1. Final Cut Pro 6 WorkflowIntroduction to the interface| 00:01 | Hello! I'd like to welcome you to the Final Cut Pro
training lessons that you will find on this disc.
| | 00:07 | My name is Frank Rohmer and I'm an
Apple-certified Final Cut Pro instructor.
| | 00:11 | Before we begin with the introduction
of the interface, I'd like to take a brief
| | 00:14 | moment to talk to you a little
bit about how the lessons work.
| | 00:17 | Well, first of all, for every lesson I
do follow a guideline as to every item
| | 00:22 | that I want to hit while
going through each lesson.
| | 00:25 | Now I don't want to sound robotic,
so I'm not following a script at all.
| | 00:30 | As a matter of fact, the overall goal
of this training is to help you feel
| | 00:34 | comfortable throughout all the lessons.
| | 00:36 | As a matter of fact, I want you to
feel like I'm sitting right next to you.
| | 00:38 | And in order to do that I simply follow
a bullet list of items that I must cover
| | 00:43 | for every training lesson found on this disc.
| | 00:46 | I think that you'll feel very comfortable
throughout the training because of that workflow.
| | 00:51 | So with that in mind, have fun with
this training, and I really feel that the
| | 00:55 | very end--or at least when you take any
of the lessons, whether it's one or all
| | 00:59 | of them--that you'll vastly improve
your editing capabilities using this very
| | 01:03 | powerful application called Final Cut Pro.
| | 01:06 | Well, the first thing I'd like you do is
locate this Training Media folder found
| | 01:12 | on the training disc that was
supplied to you with all the lessons.
| | 01:16 | You'll need to take this folder off
the disc and drag it onto your desktop,
| | 01:21 | like I've done here.
| | 01:23 | All of your media for all the lessons
is located in that folder and you'll need
| | 01:27 | to dip into that folder
periodically throughout the lessons.
| | 01:31 | Well, the first thing I want to talk to
you about is how do you launch Final Cut Pro?
| | 01:34 | Well, of course, you have to
have it installed to begin with.
| | 01:36 | Once it's installed, there are
actually a few ways to show you, and I want to
| | 01:42 | show you at least two of those ways.
| | 01:44 | The one way is if you navigate up to
your system drive in the upper right-hand
| | 01:48 | corner of your Desktop, simply double-
click on that hard drive icon, and locate
| | 01:56 | these three button options to
view the contents of the hard drives.
| | 02:01 | I'd like you to mouse-click and select
the Column option, and when you do that,
| | 02:06 | I'd like you to locate the
Applications folder. Click on that.
| | 02:12 | And then I'd like you locate the Final
Cut Pro icon, which is this little red
| | 02:17 | Hollywood slate with the
words Final Cut Pro to the right.
| | 02:20 | You can simply double-click on this
icon and that will launch Final Cut Pro.
| | 02:25 | The other way to launch Final
Cut Pro is to locate your Dock.
| | 02:28 | Now your Dock is sitting here on the Desktop.
| | 02:31 | Mine happens to be at the bottom.
| | 02:32 | So if I navigate my cursor down to the
bottom, the Dock will appear and at the
| | 02:37 | very bottom there, you will see the
exact same icon, the Final Cut Pro icon.
| | 02:41 | In fact, mine has a black pyramid
underneath, indicating that it's already open.
| | 02:46 | If it's not open, then you can also
click on this and that will also open Final
| | 02:50 | Cut Pro, and there it is.
| | 02:52 | Now Final Cut Pro is actually a very
simple program with very powerful features.
| | 02:59 | And what I mean by that is the
simplicity of the design is very welcoming,
| | 03:04 | and when you first see that you may think, oh,
this isn't that powerful, but it really is.
| | 03:09 | Underneath the hood it has a lot of
power that will enable you to do just about
| | 03:12 | anything, as you will see
throughout the lessons on this disc.
| | 03:16 | Well, the first thing I'd like to do is
introduce these four different windows
| | 03:20 | to you, and as you can see, they all
have slightly different items within them,
| | 03:25 | and I'd like to talk to you
first about the Browser window.
| | 03:29 | The Browser window is the window
that contains all of your projects.
| | 03:33 | I happened to have an untitled
project here with a blank timeline sequence
| | 03:39 | icon. More on that later.
| | 03:41 | But when this project is full, beneath
this you'll see clips--video clips, audio
| | 03:47 | clips, graphics, maybe multiple
timelines. They'll all line up straight down
| | 03:53 | from top to bottom in this column.
| | 03:56 | Now behind this Project tab is the Effects tab.
| | 03:59 | If I click on that then you will
notice that I have Video Transitions folder,
| | 04:05 | Video Filters folder, Video Generators,
Audio Transitions, and Audio Filters. In fact,
| | 04:11 | if I navigate to the triangle to the
left and I click on this to make it point
| | 04:15 | down, it reveals all the
different categories of transitions.
| | 04:18 | All these dissolves, if I click on
this, that will reveal all of the different
| | 04:22 | dissolves that we have available to us.
| | 04:24 | I would recommend, when you get a
chance, you might want to shop through these
| | 04:28 | transitions and shop through these
filters, and what I mean by shop is, after
| | 04:32 | you get an idea of how these work, you
can actually get a good feel for what you
| | 04:36 | think you may want to use in a project,
because you already know what's there,
| | 04:40 | because you've taken the
time to go through these.
| | 04:42 | I hope that makes sense to you.
| | 04:43 | So I am going to click on the Untitled
Project tab to bring that forward and I
| | 04:48 | am going to zoom back out and
put the Browser window back.
| | 04:52 | Now every time you click on one of
these windows, you may notice that the
| | 04:55 | top part illuminates.
| | 04:57 | That simply means that
you've turned that window on.
| | 04:59 | You've activated that window.
| | 05:01 | For instance, now that I'm not in
the Browser anymore, notice how the top
| | 05:04 | portion and even the word
Browser is a darker gray.
| | 05:08 | That means it that is basically
turned off and that the viewer is now on.
| | 05:12 | And you can see that the word "Viewer"
with the word "Slug," which I'll tell you
| | 05:17 | what that is in just a little bit,
appears here at the top, indicating that it is
| | 05:21 | now activated, and I can begin to work
within the Viewer, and that's how Final
| | 05:25 | Cut Pro really works.
| | 05:27 | When you click on a window, it
activates it and you begin to work.
| | 05:30 | Okay, so as we go through the training,
you will get a little more familiar with
| | 05:33 | how that works as well.
| | 05:35 | So the Viewer window really is what
I like to call our preview window.
| | 05:40 | In other words, we would simply take
a video clip from the Browser, drag it
| | 05:44 | into the Viewer, or we would double-
click on a clip in the Browser and it would
| | 05:49 | open up in the Viewer, and once that
clip opens up in the Viewer, we can work on
| | 05:54 | the video, as indicated with this tab
here, or we could click on the Audio tab
| | 05:59 | and work on the audio.
| | 06:00 | We can add a filter.
| | 06:02 | If we click on the Filters tab, we can
manipulate that filter. And we have motion control.
| | 06:07 | We can rotate the clip. We can scale
the clip. We can crop it or distort it.
| | 06:12 | There are all kinds of options within
these four tabs, and sometimes additional
| | 06:16 | tabs will appear based on what you're
doing or what you've added to that clip,
| | 06:20 | but most of the time
you'll see these four tabs here.
| | 06:24 | Well, back in the Video tab, if you
click on that, you'll notice that there
| | 06:28 | are timecode windows.
| | 06:29 | There are two of them here.
| | 06:31 | We will be definitely talking about
how this Timecode windows work, not only
| | 06:35 | here in the Viewer, but in the Canvas
window, and then of course across the
| | 06:39 | top here there are additional View
buttons that allow us to view certain
| | 06:43 | things within the Viewer.
| | 06:46 | Down below, of course this large black
area is the actual preview area where the
| | 06:51 | video will be playing. And we have
VCR-type controls down here at the bottom
| | 06:57 | that allow us to shuttle through the
video, quite effortlessly actually.
| | 07:02 | Then there are other buttons down here
on the bottom part of the Viewer that
| | 07:06 | allow us to add or do
certain things to the clip
| | 07:10 | that is sitting in the Viewer.
| | 07:11 | We will definitely be talking about
those as well, and then there are few more
| | 07:14 | over here on the right.
| | 07:16 | Well, as we move our way across to the
right to the next window, I'll click on it.
| | 07:19 | This is our Canvas window.
| | 07:21 | Our Canvas window actually will
show us what is down on the Timeline.
| | 07:27 | Basically, I like to call the Canvas
window the Program Monitor or the Client Monitor.
| | 07:34 | Basically, whatever you see here is
really what would be out on to tape or what
| | 07:39 | would eventually be going out to DVD.
| | 07:42 | So basically, the Viewer window is your
preview window that shows you what the
| | 07:47 | clip may look like before you edit
that and bring it down it to the Timeline,
| | 07:50 | and the Canvas window shows us what
the finished clip or clips will look like
| | 07:55 | once you've assembled your movie down
on the Timeline. It shows you this over
| | 07:58 | here in the Canvas window.
| | 08:00 | Now you may already notice that
there are similarities between the Viewer
| | 08:03 | and the Canvas window.
| | 08:04 | In fact, both of these
windows are almost identical,
| | 08:07 | with the exception of the Canvas
window shows you the final output of
| | 08:12 | whatever is on the Timeline.
| | 08:14 | We still have the same three buttons
here, the same timecode windows, the
| | 08:17 | same shuttle buttons.
| | 08:19 | There are a few different buttons over
here on the bottom left-hand side that
| | 08:23 | will allow us to automate editing down
to the Timeline, and we will definitely
| | 08:28 | be talking about these a little later on.
| | 08:30 | You may notice that we have these
green outer boxes here within the Canvas
| | 08:36 | window, and actually the Viewer
will also allow us to show that.
| | 08:40 | But I just wanted to have this one on,
because we really need to understand how
| | 08:44 | this works. And briefly, I just want to
explain that this inner box indicates
| | 08:50 | action-safe for video, meaning
anything on the outside of this box where my
| | 08:55 | cursor is now may not be seen on
some older-fashioned tube monitors.
| | 09:03 | And we'll talk about that as we go
through our editing process in a later lesson.
| | 09:07 | This inner box is our title-safe,
meaning any title that is within, in other
| | 09:12 | words, beyond this box in the region
where my cursor is now, if I were to place a
| | 09:17 | title in this region, it may not be
seen on some older-fashioned tube monitors.
| | 09:21 | And again, more on that as
we go through our editing.
| | 09:24 | Well, let's move down to the Timeline.
| | 09:26 | I am going to click on the Timeline to
activate it and of course it illuminates
| | 09:30 | just like that. And our
Timeline is actually quite simple.
| | 09:34 | It basically has three sections
that I want to bring to your attention.
| | 09:39 | It has the video section,
which is where my cursor is now.
| | 09:42 | All the video above this center divider
would reside in tracks, straight up, the
| | 09:50 | top layer taking precedence
over any layer beneath it.
| | 09:53 | In other words, if I had two video
clips sitting here, the top layer would hide
| | 09:58 | the bottom layer, or the bottom layer,
and you'll see that a little later on.
| | 10:03 | Beneath this center divider is where
all the audio goes. And I can have as many
| | 10:07 | as 99 tracks of audio, by the way, and I
can have as many as 99 tracks of video.
| | 10:12 | So I can actually build quite a
powerful little layered Timeline if I want to.
| | 10:19 | I don't believe you'd probably ever go
above maybe 20 or 30, but if you ever do,
| | 10:25 | that's going to be quite a project.
| | 10:27 | The third portion that I want to talk to you
about, the Timeline, is over here on the left.
| | 10:31 | In fact, I'd like to zoom into that to
show you that these buttons indicate not
| | 10:36 | only the layers for audio and
video, but these buttons here,
| | 10:40 | if I mouse-click and drag, also
designate destinations of the video and audio
| | 10:46 | that are sitting in the Viewer.
| | 10:47 | For instance, if I had a video clip
and an audio clip sitting up here in the
| | 10:52 | Viewer window, I would have one button
here representing the video sitting in
| | 10:58 | the Viewer called the Source, and I
would have--if there was audio with that
| | 11:04 | video in the Viewer--I would have
these buttons indicating the audio sitting
| | 11:09 | in the Viewer that I would
eventually bring down to the Timeline. And they
| | 11:13 | could go at any track that I'd want
them to by simply mouse-clicking and
| | 11:17 | dragging these up and down.
| | 11:19 | More on that a little later on, and I
think you'll understand once we get to
| | 11:21 | that, especially if you practice how these work.
| | 11:24 | And you'll see a few other buttons
here, like a lock button or an Audible/Mute
| | 11:31 | button or a Viewable/Visible On or Off
button, which basically turns the tracks off.
| | 11:38 | We will come back to all
these a little later on.
| | 11:40 | In fact, all of these buttons down in
here we'll talk about a little later on.
| | 11:44 | One last thing that I do want to
bring to your attention are these other
| | 11:47 | items over here, which is our
toolbar and our Audio Meter bar.
| | 11:53 | Both of these are actually quite important.
| | 11:55 | As a matter fact, we will be
spending a lot of time using buttons in this
| | 11:59 | toolbar. And we will also pay
attention to our audio levels in this bar that
| | 12:04 | indicate how loud the audible
portion of our movie is, and we want to pay
| | 12:10 | attention to how those
levels go throughout our editing.
| | 12:13 | So other than that,
| | 12:14 | that is the introduction to the Final
Cut Pro interface, and let's continue
| | 12:18 | on to the next lesson.
| | Collapse this transcript |
| Creating a new project| 00:01 | Okay, so the first thing you're going to
want to do is create a new project from
| | 00:05 | scratch before you begin editing, and
I'd like to show you how to do that now.
| | 00:08 | So launch Final Cut Pro if
you haven't already done that.
| | 00:11 | If you have, one of two things
are probably going to happen.
| | 00:13 | You're either A, going to open up an
untitled project, like I did, or you're
| | 00:17 | going to open up another project that
someone else created or that one you were
| | 00:21 | working in prior to this training.
| | 00:23 | In either case we have to close that
project, just to get it out of the way.
| | 00:28 | So I'd like you to navigate up to the
Project tab here in the Browser, push the
| | 00:33 | Ctrl key down, and then mouse-click on
either the untitled or the titled project
| | 00:39 | and select Close Tab.
| | 00:41 | And I'd like you to close any project
that's open so that you see just the
| | 00:45 | Browser and you see just the Viewer.
| | 00:47 | Now, Final Cut Pro has not been closed,
but the project or all projects have
| | 00:52 | been when you see just these two windows.
| | 00:55 | And if you inadvertently select the
desktop over here by clicking on it, the
| | 00:59 | Final Cut Pro title and the menu will disappear.
| | 01:02 | That's not a problem. Simply click on
one of these two windows to bring it back.
| | 01:06 | Now once you've done this, let's go to
the easy setup function that's located
| | 01:11 | under the Final Cut Pro menu.
| | 01:13 | So navigate to the upper left-hand corner of
your screen, mouse-click, and select Easy Setup.
| | 01:19 | When you do that, the Easy Setup
window will appear, and I'd like you to
| | 01:22 | mouse-click on this white
button here and select DV-NTSC.
| | 01:25 | What I am about to tell you would
also apply to HDV, which is down in here.
| | 01:30 | So select DV-NTSC and then mouse-click
on the Setup button, and when we do that
| | 01:36 | we'll get a window if you do not
have a DV device turned on and have it
| | 01:40 | connected to Final Cut Pro.
This window is normal.
| | 01:43 | And actually this message window says
that Final Cut Pro is unable to locate a
| | 01:49 | FireWire device through the
FireWire port on your computer.
| | 01:53 | This is not a problem at all; in fact,
we'll talk about this when we get to the
| | 01:56 | Log and Capture portion of our training.
| | 01:59 | But in this case it's okay, so you
simply click on the Continue button.
| | 02:02 | If you do have a DV device and it's
not turned on, you can turn it on if you
| | 02:07 | want, and then when you hit
Continue this message window will go away.
| | 02:11 | Either way, I would like you or I would
like you to close this Continue or click
| | 02:15 | on the Continue button to close this window.
| | 02:17 | Okay, so that goes away, great!
| | 02:19 | Now we still haven't created a new project.
| | 02:21 | We simply set our next project up to
be set up in DV; in other words we went
| | 02:28 | to the Easy Setup and now when we create a
new project everything will be set up for DV.
| | 02:32 | So navigate up to the Word file in the
upper left-hand side and select New Project.
| | 02:37 | And just like that, this entire project is
all set up for DV. Pretty easy, isn't it?
| | 02:43 | Well, let's save our project now:
navigate up to the Word file in the upper
| | 02:47 | left-hand side, mouse-click,
and select Save Project As.
| | 02:51 | I'd like you to click on the Desktop
option in the left-hand side, and then I
| | 02:55 | want you to create a new folder.
| | 02:56 | In other words do you see
our Training Media folder?
| | 02:58 | This is already on the Desktop.
Do not click on that. Simply click on the
| | 03:02 | Desktop icon, then select New Folder
down below, and let's give this folder a
| | 03:08 | name. Let's call it Project 1.
| | 03:12 | And then mouse-click on the Create
button and an additional folder will be
| | 03:15 | created on the desktop.
| | 03:17 | Then I'll need you to mouse-click in
the Save As window and leave the .fcp
| | 03:22 | option there and type in Project 1.
| | 03:24 | Now you can name your future projects
anything you'd like, but for the training
| | 03:29 | I'd like you to keep the name of the
project the same as the name of the folder
| | 03:32 | that the project is going to go into,
| | 03:35 | so when we hit the Save button our
project will then go into this folder.
| | 03:39 | So we'll click on the Save button.
| | 03:41 | And now if you look in the upper left-
hand side of your interface, the project
| | 03:46 | name, which we called it Project 1,
will appear in this tab. Very good.
| | 03:50 | Let's check one thing before we continue.
| | 03:52 | Let's hide Final Cut.
| | 03:54 | Push the Apple key and the letter H,
so Apple+H. Final Cut Pro hides.
| | 04:01 | Then navigate over to the Project
folder that you created. Double-click on it.
| | 04:05 | And when you do that you'll see the
project icon. That is a project icon.
| | 04:11 | That means that a Final Cut Pro project,
even though it's blank, is sitting in
| | 04:15 | this folder on the Desktop. Great!
| | 04:19 | So far so good.
Let's close this out and go back into Final Cut.
| | 04:22 | You can navigate down to the Dock,
locate the Final Cut Pro icon, and click once
| | 04:28 | and then it reopens.
| | 04:30 | So, we've created the project in the
folder on the desktop. Okay, so we're about
| | 04:35 | half way to creating a new project correctly.
| | 04:38 | I mean technically we've created one at this
point, but I need you to do one more thing.
| | 04:42 | You need to click on the Browser,
navigate back up to the word Final Cut Pro, and
| | 04:46 | select System Settings.
| | 04:51 | And we are going to set what we
call our scratch disk location.
| | 04:54 | In other words we're going to set a
location, that every time we capture
| | 04:59 | footage, the footage goes to that
location, or every time we render in Final Cut
| | 05:03 | the rendered information goes to that location.
| | 05:06 | I'll explain rendering
when we get to that point.
| | 05:08 | But we need to set that at this point,
or at this stage of creating a new project.
| | 05:13 | So navigate to the OK button in the
bottom-right--I am sorry. Actually, don't
| | 05:17 | hit the OK button. Navigate to the Set
button, all right, to set that scratch
| | 05:21 | disk location, and I'd like you to
select the desktop because we're going to
| | 05:26 | select our Project folder. Yes, we are
going to set our Project folder as the
| | 05:31 | scratch disk location.
| | 05:32 | So I'll select the--after I'd mouse-
click on that Project folder, I'll select
| | 05:37 | the Choose button in the bottom right-
hand side and then I'll mouse-click on the
| | 05:40 | OK button, here in the System Settings window.
| | 05:44 | Now, it doesn't look like anything has
happened, but I want to show you something.
| | 05:47 | Let's hide Final Cut Pro one more time:
push the Apple key and the letter H,
| | 05:51 | Final Cut Pro hides.
| | 05:53 | Let's navigate to our
Project folder. There it is.
| | 05:55 | I am going to double-click on
this, and now, look what we have.
| | 05:57 | Not only do we have our Project icon here, but
we have a few other folders that were created.
| | 06:03 | We have an Audio Render folder, a
Capture Scratch folder, and a general Render
| | 06:09 | folder, which is where the
video render files will go.
| | 06:11 | But basically all this
information now exists in this folder.
| | 06:16 | The entire project at this point is
contained, is self-contained in that Project
| | 06:21 | folder, which is a nice thing because
if I ever want to move it, I will just
| | 06:26 | simply mouse-click and drag it to a hard drive.
| | 06:28 | If I ever want to have access to any of
the render files, I simply double-click
| | 06:31 | on it and I can look at the render
files or the captured files. So there is a
| | 06:35 | lot of good features when you create a
new project the way I just showed you,
| | 06:40 | as long as you do the following: every
time you open a project, whether it's
| | 06:48 | new or old, you make sure your scratch disk
location is set to the proper Project folder.
| | 06:55 | And this is because nowadays most
of you have external FireWire drives.
| | 07:00 | A lot of us are no longer saving
our projects inside the computer.
| | 07:06 | So if you have a project and you want
to drag this to an external drive, you
| | 07:10 | can; it's that simple.
| | 07:11 | Once it's on that drive, you can
shelf that drive to archive the project.
| | 07:16 | A lot of people are doing this
now, and that's the way you do it.
| | 07:19 | So when we work with graphics and music--
and I'll talk to you more about this later on--
| | 07:24 | if we pop a CD in our computer, we have
to drag the music to the Project folder
| | 07:29 | first, from the CD, and then we import
it into our Final Cut Pro project. And
| | 07:34 | that would also apply to any graphics
or anything that someone gives you to
| | 07:40 | bring into your project, and we'll
talk more about that when we get to that
| | 07:44 | lesson on how to work with
importing files into our project, okay?
| | 07:48 | So, let's go back to our Dock down below,
mouse-click on the Final Cut Pro icon,
| | 07:54 | and now we have successfully created a
project and we have successfully saved it
| | 07:59 | in a great spot for this training.
| | 08:02 | And you can apply that to any new
project that you want to work on in the future.
| | 08:06 | But I would suggest you continue with
these lessons to understand the other few
| | 08:10 | items that are important when you
create a project in a folder like that.
| | 08:14 | Okay, so we've created our project.
We've given our project a name.
| | 08:17 | It's set up for DV. We're ready to go.
| | 08:19 | There is one more thing:
| | 08:21 | we have to set our preferences.
| | 08:23 | And there's a few things as far as
Preferences are concerned and that is,
| | 08:26 | preferences are basically the way
you want Final Cut Pro to have certain
| | 08:30 | things done for you.
| | 08:32 | And I believe part of preferences can be
how you want these windows arranged, or
| | 08:38 | how you want them sized.
| | 08:39 | Look, I can resize this Browser
window by clicking on the bottom right-hand
| | 08:43 | side of the browser.
| | 08:44 | There is a little grid.
| | 08:46 | See that grid right there?
| | 08:47 | I am going to mouse-click
and I am going to drag it out.
| | 08:50 | And I can increase the size if I
want, and I'll reveal more columns.
| | 08:56 | I'll talk more about these in other
lesson, but you can resize these--some of
| | 09:01 | these windows to do that, or at
least the Browser window you can.
| | 09:05 | And you can rearrange these as well;
| | 09:07 | you can mix things around if you want.
| | 09:09 | You can also mouse-click in between a
few windows: mouse-click and drag, and you
| | 09:14 | can dynamically resize
multiple windows if you want.
| | 09:19 | So that's kind of a nice thing as well.
| | 09:21 | Regardless of what you do, if
everything is in a particular mess--for instance
| | 09:26 | the Timeline might be here, or maybe
the Browser window is extended out and
| | 09:31 | you've been working--to get everything
to snap back to its default location
| | 09:36 | that is the default setup for Final Cut Pro,
| | 09:40 | as far as the interface is concerned,
push the Ctrl button and the letter U
| | 09:43 | and watch what happens. Boom!
All the windows snap back.
| | 09:47 | So that's a nice little feature:
Ctrl+U, all the windows snap back.
| | 09:50 | So try to remember that one.
| | 09:53 | Okay, so, we have our interface
semi set up to the way we like, which I would
| | 09:58 | still consider under the Preference umbrella.
| | 10:00 | But the true preferences are under the
Final Cut Pro option up here at the top
| | 10:05 | menu. Mouse-click on that and
select User Preferences, and the User
| | 10:11 | Preferences window will open.
| | 10:14 | Now there are several tabs here, as
you can see, the General, Editing,
| | 10:17 | Labels, Timeline Options.
| | 10:19 | There is a lot of them, and there's
a lot of options in every single tab.
| | 10:22 | Well, I don't want to talk about every
single one of them, because by default
| | 10:26 | most of them, if not all of them, are
already set up to, I would say make 90%
| | 10:32 | of all editors happy.
| | 10:33 | But I want to talk to you about a few
things that you can change to help make
| | 10:38 | the Preferences better for what you're doing.
| | 10:40 | So let's talk about a few
of the more important ones.
| | 10:42 | First of all, Levels of Undo.
| | 10:45 | When you're new you may
want to set this at 20 or 15
| | 10:50 | because when this number is higher you
can undo maybe some mistakes that you
| | 10:56 | made to get back to where you
were before you made the mistake.
| | 11:00 | So you can change this to
really any number you want.
| | 11:02 | But the higher the number that is, the
more system resources are tapped into.
| | 11:06 | So I probably wouldn't go more than 20.
| | 11:09 | Let's move down to Real-time Audio Mixing.
| | 11:12 | This basically means I'll have the
ability to mix eight tracks of audio in real time.
| | 11:17 | And this is really based on the CPU that
will give you that type of performance,
| | 11:21 | because if I change this number--which,
by the way, I believe 8 is the default
| | 11:26 | amount of audio levels that
I can mix at the same time--
| | 11:29 | you can also mouse-click on this and
select different options here and it
| | 11:33 | defaults to Lower or Low.
| | 11:36 | And this doesn't mean the
final output will be low;
| | 11:38 | it just gives you a slightly lower
audible file to listen to all eight tracks based
| | 11:44 | on the CPU strength.
| | 11:45 | So, you could probably leave this here at
Low and leave that at 8 and you'll be fine.
| | 11:50 | Okay, down below, you want to make sure
that Save a copy every--I am going to
| | 11:56 | change mine from 90 may be to 10
minutes, or even 5 minutes, and make sure
| | 12:00 | Autosave Vault is checked.
| | 12:03 | And when that's checked, every time, or
every with whatever increment you have
| | 12:08 | typed in here--and in my case it's 10
minutes--every 10 minutes Final Cut Pro
| | 12:12 | will save itself and it'll do it for 40
copies per project, with a maximum of 25 projects.
| | 12:18 | So there is an awful lot
of saving going on here.
| | 12:21 | And I would say maybe even consider
changing this to 5 and Final Cut Pro will
| | 12:25 | automatically save itself every 5
minutes. So, that's a good thing.
| | 12:30 | Okay, let's navigate over here to
this item here, Abort capture on dropped
| | 12:34 | frames. Some of you would want that
checked so that when you're capturing
| | 12:39 | footage Final Cut Pro will stop
capturing and let you know, hey, we're dropping
| | 12:43 | frames, fix the problem. That could
mean a hard drive problem or something
| | 12:46 | else, so you do want to be aware
of that, so leave that checked.
| | 12:50 | And then this is an interesting feature.
| | 12:51 | On a timecode break, while capturing,
what would you like Final Cut Pro to do?
| | 12:58 | Would you like Final Cut Pro to make a
new clip, abort the capture, or continue
| | 13:02 | to capture and then just
simply tell you about it at the end?
| | 13:05 | Well, I'm not crazy about Abort Capture
because if there was a timecode break
| | 13:10 | on your tape, at the end of the tape,
then it'll abort a one-hour capture when
| | 13:16 | it gets to the end and when
it sees that timecode break.
| | 13:18 | So, it's probably better to know
about it either after the capture or
| | 13:23 | select Make New Clip.
| | 13:26 | Okay, and I actually like that one the
best, so I would say select that one and
| | 13:30 | then Final Cut Pro will simply separate
the timecode breaks into separate clips.
| | 13:35 | Auto Render I like to have turned off.
| | 13:39 | And I'll turn it on temporarily,
because when it's on it just begins to render
| | 13:43 | on its own based on what
I have selected down here.
| | 13:46 | And I don't believe in rendering
anything until I'm actually done with all of
| | 13:51 | the editing, because I make so many
changes. Why bother taking up CPU strength
| | 13:54 | rendering in the background and why
bother taking up the hard drive space when
| | 13:59 | I know I am going to be making changes
on probably at least half the editing
| | 14:03 | things that I am going to do?
| | 14:04 | So I'll uncheck it, and I'll
do the rendering on my own.
| | 14:08 | If you want to turned on, great!
| | 14:09 | You can leave it on and you can select.
| | 14:12 | You can change this increment to start
rendering after 10 minutes or 20 minutes.
| | 14:16 | You can render open sequences or a current
sequence or open sequences except the current.
| | 14:23 | These are all Timeline options:
| | 14:24 | Open Timeline, Render Open
Timelines, or Render Current Timelines.
| | 14:29 | I would probably say Render Current
Timeline would probably be the best if
| | 14:33 | you're going to keep this on.
| | 14:35 | And this is an interesting one,
rendering real-time segments.
| | 14:40 | I would say probably leave that checked,
because at some point if you do decide
| | 14:45 | to keep this on, you will want the
real-time options to be rendered, especially
| | 14:50 | if you are going to be going to DVD, okay?
| | 14:53 | So let's move on with the next item.
So I'd navigate over to the Editing
| | 14:56 | tab, click on that.
| | 14:58 | And this first option is a determination
of when you make a still image out of a
| | 15:04 | video clip or from a frame actually,
how long will that still image default to?
| | 15:08 | Well, it will default to 10 seconds,
| | 15:10 | if you leave it 10. Or when you import a
photo or a graphic file, it'll default
| | 15:16 | to the duration that's typed into this window.
| | 15:18 | So I say 10 is a pretty good option for that.
| | 15:23 | Everything else here by default is good.
| | 15:25 | Let's move on to Timeline
Options tab. Click on that.
| | 15:29 | And the Starting Timecode is one of
the main questions I get in my class,
| | 15:33 | because usually there is a 1 here.
| | 15:36 | In other words, the timecode on
my Timeline starts at 1 hour.
| | 15:39 | And if you're not familiar with
timecode, we'll talk about it real quick.
| | 15:42 | This first set of numbers,
the 01, represents hours; the second set
| | 15:49 | represents minutes; and the third set
represents seconds; and the fourth set represent frames.
| | 15:56 | And what this means is the Timeline
will start at 1 hour. And it gets to be a
| | 16:01 | little confusing when you're a new editor,
| | 16:03 | so I always tell my
students to change this 1 to a 0.
| | 16:06 | And that way the Timeline starts at zero
and everything you drop on the Timeline
| | 16:11 | will hopefully make a little more
sense when you're learning Final Cut.
| | 16:14 | I think at some point you may change
that back to 1 hour, once you fully
| | 16:17 | understand if that's
going to benefit you or not.
| | 16:20 | And I've got to tell you at this point, I
leave it at 0, still on projects that I'm
| | 16:26 | working on, and it's just I think out of habit,
because if I ever need to change it,
| | 16:30 | I can change it any point while I am
editing and I can put the one back there.
| | 16:34 | So for now leave it at zero, all zeros.
| | 16:37 | Leave Drop Frame checked,
| | 16:39 | you may not have shot your project in
drop frame, but it doesn't hurt to edit in,
| | 16:43 | or to leave this checked and have
the Timeline set for Drop Frame, okay?
| | 16:47 | Drop Frame is basically, you are not
dropping any frames and I don't have time
| | 16:50 | to explain what it really is, but
you're really not dropping a frame;
| | 16:54 | you're dropping a number.
| | 16:56 | And it's typically used--
| | 16:57 | of course it has to be used for broadcast.
| | 17:00 | And if it's on, it'll never hurt your
project whether you are going to broadcast or not.
| | 17:04 | So just to be safe, leave it
on and you should be good, okay?
| | 17:08 | The other item that I think is
important is the Default Number of Tracks every
| | 17:12 | time you want to create a new
Timeline or a project is created.
| | 17:19 | And it will default to whatever is
typed in here for Video and for Audio, and
| | 17:23 | I've changed mine to 2 tracks of Video
and 4 tracks of Audio, because that seems
| | 17:26 | to be a pretty good amount--well
at least 2 tracks of Video is what I'm
| | 17:31 | usually working in for just about any project.
| | 17:33 | You'll see later on when we come
back into the Timeline options, when we
| | 17:37 | are working in the Timeline, whether
or not you'll want this on and a few
| | 17:40 | other items down below.
| | 17:42 | But for now we're done with the
Preferences believe it or not, and let's
| | 17:44 | navigate down to the OK button down here
in the bottom right-hand side and click
| | 17:50 | on that, and we have set our
Preferences and we have created a new project and
| | 17:54 | we're ready to go on to the next lesson.
| | Collapse this transcript |
| Working with photos| 00:01 | You know, I get asked quite often about how
to work with photos in Final Cut Pro, so I've
| | 00:05 | always wanted to include that as a
lesson when I train my students.
| | 00:09 | And actually, working with photos is very
similar to working with video, so you'll actually
| | 00:13 | learn a lot of things here that
apply to both video and photos.
| | 00:17 | So the first thing we need to do is
get our photos into Final Cut Pro.
| | 00:21 | But we need to remember a couple of things.
| | 00:23 | Number one: how are you going to get your
photos into your computer when you decide
| | 00:27 | you want to work with your own photos?
And number two: remember, you have to take the
| | 00:31 | photos and bring them into your Project folder
first and then import them into your project
| | 00:37 | here in Final Cut Pro.
| | 00:39 | So let's take one at a time there.
| | 00:41 | First of all, you may have to scan your photos--
like a couple of old photos of your parents
| | 00:45 | or grandparents or relatives or friends--
you may have to scan those photos in in order
| | 00:50 | to get them into your computer, right?
Or you can take your digital camera and simply
| | 00:55 | take photos with that and then connect your
camera to the computer via the USB port, which
| | 01:01 | is a popular way to do it, and then of course you
just drag your photos in or use iPhoto to get those in.
| | 01:06 | The other way of course is to take the memory
card out of your camera and connect that memory
| | 01:12 | card to a memory card reader that's connected
to your computer and bring them in that way.
| | 01:16 | Well, whatever way you decide you want to
do, remember, you have to bring them first
| | 01:20 | into your Project folder, as I mentioned a moment
ago, and then import them here into Final Cut.
| | 01:25 | So let's hide Final Cut.
| | 01:27 | Push the Apple key and the letter H--that
hides Final Cut--and then navigate over to
| | 01:32 | the Training Media folder and double-click on
that to open it, and locate the Photos folder.
| | 01:40 | And what I am going to ask you to do is copy
this Photos folder and the contents, which
| | 01:47 | is seven photos, copy this
folder into your Project folder.
| | 01:51 | So hold the Option key down, mouse-click on
the Photos folder, and drag it. And see the
| | 01:56 | plus there? That means you're going
to copy it into that Project folder.
| | 02:01 | Oh, and we also need music, so I'll ask you to
copy the Music folder into your Project folder.
| | 02:07 | So hold the Option key down, mouse-click on the
Music folder, and drag that into the Project folder.
| | 02:12 | There we go; it just copied over.
| | 02:14 | So both are there.
| | 02:15 | If I double-click on the Project 1 folder,
there is our Photos and there's our Music. Perfect.
| | 02:20 | So let's close these windows out if you've
opened them, and if you've successfully copied
| | 02:24 | both of those folders into your
Project folder, then we can move on.
| | 02:28 | So I am going to go back down to the Dock here at
the bottom and open up Final Cut. There we go.
| | 02:34 | And if you made the Import folder shortcut
earlier, as we did in a previous lesson, you
| | 02:41 | can simply mouse-click on this and open up the
Choose a Folder option here, which is really nice.
| | 02:46 | It's a great shortcut.
| | 02:47 | Select your Project folder and
then import the Music and the Photos.
| | 02:53 | If you didn't do that--I am going to back
out of this--simply click on the browser,
| | 02:57 | navigate up to the word "File," then select
Import Folder, and bring those two folders in.
| | 03:04 | Let's bring in the Photos folder--and you can
only import one folder at a time, by the way.
| | 03:09 | So we'll import both of those.
| | 03:12 | We'll bring the Photos and the Music.
| | 03:14 | And as I mentioned a moment ago, working with
photos is really no different than working with video.
| | 03:18 | There are a couple of differences and a couple
of limitations that apply to both, but first
| | 03:24 | of all, I want you to take a look at
the contents of both of these folders.
| | 03:27 | We have our Photos folder, and I am going
to open that by clicking on the arrow to the
| | 03:30 | left, and then I am going to open
up the Music folder. Here we go.
| | 03:35 | And you can see that there are different
icons that represent the different types of media
| | 03:39 | that we're going to be working with.
| | 03:40 | For instance, look at this icon here.
This is basically a graphic icon that represents
| | 03:45 | a still image or a graphic file.
| | 03:47 | And look at the speaker icon.
Of course that represents an audio file.
| | 03:51 | If you double-click on Photo 001,
look how it appears of course over in the Viewer.
| | 03:56 | That's pretty handy.
| | 03:58 | And the same would apply if you
double-clicked on one of these songs.
| | 04:01 | For instance, let's
double-click on the Photo Music song.
| | 04:04 | It opens up over here in the viewer.
| | 04:06 | You can see the waveform there.
| | 04:08 | Well, let's get back to the photo first.
| | 04:09 | So working with photos in Final Cut Pro, as I
mentioned, is very similar to working with video.
| | 04:17 | And there are a couple of ways that you can
choose to work with photos. In other words,
| | 04:21 | simply you can mouse-click from the browser
and drag them directly down to the Timeline
| | 04:26 | and place it on the Timeline.
| | 04:27 | That of course shows up
over in the Canvas window.
| | 04:29 | And notice how the playhead
snaps to the end. That's normal.
| | 04:32 | Anytime you bring anything down to the Timeline,
the playhead will snap to the end of that item.
| | 04:39 | Let's bring another photo down, mouse-click
on Photo 002, mouse-click
| | 04:42 | and simply drag down to the Timeline.
| | 04:46 | Notice how my cursor is pointing
down. My arrow is pointing down.
| | 04:50 | That will make more sense later, but that's an
overwrite edit when the arrow points down like that.
| | 04:55 | And that means--well, that means a couple
of different things, but I'll talk about that
| | 04:59 | in a later lesson.
| | 05:01 | But what I want you to do is pay attention to
what direction that arrow is pointing down.
| | 05:05 | If my cursor is slightly higher,
look how it points to the right.
| | 05:10 | And that's because there's a
center divider on that track.
| | 05:13 | You can barely see it, but it's there.
| | 05:15 | If my cursor is above that divider, the arrow
points right; of my cursor is down, my arrow points down.
| | 05:22 | When the arrow points down,
that indicates an overwrite edit.
| | 05:24 | When the arrow points right,
that indicates an insert edit.
| | 05:28 | And I just wanted you to start paying
attention to that early on here, because that's going
| | 05:32 | to make a big difference in your editing,
through this lesson or all lessons and beyond,
| | 05:38 | so just start to pay attention to that.
| | 05:39 | Anyway, so I am going to drag this photo down
and I am going to make sure my arrow is pointing
| | 05:43 | down, just to get in the habit of
recognizing that this is an overwrite edit.
| | 05:47 | And basically, I am going to bump this clip,
this photo clip, right up against the last photo.
| | 05:52 | There we go.
Notice the playhead snapped to the end.
| | 05:55 | So we have a couple of photos on the Timeline:
we have the first photo and the second photo.
| | 05:59 | And a couple of quick things.
| | 06:00 | Number one, of course you can see that there's
little thumbnail image that shows you a visual
| | 06:08 | representation of what that photo is.
| | 06:10 | Now, if this was video, if these were two
video clips, this thumbnail image would represent
| | 06:15 | the first frame of that video. And then there's
the description here of this item on the Timeline.
| | 06:23 | If you don't have the
thumbnail image, don't panic.
| | 06:27 | I can show you how to get it.
| | 06:28 | It's actually quite easy.
| | 06:30 | Make sure your Timeline is activated,
navigate up to the Sequence option here at the top
| | 06:35 | menu, mouse-click, and select Settings.
| | 06:39 | And then you want to navigate down to the
Timeline Options tab. Click on that. Oops. There we go.
| | 06:45 | And make sure that the Thumbnail Display and Name
Plus Thumbnail is selected here in this option here.
| | 06:53 | Mouse-click on that and you'll see that
there's just the Name only or Filmstrip.
| | 06:56 | I would recommend Name Plus Thumbnail.
| | 06:58 | And that would reveal that thumbnail image down
here in these photos, and for video as well.
| | 07:06 | So with that said, I'd like you to take your
playhead and drag it across the photos, and
| | 07:10 | notice of course nothing is
moving over here in the Canvas window.
| | 07:13 | That's quite normal,
because it's a still image.
| | 07:15 | But as soon as my playhead goes over the
other photo, then of course the photo is revealed
| | 07:20 | in the Canvas window. Now, I want you
to get used to that idea as well.
| | 07:24 | In other words, wherever this playhead is,
it will show me what the content is up here
| | 07:30 | in the Canvas window.
| | 07:31 | What if my playhead was over here? I'll click in the
Timecode area to make my playhead snap to the cursor.
| | 07:38 | Take a look at this. I'll mouse-click.
| | 07:39 | Now, of course because there's nothing there,
right here, it's going to show me a blank Canvas window.
| | 07:45 | So I need you to get in the habit of, when
you want to see something while you're working
| | 07:49 | on it, park your playhead over it.
| | 07:52 | In other words, place your playhead right
on that clip, whether it's a still image or
| | 07:56 | a video, or even audio for that matter.
So try to get in the habit of doing that.
| | 08:00 | Now, if you mouse-click on the top part of the
playhead, notice how I can move the playhead
| | 08:05 | from left to right.
| | 08:06 | That's actually called scrubbing.
| | 08:08 | And I am scrubbing the Timeline right now.
| | 08:11 | If I click down in this area, I don't
get any kind of control over the playhead.
| | 08:17 | So I'll need you to get in the habit of
either clicking on the playhead itself and moving
| | 08:21 | it around or clicking in the Timecode area.
| | 08:26 | And notice how the playhead navigates quickly
through the Timecode area or through the Timeline.
| | 08:31 | So I'll need you to get in the habit of
doing that when you want to scoot things around
| | 08:35 | or when you want to
navigate through the Timeline.
| | 08:37 | All right! So we have a couple of photos here.
| | 08:40 | Working with photos is actually--it's quite
interesting, because you have a still image
| | 08:46 | here and a lot of times I'll hear people say
"well, how do I zoom into the photo and how
| | 08:49 | do I pan the photo?" Well, I want to show you
a couple of quick basics on how to do that.
| | 08:55 | First of all, you have to understand two
things: How long is the photo and how long do you
| | 09:00 | want the pan or the zoom to be within that
length of the photo? So keep in mind, you
| | 09:06 | can only keep a photo up on the screen for so
long before your audience is getting bored,
| | 09:10 | especially if it's maybe
one person or one item.
| | 09:14 | And I believe that's probably eight seconds max
on the screen, and that's maximum, especially
| | 09:19 | if the music is pumping and it's getting the
audience going. So maybe even six seconds is
| | 09:24 | probably a better number.
| | 09:25 | But anyway, you can decide
after you take a look at that.
| | 09:28 | But the first thing you have to do
is determine how long the photo is.
| | 09:31 | And if you were looking at a previous lesson,
I mentioned that when you import a still image,
| | 09:37 | the default ten seconds in length.
| | 09:39 | Now, if you don't know what the length is
anyway, and you don't know what the default
| | 09:43 | is, hold the Ctrl key down, click on the
photo, and you'll see here in the fourth item down
| | 09:49 | from the top of this menu that it's ten seconds.
| | 09:52 | Let's try that again. I'll Ctrl+Click on this photo over here,
Ctrl+mouse-click Duration, there it is.
| | 09:59 | So we know the Duration. It's ten seconds.
| | 10:01 | We know that because it says it in our
Preferences when we did our Preferences setup earlier.
| | 10:06 | And that's not a bad thing for it to be 10
seconds, but I would like them to be a little
| | 10:10 | bit shorter than that,
because of that rule I just mentioned.
| | 10:14 | So how do you change the duration of one of
these photos? Well, there are two ways that
| | 10:17 | I want to show you how to do it:
the easy way and the hard way.
| | 10:18 | Here is the easy way.
| | 10:20 | Ctrl+Click on the photo and select
Duration, and notice we get a Duration window.
| | 10:26 | Simply type in the Duration you want.
| | 10:28 | Let's type in 6 seconds. So type in 600.
| | 10:31 | You don't have to do 6.
| | 10:32 | 00; you don't have to do 6:0:0; just type
in 600. Final Cut already knows that that's
| | 10:38 | going to be six seconds.
| | 10:39 | When you hit the OK key, or the OK button
actually, look how it shortened, the photo clip down
| | 10:45 | in the Timeline, down to six seconds.
| | 10:47 | So there's the difference in visual
length duration: 6 seconds, 10 seconds.
| | 10:52 | Let's do that to this photo as well: Ctrl+Click,
select the Duration option and type in 600. Enter, Enter.
| | 10:59 | You have to Enter twice.
| | 11:03 | So that's one way to change the duration.
| | 11:04 | The other way is actually
just taking one of these photos.
| | 11:07 | I am going to mouse-click on the
center and move it over just a little bit.
| | 11:12 | And I am going to take one of the edges.
For instance, this is called the head of the clip
| | 11:16 | and this is the tail of the clip.
| | 11:18 | Sometimes people will call it the edge.
| | 11:20 | It's really called the head and the tail.
| | 11:22 | I am going to mouse-click on the head.
| | 11:24 | Notice how my cursor
changes to a double-flat arrow.
| | 11:26 | If I mouse-click and drag to the left,
I've just extended it, and the yellow box tells
| | 11:31 | me the New Duration: New Duration
7.27, New Duration 9.02.
| | 11:37 | So if I let it go, that is now
9 seconds, 2 frames in length.
| | 11:41 | I can do the same to the tail.
| | 11:43 | Look how I mouse-click on the edge, and my
cursor changes to a double-flat arrow. Mouse-click,
| | 11:49 | drag to the right. It's now 11.23.
Or I can drag to the left. 7 seconds, 6 frames.
| | 11:58 | So one of the differences between working
with a photo and working with video is this.
| | 12:02 | You can do the same to a video.
| | 12:04 | However, you will eventually mouse-click,
if you try to extend a video clip, you'll
| | 12:09 | eventually hit the maximum length of what
the video clip was originally captured at.
| | 12:16 | In other words, eventually you won't be able to
lengthen a video clip beyond a certain distance.
| | 12:22 | With photos, you can go for as
long as you'd like, actually.
| | 12:25 | I can make this a one-minute
photo or a two-minute photo.
| | 12:28 | But with video, if you only captured 10 seconds,
you can't turn that into a one-minute clip.
| | 12:36 | So keep that in mind.
| | 12:38 | More on that as we get to video.
| | 12:40 | So as far as photos are concerned, we have
two clips here. And I want them both to be
| | 12:44 | 6 seconds, so I am going to trim this by
clicking on the tail of the clip, mouse-click and drag,
| | 12:51 | and we're going to leave it at 6 seconds.
| | 12:53 | So now we have two clips, right? Well, I am
going to zoom back out, and I am going to simply
| | 12:57 | drop this right next to the previous clip.
And I want to show you, if you park your playhead
| | 13:03 | on the second clip--and, by the way, when a
clip is dark like this, or highlighted like
| | 13:08 | this, it simply means that it's selected.
| | 13:10 | It's a visual representation that says to
you, you've selected this clip; Final Cut
| | 13:15 | Pro thinks you want to work on this clip.
Great! Park your playhead on the second clip,
| | 13:19 | and I want you to take a look
at my Canvas window real quick.
| | 13:23 | My Canvas window, when my playhead is parked
on a clip, will show me this white X. See this
| | 13:29 | white X? That's called the wireframe.
| | 13:32 | You're only going to see that wireframe if the
Wireframe feature is turned on in the Canvas window.
| | 13:38 | So if it's not turned on, turn it on.
And I'll show you how to do that.
| | 13:41 | Navigate up to this View button right here on
the right-hand side and select Image+Wireframe.
| | 13:45 | Make sure it's selected.
| | 13:48 | If it's already selected, don't select it,
because if you select an already selected
| | 13:52 | item, like this, it will
unselect it. So don't do that.
| | 13:58 | The reason I wanted to bring that to your
attention is because, do you see these corners here?
| | 14:01 | There is a square white item on the left, the
right, the bottom-left, and the bottom-right.
| | 14:08 | Well, I can mouse-click on this, and
look how my cursor changes to a crosshair.
| | 14:13 | I can mouse-click and I can scale the photo down.
See that? I can mouse-click and make it larger.
| | 14:21 | That's what scale means.
Scaling it up or scaling it down.
| | 14:24 | Notice how the photo doesn't
quite fit in the Canvas window.
| | 14:27 | That means if I were to go to tape, these
black edges would be black on someone's TV,
| | 14:33 | because the photo doesn't fit.
| | 14:36 | So if you wanted to make it fit,
there are two ways. Let me show you.
| | 14:39 | You can mouse-click on the corner of one of
these clips, as long as the Wireframe feature
| | 14:43 | is turned on. Mouse-click and drag,
and keep dragging until it fits.
| | 14:48 | Now, the problem with that is you may lose
some of the photo; in fact, we are losing
| | 14:52 | about 5-8% of the photo beyond the edges.
| | 14:56 | Now, keep in mind this action-safe area is
representing the very edge of what your viewer
| | 15:02 | might see on a standard traditional TV,
which is fine. We need to see that.
| | 15:07 | But we did increase the size of this
photo, and now it fills the entire frame.
| | 15:12 | The other way to increase or decrease the
size of a photo is to simply double-click
| | 15:19 | on the photo but make sure your playhead is
parked on it, like mine is here. Double-click
| | 15:23 | on the photo and it shows up in the viewer,
and the viewer will also give us the opportunity
| | 15:28 | to work on a clip.
| | 15:30 | Simply navigate to the Motion tab in the viewer,
click on the Motion tab, and you'll see here
| | 15:35 | that there's a Scale option, a Rotation option,
a few other options here. And watch what happens
| | 15:41 | when I adjust the Scale, and by mouse-
clicking on the slider I drag it to the left.
| | 15:45 | Look how it shrinks down. See that? In fact,
I even get a percentage number over here on
| | 15:49 | the right that indicates
the new percentage size.
| | 15:52 | I can either mouse-click on this slider and
drag to the left or drag to the right, or
| | 15:58 | I can click on one of these triangles on the
right or on the left to incrementally scale
| | 16:02 | up or down, or I can click in this box and type
in the number that I want to scale that image to.
| | 16:08 | For instance, if I want it to go back to
100%, which is what it originally came in at,
| | 16:12 | I would simply type in 100, Enter, and it
increases the photo size back to its original size.
| | 16:19 | That's what happens when you type in 100%.
| | 16:22 | So, with that in mind, those are
two ways that you can scale a photo.
| | 16:26 | You can also rotate a photo by mouse-clicking
on this dial here and simply dragging to the
| | 16:31 | right or dragging to the left.
| | 16:33 | And a lot of times editors will do that to
a photo, just to make it interesting: put
| | 16:39 | it on an angle. And then they know of course
that if there are people standing in the photo,
| | 16:45 | that makes it kind of awkward, but still,
it's semi-interesting to do that to a photo.
| | 16:50 | So you can rotate or scale a photo here in
the Motion tab, and you can actually rotate
| | 16:55 | a photo over here.
| | 16:57 | Take a look at my cursor when
I park it close to the corner.
| | 17:00 | It should turn to a curved
arrow. See that? Take a look.
| | 17:05 | When you see that curved arrow like that,
you can mouse-click and drag and rotate the
| | 17:11 | photo in the Canvas window and look how
the Rotation is updated over in the viewer.
| | 17:16 | So now we know we can rotate and scale in both the
Canvas window and the Motion tab in the viewer.
| | 17:24 | So if you ever want to reset any of these
items--for instance if this was real small
| | 17:28 | and this was rotated like that--simply
navigate to the red X right here and click on that
| | 17:34 | and that resets it back to how it
originally came in to Final Cut Pro.
| | 17:39 | So with that said, let's add some more photos down at
the Timeline and even add a couple of transitions.
| | 17:45 | So I've made these photos small on purpose
so that you can see the edge of each photo
| | 17:50 | and understand that sometimes you have to
make photos smaller; sometimes you have to
| | 17:54 | make photos larger.
| | 17:55 | Well, if you keep in mind that there are really
two different types of photos--there is landscape
| | 18:01 | and there is portrait.
| | 18:03 | And I have a portrait photo in here, so I
want to bring that to your attention after
| | 18:06 | we drag these down and I'll
talk about that in just a moment.
| | 18:09 | So let's bring down photo number three
Photo 003, mouse-click and drag it down, and park
| | 18:13 | it right up against that last clip.
| | 18:16 | Photo number five Photo 005,
park that up against there.
| | 18:21 | And there is no photo number
four, by the way.
| | 18:26 | And we'll take photo number seven Photo 007.
| | 18:29 | I know earlier I said there were seven photos.
| | 18:30 | There is actually six.
| | 18:31 | We're missing the photo number four
Photo 004, which is not a big deal.
| | 18:33 | It's not a great photo anyway.
| | 18:35 | All right! So what I want to talk you about is,
if you park your playhead over these photos,
| | 18:42 | you'll see that of course they're all nice
photos. And I wanted you to take a look at
| | 18:47 | Photo 005 and look how
it's more of a portrait style. And you see
| | 18:51 | how it doesn't quite of course take up
the entire space of the Canvas window?
| | 18:56 | This is one of those photos that you
might want to consider scaling down.
| | 19:00 | So let's practice that.
| | 19:01 | You mouse-click on the Photo 005,
make sure your playhead is parked on
| | 19:06 | that photo, and then mouse-click on the
bottom corner, and look how I can scale it so that
| | 19:10 | now you can see the entire thing.
| | 19:12 | Do you see that? That's very nice.
| | 19:15 | And you can do that of course to any photo,
as long as you have Image+Wireframe turned
| | 19:20 | on or checked over here.
Don't forget to do that.
| | 19:23 | Just click on a photo, park your playhead on
it, and go to one of the corners and scale
| | 19:28 | the photo as you like.
| | 19:30 | I like to actually get the photos in the
title-safe area, all of the photos, and that way
| | 19:36 | we know that all the TVs out there
will see the photo from edge to edge.
| | 19:42 | And you can manually do that.
| | 19:44 | You click on the photo to select it, mouse-click
on one of the edges, and you bring them all in.
| | 19:48 | So let's do that to all these photos.
| | 19:50 | Mouse-click on each one, park the playhead
on it, and scale them down to fit right in
| | 19:54 | that title-safe region.
| | 19:57 | This is a good way to make sure that of course
every photo is displayed and seen properly on all TVs.
| | 20:03 | So now we have a few
photos down in the Timeline.
| | 20:06 | Let's make these four photos the
same length as these two photos.
| | 20:11 | And here is how you do it.
| | 20:13 | Remember how we Ctrl+Clicked on each of these to
make the duration shorter? Well, how about this?
| | 20:21 | Let's select these as a group and do that
feature once, and it affects all photos.
| | 20:26 | That's right. Take a look.
| | 20:27 | I am going to mouse-click and keep my finger
down on the mouse and draw or create a square
| | 20:33 | lasso; this is called the marquee actually.
| | 20:36 | And when I do this, as soon as I dip down into the
track with the photos, look how they get highlighted.
| | 20:40 | I'll do that again.
| | 20:42 | I'll mouse-click and drag right above the
first photo, and look how I drag slightly down
| | 20:47 | to the right to select a
group of items on the Timeline.
| | 20:52 | Let's do that. Select these four clips.
| | 20:55 | Once they've been selected, push the Ctrl
key down and mouse-click on one of the photos
| | 21:00 | and select Duration.
| | 21:03 | And then simply type in 6 seconds. 600, Enter,
Enter, and look how it adjusted those photos
| | 21:09 | as a group. Very nice! I could
have done that to 100 photos.
| | 21:13 | It would have done the same thing.
| | 21:14 | Great feature, to work with a bunch of
clips and make them the same duration. Okay.
| | 21:22 | So we have some--all the photos down
in the Timeline are the same length.
| | 21:26 | Then I'll need you to move these photos
over to the left or over to the right.
| | 21:32 | And the reason why I say move is I want you to
practice moving groups of items on the Timeline.
| | 21:37 | So there's two ways to do this.
| | 21:38 | You can navigate over to the toolbar, and
we are going to zoom in, and we are going to
| | 21:42 | select this tool here.
| | 21:45 | This is the Selection tool that selects anything to
the right that I click on in a particular track.
| | 21:52 | So you mouse-click on that tool, navigate
over to the first clip, and click, and look
| | 21:58 | how they all get selected.
| | 22:00 | Then you can mouse-click and
drag this over to the left.
| | 22:03 | There we go. We just closed that
gap at the beginning of the Timeline.
| | 22:06 | Now, to get rid of the tool, simply mouse-
click on the arrow or push the letter A, which is
| | 22:12 | the shortcut to get the arrow back.
| | 22:13 | And then let's put this
toolbar back. There we go.
| | 22:19 | So let's put some transitions in between all of these
photos so that they actually dissolve into each other.
| | 22:25 | And that's actually done
in a fairly easy manner.
| | 22:28 | I'd like you navigate up to the Effects tab
in the browser and click on the Effects tab
| | 22:32 | to bring it forward.
| | 22:33 | Then select the Video Transitions folder and
open it by clicking on the triangle to the left.
| | 22:39 | Do not double-click on the folder;
that will do something else.
| | 22:44 | Simply click on the triangle to the left of
the Video Transitions folder--and make sure
| | 22:48 | you're in the Video Transitions folder, not
the Video Filters--open this triangle or click
| | 22:53 | on this triangle so that it points down to
reveal the contents, and then open up the
| | 22:57 | Dissolve category by clicking
on the triangle to the left.
| | 23:00 | And I'd like you to locate the Cross Dissolve.
| | 23:04 | Park your cursor on the icon for just a moment.
And I'll explain what that underline means in a second.
| | 23:11 | But I want you to get in the habit, when you
drag a transition or a filter from the browser
| | 23:15 | down to the Timeline, I'd like you to get in
the habit of clicking on the icon, not the text.
| | 23:21 | And the reason why is because you could
accidentally double-click on the text and change the name
| | 23:27 | of this or delete the name by
accident, of anything in the browser.
| | 23:34 | So I'd like you to get in the habit of
clicking on the icon, whether it's a transition or
| | 23:38 | a filter or even a video clip or an audio clip,
mouse-click on that icon and drag it down,
| | 23:44 | and I'd like you to place it right between two
photos. And look how I get a highlighted area.
| | 23:50 | Then I let the mouse go,
and that places a transition.
| | 23:54 | Let's try that again.
| | 23:55 | I am going to navigate back
up to the Cross Dissolve.
| | 23:57 | I am going to zoom in, mouse-click
on the icon, and I'll drag it down.
| | 24:03 | And look what happens when I
place it in between two photos.
| | 24:06 | You see that? Now, I am going
to keep my finger on the mouse.
| | 24:11 | And look how I can left justify it or I can
center justify it or I can right justify it.
| | 24:17 | And this is all done by slightly moving
my mouse to the left or to the right.
| | 24:23 | So I'd like you to get in the habit of paying
attention to where you place your transition
| | 24:27 | between two clips and how it looks.
| | 24:30 | When you center-justify it, you'll see an
equal amount of highlighted area on the left
| | 24:34 | and on the right, where those two photos meet.
| | 24:38 | Let the mouse go and you've placed a
transition between those two photos.
| | 24:42 | After you've done it twice, I'd like you
to preview what this is going to look like.
| | 24:45 | Here is how you preview.
| | 24:47 | You mouse-click on your playhead in the Timeline
and you park it right before the first transition.
| | 24:53 | When you've done that, push the spacebar
and you'll play through the photo, and you'll
| | 24:57 | see it up in the Canvas window.
| | 25:01 | See that photo dissolve into the next photo.
Very nice! I'd like you to practice that for
| | 25:05 | a moment, and then I'd like you to place
more dissolves in between these other photos.
| | 25:11 | So I am going to do that now.
| | 25:13 | I am going to mouse-click on the transition.
| | 25:14 | I am going to drag it down in
between two photos. There we go.
| | 25:18 | I'll keep doing that.
| | 25:20 | It's actually quite easy.
| | 25:22 | There, now we have
transitions between every photo.
| | 25:29 | So after you've had a chance to do that,
let me show you how to change the transition,
| | 25:33 | or even delete the transition.
| | 25:35 | If you don't like that,
you can change it or delete it.
| | 25:37 | In other words, let's park our
playhead right on the first transition.
| | 25:41 | And when you park your playhead on the
transition, notice in the Canvas window you'll see both
| | 25:45 | images overlapping each other.
| | 25:47 | Well, mouse-click on the transition to select
it and push Delete to get rid of it, and then
| | 25:53 | of course it's gone.
| | 25:55 | Then you can take another type of transition.
| | 25:57 | It doesn't have to be a dissolve; in fact, let's
close the Dissolve and let's open up our wipes.
| | 26:03 | So mouse-click on the Wipe transition category, on
the triangle to reveal it, and let's mouse-click
| | 26:08 | on the Clock Wipe icon, mouse-click and drag that
down to the Timeline and place it between two clips.
| | 26:14 | Then you'll see that there is about a half a
wipe going on here over in the Canvas window,
| | 26:19 | Park your playhead before the transition, push
your spacebar, and play through the transition,
| | 26:25 | See that? So if you'd like to replace a
transition, not just delete the transition, you can simply
| | 26:33 | locate the transition that you want and place it
right on top of the old transition. Take a look.
| | 26:39 | So I am going to go back up to the
Dissolve category, open that up.
| | 26:43 | I am going to mouse-click on the Cross Dissolve,
and I am going to drag it down, and I am going
| | 26:47 | to place it right on top
of the old Wipe transition.
| | 26:51 | And it replaces it instantly.
| | 26:52 | Then I can preview it by parking my playhead
before it and pushing the spacebar. Very nice!
| | 26:58 | Well, now that we have some photos down in the
Timeline, let's add a couple of more things.
| | 27:03 | Let's add black at the beginning and
black at end, and then we'll add a song.
| | 27:07 | So well, let's create the black first,
because we don't have a black photo to put on the
| | 27:14 | Timeline, do we? We have to create black.
| | 27:17 | So navigate over to the bottom right-hand
side of the viewer, mouse-click on the letter
| | 27:22 | A, and select Matte > Color.
| | 27:29 | And then your Viewer window changes to a
gray color, which is quite interesting.
| | 27:35 | And really what this is is a gray 10-second
section that I can place on the Timeline if I wanted to.
| | 27:42 | Well, I don't want gray; I want black.
| | 27:45 | And to do that you mouse-click on the Controls tab in
the viewer, navigate to this gray box, click on that.
| | 27:53 | And if you don't see the crayons here, mouse-
click on the Crayon Color option here, the Color
| | 27:59 | Crayons option, and mouse-click on the
black crayon and then select the OK button.
| | 28:06 | Now, this box changed to black.
| | 28:10 | I can navigate to the Video tab
and I now have 10 seconds of black.
| | 28:14 | Now, I do want the black, but I
don't want it to be 10 seconds.
| | 28:18 | So I can change the
duration right here in the viewer.
| | 28:21 | If I click in this Timecode Duration window
one time, I'd like you to type in 300 and
| | 28:27 | then hit the Enter key.
| | 28:29 | That will make that black
section, or this black item, three seconds.
| | 28:35 | Once you've done that, I'd like you to take
this clip from the Viewer and drag it to the
| | 28:42 | very end of the Timeline. And look how, just
like a photo, I can place it boom, right up
| | 28:46 | against the last photo.
I'd like you to do that.
| | 28:49 | Now, I'd like you take your playhead and
drag it to the beginning of the Timeline, just
| | 28:54 | to give you a guideline.
| | 28:55 | I know it's hard to see, but it's there.
| | 28:58 | And with the playhead there,
you can use it as a guideline.
| | 29:02 | I know it's hard to see, but you can see
the little yellow arrow there. Mouse-click on
| | 29:06 | the black and drag this
over and place it on V1.
| | 29:10 | Now, before you let the mouse go, remember
that rule I mentioned to you earlier: if the
| | 29:14 | arrow points to the right, it's an insert edit;
if the arrow points down, it's an overwrite edit.
| | 29:19 | Well, here's the difference.
| | 29:21 | When you drag that black down from the viewer,
I'll need you to make sure your arrow points to the right.
| | 29:27 | See how mine is pointing to the right,
because I dragged the mouse up slightly?
| | 29:30 | I am still inside of Track 1.
I have not let the mouse go.
| | 29:33 | So I am going to let the
mouse go and watch what happens.
| | 29:36 | Boom! It moved all these other photos
over and it made room for the black clip.
| | 29:43 | Now, I am going to undo this by
pushing the Apple key and the letter Z.
| | 29:48 | Because watch what happens
when the arrow points down.
| | 29:50 | If I mouse-click and I let this go and the
cursor points down, it simply covers part
| | 29:56 | of the photo, which I don't want you to do.
| | 29:59 | So I am going to undo this.
Command+Z to undo that.
| | 30:02 | I'll mouse-click on the photo and I'll drag
it down to the Timeline, and I'll park my
| | 30:08 | clip, my photo clip, on the V1 track.
| | 30:11 | And I'll make sure my mouse is slightly up, still in
V1, and notice how the arrow points to the right.
| | 30:18 | That means it's going to
perform an insert edit.
| | 30:20 | I'll let the mouse go and boom,
it scoots all the photos over.
| | 30:23 | And notice the playhead
snaps to the end of the photo.
| | 30:27 | There is one more thing I want to show you.
| | 30:29 | I am going to undo this, Command+Z.
| | 30:32 | The reason why I had you move your playhead
to the beginning of the Timeline is because
| | 30:35 | you can also automate this black clip down
the Timeline to V1. As long as this v1
| | 30:43 | source button, see this little button right
here, is connected to the V1 destination track,
| | 30:49 | and it has to be linked as well;
it can't be broken like this.
| | 30:53 | So make sure this button is connected, this
V1--which represents whatever is sitting in
| | 30:58 | the viewer, by the way--viewer1 to Video
destination 1, which is this track, and click on this
| | 31:05 | button so that it brings these two together.
| | 31:08 | And make sure that this is connected to the
V1 destination, and watch what happens when
| | 31:12 | I automate the black clip from
the Viewer down the Timeline.
| | 31:17 | Now, remember my playhead is at
the very beginning of the Timeline.
| | 31:20 | I am going to perform an
insert edit by doing the following.
| | 31:23 | See this little red? It almost looks like a red
envelope, but it's really a red arrow pointing down.
| | 31:30 | Well, this is the overwrite edit
feature. This is the insert edit feature.
| | 31:36 | And you need to know the difference between
the two, because we are going to be clicking
| | 31:40 | on this yellow one, not the overwrite one.
| | 31:42 | So as soon as I click on this,
watch what happens down on the Timeline.
| | 31:46 | As soon as I click on it, boom! What that
does is it insert edits anything sitting
| | 31:51 | in the viewer down to the Timeline where the
playhead is and down to where these two buttons meet.
| | 31:58 | That's another way to bring that clip or
that item from the viewer down to the Timeline.
| | 32:05 | So let's add a transition in between
this black clip and this first photo.
| | 32:09 | And I want to show you even a different way
to add a transition between these two photos.
| | 32:14 | Remember how we would go up to the Effects
tab and we would simply drag the Cross Dissolve
| | 32:18 | down? Well, how about this? Make sure your
playhead is parked in between the two clips
| | 32:22 | that you want to apply the transition to,
navigate up to the Effects option at the top
| | 32:28 | menu, mouse-click, and select Video Transitions,
| | 32:32 | and look: we get all of our
transition categories on the right there.
| | 32:36 | Navigate to the Dissolve category and
select Cross Dissolve, and there's the path.
| | 32:41 | As soon as I select Cross Dissolve by leaving
my mouse on that option and letting the mouse
| | 32:45 | go, watch what happens down in the Timeline.
| | 32:48 | Boom! It applies the transition.
| | 32:51 | That's a little bit of a harder way, because
you have to mouse-click and drag and navigate
| | 32:54 | and drag and navigate until you get to the
transition that you want to use, but I did
| | 32:57 | want to show that to you.
| | 32:59 | Now, earlier I promised you I would explain to you
why there's an underline under the Cross Dissolve.
| | 33:05 | That means it's the default
transition, which means the following:
| | 33:09 | I can automatically add a transition between
clips by Ctrl+Clicking in between them and
| | 33:16 | selecting Add Default Transition. Take a look.
| | 33:20 | So there's one more spot that
I have to add a transition to.
| | 33:23 | I am going to zoom in to show you.
| | 33:25 | If I hold the Ctrl key down and I mouse-click,
I can select add Transition 'Cross Dissolve.'
| | 33:29 | See that? And boom, let it go.
| | 33:32 | It automatically adds
whatever transition is underlined.
| | 33:36 | I'll talk more about how to change the
underline to a different transition when we get to that
| | 33:40 | in a different lesson.
| | 33:42 | But for now, because it
defaults to that, you can do that.
| | 33:44 | In fact, let me do it again.
| | 33:46 | I am going to undo what I just did.
| | 33:47 | I am going to push the Command key and the
letter Z, and I'll Ctrl+Click right in between
| | 33:52 | these two items and I'll select
Add Transition 'Cross Dissolve.'
| | 33:56 | And great. It adds it right to the Timeline.
| | 33:59 | Let's add our song, and we'll be done
working with these photos down on the Timeline.
| | 34:03 | And this part is actually the easy part.
| | 34:05 | Click on the Project tab in the upper left-hand side,
and I'd like you to use the Photo Music track.
| | 34:13 | And this is how it's going to work: we're
simply going to drag it down to the Timeline.
| | 34:16 | Now, remember, dragging an audio clip down
to the Timeline is no different than dragging
| | 34:22 | a still image or a photo or a
video clip down to the Timeline.
| | 34:25 | I know we haven't gotten
to the video clip part yet.
| | 34:28 | But when you drag a photo down to the Timeline,
it's no different than dragging a song down
| | 34:33 | to the Timeline, because
Final Cut Pro treats it the same.
| | 34:37 | The reason why I bring
that up is because of this:
| | 34:39 | if you mouse-click and drag a song down--
I'd like you to place it on the A1 and A2--
| | 34:44 | notice how my arrow points down as well.
| | 34:47 | If it's slightly above the hash mark, or the
middle line in the track, notice how the arrow
| | 34:52 | points to the right.
| | 34:53 | What I need you to do with the song is park
the song right before the first dissolve on
| | 35:00 | the Timeline occurs, like where mine is now,
and make sure your mouse is slightly down
| | 35:05 | to perform an overwrite edit.
| | 35:07 | Notice how the extended length of the song
goes beyond my Timeline, because the song
| | 35:11 | is longer than the photo. So that's normal.
| | 35:14 | But I need you to make sure your arrow is
pointing down and that you want to perform
| | 35:19 | an overwrite edit to the A1 track
and the A2 track with the song.
| | 35:23 | So I am going to let my mouse go,
and boom, look what happened.
| | 35:26 | The playhead snapped to the end and the
song is longer than the photos, which is okay.
| | 35:32 | So let me do that one more time.
I'll undo this, Command+Z.
| | 35:35 | That un-does my last step.
| | 35:36 | I am going to mouse-click on the song,
drag it down to the A1 and A2 track.
| | 35:41 | I am going to park it right before the first
transition, and notice how my arrow is pointing
| | 35:46 | down to perform an overwrite edit.
| | 35:48 | That's very important that
you pay attention to that.
| | 35:49 | I'll let the mouse go and now the song is longer
than the photos, but we'll fix that in a second.
| | 35:55 | In fact, if I mouse-click on this navigation
bar here, I can drag it to the left to see
| | 35:59 | where the song actually ended up. Okay.
| | 36:02 | Great! Well, just like we trimmed our photos
earlier in this lesson, I'll need you to trim
| | 36:09 | this song. It's actually done easily.
| | 36:11 | You navigate to the end of the song.
| | 36:14 | Now, we're not going to move the song;
we're going to trim the song.
| | 36:17 | Notice how my cursor changes to a double-flat
arrow when I am right at the end. See that?
| | 36:23 | So I'll mouse-click and I'll drag to the left
and I'll trim it right about to there, right
| | 36:29 | after this last dissolve.
| | 36:32 | So I trimmed the song.
| | 36:33 | I didn't move it. See,
it still starts in the same spot.
| | 36:38 | Last but not least, we'll need to add an audio
transition so that the music fades down here at the end.
| | 36:43 | So I'll navigate up to my Effects tab.
And this time we're not going to use our video
| | 36:50 | transitions. See this right here?
| | 36:53 | We're going to close all the folders, close
them all if they're open, and navigate to
| | 36:57 | the Audio Transitions folder. Click on the
triangle, and I'd like you to use this Cross
| | 37:04 | Fade transition, mouse-click on that and drag
that down. And look how I can place it right
| | 37:12 | on the end of the song. See that? Perfect!
Now when I play this back, the song will fade
| | 37:19 | down just a little bit after the last photo.
| | 37:22 | Well, that's about it for this portion
of working with photos in Final Cut Pro.
| | 37:27 | You may want to preview
what you've created here.
| | 37:30 | Later on, in different lessons, we'll learn
how to adjust the volumes, or the volume levels
| | 37:36 | of music, and how to further
manipulate anything down in the Timeline.
| | 37:40 | All right! So let's move on to the next lesson.
| | 37:44 |
| | Collapse this transcript |
| Animating photos, filters, and mattes| 00:00 | Okay, in this lesson we are going to pick up
where we left off in the previous lesson;
| | 00:04 | in other words, we are going to learn how to
place photos on the Timeline in a kind of
| | 00:07 | a basic manner, with
transitions in between them.
| | 00:10 | And we learned how to trim and we learned how to
work with photos up in the Motion tab in the viewer.
| | 00:15 | Now if you didn't watch the previous lesson,
you probably should go back and watch it before you do this one.
| | 00:19 | If you've watched that
one already, let's continue.
| | 00:22 | So, the first thing I want to do is
teach you how to animate these photos.
| | 00:26 | And the way we are going to do that is with
keyframes; in fact, I want to teach you the
| | 00:29 | Ken Burns effect.
| | 00:30 | You may have heard of this, where a photo
comes to life, where we are zooming into the
| | 00:34 | photo or we are panning across from
left to right, which is a cool trick.
| | 00:39 | So the first thing I would like you to do
is remove these transitions. Mouse-click on
| | 00:43 | the first transition, hold the Apple key down
so that you can select others while you click,
| | 00:48 | and then delete them by
pushing the Delete key. There we go.
| | 00:52 | And let's work with this
first photo down the Timeline.
| | 00:54 | We are going to be using the Snapping feature,
by the way, over here in the upper right-hand
| | 00:58 | corner, so just keep that back in the back
of your mind, and I'll remind you when we
| | 01:01 | need to turn it on or off.
| | 01:03 | So park your playhead at the very first
frame of photo number one and then select it.
| | 01:07 | And you'll see a white wireframe. If you
don't see the white wireframe in this lesson, you
| | 01:11 | need to navigate up to the View button, mouse-click,
and select Image+Wireframe. Make sure it's checked.
| | 01:17 | Okay, and sometimes when you go back in to
see that it's there, you might inadvertently
| | 01:20 | turn it off, so you've got
to go back and turn it on.
| | 01:23 | With that said, we need to expand the size
of this photo, and if you look closely as
| | 01:28 | you drag your mouse to the corner--any
corner--you will see a crosshair. See that?
| | 01:33 | When you see the crosshair, sometimes you'll
get that round hook or that four-way arrow.
| | 01:36 | You don't want that.
| | 01:37 | You want the crosshair.
| | 01:39 | Mouse-click and drag and fill the
frame with video, just like that.
| | 01:46 | And actually, what I would like to do as well
is locate this Percentage button here in the
| | 01:49 | Canvas window, mouse-click and select 25%,
because I want to show you something.
| | 01:54 | We'll be working in this area as well.
| | 01:55 | This is the non-viewable area
that your viewers won't see.
| | 02:00 | In other words, if you mouse-click on one
of these corners and drag, look how the photo
| | 02:04 | gets bigger. You can see the edge here.
| | 02:06 | That's what I would like you to do.
| | 02:07 | So you select that percentage down to
25 and you will be able to do this.
| | 02:10 | Why? Because our photo is going to start
here and it's going to slowly zoom out.
| | 02:15 | We are going to add keyframes for that.
| | 02:17 | Okay, so mouse-click on the corner, expand
it out just a little bit, maybe cutting off
| | 02:21 | a little bit at the top of these two
palm trees, and let's add a keyframe.
| | 02:24 | To do that, you mouse-click
on this button right here.
| | 02:26 | This is the Add Keyframe button in the bottom
right-hand side of the Canvas window. Mouse-click
| | 02:30 | on that and look what
happens to our white wireframe.
| | 02:32 | It turns green, doesn't it? That just basically means we
added a keyframe at that point where the photo starts.
| | 02:40 | So, what's a keyframe? A keyframe is basically
a point in time with a set of instructions.
| | 02:45 | Now we haven't given it instructions yet.
| | 02:47 | We are going to wait till we add our next
keyframe, which is how Final Cut Pro works.
| | 02:51 | You got to have at least two
keyframes to make something happen.
| | 02:54 | And it has to happen over a period of time.
So we have to ask ourselves, how long do we
| | 02:57 | want this to take to zoom either in or out of the photo?
Well, let's use the entire duration of the photo.
| | 03:03 | So let's move our playhead to the end of the
photo, and when you do this you will actually
| | 03:07 | park your playhead on the first frame of
the next photo, which I don't want you to do.
| | 03:11 | If that happens, which it probably will, push
the left arrow on your keyboard. That backs
| | 03:14 | it up one frame and then there is our
palm tree photo or palm trees photo.
| | 03:20 | So now we need to add another keyframe.
| | 03:21 | Let's navigate over here, add the second
keyframe after you've moved the playhead forward of
| | 03:26 | course, and look, you get a green wireframe.
| | 03:29 | And then I would like you to mouse-click
and shrink the photo down. There we go.
| | 03:35 | Once you've done that, navigate back up to
the Percentage button and select Fit to Window.
| | 03:41 | Let's back our playhead up to the beginning of
this photo, just like that, and let's deselect
| | 03:45 | the photo so that when we watch it in the
Canvas window we don't see that wireframe at all.
| | 03:50 | So click on that.
| | 03:51 | Let's push the spacebar. There we go.
| | 03:55 | See how it's pulling out like that. Very nice.
| | 03:58 | Okay, so that adds a little more
life to the photo. I like that.
| | 04:03 | Let's work on the next photo. So as this is
pulling out, let's make this one push in.
| | 04:08 | Okay, so to do that, we simply mouse-click on
the photo, park your playhead on the first
| | 04:14 | frame of that photo.
| | 04:16 | Now this photo I'd like to
start already filling the frame.
| | 04:19 | So let's just resize it
right about to there, okay.
| | 04:22 | And if you need to shrink the Percentage
down again, let's do that. So that way you know
| | 04:28 | there's no black edge, because I don't
want to show any black edges at all.
| | 04:31 | Alrighty. It might take a little practice.
| | 04:34 | And when you do that,
let's add a keyframe. Click on that.
| | 04:37 | See we get the green wireframe now?
| | 04:39 | Play or drag the playhead forward and of
course it will always snap to the first frame of
| | 04:44 | the next item on the Timeline so push the
left arrow on your keyboard to back it up a frame.
| | 04:48 | And this time I would like you to mouse-
click and drag, and look what Final Cut does: it
| | 04:51 | automatically adds a second
keyframe when I resize this.
| | 04:54 | Why does Final Cut do that? Well, because
all you need to do is after you've created
| | 04:59 | the first keyframe and you moved
your playhead forward, like we did,
| | 05:03 | and you just change any of the motion
parameters here, Final Cut will automatically add the
| | 05:06 | second keyframe for you.
| | 05:08 | It's just that intelligent, which makes Final
Cut Pro--that's one of many things that make
| | 05:11 | Final Cut Pro an outstanding program.
| | 05:14 | Once we've done that, mouse-click on the
Percentage button, select Fit to Windows. So we are going
| | 05:18 | to play this back actually.
| | 05:19 | Let's drag our playhead back to the
beginning of photo, mouse-click in the gray area to
| | 05:23 | deselect it so we get a nice clear view here in the
Canvas window, push the spacebar, and there we go.
| | 05:30 | Look at that. Very nice.
| | 05:33 | So the magic, the real magic, really happens
when these two photos dissolve into each other
| | 05:38 | while they're moving,
not when they stop and then it dissolves.
| | 05:41 | I want them to be moving while it dissolves.
| | 05:43 | So in order to do that, we need to trim;
in fact we need to trim the head and the tail
| | 05:48 | of all these clips after we have
added what want to do to each one.
| | 05:52 | So, I'm going to navigate over to the
Snap feature in the upper right-hand corner.
| | 05:56 | I am going to click on it to turn it off.
| | 05:57 | And then I am going to trim the
head of the clip of this first clip.
| | 06:01 | Let me zoom in just a little bit to show you.
| | 06:04 | So I get a double-flat arrow.
Mouse-click and trim. See the yellow box there?
| | 06:08 | It says +20. I want to do +16.
| | 06:10 | That means I'm trimming
16 frames off of the head.
| | 06:13 | I will navigate to the tail of this clip.
And I am just to the left of the edit point,
| | 06:19 | so I can mouse-click and work on Photo 001.
| | 06:21 | And I am going to drag 16 off of that as well.
| | 06:25 | I am just doing 16 because that seems like an
easy number to get to while I am trimming here.
| | 06:29 | We are going to do the same to the head of this
clip as well: trim 16 off of that, mouse-click
| | 06:36 | on the tail of this clip and
trim 16 off of that. There we go.
| | 06:40 | Now let's zoom back out.
| | 06:43 | Now I am going turn
snapping back on. There we go.
| | 06:47 | And then I will move the
click. Mouse-click and move.
| | 06:50 | And I turn snapping it back on because once
snapping is on, look at the two diamonds that
| | 06:55 | appear here when--not diamonds--when the
two pyramids appear, that means the clips meet
| | 07:00 | and there is no gap. Perfect!
| | 07:02 | Now we can add a transition
right here where the two clips meet.
| | 07:05 | So push the Ctrl key down on your
keyboard, then mouse-click and select Add Transition
| | 07:10 | "Cross Dissolve," and there we go.
Now we can play this back.
| | 07:14 | We will park our playhead right before the
transition, push the spacebar, and let's watch
| | 07:17 | over in the Canvas window.
| | 07:19 | Oh, see, stuff like that, that really adds
more value to what you're doing as an editor.
| | 07:27 | So those are those are two neat little
tips on how to add motion to a photo.
| | 07:32 | Now what about more of a landscape photo?
See this here, where we see a large landscape?
| | 07:36 | Let's animate this photo so it looks
like we are panning across the photo.
| | 07:40 | That's a cool trick.
| | 07:42 | So park your playhead at the beginning of
the photo, mouse-click on the photo of course
| | 07:46 | to select it, navigate up to the Percentage
button, select 25% in the Canvas window, and
| | 07:51 | then drag the edge out so it's fairly large.
| | 07:54 | The reason why you have to do this--in fact
sometimes when you bring photos in, especially
| | 07:57 | for those of who that are bringing photos in that
are 6, 8, or 10 megapixels, they are going to be huge.
| | 08:03 | They are going to be gigantic.
| | 08:04 | They are going to be way out here.
| | 08:06 | You are going to have to mouse-click and drag these in,
because they are so full of information and resolution,
| | 08:11 | they are just much larger than the DV
resolution that you are working with, which is not a
| | 08:16 | bad thing because the
photo will just look great.
| | 08:18 | Well, you will have to resize it of course,
and give yourself enough room so that when
| | 08:22 | you actually do the pan it
will look realistic, okay.
| | 08:25 | So what I want you to do is park the left
edge of the photo up against the left edge
| | 08:29 | of the Canvas window and let's add a
keyframe, by adding the key--by pushing Add Keyframe
| | 08:33 | button. There we go.
| | 08:34 | Let's move our playhead forward. Don't forget
to back it up one frame because you need to
| | 08:39 | have it parked on the same
photo that you're working on.
| | 08:42 | And this time you can't mouse-click to add the
second keyframe at any point that you want.
| | 08:46 | But as soon as we move this photo,
again, Final Cut will add that second keyframe.
| | 08:49 | Hold the Shift key down.
| | 08:50 | That's right. Hold the Shift key down,
mouse-click and drag so we constrain it
| | 08:55 | so it moves perfectly to the left.
And that will work for up and down left of right.
| | 09:00 | That's what constraining does.
| | 09:01 | That's what happens when
you push the Shift key down.
| | 09:03 | Now mouse-click on the Percentage button
in the Canvas window, select Fit to Window.
| | 09:07 | Let's put our playhead back
at the beginning of photo.
| | 09:10 | Click in the gray area to deselect it, so
we get a nice clear view here no our Canvas
| | 09:13 | window, and let's push the spacebar. Very nice.
| | 09:18 | That's great. Okay, so
let's trim this photo as well.
| | 09:21 | Turn snapping off. Go to the very edge of
the photo. See, I get a double-flat arrow.
| | 09:26 | We are going to do about
16 frames, trim 16 there.
| | 09:28 | We are going to trim 16 off at the end as well.
| | 09:32 | There we go. Turn snapping back on.
The shortcut is letter N, by the way, to turn snapping
| | 09:35 | on and off, which I might
do that for the next photos.
| | 09:38 | And I am going to move the photo so that
it meets the second photo, Ctrl+Click on the
| | 09:44 | Edit point, select Add
Transition "Cross Dissolve."
| | 09:47 | Now let's park our playhead
before and let's take a look.
| | 09:53 | Very nice, very nice.
Okay, let's work on the next photo.
| | 09:58 | Now this next photo is more of a portrait
photo; as a matter of fact, I would say half
| | 10:03 | the photos you work with are going to be
portrait and the other half is going to be landscape.
| | 10:07 | So as you can see here, portrait just
doesn't fit because it's longer from top to bottom
| | 10:11 | than it is from left to right.
| | 10:13 | And TVs are longer from left to
right, so we have to make this work.
| | 10:15 | So park your playhead on the photo and then
select the photo and just resize the photo,
| | 10:20 | okay, so that we can
actually see it to begin with,
| | 10:23 | so that it fits at least within the
action-safe lines, which is this outer line.
| | 10:29 | And we are actually going to animate this
photo so that it starts off the screen,
| | 10:33 | it comes in and sits, and then goes away,
okay? That's what we are going to do.
| | 10:37 | So drag that photo back there.
| | 10:39 | Let's mouse-click on the Percentage button and
hold the Shift key down and move it off to the side.
| | 10:44 | Now don't move it too far. Don't move it
over here; just move it right about there, drag
| | 10:47 | your playhead to the beginning of
the photo, and add a keyframe. Boom.
| | 10:51 | This time drag the photo in
about one fourth of the way,
| | 10:54 | because we want the photo to slide in, start
to slide in here and end right about a fourth,
| | 10:58 | or a quarter, of the way in.
| | 11:00 | Hold the Shift key down and drag and look,
Final Cut automatically adds that second keyframe.
| | 11:04 | Remember, it always does that if you add
motion and you move the playhead forward,
| | 11:09 | and of course after you
set your first keyframe.
| | 11:12 | So then move the playhead forward to about
three fourths of the way into the photo, and
| | 11:17 | just add another keyframe by pushing the Add
Keyframe button. Now we are not going to move
| | 11:20 | the photo because we want it to stay
still from about this point to this point.
| | 11:25 | Now, move your playhead forward to the end,
back it up one frame so that we know for
| | 11:29 | sure we are on the last frame.
| | 11:32 | Hold the Shift key down, mouse-click, and drag.
| | 11:34 | This will make a lot more sense if you watch
this portion of the lesson again, because I
| | 11:40 | know that may not have made sense, but we
needed four keyframes to make this work, and
| | 11:45 | we had to do certain things at certain
points, but it does work. It works nicely.
| | 11:49 | Let's park our playhead back at the
beginning, push Play to watch it. Very nice.
| | 11:54 | It stays there. See, it stays there from the
second keyframe to the third keyframe. Then
| | 11:59 | from the third to the
fourth, it moves. Very nice.
| | 12:01 | So let's move this clip over.
| | 12:04 | Now this one we didn't have to turn snapping
on because we are simply going to dissolve
| | 12:07 | between this photo and this one. Why? Because
this photo starts off the screen. Take a look.
| | 12:12 | So as this photo is panning,
the other photo just comes in.
| | 12:16 | So we didn't have to trim that one.
| | 12:18 | Alrighty. Very nice.
| | 12:20 | Okay, so what about this photo
here? Let's add a 3D effect.
| | 12:23 | Now this photo, or at least this next effect,
will look nice because we are going to have
| | 12:28 | to actually give it a little bit of depth.
| | 12:31 | And to get to the 3D Filter that's over here
on the Browser in the Effects tab, open up
| | 12:36 | the Video Filters, locate the
Perspective category, which is right there,
| | 12:41 | open it up, and go for the 3D Filter.
Mouse-click and drag it and place it into the photo.
| | 12:46 | See how I get that outline which means if
I let my mouse go, it's going to place it
| | 12:49 | in there. Perfect!
| | 12:50 | Then double-click on the photo so that it
appears up in the viewer, then mouse-click
| | 12:54 | on the Filters tab and you will
see we have a basic 3D Filter.
| | 12:57 | Now we have not worked with filters yet.
| | 12:58 | This is the first time.
| | 13:00 | And this one is actually an easy one.
Once the filter is up here, if you don't like if
| | 13:05 | whatever reason, mouse-click on it and push
Delete and it goes away. Or you can just turn
| | 13:09 | it off by clicking on that
check mark. See that? Leave it on though.
| | 13:13 | Okay, all right now, for this photo we want
to fill the area; we do not want to see any
| | 13:18 | of the black on the edge.
| | 13:19 | Okay, so mouse-click on one corners and make it
just a teeny bit larger in the viewable area.
| | 13:25 | And let's add our first keyframe
after we mess with this dial here.
| | 13:29 | We are going to mess with the Y axis rotation.
| | 13:32 | Take a look, when I mouse-click on
the dial and I rotate it to about -60.
| | 13:35 | Okay, we can either, if you don't get exactly
-60, you can click once in the numeric value
| | 13:41 | box and type-in -60 Enter.
| | 13:43 | And add a keyframe here,
not down here, add it here.
| | 13:50 | Move your playhead forward, back it up one
frame when it gets to the end, and turn the
| | 13:55 | dial the opposite
direction, and get it to about 60.
| | 13:58 | And again, if you don't get it on the 60
exactly, you can click in that numeric value box and
| | 14:02 | type in 60, Enter.
| | 14:03 | Now, because we did our keyframe in here
that pertains to just this filter, take a look
| | 14:08 | at this photo as it plays.
Isn't that cool? Very nice.
| | 14:14 | Now, I know I have been having you turn the
wireframe on and off by clicking in an open
| | 14:18 | area to deselect it. It does go away after
you play or while you're playing it, but it's
| | 14:23 | just nice to turn it off and look at it at any given
point without having to worry about that wireframe.
| | 14:28 | So you can either leave it on or off.
| | 14:29 | Anyway, so let's play this photo back.
| | 14:31 | Look how when it rotates it actually gives
depth to this photo. Isn't that cool? That's an
| | 14:36 | awesome little feature.
| | 14:38 | So this is the photo we are going to
have to trim. Turn snapping on and off.
| | 14:41 | There we go, move that.
| | 14:42 | I am going to take a chance here.
Without turning snapping back on,
| | 14:45 | I am actually going to
try to move them together.
| | 14:47 | And see how they kind of almost
overlapped? In fact, they did just a little bit.
| | 14:49 | That's what happens when snapping is off.
| | 14:52 | Snapping will stop that from happening.
See how that would overlap if I kept going?
| | 14:56 | Okay, so let's trim the edge, if we haven't
already, and Ctrl+Clicking between the edit
| | 15:03 | point, select Add Transition "Cross Dissolve."
| | 15:06 | Now when these two play--
let's take a look--very nice.
| | 15:12 | And it's already moving when we
dissolve into it because we trimmed.
| | 15:16 | All right, so let's turn snapping back on--
save your work, by the way, Apple+S--and let's
| | 15:21 | move this last photo over so
it's already right up against here.
| | 15:24 | This photo is going to be quite
interesting because it's kind of a tight shot.
| | 15:28 | But what we are going to do with this is
we are simply going to add a little bit of
| | 15:33 | motion to it while it's
sitting here in the Canvas window.
| | 15:36 | So I would like you to mouse-click and shrink
it down just a little bit, right about there,
| | 15:41 | so we get kind of a thick open area in this outer
part here between the title-save and the photo edge.
| | 15:47 | Drag your playhead to the very
beginning of the photo, add a keyframe.
| | 15:52 | Drag the playhead to the end of
the photo, back it up one frame.
| | 15:55 | And this time I would like you
to pull it out, just like that.
| | 15:58 | So now it's just kind of growing.
| | 16:01 | Zooming in. And that little bouncing stuff goes
away after you render, by the way. Very nice.
| | 16:06 | Add our transition, Ctrl+Click, Add
Transition "Cross Dissolve," bingo! One last thing.
| | 16:11 | Navigate over here to the Add
Effects tab in the browser.
| | 16:14 | I would like you to look
for the Matte category.
| | 16:16 | And we are going to add a little extra
touch to some of these photos that we still see
| | 16:21 | black on the edge of and
it's the Soft Edges filter.
| | 16:27 | Mouse-click and drag and bring that over,
and watch what happens when I drag this filter
| | 16:30 | and drop it into the photo.
Watch what it does. Isn't that cool?
| | 16:33 | It kind of darkens it up a little bit.
| | 16:34 | That will work nicely over here as well, because
when the photo is rotating, you see the edges,
| | 16:39 | or especially on this one.
| | 16:40 | So let's drop the soft edges. And this really
kind of gives it a cool little effect at the
| | 16:44 | end there. Isn't that cool?
| | 16:47 | Okay, well, now that you have had a chance
to spruce up this photo portion of our lesson
| | 16:54 | training here on the disc, don't
forget to mouse-click and drag this over.
| | 16:57 | In fact, let's finish this up real quick.
Select the transition on the end of the song
| | 17:01 | and make it match by trimming.
| | 17:03 | We are going to trim this song over, Ctrl+Click,
Add "Cross Dissolve," Ctrl+Click, add "Cross
| | 17:08 | Dissolve," because we shortened
these up, remember, after we trimmed them.
| | 17:11 | And then don't forget to add a transition here
at the beginning. Ctrl+Click, Add Transition
| | 17:15 | "Cross Dissolve," and we are done.
| | 17:17 | Now of course I am going to
have to render my Timeline.
| | 17:18 | I will let you do that on your own.
| | 17:20 | But after you have done that, after you have
rendere, by the way, the way we render,
| | 17:24 | select the Timeline, navigate up to Sequence > Render
All. Make sure these are all checked, by the way.
| | 17:28 | You have to go in and check all of these,
but all you have to do is select Sequence >
| | 17:32 | Render All. You don't have to slide over.
| | 17:34 | Select Render All and Final Cut will render
this, so you can come back and watch this.
| | 17:37 | After it's been rendered, of course you can
watch it in normal playback real time and
| | 17:41 | it'll look really cool.
| | 17:42 | All right, well, we've done this.
| | 17:43 | Let's move on to the next lesson.
| | 17:48 |
| | Collapse this transcript |
| Importing audio and adjusting the volume| 00:01 | So how do you work with audio or music that
comes from a CD? Well, it's actually quite simple.
| | 00:06 | I have a brand-new
project here that I've created.
| | 00:08 | I've set the scratch disk just
like I did in the first lesson.
| | 00:11 | I haven't saved my project yet, and I don't
really need to save my project to show you
| | 00:15 | how to import music into
your Final Cut Pro project;
| | 00:17 | we did that in a previous lesson.
| | 00:19 | So let me show you how to
just get it into Final Cut.
| | 00:20 | It's actually pretty simple.
| | 00:22 | Let's hide Final Cut to begin with:
Apple H, so push the Apple H keys.
| | 00:27 | And well, there are two ways to get to CD,
first of all, into your computer. For those
| | 00:31 | of you that have a laptop or an iMac, you
probably have slot-loading CD trays; in other
| | 00:37 | words, you simply slide the CD in.
| | 00:39 | Well, when you do that make sure
the disk is facing up, all right.
| | 00:43 | For those of you who that have towers,
simply push the Eject key in the upper right-hand
| | 00:47 | side of your keyboard. The tray will open.
| | 00:50 | Put the CD in the tray with of course the
top facing up, and gently close the CD tray
| | 00:55 | with your hand or push the Eject
button again on your keyboard.
| | 00:59 | Now two things are going to happen, or at
least two things in my case are going to happen:
| | 01:02 | iTunes will launch--and I'll close out as soon
as it opens--and the CD icon will appear right
| | 01:07 | over here on the desktop.
| | 01:09 | Now if you're wondering, hey Frank, why are
we using iTunes to pull music from a CD?
| | 01:13 | Well, you could if you want to.
| | 01:15 | But it's much easier--or at least the method
that I'm going to show you is much easier.
| | 01:18 | Now I just closed iTunes by pushing
Apple+Q. That quickly closes in.
| | 01:23 | So, check this out.
| | 01:24 | There's our CD. Double-click on it and the
contents of CD of course is revealed in this window.
| | 01:29 | I would like you to mouse-click
on this button here, column view.
| | 01:33 | When you do that you can actually simply
select one time by clicking on it once.
| | 01:37 | You can select the song and if you push the
play button, you will preview that song and
| | 01:41 | you'll be able hear it through your computer.
| | 01:43 | After you've previewed the songs you think you
may want to use, open up your Project1 folder
| | 01:48 | that we've created in the previous lesson.
| | 01:49 | Remember, we created it here on the Desktop.
| | 01:51 | Double-click on it to open it and simply mouse
click on the song that you want to take from
| | 01:56 | the CD and drag it into the
Music folder. There it goes.
| | 02:01 | And you can do that several times and get
a few different songs if you like, or you
| | 02:05 | can take them all if you want.
| | 02:06 | But you need to take it from the CD into the
Project folder first, like we're doing now.
| | 02:13 | And then we're going to import it from our Project
folder, Music folder that's in the Project folder,
| | 02:19 | we're going to import it into our Final Cut
Pro project from this point, not from the CD.
| | 02:25 | So if you're wondering a couple of things:
one is, well Frank, isn't the sample rate
| | 02:28 | different on a CD than it would be on our
Final Cut Pro Project? Yes, but Final Cut
| | 02:33 | Pro will fix that on the fly;
you really don't have to worry about it.
| | 02:37 | And one thing I want to tell you as well is
notice how of course we've created our Project
| | 02:42 | folder in a previous lesson
here on our desktop, all right.
| | 02:45 | We are just doing that for
training purposes only, alrighty?
| | 02:49 | Now, you probably could get along fine if
you're working with DV by creating your Project
| | 02:54 | folder on the desktop.
| | 02:56 | You'd probably be okay for most of your projects.
A lot of editors--and I'm one of them--believe
| | 03:00 | though that when you first create your
Project folder, you should save it and create it on
| | 03:06 | a separate drive, like these two
drives here, other than your system drive.
| | 03:10 | Why? Because your system drive is
busy running the OS and Final Cut Pro.
| | 03:15 | And believe it or not, you'll increase system
performance by creating your Project folder
| | 03:20 | on another separate drive.
| | 03:22 | Now, don't panic if you don't have
another separate drive. That's okay.
| | 03:24 | You don't have to rush out and buy
another FireWire drive or something like that.
| | 03:27 | You could if you want, but you don't have to.
| | 03:30 | Because from most of you that are
working with DV, you should be okay.
| | 03:34 | It's when you start dropping frames and the
playback performance isn't what you think
| | 03:38 | it should be, then you should
probably go get a FireWire drive,
| | 03:41 | connect that to your Apple Computer,
and create and save your Project folder on an external
| | 03:47 | FireWire drive, alrighty?
Okay, well, let's move on.
| | 03:51 | So we've taken our music from the CD into our
Project folder. Then we open up Final Cut.
| | 03:57 | Let's go back to opening Final Cut.
| | 03:58 | We click on the Browser.
| | 03:59 | Let's click on our File >
Import Files, just like that.
| | 04:05 | Go to your Desktop.
| | 04:06 | Mouse-click on the desktop, go to the
Project folder, then open up your Music folder,
| | 04:11 | and here are the two tracks that I dragged in.
| | 04:13 | I know you only saw me drag in one, but I
actually dragged in two, one prior to me showing
| | 04:18 | you, just so I had a couple to bring in.
| | 04:20 | And I've selected both them.
| | 04:21 | And I'm simply going to mouse-click on the
Choose button here and those two tracks from
| | 04:26 | the CD are now in Final Cut.
| | 04:28 | Now I can either double-click on it to play
it here in the viewer and listen to it or
| | 04:32 | I can mouse click and drag it down to
my Timeline and park it anywhere I want.
| | 04:37 | I'm going to push the Shift key and
the letter Z to see the entire song.
| | 04:41 | And I can start placing my photos or my
video clips down here on the Timeline.
| | 04:45 | Now later on we I'll talk you about why
these bars are green. Well, that's because
| | 04:48 | the sample rate is different.
| | 04:49 | But I'll talk you about how Final Cut Pro
works and how Final Cut Pro fixes that.
| | 04:54 | Other than that, that's about it.
| | 04:55 | It's pretty straightforward bringing audio
in from a CD and let's move on to the next lesson.
| | 05:04 |
| | Collapse this transcript |
| Panning audio and keyframing the volume| 00:01 | Well, now I want to show you how to work
with audio; in fact, I want to show you basics,
| | 00:04 | and the basics are actually quite powerful.
| | 00:06 | There are generally two types of audio files
that you'll primarily be working with. One
| | 00:11 | will be of course audio that comes in with
video--anything you may have videotaped or
| | 00:15 | anything that someone else may have videotaped.
More than likely audio is going to come in
| | 00:19 | with that video clip or all the video clips.
| | 00:22 | The other type of audio file could be audio from a
CD or an MP3 audio file that you got from Internet.
| | 00:30 | So I'll need you to create a new project, and
I'd like you to call the new project Working
| | 00:34 | with audio. And you can pause this
lesson for now while you do that.
| | 00:41 | And when you have completed creating a new
project, then I'd like you to save the project
| | 00:46 | in your Project folder on the desktop.
| | 00:50 | Then I'd like you to import two files, so
click on the Browser, navigate up to the
| | 00:54 | word File, mouse-click on
that, and select Import > Files.
| | 00:59 | Then I'll need you to navigate to your
Training Media folder and in the Sports Clips folder,
| | 01:05 | I'd like you to take, or select, Jumper and
then select the Choose option at the bottom-
| | 01:10 | right, and then go back up to the word File,
mouse-click on that, and select Import > Files
| | 01:15 | and then navigate back to your Training Media folder,
and select the Music folder and select Head Spin.
| | 01:23 | Click on it once and then click on
the Choose button in the bottom-right.
| | 01:26 | Okay, so we have two clips in our project
here, and actually these two clips of course
| | 01:33 | are distinctly different; one is video with
audio, which is this clip right here, and the
| | 01:38 | other is just a straightforward audio clip.
| | 01:41 | These are the two that you will primarily
be working with, and I want to start off by
| | 01:45 | working with the video clip.
| | 01:47 | So double-click on the Clip icon
there to make it appear in the viewer.
| | 01:51 | Now of course in the viewer we can
manipulate the video and of course the audio, and in
| | 01:58 | my case this was recorded with a stereo feed
going into the camera, and when you click on
| | 02:05 | this audio tab, you'll see that the audio
only came in over one channel, which means
| | 02:11 | I don't have anything on
the other channel, basically.
| | 02:14 | But I still want to show you how to
manipulate this and work on this, because in most cases
| | 02:19 | on professional cameras, you will have a mic
that simply goes into one channel, not both.
| | 02:26 | Most professional microphones are mono.
| | 02:29 | Now if this stereo track--which is what it's
called, Stereo track--if it came in with two
| | 02:36 | of these waveforms, which is what you're
looking at here, then of course I would have a left
| | 02:40 | and a right channel that we can listen to.
| | 02:44 | So what I want you to take note of is down
here I'll need you to click on your audio
| | 02:48 | VU meters, which is what I have just done.
| | 02:50 | I have brought it over to the right, and I want
you to take a look at how this audio file works.
| | 02:56 | So I'm going to just simply mouse-click on
the play button and you'll see here that just
| | 03:01 | the left is going up and down.
| | 03:03 | That represents the volume.
| | 03:06 | So there are couple of things wrong with this.
Number one, it's a little low to begin with.
| | 03:11 | Number two, it's only on the left side,
which means we are going to have to make it come
| | 03:16 | out the left and the right.
| | 03:17 | Well, let's work on one thing at a time.
| | 03:20 | First of all, you can adjust the volume in
two different places here in the viewer.
| | 03:25 | You can navigate up to the Level slider, mouse-
click on this, and simply drag it up incrementally,
| | 03:31 | and you'll notice that the number next to
the dB option will either increase if you
| | 03:36 | drag this slider to the right or
decrease if you drag it to the left.
| | 03:40 | Now, when you bring a video clip in with audio,
this little dB box will generally bring it
| | 03:47 | in exactly how it was recorded, especially
if it was DV. And the number that you would
| | 03:52 | see would be 0, and that actually represents
the level that it was originally recorded at.
| | 03:58 | So if the level is still too low, then you
would mouse-click on this and slide it to
| | 04:03 | the right, incrementally, and then play it
back to see, or at least to listen, as to how
| | 04:09 | the volume has changed.
| | 04:11 | And you really want to make your
target audio volume be between -12 and -6.
| | 04:18 | Right now we are below -12.
| | 04:20 | You want this level to
balance in here somewhere.
| | 04:23 | Now you might be thinking, well Frank,
-6, -12, that almost doesn't make sense to me.
| | 04:28 | Well, it may not, but I can explain to you
that digital audio works in the minus world.
| | 04:35 | Notice that the highest this goes is at 0. Anything
above that would be considered plus: +1, +2, +3dB.
| | 04:44 | That would be the analog world.
| | 04:46 | So because we are working within Final Cut Pro
that's in your computer--of course, it's digital audio--
| | 04:51 | you'll be working in the minus number world.
| | 04:54 | So try to keep in mind that the target range
that you want the levels to be at is between
| | 05:00 | -12 and -6, whether it's
one track or all tracks.
| | 05:05 | Okay, so let's zoom back out.
And now that I've raised this up +3dB,
| | 05:12 | let's play this back and listen to it and
see--I'll click over here--if the volume is
| | 05:16 | within this range.
| | 05:17 | So I'll mouse-click on the Play button. There we go.
(audio playing)
| | 05:21 | Okay, so that problem is solved.
| | 05:24 | Now of course you could always click in this
numeric value box and type a number in, and
| | 05:28 | you can even click on these little arrows,
the left one and the right one, to incrementally
| | 05:31 | raise or lower the volume. That will work.
| | 05:34 | The other way you can do that, as far as
adjusting the volume, is to mouse-click right on this
| | 05:39 | pink line. And notice when I park my cursor
on there, it changes to a double-flat arrow,
| | 05:43 | meaning I can mouse-click and drag it up or
drag it down. And notice the yellow box indicates
| | 05:50 | what increments I am either moving
up the volume or lowering the volume.
| | 05:53 | So I am going to bring it back up to 3.
| | 05:57 | Notice that the bottom pink line in this track
down here is also moving with it because it's
| | 06:01 | a stereo pair, and they are linked
together, and that's how stereo tracks work.
| | 06:07 | Okay, so what about the fact that the audio
only comes out of the left side? That could
| | 06:12 | be a problem, because when you finalize your
project and let's say you burn it onto a
| | 06:17 | DVD and you give that to your client and they
go listen to and watch your finished product,
| | 06:22 | they're going to be wondering why the audio
is only coming out of one side. And this is
| | 06:26 | again a very common problem, especially with
professional cameras that have a shotgun mic.
| | 06:31 | They're all mono, or at least
the majority are all mono.
| | 06:36 | So you would have to do a feature, or you have to
work with the Pan feature, which is right here.
| | 06:41 | Notice how this is all the way
to the left for this channel.
| | 06:45 | And really, this is done quite simply, as far
as the repair is concerned, is you mouse-click
| | 06:49 | on this slider and you drag this
to the middle, right about there.
| | 06:53 | So I can either click right there and it
snaps right to the middle--and you want this to
| | 06:58 | be right dead-center where this number is 0,
which means it's going to take this mono
| | 07:03 | channel and spread it out over
the left and the right channels.
| | 07:08 | So if you look over here now, when I push the
Play button, let's see if that did the trick.
| | 07:15 | (audio playing)
It did.
| | 07:17 | It actually is now playing out of the left
and the right channel Very nice! Well, because
| | 07:22 | we did that, because we spread this mono
track out of the left and the right sides, look
| | 07:28 | how the volume actually lowered itself.
| | 07:31 | It's actually now far below -12.
| | 07:34 | So we are going to have to come
back in here and adjust the volume up.
| | 07:37 | So rather than use the slider and rather than
type a numeric value in here in the dB box,
| | 07:42 | I am simply going to
mouse-click on this pink line and
| | 07:45 | I am going to drag it up to about +6.
| | 07:48 | Notice when I drag this up,
the slider also moves as well.
| | 07:52 | So now I am at 6, let's play this
back and listen to it.
| | 07:55 | (audio playing)
| | 07:57 | We're just about there.
| | 07:58 | So we'll try one more time,
mouse-click, drag. We'll go to 8.
| | 08:02 | Let's try that again.
(audio playing)
| | 08:04 | Okay, I think that's acceptable for now.
| | 08:06 | It's definitely averaging a
little bit higher than -12.
| | 08:11 | It's basically about -10 and I could go up
to--I could even bring this up maybe to
| | 08:17 | 9 or even 10. The highest you can go is 12, as
far as raising the volume.
| | 08:22 | There we go. Perfect! So we have adjusted
the volume and we fixed the fact that it was
| | 08:28 | only coming out of the left
side by adjusting the Pan feature.
| | 08:32 | And that is a great feature to have because
you can really solve a lot of issues that
| | 08:37 | new editors will probably overlook.
| | 08:39 | Well, that's one spot to work
on volume here in the viewer.
| | 08:43 | What about down on the Timeline? Well,
the other item that I'd like us to work with is
| | 08:47 | of course this audio track,
the song that we brought in.
| | 08:52 | And before we do that, I'd like you to drag this video
clip, of course with the audio, down to the Timeline.
| | 08:59 | To mouse-click and drag both audio and video,
I think a lot of new editors think they have
| | 09:05 | to click on the Video tab.
| | 09:07 | That brings the video forward and then
you can mouse-click and drag this down.
| | 09:11 | You don't have to do that.
| | 09:12 | In fact, I am going to
undo that by pushing Apple+Z.
| | 09:15 | You can mouse-click back on the Stereo tab
and then mouse-click on the hand up here in
| | 09:20 | the right-hand corner. Mouse-click and drag that
down and that brings both audio and video together.
| | 09:26 | Take a look. See that?
| | 09:27 | Now, if these buttons are broken, in other
words if they'd look like this and you drag
| | 09:32 | that down, you won't get either video or
audio. Or if one of these, let's say both of these
| | 09:38 | audio source destination
buttons have a break in between them,
| | 09:42 | you would only get video.
| | 09:43 | So you'll have to make sure
that these guys are linked.
| | 09:46 | And generally, when you create a new project, they are
always linked, unless inadvertently you unlink them.
| | 09:51 | So now that that clip is
down here on the Timeline,
| | 09:55 | let's bring our song down.
| | 09:56 | So I am going to mouse-click on the song,
drag it from the Browser into the Timeline.
| | 10:01 | And again I want to make sure that you
understand your Cursor Arrow has to point down so that
| | 10:06 | we do not perform an insert edit.
| | 10:08 | If the arrow is pointing to the right,
like that, my cursor, it will perform an insert
| | 10:13 | edit to move that clip all the way to the
end of the song, which I don't want you to do.
| | 10:17 | You have to mouse-click and drag, keep your
finger on the mouse and drag your cursor right
| | 10:20 | below that center divider in that
track and then let your mouse go.
| | 10:25 | Now of course, we know that the playhead
always snaps to the end of the clip, and in this
| | 10:29 | case, it's the end of the song clip.
| | 10:31 | So I have got to go back to the beginning.
And I am going to push the Home key on my
| | 10:35 | keyboard, and that snaps my
playhead back to the very beginning.
| | 10:40 | And now what I am going to do is I'm going to
trim this song; in fact, I am going to cut it.
| | 10:44 | I am going to use the Blade tool
| | 10:46 | over here in the toolbar. I am going to mouse-
click on this Blade tool or push the letter B.
| | 10:50 | And then I am going to park my cursor
right on top of the song right there.
| | 10:54 | See how the blade appears? And then I am going
to mouse-click and I get a little cut there.
| | 10:58 | Now that I've cut this, I am going to put
the blade back by pushing on the arrow key
| | 11:01 | in the toolbar. Then I get my cursor back.
And I'll mouse-click on the rest of the song
| | 11:05 | that I know I am not going to need
and then I'll delete it. There we go.
| | 11:09 | Now I am going to push Shift+Z, and when I do
that, it makes everything fit on the Timeline
| | 11:14 | visually, so I can see it a little bit better.
| | 11:17 | Alrighty. So we have already
worked on the video/audio clip.
| | 11:21 | We worked on the audio
clip up here in the viewer.
| | 11:23 | We really didn't do anything to
the video. We don't need to.
| | 11:26 | But as far as the audio goes of this
song, we have not worked on that yet.
| | 11:30 | And the other way--other than working on the
audio in the viewer--the other way to work
| | 11:36 | with audio is down here on the Timeline.
| | 11:38 | And to do that--I am going to move my Timeline
up and I'll put the VU meters over here now--
| | 11:46 | is if you navigate to the bottom left-hand
side of the Timeline, locate the Clip Overlays
| | 11:50 | button, which is where my cursor is now.
| | 11:53 | If I mouse-click on that,
notice these pink lines appear.
| | 11:57 | Well, the pink lines of
course represent the volume.
| | 12:00 | We learned that earlier in the lesson when
we were working with these pink lines, right?
| | 12:04 | Well, these do the same exact thing.
| | 12:07 | And the idea here, though, is we want to not
only work on this particular audio track, possibly
| | 12:12 | by itself at some point, but we also
want to blend it with this clip up above.
| | 12:17 | And if I were to play my Timeline right
now--which I'll do just to demonstrate.
| | 12:22 | I'll mouse-click on the Play button.
(video playing)
| | 12:27 | Okay, so both tracks are
competing for my ears right now.
| | 12:32 | They're just basically both too loud.
| | 12:33 | The volume over here is way too loud.
| | 12:36 | So we have to work on a few things.
| | 12:38 | One thing you have to understand about audio
is as soon as you start stacking audio layers
| | 12:42 | on top of each other, the overall volume
gets much, much louder. And so you have to pay
| | 12:49 | attention of course to where
you have layers that are stacked.
| | 12:51 | Now we have four layers of audio down here, and we
are going to have to probably adjust all of them.
| | 12:57 | Now I know we learned how to
adjust this up in the viewer.
| | 13:00 | So, down here on the Timeline, let's readjust this
so that it mixes nicely with this audio track.
| | 13:07 | Well, the first thing we have to do is
listen to each track by itself and determine what
| | 13:13 | levels we want while we are either listening to
this and/or make the adjustment incrementally
| | 13:19 | throughout our Timeline. And what I mean by
that is let's start at the beginning and I
| | 13:23 | am going to play this just for a moment or two by
pushing the spacebar on my keyboard.
| | 13:27 | (video playing)
| | 13:28 | Okay, so I probably want the
audio to be low to a certain point.
| | 13:34 | The way to do that is I would navigate over to
my Pen tool, mouse-click on that, and notice
| | 13:39 | how when I park my cursor on top of volume, pink
level bar here in the audio track, it turns to a pen.
| | 13:46 | If I mouse-click, I'll get a keyframe.
| | 13:48 | If I mouse-click again, I'll get another
keyframe. And what I want to do is after I've created
| | 13:53 | the first two--notice how I mirrored
down here because it's a stereo track--
| | 13:57 | I can then mouse-click on the first set of
keyframes and drag this down so that it's much lower.
| | 14:01 | Did you see that? I just dropped it about
-12. Very handy! So I could mouse-click on
| | 14:06 | any one of these keyframes and look how it
mirrors both the left and the right track,
| | 14:10 | because it's a locked stereo pair.
| | 14:13 | So with that down to -12, if I bring my playhead
back to the beginning, now, let's listen to this.
| | 14:18 | (video playing)
| | 14:20 | And then it got louder right at that point.
| | 14:22 | Okay, so that's a good start.
| | 14:24 | So working with keyframes is another way to
adjust volume. And don't forget, you can actually
| | 14:29 | add keyframes up here as well.
| | 14:32 | Actually, you wouldn't forget because I haven't
told you yet, but you can also apply keyframes
| | 14:36 | up here. Notice how my cursor
changes to a Pen tool up here.
| | 14:40 | So you can do that as well.
| | 14:41 | Okay, so let's really determine now where
we want the volume to be, at least at the
| | 14:45 | beginning here. And we are probably going to
get rid of these keyframes; in fact let's
| | 14:48 | do that now: Ctrl+Click on the keyframe and
select Clear, Ctrl+Click on that one, select Clear.
| | 14:55 | All right! So let's just play this back and I
want to mute these first two tracks.
| | 15:00 | So I am going to navigate over here to these
green audio buttons and that mutes the track.
| | 15:05 | And let's listen to this song and let's take a
look at its volume over here in the VU meter bar.
| | 15:12 | (video playing)
| | 15:14 | Okay, so the song by
itself is just way out there.
| | 15:18 | It's just far too loud.
| | 15:19 | So let's get rid of our Pen tool, mouse-click
on the Arrow tool and simply--we are going
| | 15:24 | to have the guess it first.
| | 15:25 | I am going to drop this down to about -12.
| | 15:28 | So when I mouse-click on one
of these, they both adjust.
| | 15:30 | This is the song that I'm adjusting.
| | 15:32 | I'm not adjusting the
audio that's with the video.
| | 15:35 | So let's start back at the
beginning and I'll push Play.
| | 15:37 | Let's listen to the volume.
(video playing)
| | 15:40 | Okay, so that's too low,
which is actually common.
| | 15:41 | We are just trying to fish for a level that
makes sense, so let's go to -7, push the Play.
| | 15:46 | (video playing)
There we go.
| | 15:49 | That's probably about right.
| | 15:50 | Okay, so now that we have the general volume set
of our song down in here, between -12 and -6,
| | 15:59 | let's turn the first two tracks on and let's
listen to both at the same time.
| | 16:04 | (video playing)
| | 16:07 | Not too bad. Not too bad.
| | 16:09 | Okay, so how about this? Right when the
jet ski hits the ramp, let's have the volume turned
| | 16:18 | down all the way up to that point.
| | 16:20 | So take your playhead and park it right at
the spot where he hits the ramp, because the
| | 16:24 | announcer at this event goes a little crazy
when this guy hits the ramp and takes off.
| | 16:30 | So we really don't need to hear anything up
to that point, with regards to the audio that
| | 16:34 | came in with the video.
| | 16:36 | And then we'll actually wrap up the audio,
so that we can here what the announcer says,
| | 16:41 | and then after he talks,
we'll turn that track down.
| | 16:44 | So let's navigate back to our Pen tool, mouse-
click, and simply mouse-click at the spot of where
| | 16:50 | you want the volume to be up at 100%
of the level that you want it to be.
| | 17:01 | Then mouse-click to create
another set and then drag down.
| | 17:04 | So in other words, this whole track up to
this point, as far as audio is concerned,
| | 17:09 | will not be heard up to this
point. Then it will come up.
| | 17:12 | In fact, I am going to mouse-click and drag
this over to the right just a little bit so
| | 17:15 | that it slowly ramps up a little bit
| | 17:17 | as the playhead goes across, then the volume
comes up. And let's listen to that real quick.
| | 17:21 | So I'll mouse-click right here in the
Timecode area so that my playhead snaps to where I
| | 17:25 | want it to, and I'll push
the spacebar. Here we go.
| | 17:28 | (video playing)
| | 17:31 | Very nice! So that's almost going to work.
| | 17:35 | As a matter of fact, all I have to do now
is after I determine where I don't want to
| | 17:38 | hear the announcer, then I'll do
the exact same thing over here.
| | 17:41 | I'll turn the volume down of this audio track.
| | 17:43 | So let's play this again.
(video playing)
| | 17:47 | So maybe right about there I'll stop it,
| | 17:49 | when he hits the water, get my old Pen tool,
and then I'll mouse-click, mouse-click, and
| | 17:56 | then drag this down so that
audio ramps down for this track.
| | 17:59 | Now I'll get rid of the Pen
tool by pushing the letter A.
| | 18:03 | That's the shortcut, and that gets my cursor
back. And I'll park my playhead right before
| | 18:06 | the audio ramps up and let's play it again.
(video playing)
| | 18:11 | Very nice! Now I would say that we would need
to do the opposite to the song down beneath.
| | 18:17 | In other words, let's park our playhead right
before the audio ramps up for this jump video clip.
| | 18:25 | Let's get our Pen tool.
Click on the pen or push the letter P.
| | 18:29 | That's the shortcut for the Pen tool, mouse-click,
mouse-click and we are going to mirror these
| | 18:34 | keyframes up above.
Mouse-click, mouse-click on the pink line.
| | 18:38 | Let's get rid of our Pen tool by clicking
on the arrow in the toolbar, and now I can
| | 18:43 | mouse-click and I can adjust the volume right
at the spot where we want to hear the announcer,
| | 18:48 | and I am going to bring it down
to about minus--let's go to -15.
| | 18:52 | Now let's play. Let's park the playhead and
play this back and listen to it.
| | 18:55 | (video playing)
| | 18:59 | Ah! Now did you hear what happened?
That actually worked out quite nicely.
| | 19:02 | The volume of the song goes down here while
we hear the announcer at this spot, which
| | 19:07 | now both music tracks complement each other,
and that's how you work with multiple audio
| | 19:13 | tracks down on the Timeline.
| | 19:15 | Remember, up in the viewer, we worked on a
single stereo track--and actually, in our case
| | 19:19 | it was a mono track--and then
we worked on audio down here.
| | 19:25 | Now don't forget at the end here--
| | 19:26 | let's mouse-click on this little
bar here to navigate to the end--
| | 19:29 | We want the volume to fade down.
| | 19:31 | So we can mouse-click on our Pen tool and then
we can create our keyframes by mouse-clicking
| | 19:36 | there, mouse-clicking there, and then mouse-
click and drag so that the volume goes down. And
| | 19:42 | the volume is already down here, and actually
what we would probably do is we would continue
| | 19:46 | to build our Timeline and the song would just
simply continue. And we would only do this at the end.
| | 19:52 | We would only fade the music down at the very
end so that the audio fades down with the video.
| | 19:58 | Well, that's how you do the basics with audio,
and of course as we continue on with editing
| | 20:04 | with video in a later lesson,
| | 20:05 | we are going to actually add a few more
things, as far as working with audio and video in
| | 20:10 | a later lesson. But let's
move on to the next lesson.
| | 20:15 |
| | Collapse this transcript |
| Logging, capturing, and batch capturing| 00:01 | So in this lesson I'd like to teach you how to
capture video into your Final Cut Pro project.
| | 00:06 | So before we begin though, I'd like
you to close any project that's open.
| | 00:10 | So navigate up into the Browser and locate a
project folder, and then I want you to push
| | 00:15 | the Ctrl key down, keep your finger down,
and then mouse-click on the Project tab, which
| | 00:19 | is where my cursor is now,
and then select Close Tab.
| | 00:23 | That closes that project and
closes any project that might be open.
| | 00:27 | Then I'll need you to navigate up to the word
Final Cut Pro and mouse-click and select Easy Setup.
| | 00:32 | And I'd like you to make sure that the Setup
For, mouse-click on that and select DV-NTSC.
| | 00:37 | Most of you are going to be using this as
your codec to work with, and codec stands
| | 00:41 | for compression-decompression.
| | 00:42 | However, some of you may be using
HDV, 108i60 if that's the case. Select that.
| | 00:49 | Now, what if you're using DV widescreen or
DV 16:9. That's not on this list, is it? In
| | 00:55 | fact, there are a lot of
things that are not on this list.
| | 00:58 | If you don't see the item that you're working
with, such as DV 16:9, well, then you're going
| | 01:05 | to have to mouse-click on the Show All, then click
again on this button, and whoa, look at this list.
| | 01:11 | You're going to have to do some digging.
| | 01:13 | So if you're shooting DV 16:9, that is actually called
DV-NTSC Anamorphic, and that is right in the center.
| | 01:23 | See that? DV-NTSC Anamorphic and there's a
lot of options there. And like I said, you're
| | 01:29 | going to have to do some
searching, but there it is.
| | 01:32 | So if you are shooting DV
16:9, great; select that.
| | 01:36 | But for this lesson I am
going to select DV-NTSC.
| | 01:38 | So I am going to uncheck Show All, and I am
going to mouse-click on this and select DV-NTSC.
| | 01:45 | Then I will mouse-click on Setup
and then I will create a new project.
| | 01:49 | So I'll navigate up to the word File, select
New Project, and boom: just like that, this
| | 01:54 | entire project is set out for DV, to be captured, to be
edited, and to be rendered in, and that's how it works.
| | 02:01 | When you select one of those items--let's
say you selected HDV--then when you create
| | 02:05 | a new project after you do your Easy
Setup, the entire project is ready for HDV.
| | 02:11 | That's a great step,
and do not forget to do that.
| | 02:14 | So now let's save our project.
| | 02:15 | Navigate up to the word File, mouse-click
and select Save Project As. And I want you
| | 02:19 | to mouse-click on the desktop right here on the
left-hand side and then select your Project folder.
| | 02:25 | Now, this is a Project folder that you
learned how to create in the Lesson 2 training, and
| | 02:33 | I taught you how to create this
folder before you do anything.
| | 02:36 | So if you didn't watch that
lesson, go back and watch it.
| | 02:39 | So select your Project folder.
| | 02:41 | Let's give our project a name.
Let's just call this Capturing.
| | 02:47 | And then navigate down to the bottom right-
hand side and select Save. One last thing:
| | 02:51 | you have to set your scratch disk location.
| | 02:54 | So navigate back up to the word Final Cut
Pro, select System Settings, mouse-click on
| | 03:00 | Set. And even though I know it's over here,
I want you to get in the habit of selecting
| | 03:05 | the proper location, or hard drive for that
matter, and then going through the path of
| | 03:10 | clicking on the right folder.
| | 03:11 | So we're going to select our Project folder
that's sitting on our desktop, and then we're
| | 03:16 | going to select Choose. And then we'll
mouse-click on the OK option, just like that.
| | 03:21 | Well, once that's done,
we're really ready to go.
| | 03:24 | So then navigate up to the word File,
mouse-click, and select Log and Capture.
| | 03:28 | The shortcut is Command+8 or Apple+8.
And then the Log and Capture window opens.
| | 03:34 | Now, there are a couple of
things I want you to take note of.
| | 03:36 | Number one, Preview Disabled is
normal, so don't worry about that.
| | 03:40 | Number two, you may not see VTR OK,
and there are reasons for that.
| | 03:45 | Either A, your VCR is not hooked up or turned.
| | 03:50 | Number two, you may not
even be using a VCR or VTR.
| | 03:53 | You might be using one of those little converter boxes,
like Canopus makes one, that just transfers video to DV.
| | 04:00 | Then you may see something
like this. Take a look.
| | 04:02 | I am going to navigate up to the Capture Settings tab,
mouse-click on Device Control > Non-Controllable Device.
| | 04:09 | Some of you may be seeing this, which is okay
only if you're using one of those converter boxes.
| | 04:17 | Because for those of you that are using
converter boxes, you can only utilize a feature called
| | 04:22 | Capture Now, where you basically reach over
and push Play on your VCR and the video signal
| | 04:28 | goes through this box and into your
computer via the FireWire connection.
| | 04:34 | So I'll get back to that part of this lesson for
those of you that are doing that in just a moment.
| | 04:39 | So I am going to navigate back up to Device
Control, under the Capture Settings tab, and
| | 04:43 | I am going to select FireWire NTSC. And I
am going to come back to the Logging tab,
| | 04:49 | take a look at that.
| | 04:49 | And I want to work my way down here for
just a moment in the Logging tab, and then I'll
| | 04:53 | talk about this side.
| | 04:55 | So this side of the Log and Capture window is
where we set all our settings for our capturing.
| | 05:04 | If you look at this Real
option, that represents the tape.
| | 05:07 | So I'd like you to click in that box once
and type in "Tape 01" or the name of your tape.
| | 05:15 | Then you might want to get in the habit of
typing in the Description here of the scene
| | 05:21 | or scenes that you're going to capture.
| | 05:23 | So I happen to know that we're going to be
capturing mountain biking scenes, so I'll
| | 05:28 | type in Mountain Bike scenes.
| | 05:36 | So with that, then I'll mouse-click down in--
well, I could add a Scene information or
| | 05:42 | a Shot/Take information or Angle.
| | 05:44 | I mean, there is a lot of options here
to add more information to your clips.
| | 05:49 | So now we want to make sure we click on the
Clip Settings tab and make sure Video is checked
| | 05:54 | and make sure Audio is checked.
| | 05:56 | Then click on the Logging tab one more
time. And make sure Prompt is also checked.
| | 06:02 | Now, over here we have VCR controls and we
have a Timecode In and a Timecode Out window.
| | 06:11 | We can mark our in point by pushing play.
| | 06:14 | There we go! And it illuminates.
| | 06:17 | The VCR queues up and plays. And I can pause it
right where I want to mark my first In point.
| | 06:23 | Now, before you do that though, I'll need
you to take a quick look at what you have
| | 06:27 | going on up here, and that is
this; Total Free Space 48.5 GBs.
| | 06:33 | And how much time will I get? 217 minutes
based on what we selected in the Easy Setup.
| | 06:40 | So you get about 4.5 minutes per gig for DV,
and that's what we're working with.
| | 06:45 | So we've got--at least I have 48 GBs and
that represents well over 200 minutes of space.
| | 06:52 | So then I can mark an in point by mouse-
clicking on this mark In point button there and you'll
| | 06:56 | see timecode appear.
| | 06:57 | Then I will mouse-click on the Play.
| | 06:58 | As soon as he gets to the bottom, or at least as
soon as I decide where I want to stop capturing,
| | 07:04 | then I'll mouse-click on the Play button one more
time to stop it. And then I'll mark an out point.
| | 07:10 | Now, the reason why I stop it is, what if
I didn't want to mark this point as my out
| | 07:15 | point? What if I wanted to go a little bit
further or go backwards and then mark my out
| | 07:21 | point. Well, there's a shuttle control here.
| | 07:22 | So I can mouse-click and slowly drag this
to the right, and I could keep going. Let's
| | 07:28 | say, I wanted right there to be my out point.
Then I can simply mouse-click on the out point again.
| | 07:34 | It updates it to the new out point.
| | 07:36 | So I can do the same for the in point as well.
| | 07:38 | I can shuttle using this or I can use the
J,K, L keys on my keyboard. That's right.
| | 07:43 | If you look at your keyboard,
there is a J, a K, and an L.
| | 07:47 | If I push J, the tape goes backwards--see
how it's going backwards?--or K to pause, or
| | 07:52 | L to play forward.
| | 07:54 | Now, I can push J real quickly twice and it
goes quickly in reverse--and I'll pause it
| | 08:01 | by pushing the letter K--or I can push L quickly
twice and it plays it much faster going forward.
| | 08:07 | Now, you're going to notice that
some VCRs are faster than others.
| | 08:12 | For instance, I am using a
dedicated DV VCR. I am not using a camera.
| | 08:16 | A lot of cameras lag because their
transport controls are just smaller and slower.
| | 08:24 | So cameras tend to be a little bit
slower when you're using a camera as a VCR.
| | 08:28 | That's okay though, but I
just want you to be aware of
| | 08:30 | you're going to get different performances out of
different levels of, I'll just call them VTR devices.
| | 08:37 | So with that said, one last thing I want you to
take note of are these two timecode windows up here.
| | 08:42 | These two windows represent, or at least this
window here, represents the duration between
| | 08:47 | the in and the out point that I made. And this
is actually where the tape is parked in my VCR.
| | 08:55 | So that's good to know between those two.
| | 08:58 | So with that said, with an in point and an
out point, if I wanted to capture just this
| | 09:03 | clip between the in and the out, I could mouse-
click on Capture Clip right here. And if I push
| | 09:09 | it--I am not going to do it now, but if I
push it, Final Cut Pro would rewind the VCR
| | 09:13 | and capture from this timecode point and
stop capturing to this timecode point, which is
| | 09:19 | roughly almost 12 seconds.
| | 09:21 | Or I can log this clip into my browser and create
what we call a batch capture list of several clips.
| | 09:29 | Let's do that.
| | 09:30 | If I want to do that, then I mouse-click on
the Log Clip button and then I'll get a name
| | 09:35 | here, and it's the name
that I typed in right here.
| | 09:38 | Now all I have to do, since I know that most
of my footage is--at least at this point in
| | 09:42 | the tape--is mountain-biking scenes,
| | 09:44 | I'll just add 01 and then I'll
mouse-click on the OK button.
| | 09:49 | When I do this, look what
happens over here in my browser.
| | 09:51 | Now, I haven't captured this clip. All I've
done is marked a spot on the tape for the
| | 09:59 | in point and for the out point.
| | 10:01 | So that's all I've done.
I haven't captured anything.
| | 10:03 | That's why this red slash is there.
| | 10:05 | Once I capture the clips,
then those red slashes go away.
| | 10:09 | So let's try that again.
| | 10:10 | I am going to mouse-click on the play button.
| | 10:12 | This time I am going to
use the I and the O key.
| | 10:15 | So I will pause the VCR with my spacebar.
| | 10:18 | I am going to use the J, K, L, and
the I and the O to do everything.
| | 10:21 | So I'll push the L key on my keyboard.
| | 10:23 | I'll pause it by pushing the K.
| | 10:25 | I'll push the I key to mark an in point.
Notice it's updated.
| | 10:28 | I'll push the L key to play. And I
can mark an out point as it's going,
| | 10:34 | so I'll mark it right now, boom!
Then I'll pause it with the spacebar.
| | 10:39 | So I marked an out point
by pushing the letter O.
| | 10:42 | So I am utilizing just my keyboard now.
| | 10:44 | I marked an in point and an out point with the I and
the O keys, and then I paused it with my spacebar.
| | 10:50 | And then, if I want, I can
either push F2 or Log Clip.
| | 10:54 | I am going to push F2 and
look what Final Cut Pro did:
| | 10:58 | it kept the name and just added a new number.
| | 11:02 | Incrementally it moved up.
So I'll mouse-click on the OK button.
| | 11:04 | Very good! So now I have a couple of clips
here and I want you to practice marking in
| | 11:08 | and out points on your tape.
| | 11:11 | And you're going to begin to
create a list, a batch capture list.
| | 11:13 | Now, after you've created your list, you can
capture all of these and you could actually
| | 11:19 | walk away and go take a coffee break or return
phone calls or something. But after you create
| | 11:23 | your batch capture list, navigate over to
the bottom right-hand side of your Log and
| | 11:27 | Capture window and mouse-
click on the Batch option.
| | 11:29 | And you're going to get some
options here in this button selection.
| | 11:33 | If you mouse-click on the corner there,
you'll have sometimes up to three.
| | 11:37 | And all you have to do is read the options.
| | 11:40 | Do I want to capture all the items? Yes.
| | 11:43 | Do I want to capture the selected items?
Maybe not; I only have one item selected.
| | 11:48 | So you definitely want to go through this
and make sure you're selecting the right item.
| | 11:51 | Everything else is just a summary.
| | 11:53 | In other words, you can add a handle
by checking this or unchecking it.
| | 11:57 | If you check it, type in 1 second and you'll
get 1 second before the in point and 1 second
| | 12:02 | after the out point,
captured along with your clip.
| | 12:05 | I am going to uncheck this.
| | 12:06 | And then down here is just a summary of
what we've selected for a capture preset.
| | 12:11 | Then even further down, Total Media Time,
19 seconds, Total Space needed for that is
| | 12:19 | only 85 MB, out of 47 gigs.
| | 12:23 | So then you would hit the OK button.
| | 12:25 | Now, I am not going to hit OK because I
want to show you the other ways to capture, but
| | 12:29 | once you hit OK, another window will appear.
Just hit the Continue button and then Final
| | 12:34 | Cut Pro will rewind the deck
and go capture all these clips.
| | 12:37 | Now, I am going to hit Cancel. And by the
way, after you've captured the clips, those
| | 12:41 | red slashes go away.
| | 12:43 | I want to show you another way to capture
footage, and it's actually pretty easy.
| | 12:46 | And actually, sometimes error messages will
come up, such as you're using the wrong sample
| | 12:52 | rate or the wrong sample rate
is coming in on your Timeline.
| | 12:55 | That's not a big deal.
| | 12:57 | Just hit the OK button or Continue.
Final Cut Pro will take care of that when you drop
| | 13:00 | it on the Timeline. And I will try to explain it
to you as we go along here, if I get it. I might get it.
| | 13:05 | So the other way that's real easy to
capture is capturing on the fly, and this is only
| | 13:12 | done if you have VCR controls.
| | 13:14 | So for instance, I could do the following.
| | 13:16 | I could just simply mouse-click on
the Play button and hit Capture Now.
| | 13:21 | And boom, Final Cut Pro is capturing.
| | 13:23 | I didn't have to mark an in point.
| | 13:25 | This is just capturing on the fly.
| | 13:26 | So I'll hit the Escape key when I
want to stop, and let's see what happens.
| | 13:29 | I might get that error message. There it is.
| | 13:31 | Perfect! I want to talk to you about this.
| | 13:33 | The audio sample rate of my captured media
does not match the sample rate of my project
| | 13:38 | or my source tape. That's okay.
| | 13:40 | That basically means that the camera I used
was set either at 12 bit, which is really
| | 13:48 | 12 bit and 32K are the same, or it was set
at 16-bit, and 16-bit is the same as 48K,
| | 13:57 | and either one of those settings
don't match my project settings.
| | 14:01 | So my project might be set at 16 in the
Project Settings, but my camera may have been set
| | 14:06 | up at 12, and I believe all
consumer cameras default to 12.
| | 14:12 | When you create a new project using
DV, your project will default to 16.
| | 14:17 | So there is an easy way to fix that: either just
keep working and you're fine--don't worry about it--
| | 14:21 | or go into the menu settings of your camera
and change the audio sample rate to 16-bit/48K.
| | 14:29 | Try to remember that and then
you won't have to worry about this.
| | 14:32 | So I wanted that to come up,
because I wanted you to see this is not a big deal.
| | 14:35 | So I am going to hit OK.
| | 14:37 | And look: it actually captured the clip.
| | 14:39 | There is no slash through it.
| | 14:40 | Remember, we didn't, or at least I didn't
capture these first two clips, but this is
| | 14:43 | what it looks like when you capture a
clip compared to one that you have not.
| | 14:47 | Last, but not least, for those of you that
are not using a DV device and you're using
| | 14:53 | one of those Canopus encoder transfer units,
well, then you won't have any of these VCR
| | 15:01 | control, will you? So let's navigate over
here to the Capture Settings tab and I am
| | 15:05 | going to take the Device Control setting out
of FireWire NTSC and select Non-Controllable
| | 15:10 | Device. And then you guys will
probably have the same setup here.
| | 15:14 | Well, really, what I have to do now at this
point is I can continue to put in a name for
| | 15:21 | my scene, but I do have to reach over and
hit the Play button on my VCR and then I hit
| | 15:28 | Capture Now, and now I am capturing.
| | 15:33 | It's a little manual-intensive.
| | 15:35 | So when I am done capturing now,
you have to push the Escape key.
| | 15:37 | I am going to get that error
message again, which is okay.
| | 15:41 | Then I have to reach over and hit the Stop
button on the VCR, and then I mouse-click
| | 15:46 | on the OK button and that
clip came in. There it is.
| | 15:49 | And then you in Final Cut Pro
renamed it to Mountain Bikes scenes 04.
| | 15:55 | So that's how that works.
| | 15:57 | So those are the popular ways to capture
footage, and I'd like you to practice that of course,
| | 16:02 | getting any one of those methods down.
| | 16:04 | And I am going to change this back, in
the Clip Settings, back to FireWire.
| | 16:08 | There we go, so I get my control back.
And that's about it.
| | 16:11 | Now, after you've captured all of
your clips, then you can begin editing.
| | 16:15 | You can drag these clips down in
the Timeline and so on and so forth.
| | 16:19 | So we're done with this lesson.
Let's move on to the next lesson.
| | 16:25 |
| | Collapse this transcript |
| Basic editing techniques| 00:01 | Okay. So let's talk about basic editing
techniques within Final Cut Pro. As a matter of fact
| | 00:05 | I am going to show you.
| | 00:06 | I am going to show you how to place your clips
from left to right down here on the Timeline
| | 00:11 | to basically create a rough cut.
| | 00:14 | I'll show you how to get them from the browser
to the Timeline and how to get them from the
| | 00:18 | viewer down to the Timeline.
| | 00:20 | Then I'll also show you
how to rearrange your clips.
| | 00:23 | I'll show you how to do some basic trimming
so that you can actually get something done
| | 00:26 | by the end of this lesson.
| | 00:28 | So first things first:
| | 00:29 | I'll need you to create a brand-new project.
And I have already done this, so you will
| | 00:34 | need to create a brand-new project by navigating up
to the word File, mouse-click, and select New Project.
| | 00:40 | When you do that, you will get an untitled
project. Then I'll need you to save that project
| | 00:44 | as Sports Video and you will
need to name it Sports Videos.
| | 00:47 | So then you will need to go back up to the word
File, mouse-click, and select Save Project As.
| | 00:52 | Type in the name Sports Video and save it, if
you want, in your project folder on your desktop,
| | 00:58 | so you have a future access to this exact
lesson that you're working on for whatever
| | 01:02 | reason. If you want to continue to practice
after this lesson, or if you need to pause
| | 01:05 | this lesson and come back to it later, at
least it will still be there for you, okay?
| | 01:10 | So once you've done that, then I'll need
you to import some files into this project.
| | 01:15 | So click on your browser, if you haven't
already done that to activate it. Then navigate up
| | 01:20 | to the word File, mouse-click, and select
Import Folder--not Files, select Import Folder.
| | 01:27 | Then click on the desktop icon over here on the left
and then click once on the Training Media folder.
| | 01:32 | That should be on your desktop. Then click
once on the Sports Clips folder. And of course
| | 01:38 | all the files in the Sports Clips folder are
grayed out because we are importing the entire folder.
| | 01:44 | Then navigate down to the Choose button, way
down here on the bottom-right, and click on that.
| | 01:49 | Once you've done that, Final Cut Pro will
import the folder, now otherwise known as a bin.
| | 01:55 | So click on the triangle once to the left of
the folder and that will reveal the contents
| | 01:59 | of the folder and as you can
see here, there are several clips.
| | 02:01 | As a matter of fact, I am going to zoom in,
to show you that a little filmstrip is what
| | 02:07 | the icon will be when it represents video.
And just to the right of the filmstrip is
| | 02:12 | the name of that clip, and further to the
right are columns of information. As a matter of
| | 02:19 | fact, this first one is the
Duration column. Pretty handy!
| | 02:22 | Now there are additional
columns that are more or less hidden.
| | 02:25 | You will need to drag your mouse down to the
blue button/navigation bar, mouse-click on
| | 02:31 | that and slowly drag it to the right.
And you'll see those columns are sliding by.
| | 02:37 | I'd like you to take a quick look at three
columns: the Frame Size column, the Video
| | 02:43 | Rate column, and the Compressor column.
| | 02:46 | The reason why I want you to take a look at
this is because if you're working with DV,
| | 02:51 | all DV and nothing but DV, which most of
you are, you will need to confirm a couple of
| | 02:57 | things. Number one, the resolution of course.
| | 02:59 | That's pretty straightforward, 720x480.
But it's also nice to confirm the Timeline resolution
| | 03:05 | because you are going to be taking these
clips and getting them down to the Timeline.
| | 03:09 | So the resolution of the clips should match the
resolution of the Timeline, which in my case it does.
| | 03:15 | Now if it doesn't, don't worry about it.
| | 03:18 | Sometimes, if not a lot of times in the future, you
are going to have different types of video clips.
| | 03:23 | You are going to have graphics and things
that won't be the exact same resolution, and
| | 03:27 | File Cut Pro can generally help you
out and take care of most of that.
| | 03:30 | However, it is nice to know that when you
are working with all DV, that the resolution
| | 03:35 | of the DV file matches the
sequence. Less rendering.
| | 03:40 | The Video Frame Rate, 29.97, okay, that's fine
and the Compressor is DV/DVCPRO.
| | 03:46 | So everything matches here.
| | 03:48 | We are good to go.
| | 03:50 | There are additional
columns that aren't being shown.
| | 03:53 | If you mouse-click on this
navigation bar, you'll see them.
| | 03:56 | In fact, I'd like you to drag this all the
way to the left real quick, so that you see
| | 04:00 | the Duration column.
| | 04:02 | And I want to show you something real quick.
| | 04:04 | You can reveal more columns, or you can
delete columns if you want, by simply pushing the
| | 04:09 | Ctrl key down, mouse-click at the top of the
Duration column, and select Show Thumbnail.
| | 04:17 | It might be kind of hard to find. And when you
do that, you will get a thumbnail icon that
| | 04:22 | helps you see what the clip contains.
| | 04:25 | As a matter of fact, if you mouse-click in
the thumbnail icon, mouse-click, you will
| | 04:31 | see a red box appear. Keep your finger down
on the mouse and drag your mouse to the right,
| | 04:34 | and look what you can do.
| | 04:36 | You can actually scrub through the video.
How cool is that? That'll really help you
| | 04:42 | see what the clip contains.
| | 04:44 | I am going to mouse-click through several of
these, mouse-click and drag, and I can drag
| | 04:48 | left or drag right. So, real handy.
| | 04:50 | As a matter of fact, what if you want to get
rid of one of these columns? Well, go right
| | 04:55 | back to the top of the column that you want
to get rid of, push the Ctrl key down, and
| | 04:59 | then mouse-click. Keep both
fingers down and select Hide Column.
| | 05:03 | Then that column goes away.
| | 05:04 | So there's a handy little feature for you.
| | 05:06 | All right! So let's continue on
with our basic editing techniques.
| | 05:10 | So what I'd like you to do now is double-click
on this first clip here. Double-click on the
| | 05:14 | icon so that it appears in the viewer.
And the viewer of course is going to reveal the
| | 05:20 | video because the Video tab is here in the
front, but what if this video had audio? Well,
| | 05:25 | let's--if you look at the tab here, it
shows that yes, there is audio with the Viewer.
| | 05:31 | You can mouse-click in the viewer
that's connected to this video.
| | 05:34 | If you click on the Stereo tab, you'll see
that yes in fact there is audio and there
| | 05:39 | is a file here that
represents audio that came in.
| | 05:40 | So that's good to know.
| | 05:43 | And beyond that, you might want to take a
look of course the entire portion of the viewer
| | 05:47 | reveals the video content. And this filmstrip
represents the very, very beginning, the very
| | 05:52 | first frame of this clip.
| | 05:54 | Now, this Timecode window
represents the duration.
| | 05:58 | In this case, it's 10 seconds and nine frames.
| | 06:00 | It's the duration of this clip.
| | 06:03 | The other Timecode window, which is over to the right,
right over here, represents where the playhead is,
| | 06:10 | down below, right over here, where the
playhead is, as you play across this, I'll call it
| | 06:15 | a miniature Timeline that
represents this video clip.
| | 06:19 | So let's take a look at that.
| | 06:21 | So if I mouse-click on the Play
button, notice its timecode is rolling.
| | 06:25 | If I mouse-click on it again, right about
when it gets to the middle, right about there,
| | 06:29 | we are at five seconds and 10 frames.
| | 06:31 | We are about halfway
through this clip. Very nice!
| | 06:34 | Notice this playhead here.
| | 06:36 | If I mouse-click, I can drag to the left or
| | 06:39 | I can drag to the right,
and I can also hear the audio.
| | 06:43 | That's called audio scrubbing.
| | 06:45 | So if you want to turn that feature on, if
you don't hear audio, navigate up to the word
| | 06:49 | View here at the top menu and
make sure Audio Scrubbing is checked.
| | 06:52 | If it's not, simply select it.
| | 06:55 | If it is checked, then don't select
it again, because you will turn it off.
| | 06:58 | Okay, so with that said, we need to
determine one of the very, very first steps that an
| | 07:02 | editor will do when they want to work on a
video in the viewer or a video clip or an
| | 07:07 | audio clip, for that matter, is they will mouse
click on the playhead and they will drag it
| | 07:12 | to a spot where they want
to mark a new in point. Let's do that now.
| | 07:16 | So I am going to park the playhead right
about here, just arbitrarily drag it in, and mark
| | 07:21 | a new in point by clicking on
this Mark In button, right here.
| | 07:24 | When you do that, when you click on that,
you will see here two black triangles or arrows
| | 07:29 | will appear indicating that
you've marked an in point.
| | 07:33 | Now, if you change your mind, if you don't
want that to be the in point, well, then you
| | 07:38 | can do one of the following. You can either
hit Play, the Play button here and then hit
| | 07:43 | it again to stop it and then mouse-click to
create a new in point, and then of course it
| | 07:47 | updates the in point. Or you can simply
click here in the gray or white area.
| | 07:52 | For instance, if I want to change my in
point and maybe make it go over here, I'll mouse-
| | 07:57 | click once so that the playhead snaps to
that position and I can mouse-click on the
| | 08:01 | Mark In button and it updates the in point.
| | 08:04 | Now once you have done that, let's find
out where we want the out point to be.
| | 08:07 | So I am going to mouse
click on the Play button.
| | 08:09 | It will play the video and right when this guy
lands on the water, maybe a couple of bounces,
| | 08:15 | I'll mouse-click on the play
button again to stop the video.
| | 08:19 | Then I can mark an out point by
clicking on this button right here. Boom!
| | 08:23 | So I have an in point and I have an out point.
| | 08:26 | And now my duration has changed. Look, it's seven
seconds 10 frames; before it was just over 10 seconds.
| | 08:32 | Now that doesn't mean that I don't have access to
any of the footage that I am not going to use.
| | 08:37 | As a matter of fact, I could, if I want, I could
mouse-click on either the in or the out point.
| | 08:42 | Let's do it on the in point.
| | 08:43 | I can mouse-click on the in point and drag it to a
new location, if I want as well, which is pretty handy.
| | 08:48 | Well, once I have decided on the in point
and the out point, then I could simply mouse-
| | 08:54 | click on the clip and look what I get when I
mouse-click and keep my finger down on the
| | 08:57 | mouse: I get a little icon.
| | 08:59 | I can drag the clip, down to
the Timeline, and look what I get.
| | 09:02 | I get these either a hollowed-out gray
outline box or a solid box. And both of those have
| | 09:10 | distinct differences.
| | 09:12 | First of all, I am going to
slightly move my mouse up.
| | 09:14 | Now I am parked on V1.
| | 09:16 | See, I am on the first track in the Timeline.
| | 09:19 | Notice that when my mouse is up, the arrow
points to the right and I get an outline box.
| | 09:26 | Notice when I drag the mouse slightly lower,
the box turns solid and the arrow points down.
| | 09:33 | Well, both indicate a different edit that
will make a lot of difference later on.
| | 09:37 | So let me explain this to you.
| | 09:39 | When the arrow points down and the box
is solid, that's an overwrite edit.
| | 09:44 | If I move my mouse slightly up within that
V1 track, the arrow points to the right and
| | 09:49 | now it's a gray outline.
| | 09:51 | That indicates an Insert Edit.
| | 09:53 | If there were any clips to the right, it would move
them all down, if there were clips to the right.
| | 10:00 | If there were no clips and I was simply
going to park my clip on top of another clip, it
| | 10:05 | would just cover it. More on that later.
| | 10:09 | For now, I want you to drag that clip from
the viewer down to the first video track on
| | 10:13 | the Timeline and let your
mouse go, just like that.
| | 10:17 | Now notice a couple of things just happened.
| | 10:20 | Not only do we drag the clip down to the first
track of video down on the Timeline, but the
| | 10:25 | playhead appeared and snapped to the very
end and now we can see the very last frame
| | 10:31 | of that clip up here in the Canvas window.
| | 10:34 | As a matter of fact, you will probably see
this kind of purple bluish bar over here that
| | 10:38 | represents the last frame on
the last clip in the Timeline.
| | 10:44 | And if I mouse-click on this playhead right up here
in the yellow area, I could also scrub this video.
| | 10:49 | That's pretty handy.
| | 10:52 | So after you bring the clip down to the Timeline,
after you bring it down to track 1, I'd like
| | 10:56 | you to move the clip.
| | 10:58 | So, the way you move a clip is you navigate
to the center part of the clip, mouse-click,
| | 11:03 | and drag to the right or drag to the left.
| | 11:06 | I'd like you to mouse-click and drag this
clip to the left and park it right up against
| | 11:10 | the edge there, so that there is no gap.
And our first clip of course extends out to about
| | 11:17 | the five, maybe actually about
the seven second mark. There we go.
| | 11:21 | And then I want you to mouse-click on your
playhead and drag it to the end, or you can
| | 11:25 | hit the End key on your keyboard and that'll
make the playhead go to the end of this clip.
| | 11:30 | Now if you're working on an Apple laptop computer,
you will not have an End key on your keyboard.
| | 11:36 | As a matter of fact, I'll talk
about the End key and the Home key.
| | 11:40 | If I push the Home key, the playhead will go
to the beginning of the Timeline, no matter
| | 11:43 | how many clips there are.
| | 11:45 | If I push the End key, the playhead will
snap to the end, the very last frame of all the
| | 11:50 | clips on the Timeline,
whether there is 1 or 100.
| | 11:53 | On a laptop, you don't have Home or End.
| | 11:56 | You will have to push Fn key, which is in the
bottom-left, and the right arrow or the left arrow.
| | 12:03 | So if you push Fn+Right Arrow, that's the equivalent
of moving the playhead to the end; it'll do that.
| | 12:09 | Or if you push Fn+Left Arrow, that'll push, or
that will take the playhead to the beginning
| | 12:14 | just like the Home key would do.
| | 12:16 | So there you have it.
| | 12:16 | There is a little shortcut for you, for those of
you who are working on a laptop, Apple laptop.
| | 12:20 | All right! So, we marked an in point, we
marked an out point on that clip, and we dragged it
| | 12:25 | down on the Timeline.
| | 12:27 | What about simply dragging a clip from the browser
straight to the Timeline? Well, we can do that too.
| | 12:32 | Mouse-click on the Mountain bike 02 clip,
which is the second clip, mouse-click and
| | 12:37 | simply drag it, you will get the same gray, either
the highlight of that border or the solid gray.
| | 12:46 | And I want you to get in the habit of when
you drag the clip down, paying attention to
| | 12:50 | your cursor, whether it's pointing right or
pointing down, because that's going to make
| | 12:54 | a difference here in a moment,
and I'll show you what that does.
| | 12:57 | So for now, I'll make sure that arrow is
pointing down, then let your mouse go, and then you
| | 13:01 | will see a clip here.
| | 13:02 | Okay, so I am going to point out a
couple of things here real quick.
| | 13:05 | I am going to park my playhead right at the
beginning of that clip and I am going to zoom
| | 13:09 | in, and I want to show you that every track--
| | 13:12 | this happens to be V1--has a centerline.
See this centerline here? This is in V1.
| | 13:18 | When you drag a clip down to this track and
your cursor is beneath this centerline, the
| | 13:25 | arrow will point down; your
cursor arrow will point down.
| | 13:29 | When it's above that line, it will point
to the right, indicating an insert edit.
| | 13:34 | So what I am going to do for this next clip
is I want you to pay attention to that as
| | 13:37 | I drag it down, because I am going to have
you mouse-click and drag this clip and bump
| | 13:42 | it up against the first clip,
just like that. See that?
| | 13:46 | And then I am going to mouse-click and drag
the playhead to the end so that I know it's
| | 13:49 | at the end, and before I drag the next clip
down, I want to show you how to trim down
| | 13:55 | here on the Timeline, like we trimmed up here.
| | 13:58 | It's done a little
differently though here on the Timeline.
| | 14:01 | So if you parked your playhead right at the
end of this first clip--this is called the
| | 14:06 | tail of clip--when you parked your playhead at the
end, look how it changes to a double-flat arrow.
| | 14:11 | If you mouse-click and drag to
the left, I'm not moving the clip;
| | 14:15 | I'm actually shortening it.
| | 14:16 | I'm trimming it. And then I'll let it go
and then it snaps to the new position.
| | 14:21 | This is where the clip
originally ended right here,
| | 14:24 | but I trimmed out a little bit.
| | 14:26 | As a matter of fact, when you mouse-click
and drag, you'll see there's a new Duration
| | 14:30 | window there, and it also shows you what
you're trimming as you do it. Take a look.
| | 14:34 | I am going to mouse-click right on the tail of the
clip and drag, and that yellow box shows me -17.
| | 14:40 | I'm trimming 17 frames off
and the new duration is 720.
| | 14:46 | When you let the mouse go,
you've trimmed that much footage off.
| | 14:49 | Let's try it at the beginning as well.
| | 14:50 | I'm going to mouse-click at the beginning
here, which is called the head of the clip,
| | 14:54 | and notice, if you get this highlighted area,
mouse-click out here in the open gray area to deselect that.
| | 15:01 | When I drag my cursor down, I want to make
sure my cursor is slightly on the clip that
| | 15:07 | I want to trim, it's not off to
the--well, it's not on the left clip;
| | 15:11 | I want trim this clip on the right.
| | 15:12 | So it's slightly to the right
of where these two clips meet.
| | 15:16 | So I am going to mouse-click
and drag and look how I can trim.
| | 15:21 | When I let the mouse go, I have trimmed off
this much of that clip. Pretty straightforward.
| | 15:26 | Now as you're trimming--I'll mouse-click and
I'll trim the head--as I am trimming, look
| | 15:31 | at what shows up, up
above in the Canvas window.
| | 15:34 | If I let my mouse go right now, I would've
trimmed this clip up to that point, up in
| | 15:39 | the Canvas window, that
point in time on the video clip.
| | 15:42 | So I'll let the mouse go and I have trimmed it.
| | 15:44 | So you may want to practice trimming a
little bit, just to get the hang of what the mouse
| | 15:48 | feels like and what the
cursor does while you're trimming.
| | 15:52 | When you're done, mouse-click on the clip
and move it and bump it right up against the
| | 15:57 | first clip on the Timeline.
| | 15:59 | Okay, so with that done, let's navigate back
up to the browser, and I am going to actually
| | 16:05 | bring down this third clip.
| | 16:07 | This time I am going to zoom in real close,
| | 16:09 | I am going to mouse-click, and I am going to
drag Mountain bike 03 down to the Timeline.
| | 16:15 | And I want to show you how that cursor
reacts as I'm dragging it down into V1.
| | 16:20 | Notice that middle line in V1.
| | 16:22 | Well, because my cursor is below, arrow points
down; when the cursor is pointing to the right,
| | 16:27 | it's above that line and
that performs an insert edit.
| | 16:31 | So I am going to let my mouse go and I am
going to park this clip right up against the
| | 16:34 | Mountain bike 02, and I am going to let the
mouse go, and notice the playhead snapped to
| | 16:39 | the end of this clip.
| | 16:42 | And I don't see it part
of the first video clip.
| | 16:46 | Well, click on your Timeline and push the
Shift key and the letter Z and that's the
| | 16:51 | shortcut to make everything appear that's
placed in the Timeline; it makes everything
| | 16:55 | fit in the viewable area.
| | 16:57 | So at this point, we have
three clips down in the Timeline.
| | 17:00 | We have not trimmed this clip yet.
| | 17:03 | You can if you want, but before you do that,
I want you to taken a quick test here and
| | 17:09 | I want to show you what the difference is
between an insert edit and an overwrite edit.
| | 17:12 | So, let's say I want to insert a
clip between this clip and this clip.
| | 17:19 | I want to insert a video clip.
| | 17:21 | Well, the way to do that is to, let's take
the Multi slalom clip, mouse-click, bring
| | 17:27 | it into the viewer, drop it in the viewer.
| | 17:30 | Let's mark an in point.
| | 17:31 | Let's practice that. Mouse-click and drag
the playhead, and we'll mark an in point by
| | 17:36 | clicking on this button. Drag this playhead all
the way to the right. Right when he splashes,
| | 17:42 | mark an out point.
| | 17:44 | Now if I mouse-click and drag, I can drag
this clip. And it's not quite the same length
| | 17:51 | as the other clip, but to perform an insert edit
means everything is going to move to the right.
| | 17:56 | So I had to make sure my
cursor is pointing to the right.
| | 17:58 | There we go, just like that.
| | 17:59 | As soon as I let my mouse go,
it moved the other clip over.
| | 18:02 | That is an absolute beautiful thing.
| | 18:05 | Insert edits, very important.
| | 18:07 | So when you practice that and you make sure
your cursor is in fact pointing in the right
| | 18:11 | direction, it will perform the edit
correctly and it moves the other clip over.
| | 18:15 | Now I am going to undo that by pushing the
Apple key and the letter Z, and this time
| | 18:20 | I am going to perform an overwrite edit.
| | 18:22 | Now what is that, and why would I want to do it?
An overwrite edit would simply cover another
| | 18:27 | set of clips and not move
anything over. Take a look.
| | 18:31 | So if I wanted this clip--mouse-click--and I
wanted it to be in between those two, but
| | 18:36 | I wanted it to do the following, take a look.
| | 18:39 | Mouse-click and I am going to drag this down
and my arrow is pointing down, straight down
| | 18:44 | which indicates an overwrite edit.
| | 18:46 | When I let this go, nothing moves, and I covered up
part of this clip and I covered up part of this clip.
| | 18:54 | That is the difference between
insert edit and overwrite edit.
| | 18:56 | I had to take the time to show you
because that is very, very important.
| | 18:59 | Now I am going to undo that. Push the Command key or
the Apple key and the letter Z and that un-does that.
| | 19:06 | All right! So let's take this clip and
let's automate this clip down to the Timeline.
| | 19:11 | So what does automate mean? Well, that's
basically a shortcut. Final Cut Pro is full of shortcuts,
| | 19:16 | and in editing when you learn some of the basic
shortcuts, it really improves your efficiency.
| | 19:23 | So I am going to mouse-click on my playhead.
| | 19:25 | I am going to make sure it's
parked in between these two clips.
| | 19:28 | Just in case it's not, do that now. And you'll
know that it's in between two clips when you
| | 19:33 | see the triangles appear when snapping is on.
Snapping is on; this button is green here.
| | 19:38 | And as you mouse-click and drag, the playhead
will snap in between bike 02 and bike 03, these
| | 19:43 | two clips, because I want to
demonstrate some automated editing.
| | 19:48 | So I have shown you how to drag clips from
the browser into the Timeline, and I have shown
| | 19:51 | you how to drag clips from the
viewer down to the Timeline.
| | 19:54 | What about automating clips down to the Timeline?
Well, you can mouse-click on the clip in the
| | 19:59 | viewer and drag it to the Overlay
window in the Canvas window. See this?
| | 20:05 | I have the Insert option
and the Overwrite option.
| | 20:08 | I can select Insert and let my mouse go and
boom, it inserts that clip down on the Timeline.
| | 20:14 | Pretty handy! Well, let's undo that. Apple+Z.
| | 20:16 | Let's try the other one. Mouse-click
and drag it to the Overwrite option.
| | 20:20 | Now look what happened.
| | 20:21 | It covered that clip up to this point.
| | 20:23 | You have got to pay close attention to
what's going on when you're editing.
| | 20:27 | What if I wanted to simply automate it by
using a keystroke shortcut? Well, take a look.
| | 20:33 | If you undo what you just did and back up,
make sure the playhead is parked between these
| | 20:36 | two clips, push the F9 key on your
keyboard, and that's an insert edit.
| | 20:42 | That's the shortcut.
| | 20:43 | Let's undo that, Apple+Z. Push the F10 key.
| | 20:46 | That's an overwrite edit. Wow! Pretty handy!
There is a lot of cool stuff like that in Final Cut Pro.
| | 20:52 | So let's mouse-click on this clip and drag
it down to the last position on the Timeline.
| | 20:57 | That's the Multi slalom clip, by the way.
| | 20:59 | And now we have four
clips down on the Timeline.
| | 21:02 | What if I want to move some of these clips
around? Well, I could mouse-click, drag this
| | 21:07 | up, move it over to the left, just like that,
and let the mouse go. And if you don't have
| | 21:13 | a V2 track, look what happens
when you just want to add a track.
| | 21:16 | For instance--in fact, let me back this up,
bring it over. I am going to delete this track
| | 21:21 | here, Ctrl+Click, right to the
right of that and select Delete.
| | 21:24 | Okay, so I don't have another track.
| | 21:26 | If I mouse-click and drag this up and let
the mouse go, Final Cut automatically creates
| | 21:31 | another track for me. Perfect!
| | 21:33 | Well, then you can move your clip over and
bump it right up against the beginning of
| | 21:38 | where this clip ends and then move this clip
over by clicking on the middle part of it.
| | 21:43 | Then you have room to drag this back down.
Pretty handy! Well, that's basically how you move clips round.
| | 21:48 | What if I want to move a group of clips? Well, I
can mouse-click and drag and create a marquee.
| | 21:54 | See that? That's actually, I call it a square
lasso. And then I can select multiple clips
| | 21:59 | just like that, mouse-click on one of them,
and notice how I get a four-way arrow, and
| | 22:05 | I can mouse-click and drag to a
new position, just like that.
| | 22:09 | Well, now I am going to push Apple+Z to
undo that, and I want to make a few changes.
| | 22:14 | I am going to mouse-click and drag this out,
and I am going to make this the very last clip.
| | 22:20 | There we go. Then I'll select these two by mouse-clicking
and dragging and then move these over. Perfect!
| | 22:25 | And we are--really what we are
doing is we are just practicing.
| | 22:28 | We are just practicing
how to move things around.
| | 22:30 | I want you to get the feel of that.
| | 22:32 | Okay, so let's place our playhead here at
the end of the Timeline. And I want to show
| | 22:36 | you another way how to get clips
down to the Timeline for basic editing.
| | 22:40 | What if I wanted to bring several clips down,
like the remaining clips in the browser? I'd
| | 22:45 | click on the Snowboarder black 01, hold the
Shift key down, and click on the last clip,
| | 22:51 | and they all get selected, just like that.
And with my playhead here at the end, I could
| | 22:56 | mouse-click and drag them straight down to
the Timeline. And I know you don't see all
| | 23:01 | the clips to the right, but as soon as I
let my cursor go, all the other clips appear.
| | 23:06 | I can click on the Timeline and push Shift+Z and
all four of those clips came down as a group.
| | 23:13 | That is very cool.
| | 23:14 | Now I am going to undo that and push Apple+Z
because I want to show you a different way.
| | 23:18 | I could mouse-click on these clips and
drag it to the Canvas Overlay window--
| | 23:22 | there it is--and select
either Insert or Overwrite.
| | 23:24 | Now because these clips we placed at the
end, either one of these is going to work.
| | 23:28 | So I'll click on Insert and all those clips
came down to the Timeline. How cool is that?
| | 23:34 | Now, the idea of a basic rough-cut edit is
to get your clips down to the Timeline, like
| | 23:40 | I have done, and assemble your movie from
left to right. Either do trimming in the viewer
| | 23:46 | or trimming on the Timeline.
| | 23:49 | And once you've done that, then you can
actually push the Home key on your keyboard--or for
| | 23:54 | those of you who are on laptops, Fn+Left
Arrow--and play your movie and watch it.
| | 23:59 | You can mouse-click on the Play button here
and by watching and playing the movie back,
| | 24:05 | you can get an approval, either with your
partner or just on your own, as to whether or not
| | 24:10 | the clips are in the proper
order that you want them to be in.
| | 24:14 | Other than that, those are the basic editing
features that I wanted to cover in this lesson.
| | 24:18 | And I think if you want to practice all of
these, you can and you will have your hands
| | 24:21 | full. That's a great way to get your clips
down to the Timeline in a systematic way
| | 24:26 | so that they make sense.
| | 24:27 | Other than that, we are done with this
lesson, and let's move on to the next.
| | 24:32 |
| | Collapse this transcript |
| The Ripple, Roll, Slip, Move, Slide, and Slow Motion tools| 00:01 | So I'll make a bet that you didn't
know that Final Cut Pro has power tools.
| | 00:05 | That's right. Final Cut Pro has very powerful
editing tools that I like to call power tools,
| | 00:11 | and they are located over here in this toolbar.
| | 00:14 | So let's take a quick look at those, and we're
going to use a bunch of these in this lesson.
| | 00:17 | Well, to begin with, we've been using some
of these power tools. And, by the way, they
| | 00:20 | are not really called power tools;
| | 00:21 | I've just given them that name, but
they do give you power--that is for sure.
| | 00:26 | Anyway, so we've been using some of these
tools, like the Selection tool and even the
| | 00:31 | Zoom tool and the Pen tool, in previous lessons.
| | 00:35 | And to use a tool, to begin with, you simply
mouse-click on it, like I'll click on this
| | 00:39 | Blade tool. And then you'd use
it and then you'd put it back.
| | 00:42 | Now, I know a lot of you aren't used to putting tools
back, but you need to put the tool back when you're done.
| | 00:48 | And the way you do that is you navigate up
to the Arrow tool when you're done using it
| | 00:52 | and you mouse-click on it. It's the
Selection tool, and that puts the tool away.
| | 00:57 | You do not want to be running around with a blade in
your hand; you're going to freak a few people out.
| | 01:01 | As a matter of fact, you don't want to be
running around with any tool in your hand.
| | 01:04 | When you're done with it, put it away, because you could
inadvertently change something without even knowing it.
| | 01:09 | So try to get in the habit of doing that.
| | 01:11 | And then you may want to take a quick look at
some of the other tools that are not being revealed.
| | 01:15 | For instance, if I mouse-click on, let's say,
the Zoom tool and I keep my finger down on
| | 01:18 | the mouse, the toolbar
will reveal additional tools.
| | 01:22 | Then when you want to know what a tool is,
park your cursor on it for a moment and the
| | 01:26 | yellow tooltip window will
appear, like that one does.
| | 01:30 | And it says Scrub tool.
| | 01:32 | So when you get a chance, you may want to explore,
but for now I am going to mouse-click on the
| | 01:36 | Arrow tool, otherwise known as the Selection
tool, to put that tool back that I selected
| | 01:41 | a moment ago, and I am going to put the toolbar back,
and what I'll need you to do is create a new project.
| | 01:47 | Create a new project and save it as Power
tools. Name the project Power tools. And if
| | 01:53 | you want, you can save it in your Project
folder on your Desktop so you can get to it
| | 01:56 | later for practicing.
| | 01:58 | Once you've done that, once you've created
this new project, mouse-click on the browser,
| | 02:02 | then navigate up to the word File,
mouse-click, and select Import Folder.
| | 02:06 | We are going to bring a folder in.
| | 02:09 | Then mouse-click on the Desktop icon in the
left column here, then click on the Training
| | 02:13 | Media folder once, click on the DV Clips folder once,
and then select the Choose button on the bottom-right.
| | 02:20 | And let's bring in one more file.
| | 02:22 | So navigate back up to the word File,
mouse-click, and select Import > File.
| | 02:27 | And then navigate to the Music folder in
your Training Media folder on your Desktop and
| | 02:32 | select Half Dome and bring that in.
| | 02:36 | Now, let's open up the DV Clips bin by clicking
on the triangle to the left, and you'll notice
| | 02:42 | that there's a lot of clips here.
| | 02:43 | Well, we're not going to use this
first one, the Chroma Key clip.
| | 02:46 | So click on that once--we're going to use
that in a later lessoand then push Delete,
| | 02:51 | and that goes away.
| | 02:52 | Oh, and by the way, when you've done that, push
the Apple key and the letter S to save your work.
| | 02:57 | Well, there is a lot of great clips in this
project/lesson that we're about to cover,
| | 03:03 | and all these clips are from a car show, a
recent car show. And if you double-click on
| | 03:06 | the first clip, Chrysler Crossfire, this
has been around for a little while, but there
| | 03:10 | are all these new versions of cars coming out.
| | 03:14 | And we're going to create kind of a little mini
car show bumper/trailer with voiceover and music.
| | 03:20 | And we're going to utilize some of those
power tools down over here in the toolbar.
| | 03:26 | So first things first:
| | 03:27 | we need to bring the video clips down to the
Timeline. And what I'd like you to do is to
| | 03:31 | select the Chrysler clip and then hold the
Apple key down and click on the Dodge clip,
| | 03:39 | the Jeep clip, and the Viper clip.
Do not select the Saturn clip.
| | 03:45 | And then mouse-click on that group and bring
that group down to the Timeline, just like that.
| | 03:51 | And park all of those clips as a
group on V1. Track 1. There we go.
| | 03:56 | And then, after you've dragged all these
clips down, then bring the Saturn clip down.
| | 04:01 | And I am having you bring this down last
because it's a very long clip. And the end
| | 04:05 | of the song that we're going to use kind of
goes on and on and on and on and on, and we're
| | 04:09 | going to end up trimming this video
clip to fit the length of that song.
| | 04:14 | So with that said, let's bring down the first
voiceover, which is the Crossfire VO (voiceover).
| | 04:21 | So mouse-click on that and bring it down to
the Timeline, and park it right underneath
| | 04:26 | the first clip, which should be the Chrysler
Crossfire clip, and bring the Voiceover down to A3 and A4.
| | 04:33 | And make sure when you bring it down
that your cursor is pointing down.
| | 04:37 | Let me do this one last time for you. Mouse-click and
drag this down, and look how my cursor is pointing down.
| | 04:44 | That will mean it's an overwrite edit,
not an insert. All right? Great!
| | 04:48 | So with that said, what I'd like you to do
now is zoom in a little bit, so we're going
| | 04:53 | to use one of our power tools by mouse-
clicking on the Zoom tool. And then look how I get
| | 04:59 | a zoom magnifying with a plus sign in the
middle, a zoom magnifying tool, and I am going
| | 05:04 | to mouse-click, mouse-click, mouse-click.
| | 05:06 | I just want to zoom in a little bit.
| | 05:08 | Now, I am done with the tool, so to put it
back I can either push the letter A on my
| | 05:12 | keyboard or I can mouse-click on the
Arrow tool right there on the toolbar.
| | 05:16 | And then you might have to mouse-click on
the navigation button here, drag it to the
| | 05:20 | left, so you can see the
entire clip plus the voiceover.
| | 05:23 | Well, a couple of other items that we want
to turn on, and that is we want to turn on
| | 05:28 | the Clip Overlays button.
| | 05:30 | So you navigate over here to that button,
you mouse-click to turn it on. And we want
| | 05:35 | to do that so we can see our volume, because we're
going to be working with volume here in a moment.
| | 05:39 | And I also want to turn on one other item.
I want to be able to see the waveform.
| | 05:42 | So I am going to navigate down here to this
button, right on the bottom left-hand corner.
| | 05:46 | It's way down there, the
Timeline Layout pop-up option.
| | 05:50 | Mouse-click on that and
check Show Audio Waveforms.
| | 05:54 | And the shortcut for that, by
the way, is Option+Apple+W.
| | 05:58 | See, it just made them disappear.
| | 06:01 | So Option+Apple+W makes them reappear.
| | 06:04 | So why would we want to see the waveform for
the audio? Well, because we're going to be
| | 06:10 | utilizing voiceovers and music, plus we're
going to be trimming on the Timeline as well,
| | 06:15 | we want to be able to see where
the voiceover begins and ends.
| | 06:18 | So first things first: I'd like to teach you how to
turn the volume down of all the audio tracks on V1.
| | 06:26 | I am sorry on A1, not V1.
| | 06:28 | There are no audio
tracks at V1. Video is on V1.
| | 06:30 | I meant A1 and A2.
| | 06:32 | Now, I am not going to have you mute them,
because that doesn't turn them down; that
| | 06:35 | just turns them off.
| | 06:36 | So what I am going to ask you to do is we're going to
zoom back out, so click on your Timeline and push Shift+Z.
| | 06:43 | And then I'll need you to hold the Option
key down. And this is going to be a little
| | 06:48 | tricky, but if you go to the very end of the
Saturn file, the Saturn clip, hold the Option
| | 06:53 | key down and drag your cursor across and see
how you're kind of creating a square lasso?
| | 06:58 | This is called the marquee, and I am just
gliding across to select all the audio clips, just
| | 07:04 | the audio clips that came in
with video, not the voiceover. So I'll do that again.
| | 07:08 | I am going to hold the Option key down
and I am going to start way over here.
| | 07:12 | I am going to mouse-click and drag down a little
bit and create kind of a square marquee/lasso.
| | 07:18 | And when I've selected all the audio clips,
just the audio clips that are linked to the
| | 07:22 | video that you brought down, navigate up to
the word Modifier at the top menu and select
| | 07:27 | Levels. And we're going to globally turn the
volume down on all of those clips by dragging
| | 07:33 | the Gain all the way down.
| | 07:35 | And then we're going to hit the OK key, and boom,
that lowers all the volume down in one swoop.
| | 07:40 | All right! So with that said, let's listen to our
voiceover when it plays back with the video clip.
| | 07:47 | So park your playhead at the very beginning
and push the play button.
| | 07:53 | (muted speech)
| | 07:56 | Okay, so it's a little low.
| | 07:59 | We need to fix that.
| | 08:01 | So let's navigate over to the volume bar, and
look how my cursor changes to a double-flat arrow.
| | 08:06 | I am going to mouse-click and drag that up to
about 7 dB, and let's try that one more time.
| | 08:12 | So we'll park the playhead before the voiceover begins,
or close to the beginning, and I'll push Play again.
| | 08:18 | (voiceover playing)
| | 08:20 | Okay, that's a little bit better.
| | 08:22 | It's a little loud, but we'll
deal with that in a moment.
| | 08:24 | We can always lower the volume.
| | 08:26 | Well, there's a couple of other things
that I need to bring to your attention.
| | 08:28 | I am going to zoom back in. This time I am going to
push the letter Z and I get my Zoom tool, and I can click, click,
| | 08:33 | click, and zoom in.
Now, I'll push the letter A to put it back.
| | 08:36 | Well, there is a delay before the voiceover begins,
isn't there? So I am going to trim the audio.
| | 08:41 | I am going to trim right to this point,
but I am going to use the Blade tool to trim.
| | 08:45 | So here's our next power tool.
| | 08:47 | I am going to mouse-click on the Blade
tool one time, or push the letter B.
| | 08:52 | That will do it. And then take a look at this: I get
a fancy blade that I can cut the audio track with.
| | 08:58 | See, how that line indicates if I
click, that's where it's going to cut.
| | 09:00 | So I am going to click and it cut there, and
I'll talk to you about what that red bow tie
| | 09:05 | is or both of those red bow ties in a moment.
| | 09:06 | And then I'll go to the end where the
voiceover ends and I'll mouse-click. And I am going to
| | 09:10 | put that Blade tool away, so I am going to
push the letter A--great--to put it away.
| | 09:14 | And these little red bow
ties indicate a through edit,
| | 09:19 | meaning I've cut there,
but I haven't done anything yet.
| | 09:23 | And they'll go away as soon
as I do something like this.
| | 09:25 | When I mouse-click on the portion that I am
not going to need, I'll push the Delete key
| | 09:29 | and it gets rid of that audio.
| | 09:32 | Then I'll click on the other portion that
I don't need and I'll push the Delete key
| | 09:35 | again and it gets rid of the
audio. Perfect, perfect, perfect.
| | 09:38 | So I'll move the toolbar out of the way.
| | 09:41 | And let's play our Timeline back.
| | 09:42 | So I am going to park my playhead back
here at the beginning. I'll push Play.
| | 09:47 | And wait a minute. That's not good.
| | 09:49 | The audio is definitely too short.
| | 09:51 | In other words, it doesn't
match the length of the video clip.
| | 09:55 | So we can fix that, right?
Okay, let's give it a try.
| | 09:58 | So we can trim the clip. We know that.
| | 10:00 | Let's trim the beginning.
| | 10:02 | So I'll mouse-click at the very beginning here,
right on the very edge, the head of the clip.
| | 10:06 | I'll mouse-click and I'll drag, drag, drag,
drag, drag. And boom, if snapping is on, that
| | 10:12 | will snap right to this point where the
voiceover begins, and everything to the left of what
| | 10:16 | I am trimming will go away.
| | 10:17 | Take a look when I let
the mouse go. Boom, gone.
| | 10:20 | Okay, not too bad, so let's get rid of the gap.
| | 10:23 | Mouse-click on the gap, push Delete.
Everything moves over. Not too bad.
| | 10:28 | Now, in my case looks like the voiceover
starts a little bit before the video. See this?
| | 10:34 | I know it's hard to see,
but there is a gap there.
| | 10:37 | So I can fix that by trimming the video,
mouse-click, and just do a little trim. There we go.
| | 10:42 | Hard to see, but I had to do it. Ok.
| | 10:46 | Now, trimming on the Timeline is not too bad.
| | 10:48 | As you can see, trimming, though, is a couple of, if
not more, keystrokes, at least two, if not more.
| | 10:54 | So what about if we use a different tool that
will allow us to trim and not have to go back
| | 10:59 | and delete and do anything else after we trim?
Well, there is such a tool; it's called the Ripple tool.
| | 11:05 | And the Ripple tool is quite handy because
see here at the end I was going to have you
| | 11:09 | trim all this extra footage here--see
all this?--because it's simply too much.
| | 11:14 | And after our voiceover, it would be nice to hear a
little bit after the voiceover, but not too much.
| | 11:18 | That's way too much before the next clip.
| | 11:21 | So I am going to maybe
use my playhead as a guide.
| | 11:25 | So I am going to mouse-click on
the top of the playhead right here.
| | 11:27 | I am going to side this over. And right when
the door gets in the middle up here in the
| | 11:31 | canvas window, right about there, I want to
get rid of this extra footage right here.
| | 11:35 | So rather than trim, click
on the gap, and push Delete,
| | 11:38 | how about using a tool called the
Ripple tool? And it's this guy right here.
| | 11:43 | It's one of the funkiest-looking tool that
I've ever seen, but it does its job. Doesn't
| | 11:48 | matter what it looks like, right?
| | 11:49 | Anyway, it's called the Ripple tool.
| | 11:51 | If you don't see it there, you might see
the other tool, like this Roll tool, which we
| | 11:55 | don't need right now.
We just need the Ripple tool.
| | 11:58 | So the shortcut is RR.
| | 12:01 | That's the shortcut. Or click on the tool.
| | 12:03 | And take a look at this: as I drag my
mouse down--now I've got that tool in my hand--
| | 12:08 | I'll park it right at the edit point where
the two clips meet, and look how if I gently
| | 12:12 | drag the mouse to the left,
the hook switches to the left.
| | 12:16 | Or if I drag it to the right,
it switches to the right.
| | 12:19 | So based on where the hook is,
that determines the clip that will be affected.
| | 12:25 | So I want to trim the Chrysler clip, so I
am going to park my Ripple tool, boom, right
| | 12:31 | about there, just to the left
of the edit point, slightly.
| | 12:35 | I am going to mouse-click and I am going to
drag, drag, and I am going to trim the Chrysler
| | 12:39 | clip right to the point where the playhead
is, and then the Dodge clip will come right
| | 12:43 | after it. Take a look.
| | 12:45 | Now, what I mean come right after it just--
it trimmed the Chrysler clip and it didn't leave a gap.
| | 12:52 | As a matter of fact, all the clips to the
right were moved as well. Let me show you.
| | 12:59 | All these clips came with it.
There is no gaps here.
| | 13:01 | That's how handy the Ripple tool is.
| | 13:05 | And the Ripple tool, by the
way, works in both directions.
| | 13:08 | Now, I am going to undo what I just did.
| | 13:10 | I am going to push Apple+Z to undo it,
and I am going to zoom in a little bit closer
| | 13:14 | to show you that I didn't trim much.
| | 13:16 | But to do it one more time, I'll mouse-
click and I'll drag and I'll trim.
| | 13:21 | Now, it's just a little bit, but just enough
to show you that now when I play this back,
| | 13:26 | park my playhead there--
(video playing)
| | 13:32 | it shows a little bit more of the car.
Boom, goes right into the next clip.
| | 13:37 | Not too bad. Not too bad.
| | 13:39 | All right! So let's move on.
| | 13:41 | Let's bring down the voiceover for the Dodge.
| | 13:43 | So let's navigate up here to the
Dodge voiceover, which is really the M80.
| | 13:48 | That's a Dodge M80 truck, so we're going to
use the M80 voiceover. Mouse-click on that
| | 13:53 | and bring that down to the Timeline.
| | 13:56 | And now, in this case it almost looks like
this audio clip is way too long, much longer
| | 14:03 | than the Dodge clip.
| | 14:05 | So let me show you another way to work on a clip,
but you'll be working on it up here in the viewer.
| | 14:10 | So double-click on the audio clip
and it appears up in the viewer.
| | 14:14 | And you can see here that, well, if you mouse-
click on this navigation bar, all this extra footage
| | 14:19 | up here on the left and all this footage over
here on the right is not being used, and so
| | 14:24 | we can actually take care of
that right up here in the viewer.
| | 14:27 | If you mouse-click right in the Timecode area,
right here in the Viewer, right before the
| | 14:32 | waveform begins, park your playhead there
and mark an in point, watch what happens to
| | 14:36 | the Timeline clip, or that audio clip.
| | 14:38 | Let's take a look.
| | 14:39 | Boom, it trimmed the audio.
| | 14:41 | Was that great or what?
| | 14:42 | We can do the same to the end.
| | 14:43 | If you mouse-click on the navigation bar and
drag it to the end over here, park your playhead
| | 14:47 | at the end of this song, mark an out point.
| | 14:50 | Boom, it trimmed the song down in here,
because this song, when I double-clicked on it, went
| | 14:55 | up to the viewer, and I marked an in point
and an out point and it updated the audio
| | 15:01 | clip down on the Timeline. How great is that!
| | 15:04 | Now, one thing you've got to pay attention to,
and that is, well, don't forget this audio
| | 15:08 | clip is over here in the browser.
| | 15:10 | What if I double-clicked on this clip and I
made those changes? It would not have affected
| | 15:15 | the audio clip down here,
| | 15:17 | because the audio clip that is in
the viewer now came from the browser.
| | 15:22 | When you double-click on an audio clip in
the Timeline, you'll see little sprockets
| | 15:26 | here that indicate, hey, this clip came
from the Timeline. Any change you make up here
| | 15:30 | is probably going to affect the clip down here.
| | 15:33 | Now, notice I say "probably" because there are
some cases where it won't be able to change
| | 15:38 | it based on restrictions.
| | 15:40 | But you'll need to look for these sprockets basically,
which indicate this clip came from the Timeline.
| | 15:46 | And if there are no sprockets
there, it came from the browser.
| | 15:49 | So with that said, we know
that the length of the duration--
| | 15:53 | I am going to zoom in here, so I'll push the
letter Z, mouse-click, mouse-click to zoom
| | 15:57 | in, then I'll push letter A to get rid of it--
| | 15:59 | that the duration of the visible part of this clip is
exactly the portion of the voiceover that we need.
| | 16:05 | So I am going to turn snapping off, mouse-click
on this, turn snapping off, and then I'll drag
| | 16:11 | this over just a little bit so I can trim a little
bit of the Dodge clip at the head and at the tail.
| | 16:17 | This time I am going to use the Blade tool.
| | 16:19 | So I'll mouse-click on the Blade tool.
And this is pretty straightforward.
| | 16:22 | I simply don't need a little bit of this
footage at the beginning and a little bit at the end
| | 16:26 | here, so I am going to turn
snapping back on when I blade.
| | 16:30 | So that way as I glide across, look at the
vertical line there. It almost works like a playhead.
| | 16:36 | So I'll mouse-click and
then it cut right there.
| | 16:39 | I'll mouse-click over here, right where the
vertical line stops, because snapping is on. I'll click.
| | 16:45 | I'll put the Blade tool
away by pushing the letter A.
| | 16:47 | I'll click on the excess footage, and this
time I'll push Shift+Delete, and it got rid
| | 16:53 | of the gap. Isn't that great? I'll mouse-
click on this extra gap of footage I don't need
| | 16:56 | there, Shift+Delete, boom, it goes away.
That extra footage and the gap closes. That was great!
| | 17:03 | So now with the voiceover of the M80 down
here, I already know it's going to be a little
| | 17:06 | low, so you may want to mouse-click and drag
this up to about maybe 7 dB. And let's play
| | 17:11 | this back and watch and listen to what
this looks like and sounds like. Here we go.
| | 17:15 | (video playing)
| | 17:27 | So that worked out pretty good. Let's move on.
| | 17:30 | So I am going to move the toolbar over.
| | 17:32 | What I'd like to do is bring
down the voiceover for the Jeep.
| | 17:35 | So let's navigate over to the Jeep VO (voiceover),
which is right here. Mouse-click and drag that down.
| | 17:40 | And once again, the audio is a little too
long. And this time I'll simply trim it real
| | 17:44 | quick on the Timeline.
| | 17:45 | I can see where the voiceover begins
right about there, just to show you.
| | 17:51 | So I'll navigate right to the edge of the
audio. Mouse-click and drag right there.
| | 17:56 | Then I'll go to the end.
Mouse-click and drag. There we go.
| | 18:01 | And then I'll shorten this up.
| | 18:02 | I'll mouse-click and drag.
| | 18:04 | I am not going to shorten;
I am going to move it.
| | 18:07 | Now I can see that the
voiceover is simply too long.
| | 18:09 | It's longer than the actual Jeep
clip, which is kind of strange.
| | 18:12 | How did that happen?
| | 18:14 | Well, we need to work on this;
| | 18:17 | we need to fix this.
It's tough to shorten a voiceover.
| | 18:19 | So what we're going to have to
do is lengthen the Jeep clip.
| | 18:23 | And this is actually a pretty cool technique.
| | 18:25 | We're going to slow it down; we're
going to apply slow motion to it.
| | 18:28 | So you mouse-click and you select the clip,
you navigate up to the word Modify here at
| | 18:32 | the top menu, mouse-click, and select Speed.
| | 18:36 | The shortcut is Apple+J.
| | 18:38 | When we select Speed, the Speed window
appears and we can type in the new Speed, Duration,
| | 18:43 | and I am going to simply type in 80.
| | 18:45 | We don't need to make it much longer than that,
because remember, when you slow something
| | 18:50 | down, it makes it longer.
| | 18:51 | So we'll type in 80%. And by the way, the
standard, real true slow motion is about 50%.
| | 18:57 | So with 80 typed in, we'll mouse-click and
select the OK button, and then look. Okay,
| | 19:02 | so now the Jeep clip is a little bit too long.
| | 19:04 | I think it's okay for now.
| | 19:06 | And we can mouse-click and drag our audio
over so it's right about in the center, because
| | 19:11 | we're going to make our audio start a little bit
after you see the Jeep. Then the voiceover kicks in.
| | 19:16 | Now, don't forget to adjust
the volume for this as well.
| | 19:18 | We're going to bring it up to 7. There we go.
And let's move on.
| | 19:23 | Let's move on to the Dodge Viper clip.
| | 19:24 | We're going to do the same thing over here.
| | 19:26 | We're going to navigate over
to the Viper VO (voiceover).
| | 19:29 | This time I want you to double-click on the
voiceover, the Viper VO (voiceover) and Mark
| | 19:33 | an in point right before
the first waveform spikes.
| | 19:37 | So right about there, mark an in point, drag
this over to the right so we can get to the
| | 19:42 | end, drag the playhead or click in the
Timecode area to get the playhead and go to the end,
| | 19:46 | and mark an out point.
| | 19:48 | Park your playhead at the very beginning of
the Viper clip and bring these two down to
| | 19:53 | A4 and A3, because we're going to
automate this down the Timeline.
| | 19:57 | We're going to push overwrite edit. Watch
what happens when I do this. Boom, sends it
| | 20:02 | right down on the Timeline,
right in the exact spot we need.
| | 20:04 | I can adjust the volume,
just like that. Perfect.
| | 20:10 | So let's talk about bringing
audio down here to the Saturn clip.
| | 20:14 | Now, this is where we're going
to start to use a few more tools.
| | 20:18 | And basically, there is a very long clip here and we
really don't need to use a whole lot of this clip.
| | 20:24 | And you'll see when we bring the voiceover
down that I would say more than half of this
| | 20:28 | clip is not going to be used, as far as
matching up with the voiceover. We will see half of
| | 20:34 | it, but take a look.
| | 20:35 | So I am going to mouse-click on the Saturn
voiceover (Saturn Sky VO), drag that down,
| | 20:39 | and I'll park it on A3 and A4.
| | 20:41 | Now, as you can see here,
basically there is too much footage.
| | 20:44 | So what I want you to do is drag your
playhead forward right about where the Saturn logo
| | 20:48 | appears in the middle, and align
your voiceover to start at that spot.
| | 20:54 | And basically, we're going to
trim the clip in a different mode.
| | 20:57 | We're going to double-click on the
clip to make it appear in the viewer.
| | 21:01 | And with the playhead parked at the very beginning
of where the voiceover is, when you double-click
| | 21:07 | on the clip to make it updated in the viewer,
you'll see the sprockets here that indicate
| | 21:11 | that it came from the Timeline.
| | 21:13 | You can navigate over here to the toolbar, mouse-
click on the Ripple tool, and take a look at this.
| | 21:18 | With the Ripple tool in my hand, I'll mark
a new in point, and watch what happens when
| | 21:21 | I click on the marked in point. Boom!
Did you see that? It updated down on the Timeline
| | 21:26 | and brought the music with it, and now it's
going to start simultaneously with the voiceover.
| | 21:31 | Very nice! So let's put the Ripple tool away.
| | 21:35 | And you can update the in point and the out
point with the Ripple tool in your hand, and
| | 21:39 | that will ripple edit that clip down on
the Timeline and update it on the Timeline.
| | 21:45 | So with that said, let's turn the volume up
of our voiceover here just a little bit, and
| | 21:49 | we'll push the Play button.
| | 21:53 | And right off the bat, we know that the
voiceover doesn't start until right about there,
| | 21:58 | so we need to trim the voiceover.
| | 22:00 | So double-click on the voiceover, and let's try that
Ripple tool one more time up here in the viewer.
| | 22:04 | So let's park our playhead right at the
beginning of this song that came from the Timeline,
| | 22:10 | click on the Ripple tool button, mark a new
in point, and boom, it adjusted that audio
| | 22:15 | clip down on the Timeline.
Very handy feature!
| | 22:17 | Well, let's do the same to the end of the
Saturn clip, because there is a little too much.
| | 22:21 | We're not going to need all of this,
but we are going to use most of it.
| | 22:24 | So mouse-click on the Arrow tool or the Selection
tool to get rid of the Ripple tool, double-click
| | 22:30 | on the video clip, the Saturn
clip, to update it into the viewer,
| | 22:34 | and drag your playhead forward,
maybe just a little bit beyond.
| | 22:38 | I'll say right when you see this door swing
by here and we see the inner part of the front
| | 22:46 | dashboard, right about there.
| | 22:49 | Double-click on the clip, mouse-click on the
Ripple tool, and then mouse-click on the Mark
| | 22:54 | Out point and that updates that clip.
| | 22:56 | Now, I am going to undo that real quick--
Apple+Z--because we could have just done this.
| | 22:59 | Since it's at the end, we could
have just mouse-clicked and dragged.
| | 23:03 | That's just an option.
| | 23:05 | I like doing it the other way because when I
use my playhead as a guide, I know for sure
| | 23:09 | when I use the Ripple
tool, it snaps right to it.
| | 23:11 | Now, of course you could use the
Trim tool as well. Either way is fine.
| | 23:14 | As long as you know how these tools work,
there's generally one or two ways, if not
| | 23:19 | more, to do everything in Final Cut Pro.
| | 23:22 | So click on the Timeline, push Shift+Z, push
the Apple key and the letter S. And I am going
| | 23:28 | to ask you to bring down the music now,
bring down Half Dome music, but we need to add a
| | 23:33 | couple of more audio tracks.
| | 23:34 | So navigate down here to the A4 track.
| | 23:37 | If you don't have A5 and
A6, then please do this.
| | 23:40 | Push the Ctrl key down,
so Ctrl+mouse-click, Add Track.
| | 23:42 | And do it one more time, Ctrl+mouse-click,
Add Track. So we have A5 and A6 for the audio,
| | 23:53 | the soundtrack that's
going to be in the background.
| | 23:55 | And that's this Half Dome song. Mouse-click and
drag that down, do an overwrite edit to A5 and A6.
| | 24:01 | So make sure your arrow is
pointing down when you let the song go.
| | 24:05 | Boom, there we go.
| | 24:08 | So with that track laid down, we know that we're
not going to use the end of this Saturn clip.
| | 24:16 | So we can--now we'll just simply trim this.
We're not going to double-click on it and
| | 24:19 | do a Ripple edit up here.
| | 24:20 | We're going to mouse-click and drag this over,
just like that, so we're using a portion of
| | 24:25 | the clip. And then save your work, Apple+S.
| | 24:30 | So now I want to talk about another tool
so that we can kind of change our timing and
| | 24:35 | how things work on the Timeline, because
we're going to now change the timing to the beat
| | 24:38 | of the song, or when the music
kind of changes here and there.
| | 24:42 | And the music is going to make a big difference.
So I can tell you now the music is going to be a little loud.
| | 24:46 | And what I'll ask you to do is double-click
on the song that's on A5 and A6, navigate
| | 24:51 | up here to the viewer, and adjust the song
by mouse-clicking on the Level bar, and drag
| | 24:57 | that down to about -7, and that will adjust
the volume down here. Or you can mouse-click
| | 25:02 | on the pink line down here and drag it down.
| | 25:04 | And when we listen, by dragging our playhead
back to the beginning of the Timeline, we'll
| | 25:08 | push the spacebar--
(video playing)
| | 25:12 | you'll be able to hear the music
and the voiceover at the same time.
| | 25:16 | So what I want to do is let's
temporarily mute the voiceover track.
| | 25:22 | Let's temporarily mute the voiceover track
by clicking on the green Mute buttons on the
| | 25:28 | left, basically turning on and/or off
those tracks when you click on those buttons.
| | 25:33 | Because what I want to do is make some
adjustments on the Timeline as to where these clips start
| | 25:39 | and stop based on the music.
| | 25:41 | And I am going to zoom in a little bit, so I'll push
the letter Z, mouse-click, mouse-click to zoom in.
| | 25:47 | And as I play this first portion of the
Timeline from this clip to this clip, I am going to
| | 25:52 | use the Roll tool, this tool right here.
| | 25:56 | Now, don't select it yet;
| | 25:57 | I just want to show you what it looks
like, so I am going to put that tool back.
| | 26:00 | And I am going to try and time where these
two clips meet and where the song kind of
| | 26:05 | makes a slight change.
| | 26:06 | So let's listen together and we'll
make the adjustment. Here we go.
| | 26:11 | Of course it's a little low.
I had you turned the music down.
| | 26:14 | So I am going to have you turn it back up by mouse-
clicking on the pink bar here, bring it up to about 7.
| | 26:21 | Here we go.
(video playing)
| | 26:28 | So the song kind of starts way over here, doesn't
it? As a matter of fact, when I play this back--
| | 26:33 | (video playing)
--it kind of has a downbeat right there.
| | 26:37 | So what I would suggest we do on
this is we can use the Roll tool.
| | 26:41 | So basically, the song has a slight change
right here, and it's nice when the visual changes
| | 26:46 | with the audible change.
| | 26:48 | So to do that, with everything sitting on
the Timeline, we can mouse-click on the Roll
| | 26:52 | tool, just like that, and now I can mouse-click and
I can attempt to drag or change this edit point.
| | 27:00 | So I can either mouse-click and drag
it to the left or drag it to the right.
| | 27:04 | I'll park it right there, and
look how the edit point changed.
| | 27:07 | Let me undo that, so Apple+Z.
| | 27:09 | I want this edit point to
meet where this playhead is.
| | 27:13 | That's where I want the
two visual parts changed.
| | 27:16 | So I'll mouse-click and I'll drag.
| | 27:18 | I'll let the mouse go. And it actually went
right to that spot, and now the two clips,
| | 27:25 | that edit point, those
two clips meet right there.
| | 27:28 | So now the music and the
visuals more or less match.
| | 27:32 | Take a look and listen.
(video playing)
| | 27:37 | So right when that guitar
went up, the visual changed.
| | 27:40 | It makes a big difference when you time the
visual to the audible change. And when you turn the
| | 27:46 | voiceover on, of course the voiceover starts
here, but this particular voiceover is okay.
| | 27:51 | So let's turn this back on.
| | 27:52 | We'll turn our music down just a
little, because I do want to hear it.
| | 27:56 | Let's leave it at 0, which is the
native level that it came in at.
| | 28:01 | We'll back our playhead up and
let's listen to this. Here we go.
| | 28:03 | (video playing)
| | 28:17 | Not bad, not bad. I know the voiceover changed right before
we saw this clip, but that actually works.
| | 28:24 | That actually works together quite nicely.
(video playing)
| | 28:28 | Okay, not too bad.
| | 28:29 | Now, you could say "well, no, no Frank, I
like this clip to start where the voiceover
| | 28:33 | starts." So that's okay too.
| | 28:35 | If you don't like where this is, then again,
you're going to use the Roll tool, you'll
| | 28:39 | mouse-click on the edit point, and drag this
back, and let it start, and let's listen to that.
| | 28:45 | Let's start right where the voiceover starts.
(video playing)
| | 28:48 | Either one I think will work.
| | 28:51 | As long as you understand how the Roll
tool works. It's quite a nice feature.
| | 28:56 | And let's keep going.
| | 28:57 | Let's move on over to this
portion of the Timeline.
| | 29:00 | So I'll play the Timeline.
| | 29:01 | Let's listen to it.
(video playing)
| | 29:06 | Okay, not too bad.
| | 29:08 | Okay, so we can leave that there.
| | 29:11 | If you decide that you want to change an edit
point and you have the handles--and the way
| | 29:15 | to check to see if you have the
handles, and what are handles.
| | 29:18 | Handles will allow you to use the Roll tool.
| | 29:20 | For instance, if I mouse-click on the Roll
tool and I want to adjust this edit point--
| | 29:25 | let me zoom in a little bit.
| | 29:28 | If I mouse-click on this edit point, I won't be
able to change the edit point in some direction,
| | 29:35 | or both directions, if it
doesn't have enough handles.
| | 29:38 | And what that means is I may be using all
of the footage on the Timeline that is being
| | 29:46 | taken up from beginning to end.
| | 29:48 | And what I mean by that is if I double-click
on the clip here, I do have a little bit of
| | 29:52 | extra footage here to change the
edit point and drag it to the right.
| | 29:56 | But if I double-click on this clip, the Jeep,
look how I am at the very beginning of the
| | 30:00 | clip and I cannot roll into that clip, because
one or both clips don't have enough of a handle.
| | 30:08 | So if I double-click on this clip, then yes,
there is a handle there and there's a handle
| | 30:12 | here, on both sides of this clip.
| | 30:15 | But on this clip at the beginning, which
is really right where this edit point is,
| | 30:19 | there's no handle there.
| | 30:21 | So it really works best if the clip that's
the exiting clip has a handle and the incoming
| | 30:28 | clip has a handle for the Roll tool.
| | 30:31 | So last but not least, let's talk about
another feature that I really like using, which will
| | 30:36 | allow us to make a change up in the viewer.
| | 30:39 | So for instance, this particular portion
where I have the voiceover for the Saturn, let's
| | 30:43 | just listen to that for just a quick second.
(video playing)
| | 30:52 | So that to me, the voiceover works pretty good,
but the portion of the clip may not work as good.
| | 30:59 | So if I double-click on the clip to update
in the viewer, you can see that I am using
| | 31:03 | this portion of the clip right here, and
there's a lot of extra footage at the beginning and
| | 31:07 | a lot of extra footage at
the end that's not being used.
| | 31:10 | Well, there is a tool over here that we can
use; as a matter of fact, it's this first
| | 31:15 | tool right here that
allows us to make that change.
| | 31:19 | And it's called the Slip tool, by the way.
| | 31:20 | If I want, I can change this portion of the clip
we're going to use by mouse-clicking and dragging.
| | 31:28 | And what you're seeing in the viewer is the
first frame of the beginning of the clip,
| | 31:32 | and what you're seeing in the canvas on the right
is the last frame of what the viewer will see.
| | 31:36 | And now I am going to use this portion of the clip
and it updates down on the Timeline. Take a look.
| | 31:42 | (video playing)
That's a little bit better.
| | 31:46 | I like that a lot.
| | 31:49 | So with this tool, this tool will help me
change what portion I am seeing up in the
| | 31:55 | viewer down on the Timeline.
| | 31:57 | So again, I have to double-click on the
clip, and I can see here that there is a lot of
| | 32:01 | extra footage that's not being used on the
left, and a lot of footage that's not being used on the right.
| | 32:05 | So with the Slip tool in my hand--mouse-click
on the Slip tool and the shortcut is, I believe
| | 32:11 | it's the letter S--
| | 32:12 | I could mouse-click and drag and select a new
portion of the clip and it updates down in the Timeline.
| | 32:19 | That's if you have enough footage on either side,
on the left or the right, to make that happen.
| | 32:26 | So that's it for the power tools.
| | 32:28 | Hope you enjoyed this lesson.
| | 32:29 | I know this is a little bit of a
longer lesson, but a very good one at that.
| | 32:32 | And you can go back and practice. And with
the Roll tool or the Slip tool or the Ripple
| | 32:37 | tool, you can make adjustments down here between
these clips on the Timeline so that the timing
| | 32:42 | between the voiceover and the
music make a lot of visual sense.
| | 32:45 | Other than that, we're done with this lesson.
| | 32:47 | Let's move on to the next.
| | 32:52 |
| | Collapse this transcript |
| Creating titles| 00:01 | Now in this lesson I am going to teach
you how to add value to your project.
| | 00:05 | That's right. By simply adding titles to your
finished project here, you increase the worth
| | 00:10 | or the value to the viewer,
which makes you look a lot better.
| | 00:13 | So, go ahead and open up the
previously created project called Power tools.
| | 00:18 | We were working on this project earlier.
| | 00:21 | And if it's already open, great. We are going
to add titles to the different sections here
| | 00:24 | of these clips on the timeline,
| | 00:26 | so make sure your playhead is at the beginning.
| | 00:28 | Then navigate your cursor to the bottom right-
hand corner of the viewer and look for the letter
| | 00:32 | A. It looks like a little
filmstrip too, with the letter A in it.
| | 00:35 | Mouse-click on that button, navigate down to
the word Text, and then navigate down to Text.
| | 00:40 | And once you have done that, your viewer will
change. You may have a black background or
| | 00:46 | a checkerboard background.
| | 00:47 | If you have the black background, let me show you
how to change it to the checkerboard background.
| | 00:51 | Navigate to the View button in the right
corner, mouse-click, and select Checkerboard 1.
| | 00:55 | Now when you do that you will have the same thing,
and you will even see the words SAMPLE TEXT here.
| | 00:59 | To work on this title, you need to mouse-click on the
Controls tab in the viewer where my cursor is now.
| | 01:05 | Controls tab comes forward. And we have
several different areas here within this title that
| | 01:09 | we can work within, for instance, where we
can actually type the title in, which is this
| | 01:13 | Text section here.
| | 01:15 | If you mouse-click on this blue navigation
bar, you'll see that there are a few sections
| | 01:18 | here that we can do things, such as change the
font, the font size, the style, the alignment,
| | 01:24 | the color, so on and so forth.
| | 01:25 | So what I'd like you to do is
click one time in this Text section.
| | 01:29 | I would like you type in "Auto Show TV."
| | 01:35 | Now you might be thinking "well Frank,
when I type this in, I don't see it anywhere."
| | 01:38 | Well, that's true. You don't.
| | 01:39 | You are going to have to click on the Video
tab to see the title still here in the viewer.
| | 01:43 | As a matter of fact, that's a thin font.
| | 01:45 | I want to change it to a bold font.
| | 01:47 | That's really what you should do when you're
creating titles is try to use a bold font
| | 01:50 | that's not too wavy and skinny.
| | 01:53 | So let's go back to the
Controls tab. Mouse-click on that.
| | 01:56 | Navigate to the Font Selection button,
mouse-click, and select Arial Black.
| | 02:00 | That will make that nice and bold. And now
if you click on the video tab, there we go.
| | 02:04 | It's a little bit better.
| | 02:06 | Well, at this point, I would like you to bring
this down on the Timeline and park it right
| | 02:09 | over the first clip, that Chrysler clip.
| | 02:13 | And there are a couple of ways to bring this
down. Of course, you could just mouse-click
| | 02:16 | on the title and drag it down. It doesn't look like
you are doing much until you actually get
| | 02:19 | it down on the Timeline.
| | 02:21 | Park it up on V2 above the first video clip
on V1. Now make sure your cursor is pointing
| | 02:27 | down when you let that title go, okay?
| | 02:29 | And of course, the title is little
long. We have to trim it and so forth.
| | 02:32 | Well, let's get rid of that title.
| | 02:33 | I want to show you a different way, which I
think is a better way to bring the title down.
| | 02:35 | I am going to mouse-click on the
title and push Delete, just like that.
| | 02:39 | I will park my playhead over the clip, this
first clip that I want the title to be applied to.
| | 02:45 | Okay, so do that now.
| | 02:46 | And then I am going to mouse-click on this
title and drag it over here to the Superimpose
| | 02:49 | option on the Canvas Overlay window and take a
look at what happens when I let the mouse go.
| | 02:53 | Boom! It brought it down to the Timeline,
parked it on V2, and made it perfectly the
| | 02:58 | same size as the clip underneath it.
| | 02:59 | I mean, how easy could that be? Pretty good
huh! Not bad, that's what I meant to say.
| | 03:05 | So anyway, click on the title now and now
when you do that, you'll see over here you
| | 03:09 | can move it around,
because the wireframe is on.
| | 03:12 | If it's not on, turn the wireframe on. Navigate to the
View button, mouse-click and select Image+Wireframe.
| | 03:17 | And then mouse-click and drag it over to the upper
left-hand side of the screen, just like I have done.
| | 03:22 | Now if you are still wondering
"well, wait a minute Frank.
| | 03:24 | I want to go and change the color,
the size, do all kinds of things,"
| | 03:27 | well, once it's on the Timeline, like ours
is or at least like mine is, double-click
| | 03:31 | on the title so it updates up in the viewer.
| | 03:34 | Okay, we know this title came from the Timeline
because of the sprockets here. See these sprockets?
| | 03:39 | So now when we go to Controls tab and we make
any change, such as the Font Size, take a look.
| | 03:44 | I will mouse-click on the slider and look
how much bigger it gets or smaller as I slide
| | 03:48 | left and right. See that?
| | 03:50 | Make the font size 40. Make it size 40.
| | 03:52 | So, click in this numeric
value box and type in "40." Enter.
| | 03:56 | And then of course, we could change the style
to Bold, Italic, or Bold and Italic, and the
| | 04:02 | Alignment, Center, Left. Leave it on Center.
| | 04:03 | Let's change the color though. Mouse-click on
the white color box here, click once, and if
| | 04:07 | you don't see the crayons here, click on the
crayon box up here in the right corner. Click
| | 04:11 | on that and select the black
crayon and then select OK.
| | 04:14 | Look how it updated automatically.
| | 04:15 | Now it's a little dark.
It's harder to see.
| | 04:17 | But what we are going to do is put up a
background behind it, so we can see that title come out
| | 04:21 | a little bit more.
| | 04:23 | So once you've done this, navigate down
to the title on the Timeline and move it up.
| | 04:27 | Now I know there's no track here,
| | 04:28 | but when I mouse-click and drag it straight
up, Final Cut creates a third track for me.
| | 04:34 | When you've done that, save your work. Apple+S
| | 04:36 | Now, navigate over here to the little letter A
at the bottom right-hand corner of the viewer,
| | 04:42 | mouse-click, and we are going to
create a matte background, a color.
| | 04:45 | We are going to create a solid
color. This is how you do it.
| | 04:48 | So we select Matte > Color.
| | 04:51 | There we go. And our viewer
now has a gray solid color.
| | 04:55 | It's really a clip.
| | 04:56 | If I were to drag this down on the Timeline,
we would have a great clip on our Timeline,
| | 04:59 | which I don't want.
| | 05:00 | So, navigate to the Controls tab, mouse-click
on that, then select the gray box, click on
| | 05:04 | that, and select the light-yellow color. See this
right here? Mouse-click on that and then select OK.
| | 05:12 | Now, this box changes to yellow, and if we
click on the video tab, we have a 10-second
| | 05:16 | clip of yellow--very bright,
by the way, I might add.
| | 05:20 | And I am going to send this down to the
Timeline, mouse-click and drag this one down just to
| | 05:24 | be safe, and put it on V2 like I'm doing now.
Make sure your cursor is pointing down. You've
| | 05:29 | got to get in the habit of doing
that when you let this mouse go, boom!
| | 05:32 | And now trim the edge by navigating to the
very edge, mouse-click, and drag that over, okay.
| | 05:37 | And park your playhead right over
all three of these first clips.
| | 05:40 | So when you do that, you'll see that, the very bright,
bright yellow box with the title Auto Show TV in there.
| | 05:47 | Well, we are going to
fix this here in a moment.
| | 05:49 | By the way, make sure your Clip Overlays
button is on; in other words, make sure this little
| | 05:53 | button is pushed in.
| | 05:54 | Okay, so we can see these black opacity bars.
| | 05:57 | Remember, when we have this pushed in, we were
working with the audio levels in previous lessons.
| | 06:01 | Well, when that button is pushed in, we also have
the ability of working with the opacity for video.
| | 06:06 | So I will talk to you about that in a
minute, but make sure that button is on.
| | 06:09 | Okay, so now I would like you to mouse-click on the
yellow box clip. Make sure your playhead is parked on it.
| | 06:15 | We are going to use another power tool.
| | 06:17 | The power tool we are going to use is the
Crop tool, okay, and C is the shortcut for that.
| | 06:23 | So the Crop tool allows us to crop; in fact,
we are going to basically cut some of those
| | 06:27 | box up, some of the yellow box.
| | 06:29 | I am going to navigate to the very bottom of
the viewable area here in the Canvas window.
| | 06:33 | Look how I get kind of a funky-looking tool.
| | 06:35 | That's the Crop tool.
| | 06:36 | If I mouse-click and drag, look what
I can do to the yellow box. See that?
| | 06:42 | Just like that. Try that.
| | 06:45 | And then I am going to do
to the right side as well.
| | 06:46 | I am going to go right to the edge, boom! Right
there, mouse-click, and drag. Very cool! I like that.
| | 06:55 | Okay, so now let's see.
Let's change the opacity.
| | 06:58 | First of all, put the tool away.
| | 06:59 | You got to do that.
| | 07:01 | So push the letter A on your keyboard or
push the Selection tool on the toolbar,
| | 07:05 | and navigate over here to the
opacity of the color, not the text.
| | 07:08 | And take a look. I will mouse-
click and drag this down to about 50,
| | 07:11 | or close to it, and look at that.
Now the yellow background is opaque and I can
| | 07:15 | see right through it. How cool is that?
looks like a little logo, doesn't it?
| | 07:19 | Very nice, so let's animate this now.
| | 07:22 | Let's animate that coming in.
| | 07:23 | So I am going to park my playhead right about
there. I'm just going to arbitrarily park it about
| | 07:28 | maybe one fourth of the way in, to both of
these clips. And by the way, turn the Clip
| | 07:32 | Overlays button off by clicking a
button down here, boom! Click on that.
| | 07:36 | And then select the Text clip with your
playhead moved in just a little bit and mouse-click
| | 07:41 | on the Add Keyframe button right over here on
the bottom-right corner of the Canvas window.
| | 07:45 | Boom! Click on that and
we get a green wireframe.
| | 07:47 | Mouse-click on the yellow box, do the
same thing. Don't move that playhead though,
| | 07:51 | and then add a keyframe, boom! Very nice!
And then drag the playhead back to the beginning
| | 07:56 | of the Timeline, okay, or push
the Home key on your keyboard,
| | 08:00 | and navigate up to the Percentage View button up
here on the Canvas window, mouse-click and select 50%.
| | 08:06 | Hold the Shift key down and mouse-click and
drag the yellow box to the left and look how
| | 08:11 | I get a wireframe motion path. See that right
there? Drag the yellow box off to the left,
| | 08:17 | so just the right corner is off to the left
corner of the viewable area of Canvas window.
| | 08:22 | Then mouse-click on the Text title clip on the
Timeline, hold the Shift key down, mouse-click
| | 08:27 | and drag straight up. And drag the title up
so it just isn't seen right above the viewable
| | 08:31 | area of the Canvas window.
| | 08:32 | Now I held the Shift key down to constrain when I
dragged to the left or to constrain it when I dragged up.
| | 08:37 | It's going to take a little practice, and if
you need to rewind this lesson, go ahead and
| | 08:41 | do that and watch it again, because that
is very cool, what we just did. So take a look.
| | 08:45 | Now if I push play--
(video playing)
| | 08:49 | Very nice. You know, it just adds a
little bit of spunk to the title.
| | 08:55 | So now we need to add a transition at the end.
| | 08:56 | Let's just make it fade.
| | 08:57 | So I want to show you a really cool trick.
Just Ctrl+Click on the edge, select Add Transition
| | 09:02 | "Cross Dissolve" Ctrl+Click Add
Transition "Cross Dissolve," so it fades out.
| | 09:06 | Now that's a one-second dissolve. It might
be a little too long for some of you. Let
| | 09:09 | me sure you how to change the duration.
| | 09:10 | You can actually click on the edge and move
this in or Ctrl+Click on the transition itself,
| | 09:15 | and there's the Duration, and
there is the Duration window.
| | 09:18 | I will type in "15" Enter, Enter, and
it makes it a half-second duration.
| | 09:21 | Okay, so Ctrl+Click on the other transition,
type in "1500" or just 15 Enter, Enter actually.
| | 09:30 | And then that worked. That shortened our transition
down to a half second so it fades out at the end.
| | 09:34 | Very nice, so it fades out right before we get
to the next clip, which is exactly what we want it to do.
| | 09:39 | Save your work and let's create another title.
| | 09:41 | Let's create a title called a lower third.
| | 09:42 | Okay, and we are going to do is we are going to use
the lower third to identify the vehicles in this video.
| | 09:48 | So navigate back over to the letter A in
the viewer, mouse-click, and select Text > Lower
| | 09:55 | Third, and then you'll see that
familiar checkerboard background.
| | 09:59 | But this time we have two
titles here in the bottom-left.
| | 10:04 | And this title is pretty similar to the first one.
Navigate to the Controls tab, click on that.
| | 10:09 | And we have two sections here for Text 1 and for
Text 2 that represents these two titles right here.
| | 10:16 | So in this first Text 1 box, click one time,
and I'd like you to type in "North American."
| | 10:33 | That's right, trying to remember my own
show here, "North American Auto Show."
| | 10:39 | Okay, so type in "North American Auto Show,"
okay, and then this Text 2, click in that
| | 10:46 | and type in "Dodge."
| | 10:50 | No, I don't want to do that.
| | 10:54 | Let's get rid of that. Hang in there for me.
| | 10:55 | So I've got to learn how to spell
Dodge, DODGE M80 Truck. There we go.
| | 11:05 | So it takes a little bit to learn how to type,
doesn't it? So type in "North American Auto
| | 11:09 | Show," and then "Dodge M80 Truck," all righty?
And then mouse-click on the Video tab and
| | 11:14 | you will see here what we typed in.
| | 11:15 | Now a couple of things I am not crazy about
with this title is #1, this white thin font,
| | 11:19 | it's a little too big.
| | 11:20 | So I am going to mouse-click on the
Controls tab and I am going to change the font.
| | 11:24 | I am going to select here the
Arial font, or Arial Black actually.
| | 11:29 | Let's do that, for both of
these. Arial Black, there we go.
| | 11:33 | And I'll change the Size from 36 to
25 right in here on the Size window.
| | 11:41 | And then if I mouse-click on
the Video tab, there it is.
| | 11:43 | There is my title.
| | 11:45 | Now let's change the color.
| | 11:47 | Let's go back and change the color. So we'll
navigate here to the white box, mouse-click
| | 11:51 | on that, and we are going to select black so we
stay consistent with the title that we first created.
| | 11:57 | Okay, so now if we mouse-click on the Video
tab, we will see our North American Auto Show.
| | 12:01 | Perfect! So park your playhead over the
second clip, which is where this is going to go,
| | 12:05 | mouse-click, and drag this to Superimpose
option in the Canvas Overlay window. Boom! It sends
| | 12:10 | it right down on the Timeline.
| | 12:11 | And now what we can see it; it's barely there.
| | 12:13 | We can see our title.
| | 12:14 | So guess what we need? We need
to put a background behind that.
| | 12:17 | Well, this titler, this lower third
titler has a background built in.
| | 12:22 | We just didn't activate it. So take a look.
Double-click on the lower third so that it
| | 12:26 | opens up in viewer so it
updates back in to the viewer.
| | 12:29 | Navigate to the Controls tab. Then go down
to the Background option here and see how
| | 12:34 | it says None? Mouse-click and select Solid.
| | 12:38 | And of course, because it's the same color
as the title, we need to change the color.
| | 12:41 | So click on the black color box and
select--actually let's do this: mouse-click on
| | 12:47 | this magnifying glass and let's select the
yellow truck. Would that be cool or what?
| | 12:51 | So I would find a darker section, like right
about there, and then drag this down to your
| | 12:57 | favorites. See I just mouse-clicked and I
dragged that down and clicked on it, just
| | 13:00 | to be sure you have
selected it and then hit OK.
| | 13:02 | And not only is it in the bank--back here
it's in this bank for future use--but now
| | 13:07 | it showed up over here. See that?
| | 13:09 | And then let's change the Opacity of just
the bar. Take a look. Mouse-click on this
| | 13:13 | bar, drag it down to about 70, and wow,
that's cool! So it matches the color of the truck
| | 13:19 | and it's the yellow
background. How cool is that?
| | 13:22 | So then I am going to have you fade this in.
| | 13:24 | So turn snapping off by pushing the
letter N and that way you can glide this.
| | 13:29 | You can trim the beginning of this title in
at the beginning and the end, just like that.
| | 13:33 | And then hold the Ctrl key down, then mouse-
click and select Add Transition "Cross Dissolve"
| | 13:38 | to the end and to the beginning.
| | 13:41 | Okay, wow! And then now, we have
created our lower third. Take a look.
| | 13:45 | If I back the playhead and push Play,
it fades right in.
| | 13:48 | (video playing)
| | 13:51 | Very nice! So now we want to add titles to the rest
of these clips, including the first one, actually.
| | 13:56 | So we have to raise these two items here,
right up. We have to raise them up once.
| | 14:01 | So if you mouse-click and drag to create a
square marquee, or a lasso is what I would
| | 14:06 | like to call it, mouse-click after you have
selected the two clips plus the transitions
| | 14:10 | and move them up one layer, just like that,
because we are going to add this title over here.
| | 14:15 | But first, I am going to have you copy
this all the way down. So take a look.
| | 14:20 | I am going to have you copy this.
| | 14:21 | I am going to mouse-click--oops! I want to
click just to the--just enough so I don't
| | 14:26 | select those items on the left, but I do want
to select the transition, the title and the
| | 14:30 | transition, because I am just
going to copy this over. Take a look.
| | 14:32 | So Option+Mouse-click+Drag, let the
Option key go and let the mouse go.
| | 14:37 | I just copied it all the way over
because this is a long clip over here.
| | 14:41 | These two other clips are kind of short.
| | 14:43 | So when I copy this one, I want to make sure
this is still selected, so I will mouse-click
| | 14:46 | and drag to create a square lasso. Option+Mouse-click+
Drag, let the Option key go, then let the mouse go.
| | 14:53 | This takes a little bit of practice.
| | 14:54 | It might be frustrating at first because
you might do all kinds of things, but undo.
| | 14:56 | Do it slowly, and then if you make a mistake,
undo your last action by pushing Apple+Z.
| | 15:02 | Now since this is so long, I'm going to
actually delete that transition, and I am going to trim
| | 15:07 | this in a little bit, right about there, and then now
I can copy this transition to the end. Take a look.
| | 15:13 | Option+Mouse-click+Drag. Let the Option key
go and let the mouse go at the same time,
| | 15:18 | and boom, it copies it.
| | 15:19 | Now I can lasso this whole thing,
Option+Mouse-click+Drag, put it in the next clip, so let the Option
| | 15:24 | key go, then the mouse, then Option+Mouse-
click+Drag and bring it to the beginning.
| | 15:29 | Option, let the Option key go
first, and then let the mouse go.
| | 15:31 | And we are letting the Option key go first
because that would create an overwrite edit,
| | 15:36 | which is exactly what we need.
| | 15:38 | Now of course you are going to have to
go in each one of these titles, right?
| | 15:41 | You are going to have to park your playhead
over the title, double-click on the title,
| | 15:44 | and then change it up here in the viewer,
right, because this is not the Dodge M80 Truck;
| | 15:49 | this is the Chrysler.
| | 15:50 | So you can leave North American Auto Show
there, but here in this section you can type
| | 15:55 | in "Chrysler Crossfire,"
okay, one word, Crossfire.
| | 16:04 | As soon as you hit Enter, it updates down
the Timeline. See that? Chrysler Crossfire.
| | 16:09 | And then park your playhead over this Jeep,
double-click on that so it updates up here,
| | 16:13 | and we want to type in "Jeep 2007."
| | 16:18 | And then so on and so forth for the Viper as
well. Double-click on the title. Make sure
| | 16:22 | your playhead is parked over that, by the
way, when you double-click on the title, so
| | 16:26 | you can see the change.
| | 16:27 | And that's the viper.
| | 16:30 | That's the Dodge Viper, CRT
10 I believe. Hit Enter.
| | 16:35 | And then last one is the Saturn Sky, so park
your playhead on that, double-click on that
| | 16:40 | title, click once in this Text 2, and
type in "Saturn Sky." Perfect. Hit Enter.
| | 16:49 | And after you have done that, you've now
successfully created all these lower third titles, and
| | 16:53 | of course the beginning title to reveal what the
show is, with a little animation I might add.
| | 16:57 | I am pretty proud of you.
| | 16:59 | If you have gone this far,
perfect! You've done a lot.
| | 17:02 | And if you need to rewind this lesson, of
course, go ahead and do that now, because
| | 17:05 | we did cover a lot, but other than
that, we are done with this lesson.
| | 17:10 |
| | Collapse this transcript |
| Transitions and filters| 00:01 | So when you add transitions and filter effects to
your production here that also raises the value.
| | 00:06 | So in this lesson we're going to talk about
adding transitions and even some filters to
| | 00:10 | our Timeline here, and we're going to continue
to work on this project called Power Tools.
| | 00:14 | So we've already added titles and now we're
going to build upon that by adding transitions
| | 00:19 | and filters to these video
clips down here on the Timeline.
| | 00:22 | So what I'd like you to do is open this project
if it's not already open, and since we already
| | 00:26 | have our Timeline built, we're going to
jump right in and add the very first thing.
| | 00:30 | We're going to start here at the
beginning and work our way across.
| | 00:32 | We're going to add a black video clip at the
beginning so we can fade up from black into this first clip.
| | 00:38 | So what I'll need you to do is navigate over
to your viewer and mouse-click on the Video
| | 00:43 | tab in the upper left-hand corner, if you don't
see the letter A on the bottom right-hand side.
| | 00:47 | We're going to create a black solid clip,
so mouse-click on the letter A, then select
| | 00:53 | Matte > Color. And we did this earlier for the
yellow matte that we created in the previous
| | 00:58 | lesson. Mouse-click on the Controls tab in
the viewer, mouse-click on the gray box, and
| | 01:03 | then select the black crayon.
| | 01:05 | If you don't see the crayons, then mouse-click
on the crayon icon right there and select OK.
| | 01:09 | Then click on the Video tab and we have a
black clip that's exactly 10 seconds in length.
| | 01:13 | Well, let's shorten the length. So, click one
time in the Duration box and type in "300," Enter.
| | 01:19 | And then, rather than drag it into the Timeline,
I'd like you to drag this, mouse-click and
| | 01:23 | drag it into your browser,
so it sits there as a clip.
| | 01:26 | That way you can use it in the future down the
Timeline if you want by taking it right from the browser.
| | 01:32 | So then I'd like you to rename that clip,
call it Black clip, and even 3 seconds would
| | 01:39 | help you identify what it is.
| | 01:40 | So it's a Black clip that's 3 seconds.
| | 01:43 | So with the playhead here on the Timeline
at the very beginning of the Timeline--even
| | 01:47 | push the Home key to make sure that it's there--
| | 01:49 | let's insert edit this
black clip at the beginning.
| | 01:51 | So really what's going to happen when you
do an insert edit is it's going to move all
| | 01:54 | these things over and we'll
have black at the beginning.
| | 01:57 | So I'll mouse-click on the Black clip in the
browser, drag it over into the Insert option
| | 02:02 | over here in the Canvas Overlay window, let
it go, and boom, it stuck that black clip
| | 02:06 | there at the beginning.
| | 02:08 | As a matter of fact, what we want to
do now is add our first transition.
| | 02:12 | So the shortcut to add a quick dissolve is
the following: Ctrl+mouse-click right on the
| | 02:17 | edit point, select Add Transition 'Cross
Dissolve' and let it go. And there we go.
| | 02:22 | And now the video and audio of course are
affected, in that it added a transition to
| | 02:28 | all three: the video and two tracks of audio.
| | 02:30 | Now, we're not using this audio here, but
if we were, then the audio would fade up too.
| | 02:36 | As a matter of fact, it would fade a little
late, because look: the audio fades up after
| | 02:40 | the transition. More on that in just a moment,
| | 02:41 | but that's how you add a quick transition.
| | 02:43 | Now, a couple of questions you might have
is, well, how long is that transition, and
| | 02:49 | what if it's not a dissolve, or what if it
is a dissolve? Well, the way to discover both
| | 02:53 | of those is to do the following.
| | 02:54 | Navigate up to the Effects tab in the browser,
mouse-click on that to bring it forward, then
| | 02:58 | mouse-click on the Video Transitions folder/bin,
click on that, and then navigate to the Dissolve option.
| | 03:05 | And you'll see that in the Dissolve folder/
option here within the Video Transitions, that the
| | 03:10 | Cross Dissolve is normally underlined.
| | 03:12 | As a matter of fact, that is the default
transition when you first install Final Cut Pro.
| | 03:18 | You can change this by, let's say, we wanted
to make this the default transition, Ctrl+Click
| | 03:22 | on it and select Set Default Transition. And
then when you do that, the underline goes there,
| | 03:28 | making it the default.
| | 03:29 | Now, I don't suggest you do that.
| | 03:30 | I suggest we leave the
Cross Dissolve as the default.
| | 03:33 | So Ctrl+Click on that and
select Set Default Transition.
| | 03:37 | Now, the Duration is over here on
the right, in the Length column.
| | 03:40 | Now, we can click in there one time and we
can change it to 15 frames and then hit Enter.
| | 03:46 | You don't have to put 15 point;
just type in 15 and it will do it.
| | 03:49 | Or you can click in that window again.
Let's make it 1 second, so we'd do 100, Enter, and
| | 03:55 | that makes it 1 second. That's really
the default length for that transition.
| | 04:00 | So with that said, let's add a few more
transitions as we go through here, because basically now,
| | 04:05 | if we play our Timeline back to watch that
transition--let's push the Play button here--it fades up.
| | 04:11 | Very nice!
| | 04:12 | So it's not as an abrupt entrance right into
it; it's a nice gradual fade-up from black,
| | 04:19 | which really looks nice the way it fades in.
| | 04:23 | So let's add a transition
between these two clips.
| | 04:25 | Now, keep in mind, when you add a transition between
clips you must have the clip handles between the two.
| | 04:33 | And that's going to happen to
you where that won't be the case.
| | 04:35 | In other words, at some point, even in this
lesson, that's going to happen, and you may
| | 04:39 | not know where or when.
| | 04:41 | So what you have to do is you double-
click on the clip that's on the Timeline.
| | 04:44 | Now, because we have a transition here,
this is going to look kind of funny.
| | 04:47 | But you always want extra footage at the
beginning and extra footage at the end of a clip.
| | 04:52 | Those are called handles, like on a motorcycle,
you know those kind of handles that stick
| | 04:55 | out on the left and the right?
| | 04:57 | Same thing here. We need the extra
footage to fade out of this clip.
| | 05:01 | And in the incoming clip, which is this clip
here, the Dodge M80--double-click on that--
| | 05:04 | there has to be enough footage to fade
in before we actually see the content.
| | 05:08 | I know that sounds strange,
but that is how it works.
| | 05:11 | If you don't have these handles on the outgoing
and the incoming clip, a transition will not work.
| | 05:16 | So let's just add our next transition.
Keep that in mind as you're adding transitions.
| | 05:21 | And that will happen in this lesson,
and I'll point that out when it does.
| | 05:24 | So let's add a different
transition here between these two clips.
| | 05:27 | So navigate back up to the Video Transitions bin,
and this time let's go with the Slide category.
| | 05:33 | So let's open that up by clicking on the
triangle to the left, and I am going to mouse-click
| | 05:36 | and drag this down. And let's
go with the Push Slide option.
| | 05:39 | And by the way, any transition
that's bold, that means it's real time.
| | 05:43 | So I am going to go with
the Push Slide transition.
| | 05:47 | I'll mouse-click and drag that down.
And look how I can just drag it and place it right
| | 05:51 | in between two clips. See that?
| | 05:54 | And actually, let me undo that.
| | 05:56 | I am going to zoom in to the spot so that I
can show you with a little bit more detail
| | 06:01 | how that's going to work.
| | 06:02 | So I'll go back up to that
transition, Push Slide, mouse-click.
| | 06:05 | I'll drag it down. Notice how you can see
what it is. And look what happens when I park
| | 06:09 | in between two clips.
| | 06:10 | I can center justify it, I can left justify it, or
I can right justify it, and they all make sense.
| | 06:16 | Do I want the transition to happen after
the edit point, do I want it to happen in the
| | 06:21 | middle of the edit point, or before the edit point?
And the edit point is where those two clips meet.
| | 06:27 | That highlighted area
represents the transition.
| | 06:29 | If I were to let this go right now, it would
start to fade into the next clip before the
| | 06:35 | original edit point.
| | 06:37 | So the edit point is dead
center where the two clips meet.
| | 06:39 | So just to be safe, I am going to have this
transition happen dead center between the two clips.
| | 06:44 | So when I let the mouse go, boom, you'll see
it there; you can even begin to see the little
| | 06:48 | push there that's labeled on the transition.
| | 06:52 | Now, if I play this back, I'll park my playhead
right here and I'll push play.
| | 06:57 | (video playing)
There we go.
| | 07:00 | So that push defaults to pushing the clip up.
| | 07:03 | Now, what if I didn't like that? In other
words, I am going to zoom in here real quick,
| | 07:06 | push the letter Z, get my magnifying glass,
click, click, and then I'll put that away
| | 07:10 | by pushing the letter A on my keyboard.
| | 07:13 | The way it works is it pushes it up.
| | 07:14 | See how I can mouse-click and drag
the playhead to see what it does?
| | 07:18 | Well, if I didn't like the way the
transition worked, either A, I can get rid of it, or
| | 07:22 | B, I can double-click on it and work on
this transition up here in the viewer.
| | 07:27 | So when you double-click on a
transition, do not double-click dead center.
| | 07:31 | Double-click to the left or to the
right of the center of the transition.
| | 07:34 | So I am going to double-click to the
right there so it updates into the viewer.
| | 07:38 | Now, what we have up in
the viewer is many things.
| | 07:41 | Here is our justification, by the way. These three
buttons will allow you to left, center, or right justify.
| | 07:48 | But here's the Duration.
| | 07:49 | I can click in here and
type in the new duration.
| | 07:51 | I can type in--actually, not type in, I can
mouse-click and drag the transition to make
| | 07:57 | it longer or shorter, so that's pretty handy.
| | 08:00 | Or I can even mouse-click
and drag it to the left.
| | 08:02 | And as I do this, by the way, it
updates on the Timeline. See that down there?
| | 08:06 | So you can play with that later.
| | 08:08 | But this is where we begin
to manipulate our transition.
| | 08:10 | Here is the direction of the push.
| | 08:12 | So watch what happens. When my playhead is
parked--by the way, you want to park your
| | 08:16 | playhead right on the transition and then
double-click on it so that way when you make
| | 08:20 | any changes, you'll see it
over here in the Canvas window.
| | 08:23 | The Canvas window will show us instantly.
| | 08:25 | So now I can decide, okay, if I mouse-click
on the dial, look how that changes when I
| | 08:29 | dial it to about 3 o'clock, which is 90 degrees.
| | 08:33 | So now when I scrub, I can see
that one clip pushes the other out.
| | 08:38 | And it's just a matter of what
direction do I want that to happen in?
| | 08:41 | So I'd like it to happen
in the opposite direction,
| | 08:44 | so I am going to mouse-click and drag
it this way and make it -90 instead.
| | 08:48 | So that way when this playhead goes across--
here I'll push Play--it looks like the other
| | 08:53 | car just pushes it off to the side,
which is a cool little transition/effect.
| | 08:57 | And that's how these transitions work.
| | 08:59 | When you want to work on a transition, double-
click on it, not on the center but double-click
| | 09:03 | on the sides that it appears up here in the
viewer, and you can change many things: the
| | 09:07 | duration, the location of where it happens
down the Timeline, and even the direction
| | 09:11 | the transition goes into, and even a
few other options. So let's move on.
| | 09:16 | Let's add another transition in between
this clip and this clip, the Jeep Yellow clip.
| | 09:23 | So I'll mouse-click on this
navigation bar and move over.
| | 09:25 | And this time let's
select a different transition.
| | 09:28 | So I am going to navigate over to, let's close
our Slide, and let's select a Wipe transition.
| | 09:34 | So I'll mouse-click on this
category to open it up. Drag that down.
| | 09:39 | And let's go with a Clock Wipe.
| | 09:41 | So I am going to mouse-click on this and I
am going to drag it down, and I'll park it--
| | 09:45 | wait a minute. Look what's happening.
| | 09:48 | I can't left justify it; it's only going to
let me go to the right. Now, why is that?
| | 09:54 | So before I drop it on there,
you'll need to see what's going on here.
| | 09:57 | See how that's not letting me go to
the left, like the other position did?
| | 10:00 | So I am going to put this back. I'm not even
going to drop it on the Timeline.
| | 10:03 | In fact, I want to zoom in a little bit,
because I want to show you something.
| | 10:06 | One of these clips does not have enough
handle space. So let's start with this clip.
| | 10:11 | Double-click on this, and if we look up in
the viewer now, it looks like we have plenty
| | 10:15 | of handle here for a transition.
| | 10:17 | This is the end, or the tail of a
clip, which is this clip right here.
| | 10:21 | Let's take a look at this clip.
Double-click on this one.
| | 10:23 | Okay, that's our problem.
See, there is no handle on this side.
| | 10:27 | It will not allow us to put a transition in
between those two clips, or at least center
| | 10:31 | justify or left justify,
because there's no handle here.
| | 10:35 | So how do we fix that? Well, we can actually
fix that, believe it or not. We talked about
| | 10:39 | it in a previous lesson.
| | 10:40 | Navigate over to your toolbar.
I am going to drag this out.
| | 10:43 | And we're going to mouse-click on this
first button right here, the Slip tool.
| | 10:48 | And I am actually going to slip
this section over, because look,
| | 10:52 | we have a little bit over here on the right,
which that could come back to haunt us when
| | 10:56 | we want to put a transition at the end.
But I am going to try and make it work.
| | 10:59 | So I am going to mouse-click and I am going
to drag this section over just a teeny bit,
| | 11:04 | just enough, so we have
15 frames on both sides.
| | 11:09 | And it takes a little bit of work.
You really have to kind of practice dragging, because
| | 11:14 | it's updating the Timeline.
| | 11:15 | So what we just did was we created a little
bit of a handle section at the beginning of
| | 11:19 | the clip and at the end of the clip, and this
just really makes sense when you do it this way.
| | 11:24 | And you've got to have the
handle there to make this work.
| | 11:27 | If you don't have a handle or if you didn't
even have any space to do that, then you're
| | 11:30 | going to have to do some editing.
| | 11:31 | You're going to have to trim this clip a
little bit more to create a handle, like the Ripple
| | 11:35 | edit, like we covered in a previous lesson.
| | 11:37 | So with that, we just had enough room
to put a little handle on both sides.
| | 11:41 | Now I can go back over and get my transition,
the Clock Wipe, mouse-click on this, and I
| | 11:48 | am going to drag it down, place it in
between these two clips, and there we go.
| | 11:52 | Actually, it's kind of hard to see. Hold on.
I am just going to drop it over here, and
| | 11:55 | I'll deselect the Timeline so you can see this.
| | 11:57 | I'll go back over and get
my Clock Wipe, drop it.
| | 12:00 | So see that? Now it's going to let
us center, left, or right justify.
| | 12:04 | So if we do center justify, there we go.
| | 12:08 | It let us put the
transition, boom, right there.
| | 12:10 | And by the way, we're going to start
talking about rendering here pretty soon, because
| | 12:13 | we're starting to get some
different colors up here.
| | 12:15 | Anytime you see green, that's not a bad thing.
But as soon as you start shying away, like
| | 12:20 | getting into the yellows or the oranges or
the red colors, that means we have to render.
| | 12:24 | In fact, we'd have to render green anyway
before we go to DVD or anything else, but
| | 12:28 | we're going to have a hard time seeing
this when we play it back in real time.
| | 12:32 | So let's take a look at how this looks.
| | 12:34 | Let's park our playhead, boom, by clicking on
the Timecode area right there, right before
| | 12:37 | the transition and let's push play.
There we go.
| | 12:41 | That's a cool little wipe. Very nice! So if
I wanted to manipulate this transition, I
| | 12:48 | have to double-click on it and it makes
it appear over here in the Viewer window.
| | 12:53 | Now, this transition is only 17
frames, which is about a half second.
| | 12:57 | And that's all it gave us based on the amount of
handle on both sides of these clips that it could do.
| | 13:03 | So I will not be able to
extend the end out to the right.
| | 13:08 | Look how if I mouse-click and drag,
it will not let me extend it out to the right.
| | 13:12 | I might be able do it on the left.
| | 13:13 | No, can't even do it there either.
| | 13:14 | Now, I can shorten it, and that's the reason.
See this right here? That's all the handle
| | 13:18 | we had for the incoming clip.
| | 13:20 | That's what this blue section represents.
| | 13:22 | Over here we have plenty of blue, which means
there's a lot of handle on the outgoing clip.
| | 13:27 | This is the outgoing clip.
| | 13:29 | This is the transition. This is the incoming clip.
It's a side view of our Timeline.
| | 13:33 | I know it sounds kind of strange.
| | 13:35 | It's like looking at a sandwich
from the side to see the contents.
| | 13:38 | This is the top slice of bread.
| | 13:39 | This is the bottom slice of bread. Am I making you
hungry? And this is, we'll say peanut butter and jelly,
| | 13:45 | that's right in the middle.
| | 13:47 | They're kind of mixed together.
| | 13:48 | Anyway, so with this, that line indicates
that's it; that's the physical beginning of
| | 13:55 | the clip. We cannot go any further.
| | 13:56 | So if I mouse-click and try to extend
beyond that, it's not going to happen.
| | 14:00 | So with that said, you can experiment a
little bit and get a feel for how this works.
| | 14:04 | You can change where the direction of the
wipe goes or the type, whether it's counter-
| | 14:08 | clockwise or clockwise, and have some fun
with that transition. And that's how you really
| | 14:12 | explore transitions, by the way,
is by double-clicking on them.
| | 14:16 | So what if I wanted to replace one of these
transitions, or what if I just wanted to get
| | 14:20 | rid of it entirely? Well, you could just mouse-
click on that transition, like I just did, and push
| | 14:24 | Delete; that gets rid of it.
| | 14:25 | So let's undo that. Let's bring it back.
| | 14:27 | If I wanted to put a different transition--
for instance, if I wanted to go with a Center
| | 14:31 | Wipe instead--I can mouse-click, drag it,
and park it, boom, right on top of there,
| | 14:37 | and it just replaces it.
| | 14:38 | So now if I want to watch that back, I'll push Play.
(video playing)
| | 14:42 | Very nice! Actually, I like both of those, both of
those work for this video. I kind of like that.
| | 14:47 | What about customizing a transition, like
one that you'd make a lot of changes to and
| | 14:51 | you want to save for future reference?
Well, let's go find a transition first that we can
| | 14:55 | customize, and pretty much you can just
about customize any one of these transitions.
| | 15:01 | Let's go to the Star Wipe.
| | 15:03 | Let's see if we can find that. And that is
actually probably in here somewhere. Or let's
| | 15:10 | just choose one of these.
| | 15:11 | Where is it, Star Wipe? Not there.
| | 15:14 | Let's go with Band Slide instead.
| | 15:16 | So mouse-click on that, drag
it down. And this will work.
| | 15:19 | So there's another handle problem right there.
See that? I can't right justify it, so what
| | 15:23 | do we have to do? And this is common.
| | 15:25 | We're running into these problems, and I am glad
you can see them, because you need to see this.
| | 15:29 | A lot of other training videos will
not show this kind of stuff to you.
| | 15:31 | They'll avoid that and they'll make
it work and make it look all pretty.
| | 15:34 | I mean, editing generally is fun and good
to do, but there are problems that you're going to run
| | 15:38 | into, so I'm glad that you're
seeing this, because that will happen.
| | 15:41 | We could not center justify that clip just now,
| | 15:43 | so we have to do a little experimenting.
| | 15:45 | We need to find out if one of
these clips does not have a handle.
| | 15:48 | So we'll double-click on this clip, and okay,
that's part of the problem right there.
| | 15:51 | Let's take a look at this one;
double-click on this one.
| | 15:52 | Okay, that one has plenty of handle, so we're
just going to have to work with what we have.
| | 15:56 | So let's go get our Band Slide, mouse-click
on this, drag it in between, and it's going
| | 16:03 | to give us what it can.
| | 16:05 | If we double-click on that,
that's a 12-frame transition.
| | 16:09 | Now, we can make this work, by the way.
| | 16:11 | If we mouse-click and drag this to the left,
look how we're not only going to give ourselves
| | 16:16 | more handle, but we actually moved
the transition over when we did that.
| | 16:21 | And now I can expand this out to make it
longer. See, that's a good little trick, see?
| | 16:27 | So anyway, now I can mouse-click on this
playhead up here and I can show you, in the viewer as
| | 16:34 | well as the canvas window, the result of what's
going to happen. And that playhead is no different
| | 16:38 | than mouse-clicking and
dragging this playhead either.
| | 16:42 | So if you like this transition for whatever
reason--and let's say you decide you want to
| | 16:45 | change it to Vertical.
| | 16:47 | You want to give this a border, so we
increase the size of the Border, and we change the
| | 16:51 | color of the border to let's say one of the
colors of the vehicle down in here, so it's
| | 16:56 | going into the red Viper, so let's select the
color by clicking on this magnifying glass.
| | 17:00 | Let's mouse-click on the viper-red color,
and then hit OK, and now our border is red
| | 17:06 | around the wipe, which is kind of a cool thing.
| | 17:09 | And let's say you spent some time customizing
this transition and you think, hey, you know,
| | 17:12 | I want to save this for later on.
| | 17:13 | Well, you can do that.
| | 17:15 | Let's drag this into our
Favorites folder. Take a look.
| | 17:17 | See this little hand right here? Mouse-click
and drag it into your Favorites folder and
| | 17:21 | then open up your Favorites folder.
| | 17:22 | There it is. And you can customize this.
| | 17:24 | We can call this Red Band Slide, and it's now
in your Favorites folder, and it will remain
| | 17:31 | there for any new or future project that you
open. Isn't that a cool thing? And then when
| | 17:35 | you need to get to it,
just open it up and drag it down.
| | 17:37 | You can do that to any transition, so
keep that in mind, customizing transitions.
| | 17:44 | So maybe for the last clip here at the very end,
we're just going to randomly pick one of these.
| | 17:48 | Let's go down to, we'll go to Spin Slide.
| | 17:52 | Drag that down and place it.
| | 17:53 | That one, see how it lets us
left, center, or right justify it?
| | 17:57 | You'll begin to get a feel for how this works
after you've done this a few times. And you'll
| | 18:02 | notice right off the bat if you can
center, right, or left justify it.
| | 18:05 | So we're going to put it in the center there.
| | 18:07 | Let's double-click on this.
| | 18:08 | Don't forget to park your playhead right on
the transition, by the way, so you can see
| | 18:12 | the updates that you make by
double-clicking on the transition.
| | 18:15 | And here we have all kinds of stuff. We can
determine the amount of rows, the amount of
| | 18:19 | columns, the border, the quality, all kinds
of stuff here, the direction or the spin.
| | 18:26 | So once you've decided on all your changes
here, notice how some of the transitions are
| | 18:30 | red, as far as playback is concerned. Some are yellow
and some are totally green when it's a dissolve.
| | 18:37 | Well, this color, by the way, indicates what
your CPU strength is capable of doing at this
| | 18:43 | particular point in time.
| | 18:44 | This has to do with the rendering.
We haven't talked a whole lot about that, have we?
| | 18:48 | So a couple of things you
might want to keep in mind.
| | 18:50 | Over here on the far left of your Timeline--let
me just drag this over--there is an RT option.
| | 18:55 | This is important now.
| | 18:56 | So in order to see some of our transitions,
if not all of them, in real time, you'd need
| | 19:02 | to mouse-click on this RT button and
select Unlimited RT. Do that.
| | 19:09 | And when you do that, watch what
happens on the Timeline. Take a look.
| | 19:13 | Okay, so some of the red ones turned to orange,
which means I'll be able to play them back
| | 19:18 | a little bit better in real time.
| | 19:20 | A couple of more things you might want to keep
in mind. Mouse-click on this RT button again,
| | 19:23 | make sure Unlimited RT is selected, and
make sure Dynamic here and here is checked.
| | 19:30 | And that means Final Cut Pro will optimize
the CPU strength to the best of its ability
| | 19:36 | to play back these scenes
that have any kind of red.
| | 19:39 | And it will basically play them back, even
if it means lowering the quality and lowering
| | 19:45 | the frame rate, which is okay. That's not a big
deal, so at least we'll be able to play it back.
| | 19:49 | So if I push play right now--
(video playing)
| | 19:52 | it kind of stuttered through there, but at
least I could see the transition at that particular
| | 19:56 | point in time, in real time.
| | 19:58 | Now, that doesn't mean that's what I am
going to get when I go out to tape or when I go
| | 20:01 | to DVD, because I'm going to encourage
it to render everything on the Timeline.
| | 20:06 | And let's talk about that.
| | 20:07 | So how do we render our Timeline?
Navigate up to the word Sequence here, mouse-click,
| | 20:12 | and select Render All.
| | 20:13 | Now, all you have to do is select this.
| | 20:15 | You don't have to slide over; you could and
select one of these options. But I suggest
| | 20:19 | you go through here and check all of
these items and keep them checked,
| | 20:24 | because that way, if you want to render
something, just navigate up to the word Sequence and
| | 20:28 | select Render All. And if these are all checked,
if something in your Timeline was yellow or
| | 20:32 | green or dark green or orange, since it's
already checked, you don't have to worry about
| | 20:36 | sliding over here; just go up to Sequence,
select Render All, don't even slide over,
| | 20:40 | just select Render All, and it will render
everything that's checked, just like mine is doing now.
| | 20:44 | Now, I am not going to let it render because
it will take a little too long, possibly, to
| | 20:47 | render all this stuff, so
I am going to hit Cancel.
| | 20:50 | But when you hit Cancel, it will remember
what it rendered up to that point when you
| | 20:54 | hit Cancel, by the way.
| | 20:56 | But after you're done rendering, then you can
watch everything play back in normal speed.
| | 21:00 | And that's how transitions work.
| | 21:02 | So let's add a couple of more transitions, or at
least one more, so we fade to black at the end.
| | 21:07 | Now, remember we created black earlier,
and we stuck it up here in the browser.
| | 21:10 | I can add a transition automatically when I
place my playhead at the very end of the Timeline.
| | 21:15 | I am going to click on the black, and this
time I am going to drag it over to the Insert
| | 21:20 | with Transition option.
| | 21:21 | Now, since it's at the end, it wouldn't matter
if I select Overwrite or Insert with Transition.
| | 21:25 | I am going to select one of
these; I'll go with Insert.
| | 21:28 | And when I do this, take a look at what happens
on the Timeline. Watch. Boom, it sent it down
| | 21:31 | to the Timeline with the default transition
that we selected earlier, so it's going to
| | 21:35 | fade to black now.
| | 21:36 | Now, what about the audio fading down?
So when it fades to black, shouldn't we have
| | 21:42 | the audio fade down as well? Yeah, we should.
| | 21:44 | So we're going to come over to our toolbar,
select the power tool, go with the Pen, and
| | 21:50 | with our Clip Overlays on--remember that's got
to be on to see these pink lines down here.
| | 21:55 | This little guy has to be turned on.
| | 21:58 | Once that's on, I am going to mouse-click, and
because it's a stereo track, it automatically
| | 22:03 | created a keyframe there at the bottom.
Then I am going to mouse-click again and drag,
| | 22:07 | so that now, even though the song does fade
down at the end, I can tell that it totally
| | 22:11 | fades down because of this right here.
| | 22:13 | Now I'll put the Pen tool away by clicking on
the Selection tool and save your work. Command+S.
| | 22:19 | And we've successfully added
transitions and we know how to work on them.
| | 22:22 | We know how to move them around and change
them based on what we do up here in the viewer.
| | 22:27 | So what about filters, adding filters?
Well, that's really where the fun comes in.
| | 22:31 | Even though we've already added some pretty
cool transitions, I'd like to add a few more.
| | 22:35 | So when you add a filter, the filter affects
the entire clip, as opposed to a transition
| | 22:42 | that only affects the incoming
and the outgoing portion of a clip.
| | 22:45 | There is a big difference.
| | 22:46 | So a filter will affect the entire clip.
| | 22:48 | Let's take a look at a few of those.
| | 22:50 | So I am going to
navigate up to the Effects tab,
| | 22:51 | I am going to close my Video Transitions folder,
and I am going to open up the Video Filters folder.
| | 22:57 | So I'll click on the triangle to the left.
| | 22:59 | And I have some extras that I've
installed, that I've purchased.
| | 23:03 | And so you won't see any of these. BCC3, those
are some pretty cool Boris Continuum effects.
| | 23:09 | That's a free plug for them.
| | 23:10 | Boris Continuum has a
really good set of filters.
| | 23:13 | And there is a few companies out there.
There is Magic Bullet for Final Cut Pro.
| | 23:19 | That's another one.
I would highly suggest that. Here it is, Magic Bullet.
| | 23:22 | You get some really real-world film effects
that are just mind-blowing. There is another
| | 23:27 | free plug for Magical Bullet.
| | 23:29 | But those two are great, and they'll take good
care of you when it comes to quality filters.
| | 23:34 | You ought to check them out at the
next tradeshow or on the Internet.
| | 23:37 | But anyway, I want to talk about the native
filters that come in Final Cut, because I
| | 23:42 | know that all of you will have those.
| | 23:43 | So I'd like you to take
a look at some of these.
| | 23:45 | Go to the Perspective folder.
And there are some pretty cool ones in here.
| | 23:48 | And one of the more
popular ones is the Flop filter.
| | 23:52 | And what that does is it
flops the video. Take a look.
| | 23:55 | So if I mouse-click on this and I drag it
down into that first clip, when I let it go,
| | 24:01 | it flops the video. It makes it look like it's
happening on the left now instead of the right.
| | 24:06 | That's pretty handy when you
want to switch things around.
| | 24:09 | If you need to, that's exactly what
flop does is it flips it around.
| | 24:13 | And if you want to take a moment or two later
on to go through all of these filters, it's
| | 24:17 | pretty cool to check some of them out.
| | 24:18 | For instance, like one of my favorites
is this Posterize or Solarize or Diffuse.
| | 24:27 | So let's take a look at some of these.
| | 24:28 | I am going to mouse-click--and this
is in the Style category, by the way.
| | 24:31 | So let's go with Diffuse first.
| | 24:32 | I'll mouse-click and I'll drag that into the
clip. And my playhead is parked on the clip,
| | 24:36 | by the way. You've got to park the playhead on the
clip that you're going to drop the filter into.
| | 24:39 | I mean, you don't have to.
| | 24:41 | So when I drop that in there,
look what it does over here.
| | 24:43 | Now, of course that's totally hiding the
car, I know, but you can make that minimal.
| | 24:49 | So if you double-click on the clip that has
the filter, it updates it into the viewer
| | 24:54 | with the filter, and then you can select the
Filters tab to work on the filter, just like
| | 24:58 | we were doing with transition.
| | 24:59 | You double-click on the clip that has
the filter. It updates into the viewer.
| | 25:03 | Now with this filter here--here it is--
| | 25:06 | you can either mouse-click on it and then hit
Delete if you don't want it. That goes away.
| | 25:11 | Let's bring it back, so I'll push Apple+S.
| | 25:14 | And I am sorry, not Apple+S.
What am I doing? Apple+Z.
| | 25:16 | See, that also happens.
| | 25:18 | And that's a problem. The S and the Z key
are right next to each other, so if you think
| | 25:23 | you're undoing something and you hit Apple+S,
you're really saving something instead of
| | 25:27 | undoing it, so don't do that.
| | 25:30 | That's another good thing to remember.
| | 25:31 | That happens quite often, believe it or not,
even with advanced editors like myself.
| | 25:35 | So the Diffuse is pretty cool.
| | 25:37 | I mean, I can change the amount down to 0
if I want, but if I drop it down to about
| | 25:43 | 4, it makes it look like a painting,
by the way, which is kind of cool.
| | 25:47 | So let's get rid of that.
| | 25:48 | Let's click on the Diffuse, hit
Delete. Let's go with Replicate.
| | 25:51 | Let's see what that looks like. Mouse-click
and drag that into the clip. And there we go.
| | 25:55 | That's kind of cool.
| | 25:56 | And I can change the
Horizontal and Vertical amount.
| | 25:59 | Let's go with 4 on both of these.
| | 26:00 | Oh man, it looks like a video wall to me.
| | 26:03 | That's kind of a cool thing too.
| | 26:04 | Now, I don't know if that would help or hurt
this video at this point, but you can have
| | 26:08 | too--there is such a
thing as too many filters.
| | 26:10 | And by the way, if you want to keep the filter
there and turn it off, click on the triangle.
| | 26:13 | That just turns it off, but it keeps it there.
| | 26:15 | So let's talk about some of the more common
filters, such as in the Image category, like
| | 26:21 | right here, Image Control.
| | 26:23 | Let's say I want to make this black and white.
It's the Tint option here in the Image Control.
| | 26:28 | Mouse-click and drag that, and boom, pop it right
in there and it changes it to black and white.
| | 26:31 | Now, you can have some fun with any of these filters,
by the way. You can keyframe these. So let's do that.
| | 26:36 | Let's make this a color clip that
turns to black and white about halfway.
| | 26:41 | So park your playhead right where you
want it to turn to black and white halfway.
| | 26:44 | Double-click on the clip. It shows up in the
viewer. Navigate to the Filters tab and add
| | 26:49 | a keyframe, boom, right there.
| | 26:50 | Now, when you add a keyframe, that doesn't do
anything until you add the second keyframe.
| | 26:54 | So I am going to move this
over by clicking on the top.
| | 26:56 | I am going to drag this out, drag it to the
right, so you can see that this white area
| | 27:00 | represents this video clip. And of course
this playhead represents where this playhead
| | 27:04 | is right now, and here's the
keyframe that we just added.
| | 27:06 | So if we want this to turn to black and white
halfway through, we have to back this playhead
| | 27:10 | up by mouse-clicking and dragging it over.
| | 27:12 | It's a little tough when snapping is on.
| | 27:14 | So if you want to turn
snapping off, that helps.
| | 27:16 | You can mouse-click and drag this over.
| | 27:18 | And then drop this down.
| | 27:19 | After you've created the first keyframe at
the spot where you want it to start to turn
| | 27:23 | to black or go to black, back the playhead
up and drop the amount down to 0, and Final
| | 27:28 | Cut automatically adds that other keyframe.
| | 27:32 | So now if I back this up a little
bit and I push play--
| | 27:34 | (video playing)
| | 27:36 | it changes to black and
white, right in the middle.
| | 27:41 | And if I want to go back to color, add another
keyframe, advance the playhead a little bit,
| | 27:46 | maybe right about there, and
bring that back right there.
| | 27:51 | And actually, that didn't do much, because
it changes to black and white, so we have
| | 27:55 | to add another keyframe and
then drop it. There we go.
| | 27:58 | So you want to ramp down.
| | 28:01 | So now, as it's playing and it's black and
white, it goes back to color as soon as it
| | 28:05 | gets to this spot. It starts to go, and it's
100% back to color at that point. See? Very
| | 28:11 | cool! Very cool! So to get all these windows placed
back where they should go, push Ctrl and the letter U.
| | 28:16 | So that's how you add filters.
| | 28:18 | That's how you add transitions/
effects to your content on the Timeline.
| | 28:22 | So have some fun with this lesson.
| | 28:24 | I would suggest going back into all of these
filters and transitions and experimenting,
| | 28:28 | like a mad scientist in a lab somewhere.
You got stuff bubbling over here and stuff steaming
| | 28:33 | over there and you've got your rubber gloves
on and you're going through all this stuff.
| | 28:37 | And I can just imagine
what that would look like.
| | 28:39 | And anyway, so have fun with this!
And we're done with this lesson.
| | 28:42 | And let's move on to the next.
| | 28:47 |
| | Collapse this transcript |
| The Audio Mixer tool| 00:01 | You know, audio represents at least 50% of
what your viewer will experience while watching
| | 00:07 | your finished production,
| | 00:08 | so we need to spend some time talking about
how to adjust audio, making sure that the
| | 00:12 | levels all makes sense and that what you're
doing here on the Timeline and maybe up in
| | 00:16 | the viewer to an audio clip all makes sense.
| | 00:19 | So to begin with, we've been working with a
couple of previous lessons, and I would like
| | 00:23 | you to open up the last lesson we're just in where
we added transitions and filters to our project,
| | 00:31 | because what I want to talk about now is paying
attention to the audio levels and how to work
| | 00:35 | with these properly. And the first thing I
want you to take note of is we've been using
| | 00:39 | and working with the audio
waveforms down here on the Timeline.
| | 00:42 | And we also have been working with the Volume
control on the Timeline as well, mouse-clicking
| | 00:47 | and dragging this up and down.
| | 00:49 | But there other ways to do this.
| | 00:50 | There are other ways to visually work with
the audio and adjust the volume control, and
| | 00:56 | one of those ways is to navigate up to the
Tools option here at top menu, mouse-click,
| | 01:01 | and select Audio Mixer.
| | 01:04 | That will open up a window that
will give us a lot of control.
| | 01:07 | As a matter of fact, we have master volume
out control plus individual track control,
| | 01:12 | just like an external mixer that you would
see an audio engineer working with in at a
| | 01:16 | live concert or something.
| | 01:18 | So as I mouse-click and drag my playhead across--
in fact let me move this up here real quick--
| | 01:23 | as I drag this across here, you will see the
volume is going up and down that pertain to
| | 01:27 | how the volume is on the Timeline.
| | 01:29 | For instance, if I park my playhead right
here where track A3 and A4 is, there is volume.
| | 01:34 | So A3 and A4 is down. As a
matter of fact, so is A1 and A2.
| | 01:38 | That doesn't mean I can't adjust the volume.
| | 01:40 | For instance, A2 and A2, which is first two
audio tracks, I can mouse-click and drag that up.
| | 01:46 | Of course, that adjusts
the volume on the Timeline.
| | 01:48 | Did you see that? Or if I wanted to adjust A5
and A6, which represents this track, I could
| | 01:54 | mouse-click and drag this down
and that will affect the Timeline.
| | 01:57 | In fact, it will add a keyframe right there,
as long as this Record button is pushed in.
| | 02:02 | See how it's turned on? That will record
any keyframes and adjustments that I make.
| | 02:06 | So a lot of editors will go through here and
record as they're listening, their keyframe
| | 02:11 | movement by adjusting the volume up and down.
| | 02:14 | In other words, as I mouse-click and drag
this up and down, Final Cut Pro adds keyframes
| | 02:18 | to resemble the volume movement that
I slide here on the Volume control.
| | 02:23 | So let me show you what that looks like.
| | 02:25 | I am going to drag this
all the way to back here.
| | 02:27 | And at this point the volume seems to be pretty
good, but I'm going to adjust this background
| | 02:33 | track and a few of the voiceover tracks
while listening to this finished project.
| | 02:37 | I may have to do it a couple of times, but I
think you will get the idea, eventually when
| | 02:42 | you try this on your own, as to how
it will work for you. So here we go.
| | 02:45 | We will push the Play button, turn that up.
(video playing)
| | 02:50 | Maybe turn this down.
Turn this down. There we go.
| | 02:58 | Turn that up, maybe bring it up a little bit.
| | 03:02 | See, I am just gradually
bringing in this up here?
| | 03:06 | So I am going to stop that.
| | 03:08 | I'll push the spacebar to stop
the playback and take a look.
| | 03:11 | It added keyframes everywhere I
was adjusting the sliders here.
| | 03:16 | So a real handy little tool that would be definitely
worth your time practicing with to get this down.
| | 03:22 | Now of course you can come down here and adjust any of
these keyframes if you want, or delete them as well.
| | 03:28 | You can Ctrl+Click on any of
these keyframes and select Clear.
| | 03:32 | And you won't see these keyframes, remember,
unless you have the Clip Overlays button selected.
| | 03:39 | See that? You've got to have that turned on,
and then you will see all of this action going
| | 03:42 | on with that mixer.
| | 03:44 | So how do you get rid of all of them?
Well, I would undo what I did already by pushing
| | 03:48 | Apple+Z a few times, and that will
actually get rid of them in smaller groups.
| | 03:55 | Now if you want, you can also adjust the Master volume
out by mouse-clicking and dragging this up or down.
| | 04:01 | Now, remember, we have been looking at this in
a lot of previous lessons just to reference
| | 04:06 | the volume of the Timeline.
| | 04:08 | And that's all you can do with this.
You can adjust the volume of this at all.
| | 04:12 | So by watching this and/or watching this, which
I think is a little bit better as far as volume
| | 04:16 | reference, then we can not only watch, but we can
reference and adjust the volume too at the same time.
| | 04:22 | So take a look. I will push the Play button here
and this will adjust all tracks at the same time.
| | 04:27 | Do you hear that. Or I can bring it up?
| | 04:33 | Now, the general rule for audio, at least with
digital audio, is you want the volume to be
| | 04:41 | between -12 and -6. And it looks like it's
averaging that right now at this particular
| | 04:47 | point of the Timeline.
| | 04:49 | So you want to try and keep all your levels,
at least your Master level, out at this area,
| | 04:55 | between this -6 and -12.
| | 04:58 | If it's starts to go above that, that's okay.
You know, occasionally some loud sounds like
| | 05:02 | clapping or engines roaring or whatever you're
taping that happens to have a couple of peaks,
| | 05:07 | then you have got enough
headroom here to cover that.
| | 05:09 | But as soon as it starts to hit the 0,
it will begin to not only be too loud, but possibly
| | 05:14 | get overmodulated which
is extremely hard to fix.
| | 05:17 | So while you're recording out in the field
of course, you've got to pay attention to that.
| | 05:22 | Now if you're an editor and you are not going
to be videotaping anything, then you have got
| | 05:25 | to deal with what's given to you from the
videography department or from whoever is
| | 05:29 | videotaping, then you've got to
come in here and try to work on that.
| | 05:32 | Well, if the volume is too
loud, that's easy to fix.
| | 05:34 | You can simply drop this down or go to the
individual tracks and drop these down and
| | 05:38 | that will fix the volume. But as far as
overmodulation is concerned, there aren't many ways to fix that.
| | 05:43 | That's a tough one.
| | 05:44 | I have asked a lot of audio engineers.
| | 05:45 | Yeah, there are a couple
of workarounds and things.
| | 05:48 | Really, all you can do is turn the volume down
and pray that it's going to still sound okay.
| | 05:52 | However, when it comes the volume, we've got
all the tools right in here to master and
| | 05:57 | work with the volume of all
the tracks down the Timeline.
| | 06:00 | Now there is a couple of other
items up here I want to talk you about.
| | 06:03 | We can solo and mute tracks, okay, and we
can even adjust the panning up here as well.
| | 06:09 | As a matter of fact, this solo and mute
track options up here also exist down here.
| | 06:14 | So if I mouse-click--and I am
going to drag this Timeline up.
| | 06:16 | If I mouse-click on this little speaker icon
right here, that will reveal the exact same buttons.
| | 06:22 | So if I wanted to mute one track or actually
solo one track--let's turn that off--and that
| | 06:27 | would mute all these others,
| | 06:28 | I would only hear just these tracks.
| | 06:30 | So it's a pretty handy tool.
| | 06:32 | The only thing that I don't like about it
is when you open this up, it expands the
| | 06:35 | Timeline a just a little bit more and
takes up just a little more space that I want.
| | 06:40 | So I don't really work
with this too much down here.
| | 06:44 | I would rather open up this window here and
work with these features, which will do the
| | 06:48 | same thing, down below.
| | 06:50 | In fact, when you click on or hold your mouse down
on one of these, it will tell you what it will do.
| | 06:55 | It will either solo it or mute it.
| | 06:57 | So both of those just make sense when you
think about it just for a moment, if you want
| | 07:00 | solo one of these tracks or
mute one of these tracks.
| | 07:03 | So this mixer is very handy. And you
will only get the amount of tracks here.
| | 07:08 | For instance, I have six tracks down in
the Timeline so I have got six sliders.
| | 07:12 | If I had 12 tracks on the
Timeline then I would get 12 sliders.
| | 07:16 | Or if I had just two tracks on the
Timeline, then I would only get two.
| | 07:20 | So keep that in mind when
you open up this mixer.
| | 07:25 | So let's close that out and basically on the
Timeline, we know that we can work on audio
| | 07:31 | down here as well.
| | 07:32 | We also know that if you double-click on an
audio track where the playhead is parked, you'll
| | 07:35 | be able to adjust that
audio up here in the viewer.
| | 07:39 | Don't forget our level control and our
panning and our audio control up here as well.
| | 07:43 | Now, we can keyframe this, if you'd like, mouse-
click on one of our Power tools, the Pen tool.
| | 07:49 | And if we mouse-click, mouse-click, and drag,
because this is a stereo track, notice how
| | 07:54 | that came down together on both sides.
| | 07:57 | We can do that throughout any audio
track that we want, up here in the viewer.
| | 08:01 | Then we can drag it down the Timeline.
| | 08:03 | So we can also do the same
thing down here with our Pen tool.
| | 08:06 | Notice how we did this at the
end of this audio track here.
| | 08:09 | Well, somewhere in the middle, if I want,
I could mouse-click, mouse-click, mouse-click,
| | 08:14 | mouse-click, so I have four keyframes there,
| | 08:17 | and get rid of the Pen tool by pushing the letter
A, and then bring this volume down just a little
| | 08:22 | bit so when the voiceover comes in you hear
the voiceover a little bit better, because
| | 08:25 | the volume behind it is pulled
down a little. Take a listen.
| | 08:28 | (video playing)
| | 08:31 | Well, now we really don't hear it.
| | 08:33 | But over here, let's try it over here.
| | 08:35 | So let's zoom in a little bit, push the Pen
tool or push the letter P to get the Pen tool,
| | 08:40 | and of course we want to add our
keyframes at a spot where it makes sense.
| | 08:45 | In other words, we want this to fade down
before the voiceover. And we have a volume
| | 08:50 | reference. There it is, -23.
I would say -15 will probably work fine.
| | 08:55 | Now as I play this, the volume of the
song goes down before the voiceover.
| | 08:59 | Now I know it's going to be loud over here, but
when it gets here, you will hear it. Take a listen.
| | 09:03 | (video playing)
See, it went down.
| | 09:08 | And if you need to do that throughout the
Timeline, you can, by simply adding these keyframes
| | 09:14 | by using the Pen tool.
| | 09:16 | Well, we've had a chance to work with adding
keyframes and adjusting the volume, either
| | 09:22 | here on the Timeline or with the mixer.
What about just using good old-fashioned audio
| | 09:27 | transitions to fade up and fade down?
| | 09:29 | Don't forget you can do that too.
| | 09:30 | Let's navigate over to the Effects tab in the
Browser and let's open up our Audio Transitions.
| | 09:38 | We want Audio Transitions.
Open that. There's only two.
| | 09:42 | I don't think you we need more than two.
| | 09:43 | I don't think you would ever want a page peel for
an audio effect, right? There is not such thing.
| | 09:48 | So using either one of these is really going
to be--or give you the same result, but because
| | 09:55 | the one that's underlined is probably
the one you should use most of times,
| | 09:57 | if I just mouse-click and drag and bring this
down at the Timeline, then I can fade up and
| | 10:02 | fade down the audio wherever I want.
| | 10:03 | See, I can just basically bring that in there.
| | 10:05 | Now you would never put an audio fade at the
beginning of the song, because naturally the
| | 10:08 | songs will start the way they should.
| | 10:10 | But if you want the audio to fade at the end
for any particular reason, look, I can just
| | 10:14 | drop that right there and then that fades down.
| | 10:17 | What that really does is it prevents any
clicks that these audio tracks might create just
| | 10:22 | by a straight cut.
| | 10:24 | So you could actually put the fade at the
end of the voiceover, or toward the end, and
| | 10:28 | then that fades down.
| | 10:29 | In fact, you might have to adjust this a little
bit, and that helps the audio fade at the very
| | 10:34 | end without giving it a click.
| | 10:36 | Now the problem is this.
| | 10:37 | Let's listen to this and see if it happens.
(video playing)
| | 10:40 | Well, it didn't happen there, but what might
happen is the voiceover begins to fade down
| | 10:45 | as well, and what you have to do if that
happens is you have to adjust this effect. And notice
| | 10:51 | when you mouse-click on the middle part of the
transition, you can actually roll this over.
| | 10:55 | See that? Then the fade happens
later, or after the voiceover.
| | 11:00 | Now you can do that to any audio transition,
or any video transition for that matter. When
| | 11:04 | you're in the middle of the transition, mouse-
click and drag it, place it wherever you want.
| | 11:09 | You can do the same thing for the audio.
| | 11:10 | See, mouse-click and drag it.
You're rolling the transition over.
| | 11:13 | In other words, you are making
the transition happen later.
| | 11:16 | You can adjust this as well. This volume fade,
which is really a transition, you can go the
| | 11:20 | edge and drag this out or in
to shrink it or make it larger.
| | 11:24 | Of course, the same thing
applies to a video transition as well.
| | 11:27 | You can make it smaller or larger too.
| | 11:30 | Well, that's about it for working with audio
and adjusting that on the Timeline and of course
| | 11:36 | up in the viewer, and we
are done with this lesson.
| | 11:39 | Let's move on to the next.
| | 11:44 |
| | Collapse this transcript |
| Working with HDV | 00:00 | You know, HDV has become such a popular
format for us videographers to go shoot in.
| | 00:06 | I mean, look at Canon, JVC, Sony.
| | 00:08 | They're coming out with these
awesome, awesome HDV cameras now.
| | 00:12 | And if you haven't already invested in
one, you'll probably invest in one soon.
| | 00:17 | So that's why I want to cover this, working with
HDV, in this training series. It's very important,
| | 00:22 | and Final Cut Pro actually does a great job, but
there are some things that you need to be aware of.
| | 00:27 | So to begin with, HDV will
work via the FireWire cable.
| | 00:32 | So you could go out and shoot something with
your camera, after you're done shooting bring
| | 00:36 | it into your Edit bay, hook it up to your
computer via the FireWire connection, put
| | 00:41 | it in VCR mode, and bring it right in.
| | 00:43 | Boom! Through the FireWire cable, it stays HDV.
You can do all your editing in HDV and send
| | 00:48 | it right back out to the
camera to record it in HDV.
| | 00:50 | So you have got a complete
workflow for HDV, which is really nice.
| | 00:55 | But there are some things
you need to be aware of.
| | 00:57 | Now that's exactly what we are
going to cover in this lesson.
| | 01:00 | So we need to create a brand-new project from
scratch, which means I'll need you to close
| | 01:05 | any project that's open.
| | 01:06 | I have an Untitled Project 1 tab right here.
| | 01:09 | I am going to push the Ctrl key down and then
mouse-click right on the tab and select Close Tab.
| | 01:16 | Then I'd like you to get to this point too,
where the Browser and the viewer window are
| | 01:20 | the only two windows that are open.
| | 01:21 | So close out any project that you have open.
| | 01:25 | Then we are going to use the
Easy Setup to set up for HDV.
| | 01:29 | So then navigate up to the word Final Cut
Pro in the left-hand corner, mouse-click, and
| | 01:33 | select Easy Setup, and then make
sure the Show All button is unchecked.
| | 01:37 | Then click on this Setup For button,
mouse-click, and select HDV 1080i60.
| | 01:43 | Now if you are wondering what 1080i50 and
720p30 are, well, 1080i50 is PAL and 720p30
| | 01:53 | is mainly JVC, and
actually Canon does that too.
| | 01:57 | Sony and Canon primarily use 1080i60.
| | 02:02 | So that's why I want you to use 1080i60.
The footage we are going to be using is all 1080i60.
| | 02:08 | So with that said, mouse-click on the Setup button
here after you select 1080i60, and then select Setup.
| | 02:14 | There we go.
| | 02:16 | Now when we create a brand-new project,
it will already be set up for HDV. Navigate up
| | 02:22 | to the Word file to do that.
Mouse-click and select New Project.
| | 02:27 | This is now an HDV project.
| | 02:29 | We still have to save it and set the scratch
disc location, but this is an HDV project.
| | 02:33 | How do I know? Look at the
Canvas window; it's 16:9.
| | 02:36 | Now that's not the definitive visual indicator
that it's just HDV, because we could be working
| | 02:42 | with DV 16:9, but this is one of them.
| | 02:46 | So whenever you see this, it's
either HDV or 16:9, something else. Alrighty.
| | 02:53 | So now let's save our project.
| | 02:55 | So I will navigate up to the Word file, mouse-
click, and select Save Project As, and save this in
| | 03:00 | your Project folder on your desktop.
And let's call this HDV. Select Save.
| | 03:06 | Let's set our scratch disc.
| | 03:08 | Mouse-click up to the word Final
Cut Pro and select System Settings.
| | 03:12 | Then select the Set button by clicking on
it and then mouse-click on the Desktop icon,
| | 03:17 | Project folder, click on that.
| | 03:19 | Then select Choose and then select OK.
| | 03:21 | Great! Now we have just gone through
creating a brand-new project for HDV.
| | 03:25 | Perfect! We are on our way.
| | 03:27 | So let's talk about what's normally the first
thing that everybody wants to do? He or she
| | 03:31 | wants to bring the footage in, the HDV footage.
| | 03:33 | Well, obviously you have to make sure your
VCR is on and the cable is connected correctly
| | 03:36 | and your tape is in there.
| | 03:38 | But there is something I have to point out
about the one characteristic of capturing HDV.
| | 03:44 | Now I know we have talked about log and
capturing, but I do want to show this to you.
| | 03:48 | It's pretty important.
| | 03:48 | So navigate up to the word File,
mouse-click, and select Log and Capture.
| | 03:52 | And the Log and Capture window, for the most
part, is identical to the Log and Capture window
| | 03:58 | that we learned in the Log and Capture lesson.
| | 04:00 | There are a couple of differences here.
| | 04:02 | It's got a sexier jog shuttle
and it's a 16:9 preview window.
| | 04:06 | You don't see the annoying bars here. And all
these other tabs are about the same as well.
| | 04:14 | So just like we would
normally capture anything,
| | 04:16 | we are going to give it a tape name, we will just
call this Tape 01, and then for the Description
| | 04:23 | we will call this Car show 01. It sounds good.
| | 04:27 | So I am just going to mouse-
click on the Play button.
| | 04:32 | One of the things I want to talk
to you about is there's a delay.
| | 04:34 | In fact, I am going to pause this here in a moment.
As soon as it goes to the first clip, I will pause it.
| | 04:39 | There we go. There is a delay between what you see here
and what you're going to see in here coming
| | 04:44 | from your camera or your VCR. There is.
| | 04:48 | There is about one-second, maybe more
delay, so don't let that worry you.
| | 04:52 | It's just the processing time that it takes to
travel down the FireWire cable into here, Final Cut Pro,
| | 04:58 | there is a delay.
| | 05:00 | The second thing is you will not be able to
preview your HD footage on an analog monitor
| | 05:05 | if you're just using Final Cut Pro
natively with no additional hardware.
| | 05:10 | So some of you are used to looking at an
external regular TV when you're working with DV.
| | 05:16 | You can't do that with HDV unless you have
additional hardware from companies like BlackMagic
| | 05:21 | or Kona, and you are going to have to their
web sites and check out their hardware options
| | 05:26 | there, so that you can actually look at your
HDV on a regular Tube TV or LCD screen, because
| | 05:35 | it's HD. It really is HD.
| | 05:37 | So your preview is only going to be here and
on your camera or your HDV deck, some of those
| | 05:42 | HDV decks have a little monitor, which is
pretty, but they are just really small.
| | 05:46 | So, one other thing I want to bring your attention
is watch what happens when I begin to capture here.
| | 05:51 | So I am going to mouse-click
on play and I will hit Capture.
| | 05:54 | HDV and Final Cut Pro work
in the following manner.
| | 05:58 | As soon as--so on the day that I was
shooting, you know I would push the Start button to
| | 06:02 | record and then push it again to stop?
Every time I do that, that's how Final Cut Pro is
| | 06:07 | going to capture this clip,
which is a strange thing.
| | 06:09 | Look, so the scene changed and look it
created a clip just out of nowhere.
| | 06:15 | Every time on the day of the shoot that I
start and stop recording--and I am just capturing
| | 06:19 | on the fly--Final Cut Pro is
going to create a separate clip.
| | 06:22 | Now some of you are probably applauding,
because that's that is a pretty cool feature when
| | 06:27 | you're doing capture on the fly like this,
because it separates each clip for you.
| | 06:32 | But here's the downfall of that.
| | 06:34 | When you mark an in point at the beginning of the
tape and you mark an out point at the end of the tape--
| | 06:39 | for instance, if you just want to capture one
long clip--it's not going to happen, because
| | 06:45 | here's what's going to happen.
| | 06:45 | You will mark an in point at the beginning
of the tape and you will mark an out point
| | 06:49 | of the 60-minute tape and you will go to
batch capture, you will capture that clip.
| | 06:54 | You will come back and you will probably
think for a moment, well, I thought I had one big
| | 06:58 | one-hour clip and you really have 50, you know
little teeny clips all the way through, which
| | 07:04 | could be very annoying.
| | 07:06 | So you need to be aware of that.
| | 07:08 | I don't know if you have been watching,
but every time the scene changes, we get a new
| | 07:11 | clip over here, and that's what's to happen
when you try to capture your entire tape as
| | 07:16 | one clip, because I actually work both ways.
I'll try to capture the entire footage as one big
| | 07:21 | clip from the camera or the VCR, and with HDV
I have got to rethink that, because even if
| | 07:27 | I mark an in point and an out point over 60-
minute timeframe, I'm not getting a 60-minute clip.
| | 07:32 | I am going to get all these individual clips.
| | 07:33 | So I am going to push Escape and when I do
that, I will get one last clip over here.
| | 07:37 | And you need to be aware of that, because
probably a lot of us are used to bringing
| | 07:42 | in a one-hour clip or 30-minute
clip, and HDV is not going to do that.
| | 07:46 | It's going to be individual clips.
| | 07:49 | So keep that in mind.
So I am going to close this out.
| | 07:52 | That's what I want to Log
and Capture, those items.
| | 07:56 | So that worked out nice
and that was pretty good.
| | 07:59 | I am going to get rid of all these extra clips.
| | 08:01 | I do not need them, because we are going to work
with the same clips for the remaining of this lesson.
| | 08:06 | So what I would like you do is mouse-click
on your browser to activate it, navigate up
| | 08:10 | to the word File, mouse-click and select
Import > Folder, and then click on the Desktop icon
| | 08:16 | on the left column, click on the Training
Media, and then mouse-click once on the HDV
| | 08:21 | clips, and then select Choose.
| | 08:22 | I want you to bring in these clips,
and then I need you to bring one more clip in.
| | 08:28 | Navigate back up to the word File, mouse-
click, and select Import > Files. And I want you to
| | 08:32 | select, in the DV clips from our Training Media,
the first clip, the Chrysler Crossfire clip,
| | 08:39 | and bring that in, so that we have a DV clip.
| | 08:42 | Why, do you ask? You might be thinking "well, Frank
I thought we are working with HDV?" Well, we are.
| | 08:45 | I have had a lot of
students ask me in my class.
| | 08:48 | They will say "hey Frank,
how do I work with DV and HDV?"
| | 08:53 | And I'll sit down for moment and I'll tell
them, well, one of them is going to suffer
| | 08:57 | to begin with, as far as
resolution is concerned.
| | 09:00 | And they will look at me kind of perplexed,
because they think HDV and DV are the same,
| | 09:03 | and they are really, really not.
| | 09:05 | Let me give you an example.
| | 09:07 | So I am going to bring this first clip down,
this Bugatti clip, and I am going to drag it
| | 09:11 | down to the Timeline.
| | 09:12 | Go ahead and do that, drag it down to V1.
| | 09:13 | Of course, your playhead goes to the end, and you can see
here that the HDV 16:9 fits beautifully right in here.
| | 09:21 | I am going to turn off the action safe and
title safe. That's kind of getting in the way.
| | 09:25 | Well, that's a good-looking car.
| | 09:27 | That's a million-dollar car right there.
| | 09:29 | It looks like a million-
dollar car. So that's HDV.
| | 09:33 | It looks great.
| | 09:35 | Now let's bring down this Chrysler Crossfire
clip and drag it down to the Timeline, pop
| | 09:40 | it right on Timeline, and take a look.
| | 09:43 | Whoa! What happened? Our playhead,
| | 09:45 | something happened or really nothing happened.
This DV clip is 720x80. The rest of this is
| | 09:53 | what HDV resolution is.
| | 09:55 | Look if I back my playhead up over
here, HDV fits that beautifully.
| | 10:00 | And then DV, it doesn't fit. So here's the deal.
| | 10:03 | Let's look over here in the browser.
| | 10:04 | Let's take a look at some numbers.
| | 10:08 | So mouse-click on this navigation bar and
drag it over until you get to the 720x480,
| | 10:14 | 1440x1080i frame-size column
and let's zoom in on that.
| | 10:17 | This is very important.
| | 10:19 | So this is going to explain it for us.
| | 10:21 | DV, which is this Chrysler Crossfire, is 720x480.
HDV, which is what these clips are, are 1440x1080i,
| | 10:32 | and this is the kicker:
| | 10:34 | our Timeline for HDV is 1440x1080i.
| | 10:39 | So the Timeline and all the HDV clips
match, but wait a minute: the DV doesn't.
| | 10:45 | It's about half the resolution.
| | 10:47 | So it's not going to fit.
| | 10:48 | It's just too small.
| | 10:50 | It's not going to work.
| | 10:52 | You're looking at this HDV clip, million-dollar
vehicle, you're looking at this DV clip, which
| | 10:59 | I think that's about a $20,000 vehicle.
That has nothing to do with it.
| | 11:05 | Mouse-click on the on this clip
right here, just click on it once.
| | 11:08 | In order to make this fit--and this is
what I tell my students all the time--
| | 11:12 | we have to increase the size.
| | 11:13 | We have to increase DV.
| | 11:14 | We have to increase the size
to make it fit in an HDV world.
| | 11:18 | So you double-click on the clip with your
cursor parked on it. It updates in the viewer.
| | 11:24 | Mouse-click on the Motion tab and let's see on a
percentage basis how much we have to increase it.
| | 11:28 | So right now it came in at 100%, which
is a native size of that clip, 720x480.
| | 11:33 | Let's click in there and
type in 150%. Let's try that.
| | 11:36 | No, that didn't worked. Let's try 200%.
| | 11:39 | No, that didn't work either. Let's try 250.
| | 11:43 | No, we still have black on the edge
there on both sides. So let's try 300.
| | 11:49 | Okay, 300 worked.
| | 11:52 | Mouse-click on the on the Percentage
button over here on the left and select 12%.
| | 11:55 | So, why did 300 work? Well,
first of all, it's 4:3.
| | 11:59 | If that was 16:9 DV, 250% would have
worked, but this is what's happening.
| | 12:05 | If I mouse-click on the wireframe, we started
off right about there, something like that.
| | 12:10 | We had to increase the size to fill
in the HDV canvas, the viewable area.
| | 12:16 | And there's a kind of a rule out there that
says you really shouldn't increase DV by more
| | 12:22 | than 150%, because it's going to fall apart.
| | 12:25 | It's going to get soft, pixilated, and that
happens almost to any video that you are going
| | 12:29 | to increase up to 300%.
| | 12:31 | So that's what I would tell my students that one of
these is going to suffer, and it's DV in this case.
| | 12:37 | Now, if it's the other way around--
let's create a Timeline for DV.
| | 12:42 | Yes, this is an HDV Timeline.
| | 12:44 | So click on the Browser and push
Command+N or Apple+N, and let's call this DV.
| | 12:49 | Now that didn't make it a DV Timeline.
| | 12:52 | We are just creating a new Timeline.
| | 12:53 | It's really HDV for now, because our project
is HDV. And we named it DV, but we are going
| | 12:59 | to click on the Timeline and we
are going to change it to DV.
| | 13:02 | So navigate up to the word Sequence,
mouse-click, and select Settings.
| | 13:06 | And there is a few things here.
| | 13:07 | See, it's set up for HDV,
| | 13:09 | so we are going to mouse-click on this and
we are going to select NTSC DV (3:2), and we
| | 13:14 | are going to select the Pixel Aspect ratio.
We are going to change that to CCIR 601 DV
| | 13:21 | 720x480. And then the compressor, of course
we are going to change that to DV NTSC right
| | 13:28 | here, DV/DVCPRO - NTSC, and then select OK.
| | 13:33 | Look how small that got. That's okay.
| | 13:34 | So click on this window and push Shift+Z to
make it fit, or mouse-click on the Percentage
| | 13:39 | button and select Fit to Window.
| | 13:41 | We can actually turn our overlays back on
so we are now looking at our standard 4:3
| | 13:46 | DV resolution window.
| | 13:48 | What if a majority of our footage was DV and
we only had a couple of clips that were HDV?
| | 13:52 | Well, now HDV is going to suffer.
| | 13:56 | So let's take that same clip,
put it down on the Timeline.
| | 13:59 | We are taking an HDV clip and we are going
to put it on a DV resolution Timeline, and
| | 14:03 | we are going to let that go.
| | 14:05 | Now Final Cut is pretty intelligent.
| | 14:06 | It shrunk it down and it made it fit.
It letterboxed it.
| | 14:09 | But if you double-click on this clip with
your playhead parked on the clip, double-click
| | 14:14 | on it, and you go to the Motion tab, look:
it shrunk it down to 50% to make it fit, which
| | 14:21 | some editors would say, that's not good.
| | 14:24 | Yes, it has to render,
but we had to shrink it down too.
| | 14:27 | So some editors may say, look, we lost half
of the resolution just by shrinking it, which
| | 14:32 | could be the case.
| | 14:34 | Either way, that's why I
wanted to talk to you about this.
| | 14:37 | Either way, working with HDV in a DV world
or working with DV in an HDV world, really
| | 14:43 | need to have some solid consideration.
| | 14:45 | I am going to close this
Timeline. Ctrl+mouse-click, close tab.
| | 14:50 | Because HDV is truly HD.
| | 14:53 | That's the problem when
you're working with DV. That SD.
| | 14:57 | That stands for standard
definition. HD is high def.
| | 15:01 | Anything above 720x486 is technically HD.
| | 15:06 | And you're probably wondering "why did you tell
me that, Frank?" Because that's the truth.
| | 15:11 | That really is. Standard definition
ends at 720x486 which is broadcast.
| | 15:18 | So let's fix our Canvas window.
| | 15:20 | I came back to the HDV Timeline. Close that
DV Timeline for now. Go ahead and close it
| | 15:25 | and open up, or just go back to your HDV
Timeline where we had the DV clip and the HDV clip
| | 15:31 | and let's rid of that DV clip, and then let's change
the Percentage button up here in the Canvas window.
| | 15:38 | Other than that, HDV works
identically, as far as editing is concerned.
| | 15:43 | We can still move clips around and we can
still bring many clips down on the Timeline.
| | 15:48 | We can still add transitions to these
clips, and editing is generally the same.
| | 15:56 | There's a little bit more muscle
required to move these clips around.
| | 16:01 | You'll probably notice less real time.
| | 16:03 | You will probably notice a lot more
render time and a lot more encoding time.
| | 16:08 | If I want to go out to DVD with this, if I
want to go out to DVD with this, I would have
| | 16:14 | to--there is many ways to do it, but encoding
to MPEG-2 does take a little more time, because
| | 16:21 | we are basically working
with more information with HDV.
| | 16:27 | And if you want, you can turn on Unlimited RT
over here in the RT option on the left-hand
| | 16:31 | side of your Timeline and make sure you have
Dynamic checked for both of these categories
| | 16:36 | and make sure Unlimited RT is selected, and that's
going to max out your real time, with working with HDV.
| | 16:43 | Other than that, editing DV and
HDV and anything else is the same, generally the same.
| | 16:50 | Well, that's it for HDV.
| | 16:51 | We have covered the bases.
| | 16:53 | Let's move on to the next lesson.
| | 16:58 |
| | Collapse this transcript |
| The three-way color corrector| 00:01 | You know, the color correction capabilities within Final
Cut Pro are so powerful and actually very easy to use.
| | 00:06 | And I can't tell you how many times I've use a
color correction to save me on a multitude of projects.
| | 00:13 | And it's unfortunate, because one of the top
mistakes that videographers make is getting
| | 00:17 | an incorrect white balance out in the field, if
they get one at all; they may forget completely.
| | 00:22 | So, you know I will get this footage in that has
a strong tint of blue that I am told "fix it."
| | 00:27 | Or I will get a strong tint of
yellow that I have to make look better.
| | 00:30 | And so I'm not a colorist.
I am an editor and an videographer.
| | 00:33 | And so I want to be able to get in real quick,
clean it up, and get out and get on with my editing.
| | 00:38 | And that's what I am going to teach you.
| | 00:39 | I am going to teach you how to easily make color
correction work for you within Final Cut Pro.
| | 00:44 | So what I would like you do is create a brand-
new DV project, okay, a brand-new DV project, and
| | 00:51 | call it Color Correction.
| | 00:52 | All right, and save this project in your project
folder on the desktop so you can get to it later.
| | 00:57 | And then I will need you to out you click on
the browser and select File > Import > Folder
| | 01:04 | and bring in, so click on the desktop there, select
from the Training Media, the Bad Color Clips folder.
| | 01:10 | We are going to import the entire folder.
| | 01:12 | And if you are wondering why I always have you
click on the browser, by the way, real quick,
| | 01:16 | is because I just want you get in the habit
of clicking on the window that you are going
| | 01:20 | to work on before you start to work on it.
| | 01:23 | So that way you know where you are at within
Final Cut Pro the interface. It's a good little
| | 01:25 | habit to get into when you are
new, and that's really about it.
| | 01:28 | So I just want to explain that to you real quick.
| | 01:30 | So after you have imported the entire folder
of bad color clips, go ahead and open it, and
| | 01:36 | double-click on these real quick, you can see
that well, that needs work and oh boy, that's
| | 01:41 | bad and well, that's not too bad.
| | 01:45 | And that's not too bad either.
| | 01:46 | These are about the four different gradients
of bad. You know, this is almost livable, but
| | 01:53 | you know that's obviously
bad and that's really bad.
| | 01:55 | And that's really what is going to happen
over a course of a month or two or a couple
| | 02:00 | of projects: you are going to
get really and some not so bad.
| | 02:03 | And so let's double-click on this first
click, the indoor bad clip. Double-click on that.
| | 02:07 | Take a quick look at it.
| | 02:08 | And you can really see that strong tint of yellow
here that we need to correct and make look better.
| | 02:16 | So send that down the Timeline. Push the
F9 key to insert it down the Timeline and
| | 02:19 | park your playhead right about in the middle.
| | 02:21 | And the method here is the following.
| | 02:24 | We need to set our black level, set our
white level, and then set the midtones.
| | 02:30 | Okay, and hopefully it will
come out nice and look good.
| | 02:34 | So what we want to do is let's get rid of the
title safe and action safe here, by mouse-clicking
| | 02:39 | on the view button in the Canvas window and
uncheck Show Title Safe, and that gets that
| | 02:43 | out of the way, and in fact even turn off
Image Plus Wireframe select Image here.
| | 02:47 | Okay, so that way we don't
get anything in the way.
| | 02:49 | We can see everything.
| | 02:50 | So what the playhead parked in the middle
of this Indoor Bad clip sitting on the V1
| | 02:55 | track in the Timeline, let's drop our
Color Corrector filter inside of this clip.
| | 03:00 | So navigate up to the Effects tab in the browser,
mouse-click, open up the Video Filters category,
| | 03:07 | and then get to the Color Correction
subcategory and then locate the Color Corrector 3-way.
| | 03:14 | Mouse-click on that and drag it into the clip
and then double-click on the clip in the Timeline
| | 03:20 | to update it in the viewer with that filter in
itm and then you'll see here the Color Corrector
| | 03:24 | 3-way. Mouse-click on that.
| | 03:27 | And you have three color gradient wheels here:
one for blacks, one for mids, and one for whites.
| | 03:33 | And we have some sliders down below, a few other
items. In fact, down below here there is something
| | 03:38 | hidden. I will show it to you.
| | 03:39 | We are not going to use it, but I'm
going to show it to you real quick.
| | 03:41 | Mouse-click on this triangle and you will
reveal the Limit Effect portion down beneath
| | 03:47 | for Saturation and Luma.
| | 03:49 | So we are not going to need that.
| | 03:50 | We are simply not going to
need it, believe it or not.
| | 03:52 | So we are going to work with
these three color gradient wheels.
| | 03:54 | So over here, you know we can see that it's
pretty bad. And let's set our black level first.
| | 03:59 | And so if you look closely, there are little
color pickers to the left of each gradient wheel.
| | 04:05 | See this right here? And if you click on it
and drag it over, especially for blacks--click
| | 04:10 | on the blacks Color Corrector, Color Selector,
or Color Picker and click on something that's
| | 04:17 | supposed to be black, okay, which is this guy
right here, this pole here. Click on that.
| | 04:22 | Now that whole lot didn't happen, but when I
clicked on that, this center dot moved to the right.
| | 04:28 | See you can barely see that it did that.
| | 04:31 | Now let's set the white level. Mouse-click
on the white, auto select a color picker.
| | 04:36 | And now some of you may think "hey, why
don't we click on these white lights?"
| | 04:41 | We don't have to. In fact, you
shouldn't because those are already white.
| | 04:45 | That's something you
don't need to color correct.
| | 04:47 | We need to click on something
that's supposed to be white
| | 04:49 | that's not white, like this wall right here.
| | 04:51 | So take a look. I am going to mouse-click on
that. Wow! That's a huge improvement. Look
| | 04:56 | what this dot did: it jumped all way to the
right there, indicating that it needed blue.
| | 05:00 | Wow, that's huge. And then if we adjust our
midtones--in fact we don't need to mess with
| | 05:04 | this we can adjust the midtones
right here and adjusted it up.
| | 05:08 | That looks so much better,
| | 05:10 | I mean with a few mouse-clicks.
That's a beautiful thing.
| | 05:13 | Now, if you need to redo any of these,
you can mouse-click on this white dot here to
| | 05:18 | the right of each gradient wheel. Mouse-click
on that and that resets it back to its original
| | 05:23 | form. And look, that's before. Mouse-click on
the white color selector and click on the
| | 05:29 | wall here that's supposed to be white and wow,
that's after. Before and after. Very nice.
| | 05:34 | Let's look at another clip.
| | 05:36 | Let's get the outdoor clip. Man,
that is really bad. That's huge.
| | 05:40 | Okay, so a lot of blue there actually, so
let's bring that down in the Timeline. Let's
| | 05:44 | work on this one. Park your
playhead right in the middle.
| | 05:47 | And let's go get that same color correction
filter. Go the browser. Click on the Effects
| | 05:51 | tab. It should already be highlighted.
| | 05:52 | There it is, the 3-way Color Corrector.
Mouse-click and drag into the clip, double-click on it
| | 05:57 | so it updates into the viewer.
| | 05:59 | Click on this tab here, the Color
Corrector 3-way tab, and let's do the same thing.
| | 06:03 | Now here though, there are different
sources for black, and there is a few for white.
| | 06:08 | So it may take some experimenting.
| | 06:11 | You may select something that you don't like and
deselected it by clicking on these white items
| | 06:16 | here to reset it, on these little white dots here to
reset whatever you click on--for instance this.
| | 06:22 | Let's set our blacks first, okay?
| | 06:24 | So we mouse-click on the color selector and
I am going to say, let's say. well I want to
| | 06:29 | go with this truck here. I mouse-click on that
and for whatever reason, if I want to change it,
| | 06:35 | I have to click on this dot to
reset it. See how that dot went back to the center,
| | 06:39 | because these are all by default
dead center in all of these wheels.
| | 06:43 | Then after I reset it, I have to mouse-
click on the color selector again and now let's
| | 06:48 | select this jeep, boom. And look,
it jumped up even little more.
| | 06:53 | Okay, this is tricky because some of this
is in the shade and some of its in the sun.
| | 06:59 | So some shots are going to be
a little harder than others.
| | 07:01 | Now that we have set the
black level, let's set the whites.
| | 07:03 | All right, so mouse-click on the little color
selector there, and I'm going to select--I
| | 07:09 | am going to select this
building right here, right there.
| | 07:12 | So I am going to mouse-click
on that. Wow! big difference.
| | 07:16 | And then for our midtones, rather than adjusting
the slider here, I see there's like a pavement
| | 07:21 | kind of a grayish, blackish.
| | 07:24 | Midtones are exactly that, something
that's not too bright, but not too dark.
| | 07:27 | So if I mouse-click on this guy
right here and click on the tar,
| | 07:30 | not bad. That's looking really good.
| | 07:34 | Okay, that looks really nice, and then I
can brighten it right here just a tad.
| | 07:38 | I just drag that over just a teeny, teeny bit.
| | 07:41 | Oh!, by the way, I mean not only does that
look good, but if you really want to see the
| | 07:45 | before and after, take a look at this.
After you've done this, after you have done your
| | 07:49 | color correction, navigate up to the
Tools option here and select Frame Viewer.
| | 07:55 | And look what we get. Is that cool?
| | 07:58 | This little Frame Viewer will show us before
and after, and look at the huge difference.
| | 08:01 | Well, let me tell you how this works.
| | 08:04 | I am getting excited about this.
| | 08:05 | If you mouse-click on this button here, if you
mouse-click on it, you have all of these options here.
| | 08:10 | You want to select Current without Filters.
| | 08:12 | I really wish that said
Current Frame without Filters.
| | 08:16 | Okay because we want--this
is before the filter, okay.
| | 08:19 | And then over here, you want to select Current
Frame. It'd be nice if it said Current Clip, which
| | 08:24 | means with and then of course if it said with
filters that would be fine too, but that's what you want.
| | 08:29 | So over here you want Without Filter, and
then just Current frame. Again, it should say
| | 08:33 | with filter, but it doesn't.
| | 08:35 | And then once you do that, you will see well,
that's huge, and then you can even go to the
| | 08:39 | corner and shrink it down and mouse-click
on the center and move it around if you need
| | 08:43 | to, and that's a huge help right there.
| | 08:46 | In fact, look at this. We can
go look at the previous clip.
| | 08:49 | So, click on your Timecode area here in the
Timeline. The playhead snaps over and wow, look at that.
| | 08:55 | I mean that is just going to
save your every time. Look at that.
| | 08:59 | That's the difference between not
usable and completely usable.
| | 09:02 | That's going to put the smile on
many faces when you correct that.
| | 09:06 | Now there are some clips that might seem a
little harder than others, like these surfer clips.
| | 09:11 | If you look at these, that almost looks
like there's nothing wrong with this clip.
| | 09:16 | This is Huntington Beach, California, and
sometimes the water actually looks that color, but I
| | 09:19 | can tell you that it doesn't;
it didn't that day actually.
| | 09:23 | So let's mouse-click and drag this
down to Timeline. Yhat clip has audio.
| | 09:27 | And park your playhead right back at the
beginning of the clip, right about there.
| | 09:32 | Because again, we need to select something
black and white and that has the two elements.
| | 09:37 | And if it doesn't have a black and white,
it's going to take a little bit of being creative
| | 09:43 | on your side to find
something that's close to black.
| | 09:45 | And I am going to teach you how to fix that
if there is nothing black in the picture.
| | 09:49 | So let's go back to the Effects tab and get
that same Color Corrector, drop it right in
| | 09:54 | there. It's not automatic, by the way.
When you drop it in there, it doesn't automatically
| | 09:56 | do it; you have to make a judgment yourself.
| | 09:59 | So once you drop that in there, park
the playhead at the beginning of this clip
| | 10:02 | and then double-click.
| | 10:03 | Now let's go back to the Color Corrector 3-way.
| | 10:07 | And so let's say, we can start our black,
because you know this guy has a black wetsuit on.
| | 10:13 | So let's mouse-click on this
to set the black level, okay.
| | 10:17 | And just to show you real quick, if I didn't
want to select this right here--
| | 10:21 | I want to show you first by selecting what
this will look like, so let's mouse-click
| | 10:25 | on this to set the whites
and then mouse-click on the white.
| | 10:29 | And that already looks pretty good. And that
looks to me a little bit better because it's
| | 10:32 | really the water there is
kind of a grayish blue color.
| | 10:36 | But what if you really
want to make it look blue?
| | 10:38 | Well, you could simply drag
this over to the blue side.
| | 10:40 | See how it's starting to turn to blue?
| | 10:43 | I'm mouse-clicking on this actual dot right
here, and it really requires moving the mouse.
| | 10:48 | It's going to take some practice.
| | 10:50 | And you could actually add
some tint of color to the image.
| | 10:54 | I'm adding more green, or I could add
red, more blue, and that's too much blue.
| | 11:00 | And I could do the same with all of these, for
the midtone, and you know I can mouse-click
| | 11:05 | on this and try right-clicking on that, and
now it's kind of looking more of a grayish
| | 11:09 | color. I could add.
| | 11:10 | So basically I can manually do this as well.
| | 11:13 | And I can give it some punch by clicking on
this dot and dragging it toward the color
| | 11:18 | that I want to use, and that
takes a little bit of practice.
| | 11:20 | I would suggest starting off with doing the
black color selector and the white color selector,
| | 11:26 | or color picker, whatever you want to call it,
| | 11:29 | and then adjust the brightness in each image.
| | 11:32 | Okay and then of course,
use the Frame Viewer to.
| | 11:35 | I mean look at how green this looks
and look how more--this is a cloudy day.
| | 11:39 | This looks more natural to me.
| | 11:42 | Okay, what if you had two similar clips, okay?
| | 11:45 | So let's bring down the last surfer clip
and drag it down the Timeline, right there.
| | 11:50 | And these were shot on the same day, and you
didn't want to have to go through and color
| | 11:55 | correct every single clip,
which could be tedious work.
| | 11:58 | Well, while you were working on this clip,
all you would have to do is mouse-click on
| | 12:03 | the arrow forward right here when there
are clips in front of it that are the same
| | 12:07 | and it applies the exact filter
parameters to the next clip. Take a look.
| | 12:10 | So if mouse-click on this, it sent it over there too.
Take a look. See that? Look how much that looks.
| | 12:17 | And that makes it even.
| | 12:19 | If I open up the Frame Viewer again, look:
that's the before and after of the second clip.
| | 12:24 | We didn't have the do anything;
it just made it that much easier.
| | 12:28 | So you could do that if there is one clip
forward or two clips forward that are the
| | 12:32 | same: just hit this little arrow and you'll
see the number two light up, if there's another
| | 12:35 | clip to the right two clips
down that you can apply this to.
| | 12:40 | And you know, I got to tell you this again:
the color corrector, what I've shown you has
| | 12:44 | saved me so many times. I am certain
| | 12:45 | you will get a lot of mileage out of this one.
| | 12:48 | But other than that, we are done with
this lesson. Let's move on to the next.
| | 12:53 |
| | Collapse this transcript |
| Creating sophisticated 3D titles| 00:01 | Now in this advanced titles lesson, I'd like
to teach you how to create some really cool
| | 00:04 | 3D titles using the 3D
Titler within Final Cut Pro.
| | 00:08 | And then I am also going to show you and teach
you how to work with titles that someone else
| | 00:12 | may have created using Photoshop.
| | 00:14 | That seems to be a very common thing that
someone will hand you a CD and say "here, our
| | 00:18 | company graphics are on this" or "let me e-mail you
our company graphics that were created in Photoshop."
| | 00:24 | So I want to show you how to
handle and work with those as well.
| | 00:26 | I think you'll enjoy that.
| | 00:27 | So create a brand-new project, create a brand-
new DV project, and then name it 3D Titles, and
| | 00:35 | save it in your Project folder on your desktop.
| | 00:39 | Now once you've done that, click on the browser
and then navigate up to the word File, mouse-click
| | 00:43 | and select Import > Folder.
| | 00:44 | I am going to have you bring in some files
of course, so click on the desktop icon here
| | 00:50 | on the left column, then mouse-click on the
Training Media folder, and then select the
| | 00:53 | Sports Clips folder, and then
select the Choose down here.
| | 00:57 | And we are not going to use all of these;
in fact, we are only going to use three of them.
| | 01:00 | So I am going to--in fact, you
can use any three that you want.
| | 01:02 | I am going to mouse-click on the
first clip though, called Jumper.
| | 01:05 | Then I am going to hold the Apple key down
and I am going to select Snowboarder black
| | 01:10 | 01 and then Surfer red 02.
| | 01:14 | And then I am going to drag these down
as a group. So I'll let the Apple key go,
| | 01:17 | I'll mouse-click and drag them all down as a
group just like that, and I'll park them all on V1.
| | 01:22 | There we go.
| | 01:23 | Now as you can see here, we've got three clips,
and we are simply going to create titles, and
| | 01:29 | we are going to place them right on top.
| | 01:31 | So let's work with the first one,
the snowboarder one, right here.
| | 01:33 | So we are going to park our playhead right
above or right on that second clip and then
| | 01:38 | navigate your cursor to the bottom right-
hand corner of the viewer, mouse-click on this
| | 01:42 | letter A, and then select Boris > Title 3D.
| | 01:48 | Now when you do that, you'll need to navigate
to the Controls tab in the viewer. Mouse-click
| | 01:52 | on that and click once on the Title 3D
option here and the Boris Titler will open.
| | 01:58 | And this is a pretty straightforward title
creation tool; in fact, there are two main
| | 02:03 | portions to this: there's the workbench here
with a blinking cursor where we simply type
| | 02:07 | in our text, and then down below
is where we manipulate that text.
| | 02:11 | So the first thing I want you to do before
you type anything in is to mouse-click on
| | 02:15 | this Reset Style button,
right here. Mouse-click on that.
| | 02:18 | And that resets anything that
someone else may have done.
| | 02:22 | Then I am going to have you select Arial Black
right over here under this first tab. Mouse-click
| | 02:27 | on this Font Selection
button and select Arial Black.
| | 02:32 | And then in the Size box, I'd like you to
click once in there and type in 50, which
| | 02:36 | is the font size, and then hit Enter.
| | 02:40 | And once you do that, click again over here
in the workbench area. Then you'll get your
| | 02:44 | cursor back and I'd like
you type in "Extreme Sports."
| | 02:50 | And that's a pretty straightforward title, right,
nothing that we couldn't do in the basic titler, right.
| | 02:54 | Well, that's not why we are here; we're here
to learn how to create some cool 3D titles.
| | 02:58 | So I am going to have you highlight this title,
so mouse-click and drag from the right to
| | 03:04 | the left to highlight the title, and then click in
the Font Size box once, and that hides the highlight
| | 03:11 | so we can see what we do as we work.
| | 03:13 | So now we can just work our way across this
first tab, and we could select Bold or Italic
| | 03:20 | or Underline or Center
Justified, Left, or Right Justified.
| | 03:23 | We can even skew it on an axis here, mouse-
click and click on this little dial here, and you
| | 03:29 | can see what it does to the titler, or to
the titles actually, which pretty cool.
| | 03:33 | When you're done playing though, put it back
at zero, and if you can't get to zero, click
| | 03:36 | once in this box and type in "O" Enter.
| | 03:39 | And the same with the Style Skew on
the Y axis, which is pretty cool.
| | 03:42 | Those are both pretty cool items.
| | 03:44 | Well, we can adjust the tracking and the kerning and
the leading just like we could in the previous titler.
| | 03:49 | But let's move on. Let's see
what we can do beyond that.
| | 03:51 | Let's move on to the third tab down,
which is where we select and change the color.
| | 03:57 | So when we mouse-click on that, we then can
mouse-click on this white box here. Notice
| | 04:03 | I still have this gray border around there.
| | 04:05 | If you don't have that, you'll need to mouse-
click and drag to highlight it, go back to the
| | 04:10 | first letter T tab, and click
once in the Font Size, okay.
| | 04:13 | Now let's quickly go back to our
Gradient tab and let's change the color.
| | 04:18 | So mouse-click on this little white box here, and
you'll see here--well at least I have crayons.
| | 04:21 | You may not.
| | 04:22 | Click on the Crayons option here in the upper-right.
And let's select kind of a bluish green color,
| | 04:27 | this guy right here in the
middle called Ocean. Then select OK.
| | 04:31 | Then you'll see there instantly
that the color of course is changed.
| | 04:34 | That's pretty cool.
Let's leave it there.
| | 04:35 | Now of course you could
select any color you want.
| | 04:36 | As a matter of fact, you could select this,
mouse-click on this button, and select Gradient.
| | 04:42 | Now when you do that,
that has a kind of a cool thing.
| | 04:45 | It's now a gradient of course, and if you
want to adjust this gradient, you would click
| | 04:48 | on the Gradient box and you get
this Style Editor for the gradient.
| | 04:53 | And you'll see here that
there are two shades here:
| | 04:55 | we have one that's black and one that's white.
| | 04:57 | And if you want to work on either side, you
have to click on it and a little pyramid will
| | 05:01 | appear above that. See that little pyramid
right there? Well, when I click on this one,
| | 05:05 | it will appear above this one, which
is the other color, the gradient color.
| | 05:09 | And then I could go down here and mouse-click
on the color for this portion of the gradient
| | 05:14 | of course, mouse-click on the color, and then I
could select, let's go with a kind of a sea foam green.
| | 05:20 | There we go, and then I'll select OK.
| | 05:23 | And now the gradient or
the green goes to the right.
| | 05:25 | This first color is kind of a black.
| | 05:27 | Let's change that. So we have to click on this
gradient right here, boom.
| | 05:30 | And we get this little triangle over it
to indicate we're going to work on this.
| | 05:34 | Then mouse-click on the color and let's select,
let's go with that Ocean color again and then
| | 05:40 | mouse-click on OK.
| | 05:41 | So we are kind of going from
a bluish to a greenish color.
| | 05:44 | Then I can adjust where the gradient meets
the colors--in other words where one color
| | 05:49 | meets the other--by mouse-clicking and dragging
this little diamond, or I could click on this
| | 05:53 | right here, the midpoint.
| | 05:55 | Let me zoom out a little bit.
| | 05:58 | Now if I want to add another, a third gradient, I would
simply mouse-click once and then I get a third one.
| | 06:04 | And then I could click on that, click on the
color selector, and choose a different color.
| | 06:08 | Let's go with a purple. Mouse-click on
the OK button. And wow, that is very loud.
| | 06:13 | I am not crazy about that.
| | 06:15 | If I want to get rid of any of these gradients,
I could mouse-click on any one of them, mouse-click
| | 06:19 | and drag down real quick, and it
gets rid of it, just like that.
| | 06:21 | Now you can have an awful lot of fun in here.
| | 06:23 | You can choose the color, the direction of the
gradient, even between Linear, Radial, Contour. Bevel.
| | 06:30 | There is all kinds of options
that you can experiment with later.
| | 06:33 | But once you've decided on all of this then you
can either hit OK if you like it or hit Cancel.
| | 06:37 | Hit Cancel for me, okay. because I'd
like to keep that same color if possible.
| | 06:42 | Now look what happens when
you go into that gradient.
| | 06:44 | This is the only problem within this titler is that
now we can't see our title with that highlight there.
| | 06:49 | So we have to go back into the letter T, this
first T, and click in the Font Size box there
| | 06:55 | and it brings it back, but it
changed the color to kind of a dark gray.
| | 06:59 | Well, let's move on.
Let's go ahead and work with this.
| | 07:01 | Let's go back into our Color tab here,
click on that, and let's click on this gradient
| | 07:06 | real quick, so we went back into the gradient.
And then I am going to mouse-click on this
| | 07:10 | black, first black color here, click on that
black box there, and we are going to select
| | 07:14 | our blue again, our Ocean Blue, select
OK, and let's just leave it like that.
| | 07:18 | So that's a gradient from blue
to white and then we'll hit OK.
| | 07:21 | Now, if you do want to see this, by the way, click in
an open area over here and you can instantly see it.
| | 07:28 | Now, I'd like us to see our changes, so you're
going to have to highlight the word, mouse-click
| | 07:33 | on the first letter T, and click once in the Font
Size box, and you'll see the title there of course.
| | 07:38 | And let's add an edge to this.
| | 07:41 | So we are going to navigate down to the
Edge option, mouse-click on that. And when you
| | 07:45 | mouse-click on the Edge--
which is a tab, by the way--
| | 07:47 | you have to click in at
least one of these boxes.
| | 07:49 | So I am going to have you click in this
first box, and when you do that, a black edge is
| | 07:53 | automatically added. See that?
| | 07:56 | And then we could decide on the
Edge Type: Plane, Bevel, Radial.
| | 08:00 | Let's go with Bevel.
| | 08:00 | That will be kind of a cool edge.
| | 08:03 | And then the position of the bevel, well aren't
most bevels on the outside, not on the center?
| | 08:07 | So mouse-click on them and select Outside.
| | 08:09 | And now we can adjust the edge width, the opacity.
We can even make these letters spread out a little bit.
| | 08:16 | So if we go back to the letter T and we mouse-
click on Kerning, we can drag this over and drag
| | 08:22 | it to about 7, or you can simply type in
in this Kerning box here, "7.0," Enter,
| | 08:29 | and then it spreads out those letters.
| | 08:31 | Well, let's add a drop shadow to this.
| | 08:34 | So let's go down to the Drop Shadow option.
| | 08:37 | And when you want to work on something,
basically you have to click on the tab that you want
| | 08:40 | to work with, whether it's an edge
or a color or the font size or style.
| | 08:43 | You'll get used to all of these.
| | 08:45 | So to add a drop shadow, you click on the
letter T, then you mouse-click in the box there and
| | 08:49 | boom, we get a drop shadow.
| | 08:51 | Once we do that, once you click in the box,
that activates the drop shadow. And then we
| | 08:55 | have a choice between three different types
of drop shadows. Leave it on the default Drop
| | 08:59 | Shadow option for now.
| | 09:00 | But then we can select the Drop
Shadow Distance, the Opacity.
| | 09:04 | I am going to drop that down
to about 50, or close to it.
| | 09:09 | And you can see here that when you click in the gray
area here that we've created a pretty cool title.
| | 09:13 | It's definitely a 3D title,
because of this extruded edge.
| | 09:18 | And if you want to make a change to it--for
instance, if we want to change the 3D thickness
| | 09:23 | of it--we can go back into our Edge tab and
from our Edge Width, because we increased
| | 09:30 | the length between, or the distance between,
each letter, now we can increase our Edge
| | 09:33 | Width 2 to about 3. There we go.
| | 09:38 | And don't forget, by the way--
this brings up a great point--
| | 09:41 | notice how it didn't change.
| | 09:42 | I have to highlight, I have to mouse-click and drag
across to highlight the actual letters in my title.
| | 09:51 | And notice how this went back to 2.
| | 09:52 | And now if I make an adjustment, you can see
here as I make an adjustment, I can see what
| | 09:59 | it's going to look like.
| | 10:00 | So you have to actually select it.
| | 10:01 | And when you do that here in
this case, the highlight goes away.
| | 10:05 | So that highlight sometimes stays and
sometimes goes depending on what you click on, which
| | 10:09 | is kind of annoying because you never
know which one is going to make it go away.
| | 10:12 | If it doesn't go away, then you know that
if you click on the first letter T tab and
| | 10:17 | click on the Size, that that bounding box
will appear and that highlight goes away,
| | 10:22 | which means I'll be able to
see any changes that I make.
| | 10:24 | So, after you've gone through all of these
tabs and you've made all of the changes, and
| | 10:29 | you think "hey I want to
use this title," perfect.
| | 10:32 | Navigate down to the Apply button right here.
Mouse-click on apply, then navigate to the
| | 10:37 | Video tab in the viewer, and there it is.
| | 10:38 | Now this is a title, right.
| | 10:40 | So park the playhead over the clip you want
the title to appear over, mouse-click on the
| | 10:45 | title, and drag it to the Canvas
Overlay window, and select Superimpose.
| | 10:49 | And Final Cut Pro sends it down to the
Timeline and parks it perfectly above the video clip
| | 10:53 | that the playhead was on, and it makes the
link fit perfectly. And there's our title.
| | 10:58 | Pretty cool, pretty cool!
| | 10:59 | Now what if you want to make a change after
it's on the Timeline. Double-click on it.
| | 11:03 | Navigate up to the Controls tab in the viewer,
then click on the Title 3D option box right
| | 11:09 | here and it brings you right back in.
| | 11:12 | Don't forget to mouse-click and drag and
highlight the title and go about making your changes.
| | 11:16 | In fact, I am going to change the gradient,
so I'll click on the Gradient, mouse-click
| | 11:19 | on this little Gradient window, and I am
going to change the direction to go from the top
| | 11:25 | part dark to light down below, at about
a 93-degree angle. Then I'll hit OK.
| | 11:31 | Now it's hidden of course, can't see it.
| | 11:32 | Then I'll click here in an open area.
| | 11:34 | Now I'll see it and then I can hit Apply.
| | 11:37 | It changes it down on the Timeline.
| | 11:38 | Well, let me show you
something else real quick.
| | 11:41 | So let's copy this title over to the left.
| | 11:44 | So I am going to hold the Option key
down, mouse-click, and drag to the left.
| | 11:49 | I am going to park it on V3, and I am going
to make sure I let the Option key go first.
| | 11:54 | Then I'll let the mouse go, okay.
| | 11:56 | And then I'll trim the edge, so it's not
overlapping the other title, and then I'll park my playhead
| | 12:00 | over it and I'll drop this title down, okay.
| | 12:04 | So why we do that? Because I am going to show
you something else. Go ahead and copy it over,
| | 12:08 | and drop it in on V2, double-click on it,
go back into the Controls tab in the viewer,
| | 12:13 | and then click once in the Title 3D options.
| | 12:16 | Because I want to show you something.
| | 12:17 | If you highlight this title right--in fact
highlight it, click on the first letter T
| | 12:21 | and click in the Font Size so we can see
the bounding box or the border, so that means
| | 12:26 | any changes we make will be
updated and we'll see it.
| | 12:28 | Because I want to show you, if you don't
have time to make something here in Boris, take
| | 12:32 | a look at this, go to the Style
palette. See this right here?
| | 12:35 | The Style palette has all these cool categories, even
your own; you can create your own templates, okay.
| | 12:42 | So for instance if you go to Bevel Borders
category, look at all of these predetermined
| | 12:46 | templates that you can use.
| | 12:50 | So let's say I wanted to--well, first of
all let me back up. What if I wanted to save
| | 12:54 | the title that I made, what I wanted
to save this title in my own category?
| | 12:58 | Well, then you would mouse-
click right up here on this little--
| | 13:02 | it's hard to see there, but it's the Add Category
button. When I mouse-click on that, I can type in my name.
| | 13:09 | And I already have a category there, in case
you saw it, but I am going to type in Frank's
| | 13:13 | 2nd category or 2nd templates, there we go,
okay. And then I'll hit the OK button.
| | 13:21 | Now when I do that, I can add this to my own category,
by simply clicking on this little guy right here.
| | 13:28 | So when I mouse-click on that, that comes
over here. And I could do this for every title
| | 13:32 | that I make in this titler and
build my own library/category.
| | 13:36 | Now, what if I didn't want to use my own and
I want to use one that was pre-built, okay?
| | 13:42 | Well, what if I want to use one period, in
other words something that was in the template
| | 13:48 | of any of these categories.
| | 13:49 | Well, let's go to metallic.B2D.
| | 13:51 | Okay, so mouse-click on this button, go to
metallic.B2D, and you'll see these really cool
| | 13:56 | little pre-built templates here.
| | 13:59 | Mouse-click on the one you like and you'll
see a red border appear and then click on
| | 14:02 | this little guy right here, Apply Style.
When you do that, boom, it applies it. Isn't that cool?
| | 14:08 | Now if you don't like that--in fact,
let's get out of this category.
| | 14:11 | Let's go to the Z
miscellaneous, which is kind of funky.
| | 14:15 | We could go to something that's kind of wild.
For instance, let's go with this last item
| | 14:19 | down here. Click on that, mouse-click on the Apply
button, and boom, it applies it. That is definitely wild.
| | 14:24 | I'm not crazy about that either. That's okay.
That's all about choices.
| | 14:27 | Now I can go back and let's go
to the--let's go to border glow.
| | 14:32 | These are cool, very cool.
| | 14:33 | All right let's go with
this blue one right here.
| | 14:36 | So I am going to mouse-click on that,
hit the Apply button, and there we go.
| | 14:40 | Now, if I like this, I'll close this out.
I'll mouse-click on Apply, just like that.
| | 14:44 | And even though it's hard to see, it's there.
| | 14:47 | Then I can mouse-click on this wireframe
and drag it up. Subtle, but it's cool.
| | 14:52 | And that's how the Boris
Titler works. Very, very nice.
| | 14:56 | So what about Photoshop files? What if
somebody gives you a Photoshop title?
| | 14:59 | Well, you need to know
some things about that first.
| | 15:02 | So let's import a couple of Photoshop files.
| | 15:04 | Navigate up to the word File,
mouse-click, and select Import > Files.
| | 15:08 | Go back into the desktop, into your Training
Media, and navigate to the Graphics folder.
| | 15:14 | And there is a bunch of
them in here, a couple of--
| | 15:15 | there is three of them actually.
| | 15:17 | PSD stands for Photoshop document.
| | 15:19 | So I am going to click on the first one.
| | 15:20 | I am going to hold the Shift key down and click
on the third one and then I'll bring those down.
| | 15:24 | By hitting Choose, it brings them
into my Final Cut Pro project.
| | 15:28 | So, you need to know the following about
Photoshop documents, by the way. And if you quickly
| | 15:34 | want to see what a Photoshop document
looks like, a mouse-click on one of these--
| | 15:39 | in fact, let's go with the Graphic 2.psd--
mouse-click and drag it into the viewer and
| | 15:42 | let it go and then click on the Video tab.
| | 15:45 | Whoops. let's try that again.
| | 15:46 | Click on the Video tab first so that it comes
forward, mouse-click on the graphic, and drag
| | 15:51 | it into the viewer and you'll see,
boom. That's a lower third, okay.
| | 15:56 | And then let's see what this other one
looks like. Mouse-click on this and drag it in.
| | 16:00 | Okay, that's a straightforward title.
| | 16:03 | And then let's mouse-click on this
jet ski one, drag that in. Okay that's,
| | 16:06 | you know, those are all valid Photoshop titles.
| | 16:10 | Now, so what's the big deal about Photoshop
titles? Number one, the quality is probably
| | 16:13 | going to be pretty, pretty good, probably
slightly better than the Boris Titler, because
| | 16:17 | you can set the resolution and
the dots per inch in Photoshop.
| | 16:21 | Number two, a lot of people use Photoshop
not to just work with photos on, but to work
| | 16:25 | with and create titles or
graphics or company logos.
| | 16:29 | So, it's easy to get this onto a Timeline.
| | 16:31 | For instance if I wanted to work with this
first one, I could double-click on it, mouse-click,
| | 16:36 | and drag it and park it, boom, right on V2, and of
course I'll trim it and I'll park my playhead
| | 16:42 | on there and then that could be a lower
third for this little surfer clip, right.
| | 16:47 | Now the great thing about Photoshop
documents is the following. Take a look.
| | 16:51 | If you get a layered Photoshop document,
you can double-click on this, okay. I'm going to
| | 16:56 | double-click on it while it's parked on my
Timeline with the playhead parked right over
| | 17:00 | it. I'm going to double-click on it.
It opens it up into a separate Timeline.
| | 17:05 | That's how Final Cut Pro will
treat a Photoshop document.
| | 17:08 | And watch this. I can navigate
over here to my Canvas window,
| | 17:11 | mouse-click, and select checkerboard here
from this View button on the upper right-hand
| | 17:14 | corner, select checkerboard, and all
these elements are separate items.
| | 17:18 | Like if I didn't want to see, for instance,
maybe those straight lines--I just wanted to
| | 17:23 | see this giant and I even don't know--I
don't know what that's called, but if I just
| | 17:28 | want to see that part of the Photoshop document,
just that layer, well I turned off the other
| | 17:33 | layers and look if I click back on the
sequence, I see just that. Isn't that cool?
| | 17:38 | Or I can go back and I can choose to see one
of those lines, which is just that straight
| | 17:43 | line, or maybe--and what I am doing is I am
clicking on these buttons here to turn off each layer.
| | 17:48 | So I could turn the other
layer on and turn this one off.
| | 17:51 | And then I go back over to my sequence and see now I
don't have that black line going down the middle.
| | 17:56 | I could put a title in here. I could put
someone's name in here using the Boris titler or the
| | 18:01 | basic titler within Final Cut Pro.
| | 18:04 | And better yet, I can even animate these.
| | 18:07 | I can quickly animate them,
real quick. Let's do that.
| | 18:09 | I'm going to bring my playhead in just
a little bit and I'll mouse-click on that first
| | 18:14 | explosion-looking graphic and I'll add a
keyframe by clicking on this guy right here, okay.
| | 18:18 | Then I'll click on the bottom layer that's
visible, and remember, that middle one is not.
| | 18:21 | I'll click on Add Keyframe for that.
| | 18:24 | Then I'll drag my playhead back to the
beginning and I'll shrink down the viewable space by
| | 18:28 | clicking on this Percentage
button and selecting 50%, okay.
| | 18:33 | And then with my playhead dragged to the
beginning, I'll hold the Shift key down and mouse-click
| | 18:37 | and drag. Don't forget
to turn the wireframe on.
| | 18:40 | You won't be able to do that unless you have
the wireframe checked. See that, Image+Wireframe?
| | 18:44 | Then I'll select that explosion-looking graphic, hold the
Shift key down, mouse-click, and drag off to the right.
| | 18:50 | It's going to take a couple of keystrokes.
Whoops, I don't want to add a pin. There we go.
| | 18:53 | In fact, I am going to mouse-click on this
Percentage button and select 25, because I
| | 18:57 | can see a little more, so
I'll continue to drag this over.
| | 19:01 | Now, when I go back into that original
sequence, we'll mouse-click on this.
| | 19:09 | When I drag my playhead back and I push play, watch this.
(video playing)
| | 19:15 | I animated those two elements on a previous
Timeline and it updated in the actual Timeline
| | 19:21 | that the graphic was in.
| | 19:23 | So that is the power of
working with Photoshop documents.
| | 19:25 | You can practice with this other one, with
this one, the Jet Ski Champions, if you want,
| | 19:29 | or you could take a look at this.
| | 19:32 | This is just a straight logo.
| | 19:33 | I am going to park it on V3. And you could
see that it's just Salt Creek Productions.
| | 19:39 | So that's another Photoshop.
That's really a company logo.
| | 19:42 | Now there are no layers to that.
Actually, you can double-click on it.
| | 19:45 | There are no layers to this. It was merged.
| | 19:47 | Okay, so some Photoshop documents will have layers
and some won't, like this one doesn't. This one does.
| | 19:55 | So you have to ask whoever's creating these
documents if you want, say, hey, can you give
| | 19:59 | me a layered document so I can animate
this. And I've got to tell you, when the VIPs from
| | 20:04 | a company see their company logo animated,
coming in from different areas, and then
| | 20:10 | they come together to create the logo, wow,
they are real happy and usually the happy
| | 20:14 | people write checks on time to
get you paid. So that's it.
| | 20:18 | That is working with--or that's advanced titles
working with the 3D Titler and Photoshop documents
| | 20:25 | within Final Cut Pro.
| | 20:27 | Let's go ahead and go on to the next lesson.
| | 20:32 |
| | Collapse this transcript |
| Multi-camera editing| 00:01 | If you're not already familiar with the
Multicam feature in Final Cut Pro, boy, you in for a
| | 00:06 | treat, because this feature alone makes worth
purchasing Final Cut Pro completely worth every penny.
| | 00:12 | So let's create a brand-new DV project and
call it Multicam and save it. Save this project
| | 00:19 | in your Project folder on your Desktop, so
you have future reference of getting into it.
| | 00:24 | And then click on the Browser, mouse-click on
the word File and then select Import > Folder.
| | 00:29 | And then click on the Desktop icon over here
on the left, click on the Training Media folder,
| | 00:33 | and then click on the Multicam mix
folder, and then select Choose down below.
| | 00:38 | And then save your work or save the project
by pushing Apple+S, and then open this bin.
| | 00:43 | And then double-click on the first clip and you
can see here that we are going to mix the wedding.
| | 00:46 | Now before we jump into this, I have got to
tell you--and you may already know this, but
| | 00:49 | if you don't, this is important:
| | 00:51 | both cameras have to be
rolling for the entire event.
| | 00:55 | And if your event is 90 minutes long and your
tape loads and your cameras are only 60 minutes,
| | 01:00 | you're in trouble.
| | 01:01 | Okay, so you have to think
about that before you do this.
| | 01:05 | The other thing is before the event,
you'll need to create some kind of a visual reference
| | 01:11 | point that both cameras or all angles can
see so that you can come back in in editing,
| | 01:17 | you can park your playhead right on that visual
element and push the letter I to mark an in point.
| | 01:21 | So this is what I do. Check this out.
| | 01:24 | Before this event started, I started
recording both cameras five minutes before the event.
| | 01:31 | So both camera are recording
five minutes before the event.
| | 01:33 | I actually walked out.
| | 01:35 | There was no one here of course except for the
people coming in and being seated by the ushers.
| | 01:39 | I walked out in front of both camera angles.
Okay no one is here, and I just walked out
| | 01:43 | and did kind of a big windmill clap.
| | 01:46 | I know that sounds strange it probably
even look strange, but I had to do it.
| | 01:49 | Okay, no one cared.
| | 01:51 | But right where my hands met,
right where my hands met,
| | 01:54 | I came in here into post and I found--I
drag my playhead and I found that exact frame
| | 01:59 | and I marked an end point by pushing the letter I on
both angles, okay, which is what I want you to do here.
| | 02:05 | Now I have already done all this work for you,
but I want you to get in the habit creating
| | 02:08 | in points to use as a reference point.
| | 02:10 | So double-click on both angles. Go ahead and
do that, double-click on this first one, make
| | 02:14 | it appear in the viewer.
| | 02:15 | Make sure your playhead is at the beginning
of the clip and push the letter I to mark
| | 02:18 | an in point, and then do
the same thing to camera 2.
| | 02:22 | Okay mark an in point.
| | 02:23 | So if you think about what I
just said, it makes total sense.
| | 02:25 | Now sometimes videographers
will use a flash, which is fine.
| | 02:29 | You know, you trigger a flash when both cameras
are running. Great, use that as a reference point.
| | 02:33 | Although I have found that at events like
this--it doesn't necessarily have to be a wedding--
| | 02:37 | there are all kinds of flashes going off;
people are taking pictures of everything.
| | 02:40 | So that could make it challenging.
| | 02:42 | But as long as you can figure out a reference
point, a visual reference point, that both cameras
| | 02:47 | can see when you roll the cameras, then use that.
| | 02:51 | I suggest you just roll both cameras and
walk out and do a clap. Make sure both cameras
| | 02:54 | can see where your ends
meet and that will work.
| | 02:57 | Okay, so the other thing you have to consider
is, which angle do you want to use the audio
| | 03:03 | with? In other words, I have a wireless mic on the
groom and this microphone had a receiver on camera one.
| | 03:09 | I always do it that way; camera one
always has the wireless mic from the source.
| | 03:13 | So I chose the audio from camera one to use
because if you think about this, we are going
| | 03:17 | to be switching video
angles, not audio angles, right?
| | 03:20 | We are going to be using one audio source
while the video cuts between these two angles.
| | 03:28 | So the audio wouldn't work because I only had one
wireless mic on the groom plugged in for this
| | 03:33 | audio, for this lesson.
| | 03:35 | Later on, I can drop in an
ambient track underneath or whatever.
| | 03:38 | But think about that when you shoot, because
everything I've just mentioned--when the cameras
| | 03:42 | are both rolling you create that sync point
by clapping your hands and you already know
| | 03:47 | what audio you are going to use--
| | 03:48 | that's all based on the shoot, which you may
not be a part of, but if you can be a part
| | 03:51 | of that, then you can control that end,
| | 03:54 | because the success of the shoot will
really help the edit be very successful.
| | 03:59 | Okay, so with that said, after you have marked
your end points, click on the first clip in
| | 04:05 | the browser, hold the Shift
key down, select the second clip.
| | 04:07 | All right, then push the Ctrl key down and
then mouse-click on one of these clips and
| | 04:12 | select the first Make Multiclip
option from the dropdown menu.
| | 04:16 | Do not select Make Multiclip Sequence; select
Make Multiclip, which is where my cursor is now.
| | 04:23 | Let both the Option and the mouse go.
| | 04:26 | And this window will appear.
| | 04:28 | And basically, there is
just some information here.
| | 04:30 | It's the Make Multiclip window.
| | 04:31 | Final Cut Pro wants to confirm with you that
the synchronizing point is the in points.
| | 04:36 | Yes. Now, you could do timecode,
right. That would be a great thing
| | 04:40 | if your cameras had--if you could jam sync
timecode between your DV cameras, go for it,
| | 04:45 | and then use that as a reference.
| | 04:47 | But I already know that a majority of all DV cameras,
entry-level DV cameras, do not have the ability.
| | 04:53 | There are a couple of new ones that just came out I
think one--oh no, two actually just came out.
| | 04:58 | But still, since the introduction of DV at
the prosumer leve--not the professional level,
| | 05:03 | because I know those do.
| | 05:05 | But most of them, like the VX 2000s, VX 2100s, PD
170s to 150, the Z ones and the new HDV cameras,
| | 05:14 | the majority of those don't have jam sync timecode.
| | 05:16 | So you have to use in points as
your reference for synchronization.
| | 05:20 | Okay, these two check marks
represent that these clips will be used.
| | 05:26 | Okay, this is a visual
representation of the clips.
| | 05:29 | Here's the name of these
angles: Camera 1 and Camera 2.
| | 05:32 | Sometimes you will see a little slashes in
this blue window here that represent the clips.
| | 05:38 | That's okay. Don't worry about that because
Final Cut Pro is kind of telling you what's
| | 05:41 | going to be used. Based on where you marked
your in point, you might see a slash here.
| | 05:46 | As long as you are confident that your in
points are referencing the exact moment by
| | 05:52 | all angles, you will be fine.
| | 05:54 | Okay, so after you have done this,
mouse-click on the OK button
| | 05:57 | and you'll get a multi-clip icon.
| | 05:59 | Well, double-click on
this icon. Double-click on it
| | 06:02 | and it makes it appear in the viewer.
| | 06:04 | You will see both angles, right.
| | 06:07 | And you'll see here, it's kind of hard to see,
but there is a blue and a green border around
| | 06:13 | this first angle, angle 1, or camera 1 actually.
| | 06:17 | And this really means that we're going to
start our multicam edit seeing this video
| | 06:24 | source and hearing this video source.
| | 06:29 | So you might be thinking "well, Frank okay,
what if I wanted to see this angle first,
| | 06:34 | but hear this, the entire time?" Well,
that's fine. Then just click on this angle.
| | 06:38 | If you click on this angle, both the--in
my case, it may not happen in your yours,
| | 06:43 | but it should. Something should
happen when you click on this angle.
| | 06:45 | In may case both video and audio jumped over
here, which means now I am going to start.
| | 06:50 | I am going to visually see this
clip first, and I'll hear this clip.
| | 06:56 | Okay, so how do you change this, how do
you fix this, how do you make it all work?
| | 06:59 | Okay, well this is what you have to do before
you get started. First of all, click back over
| | 07:02 | here. Click back on this angle for me.
| | 07:04 | We will all get back on the same page.
| | 07:06 | If you mouse-click on what I like to call the goal post
button--this is the Playhead Sync button in the viewer.
| | 07:11 | Mouse-click on this and
you may have video checked.
| | 07:15 | Do me a favor and check
Video + Audio. Just select it, okay.
| | 07:21 | Now when you select that, now when you click
on a this angle--click on that--both the green
| | 07:27 | and the blue border jumped over here.
| | 07:29 | Now you might be thinking "well, Frank,
what are you talking about, green and blue?"
| | 07:31 | If you look close closely, there is
a green border and a blue border.
| | 07:35 | Now what I would like you to do is mouse-
click on the goal post button, the Sync button and
| | 07:39 | select just Video; just
select that for me real quick.
| | 07:42 | And when you do that, click over here, click
on this angle, and now you will see the two
| | 07:47 | different borders. You will see blue over
here and green over here.
| | 07:50 | Well, the green border means audio will be
coming from this source and video will be
| | 07:56 | coming from this source.
| | 07:58 | So if we were to start editing right
now, we would see this angle first,
| | 08:02 | and we would hear this angle the entire time,
| | 08:06 | right, because if we mouse-click on this,
by selecting just cut Video only, which is
| | 08:11 | really which--this is what I wish it said:
"Cutting Video Only, Check Here," "Cutting Audio
| | 08:18 | Only, Check Here," "Cutting
Video + Audio, Check Here."
| | 08:22 | It would be nice if it said
that, right, but it doesn't.
| | 08:24 | That's what this means though.
| | 08:26 | So if you want to cut video and audio every
time you clicked on one of these angles--because
| | 08:31 | that's what's going to happen--we are going
to end up clicking, clicking, clicking between
| | 08:34 | these two angles while
we watch it in real time.
| | 08:36 | Do you want to cut just video
between these two or video and audio?
| | 08:40 | Well, if you think about it, we are just going
to be cutting between video angles, not audio.
| | 08:45 | We need the same audio
track playing the entire time.
| | 08:49 | Okay, so mouse-click on this button again, and
make sure Video + Audio is checked for now,
| | 08:56 | and click over here. Click on this side and you will
get both blue and green borders to appear over that.
| | 09:03 | And then if you wanted to maybe use this video,
you could come back in here and select just
| | 09:09 | the Video, okay, like I just
did, and click on this side.
| | 09:13 | And then the Video button, or the
Video Highlight, would then be over here,
| | 09:18 | meaning we are going to start off
seeing this, but we are going to hear this.
| | 09:21 | Okay, so one last thing about this button,
and that is mouse-click on this button. And
| | 09:25 | this is another indication
as to what's going to happen.
| | 09:27 | These are your two camera angles right here.
| | 09:29 | This is basically telling you, we are going
to use audio from Camera 1, but we are going
| | 09:34 | to start off by seeing Camera 2,
| | 09:37 | okay, which is okay, actually.
Tat's not a big deal. So let's do that.
| | 09:44 | Let's make sure Audio is coming from source
one and Video is coming from source two, which
| | 09:51 | is this guy right here.
| | 09:53 | And let's zoom out, and you'll see that both
now the green border and the blue border
| | 09:58 | at the same time when using them out.
| | 10:00 | Now if you don't see both, oh that's okay.
Don't panic. I just want you to get an idea
| | 10:03 | of how this works.
| | 10:04 | Alrighty. And if you need to--if you want
to make sure that you have done what I have
| | 10:09 | done, rewind this lesson because
it is a little tricky at first.
| | 10:12 | Okay, so with that said, now you need to make
sure down here, if you mouse-click on the RT
| | 10:17 | button, mouse-click on that, make sure Multiclip
Playback is selected. Just make sure that's checked.
| | 10:22 | Now don't uncheck it.
Make sure it's checked, okay.
| | 10:26 | And let's bring this down to the Timeline.
The easiest way to do this push F10.
| | 10:31 | That sends that down at the Timeline, and
you can see here now our playhead--right at
| | 10:35 | the beginning we are going to start off with
this angle here, so we can see the officiant
| | 10:39 | talking. And then as this plays, as the
playhead goes across our clip, we can click, click,
| | 10:47 | click on these clips and Final Cut will jump
between them, but we will hear just one audio
| | 10:52 | track the entire time.
| | 10:53 | We will hear just the audio from here, because
that's where the wireless mic was, on the shoot.
| | 10:58 | One of the thing you have to do: mouse-
click on this Playhead Sync button, mouse-click
| | 11:02 | on that one, and select Open.
| | 11:03 | You've got to do that.
Don't forget. Do that, please.
| | 11:07 | Now we push Play right here.
Mouse-click on the Play button.
| | 11:11 | Everything is rolling. These two windows are rolling
and this window is rolling.
| | 11:15 | And I will mouse-click on this now when she
looks up at him--and she may not look at him,
| | 11:19 | so I am going to click--so I am
avoiding that camera movement. There we go.
| | 11:23 | Now I will click on this side.
| | 11:26 | See how it showed over here--very nice--
and the blue and green now are over here.
| | 11:33 | Now I can click back over here and you can
see it update over here on the Canvas window.
| | 11:39 | Notice how we are getting markers
every time we select a different angle.
| | 11:43 | Now, I will click back over here as
soon as she says her next line, right now.
| | 11:53 | Very nice, and I will click back over on this
side, because that camera is pulling out to
| | 11:56 | look at the parents probably.
| | 11:58 | As soon as it locks in over here, I am
going to click on this side. And mom's crying.
| | 12:05 | Aw see, that's the money
shot right there folks.
| | 12:07 | If you get that, you are going to get a tip.
| | 12:10 | Oh! Don't do that.
And that's the beauty of this.
| | 12:12 | We are going to come back
and fix that, by the way.
| | 12:13 | So I will click over here now
| | 12:20 | and then click back over here at mom and dad.
See, I am just clicking. Click back over here
| | 12:25 | to get back out of that zoom.
| | 12:27 | This is a good clip to practice with.
| | 12:31 | As soon as this locks down, I will clip
on this or click on that one. See that?
| | 12:35 | Now I am going to stop.
I am going to push the spacebar.
| | 12:38 | As soon as I hit the stop, look at all
the cuts Final Cut Pro made from me.
| | 12:41 | This is a done deal folks. Look at this.
| | 12:42 | We start with this angle. Right when I
selected the other angle, it jumps to the angle.
| | 12:48 | Okay, so Final Cut Pro basically did
all the edits for me down the Timeline.
| | 12:53 | How cool is that? So if bring this back now
watch this. See, it jumps for me or it cuts
| | 12:59 | for me, based on when I selected
up here previous to doing this.
| | 13:03 | In a moment here it
should switch to the other angle.
| | 13:10 | Very nice. This is such a great,
great feature within Final Cut Pro.
| | 13:14 | Now, there was a mistake we found, right,
when the camera starts to move a lot.
| | 13:18 | Let's see we can find it.
| | 13:20 | Not that one, because that one is not too bad.
| | 13:22 | I think it was over here.
| | 13:24 | Okay, so here's the deal. Are you ready for
this? We can add an edit anytime we want.
| | 13:32 | So as soon as that camera starts to move
like that, back to playhead up, okay, back it up
| | 13:37 | right about there,
| | 13:39 | And then click over here, boom,
right before the movement.
| | 13:45 | As soon as it goes back, it actually goes--
so the point is, I actually put the camera--
| | 13:51 | I actually updated by adding another edit.
| | 13:54 | I just hit Play and I clicked on the angle
that didn't have all that camera movement.
| | 13:59 | So right before the movement, boom, it
jumps to the other angle. See that?
| | 14:04 | Now that's not going to be seen down here
because we are looking at that angle that.
| | 14:07 | Now what happened was now these two
clips are coming from the same camera.
| | 14:10 | That's why you get this through
edit here, which is not a bad thing.
| | 14:12 | This is actually okay.
| | 14:13 | I can actually mouse-click on that, on
that little red bow tie, and push Delete.
| | 14:17 | Now this is all from one angle.
| | 14:19 | That's what it did.
It just switched the angle for me, that's all.
| | 14:21 | That is all it did.
| | 14:23 | So I can back my
playhead up. I push this back.
| | 14:26 | Now we are not seeing any of that over here.
This is what's going to end up on tape.
| | 14:33 | So as soon as the camera starts moving around,
I might want to see her and him right at this point.
| | 14:38 | Well, the next edit down on the Timeline
doesn't happen for quite some time, so I can get my
| | 14:43 | Roll tool by pushing the letter R,
mouse-click on edit point, and drag it over.
| | 14:49 | Boom, now that's going to switch at that point.
| | 14:53 | And I mean, how easy is that?
Boy, that is just so cool. Then it switches.
| | 15:01 | You know, I have got to tell you, this lesson
and this feature alone is so critical into
| | 15:07 | making this a streamlined feature for you
with multicam edits, because I've got to tell
| | 15:12 | you, I appreciate this so much because in the past
this was such a headache to do. Now it's so easy.
| | 15:17 | I would suggest you go back and watch this again and
practice what I have just done. Practice what I have just done.
| | 15:22 | I am not done yet, but there are
so many cool things in this lesson
| | 15:26 | and so many features that you may
want watch it again to really get down.
| | 15:30 | Now one other thing I want to show you is,
notice when we watch any of these angles.
| | 15:34 | When I park my playhead right on this spot,
the canvas shows us the angle that we are on.
| | 15:40 | Okay, so let's say for whatever reason at
this particular point in time, I didn't want to
| | 15:45 | see this angle, which is this angle here.
| | 15:48 | I could simply click right here.
Watch. I will click on that.
| | 15:50 | It switches the angle for me.
| | 15:52 | Now, from this clip to this clip to this clip,
it's all the same angle. But you can do that.
| | 15:58 | You could park your playhead above
one portion of our Timeline here
| | 16:03 | and click on the angle you want to see at
that point in time. Watch, I will click on
| | 16:06 | this now and it updates it.
| | 16:08 | I mean how easy is that? It is so cool.
| | 16:11 | So have fun with this lesson. Go back and
practice with this and when you've had enough
| | 16:14 | of this, you are ready to
move on to the next lesson.
| | 16:19 |
| | Collapse this transcript |
| Chroma and Luma keying| 00:00 | In this lesson, I am going to cover how to
utilize the Chroma Key and the Luma Key features
| | 00:04 | built inside of Final Cut Pro. And typically
with the chroma key, you'd be videotaping
| | 00:09 | someone or a couple of people, or a group
of people standing in front or sitting in
| | 00:13 | front of a green screen or a brightly
colored screen that you intend on cutting away or
| | 00:19 | cutting out, and inserting maybe a graphic
image or a video image to make it look as
| | 00:24 | though they were
somewhere else, not in a studio.
| | 00:27 | The other item I am going to cover is Luma
key, and luma key is really going to allow
| | 00:31 | us to cut out the bright information or the dark
information of a graphic so that we can put video inside.
| | 00:37 | So first things first:
let's create a brand new project.
| | 00:40 | And I'd like you to call
that project Chroma/Luma Key.
| | 00:44 | Can you do that now for me? Create a brand-
new project and then save this project in your
| | 00:49 | Project folder on the desktop.
| | 00:51 | When you've done this, click on the Browser
and navigate up to the word File at the top-left,
| | 00:55 | mouse-click, and select Import > Files.
| | 00:57 | We're going to import files in this one.
| | 00:59 | Then click on the Desktop icon and mouse-
click on the Training Media folder. And then I'd
| | 01:03 | like you to navigate to the DV Clips folder and
click on the Chroma Key clip and select Choose.
| | 01:13 | Then you're going to import another item,
| | 01:15 | so navigate up to the word File,
mouse-click and select Import > Files.
| | 01:20 | This time I'd like you to go right through
that same path, through the Training Media
| | 01:23 | folder, and in the Photos, there is a photo,
photo 003. Bring that photo in, hit Choose.
| | 01:33 | And then there's one more item.
| | 01:35 | Mouse-click on the word File again, and
select Import > Files, and we're going to go to the
| | 01:38 | Graphics folder this time
and bring in this Graphic 1.
| | 01:41 | Okay, and then save your work, Apple+S, and
double-click on the Chroma Key clip. And yes,
| | 01:48 | that is me, yours truly, shot in
front of a blue screen actually.
| | 01:52 | And Final Cut Pro will key out
anything with blue or green.
| | 01:56 | Bright green, evenly lit
backgrounds seem to be the easiest.
| | 02:01 | Now, in reality, a professionally set-up
studio will have this background lit perfectly for
| | 02:09 | you, perfect, typically,
especially if you pay them some good money.
| | 02:14 | But sometimes you don't have the luxury of
a studio, and you're going to have to light
| | 02:17 | this background yourself.
| | 02:18 | So I thought about this and I thought well,
do I bring in a clip that's perfectly lit
| | 02:22 | to make this real easy, or do I bring in more
of a realistic background that wasn't really
| | 02:27 | lit very well, so I can really teach you how
to use this tool? And I thought, well, let's
| | 02:30 | do that, because usually the footage you're
going to get, the background is probably not
| | 02:35 | going to be lit evenly, and you'll see here that
it's brightly lit here but dark down over here.
| | 02:39 | And this is probably more of a beginning/
intermediate setup when first doing this, because, again,
| | 02:47 | if you're not involved in the shoot, you have
no control over this, and this would probably
| | 02:50 | or might be something that you'd get,
at least in the beginning stages.
| | 02:54 | So the more professionally shot this portion
of the production makes your life a little
| | 03:01 | easier, and so what I want to do is teach you how
to handle even the toughest chroma key situations.
| | 03:05 | And so we used blue, we didn't use green,
and we didn't light it evenly so that I can
| | 03:10 | show you that actually the chroma key
does work pretty good in Final Cut. Okay.
| | 03:14 | So the other item I want you to double-click
on is the graphic. Double-click on that, and
| | 03:17 | we're going to cut this white part out and
insert video in here. And I covered this in
| | 03:22 | a previous lesson, but I want to also include
it here to show you a couple of other items
| | 03:27 | that we didn't cover in the other lesson.
| | 03:29 | And then last but not least, double-click
on the photo. And this is going to be the
| | 03:32 | background that we're
going to key this clip over.
| | 03:37 | So typically, the
background goes on the lower track.
| | 03:40 | So let's bring this photo down. Mouse-click
on this and drag it down as the background,
| | 03:45 | park your playhead right on it,
because we're going to have to resize it.
| | 03:48 | So part your playhead on it. After you put
this on V1, mouse-click on it. Then navigate
| | 03:52 | over here to the Image+Wireframe, make sure
that's showing, and then mouse-click and drag
| | 03:57 | this out so that it fits the screen
entirely, and then get rid of that wireframe.
| | 04:02 | So mouse-click and select Image. And I actually
dragged the corner and I dragged it out. Okay.
| | 04:07 | Now, let's bring the Chroma
Key clip down and park it on V2.
| | 04:12 | Now we're not going to use audio.
| | 04:14 | So hold the Option key down. Mouse-click and drag a
square lasso, like I just did, which is a marquee.
| | 04:20 | You have to hold the Option key down so you
can select just the audio, then push Delete.
| | 04:24 | And then trim this clip at the very tail,
so that it's about the same length.
| | 04:28 | And really, even though we're using a still
image, there could be video down here, or
| | 04:34 | there could be a virtual set down here.
| | 04:37 | So the idea is to teach you how to get
rid of this blue or green background.
| | 04:41 | Okay, so with that said, navigate to the
Effects tab, mouse-click on that, and let's have you
| | 04:46 | go into the Key folder in the Filters category.
| | 04:49 | So, go to the Video Filters. Click on the Video
Filters, open that up, then open up the Key category.
| | 04:58 | And there are two. There is a Blue and
Green Screen filter, which is the older one, and
| | 05:02 | there's the Chroma Keyer, which is
the newer one but is slightly easier.
| | 05:07 | So with this Chroma Keyer, mouse-click on
this and drag it into the Chroma Key clip,
| | 05:12 | which should be on V2. And then double-
click on that to update it into the viewer.
| | 05:17 | Okay, so then mouse-click on the Chroma Keyer
tab. And there are all kinds of options here
| | 05:22 | that we can work with, but the first item I
want to show you is really the easiest part,
| | 05:26 | which is mouse-click on this little color
selector here and then simply click in an area,
| | 05:31 | maybe not in the brightest area, but like
in a middletone, like right about here in
| | 05:34 | the middle, not in the dark, but not
in the bright, there in the middle.
| | 05:37 | Click on that and that
gets rid of some of the blue.
| | 05:39 | Now, if this was evenly lit, that would have
all disappeared, and that's how easy it would
| | 05:44 | have been and you'd be 95% there.
| | 05:48 | So with a slightly harder one,
you're going to have to work on this a little bit.
| | 05:50 | Now, it may not be completely perfect, but
it's going to look a lot better when we're done.
| | 05:53 | It will look better
than this, that's for sure.
| | 05:56 | But with work, you could
make it perfect. With practice,
| | 05:59 | you could make this perfect.
| | 06:01 | So now, we click on this color selector again,
but hold the Shift key down now and select
| | 06:06 | another portion of the blue.
| | 06:08 | See how that works?
| | 06:09 | So you click on the color selector again, hold the
Shift key down, and select another portion of blue.
| | 06:14 | Every time you do that, these all adjust.
| | 06:16 | I mean this is actually looking pretty easy,
isn't it? Click on the color selector again,
| | 06:20 | hold the Shift key down, select more blue.
| | 06:22 | I mean that's pretty much how this works.
| | 06:24 | You can even zoom in to this.
| | 06:26 | Mouse-click on the magnifying glass, one of
the power tools down here in the toolbar,
| | 06:30 | and click, click, till you get to this bluer
part right where my shoulder is. Get rid of
| | 06:35 | that magnifying glass by clicking on the
Selection tool, mouse-click on that color selector again,
| | 06:39 | hold the Shift key down, and maybe get right to that
edge. Boom! Look how much of that all disappeared.
| | 06:44 | Isn't that cool?
| | 06:44 | Then you can use this navigation bar over
here. And there are a couple of squares there.
| | 06:50 | You could drag this up to
maybe get this stuff here.
| | 06:53 | So, before you do that though, this is looking
pretty good, so mouse-click on this percentage
| | 06:57 | button and select Fit to Window, because
this is where it starts to get challenging, in
| | 07:02 | that you need to expand the amount of blue
you're working with. Because that's really
| | 07:05 | all this is; it's about
three or four shades of blue.
| | 07:07 | And if it was green, same thing.
| | 07:09 | It could have been three or four shades of
green, because we didn't light it correctly.
| | 07:13 | So what you want to do is you want to expand
the portion of blue out in large increments
| | 07:18 | or in small increments. And you want to be
careful with this, because you don't want
| | 07:21 | to go on the purple,
| | 07:22 | you don't want to go on the green,
especially if you're working with a blue screen.
| | 07:26 | So mouse-click on the very top and drag this
out may be right about there and let it go,
| | 07:30 | and you will see a little bit of the blue
disappeared. And then you can mouse-click
| | 07:33 | and drag this out in smaller increments and
let that go, and a whole lot didn't disappear.
| | 07:37 | And once you start to see things not disappearing,
you've expanded these as far as you want to go.
| | 07:41 | Then you want to work on the amount of the
darkest to brightest shade, which is what this
| | 07:46 | represents, of whatever this
is selection or selecting.
| | 07:50 | So whatever selection is between this point
and this point and this point and this point,
| | 07:55 | which is different shades of blue, this selects
the darker and the brightest part of that color.
| | 08:02 | That's what saturation is.
| | 08:04 | So if I extend this out to get the brighter
parts of blue, which is the brighter part
| | 08:08 | of this gradient bar here, when I let this go,
let's see if anything disappears on the right.
| | 08:12 | Perfect! Did you see that?
That whole thing just disappeared over here.
| | 08:16 | I still see a little bit more over there.
| | 08:18 | So let's come back to this.
| | 08:19 | What about the Luma portion, which
represents the black and white information in color?
| | 08:23 | Okay, all color has black and white, so we
could drag this out to the brighter parts
| | 08:28 | of the black and white
information in the color.
| | 08:30 | So let's maybe make it right about there,
let it go, and the rest of the blue disappeared.
| | 08:36 | Now, you might be thinking "okay, Frank, well,
there are still some jagged edges over here,"
| | 08:41 | which is true. There is.
| | 08:43 | So if you feel pretty good about all this,
then you can increase or decrease the Edge
| | 08:47 | Thin and increase the softening of the edge.
So you can barely see the jagged edge there.
| | 08:53 | What I am going to do is I am going
to start with softening here first.
| | 08:56 | So I am going to incrementally adjust this.
| | 08:58 | I am not going to mouse-click and drag.
| | 08:59 | I am going to mouse-click right over
here. Click, click. Okay, there we go.
| | 09:03 | See how it's kind of softened that up a
little bit, which is actually looking pretty good.
| | 09:07 | This is all looking pretty good. And I can
adjust the Edge Thin. And now this one I
| | 09:11 | am just going to arbitrarily drag to
the right to see if that increases.
| | 09:14 | No, it didn't look too good, so let's drag
it to left, maybe decrease that Edge Thin.
| | 09:19 | Okay, barely changed.
I mean it barely changed.
| | 09:22 | Really the trick here is once you feel pretty
good about what you've just done, it's really
| | 09:26 | all a matter of experimenting.
| | 09:28 | You always start with this color first, with
this portion here with the color selector.
| | 09:33 | You click, click, click as much as you can.
Don't forget to hold the Shift key down after
| | 09:36 | the first click of the color selector.
And then you adjust the saturation.
| | 09:39 | You mouse-click on the greater portions of
the saturation and drag it out as far as you
| | 09:45 | want, until you get the amount of
blue that you want to get rid of.
| | 09:48 | Do the same thing with the Luma and then you
come down in here and you work with the Edge
| | 09:51 | Thin, the Softening, Enhance.
| | 09:53 | I think in this case it's not going to make
a huge difference for Enhance because of
| | 09:57 | that solid blue that we used. And even though
it was unevenly lit, really the four or five
| | 10:02 | items you want to work with is 1, 2, 3, 4, 5.
And that actually doesn't look too bad.
| | 10:07 | The last test that I'll do is I'll click in
certain areas. And now I am not doing a whole
| | 10:11 | lot of moving, so I could just be a talking
head making an announcement. This could be
| | 10:15 | a news report or whatever
about whatever is behind me.
| | 10:18 | And to really give this a little more oomph,
let's make the background go out of focus,
| | 10:23 | okay, because in reality this would probably be
out of focus, because it's so far behind me.
| | 10:28 | So let's navigate over here to the Blur filter,
mouse-click on that, and let's take this first
| | 10:34 | blur option, Gaussian Blur, mouse-click and just
drop it in the background clip right here on V1.
| | 10:40 | Drop that on there, and that kind of defused the
background. See that? So it's kind out of focus.
| | 10:44 | Now, if you double-click on that, you can
really adjust the Radius amount of focus in
| | 10:50 | the Filters tab now when you
double-click on this background clip.
| | 10:53 | I mean I could really make it look
extreme by increasing that to about 13 or 14.
| | 10:58 | That looks, eh, I am
not too crazy about that.
| | 11:00 | So I'd probably compromise and go to about
6 or 7, right about there, or even less, 3
| | 11:05 | or 4. Whatever you feel works best.
| | 11:07 | But that is not too bad, and then of course,
when you're done you click on your Timeline,
| | 11:11 | navigate up to the word Sequence, and
select Render All, and you're pretty much done.
| | 11:15 | I mean this is a pretty straightforward tool.
| | 11:18 | And of course, you could also go back into
the filter of this clip, so double-click
| | 11:22 | on this clip here to get the filter to update back
into the Chroma Keyer, mouse-click on this tab here.
| | 11:27 | I am sorry. Double-click on this clip to
make it update into the viewer with the Chroma
| | 11:31 | Keyer and click on the Chroma Keyer tab and
then make some adjustments here if you feel
| | 11:34 | like this needs to be brought out a little
bit to get rid of any other blue that might
| | 11:38 | be around my face or any additional
black-and-white information within the color.
| | 11:42 | I mean that's even looking better
now with those two last adjustments.
| | 11:45 | That looks pretty good.
For DV, that looks pretty good.
| | 11:47 | I'd be happy with that. Okay.
| | 11:50 | Let's move on to the next item.
| | 11:51 | Mouse-click on the Project tab, bring that
forward, and let's double-click on this graphic.
| | 11:56 | And the idea here is we're
going to cut this white part out.
| | 11:59 | So, we are going to need
another video clip for this.
| | 12:02 | So click on the Browser, mouse-click on the
word File, select Import > Files. Let's go back
| | 12:08 | to our Training Media folder, and let's go
into the Sports Clips, and let's bring in
| | 12:13 | the--let's see. Actually,
let's go to the DV Clips.
| | 12:16 | I am sorry. Go to the DV Clips, and let's
bring in the Dodge M80 Yellow. Bring that
| | 12:23 | in, double-click on that.
| | 12:24 | And in reality, it could have been any
video clip; it doesn't have to be this one.
| | 12:28 | But the reason why I chose this one is
because there are some cool colors in there.
| | 12:31 | So I am going to mouse-click on that
and drag it down to the Timeline.
| | 12:34 | And the idea is is that we want to take
this white part out and see this video clip in
| | 12:42 | place of this white.
| | 12:43 | So with your playhead parked down here, let's make
this fit over this clip perfectly from beginning to end.
| | 12:50 | So I'll mouse-click on this and drag it to
the Superimpose option in the Canvas Overlay
| | 12:53 | window, let that go, and
it makes it fit perfectly.
| | 12:56 | You can buy these graphics anywhere.
| | 12:58 | I actually made this one in Photoshop,
but there's Digital Juices out there.
| | 13:02 | There is a free plug again for them.
| | 13:05 | They have all kinds of stuff, and I use their
product all the time. And they have thousands
| | 13:07 | and thousands of backgrounds and
graphics and all kinds of stuff.
| | 13:10 | So, kudos to them for doing it, because you
know what, they are inexpensive and they're
| | 13:14 | worth every penny.
| | 13:15 | So let's mouse-click on the Effects tab.
| | 13:17 | Let's go back into our Filters category.
And this time we're going to get our Luma Key.
| | 13:22 | Mouse-click and drag that into the top graphic.
| | 13:25 | And look what it did; it
automatically cut that out perfectly. Why?
| | 13:28 | Well, double-click on this image here, this
graphic image, and make it appear up in the
| | 13:32 | Filters tab. It defaults to keying out brighter.
See that? It will cut out that brighter part,
| | 13:40 | and all we have to do--we don't even need
to worry about anything else; all we need
| | 13:43 | to do is adjust the Threshold
and the Tolerance. That's it!
| | 13:47 | And so, what we can do here is--and
actually this is kind of an experiment too, because
| | 13:52 | these graphics, there's thousands and thousands and
thousands of them out there--or you can make your own.
| | 13:55 | You're going to have to see what each
adjustment does to make this look better or worse.
| | 13:59 | So when you drop the Threshold down, look how the
image of the video comes through so much better.
| | 14:05 | And the reason why we're starting to lose
this blue is because that could be considered
| | 14:08 | part of the brightness,
because that's a bright blue.
| | 14:12 | So you have to be careful with some of these
graphics. And this doesn't look too bad actually,
| | 14:16 | because we can actually see through that.
| | 14:18 | So that would work.
I'd probably put a title or two up here.
| | 14:20 | And as you adjust the Tolerance though, you
can make that a solid color again, by dropping
| | 14:25 | the Tolerance of the brighter
parts of this graphic image.
| | 14:29 | Now, the green part, we're starting to lose
that, but still, to make this just this blue
| | 14:35 | part not so opaque, to change the opacity,
which is the other feature that I want to
| | 14:40 | show you in this lesson, is really the key here,
no pun intended Luma Key, really the key here. Okay.
| | 14:46 | Anyway, so you can drop this down and you
can make the adjustments to have this darker
| | 14:51 | part either opaque or not opaque.
| | 14:55 | So I mean that's pretty much it for the for
the Chroma Key and the Luma Key, and the idea
| | 14:59 | here for the Luma Key was to either key out
the brighter part--and we didn't look at the
| | 15:05 | darker part, but if I select, change
this and select Darker, it should reverse.
| | 15:09 | See that? So we're keying out the darker part now.
So I just did the exact opposite by clicking on the darker.
| | 15:14 | And really, with all the graphics that are
out there, you can pick and choose the ones
| | 15:17 | you want to use, and then we can put a title
here and do all kinds of cool stuff and
| | 15:20 | really increase the value of our production of
whether we're using the chroma key or the luma key.
| | 15:27 | That's it for this lesson.
| | 15:28 | Enjoy this and let's move on to the next!
| | 15:33 |
| | Collapse this transcript |
| Customizing a keyboard| 00:00 | Well, this lesson is one of my favorites,
because I am going to show you a quick and
| | 00:04 | easy way to customize your keyboard to give
you quick access to some of the really cool
| | 00:08 | shortcuts that are built into Final Cut Pro.
| | 00:11 | And I am also going to show you how to customize
these windows to hold some keyboard shortcuts as well,
| | 00:17 | so both are really good ways of accessing
some of the cool shortcuts within this software.
| | 00:24 | So navigate up to the Tools option here at the top
menu, mouse-click, and select Keyboard Layout > Customize.
| | 00:31 | When you do that, the Keyboard Layout window
will appear, and there are two parts to this.
| | 00:37 | The left part, well, first of all, right
off the bat, you can see right here all, or not
| | 00:43 | all, a lot of the most popular shortcuts that
are already available to your keyboard; it's
| | 00:49 | already been programmed in.
| | 00:51 | As you can see here, we've got B for Blade,
Z for Zoom, A for Arrow, L for Play, J for
| | 00:58 | Rewind, or I to mark an
in point and O to mark and out point.
| | 01:03 | Well, you don't want to change any of these
anyway, because these are all the default
| | 01:07 | shortcuts that a lot of the
new editors start to learn.
| | 01:12 | What I would suggest, and what we are going to
do is, we are going to create a way to preserve
| | 01:16 | all these keyboard shortcuts and still add
a bunch of the ones that you like. So, more
| | 01:21 | on that in just a moment.
| | 01:23 | Over here on the right of this window are
all the categories of all the shortcuts and
| | 01:28 | if I mouse-click on this navigation bar and
drag it down, boy, there is a lot of them here.
| | 01:32 | As a matter of fact, if you open up one of
the categories by clicking on this first one,
| | 01:36 | this down--or this triangle to make it point down,
you'll see that just in this first category
| | 01:41 | alone, it just seems like it's endless.
| | 01:43 | And there is no way you
are going to memorize these.
| | 01:47 | So, what we are going to do is we are going
to find just a couple and apply them to these
| | 01:54 | keys, or at least a couple of keys, without
affecting the current shortcuts. So, take a look.
| | 02:00 | Well, if you click over here in
this search window, click once,
| | 02:04 | I'd like you to type in the word "audio" but then
do not hit the Return or don't hit the Enter key.
| | 02:10 | So type in "audio." That's all you have to do,
by the way. You don't have to hit Enter here
| | 02:15 | in this particular search window,
| | 02:17 | because Enter, believe it or not, is a character
that it will try to find. So just type in "audio."
| | 02:22 | When you do that, you'll see there is a lot
of audio shortcuts, but what I'd like you
| | 02:27 | to do after you've done that is navigate over here to
this side and mouse-click on the Shift+Command+Tab.
| | 02:32 | And as you can see when you do that, it
comes forward and a lot of these keys are free.
| | 02:37 | In other words, what we are going to do is
we are going to apply a shortcut to one of
| | 02:41 | these keys that will appear when we
push Shift+Command and then the key.
| | 02:46 | So we have to unlock this first.
| | 02:48 | Navigate to this lock key down here and click on
it to unlock it and look for the Audio Mixer.
| | 02:55 | There it is. See that?
| | 02:56 | Mouse-click on that and
drag it to the letter A.
| | 03:01 | So now when we push Shift+Command+A,
the Audio Mixer opens. That's cool.
| | 03:07 | Let's try another one.
| | 03:08 | Go over here, highlight audio,
and type in "text," all right.
| | 03:13 | And when you do text, well,
let's use Open Text Generator.
| | 03:18 | So mouse-click on this and
drag it over to the letter T.
| | 03:20 | So, to test this, now we
don't have to change anything.
| | 03:25 | We don't have to do anything.
| | 03:26 | We didn't affect the original shortcuts,
but we've just added some of our own.
| | 03:32 | So now when we push Shift+Command+A, the
Mixer opens, or Shift+Command+T, the Titler will
| | 03:38 | open. Let's put it to the test.
| | 03:39 | So we'll close this window out by clicking
on the upper left-hand corner of the window
| | 03:43 | and let's try Shift+Command+A. Great!
There is our Mixer, came right up. Let's close it.
| | 03:50 | Let's try Shift+Command+T. Great! The Titler
opened. Very cool! By the way, the Command
| | 03:56 | key is the Apple key, in case you're wondering.
| | 03:59 | So it's Shift+Apple+A, Shift+Apple+T.
| | 04:01 | We just customized our keyboard, and it's
really almost endless as to what we can do with
| | 04:07 | customizing our keyboard.
| | 04:08 | Now how about customizing the windows?
Well, you would probably think "what do you mean
| | 04:10 | by that Frank?" Let me show you.
| | 04:12 | Let's go back to that same exact spot we were just at a
moment ago: go up to Tools > Keyboard Layout > Customize.
| | 04:22 | Let's find a couple of other tools. As a matter fact,
let's go to, let's see here, just looking for a cool one.
| | 04:32 | Let's go to Tools. So there is the
Audio Mixer, and let's go to Frame Viewer.
| | 04:41 | This is a really cool little item
that I've shown in a previous lesson.
| | 04:48 | And although it seems like it's easy to find,
it would be a lot easier if we just click
| | 04:51 | on a button, right? Well, watch this.
| | 04:53 | If I mouse-click and I drag this up to this
coffee bean in the right-hand corner of the
| | 04:59 | viewer, watch it open.
| | 05:01 | Boom! It just opens and it allows me
to put it in there. Is that cool?
| | 05:06 | Or how about this. Remember that Audio Mixer
that we just brought up? What if I mouse-clicked
| | 05:10 | and dragged that up into the coffee bean?
Look at that. Isn't that way cool? So now
| | 05:16 | let's close this out.
| | 05:18 | Now if I click on either one of these--let
me click on this one right here, mouse-click--
| | 05:22 | the Frame Viewer just opened. Let's close it.
| | 05:26 | What if I click on this, the Audio Mixer?
There it is, Audio Mixer opened. Isn't that
| | 05:31 | cool? And look at this.
There are coffee beans in every window.
| | 05:35 | This is an open coffee bean down here.
| | 05:36 | If I decide I want to mouse-click and drag
this down, it opens up and allows me to put
| | 05:40 | it in there, or I can
mouse-click and drag it back.
| | 05:43 | Did you know about? You probably didn't.
| | 05:46 | How about this? I can colorize these buttons,
Ctrl+Mouse-click, Color > Red, see, and give it a color.
| | 05:55 | Or I can remove it: Ctrl+Click+Remove.
| | 05:58 | There is a lot here that you
can do with all of these windows.
| | 06:01 | Now you're limited to space here in the viewer
and the Canvas window, and even the browser,
| | 06:07 | but you've got a lot of space down here
in the Timeline to add customized buttons.
| | 06:12 | So there you have it.
| | 06:13 | That's how you customize your keyboard and
your windows. Have fun with that one, and
| | 06:16 | we'll see you in the next lesson.
| | 06:21 |
| | Collapse this transcript |
| Outputting to tape| 00:01 | In this lesson, I'd like to teach you how
to output your finished Timeline back out
| | 00:05 | to tape, like DV tape or HDV tape, because
some of you may want to archive your finished
| | 00:11 | project onto actual tape.
| | 00:13 | Now, I'm going to use a previously created
project as an example. And if you want to
| | 00:18 | open up one of our projects that we worked
on earlier to follow along, go right ahead.
| | 00:23 | Now, once you've opened up a project that
has content on it, like any other project that
| | 00:28 | you're working on, when you get to the end,
when you're done assembling everything and
| | 00:31 | you've added titles and music and transitions
and effects and all that, you'll need to render
| | 00:35 | your Timeline when you're at the end.
| | 00:38 | So, click on your Timeline to activate it,
navigate up to the word Sequence, mouse-click,
| | 00:42 | and select Render All.
| | 00:43 | Now, while you're here, you may want to take a
quick glance to make sure these are all checked.
| | 00:49 | If they are then you're fine;
| | 00:51 | if they're not, go through and check all these.
| | 00:53 | When you're done checking all those items,
come back up to the Sequence option here at
| | 00:56 | the top menu and select Render All, and then Final
Cut Pro will render everything on your Timeline.
| | 01:02 | Now, once you've done that, you'll need to
make sure that your Apple Computer is correctly
| | 01:07 | connected to a DV or HDV recording device,
whether it's a camera or a deck, and you'll
| | 01:14 | need to make sure a
couple of things are working.
| | 01:17 | So you want to make sure the deck is on,
that the FireWire cable is connected correctly.
| | 01:22 | and park your playhead somewhere on the Timeline
so that you will see video and the Canvas window.
| | 01:27 | And whatever you see on a Canvas window, you
should see out on the monitor that's hooked
| | 01:33 | up to your DV device.
| | 01:36 | That's right. Or if you're using a camera,
most cameras have a flip-out LCD display,
| | 01:42 | and you should see--whatever you see in the
Canvas window, you should see on that display.
| | 01:46 | Now, if you don't see it, don't
panic. Well, please don't panic yet.
| | 01:50 | Let me show you how to possibly fix that.
| | 01:53 | Click on your Timeline, navigate up to the
word View here at the top menu, mouse-click,
| | 01:57 | and select Refresh Audio/Video Devices.
| | 02:00 | What that does is Final Cut Pro and your
computer will use the FireWire cable to reestablish
| | 02:08 | any link that is connected
via a DV deck or a DV camera.
| | 02:15 | And if you still don't see something, navigate
back up to the word View here at the top menu,
| | 02:19 | mouse-click, and select
External Video > All Frames.
| | 02:23 | Okay, you want to make sure--and there's a
shortcut, Command+F12, or Apple+F12 actually.
| | 02:28 | Okay? You want to make sure that's checked.
| | 02:31 | Once that's checked, you should now see on
the monitor whatever video frame your playhead
| | 02:37 | is parked on down here in the Timeline.
| | 02:38 | Now, if you don't, then you may want to
consider contacting your local tech support, or it
| | 02:42 | would be the company you by your edit
system, or even calling the local Apple store and
| | 02:46 | ask them what possibly
could be going wrong here.
| | 02:48 | But that should work for most of you, if not
all you, that have everything properly connected.
| | 02:54 | And then you want to make sure that you have
speakers hooked up to the output of the DV
| | 02:58 | deck and I know cameras have a
built-in speaker so you're good to go.
| | 03:02 | You could just plug in your headphones.
| | 03:03 | As a matter of fact, you should be able to
plug in headphones into your DV deck as well
| | 03:06 | so you can listen to your Timeline.
| | 03:08 | Okay, so not your Timeline--
you should be able to listen.
| | 03:11 | Well, yes, your Timeline, but your
finished project is really what I meant to say.
| | 03:15 | So, if you see on your LCD display, as you
mouse-click and scrub through the Timeline,
| | 03:20 | then you're really good to go.
You could do a thing called crash recording.
| | 03:22 | Again, I am going to use
this Timeline as an example.
| | 03:25 | I don't have black at the beginning or black
at the end, but I am going to pretend like
| | 03:29 | this is a finished Timeline.
| | 03:29 | I am going to drag my playhead
to the beginning of the Timeline,
| | 03:32 | I am going to put a fresh tape into my DV
recording device, and I'm going to reach over
| | 03:39 | and hit the Record button and then I'll push
the spacebar. And I am now successfully recording
| | 03:44 | out to my DV deck or the DV camera.
| | 03:49 | And that's actually the easiest way to get something
from your Timeline back out to archive onto tape.
| | 03:54 | So I am going to push the spacebar to stop
that because that's pretty straightforward.
| | 03:59 | Now, what about those of you that are going
to be going possibly to broadcast at some
| | 04:03 | point? For instance, the local cable company
wants to have your commercial on a Betacam
| | 04:10 | tape, or any kind tape, and then
they all convert it over there.
| | 04:12 | Well, if you're using a DV device, then really
your only choice at that point, if you don't
| | 04:18 | have additional hardware, is
to go back out to DV tape.
| | 04:21 | And that's what I would suggest you do:
go back out to DV and hand the DV tape to them
| | 04:25 | and say "can you convert it for me?"
They will probably charge you a small fee, but
| | 04:28 | that's the easiest way to do this.
| | 04:31 | So, you'll need bars and tone, right?
They're going to ask you for bars and tone.
| | 04:35 | Well, that's done here
in Final Cut Pro as well.
| | 04:37 | There's really two ways to do this.
| | 04:38 | Let me show you the easy way.
I like actually seeing it on the Timeline.
| | 04:41 | That's just how I am.
| | 04:43 | So I am going to navigate over here to
letter A and the bottom-right-hand corner of the
| | 04:46 | viewer, mouse-click, and select Bars and Tone.
| | 04:47 | I mean how easy is this? When you see the
Bars and Tone up here in the viewer, make
| | 04:51 | sure your playhead is parked at the beginning of
the Timeline. And you may want to double-check
| | 04:55 | to make sure that your source buttons are
linked to the proper destination buttons,
| | 05:00 | and push F9 on your keyboard. And that will
insert Bars and Tone--well, for ten seconds at least.
| | 05:05 | If you need this Bars and Tone to be longer
before you insert--I am going to undo this, Apple+Z--
| | 05:11 | navigate up here to the Duration window of the
Bars and Tone and type in whatever they may want.
| | 05:15 | If they want 30 seconds, type in "3000," Enter.
| | 05:18 | Now hit F9, and you will get 30
seconds of bars and tone. Okay.
| | 05:22 | So whatever the broadcast
company wants, you really should do.
| | 05:25 | They may also want black, black before the
tone, before the bars and tone, and black
| | 05:30 | after the bars and tone.
That's generally about ten seconds.
| | 05:33 | So let me show you how to do that.
| | 05:34 | Navigate to letter A, bottom right-hand
corner of the viewer, mouse-click and select Slug,
| | 05:39 | and that defaults to 10 seconds.
| | 05:40 | So based on where your playhead is--
mine happens to be in the right spot--
| | 05:43 | I am going to push F9 to insert ten seconds.
And then I am going to bring the playhead
| | 05:48 | all the way back to the beginning of the
Timeline and push F9 again so I have ten seconds of
| | 05:52 | black before the bars and tone and then ten
seconds of black after the bars and tone, which
| | 05:56 | is generally what they want
at most broadcast stations.
| | 06:00 | Then I could do the same thing: back the playhead
up, put a fresh tape in my DV recording device,
| | 06:06 | hit Record, then push the spacebar. And you
will see the playhead is moving across here.
| | 06:11 | I will record everything on the Timeline.
| | 06:13 | All right! Well, how about this? There is one other
way I want to show you how to record out to tape.
| | 06:17 | Let's get rid of all this bars
and tone stuff on the Timeline.
| | 06:20 | So I am going to mouse-click and drag and create
a square marquee, and I am going to push Delete.
| | 06:23 | Now, if I had Shift+Delete--let me undo that,
Apple+Z--if I had done Shift+Delete, that
| | 06:30 | will do a ripple delete, and then it brings
everything back to where it was before I put
| | 06:33 | all that stuff on the Timeline.
| | 06:34 | The other way that I want to show you how
to output to tape that is simple, when you
| | 06:38 | don't have bars and tone on the Timeline--
that's key, when you do not have bars and tone--
| | 06:44 | navigate up to the word File,
mouse-click, and select Print to Video.
| | 06:49 | And you get a little Print to Video window.
See this? And you can actually check what
| | 06:53 | you want to go out with your
finished movie on the Timeline.
| | 06:58 | Color bars, if so, how long? Black, if so,
how long? A slate, if so, how long? And then
| | 07:03 | you can mouse-click here and select Text
and you can type in whatever you want "My Movie
| | 07:09 | 2007," okay? And typically they want the name
of the movie, the length, the person or people
| | 07:18 | or production company, things
like that, the date, and all that.
| | 07:20 | That's what a slate is.
| | 07:22 | You can mouse-click and use the internal
Final Cut Pro countdown, or mouse-click on this
| | 07:28 | and go get your own.
| | 07:29 | A lot of people create their own countdowns.
| | 07:32 | Then you could determine, do you want this
to loop? If so, check there. How many times?
| | 07:36 | Do you have an in and an out point on the
Timeline? Do you want to record just from
| | 07:40 | the in to the out point on your Timeline?
If so, leave that there, okay? If you do not
| | 07:45 | have an in to out point, it will default to
the beginning of the Timeline and go to the
| | 07:50 | end. Or you can just select entire
media, whatever makes you feel good.
| | 07:53 | So there are a lot of
options here that you can use.
| | 07:55 | Once you've decided to do any or all of these,
as soon as you hit OK, Final Cut Pro is going
| | 08:00 | to take time to create the bars and tone and
the black and the slate and the countdown,
| | 08:04 | so I am going to uncheck these so I can move along
and show you what you'd have to do after you hit OK.
| | 08:08 | But if you have some of these checked or all
of these checked, it will take a little time
| | 08:12 | for Final Cut Pro to create all that extra stuff,
because it has to create bars and tone and all that.
| | 08:16 | It's not going to show up on the Timeline.
It's just going to create it for you.
| | 08:18 | So then I will mouse-click on the OK button,
and once Final Cut Pro has--or is ready to
| | 08:25 | go, then you would reach over like this says,
reach over and hit Record on your recording
| | 08:29 | device and then hit the OK button here.
And because I didn't have bars and tone, I'm instantly
| | 08:36 | recording this from my
Timeline to the recording device.
| | 08:39 | I mean it's that simple.
| | 08:40 | Pretty easy to do! Now, I am going to hit Escape.
I want to stop recording there.
| | 08:44 | And that's pretty much it!
| | 08:45 | That's how you go from your finished Timeline out
to tape via the FireWire connection for DV and HDV.
| | 08:52 | Other than that, we're done with this lesson.
| | 08:54 | Let's move on to the next.
| | 08:59 |
| | Collapse this transcript |
| Exporting to DVD, an iPod, or the web | 00:01 | Now in this lesson I would like to teach you
how to export your finished movie out of Final
| | 00:05 | Cut Pro using Compressor, a very
powerful tool that's built into Final Cut Pro.
| | 00:11 | And of course I'd like you to open up a
previously created project, possibly one of your own
| | 00:16 | from some time ago or one of the previous
lessons that we have covered in this training series.
| | 00:21 | Either way, go ahead and open a project now
and make sure the entire Timeline is rendered,
| | 00:26 | okay, just to be safe.
| | 00:28 | And then once you have determined that everything
is rendered, one more time click on the Timeline
| | 00:31 | to activate it. And I'd like you to navigate
up to the word File, mouse-click, and select
| | 00:37 | Export > Using Compressor.
| | 00:39 | Now while Compressor is opening for me,
I would like to explain to you that Compressor
| | 00:44 | is your primary source for exporting your
finished movie out of Final Cut into an MPEG-2
| | 00:51 | format for DVD studio Pro.
| | 00:53 | And it will also encode the audio for you as well
into an AIFF file or a Dolby Digital Dolby file.
| | 01:00 | Now DVD Studio Pro will
also encode for you of course.
| | 01:04 | You may know that.
| | 01:05 | That's a different workflow though, completely
different, and we don't cover that in this training series.
| | 01:10 | So I do want to cover, though, the
tools that you have in Final Cut.
| | 01:13 | And the by way, Compressor, which is now open,
by the way, will give you far more options
| | 01:18 | than DVD Studio Pro will.
| | 01:20 | Okay, just keep that in mind. And actually,
Compressor is a little more flexible as well.
| | 01:25 | So Compressor is now open. And it may look a
little cluttered, and it kind of is actually.
| | 01:30 | In fact, Final Cut Pro is still open behind.
See back here? That's Final Cut Pro, but ignore that, okay.
| | 01:36 | I do want to talk about these windows in the
foreground, specifically the Preview window,
| | 01:40 | the Inspector window, the Batch
window right here, and the Presets window.
| | 01:46 | First things first: let's talk about the Batch window.
Mouse-click on the Batch window for me.
| | 01:50 | Notice in this top line here, or this top item
over here on the left-hand side, this is my
| | 01:55 | Timeline. This was the Timeline that I clicked on
right before I selected Export Using Compressor, okay.
| | 02:02 | To the right of that is a Settings column.
And I can mouse-click on this, this button here,
| | 02:09 | and I do get a list of templates that I
could use to encode with. For instance, if I had
| | 02:15 | a 90-minute timeline and
it was 4x3 aspect ratio,
| | 02:19 | I could select this preset, and when I do
that, of course before I do that all of these
| | 02:24 | makes sense, by the way, if
you just read what it says.
| | 02:28 | Okay, so for instance, my Timeline is not quite--
it's not nearly 90 minutes, but I can adjust that.
| | 02:33 | But this is the shortest one I could
find that would equate to my Timeline.
| | 02:38 | If I had a 45-minute timeline or a 30-minute
timeline I would still select this one, then
| | 02:43 | I would select All right there, and all three
of these items would jump down here. And you'll
| | 02:50 | see up here in the Preview window that
I do have some action going on here.
| | 02:55 | This is actually in my Timeline. If I mouse-click on the
playhead, you will see here that's the exact Timeline.
| | 03:00 | And what you can see here is this is the before
on the right, and this is the after the encode.
| | 03:07 | This is the quality I would get after, if I
were to leave everything set the way it is.
| | 03:12 | Now this is a little bit tricky to
understand at first because this doesn't really tell
| | 03:17 | anything. That preset that we selected down
here in this window on the Batch window didn't
| | 03:21 | really give us any information.
| | 03:22 | It just said Best Quality 90 minutes 4x3.
| | 03:26 | I actually like using those
presets in a different window.
| | 03:30 | So what I am going to do is I am going to
select all three of these items and
| | 03:33 | I am going to delete them.
So I'll mouse-click, Delete, mouse-click, Delete.
| | 03:37 | And I am going to back over
here to the Presets window.
| | 03:40 | And if I navigate to the folder, my Apple
folder, click on that, you'll see the same
| | 03:45 | presets are here as well. The difference
though is--I am going to click on the same preset
| | 03:49 | that we chose a moment ago;
| | 03:50 | I am going to click on this folder--when I click
on this folder I get a little more information
| | 03:54 | up here in the Inspector window if I click on
this button right here, on the Summary. Take a look.
| | 04:00 | So if I click on any of these now, I get
a great amount of information up there.
| | 04:05 | So I'll go back to this Best Quality 90
minutes, and this just simply tells me.
| | 04:08 | There are three settings that
are applied in that folder.
| | 04:11 | I will get 48 kilohertz
16-bit AIFF stereo audio,
| | 04:15 | 2.0 Dolby Digital sound, which is great, and
it tells me I can fit up to 90 minutes of
| | 04:20 | video with this setting.
| | 04:22 | And then I get all this extra stuff right
here, 60 minutes of audio--I am sorry 192
| | 04:27 | kb or 60 minutes with AIFF audio on a DVD-5.
| | 04:30 | Okay, if you read this,
it just makes a lot of good sense.
| | 04:35 | And so, I like using these because then I
could mouse-click on this and drag it and
| | 04:39 | drop it right on that track,
right on this item here,
| | 04:44 | so that now all three of these
will be applied to my video.
| | 04:46 | So back up to this little Preview window.
| | 04:48 | Remember I mentioned that
Compressor, we want to focus on MPEG-2.
| | 04:53 | Well, DVD Studio Pro is going to want MPEG-2.
| | 04:56 | It'll take all of these.
These are just redundant audio files.
| | 04:59 | A Dolby audio file is going to be one-third the
size of the AIFF. Think about that for a minute.
| | 05:06 | You may want to use this to save space on
your DVD, but you will get all three of these
| | 05:09 | files, by the way.
| | 05:10 | So when you click on the MPEG-2 you will see up
here, this is the before and this is the after.
| | 05:15 | This is the quality that you'd get
if you were to freeze one frame. And this is pretty handy.
| | 05:19 | I like this Preview window. Again you
don't get this in DVD Studio Pro encoding.
| | 05:23 | Now I am not trying to bang
on DVD Studio Pro at all.
| | 05:27 | I'm simply making a factual
comparison between the two.
| | 05:30 | We just have a lot more tools, that's all.
| | 05:33 | So to manipulate the quality of our MPEG-2
setting, you can navigate and click on this
| | 05:38 | MPEG-2 option, and when you do that, you can
come back over here to your Inspector window,
| | 05:43 | mouse-click on this little button right here,
the Encoder option, and you will see down below
| | 05:47 | there is some pretty good information and
manipulation for improving the quality that
| | 05:52 | is pretty dialed into this template.
| | 05:54 | For instance, the video format, I could
select between NTSC, PAL, 720p, all this other stuff.
| | 06:01 | Of course we are working with
NTSC, so leave that there.
| | 06:03 | I just wanted to show you these options.
| | 06:05 | You can change the frame rate,
although I don't advise that. Leave it there.
| | 06:09 | You can change the aspect ratio.
| | 06:11 | If you've selected the wrong aspect ratio here
and you realize, oops, I am working with 16:9,
| | 06:15 | well, click on this and select 16:9.
| | 06:17 | We were working with 4:3 so I
am going to leave it on 4:3.
| | 06:20 | Field Dominance. Well Bottom First, Top First, you
can even select Automatic if you're not sure, okay?
| | 06:27 | The item that I really want to talk to you
about is here in the Quality tab. Mouse-click
| | 06:31 | on that and you will have a mode
with a button option on the right.
| | 06:34 | You can select One pass VBR, Two pass VBR.
| | 06:37 | And when you want, let's go with Two pass VBR--
VBR stands for Variable Bit Rate, by the way--
| | 06:43 | and this first one, One pass is CBR, Constant
Bit Rate. Notice when you select CBR you'll
| | 06:47 | only get one bit bar slider to choose from.
| | 06:51 | So I don't advise you to use that.
| | 06:54 | Well you can, but you will get a lot more
efficient encoding when you go with VBR.
| | 06:59 | That's why there is four options here.
| | 07:01 | So I would suggest going with One pass VBR
or Two pass VBR, just to see the difference
| | 07:07 | between the two, because Two
pass will analyze your movie first.
| | 07:11 | It will calculate what it needs to do in
that first pass, and then in the second pass it
| | 07:16 | will encode. And it's much more effective and
efficient when you do Two pass. It just takes
| | 07:20 | a lot more time. Try to keep that in mind.
| | 07:23 | So I actually, let's have you
select One pass VBR, okay.
| | 07:27 | And then you have Two pass VBR best, and
I will talk about that in a little bit.
| | 07:30 | But One pass VBR Best. What does
that mean? Well, it means this.
| | 07:35 | You can adjust the average
bit rate here, which is 5.5
| | 07:37 | by mouse-clicking and dragging these
little sliders all over the place, and notice when
| | 07:41 | you drag this, the bottom one moves too.
| | 07:44 | So realistically for a movie that's short,
you can probably go with 6 would be more
| | 07:49 | than enough as far as bit rate is concerned. Then
you can drop this down to like 7 or--I am sorry, 7.5 or 7.0.
| | 07:58 | And it'll balance between 6.0 and 7.5,
| | 08:00 | as far as what the minimum or the average
would be and what the maximum bit rate would be.
| | 08:05 | So what do these numbers mean?
It basically means the quality of your MPEG-2 file.
| | 08:11 | The third item that you must consider
is, how much motion is in your video?
| | 08:16 | If there is a lot, select Best.
| | 08:19 | If there is average, select Better.
| | 08:21 | If there is no movement, then you
can probably get away with Good.
| | 08:24 | All three of these are probably going to work.
| | 08:25 | I think if you want play
it safe, go with Better.
| | 08:28 | But if you select Better or Best, it's going
to slow the encoding down over a Good option.
| | 08:34 | Okay, so I am going to go with Better.
| | 08:37 | All right, so the other key
feature here is down here.
| | 08:39 | Now it's telling us this will allow
up to 82 minutes of video on a DVD-5.
| | 08:44 | So you have a lot of information here that
tells you what's going to happen with this
| | 08:49 | file. So, very handy, here in Compressor.
| | 08:53 | So once you have decided on your settings over
here00in fact I wouldn't go on to GOP or Extras.
| | 08:58 | I wouldn't mess with that until you become an
advanced DVD author or an advanced Compressor
| | 09:03 | user, and you don't really need to go in there.
| | 09:05 | Seriously, you don't. You are fine off.
| | 09:07 | You are fine with these two, okay,
the Video Format and Quality.
| | 09:11 | Now as far as these other buttons up here
are concerned, real quick, you don't need to
| | 09:15 | go into the Frame Controls at all.
| | 09:19 | These are all grayed out for a reason.
| | 09:21 | Now if you wanted to, you could
go to Automatic Custom again.
| | 09:24 | I don't suggest you do that. In fact, all
these others, you really don't need to go into.
| | 09:27 | They are interesting what they offer, not
nearly what you are going to need to get into
| | 09:31 | when you're first getting into this.
| | 09:33 | Just the first button and the second button,
and then down in here in the Encoder options,
| | 09:39 | the first two tabs, okay? All right.
| | 09:42 | So down here in the Presets
we have a few more options.
| | 09:46 | We have MPEG-1; HD DVD, which is really nice; Mobile
Devices. Okay, you have a lot of stuff down here.
| | 09:53 | You can just basically mouse-
click and drag this up in there.
| | 09:57 | And if you didn't want to do these, I would say
get rid of these and drag the other folder in,
| | 10:02 | okay, and go for the same manipulation up here.
| | 10:06 | Now with this preset we are ready to go for
DVD actually, but there is a few other things
| | 10:11 | we need to change, and that is, the destination.
Where is it going to go? Well, you would mouse-click
| | 10:16 | on these buttons here, so I will mouse-click
on the first button and select Other, okay.
| | 10:23 | And for this training, you can select the
Desktop on your course here on the left-hand side,
| | 10:28 | your Project folder.
| | 10:30 | And then I would even create a new
folder within the Project folder.
| | 10:33 | So I would mouse-click on this and select DVD
files or type in DVD FILES and then select Create.
| | 10:41 | Okay, and then you can select Open, and now
this particular AIFF file will go to that folder.
| | 10:48 | Now we suggest doing the same thing for these
other items. Mouse-click on the button, select
| | 10:53 | Other, on the Destination button, and look how
that path is already there. Isn't that cool?
| | 10:57 | So then all you have to do is select Open.
| | 10:59 | That's the previous path that you created.
| | 11:00 | You can do that real quick. Select Open.
| | 11:04 | And now all three files are
going to go to the same destination.
| | 11:07 | One thing that I do suggest you change is
this real long name. For some reason this
| | 11:11 | says, oh, it's super-long name for the final
file output name, so you could gently click
| | 11:16 | on it and you can take out everything there.
And I would just call this the name of the
| | 11:22 | movie, which is our AUTO SHOW, just
like that, AUTO SHOW-AIFF 48k16-bit.aiff.
| | 11:29 | And do the same for all these
down here, so change the name.
| | 11:34 | I am not going to take the time to do that,
but I would suggest you to do that, because
| | 11:36 | this is a real long name. It gets really long in DVD
Studio Pro and takes up a lot of space in a column,
| | 11:43 | so I would suggest changing all of these.
| | 11:45 | When you're ready to go, when you ready to
encode, it's actually pretty easy. Navigate
| | 11:49 | down to Submit right here.
Mouse-click on Submit
| | 11:54 | and this batch monitor will open and you will see a
progression bar over here, and it's pretty quick.
| | 12:01 | I'm running a quad right now and it seems
to be just ripping through it pretty fast.
| | 12:05 | So the quality of Compressor is excellent,
by the way, and I am certain that's the best
| | 12:13 | encoding on the Mac platform.
| | 12:14 | I know there is a few other choices out there,
but the reason why I say it's the best is
| | 12:18 | because it's integrated within
Final Cut Pro and the workflow is easy.
| | 12:24 | The other products are a little bit of work.
| | 12:26 | Okay, I am not going to do any name-dropping,
but the other encoding products out there
| | 12:29 | are a little bit of work. Now I don't want to wait
for this to encode all the way, so I'm simply going to close
| | 12:33 | this out by clicking in
the upper left-hand side.
| | 12:36 | And when you're done, all you'd have to do is
go to the folder on the desktop where these
| | 12:41 | got encoded to and you'll
see your encoded files there.
| | 12:44 | Okay, you will see your encoded files in the
folder and then you are ready to go to DVD Studio Pro.
| | 12:50 | Okay, let's talk about the other options for
exporting your movie out, that does not require Compressor.
| | 12:57 | Click on your Timeline.
| | 12:58 | Let's say you wanted to
export your movie out for iPod.
| | 13:00 | Okay, that's a real popular thing right now.
| | 13:03 | You would click on your Timeline, make sure
it's rendered, navigate up to the word File,
| | 13:07 | mouse-click and select Export >
Using QuickTime Conversion, okay?
| | 13:13 | And then you would select here,
under Format, select iPod. There it is.
| | 13:20 | And then this is--my caps are on.
| | 13:22 | I have to turn my caps off, so bear with me.
| | 13:25 | I will just hide it so it
doesn't look as annoying.
| | 13:28 | When you select iPod,
it's really everything is locked out.
| | 13:32 | It's a locked formula.
| | 13:34 | So again, you would select the desktop,
your Project folder, and it's an M4V file.
| | 13:40 | I would change this default name to the name of the
movie of course, Auto Show, and then select Save.
| | 13:51 | And then Final Cut Pro would export this out
for the iPod, which is real cool, real handy,
| | 13:56 | very easy to do and understand.
| | 13:58 | Now again, I am not going to wait
for this, so I will hit Cancel.
| | 14:02 | And one other thing I want to show you too
is what if you just want to export your movie
| | 14:05 | out for Internet usage?
| | 14:08 | Well, same thing. Click on the Timeline, navigate for
the word File, select Export > Using QuickTime Conversion.
| | 14:15 | And rather than going into the Format like
we did for the iPod option, we would select
| | 14:19 | Default Settings here and look
what we get. Look at all of this.
| | 14:22 | Let's say I want to do Broadband - Medium.
| | 14:24 | All I have to do is select it. I don't have
to touch anything else other than where it's
| | 14:28 | going to go, the Destination and I changed
the name up here. I would put AUTO SHOW and
| | 14:35 | then BROADBAND, and then I would hit Save.
| | 14:42 | And then that would create--Final Cut Pro
would create my broadband output for the Internet.
| | 14:48 | Now, there were other options there, by
the way. Again, I am going to cancel this.
| | 14:51 | There were other options there.
| | 14:54 | And you can take a look at those real
quick, so let's go back there real quick.
| | 14:57 | Mouse-click on the word File > Export >
Using QuickTime Conversion. The other options
| | 15:01 | I was referring to were Local Area Internet/
Intranet, Dial-up, or Streaming - Medium. Sometimes the
| | 15:10 | editor will do one of each and give each file
to the web designer so that the web designer
| | 15:17 | can post all different versions for
the visitor that goes to the web site.
| | 15:24 | And then you are safe. You can give all three of
those files and let them deal with it on there end.
| | 15:29 | Now that's pretty much it for exporting out
Final Cut Pro using Compressor and a few other
| | 15:35 | options. Hope you enjoyed this and
you are ready for the next lesson.
| | 15:40 |
| | Collapse this transcript |
| Tips for creating advanced effects| 00:01 | You know, it's very common for a handful of
my students to ask me, whether I am teaching
| | 00:05 | one of my traditional Final Cut Pro classes
throughout the year or I am giving a lecture
| | 00:09 | about Final Cut Pro, they will ask me
something like "hey Frank, show us something cool in
| | 00:12 | the Final Cut Pro. Give
us some tips and tricks
| | 00:15 | on what to do with certain things," and I am always
happy to show certain things that they may
| | 00:20 | not had a chance to see in the past or that
they haven't had an exposure to. And these
| | 00:22 | are really cool tricks.
| | 00:23 | I've gathered so many over the years.
| | 00:25 | I only have time to show you a few of them,
but I really think you are going to enjoy these.
| | 00:29 | So what I'd like you to do is create a brand-
new DV project and call it Tricks and tips.
| | 00:37 | Okay, and save this in your Project folder
on the desktop like we have been doing all
| | 00:41 | your other lessons. And that way you have
future reference to it if you want to practice.
| | 00:46 | And then I'll need you to import all these
clips you see here over in the Browser window
| | 00:51 | where my Project tab is.
In fact, I am going to zoom in here.
| | 00:53 | I'll need you to import one
of the wedding camera angles.
| | 00:58 | I took Camera 2 angle.
| | 01:00 | I imported the Dodge M80 Yellow clip; a new
clip that we haven't used yet, the Fire Animation
| | 01:05 | clip; Saturn Sky Blue; Surfer red 01; Surfer
red 02; and Viper red. And real quick I am
| | 01:12 | going to show you where these are.
| | 01:13 | So after you have created your project,
click on the Browser to activate it, navigate up
| | 01:17 | to the word File, mouse-click, and select
Import > Files. And then navigate to your Desktop
| | 01:23 | over here in the left-hand column,
mouse-click on the Training Media folder, like we have
| | 01:26 | always done. And then here in the first DV
Clips folder is where a lot of your clips
| | 01:31 | are going to be, your Dodge M80 Yellow, your
Saturn Sky Blue clip, and your Viper Red.
| | 01:39 | So you will need those three from this folder.
| | 01:40 | Now in the Graphics folder, you
just need one: the Fire Animation.
| | 01:44 | And then in the Sports Clips folder is where
the remaining clips are, your Surfer red 01
| | 01:50 | and Surfer red 02, okay? And then after you have
selected all of these--I have already done it--
| | 01:55 | you will be ready to go.
| | 01:57 | So what I want to show you real quick is
the before and after basically. There is--I
| | 02:00 | have four of them on here on the Timeline.
| | 02:04 | So I'll just play this clip for you real
quick. And we have worked with this clip before,
| | 02:08 | cool-looking truck.
| | 02:09 | This is what I call color isolation where
I'm going to isolate one color in the video
| | 02:13 | clip and change it.
| | 02:14 | Yes, I am going to change the color of
this truck, right before your very eyes.
| | 02:17 | Now this only works, by the way, if the primary
color you are changing does not exist somewhere
| | 02:23 | else in the video clip. Like if this truck was red
and there was red over here, that probably won't work.
| | 02:28 | So you have to--you are semi-limited to this
trick, but it's way cool when it works out.
| | 02:34 | So you have to make sure whatever primary
color you are changing doesn't exist somewhere
| | 02:38 | else in the video clip. And then
here I'll show you real quick.
| | 02:42 | So this is before, okay, and this is after.
| | 02:47 | Same exact car, is that cool? I mean, I
could have made it green or purple or whatever I
| | 02:51 | wanted. Pretty cool!
| | 02:54 | This next trick is called the video
punch through, where I'll create a title up above
| | 03:00 | and I'll punch a video clip right
through it. Pretty cool, so let's take a look.
| | 03:05 | So that's before, all right, and this is what it
looks like after. Viper, and that's kind of
| | 03:12 | hard to see, but that's Viper SRT-10.
Way cool! I'll show that to you.
| | 03:16 | The other trick I want to show you is, well,
I get asked this question a lot: How do you
| | 03:20 | print a still image from video, or how do you
even make a still image, let alone print it?
| | 03:26 | So that's a huge thing.
| | 03:28 | So what I have done is I'll find a really
cool spot, like right about there. And that
| | 03:32 | is such a cool image to print that or to email it or
to put on a web site or something, let alone still it.
| | 03:39 | So that's kind of a two-fold trick because
what I am going to do is show you how to create
| | 03:43 | a still image at a certain time.
| | 03:46 | That way you can throw a title up here, or
a logo or something, then it goes back to
| | 03:49 | playing, which is a really cool thing.
| | 03:52 | One of the most-asked questions that I get--
this is in the top five I'd say--is, how do
| | 03:57 | you make video look like film?
| | 04:00 | You take a wedding.
| | 04:02 | This happens to be a very beautiful wedding
of course, but how do you take it out of the
| | 04:07 | video look. How do you make it look like film?
| | 04:10 | So, this is before, okay,
straightforward video.
| | 04:13 | This is after.
Big difference. Before and after.
| | 04:20 | That looks great.
Look at that, a crush in the blacks.
| | 04:23 | We've got a vignette or not a vignette.
| | 04:24 | We have like a--well, I'll tell you about,
I'll tell you all about when we get--we've
| | 04:27 | got some grain here, so it's really cool.
| | 04:29 | And you could do so much more than this, by
the way, when you get into the adjustments.
| | 04:33 | You can see I have a few
things down here on the Timeline.
| | 04:36 | Okay, so let's start off with the M80 truck,
all right? So let's isolate this color.
| | 04:41 | So bring this clip down on the Timeline,
just like I have here. Put it on V1. And then I
| | 04:46 | am going to navigate over here to the Effects
tab in the Browser and I am going to locate,
| | 04:50 | I am going to open up the Video Filters folder
and I am going to go to the Color Correction
| | 04:55 | category within the Video Filters.
| | 04:57 | And I am going to get this Color Corrector,
right here, just standard Color Corrector.
| | 05:02 | I like to call this the
two-way color corrector.
| | 05:05 | This is the three-way. And then I am going
to mouse-click on this item and then drag
| | 05:11 | it into the M80 clip.
| | 05:14 | Okay, so once I drag it into the clip,
I'll double-click on it to make it appear up here
| | 05:17 | in the viewer, and of course this clip will
update in the viewer with that filter.
| | 05:21 | And then you will see here a Color Corrector tab.
Click on that. And I call it the two-way color
| | 05:25 | corrector because there is two
gradient wheels that we can mess with, okay.
| | 05:29 | Now there is another item
down here on the bottom.
| | 05:31 | You can barely see it, a little triangle here
called Limit, or it's in the Limit Effect category.
| | 05:35 | Click on that triangle for me. Navigate over
there, and when you do that, you get a few
| | 05:39 | more options here that we are going to use.
| | 05:40 | We are going to use all of
these guys down in here.
| | 05:43 | So the idea is this: we have to tell Final
Cut Pro how many shades of this color we
| | 05:47 | want to manipulate.
I mean it's pretty straightforward.
| | 05:49 | So, we mouse-click on this color selector
here, okay, we click on that, and then we
| | 05:53 | click on the truck somewhere.
| | 05:54 | Now, you can see here, it's pretty clear.
| | 05:56 | There is dark yellow here and there is bright
yellow here, so we have to click a few times
| | 06:00 | to get all these different shades.
| | 06:01 | So it doesn't matter what part of the truck
you click on first. Just go ahead and click
| | 06:04 | on one, and when you do that--I'll click right
now--this gradient bar with these two separators
| | 06:10 | select the yellow that I just
click on over here in this truck.
| | 06:13 | Now course, there are far more shades of this
yellow than what's in between these two selectors,
| | 06:18 | and this is the color we
are going to manipulate.
| | 06:21 | So we have to click a few more times.
| | 06:23 | So I'll mouse-click on
the color selector again.
| | 06:25 | This time, I'll hold the Shift
key down, and look what I get.
| | 06:28 | I get a little plus next to the color selector,
which means I am going to add more shades of yellow.
| | 06:33 | So then I'll mouse-click
over here in the brighter area.
| | 06:35 | When I click, look how these expand. See that?
| | 06:38 | So I'll do it again.
| | 06:39 | I'll mouse-click on the color selector,
hold the Shift key down, click, and then these
| | 06:43 | start to expand, the Saturation and the Luma.
| | 06:46 | So I'll mouse-click on the color
selector, hold the Shift key down.
| | 06:48 | This time I am going to go right along this
fender because it's a darker shade of yellow
| | 06:51 | right there, click.
| | 06:53 | And I am going to do this a few times.
| | 06:54 | I'll probably do it five or six times.
| | 06:57 | Okay, I'll click on it up here.
| | 07:00 | And this definitely takes
practice, okay, absolutely.
| | 07:05 | So we'll try it again over there.
| | 07:06 | Now after you've clicked a few times, we need
to see what we have selected. And what I mean
| | 07:12 | by that is if you mouse-click on this key
right here one time, click on it, look how
| | 07:16 | it changes to black and white.
| | 07:18 | These are all the yellow areas or shades
of yellow that we have selected, so far.
| | 07:23 | Now, we can expand on this if you want.
| | 07:25 | We can navigate over here and mouse-click
on these two separators and drag them out
| | 07:29 | slowly. Look how this brightens up, and you
can mouse-click and drag that out slowly.
| | 07:34 | Not to mention we can adjust the Saturation,
which is the amount of yellow color from the
| | 07:40 | darkest shade to the brightest
shade that we can manipulate.
| | 07:43 | So if you mouse-click on this top guy right here,
mouse-click and drag that over, look how much wider.
| | 07:49 | See the idea, the goal is to get this area as white
as possible, of the color you want to manipulate.
| | 07:55 | So I'll mouse-click on this and drag this over.
| | 07:57 | Again, this is adjusting--Saturation
represents the color, the amount of whatever's in here,
| | 08:04 | the darkest to the
brightest shade of that color.
| | 08:06 | So I am going to drag this all the way over
because there is some dark yellow on there.
| | 08:09 | I'll drag this all the way over.
| | 08:11 | Now, this Luma represents the black-and-white
portion, the black-and-white color information
| | 08:17 | within this yellow-orangish range, okay?
So I'll mouse-click and drag this over because
| | 08:22 | there are some dark--see how
this is getting much wider now?
| | 08:25 | That's the goal, okay.
| | 08:27 | That is the absolute goal. Wow! Look at that.
| | 08:29 | I mean we are definitely getting there.
And I can expand this out even further.
| | 08:34 | If you want to expand any of these out, you
mouse-click on the top bar to expand out in
| | 08:39 | greater increments and then you mouse-click on
the bottom part to do it in smaller increments.
| | 08:43 | And again, this just takes practice.
| | 08:47 | As you can see here, while we are in this
mode, remember, do not click on this button.
| | 08:52 | I mean, while you are here, don't
click on this until you're done.
| | 08:54 | Now I think I am getting
close to being done here.
| | 08:58 | When you think you're getting close to being done,
mouse-click on the key again once and twice.
| | 09:02 | You want this back to gray with a red key,
okay? And this may take a couple of adjustments
| | 09:09 | here, but let's just give it a go.
| | 09:10 | Now once you have made all of your
adjustments down here, then you can mouse-click on this
| | 09:14 | hue gradient wheel right where this triangle
was. Mouse-click and drag and watch the color
| | 09:19 | of the truck change color. Look at that.
| | 09:20 | I just changed it to purple.
| | 09:22 | I can already see here
there's still some yellow.
| | 09:25 | So I am going to reset
this by clicking on this.
| | 09:27 | I'll mouse-click on that to reset it.
| | 09:28 | I am going to zoom in to this by pushing the
letter Z to get my zoom bar or to get my Zoom
| | 09:32 | tool. Mouse-click, mouse-click, mouse-click.
| | 09:35 | So I can zoom in, and I'll put that
zoom away by pushing the letter A.
| | 09:39 | Then I'll mouse-click on my color selector.
| | 09:40 | Again, hold the Shift key down.
| | 09:41 | I am going to select this shade of yellow.
| | 09:43 | It's kind of a tricky shade.
| | 09:44 | Oh! See how that expanded?
Perfect! That's exactly what I needed.
| | 09:48 | So then I'll navigate back over here to the
Percentage button, mouse-click, and select Fit to Window.
| | 09:52 | Now, let's see what we get.
| | 09:53 | Let's adjust this.
Ooh! Look at that.
| | 09:55 | Perfect! Have you ever had a
purple truck before? Nah!
| | 09:59 | Anyway, so you can really have some
fun with this, changing the color.
| | 10:03 | I mean I just made it green.
| | 10:04 | It was yellow. I can play
this back for you, real quick.
| | 10:07 | It's going to soften up because I am
playing this back in real time without rendering,
| | 10:11 | but that's pretty cool.
| | 10:13 | And you will be amazed at what
you can do with certain--
| | 10:15 | If you plan your shoot--and I am looking at
this out on an NTSC Monitor right now and
| | 10:20 | it actually looks like the
truck was painted green.
| | 10:24 | That's how remarkably
well this trick works, okay.
| | 10:27 | It would fool anybody.
| | 10:30 | But if you plan your shoot carefully,
you can really pull off some cool tricks.
| | 10:35 | Okay, let's move on to next one.
| | 10:37 | Okay, so I call this video Puncher.
| | 10:39 | This one is pretty straightforward.
| | 10:40 | I am basically just going to create a title on
top of video, and I am going to punch something
| | 10:44 | else through that title.
| | 10:46 | So let me zoom in to my Timeline here. And I
am just going to navigate over here to the
| | 10:52 | viewer, mouse-click on the Video tab, and then I am
going to mouse-click on this letter A right here.
| | 10:56 | I'll mouse-click and select Text > Text, okay?
This is what I recommend you do when you're
| | 11:03 | creating a title to begin with this or to
start with this trick, okay, because you can
| | 11:07 | pretty much use any titler, but I
suggest using this first, okay.
| | 11:12 | So then we have our straightforward title.
Mouse-click on the Controls tab up here in
| | 11:16 | the viewer and let's type in VIPER, in
uppercase, by the way. SRT10, okay.
| | 11:24 | And then this really needs a bold font, so I
am going to mouse-click on this Font Selector
| | 11:29 | and select Arial Black.
| | 11:30 | That's a pretty bold font. See that?
And then I'll even change the Size to about 70.
| | 11:36 | And I'll click on the Video tab, and there it is.
| | 11:39 | Now I am going to send this clip down to the
Timeline here so it's parked on top of this clip.
| | 11:43 | So I have to make sure my playhead is parked
on that clip and make sure that the V1 source
| | 11:52 | is linked to the V1 destination.
| | 11:54 | Then I'll mouse-click on this title and I'll
drag it over here to Superimpose, okay, in
| | 11:59 | the Canvas Overlay window and I'll let it go.
| | 12:01 | Okay, so there is our title.
| | 12:02 | So I am going to mouse-click on
the title clip in the Timeline.
| | 12:05 | Then I'll navigate over here to the View
button, select Image+Wireframe, and then I'll hold
| | 12:10 | the Shift key down. I'll mouse-click and drag.
| | 12:12 | That basically constrains it
so that it goes straight up.
| | 12:17 | Now that title is there.
| | 12:18 | It's pretty straightforward.
It's just a title.
| | 12:20 | That's really not a big deal, but what really will be
a big deal is when we take our Fire Animation clip
| | 12:27 | from over here in the Browser. We are going
to take our Fire Animation clip, mouse-click
| | 12:31 | and drag that, park it, boom, right on top,
park it on the third layer, and then park your
| | 12:35 | playhead right in the middle. Now that's going
to cover it of course, but watch this.
| | 12:39 | When you click on this clip--
this could be anything.
| | 12:42 | This could be water.
| | 12:43 | This could be the sky. And it has to be in
this order though, so it's your clip, with
| | 12:50 | your title on top of the clip and
whatever you want to pour through the title.
| | 12:54 | I'll say that: pour it through the title.
| | 12:57 | So then you click on that clip on the top
there, navigate up to the Modify option here
| | 13:01 | at the top menu, mouse-click, and
select Composite Mode > Travel Matte - Alpha.
| | 13:07 | See that? And then let it go. And there it is.
| | 13:10 | Let me hide this wireframe here, mouse-click
on the View button, select Image only, and
| | 13:16 | now you can see, that is so cool. Look at that.
| | 13:19 | Whoops, I'm dropping frames.
| | 13:20 | That's not good. Well, that's okay.
| | 13:22 | I mean it's orange. I am going to drop frames. If I don't have
this set correctly over here, I am going to
| | 13:27 | drop frames. In fact this is
the reason, see this real quick.
| | 13:30 | Here is a little sidebar note.
| | 13:32 | If you get what I just got, mouse-click on
this RT button, make sure you have Unlimited
| | 13:36 | RT selected, Dynamic
checked and this Dynamic checked.
| | 13:40 | Now for sure it will play. See that?
| | 13:43 | Oh, man, crow! Well, at
least it plays. I didn't lie. It played.
| | 13:50 | Now if you want to adjust the flame within
the title, you can mouse-click on the actual
| | 13:56 | flame here, navigate back up to the Image+
Wireframe, and then drag this up and select a different
| | 14:02 | part of the flame--see that?--or a different
part of the clip, whatever you want to use
| | 14:08 | to punch through there.
A very cool trick, all right.
| | 14:11 | Make sure you select over here.
| | 14:13 | You've got your Dynamic, Dynamic, and
Unlimited Real Time, okay? That's a tough one for any
| | 14:18 | computer to play back in real time.
| | 14:19 | You are going to have to render that.
| | 14:21 | Okay, next trick. So we want to create a still
image from video, and this really works with any clip.
| | 14:28 | And let's say you want
to even print that image.
| | 14:30 | I'll show you how to export it out
as a still image so you can print it.
| | 14:33 | Okay, so let's find a
cool spot, right about there.
| | 14:35 | That would be a pretty cool print or
even a still image to send via email.
| | 14:41 | The problem though when you create a still
image, when you park your playhead at the
| | 14:45 | frame, when there is a lot of motion like
this, it looks like it's really nice here
| | 14:49 | on the screen, but when you look at it out on
an NTSC monitor, this whole thing is jittering
| | 14:56 | because you're looking at two fields.
| | 14:58 | So I need to teach you how to fix that as well,
okay; otherwise it's unbelievably annoying
| | 15:03 | if you don't fix that.
| | 15:04 | So first things first: park your playhead
right on this clip after you drag it down
| | 15:08 | on the Timeline of course,
and then find this spot.
| | 15:11 | It doesn't have to be the exact
frame, but close to that frame.
| | 15:15 | Park your playhead on that, then navigate
up to the word Modify here at the top menu
| | 15:18 | and select Freeze Frame, Make Freeze
Frame. And then it sits up in the viewer.
| | 15:25 | And then I'll need you to navigate over the
Effects tab for me. Mouse-click on the Effects
| | 15:29 | tab, go into your Video Filters folder, open
that up, and then navigate down to the Video
| | 15:34 | category. Click on the triangle to the left to
open that. And we want to use this De-interlace.
| | 15:41 | And mouse-click on this
De-interlace and drag it into the still image.
| | 15:47 | Now notice it shifted a little bit, because we are
actually going to be using one field out of the two.
| | 15:53 | That's why it was moving like that.
| | 15:54 | It was jittering because it was
trying to show you two fields.
| | 15:59 | And now we can mouse-click on this clip in
the viewer and navigate over to the Insert
| | 16:04 | option in the Canvas Overlay window, and boom,
park that on the Timeline, right where that was.
| | 16:09 | Now when I play this back, take a look.
| | 16:13 | Boom! It's a still image.
| | 16:15 | Now it's not rendered, so it looks jaggedy.
| | 16:17 | It will look a lot better when you render it.
And it's 10 seconds, so I could shorten
| | 16:21 | this down here on the Timeline by navigating right
to the edge. Look how I get a double-flat arrow.
| | 16:25 | I'll mouse-click. Actually, I'll use
the Ripple tool. It's even better.
| | 16:27 | Push the letter R twice
to get you a Ripple tool.
| | 16:30 | Make sure the hook is on the left because we
are going to trim the still image, mouse-click
| | 16:33 | and drag, boom! And now after I rendered this of course,
it will look actually--it will look pretty good.
| | 16:40 | And I go to still. I could throw a title up
here, United States Surfing Championship,
| | 16:47 | U.S. Open, or whatever,
and it goes back to video.
| | 16:49 | So that's pretty cool. And of course after I
render it here, that green will disappear.
| | 16:53 | But what about taking this image out of
Final Cut so that you can print it or email it
| | 16:58 | or do whatever you want with it? Well,
mouse-click on the still image here in the viewer and
| | 17:02 | drag it into the Browser and let it go, and
then rename it. Let's just call this Surfer
| | 17:08 | Still Image, okay. I'll even number it.
| | 17:12 | Now after you've done that, now this
still image only exists in Final Cut Pro.
| | 17:16 | It's not sitting outside.
| | 17:17 | So you have to export it out.
| | 17:18 | So you click on that still image, navigate
up to the word File, mouse-click and select
| | 17:22 | Export > QuickTime Conversion.
| | 17:24 | It's got to be this way, okay?
| | 17:27 | Once you have done that, you can
select your folder. Click on the Desktop.
| | 17:30 | This is really going to get it out anywhere
you want within your computer, but we are
| | 17:35 | going to send it to our Project folder like
we have been doing everything else throughout
| | 17:39 | this training series.
| | 17:40 | Mouse-click on your Project folder.
| | 17:41 | It's already called Surfer Still Image 01,
but the problem is it's the wrong file format.
| | 17:45 | So you have to navigate down here to this
format button, mouse-click, and select Still
| | 17:51 | Image, and then select Options.
| | 17:55 | And when the Options window comes up,
you have all kinds of options here.
| | 17:58 | You can select BMP, JPEG, Photoshop,
PICT, TIFF, whatever you want.
| | 18:04 | I mean any of these work.
| | 18:05 | I am going to go with BMP.
| | 18:07 | Once you have done that, then you select OK
and then you select Save, and it exports it
| | 18:14 | out of Final Cut. And if you go look in your
folder, it'll be there and you can print that.
| | 18:19 | You can bring it into Photoshop and work on
it and do some cool things to it, email it to
| | 18:24 | a friend, and that's how you do that.
| | 18:27 | That's how you create a still image, and that's how
you get it out of Final Cut to print it or email it.
| | 18:32 | Okay, let's move on to the next item here.
| | 18:37 | So we have this wedding clip.
| | 18:38 | We want to make it look like film,
give it kind of a cool-looking film look.
| | 18:43 | Now the big question I have here is--
typically when a student asks me "hey Frank, how do
| | 18:48 | you make video look like film?"
| | 18:50 | normally I'll respond with A, it's easy, and B,
what does film look like? What are characteristics
| | 18:57 | of film? Well, I mean it could be many things:
black and white, sepia tone, letterbox, grain.
| | 19:04 | I mean there is all kinds
of stuff, depth of field.
| | 19:06 | I mean there are all kinds of things.
| | 19:07 | But really to the viewer if it just looks
like film, it's usually good enough and people
| | 19:13 | say, you've got to crush the blacks and
you've got to do all kinds of things.
| | 19:16 | Well, I don't really
necessarily believe all that.
| | 19:18 | I mean if you want something to truly look
like film, go shoot film, okay? But if you
| | 19:23 | want to make video have that film look, this is one
of the ways I'll dial in a film look on a video clip.
| | 19:29 | Okay, so first things first.
| | 19:31 | We have our clip here.
| | 19:33 | I am going to copy this clip straight up.
| | 19:37 | I know that sounds strange. So bring that
wedding clip down to the Timeline and park
| | 19:43 | it on the Timeline, and then I am
going to hold the Option key down.
| | 19:45 | I am going to mouse-click and drag. Then I'll
hold the Shift key down. Right now my fingers
| | 19:50 | are down on the Option and
the Shift key and the mouse.
| | 19:52 | I am going to let the Option key go.
Then I'll let Shift and mouse go at the same time.
| | 19:56 | So it's identically copied
straight up frame by frame.
| | 20:00 | That is so important.
| | 20:01 | You have got to practice that. And if you
need to hear me say that again, rewind this
| | 20:05 | lesson and do it again because
it's a challenge to copy a clip.
| | 20:11 | So with that said, the first thing
I want to do is crush the blacks.
| | 20:16 | So far, we haven't done a whole lot
other than copy this clip straight up.
| | 20:19 | So to do what I would call crushing the blacks,
is you click on this top clip, navigate up
| | 20:26 | to the Modify option, mouse-click, and select
Composite Mode and go with the Hard Light option.
| | 20:37 | You can experiment with these others, you can.
| | 20:39 | But let's go with this option for now, mouse-
click on that, and look how it looks like the blacks
| | 20:45 | have been crushed.
| | 20:47 | That alone to me looks like '60s film because it has
the early color, when film was just turning to color.
| | 20:57 | That kind of it gives you that look, but it
looks cool on the NTSC Monitor, by the way. Okay.
| | 21:03 | So that doesn't look too bad.
| | 21:05 | But now I do want to bring in
more of a black-and-white feel.
| | 21:09 | So here is where it kind of gets tricky.
| | 21:11 | So navigate over to the Effects tab.
Navigate to--let's close these other folders if they
| | 21:17 | are opened, because it gets kind of confusing.
I have a lot of extra folders in here, by
| | 21:20 | the way, of things that I
have purchased over the years.
| | 21:22 | I've got to tell you, I sometimes don't use them
because I'll go back to using what I already
| | 21:26 | have, which is what I am going to show
you: the standard stuff in Final Cut.
| | 21:29 | So now I need you to go to Image Control,
inside of your Video Filters category, Image
| | 21:36 | Control. Open that up and bring in the Tint,
so mouse-click and drag the Tint down into
| | 21:43 | the bottom clip. Actually let's do
the top clip--do the top clip. Sorry about that.
| | 21:48 | And see how it changed it to kind of a
black-and-white color. Isn't that cool? So you double-
| | 21:53 | click on it, and of course it's really
black and white up here on the top one.
| | 21:57 | You mouse-click on the Filters tab. So after
you double-click on this clip to make it appear
| | 22:02 | in the viewer, you drop this down to about,
let's go with 60%.
| | 22:09 | Then you take this exact filter, mouse-
click, and you drag it to the bottom clip.
| | 22:14 | Now, before I let it go, I've prefer that
before you drag it down to mouse-click in the open
| | 22:19 | gray area to deselect any clip and then mouse-
click right where the word Tint is and drag that
| | 22:25 | to the bottom clip, park it on there.
| | 22:27 | And see, when you add that second one--
remember, these are identical clips--when you add the
| | 22:30 | second one, then you get that
cool kind of washed-out look.
| | 22:36 | So we are getting there.
| | 22:39 | Let's add another filter, and that is going
to be--so after you have done that, navigate
| | 22:43 | back over and locate your
Matte category, all right.
| | 22:47 | I had a student call that mattey once.
That's pretty funny.
| | 22:51 | Anyway, so open that up, and what we
want to do is get our Soft Edges filter.
| | 22:58 | This is really going to really kick it in now.
| | 23:00 | So I am going to add this filter to both clips.
| | 23:02 | So I'll mouse-click, drag it into the top clip,
mouse-click, and drag it into the bottom clip.
| | 23:08 | And then you get this kind of
like--it's hard to describe.
| | 23:11 | It looks like on older film cameras, the
actual, when the gate would open to let the
| | 23:18 | image in and put it actually on the film.
When the gate opens to do that, some of the
| | 23:23 | older cameras would give you
this kind of a weird tunnel look.
| | 23:27 | And that right there
really cinches it I think.
| | 23:31 | Now of course, you are going to get--sometimes you
will get a harsh line in certain areas. That's okay.
| | 23:36 | If you want to adjust that, you double-click
on the clip and take it one step at a time.
| | 23:41 | You navigate up to the--ignore this, by
the way--navigate up to the Filters tab, and
| | 23:44 | here is your Soft Edges right here.
| | 23:48 | You can experiment with
making some adjustments.
| | 23:51 | I tend to leave it the way it is.
| | 23:53 | I think it looks fine
the way it is, all right.
| | 23:55 | Now the last thing we are going to do is we
are going to go back over to our Effects tab
| | 23:59 | in the Browser and we are going to
open up the Video Generators category.
| | 24:03 | We haven't gone there yet.
| | 24:04 | So I am going to open that up and I am going
to locate this Render folder and open that
| | 24:12 | within the Video Generators.
| | 24:13 | And there is a thing there called Noise, not
Particle Noise, this one, Noise. Mouse-click
| | 24:19 | and drag and park that on there at the very
top on V3. Make sure you do an overwrite edit
| | 24:27 | and then extend this out.
| | 24:29 | Noise is exactly that. That is noise.
| | 24:31 | That's annoying noise.
| | 24:33 | But what I want you to do is make sure your
Clip Overlays button is turned on, because
| | 24:38 | if it's not, you won't be able to get to
the adjustment that I need you to get to.
| | 24:41 | So mouse-click down here to the bottom-
left or your Timeline and drop this bar. See this
| | 24:45 | black bar here? Drop it down to like 3% or 4%.
| | 24:49 | Once you have done that, you will be able
to see through it. Of course it adds that
| | 24:54 | grain that film has. Isn't that cool? And
this just looks awesome out on an NTSC Monitor.
| | 25:00 | It looks really cool.
| | 25:02 | Now if you think it's too dark, that's okay.
Then if it's too dark, go into your Filters
| | 25:07 | here and adjust the amount of black and
white to maybe get rid of some of it.
| | 25:14 | That could help, but I mean it might look
a little dark to you. But it looks really
| | 25:19 | cool, again out on the NTSC monitor. I am
looking at it now, and after you render it, it's going
| | 25:24 | to look like old film.
| | 25:27 | That's what it's going to turn out to be.
| | 25:28 | Now, that last effect is going
to take a little rendering time.
| | 25:32 | And yeah, there is a few filters out there
you can buy that you just drop it on there
| | 25:36 | to make it look like film, but that's more
money and more time and more energy and when
| | 25:39 | you've got this stuff built in,
you might as well use it.
| | 25:42 | Well, we have gone through a lot of lessons and I
appreciate you taking the time to watch this lesson.
| | 25:49 | This is one of my favorites. And I would
suggest with any of the lessons that we've covered
| | 25:54 | in this training series to go back and
practice because that's what it's all about.
| | 25:58 | All right, so other than that, have a great
time learning Final Cut Pro and happy editing!
| | 26:05 |
| | Collapse this transcript |
|
|
