and we're
| | 00:32 | going to show you how it works.
| | 00:34 | First of all, before I even change any
keys in my keyboard shortcuts, I use this
| | 00:38 | menu if I want to find out what a
keyboard shortcut is for an action that I
| | 00:43 | might do all the time.
| | 00:44 | So for instance, let's say
I'm always doing Fit to Window.
| | 00:48 | I can simply go over here, and type-in
the word fit and I get all the options
| | 00:54 | that I have for Fit Selection, Fit All,
Fit To Fill, Fit to Window, and there
| | 00:58 | we go.
| | 00:59 | Shift+Z, Fit to Window.
| | 01:02 | Also, if I know a keyboard shortcut and
I want to find out what it does, instead
| | 01:07 | of typing in the word, I can
actually type-in the command.
| | 01:10 | So I'm going to type-in the command
that we already know for Undo, which is
| | 01:14 | Command+Z, and I see all the
options with Command+Z. I see Redo,
| | 01:20 | Shift+Command+Z, I see Trim Edit
Selection, Option+Command+Z, and of course what
| | 01:25 | we were looking for Command+Z by itself.
| | 01:28 | So it's very easy to find out what a
keyboard shortcut does using this window.
| | 01:32 | Finally, I can use this window to
assign a keyboard shortcut, where 1
| | 01:36 | doesn't exist.
| | 01:38 | So if I find, I'm using a pull-down
menu over-and-over again, a lot of times I
| | 01:42 | may want to assign a keyboard
shortcut to save me the trouble.
| | 01:46 | One of the items in Final Cut Pro
that I use all the time is simply
| | 01:49 | Close Project.
| | 01:50 | Now Close Project has no
keyboard shortcut associated with it.
| | 01:54 | So let's go ahead and assign a
keyboard shortcut for Close Project.
| | 01:58 | The first thing we need to do, let's go
ahead and reset this area, is we need to
| | 02:02 | unlock our keyboard, so we
can start changing things.
| | 02:05 | So I'm going to click on the Unlock key,
and then I'm going to go over here, and
| | 02:09 | type-in the word project.
| | 02:12 | As soon as I type-in project, I see
all the options that have to do with
| | 02:15 | projects, Close Project, New Project and so on.
| | 02:19 | All I need to do is grab Close Project,
and drag it to the key that I want
| | 02:23 | to assign it to.
| | 02:24 | Now if I look over here, I see the
letter Y is available, but that's not
| | 02:29 | necessarily an appropriate key for
me to put it on, because I may not
| | 02:32 | remember it.
| | 02:33 | What is Y have to do with the project,
other than why am I doing this project?
| | 02:37 | So what I really want to do is maybe
use the letter P, and P is currently being
| | 02:41 | used as the Pen tool, so I
have to find another variation.
| | 02:45 | Perhaps I can use a Modifier key.
| | 02:47 | I'm going down here, I'm going to click
on the Command key, and it will show me
| | 02:51 | all the options of Command in a letter.
| | 02:53 | Command+P is currently not being used,
so I can go over here, grab Close
| | 02:58 | Project, and drop it on the P key.
| | 03:01 | Immediately it assigns
Command+P to Close Project.
| | 03:04 | I can also go over here to the File
menu, and before where there wasn't a
| | 03:09 | keyboard shortcut, it shows in the File menu.
| | 03:11 | I can go through and change all my
shortcuts to whatever I want, and if I by
| | 03:15 | chance I make it so confusing that I
can't even edit, I can simply go down here,
| | 03:20 | and hit the Reset button, and
everything goes back to the default.
| | 03:24 | Using keyboard shortcuts in Final Cut Pro
is great, but making your own is even better.
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| Creating buttons| 00:00 | Keyboard shortcuts are great, but
sometimes a button will do the job
| | 00:03 | even better.
| | 00:04 | You can access the Custom Button
window from the Tools pull-down menu.
| | 00:08 | You can also get to here by the
keyboard shortcut Option+J.You'll notice that
| | 00:12 | the Button List reflects the main
menu bar, and the different editing
| | 00:16 | functions in Final Cut Pro.
| | 00:17 | So, if I wanted to find the button for
say things under the Edit menu, I can
| | 00:21 | just click the Disclosure Triangle, and
find the exact button I'm looking for.
| | 00:25 | I can also type within the Text Edit
box the button that I want to create.
| | 00:29 | In this case I want to make a
button for Reveal in Finder.
| | 00:32 | Because a lot of times when I'm in my
Browser or in my Timeline, I select the
| | 00:36 | clip, I either have to right-click
on it, or have to go to the File menu.
| | 00:39 | It's easier if I have a button right there.
| | 00:42 | All I need to do is type-in the word,
reveal, and there at the bottom of the
| | 00:45 | list is Reveal in Finder.
| | 00:47 | If I want to assign this to a specific
toolbar, I simply grab the button and I
| | 00:51 | drag it to what looks like a
coffee bean at the top of each window.
| | 00:56 | As soon as I let go, I have a
brand new button in my Browser window.
| | 01:00 | Let's explore buttons a little bit deeper.
| | 01:02 | I'm going to close my button list and
show you how I can work with an existing
| | 01:05 | button in my Timeline.
| | 01:06 | First of all, if I wanted to move this
button, I can simply grab it and drag it
| | 01:11 | to any window that's appropriate.
| | 01:13 | Let's go ahead and drag it back to our
Browser because I definitely want to have
| | 01:16 | a Reveal in Finder button in the Browser.
| | 01:19 | But as I indicated earlier it'd be
great to have one in my Timeline too.
| | 01:22 | So, now instead of just grabbing it and
dropping it into my Timeline and losing
| | 01:27 | it from the Browser, I'm going to hold
down the Option key, which will allow me
| | 01:30 | to copy the button and
have it now in both windows.
| | 01:34 | I can do a few more things to make
working with buttons even smoother.
| | 01:37 | First of all, maybe I want to
assign a specific color to this button.
| | 01:41 | I can right-click on it.
| | 01:42 | There is Color options and in this
case I'm going to make it Bright Yellow.
| | 01:46 | If I wanted to delineate between the
existing buttons from Final Cut Pro and all
| | 01:50 | my new ones I can even put spacers in.
| | 01:52 | You can put multiple spacers just to
make sure you don't click over here when
| | 01:56 | you want to click over there.
| | 01:58 | If I wanted to remove a button, all I
have to do is grab that button and drag it
| | 02:02 | directly off the Timeline, and
there it goes in a puff of smoke.
| | 02:06 | So, it's very easy to organize your buttons.
| | 02:08 | But before we close out this lesson,
let's take a look and see if Reveal
| | 02:11 | in Finder truly works.
| | 02:13 | I'm going to click on my favorite
shot, the camel shot in the show.
| | 02:17 | Simply click on my new button and
there we go, Niger, camels movie.
| | 02:23 | You can't beat that.
| | 02:24 | Now, let's go back to Final Cut
Pro, and show you one last step.
| | 02:28 | Suppose you've made a lot of changes
to your Button bar, and you want to go
| | 02:31 | back to the default.
| | 02:32 | You want to reset it.
| | 02:33 | It's as simple as right-clicking on
any of the button bars, and there you see
| | 02:38 | next to Remove there is a sub-menu
that lets you restore it to the default.
| | 02:42 | One thing to note that each of the
button bars within the four main windows are
| | 02:46 | independent of each other.
| | 02:47 | So, even though I've reset the Button
bar in the Timeline, you'll notice that
| | 02:51 | the Browser Button bar still
has my Reveal in Finder icon.
| | 02:55 | So, I have to go through each one,
right-click under Remove, and reset all.
| | 03:00 | There you have it.
| | 03:01 | As much of a fan as I'm of keyboard shortcuts,
sometimes a button can do the job better.
| | Collapse this transcript |
|
|
6. Basic Audio MixingIntroduction to mixing| 00:00 | At this point we have our basic audio
in place, and now it's time to mix it
| | 00:04 | so it sounds good.
| | 00:06 | There's a couple of changes we need
to make to the interface before we
| | 00:09 | get started.
| | 00:10 | The first thing we want to do
is turn on our audio waveforms.
| | 00:12 | We can do it down here with this pop-up
window, and you can simply say Show
| | 00:16 | Audio Waveforms, or you can use the
keyboard shortcut, Command+Option+W.The next
| | 00:22 | thing I want to do is remove all the
text from the audio clips in my Timeline.
| | 00:25 | We learned to do that earlier.
| | 00:27 | Once again, it's down here under
this pop-up window, and you just want to
| | 00:31 | uncheck Show Audio Clip Names.
| | 00:34 | This is much easier, I can actually see
when the narrator is speaking, and when
| | 00:37 | the narrator pauses.
| | 00:38 | There's one more adjustment I want you to make.
| | 00:41 | If you notice here a little bit
after 18 seconds, you see a red bar.
| | 00:45 | Let's go ahead and play
this and see what's happening.
| | 00:48 | (Narrator: With people and cultures as...)
| | 00:52 | Did you notice that beep, beep, beep?
| | 00:54 | What's happening here is Final Cut
thinks it can't play all the tracks in
| | 00:57 | the timeline.
| | 00:58 | We're going to make a change
to the preferences and fix this.
| | 01:02 | What I want you to do is go up
under Final Cut to User Preferences.
| | 01:06 | Once User Preferences is open, go
down towards Realtime Audio Mixing.
| | 01:12 | If you notice, it says 8 tracks, and
actually in our timeline we have 5 stereo
| | 01:17 | pairs, so that's equivalent of 10 tracks.
| | 01:19 | That's why Final Cut thinks it can't play it.
| | 01:22 | When Final Cut was first released over
10 years ago, guess how many real-time
| | 01:25 | audio tracks it could play?
| | 01:27 | Eight.
| | 01:28 | Well, this preference hasn't been
changed in over 10 years, and we have a lot
| | 01:31 | faster computers today, than we did back then.
| | 01:34 | So you can easily change this to 16
tracks and we won't have that problem.
| | 01:39 | Simply type in 16.
| | 01:41 | If you notice down in our timeline,
when I hit Play, I don't have that red bar,
| | 01:47 | and I don't here the beep, beep, beep.
| | 01:49 | (Narrator: ...as unpredictable as the landscape.)
| | 01:53 | So, let's go to the head of our the
show, play it, and listen for some things
| | 01:56 | that we might want to fix.
| | 01:58 | Now, while we're playing this, I want
you to listen to it and I also want you
| | 02:04 | to look over at the right side of
your screen at your audio meters.
| | 02:09 | So what are you listening for?
| | 02:10 | You're trying to hear if the
music is at the proper level.
| | 02:12 | If our ambiance is too loud or
too soft. Can we hear our narrators?
| | 02:16 | When we get to the interviews, can
we hear the people being interviewed?
| | 02:20 | When you're looking at the meters, what
you want to do is you want to make sure
| | 02:23 | that the levels don't over modulate.
| | 02:25 | That we don't go into the red.
| | 02:26 | As a matter of fact, you want to
make sure that levels peak, in this case,
| | 02:30 | at -12.
| | 02:32 | So, I'm going to ahead and pause playback.
| | 02:34 | We can see immediately there is a lot
of opportunity for us to fix our audio.
| | 02:39 | Before we dig in and start fixing
this audio, I want to explain some basic
| | 02:43 | audio concepts.
| | 02:44 | That is, what level do we
really want to mix our show to?
| | 02:47 | And you may get a different answer
depending on which editors and which
| | 02:51 | producers you talk to.
| | 02:52 | As a general rule of thumb, if you're
working in DV or HDV, we mix to -12, which
| | 02:58 | means, we want our audio peaks to about -12 dB.
| | 03:02 | If we're delivering to broadcast,
which is often digibeta or digital file, we
| | 03:07 | often are asked to mix to -16 dB to -20 dB.
| | 03:09 | I've had some clients that were
producing DVDs, and they said please mix it
| | 03:14 | to -3 dB.
| | 03:16 | So what's the answer?
| | 03:17 | Find out what your client needs, or
what the requirement for your delivery
| | 03:21 | format is, before you start mixing your show.
| | 03:24 | Another point I want to talk
about, which is mix levels.
| | 03:27 | Some of you may be coming from an
analog editing world, so you're used to
| | 03:31 | working in Betacam, and
others of you are new to this.
| | 03:34 | So, let me make a common analogy.
| | 03:36 | Most people have probably made a
dub from a CD or an album, to a tape.
| | 03:39 | But when you did this you set the tape
so it would peak at 0 dB, and maybe it
| | 03:44 | would ping a little bit higher to +3 or +6.
Well first of all, tapes have a little
| | 03:49 | bit of headroom, so can actually push
the limit and not get any distortion.
| | 03:53 | Digital audio does not have this.
| | 03:55 | If you go above 0 dB, and this is all
0's and 1's, all you're going to get is
| | 04:00 | pops, and clicks, and noise.
| | 04:01 | So you have to be very careful
not to over modulate your audio.
| | 04:05 | The nice thing about digital audio is
you don't have to deal with tape hiss.
| | 04:09 | So that's why we can have our volume
levels a little bit softer, and we can
| | 04:12 | still here everything perfectly.
| | 04:14 | With this in mind we're ready to
load our clips into the Viewer, and make
| | 04:18 | our audio neutral.
| | Collapse this transcript |
| Adjusting audio levels in the viewer| 00:00 |
Well, now that you have a basic
understanding of the science of audio, let's go
| | 00:04 |
ahead and make all over audio neutral.
| | 00:07 |
What does that mean?
| | 00:08 |
We are going to load the clips into our
viewer and mix them to a certain level
| | 00:11 |
that our client wants.
| | 00:13 |
Now in this case, we're delivering our
show to DV, and the client request we
| | 00:17 |
mixed everything to -12dB.
| | 00:18 |
So the first thing we are going to do
is we are going to double-click to load
| | 00:22 |
the clip into the viewer.
| | 00:23 |
Now we are going to look at some areas
the viewer that we have not worked with
| | 00:26 |
before, specifically, this little
slider right here that says Level.
| | 00:31 |
This really controls how loud or how
soft your audio is and it's measured
| | 00:35 |
in decibels.
| | 00:36 |
And a little bit later, we'll take a
look at our Pan slider, and this just
| | 00:39 |
allows you to have the music or the
sound coming from the left speaker, the
| | 00:43 |
right speaker, or the center speaker.
| | 00:45 |
The other thing that I want to do is I
want to take my audiometer and I'm going
| | 00:48 |
to move it really close to my viewer window.
| | 00:51 |
This way as I play my audio, I can
actually see the levels very easily.
| | 00:55 |
So let's go ahead and play our audio.
| | 00:57 |
I'm going to go ahead and hit Command+Minus,
so I can see a little bit more
| | 01:00 |
of my music track.
| | 01:02 |
Now let's go ahead and
play and look at our levels.
| | 01:05 |
(Music playing.)
| | 01:08 |
That first hit's pretty loud, so I'm
going to go ahead and bring my audio levels
| | 01:12 |
down to about -10dB, and let's go
back and play that beginning again.
| | 01:16 |
(Music playing.)
| | 01:20 |
That's pretty good.
| | 01:21 |
It's pretty close to -12.
| | 01:22 |
It's a little bit warmer, but we
can have a little bit of a peak.
| | 01:25 |
I don't want to bring it down too much,
because then I won't be able to hear the
| | 01:28 |
other parts of my music.
| | 01:29 |
So the music setting between -12
and -18, and that's going to be a good
| | 01:33 |
starting level.
| | 01:35 |
So let me go ahead and pause this.
| | 01:36 |
Now because we loaded the clip from the
timeline in the viewer, we don't have to
| | 01:40 |
hit accept, we don't have to drag it
back down, we are actually updating the
| | 01:44 |
clip that's in our timeline.
| | 01:45 |
Let's go ahead and take a look at our
narrator to see if we need to adjust
| | 01:49 |
this audio.
| | 01:50 |
Once again, I'm going to double-click
to load it into the viewer, and let's go
| | 01:54 |
to the beginning of the clip and hit play.
| | 01:55 |
(Narrator: It's the most unforgiving place on Earth.)
| | 02:00 |
(Narrator: Over 3.5 million square miles.)
| | 02:02 |
Well, that narrator seems pretty spot-on
at -12, so we don't have to mess
| | 02:07 |
with this at all.
| | 02:08 |
Let's go down and listen to a
couple of our ambiance tracks.
| | 02:10 |
(Wind noises.)
| | 02:17 |
I can tell right off the bat that
the ambiance sound associated with this
| | 02:20 |
clip is too loud.
| | 02:22 |
Well, that might be peaky at -12, which
is neutral, but I know for a fact that
| | 02:27 |
this sound is going to be
buried in the background.
| | 02:29 |
I just want to add it to my program to
give me a sense of space, a feel that we
| | 02:33 |
are really in the desert.
| | 02:34 |
So let's go ahead and bring this
down a little bit to a good volume.
| | 02:37 |
I'm going to go to my in point by
simply hitting the up arrow key, press the
| | 02:42 |
play bar and bring this down.
| | 02:47 |
I think about -24 to -30 is a good start
point, and when we do our final mix, we
| | 02:52 |
can bring it up or bring it down as necessary.
| | 02:54 |
Now once all your audio is
neutral, you're ready to go.
| | 02:58 |
Now that you have a better
understanding of how to adjust your audio levels, go
| | 03:02 |
ahead and adjust the levels of the rest
of the clip in the timeline, and when we
| | 03:06 |
come back, we'll compare your changes
to mine, and you can see the differences.
| | 03:11 |
| | Collapse this transcript |
| Adjusting audio levels in the timeline| 00:00 | Well, at this point we've loaded all the
clips from our timeline into our viewer
| | 00:04 | and did an initial adjustment, making
sure that nothing peaked above -12, and
| | 00:08 | maybe -10dB, and also making sure
that our ambiance was low enough.
| | 00:12 | Let's go ahead and play it and see how
it sounds, and then we are going to go
| | 00:16 | forward and clean it up a little bit more.
| | 00:18 | (Music playing.)
| | 00:23 | My music level sounds good.
| | 00:25 | The narrator should come in.
| | 00:27 | (Narrator: The most unforgiving place...)
| | 00:28 | He is a little easier to hear, but
I'm still going to probably want to duck
| | 00:31 | the music under, so he's going to be a
lot clearer, so you can actually hear
| | 00:35 | him above the music.
| | 00:38 | Let me go ahead and pause this.
| | 00:39 | Now something you may have noticed is
that even though I have mixed my levels
| | 00:43 | to peak at -12, if you've been
watching the meters, occasionally it might be
| | 00:47 | heading -10 or -9.
| | 00:49 | And this is an important concept to
walk away with when dealing with audio.
| | 00:53 | If you mix all of your audio
individually to -12 dB, but play them
| | 00:57 | simultaneously across multiple tracks,
the sum total of all your audio is
| | 01:03 | actually louder than each individual tracks.
| | 01:06 | The key here is audio is additive, so
as you add more tracks, even if they are
| | 01:11 | all mixed to -12dB, it's going to
get louder and louder in the total mix.
| | 01:16 | Something to keep in mind
as you watch your levels.
| | 01:19 | Now getting back to doing our mix.
| | 01:21 | When you mix audio, it's important for
you to use your meters, but it's also
| | 01:25 | important for you to use your ears.
| | 01:27 | You are the best judge if the music
is too loud or too soft, and if your
| | 01:31 | ambiance is too loud and too soft.
| | 01:33 | I once worked with a producer that said
always have music at -20dB compared to
| | 01:38 | our audio, and that was a
completely wrong way of looking at sound.
| | 01:42 | Depending on the frequency of the music,
if it's higher frequency, it's going to
| | 01:46 | punch through more, and if it's lower
frequency, it's going to kind of get
| | 01:50 | buried in the mix, and your
narrator's voice and those folks who are being
| | 01:54 | interviewed, depending on if they are a
very strong voice or a very light voice,
| | 01:59 | will determine how loud or how
soft you need to make the music.
| | 02:02 | Another thing to keep in mind is don't
get really great speakers and don't get
| | 02:07 | really poor speakers.
| | 02:08 | You want to get a middle-of-the-road
set of speakers, because you want to hear
| | 02:11 | how it's going to sound in
your viewer's environment.
| | 02:14 | If your viewers are going to be
listening to it on a computer, you are going
| | 02:17 | to mix it one way.
| | 02:18 | If they are going to be watching in a
home theater, another, and in a real
| | 02:21 | theater, you might want to
mix it a little bit differently.
| | 02:24 | Now before we can start mixing in
the timeline, we need to turn on one
| | 02:28 | more overlay.
| | 02:29 | If you go to the lower left hand corner
of your timeline, you'll see something
| | 02:33 | that looks a little bit like a mountain range.
| | 02:35 | This is the toggle clips overlays
button, and you can also get to this by
| | 02:39 | simply pressing Option+W.
| | 02:41 | Now when you click on this button,
you'll notice there is a red bar in the
| | 02:45 | middle of all of our audio clips.
| | 02:47 | This red bar is very much like the red
bar that you saw in the viewer window.
| | 02:50 | As a matter of fact, it's a
direct reflection of that.
| | 02:53 | And if I adjusted this in the timeline,
you would see it adjust in the viewer.
| | 02:57 | It's kind of like a three way light switch.
| | 02:59 | I can flick it on one end of the hall,
and turn it off with the other end of
| | 03:02 | the hall.
| | 03:03 | As a matter of fact, let's
take a look at this in practice.
| | 03:06 | I am going to double-click on our
first clip in the timeline, our first audio
| | 03:10 | file, and load it into the viewer.
| | 03:12 | If I go ahead and I move this from
-10 to say -20, take a look at what
| | 03:16 | happens in my timeline.
| | 03:19 | It goes lower.
| | 03:20 | Let's go ahead and undo that,
because our levels are pretty good.
| | 03:23 | The reason we want to have clip overlays
turned-on in our timeline, it allows us
| | 03:28 | to adjust your audio in the
timeline compared to the other clips.
| | 03:32 | And what we are going to do here
is something called keyframing.
| | 03:36 | We are going to tell Final Cut when
the audio should be louder, and when the
| | 03:39 | audio should be softer, and to do this
we need to add points to our timeline.
| | 03:44 | Now the way you can do this is you
could go over to the Tool palette and click
| | 03:48 | on the Pen tool and then go over here
to your timeline and click and wherever
| | 03:52 | you click, you're going to be putting
in little keyframe points that you can
| | 03:55 | make your volume louder or softer.
| | 03:58 | We'll explore that more in just a moment.
| | 04:00 | The problem with doing this is if you
forget to switch back to your selection
| | 04:04 | tool, every time you would click on
the timeline, you are going to create all
| | 04:08 | this little dots that you don't want.
| | 04:10 | Let me go ahead and remove the
keyframes that I put in my timeline, and I'm
| | 04:13 | going to show you another very useful technique.
| | 04:16 | If you have modified your audio, and
you don't like what you have done, and
| | 04:20 | as you notice, this is the three way
light switch, the dots I put down here
| | 04:24 | are reflected up here.
| | 04:26 | But I want to reset all of these.
| | 04:28 | And there is a Reset button in Final Cut Pro.
| | 04:30 | As a matter of fact, anytime you see a
red X, whether it's here in the viewer,
| | 04:35 | in the motion tab, or transition tab,
or filter tabs, which we are going to
| | 04:39 | learn about shortly, you can
reset it back to its default settings.
| | 04:43 | Simply click on the Reset
button, and you're good to go.
| | 04:46 | Now what else happened here?
| | 04:48 | Well, I noticed that I did reset my
keyframes, but I also reset my levels.
| | 04:52 | So let's go ahead and pull it down
to where it was, which was about -10.
| | 04:55 | Before we worked with the slider, here
I'm going to use numerical entry to get
| | 05:00 | us back to where we were, -10, hit
Return, and now my level is perfect.
| | 05:06 | Now I promise to show you a trick that
you can use so you didn't have to select
| | 05:09 | the Pen tool and here it is.
| | 05:12 | I'm going to go ahead and make my
track height a little bit larger, so you
| | 05:15 | can see what I'm doing.
| | 05:16 | We learned this earlier, and the
keyboard shortcut for that is Shift+T to cycle
| | 05:21 | between the different track heights.
| | 05:22 | I'm going to just click it twice,
so let's make this window active.
| | 05:26 | We click on the timeline,
Shift+T and Shift+T again.
| | 05:29 | Now we have a really big waveform
that we can work with, and I want to put
| | 05:33 | my keyframes in.
| | 05:34 | To put my keyframes in, I simply hold
down the Option key, and now when my mouse
| | 05:39 | hovers over that little green
line, I can put a keyframe in.
| | 05:43 | So I want to bring the music down,
right where the narrator starts talking, and
| | 05:47 | I can see that visually now with my waveforms.
| | 05:49 | So I'm going to hold down the Option
key, put one keyframe in, and put a
| | 05:54 | second keyframe in.
| | 05:55 | You always need to two keyframes if
you want to break a line, and now I can
| | 05:59 | simply bring the music down a
little bit and make it softer when the
| | 06:03 | narrator starts talking.
| | 06:04 | Let's take a listen and see how it sounds.
| | 06:06 | (Music playing)
| | 06:11 | (Narrator: It's the most unforgiving place on Earth.)
| | 06:14 | Well, I definitely brought the music
under, but I probably brought it a little
| | 06:18 | too far under, and I really can't hear it.
| | 06:20 | So let's go ahead and we can slowly bring it up.
| | 06:23 | (Narrator: It's the Sahara Desert.)
| | 06:26 | And that's really what
audio mixing is all about.
| | 06:28 | It's tweaking your audio and listening
to it, over and over again so the mix
| | 06:33 | sound is just right to you.
| | 06:35 | So once I get this audio to the level
I like, I may want to bring my audio
| | 06:39 | levels up when the
narrator pauses from speaking.
| | 06:42 | I'm going to hold down my Option key,
click here to put in one keyframe, a
| | 06:47 | second keyframe, and I'm going to
actually add a third and a fourth, because
| | 06:51 | now I can grab the middle section and
bring the audio levels up while he takes
| | 06:56 | the breathe.
| | 06:57 | Let's go ahead and play that back.
| | 06:58 | (Narrator: A vast wilderness. It's the Sahara Desert.)
| | 07:05 | (Narrator: With people and cultures
as unpredictable as the landscape.)
| | 07:09 | Well, there you go.
| | 07:11 | That's the basic concept of keyframing
audio, and now, I'm going to go to my
| | 07:15 | entire timeline and bring the music
down when my talent speaks, and I'm also
| | 07:19 | going to work with my ambiance track,
because I want to hear how that ambiance
| | 07:23 | sound sounds in relationship
to the music and the narrator.
| | 07:27 | I'm going to hit Shift+T a couple of
times to get my track height back to the
| | 07:30 | default settings, and I'm
going to start mixing my audio.
| | Collapse this transcript |
| Fading audio| 00:00 | Well at this point, we
have a nice basic audio mix.
| | 00:03 | But I did notice something once I
docked the music on to the interviews.
| | 00:07 | I had a couple of pops at the
beginning and the end of these clips because we
| | 00:10 | cut them a little bit fat into our timeline.
| | 00:13 | So I'm starting to hear the next
sentence that each of the interviewees were saying.
| | 00:16 | Let's take a closer listen.
| | 00:18 | Now to zoom into the Timeline, on just
the interviews, we are going to use a
| | 00:21 | technique that we learned in an earlier lesson.
| | 00:24 | Instead of hitting Shift+Z, I'm
going to hit Shift+Option+Z and that will
| | 00:28 | zoom me into selection.
| | 00:30 | And now I can work
specifically with these three audio files.
| | 00:33 | I also want to make my track
height a little bit higher.
| | 00:35 | So I'm going to press Shift+T. Before
we listen to these three clips, what
| | 00:41 | I want to do is I want to isolate
them from everything else going on in the Timeline.
| | 00:44 | So I'm going to show you another key
part of the Timeline interface that will help you.
| | 00:48 | If you go to the bottom left-hand
corner of the interface, you will see a
| | 00:51 | small speaker button.
| | 00:52 | This is called Audio Controls.
| | 00:54 | If you click on that, it
reveals a new set of buttons.
| | 00:57 | And what these buttons allow you to do
are two things, it allows you to either
| | 01:01 | mute a track or to solo a track.
| | 01:03 | As if you don't want to hear a track to
mute it or if you just want to hear that
| | 01:07 | track as if you are
listening through headphones.
| | 01:09 | This is a great way to isolate my
narration by soloing just those tracks.
| | 01:14 | Now you may be asking yourself what's
the difference between clicking here, or
| | 01:18 | just turning off the tracks completely?
| | 01:20 | Well there is a big difference, because
if you play with muting and soloing and
| | 01:24 | you then export it back to a tape or to
a digital file, it doesn't matter if the
| | 01:28 | track is muted or soloed.
| | 01:30 | It will still play out.
| | 01:31 | But if you turn off the track,
making it inaudible, whenever you print a
| | 01:35 | video, or export a digital file, if
that track is muted, it doesn't come out on the tape.
| | 01:40 | It doesn't come out in the file.
| | 01:42 | So you have to be very careful with
turning the audible button on or off.
| | 01:46 | Let's use our Mute and Solo
buttons to isolate our interview tracks.
| | 01:52 | I'm going to go ahead and play this and
you will notice we don't hear anything
| | 01:55 | but the people speaking.
| | 01:56 | (Male Speaker 1: Running 50 miles a day. It's the challenge,
it's going the distance. It's just pushing...)
| | 02:02 | (Male Speaker 2: Actually, it's never been done.
No one's ever run that far in that period of time.)
| | 02:06 | (Male Speaker 3: That will be tough.
It's a mental thing.)
| | 02:10 | So each of these sound bites need to be
cleaned up a little and the middle one
| | 02:13 | needs to be cleaned up both
at the beginning and the end.
| | 02:16 | And we are going to fix
these three different ways.
| | 02:19 | Let's go over to the very first clip.
| | 02:21 | I'm going to use the Up Arrow to simply
step back to that first edit point and
| | 02:26 | let's load it into the Viewer so
we can start adjusting its levels.
| | 02:30 | To load it into the Viewer,
once again, double-click on it.
| | 02:33 | So what we want to do here is we
want to keyframe out the very last few
| | 02:36 | frames of this clip.
| | 02:37 | So I'm going to move my cursor over
to where he finishes and let's listen.
| | 02:41 | (Male Speaker 1: ...the distance. It's just the push.)
| | 02:43 | It's just the push.
| | 02:44 | It's this area here that we want to cut out.
| | 02:46 | I simply hold down the Option key, click
here to create one keyframe, click here
| | 02:51 | again to create a second keyframe,
and then I can bring this down.
| | 02:54 | Let's go ahead and listen to that.
| | 02:55 | (Male Speaker 1: ...going the distance.)
| | 02:57 | Perfect, going the distance.
I don't hear the rest of the words.
| | 03:00 | So that one is done and as a matter of
fact, you will notice, because you fixed
| | 03:03 | it in the Viewer, it's
already done in the Timeline.
| | 03:06 | Let's go ahead and listen
to our second interview.
| | 03:08 | (Male Speaker 2: Actually, it's never been done.
No one's ever run that far in that period...)
| | 03:13 | So I have a pop at the beginning and the end.
| | 03:15 | This time, instead of fixing it in
the Viewer, though I'll load it in the
| | 03:18 | Viewer, I'm going to fix it in the
Timeline because a lot of times that's a lot quicker.
| | 03:22 | I'm going to hold down the Option
key and I'm going to put a couple of keyframes in.
| | 03:26 | There is one.
| | 03:27 | You know something?
| | 03:28 | I think I need to zoom in
to get a little more space.
| | 03:31 | So let me move my playhead where I want.
| | 03:33 | I'm going to deselect the clips
and go Command+Plus+Plus+Plus. There we go.
| | 03:39 | Now I can jump to the beginning of the
clip and very easily put another keyframe
| | 03:42 | in and bring it down.
| | 03:44 | So now we have a lot smoother
fading up as he starts to talk.
| | 03:48 | Let's go ahead and test that.
| | 03:49 | (Male Speaker 2: Actually, it's never been done.)
| | 03:51 | That's pretty nice.
| | 03:52 | Actually even a little bit hard, so I'm
going to go ahead, add a second keyframe
| | 03:57 | and tweak that down a little bit, and
move that over and once again, let's go to
| | 04:03 | the head of that clip and hit Play.
| | 04:05 | (Male Speaker 2: Actually, it's never
been done. No one's ever run that...)
| | 04:08 | That works for me.
| | 04:09 | Now let's go to the end of the clip
and I'm putting keyframes to bring the audio out.
| | 04:13 | (Male Speaker 2: ...that far in that period...)
| | 04:16 | That far.
| | 04:18 | So we get to the 'that far,' hit
Option-click-click, bring it down and see how it works.
| | 04:26 | (Male Speaker 2: ...ever run that far...)
| | 04:28 | It's a little bit tight.
| | 04:29 | But the nice thing about working with
audio and let's zoom in a little bit to
| | 04:32 | give us a little more detail is I can go
ahead and I can stretch this and listen
| | 04:37 | to it and stretch it and
listen to it, add little more.
| | 04:43 | When working with detailed audio,
this is a good time to turn snapping off
| | 04:48 | because a lot of time you really want
that fine-tune control where you are
| | 04:51 | moving things one frame at a time.
| | 04:53 | I'm going to turn snapping off by
simply pressing the N key and now I can
| | 04:58 | drag it nice and smooth.
| | 05:00 | It doesn't pop anywhere.
| | 05:01 | I'll go ahead and I'll hit Play.
| | 05:03 | (Male Speaker 2: ...that far...)
| | 05:04 | That's works perfectly for me.
| | 05:06 | Let's go ahead, zoom
back and fix our final clip.
| | 05:08 | Now the final clip, we
want to fix a different way.
| | 05:12 | Instead of keyframing down the volume,
we are going to add a fade and I can do
| | 05:16 | that very simply by right-clicking
at the end of the clip, and say
| | 05:21 | Add Transition Cross Fade.
| | 05:22 | Now let's go ahead and play that.
| | 05:24 | (Male Speaker 3: It's a mental thing.)
| | 05:26 | Well it does get rid of the extra word
but the fade is so slow that actually he
| | 05:31 | is fading out of his initial sentence.
| | 05:33 | So I need to shorten that.
| | 05:34 | To shorten that, I can simply right
-click on it and select Duration.
| | 05:38 | By default, it was one second.
| | 05:40 | I think about 10 frames
would be a little more accurate.
| | 05:42 | So I'm going to go ahead and
just type in 10, and hit Return.
| | 05:46 | Press OK and let's take a listen.
| | 05:48 | (Male Speaker 3: It's a mental thing.)
| | 05:50 | Works much better.
| | 05:52 | Let's go ahead and listen to
all three with the music back on.
| | 05:55 | So I'm going to go over here, change my
selection and let's play and see how our
| | 06:01 | interviews sound in context
of the rest of the sound track.
| | 06:04 | (Male Speaker 1: Running 50 miles a day.
It's the challenge, it's going the distance.)
| | 06:10 | (Male Speaker 2: Actually, it's never been done.
No one's ever run that far.)
| | 06:14 | (Male Speaker 3: That will be tough.
It's a mental thing.)
| | 06:18 | (Narrator: Image running...)
| | 06:19 | Using fades are a great way to smooth out audio.
| | Collapse this transcript |
| Adjusting the audio mix on the fly| 00:00 | A lot of times when you are editing
audio it's useful to be able to do it on the
| | 00:04 | fly and there is a couple of great
keyboard shortcuts that allow you to increase
| | 00:08 | or decrease your decibel
level as you playback your clips.
| | 00:12 | So let's go ahead and put them into play.
| | 00:14 | The firs thing you want to do is you
want to pick the clip that you want
| | 00:16 | to adjust on the fly.
| | 00:18 | We are going to work here with our music,
and I'm going to zoom in a little bit,
| | 00:21 | Shift+Option+Z, so we can see
exactly the clip we are working with.
| | 00:24 | We are also going to change the track
height, to the next level by hitting
| | 00:27 | Shift+T. So what we want to do is we
are going to put the playhead at the
| | 00:31 | beginning of the clip and while I
play it, I'm going to use one of two sets
| | 00:35 | of keyboard shortcuts.
| | 00:37 | You can use Ctrl+Plus and minus and
this will move the volume level or the
| | 00:41 | decibel level up one tick at a
time or one decibel point at a time.
| | 00:46 | If you want to make a bigger change,
you can hit Ctrl+Left Bracket and Right
| | 00:50 | Bracket which is directly below the
Plus key and this will move it up 3 dB
| | 00:55 | or down 3 dB.
| | 00:57 | Let's see how this works in practice.
| | 00:58 | I'm going to hit the Spacebar.
| | 01:00 | Now watch, Ctrl+Plus,
| | 01:03 | moves it up 1 dB at a time. Ctrl+
Minus moves it down 1 dB at a time.
| | 01:08 | (Male speaker: It's the most unforgettable...)
| | 01:09 | Ctrl+Right Bracket, you
see a much bigger jump, 3 dB.
| | 01:13 | Ctrl+Left bracket, we are jumping
down three decibel levels at time.
| | 01:19 | So this is really useful, I can
watch my meters while I'm playing back.
| | 01:24 | Now there is a new feature in Final Cut
Pro 7 that allows me to raise my levels
| | 01:28 | just between keyframes.
| | 01:30 | If you notice, I was actually moving
the entire waveform up or down 3 dB.
| | 01:34 | But what if I wanted to just move the
part with the narrator speaking down
| | 01:39 | or up?
| | 01:40 | This is how you need to do it.
| | 01:42 | We need to go back to the skills that
we have learned about creating buttons
| | 01:45 | and keyboard shortcuts.
| | 01:46 | So we are going to go over to the Tools
menu, and we are going to go ahead and
| | 01:49 | open up Keyboard Layout, and Customize.
| | 01:53 | The first thing you want to do when
changing the keyboard is to unlock it.
| | 01:57 | Now we are going to type in the word
gain and you will see that we actually
| | 02:00 | have two audio choices.
| | 02:02 | The Gain controls that we already know
about, Ctrl+Left and Right Bracket, as
| | 02:06 | well as Ctrl+Plus and Minus and the new ones.
| | 02:08 | Now I want to assign these
to something very similar.
| | 02:11 | So I'm going to go down to my window.
| | 02:13 | I know Ctrl was the modifier key
that I have used before but obviously
| | 02:17 | that's used.
| | 02:18 | So if I use Ctrl and Shift, my brackets
are free and my plus and minus are free.
| | 02:23 | So let's go ahead and assign a
keyboard shortcut to all of these elements.
| | 02:27 | Minus 3 will go to Left Bracket, plus
3 will go to Right Bracket, plus 1 will
| | 02:33 | go to where the equal or the plus sign
in is and minus 1 will go over here to
| | 02:39 | where the minus is.
| | 02:40 | Once this is done, I'll close my
window and let's put these keyboard
| | 02:43 | shortcuts into play.
| | 02:45 | I'm going to move my playhead back to
before the keyframe and then when I hit Play,
| | 02:49 | watch what happens when I
press Ctrl+Shift+Right Bracket.
| | 02:53 | (Male speaker: It's the most unforgiving place on Earth.)
| | 02:59 | And only the area between
the two keyframes has changed.
| | 03:02 | This is a great new feature of Final Cut Pro 7.
| | Collapse this transcript |
| Using the Audio Mixer tool| 00:00 | Now we are going to look at the audio
mixing tool, another way to do real-time
| | 00:04 | audio mixing in Final Cut Pro.
| | 00:07 | Now the first thing I want to do before
we even get into the audio mixing tool
| | 00:10 | is to reset my audio.
| | 00:11 | I have been playing with this for
while, I don't like what I have done, I'm
| | 00:14 | simply going to double-click to load
it in the Viewer, hit the red x Reset
| | 00:19 | button and we are ready to go.
| | 00:21 | Now to use the audio mixing tool, you
need to change your window arrangement.
| | 00:24 | We are going to go up onto Window >
Arrange > Audio Mixing and select this.
| | 00:29 | Now when you select this, you
will notice that everything is
| | 00:32 | rotated counterclockwise.
| | 00:34 | So your browser is now on your lower
left-hand corner, your Viewer is on the
| | 00:37 | upper left-hand corner, your canvas is
in the middle and you have a new window
| | 00:41 | in the upper right-hand
corner called the Audio Mixer.
| | 00:44 | And as you can see, it's a series of
sliders much like you would see in a
| | 00:48 | physical audio mixing board.
| | 00:50 | As a matter of fact, if you want, you
can plug-in a USB audio mixing board or a
| | 00:55 | FireWire Audio Mixing Board and
Final Cut can recognize that and you can
| | 00:59 | actually use all ten fingers to mix at once.
| | 01:02 | In this environment, we are going to
use our mouse to control the Mixer.
| | 01:05 | The first thing you need to do before
you start mixing audio is to remember
| | 01:09 | to turn the Mixer on.
| | 01:10 | That's the button in the upper
right-hand corner of the screen.
| | 01:13 | Green is on, gray is off.
| | 01:16 | Once the Mixer is on, we are going to
go, move our playhead to the beginning
| | 01:20 | and simply hit Play.
| | 01:21 | Now as I play my video, I can actually
ride my levels and Final Cut is going to
| | 01:26 | record each of my mouse moves.
| | 01:29 | (Music playing.)
| | 01:31 | So I want to start my
audio at a nice high level.
| | 01:34 | I see the narrator is about to start
speaking, so I'm going to start bringing it down.
| | 01:37 | (Male speaker: ...most unforgiving place.)
| | 01:38 | I listen to him speak.
| | 01:40 | (Male speaker: Over 3.5 million square miles.)
| | 01:43 | Let me bring it up a little bit here.
| | 01:44 | (Male speaker: Of vast wilderness. It's the Sahara Desert.)
| | 01:47 | I am going to bring it up a lot
at this point and back down again.
| | 01:51 | (Male speaker: ...cultures as unpredictable as the land...)
| | 01:53 | And as soon as I pause my playback,
you will notice that I have all my
| | 01:57 | keyframes in my Timeline.
| | 01:59 | Let me go ahead and hit Shift+T to
make this a little taller, so you can
| | 02:02 | actually see the keyframing.
| | 02:04 | You also see it reflected here in the Viewer.
| | 02:07 | If I didn't like the way I mix this the
first time, all I have to do is move the
| | 02:10 | playhead to the beginning
where I want to make the change.
| | 02:13 | So we'll do that maybe right here, hit
the spacebar to start playback and start
| | 02:18 | mixing from that point on.
| | 02:19 | (Male Speaker: It's the Sahara Desert.)
| | 02:23 | (Male Speaker: With people and cultures
as unpredictable as the landscape.)
| | 02:28 | I am going to go ahead and hit Stop and
notice it is now updated with my new settings.
| | 02:33 | In addition to being able to work
with all my audio levels, I can also
| | 02:37 | automate my panning.
| | 02:39 | I can move things to the left
speaker, to the right speaker, or between
| | 02:42 | two speakers.
| | 02:43 | I can also use my Mute and Solo
buttons as well as use the Master slider.
| | 02:48 | Now a great use of the Master slider
is that if I recorded everything to say
| | 02:53 | minus 12 dB and the producer comes back
and says our mistake, we really needed
| | 02:58 | the entire show at minus 6 dB, I can
simply grab the Master slider and bring it
| | 03:03 | up 6 dB and the level for my entire
show moves up and all my keyframes remain.
| | 03:09 | As you can see, Final Cut Pro's
audio mixing tool is a great way to work
| | 03:14 | with audio on the fly.
| | Collapse this transcript |
|
|
7. MarkersInserting markers| 00:00 | Working with Markers can really
increase your efficiency, whether you are
| | 00:03 | working alone or in a team environment.
| | 00:06 | Now, for some of you, you may be going,
what is a Marker and why do I want
| | 00:09 | to use it?
| | 00:10 | Well a Marker is simply a way that you
can write a note to yourself when you
| | 00:14 | are editing or you can leave a note if
you are going to be handing the project
| | 00:17 | off to another editor.
| | 00:18 | So let's go ahead and make a Marker.
| | 00:21 | The first thing I'll do is I'll play
it in my timeline and I'll pick a spot
| | 00:24 | where I want to put a Marker.
| | 00:25 | Now, in this case, I want to write a
note to myself that says I really love this
| | 00:29 | shot, but it just doesn't color
match the rest of the shots in my show.
| | 00:33 | So perhaps I want to color
correct it or put a Color Tint on it.
| | 00:36 | So to put a Marker in, I simply hit the M key.
| | 00:40 | When I hit the M key, it creates a
Marker and if I now want to modify this
| | 00:43 | Marker, I would hit the M key
again and it opens up a dialog box.
| | 00:48 | In this dialog box, I can write a note
to myself and that can be as simple as
| | 00:52 | 'change color' and then maybe
even a Comment, 'maybe a gold tint'.
| | 00:59 | As soon as I hit the OK key, what you
will see is the note that I have to myself
| | 01:04 | and now I can go on and keep editing.
| | 01:06 | Now, let's look at the
Marker in a little more detail.
| | 01:09 | If I go ahead and open this up, and I'm
going to press the M key again, you will
| | 01:13 | notice that in the bottom third of your
screen, there are buttons to Add Chapter
| | 01:16 | Marker, Add Compression
Marker, and Add Scoring Marker.
| | 01:18 | Well, what these do is if you click on
them, it will add a Marker, so that when
| | 01:22 | you export it to another program in
the case of Chapters to DVD Studio Pro,
| | 01:27 | iDVD or even QuickTime, it will notate
all your Chapters when you open them up
| | 01:31 | in that program.
| | 01:32 | A Compression Marker is simply saying
there is a lot of fast motion here when
| | 01:36 | you make it a smaller file.
| | 01:38 | I want you to put a little flag
and compress it a little bit better.
| | 01:42 | Finally, a Scoring Marker is just a
note for when you send it to Soundtrack
| | 01:45 | Pro, so when the Composer opens it up
in Soundtrack Pro, they have all the
| | 01:50 | notes for way you may want music to dip,
you may want a certain sound effect,
| | 01:54 | or a certain type of music.
| | 01:55 | There is one more text entry box
that I want to address here and that
| | 01:59 | is Duration.
| | 02:00 | By default a Marker exists for
only one frame in your time line.
| | 02:04 | But if I wanted to make the note a
little bit longer a little bit easier to see,
| | 02:07 | I could change this number.
| | 02:08 | I am going to go ahead and make this
one second long, and you will notice now,
| | 02:11 | when I press OK, the Marker will
now have a duration in the Timeline.
| | 02:15 | Now, a great thing about Markers is I
can watch my show and put in Markers on
| | 02:20 | the fly by simply tapping the M key,
and then go back and change them with
| | 02:23 | the notes that I want.
| | 02:25 | Let's go ahead and put
some Markers in on the fly.
| | 02:29 | Every time I hit the M key,
I'm writing a note to myself.
| | 02:31 | Oh, I want to stabilize this shot,
make this shot a little more green, or we
| | 02:37 | are going to add an audio effect here,
and then as soon as I stop, I have all
| | 02:42 | my Markers, I could simply go back,
open them up by selecting them, and then
| | 02:47 | pressing the M key.
| | 02:48 | Now, I have just added a bunch of
Markers, Compression Marker Notes, Scoring
| | 02:53 | Marker Notes, Color Correction Notes.
| | 02:55 | Wouldn't it be great if I could see at
a glance which Markers were which when I
| | 02:58 | looked at my Timeline?
| | 03:00 | Well that's exactly what we are
going to cover in the next lesson.
| | Collapse this transcript |
| Types of markers| 00:00 | In the last lesson, we learned what
Markers were all about and created several
| | 00:04 | on our Timeline, but now I want to
specify what each Marker is going to be used for.
| | 00:08 | So we are going to once again open up
the Marker dialog box and last time we
| | 00:12 | opened it up by simply placing our
cursor on the Marker and hitting the M key.
| | 00:16 | Here is another great shortcut that you
can use to open up a Marker, simply hold
| | 00:20 | down your Command key and double-click
on whatever Marker you want to edit.
| | 00:24 | As I was laying these Markers in on the
fly, I was commenting what they would be
| | 00:28 | used for, Color Correction,
Fixing a shot, Adding a Title Graphic.
| | 00:32 | So in this case, let's go ahead and
modify this one and we wanted to say
| | 00:36 | 'enhance the greens'.
| | 00:40 | Now I want to change the color of the
Marker, so I know to Color Correct it.
| | 00:44 | I have decided that anytime a Marker
is Green, that's going to be a note to
| | 00:48 | myself that this needs to be Color Corrected.
| | 00:50 | So I simply click on the Green, I hit
OK, and as you see in my Timeline, that
| | 00:55 | Marker is now green.
| | 00:56 | Let me go ahead and play it so
you can see it a little bit more.
| | 00:59 | So there we go, every time I see a
Green Marker in my Timeline that says Color
| | 01:03 | Correct that shot, and I can go
through to each of my Markers and give them a
| | 01:06 | specific note or a specific color.
| | 01:08 | For instance, I talked
about stabilizing this shot.
| | 01:11 | So that's an EFX shot.
| | 01:13 | I'm going to once again hit
Command, double-click on the Marker.
| | 01:16 | I'm going to type a note to myself to
use the SmoothCam, and go ahead and change
| | 01:22 | that to an EFX shot by pressing the
Pink Marker, and I'll go ahead and hit OK.
| | 01:27 | Let's just do one more.
| | 01:29 | I want a chapter Marker right here, so
I'm going to again Command+Double-click,
| | 01:33 | and I want this to be a Chapter Marker.
| | 01:35 | So I click 'Add Chapter Marker'.
| | 01:38 | What you will notice is it automatically
has changed it to the appropriate color
| | 01:41 | for a Chapter Marker.
| | 01:43 | As a matter of fact, Chapter Markers
are always Purple, Compression Markers are
| | 01:47 | always Blue, and Scoring
Markers are always Orange.
| | 01:50 | It also added some text in the Comment
field, which is going to put a flag on
| | 01:54 | my Timeline, that this is going to
be a chapter when I export this out to
| | 01:58 | QuickTime or to a DVD.
| | 02:00 | I'm going to go ahead and hit OK.
| | 02:02 | Now, I know in my head, what the
different colors are going to used for.
| | 02:05 | But if I pass this program onto
another editor, they may have no idea.
| | 02:09 | I am going to go ahead and change our
Project Properties Preference and I get to
| | 02:14 | this under the Edit menu and
I go to Project Properties.
| | 02:18 | In Project Properties, I have a
little dialog box here that talks about
| | 02:21 | Marker Visibility, and instead of
having a Color here such as Red, I can change all these.
| | 02:27 | Let's go through and change some of
the key ones that we were working with.
| | 02:31 | First let's go down to Pink
and I know that's an EFX shot.
| | 02:35 | Purple I know is Chapters, Blue is
Compression, Orange is Scoring, and Green
| | 02:41 | is Color EFX.
| | 02:48 | I could go through and change all
of these, but for now this will work just fine.
| | 02:52 | I also want to point one more thing
out while we are in this dialog box.
| | 02:55 | If you start getting a lot of Markers
with a lot of different Colors in your
| | 02:59 | Timeline, it can be very confusing.
| | 03:01 | So going to the Project Properties
dialog, I can actually say hmm...
| | 03:05 | I don't want to see anything
that has a Red Marker in it.
| | 03:08 | And take a look when I uncheck
this what happens in my Timeline.
| | 03:11 | Those Markers disappear.
| | 03:12 | If I say I don't need to see the
Compression or Chapter Markers, I can
| | 03:16 | turn those off too.
| | 03:17 | So by going into Project Properties,
you can really control which Markers you
| | 03:21 | see in your Timeline and control any confusion.
| | 03:24 | I'll turn all of these back on for the
time being, because I want to show you
| | 03:27 | what happens now that we rename the Colors.
| | 03:30 | If I open up a Marker dialog box and
let's go back to the one that we are
| | 03:33 | already on, Command+Double-Click.
| | 03:35 | If I float my mouse over the
Markers, it tells me exactly what I have
| | 03:39 | assigned that Color to do.
| | 03:41 | So if I go over to green, I know
that's always a color EFX Marker.
| | 03:45 | Let's go ahead and close this dialog
box, because I want to show you one more
| | 03:48 | thing before you wrap this lesson.
| | 03:50 | You remember you can put Markers in
on the fly by simply hitting the M key while playing.
| | 03:55 | Well, you can actually put in each of
the different color Markers on the fly by
| | 03:59 | using a series of keyboard shortcuts,
and those would be Shift+1 through 8.
| | 04:03 | Let's go ahead and take
a look at how that works.
| | 04:05 | I am going to go ahead and hit the
Spacebar and let's go ahead and place some
| | 04:09 | colored Markers on our Timeline.
| | 04:11 | Shift+1 Red, Shift+2 Orange, Shift+3
Yellow, Shift+4 Green, Shift+5 Turquoise,
| | 04:19 | Shift+6 Blue, Shift+7 Purple and Shift+8 Pink.
| | 04:24 | By being able to put different colors
labels on your Marker, it's much easier
| | 04:28 | now to differentiate your notes.
| | Collapse this transcript |
| Moving and repositioning markers| 00:00 | Now, I put a lot of these Markers in
on the fly just as I was playing in
| | 00:03 | my Timeline.
| | 00:04 | How can I precisely relocate my
Markers or simply move them where I want them to be?
| | 00:09 | Well, there are several ways to do this.
| | 00:11 | The first way we are going
to look at is numerically.
| | 00:12 | So we are going to open up the Marker
by pressing the M key when parked on the
| | 00:16 | Marker, and I wanted to start instead
of at 01:00:10:18 frames, just right on
| | 00:22 | 10 seconds.
| | 00:23 | Now, one thing to note, if you are
going to change something numerically with
| | 00:25 | Markers, you do need to type the 1 hour in.
| | 00:28 | So let's go ahead and hit 01001000 and
then when I hit OK, you will see that my
| | 00:34 | Marker will move a little bit to the left.
| | 00:36 | So that's numerical entry and that's the
way people have been using Markers with
| | 00:39 | Final Cut Pro 1 through 6.
| | 00:41 | But you can now drag Markers in Final Cut Pro 7.
| | 00:43 | We are going to go over to the last
Marker in our Timeline, which is a Chapter
| | 00:47 | Marker and I decided instead of
starting the Chapter before the Pyramids, I
| | 00:51 | want to end the previous Chapter on
the Pyramid, and start with the new
| | 00:54 | Senegal, Aerial 2.
| | 00:56 | To move this Marker, all I have to do
is press the Command key, I can drag it
| | 01:01 | and put it exactly where
I wanted in my Timeline.
| | 01:03 | So Command+Dragging is a great new
feature in Final Cut Pro 7 to move
| | 01:07 | your Markers.
| | 01:08 | The third Marker that I want to work
with is this Marker that I just put in by
| | 01:12 | accident, and I want to delete it.
| | 01:14 | To delete this Marker, I don't have to
open up my Marker dialog box, and then
| | 01:18 | press the Delete key, I can simply
hold down the Command key, grab the Marker
| | 01:22 | that I want to remove, and drag
it down right off the time line.
| | 01:25 | Marker is gone.
| | 01:26 | The final thing I want to show you is I
have a situation where I actually have
| | 01:29 | two Markers on top of each other.
| | 01:31 | Now, this is actually very useful,
because Final Cut will show me both of those
| | 01:35 | Markers in my Canvas window at the same time.
| | 01:38 | If I open this up by hitting the M
key, you will notice the dialog box
| | 01:42 | looks almost the same.
| | 01:44 | But if you notice right here it's a
little different, instead of having the
| | 01:46 | name, we have the word
Choose and a drop-down window.
| | 01:50 | So I can easily modify each of my
Markers even though they are on top of
| | 01:52 | each other.
| | 01:53 | I am going to go ahead and move just
one of these Markers to show you how easy
| | 01:57 | it is to separate them.
| | 01:59 | I'm going to hold down the Command key,
click on the Marker, and move it a
| | 02:02 | little bit to the left.
| | 02:04 | As you see, repositioning or moving
Markers in Final Cut Pro 7 is easier than ever.
| | Collapse this transcript |
| Snapping markers to each other| 00:00 | Another great use of Markers is being
able to be very precise moving a video
| | 00:04 | event to match an audio event.
| | 00:06 | Such as shooting perhaps a basketball
tournament and you want the ball to go
| | 00:10 | through the hoop just as the music crescendos.
| | 00:13 | Well we are going to show you how you
can use Snapping and Markers to make
| | 00:17 | this happen.
| | 00:18 | Now, we have two sets of clips in our time line.
| | 00:20 | One was the runners hugging each other,
and the other was the narrator talking
| | 00:24 | about the unprecedented challenge.
| | 00:27 | So let's listen to the narration, and
I have already put Markers on the clips
| | 00:30 | that I want to sync up.
| | 00:31 | (Male speaker: In an unprecedented personal challenge,
three ultra runners, good friends...)
| | 00:38 | So it's more important for me to see
them hug, when I hear the narrator say
| | 00:42 | 'good friends' so I can use Markers to do this.
| | 00:45 | What I did is I simply loaded the clip
into the Viewer, found the precise point
| | 00:49 | where the narrator says 'good friends'
and I hit the M key to create a Marker.
| | 00:53 | I also did the same thing with the clip
where they are hugging, I found a good
| | 00:56 | hug and now I want to align these up.
| | 00:59 | To line this up in Final Cut Pro 7, I
simply grab the top clip, and drag it
| | 01:03 | and it will automatically create a
Snap point when the Markers are on top of
| | 01:07 | each other.
| | 01:08 | Let's go back and play it
and see what it looks like.
| | 01:10 | (Male speaker: ...challenge, three ultra runners,
good friends, test physical strength...)
| | 01:15 | I get the exact shot
happening with the exact sound bite.
| | 01:19 | Now, this was easy because the clips
are all by themselves in the Timeline.
| | 01:22 | A lot of times when you are working
in Final Cut Pro, you already have
| | 01:26 | everything in your Timeline and I can't
just grab and move this back and forth.
| | 01:30 | Take a look at this shot.
| | 01:31 | (Music playing.)
| | 01:34 | It would be great that she looks up,
just as I hear those drum sounds.
| | 01:38 | But if I try moving the clip just like
we did before, what I'm going to end up
| | 01:42 | doing is overwriting the clip
before and leaving a big gap afterwards.
| | 01:46 | Now of course, I could fix this.
| | 01:47 | But why do something in three
steps when I can do it in one?
| | 01:50 | Let me go ahead and undo that.
| | 01:52 | What I really want to do is perform a
Slip Edit and make sure that my Markers
| | 01:56 | line up on top of each other.
| | 01:57 | So the trick here is before I start
moving anything, I press the S key to switch
| | 02:02 | to the Slip Edit tool.
| | 02:04 | I put that directly on the Marker on top,
simply Slip it to the left and it all
| | 02:09 | lines up, because it simply moved my
in and my out point and let the Marker
| | 02:13 | sync up.
| | 02:14 | Let's go ahead, switch back to the
selection tool and watch the clip.
| | 02:17 | (Music playing.)
| | 02:21 | One of the beauties of Markers,
using them to sync picture with sound.
| | Collapse this transcript |
| Transcribing using markers| 00:00 | Transcribing narration or
interviews into Markers is really easy.
| | 00:04 | Let's take a look at how it is done.
| | 00:06 | First off, let's play our first
interview to see what happens.
| | 00:09 | (Male speaker: Running 50 miles a day,
it's the challenge, it's going to distance...)
| | 00:13 | Okay, so I want to get this narration
into my Marker and it is very easy to do.
| | 00:17 | The first thing I need to do is go
over to my Marker and open it up.
| | 00:20 | I'm going to simply put the
playhead on top of the Marker and
| | 00:23 | Command+Double-click and
we now have our window open.
| | 00:26 | So, the first thing I want to do
is I want to listen to what he says.
| | 00:29 | Now, to control Final Cut behind the
Edit Marker window, there is two keyboard
| | 00:33 | shortcuts that I use.
| | 00:35 | The first is Ctrl+Spacebar to play the
clip and I also will use Ctrl+Spacebar
| | 00:40 | to stop the clip.
| | 00:41 | If I need to jump back, if I
have missed what he says, I'll use
| | 00:44 | Ctrl+Command+Spacebar and that
jumps me back in the Timeline.
| | 00:48 | Let's go ahead and jump back in the
Timeline before he starts speaking,
| | 00:51 | Ctrl+Command+Spacebar and then I'm
going to start playing it and after I hear
| | 00:56 | each of the things he says I'll type them in.
| | 00:58 | So, Ctrl+Spacebar to start playback.
| | 01:00 | (Music playing.)
| | 01:01 | (Male speaker: Running 50 miles a day, it's the challenge...)
| | 01:04 | Running 50 miles a day.
| | 01:09 | Now I missed the second line while I was
listening to the first, so I'm going to
| | 01:13 | jump back again using Ctrl+Command+Spacebar.
| | 01:17 | Now, I'm going to play holding Ctrl+Spacebar.
| | 01:19 | (Male speaker: ...miles a day. it's the challenge...)
| | 01:23 | It's the challenge. ...it's going the distance.
| | 01:25 | Now, once I'm happy typing in the
interview information, I simply press OK.
| | 01:36 | Now, let's go back and take a look
at the Marker in the Timeline.
| | 01:38 | I'm going to simply drag my cursor over
it and as you see not only does it say
| | 01:42 | Interview Runner 1, but it also says
what he is saying. Running 50 miles a day.
| | 01:47 | It's the challenge.
...it's going the distance.
| | 01:50 | Transcribing into Markers, it's as easy as that.
| | Collapse this transcript |
| Navigating to markers| 00:00 | Now as you can see when you start
getting a lot of Markers in your Timeline
| | 00:04 | being able to get from one Marker to the
next Marker easily is pretty important.
| | 00:08 | So, there are three basic ways that
you can navigate through your Timeline
| | 00:11 | with Markers.
| | 00:12 | I'm going to hit the Home key, so we'll
be at the beginning of our Timeline and
| | 00:15 | what I want to do is show you the first
keyboard shortcut which is how do I jump
| | 00:18 | forwards or backwards to the
next or the previous Marker.
| | 00:22 | If you hold down the Shift key and
press M, Final Cut Pro will jump forward to
| | 00:27 | the next Marker in the Timeline.
| | 00:29 | If I hold down the Option key, Final
Cut will jump backwards to each Marker
| | 00:33 | in the Timeline.
| | 00:34 | Now, that's nice to get from
one Marker to the next Marker.
| | 00:37 | But what if I want to find a
note that I made in my Timeline?
| | 00:40 | I jump way to the end of my show.
| | 00:41 | It is as easy as right-clicking
in the Timeline and looking at your
| | 00:45 | drop-down menu.
| | 00:46 | You will actually see a list at the
bottom of this drop-down menu that shows you
| | 00:50 | all the Markers that you have in your program.
| | 00:53 | And I can say I need to quickly
jump to Interview 2 to find out what he
| | 00:56 | is saying.
| | 00:57 | I click on that.
| | 00:58 | It jumps me to that Marker
and I can go ahead and hit play.
| | 01:02 | Let's press the Home key.
| | 01:04 | The next thing I want to do is I
want to be able to search Markers.
| | 01:07 | I simply press the Command+F key
to open up the Find dialog box.
| | 01:11 | Now, the first thing I want to find
is which interview did the runner say
| | 01:14 | the words, distance.
| | 01:16 | So, I'm going to type in
distance, and press Find.
| | 01:19 | I immediately jump to the Marker where
I have transcribed it and he actually
| | 01:23 | said the words 'it's the challenge
going the distance.' So, Final Cut can find
| | 01:26 | information in both the
header and the comment box.
| | 01:30 | Now let's say I want to find the
shot that required Color correction.
| | 01:33 | I hit Command+F again for Find,
this time I'll type in color.
| | 01:37 | When I hit Return, it jumps me to the
next shot that needs Color correction.
| | 01:41 | As you see, getting from one Marker to
the next or getting to the precise Marker
| | 01:45 | that you want to is really easy.
| | Collapse this transcript |
| Ripple-deleting markers| 00:00 | One of my favorite new features of
Final Cut Pro 7 is the fact that I can now
| | 00:04 | Ripple Delete and have my Markers move.
| | 00:07 | In previous versions, if you Ripple
Deleted, the Markers stayed in the
| | 00:10 | same place.
| | 00:11 | Now, let's say I needed to
remove a clip from my Timeline.
| | 00:14 | I'm going to go ahead and hit play.
| | 00:15 | (Male speaker: ...the landscape.)
| | 00:18 | Now we have this great pause here
where we see the pyramids, but the producer
| | 00:21 | came in and said, you know something?
| | 00:23 | I don't want that shot in my show.
| | 00:24 | Take it out, close the space.
| | 00:26 | In previous versions this would
completely mess up all of my Markers in
| | 00:30 | my Timeline.
| | 00:31 | But now, if I click on this clip and
I do a Ripple Delete, which is either
| | 00:35 | Shift+Delete or the Forward Delete key.
| | 00:38 | As I close this, everything moves down,
even my chapter Marker is now spot-on.
| | 00:42 | I am going to go ahead and undo this
because you don't have to have Ripple
| | 00:46 | Delete on all the time.
| | 00:48 | As a matter of fact there may be times
when you don't want your Markers to move
| | 00:52 | as you Ripple Delete an
element from your Timeline.
| | 00:54 | And to turn it off, we'll click on
the Ripple Sequence Markers button.
| | 00:58 | And now when I perform a Ripple Delete,
my Markers stay exactly where they were.
| | 01:03 | Most of time, you will want to have that on.
| | 01:05 | Let me undo and I'll Ripple
Delete with the Forward Delete key.
| | 01:09 | As you can see having your Markers
move when you perform a Ripple Delete can
| | 01:14 | save you a lot of
headaches when you are editing.
| | Collapse this transcript |
| Subclipping using markers| 00:00 | We have already learned about
Subclipping in a previous lesson, but Subclipping
| | 00:04 | using Markers is extremely fast and efficient.
| | 00:06 | Let's take a look at how it is done.
| | 00:08 | The first thing we want to do is load
the clip that we want to Subclip from our
| | 00:12 | browser into the Viewer.
| | 00:14 | And if I scrub through this clip, I
have a variety of different hugs as the
| | 00:17 | different runners meet each other.
| | 00:19 | So, I want to be able to break
these up into individual clips.
| | 00:22 | It is as easy as scrubbing through and
every time there is a hug that I want to
| | 00:26 | isolate, I simply press
the M key to create a Marker.
| | 00:29 | And I'm going to go through and grab
each of the hugs right before they hug
| | 00:32 | with the M key.
| | 00:33 | You will notice in my browser that
there is a disclosure triangle next to the
| | 00:41 | clip, and underneath that clip you can
see the different Markers that I added.
| | 00:45 | If I click on any of these Markers, it
loads just that section of the clip into
| | 00:50 | my Viewer from that Marker to
the beginning of the next Marker.
| | 00:54 | Now, if I wanted to I can re-label
any of these Markers by clicking it
| | 00:57 | and changing its name.
| | 00:58 | So, we are going to call this one hand clap.
| | 01:02 | We are going to leave the other
ones labeled Marker for the time being.
| | 01:04 | Now, if I want to turn these
into Subclips, it is really cool.
| | 01:08 | But be careful.
| | 01:09 | Don't blink, because it can happen pretty fast.
| | 01:11 | All I need to do is lasso the Markers
and grab them and drag them over into
| | 01:15 | another area of my browser.
| | 01:17 | I have already made a Subclips folder
just to keep things organized, but watch
| | 01:20 | what happens when I let go.
| | 01:22 | I now have five Subclips based upon the
original Markers in the movie, and I can
| | 01:26 | click on anyone of these
to load them in the Viewer.
| | 01:29 | And I can work with them just like
any other Subclip that I created.
| | 01:33 | Now, this was a rather short clip only
about 17 seconds, but it was still an
| | 01:37 | efficient way to break it up.
| | 01:39 | I have been in situations where I have
got an entire 20 or 30 minute tape as a
| | 01:43 | single clip given to me.
| | 01:45 | Being able to quickly scrub through it,
put in Markers, and turn them into
| | 01:48 | Subclips has saved me hours and hours of time.
| | Collapse this transcript |
| Exporting markers| 00:00 | If you use Markers a lot, you have
probably put a lot of hard work into your
| | 00:04 | notes and details as
well as your transcriptions.
| | 00:06 | And being able to export this
information to a spreadsheet is incredibly useful.
| | 00:11 | Well, a new feature in Final Cut Pro 7,
allows you to export all your Marker
| | 00:15 | information to a Tab Delineated file.
| | 00:17 | To do that make sure that you have
your sequence selected, go up under File >
| | 00:22 | Export > Markers List as Text.
| | 00:26 | By default it will export All
Markers, but take a note I could export
| | 00:30 | just Visible Markers.
| | 00:31 | So, if I had turned off some of the
Markers in my Project Properties, I can
| | 00:34 | export just the ones I wanted.
| | 00:36 | I can export just my DVD Studio Pro
Markers, just Chapter Markers, our
| | 00:40 | Compression Markers, or Scoring Markers.
| | 00:43 | In this case, let's export All Markers.
| | 00:45 | I simply hit Save, so now I'm going
to hide Final Cut Pro by simply hitting
| | 00:50 | Command+H and there is Running with
the Sahara (Markers List) on my Desktop.
| | 00:55 | I'm going to drop this onto Apple
Numbers Application, and it will open up in a
| | 01:00 | spreadsheet and I have all the
information that I had in my Markers.
| | 01:03 | And I'm going to simply stretch this
column out, I have all the information from
| | 01:06 | my Marker names, and under
Comment I have all my transcriptions.
| | 01:11 | This is an incredibly useful file for
not only you, but for everybody else
| | 01:16 | on your editing team.
| | Collapse this transcript |
|
|
8. Modifying SpeedFit to fill| 00:00 | Changing the speed of a clip is
something you'll do frequently as an editor.
| | 00:03 | And with Final Cut Pro there are
several ways to achieve this goal.
| | 00:07 | The footage that we are working with
over the next few lessons, will be a web
| | 00:10 | promo piece that our producers are
having us put together and they have given
| | 00:13 | us notes in the form of markers to
the changes that they want to make the
| | 00:17 | program ready for the web.
| | 00:19 | So let's take a look at some of
the things that they want to do.
| | 00:21 | First of all, because the notes are in
markers I can simply right-click here
| | 00:25 | and see all the changes that
they are requesting in a list.
| | 00:28 | We're going to work with Replace with
Moon in Light Sky, and what's happening
| | 00:32 | here is the producer doesn't like this shot.
| | 00:34 | (Male speaker: Imagine running...)
| | 00:36 | And wants us to replace
it with this nice moonrise.
| | 00:39 | We're going to go over here to the Moon
in the Light Sky and if we play the shot,
| | 00:43 | it is a really pretty shot, but
there is a big problem going on.
| | 00:46 | The shot that they want us to put in is
a minute and five seconds long, and if I
| | 00:51 | look at the duration of the space they
want us to fill, and I can do that simply
| | 00:55 | by hitting the X key, this will mark
the clip, we can see over here in the
| | 00:59 | viewer that we're filling a space
that's a mere one second and 20 frames.
| | 01:03 | This is where we're going to
do our first four point edit.
| | 01:06 | And I know you are saying to yourself.
| | 01:07 | "But I thought there's only three point edit.
| | 01:09 | You said there is no such
thing as a four point edit."
| | 01:11 | Well, Fit to Fill will be
your first four point edit.
| | 01:14 | In this case, we're marking an in
point and an out point in the clip that we
| | 01:19 | want to put into our timeline, and we have an
in point and an out point in our destination.
| | 01:24 | Now we'll drag the clip from the viewer
into the canvas, and instead of putting
| | 01:28 | it into Insert or Overwrite, we're
going to drop right here into Fit to Fill.
| | 01:31 | Now you notice the clip has gone into
the timeline, and if I hit the spacebar
| | 01:36 | we can play the clip.
| | 01:37 | (Male speaker: Imagine running 50 miles...)
| | 01:40 | What originally took a minute and
five seconds to do, we can now do in one
| | 01:45 | second and twenty frames.
| | 01:46 | Let's zoom in on this clip
and see exactly what happened.
| | 01:49 | If we zoom in, we see a percentage
right after it. That says 3652%.
| | 01:55 | So literally, so as you can see,
Final Cut has split up this clip 3652%,
| | 02:01 | creating a time lapse shot.
| | 02:03 | Now I am going to zoom out, because
there is another shot that our producer
| | 02:06 | wants us to replace.
| | 02:07 | So let's go ahead and hit Shift+Z.
We're going to right-click on a timeline and
| | 02:11 | the shot we want to work on is Replace
with runners, sandstorm, and this takes
| | 02:15 | us to the very beginning of the show.
| | 02:17 | What we had here was this great
aerial as we're flying over the Sahara.
| | 02:22 | (Music playing)
| | 02:23 | But since it's such a tight piece,
they wanted to start off with the runners.
| | 02:26 | So the producer wants us to
replace this with runners, sandstorm.
| | 02:30 | So runner sandstorm is in my video tab.
| | 02:33 | Let's go ahead and load it into the viewer.
| | 02:35 | And this is a great shot.
| | 02:36 | It will be perfect to put underneath,
so we'll mark an in and out in this clip,
| | 02:40 | and I want to take the whole clip,
because it's a pretty good clip, and I think
| | 02:43 | I am going to need at all, and let's
go ahead and mark Senegal_Aerial 2.
| | 02:47 | Once again I can hit the X key
and mark an in and out point.
| | 02:51 | Well, I noticed immediately that my
destination is 8 seconds long, and my source clip,
| | 02:56 | even though I am using every
single frame, is still only four seconds long.
| | 03:00 | As a matter of fact, I don't want to
push it this far. I may need some handles
| | 03:04 | to do a dissolve later or a fade up later.
| | 03:06 | So let me go ahead and even
make this a little bit smaller.
| | 03:09 | So now I am really pushing the envelope.
| | 03:11 | Now I only have about a
three-and-a-half second clip.
| | 03:13 | Well, Fit to Fill will solve this problem too.
| | 03:16 | Whereas before when we did a Fit to
Fill with the moon, which was a larger clip
| | 03:20 | that we were putting into a
smaller space, we got time lapse.
| | 03:24 | Now that we're starting with a shorter
clip, and dropping into a larger space,
| | 03:28 | take a look at what
happens when we do a Fit to Fill.
| | 03:31 | Looking at our timeline we see it says
43%, I am going to press the Home key,
| | 03:36 | go to the beginning of my
show and press the spacebar.
| | 03:39 | (Music playing)
| | 03:42 | So what we've gotten is this great slow-
motion clip without having to do any math.
| | 03:47 | (Male speaker 2: Running 50 miles...)
| | 03:49 | In the next movie we're going to look
how we can control speeding up and slowing
| | 03:53 | down clips in even greater detail.
| | Collapse this transcript |
| Changing speed at a constant rate| 00:00 | In this lesson, we're going to use
some of the motion attributes of Final Cut
| | 00:03 | Pro to change the speed of a
clip that's already in our timeline.
| | 00:07 | The producer has again given us some
variety of notes, and the first one that
| | 00:10 | they want to change is this one here
that says, editor, can we slow-mo this?
| | 00:15 | And it's jumping to this clip right
here where we have the runners just
| | 00:18 | running along the road.
| | 00:20 | If I want to slow-mo this clip, I can
go ahead and open up speed change.
| | 00:25 | The keyboard shortcut is Command+J, but
if I wanted to just Right-click, I can
| | 00:29 | Right-click on it, and go to Change Speed.
| | 00:32 | This opens up a dialog box, and all
I need to do is go in and change its
| | 00:36 | Rate from 100 to 50%.
| | 00:40 | If you've used this speed change in
previous versions of Final Cut, doing this
| | 00:44 | would have created a huge problem.
| | 00:46 | As a matter of fact, let me
show you what used to happen.
| | 00:50 | Now there may be a time that you want
to use rippling a sequence, but for now
| | 00:53 | I just want to show you the difference
between the way it worked, and the way it works now.
| | 00:57 | If I have Rippling Sequence turned on
and I hit OK, look what happens in my
| | 01:02 | timeline when I reduce the speed to 50%.
| | 01:05 | Note the clip will go from one
second twenty-two frames, to twice that.
| | 01:09 | It pushes everything further down the timeline.
| | 01:12 | Now this may be a good workflow if you
wanted to slow it down and see the entire shot.
| | 01:17 | But I don't want to throw everything off.
| | 01:18 | My timing was perfect.
| | 01:20 | So I am going to go ahead and press
Undo, and open up that dialog box again,
| | 01:25 | this time with Command+J. I am going to
type in 50% and un-check Repel Sequence.
| | 01:31 | When I do it this way, and I hit OK, my
clip has been slow down to 50%, but the
| | 01:38 | timing of my sequence is still perfect.
| | 01:40 | The next note that the producer gave me is on
the next clip, and it says, can we slow-mo this?
| | 01:45 | And I wanted to match the previous clip speed.
| | 01:48 | This is also easy to do in Final Cut Pro.
| | 01:50 | All I need to do is select
this clip, and copy its contents.
| | 01:54 | I am going to do it by right-clicking.
| | 01:56 | I can also hit the keyboard shortcut,
Command+C. So I am going to Copy the
| | 02:01 | contents of this clip, move to the next
clip, select it, and I can right click
| | 02:05 | and I am going to do
something called pasting attributes.
| | 02:08 | The keyboard shortcut for that is
Command+Option+V, as in Victory.
| | 02:13 | So we are going to go ahead and Paste
Attributes, then we get a dialog box.
| | 02:17 | Now you can paste a variety of
attributes, everything from filters and
| | 02:21 | motion and content and audio levels, but
what we're going to copy was the Speed settings.
| | 02:27 | So I simply click on Speed.
| | 02:29 | It's the only attribute that I want to copy
and paste onto the next clip, and I hit OK.
| | 02:35 | Immediately the same 50% slow
-mo is applied to this clip.
| | 02:38 | (Male speaker: And that would be half...)
| | 02:41 | And when played together, they work seamlessly.
| | 02:44 | (Male speaker: And that would be half...)
| | 02:46 | There is one more change that the
producer asked that I do in this show and
| | 02:51 | it's right over here in the Senegal Clip.
| | 02:54 | It asked me why the clip is going backwards?
| | 02:56 | Now I am shaking my head going,
what do you mean by going backwards?
| | 02:59 | So I went ahead and I played the sequence.
| | 03:01 | It's running, and now I see exactly
what the producer is talking about.
| | 03:05 | The camera is pulling back instead of
pushing forward, as if the runner was
| | 03:09 | running through the desert.
| | 03:11 | And this is another easy fix
with the Speed Change dialog box.
| | 03:15 | So I am going to select the Senegal
clip, hit Command+J, and right here I see
| | 03:20 | this clip has already been sped up.
| | 03:21 | It's already going 500%, but that's okay.
| | 03:24 | All I want to do is reverse it.
| | 03:26 | And I can simply check the Reverse box.
| | 03:29 | One important thing for you to
notice, that the black text is now red.
| | 03:33 | And anytime you see red text, that
indicates that your clip is playing backwards.
| | 03:38 | I simply press OK, and let's
go ahead and review the shot.
| | 03:42 | (Male speaker 1: ...distance.)
(Male speaker 2: Actually it's never been done.)
| | 03:46 | There is one more way I can create a
constant speed change in Final Cut Pro.
| | 03:49 | I am going to go over here to the Tool
palette, and underneath where we had the
| | 03:53 | Slip and Slide tool, there is also a
Speed Change tool, and this is a pretty
| | 03:57 | cool way to slow down the clip or
speed up a clip in Final Cut Pro.
| | 04:01 | With the Speed tool selected, I
can go to the end of any clip, simply
| | 04:06 | click-and-drag, as I drag
take a look at the tooltip.
| | 04:10 | It's telling me that there is a change
in time, as soon as I am done dragging,
| | 04:14 | what's happened here is
the clip has slowed down.
| | 04:17 | If I want the clip to speed up, I just
grab the end and pull it to the left.
| | 04:21 | (Male speaker: More than 100 days...)
| | 04:23 | So very easily, by just dragging a clip longer and
longer, I can slow that clip down or speed it up.
| | 04:30 | So let's go ahead, grab the edge of the
clip and have it end just when our music ends.
| | 04:36 | As you can see, adjusting constant
speed in Final Cut Pro is extremely easy.
| | Collapse this transcript |
| Changing speed at a variable rate| 00:00 | In this lesson, we're going to learn how to
use Final Cut Pro's variable speed control.
| | 00:05 | So, the first think we want to
do is load a clip into the Viewer.
| | 00:08 | Now, if we watch this clip and I'm
just going to scrub through it because it
| | 00:10 | really takes the runner almost 30
seconds to come from that out of the distance
| | 00:14 | and run by the camera.
| | 00:15 | Now, this is the great shot, but
nobody is going to ever watch 30 seconds of
| | 00:19 | these guys coming from the distance.
| | 00:20 | So we're going to play with the shot
and we're going to change its speed over time.
| | 00:24 | Whereas before we
did constant speed changes,
| | 00:27 | maybe what I want to have is, as they
get closer, a quick burst of speed as
| | 00:31 | they come to the camera and then they can
slow down to a normal pace as they clear frame.
| | 00:36 | But before we can do that, let's go
ahead and explore how you can change speed
| | 00:41 | variably in Final Cut Pro.
| | 00:43 | Let's go ahead and drag this clip from
our Viewer to our Timeline and now what
| | 00:47 | we want to do is load it back from
the Timeline into the Viewer, so we can
| | 00:51 | work in the Motion tab.
| | 00:53 | Now, we have yet to work in the Motion
tab, so let's go ahead and click over
| | 00:56 | to the Motion tab and we're going to work at
the very bottom of this tab in the Speed area.
| | 01:01 | Now, we need a little more real estate
to work with, so I'm going to go ahead
| | 01:03 | and stretch the window out on both the
left and right side, so we can really see
| | 01:08 | what's happening in the Motion tab.
| | 01:09 | I'm going to simply click between the
two windows and drag left and then I'm
| | 01:13 | going to click here between
the two windows and drag right.
| | 01:16 | So, as we can see, this is our original speed.
| | 01:19 | As a matter of fact, it's going 100%
and because it's going uphill, I know that
| | 01:24 | we're going forward.
| | 01:25 | If I go ahead and play this clip in
the Viewer, you can once again see how
| | 01:29 | the runners are moving.
| | 01:31 | Now, if I went ahead and I changed the
speed of this clip the way we've been
| | 01:34 | changing it, by pressing Command+J
to open up the Change Speed dialog.
| | 01:39 | When I type in say 50% to slow it
down and hit Return, you can see that the
| | 01:44 | angle of the line changes.
| | 01:46 | I'm going to do this once again and go
to the other way and type in 200%, in
| | 01:52 | this case, speeding the runners up
and you'll notice now that the angle of
| | 01:55 | the line has increased.
| | 01:56 | So, what I would like you to walk
away with is based upon where the line
| | 02:00 | originally was, if the angle increases,
it's going faster and if the angle
| | 02:04 | decreases, it's going slower.
| | 02:07 | I can change speed directly in the Motion tab
by placing and positioning several keyframes.
| | 02:13 | To do that I'm going to use the
Option key, which is my shortcut for
| | 02:17 | switching over to the Pen tool, and
I'm going to just put a variety of
| | 02:20 | keyframes in here and then I'm going
to move them, just so you can have a
| | 02:23 | sense of what's happening.
| | 02:25 | I am also going to turn on an Overlay,
before we start adjusting these keyframes.
| | 02:30 | If you go down to the bottom left
corner of your screen, you will see a
| | 02:33 | couple of bars, one is green and one is blue
and that is your Toggle Clip Keyframe overlay.
| | 02:39 | The keyboard shortcut for that is Option
+T. You'll notice now there is a series
| | 02:44 | of tick marks in my Timeline.
| | 02:46 | And there is even little blue dots
that represent each of the keyframes.
| | 02:49 | Now, as I adjust the keyframes in my Motion
tab, in this case I'm going to drag this up.
| | 02:54 | So, this is speeding up the beginning of
the clip, take a look at what happens here.
| | 02:58 | The tick marks get close together.
| | 03:00 | That's a visual reference that
that part of the clip is spread up.
| | 03:04 | Now, notice the next part is all red and
we learned earlier that if you see text
| | 03:09 | that's red, that means it's going
backwards and as a matter of fact the clip is
| | 03:13 | playing backwards at this very point in time.
| | 03:16 | I can also see that here, by not having
an uphill slant, but a downhill slant.
| | 03:21 | Whenever this line goes below 0 degrees,
whenever it goes downhill, you're going
| | 03:26 | to be playing backwards.
| | 03:28 | I can once again, speed things up, slow
them down, or even have a straight line
| | 03:33 | in which case we will have a freeze frame.
| | 03:35 | Let me go ahead and play this clip
from the beginning and you're going to see
| | 03:37 | some dizzying runners.
| | 03:40 | Plays forward, they run backwards,
they run forwards again, now they run
| | 03:46 | backward again and now they run and they freeze
and then they come back and they run on frame.
| | 03:53 | Now hopefully, the runners didn't do
this in real life, because this is no way
| | 03:56 | to travel across Africa.
| | 03:58 | But it is a way that I can show
you how we can adjust variable speed.
| | 04:02 | Now, let's just reset this back to
where we were because obviously we would
| | 04:05 | never use it this way in the show.
| | 04:07 | To reset any speed changes, simply click
the red X next to Speed in your Motion tab.
| | 04:12 | Now, we are back to having them run at
normal speed, 100% and we can go ahead,
| | 04:17 | and we can see that.
| | 04:20 | Now, we may want to have some variable speed.
| | 04:22 | So, once again, I am going to hit Command
+J to open up my dialog box, and we are
| | 04:27 | going to click one of
these two buttons right here.
| | 04:29 | As a matter of fact, let's click both
of them, and what this is going to do is
| | 04:32 | help us ramp in and ramp out.
| | 04:34 | And I am going to move our Change
Speed dialog box over here so you can see
| | 04:37 | what's happened when we have done this.
| | 04:39 | I will hit OK, and what we see now is
we have some Bezier handles that allow us
| | 04:44 | to draw nice and smooth curves.
| | 04:46 | So, if I leave the curve this way,
what do you think is going to happen?
| | 04:49 | They are going to start running faster,
they will slow down, they may even back
| | 04:53 | up for just a moment.
| | 04:55 | And then they are going to pick up speed again.
| | 04:56 | Probably, not the look that I want and
we can see by the tick marks where they
| | 05:00 | are running faster, where they
slow down and where they change speed.
| | 05:04 | They are getting really tired, changing
their mind, they change their mind again
| | 05:12 | and then they will start running forward.
| | 05:15 | Humorous, but probably not
what we want for the show.
| | 05:18 | But I can go ahead and grab my Bezier
handles and bring them down so now they
| | 05:22 | are running slower to start with,
they speed up in the middle and then they
| | 05:28 | slow down at the end.
| | 05:28 | And this is more to my liking.
| | 05:30 | Let's go ahead and see how that looks.
| | 05:32 | Well, it's definitely a speed change
but it's not necessarily the look that
I want.
| | 05:45 | So, what we are going to do is we are
going to start working in the Timeline
| | 05:49 | and show you yet another way that you can
leverage variable speed changes in Final Cut Pro.
| | 05:55 | I am going to hit the Reset button
and let's move down to the Timeline.
| | 05:59 | Now, if you notice, the tick marks in
my Timeline are now evenly spaced because
| | 06:03 | we are running at 100%.
| | 06:05 | I can put speed change
keyframes directly into my Timeline.
| | 06:10 | To do that, I simply click wherever I
want the speed change to happen, so I am
| | 06:14 | going to scrub through and this can be
normal speed and then at this point, I am
| | 06:18 | going to want them to speed up.
| | 06:19 | So, I simply click here and Final
Cut actually puts in three keyframes.
| | 06:24 | One at the beginning and the end,
so we can keep the clip constant.
| | 06:27 | And now we can start changing elements.
| | 06:29 | If I grab this keyframe and move it
left or right, notice the dialog box.
| | 06:34 | When I move it to the left, it speeds
up everything to the left of the clip
| | 06:38 | and slows down everything to the
right to compensate and vice versa, when I
| | 06:42 | move it to the right.
| | 06:44 | The other thing I can do is I can
create another keyframe here as they are
| | 06:47 | running up and I want them to come up
to about this point, and I would like it
| | 06:51 | to go back to normal speed.
| | 06:52 | So, I am going to create another keyframe.
| | 06:54 | My goal is to have them run at normal
speed here, run really fast here so we can
| | 07:00 | basically do a big swoosh and
then start running at a normal pace.
| | 07:04 | So, I don't have to wait that 26
seconds for them to come into frame.
| | 07:07 | To do this, I can simply grab this
keyframe and drag it all the way to the left.
| | 07:12 | Now a couple of things have happened.
| | 07:14 | They are running a little bit at an
odd speed here because I played with it.
| | 07:17 | They are going to run really fast here
and then they are going to run in slow
| | 07:20 | motion here, which is not want I want.
| | 07:22 | Let me add one more keyframe and
I start dragging this to the left.
| | 07:26 | Now, in previous versions of Final Cut
Pro, you really had to watch your pop-up
| | 07:31 | dialog box and figure out
exactly how to make that 100%.
| | 07:35 | It's much easier in this
version of Final Cut Pro.
| | 07:37 | I know for a fact, I want this to be 100
%, this to be really fast, and this to
| | 07:43 | be 100% and by this point, I really
don't care because I am going to trim the
| | 07:46 | end of the clip off.
| | 07:48 | So, I can put my playhead over here,
and the trick is to right-click on your
| | 07:52 | keyframe and you'll get a drop-down
window that's new to Final Cut Pro 7.
| | 07:56 | And what's really cool about this drop-down
window is I can change the speed of a segment.
| | 08:01 | So, I am going to simply select Change
Speed Segment and instead of it being
| | 08:05 | this odd 117% that I played with, I will
simply type in and make it 100%, normal
| | 08:10 | speed and hit Return.
| | 08:13 | If I go ahead and play this and I look in the
distance, they are running at a normal speed.
| | 08:17 | Here they are running fast but it's a
goofy fast, I want it so fast that it
| | 08:21 | seems like they just transported forward.
| | 08:23 | So, I am going to right-click here and
again, Change Speed Segment, and I am
| | 08:29 | going to make this a dramatically
large number, 600% isn't enough.
| | 08:32 | Let's make it something like 4000%
and then I am going to hit Return.
| | 08:37 | If we watch this segment now, they zip
forwards. I don't see that goofy little running,
| | 08:43 | as if they pop into the location,
but then they are running slow again.
| | 08:48 | Once again, I am going to right-click,
Change Speed Segment, change that back to
| | 08:53 | 100%, hit Return and I should have
the effect that I am looking for.
| | 09:01 | Running, zips forward
and then they keep running.
| | 09:05 | And then once they are out of the shot,
I simply grab the end of my Timeline,
| | 09:09 | trim it down and I have the
effect that I am looking for.
| | 09:11 | And let's go ahead and play that again.
| | 09:14 | If you look at the Motion tab,
you will actually see the keyframing
| | 09:17 | that reflects my move.
| | 09:18 | (Video Playing. No audio.)
| | 09:27 | I like the way the effect worked so
far, but I want to fine-tune it just a
| | 09:31 | little bit, I want to be able to add a little
bit of ramping as they speed up and slow down.
| | 09:35 | And I can again do this with right-clicking.
| | 09:37 | But at this point, I am so zoomed in
that it's going to be hard for me to grab
| | 09:41 | the proper keyframe.
| | 09:43 | So, let me go ahead, hit Shift+Z,
see if that gives me enough space.
| | 09:46 | You may want to go a little bit more.
| | 09:48 | So, I am going to go ahead and deselect
my clip, put my playhead directly above
| | 09:52 | the keyframes that I want to modify and
I am going to simply hit Command+Plus.
| | 09:57 | Now, I can right-click on those
specific keyframes and I want to right-click on
| | 10:00 | the end and instead of going to
Change Speed Segment, I can go down to the
| | 10:05 | bottom and I can add a curve to the keyframe.
| | 10:09 | I can also choose to have
this Centered on Keyframe.
| | 10:11 | My recommendation is, as you get used
to using the Speed tool, try each one and
| | 10:16 | remember you can always undo.
| | 10:18 | Now let's go ahead and apply curve
from start and I am going to zoom out and
| | 10:22 | play it and see if I like the change.
| | 10:24 | To zoom out, I am hitting Command+
Minus, and Minus, and Minus again.
| | 10:28 | Press the Home key and
let's play and see how it looks.
| | 10:31 | (Video Playing. No audio.)
| | 10:39 | Spot on, exactly what I was hoping for.
| | 10:42 | There you go, three ways to apply a
variable speed change in Final Cut Pro.
| | Collapse this transcript |
| Creating and using freeze frames| 00:00 | Let's look at how to create a freeze
frame and a still image in Final Cut Pro.
| | 00:04 | Now our producer has indicated to us at
the very end of our timeline that they
| | 00:08 | would like this to end with a freeze
frame so they can put it on the web and
| | 00:11 | have something that they can fade out to.
| | 00:13 | It's very easy to create a
freeze frame within Final Cut Pro.
| | 00:16 | Now wherever you park your playhead, you can
grab that frame and turn it into a still image.
| | 00:22 | In this case we want to make sure that
we don't freeze here where our node is,
| | 00:25 | but at the very end of our shot.
| | 00:27 | So I am going to use my Left and Right arrow
keys just to make sure I am on the last frame.
| | 00:32 | When you are parked on the last frame, simply
go up on to Modify and select Make Freeze Frame.
| | 00:38 | The keyboard shortcut for this is Shift+N.
When you do this, you will notice it
| | 00:42 | places the Freeze Frame in your
timeline and as you can see you can adjust the
| | 00:46 | time to as long or as short as you need.
| | 00:49 | As a matter of fact, it will put one minute
handles on either side of your Freeze Frame.
| | 00:53 | Now we don't need a full minute on either side.
| | 00:56 | I am going to just ballpark for
about 3 seconds and hit the Return key.
| | 01:01 | Now all I have to do, since my playhead
is already parked on the last frame, is
| | 01:05 | drag it over and do an overwrite edit.
| | 01:07 | If we go ahead and hit play, the
runners are running and then they freeze.
| | 01:12 | I can simply drag the end longer or
shorter to be the exact length that I need.
| | 01:17 | We will have this end when the music ends.
| | 01:19 | I am going to go ahead to the head of
the show, because there is another note
| | 01:22 | that the producer sent me which is they would
like a still that they can put on the website.
| | 01:27 | And I am going to pick one of these
frames and this is a good frame to start with.
| | 01:30 | Maybe I will get a point where I can
see the runners a little bit behind the end.
| | 01:34 | To export this, all I need to do is
go up under File > Export, export Using
| | 01:40 | QuickTime Conversion.
| | 01:41 | Then we are going to go down here and
instead of choosing QuickTime Movie,
| | 01:45 | we are going to choose Still Image.
| | 01:47 | Once we choose Still Image, I want to
go into my Options and select what type
| | 01:52 | of image I would like.
| | 01:53 | You can put out TIFFs, PNGs,
Photoshop files, PICT files, JPEG files.
| | 01:58 | I think I would like a TIFF file,
because I don't want anything very compressed.
| | 02:01 | I simply hit OK, I can name this,
Running The Sahara still, and hit Save.
| | 02:10 | Now let's hide Final Cut,
there is the picture on my desktop.
| | 02:13 | I will open it up to check it.
Now it's ready to be shared.
| | Collapse this transcript |
|
|
9. TransitionsUsing transitions| 00:01 | Let's talk a little bit about transitions.
| | 00:03 | Now we are all aware of what a transition is.
| | 00:05 | I mean it cut's a transition and you
are used to seeing them in movies and
| | 00:08 | television all the time,
dissolves and wipes and whatnot.
| | 00:11 | But how do we apply a transition in Final Cut?
| | 00:14 | Well, the first thing you need to do
before you apply a transition is make sure
| | 00:18 | you have enough handles which means
make sure you have enough media at the end
| | 00:21 | of one clip so you can
transition into the next clip.
| | 00:25 | We are going to put a transition
between Aerial 2 and Runners, out of the sun.
| | 00:30 | So the first thing I am going to do is
double-click to load the Aerial 2 shot
| | 00:34 | into my viewer just to make sure I
have some extra handles right here.
| | 00:38 | Remember, this is my in and out point,
when I put the transition on I need a
| | 00:42 | little bit of extra material to
dissolve out through and then with the Runners,
| | 00:45 | out of the sun shot I need to make sure
I have enough media at the head of the
| | 00:49 | shot to dissolve into.
| | 00:51 | If you don't have enough handles,
you will either get a transition that's
| | 00:54 | shorter that you anticipate or you
might even get a transition that's
| | 00:58 | literally one frame long.
| | 01:00 | And what's a one frame transition?
| | 01:01 | I would call that a cut.
| | 01:03 | So once we have established we have
handles at the end of one clip and the
| | 01:07 | beginning of the next clip,
| | 01:08 | you need to select the edit point.
| | 01:10 | Once the edit point is selected, there
are several ways that you can place a
| | 01:14 | transition on the cut.
| | 01:16 | You can right-click on the edit
point and add the default transition.
| | 01:20 | Now the default transition for Final Cut out
of the box is the one second Cross Dissolve.
| | 01:25 | If I go ahead and click on this, you
see I now have a one second dissolve to
| | 01:29 | transition between my
first clip and my second clip.
| | 01:32 | (Music Playing)
| | 01:35 | Let me go ahead and remove that
transition and instead of undoing, I am going
| | 01:38 | to show you how you can remove a transition by
simply right-clicking on it and selecting Cut.
| | 01:44 | Another way I can put a transition
between two clips is to go to the Effects tab.
| | 01:49 | Under the Effects tab, there
is a Video Transition sub-menu.
| | 01:53 | Here I can choose all the default
transitions that are within Final Cut Pro.
| | 01:58 | To keep things consistent, I am
going to once again put in a Dissolve.
| | 02:01 | Now you see there are seven different
types of dissolves in this sub-menu.
| | 02:05 | The Dissolve that you want
to use is a Cross Dissolve.
| | 02:08 | That's a standard television and film dissolve.
| | 02:11 | Go ahead and select that and you will
notice on the Timeline the Dissolve will appear.
| | 02:16 | Once again I am going to remove this, but
I am going to remove in a different way.
| | 02:19 | I am going to select the clip in the Timeline.
| | 02:22 | Instead of right-clicking and selecting Cut,
I am going to simply hit the Delete key.
| | 02:27 | Now remember, there are two Delete keys.
| | 02:29 | If you hit the Forward Delete key or
Shift+Delete, you are going to do a ripple
| | 02:33 | delete and actually change the
duration of your show. Let me undo that.
| | 02:37 | You want to hit the Large Delete
key, and now the transition is gone.
| | 02:41 | The third way to put a transition on
the clip is to go to the Effects tab.
| | 02:45 | Underneath the Effects tab,
you will see a variety of bins.
| | 02:49 | There is a Video Transitions bin and
inside of there are many more sub-bins.
| | 02:53 | As you see these sub-bins reflect the same
sub-menus that you found in the Effects tab.
| | 02:58 | We are going to go to Dissolve and here
we have the same Dissolves we saw before.
| | 03:03 | I simply grab the icon of the effect
that I want and drag it over and drop it
| | 03:08 | onto the edit point that I
want to put the transition in.
| | 03:10 | Now if you are going to use this method, you
don't need to highlight the edit point first.
| | 03:15 | Now we are going to do some basic
modification to these transitions.
| | 03:19 | First of all, if my mouse is
positioned directly over the center of the
| | 03:23 | transition, my cursor automatically
changes from the Selection tool to the Roll tool.
| | 03:28 | So I can click and actually move my
edit point back and forth to get precisely
| | 03:33 | the edit location that I want.
| | 03:35 | I can also change the duration in the
Timeline, and I can do this one of two ways.
| | 03:40 | I can grab the end of the clip and
drag it and make it longer or shorter.
| | 03:44 | If you notice, there is a tooltip
that shows me how much longer or how much
| | 03:48 | shorter my clip is in its final duration.
| | 03:51 | If I want it to be more precise, I can
right-click on it and there is a Duration
| | 03:55 | pop-up selection and then I can
just type the duration that I want.
| | 03:58 | In this case, I want it
to once again be 1 second.
| | 04:01 | So I will type in 100 and hit Return.
| | 04:05 | Once I have done that, I click on OK,
and the duration changes to 1 second.
| | 04:09 | If I wanted to take this to the next
level, I can load this transition into the
| | 04:13 | Viewer, all I have to do is select
it and simply hit the Return key.
| | 04:18 | Now if you look in the Viewer, you can
see my transition and the outgoing clip
| | 04:22 | on the top track and the
incoming clip on the lower track.
| | 04:26 | I can do many of the same things I did
in the Timeline in the Viewer window, but
| | 04:30 | I have a little more
precision and a little more control.
| | 04:33 | I can place my cursor between
the two clips and do my Roll Edit.
| | 04:37 | I can grab the edges, make it longer
or shorter, and I can also click in the
| | 04:41 | Duration text box and change
the duration of my transition.
| | 04:45 | Let's switch it to 2 seconds.
| | 04:46 | There is one more thing that's really
nice about working in the Viewer window.
| | 04:51 | If I can't see the ends of both of my
clips, I can zoom in and zoom out in the
| | 04:55 | Viewer window just like we did in the Timeline.
| | 04:57 | I am going to hold down the Command
key and press minus a couple of times.
| | 05:01 | Now the nice thing about this view is
what I see that's dark blue in my screen
| | 05:06 | is the outgoing clip and what I see
that's dark blue in the bottom track, of
| | 05:09 | course, is my incoming clip.
| | 05:11 | What's light blue, are my handles.
| | 05:14 | So I can see exactly how much extra
media I have if I wanted to do a Roll.
| | 05:20 | And this gives me a lot of flexibility.
| | 05:22 | Now we just put a transition between two
clips but you can also put a transition
| | 05:27 | at the end of a clip where there is no
media after it or at the beginning of a
| | 05:31 | clip such as the beginning of your show.
| | 05:33 | In this case we are going to step back
just one set of clips to between Senegal,
| | 05:38 | mother and baby, and Senegal, Aerial 2.
| | 05:40 | I am going to use the Up arrow to go
the beginning of the Aerial 2 shot.
| | 05:45 | Before I add the transition,
let me zoom in one step.
| | 05:48 | I am going to hit the Command+Plus key.
| | 05:50 | Now you will notice there is a very
small space between these two clips.
| | 05:54 | The effect that I want to achieve is a
dip to black and then a pop-up from black.
| | 05:59 | By leaving that space I have a lot of
control on how fast or how slow it goes to
| | 06:03 | black and how fast or how
slow it comes up from black.
| | 06:07 | So let's go ahead and put a Dissolve
transition at the end of the first clip by
| | 06:11 | right-clicking and adding a transition.
| | 06:14 | And also adding another transition
at the beginning of the incoming clip.
| | 06:18 | Because these are separate, I can now
grab the end of these and make them as
| | 06:22 | long or short as I want.
| | 06:23 | So I am going to go ahead and
make about 17 frame fade to black.
| | 06:28 | I am going to make the fade
up from black about 8 frames.
| | 06:32 | Let's play it and see how it looks.
| | 06:33 | (Music Playing)
| | 06:38 | I like that. I may want it
to pop even a little bit more.
| | 06:40 | So I am going to go ahead and grab that
and move that a little more to the left.
| | 06:44 | I want you to note something, the
first transition that we put on at the
| | 06:47 | beginning of this lesson was between
two clips and as I stretched it, it
| | 06:51 | stretched equally between the two clips.
| | 06:54 | That's called centering
the transition on the edit.
| | 06:56 | In this case, because there was no
media due to the gap, the type of transition
| | 07:01 | that was applied was slightly different.
| | 07:04 | One was called End Transition On
Edit and the other one was called
| | 07:08 | Start Transition On Edit.
| | 07:10 | If you noticed when I grabbed
these, it only moves one side.
| | 07:14 | In this case, it only moves the other side.
| | 07:17 | If I double-click to load either of
these into the Viewer, you can see up here I
| | 07:21 | have three different triangles.
| | 07:24 | If I hover my mouse over those triangles,
you can see the middle one is Center
| | 07:27 | On Edit, the left one is Start On Edit,
and the one that I used was End On Edit.
| | 07:32 | Now if I wanted to, I could have
changed the transition that we put on earlier
| | 07:37 | and I am going to simply use the Down
arrow key to select it, click on it, press
| | 07:41 | Return to load it in the Viewer and
show you what would happen if I switch to a
| | 07:45 | different type of transition.
| | 07:47 | If I switch to Start On Edit, take a
look at what happens in my Viewer and also
| | 07:51 | what happens in my Timeline.
| | 07:53 | It actually moves it over.
| | 07:55 | I am going to do this again except
this time I am going to End On the Edit.
| | 07:59 | Now you will notice if I wanted to
adjust it, when I grab it, it only moves from
| | 08:03 | one side whether I am working it
in the Viewer or in the Canvas.
| | 08:08 | This is one way you can have a lot of
control when working with your transitions.
| | Collapse this transcript |
| Modifying transitions| 00:00 | In the previous lesson, we learned
some basic modifications that you can
| | 00:04 | perform in a transition.
| | 00:06 | Let's go ahead and show you how
customizable all the transitions are
| | 00:09 | within Final Cut Pro.
| | 00:11 | We are going to once again select
our Edit point, go up under the Effects
| | 00:15 | tab > Video Transitions > Page Peel and we
are going to choose the Page Peel transition.
| | 00:20 | Now, I know that Page Peel
is not used a lot anymore.
| | 00:23 | I like using the Page Peel because it
allows me to show you the variety of
| | 00:27 | modifications I can make to a transition.
| | 00:29 | Now, once I have a transition selected
and I really want to start modifying it,
| | 00:33 | the key is to park the playhead
right in the middle of the transition.
| | 00:37 | Select the transition by clicking it
once and highlighting it and now press the
| | 00:42 | Return key to load it into the Viewer.
| | 00:45 | Unlike the Dissolve, there are a lot
more parameters that you can modify in the
| | 00:48 | Page Peel transition.
| | 00:50 | First of all, I can modify the
direction of the Peel, I can control the Radius,
| | 00:56 | I can also determine-- let me turn the
Peel a little bit over here. I can put a
| | 01:00 | highlight on the back.
| | 01:03 | I can also turn the Peel into a Curl.
| | 01:06 | If we add a little more
Highlight, you can actually see that.
| | 01:09 | Let's go ahead and play
this and see how it feels.
| | 01:11 | (Music Playing)
| | 01:14 | Well, that's not quite a Page Peel,
but I think it could work in the show.
| | 01:18 | Modifying your transition's parameters
can breathe new life into stock transitions.
| | Collapse this transcript |
| Introduction to rendering| 00:01 | In this lesson we are going to cover two things.
| | 00:03 | One of my favorite transitions and the
result of using that transition, which is
| | 00:07 | needing to render, and we are going
to discuss what rendering is all about.
| | 00:11 | So, the first thing we want to do is we
want to put the transition on here and
| | 00:14 | it's called the Gradient Wipe.
| | 00:16 | You can get this under the Effects tab,
under Video Transitions > Wipe > Gradient Wipe.
| | 00:24 | Now if you just play the Gradient Wipe,
at first blush it's pretty boring.
| | 00:27 | (Video playing. Inaudible dialog.)
| | 00:28 | It looks like a wipe.
| | 00:30 | So, let's load it into the
Viewer and see what we can do with it.
| | 00:33 | I am going to park my playhead in the
middle of it and I see I have a Softening slider.
| | 00:40 | Well, I would love to say this is
dramatically better, but it's not.
| | 00:44 | If I was doing a 1930s
movie serial, it would be fine.
| | 00:47 | But I want something more than just a soft wipe.
| | 00:51 | What makes this special is
this little well right here.
| | 00:55 | I can drop a black and white image
into and it's going to change the way
| | 00:59 | the gradient works.
| | 01:00 | Let's take a look at the image
that I want to load in, I am going to
| | 01:03 | double-click to load it in the Viewer.
| | 01:05 | This is simply a grayscale cloud
image that I created in Photoshop.
| | 01:09 | Let's go ahead, load the Gradient
Wipe back into my Viewer, I selected it
| | 01:13 | and hit the Return key.
| | 01:15 | And now, I am going to simply grab the
Fog picture and drop it into the well.
| | 01:20 | And if you notice, as I look at this in the
well, these little clouds are my transitions.
| | 01:25 | Using the Forward arrow, I am going to
step through and as you see it's a very
| | 01:29 | different type of Wipe.
| | 01:31 | As a matter of fact this is where
the Softness slider comes into play.
| | 01:35 | I can make it a harder
transition or a softer transition.
| | 01:39 | Now, let's go ahead and play the
transition and see what it looks like in real-time.
| | 01:43 | (Male speaker: ...is the most...)
| | 01:46 | Okay, I tricked you.
| | 01:47 | I knew it wasn't going to playback in real-time.
| | 01:49 | As a matter of fact, if you notice
when I play it, it says Unrendered.
| | 01:54 | And this gives me the opportunity to
talk to you about what a render file is and
| | 01:59 | how you can render these clips.
| | 02:01 | There are some times when no matter how
fast the computer is, it can't calculate
| | 02:06 | all the math that's required to
perform the transition in real-time.
| | 02:10 | So, what it needs to do is write all
that math off to the side before, and then
| | 02:16 | when it hits that transition, it can
play it back from the file that it wrote.
| | 02:19 | Now, rendering comes into
play not just with transitions.
| | 02:22 | You can also have to render when you
put filters on a clip, if you do a lot
| | 02:26 | of motion on a clip.
| | 02:27 | There is a lot of different
reasons that you might need to render.
| | 02:31 | And depending on the speed of your
computer, if it's a slower computer, you will
| | 02:35 | probably need to render more often.
| | 02:37 | And if it's a faster computer,
you may need to render less often.
| | 02:40 | But usually at some point, you are
going to have to render something.
| | 02:44 | So, let's take a look at
our different render options.
| | 02:48 | With the clip selected, I go up to
the Sequence menu and I see three
| | 02:51 | separate Render options.
| | 02:53 | And let me explain to you how this
works, because this is pretty important.
| | 02:57 | If I click on Render Selection, and I
click on Both, Final Cut Pro will render
| | 03:02 | both the video and the audio for the
area of my Timeline that is selected.
| | 03:07 | In this case it's red, so I am
going to go ahead and hit Render Both.
| | 03:11 | The keyboard shortcut for this is
Command+R. And we see it takes a moment to
| | 03:15 | write the file, and what
was red now turns blue.
| | 03:19 | And I can go ahead and play the effect.
| | 03:20 | (Male speaker: ...is the most unforgivable...)
| | 03:23 | Now, this is great.
| | 03:24 | But the problem is, as soon as I modify
any aspect of this, such as changing my
| | 03:29 | Softness, I have to render all over again.
| | 03:33 | So, the engineers at Apple
did something very clever.
| | 03:36 | If you look over to the left side of
your Timeline, there is a little drop-down
| | 03:40 | menu that says RT and if we click on that,
you will notice the words Safe RT and
| | 03:45 | directly below that
something called Unlimited RT.
| | 03:48 | By default, Safe RT is turned on
which means Final Cut will always play
| | 03:53 | everything at full
resolution and full frame rate.
| | 03:56 | If it can't, it's going to give you the red bar.
| | 03:59 | But sometimes when you are editing, you
may not care that it's playing a full 30
| | 04:03 | frames a second and at full resolution.
| | 04:05 | Sometimes you just want to
see what the effect looks like.
| | 04:08 | So if you switch to Unlimited RT,
what Final Cut will do, it will push the
| | 04:13 | computer as hard as it can and try to
play all the frames at full resolution.
| | 04:17 | But it may drop a frame or two.
| | 04:19 | And that's okay, because when I am
editing, I don't care if I drop a frame or
| | 04:23 | two, because I am trying to be creative.
| | 04:25 | Don't worry, whenever you print a video
or export a file, Final Cut will always
| | 04:30 | render and play everything out at
full resolution and full frame rate.
| | 04:34 | You may have noticed that as soon as I
switch from Safe RT to Unlimited RT, my
| | 04:38 | red line turned to an orange line.
| | 04:41 | And what that orange line allows me
to do is to playback this clip without
| | 04:45 | having to render it.
| | 04:46 | (Male speaker: ...it's the most...)
| | 04:48 | And as you can see I've got a pretty good
feel of what that Transition will look like.
| | 04:53 | If I wanted to go adjust it, because I
still have the little orange line, it
| | 04:57 | doesn't make any difference.
| | 04:58 | I can just go ahead and tweak
and play and tweak and play.
| | 05:02 | Now, when I am ready to see this at
full resolution, I want to select the clip
| | 05:05 | and go back up to sequence and render it.
| | 05:08 | Now, if I go ahead and render both now,
you will see absolutely nothing happens.
| | 05:13 | And this happens to Editors all the time,
they wonder, I hit Render, why didn't it render?
| | 05:18 | That's because you need to know
how these render selections think.
| | 05:22 | It's really a two part process.
| | 05:24 | The first thing you need to do is
select which colors you want it render.
| | 05:29 | By default, it's only
going to render the red color.
| | 05:32 | If I turn on Unlimited and once I
select it, we will go back to Render
| | 05:36 | Selection, you will see there
is now a checkmark next to it.
| | 05:39 | So, if I hit Both, it's
going to render this clip.
| | 05:42 | So, depending on your workflow you may
want to turn on all these different colors.
| | 05:47 | And these colors should
be fairly self-explanatory.
| | 05:50 | There is a Preview quality, there
is Full quality, there is Proxy.
| | 05:54 | Usually, when I render, I want Unlimited
checked and I will have Preview checked
| | 05:58 | and of course, I will
leave the red bar checked too.
| | 06:01 | Now, let's go and look
at the other options here.
| | 06:03 | Why do we need Render All and Render
Only, if we already have Render Selection?
| | 06:07 | Well, Render Selection of course, only will
render the clips that you select in your Timeline.
| | 06:13 | So, if I didn't want to render my
whole Timeline, I may mark an in or an out
| | 06:16 | point or lasso several clips
and just render those clips.
| | 06:20 | If I was working all the way at the end
of my show and I just wanted to render
| | 06:24 | the last few images, all I
have to do is select those images.
| | 06:29 | Render All works a little differently.
| | 06:31 | First of all, by default, most
of the colors are already checked.
| | 06:35 | Second, when I click on Render Both,
in the Render All sub-menu, Final Cut
| | 06:40 | Pro will start at the very beginning
of my Timeline and render everything it
| | 06:44 | encounters that needs rendering based upon
the items I have checked in this pull-down menu.
| | 06:48 | Render Only is also very useful.
| | 06:51 | In this case, let's suppose I want
to render only the orange lines in my
| | 06:55 | Timeline or only the red lines in my Timeline.
| | 06:58 | If I have nothing selected, and no in
or out points, Final Cut Pro will render
| | 07:02 | from the beginning of the
Timeline a specific color.
| | 07:05 | I can also choose to mark, say, an in
point and an out point and now if I go
| | 07:11 | back up to Sequence > Render Only, I
can say render all the green lines between
| | 07:15 | that in and out point. Wait.
| | 07:17 | Why didn't that work? Oh!
| | 07:19 | Here is something that
happens to Editors all the time.
| | 07:22 | You mark an in and out point but you still
have something selected in your Timeline.
| | 07:26 | For the in and out to work, you need
to deselect this first because Final Cut
| | 07:30 | Pro wanted to render the Gradient Wipe.
| | 07:32 | I am going to simply check-off
that by deselecting it or you can hit
| | 07:36 | Shift+Command+A to deselect all.
| | 07:39 | Now, when I go up under Sequence >
Render Only, and Preview, it does exactly
| | 07:44 | what I want it to do.
| | Collapse this transcript |
| Applying bulk transitions| 00:01 | A new feature in Final Cut Pro 7 is
the ability to put multiple transitions
| | 00:05 | across multiple clips, commonly referred to
as Bulk Transitions, and it's very easy to do.
| | 00:11 | The first thing you need to do is
select which clips you want to put the
| | 00:14 | transitions on, and you
can do this one of many ways.
| | 00:17 | You can either Lasso them.
| | 00:19 | You can hold down the Shift key, select
the first clip and then select the last
| | 00:22 | clip in the timeline you
want the transitions to go on.
| | 00:25 | The next thing you need to do is go to
your Effects tab, select the transition
| | 00:29 | you want to put on the clips.
| | 00:31 | Now, we are going to choose the Cross
Dissolve and I simply grab that and I drop
| | 00:34 | that on any individual clip within my selection.
| | 00:38 | When I let go, the transition is
put on all of these clips and I can go
| | 00:42 | ahead and play this.
| | 00:43 | (Male speaker: ...a personal and compelling journey
into the world's most mysterious wilderness.)
| | 00:53 | Now, this is kind of nice, but these
transitions are a little long for my taste.
| | 00:57 | So, we are going to actually modify
these bulk transitions, and here is the
| | 01:00 | trick to doing that.
| | 01:02 | I select anyone of the transitions and
I hit Return to load it into the Viewer.
| | 01:06 | Instead of making it 1 second, I am going to
make these 10 frames long. I simply hit Return.
| | 01:12 | Now, I have a 10 frame transition in my Viewer.
| | 01:15 | I am going to go back and select all of
the clips that have the transitions on them,
| | 01:18 | and now, I will grab the little
hand of the transitions and drag it back
| | 01:23 | to my Timeline, again,
dropping it on one of the clips.
| | 01:27 | When I let go, all the 1 second
transitions will now become 10 frame transitions.
| | 01:32 | Let's go ahead and watch
this and see if I like it.
| | 01:34 | (Male speaker: ...a personal and compelling journey
into the world's most mysterious wilderness.)
| | 01:48 | Now, just because you put all these
transitions on at once, it doesn't mean you
| | 01:51 | can customize them individually.
| | 01:53 | So, if you wanted to, I can go to any
transition and perform the same types of
| | 01:57 | modifications that we
did in the earlier lessons.
| | Collapse this transcript |
| Alpha transitions| 00:00 | A new type of transition in Final
Cut Pro 7 is the Alpha transition.
| | 00:04 | Let's go ahead and explore
how the Alpha transition works.
| | 00:07 | The first thing we want to do is put
the Alpha transition between two clips.
| | 00:11 | We are going to put it on this edit point.
| | 00:13 | Let's play this clip
before we put the transition on.
| | 00:16 | (Music Playing)
| | 00:18 | So, I have the women clapping, and
then we come to the man with stick.
| | 00:22 | To put on the Alpha transition, go on
to the Effects tab, Video Transitions >
| | 00:26 | Wipe > Alpha Transition.
| | 00:30 | This will put the default duration of
Alpha Transition on, which is 1 second long.
| | 00:34 | And if you notice, I put my
playhead over this transition.
| | 00:38 | I get a little warning that
says Place clips into clipwells.
| | 00:41 | Well, let's open this transition in the
viewer and see exactly what that means.
| | 00:45 | I am going to simply select the
transition and press the Return key.
| | 00:50 | What you see here is a series of three
wells, asking for a Clip, a Clip Alpha
| | 00:54 | Matte and a Wipe Matte.
| | 00:56 | Now, where can I get these assets?
| | 00:58 | Well, they are not included in the
install in Final Cut Pro, but they are
| | 01:02 | available for free on the Apple website.
| | 01:05 | Let's go to the Apple website
and download these transitions.
| | 01:09 | Once the download is complete, you can then
load these Alpha transitions into your Browser.
| | 01:15 | Simply grab the folder, Command tab over
to Final Cut and drop them into the Browser.
| | 01:20 | I am going to click on the disclosure
triangle, and as you can see there is a
| | 01:24 | variety of Alpha transitions
that you can drop into the well.
| | 01:28 | We are going to work with the Veil transition.
| | 01:29 | I am going to simply click the
disclosure triangle for Veil and we see there are
| | 01:34 | three elements here, there is a Clip,
there is Wipe and there is an Alpha Matte.
| | 01:38 | I am going to double-click to load
these into the Viewer so you can see
| | 01:41 | what they look like.
| | 01:43 | This is the clip and when I play it, if
you look closely you will see a little
| | 01:47 | white veil there over a white background.
| | 01:49 | What I am going to need to
make this work is my Alpha Matte.
| | 01:53 | If I load the Alpha Matte in and I
let it play, you'll actually see a black
| | 01:57 | and white element, which we will use to
create the transparency behind the white clip.
| | 02:03 | This is called an Alpha Channel.
| | 02:05 | And what's an Alpha Channel?
| | 02:06 | It's basically your transparency
information, what part of the clip is going to
| | 02:09 | be Opaque, what part of the clip is
going to be translucent, and what part of
| | 02:13 | the clip is going to be transparent?
| | 02:15 | And finally you'll have a Veil -
Wipe Matte and when I play this, this is
| | 02:21 | just basically a line that follows
where the first clip disappears and the
| | 02:26 | second clip is revealed.
| | 02:28 | The white part represents the first
clip or the outgoing clip, and the black
| | 02:33 | part represents the second
clip or the incoming clip.
| | 02:36 | Let's go ahead and select the Alpha
Transition in our Timeline and hit the
| | 02:40 | Return key, to enter it into the Viewer.
| | 02:43 | Now let's load the Veil clips
into the three different clip wells.
| | 02:48 | The first one we want to load in is the
one labeled Veil - Clip and that will go
| | 02:52 | into the clip well labeled Clip.
| | 02:53 | If we go ahead and scrub through, you
will notice we actually see a hint of the
| | 02:58 | Veil, but once again it's over the
white, what we are missing is the Alpha
| | 03:02 | channel or transparency
information so we can see through it.
| | 03:05 | So let's go ahead and grab Veil - Clip
Alpha Matte and drop it into the well
| | 03:11 | labeled Clip Alpha Matte.
| | 03:13 | Now this is starting to look
exactly how we want it to look.
| | 03:16 | If I go ahead and hit Play.
| | 03:18 | (Music plays and stops suddenly.)
| | 03:20 | Something interesting happens.
| | 03:21 | I get a huge warning that
says I have dropped frames.
| | 03:25 | The reason I have gotten this warning
is because I have turned on Unlimited RT,
| | 03:28 | and that's okay.
| | 03:30 | I don't mind if I drop frames when I
edit; I only care if I drop frames when I
| | 03:35 | export out, and Final Cut is going to
render everything it needs to render
| | 03:38 | before it prints to video or exports to file.
| | 03:42 | So what I want to do is uncheck
Warn next time and simply hit OK.
| | 03:47 | Now, when I play through the clip, it
may slow down and drop a frame or two, but
| | 03:51 | I will get a feel for what it looks like.
| | 03:52 | (Music Playing)
| | 03:55 | The problem that I have with this clip
is when it's halfway through, instead of
| | 04:00 | transitioning from the women to the man
with the stick, it's a straight cut, and
| | 04:04 | that's were the Veil -
Wipe Matte comes into play.
| | 04:07 | Remember when we looked at that, it was
a black and white element that kind of
| | 04:10 | showed the pattern of the veil.
| | 04:12 | We are going to drop that
into the Wipe Matte well.
| | 04:16 | Now when I step through this a frame at
a time, you see as the veil drops to the
| | 04:20 | bottom of the screen, it
reveals the man perfectly.
| | 04:23 | Now, let me explain a few other
elements in the Alpha Transition control panel.
| | 04:27 | I am going to scroll down and first let's
look at Scale Transition Asset Durations.
| | 04:33 | What this check box allows you to do
is if you make your transition longer or
| | 04:38 | shorter it's going to make sure
that wipe is longer or shorter.
| | 04:42 | It actually scales the length of the three
clips that you dropped into the three wells.
| | 04:47 | So, if I made this transition 2 seconds
long, the veil would last the full 2 seconds.
| | 04:52 | If I have this unchecked, the duration
of the transition will be exactly the
| | 04:56 | same no matter how long or how
short I make the duration of my clip.
| | 05:01 | It will all be based upon the
duration of those three source clips.
| | 05:05 | The next check box allows me to reverse
the transition of my assets and if you
| | 05:10 | notice when I check this box, instead
of the veil moving from top to bottom, it
| | 05:14 | actually moves from bottom to top.
| | 05:17 | So if you don't like the way the move is
going based upon the original design of
| | 05:20 | your transition, you can always
reverse it with the check box.
| | 05:23 | I am going to go back to the default setting.
| | 05:27 | The Opacity slider, allows you to
determine how opaque or translucent
| | 05:32 | the transition will be.
| | 05:34 | If I move it all the way to the left
and I'll scrub a little bit, you will
| | 05:37 | notice that it's a little more translucent.
| | 05:39 | If I move it all the way to the right, you
will notice that it's a little more opaque.
| | 05:45 | The Mid-point Offset allows you to
determine exactly when the transition is
| | 05:50 | going to cross over from the
first clip to the second clip.
| | 05:54 | It's a lot like rolling the edit,
without actually having to roll the edit.
| | 05:58 | Just to show you how well the scaling
works, I am going to go ahead and grab
| | 06:01 | this clip and make it longer, a lot
longer than I probably would want and
| | 06:06 | you will notice that the veil will use
the entire transitions duration to go
| | 06:10 | from top to bottom.
| | 06:11 | (Music Playing)
| | 06:15 | Let's take it to something
really short, and check it again.
| | 06:18 | In this case 10 frames.
| | 06:19 | (Music Playing)
| | 06:22 | Now, if I wanted to see this in real-
time, once again, make sure it's selected,
| | 06:26 | go up to my Sequence and I'll
say Render Only what's Orange.
| | 06:31 | And I can then see this
transition playback in real-time.
| | 06:34 | (Music Playing)
| | 06:37 | And now, you have a better understanding
on how to use the Alpha Wipe transition.
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| Saving favorites| 00:00 | Stock transitions within Final Cut Pro
are fine, but as you develop your editing chops,
| | 00:05 | you may notice that instead of
using 1 second dissolves, you may be 1/2
| | 00:09 | second dissolves or even 3rd second
dissolves or maybe 2 second dissolves.
| | 00:13 | And you are using this over and over
again, and instead of going in and putting
| | 00:17 | in a 1 second dissolve and then
having to change it all the time to half a
| | 00:20 | second or a third of a second, you can
actually make a custom transition and
| | 00:24 | save it as a favorite.
| | 00:26 | Let's take a look at how to do that.
| | 00:28 | The first thing we are going to do is
put the default transition, which is
| | 00:31 | currently a 1 second Cross
Dissolve between these two clips.
| | 00:35 | The next thing I want to do is select it,
hit Return and load it into the Viewer.
| | 00:39 | Now, one effect that I like
is something called a soft cut.
| | 00:43 | It's not quite a dissolve.
| | 00:44 | It's not quite a cut, but it's a gentle
transition from clip A to clip B.
| | 00:49 | Let's go ahead, and in the duration
box type 4 frames and hit Return.
| | 00:54 | I am going to play this,
so you can see how it looks.
| | 00:56 | (Music Playing)
| | 00:59 | It's a nice gentle way to get
from one clip to the other clip.
| | 01:02 | Now, instead of having to reinvent the
wheel over and over again, we are going
| | 01:05 | to save this as a favorite.
| | 01:07 | So we'll go the Effects tab and let's open up
the Favorites folder, which you see is empty.
| | 01:12 | Now, what I want to do is save this as a
favorite, and there's several ways I can do this.
| | 01:17 | One way is to simply grab it by the hand
and drop it over into the Favorites folder.
| | 01:22 | And as you see it's labeled Cross Dissolve,
but I really don't know how long it is.
| | 01:27 | So I am going to simply
click on it and type in 4 frames.
| | 01:32 | Now, when I hit Return, if I go to
my Effects menu, underneath Video
| | 01:36 | Transition, there's another folder and
this is our Favorites and there it is
| | 01:41 | Cross Dissolve 4 frames.
| | 01:43 | Let me show you another way
that you can make a favorite.
| | 01:47 | Perhaps, I want this one to be 2 seconds long
for when I am doing a nice slow lyrical edit.
| | 01:52 | I simply type in 200 and hit Return.
| | 01:56 | Now, instead of dragging the hand into
my Favorites folder, I am going to make
| | 02:00 | sure the Viewer is active and under Effects,
I am going to choose Make Favorite Effect.
| | 02:05 | The keyboard shortcut is Option+F. Take a
look in our Favorites tab, when I select this.
| | 02:11 | There it is, our new Cross Dissolve,
but this one is 2 seconds, so I want to
| | 02:16 | click on it so I can change it
and simply type in 2 seconds.
| | 02:22 | I hit return and now, I have a 2
second dissolve as a favorite also.
| | 02:27 | How do I go about applying these?
| | 02:28 | Well, it's as simple as dragging them
from my Effects tab or selecting an edit
| | 02:33 | point in the Timeline and under
the Effects tab, go to Favorites.
| | 02:38 | As you see Final Cut Pro is also
assigned the keyboard shortcut to our Favorites.
| | 02:43 | And remember we learned how you can
change your keyboard shortcuts or even make
| | 02:46 | a button for your favorite transitions.
| | 02:49 | Let's go ahead and make a
favorite and have one more transition.
| | 02:52 | I am going to select the edit point in
my Timeline and go to the Effects tab.
| | 02:56 | We are going to go Video Transitions >
Dissolve and choose Dip to Color Dissolve.
| | 03:02 | Now, if you look at the Dip to Color
Dissolve, what it really does is it just
| | 03:07 | fades the black and comes up again,
and it takes a long time to do that.
| | 03:10 | So we are going to modify
this to be the wipe that I want.
| | 03:13 | I am going to double-click to load it
into the Viewer, and the first thing I
| | 03:18 | want to do is make is make it short.
| | 03:19 | I want it to be flash to a color and
I am going to make it flash to white.
| | 03:22 | So we'll go ahead and we'll make
it's duration 6 frames and hit Return.
| | 03:27 | The next thing I want to do is I want
to click on this Color box so, I can open
| | 03:31 | the color wheel and I am
going to jump over to the Crayons.
| | 03:35 | Now, instead of going to pure white,
I need to go to a color called Mercury
| | 03:39 | which is about 92% white and that's
going to look pure white once it's on
| | 03:42 | broadcast television. Now, I'll hit OK.
| | 03:45 | If I watch this now in my Timeline, I see
that flash of white that I am looking for.
| | 03:52 | We are going to make one more tweak to
make this look a little more filmic, and
| | 03:57 | that's going to the Threshold slider.
| | 03:59 | What I want to do is have it go slowly
to white and then pop back to the image.
| | 04:04 | So I am going to move my Threshold
slider a little bit to the right.
| | 04:08 | So two-thirds of the effect will be
dipping down to white with one-third of the
| | 04:12 | effect going back to the next clip.
| | 04:14 | Now that I have designed the perfect dip to
white, I am going to save it as a favorite.
| | 04:20 | I'll go up onto the Effects
tab and say Make Favorite Effect.
| | 04:23 | I am going to go back here and instead
of it saying Dip to Color, I am going to
| | 04:27 | have flash to white.
| | 04:28 | Now, we haven't done much that was
different from the previous favorites, but I
| | 04:33 | am going to use this a lot.
| | 04:35 | As a matter of fact, I am going to
use this so much I want this to be my
| | 04:38 | default transition.
| | 04:39 | To make this transition my default
transition, I simply right-click on it and I
| | 04:45 | say Set as Default Transition.
| | 04:47 | If you notice there's now an underline
underneath the name of the transition.
| | 04:52 | This is an indication that
this is my default transition.
| | 04:55 | Also, if I right-click in my Timeline
and I go add my default it actually says
| | 05:00 | Add Transition 'flash to white'.
| | 05:03 | So it's very easy for me to add that
flash of white wherever I want in my show.
| | 05:09 | Creating and using favorite transitions is a
great way to really speed up your workflow.
| | 05:14 | Create once and use it many times.
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|
|
10. FiltersUsing filters| 00:00 | In the next few lessons we are
going to learn how to use filters.
| | 00:03 | Now, filters can be used for
a lot of things when editing.
| | 00:06 | You can use them to change the look of
a shot or simply just to fix the look
| | 00:10 | of a shot, if you have the wrong color balance
or it needs a little bit of color correction.
| | 00:14 | Let's take a look at how to
use filters in Final Cut Pro.
| | 00:17 | Now, we have already learned how to
use transitions in previous lessons, and
| | 00:21 | filters are pretty much the same only easier.
| | 00:23 | So, let's watch the first
few clips in our Timeline.
| | 00:26 | I am going to go ahead and
press the spacebar key to play.
| | 00:29 | (Male speaker: ...place on Earth. Over 3.5 million
square miles of vast wilderness. It's the Sahara Desert.)
| | 00:39 | I really like this sequence, but I have a
real problem with the transition from this shot.
| | 00:43 | (Male speaker: ...million square miles)
| | 00:45 | To the next shot.
| | 00:46 | I really wish the trees were
traveling in the other direction.
| | 00:49 | So what I want to do is flip this clip.
| | 00:52 | Now, to put a filter on a clip,
the first thing you need to do is make sure
| | 00:55 | the clip is selected and then
you'll go up onto the Effects tab.
| | 00:58 | Now, the nice thing about working with
a filter versus working with transitions
| | 01:01 | is I don't have to worry about handles.
| | 01:03 | If I want to flip this shot, I go to
Video Filters, Perspective and choose Flop,
| | 01:09 | and it immediately switches the
direction the trees are going.
| | 01:12 | Let's go ahead and play that back.
| | 01:13 | (Male speaker: ...million square miles of
vast wilderness. It's the Sahara Desert.)
| | 01:22 | Exactly what I was hoping for.
| | 01:24 | That's one way to load a filter on to a clip.
| | 01:27 | We can also drag filters from the Effects tab.
| | 01:30 | Let's go ahead and open the Effects tab,
open up the Filters disclosure triangle
| | 01:34 | and let's take a look at our
Timeline for our producers note.
| | 01:38 | Later on in the show, the producer asked
us to use an effect to focus on the runners.
| | 01:43 | Let's right click on our Marker
drop-down menu and jump to that clip.
| | 01:47 | We have our three runners, but I want to
isolate our viewers' attention just on them.
| | 01:51 | So to stylize this, we are
going to use the Vignette filter.
| | 01:55 | And the Vignette filter is located
inside the stylize bin inside the
| | 01:58 | Video filters folder.
| | 02:00 | Let's go ahead click the disclosure
triangle, we'll scroll down and there
| | 02:04 | we will find Vignette.
| | 02:06 | And to put the Vignette filter on this
clip, I simply grab it by the icon and
| | 02:10 | drop it on the clip, as simple as that.
| | 02:13 | As you can see, applying filters to your clip can
change the way your viewers look at your program.
| | Collapse this transcript |
| Modifying filters| 00:00 | In the previous lesson, we learned
how to put filters on a clip. Now we are
| | 00:03 | going to learn how to modify those filters
so they do exactly what we want them to do.
| | 00:07 | If you look at the beginning of our
program, we have this great sun flare shot,
| | 00:11 | which then dissolves to the desert.
| | 00:12 | (Music playing.)
| | 00:17 | (Male speaker: It's the most unforgiving place on...)
| | 00:20 | The problem I have is the sun flare
shot is kind of gray-blue and the desert is
| | 00:24 | this beautiful golden color.
| | 00:26 | What I would like to see is the
sun to be the same golden color.
| | 00:29 | So we are going to use a filter
to change the color of our sky.
| | 00:33 | So the first step is to put a filter on this
clip and I am going to use the Sepia filter.
| | 00:38 | We will go up onto the Effects tab,
Video Filter > Image Control > Sepia.
| | 00:44 | And when I out this Sepia
filter on, it's way too orange.
| | 00:47 | It just blows us away.
| | 00:48 | This is not the look we are trying to achieve.
| | 00:50 | So I need to tweak and adjust this filter.
| | 00:53 | We adjust a filter, the exact same
way we would adjust the transition.
| | 00:57 | Once the filter has been applied to the
clip, I select the clip in the Timeline
| | 01:01 | and simply press the Return key.
| | 01:03 | Now, the clip is loaded into the
Viewer and we will look at a new tab that we
| | 01:07 | have yet to explore called the Filter tab.
| | 01:10 | In the Filter tab are all the
modifications that I can do to this effect.
| | 01:14 | The first thing I want to do is just
change the color from this bright orange to
| | 01:17 | something more golden.
| | 01:18 | Now, I can do this one of two ways.
| | 01:20 | I can click here and open up my Color palette.
| | 01:23 | And when you work with the Color
palette, you can choose a variety of ways
| | 01:26 | to select your color.
| | 01:27 | We used the Crayon earlier, but
instead of using the Color palette this way,
| | 01:31 | I am going to go ahead and close this,
and look at the next shot that we are
| | 01:35 | trying to match to.
| | 01:36 | That's the gold color I am looking for.
| | 01:38 | So I will go back into my Filter, grab
the eyedropper for selecting the color
| | 01:43 | and go over here and try to
pick up a nice shade of gold.
| | 01:46 | If you notice, this has now changed
color to the golden-hue and I will go back
| | 01:50 | to my original shot.
| | 01:52 | This match is a lot closer, but I think
I am going to pull down the amount just
| | 01:55 | a little bit so we have a little
bit of the blue sky bleed through.
| | 01:59 | Let's take a look and see how well they match.
| | 02:01 | (Music playing.)
| | 02:09 | (Male speaker: It's the most unforgiving...)
| | 02:11 | A much more natural transition
from my sun flare to the sand.
| | 02:15 | Another way to modify
filters is to keyframe them.
| | 02:18 | To change them over time.
| | 02:20 | Now, again, the producer has
given us a very specific request.
| | 02:23 | If we right-click on our Timeline, we see
there is a request to rack focus the shot.
| | 02:29 | So we will jump to that shot and let's play.
| | 02:31 | I am going to rewind using J, and then
press the spacebar to watch what happens.
| | 02:37 | (Male speaker: Imagine running 50 miles a day...)
| | 02:38 | We have a quick dissolve and then we
have these runners coming out of the
| | 02:42 | distance and the producer thought it
would be really nice if we actually pull
| | 02:45 | focus as they run into the shot.
| | 02:47 | So let's go ahead and zoom in by
hitting Command+Plus+Plus+Plus.
| | 02:51 | If you notice, because I had Sun
Panning selected from our previous edit,
| | 02:55 | that's what I zoomed into.
| | 02:56 | This happens when editing all the time.
| | 02:58 | Simply press the Forward Arrow key and
it will jump the Timeline to where your
| | 03:02 | playhead was parked.
| | 03:04 | Now, let's select the clip, go back
onto the Effects tab, Video Filter, and the
| | 03:09 | filter we want to use is a Blur filter,
and there is a lot of Blur filters to
| | 03:13 | use, we are going to Gaussian Blur.
| | 03:15 | Now, I would like to point something out.
| | 03:18 | If you notice, Gaussian Blur and
most of the other blurs are all bolded.
| | 03:22 | The Movement Blur not bolded.
| | 03:24 | Do you see the slight difference there?
| | 03:26 | When you look at Transitions and Filters
in your Effects menu, the ones that are
| | 03:30 | bolded will play in real-time, the
ones that aren't bolded may not play in
| | 03:34 | real-time and may stutter
or may need to be rendered.
| | 03:37 | Let's go ahead and place
the Gaussian Blur on our clip.
| | 03:40 | Now, as you notice, it
immediately gets a little bit fussy.
| | 03:43 | But we are going to work with that.
| | 03:45 | Once again, let's load this clip back
into the Viewer by hitting the Return key
| | 03:49 | and you will notice there is a Radius slider,
and to the right there is a little green line.
| | 03:53 | What I'd like you to do is click on
the Title Bar, grab this window, slide
| | 03:57 | it all the way over to the left, over
our Browser, go the edge of the window
| | 04:01 | and drag it out longer.
| | 04:03 | Now what you will see is a green line.
| | 04:04 | Now, where were we seen this green line before?
| | 04:06 | We saw it when we were keyframing audio,
and keyframing a filter is much like
| | 04:11 | keyframing our audio levels.
| | 04:13 | So the first thing we want to do
is see what this image looks like
| | 04:15 | completely out of focus.
| | 04:16 | So I am going to drag it all the way
over here to the left and we see there
| | 04:20 | is just a hint of it.
| | 04:21 | And then I can grab this slider here for
the radius of our blur and as I move it
| | 04:25 | to the right, the image
becomes less and less in focus.
| | 04:28 | Once it gets to the level of our out
of focus that I want, I will create a
| | 04:33 | keyframe by pressing this button right here.
| | 04:36 | It will go from clear to green and as
you see, I have now locked the filter to
| | 04:40 | be at 68, at that point in my Timeline.
| | 04:43 | I simply grab the playhead, slide it
down a little bit until we start seeing
| | 04:47 | the shot, and now I adjust the Radius some
68, back to 0, so it's perfectly in focus.
| | 04:53 | You will notice that since you've
created the first keyframe, anytime you modify
| | 04:57 | a parameter in the Filters tab, Final
Cut Pro automatically creates a keyframe
| | 05:01 | and locks it into that final position.
| | 05:03 | Let's go ahead and play
this back and see how it looks.
| | 05:07 | (Male speaker: ...50 miles per day.)
| | 05:09 | I like it a lot.
| | 05:10 | It is the rack focus I am looking for, but
it's happening a little faster than I want.
| | 05:14 | All I need to do is grab the second
keyframe that was created and drag it to the
| | 05:19 | right and this will increase the time
it takes to go defocused to focused.
| | 05:23 | Let's go ahead and play it one more time.
| | 05:25 | (Male speaker: ...50 miles per day for more than...)
| | 05:29 | Pretty nice! I think
the producer is going to be happy.
| | 05:32 | The shipping version of Filters in
Final Cut Pro is fine but being able to
| | 05:35 | modify them allows you to get
the exact look that you want.
| | Collapse this transcript |
| The Color Corrector| 00:00 | The 3-Way Color Corrector is probably the
most valuable filter in the Final Cut Pro.
| | 00:04 | It not only allows you to fix the
balance of a shot but also to give your shots
| | 00:08 | a specific look and feel.
| | 00:10 | We are going to use the 3-Way
Color Corrector to fix this shot
| | 00:12 | that's a little bit too blue because the
camera was set with the wrong white balance.
| | 00:18 | The first thing we need to do is
select the clip in our Timeline.
| | 00:20 | We will go up onto the Effects tab,
down to Video Filters > Color Correction >
| | 00:25 | Color Corrector 3-Way.
| | 00:27 | Now, be careful. You don't want
to choose the Color Corrector.
| | 00:30 | You always want to work
with Color Corrector 3-Way.
| | 00:33 | Once this is selected, make sure the
clip is loaded from your Viewer into your
| | 00:36 | Timeline by hitting the Return key.
| | 00:39 | Now, you will notice there is a new
tab that says 3-Way Color Corrector but
| | 00:42 | before we go there, let's
take a look at our Filter tab.
| | 00:45 | As you can see our 3-Way Color
Corrector is there also and if I click on
| | 00:49 | the disclosure triangle, I see there is a
variety of numerical ways that I can change this.
| | 00:53 | Well, working with the 3-Way Color
Corrector, it's best to work with the
| | 00:57 | graphical interface and before we
jump in and start fixing our shot, let me
| | 01:01 | explain this graphical interface to you.
| | 01:03 | There is three color wheels in this filter.
| | 01:06 | One labeled, Blacks, Mids and Whites.
| | 01:08 | The Blacks affect the shadows in our shot.
| | 01:11 | The Mids pretty much what it
sounds like, the mid range.
| | 01:14 | And the Whites work with the highlights.
| | 01:16 | Using the Color Wheels, I can change
the hue of a shot, and using the sliders
| | 01:23 | I can make my shadows brighter or
richer, and work in the mid-range which is
| | 01:27 | really useful if someone is in
silhouette and I want to bring them out without
| | 01:30 | blowing out the background and of course work
with my highlights, the brighter areas of my image.
| | 01:36 | I also have a Saturation slider.
| | 01:39 | Now, I haven't really made the shot
much better while playing with it, so let's
| | 01:41 | go ahead and reset it.
| | 01:43 | There's two ways you can reset
your Color Correction Filter.
| | 01:46 | If I click on an individual white dot,
it will reset just that parameter.
| | 01:51 | If I want to reset the entire filter,
much like pressing the red X key in our
| | 01:55 | other filters, I hold down the Shift
key before I click on any one of these
| | 01:59 | right dots and this will
reset the entire filter.
| | 02:02 | Let's go ahead and balance this
shot so that it's not too blue.
| | 02:06 | I am going to scroll back in my
Timeline just a little bit so I can see the
| | 02:09 | shoes of the runners.
| | 02:11 | Now, using the eyedropper in the 3-Way
Color Corrector, I can click on it, my
| | 02:15 | cursor changes from a Selection tool,
to an Eyedropper tool, and I am going to
| | 02:19 | tell Final Cut, what should be white.
| | 02:21 | Now, I don't want to pick the sky.
| | 02:22 | There is not a lot of color information in the
sky because it's so blown out. It's mostly white.
| | 02:27 | I wanted to pick something that is
more of a neutral gray, which is why I
| | 02:31 | stepped back to where I
could see the runner's shoes.
| | 02:33 | These are reflecting the
light and also the blue tone.
| | 02:36 | So the trick here is to find a
spot that looks a little bit blue.
| | 02:40 | Now, before I click on it.
| | 02:41 | Take a look at the Whites color wheel.
| | 02:43 | When I select what should be white, you
will notice that the dot in the center
| | 02:47 | of the color wheel moves to the left
towards yellow, adding more yellow to the
| | 02:51 | shot to compensate for the blue.
| | 02:53 | The shot is already
starting to look a lot better.
| | 02:56 | However, there still is a lot
of blue light in our shadows.
| | 02:59 | So I am going to do the same thing we
did with the Whites eyedropper, with
| | 03:02 | the Blacks eyedropper.
| | 03:03 | Go over here, click on the eyedropper,
and now I am going to select their shorts
| | 03:08 | which should be solid
black instead of a blue black.
| | 03:11 | And take a look at what happens to the
little circle in the Blacks color wheel.
| | 03:15 | Again, it moves towards the
yellow to compensate for the blue.
| | 03:18 | Now, you may ask when do I
use the eyedropper in the Mids.
| | 03:22 | Well, in this case, you really can't.
| | 03:24 | The only time you should use the Mids
eyedropper is if at the beginning of the
| | 03:28 | shot, you held up a grayscale card.
| | 03:31 | And a grayscale card not only has
what's truly white on it, and truly black on
| | 03:35 | it, it also has something
that's 50% neutral gray.
| | 03:38 | And in that case, you can
use the grayscale eyedropper.
| | 03:42 | Since we don't have a grayscale card
in our shot, I can eyeball it by simply
| | 03:45 | grabbing the center circle and
moving it in the direction that I want.
| | 03:49 | Most likely, this shot also needs
a little more yellow, in its Mids.
| | 03:53 | Now, you will notice when you drag
this it moves very slow, with Color
| | 03:57 | Correction, little changes do a lot.
| | 04:00 | If I wanted to move this dot faster,
I could hold down the Command key and
| | 04:03 | it will release it.
| | 04:04 | But as you see, this goes a little
bit crazy when I move it too much.
| | 04:08 | Let's go ahead and reset our Mids and
then just move it over a little bit.
| | 04:12 | Now, in color correcting, it's always
good to look at our before and our after.
| | 04:17 | If you go over here to this blue
checkbox, I can deactivate the Color Corrector
| | 04:21 | without removing it.
| | 04:22 | This was our shot before.
| | 04:24 | It's a little too blue and
purple and this is our corrected shot.
| | 04:27 | There is another shot in our
Timeline that we need to color correct also.
| | 04:31 | I am going to right-click here and
I am going to select Color Correct.
| | 04:36 | Now, this shot is a really pretty shot
but it's a little flat compared to a lot
| | 04:40 | of the other shots in the program.
| | 04:41 | It's not as rich, my Blacks aren't as
deep, my Whites aren't as bright and I
| | 04:46 | don't feel there is a lot
of color information here.
| | 04:48 | So once again we are going use the 3-Way
Color Corrector to make this shot match
| | 04:52 | the rest of the shots in our program.
| | 04:54 | I want to select the clip in my Timeline
and go up to the Effects pull-down menu.
| | 04:58 | I want to point something out
about the Effects pull-down menu.
| | 05:02 | The last transition or filter you used
is always available to you at the very
| | 05:06 | top of your Effects pull-down menu,
so you can very easily choose the same
| | 05:10 | effect or transition that you used before.
| | 05:13 | We now have the Color Corrector
on our runners and at the sun shot.
| | 05:17 | But if you notice, that's
not the shot that in my Viewer.
| | 05:19 | It's still is the runner's one
shot that we corrected before.
| | 05:22 | So make sure once it's selected, you
hit the Return key to load that clip
| | 05:26 | back into the Viewer.
| | 05:29 | As you see, it appears as if my Color
Corrector was reset, but I am really using
| | 05:33 | the Color Corrector on the new clip.
| | 05:35 | Now, I am going to eyeball this and I
know pretty much the changes I want to make.
| | 05:38 | Let me just scroll this away, so we
don't see the marker note and I want to make
| | 05:43 | sure that Blacks are a lot richer.
| | 05:44 | So I am going to go ahead and grab my
Luminance slider here, and just pull it down a bit.
| | 05:48 | I want to make it look like it's
really that golden hour at sunset.
| | 05:51 | So now my Blacks are nice and rich, but I
want my Whites to be a little bit brighter.
| | 05:56 | Okay, that sun is going to
really be silhouetting my runners.
| | 05:59 | And then I am going to grab my Mids,
and work with this a little bit and if I
| | 06:02 | bring up there, I really
lose the punch of the shot.
| | 06:05 | But bringing it a little bit below center.
| | 06:07 | And if you really want to fine-tune it,
you can actually click these little
| | 06:10 | arrows right here, I can get that
dusk shot that I am looking for.
| | 06:15 | So now the contrast is exactly where I
want it to be, I want to add a little bit
| | 06:18 | of color to the shot.
| | 06:19 | I want this to have more
of that golden hour look.
| | 06:22 | So I am going to go ahead and in my
Mids, grab the center circle, and add a
| | 06:26 | little bit more yellow to the shot.
| | 06:28 | And as you can see, it's
looking a little bit more like sunset.
| | 06:32 | Now, I really want to jazz up this shot,
so I want some more red in my sunset.
| | 06:36 | And that's going to happen about right here,
so that's going to be in my highlights.
| | 06:40 | So I am going to go to my
highlights, and bring in a little red.
| | 06:42 | As you see it, it tints a little bit more to
the red at the very edges of my highlights.
| | 06:47 | Now, this looks good.
| | 06:49 | But a lot of the other shots in my
show have a little more saturation.
| | 06:52 | I really want this to be a beauty shot.
| | 06:54 | I really want it to punch.
| | 06:55 | So, I am going to grab the
Saturation slider and just bring it up a hair.
| | 06:59 | And this is a much more
dramatic shot than we had before.
| | 07:02 | Let's take a look at this clip
with and without the filter activated.
| | 07:06 | Once again, I will go up to
the checkbox and uncheck it.
| | 07:09 | This was my before, and this was my after.
| | 07:13 | A pretty dramatic improvement
with the 3-Way Color Corrector.
| | Collapse this transcript |
| Smoothcam| 00:00 | In this next lesson, we're going
to learn to stabilize the shot using
| | 00:03 | the SmoothCam filter.
| | 00:05 | Now, if we look at the clip runners 2,
night, we see it's a beautiful shot but
| | 00:09 | it's a little bit bouncy.
| | 00:10 | The cameraman was obviously running
backwards or in a car driving backwards as
| | 00:14 | the runners were going towards him.
| | 00:15 | What I want to get is the
feel of using a steady cam.
| | 00:19 | So, we're going to go ahead, select our
clip, go up onto the Effects tab > Video
| | 00:23 | Filters > Video and put the SmoothCam filter on.
| | 00:26 | Now one thing you'll notice, as soon
as I apply the SmoothCam filter, I see
| | 00:30 | something here that says Background
Process, and in my upper right-hand corner,
| | 00:33 | it says Analyzing clip.
| | 00:35 | What Final Cut Pro is doing is it is
actually looking at every pixel in that shot
| | 00:39 | and creating what's called an MTDF
file, which is storing where every pixel goes,
| | 00:43 | in every frame.
| | 00:45 | So, now we can right-click on the clip
in the Timeline and say Reveal in Finder.
| | 00:51 | What you'll notice is
the MTDF file of runners 2.
| | 00:54 | Now, this a very small file.
| | 00:56 | As a matter fact, the original clip is
10.9 megabytes, but this small file is
| | 01:00 | just basically the math of where the clips are
moving to and you see it's only 56 kilobytes.
| | 01:06 | You can have a lot of MTDF files.
| | 01:08 | So, don't worry that the MTDF
files are filling up your hard drive.
| | 01:11 | Now, a couple of important things to
note when working with the SmoothCam filter
| | 01:15 | and creating these files.
| | 01:17 | The files should always be located in
the same folder as the original clip.
| | 01:21 | If I move that file or I delete it, Final
Cut is going to have to reanalyze the movie.
| | 01:26 | A second thing to take note of is
that Final Cut analyzes the entire
| | 01:30 | original QuickTime movie.
| | 01:32 | So, even though, I may be using only
a 5 second clip in my program, if the
| | 01:36 | original clip was 20 minutes long,
Final Cut is going to analyze that entire 20
| | 01:40 | minute movie, and that could take a long time.
| | 01:43 | If you're using a very short piece of a
very long clip, the best thing to do is
| | 01:47 | mark an in and out point, and export
just that section of that clip and reimport
| | 01:51 | it back into your Timeline
before running the SmoothCam filter.
| | 01:55 | Let's go back to Final Cut.
| | 01:56 | Now, one thing you may have noticed
is that when it was calculating it, it
| | 02:00 | said Background Process.
| | 02:02 | What that means is I can keep working in
Final Cut while it's analyzing the clip.
| | 02:06 | So, you can go through, put the
SmoothCam filter on a clip, keep editing and
| | 02:10 | when the analysis is done,
you see the clip is stabilized.
| | 02:13 | Let's take a look at what
the stabilized clip looks like.
| | 02:16 | I'm going to move my playhead to the
beginning of the shot and simply hit Play.
| | 02:20 | (Music playing.)
| | 02:22 | This clip is a lot more
rock solid than it was before.
| | 02:26 | Now, let's open the clip up in our
Viewer and look at some of the controls of
| | 02:29 | the SmoothCam filter.
| | 02:31 | I'll press the Return key, we will click
on the Filter tab and these are all the
| | 02:34 | controls that we can work with.
| | 02:36 | Now, what Final Cut actually does when
it applies the SmoothCam filter is after
| | 02:41 | it analyzes where all the pixels are
before, it wants to keep them in the exact
| | 02:45 | same X-Y location, so the image
doesn't move around the screen.
| | 02:49 | To do this, it actually rotates
and moves the image left and right.
| | 02:53 | So, we don't see this rotation.
| | 02:55 | It actually blows the image up a little bit.
| | 02:58 | It determines this based upon the
amount of shake in the original shot.
| | 03:01 | In this case, it blew the image up by about 5%.
| | 03:04 | I want to show you what happens
if we didn't blow the image up.
| | 03:07 | Then you can actually get a better
sense of what Final Cut is doing when it's
| | 03:10 | stabilizing the image.
| | 03:11 | Take a look at the very edges
of our screen when I hit Play.
| | 03:14 | (Music playing.)
| | 03:16 | It will actually look as if
the image is bouncing around.
| | 03:19 | As a matter of fact, if I play through
this a little more slowly, you are going
| | 03:23 | to actually see the edges of the frame
bounce around as it tries to keep the
| | 03:27 | runners perfectly straight.
| | 03:29 | This why we need to blow the image up to 105%.
| | 03:33 | The next area I want to discuss
is our camera motion smoothness.
| | 03:36 | This is Translation Smooth,
Rotation Smooth, and Scale Smooth.
| | 03:40 | What Translation Smooth does is
it controls the X and Y values.
| | 03:44 | The image moving left
and right, and up and down.
| | 03:46 | Rotation is as if the camera has
rotated around like a 360 degrees circle.
| | 03:51 | And finally, Scale is as if the
camera has moved in or out a little bit.
| | 03:55 | In this shot we don't have to worry
about Scale, but we did adjust our
| | 03:58 | Translation and Rotation Smoothness.
| | 04:01 | Now, why would you want to modify
what Final Cut has already done?
| | 04:03 | Well, if I have a shot say of a guy
ridding a bicycle and there is a lot of
| | 04:07 | bounce to it, when I'm done running
the SmoothCam on it, it may look like I'm
| | 04:10 | actually using a steady cam.
| | 04:12 | I may want a little more float in my
image, so in that case I may take the
| | 04:16 | Translation Smoothness down a little bit
and I have a little bit more camera flow.
| | 04:21 | Finally, we have a Mix slider.
| | 04:23 | All that Mix slider does is show you
what the before looks like, and what the
| | 04:27 | smoothed out image looks like.
| | 04:28 | If I move this to 50% and play it.
| | 04:31 | (Music playing.)
| | 04:34 | It looks like these runners are a
little dizzy from running 50 miles a day.
| | 04:38 | Let's take this back to 100% and
look at our final image one more time.
| | 04:42 | (Music playing.)
| | 04:45 | Now, the SmoothCam filter
can do wonderful things.
| | 04:47 | But if your original shots is really
blurry, if the shake is way out of control,
| | 04:51 | it's not a magic bullet that can fix everything.
| | 04:54 | But for shots that have little
bit of shake, it can do magic.
| | Collapse this transcript |
| Saving favorites| 00:00 | Once you've customized a filter in Final
Cut Pro, you may want to save it to use
| | 00:04 | in other parts of your program.
| | 00:06 | Now, saving a Favorite is
much like saving a Transition.
| | 00:09 | The key here is to load the clip into
your Viewer and I want to save this sepia
| | 00:13 | tone that I customized so
it looks like desert sand.
| | 00:17 | We click over to our Filers tab.
| | 00:19 | Once in our Filters tab,
there's two ways that I can save this.
| | 00:22 | I can either go to my Effects tab, go to
Favorites and simply grab this and drag it
| | 00:27 | into the Favorites folder.
| | 00:29 | Or, if I wanted to, I can go up on to
the Effects tab and simply say Make
| | 00:34 | Favorite, Option+F.Now, once you make
the Favorite, remember to change its name.
| | 00:38 | Click it, so you can now type in the new name.
| | 00:40 | I don't want to call this Sepia because
it's really not a Sepia filter anymore.
| | 00:44 | I'm going to call this Golden Desert.
| | 00:49 | Then I press Return.
| | 00:50 | Now, let's go ahead and apply this to
some clips further down our Timeline.
| | 00:55 | If I right-click on our Timeline, we see there
is a request to Add a custom tint to two clips.
| | 01:00 | Let's zoom in and take a closer look.
| | 01:02 | Before we zoom in, let's make sure
nothing is selected in our Timeline by
| | 01:05 | pressing Shift+Command+A. And now,
I can press Command+Plus to zoom in.
| | 01:10 | So, I want to change this shot, which
is a little bit too yellow, and this shot,
| | 01:14 | which has a little bit too much red in
his sweatshirt to fit with all the other
| | 01:18 | shots in the program.
| | 01:19 | So, let's lasso these two clips
| | 01:21 | to select them in Timeline, go back
up to the Effects tab, click on Golden Desert,
| | 01:26 | and drag them and drop
them on the two selected clips.
| | 01:29 | As you see, we no longer have that
bright awkward yellow feel. It's much more of
| | 01:33 | our golden tint and in this
clip we really muted the red.
| | 01:36 | I'm going to load this clip back into
the Viewer, so you can see it with and
| | 01:40 | without our newly made favorite.
| | 01:42 | This was before and this fits the
theme of our show a little bit better.
| | 01:47 | I'd like to say making a Favorite
filter is as simple as one, two, three.
| | 01:50 | But in reality it's as simple as just one.
| | Collapse this transcript |
| Filterpacs| 00:00 | In this lesson, we are going to learn
how to stack filters on top of each other
| | 00:04 | and also how to save those filters into
what we call a Filter Pack, so you can
| | 00:08 | apply a look or a theme to
others clips in your timeline.
| | 00:12 | The first thing we want to do is we
want to modify the look of this clip.
| | 00:15 | This is a great shot, but I want
to give it more of that desert feel.
| | 00:18 | So, we are going to apply a
variety of looks to this clip.
| | 00:22 | The first thing we will do is let's throw
our favorite Golden Desert tint on to the clip.
| | 00:27 | We'll go to the Effects tab, grab the
Golden Desert and drop it right on the clip.
| | 00:31 | I am starting to get the look I want,
but I want to feel a little bit more heat.
| | 00:35 | So, I am going to go ahead and put a
Bloom Filter on, select the clip in my
| | 00:39 | timeline, go up under Effects >
Video Filters > Glow and we are going to
| | 00:43 | actually put the Bloom Filter on.
| | 00:47 | If you notice this blows out my
images a little bit, but it's also doing
| | 00:50 | something I don't like.
| | 00:52 | It's adding a lot of Red to the image.
| | 00:53 | It doesn't look realistic.
| | 00:55 | So, I am going to add one more filter,
we'll go up under the Effects tab > Video
| | 00:59 | Filters > Image Control and I am
going to desaturate this a little bit.
| | 01:03 | I think I have too much color.
| | 01:05 | Well, when I put the desaturate filter on,
it completely removed all color from my shot.
| | 01:09 | So, let's go ahead, make sure this
clip is loaded into the Viewer and we'll
| | 01:13 | tweak the look to the exact look that we want.
| | 01:15 | I am going to press the return key.
| | 01:17 | It loads these filters into my Viewer and
then I am going to click on the Filter tab.
| | 01:21 | Now, I intentionally put
this filters on out of order.
| | 01:24 | I want you to make note that the order
that you put filters onto a clip, will
| | 01:28 | ultimately affect the way the clip looks.
| | 01:30 | Because, when you put the Desaturate on
last, it completely took all color out
| | 01:34 | of the clip including our Tint.
| | 01:36 | If, I want to change the order of a
clip, I can simply grab it by its name
| | 01:40 | and drag it up or down.
| | 01:42 | Now, when filters are applied to
a clip the order is from top-down.
| | 01:46 | So, now we would put the Desaturate on, it
would then put the Tint on and then Bloom on.
| | 01:50 | Well, the Bloom looks good but
once again, it's adding all those Red
| | 01:53 | tonalities to my shot.
| | 01:54 | So, I am going to actually
move that up a little bit.
| | 01:57 | I am going to put it right at the
very top of the order of my clips.
| | 02:00 | Now, I have that blown out look
without having to worry about those Reds.
| | 02:04 | Now, the Desaturate is 100% Desaturate.
| | 02:07 | It's literally making it Black and White.
| | 02:09 | If, we turn off Golden Desert, we see
that the clip is completely Black and White.
| | 02:14 | I want to use the Desaturate to soften
the amount of color in my shot, but I
| | 02:18 | don't want to remove it completely.
| | 02:19 | Now, be careful when working with the
Desaturate slider, if you move it all the
| | 02:24 | way to the left you can
actually super saturate your clip.
| | 02:27 | So, you want to make sure that it's
little bit to the right of center, maybe
| | 02:30 | about 20%-25% Desaturated.
| | 02:34 | If, I want to look at this without
the filter, I can simply deactivate the
| | 02:37 | filter, if, I want to see
the before and the after.
| | 02:40 | Just a subtle desaturation.
| | 02:42 | That's all I am looking for.
| | 02:44 | And let's go ahead and
turn Golden Desert back on.
| | 02:47 | We have our Bloom our Desaturate and
our Golden Desert in the proper order
| | 02:51 | giving us a specific look and feel.
| | 02:53 | Now, instead of saving them as
individual filters, which I would need to apply
| | 02:57 | over and over and over again, I am going
to switch over to the Video tab and now
| | 03:02 | go on to the Effects tab
and say Make Favorite Effect.
| | 03:06 | Take a look at what appears in
my Effects tab of my Browser.
| | 03:09 | I actually get a folder named after the clip.
| | 03:13 | This Folder contains all the filters
that I just put in, in the order that I
| | 03:17 | placed them on my clip.
| | 03:18 | I am going to change the name to
describe the look, which is called the
| | 03:22 | ultimate Sahara look.
| | 03:24 | I'll hit return and now if I want to
apply this, I can simply drop this Folder
| | 03:28 | on another clip in my Timeline.
| | 03:30 | I am going right-click on my Timeline
and jump right to the mark where this
| | 03:34 | says Apply Filter Pack.
| | 03:36 | So, I want to give that
same look to this clip here.
| | 03:39 | All I need to do is go over grab the
ultimate Sahara look folder, drop it on
| | 03:44 | that clip and there we go.
| | 03:46 | Loading it back in the Viewer, I have
all the filters that I want, with all the
| | 03:49 | parameters that I selected, applied all at once.
| | Collapse this transcript |
|
|
11. Working with StillsWorking with stills| 00:00 | In this lesson, we are going to
examine working with stills and graphics and
| | 00:04 | the first graphic we are going to
work with is called sunset.tif and
| | 00:07 | let's load it into our Viewer.
| | 00:09 | Now, before we get going I want to talk
to you a little bit about what happens
| | 00:13 | when you bring still images
from your Finder into Final Cut.
| | 00:17 | By default they have a duration of 10 seconds.
| | 00:20 | This is something you can change depending
on your needs and depending on the project.
| | 00:24 | To do this, we will go up under the
Final Cut Pro pulldown menu, to User
| | 00:27 | Preferences and once inside of User
Preferences, you will switch over to
| | 00:31 | the second tab called Editing and
this is where you would change your Still
| | 00:34 | or Freeze duration.
| | 00:36 | You could change this to 5 seconds, if
you know that 10 seconds will be too long
| | 00:40 | for all of your images.
| | 00:41 | For instance, maybe you are doing a
slideshow and you need to go through 100 slides
| | 00:44 | and you know none of them are
going to be 10 seconds long, but they are
| | 00:47 | going to be between 4 and 6.
| | 00:49 | You can set the Still duration to 5
seconds and then when you bring these images
| | 00:53 | into your Browser, they will all
have a default duration of 5 seconds.
| | 00:57 | Keep in mind that images that are
already in your Browser won't have the
| | 01:00 | duration changed, when you change this setting.
| | 01:03 | Let's go ahead and press
OK and return to Final Cut.
| | 01:07 | Now, this has 10 second duration, but
also notice it has handles on it and every
| | 01:11 | time you create a Still or a Freeze
frame, you will get one minute handles on
| | 01:15 | each side of your in and out point.
| | 01:18 | The producer said, wouldn't it be
great if at the very end of the show as the
| | 01:21 | runners slowly run off into the
distance, we could have a really long
| | 01:25 | dissolve into this sunset?
| | 01:26 | So, we are going to go ahead and
put this still at the end of our show.
| | 01:29 | I am going to mark an in and out
point in my Timeline based upon our notes.
| | 01:33 | We will mark an end point right here by
pressing the I key and an out point at
| | 01:38 | the end of our program by pressing the O key.
| | 01:41 | We could drag this directly into
the Timeline, but let's do something a
| | 01:44 | little bit different.
| | 01:45 | We are going to drag it from the Viewer
into the canvas, but not drag it on to
| | 01:49 | Insert, Overwrite, Replace or Fit to Fill,
we have already learned those skills.
| | 01:53 | This time we are going to
drop it into Superimpose.
| | 01:56 | Now, when I drop a clip onto Superimpose, it
places the clip one track above our target track.
| | 02:02 | So, since our target track is V1, it's
going to place this still graphic on to
| | 02:07 | V2, exactly where we wanted it to be.
| | 02:10 | What we want to do is a very slow
transition of these runners, running into the
| | 02:13 | distance to our sunset.
| | 02:15 | And we are going to do this
by controlling the Opacity.
| | 02:19 | Now, to control the Opacity in the
Timeline, you need to make sure that your
| | 02:22 | Clip Overlays are turned on.
| | 02:24 | They are turned on now because we were
keyframing our audio earlier on, but let
| | 02:28 | me show what it looks like
with it off and on again.
| | 02:31 | And what I want you to pay
attention to is this thin black line.
| | 02:35 | So, if I go over here to the bottom
left-hand corner of my screen and press
| | 02:38 | Toggle Clip Overlays, you see that the
red line in audio disappears and so does
| | 02:42 | that black line that's on
the top of each of these clips.
| | 02:45 | Let's turn it back on again.
| | 02:47 | What this line represents is the Opacity
or how transparent or opaque our clip is.
| | 02:54 | If I drag this down a little bit, and
let me place the cursor over the clip, we
| | 02:59 | see that the clip becomes more transparent.
| | 03:01 | The lower I go, the more transparent the clip,
the higher I go the more opaque the clip.
| | 03:06 | So, what I would like to do is
actually keyframe this, so it starts off
| | 03:09 | completely transparent and by the time the
runners clear frame it's completely opaque.
| | 03:14 | Let's zoom in specifically on the
sunset clip, so we have a lot of control.
| | 03:18 | I am going to select it by lassoing
that clip, zoom-in just the sunset clip and
| | 03:24 | now we are going to start keyframing.
| | 03:27 | Remember the keyboard shortcut we
learned when keyframing our audio, if I hold
| | 03:30 | my Option key down and I hover my mouse over
this line, it temporarily becomes a Pen tool.
| | 03:35 | I am going to click to put one keyframe
here and one keyframe at the beginning
| | 03:40 | and I am simply going to drag
it down and over to the left.
| | 03:43 | Let's zoom out a little bit by hitting
the Command+Minus key and play this clip
| | 03:47 | and see how it looks.
| | 03:48 | (Music playing.)
| | 03:56 | That worked really well.
| | 03:58 | Now, let's look at bringing a
different kind of image into our Timeline.
| | 04:02 | If I right-click on my Timeline,
there is a note here to add an Africa map.
| | 04:06 | What we want to do here is put a
slightly transparent map of North Africa that
| | 04:11 | shows the countries that the
runners ran through from West to East.
| | 04:15 | So, once again, I am going to mark an
end point in my Timeline at the very
| | 04:18 | beginning of my marker and I am going
to mark an outpoint in my timeline at
| | 04:23 | the end of the marker.
| | 04:25 | The clip that we are going to use is
called Africa map.png and I am going to
| | 04:29 | load this into the viewer.
| | 04:31 | Now, before we start working with
this map, I want to point something out.
| | 04:34 | This map is rather large, larger
than the frame size of our video.
| | 04:39 | Let's go to our Browser, click on
it and drag it out to reveal some
| | 04:43 | sizing information.
| | 04:45 | The frame size of our video clips is
720x486 pixels, but it's wide screen or
| | 04:52 | anamorphic which means we
actually stretch the pixels a little bit
| | 04:55 | horizontally to fill the frame.
| | 04:57 | If we were using truly square pixels,
we would actually use the frame size that
| | 05:01 | we used in our sunset.tif,
which is 853x486 pixels.
| | 05:05 | Now, what happens with the Africa map?
| | 05:09 | This is way larger.
| | 05:11 | It's 1109x983 pixels and not only is
it bigger, but it's the wrong shape.
| | 05:17 | It's almost square where
everything else is more wide screen.
| | 05:21 | So, what's going to happen when
we drop this into our Timeline?
| | 05:24 | Let's go ahead and press Ctrl+U to
return to our standard Window Layout.
| | 05:29 | We are going to once again, drag our
map from the Viewer into the canvas and
| | 05:33 | drop it onto Superimpose.
| | 05:35 | As you see, it goes exactly where
we want it to be and if I play it.
| | 05:38 | (Music playing.)
| | 05:40 | I can see what Final Cut has done.
| | 05:42 | It has scaled the map down so
that it fits exactly within my frame.
| | 05:47 | I am going to double-click on
it and take a look at the canvas.
| | 05:50 | You see a thin blue line.
| | 05:53 | This is the actual frame
of the original picture.
| | 05:56 | What Final Cut does when you drop any
still image in is if it's larger than our
| | 06:01 | frame size, it will scale it down to
the maximum height or width it can be,
| | 06:05 | without cutting off any part of the image.
| | 06:08 | Let's go over to the Motion tab and
take a look what Final Cut has done.
| | 06:12 | It scaled it down to half of its original size.
| | 06:16 | The other thing you may have
noticed is that the map has a
| | 06:18 | transparent background.
| | 06:20 | This is because when this graphic was
built, it was placed on an Alpha channel,
| | 06:24 | and we have learned earlier on, that
Alpha channels represent transparency.
| | 06:28 | Well, I want to modify the way this image looks.
| | 06:31 | I want to actually scale it up a little
bit and possibly reposition it so that
| | 06:35 | it better suits my needs.
| | 06:36 | Since we are already in the Motion tab,
you can see there are some sliders
| | 06:40 | that we can work with.
| | 06:41 | I can grab the Scale slider and make
the map bigger or smaller and as long as I
| | 06:45 | don't increase its size over
100%, it's going to stay short.
| | 06:49 | If I wanted to, I could rotate the map.
| | 06:52 | But we don't necessarily want to do that,
but I am going to show you how we can
| | 06:55 | fix that in a moment and if I grab
this little crosshair, I can move the map
| | 06:59 | around on my canvas.
| | 07:01 | If after playing with the Scale Rotation
in the center, I have completely messed
| | 07:05 | up my image, I simply go back here
to the red X, click it and it resets.
| | 07:10 | Now notice when you reset any image, it
always will reset it to 100%, as opposed
| | 07:15 | to the 50% that it was prior to this.
| | 07:18 | I could go ahead and grab this slider and
scale it down or simply type in any number I want.
| | 07:25 | Now, you can work with images
numerically, but often it is easier to work
| | 07:29 | with the graphically.
| | 07:30 | So, instead of adjusting its size using
all these numbers here, we are going to
| | 07:33 | actually change its size
within the body of the canvas.
| | 07:37 | To do this, we need to turn on
something called Wireframe and you can get to
| | 07:41 | that right here in this drop-down window
and there is three states of wireframe:
| | 07:45 | Image, Image+Wireframe and Wireframe only.
| | 07:50 | The keyboard shortcuts for these are
W, W and W. It's basically a toggle
| | 07:55 | switch, so each time you press the W
key, it will actually open up the next
| | 07:59 | state of Wireframe.
| | 08:00 | We are going to use Image+Wireframe
because it allows me to see my map image, as
| | 08:04 | well as my Wireframe image.
| | 08:06 | Now, why would you want to use Wireframe only?
| | 08:09 | Well, if you are building a very
complex graphic and you have a lot of images,
| | 08:13 | it could really slow down your
machine loading all those images at once.
| | 08:17 | By switching to Wireframe only, you
will get a much more responsive playback.
| | 08:22 | So, how can we use Wireframe to
adjust our image? It's very simple.
| | 08:26 | If I want to make the image larger, I
can go to any corner and simply grab and
| | 08:30 | pull and Final Cut will
maintain the Aspect Ratio.
| | 08:34 | If I wanted to move the image, I
could position it just by grabbing
| | 08:38 | anywhere within the body.
| | 08:40 | And if I needed to rotate it, I would
just place my cursor on any edge and I
| | 08:44 | can rotate the image.
| | 08:45 | Of course, I don't want to rotate
Africa, so I am going to go ahead and press
| | 08:48 | Command+Z and undo that.
| | 08:51 | So, let me scale this up to be
just large enough to fill my frame.
| | 08:55 | Now, if you start scaling and you lose the
very edge of your Wireframe, don't panic.
| | 09:01 | You can simply go to this drop-down
window and choose to view it at a different
| | 09:05 | magnification or the easiest thing to
do is simply say Fit All and you will see
| | 09:10 | the edges of your frame.
| | 09:13 | I need to do one more thing
before I continue working.
| | 09:15 | It is really nice to have Markers to
give myself notes, but in this case the
| | 09:19 | marker is obscuring my map.
| | 09:21 | So, as we learned before go to Edit >
Project Properties and we are simply going
| | 09:27 | to uncheck the red markers and
that way it doesn't obscure our image.
| | 09:31 | We can go back a little bit later and
turn that red marker back on if needed.
| | 09:35 | Press OK and let's go back to our map.
| | 09:38 | I can look here and see that the map is
pretty good, I am going to bring it down
| | 09:41 | a little bit lower and if I want to see
it Full Screen, I simply click, Shift+Z,
| | 09:46 | Fit to Window in my Canvas window
and I see the framing perfectly.
| | 09:50 | I think this is what the producer wants.
| | 09:52 | So, let's go ahead and do the next step and
that's to make the map a little more translucent.
| | 09:56 | Another place I can control
Opacity is in my Motion tab.
| | 10:00 | I open up this disclosure triangle and I
can grab this slider and move it to the
| | 10:04 | left, now take a look at my Timeline.
| | 10:06 | As I drag the Opacity slider,
it's adjusted in the Timeline also.
| | 10:10 | Now, I am going to move it just so we see a
ghosting of our map and let's go play our clip.
| | 10:17 | (Music playing.)
| | 10:23 | I think that's what they want.
| | 10:24 | It's a little bit abrupt getting in
and getting out, so let's go ahead and
| | 10:28 | right-click and put a transition on either side.
| | 10:32 | One more viewing and I think it will be good.
| | 10:34 | (Music playing.)
| | 10:42 | I think the producer was on the right
track, but instead of just reducing the
| | 10:45 | Opacity, I think what I would like to
see is the map move as the runners travel
| | 10:49 | from West Africa to East Africa.
| | 10:51 | We will learn how to do that in our next lesson.
| | Collapse this transcript |
| Moving on stills| 00:00 | In the previous movie, we learned how to
scale an image and reposition it within our frame.
| | 00:05 | In this movie, we are going to
learn how to pan across that image.
| | 00:09 | The first thing we need to do is double-
click to load the clip into our Viewer.
| | 00:13 | And to work with this clip, I am going
to temporarily remove our Cross Dissolve,
| | 00:16 | so we can see the very first frame
and the very last frame of our image.
| | 00:20 | I am going to select the Cross
Dissolve and hit Delete, and select the other
| | 00:23 | Cross Dissolve and hit Delete.
| | 00:25 | With the clip loaded into our Viewer,
we are going to look at the Motion tab.
| | 00:29 | I want a little more real estate over
to the right, so I am going to grab the
| | 00:33 | clip by the Title bar, slide it to the
left above the Browser, grab the edge of
| | 00:38 | the window and stretch it out.
| | 00:40 | Now we can work in this area to
keyframe the position of the image over time.
| | 00:45 | We want to go to the very beginning
of the shot, so we will just drag our
| | 00:48 | playhead and let it snap to the first frame.
| | 00:50 | And since we are going to be panning, let's go
ahead and scale the image up a little bigger.
| | 00:54 | I am going to go ahead and make it
about 200% of its original size, and
| | 00:59 | then simply hit Return.
| | 01:01 | Now the runner started their travels
over here in Mauritania, so that's where we
| | 01:05 | want the map to begin.
| | 01:06 | As you see we have put our playhead at
the point in time where we want to start
| | 01:11 | our move, we have positioned the map
where we want it to be at that point in time
| | 01:14 | and now we have to lock it into place.
| | 01:17 | To lock it into place you are going to
press this little diamond right here,
| | 01:21 | which is a Motion Keyframe.
| | 01:23 | As soon as I click on that
diamond a couple of things will happen.
| | 01:26 | You will notice that the X, which we
can only see part of, will turn green and
| | 01:31 | in our Motion tab we are going to
see little keyframe points appear.
| | 01:36 | So what we have done is we have locked
the image of the map at that specific
| | 01:39 | location, at that specific time.
| | 01:42 | This is the chant I usually say in
my head: time, position, keyframe.
| | 01:46 | That's timeline where you want it to be,
position the clip and then lock the keyframe.
| | 01:53 | At the end of the sequence we want
to be all the way over into Egypt.
| | 01:56 | We are going to move our
timeline to the very end of the clip.
| | 01:59 | I am actually looking at the following
frame, so I want to step back by one frame.
| | 02:04 | I am going to press the Left Arrow key.
| | 02:06 | So now we have our timeline.
We then want to position our image.
| | 02:10 | I am going to click-and-drag, so that
Egypt is at the right edge of our frame.
| | 02:15 | When I let go, Final Cut has created a
keyframe under my center axis, but I am
| | 02:19 | going to press keyframe right here,
just to lock all parameters into position.
| | 02:24 | Remember. Time, that would be timeline.
Position, placing the clip where I want it to be
| | 02:30 | And press the Keyframe
button. Time, Position, Keyframe.
| | 02:34 | If I go ahead and play this we should
see the map pan from Mauritania across
| | 02:39 | North Africa and end up in Egypt.
| | 02:42 | (Music playing.)
| | 02:48 | Well, that worked much better
than just having a static map.
| | 02:51 | As you can see panning across an image,
whether it's a map or perhaps from one
| | 02:55 | person to another person in a
photograph, is relatively easy.
| | 02:59 | Just remember Time, Position, Keyframe.
| | Collapse this transcript |
| Working with layered Photoshop files| 00:00 | One of the types of graphics you will
be working with in Final Cut Pro are
| | 00:04 | Photoshop documents.
| | 00:06 | One thing to know about Photoshop
documents is that when they are created,
| | 00:09 | the artist often will create each separate
element on a separate layer, and when
| | 00:13 | you bring this document into Final Cut Pro,
Final Cut Pro maintains each of those layers.
| | 00:18 | Let's take a look at
Running The Sahara_Title.psd.
| | 00:22 | I am going to go ahead and drag this
clip into our viewer as we talk about it.
| | 00:27 | Now this is the title, Running
The Sahara, that our artist created.
| | 00:30 | If we look at the image and we saw
this in an earlier lesson, the Photoshop
| | 00:35 | document doesn't look like the
other documents, the TIFF and PNG file.
| | 00:39 | It actually looks more like a
Running The Sahara sequence icon.
| | 00:43 | That's because a Photoshop document
will come in with all its layers intact and
| | 00:48 | it actually works like a
sequence if you double-click on it.
| | 00:51 | I am going to go ahead and double-click
on this to load this into the timeline
| | 00:55 | and we can look at it in a little more detail.
| | 00:58 | So when you double-click a Photoshop
document it doesn't load it directly in the Viewer.
| | 01:02 | It actually opens up a timeline.
| | 01:05 | If I look at this timeline, I
actually see three separate elements,
| | 01:09 | Running, The, Sahara.
| | 01:11 | What's really cool about this is that if
the artist didn't quite position things
| | 01:16 | where I want, I can adjust them
without having to open up Photoshop.
| | 01:20 | To do this, I would go into Wireframe,
click on the drop-down menu and switch
| | 01:24 | to Image+Wireframe.
| | 01:26 | Once in Wireframe, I can go
ahead and reposition Running with The
| | 01:29 | Sahara anywhere I want.
| | 01:31 | Well not quite anywhere I want, because
there is one more thing you need to know
| | 01:35 | when creating titles.
| | 01:37 | And that's something called Title Safe.
| | 01:40 | If we click in the same area that we
just use to create Image+Wireframe, there
| | 01:44 | is an option to Show Title Safe.
| | 01:46 | This will bring up a grid of two separate boxes.
| | 01:49 | The outer box is considered Action Safe.
| | 01:52 | On most televisions, anything outside
of action safe is not seen because the
| | 01:57 | image is blown up beyond
the edges of the screen.
| | 02:00 | The inner box is called Title Safe.
| | 02:02 | Now items may be seen outside of title
safe but there is a risk that the image
| | 02:06 | distorts as it
approaches the edge of the screen.
| | 02:09 | So whenever you are working with titles
for a client or putting a logo in, you
| | 02:13 | always want to respect the inner
title safe box when putting in any text.
| | 02:18 | Now you also may notice there is a
couple of little tick marks here.
| | 02:21 | This is a new feature of Final Cut Pro 7.
| | 02:24 | These tick marks represent what would
happen if the image was shown in a 3x4
| | 02:28 | television or a standard definition television.
| | 02:31 | The outer one, of course is our action
safe and then we have our title safe.
| | 02:36 | So if you know you are doing a program
that's going to air both on a widescreen
| | 02:40 | television and also on a standard
definition television, where they are going
| | 02:44 | to cut off the sides completely, you'll want
to take care to use these inner tick marks.
| | 02:50 | So let's go ahead and position our
element inside the title safe but make them a
| | 02:54 | little more own versus how
the graphic artist design them.
| | 02:58 | Now what you'll notice is as I move
these around here, if I jump back to my main
| | 03:03 | image to grab it back over here
into my Viewer, it's been updated.
| | 03:08 | Now how can we work with
bringing this into our timeline?
| | 03:11 | We bring this into our
timeline just like any other clip.
| | 03:14 | If I want to put it over Sun Panning, I
simply place many cursor over the clip
| | 03:19 | and without marking an in or an out
point, I can simply grab it, drag it and
| | 03:24 | drop it on to Superimpose.
| | 03:26 | Whenever you drag a clip on to
Superimpose and there are no in and out points in
| | 03:30 | your timeline, Final Cut will always
make the clip that's inserted, the exact
| | 03:34 | same duration of the clip below it.
| | 03:36 | Now we are going to match the
Cross Dissolve of the end of the clip.
| | 03:39 | I am going to hold down the Option key
and grab Cross Dissolve and drag it up
| | 03:44 | and drop it on the clip above.
| | 03:46 | By holding the Option key, instead
of moving the Dissolve, I am actually
| | 03:50 | copying the Dissolve.
| | 03:52 | Let's play it and see how it looks.
| | 03:53 | (Music playing.)
| | 03:57 | (Male speaker: It's the most unforgiving place on Earth...)
| | 04:00 | Well, it fades out really
nicely but how does it come on?
| | 04:03 | I am going to drag over to the
beginning of my timeline and hit Play.
| | 04:08 | I think we should have Running with The
Sahara fade-on as our Sky Panning fades on.
| | 04:13 | But another thing we can do with a
Photoshop document is I can control each
| | 04:17 | layer individually and they don't all
have to fade on at once. They can fade on
| | 04:20 | a little more slowly or you can use
different effects to bring them on.
| | 04:24 | To do this, I simply double-click on
the Photoshop document in the timeline and
| | 04:28 | it opens up another tab, which
contains all three individual elements.
| | 04:33 | Before we start animating how the text comes
in, I am going to tweak the a little bit over.
| | 04:39 | So that it doesn't overlap the word Sahara.
| | 04:42 | If I wanted to time this, so that
Running comes in first, The second and Sahara
| | 04:47 | third, all I have to do
is go down to my timeline.
| | 04:50 | I see very clearly that Running is the
first clip, I am going to drag The over a
| | 04:56 | little bit and then we are going to
drag Sahara over a little bit more.
| | 05:00 | And now I am going to simply right-click and
put Dissolves in and bring them on one at a time.
| | 05:07 | I see we are not quite timed as well as
I would like here, so I can go ahead and
| | 05:10 | just move this up a little
bit and stretch out the tail.
| | 05:14 | If we go back go to our main timeline,
move our playhead to the beginning of the
| | 05:19 | show, we can now hit Play and see how
Running The Sahara appears in our show.
| | 05:23 | (Music playing.)
| | 05:32 | Final Cut Studio is an outstanding
suite of applications but don't forget,
| | 05:36 | it easily integrates with many
other applications on the market.
| | Collapse this transcript |
|
|
12. Creating TitlesCreating basic titles| 00:00 | In the next series of lessons, we are
going to learn how to use the titling
| | 00:03 | tools within Final Cut Pro.
| | 00:05 | Let's start with the basic Title tool.
| | 00:08 | You get to your titling tools
underneath this drop-down menu called the
| | 00:11 | Generators tab, and if you go to the
bottom of the list, you'll see there is 6
| | 00:15 | different titles you can create, Crawls,
Lower 3rds, Outline Text, Scrolling Text,
| | 00:19 | Regular Text, and Typewriter.
| | 00:22 | Let's start by looking at Regular Text.
| | 00:25 | The best way to work with text in
Final Cut Pro is to load a generic template
| | 00:29 | into your Viewer and
immediately place it into your timeline.
| | 00:32 | Now we haven't note in our timeline
that we want to put a title graphic here at
| | 00:37 | the very end of our show.
| | 00:38 | So I am going to go ahead, drag Sample
Text directly to my timeline, lined it up
| | 00:43 | here with the marker and let go.
| | 00:44 | I will shorten it a little bit to the
left, just so they all end at the same
| | 00:48 | time and this is the
important thing to remember.
| | 00:51 | Once you've loaded it into your
timeline, double-click on it to load it
| | 00:55 | back into the Viewer.
| | 00:56 | I have seen a lot of editors load it
into the timeline and then start working
| | 01:00 | with the clip that's already in
their Viewer, not realizing they are not
| | 01:03 | affecting the one in the timeline.
| | 01:05 | Now why do I bring it into the timeline
before I load it back into the Viewer?
| | 01:09 | Simple, as I changed my text, I want
to see it against the background that
| | 01:13 | it's going to be on.
| | 01:14 | So why don't pick a color such as yellow
which is going to look awful against this sun.
| | 01:19 | Once the clip is loaded back into the
Viewer and you can tell this by the little
| | 01:23 | dots down here, go ahead and
click on the control panels.
| | 01:27 | Now take note, we do have our Title
Safe Overlay turned-on and we talked about
| | 01:31 | that in previous lessons.
| | 01:33 | So as you work with any text in Final
Cut Pro, always have this on and respect
| | 01:37 | these edges and don't exceed them.
| | 01:40 | In the control panel of the Titling tool,
simply type the text that you want to appear.
| | 01:44 | In this case, we are going to type the
title of the show, Running The Sahara,
| | 01:51 | and simply hit the Tab key so
we can move to the next text box.
| | 01:55 | Once we do that, we'll see out
text show in our Canvas window.
| | 01:58 | Now you can pick any font that's
available within your system folder.
| | 02:02 | In this case, we are going
to use Papyrus as our font.
| | 02:07 | You can scroll down or simply hit the
P key to quickly jump to the Ps, select
| | 02:12 | Papyrus and now we want to
scale it a little bit bigger.
| | 02:16 | So we'll go to the Size and I can
scale it bigger but be careful do not
| | 02:19 | exceed your title safe.
| | 02:21 | If you want to have some fine-tune
control, you can either type in a number, in
| | 02:25 | this case, I will type in 60 and hit
Return or I can use the little triangles to
| | 02:30 | the left and to the right of my slider.
| | 02:32 | Now when working with text, it's often
better to use bold type than plain type
| | 02:36 | because thicker text tends to flicker
less than thinner text because of the
| | 02:41 | interlacing of video.
| | 02:43 | So let's go ahead, switch from Plain to Bold
and jump down to the bottom half of controls.
| | 02:49 | I can align this Center, Left, or Right.
| | 02:51 | In this case, Center is just perfect.
| | 02:53 | I can also change the color exactly like
we have changed in previous lessons, by
| | 02:57 | clicking on this box here and
selecting the color that I want.
| | 03:01 | Now red is not nice at all, so let's
go ahead and undo and keep this white.
| | 03:06 | I can also control the Tracking,
which is the space between letters and the
| | 03:10 | Leading, which is the space between lines.
| | 03:13 | I can control the Aspect Ratio, making
the letters taller or shorter, but once
| | 03:17 | again the default is perfect.
| | 03:20 | You should always keep Auto
Kerning on and Use Subpixels.
| | 03:24 | Now if I wanted this to stand out a
little bit more, I would go over to the
| | 03:27 | Motion tab and I would put a
little bit of a drop shadow on it.
| | 03:30 | I could go down here and click on Drop Shadow,
take a look at what happens in my timeline.
| | 03:35 | Prior to adding the Drop Shadow, it's a
perfectly light green render bar which
| | 03:40 | means it's going to playback fairly smoothly.
| | 03:42 | As soon as I add a Drop Shadow,
it has to do a lot more math.
| | 03:45 | However, it looks a lot better.
| | 03:48 | If I go ahead and hit the spacebar
and play it, it should play okay.
| | 03:52 | Now you know the basics of working
with a Titling tool in Final Cut Pro.
| | Collapse this transcript |
| Creating lower thirds| 00:00 | In almost any program where you
have interviews, you'll need to place a
| | 00:04 | lower 3rd into your show.
| | 00:06 | Now what exactly is a lower 3rd?
| | 00:07 | Well, a lower 3rd is simply a title
where you have the person's name and perhaps
| | 00:12 | what their job is or in this
case, their country of origin.
| | 00:15 | Now the problem with Final Cut Pro is
that the basic Title tool only has one font,
| | 00:19 | one color, and one text size.
| | 00:22 | So it's really hard to make lower 3rds.
| | 00:23 | Fortunately for us, there is also a Text
tool that allows us to create a lower 3rd.
| | 00:29 | Go ahead and select the lower
3rd and load it into your Viewer.
| | 00:32 | The next thing you want to do is you
want to bring that lower 3rd into your
| | 00:35 | timeline on top of the person being ID'd.
| | 00:38 | Let's go ahead, select the range
of clips that we want to zoom into,
| | 00:42 | Shift+Option+Z, and keep our cursor on
top of the interviewee and I'm then going to
| | 00:47 | grab the lower 3rd from the Viewer,
drag it over to the canvas and once again
| | 00:50 | drop it on Superimpose.
| | 00:52 | My lower 3rd is now the exact
same duration as the interview.
| | 00:56 | I am going to double-click to load this back
into the Viewer and press on the Control key.
| | 01:00 | As you can see, I now have two text
entry boxes, one for the name and one for
| | 01:04 | the country, and each of these
has its own font, style and size.
| | 01:08 | Let's go ahead and enter the name of the runner.
| | 01:10 | His name is Ray Zahab and he is from Canada.
| | 01:17 | Once I type the name in, I will simply
press the Tab key and I can see how it
| | 01:21 | looks in my program.
| | 01:22 | Let's go ahead and change the
font to something a little more
| | 01:25 | aesthetically pleasing.
| | 01:26 | I am a big fan of Arial, so we'll
go ahead and switch it to Arial.
| | 01:31 | We also want to make the name stand out
a little bit more than the country, so
| | 01:34 | we can switch that to Bold.
| | 01:36 | For Canada, we'll also keep the idea of
using Arial but this time we won't bold it
| | 01:41 | and perhaps, we'll give it a little tint
of color. We'll make it a very light yellow.
| | 01:46 | Now if you scroll down to the bottom of
the text box, you'll notice that you can
| | 01:50 | put a background on.
| | 01:51 | By default it's set to None, but if we
click on the dropdown window and switch
| | 01:55 | to Bar, what do you think
we'll see? We'll see a line.
| | 01:58 | If we really want to see a bar, we have to
click and choose a Solid and now we have a bar.
| | 02:03 | Now obviously, a big black bar
is not aesthetically pleasing.
| | 02:07 | So we can go ahead and we can
actually control the Opacity of that bar.
| | 02:10 | I can also change the color.
| | 02:12 | So perhaps, I want to
match the gray in his shirt.
| | 02:14 | I am going to grab my eyedropper,
click on his collar and now we have a light gray
| | 02:19 | and I can make this a little more opaque.
| | 02:22 | Now once you create your first lower 3rd,
you may want to use it throughout your program.
| | 02:27 | The best way to do this is to save a
copy in your Browser by dragging it from
| | 02:30 | the timeline and dropping
it right in the Name column.
| | 02:34 | Now if I want to use this lower 3rd
later on in my program and let me scroll
| | 02:38 | ahead to the next interview, I simply
put my playhead over the interview,
| | 02:43 | grab the lower 3rd, drag it all the way
across skipping the Viewer and drop it
| | 02:46 | right onto Superimpose.
| | 02:48 | Now I know it says Ray Zahab in Canada
and this isn't Ray anymore, so I simply
| | 02:52 | double-click to load this back into the
Viewer and I enter the runner's name and country.
| | 02:57 | This is Charlie Engle from the United States.
| | 02:59 | Let's go ahead and enter his name.
| | 03:09 | The basic lower 3rd tool in
Final Cut Pro gets the job done.
| | 03:12 | If you are looking to have more control
over your lower 3rds, check out Motion 4,
| | 03:15 | also included in Final Cut Studio.
| | Collapse this transcript |
| Creating outline text| 00:00 | Here is one of my favorite
text tools within Final Cut Pro.
| | 00:04 | Now I got a note from the producer, and
let's just jump over to exactly what they said.
| | 00:08 | They said in reference to the closing
graphic, Note to Editor Change - Make fancier.
| | 00:12 | Not sure what I want.
| | 00:13 | I'll know it when I see it.
| | 00:16 | This is a standard producer comment.
| | 00:18 | "I'll know it when I see it."
| | 00:19 | Get used to hearing it.
| | 00:21 | So how can we change this?
| | 00:23 | Well, I am going to use the Outline tool.
| | 00:25 | I want to keep the original here
in case they change their mind back.
| | 00:28 | So I am going to go ahead and keep
it in my timeline, but turn it off.
| | 00:31 | To do that, I can simply right-
click on it and uncheck Clip Enable.
| | 00:35 | The clip is there, but it's now
invisible and when I print a video or export a file,
| | 00:40 | I won't see it.
| | 00:41 | Now let's go to the Text
Generator and choose Text > Outline Text.
| | 00:46 | Of course, the first thing we always do is we
take the text and we drag it into our timeline.
| | 00:50 | I will put it right above the other one
and shorten it, so it's the exact same length
| | 00:55 | and double-click
to load it into our viewer.
| | 00:58 | Now you may be asking yourself,
what in the world, am I thinking?
| | 01:01 | How could this be one of my
favorite text tools in Final Cut?
| | 01:04 | Well, at first blush, it is pretty darn ugly,
but we are going to make it a lot better.
| | 01:09 | Let's double-click to load the Outline
Text tool back into the viewer, so we are
| | 01:13 | working with the right one.
| | 01:15 | Click on the Control tab and
type in the name of our show.
| | 01:18 | Once again, Running The Sahara and press Tab.
| | 01:25 | Now I want to change the typeface to Papyrus.
| | 01:27 | That's what we were using before.
| | 01:29 | So I can click here and
simply type 'pap' and hit Return.
| | 01:33 | Now let's make it bold so it stands out
a little better, and it's still looking ugly
| | 01:37 | and I know that. Here is the trick.
| | 01:39 | You need to go down to Line Width and
control how that fat line is doing and
| | 01:43 | you want to take it down just that you
have a stroke or an outline around your text.
| | 01:48 | We will continue to scroll down and this
is the part of the tool that I really like.
| | 01:52 | You have a lot of options to modify this
text tool and you may be familiar with
| | 01:56 | the wells that we have used in earlier lessons.
| | 01:59 | I can drop any image into this well and it
will texture map that image into the text.
| | 02:04 | Now I am going to do
something a little bit tricky here.
| | 02:07 | I am going to go to the images well,
which is where we got the original sunset
| | 02:10 | picture, and I can drop that right on
top of the well and what I end up with
| | 02:15 | is an outline text.
| | 02:17 | Let's keep scrolling down and
look at a couple of other options.
| | 02:20 | I could change the color of the outline
or even put an image in the outline, but
| | 02:23 | I don't think that's going to
make the image look any better.
| | 02:25 | It will probably make it look worse.
| | 02:27 | But take a look at the
background setting sliders.
| | 02:30 | I am going to go ahead and click to go
to the bottom of our control panel so we
| | 02:33 | can focus on this element.
| | 02:35 | What most people do is they grab the
horizontal slider and they play with it and
| | 02:39 | nothing happens, and then they grab
the vertical slider and they play with it
| | 02:42 | and nothing happens.
| | 02:44 | What you need to do is move the
horizontal slider a little bit and then the
| | 02:48 | vertical slider a little bit, and as
you see, you start drawing a background.
| | 02:53 | You can control the Horizontal Offset
and the Vertical Offset to make sure it
| | 02:57 | looks pretty and if you want,
you can even soften the background.
| | 03:01 | I could drop another image into this
well here or perhaps in this case I will
| | 03:06 | just change the color.
| | 03:07 | I think I will grab one
of the yellows in my scene.
| | 03:12 | You can also control how opaque or how
translucent this background is and I am
| | 03:17 | going to give it enough opacity
to give it a little bit of a glow.
| | 03:21 | I think we are getting closer to what
the producer might want, but let's do a
| | 03:25 | couple of more trick at it.
| | 03:26 | Instead of just having the title pop on,
let's go ahead and put a Dissolve in by
| | 03:31 | right-clicking on the edit point.
| | 03:33 | If I want, I can make that
dissolve a little bit longer.
| | 03:36 | Let's go ahead and watch and see what happens.
| | 03:38 | Well, that's kind of nice, but
let's add one more trick to the mix.
| | 03:44 | What I would like to see is the
sun fade out, but leave the title on.
| | 03:48 | Of course, we can still
see the sun through our text.
| | 03:51 | So I am going to press the Option key,
click on my opacity and slowly cause the
| | 03:57 | sun to fade out as the text is
there followed by the text fading out.
| | 04:02 | We can do that with another Cross Dissolve.
| | 04:05 | We'll stretch that out to
make it a little longer.
| | 04:08 | Let's go ahead and hit Play.
| | 04:12 | The text comes on, the background
slowly fades off, only to the text.
| | 04:21 | The Outline Text tool, not so pretty
at first blush, but in the hands of the
| | 04:25 | right editor it can make some excellent titles.
| | Collapse this transcript |
| Creating a credit roll| 00:00 | Almost every program requires some sort
of credits at the end of the show and
| | 00:05 | Final Cut Pro offers you
several ways to create end credits.
| | 00:09 | Within the Text tool, there is
actually a scrolling text option and under
| | 00:14 | the Boris drop-down menu, which is included
with Final Cut Studio, is also a Title Crawl.
| | 00:20 | Let's do a quick overview of
using the Boris Title Crawl.
| | 00:24 | Just as with the other text tools,
load the Boris tool into the Viewer.
| | 00:28 | Click on the Control tab
and click on Title Crawl.
| | 00:32 | This is how you can get
into your text entry box.
| | 00:35 | Now to make things a little easier,
instead of typing my whole credit roll,
| | 00:38 | I have the client give it
to me on a text document.
| | 00:41 | This is good for two reasons.
| | 00:42 | One, I don't have to type in hundreds
and hundreds of names, or at least a
| | 00:46 | dozen names, and second, I can make
sure that they are always going to be spelled
| | 00:50 | right, and if they are not, and
fingers start getting pointed, they are not
| | 00:53 | going to be pointed at me.
| | 00:55 | So let's go ahead top our desktop
and find the credit roll text document
| | 00:58 | that the client sent.
| | 00:59 | I am going to go ahead and hide Final Cut.
| | 01:02 | Here is the credit roll on my desktop.
| | 01:04 | I will double-click to open it, simply
select it all, press Command+C to copy
| | 01:09 | and Apple-Tab back over to Final Cut.
| | 01:12 | I can then simply press Command+V and
paste the text inside the Boris text entry box.
| | 01:19 | The first thing you need to do is
select all of your text, click on the dialog box,
| | 01:23 | and just type in Arial, and press Return.
| | 01:26 | So now all my text is Arial.
| | 01:29 | The other thing I have
noticed is that every thing is bold.
| | 01:31 | One of the things that's nice about the
Boris titling tool is that each letter
| | 01:35 | can have its own typeface, its own
size, its own color, and its own letter
| | 01:40 | properties, such as
Italicized, Bold, or Underlined.
| | 01:44 | Well, everything is bolded here, but I
want to make sure that the names stand
| | 01:48 | out from their titles.
| | 01:49 | So, we are going to make everything
plain text, and then selectively go
| | 01:54 | through and make the title such as
Runners, bold, and Expedition Leaders, bold,
| | 02:03 | Doctor, bold, and so on.
| | 02:12 | If I wanted to, I could add color to this,
but a lot of times with credits,
| | 02:15 | keeping it simple always looks best.
| | 02:18 | You see there is a variety of controls.
| | 02:20 | If I want to justify it left, justify it
right, I could also go over to here and
| | 02:24 | change colors, put an
outline, or even a drop shadow.
| | 02:27 | Since this will be over black, there is
no need to put an outline or drop shadow.
| | 02:31 | I am now going to press Apply.
| | 02:33 | There are two more things I need to do
before I can bring this into my timeline.
| | 02:38 | I want to add some deflicker.
| | 02:39 | Because sometimes when credits roll,
you see a little bit of jitter.
| | 02:42 | The Deflicker checkbox will help
remove this and this is pretty important.
| | 02:47 | Unless I choose an animation
style, the text will just sit there.
| | 02:51 | In this case, we want to do a roll.
| | 02:53 | If we want to do emergency broadcast
system, we could choose crawl, but I don't
| | 02:57 | think it's appropriate for a running video.
| | 03:00 | Other things that I can do is I
can mask the beginning and the end.
| | 03:03 | So that it fades in and it fades out
at the top and bottom of the screen.
| | 03:08 | Let's go ahead and drag this
into our timeline and play it.
| | 03:12 | (Video Playing. No audio.)
| | 03:20 | Well, I obviously over-masked
this but it's easy enough to fix.
| | 03:24 | I simply will double-click to load it
back into the Viewer, go to the Control tab,
| | 03:27 | and then drag my masking filters
a little bit to the left and the top a
| | 03:32 | little bit to the left.
| | 03:34 | Now it will go off-screen
before it hits title safe.
| | 03:38 | If I want to smooth it out a little
bit more, I can grab my blend sliders and
| | 03:42 | have it fade out a little
bit as it goes off screen.
| | 03:45 | Now the speed of the scroll is based
upon the length of the clip in the timeline.
| | 03:49 | So if I watch it and it's scrolling a
little bit too fast, all I need to do is
| | 03:53 | stretch it out and you will
see they will now play slower.
| | 03:59 | If you want even more control in
creating a scroll, check out Motion 4,
| | 04:03 | which has scrolling text
as one of its new features.
| | Collapse this transcript |
| Using master templates| 00:00 | Another way to get great lower thirds
in Final Cut Pro is to access the Master
| | 00:05 | Templates for Motion.
| | 00:07 | You can get to the Master Templates many ways.
| | 00:09 | You can go here under the Generators tab.
| | 00:11 | You can go under the Effects tab, and
find Master Templates, but the best place
| | 00:15 | to locate them is under the Sequence tab.
| | 00:18 | Simply go under your Sequence
and go to Add Master Template.
| | 00:22 | The reason I'd like to add Master
Templates from this location is because it
| | 00:25 | brings up a Master Template Browser.
| | 00:28 | So I can easily see what
each of the templates do.
| | 00:31 | Now there is a variety of templates that
come bundled with Final Cut Studio, but
| | 00:36 | you can also create your own
and access them the same way.
| | 00:39 | So if I want to put one of the default
lower thirds in, I could scroll down the
| | 00:44 | Theme side, and this is kind
of a color palette that works.
| | 00:48 | If I click on Brush Strokes and I
click on any of the templates within the
| | 00:52 | Master Template selection area, I can
see a small movie that plays back that
| | 00:56 | shows me what that template will do.
| | 00:59 | Now all I want to do is create a lower third.
| | 01:01 | So I am going to select this
one in the upper left hand corner.
| | 01:05 | This is a simple paintbrush
that I can bring my title on.
| | 01:08 | Let's go ahead and hit Open.
| | 01:10 | When you hit Open, Final Cut Pro loads
the template into the Viewer and as you
| | 01:14 | can see, I can scrub through it.
| | 01:16 | We are going to use this lower third
to identify the director in our promo.
| | 01:21 | I am going to drag this down to our
timeline and simply drop it on to track 2.
| | 01:27 | Let's take a look at the
template in our timeline.
| | 01:29 | (Male speaker: Directed by James Moll,
a personal and compelling...)
| | 01:34 | Well, I really like the design of this
template, but I have a huge problem here.
| | 01:38 | It's designed for a 3/4 screen aspect
ratio, and we are working with widescreen.
| | 01:43 | That's a simple fix.
| | 01:44 | I simply double-click to load it
back into the Viewer and then over in my
| | 01:48 | canvas, I am going to switch
and turn-on Image+Wireframe.
| | 01:52 | Now I can simply drag
the corner and scale it up.
| | 01:57 | We are going to go over to the control
panel and type in the director's name.
| | 02:01 | As a matter of fact, we'll
say 'Directed by James Moll.'
| | 02:07 | Simply press the Tab key and
you can see it in our canvas.
| | 02:11 | I like it, but I think the
tracking is a little bit too wide.
| | 02:15 | So let's go ahead and grab the tracking
slider and move it a little bit to the left.
| | 02:20 | Now we can watch and see how
it looks within our timeline.
| | 02:22 | (Male speaker: Directed by James Moll,
a personal and compelling journey into the world's most...)
| | 02:30 | Pretty nice, except it
comes out rather abruptly.
| | 02:33 | I would like it to dissolve out
when the Aerial 5 shot dissolves out.
| | 02:37 | So let me go ahead to the Timeline,
grab the edit point so that it ends at the
| | 02:41 | same moment as the Aerial 5 shot, and
now I hold down the Option key, click on
| | 02:46 | the Cross Dissolve, and drag it
from the bottom clip to my lower third.
| | 02:50 | By holding down the Option key,
I don't move the Cross Dissolve.
| | 02:54 | I make an exact copy of it.
| | 02:56 | Let's see how it looks now.
| | 02:57 | (Male speaker: ...a personal and compelling journey
into the world's most mysterious wilderness.)
| | 02:57 | It couldn't be any easier to use
Motion templates in Final Cut Pro.
| | Collapse this transcript |
|
|
13. MulticamIntroducing multicam editing| 00:00 | (Male speaker: This is Final Cut Pro 7:
MultiCam Essential Training. 3 cameras. Marker.)
| | 00:07 | In this lesson we are going to
learn to edit multi camera video.
| | 00:11 | This is useful when editing music
videos and plays, corporate meetings,
| | 00:15 | training and the like.
| | 00:17 | As you can see, I am using three
cameras right now to introduce this lesson and
| | 00:22 | we will use this exact footage to
learn the basics of multicam editing.
| | 00:26 | This lesson will just cover the basics.
| | 00:28 | So, you can quickly get
started and get the job done.
| | 00:30 | When editing footage from multiple
cameras, it's critical that you sync
| | 00:35 | the footage together.
| | 00:36 | The first way, if your camera supports it,
is to jam timecode, which means all
| | 00:41 | cameras record the exact same
timecode down to the frame on each tape.
| | 00:46 | The second way is to use a visual
or audio cue called the sync point.
| | 00:51 | Now, with a clapboard you can sync up
all cameras based upon sound or picture.
| | 00:55 | If you don't have a clapboard,
a camera flash, or even clapping your hands
| | 00:59 | can be used to sync.
| | 01:01 | Two things to keep in mind when
shooting from multicam editing are, first,
| | 01:06 | if you are not using timecode, it's best to
keep all cameras rolling. Otherwise you
| | 01:11 | will need to resync every time you cut.
| | 01:14 | Second, when syncing cameras, Final
Cut Pro requires all footage to have the
| | 01:18 | same codec, frame size, and frame rate.
| | 01:21 | So you can't mix DV and HDV,
and P2 all in the same multi-clip.
| | 01:27 | Now let's take a look at working
with multicam inside a Final Cut Pro.
| | 01:35 | (Male speaker, off camera: Ready?)
| | 01:37 | Okay, we're going to roll on the next one.
(Laughing.)
| | Collapse this transcript |
| Creating a multicam clip using sync points| 00:00 | The first thing you need to do before
you can start multicam editing is create
| | 00:04 | what's called a multiclip, which in
essence is taking the three camera angles
| | 00:08 | and combining them into a single video clip.
| | 00:11 | Now we learned in the last movie,
you can sync up your cameras using either
| | 00:14 | jammed timecode, or a clap, or a
clapboard, or even a camera flash.
| | 00:18 | We are going to use the clapboard in each
of these shots to sync up our three cameras.
| | 00:23 | The first thing you need to do is double-
click to load Camera 1 into the viewer.
| | 00:27 | Now, we can scrub through the clip and
we can actually see where the clapboard
| | 00:31 | closes, but we can't be that
precise using just our eye.
| | 00:34 | So, we are going to switch over to the
Audio tab, where it says Stereo and we
| | 00:38 | are going to use the waveform.
| | 00:39 | I am going to place the playhead right
before where the clapboard closes and if
| | 00:43 | I step through it one frame at a time,
using the right arrow, we hear there is
| | 00:48 | actually two frames where you
can hear the audio clapboard close.
| | 00:52 | We are going to choose the first one
and it's important that you are pretty
| | 00:55 | precise about this because if you
choose the second one in some takes and
| | 00:59 | the first one in other takes, your frames
may be off by about 30th of a second and
| | 01:03 | the viewer may notice that the
speaker's lips may be out of sync.
| | 01:07 | So, in all cases, we are going to use
the first sound we hear of the clap and
| | 01:10 | not the second frame of it.
| | 01:12 | Once we have actually positioned our
playhead on that first sound, we are going
| | 01:15 | to hit the I key to mark an in point.
| | 01:17 | We are going to do the same
thing with Cameras 2 and Cameras 3.
| | 01:21 | We are going to scrub through until we
see the clapboard about to close, switch
| | 01:25 | over to Audio, we see our waveform,
I will step through it one frame at a time
| | 01:30 | until I hear that first clap,
there we go and I will mark an in.
| | 01:35 | And finally we will do it on the third clip.
| | 01:39 | We'll scrub through.
| | 01:40 | This is our wide shot.
| | 01:41 | It's very difficult in this case to
actually see the clapboard close, which is
| | 01:44 | why using the audio waveform is ideal.
| | 01:46 | There is the first sound and mark an in point.
| | 01:51 | Once we have the in point marked for
all three of these clips, we simply select
| | 01:54 | them all and we are going to create a multiclip.
| | 01:57 | You can do this one of two ways.
| | 01:58 | You can go onto the Modify menu, and
you can choose Make Multiclip or what's
| | 02:03 | even easier is to simply right-click on
the three selected clips in my Browser,
| | 02:07 | and say Make Multiclip.
| | 02:09 | You will be greeted by a dialog, which
allows you to choose whether you want to
| | 02:12 | synchronize using in points,
out points or Timecode.
| | 02:17 | In our case, since we don't have jam
timecode, we are going to select in points
| | 02:20 | but if we had forgotten to use the
clapboard at the beginning of our shot,
| | 02:23 | we could have used it at the end of
our take and synced via the out point.
| | 02:27 | Let's go ahead and press
OK and create the multiclip.
| | 02:30 | You will notice in your Browser there
is a brand new clip called Take 1 Camera
| | 02:34 | 1 MC (1) Multiclip.
| | 02:36 | If I double-click to load this in the
viewer, you will see we have a single
| | 02:40 | clip that contains all three camera angles
and we are ready to start multicam editing.
| | 02:45 | In the next movie, we are going to
examine how you can sync using jam timecode.
| | Collapse this transcript |
| Creating a multicam clip with timecode| 00:00 | In the previous movie, we covered the
basics of creating a multiclip using an in
| | 00:04 | point to sync our three cameras together.
| | 00:07 | In this one, we are going to use the
timecode that was recorded on each of
| | 00:10 | the individual cameras.
| | 00:12 | The first thing you want to do is
select the three clips in your Browser.
| | 00:15 | You will right-click and the
Make Multiclip dialog appears.
| | 00:18 | Now, in this case, we are going to sync
using timecode whereas before we used an
| | 00:22 | in point or possibly the out point.
| | 00:24 | Since, we have Timecode selected, all
we need to do is simply hit OK and the
| | 00:28 | multiclip using all three of
those camera angles is created.
| | 00:32 | I want to show you one more thing
about making a multiclip using timecode.
| | 00:36 | Let's go ahead and remove this clip from
our browse. Simply select it and hit Delete.
| | 00:42 | Now, what we are going to do is we are
going to select all three of our clips
| | 00:44 | just as we did before, right-click and
instead of choosing Make Multiclip, we
| | 00:48 | are going to choose Make Multiclip Sequence.
| | 00:51 | Now, this is very advantageous if you
have a lot of cameras that have started
| | 00:54 | and stopped throughout the recording,
yet they still all have jammed timecode.
| | 00:59 | Now if you notice, I see three separate
sections in my Make Multiclip Sequence dialog.
| | 01:04 | This indicates if I hit OK, it's going
to actually make three multiclips and put
| | 01:08 | them into our timeline.
| | 01:10 | That's not what we want.
| | 01:11 | We want all three of
these cameras synced together.
| | 01:14 | Now, the reason that it's going to
make three separate clips is that the
| | 01:17 | starting time code on each one is different.
| | 01:19 | This one is 39 seconds and 24 frames, 40
seconds and 1 frame and 40 seconds and 4 frames.
| | 01:25 | That was their starting timecode.
| | 01:27 | So, what we want to do is we want to tell
Final Cut, give us a little bit of slack.
| | 01:31 | Go ahead and give us about one second
delta or difference of one second between
| | 01:35 | the start points and it will then sync
them on up all into a single multiclip.
| | 01:39 | I am going to type in 100, hit
Return, and then click Update.
| | 01:44 | As you see, all three clips are now
in the same box and if I hit OK,
| | 01:48 | two things will happen.
| | 01:49 | If you look in your Browser, not only do
you now have a multiclip of those three
| | 01:54 | elements, but you also have a new
sequence called Multiclip Sequence 1.
| | 01:58 | If I double-click to open this up,
I am going to go ahead and hit Shift+Z
| | 02:01 | so we see the entire timeline.
| | 02:04 | So, what Final Cut has done is it has
created a new sequence that contains the
| | 02:08 | multiclip and I can double-click to
load this multiclip into the viewer and see
| | 02:13 | I have three clips that contain all
three of my camera angles synced together.
| | 02:17 | We are now ready to begin
our multicamera editing.
| | Collapse this transcript |
| Editing a multicam clip in a timeline| 00:00 | Now, if you came from the previous movie,
as you can see, we created a multiclip
| | 00:04 | sequence and our Browser is
a little bit confusing now.
| | 00:06 | So let's clean it up and make it look
a little bit more like the end of the
| | 00:09 | syncing through in points moving.
| | 00:12 | I am going to simply grab our multiclip
and drag it up to the top level of our
| | 00:16 | Browser and then select Multiclip
Sequence folder and the Multiclip Sequence and
| | 00:20 | delete them by pressing the large Delete key.
| | 00:23 | The first thing we need to do before
we can edit our multiclip is to load it
| | 00:26 | from the Browser into our viewer and
you can do that simply by dragging it from
| | 00:30 | the Browser into the
timeline just like any other clip.
| | 00:33 | If I scrub through this, I can
actually see all the different
| | 00:36 | angles simultaneously.
| | 00:37 | Now, we only had three
cameras to work with in this shoot.
| | 00:41 | But you may have a situation where
you are working with, 4 cameras,
| | 00:44 | 9 cameras, 16 cameras.
| | 00:46 | As a matter of fact, Final Cut Pro can
sync together up 128 different cameras.
| | 00:50 | If I was working with more than 4
cameras, I can go ahead and switch my
| | 00:54 | multiclip view from 4 to 9, or
I could even switch it to 16 up.
| | 00:59 | Now, of course, we only have three
clips available to us but had I had 16, this
| | 01:04 | entire window would have been
full of our different angles.
| | 01:06 | Let's go back and switch to Multiclip 4-Up.
| | 01:09 | The other thing that's important to be
aware of is that there is actually two
| | 01:13 | boxes surrounding this first clip.
| | 01:15 | A light green one and a dark blue one.
| | 01:17 | When you switch, you can choose to
switch your Video and your Audio at the same
| | 01:21 | time, or if needed, you can switch
your Video only or your Audio only.
| | 01:25 | Well, in this case, I really like the
audio that's associated with camera 1 and
| | 01:29 | I don't want to cut back and forth
between 1, 2, and 3, because my presence
| | 01:33 | would be different in all the different mikes.
| | 01:35 | So, instead of switching Video and Audio, I
am going to go down and select Video only.
| | 01:40 | The next thing we need to do is we need
to mark an in point just like we would
| | 01:43 | in any other clip, where
we want this shot to start.
| | 01:46 | So, I am going to wait till after the
clap, and I am going to scroll just far
| | 01:50 | enough forward that I am right
there before I start talking.
| | 01:53 | Now, we are going to start with camera 1.
| | 01:55 | Let's go ahead and mark an in point
right before the speaker begins to talk.
| | 01:59 | And I am going to do that simply by
pressing the I key to mark an in point.
| | 02:02 | To load this clip, from the viewer
into the Browser, you are going to simply
| | 02:06 | click one of these buttons here and
we are going to do an Overwrite edit.
| | 02:09 | This will place the clip form
the viewer into our timeline.
| | 02:13 | Let's go ahead and hit Shift+Z so we
can see the entire clip in our timeline.
| | 02:18 | The next couple of steps are pretty
important, and if you forget just one step,
| | 02:22 | it's not going to work.
| | 02:24 | You need to load the clip from the
timeline back into the viewer and you can do
| | 02:27 | this simply by double-clicking it or
selecting it and hitting the Return key.
| | 02:31 | You know that you have loaded a clip
from the timeline, because you will
| | 02:33 | actually see sprockets in
the scrubber bar of the viewer.
| | 02:37 | The next thing you need to do is go
up to this drop down box and switch it
| | 02:40 | from Sync off to Open.
| | 02:43 | Now, here is the tricky part
that a lot of people make a mistake.
| | 02:46 | They try to click on here to Play.
| | 02:48 | Because you have set it to Sync Open, you
want to actually play it from the timeline.
| | 02:52 | So, I am going to select the timeline
and hit the spacebar to start playing.
| | 02:55 | Once it starts playing, I am going to
click between the different images in my
| | 02:58 | viewer and that's
actually going to make my cuts.
| | 03:01 | So let's go ahead and select the
timeline, press the Home key to take us to the
| | 03:05 | beginning of the clip and
let's press the spacebar.
| | 03:08 | Once the clip is playing, I can switch
between camera angles by simply clicking
| | 03:12 | on the camera that I want.
| | 03:14 | So when the talent turns to camera 2, I
can click on the upper right location,
| | 03:18 | and when he turns back, I can
click on the first location.
| | 03:22 | Also note that whenever you click to
switch cameras, not only does the camera
| | 03:26 | angle switch in the canvas, but you
can also see the blue bounding box move
| | 03:30 | to the second camera.
| | 03:31 | Notice that that the green audio
bounding box stays where it is.
| | 03:35 | Now, take a look at that the timeline.
| | 03:36 | You will notice that markers have
appeared and as soon as I stop playback, by
| | 03:41 | hitting the spacebar, those
markers have turned into edit points.
| | 03:45 | There are two other ways that
I can switch between cameras.
| | 03:48 | The first would be with buttons.
| | 03:50 | To do that, you need to go to the
Tools menu, to the Button Bar selection and
| | 03:53 | you actually load something
called the Multiclip button bar.
| | 03:56 | You will notice that when I select
this that the button bar is located in the
| | 04:00 | Browser, viewer, canvas, and
timeline, all are modified.
| | 04:04 | Now, if I hover my mouse over the
individual buttons, I can see exactly
| | 04:07 | what they are doing.
| | 04:08 | In the case of the timeline, I have a
choice between switching videos and what
| | 04:12 | this will do is if I click Switch Video
Angle, in this case I am on angle 1 and
| | 04:16 | I want to switch to angle 3,
it will change the angle of that video.
| | 04:20 | If I go over to the next set of
buttons, this is a Cut option.
| | 04:24 | When I click this button, not only
will it switch the video angle but it
| | 04:27 | actually puts in an edit point
and then switches the camera.
| | 04:30 | We are going to go ahead
and switch to camera Angle 2.
| | 04:34 | The third set of buttons not only
allows me to switch my angle but it also
| | 04:38 | allows me to maintain any video
filters that I may have placed on that clip.
| | 04:43 | So, I have had a color correction to
give a look and feel to the shot that would
| | 04:46 | be maintained even though I switch angles.
| | 04:49 | As you can see, performing a multicam
edit while talking about multicam editing,
| | 04:54 | you can make a lot of mistakes.
| | 04:55 | So, what we are going to do in the
next movie is we are going to show you how
| | 04:58 | you can move edit point and switch angles
after effect, and get the exact edit that you want.
| | Collapse this transcript |
| Refining your multicam edit| 00:00 | Once you've done your first pass and
cut to all the angles that you wanted,
| | 00:04 | you'll discover that maybe you were a
little bit too late, or a little bit too early,
| | 00:07 | or sometimes even took the wrong camera.
| | 00:10 | In this movie, we're going to look at
refining your multicam edit and show
| | 00:13 | you how you can actually roll your edit points,
or even switch cameras if you took the wrong one.
| | 00:19 | The first thing I want to show you
is simply how to roll an edit point.
| | 00:22 | So if we look at the first edit in our
Timeline, let's go ahead and play it.
| | 00:25 | (Male speaker: ...plays, corporate meetings...)
| | 00:27 | If you notice, I actually cut at the
wrong point. All I have to do is select the
| | 00:32 | edit point and then move the
playhead where I want to play it.
| | 00:35 | But before I do that, I want
you to take note of something.
| | 00:37 | This only will happen on the
first clip in your multicam edit.
| | 00:41 | When I selected my video clip, because
it was linked to the audio in the same
| | 00:45 | Timeline, it also selected the audio.
| | 00:47 | So if I went ahead and did a roll edit,
and I am going to hit the R key, you'll
| | 00:51 | notice that as I move the video, it
moves the audio, just like it would in any
| | 00:55 | other Timeline in Final Cut Pro.
| | 00:57 | Let me go ahead and hit Undo, by
hitting Command+Z and this time before we
| | 01:02 | select our edit point, and I am going
to click in the gray area to remove our selection,
| | 01:06 | I'll hold down the Option key,
and then as we learned earlier,
| | 01:10 | it will select just our video and not our audio.
| | 01:13 | Now I can go ahead and I can perform a
roll edit or in this case I want to be a
| | 01:17 | little bit more precise, so we're
going to perform an extend edit.
| | 01:21 | I am going to switch back to my
Selection tool by clicking on the Arrow or
| | 01:25 | hitting the A key, and then I am going
to watch the video and find the exact
| | 01:28 | moment where I really
want it to cut when my head turns.
| | 01:31 | (Male speaker: ...videos and plays...)
| | 01:34 | Right at that point is
where I want the edit to be.
| | 01:36 | Since I've already selected the edit
point, all I need to do is press the E key
| | 01:41 | and the edit point will move to the
exact location where my playhead was parked.
| | 01:45 | Let's go ahead and watch that edit again.
| | 01:46 | (Male speaker: Music videos and plays,
corporate meetings, training and the like.)
| | 01:53 | Perfect, exactly where I wanted it to be.
| | 01:55 | Now I normally would go ahead and
change all my edit points to be precisely
| | 01:58 | where I want them in case I was too slow,
or too fast on the cut, but I want to
| | 02:02 | show you one other thing.
| | 02:03 | Let's suppose I was over here and I
actually wanted to make a cut, but I forgot to.
| | 02:09 | I can very easily cut this clip in
half, by selecting the Blade tool or
| | 02:13 | by hitting the B key.
| | 02:15 | I then will move my cursor over to
where that edit point is, my cursor snaps
| | 02:20 | right to where my playhead is
parked, and I simply click Cut.
| | 02:23 | Now if you notice I have the same
shot before and the same shot after as
| | 02:28 | evidenced by the Through Edit arrows.
| | 02:31 | If I go ahead and switch over to my
Selection tool, this time I press the A key,
| | 02:35 | I can easily switch from
Camera 1 to either Camera 2 or 3.
| | 02:40 | I select the second part of the clip,
which we created by the Blade tool, and
| | 02:44 | simply press the Return key to
load it back into the Viewer.
| | 02:47 | Then I can choose to either
switch to Camera 2 or to Camera 3.
| | 02:51 | Let's go ahead and switch to camera 3.
| | 02:54 | If you notice, as soon as I click on it
in my Viewer, it updates in my Timeline.
| | 02:58 | Another way I could switch cameras is
simply right-clicking on the clip in the
| | 03:02 | Timeline, scroll down to where it
says Active Angle and choose something
| | 03:06 | different than Camera 3.
| | 03:07 | In this case, I am going to
go ahead and select Camera 2.
| | 03:11 | Now this creates another challenge for me.
| | 03:13 | I have Camera 2 here, and
I also have camera 2 there.
| | 03:17 | If you notice because it's the same
camera angle, I once again have a Through Edit.
| | 03:21 | If I want to remove that Through Edit,
so it's not visually confusing, I can
| | 03:24 | either select it and press the Delete
key or I can right-click on it and I can
| | 03:29 | simply say Join Through Edit.
| | 03:31 | Now, I want to talk about one more
thing that's very important when it comes
| | 03:35 | to multicam editing.
| | 03:36 | That's something called
collapsing and uncollapsing your clips.
| | 03:39 | If you notice as I was editing, it was
very easy for me to load a clip back into
| | 03:43 | the Viewer and make any changes I want.
| | 03:45 | Now, one of the things that's
happening behind the scenes is your computer is
| | 03:49 | loading all three video clips from
your hard drive at the same time.
| | 03:53 | Now if you had 4, 5, 6 or maybe 16
angles, that means you need to read all 16
| | 03:58 | streams of video at the same time and you could
actually see some drop frames in your Playback.
| | 04:02 | So once you have your initial cut
done, you can do something called
| | 04:06 | collapsing your clips.
| | 04:07 | I select the clips that I want to
collapse, this could be the entire Timeline,
| | 04:11 | or this could just be a selection from
the Timeline as we're doing in this case.
| | 04:15 | I select the clips that I want to collapse.
| | 04:17 | I right-click and I choose Collapse Multiclip.
| | 04:20 | Now take a look at what happens in our Timeline.
| | 04:22 | Instead of being labeled Multiclip,
they are actually now named by the name of
| | 04:26 | the camera that we are switching to.
| | 04:28 | If I double-click to load any one of
these into my Viewer, it's no longer a
| | 04:32 | multiclip in the Viewer.
| | 04:33 | It's the individual take that we had.
| | 04:35 | Here we've actually clicked on a clip
that we did not collapse and it still
| | 04:38 | opens up with all the three
different elements, so I can switch it.
| | 04:42 | So it's important to know that you don't
have to collapse everything all at once.
| | 04:46 | You can collapse and
uncollapse as you need them.
| | 04:49 | Now, even though these clips have
been collapsed, I can still perform roll
| | 04:52 | edits and extend edits just like I
did before, but I am not putting as much
| | 04:55 | demand on my hard drives.
| | 04:57 | If I wanted to do a roll edit, I
simply hit the R key and I can perform the
| | 05:01 | roll edit right there.
| | 05:04 | Now once you've collapsed a clip,
it's just as easy to uncollapse them.
| | 05:08 | Select the clips that you want to uncollapse.
| | 05:09 | I am going to press the A key to switch
back to my Arrow tool and in this case,
| | 05:14 | I actually grabbed one of the
clips that I hadn't collapsed yet.
| | 05:17 | So it only gives me the option
to collapse remaining multiclips.
| | 05:21 | So let's go ahead and do that.
| | 05:22 | So now that all four of
these clips are collapsed.
| | 05:25 | If I select them again, I can uncollapse them.
| | 05:29 | Once again, I simply double-click any
of these clips and load them into my
| | 05:32 | Viewer, and they work just like they did before.
| | 05:35 | Now, a really neat thing is I can even
have saved and close my project and open
| | 05:39 | it weeks or months later and still
collapse and uncollapse my clips freely.
| | 05:43 | There is one more technique I want to
show you that's very useful when it comes
| | 05:47 | to multicam editing.
| | 05:48 | If you notice when I cut between Camera 2
and Camera 1, there is a slight color shift.
| | 05:54 | Camera 1 is a little pinker.
| | 05:56 | So I want to color correct all my Camera
1 angles, and remove some of that red hue.
| | 06:00 | Well, I've already built the color
corrector that works perfectly to fix this
| | 06:04 | problem and as a matter of fact, I
could simply drop it right there on the
| | 06:06 | Camera 1 clip, and the problem is fixed.
| | 06:09 | But I want to be able to do
that much more efficiently.
| | 06:12 | I want to be able to do
it in all my clips at once.
| | 06:14 | Let me go ahead and hit Command+Z to
Undo, and now let me show you a great
| | 06:18 | feature in Final Cut Pro.
| | 06:20 | I simply press Command+F and it opens
up the Find function in Final Cut Pro.
| | 06:24 | Now, the Find function is location sensitive.
| | 06:28 | So in this case, if I start searching,
I am going to actually be searching my
| | 06:31 | active window, which in this case is my Browser.
| | 06:34 | I want to search my Timeline.
| | 06:35 | So let's go ahead, we'll hit Cancel,
make sure that Timeline is selected, hit
| | 06:39 | Command+F and now I am going to go ahead,
and I am going to simply type in Take
| | 06:47 | 1 Camera 1 and instead of pressing
Find, I am going to select Find All.
| | 06:52 | Every use of Camera 1 in my Timeline
is now selected, I can simply grab the
| | 06:56 | Color Correction Filter, drop it onto one
clip, and it will now be put on all the clips.
| | 07:02 | So as you can see, once you understand
a few basic concepts about multi-camera
| | 07:06 | editing in Final Cut Pro, it's pretty easy.
| | Collapse this transcript |
|
|
14. ImportingImporting files and folders| 00:00 |
One of the most popular and easiest
ways to bring media into your Final Cut Pro
| | 00:04 |
project is simply
importing it off your hard drive.
| | 00:08 |
Now, there's two basic ways to do this.
| | 00:10 |
You can go to the File menu, and
underneath the File menu, there's an Import option.
| | 00:14 |
Here you can choose to import
files or an entire folder of media.
| | 00:18 |
Let's examine importing individual files first.
| | 00:21 |
Now, the keyboard shortcut for this is
Command+I, but let's go ahead and use
| | 00:25 |
the pulldown menu.
| | 00:27 |
After you select the Import command,
you can simply select a folder containing
| | 00:31 |
the media that you want to bring in,
and select that media file by file.
| | 00:36 |
If you want to bring in multiple files,
you can simply press the Shift key
| | 00:39 |
and select a range of files, or the
Command key and select specific files
| | 00:44 |
that you want to import.
| | 00:45 |
Once done, simply press Choose, and
they immediately appear in your Browser.
| | 00:50 |
You can also import the entire
contents of the folder, again using the File >
| | 00:55 |
Import command, but this time choosing Folder.
| | 00:58 |
One thing to keep in mind is that
when you select Import Folder, you can no
| | 01:02 |
longer select the individual file.
| | 01:04 |
You have to bring the contents of
an entire folder into your Browser.
| | 01:08 |
If at this point, you select Choose,
you'll actually see that the entire folder
| | 01:12 |
with its hierarchy is now
available in your Browser.
| | 01:15 |
Now, my favorite way of bringing clips into
Final Cut Pro is simply dragging and dropping.
| | 01:20 |
I'm going to go ahead and move my
Canvas out of the way, and grab my Audio
| | 01:24 |
folder, and simply drag it from
the Finder directly into my Browser.
| | 01:28 |
As you see, just like importing a
folder, I have all my contents organized.
| | 01:34 |
Let's go ahead, and reset our window
by hitting Ctrl+U. An important thing to
| | 01:38 |
remember when working with media in
Final Cut Pro. Though it seems we dragged
| | 01:42 |
our media into the application, all we
really did was created a pointer or a
| | 01:47 |
shortcut to the original
media on our hard drive.
| | 01:50 |
If at this stage we deleted the media
from our hard drive, everything in our
| | 01:53 |
Browser would have a red line
through it and would appear offline.
| | 01:57 |
So as you see, importing media from your
hard drive is as easy as one, two, three.
| | 02:03 |
One file, two folder, and three drag.
| | 02:09 |
| | Collapse this transcript |
| Importing audio into Final Cut Pro| 00:00 | Importing audio into Final Cut 7 is
rather easy by using Compressor and creating
| | 00:06 | a Compressor droplet.
| | 00:07 | Now, Final Cut Pro likes to
use audio files that are .AIF.
| | 00:12 | But a lot of times you're given files
that are on CDs, you're given files that
| | 00:15 | are MP3, as well as WAV files.
| | 00:18 | We're going to create a droplet to
convert all of these to 48 kilohertz AIFF files,
| | 00:23 | and to do that,
we're going to open Compressor.
| | 00:26 | Now, once inside Compressor, we're
going to open a preset for audio AIFF files.
| | 00:33 | You can find it by clicking on the Plus
button, selecting AIFF, and it appears
| | 00:39 | in your customs folder.
| | 00:40 | Simply go to the Name in the
Inspectors window and delete the word Untitled.
| | 00:45 | Now, all you have to do is go over to
the Save selection as a Droplet button,
| | 00:50 | click on it, and you'll get this dialog box.
| | 00:52 | Save As an AIFF, and you'll place it
on your Desktop, so it's easy to find.
| | 00:58 | You also need to choose a destination
where your newly created files are going to go.
| | 01:03 | You can send it to the source, but I
don't recommend that because if you're
| | 01:06 | coming off a CD, Compressor
can't write back to that disc.
| | 01:10 | For now, we'll choose Desktop,
but you can modify this later.
| | 01:14 | Go ahead and hit Save.
| | 01:15 | Once you're done, you can close
Compressor, and feel free to hit Revert because
| | 01:20 | we no longer need the AIFF settings.
| | 01:24 | If we look on our Desktop,
we have a brand new Droplet.
| | 01:27 | As a matter of fact, this Droplet
can now be used on any computer that
| | 01:31 | has Compressor 3.5.
| | 01:33 | We've also included this
Droplet with the Exercise Files.
| | 01:37 | Now, to use the Droplet, we're going to
select the clips that we want to convert
| | 01:41 | and drop them on it.
| | 01:43 | The Droplet will launch,
and there are our clips.
| | 01:45 | But we're going to make a
couple of changes first.
| | 01:47 | Instead of having all my converted
files land all over my Desktop, let's go
| | 01:52 | ahead and create a new folder for it.
| | 01:54 | Simply click on Choose > New Folder,
which we will call Audio AIFFs.
| | 02:00 | We'll go ahead and choose that folder,
and we'll do one more thing before we
| | 02:05 | start the conversation.
| | 02:06 | I want to convert the music on this audio
CD, and I need to do it for two reasons.
| | 02:11 | One, I want to have a copy of it on my
computer as opposed to on the CD and
| | 02:16 | I want to transcode it from a 44.1 kilohertz
file to a Final Cut Pro friendly 48 kilohertz file.
| | 02:22 | I simply can open the audio CD, grab the
files, and drop them over here into the droplet.
| | 02:29 | We can now close that and we're
going to change one more thing.
| | 02:33 | Since these files already have .AIF at
the end, we don't have to add the names
| | 02:38 | of the settings to the end of the clip.
| | 02:40 | So I'm going to delete this from the file
template by hitting the Delete button twice.
| | 02:45 | Now, we're ready to submit our
clips to the Compressor engine.
| | 02:49 | I press Submit once, and a second time
for the group, and then I can sit back,
| | 02:53 | and watch the magic happen.
| | 02:55 | Let's look inside our
folder and our converted clips.
| | 03:00 | As you can see, there
they all are as AIFF files.
| | 03:04 | Let's go ahead and close that folder,
open up Final Cut Pro, and get ready
| | 03:09 | to import the files.
| | 03:10 | Let's go to the File menu,
under Import, and select Folder.
| | 03:15 | There's our Audio AIFF folder.
| | 03:17 | I simply choose it.
| | 03:19 | And within a moment, all my files appear
within my Browser, ready to edit into Final Cut Pro.
| | Collapse this transcript |
| Preparing for log and capture| 00:00 | In this lesson we are going to talk about
logging and capturing your footage from tape.
| | 00:04 | The first thing you want to do in
preparing to capture is go to the Final Cut
| | 00:08 | Pro pulldown menu and open up Easy
Set Up, based upon the format you are
| | 00:12 | working with and the frame
rate make your selections.
| | 00:15 | In this example we will be working
with NTSC 29.97 and the footage is wide
| | 00:21 | screen DV Anamorphic, so
we will make that selection.
| | 00:24 | Usually, if you are having a problems
either controlling your camera or deck or
| | 00:28 | actually capturing your footage, going
back to the Easy Setup and going to the
| | 00:32 | defaults will resolve your problems.
| | 00:35 | Once you have made the selections, click Setup.
| | 00:38 | The next step is to open up your Log
and Capture window. The Log and Capture
| | 00:42 | window is located under the File
menu under Log and Capture. The keyboard
| | 00:46 | shortcut for this is Command+8.As soon
as you hit Command+8 Final Cut Pro will
| | 00:52 | initialize Log and Capture and
open up the following window.
| | 00:56 | The most important thing is this text here.
| | 00:58 | It should say VTR OK.
| | 01:01 | The alternative would be No Communication.
| | 01:03 | If it says No Communication, go back to
the Easy Setup and make sure it matches
| | 01:08 | the type of camera or deck you are working with.
| | 01:11 | Now let's open the Capture Setting tab.
| | 01:13 | What you want to do in this tab it to
confirm your device control and in this
| | 01:17 | case we are talking our
camera or our deck using FireWire.
| | 01:21 | There are a couple helpful options here.
| | 01:24 | If for some reason you are not
communicating well with your camera or deck,
| | 01:27 | if it's more of an off brand, you may
want to switch to FireWire NTSC basic.
| | 01:32 | This uses less communications
protocols and a lot of times will allow you to
| | 01:36 | capture of an off brand camera.
| | 01:38 | If you are working with a tape that
has no time code or you are capturing
| | 01:42 | through a breakout box,
you may not have time code.
| | 01:44 | In this case, you want to
switch it to Non-Controllable Device.
| | 01:48 | Let's set it back to FireWire NTSC.
| | 01:51 | You probably should modify
the capture input dropdown menu.
| | 01:55 | This reflects your setting from the Easy Setups.
| | 01:57 | I am going to just click to show you
the variety of options that would be
| | 02:00 | here, we are happy with the Setup that we had
before, so I will leave it at DV NTSC Anamorphic.
| | 02:07 | Your next setting is critical.
| | 02:08 | You need to select your Scratch Disks.
| | 02:10 | Now what is a Scratch Disks, this is
simply the location where your media is stored.
| | 02:15 | Click on the Scratch Disks button and
it opens up the Scratch Disks window, now
| | 02:19 | you can select up to 12 discs to
target to so as one fills up it goes to the
| | 02:24 | next one and the next one and the next
one, but these days with such large hard
| | 02:29 | drives it's unlikely you fill
up your disk on a single capture.
| | 02:33 | Now, where should you be capturing things to?
| | 02:36 | Well, it all depends on how
your system is configured.
| | 02:38 | In an ideal environment you should have a
second disk drive to capture all your media to.
| | 02:43 | That can be an internal
drive or an external drive.
| | 02:47 | Now when it comes external drives, it's
critical that you do not use a USB drive.
| | 02:52 | USB drives do not have the communication
protocol to successfully work with video.
| | 02:57 | You will need to use
either FireWire, eSATA or Fibre.
| | 03:01 | To set your target Scratch Disk,
simply click on the Set button.
| | 03:05 | You will get a Finder dialog box and
in this case we will go into our second
| | 03:08 | drive, which is called Scratch Disk
into the Final Cut Pro Documents folder.
| | 03:13 | Now once we have selected our Scratch Disk,
you can choose what files are sent there.
| | 03:17 | By default your video is sent there
as well as your Video Render Files and
| | 03:22 | your Audio Render Files.
| | 03:23 | Note that the Audio Capture files is grayed out.
| | 03:26 | In the old days we use to capture video
to one drive and audio to a second drive.
| | 03:32 | That's because the drives weren't fast enough.
| | 03:34 | These days you want to keep the video and
audio together in the same QuickTime movie.
| | 03:38 | If for some reason you really needed to
capture them separately, you could click
| | 03:43 | this checkbox and now you could
target the audio to a different drive.
| | 03:46 | I highly recommend not to do this.
| | 03:49 | For the ease of knowing where our
files are and for easy clean up, we will
| | 03:53 | set the Waveform Cache the Thumbnail Cache
and the Autosave Vault to the same location.
| | 03:59 | Go ahead and press OK.
| | 04:01 | Now keep in mind, once you set your
Capture Settings they stay exactly the same
| | 04:05 | until you change them.
| | 04:07 | So a lot of times when you go to this tab,
you will just be confirming that your
| | 04:11 | setups are what you expected them to be.
| | 04:14 | Now, let's move on to the Clip Settings
dialog box, there is only a few things
| | 04:18 | you need to change here.
| | 04:19 | You can choose when you capture, if
you want to capture just Video, just
| | 04:23 | Audio or Audio and Video.
| | 04:25 | Most of the time you want to capture
Audio and Video, because you want the
| | 04:28 | Ambient Track in your QuickTime movies.
| | 04:31 | But if for instance your Audio track
is no good, perhaps the mikes weren't
| | 04:35 | plugged in or maybe you were talking
about the producer behind their back, you
| | 04:38 | can click and turn off the Audio
Capture and capture Video only.
| | 04:42 | On the flip side you just recorded a
scratch track on your tape and you only
| | 04:47 | want to capture the Audio, which is
much smaller than capturing the Video
| | 04:50 | and Audio together.
| | 04:51 | Simply turn on the Audio and turn off the Video.
| | 04:55 | Now when it comes to audio, there are
a couple of ways you can capture it.
| | 04:58 | You can capture it to Stereo or Dua Mono.
| | 05:02 | If you recorded it using the stereo camera
mike, you want to capture as a Stereo file.
| | 05:07 | In this case, click on the Toggle Stereo
/Mono button to activate Stereo and you
| | 05:11 | can confirm that its Stereo, because
you see these little lines connecting it
| | 05:15 | and the two rings are touching each other.
| | 05:17 | If for instance you captured it as Dual
Mono, perhaps you had a lavalier mike on
| | 05:21 | your talent and you were using the
camera mike as backup, you may want to
| | 05:25 | uncheck Stereo and capture it as Dual Mono.
| | 05:28 | You can also choose to capture
just one track or the other track.
| | 05:33 | So if track 1 your lavalier is prefect
and you had nothing on track 2, you can
| | 05:37 | simply disable that track for when you capture.
| | 05:41 | The final button I want to
talk about is the Preview button.
| | 05:44 | If you engage the Preview button, you
will actually hear your audio through your
| | 05:47 | Macintosh while capturing.
| | 05:50 | If you choose not to hear the audio while
you capture, simply uncheck this button.
| | 05:54 | Now I am going to go ahead and check
video, because I want to make sure I
| | 05:57 | capture both my video and my audio and I
want to make sure I capture both of my tracks.
| | 06:03 | You may notice some great outsliders in
the video part of the Log and Capture window.
| | 06:07 | These are only accessible when you
have a breakout box which is converting
| | 06:11 | analog video to digital video.
| | 06:14 | Once everything is set, you are
ready to move onto logging your tape.
| | Collapse this transcript |
| Special considerations for HDV users| 00:00 | Capturing HDV is slightly different.
| | 00:03 | So before you watch this, make sure you
watch the previous movies on preparing
| | 00:07 | for Log and Capture.
| | 00:09 | The first thing I want you to do is
make sure that your system is ready to
| | 00:12 | capture HDV. Go up under Easy Setup
and under Easy Setup, simply select HDV
| | 00:20 | and click on Setup.
| | 00:21 | Now Final Cut is ready to
talk to your HDV camera.
| | 00:24 | Once again, open up Log and Capture.
| | 00:27 | It's Command+8 or here under the
File pull down menu for Log and Capture.
| | 00:32 | Now the first thing you will see is that the
interface for HDV is a lot more streamlined.
| | 00:37 | Let's go ahead and check the
Capture Settings and Clip Settings tabs.
| | 00:42 | Under Capture Setting the only choice
you have is Scratch Disk and you can set
| | 00:47 | that up the same way that
we did in the previous movie.
| | 00:49 | Under Clip Settings
again you have fewer choices.
| | 00:53 | You can once again choose Video,
Audio, or both as well as the option to
| | 00:58 | choose Stereo or Mono, but the only
other choice you have is to create new
| | 01:02 | clips on Start and Stop.
| | 01:04 | HDV uses a GOB structure to record its
Video, so every time you stop the camera,
| | 01:10 | it actually closes out the clip.
| | 01:12 | Final Cut Pro can detect this flag and
when it captures your HDV footage, it can
| | 01:16 | break it into individual clips.
| | 01:19 | Finally, the Logging window.
| | 01:21 | Though it looks a little bit different, it works
exactly the same as we saw in the previous movie.
| | Collapse this transcript |
| Logging clips| 00:01 | Now, let's look at logging your videotapes.
| | 00:03 | Now, the most important thing you can do
in this dialog box is to name your reel.
| | 00:08 | I can't tell you how many producers
and directors I have seen that log their
| | 00:12 | tapes that every tape is labeled Reel 001.
| | 00:16 | And six months later when they come
back to find a shot on a tape, they don't
| | 00:19 | know which tape is 001.
| | 00:22 | So, we are going to go ahead and label
our tape first and it is called Running
| | 00:26 | with the Sahara Tape 7.
| | 00:28 | So, we will select the reel box
and I will type in RTS Tape 7.
| | 00:36 | Now, before we move forward a lot of
people ask why do I even need to log a tape?
| | 00:40 | Logging a tape and then batch capturing it,
which we will do in the next lesson,
| | 00:44 | allows you do to two things.
| | 00:47 | First of all by picking out only the
good shots and the good parts of the good shots,
| | 00:51 | you can save a lot of space on
your hard drive and a lot of time by not
| | 00:56 | having to search through the junk
while you are editing your program.
| | 01:00 | And the second thing, it gives you
the opportunity to look at your footage
| | 01:03 | again and by picking the best shots you can
actually start editing the program in your head.
| | 01:09 | Now, let's move to the other text entry boxes.
| | 01:12 | The first box is Description and if
you notice next to Name, there is no text
| | 01:16 | entry box and that's because the name
is created by the Description, the Scene,
| | 01:22 | the Shot and if it is a
multicam shoot, the Angle.
| | 01:26 | So, let's go ahead and type a general
description for the footage that we are
| | 01:30 | going to bring in and this
will be Exteriors Desert.
| | 01:35 | Now, let's click in the Scene dialog box.
| | 01:38 | As you see, next to Name we now
have the words Exteriors Desert.
| | 01:42 | Now, before we can write down what the
scene and the shot is, we actually have
| | 01:46 | to look at our footage.
| | 01:48 | So, at this point, let's cue up our tape.
| | 01:50 | I am going to press the Play button
and this should initiate the camera.
| | 01:56 | And as you see we have a
beauty shot panning right to left.
| | 02:00 | We have the same transport controls as
we do within Final Cut Pro and we could
| | 02:04 | use those if we wish.
| | 02:06 | But you can also use J, K and L just like
you do within the Final Cut Pro application.
| | 02:11 | If I wanted to rewind, I can press the
J key, if I wanted to play forward the L
| | 02:16 | key and if I wanted to pause
the tape I can press the spacebar.
| | 02:20 | Now, as I am watching the tape, I want
to mark an in point where I want my clip
| | 02:25 | to start and an out point
where I want the clip to stop.
| | 02:29 | I can do this on the fly or I can
park the tape and mark my ins and outs
| | 02:34 | at specific locations.
| | 02:36 | I want this to be my in point,
so I am going to press the I key.
| | 02:39 | Take a look what happens in the lower
left hand corner where it says Not Set.
| | 02:44 | This is my in point, as soon as I press
the I key, we see the timecode where the
| | 02:49 | playhead is currently parked.
| | 02:51 | Our in point is now established at 1
minute 5 seconds and 25 frames into our show.
| | 02:57 | Next we want to choose an output.
| | 02:59 | Once again, I will hit the spacebar
to play the clip and I can fast forward
| | 03:03 | through the clip if I want.
| | 03:04 | I simply tap the L key a couple of times.
| | 03:08 | Once the pan is completed I can again
pause the tape and mark an out point.
| | 03:13 | Notice that we now have an out point
at 1 minute 28 seconds and 18 frames.
| | 03:17 | I also have a duration of 22
seconds and 24 frames for the entire clip.
| | 03:22 | I can now add a scene
description specific to this shot.
| | 03:32 | And then I am going to go
ahead and label this Shot 1.
| | 03:35 | I will press the Tab key to go the next
dialog box and we see under the name it
| | 03:39 | says Exterior Desert 1.
| | 03:42 | Wait a second, what happened to my
pan right mountains in the distance?
| | 03:46 | I need to make sure that this box is
checked otherwise Final Cut Pro won't use
| | 03:50 | it as part of my name.
| | 03:52 | I simply will click on the Name and
as you see mountains in the distance is
| | 03:55 | added but because we have a smaller
dialog box, it actually truncates it so you
| | 04:00 | don't quite see the pan right.
| | 04:02 | But trust me when we actually logged
this tape, the entire name will be there.
| | 04:06 | There is one more decision you need to
make before you press the Log Clip button
| | 04:11 | and that's whether you want
to activate Prompt or not.
| | 04:13 | We are going to turn Prompt on the first
time we log a clip and then I will turn
| | 04:18 | it off to show you the difference.
| | 04:19 | With Prompt turned on, I am going to
press Log Clip and when I press Log Clip, a
| | 04:25 | dialog box will come up showing me the
name of the clip and giving me one more
| | 04:29 | opportunity to change the name, write
a Log Note or to mark the clip Good.
| | 04:35 | If I like the way everything is, I will
simply press the Return key and confirm OK.
| | 04:41 | If you notice in the upper left corner
of our Browser window, we now have a clip
| | 04:44 | icon with a red line through it and
the words, Exterior Desert_pan right
| | 04:48 | mountains in, and obviously it goes off screen.
| | 04:51 | What this indicates is I have all the
log information to capture the clip, but
| | 04:56 | the clip is still offline.
| | 04:58 | Let's go ahead and log one more clip, but
this time with the Prompt button turned off.
| | 05:02 | I will go back here, I will press
Play and if I want to fast forward beyond
| | 05:08 | this clip, I will go ahead hit the L
key a few times and as soon as I go to the
| | 05:12 | next shot, I am not going to pause I
am going to mark my in point and my out
| | 05:16 | point on the fly by hitting I and O. Let me go
ahead and pause the clip with my spacebar key.
| | 05:23 | If you notice I have an in point at 1
minute 47 seconds 9 frames and an out
| | 05:28 | point at 1 minute 53 seconds 24 frames
giving me a 6 second and 16 frame clip.
| | 05:34 | The other thing I want you to notice,
since I didn't change any information
| | 05:38 | in my Logging Capture Text box,
Final Cut Pro automatically increases the
| | 05:43 | shot number from 1 to 2.
| | 05:44 | So, if I am editing on the fly I can
simply mark in points, out points and log
| | 05:50 | clips and Final Cut will always
add a Shot number to the clip name.
| | 05:54 | Now, instead of pressing the Log
Clip button, simply press the F2 key.
| | 05:59 | Now, this is really useful because you
can very quickly mark in points and out
| | 06:03 | points on the fly and instead of
stopping and finding that Log Clip button,
| | 06:07 | you just press F2, so you can very quickly
scan through a tape marking in and out and F2.
| | 06:14 | As a matter of fact another useful
shortcut is simply pressing the in key
| | 06:18 | and instead of pressing the out key, press
F2 and it will automatically log your clip.
| | 06:23 | We will do that for our third clip, but
for now I will press F2 and log our clip.
| | 06:28 | Now, let's use the in and the F2
key and log the next clip on the fly.
| | 06:33 | I am going to once again start playback
and I am going to start fast-forwarding
| | 06:37 | by pressing the L key a couple of times.
| | 06:39 | You will notice when we get to the next
shot, I mark an in point, and now as I
| | 06:43 | press the F2 key you will see
my log appear in the timeline.
| | 06:47 | I will do it once more, in and F2 and
now let me go ahead and pause playback.
| | 06:55 | Now, I have marked four
clips to ingest into our program.
| | 06:59 | Now, once you have logged your clips,
we are ready to capture them and we will
| | 07:03 | show you that in the next movie.
| | Collapse this transcript |
| Capturing clips| 00:01 | Once all your clips have been
logged, it is time to capture them.
| | 00:04 | Let's go ahead and select a
clip in our Browser to capture.
| | 00:08 | Once you have a clip selected, go to the
Capture section of your Log and Capture
| | 00:13 | window and click on Batch.
| | 00:15 | This will reveal a new dialog box.
| | 00:17 | The first thing I want to talk about
is this pulldown window right here.
| | 00:21 | We have two choices here, the Selected
Items in the Logging Bin, which would be
| | 00:25 | just that one clip, or I can choose to
capture All the Items in the Logging Bin.
| | 00:30 | Now, I am going to switch from
Selected to All, but I want you to look at the
| | 00:34 | bottom of the dialog box before I switch.
| | 00:37 | It says Total Media Time, 22 seconds 24 frames.
| | 00:41 | It says I need 87.8 Megabytes of
storage and I have 113 Gigabytes.
| | 00:46 | It's always good to check this to make
sure you are not trying to capture more
| | 00:49 | media than you have space for.
| | 00:51 | If I switch to All Items in the
Logging Bin, it is going to use the total
| | 00:54 | time of the four clips.
| | 00:57 | Now, instead of capturing 22 seconds,
we are capturing 43 seconds and 29 frames
| | 01:02 | and we need 189 Megabytes.
| | 01:04 | The next thing I want to talk about is
whether we Use the Logged Clip Settings or not.
| | 01:09 | If for some reason when you logged
your clips you had the wrong setting such
| | 01:13 | as perhaps you turned off audio or you set
it to dual mono when you really wanted stereo.
| | 01:17 | If you uncheck this, it is going to
capture the clips, based upon the sequence
| | 01:21 | settings within your timeline.
| | 01:24 | In most cases you want to leave
Use Logged Clip Settings checked.
| | 01:28 | The next box, Add Handles, is incredibly valuable.
| | 01:31 | We are going to go ahead and check
this and add 2 seconds to each of our
| | 01:35 | clips, 200 and hit Return.
| | 01:39 | What will happen now is Final Cut Pro
will take our in points and our out points
| | 01:43 | and record 2 seconds before the in
point we marked and record 2 seconds after
| | 01:47 | the point that we marked.
| | 01:49 | This way if we were extremely tight
with marking our ins and our outs with our
| | 01:53 | shots we still may have enough
handles to lengthen our shot or to put on a
| | 01:58 | transition such as a dissolve.
| | 02:00 | Final Cut Pro can input logging
information directly from a Spreadsheet.
| | 02:04 | So, a lot of times you may have a
producer giving you your ins and your outs and
| | 02:08 | they are very precise and you as an
editor know you need more handles.
| | 02:12 | So, the Add Handles
option is incredibly valuable.
| | 02:15 | It is highly unlikely you
want change your capture preset.
| | 02:18 | This is what you took so much time
setting up earlier in your capture setting
| | 02:22 | tab and now let's capture our footage.
| | 02:25 | I am going to simply hit OK, I will get
a dialog box that says RTS Tape 7, how
| | 02:31 | much time and that we are going to be
capturing 4 clips and we are ready to go.
| | 02:35 | If I had logged multiple tapes, I would
see a list of all the tapes that I need
| | 02:39 | to insert and the number of clips
we are going to capture off them.
| | 02:43 | Since we have only logged
one tape, let's press Continue.
| | 02:48 | At this point, Final Cut Pro will queue
up the tape to the very first shot and
| | 02:52 | start capturing the footage that we logged.
| | 02:54 | It is going to take a little while to
capture, and when it's done we will come
| | 02:59 | back and take a look at the
captured clips in our Browser.
| | 03:05 | Once all the clips are captured, you will
notice it says RTS Tape 7 00:00 - 0 clips - DONE.
| | 03:13 | Now, a lot people freak out
because they say, 0 clips are done?!
| | 03:16 | No, 0 clips are left, I am done.
| | 03:19 | And you will notice in the bottom
left hand corner of that dialog, it says
| | 03:23 | Successfully captured.
| | 03:24 | And now you can simply press the
Return key because you are finished.
| | 03:29 | Let's close our Logging Capture window
and take a look at the clips in our Browser.
| | 03:33 | Let's go ahead and load the first clip,
I am going to simply double-click to
| | 03:37 | load it into the viewer and as you can
see Final Cut Pro successfully captured
| | 03:41 | our 22 second clip and added the 2
second handles that we requested at the
| | 03:45 | beginning and the end of the clip.
| | 03:48 | Let's go back to our Logging Capture
window and address two more buttons that we
| | 03:51 | haven't talked about.
| | 03:52 | I am going to press Command+8 to
reinitialize the Logging Capture window.
| | 03:57 | The two buttons that we have not talked
about are Capture Now and Capture Clip.
| | 04:02 | Let's look at Capture Clip.
| | 04:04 | You would use Capture Clip instead of
logging a clip because you just want to
| | 04:07 | grab one shot off, of a tape.
| | 04:09 | So, you will simply pop the tape in and
once again we will label this RTS Tape 7.
| | 04:14 | I am going to go ahead and press the
Play button and I am going to mark an in
| | 04:18 | point and an out point.
| | 04:19 | I am going to press the I key and now the O key
for an output and I am going to pause the tape.
| | 04:27 | Instead of pressing Log Clip, I am just
going to press the Clip button and Final
| | 04:31 | Cut will immediately capture that shot
and apply the Description, Scene and Shot
| | 04:36 | information to create its name.
| | 04:46 | If you look at the Browser that clip
has been successfully captured.
| | 04:50 | The last thing we are going to look at
is Capture Now and Capture Now is very
| | 04:54 | useful, if you are working in an
environment where you don't have deck control
| | 04:58 | or your tape doesn't have timecode.
| | 05:00 | Let's go back to our Capture Settings
and change it from FireWire NTSC to a
| | 05:05 | Non-Controllable Device.
| | 05:07 | As soon as we do that, you will
notice that clip is grayed out and batch is
| | 05:11 | grayed out and we have a little
notation here that says No Communication.
| | 05:16 | Well, I can manually start and stop
the deck and record what's doing down
| | 05:20 | the FireWire cable.
| | 05:21 | This is also useful if you are
recording a live feed into Final Cut Pro.
| | 05:26 | If I press the Capture Now button, Final
Cut will start capturing this clip even
| | 05:31 | though the camera is not playing.
| | 05:32 | We are going to actually hit the Now
button before we hit the Play button just
| | 05:36 | to show you how we record the paused image.
| | 05:39 | Now, once again the name of the clip is
based upon the information in our Logging Bin.
| | 05:44 | So, let's go ahead and make a little
note in Scene that says no timecode.
| | 05:50 | Let's press Capture Now.
| | 05:52 | As you see we are paused on the tape.
| | 05:54 | I am going to go ahead and press the Play
button and you will see the Capture begin.
| | 06:04 | I can stop camera
playback and simply hit Escape.
| | 06:09 | Once again the clip appears
in my Browser ready to edit.
| | 06:13 | We have just learned three ways
to capture video in Final Cut Pro.
| | Collapse this transcript |
| The Log and Transfer window| 00:00 | Let's take a look at the tapeless
workflow of ingesting media into Final Cut
| | 00:04 | Pro using P2 cards.
| | 00:06 | The first thing you want to do is go
to the File menu and scroll down to the
| | 00:10 | Log and Transfer window.
| | 00:13 | When you open the Log and Transfer
window, any P2 cards that are attached to
| | 00:16 | your system will mount.
| | 00:18 | Now the first thing you need to
do is check your Import Settings.
| | 00:21 | Let's go over here and switch over to
our Import Settings and we only have a
| | 00:25 | couple of decisions to make, do we
want to bring in just the Video or perhaps
| | 00:30 | just the Audio, or both?
| | 00:31 | Now when it comes to Audio,
you have a choice to make.
| | 00:35 | Do you want to ingest it as a
stereo pair or as dual mono?
| | 00:40 | If you have recorded it with a camera mike, you
most likely want to bring in as a stereo pair.
| | 00:44 | However, if you have used the
lavalier and say a shotgun, you want separate
| | 00:48 | tracks that are panned to the center.
| | 00:50 | If you do not record on channels 3 and
4, there is no need to bring those in.
| | 00:54 | You can simply turn them off by
deselecting the Capture audio channel button.
| | 00:58 | The next thing you need to do is
switch over to the Logging tab.
| | 01:02 | Now there is a series of presets that you
can use when capturing files off your P2 card.
| | 01:07 | However, the most important
thing you can do is name your reel.
| | 01:11 | Now in the case of a P2 card, you want
to name the information on the card or if
| | 01:15 | you are archiving it as an image, make
sure that you can identify which image
| | 01:19 | you are pointing to.
| | 01:21 | In this case we will
label it Lynda.com FCP7 open.
| | 01:26 | No, I am not going to worry about the
changing the clip name because I am going
| | 01:29 | to show you a really cool
trick in just a few minutes.
| | 01:32 | At this point you can edit scene
information and then any Log Notes.
| | 01:41 | Once your logging information is
entered, you can bring your clips into
| | 01:45 | the queue several ways.
| | 01:47 | You can simply grab the clip from the
P2 card and drop it into the queue and
| | 01:51 | Final Cut Pro will start ingesting it and
putting a QuickTime wrapper on your P2 information.
| | 01:57 | You can also load the clip
and mark in and out points.
| | 02:01 | Let's find a good in point,
mark an in and an out point.
| | 02:05 | And at that stage, simply
add the clip to the queue.
| | 02:09 | If you click the Right arrow, it will load the
next clip on the P2 card into the Logging area.
| | 02:15 | And once again, you can
simply add the clip to the queue.
| | 02:19 | Another great feature of Log and
Transfer is the ability to point to P2
| | 02:23 | information that's already on your hard drive.
| | 02:24 | So if you have taken your P2 cards and
loaded that information on to your hard drive,
| | 02:29 | you can simply go up here,
click on the Add Volume button, go to our
| | 02:34 | FinalCut7 P2 card information and click Open.
| | 02:38 | All the contents of that folder will be
loaded into the Log and Transfer window.
| | 02:45 | A new feature of Final Cut Pro 7
is the Automatic Transfer function.
| | 02:50 | By clicking on Automatic Transfer
whenever you mount your card, it will
| | 02:53 | automatically be ingested.
| | 02:55 | And you can start searching the metadata
and working with that media immediately.
| | 02:59 | Now I promised to show you one more
trick when it came to working with P2 media.
| | 03:04 | Let's go ahead and close
our Log and Transfer window.
| | 03:06 | If you noticed, we did not
give a name to any of our clips.
| | 03:10 | But if I take my clip and load it into the
Viewer, I can see what's happening in this clip.
| | 03:15 | In this case, this is just my grayscale card.
| | 03:17 | We are going to label this one
gray scale for color balancing.
| | 03:24 | The next one we will label FCP 7 Intro take 1.
| | 03:32 | Now if I right-click to reveal the
clip in the Finder, I see they have their
| | 03:36 | original P2 names which can be kind of
confusing and doesn't describe the shot at all.
| | 03:41 | Take a look at this.
| | 03:41 | I am going to go back to Final Cut Pro,
select both of those clips, right-click
| | 03:48 | and at the very bottom of the pull-
down menu I have a Rename option.
| | 03:51 | I can rename the clip to match the file,
but what we are going to do is rename
| | 03:56 | the file to match the clip.
| | 03:58 | Now when I right-click to reveal them
in the Finder, you see they have been
| | 04:02 | renamed to something useful.
| | 04:05 | Log and Transfer allows you to move
media into Final Cut Pro faster than
| | 04:08 | real-time so you can start
editing that much sooner.
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| Reconnecting media| 00:00 | What you see on your screen is bound to
happen to every editor at some point or another.
| | 00:05 | Your media goes offline and this
can happen because the media has been
| | 00:09 | renamed or simply moved.
| | 00:11 | It's very simple to
reconnect media that's gone offline.
| | 00:14 | Simply select the media that's offline,
in this case, I am going to hold down my
| | 00:18 | Command key and select the clips with
the red lines through them, and then
| | 00:23 | right-click and select Reconnect Media.
| | 00:26 | Now I will get a dialog box. I can
click the button that says Search which
| | 00:31 | means Final Cut Pro will search your
hard drives for you and find your media,
| | 00:35 | or if you already know where the
media is, you can simply press Locate and
| | 00:39 | point to the media yourself.
| | 00:40 | We will use Locate.
| | 00:42 | Our clips are located in the exercise files,
inside of Assets, inside the Video folder.
| | 00:48 | I am going to select the first clip
that's offline, make sure that Reconnect All
| | 00:53 | Files in Relative Path is
checked and then press Open.
| | 00:56 | Final Cut will find all files in that
folder and then when you press Reconnect,
| | 01:01 | they will come back online.
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15. ExportingExporting to a QuickTime movie| 00:01 | If you want to archive a full quality
version of your program or you need to
| | 00:05 | drop it into another program such as DVD
Studio Pro, iDVD, or Toast, you want to
| | 00:11 | export a QuickTime Movie.
| | 00:13 | The keyboard shortcut for this is
Command+E. Now there is only a couple of
| | 00:17 | settings that you need to
change in this instance.
| | 00:20 | You want to leave at Current Settings and
then probably include both audio and video.
| | 00:26 | At this point you may want to choose to
put Chapter Markers if you want them in
| | 00:29 | your final DVD or in your QuickTime movie.
| | 00:33 | The big decision is whether to
make the movie self-contained or not.
| | 00:36 | If you choose to make the movie self-
contained, it could be rather large and
| | 00:40 | take a while to write to
the disk. But it's portable.
| | 00:43 | You can save it and move it to any
computer and have a pristine copy of your
| | 00:47 | program based upon the codec
that you used in your project.
| | 00:51 | Now you can also choose to
uncheck this box and make the movie not
| | 00:55 | self-contained. This is also called a
reference movie and these are very useful
| | 01:00 | but a little bit dangerous.
| | 01:02 | If you uncheck Make Movie Self-
Contained, what you are going to create is
| | 01:05 | called a reference movie.
| | 01:07 | Now this looks, tastes, and
acts just like a QuickTime movie.
| | 01:10 | But it's meant to be used immediately to
drop into another program such as iDVD or Toast.
| | 01:16 | If any of those files are moved out of
place when you try to play this reference
| | 01:20 | movie, it will come up with a warning
box that may some files are not found.
| | 01:25 | The advantages of making a reference
movie is they write to disc very quickly,
| | 01:30 | they don't take up a lot of hard drive
space and to other applications they look
| | 01:34 | like a self-contained movie.
| | 01:36 | Once you drop it into the other
applications, you don't need it anymore and
| | 01:39 | you can simply delete it.
| | 01:40 | There is also the Hide Extension button.
| | 01:43 | By default, the Hide Extension is
checked and if you look at the name of the movie,
| | 01:48 | you see it just says Running the Sahara.
| | 01:50 | If I uncheck Hide the Extension, it will
now add the .mov at the end of the file.
| | 01:56 | Once all your decisions are made,
you are ready to save your movie.
| | 02:01 | Once you hit Save, Final Cut will render any
files that it needs to and save your movie.
| | 02:07 | Now that the movie has finished
exporting, let's hide Final Cut Pro and by
| | 02:11 | right-clicking on the file,
I can open the movie in QuickTime.
| | 02:19 | (Music playing)
| | 02:25 | (Male speaker: It's the most unforgiving place on Earth...)
| | 02:29 | You now have an exported movie of your show.
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| Sharing| 00:01 | A new feature in Final Cut Pro 7 is sharing.
| | 00:04 | This allows you to share your
program to a disc, a device, or the web.
| | 00:08 | You can export to a single format or to
a variety of formats with a single click.
| | 00:14 | To do this, go to the
File menu and select Share.
| | 00:17 | If you are working in high-definition, you
can now export your program to a Blu-ray disc.
| | 00:22 | Let's go ahead and click on Create Blu-
ray disc and look at some of our options.
| | 00:27 | There are several customizable Blu-ray
templates that allow you to add things
| | 00:31 | such as Graphics and
Backgrounds and even a Logo.
| | 00:34 | Let's go ahead and add a Background.
| | 00:40 | We can also add a Logo if we would like.
| | 00:46 | In addition, if you want to, so you
can create chapter menus and also define
| | 00:52 | when the disc loads if you want
to show the menu or just have it play
| | 00:55 | the movie immediately.
| | 00:58 | If you want to export to a different
format, just press the plus in the Share menu.
| | 01:04 | Some of the other things you can
create include creating files for your Apple
| | 01:07 | TV, as well as for an iPhone or an iPod.
| | 01:11 | If you choose to create something for
your iPhone, you can automatically add it
| | 01:14 | to your iTunes Library and even add
it to a pre-existing iTunes playlist.
| | 01:20 | Sharing can even create YouTube and
MobileMe friendly files and upload them to the web.
| | 01:26 | Let's add another output and
create a file for upload to YouTube.
| | 01:31 | You can publish to YouTube by
clicking on the checkbox and then enter your
| | 01:36 | Username and Password.
| | 01:39 | Sharing will automatically create a
title based upon the name of your sequence
| | 01:43 | but you can modify this if you wish.
| | 01:45 | You then need to add a Description,
Three long distance runners travel
| | 01:49 | across the Sahara desert.
| | 01:51 | Tags, Sahara, Desert, Running,
Endurance and your Category.
| | 01:57 | In this case we are going
to choose Travel & Events.
| | 02:01 | If you want, you can make your movie
private but we want everyone to see this promo.
| | 02:06 | If your settings require a further
refinement you can Send to Compressor.
| | 02:10 | Since our settings don't need
refinement, we are simply going to export.
| | 02:14 | Make sure you are not violating the
YouTube terms of service and press OK.
| | 02:19 | Sharing then prepares your video for export.
| | 02:22 | Sharing uses modeless export, so you
are no longer locked out of Final Cut Pro
| | 02:26 | during the compression process
and you can continue to work.
| | 02:29 | The sharing function makes exporting
your shows simple, efficient and fast.
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| Sending to Compressor| 00:01 | If you need to export your show and you
want to bypass the Sharing menu and go
| | 00:05 | directly to Compressor, you can
do that by going to the File menu.
| | 00:09 | If you have been using previous
versions of Final Cut Pro, you are used to
| | 00:13 | finding Compressor under the Export menu.
| | 00:16 | In Final Cut Pro 7, you can get
to Compressor via the Send To menu.
| | 00:19 | Now, there is many advantages of
using Compressor to export your program.
| | 00:24 | First of all, you can do batch processing.
| | 00:27 | I can select a variety of
formats and compress them all at once.
| | 00:31 | It's as simple as dragging and dropping them.
| | 00:34 | But just because it's simple,
doesn't mean it's not powerful.
| | 00:37 | You can select any of your compression
settings and modify them to your heart's content.
| | 00:42 | One of the other benefits about the new
version of Compressor is when I submit
| | 00:46 | my batch it no longer
locks me out of Final Cut Pro.
| | 00:50 | I can simply switch back to Final
Cut Pro and keep editing my project.
| | 00:54 | If you want to know more about
Compressor, check out Compressor Essential
| | 00:58 | Training on the lynda.com
Online Training Library.
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| Printing to video| 00:00 | For archival purposes, a lot of clients
will want a copy of their show on videotape.
| | 00:05 | To print your show to video, simply go to
the File menu and go down to Print to Video.
| | 00:11 | This will open the Print to Video dialog box.
| | 00:14 | In this window, you can
choose to print Color Bars.
| | 00:17 | You can control your Tone Levels.
| | 00:19 | So if you mixed to -12, set it to -12.
| | 00:22 | However, if you choose to mix this
audio to a different level, say -6 or -18,
| | 00:27 | make sure you adjust this setting
so whoever gets the tape can properly
| | 00:31 | calibrate it for duplication or broadcast.
| | 00:35 | You can also choose to have it go to
Black after Color Bars, create a Slate,
| | 00:39 | Black, and if you are
going to broadcast a Countdown.
| | 00:42 | The next setting is rather important.
| | 00:44 | Make sure it says Entire Media versus in to out.
| | 00:48 | If you have in to out marked, it's
likely you are going to just print the last
| | 00:52 | edit that you did in your show.
| | 00:54 | You can also create a Loop tape and if
you choose to do this and put Color Bars
| | 00:58 | of Black and Slate on your tape, it will
only print those at the very beginning.
| | 01:02 | And finally you can simply put
Black at the end of your tape.
| | 01:06 | Onto the Duration Calculator, Final
Cut Pro will tell you the total length of
| | 01:10 | your program as well as the total
amount of tape you need based upon your Color
| | 01:14 | Bars, Black, Slate, Black and Countdown.
| | 01:17 | A new feature of Final Cut Pro 7 is the
ability to insert closed captioning data.
| | 01:23 | Finally, when you are ready to
print to video, you can have Final Cut
| | 01:26 | automatically grab control of
your camera and start recording.
| | 01:30 | With all these set, simply press the OK button.
| | 01:34 | At this point, Final Cut Pro will
render any media that requires rendering
| | 01:39 | including any Media marked with
orange, red or green renders bars.
| | 01:45 | Once everything is rendered, simply press the OK
button and Final Cut Pro will lay your program to tape.
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ConclusionGoodbye| 00:00 | We have made it.
| | 00:02 | You should now have a better grasp of using
Final Cut Pro in a real world environment.
| | 00:07 | Keep in mind Final Cut is an
extremely deep application.
| | 00:10 | It can be as simple as you want it to be and
as complex and robust as you need it to be.
| | 00:16 | The best way to improve your
editing chops is to edit, edit, edit.
| | 00:20 | If I can leave you with one tip,
when editing, if your viewer expects the cut,
| | 00:25 | you are too late.
| | 00:26 | Cut a moment before they anticipate the
cut and they will never see your edit.
| | 00:31 | If you would like to learn more about
the rest of the Final Cut Studio,
| | 00:34 | you can check out the other essential training
titles on the lynda.com Online Training Library.
| | 00:40 | Thanks for joining me, Abba Shapiro
in Final Cut Pro 7 Essential Training.
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