IntroductionWelcome| 00:04 | Hi! I'm Diana Weynand.
| | 00:06 | Welcome to Effective Storytelling with
Final Cut Pro X. In this course we'll
| | 00:10 | take a look at the different ways you
can sift through a mountain of video
| | 00:14 | footage, find the pearls, and shape them
into an interesting and effective story.
| | 00:19 | The techniques covered in this course
can be used in any editing application,
| | 00:23 | not just Final Cut Pro.
| | 00:24 | I'll start by showing how to find the
essence of your story and how to bypass
| | 00:29 | the fear of the first edit, then I'll
show you how to combine story segments,
| | 00:34 | trim distractions, and refine
the primary bed of your story.
| | 00:38 | We'll explore techniques on
creative editing and build layered video
| | 00:43 | sequences with cutaways that
will add depth to your story.
| | 00:47 | We'll see how to storyboard a
project or script using placeholders.
| | 00:52 | Finally, we'll look at altering a
story's look and feel by applying effects and
| | 00:57 | color using the Color Board.
| | 01:00 | With this course, you'll learn the
editor's approach to crafting a story, not the
| | 01:04 | writers approach or the director's approach.
| | 01:07 | With repeated viewings that can only
occur during the editing process, you'll
| | 01:11 | learn to craft a story as
though you were sculpting with clay.
| | 01:14 | So grab your footage and roll-up your
sleeves, it's time to find your story.
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| Using the exercise files| 00:00 | If you are a Premium member of the
lynda.com Online Training Library, or if
| | 00:05 | you're watching this tutorial on a DVD,
you have access to the exercise files
| | 00:10 | used throughout this title.
| | 00:12 | I've downloaded the exercise files to
the Desktop, they are right here in this
| | 00:16 | folder called Exercise Files.
| | 00:18 | When I open this there are two folders,
Final Cut Events and Final Cut Projects.
| | 00:24 | You are not going to be able to work
with these folders directly where they are.
| | 00:29 | I also do not recommend you copy them
directly to your Movies folder, instead
| | 00:34 | for this course, I recommend you
create a disk image and copy these folders
| | 00:39 | onto that disk image.
| | 00:40 | You'll see a lot more on disk images
in Chapter 2, but for now I'm going to
| | 00:45 | create a disk image and move my
exercise files to that so you can see how to
| | 00:50 | work with the files in this course.
| | 00:52 | First I'll need to open up an
application called Disk Utility.
| | 00:56 | So I'll just do a quick Spotlight
search, and open Disk Utility from there.
| | 01:00 | Disk Utility has lots of different
functions and one of those functions is
| | 01:04 | to create disk images.
| | 01:07 | A disk image is a file that lives on
your computer that will mount just like an
| | 01:11 | external hard drive.
| | 01:13 | So when a disk image is mounted,
your computer will treat it just like an
| | 01:17 | external hard drive.
| | 01:19 | So what I will do is create a new disk image
by clicking the New Image button right here.
| | 01:24 | I'll have to give this disk image a
name, and I'll just call it DP Drive,
| | 01:29 | because the project we'll be working on
in this course is called Delicious Peace.
| | 01:34 | I also have to give a name to the
mounted volume that will appear when the disk
| | 01:38 | image is opened and mounted as
if it were an external hard drive.
| | 01:42 | I'll just call that Storytelling with
FCP X. Now these names don't really matter.
| | 01:48 | You can choose whatever names you want.
| | 01:51 | Next, I'll set the size of this disk.
| | 01:53 | Remember this disk image behaves like an
extra hard drive, but you can determine
| | 01:58 | how much capacity that drive will have.
| | 02:01 | I'm going to set this to Custom, and in this
case I'll choose gigabytes and set it to 4 GBs.
| | 02:08 | Now this disk image won't take
up 4 gigabytes right off the bat.
| | 02:12 | Instead it's going to take up only
as much space as the files contained
| | 02:16 | inside the disk image.
| | 02:18 | That's going to work because we're going to
set this Image Format to a sparse disk image.
| | 02:24 | That's the way a sparse disk image works.
| | 02:27 | That sparse disk image will only be as
big as the files contained in it, and as
| | 02:31 | you continue to work on your project
and add more files, the disk image will
| | 02:36 | grow up to a maximum of 4 gigabytes.
| | 02:39 | Remember you can create a different maximum
size by setting Custom to a higher number.
| | 02:45 | I will leave Format,
Encryption and Partitions alone.
| | 02:49 | I'm going make sure that I save this
directly on the Desktop, and I'll go
| | 02:53 | ahead and hit Create.
| | 02:54 | Now you see I have the disk
image and a mounted volume visible.
| | 02:59 | I'm going to quit Disk Utility.
| | 03:02 | You can see this mounted volume
behaves just like an external hard drive.
| | 03:06 | I can right-click on it and
hit Eject, and it disappears.
| | 03:11 | This file is the disk image itself,
and when I double-click on that, it will
| | 03:15 | remount that volume.
| | 03:17 | So now all you need to do is open up
your Exercise Files folder that you
| | 03:21 | downloaded from lynda.com, select the
two folders contained inside, and copy
| | 03:27 | them to that mounted volume.
| | 03:29 | Okay those files are finished copying so
I'll close this window, and when I open
| | 03:34 | up my disk image volume,
you'll see the contents are there.
| | 03:38 | So now when you launch Final Cut Pro,
Final Cut will recognize the contents
| | 03:42 | of that disk image.
| | 03:43 | You may see a window like this asking
to update your project for the newer
| | 03:47 | version of Final Cut Pro,
I will go ahead and hit OK.
| | 03:51 | And this will update fairly quickly, and
once Final Cut finishes loading, you'll
| | 03:55 | see I have all of the raw footage and
projects associated with this course.
| | 04:00 | Now keep in mind there are no exercise files
or projects for this course until Chapter 4.
| | 04:05 | For the first three chapters of this
course, you won't need any exercise files.
| | 04:09 | So when I'm finished with Final Cut,
I can Quit, and I can Eject this disk
| | 04:13 | image, but keep in mind each time you
want to work on this project, you should
| | 04:17 | double-click on the disk image to mount
that volume before you open up Final Cut Pro.
| | 04:23 | If you're not a Premium subscriber of
lynda.com, you don't have access to the
| | 04:27 | exercise files, but you can follow
along from scratch with your own assets.
| | 04:32 | Let's get started.
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1. Defining Your StoryExploring different types of storytellers| 00:00 | There're so many ways you can tell a good story.
| | 00:03 | When you've shot audio, video, and
perhaps stills, you don't have to limit
| | 00:07 | yourself to a single approach.
| | 00:10 | To appreciate your options, let's
review different types of stories from the
| | 00:13 | storyteller's point of view.
| | 00:16 | You may find yourself drawn to more
than one storyteller category and that's
| | 00:20 | a good thing.
| | 00:21 | For example, in the timeline we have
clips that put together represent a
| | 00:25 | small documentary.
| | 00:26 | Well, a documentarian's job is to
observe and capture something of interest, a
| | 00:31 | person, place or thing.
| | 00:33 | Let's take a look and
see if they did a good job.
| | 00:35 | (Clip Playing)
| | 00:54 | So far we've seen what seems to be a
tiny coffee tree, coffee beans growing,
| | 00:58 | maturing, people picking them,
hulling and then roasting the beans.
| | 01:03 | Let's see if the story continues on
track to where we think it may go.
| | 01:07 | (Clip Playing)
| | 01:21 | The documentarian didn't disappoint.
| | 01:23 | In a few short clips, in just under 30
seconds, the documentarian created a story
| | 01:29 | about coffee without anyone speaking
to the camera, with no narration, nothing
| | 01:34 | but the camera pointed to action and
then combining clips in a particular order,
| | 01:40 | the documentarian told us a story
because they had a beginning, a middle and an
| | 01:44 | end and they showed us something of interest.
| | 01:48 | Now, a videographer is a type of documentarian.
| | 01:51 | They document specific events such
as weddings or other celebrations.
| | 01:56 | Let's look at another project.
| | 01:58 | In this project you'll see similar
clips of the coffee making, growing,
| | 02:02 | roasting, and so on, but you'll
see some audio clips beneath them.
| | 02:06 | Now, if a historian or a researcher
is part of your project, or a project
| | 02:11 | writer, you might find some
interesting facts about this particular group of
| | 02:16 | coffee growers.
| | 02:17 | Where are they from? How did they come
together? What do we know about them?
| | 02:22 | In this particular project,
actor Ed O'Neill reads the narration.
| | 02:26 | Let's take a listen to how the
narration impacts this group of clips.
| | 02:30 | (Audio Playing)
Narrator: Neither despite nor disease
| | 02:33 | can destroy the seed of strongly held hope,
| | 02:37 | But to transform the kernel into the flower,
| | 02:42 | To cause peace and development to blossom
in a place where they had become strangers,
| | 02:49 | That is a labor of idealism and commitment.
| | 02:53 | And when it yields fruit, it spreads with
joyful enthusiasm.
| | 03:00 | Diana Weynand: Wow!
| | 03:01 | This voice over, this narration
brings a certain depth to these clips.
| | 03:06 | Now we're talking about something bigger.
| | 03:08 | I'm not sure exactly what but my
curiosity is piqued by adding this layer
| | 03:13 | of information.
| | 03:15 | So, a documentary could be very simple
and it can grow in complexity depending
| | 03:19 | on the layers and the voices
that you add to the project.
| | 03:23 | Now, a photojournalist might go to the
same place and shoot individual images of
| | 03:29 | people and what they do.
| | 03:31 | Look at this picture of this man
working, picking beans, he's smiling,
| | 03:36 | he's joyful.
| | 03:37 | So, what if you had perhaps a
newspaper reporter, they often record their
| | 03:41 | interviews on an audio recorder and
maybe just record some natural sound.
| | 03:45 | If you combine that with these photos
and still images you might have a very,
| | 03:51 | very interesting story; even as
interesting as the video and that's because
| | 03:57 | sometimes video goes by so fast,
using stills can slow down a story and
| | 04:02 | capture a poignant moment.
| | 04:03 | If you combine them with music you
end up with a nice music video; you've
| | 04:08 | got a different kind of story.
| | 04:10 | Let's look at another project.
| | 04:13 | This project contains two clips.
| | 04:15 | Each clip is of a man named Paul.
| | 04:17 | Now, a news reporter or a TV journalist,
their job is to answer the five W's:
| | 04:24 | who, what, why, when and where.
| | 04:27 | Like historians, they might do some
research on the subject, but it's more
| | 04:31 | typically on current affairs and
because they often use interview footage
| | 04:35 | they create talking heads or sound
bites, you'll need to cover some of those
| | 04:40 | with B-roll cutaways.
| | 04:42 | But let's take a listen to Paul's
first clip to see if we get an idea of
| | 04:47 | how that information could tie in
to the coffee growers that we've been
| | 04:51 | learning about.
| | 04:52 | (Clip Playing)
Paul: And so what was the risk?
| | 04:54 | There was no risk. It was clear.
It was clear that all the pieces
| | 04:57 | of the puzzle were there if you
focus on people.
| | 05:00 | If you focus on product, then the
risk was incredible,
| | 05:03 | the risk was a seventy five
thousand dollar risk.
| | 05:06 | Diana Weynand: Well, interesting information.
| | 05:08 | Now, we bring the aspect of business
into what these coffee growers are doing
| | 05:13 | and clearly at this point we see that it
could be a huge risk to become involved
| | 05:17 | and we don't know yet if Paul has been involved.
| | 05:20 | So, from a storytelling point of view
this little sound bite might be what the
| | 05:25 | news reporter needed to lay
a foundation of the story.
| | 05:29 | It's going to be a big risk.
| | 05:30 | Are you going to do it or not?
| | 05:32 | It's a nice setup for what's to come.
| | 05:34 | And let's take a listen to what's going
to come and see what Paul decides to do.
| | 05:39 | (Clip Playing)
Paul: You spend 36 years practicing,
| | 05:48 | you know, and then all of a sudden,
there it is.
| | 05:52 | And you don't even have to wonder about
whether you're taking a risk,
| | 05:59 | you just know that the universe said,
this is it. Are you ready?
| | 06:04 | Diana Weynand: Okay, Paul just settled any
doubt you may have about becoming involved.
| | 06:08 | Clearly, becoming involved with these
coffee growers was the right thing for
| | 06:12 | Paul to do, and not only was it an
easy decision, it's something he's very
| | 06:16 | passionate about and this
single clip shows us that emotion.
| | 06:20 | So, the juxtaposition of these two
clips sets us up and then pays it off by
| | 06:25 | sharing that emotion with us.
| | 06:27 | Now, if you're a screenwriter, you
might hear this great response from Paul and
| | 06:32 | decide to write a fictional story
about a person, a coffee purchaser in the
| | 06:37 | States who gets involved with a group
of coffee growers in Uganda, which is
| | 06:43 | where these folks are from. Or you could
tell a story of how this woman and this
| | 06:47 | man fell in love but it was difficult
because their families were from two
| | 06:50 | different religious backgrounds, and
you can use a hybrid approach where you
| | 06:54 | allowed different people to
tell different parts of the story.
| | 06:58 | And no matter what hat you wear as a
storyteller, stay open to the different
| | 07:02 | ways you can tell your story and
make sure to include a beginning, middle
| | 07:07 | and end.
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| Identifying story elements| 00:00 | Have you ever seen a beautiful quilt? You've
probably noticed all the little patches
| | 00:04 | of colored fabric.
| | 00:05 | By combining and positioning the pieces,
the quilt maker creates something more
| | 00:09 | beautiful than any individual piece of cloth.
| | 00:12 | Storytelling is a lot like making a
patchwork quilt, so it's important not
| | 00:16 | to overlook the little jewels and
gems when selecting the footage elements
| | 00:21 | you're planning to import.
| | 00:23 | As a documentarian for example, you're
going to be fascinated by the action in
| | 00:28 | front of you. This is JJ --
| | 00:31 | sort of moving his hand through the
beans that have been picked. The coffee
| | 00:35 | buds on the tree, the baby tree,
pouring coffee, picking, roasting, these are
| | 00:41 | the things you're going to get naturally,
because you're going to be absorbed by
| | 00:45 | the action, but don't forget the
things that are going to help clarify your
| | 00:48 | story, the Peace Kawomera Growers CooP sign.
| | 00:52 | (Video Playing)
| | 01:01 | This pastoral shot is delightful, it
give you a sense and a feeling for where
| | 01:05 | these people live and work.
| | 01:07 | You're going to be talking to people
as you tell your story, and sometimes
| | 01:10 | you'll have a formal interview where
someone sits down in front of the camera
| | 01:14 | and sometimes they will be more
informal. Listen to this clip of JJ who is the
| | 01:18 | leader of the CooP.
| | 01:19 | (Video Playing)
JJ: We want other people to copy from us
| | 01:23 | so that everywhere you could go,
you could find peace.
| | 01:28 | Diana Weynand: That's a pretty remarkable
statement and it's something that you're very
| | 01:31 | likely going to want to have in your story.
| | 01:34 | So if you see something that's just a
conversation between people that you may
| | 01:38 | have gotten, don't overlook it, it could
be the hinge of your story. It could be
| | 01:42 | that statement that you base
your story or a story segment on.
| | 01:46 | Now as you record, you're going to
record some delightful things,
| | 01:50 | (Music Playing)
| | 01:54 | such as these men playing xylophone.
| | 01:55 | Now you might decide to use both
the audio and video of this clip.
| | 01:59 | So when you see that you also, or someone
on your team, shot children playing on a
| | 02:04 | xylophone, you might reconsider whether
you want to keep that clip or not.
| | 02:08 | Let's take a listen to this.
| | 02:10 | (Music Playing)
| | 02:14 | And you may say, well, I've already
got the one clip of the xylophone being
| | 02:18 | played, so I don't need the second one,
but don't forget you can separate audio
| | 02:22 | from video, so if we right-click on
this clip, you can choose Detach Audio,
| | 02:28 | that creates a separate audio track
beneath the clip, notice the audio is not
| | 02:32 | there anymore.
| | 02:33 | And I can now drag this audio clip
beneath the sign, let's listen what
| | 02:38 | this sounds like.
| | 02:39 | (Music Playing)
| | 02:45 | So that adds quite a bit of flavor to
this simple zoom in to assign, so don't
| | 02:49 | limit yourself to just one good music
clip, because they're a lot of other
| | 02:53 | places where you could use a
little bit of music here or there.
| | 02:56 | Now capturing special moments in
individual shots is often done with a
| | 03:00 | still camera.
| | 03:02 | Well, if you're doing a piece on
animals you may not have gotten a still image
| | 03:06 | of an elephant, but you got maybe just
a half second of video, no worries, you
| | 03:10 | can take any one of those frames from
the elephant, and you can export it or
| | 03:14 | share it, that current frame, in any
particular format that you might need,
| | 03:19 | Photoshop, TIFF, JPEG.
| | 03:22 | So don't underestimate the power of
the individual frames inside a particular
| | 03:27 | clip. You may have captured a special
moment on a clip and not even realized it
| | 03:32 | if you were just looking at it.
| | 03:34 | For example, this video shows an
image of hands picking beans, well, you
| | 03:38 | already have a clip in our browser of
people picking beans from a tree, so you
| | 03:43 | may think at first glance that this
is not something you need or want, but
| | 03:47 | listen to this clip.
| | 03:48 | (Video Playing)
| | 03:53 | So that rooster shot is so impressive,
and so clear that it could be a valuable
| | 03:58 | way to open up a segment
with perhaps a sunrise shot.
| | 04:03 | So don't forget to both look and listen
to your clips before you import them, to
| | 04:08 | think about the value they
could have in your story.
| | 04:12 | If you look at this coffee tree,
this is a pretty long clip, if we select
| | 04:16 | it, down here we see that it's almost
14 seconds long, and the camera isn't
| | 04:21 | even moving, so you might say, gee, I
don't need to import that length of a
| | 04:25 | clip, but let's listen to it.
| | 04:26 | (Video Playing)
Male Speaker 1: How many kilos do you get
| | 04:28 | from one plant? Just one kilo maybe?
Female Speaker: Yes, one kilo.
| | 04:32 | Male Speaker 2: If it's good enough,
you can get two.
| | 04:35 | (unintelligible speech)
| | 04:39 | Diana Weynand: This is a really interesting history
note beneath this clip, and you never know
| | 04:43 | when someone's going to start talking
about something or when the director of
| | 04:47 | photography might ask a question. It's
not a formal interview, but it might be
| | 04:52 | very important information.
| | 04:53 | So again, look and listen to what
you shot before you make a decision
| | 04:58 | about importing.
| | 04:59 | As you prepare to import the footage
for your own project, keep in mind how
| | 05:03 | little jewels, just like those
little patches in a patchwork quilt can
| | 05:07 | really enhance your story.
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| Finding the essence of the story| 00:00 | Some stories present themselves clearly,
and during the editing process there's
| | 00:04 | never a doubt about what you're after.
| | 00:06 | The feeling or the essence of the
story is always clear to you, but some
| | 00:09 | stories are elusive.
| | 00:10 | If you're on the search for your story,
there are a few ways you can keep the
| | 00:14 | essence or story reminders close at hand.
| | 00:16 | Where can you look for story reminders?
| | 00:19 | One good place is in the B-roll footage.
| | 00:21 | Let's take a look at this clip of the giraffes.
| | 00:23 | (Video Playing)
| | 00:28 | It may be that this image of the giraffe
is not something that you would use to
| | 00:32 | tell the story in the project itself,
but personally it might remind you of
| | 00:36 | the flavor of the place, and for that
reason alone it would be valuable and
| | 00:40 | worth importing.
| | 00:41 | This is a still image of a boy on a rock.
| | 00:44 | There's beauty and simplicity in this image.
| | 00:47 | Do you have another image that takes
your breath away about the place that would
| | 00:50 | remind you of your story essence?
| | 00:53 | In this clip, notice how people do
things differently to identify themselves.
| | 00:57 | (Video Playing)
| | 01:01 | It's fascinating to watch a
different culture and how they do
| | 01:04 | things differently.
| | 01:05 | In this clip, we have Ben who is from
the United States and who is purchasing
| | 01:09 | the coffee, and the coffee growers.
| | 01:11 | (Clip Playing)
| | 01:14 | So this might be interesting, this
might remind you what it's all about; people
| | 01:18 | from two different countries coming
together to create a quality product.
| | 01:24 | You might also be taken by
the geography of the area;
| | 01:27 | maybe being in Africa was
an exciting time for you.
| | 01:30 | Maybe there is something about the
industry of coffee production itself
| | 01:34 | that appeals to you.
| | 01:35 | (Video Playing)
| | 01:42 | This particular clip, again, may not end
up in your final project, but for you it
| | 01:46 | was a reminder, maybe you had a nice
interesting conversation with this woman
| | 01:50 | who worked at this coffee production
facility. Let's listen to Paul's clip.
| | 01:56 | (Video Playing)
Paul: You spend 36 years practicing,
| | 02:05 | you know, and then all of a sudden,
there it is.
| | 02:08 | You may decide in the story to use just
a part of this clip, or you may decide
| | 02:13 | to use it all, but Paul's emotion may be
the key to the connection of the coffee
| | 02:18 | growers and the Americans who sell their coffee.
| | 02:21 | So even if you might not use it in the
story, keep it around as a reminder of
| | 02:26 | a story essence.
| | 02:27 | (Music Playing)
| | 02:33 | There are things about music that are
very captivating, and one in this case,
| | 02:37 | might be that kids are playing a
xylophone, or that the instrument may be
| | 02:41 | made by the community.
| | 02:43 | Notice this clip, is it the
easy way people sing and dance?
| | 02:46 | (Video Playing)
| | 02:52 | What's interesting? What's different?
Those are keys to your story essence.
| | 02:57 | This particular still image of three
men on a road, was actually used as the
| | 03:02 | cover for the DVD of the documentary,
Delicious Peace Grows in a Ugandan
| | 03:06 | Coffee Bean.
| | 03:07 | And if you're lucky enough to get
someone smiling, a beautiful smile like
| | 03:11 | Sanina who is one of the CooP members,
you might have everything you need as a
| | 03:16 | story essence.
| | 03:17 | Now take a listen to this clip and
notice that you would obviously not use this
| | 03:22 | clip in a project, but listen to the
producer Alan Freedland, and she will
| | 03:26 | express what I'm telling
you about story essence.
| | 03:30 | (Clip Playing)
Alan Freedland: She's always laughing.
| | 03:34 | We're going to put you laughing on the screen,
and every time we're tired at night
| | 03:40 | and we need something to wake us up, we're going
to see video of Sanina laughing.
| | 03:45 | So clearly, Sanina gives her energy,
and as you get ready to pull together
| | 03:49 | your clips for editing, don't throw the
clips and images that hold the story's
| | 03:54 | essence into the unused folder, just
because you don't think you'll use them
| | 03:58 | in your project.
| | 03:59 | They could hold the key to unlock
your block during your editing process.
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2. Gathering Story ElementsOrganizing footage into folders| 00:00 | When you're shooting your production,
there're a million distractions, lights,
| | 00:04 | sound, swapping camera cards, finishing
before the sunset, and you may not know
| | 00:08 | the answer to what did you actually get
until you start screening your footage.
| | 00:12 | But screening footage isn't something
you do just once inside Final Cut Pro, it
| | 00:17 | requires repetition and
begins on the desktop level.
| | 00:20 | I want to show you how I
prepared the files for your exercises.
| | 00:24 | This is a folder that you won't see in
your exercise files, I just want to show
| | 00:28 | you how we prepared the clips for you.
| | 00:30 | Some of the clips are loose in this
folder, and some have already been placed
| | 00:34 | into folders.
| | 00:36 | For example, the Coffee Growing
folder contains individual clips of the
| | 00:42 | coffee growing.
| | 00:43 | (Video Playing)
| | 00:48 | So simply by placing all of these clips
together, it tells you a couple of things.
| | 00:53 | First of all, it just simply organizes
very cleanly and neatly all of these clips
| | 00:58 | together in one location, and by the way,
when you do this work on the desktop
| | 01:02 | level, this work will also be
recognized inside Final Cut Pro as it creates
| | 01:07 | keyword collections.
| | 01:09 | But what's more important to you as a
storyteller is that you're giving yourself
| | 01:13 | an opportunity to look at a clip,
| | 01:17 | (Video Playing)
| | 01:21 | to think about it, and once your eyes have
| | 01:24 | seen that, it'll start to take root,
and you'll be able to start to grow ideas
| | 01:30 | about how you can use that footage.
| | 01:32 | You watch a clip often enough
and you learn what it has to say.
| | 01:35 | It informs you and guides you
in your storytelling process.
| | 01:38 | So, it's a good idea to group clips
together, because a single clip could be
| | 01:43 | different things, but when you
group them together, they take on a
| | 01:46 | higher-level meaning.
| | 01:48 | In our primary folder, we see
there's different voiceover clips.
| | 01:52 | So, let's create a folder in our DP
STORYTELLING folder for narration.
| | 01:58 | Now, any time you have clips that
are of the same thing, such as these
| | 02:02 | narration clips or voiceover clips,
name the clips in a way where they'll all
| | 02:07 | appear together.
| | 02:08 | That'll not only save you time, but it
will start to establish a flow in your
| | 02:12 | editing process, so you know that
anytime you see a clip that begins with VO,
| | 02:17 | that would be an audio only voiceover
clip, likewise, with these music clips.
| | 02:21 | (Music Playing)
| | 02:29 | These are all great music clips that
you may decide to use in your project.
| | 02:32 | You may use just the audio or both
audio and video, but if you were to name
| | 02:37 | these clips church music, guitar
music, they wouldn't appear together in
| | 02:42 | this folder.
| | 02:43 | And by the way, since there're a few
different music clips, let's go ahead and
| | 02:46 | create a folder for music, and drag
these music clips together and see how easy
| | 02:51 | it is to select all of these music
clips at one time, because you took the time
| | 02:56 | to name them, music and
then what type of music it was.
| | 02:59 | We have a folder for Interviews and
notice just as in Coffee Growing, we
| | 03:03 | colorized the jj, we labeled it with
the color yellow, and jj here appears the
| | 03:07 | same way, so that's another little
aid for you on your desktop level.
| | 03:11 | If you see a clip that you think is fine
but there's not a lot of action in this
| | 03:17 | clip, it doesn't tell you much more
about the story than there're some beans on
| | 03:20 | this twig, you can put it into an Unused folder.
| | 03:24 | I find creating an Unused folder very helpful.
| | 03:27 | The clips that I put in my Unused
folder are those clips that I'm sure I don't
| | 03:31 | want to use in my story.
| | 03:32 | Let's take a quick look at the B-Roll footage.
| | 03:35 | B-Roll footage of course are those
clips --
| | 03:37 | (Video Playing)
| | 03:41 | that will help you tell your story,
| | 03:43 | cover some of those talking head
edits that you're going to create when you
| | 03:47 | use interview footage.
| | 03:48 | But if you notice, there're a couple
of different graphic clips, there is a
| | 03:52 | bumper and there was a
map and here's another map.
| | 03:55 | Rather than just let these hang out
together, let's create a folder inside
| | 04:00 | this folder, and again, we'll just
call this Graphics, and again, if you
| | 04:05 | create a folder on the desktop level,
that work will be recognized by Final
| | 04:10 | Cut Pro when you import.
| | 04:11 | Are there other clips
that we can combine together?
| | 04:14 | Here's buffalo, elephant,
giraffes, so guess what?
| | 04:17 | Let's create an Animals folder.
| | 04:19 | Wouldn't it be easier to look for
animals in their own folder, than to have to
| | 04:24 | sort through a list? And this is a very
short list, maybe your list ends up to
| | 04:28 | be much bigger.
| | 04:30 | There are two other sections.
| | 04:31 | There are some clips from Uganda and
then there're some clips from America.
| | 04:37 | So, let's create a folder for Uganda clips,
and let's while we are at it, go ahead
| | 04:43 | and create a folder for
the America B-Roll clips.
| | 04:47 | The boy on the rock is Uganda,
coffee tasting is America, delivery truck
| | 04:52 | is America.
| | 04:53 | So, as you start to spend time with
the clips on the desktop level, you're
| | 04:58 | starting to get a sense of the footage
and the tools you have to tell the story.
| | 05:05 | And now we're much more
organized, everything is in its place.
| | 05:09 | Your mind can be a workhorse if you let it.
| | 05:12 | By screening clips in this initial
stage, you plant a seed about how a single
| | 05:16 | clip might combine with another clip,
and with repeated screenings, those seeds
| | 05:20 | will grow and develop into your story.
| | 05:22 | So don't skip this very important step
of repetition, because it's one of the
| | 05:26 | keys to crafting a story.
| | Collapse this transcript |
| Creating a disk image as a contained workspace| 00:00 | As a media artist, you may want to
hang onto absolutely every clip you shot
| | 00:04 | and I recommend you do.
| | 00:06 | That's called archiving your footage.
| | 00:08 | In one of your drives somewhere,
should contain everything you shot, at least
| | 00:12 | until you finished editing the project.
| | 00:14 | But why drag all that footage around
with you if you're not going to use it
| | 00:17 | to tell your story?
| | 00:18 | Instead, let's create a virtual drive
for your story footage that will let you
| | 00:22 | focus on one story at a time.
| | 00:25 | In Final Cut Pro, whenever you create
a New Event, it's added to the list of
| | 00:30 | other events also on that drive.
| | 00:32 | Now you could hide this and work
with an external drive, but the same
| | 00:36 | thing would happen, whatever
events are on that external drive would
| | 00:39 | appear underneath.
| | 00:41 | The same thing happens in the Project
Library, if there are projects created,
| | 00:45 | you can't really hide them all that well.
| | 00:47 | I am going to quit Final Cut Pro and
show you a way to focus on just one
| | 00:52 | project at a time.
| | 00:53 | It's really a great tip.
| | 00:55 | The first thing we are going to
do is get information about our
| | 00:58 | Storytelling footage.
| | 00:59 | And in the Get Info window, we find
that it's under two gigs of content.
| | 01:03 | Now that wouldn't be realistic
perhaps for your footage, because we're just
| | 01:07 | working with the footage for this course.
| | 01:09 | You might have up to 300 or more,
maybe a terabyte of footage.
| | 01:13 | For the Delicious Peace documentary,
they used just under 400 gigs of footage.
| | 01:18 | What we are going to do is we are going
to create a disk image that we can place
| | 01:22 | this footage on, to separate it
from the other events inside Final Cut.
| | 01:27 | What we are going use to do that
is a Utility program that comes with
| | 01:30 | Macintosh computers.
| | 01:31 | In the Disk Utility window,
find New Image and click on it.
| | 01:35 | This brings up a series of options.
| | 01:37 | The first thing we want to
do is name the Disk Image.
| | 01:40 | And we are going to just call this
DP for Delicious Peace, Drive.
| | 01:44 | We will go ahead and place it on the
desktop, and it will ask for a Name and you
| | 01:48 | might be thinking didn't we
just give it a name, DP Drive?
| | 01:51 | No, you gave it the name of the disk image.
| | 01:54 | Here, you want to give it the name that
will appear as though it were a drive,
| | 01:59 | and let's call it the name of the
course, Storytelling with FCP X,
| | 02:04 | click the Size pop-up and choose Custom.
| | 02:07 | Now we have already seen that our
particular set of footage for this example
| | 02:12 | is just under 2 gigs.
| | 02:13 | Now you can set this at 2 gigs, but
that wouldn't give you any wiggle room.
| | 02:17 | It wouldn't give you any extra space if
somebody came in with another batch of
| | 02:20 | stills or some extra footage.
| | 02:22 | So let's double that for
now, and make this 4 gigs.
| | 02:25 | Now you might be saying, oh gosh, but I
don't really have 4 gigs, is it going to
| | 02:29 | take 4 gigs of space?
| | 02:31 | Well, no.
| | 02:32 | Let's come down here to the Image
Format and let's choose a sparse disk image.
| | 02:36 | When you choose sparse disk image,
it's going to create a disk image that has
| | 02:41 | the shell of 4 gigs but it will only
take up the amount of space of whatever
| | 02:46 | is on it.
| | 02:47 | If you click on it, you see that it's
just over 30 MBs, because we haven't
| | 02:51 | put anything on it.
| | 02:52 | The other thing that you might
notice is that the drive itself has been
| | 02:55 | mounted as though it's an external
drive, and you recognize the name of the
| | 03:00 | mounted volume.
| | 03:01 | So what we want to do is take the DP
STORYTELLING footage for our story and
| | 03:06 | put it on the storytelling mounted
volume, and treat it as though it's a
| | 03:10 | virtual drive.
| | 03:11 | It's like having a fake drive, it's
sort of a way to trick Final Cut into
| | 03:15 | thinking that this footage on this
drive is separate, as though it's an
| | 03:19 | external drive.
| | 03:20 | So it's transferring this footage onto our
drive called Storytelling with FCP X.
| | 03:26 | Now these files aren't the same
files that you'll be working with.
| | 03:29 | I'm showing this to you more as an
example, so that you can apply it to your own
| | 03:33 | storytelling and your own projects.
| | 03:36 | Let's go ahead and launch Final Cut Pro now.
| | 03:39 | When Final Cut Pro launches, it
displays the events that are on the Mac hard
| | 03:44 | drive, but it also displays a separate
drive called Storytelling with FCP X.
| | 03:49 | What we can do now is hide the
contents of the Macintosh hard drive, which
| | 03:53 | allows us to focus entirely on this
one drive and this one project, and as we
| | 04:00 | start to add projects and use projects
we'll see that the same will be true for
| | 04:03 | the Project Library.
| | 04:05 | This is a great way to focus.
| | 04:07 | When we hide the projects in the
Project Library that are currently on the Mac
| | 04:11 | hard drive, we see here also that the
Storytelling with Final Cut mounted volume
| | 04:15 | appears, again, as though it were it's
own drive, and that's really how Final
| | 04:20 | Cut reads it, as it's own separate drive.
| | 04:22 | Well, let's go ahead and quit
Final Cut and eject the drive.
| | 04:27 | Next time you launch Final Cut, it will
not see it, because it's been ejected.
| | 04:31 | So in order for it to see it, you must
first double-click the disk image which
| | 04:36 | will launch the drive.
| | 04:37 | Now you can launch Final Cut Pro
to continue working on the project.
| | 04:42 | So as you begin to focus your
attention on what elements you need to tell
| | 04:45 | your story, you'll have a virtual
drive, a target, where you can place and
| | 04:49 | organize those elements.
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| Importing folders and stills as keyword collections| 00:00 | I love efficiency and I hate redundancy.
| | 00:03 | I'm always happy when
something I've done can be used again.
| | 00:06 | If you share that feeling then you're in
luck, because the work you did gathering
| | 00:10 | your elements into folders on the
desktop level can be used when you're
| | 00:14 | importing those clips into
an event in Final Cut Pro.
| | 00:17 | You can even import stills you've
already edited from Aperture or iPhoto.
| | 00:23 | Let's start in Final Cut Pro.
| | 00:25 | I created a Storytelling with
FCP X virtual drive.
| | 00:29 | This is going to be my target drive.
| | 00:31 | First, I'm going to start
by creating a new event.
| | 00:33 | Let's call this event DP for
Delicious Peace, Storytelling, and let's
| | 00:39 | click Import Files.
| | 00:41 | We're going to import all the files in
our DP STORYTELLING folder, except for
| | 00:47 | the very last one, which
is in the Unused folder.
| | 00:50 | Now, all of these folders will be used
to create a keyword collection and when
| | 00:58 | you have taken the time to screen
clips and create additional folders, such as
| | 01:03 | these in the B-Roll folder, this is
another keyword that's going to be added to
| | 01:08 | this group of clips.
| | 01:10 | So let's go ahead and choose B-Roll, and
then I'm going to Shift+Click Stills to
| | 01:14 | include all of these folders.
| | 01:16 | We're going to add these to the
existing event DP Storytelling, and we're
| | 01:21 | going to Copy the files to a Final
Cut Events folder and Import folders as
| | 01:25 | Keyword Collections.
| | 01:26 | We're going to just skip over the
rest of these importing options and
| | 01:31 | choose Import.
| | 01:38 | So even though there is still some
processing going on in the background as
| | 01:42 | Final Cut imports this media, the first
thing that you see is all the different
| | 01:48 | keyword collections that appear in our
DP Storytelling event, and notice that
| | 01:53 | when you click on B-Roll, you see a
combination of graphics, of animals, of
| | 02:01 | Uganda footage, and even of American footage.
| | 02:05 | If we click on this clip, and click the
key icon, it brings up the Keyword Editor
| | 02:11 | and it shows us that there are
two keywords attached to this clip.
| | 02:15 | B-Roll because it was in the B-Roll
folder, and America, because it was also in
| | 02:20 | the subfolder called America.
| | 02:22 | This will be a great asset to you when
you start to search for clips, and simply
| | 02:28 | from being able to organize
them here in the Event Library.
| | 02:31 | Then just as you can import clips and
stills, we have imported the stills here.
| | 02:37 | Notice that in the Stills,
there are a few different stills.
| | 02:41 | For example, there is a still
right here that would be great to use,
| | 02:45 | it's with the kids and the Kawomera
sign, but there is some text under it.
| | 02:49 | So if someone, yourself, or someone else
has been working in editing on the stills
| | 02:54 | that were shot for the project, don't
forget that you have a Media Browser.
| | 02:59 | And when you get into the Media
Browser, in this case we're in iPhoto, you
| | 03:03 | can also import from Aperture as well,
you get access to edited clips and in
| | 03:11 | this case the kid's image was cropped,
which is how you probably want to use
| | 03:16 | it in your story.
| | 03:18 | This image called piggy back, is a
beautiful image of a boy carrying a sibling,
| | 03:24 | but notice in the original it's very
green, and in the edited version it
| | 03:28 | creates a nice vignette.
| | 03:30 | So if you feel that the work that's
been done, editing the stills in an
| | 03:34 | application such as iPhoto or Aperture,
if you feel that those take you further
| | 03:38 | along the process then by all means go
ahead and select them all and drag them
| | 03:44 | into a waiting keyword collection.
| | 03:47 | First, before we drag them into our
event, let's create a new keyword collection,
| | 03:53 | and in order for the stills to appear
together I'm going to name this keyword
| | 03:57 | collection Stills Fixed, that places
it right next to the original stills.
| | 04:04 | In the Media Browser, I'm going to
select all of these still images and drag
| | 04:08 | them into the Stills Fixed keyword collection.
| | 04:13 | Now, when we scroll through we see we
have the clip that's been cropped of the
| | 04:18 | kids and the sign, and also the beautiful
clip of the boy carrying his sibling.
| | 04:25 | So this is a great way to get you started.
| | 04:28 | Could you bypass creating folders on
your desktop since Final Cut Pro does
| | 04:31 | it for you?
| | 04:32 | Of course you could.
| | 04:34 | The thing you'd miss out on starting
the repetitive screening process to listen
| | 04:39 | to what a clip wants to say, and that
would put you at a disadvantage in knowing
| | 04:43 | more about your story sooner.
| | Collapse this transcript |
|
|
3. Organizing Story ElementsAdding keywords to make clips accessible| 00:00 | With some keyword collections in your
Delicious Peace Storytelling event, you may
| | 00:04 | feel as though your project is well-organized.
| | 00:07 | Remember though, clips can have multiple uses.
| | 00:09 | If a clip is tucked away in a
single keyword collection, you might not
| | 00:13 | remember it's even there.
| | 00:14 | It's worth taking the time to add
additional tags and make your clips more
| | 00:19 | accessible, so they'll pop-up and
remind you they're waiting to be part of
| | 00:22 | your story.
| | 00:23 | Now, don't forget, when you've added a
keyword to a clip, a thin horizontal blue
| | 00:29 | line appears across the clip.
| | 00:31 | Whether you have one keyword or
twenty, you'll only ever have a single line.
| | 00:35 | Let's take a look at the Coffee Growing clips.
| | 00:38 | Now, I'm looking for JJ.
| | 00:39 | There is a clip of JJ where he's tying a bag.
| | 00:42 | Here's another one, but remember we
talked about naming clips, so that they'll
| | 00:47 | appear together, and that would be
really great if I could get all of JJ's
| | 00:51 | clips together, that will only happen
though if I sort my clips or arrange
| | 00:56 | them by name.
| | 00:57 | When I do that, I can scroll through and
see the three JJ clips appear together.
| | 01:03 | Now, it would be really great to add a
keyword collection called JJ since he is
| | 01:09 | a prominent figure in
this particular documentary.
| | 01:12 | So we can click on the Keyword Editor,
and we can add JJ as one of our keywords.
| | 01:20 | Then all we have to do with those
clips selected is just click the Ctrl+1 key
| | 01:24 | and JJ is added as a keyword.
| | 01:27 | Notice over here in our Event Library
JJ appears also as a keyword collection.
| | 01:32 | Well, you can also do that another way,
as you probably know, in Interviews
| | 01:36 | JJ talks so we can drag him from the
interview section into the JJ keyword
| | 01:41 | collection.
| | 01:42 | So, we now have different
clips of JJ all in one place.
| | 01:46 | If you look at the America keyword
collection there's three clips that are
| | 01:51 | B-Roll clips, and that's great, but
now that you're sitting back and looking
| | 01:55 | at these, you might think well, gee,
there're other clips that were shot in
| | 01:58 | America.
| | 01:59 | For example, the interview clips.
| | 02:02 | Ben and Paul, those
interviews were both shot in America.
| | 02:06 | So, let's drag them to our
America keyword collection.
| | 02:10 | So, now when we look at these clips we
say, okay, if I want to cut together a
| | 02:14 | little segment on the American coffee
importers, they're all together, I just
| | 02:19 | have to go to this one place.
| | 02:21 | Likewise in the Interviews,
we have Sinina and we have JJ.
| | 02:27 | Let's drag them into the
Uganda keyword collection.
| | 02:31 | So now when we go there, we see
that they're part of this group.
| | 02:35 | We can do the same things with the
stills and the animal shots because we have
| | 02:40 | an Animal keyword collection, but
rather than try to drag through and get them
| | 02:44 | in this way, which might be a little
harder, let's switch to the Event List view,
| | 02:50 | and here we can just simply go
through and select Command+Click all of the
| | 02:55 | different clips that we might want to
put into the Animal keyword collection.
| | 03:04 | Once we've selected them, just drag into
Animals and release, and now our Animal
| | 03:09 | keyword collection, now I'll go back to
looking at the Thumbnail view, includes
| | 03:13 | stills and video, but all animals.
| | 03:16 | So, when you get ready to edit that
segment on African animals or animals around
| | 03:20 | this area, they're ready to go.
| | 03:22 | By adding more keywords and tags to
a clip you're making that clip more
| | 03:26 | accessible and giving yourself more
opportunities to find it and use it when
| | 03:31 | the story calls for it.
| | Collapse this transcript |
| Using favorite tags to call clips into action| 00:00 | We use rating systems all the time
for movies, books, apps, even images
| | 00:05 | in iPhoto.
| | 00:06 | These ratings allow us to respond
to something we like or don't like.
| | 00:10 | In Final Cut Pro, ratings go a step further.
| | 00:13 | They're not passive, they are a call
to action to begin editing your story.
| | 00:18 | You may not feel ready just yet, but
this pre-editing stage is a great way to
| | 00:23 | begin thinking about how you
might want to use your clips.
| | 00:27 | Your thumbs up and thumbs down
options are right here in your toolbar.
| | 00:31 | Remember the green is for favorites,
the red is to reject a portion of a
| | 00:34 | clip, and the middle one will undo
something that you've done, it'll remove any
| | 00:38 | rating system.
| | 00:39 | Well, sometimes it's easier to reject
something or to be sure about what you
| | 00:44 | don't want than what you do.
| | 00:46 | So let's start with an easy one to warm-up.
| | 00:49 | We'll choose VO_07 and
we'll listen to this clip.
| | 00:53 | (Audio Playing)
| | 00:58 | Now, it might be easier to look at these
clips in this List View, so that we can
| | 01:03 | see it spread out a little bit more.
| | 01:06 | (Audio Playing)
Narrator: of fair trade wages.
| | 01:08 | The farmers of Delicious Peace Coffee Co-op are
a testament to this mutually beneficial relationship
| | 01:15 | which they've enhanced by adding the requirement
of peace. Let me try that one again.
| | 01:21 | Diana Weynand: So a great way to start the
process of editing is to just make these
| | 01:26 | simple decisions.
| | 01:28 | I don't need that last part when the
narrator said, let me try it again.
| | 01:32 | So just simply drag a selection over
it and reject it by clicking the red
| | 01:37 | Reject button.
| | 01:38 | We also don't want that first part, so
select it, and this time I'll just hit
| | 01:42 | the Delete button and it
creates the same effect.
| | 01:45 | So now what we can do, if we click on
our filter and say hide the rejected
| | 01:50 | portions of clips, or rejected
clips, and listen to this clip.
| | 01:54 | (Audio Playing)
Narrator: The farmers of Delicious Peace Coffee
| | 01:56 | Co-op are a testament to this mutually
beneficial relationship which they've enhanced
| | 02:02 | by adding the requirement of peace.
| | 02:05 | Diana Weynand: Now, when you reject the portions
of a clip that you know you don't want, that
| | 02:08 | you know are not usable, it gives you
a clip that's ready to edit, it's ready
| | 02:13 | to go.
| | 02:14 | You don't have to mark ins and
outs later, you can just drop it into
| | 02:18 | the timeline as is.
| | 02:20 | Let's look at another clip.
| | 02:22 | Let's listen to VO_09.
| | 02:24 | (Audio Playing)
Narrator: (clears throat) In the global world
| | 02:26 | (clears throat) excuse me.
| | 02:28 | In the global world of commodities, coffee takes
second place only to petroleum.
| | 02:32 | Diana Weynand: Well, this sound bite is great,
but we don't want what came before and we don't
| | 02:36 | need that little bit after.
| | 02:38 | So let's reject that portion.
| | 02:40 | Again, select the portion you don't want,
and because we're filtering by hiding
| | 02:46 | the rejected portions, it
automatically hides and goes away.
| | 02:49 | So all that we're seeing now is the
portion of this clip that we might want
| | 02:53 | to use.
| | 02:54 | So rejecting is a way to help us get to
the meat of the clip, the portion of the
| | 02:58 | clip that you want to use.
| | 03:00 | Now, this has been fairly easy
because there have been mistakes or do-overs.
| | 03:04 | If you go to the Coffee Growing clips
and apply the same approach, you'll find
| | 03:10 | that it actually gets easier the more you do it.
| | 03:13 | For example, this particular clip
shows a woman grinding coffee, but when you
| | 03:18 | move further into the clip you see
that the camera starts to pan off.
| | 03:23 | Now, let's play that in real-
time from the middle of the clip.
| | 03:26 | (Video Playing)
Female Speaker: It has a nice smell.
| | 03:30 | So it's nice to include her saying.
| | 03:33 | It has a nice smell.
| | 03:34 | You might be able to use that in the
story, find a good place for it, but
| | 03:38 | you're certainly not going to want to
use the portion where the camera pans off
| | 03:41 | into the sky.
| | 03:42 | (Video Playing)
| | 03:45 | So, let's reject that portion.
| | 03:47 | Another way you can reject is simply to
mark an in by pressing the letter I, and
| | 03:52 | now I'm going to press the Delete key
to reject it, and notice that portion is
| | 03:56 | now gone from this clip's representation.
| | 04:00 | It's not gone from the clip
but just the representation.
| | 04:02 | Why?
| | 04:03 | Because we have Hide Rejected on.
| | 04:05 | So, now we'll just start
playing from the middle.
| | 04:08 | (Video Playing)
Female Speaker: It has a nice smell.
| | 04:11 | Diana Weynand: Perfect!
| | 04:12 | Okay, so another thing that we can
use the rating system for is to start to
| | 04:18 | break up things like your interviews
into portions that you think you want
| | 04:22 | to use.
| | 04:23 | For example, this clip of Paul has
a little bit about the risk-taking.
| | 04:28 | (Video Playing)
Paul: were there if you focus on people.
| | 04:29 | If you focus on product, then the
risk was incredible,
| | 04:32 | the risk was a seventy five
thousand dollar risk.
| | 04:35 | Diana Weynand: Well you see that little
dip in the audio waveform is where he stops
| | 04:39 | talking and I'm just going to press O
to set an out point, and that gives me
| | 04:42 | a range selection, and rather than
reject that I'm going to make that part a
| | 04:48 | favorite, because I know I'm going to
want to use Paul talking about risk
| | 04:53 | somewhere in this story.
| | 04:54 | I don't know where yet, and guess what,
I don't have to know where, but by
| | 04:58 | making that part a favorite, I can
then filter out everything but the
| | 05:02 | favorite portions.
| | 05:04 | So now I have basically --
| | 05:05 | (Video Playing)
Paul: so what was the risk?
| | 05:06 | There was no risk. It was clear.
It was clear that all the pieces
| | 05:10 | of the puzzle were there if you
focus on people.
| | 05:13 | If you focus on product, then the
risk was incredible,
| | 05:16 | the risk was a seventy five
thousand dollar risk.
| | 05:19 | Diana Weynand: So this gives me a clip that's
ready to go and ready to be edited, but again, you
| | 05:24 | don't have to know exactly
where you're going to edit it.
| | 05:27 | Now, another way you can use the rating
system is to -- and this is interesting
| | 05:31 | because I clicked on Narration and I see
no clips appear, but that's because I'm
| | 05:35 | viewing it by Favorites.
| | 05:37 | If I go back to All Clips, I'll see
all my Narration clips appear again.
| | 05:41 | I want to take a look at VO_08.
| | 05:43 | Let's listen to this.
| | 05:45 | (Audio Playing)
Narrator: We delight in the smell of the brew.
| | 05:48 | We drink it to start the day.
When we meet friends.
| | 05:52 | Diana Weynand: Well, what you can see is that there
are three distinct statements that the
| | 05:57 | narrator makes about the coffee.
| | 05:59 | So, listen again.
| | 06:00 | (Audio Playing)
Narrator: We delight in the smell of the brew.
| | 06:02 | Diana Weynand: So, we delight in the smell of
the brew, that's one thought.
| | 06:04 | (Audio Playing)
Narrator: We drink it to start the day.
| | 06:07 | Diana Weynand: We drink coffee to
start the day.
| | 06:09 | Does that give your mind some ideas?
Did you even think in terms of a sunrise
| | 06:14 | picture with that rooster in the
background that we might have available?
| | 06:18 | (Audio Playing)
Narrator: When we meet friends.
| | 06:19 | Diana Weynand: This might suggest a shot of being
together and maybe even the coffee growers
| | 06:24 | sitting around and drinking coffee together.
| | 06:27 | But the point is that you might like
each of these statements, but you may not
| | 06:31 | like them together in this timing and space.
| | 06:35 | So if you choose to make a favorite from
each group then that will give you, when
| | 06:41 | we choose to view by Favorites, three
distinct VO_08 clips, each one being a
| | 06:49 | particular sound bite.
| | 06:51 | (Audio Playing)
Narrator: We delight in the smell of the brew.
| | 06:54 | We drink it to start the day.
When we meet friends.
| | 06:58 | Diana Weynand: This gives you a tremendous amount
of flexibility when you get ready to actually
| | 07:02 | edit these clips into a project.
| | 07:04 | So by rating clips you're making
choices about what you most likely don't want
| | 07:09 | in your story, and what
you're sort of sure you do want.
| | 07:12 | You're responding to the story's call to action.
| | Collapse this transcript |
| Making notes to capture observations| 00:00 | The more frequently you screen your
footage the more details you'll observe
| | 00:03 | about each clip, and any one of those
details could be an important key to
| | 00:07 | unlocking a part of your story.
| | 00:09 | One way to preserve your thoughts or
observations is to add a note to a clip.
| | 00:14 | A note becomes part of a clip's
metadata and is one of the search criteria
| | 00:18 | you can use to find it.
| | 00:19 | Let's look at the interviews and make
sure we're looking at all of the clips so
| | 00:23 | that it's not hiding the
rejected or showing just the favorites.
| | 00:27 | I'm going to choose to view this by list.
| | 00:30 | Notice that we have two Paul clips,
and they're labeled very simply Paul 1
| | 00:34 | and Paul 2.
| | 00:35 | And notice the framing of
each clip is very similar.
| | 00:39 | He's in the same location, there might
be a camera zoom that reframes slightly,
| | 00:44 | but Paul is still sitting
in the exact same position.
| | 00:47 | So as you begin to edit your story you
might look at these two clips and say to
| | 00:51 | yourself, which clip is the one where
Paul talked about risk? Which is the one
| | 00:55 | where he talked about the love of coffee?
| | 00:58 | So by adding a note you can start
to give this clip more information.
| | 01:04 | So let's look at Paul 1, and just
refresh our memory which one this is.
| | 01:09 | Is this the one about risk?
| | 01:10 | (Video Playing)
Paul: focus on people.
| | 01:11 | If you focus on product, then the
risk was incredible,
| | 01:14 | the risk was a seventy five
thousand dollar risk.
| | 01:17 | Diana Weynand: Here's another green section,
which means that there're a couple of favorites
| | 01:20 | in this clip.
| | 01:21 | (Video Playing)
Paul: and the story has come to you,
| | 01:24 | and you're ready.
| | 01:27 | Diana Weynand: So what if we call this clip
risk and ready?
| | 01:31 | Okay, now the way you add a note is that
you can add it in a note column, but
| | 01:35 | why don't we do this.
| | 01:36 | Let's shorten this Name column, and then
we have to go and find the note column,
| | 01:40 | which may not be in visible sight.
| | 01:42 | Once you see it, grab it and drag it
left, because now we can bring it as far
| | 01:47 | over, for example, right
next to the Name if we choose.
| | 01:51 | To add a note, you simply click once
to select the clip, click again in the
| | 01:56 | field, and now we're going
to call this risk and ready.
| | 02:02 | That will tell you instantly which clip this is.
| | 02:06 | Now let's take a look at the Paul
clip and play a little bit toward
| | 02:08 | the beginning.
| | 02:09 | (Video Playing)
Paul: If people love their trees,
| | 02:15 | their coffee trees, then the coffee trees are
going to be taken care of.
| | 02:21 | Diana Weynand: Okay, so this clip has Paul talking
a little bit more about loving the coffee trees.
| | 02:28 | So already this tells you
something about these clips.
| | 02:31 | So now your focus is a little bit
more on what the note about the clip is
| | 02:35 | then the clip itself.
| | 02:36 | But we can take this a little bit further.
| | 02:38 | Notice there were two favorite
sections in this Paul 1 clip.
| | 02:42 | If we show just the Favorites we
now have two separate Favorites.
| | 02:47 | Notice that each one says risk and
ready, because that's the note attached
| | 02:50 | to the clip.
| | 02:51 | But you can also attach a
note to the Favorite star icon.
| | 02:56 | So when we click on this
particular favorite and listen to it --
| | 02:59 | (Video Playing)
Paul: what was the risk?
| | 03:00 | There was no risk. It was clear.
| | 03:03 | Diana Weynand: So this is obviously the
section on risk.
| | 03:05 | So now we can click on the note and
type risk, and notice how it stands alone
| | 03:12 | separate from the note attached to the clip.
| | 03:15 | Let's do the same for the other
Favorite portion of the same clip.
| | 03:19 | (Video Playing)
Paul: to you, and you're ready.
| | 03:24 | Diana Weynand: So this is the portion of
the original clip where Paul talks about being ready.
| | 03:29 | So now we can just type ready.
| | 03:32 | So now what we've got is a lot of
really good reference information to use.
| | 03:38 | And in fact, as you begin to edit, you might
bring up your Favorites and sort of give
| | 03:44 | them particular names that you
can address and come back to.
| | 03:48 | So by adding notes to clips, you're preserving
any thoughts or observations you made
| | 03:53 | about a clip, which will not only help
you find it faster, but will help you
| | 03:57 | start to put your story into words.
| | Collapse this transcript |
| Performing a complex search| 00:00 | Little details will stick with
you more so than a generic term.
| | 00:04 | For example, you might forget the
name of someone you met at a party, but
| | 00:07 | remember that she was called
Snookums, when she was a child.
| | 00:10 | Snookums may not be a good name for
a clip, but you'll never forget that
| | 00:14 | little detail.
| | 00:15 | And if you were smart enough to add it
as a note to that clip's metadata, then
| | 00:19 | finding Snookums when you
need her, will be a cinch.
| | 00:22 | Final Cut Pro has a great search mechanism.
| | 00:25 | Simply click the Magnifying Glass
in the Search field and it brings up
| | 00:29 | the Search Filter.
| | 00:30 | The default is Text.
| | 00:32 | If we wanted to find the clip that you
entered the note love to, Paul's clip,
| | 00:38 | simply type the word love, and notice
that Paul's clip appears in Event Browser.
| | 00:43 | If creating a group of clips around the
concept of loving the coffee, loving the
| | 00:49 | family, loving what people are doing
appeals to you, then go ahead and create a
| | 00:55 | new Smart Collection.
| | 00:57 | Notice that in the Event
Library a Smart Collection is created.
| | 01:02 | Let's just call this love.
| | 01:05 | So far we only have one clip in the
Smart Collection, but if you look at
| | 01:10 | other clips, for example, this clip
of JJ and his son moving his hands
| | 01:17 | through the coffee beans;
| | 01:18 | that might show and demonstrate
a sense of love of the coffee.
| | 01:23 | So what we can do, and let's go ahead
and go to List View, it's a little easier
| | 01:26 | to work with notes on that.
| | 01:28 | Select the JJ beans clip, click in
the Notes and type the word love.
| | 01:34 | Now let's take a look at
our love Smart Collection.
| | 01:38 | Notice we see two clips have been added.
| | 01:41 | You didn't have to add that
JJ beans clip by yourself.
| | 01:44 | It was added automatically, because
that's what a Smart Collection does.
| | 01:47 | Any time you go through your series of
clips and you see something that you feel
| | 01:53 | has a sense of love about what the
person is doing, around the beans, or their
| | 01:57 | family, go ahead and take a
moment to add that as a note.
| | 02:03 | And every time you do, that clip
will be added to the Smart Collection.
| | 02:08 | This will move you much further along
in your storytelling process, because now
| | 02:13 | you will have collections
of clips around concepts.
| | 02:16 | So putting a spotlight on clips by
searching for detailed metadata will save
| | 02:21 | you time and more importantly, help you
get to the exact clip you need to tell
| | 02:26 | your story.
| | Collapse this transcript |
| Prepping clips for editing| 00:00 | So you're almost ready to begin
editing and here's what's going to happen.
| | 00:04 | You're going to want to throw some
clips together and listen to them.
| | 00:07 | But when you throw in xylophone music or
some audio that's screaming at you, you
| | 00:12 | might be a little shocked and won't
enjoy the fruits of your editing labor.
| | 00:16 | To ensure there are no surprises
waiting for you in your first project viewing,
| | 00:20 | let's weed into the screening process,
the extra step of prepping your clips.
| | 00:25 | As you screen and organize clips in
the browser, you're going to become aware
| | 00:29 | of certain things.
| | 00:30 | For example, this is a clip of Ben.
| | 00:32 | Let's just listen to him for a second.
| | 00:34 | (Video Playing)
Ben: The farmers of Peace Kawomera grow
| | 00:36 | what's known in the world of coffee
as a Bugisu Arabica.
| | 00:41 | Diana Weynand: While this may sound fine to you,
take a closer look at those audio levels.
| | 00:45 | I see some yellow and I
see a few red peaks in there.
| | 00:49 | So it might be worthwhile to take a
closer look and go ahead and get that
| | 00:53 | audio at a level that you know won't be
overpowering when you add it or include
| | 00:59 | it with other clips.
| | 01:00 | Another example might be in the music.
| | 01:03 | Let's take a listen to the music kids.
| | 01:06 | (Music Playing)
| | 01:13 | Well this might be a great shot to
use even for the music if not for the
| | 01:16 | video, but let's take a
closer look at the audio.
| | 01:19 | The way to do that is to click our
audio meters and make sure they appear in
| | 01:24 | the Timeline, now we can stretch those
out to make them a little bit wider if we
| | 01:27 | like, and let's listen to this clip again.
| | 01:30 | (Music Playing)
| | 01:35 | So obviously, this is a pretty hot clip.
| | 01:37 | The audio is pretty hot and typically
for something like this, the director of
| | 01:41 | photography gets what they can on this,
but the audio sometimes is not always
| | 01:45 | controllable in these situations.
| | 01:48 | So if we want to drag the audio down
on this in the Event Browser, we have
| | 01:52 | to open the Inspector.
| | 01:54 | When we open the Inspector, click the
Audio tab, and watch this clip as I drag
| | 02:00 | left on the Volume fader.
| | 02:05 | So now I've gotten rid of the yellow
and the red portions, the peak portions of
| | 02:09 | the audio, and let's listen to it again.
| | 02:11 | (Music Playing)
| | 02:16 | So what we were seeing, if you look at
the audio meters down on the Timeline,
| | 02:20 | (Music Playing)
| | 02:25 | you see that the volume was up
above -12 to -6.
| | 02:29 | Well, typically, if you're listening
to something at full volume, you want to
| | 02:33 | aim for more like -12.
| | 02:35 | And if you wanted this music to be in
the background, you'd want it to drop
| | 02:39 | down to about -18 or so.
| | 02:42 | So let's lower that volume even more,
so that it becomes a little bit more of a
| | 02:46 | background level for us.
| | 02:48 | And when I've dragged the Volume fader,
you see the number changed, so now it
| | 02:53 | should be at about -20.
| | 02:54 | So let's listen to that.
| | 02:55 | (Music Playing)
| | 03:02 | So what we've done is lowered the
volume -20 from its original level.
| | 03:07 | We were not setting the dB level,
but we were lowering it by that amount.
| | 03:12 | And in fact, it does sound
like a nice background level.
| | 03:14 | So when we edit this clip, we know
that we'll be able to just see it in
| | 03:18 | context with the other clips, and it
won't come out and hit us over the head,
| | 03:21 | because it's so very loud.
| | 03:23 | Now we can do a similar thing with narration.
| | 03:25 | In reverse, is the narration loud enough
to hear it, or will we have to stop and
| | 03:30 | raise the volume along the way?
| | 03:32 | (Audio Playing)
Narrator: Yet as we hand our dollars to
| | 03:35 | our vendors, we rarely think about the
farmers who are our partners in supplying
| | 03:40 | our caffeine libation.
| | 03:42 | Diana Weynand: When you look at the audio meters,
you see that they are just barely snugging
| | 03:46 | up to -12.
| | 03:47 | It might be great if we could raise
the volume of that particular clip a
| | 03:51 | little bit.
| | 03:52 | Let's raise this volume a couple
dB, and let's listen to it again.
| | 03:56 | (Audio Playing)
Narrator: Yet as we hand our dollars to
| | 03:59 | our vendors, we rarely think about the
farmers who are our partners in supplying
| | 04:04 | our caffeine libation.
| | 04:06 | Diana Weynand: So this is the kind of thing that
you'll want to do just to get your clips a
| | 04:09 | little bit more friendly, to be
able to play together when you put them
| | 04:13 | together in a timeline.
| | 04:14 | Now do you have any clips that
have a need to be color corrected?
| | 04:19 | Well if we go into our Stills category,
remember there was an image of a boy
| | 04:23 | carrying a little sibling, and it's a
lovely picture, and the picture on the
| | 04:27 | boy's face is quite lovely.
| | 04:29 | But notice all the green in this
picture, and there's green in what appears
| | 04:33 | to be the clothing.
| | 04:35 | We don't know if we can get rid of
that or not, but why not try to get rid
| | 04:37 | of it.
| | 04:38 | And we can do that very simply by
clicking on the Video tab for an image and
| | 04:43 | clicking in the Balance enable box.
| | 04:46 | Simply by clicking that box, we've
removed that green colorcast from the image.
| | 04:52 | And now it makes that image
even more desirable to use.
| | 04:55 | So you may have thought that clip was
not usable, because it had a colorcast
| | 05:00 | to it.
| | 05:01 | Before you make that decision, just
take it through the steps of maybe
| | 05:05 | cleaning it up a little bit to make
sure that it is looking and sounding as
| | 05:10 | good as it can be.
| | 05:11 | So trust me, once you've edited a few
clips into a project, you'll want to kick
| | 05:16 | back and enjoy what you've put together.
| | 05:18 | But if out-of-whack audio or video
levels surprise you, you'll have to spend
| | 05:23 | time adjusting those levels inside the
project in the Timeline, which may put
| | 05:27 | a damper on getting to enjoy and
respond positively to the first pass of your
| | 05:32 | story.
| | Collapse this transcript |
|
|
4. Building a Primary StorylineFinding the meat of the clips| 00:00 | Sometimes you have to build a story
without a map, such as a script or even
| | 00:04 | an outline.
| | 00:05 | When you do that, it's important to
find the dramatic action of each clip.
| | 00:11 | It's not what the bean picker is doing
before he or she picks the beans, but the
| | 00:15 | actual action of reaching up and
grabbing a bean, reaching an arm to snap it
| | 00:19 | from a branch, pounding and grinding
beans, pouring a cup of coffee, but not
| | 00:24 | necessarily waiting for the coffee
to boil, unless of course, you learn
| | 00:28 | something of value while that's happening.
| | 00:31 | Most of the clips in this Coffee
Growing keyword collection have already been
| | 00:35 | selected in terms of the favorite
portion, but there are a few that haven't.
| | 00:40 | And if you're following along with the
exercise files, this is the first chapter
| | 00:44 | that you'll be using those files.
| | 00:46 | Let's take a look at the
clip called making coffee.
| | 00:50 | (Video Playing)
| | 01:01 | Well speaking of boiling water,
we saw a lot of that happen in this
| | 01:05 | particular clip.
| | 01:06 | So what is the action in this clip?
| | 01:08 | The action and the important action in
this clip is pouring the ground coffee
| | 01:13 | into the boiling water.
| | 01:15 | Once that has happened, then you
have to question how much more time do I
| | 01:20 | really need to be sitting on this
boiling pot of water in order to move the
| | 01:25 | story along?
| | 01:26 | And in order to make a favorite out of
just the portion that you want, you can
| | 01:31 | go ahead and grab a selection of
pouring the ground coffee and maybe another
| | 01:36 | second or two of the coffee boiling,
and then let's make that a Favorite.
| | 01:45 | Here's another clip of pouring the coffee.
| | 01:47 | Let's take a look at it.
| | 01:48 | (Video Playing)
| | 02:00 | In this clip of pouring coffee, we
actually see, whoever is pouring the coffee,
| | 02:05 | pour two cups, the first
cup and then the second.
| | 02:10 | Now during the first cup, you see
that the camera is a little bit shaky, as
| | 02:14 | though it's trying to get its
framing right and get itself settled.
| | 02:17 | Take a look.
| | 02:18 | (Video Playing)
| | 02:29 | In the pouring of the second cup of
coffee, the camera is a little bit more
| | 02:32 | stable, and then it has a nice
little zoom-out to include the other cups.
| | 02:37 | So you have to ask yourself, in order to
move the story along, how many times do
| | 02:42 | you need to see a cup
being filled from the same pot?
| | 02:46 | Well, you probably don't need more than
one, so you can skip over that first one
| | 02:50 | and catch the action just
before the coffee is being poured.
| | 02:55 | (Video Playing)
| | 03:03 | Now once you're actually editing this,
and when you have it in a project, you may
| | 03:07 | decide not to use the clip until
the coffee pot leaves the frame.
| | 03:12 | But for right now, what you're doing
is simply defining the important action
| | 03:17 | of this clip.
| | 03:18 | So once you have the selection, you
can go ahead and make a favorite from it.
| | 03:23 | Let's look at another clip, roasting beans.
| | 03:27 | Let's take a look.
| | 03:28 | (Video Playing)
| | 03:38 | Well what's the important action of this clip?
| | 03:41 | What we have is a man standing
over a hot sort of stove-like surface,
| | 03:48 | roasting coffee.
| | 03:51 | Okay, now the important action is to
establish the person and then connect him with
| | 03:56 | what he's doing, which is stirring the beans.
| | 03:59 | So we could select just this portion,
which is the tilt-down of the camera and
| | 04:04 | make that a favorite.
| | 04:05 | Now you might decide that
in fact, they're two actions.
| | 04:11 | Maybe you want to key into how
beautiful it is to see the smoke come up around
| | 04:16 | the man's face, and your story is
about how hard the coffee growers work and
| | 04:21 | perhaps even how much they love
doing what they're doing, they seem so
| | 04:24 | dedicated to it.
| | 04:25 | If that's the case, if it's about the
people, then you would want to choose
| | 04:30 | the front part of this clip, where you
see somebody working diligently over a
| | 04:34 | hot surface.
| | 04:36 | If it's more about just how the coffee
evolves during the coffee growing and
| | 04:41 | roasting process, you could simply use
the latter part of this clip where it
| | 04:46 | shows someone roasting the beans.
| | 04:49 | But if you want the action that
combines both, then you would take what we just
| | 04:53 | marked, which is the favorite portion
of the man and the tilt-down to show what
| | 04:58 | the man is doing in terms of roasting the beans.
| | 05:01 | So finding the important dramatic
action in each clip is a good way to
| | 05:05 | acknowledge whether or not a clip
has something to say before you edit it
| | 05:09 | into your project.
| | Collapse this transcript |
| Don't be puzzled over your first edit| 00:00 | Have you ever tackled a jigsaw puzzle?
| | 00:02 | What's the first thing you do?
| | 00:04 | You dump the puzzle pieces onto a
table and then turn them all up to see
| | 00:07 | what they look like.
| | 00:09 | Then you sort through the
pieces based on color and shape.
| | 00:12 | Eventually, you find a home for each piece.
| | 00:15 | If you're still puzzled over how to
start your story, you can use this
| | 00:18 | same approach.
| | 00:19 | In the Event Browser, we're looking
at the clips in the Coffee Growing
| | 00:23 | keyword collection.
| | 00:24 | Notice that each clip has a portion of
it that's been identified as a favorite.
| | 00:30 | And from a previous movie, we talked
about finding a particular action, and
| | 00:35 | naming that a favorite.
| | 00:36 | Once you've done that, you can
filter to just show your Favorites.
| | 00:41 | So now we're only looking at the
heart and soul of each of these clips.
| | 00:45 | Well, what we're going to do is use
these as puzzle pieces and throw them all
| | 00:49 | into a project in the Timeline.
| | 00:51 | But first let's create that project.
| | 00:54 | If you've been following along with the
exercises in this course, you'll see our
| | 00:58 | Storytelling with FCP X drive up here.
| | 01:01 | When you peek inside, you'll see
folders that contain projects that we'll be
| | 01:05 | working with throughout the rest of this course.
| | 01:08 | Now, if you haven't been following
along using these files, then hopefully,
| | 01:12 | you've taken a moment to create a
drive such as this for your own media, and
| | 01:17 | project files, because it's very helpful
in terms of separating it from all the
| | 01:22 | other events and project files on your computer.
| | 01:26 | We're going to create a new project,
and since we're in Chapter 04, let's go
| | 01:30 | ahead and create it inside Chapter
04 by right-clicking on that folder.
| | 01:36 | Let's name this project
file after our movie, 04-02.
| | 01:42 | And of course, the event that
we want it to relate to is the DP
| | 01:45 | Storytelling event.
| | 01:51 | In our new empty project, we're going
to edit every one of our clips that are
| | 01:57 | the Favorites that we've chosen.
| | 01:58 | These favorites represent all of the
primary action in each of these clips.
| | 02:02 | But rather than make an editorial
decision now about do I want this clip, where
| | 02:08 | do I want it to go, what order do
I want to edit each of these clips?
| | 02:12 | That's way too much pressure.
| | 02:13 | Nope!
| | 02:14 | What we're going to do is simply say
Select All, and don't forget the shortcut
| | 02:18 | for that is Command+A, and we're
going to dump these puzzle pieces onto our
| | 02:22 | tabletop by just pressing the Append button.
| | 02:26 | Final Cut Pro edits all of the
selected clips at one time into your project.
| | 02:32 | So now you have what is very similar
to your puzzle pieces on a tabletop.
| | 02:37 | You can play through these to view them.
| | 02:40 | (Video Playing)
| | 02:45 | Diana Weynand: And rather than screen a clip
individually one at a time, stop and start,
| | 02:52 | placing all of these clips into a single
project allows you to start to get your
| | 02:56 | head around the group of clips, the
group of the favorite portions, those pieces
| | 03:01 | of dramatic action from each of these
clips that you can use to tell a story.
| | 03:06 | They're not in order yet, that'll come later.
| | 03:09 | Right now, all you're doing is
emptying the puzzle blocks, so that you can
| | 03:12 | look at them.
| | 03:13 | Now don't forget you have a few
transportation keys that will help you such
| | 03:18 | as the down arrow.
| | 03:19 | Pressing the down arrow will move
the playhead to the first frame of the
| | 03:23 | next clip.
| | 03:25 | This will allow you to step through,
and remind yourself what all the different
| | 03:29 | clips are that you have to work with.
| | 03:31 | Pressing the up arrow will take you
backwards and allow you to just simply
| | 03:35 | get familiar.
| | 03:36 | If you're not sure what a particular
clip is about or if it doesn't come to you,
| | 03:41 | just play the clip to refresh your memory.
| | 03:43 | (Video Playing)
| | 03:49 | You can play this project over and
over again just to allow that footage to
| | 03:53 | settle into your mind, and to remind
yourself of what you have already chosen to
| | 03:58 | be some of the favorite portions of these clips.
| | 04:01 | Now if you're working with a blueprint
for your own project, such as a script or
| | 04:04 | an outline, by all means,
you can follow that path.
| | 04:08 | But if you're still puzzled on how
to begin your story or what story to
| | 04:11 | tell, don't worry, use my puzzle
approach, and start by throwing all your
| | 04:15 | favorite puzzle pieces from one topic
into a project, and you can kick back
| | 04:20 | and screen the entire batch.
| | 04:22 | Remember, story ideas will
emerge with repeated screenings.
| | Collapse this transcript |
| Creating project versions and developing story diversity| 00:00 | One of the primary topics of the
footage in this documentary is diversity;
| | 00:04 | three religious groups combine
efforts to produce a quality product and
| | 00:08 | promote peace.
| | 00:09 | So why not add some diversity
to the way you tell your story?
| | 00:13 | Rather than use one storyteller in
a project such as a narrator, or one
| | 00:18 | particular person talking,
create additional projects and try out
| | 00:22 | other storytellers.
| | 00:23 | It maybe that combining several voices
creates a more diverse story in the end.
| | 00:28 | In the Project Library, there
are two projects created for this
| | 00:32 | particular movie.
| | 00:33 | If you select the Animals project, you
can skim through and see what you have.
| | 00:39 | You can see all of the clips,
you can even play that project.
| | 00:43 | (Video Playing)
| | 00:46 | Now, you may not know what you're
going to do yet with these animal clips,
| | 00:50 | but simply by having them all
together in one project allows you to string
| | 00:55 | them together.
| | 00:56 | It's like stringing words into sentences,
and the same with the Coffee project.
| | 01:01 | These clips are not in order yet,
but they show a combination of all the
| | 01:05 | potential possibilities by
combining these clips together.
| | 01:09 | Well, let's do something similar and
combine other voices that could contribute
| | 01:15 | to this story on the coffee growing in Uganda.
| | 01:17 | Let's right-click on our 04-03
folder, and choose New Project.
| | 01:23 | Let's call this 04-03_Importers,
and of course we'll connect it to the
| | 01:30 | Default Event, DP Storytelling.
| | 01:34 | To combine all of the importers
material, we could select them here, and then
| | 01:40 | maybe grab their B-Roll footage, but
since we've already combined them by giving
| | 01:45 | them keywords, and they're already all
in the America Keyword collection, we can
| | 01:49 | just come here and press Command+A to
select them all and then click the Append
| | 01:54 | button, or press the shortcut E.
| | 01:57 | Now on the Timeline, when you press
Shift+Z, you see that you have all of the
| | 02:03 | American importers, including some of
their B-Roll, well including all of their
| | 02:07 | B-Roll in this single project.
| | 02:10 | So now, rather than rely on
screening one clip at a time, which can be
| | 02:15 | somewhat of a disjointed experience,
by putting them all together into one
| | 02:20 | project, you give yourself a chance to
combine them, and to consider them as
| | 02:26 | one portion of your story.
| | 02:29 | What are these two people and what are
these images telling about your story?
| | 02:34 | You can combine them and start to
imagine what contribution they can make.
| | 02:40 | Let's do a similar thing by creating
a new project for the coffee growers.
| | 02:44 | Let's name it 04-03_Coffee Growers, and
we'll go to the Interviews in our Event
| | 02:55 | Library, and select the two members of
the co-op and edit them into this project.
| | 03:01 | Now again, you could be screening these
clips individually, but by having them
| | 03:05 | in a project together, you start to see
how those two individual clips collide
| | 03:11 | and form a story of their own.
| | 03:13 | Let's go back to the Project Library
and create another project, and I just like
| | 03:18 | for you to see how they all appear
when you are creating the project.
| | 03:22 | Let's name this one Narration.
| | 03:26 | Now, we could go to the Narration
keyword collection, select all these clips,
| | 03:31 | and edit them, but I like to recommend
a little diversion, and that diversion is
| | 03:35 | to simply edit any video
clip into the project first.
| | 03:40 | What that will do is it will create
the proper settings that will match all
| | 03:44 | of your other video.
| | 03:45 | Now we can go to the Narration,
select these clips, and append them.
| | 03:50 | Now, you might be thinking, wait a minute!
| | 03:53 | Don't we want to connect audio clips?
| | 03:56 | Well, if all you have in the project are
these narration clips, why not put them
| | 04:02 | front and center on your primary storyline?
| | 04:04 | Now, we can go ahead and delete this
clip of JJ and now we have nothing but
| | 04:09 | the narration clips.
| | 04:10 | And again, you can listen to these as a
collective, as a group of clips to hear
| | 04:16 | what all the different possibilities are.
| | 04:19 | You don't yet have to know what order
they're going to appear, but just putting
| | 04:22 | them all together helps you get
your head around the group of them.
| | 04:26 | Now, when you go back to your Project
Library, you not only see a representation
| | 04:32 | of the different sets of storytellers,
but you can listen to them as well.
| | 04:37 | For example, we can play the
narration by simply pressing our spacebar.
| | 04:42 | (Audio Playing)
Narrator: Let me try one more.
| | 04:47 | Neither despite nor disease can destroy the
seed of strongly held hope,
| | 04:52 | But to transform the --
| | 04:54 | Diana Weynand: So without going in and out of
different projects in the Timeline, you can
| | 04:58 | simply come into your Project Library,
as though choosing a book off of a shelf to
| | 05:03 | remind yourself of the groupings of
your clips, creating and developing story
| | 05:08 | threads gives you options, diversity
in your storyline without even having to
| | 05:12 | commit to one single voice to tell your story.
| | Collapse this transcript |
| Putting story threads in order| 00:00 | Once you've edited your favorite clips,
your pearls, into a project, it's time
| | 00:04 | to string those pearls together into
a rough story form with a beginning,
| | 00:08 | middle, and end.
| | 00:09 | Sometimes the shape of the story is
clear and pops right out at you, other
| | 00:14 | times you need to string and then
restring the pearls in different ways to
| | 00:18 | create that beautiful necklace.
| | 00:20 | And for this process, you will be happy
Final Cut Pro has a magnetic timeline.
| | 00:25 | In the Project Library you will see
that there are three projects that we
| | 00:28 | are going to work with.
| | 00:28 | Let's start with the Coffee project.
| | 00:31 | This project contains all of the clips,
the favorite portions of the clip that
| | 00:36 | we edited into a single project.
| | 00:38 | And screening these clips before, we
know that there is a process to the coffee;
| | 00:43 | there is growing the coffee, there is
making it, grinding it, processing it, and
| | 00:47 | then there is drinking it.
| | 00:49 | So we already can anticipate a little
bit of what the beginning, middle, and the
| | 00:52 | end would be for this project.
| | 00:54 | So let's go find the shots that we
can position in that beginning, middle,
| | 00:58 | and end order.
| | 00:59 | So first of all, we can just use
our down arrow to step through to see
| | 01:03 | the clips.
| | 01:04 | Well, there it is, the very
beginning of the coffee process.
| | 01:07 | It's the baby coffee tree plant.
| | 01:09 | This goes at the beginning.
| | 01:11 | So simply drag the clip using your
Default Selection tool to the beginning of
| | 01:16 | the clip and the other clips fall into place.
| | 01:18 | Well we know also what the end result
of growing coffee is and that's people
| | 01:23 | sitting around and drinking
it, and enjoying it together.
| | 01:26 | So the growers drink clip is
our ending coffee of this process.
| | 01:30 | So simply drag it, and of course you
are looking for the blue vertical line
| | 01:33 | to then drop it.
| | 01:35 | So we have our beginning clip, the
baby tree growing, and our ending clip.
| | 01:39 | What clip might represent a middle?
| | 01:42 | Now that could be different ones, it
could be pouring the roasted beans out,
| | 01:46 | or grinding the beans.
| | 01:48 | It probably wouldn't be picking
because that would be earlier in the process.
| | 01:51 | So you have a few options, it
doesn't matter which one you use for this,
| | 01:57 | just pick one.
| | 01:59 | So let's take this grinding clip, and
move it up a little bit into the order
| | 02:03 | of clips.
| | 02:05 | So now we have three clips.
| | 02:07 | I am going to call them hinge clips,
because the story shape hinges around
| | 02:12 | these three clips;
| | 02:13 | the first one, the middle,
and the final one at the end.
| | 02:17 | Now your job is to simply look at the
clips that remain and put them on one
| | 02:21 | side or other of the project.
| | 02:24 | So the bean shoot doesn't belong second.
| | 02:27 | So just push it down the line,
doesn't matter where yet, and look at the
| | 02:31 | clips that remain.
| | 02:32 | We have the green beans, we have the -- oh!
| | 02:35 | Well, before we have the beans, we
have the buds, just the coffee buds on
| | 02:40 | a branch.
| | 02:41 | So move that into position.
| | 02:43 | Then we have the green beans,
then we have the mature beans.
| | 02:46 | Next, we anticipate people picking the beans.
| | 02:49 | So this clip doesn't go there.
| | 02:50 | So we will put the clip of
the man picking the beans here.
| | 02:53 | So just continue on and put the
order of these clips into place.
| | 02:58 | So the first thing that happens
before people drink the coffee is that you
| | 03:02 | pour coffee into a mug.
| | 03:05 | And before that, well you probably brew the coffee.
| | 03:08 | You get the idea?
| | 03:10 | So what you're doing is creating a
rough shape hinged around a beginning,
| | 03:15 | middle, and end in this project.
| | 03:17 | Let's go to the next project Importers.
| | 03:21 | In this project, we have a combination
of two people talking and telling their
| | 03:26 | story, Ben and Paul, and a
few of the B-Roll clips.
| | 03:29 | Now when you try to put in order
what people are saying, it's a little bit
| | 03:33 | more of a challenge.
| | 03:34 | Let's start with Paul as an example.
| | 03:36 | (Video Playing)
Paul: And so what was the risk?
| | 03:39 | There was no risk. It was clear.
It was clear that all the pieces
| | 03:43 | of the puzzle were there if you
focus on people.
| | 03:45 | If you focus on product, then the
risk was incredible,
| | 03:48 | the risk was a seventy five
thousand dollar risk.
| | 03:52 | Diana Weynand: Now this part of the clip, as
we may have referred to before, works really well
| | 03:57 | on its own, and in a way it sets up
Paul's involvement with this entire project.
| | 04:03 | But we can't use it independently,
and pull the entire clip forward without
| | 04:07 | taking everything that follows.
| | 04:09 | So what we're going to do is go in and
choose from our Tools set, choose the
| | 04:13 | Blade tool and snap to where we stopped playing.
| | 04:17 | And when we do that, and go back and
get our Select tool, we have a separate
| | 04:21 | clip that we just created.
| | 04:23 | Now we can take Paul's clip and
move it to the head of the project.
| | 04:27 | So now that can become our hinge
clip to start the project. It sets
| | 04:31 | everything up to say, Gee!
| | 04:32 | There was a huge risk to get
involved with this project, but, and the but
| | 04:37 | is what follows.
| | 04:38 | Now, what do we want to be the end of this?
| | 04:41 | Well, is it where Paul gets emotional
and talks about how important it was to
| | 04:45 | make the decision to get involved?
| | 04:46 | (Video Playing)
Paul: In a certain kind of way, and you know
| | 04:49 | that the one thing that's missing is you. And the
story has come to you, and you're ready.
| | 04:57 | You spend 36 years --
| | 05:00 | Diana Weynand: So Paul getting emotional might be
something you want to come out of in the
| | 05:05 | story, or you might want to end on it.
| | 05:07 | So if you want to end on it, drag to
the end, and that sets up a hinge for a
| | 05:12 | beginning, and an end, and now you
would continue listening to the other clips
| | 05:16 | in this project and
placing them in a logical order.
| | 05:19 | Let's take another example
and open the Narration project.
| | 05:26 | When we edited the Narration clips, we
sorted by Favorites, and then edited them
| | 05:32 | all at one time in a single project.
| | 05:35 | That placed these clips in
alphabetical order, and the eight clips that are
| | 05:39 | broken into separate clips appear side-by-side.
| | 05:42 | (Audio Playing)
Narrator: We delight in the smell of the brew.
| | 05:44 | We drink it to start the day.
When we meet friends.
| | 05:47 | And at the moment, they're side-by-side,
but later we may spread them out based on
| | 05:52 | what visuals we want to use.
| | 05:54 | So if we wanted to place these
narration clips in an order that told the story,
| | 05:59 | a beginning, middle, and end, we'd need
to figure out which clip is a good kick
| | 06:04 | off, which clip begins the story in a nice way.
| | 06:07 | Well, let's listen to the VO_10
clip and see if this one will do it.
| | 06:10 | (Audio Playing)
Narrator: In the foothills of Africa's fourth
| | 06:12 | largest mountain, a group of Christian, Jewish,
and Muslim coffee farmers affirmatively
| | 06:19 | decided to marry peaceful inner-relationships, with
economic development.
| | 06:23 | Diana Weynand: Well, that's a pretty good
introduction to this entire story.
| | 06:26 | So let's go ahead and move this
narration to the beginning of the project.
| | 06:31 | If you take a listen to Narration clip
number 7, it might give you an idea of
| | 06:35 | where it belongs as well.
| | 06:36 | (Audio Playing)
Narrator: The farmers of Delicious Peace Coffee Co-op
| | 06:40 | are a testament to this mutually beneficial
relationship, which they've enhanced by
| | 06:45 | adding the requirement of peace.
| | 06:47 | Diana Weynand: What a great ending, right?
| | 06:50 | Okay, so grab that clip and drag it
to the end, and then you would continue
| | 06:55 | figuring out what's a good middle,
what's a good point to come to midway?
| | 06:59 | Maybe it's talking about the clips,
maybe it's talking about the commerce
| | 07:03 | of coffee.
| | 07:04 | But what you have started is a
process of putting things into a
| | 07:08 | beginning, middle, and end.
| | 07:09 | Shifting your clips around in this
way can be a pivotal point in your
| | 07:13 | storytelling process.
| | 07:15 | But if that clip order is eluding you,
don't worry, just keep reviewing your
| | 07:19 | options, and like a complex puzzle,
your clips will eventually fall into place.
| | Collapse this transcript |
| Sculpting the story within the timeline| 00:00 | I once had the opportunity to visit
Michelangelo's famous sculpture of David
| | 00:04 | in Florence, Italy.
| | 00:06 | It was amazing.
| | 00:07 | But the most amazing thing was to realize
that Michelangelo started out with a
| | 00:11 | giant slab of marble.
| | 00:13 | He had to find David inside the marble slab.
| | 00:17 | That's where you may be with your
story, being Michelangelo and finding
| | 00:20 | your David.
| | 00:21 | If so, put on your tool
belt and let's start chiseling.
| | 00:25 | Let's start in the Project Library
by opening the Narration project.
| | 00:31 | The clips in this project have
already been placed in an order that has a
| | 00:34 | story shape;
| | 00:35 | a beginning, middle, and end.
| | 00:37 | (Audio Playing)
Narrator: In the foothills of Africa's fourth
| | 00:39 | largest mountain, a group of Christian, Jewish,
and Muslim coffee farmers affirmatively decided
| | 00:46 | to marry peaceful inner-relationships,
with economic development.
| | 00:50 | Diana Weynand: And it continues!
| | 00:51 | Now, the idea is to view this project
over and over again, remember our repeated
| | 00:57 | screenings, and see if there
are any clips that don't fit.
| | 01:02 | Are there clips that are redundant?
| | 01:03 | Now, in this movie I am going to show
you how to get rid of clips and groups of
| | 01:08 | clips, or a combination of clips.
| | 01:11 | But for right now, let's just find a
particular clip, and if we listen to
| | 01:17 | this VO_07, we'll hear one ending,
and see that we might have a duplicate
| | 01:21 | ending with VO_10.
| | 01:23 | (Audio Playing)
Narrator: The farmers of Delicious Peace Coffee Co-op
| | 01:26 | are a testament to this mutually beneficial
relationship, which they've enhanced by adding
| | 01:32 | the requirement of peace.
| | 01:33 | Diana Weynand: That's a beautiful
ending to a story.
| | 01:36 | But now, let's listen to the VO_10.
| | 01:37 | (Audio Playing)
Narrator: Delicious Peace Grows in a Ugandan
| | 01:40 | Coffee Bean tells their story.
| | 01:43 | Diana Weynand: That also sounds like it
could end something.
| | 01:45 | But perhaps it could end a bumper or an
introduction to the entire documentary.
| | 01:50 | For now, we don't want two
endings in our story as we shape it.
| | 01:55 | So let's simply select the VO_
10 clip, and press the Delete key.
| | 01:59 | That will delete it from this project,
but of course not from your event.
| | 02:03 | Go ahead and press Shift+Z, and
now you've got a shorter group.
| | 02:07 | You're continuing to chisel
away at your slab of marble.
| | 02:11 | Now, let's go back to our Project
Library, and open the Coffee project.
| | 02:17 | As we look at the clips that follow
the growth of a coffee tree, we see we
| | 02:22 | have these beans.
| | 02:25 | We have several clips of
beans before people pick it.
| | 02:28 | If you wanted to move the story along,
you could decide to get rid of perhaps
| | 02:32 | one of the bud clips, maybe this green one.
| | 02:36 | If you think you might have something
that would take the place of this, then
| | 02:41 | you can use the Shift+Delete
approach, which leaves a gap in its place;
| | 02:45 | the link to the original clip.
| | 02:47 | Now, what's great about that is that
you can decide you know I do want to add
| | 02:51 | something there but I want that to
be longer, so you can trim the gap.
| | 02:55 | If you wanted to use these two clips
just to get started before a title appears,
| | 02:59 | then this gap could represent the title.
| | 03:02 | So that's one way to trim clips
away, to remove them but leave the gap.
| | 03:06 | Let's look at the clip called man picks beans.
| | 03:09 | Now, a really interesting way to
look at your clips is just simply by
| | 03:14 | visual weight.
| | 03:16 | As you look at the clips, let me
just deselect that one, you can start to
| | 03:20 | look at the length of clips simply by
how wide they are in relationship to
| | 03:24 | each other.
| | 03:25 | For example, the last clip is quite long,
but as you remember, it covers quite a
| | 03:31 | wide territory of panning
around the entire group.
| | 03:35 | This man picks bean clip is also
relatively long when you compare it to the
| | 03:40 | clip before and after.
| | 03:42 | So let's look at this and see if
there's a portion of this clip that we
| | 03:45 | might want to remove.
| | 03:46 | (Video Playing)
(Unintelligible Speech)
| | 03:54 | Diana Weynand: Well, it just maybe that we
want to hear the clip of the man talking and
| | 03:58 | laughing and then dropping the bean into
the pail and then come out of the clip.
| | 04:02 | (Video Playing)
| | 04:05 | Maybe we don't need to zoom around or
pan around to the rest of the beans.
| | 04:08 | So you simply mark an in, and notice
what happens, out is automatically
| | 04:13 | selected at the end of the clip, which
forms a range selection and now you can
| | 04:17 | just press Delete.
| | 04:18 | So now you've deleted a portion of a clip.
| | 04:21 | So not to worry if you've edited clips
in that are longer, or that have a little
| | 04:24 | extra fat on them, it's easy to get
rid of them, and this is part of the
| | 04:28 | chiseling away, part of the
Michelangelo approach to refining your story.
| | 04:33 | Let's go back to the Project
Library and open the Importers project.
| | 04:39 | If you notice toward the end
of this, there are two markers.
| | 04:43 | After viewing these two clips side-by-
side several times, I realized that there
| | 04:47 | was a section of material which
included the end of Paul's Paul 1 clip, and a
| | 04:52 | little bit at the beginning
of his 2 that I didn't need.
| | 04:55 | Rather than delete those in two
separate passes, I can delete it at one time.
| | 05:00 | Let's listen to it.
| | 05:01 | (Video Playing)
Paul: wonder about whether you're taking a risk,
| | 05:04 | you just know that the universe said,
this is it. Are you ready?
| | 05:08 | Diana Weynand: So this is where I want to
come out of the clip.
| | 05:11 | So I am going to mark an in at this point.
| | 05:13 | Notice that the out defaults to the end
of this clip, it doesn't go any further.
| | 05:18 | But let's play further.
| | 05:19 | (Video Playing)
Paul: And every time I think about that
| | 05:24 | opportunity it affects me. I crack myself up,
but that's what happened.
| | 05:31 | If people love their --
| | 05:37 | Diana Weynand: In this clip, Paul begins a thought,
and like any of us very naturally, we may
| | 05:42 | have to reword what we're
saying to start that thought.
| | 05:46 | So we're going to get rid of the first
part of his clip where he is beginning
| | 05:50 | to form that thought.
| | 05:51 | (Video Playing)
| | 05:54 | So right about at that second marker,
I'm going to press O to set an out.
| | 05:58 | Now, my range selection starts from the
end of the previous clip, and continues
| | 06:02 | into the second clip.
| | 06:04 | Now, when I press Delete, it removes a
bit of each clip, and that tightens up
| | 06:09 | my story.
| | 06:10 | So don't forget, stories evolve,
just like David popped out of
| | 06:15 | Michelangelo's slab of marble.
| | 06:17 | But you have to be patient and observant.
| | 06:19 | With repeated viewings, the pearls in a
clip, and a project will float to the top
| | 06:24 | or pop out of an otherwise
uninteresting section.
| | Collapse this transcript |
|
|
5. Refining the Story Trimming distractions from a story| 00:00 | When I read a book I can get
completely distracted at the sight of a typo
| | 00:04 | or mistake.
| | 00:05 | Why is there an extra period here?
Why didn't they catch the spelling
| | 00:08 | mistake there?
| | 00:09 | And all those seemingly innocent
little distractions can take us completely
| | 00:13 | out of a story.
| | 00:14 | So before you can decide if you like a
certain combination of clips, you may need
| | 00:19 | to trim those pesky little
distractions, the extra line you don't want, the
| | 00:23 | audio pop or camera jerk, the
narrator's cough, the false start.
| | 00:28 | This will help you stay connected to
the flow of the story and continue to
| | 00:32 | refine the shape of your story at the same time.
| | 00:35 | In the Project Library let's
open the Importers project.
| | 00:40 | There are several clips toward the
beginning of this project that have
| | 00:44 | additional lines or words that
don't contribute to the story.
| | 00:49 | In order to take a closer look at the
audio waveform, let's press Command+ a
| | 00:53 | few times to zoom in.
| | 00:55 | You can use your scroll button on
a mouse to scroll back and forth.
| | 00:59 | Let's dive in in the second clip of
Paul, Paul 2, and listen to how he
| | 01:04 | begins this clip.
| | 01:05 | (Video Playing)
Paul: And here at Thanksgiving Coffee Company
| | 01:09 | we've learned to focus on --
| | 01:11 | Diana Weynand: So here are at Thanksgiving Coffee
Company, this is going to be the good start
| | 01:14 | to something, he's introducing himself
and who he is attached to, but we don't
| | 01:18 | need that and at the beginning.
| | 01:20 | So we can simply drag using the Trim
tool to get rid of that little distraction.
| | 01:26 | (Video Playing)
Paul: Here at Thanksgiving Coffee Company
| | 01:29 | we've learned to focus on the people.
If --
| | 01:33 | Diana Weynand: And the same thing
happens at the end.
| | 01:35 | Let's zoom in a little further.
| | 01:37 | (Video Playing)
Paul: on the people --
| | 01:39 | Diana Weynand: After he says the people,
we're done with this clip.
| | 01:42 | So the next step is to
move onto the next thought.
| | 01:45 | But it might be harder for you to
move to the next thought if you're being
| | 01:48 | distracted by the last thing he says.
| | 01:51 | (Video Playing)
Paul: if --
| | 01:53 | So go ahead as we did before, just
using the default Selection tool, grab the
| | 01:58 | tail end of that clip and drag it up
so that we trim the end of that clip.
| | 02:03 | (Video Playing)
Paul: Here at Thanksgiving Coffee Company
| | 02:05 | we've learned to focus on the people.
| | 02:07 | Diana Weynand: So that thought is now much more
concise and it's going to allow us to
| | 02:12 | compare it or to position it with
other thoughts that allow the story to be
| | 02:16 | moved forward.
| | 02:17 | Well, let's take a look at the next
clip Paul 2, and see if we can remove any
| | 02:21 | distractions from this clip.
| | 02:22 | (Video Playing)
Paul: So --
| | 02:24 | Diana Weynand: Well, the so in this clip doesn't
really help us move the story forward at all.
| | 02:29 | So one thing you can do is just grab
and trim like we did before, but another
| | 02:33 | thing that you can do is press M to
set a marker at a location where you want
| | 02:38 | the new endpoint to be.
| | 02:40 | Press M again and it
brings up the Marker window.
| | 02:43 | And we can just type a note, trim to here.
| | 02:47 | Now another thing we can do
is make that a To Do Item.
| | 02:50 | When we make it a To Do Item and
click Done, the marker turns red, it now
| | 02:55 | becomes more urgent.
| | 02:57 | It grabs our attention a little bit more.
| | 02:59 | And using markers is a great way to
make a little bit of a note on something to
| | 03:03 | say don't forget to do this.
| | 03:05 | Maybe you don't want to stop and fix
things right now, but at least address the
| | 03:09 | issue by putting a note on it.
| | 03:12 | Let's take a look at Ben's clip and
see if there's anything there that we
| | 03:14 | need to improve.
| | 03:15 | (Video Playing)
Ben: We worked really closely with the farmers
| | 03:18 | to help them develop this co-operative as a business,
and to learn about the American speciality coffee
| | 03:23 | market. To really understand the kind of quality
that we're looking for; that our customers are
| | 03:28 | looking for. And then to work --
| | 03:31 | Diana Weynand: So again, and I am going to go
ahead and zoom into Ben's clip.
| | 03:35 | I was with him all along until he
started going off into a different thought at
| | 03:39 | the end of the clip and I know I
don't want that another thought.
| | 03:41 | So.
| | 03:42 | (Video Playing)
Paul: customers are looking for --
| | 03:44 | Diana Weynand: So right after the looking for,
let's add another marker at that point so we
| | 03:48 | know we want to trim from here
to end, and make it a To Do marker.
| | 03:55 | I am going to press Shift+Z, because
now that we have two To Do markers I want
| | 03:59 | to show you how helpful they can be
if you take the approach of instead of
| | 04:03 | trimming the distractions away as you
go, marking that distraction to come
| | 04:07 | back later to work on.
| | 04:09 | Click the Timeline Index button at the
bottom of the timeline, and this brings
| | 04:13 | up your Index.
| | 04:14 | When you click tags and then make sure
you click the To Do Markers button, only
| | 04:19 | the Marker To Do buttons appear.
| | 04:21 | Now as you screen other areas or work
on other areas, when you get ready to go
| | 04:25 | back and fix those distractions and
remove them, you can simply click on a To Do
| | 04:29 | item and it takes you there immediately.
| | 04:32 | The other nice thing is that you can
just zoom in, because what's easy is that
| | 04:37 | you can trim that clip and as you are
trimming, with Snapping on, it will snap
| | 04:41 | to the marker.
| | 04:43 | Click the next marker and the same thing.
| | 04:46 | Grab that endpoint and snap to the red marker.
| | 04:49 | Then you can close your Timeline Index.
| | 04:51 | I am going to press Shift+Z. Sometimes
you want to hide a certain portion of a
| | 04:57 | clip, because as we've been
discussing some aspect of it is distracting.
| | 05:01 | Let's take a closer look at this coffee
tasting clip, and I am going to zoom in
| | 05:05 | quite a bit so that we can
really focus on this clip.
| | 05:08 | Let's just listen to this clip.
| | 05:10 | (Video Playing)
Curt Fissel: Spin it a little bit longer.
| | 05:22 | I love the steam coming up.
| | 05:25 | Female Speaker: Yeah, it's beautiful.
| | 05:27 | Diana Weynand: Well, this is a lovely shot and I
agree with Curt Fissel, the Director, and the
| | 05:31 | Director of Photography
that the steam is beautiful.
| | 05:33 | However, we may not want to hear him
say that, because that may be one of
| | 05:37 | those distractions that takes your
head out of where you are in the story at
| | 05:40 | this point.
| | 05:41 | So in order to keep this clip the
length it is and not hear those audio bits,
| | 05:47 | what we are going to do is right-click
on the clip and say Expand Audio/Video.
| | 05:51 | When we expand the audio and video, it
allows us to trim just one side or the
| | 05:56 | other, and I am going to trim
over what appears to be his dialog.
| | 06:00 | I may not have gotten it all, so let's see.
| | 06:02 | (Video Playing)
| | 06:09 | Looks like it was clean there.
| | 06:11 | Let's see when he begins
talking on the other end.
| | 06:13 | (Video Playing)
Curt Fissel: I love the steam coming up.
| | 06:17 | Female Speaker: Yeah, it's beautiful.
| | 06:19 | Diana Weynand: So what we can do is just trim the
audio out earlier, so that we do not hear
| | 06:24 | the director.
| | 06:25 | Now you may feel like, okay, it's a
little bumpy there at the beginning.
| | 06:28 | So let's go ahead and start a little later.
| | 06:31 | No worries.
| | 06:32 | Just go ahead and trim
the video portion by itself.
| | 06:36 | Distractions in your story
are just that, distracting.
| | 06:39 | So before you try to refine your story,
take a minute to rid the project of many
| | 06:44 | distractions that keep your story at bay.
| | Collapse this transcript |
| Compounding thoughts into one primary story project| 00:00 | When you were developing story ideas
from the Delicious Peace footage you
| | 00:04 | created several projects, each following
a different thread or storyline, such as
| | 00:08 | coffee making, the importers who
purchase the coffee, and so on.
| | 00:12 | And now it's time to weave those
threads together, to compound them to create a
| | 00:16 | richer and more complex story.
| | 00:18 | But how do you weave and compound
sections into one story when they live
| | 00:23 | in different projects?
| | 00:25 | Well, let's start with the Coffee project.
| | 00:29 | Just to review, this is the project
that contains the sequence of clips that
| | 00:33 | demonstrate to us how the coffee is
produced and enjoyed by the Ugandan
| | 00:38 | coffee growers.
| | 00:39 | That tells us one story, but if you
recall there is no one else speaking to
| | 00:44 | us about the process or telling us
anything about the history, or the fact
| | 00:48 | that there are three religious groups
that have gotten together to make this
| | 00:52 | all possible.
| | 00:53 | For that, we need to turn to additional
information, and one of the projects that's
| | 00:58 | been created is a Narration project.
| | 01:01 | Here we went through and cleaned up the
narration clips and put them in an order
| | 01:06 | that first explains a little
bit about who these people are.
| | 01:09 | (Audio Playing)
Narrator: In the foothills of Africa's fourth largest
| | 01:11 | mountain, a group of Christian, Jewish, and Muslim
coffee farmers affirmatively decided to marry peaceful
| | 01:18 | inner-relationships, with economic development.
| | 01:21 | Diana Weynand: And then we also have an ending
clip that lets us come to a close with
| | 01:25 | the narrator.
| | 01:26 | (Video Playing)
Narrator: which they have enhanced, by adding the
| | 01:29 | requirement of peace.
| | 01:30 | Diana Weynand: So why don't we take this
group of clips from this project?
| | 01:34 | Let's copy them.
| | 01:35 | We can also use a shortcut Command+
C, and now let's paste them into the
| | 01:40 | Coffee project.
| | 01:44 | You can also;
| | 01:44 | to go back to the Coffee project
could've clicked the History arrow.
| | 01:48 | Now if we put our playhead at the
beginning of this project and use the
| | 01:52 | shortcut to paste, Command+V, what
happens is that Final Cut will edit those
| | 01:57 | clips onto the primary storyline.
| | 01:59 | That's not what we want.
| | 02:00 | So let's undo that by pressing Command
+Z. What we want is to connect those
| | 02:05 | narration clips, in this
case beneath the coffee clips.
| | 02:08 | Well, when you have copied something
you have a couple of additional paste
| | 02:12 | options from the Edit menu.
| | 02:14 | One of those is to Paste as Connected Clip.
| | 02:17 | So if you select that, and the shortcut
is Option+V, now Final Cut will connect
| | 02:21 | those narration clips starting where
the skimmer and the playhead were, and now
| | 02:25 | all the narration clips
appear beneath the coffee clips.
| | 02:28 | Well just looking at this, I know I
wouldn't like it, because we haven't given
| | 02:32 | the narrator any breathing room.
| | 02:34 | There's no time, we'd be cutting straight from
one clip or one narration clip
| | 02:38 | to another.
| | 02:39 | So let's spread these clips out.
| | 02:41 | This process can be as easy as just
grabbing a clip and moving it down the line.
| | 02:47 | This is just opening up the narration.
| | 02:50 | And you might get lucky, you might hit
it at a good place, you might decide that
| | 02:54 | you don't like this positioning.
| | 02:55 | But it gives you a place to start.
| | 02:57 | Let's even kick this first clip in a little bit.
| | 03:00 | Let's see what we've got.
| | 03:01 | (Video Playing)
Narrator: In the foothills of Africa's fourth largest
| | 03:05 | mountain, a group of Christian, Jewish, and Muslim
coffee farmers affirmatively decided to marry peaceful
| | 03:12 | inner-relationships, with economic development.
| | 03:20 | In the global world of commodities, coffee takes
second place only to petroleum.
| | 03:25 | Diana Weynand: So far, it's helped quite a bit to
hear this historical perspective that the
| | 03:28 | narrator provided beneath the coffee clips.
| | 03:31 | We even caught a little bit of
magic by hearing this man speak.
| | 03:35 | (Video Playing)
Male Speaker: (unintelligible speech)
| | 03:37 | Diana Weynand: And then hearing the coffee, you can
always refine this positioning, just
| | 03:41 | simply drag the clip.
| | 03:43 | This is one way to combine two sections
together to create a more complex story,
| | 03:47 | but there are other ways.
| | 03:49 | Let's go back to the Project
Library and duplicate this coffee project.
| | 03:54 | Again we want to place it at
Storytelling with FCP X drive, but we
| | 03:58 | don't want to include the render files.
| | 04:01 | In this project we want to combine
the coffee with one of the clips from
| | 04:06 | the Americans.
| | 04:08 | Let's open this project.
| | 04:09 | Since we're going to be allowing Ben to
tell some of the story we can select the
| | 04:13 | narration clips and delete them.
| | 04:15 | And now let's go back to the Project
Library and open the Importers project.
| | 04:20 | The clip we want to use is called
Ben 2, let's listen to a little bit.
| | 04:24 | (Video Playing)
Ben: The farmers of Peace Kawomera grow
| | 04:26 | what's known in the world of coffee as a Bugisu Arabica,
and this is a coffee that's been known by coffee
| | 04:32 | buyers for decades, even upwards of
a hundred years.
| | 04:37 | Diana Weynand: This is quite fascinating.
| | 04:38 | We're learning something about the kind
of coffee the coffee growers are growing,
| | 04:42 | and it might work really well
attached to those coffee growing clips.
| | 04:46 | Let's select it, let's Copy it, use the
shortcut Command+Left bracket, which will
| | 04:53 | take me back to the previous
project, the Coffee and Ben project.
| | 04:56 | Now as we did before with the
narration, we want to edit this copied clip as
| | 05:02 | a Connected Clip.
| | 05:03 | But when we do that with this video
clip, Final Cut Pro places it above the
| | 05:08 | primary storyline, because this clip has video.
| | 05:10 | But we don't want to be seeing Ben
this entire time, and rather than split his
| | 05:15 | audio from his video, we
can do something much simpler.
| | 05:17 | We can drag Ben's clip beneath the
primary storyline and connect it to the first
| | 05:22 | clip in the project.
| | 05:23 | Now, just as we saw with narration
we probably don't want Ben talking the
| | 05:27 | entire time.
| | 05:28 | Because we have a longer project, a
longer story of the coffee growers that
| | 05:33 | we want to cover.
| | 05:34 | So what we might want to do is
actually go through and use our Blade tool to
| | 05:39 | chop some of the Ben's
dialog up into smaller chunks.
| | 05:43 | Let's see how that would work.
| | 05:44 | Let's get the Blade tool.
| | 05:46 | (Video Playing)
Ben: in the world of coffee as a Bugisu Arabica,
| | 05:50 | Diana Weynand: So he identifies the type of coffee
and we can cut the clip at that point.
| | 05:55 | (Video Playing)
Ben: and this is a coffee that's been known by
| | 05:57 | coffee buyers for decades, even upwards
of a hundred years.
| | 06:02 | Diana Weynand: So every times he pauses in what
he's saying, that might be a nice opportunity
| | 06:06 | to just pause in the flow of the dialog
and allow us to absorb what we're seeing
| | 06:10 | on the screen of the coffee growers.
| | 06:12 | (Video Playing)
Ben: The character of their coffee is really unique,
| | 06:16 | it's a very special kind of flavor that when done
right, is very easily identified as a Bugisu coffee
| | 06:26 | from the slopes of Mt. Elgon. It can't be --
| | 06:28 | Diana Weynand: He tends to go on and on there and
this is a place where you could go in and
| | 06:33 | really start to refine these clips.
| | 06:36 | Cut this up, but you have
to be very careful to refine.
| | 06:39 | For example, at the beginning of this third clip.
| | 06:41 | (Video Playing)
Ben: Uh, the character of --
| | 06:44 | Diana Weynand: When we separate this clip, do we
really want him to start by saying, uh.
| | 06:48 | (Video Playing)
| | 06:50 | So once you start to split those
primary clips up, don't forget that stage of
| | 06:55 | cutting out the distractions, make
sure that you get rid of the distractions,
| | 06:58 | because now starting by
itself you want to start clean.
| | 07:02 | (Video Playing)
Ben: The character of their coffee is really unique,
| | 07:06 | Diana Weynand: And maybe that's another
place to stop, is really unique.
| | 07:10 | Make sure Snapping is on, and continue
to split and cut and refine as you go.
| | 07:16 | Well, let's move this
first clip down a little bit.
| | 07:18 | I want to show you what else you can do.
| | 07:20 | At some point you're going to want to
know, who the heck is talking, who are
| | 07:24 | you hearing.
| | 07:25 | So let's take a listen from the
beginning of this project and see where a good
| | 07:28 | point might be to actually show Ben.
| | 07:30 | (Video Playing)
Ben: The farmers of Peace Kawomera grow what's
| | 07:34 | known in the world of coffee as a Bugisu Arabica,
| | 07:44 | and this is a coffee that's been known by --
| | 07:46 | Diana Weynand: So it might be a good time now
after we see these coffee beans, he has
| | 07:50 | identified them, it might be nice at
this point to see Ben continue with
| | 07:54 | his next line.
| | 07:56 | Now we can't just drag the clips down
using the Select tool, because with the
| | 08:01 | Magnetic Timeline their job is
to keep all the clips together.
| | 08:04 | Instead we go to the more manual
Position tool, and let's select this first clip
| | 08:08 | that we want to bump down;
| | 08:10 | it'll be this clip of the woman
picking coffee, and Shift+Click the last one.
| | 08:14 | That will allow us to drag these
clips down and notice that because Ben is
| | 08:19 | connected to that clip, we might want
to reposition him under the black gap
| | 08:24 | which was created when we moved the clips down.
| | 08:27 | Black gap clips are extremely important
in this type of editing, because you can
| | 08:31 | trim them which will allow you to
determine how much time you want to be on Ben
| | 08:36 | before you cut back to
the remaining coffee story.
| | 08:39 | Let's see how this works.
| | 08:42 | (Video Playing)
Ben: and this is a coffee that's been known
| | 08:43 | by coffee buyers for decades, even
upwards of a hundred years.
| | 08:49 | Diana Weynand: So this might be a great start.
| | 08:51 | Now I just want to show you, I've
edited a Coffee and Ben project and you can
| | 08:56 | see how many clips I've made out of Ben,
I've cut some of the ums and ahs
| | 09:00 | out, and I've positioned them
underneath the black gap clips.
| | 09:04 | And of course when you have a
black gap what shows through is the
| | 09:08 | video underneath.
| | 09:09 | Let's listen to little bit of this.
| | 09:11 | (Video Playing)
Ben: The farmers of Peace Kawomera grow
| | 09:14 | what's known in the world of coffee as a
Bugisu Arabica, and this is a coffee
| | 09:20 | that's been known by coffee buyers for decades,
even upwards of a hundred years.
| | 09:27 | The character of their coffee is really unique,
| | 09:33 | Diana Weynand: So as you can see, it can take
a lot of detailed work, but you can really start
| | 09:38 | to get some fun things when you combine clips.
| | 09:41 | Combining story elements from one
project into another, it's just a great way to
| | 09:45 | build layers into your story and
create that richer and more interesting
| | 09:49 | experience for your viewers.
| | Collapse this transcript |
| Evaluating the project for story content and pacing| 00:00 | Ever noticed that when something in a
movie catches your attention, you stop
| | 00:03 | eating your popcorn.
| | 00:05 | It could be a confusing jump in
characters, a tender moment, out of sync audio
| | 00:10 | or a runaway train coming into a station.
| | 00:12 | Good edits or bad, your brain tells you
to stop everything you're doing and pay
| | 00:16 | attention to what you're seeing and hearing.
| | 00:19 | The magic to this alarm system may
have more to do with evaluating what's on
| | 00:23 | screen than it does with the buttery popcorn.
| | 00:25 | So let's dim the lights, kick back
and what the heck, grab some popcorn. It's
| | 00:29 | time for a screening.
| | 00:31 | In the Project Library let's open
the 05-03_Coffee Composite project.
| | 00:36 | In this project you'll see the familiar
coffee clips, but when you skim through
| | 00:40 | the project you'll notice that there are
other clips of Ben and Paul talking, of JJ,
| | 00:45 | and in the timeline you see narration
flips and you Sinina, well you see
| | 00:51 | Sinina's clip but you
don't see Sinina on screen.
| | 00:53 | What we want to do is kick back,
literally, and see whether or not this current
| | 00:58 | combination of clips tells a
story that you want to tell.
| | 01:02 | And sometimes, as I mentioned, it's
helpful to really look at this in a
| | 01:06 | different way.
| | 01:08 | The first thing you can do is go to the
Full Screen mode, by clicking this Full
| | 01:12 | Screen button in the Viewer.
| | 01:15 | (Video Playing)
Narrator: In the foothills of Africa's fourth --
| | 01:17 | Diana Weynand: What that does is it brings
the project to Full Screen mode.
| | 01:20 | If you're not at the beginning of the
project, press the Home key, Home and End
| | 01:25 | will take you to the
beginning and end of the project.
| | 01:28 | You can also use your down arrow and
up arrow to step through clip by clip.
| | 01:34 | And you can use your J-K-L keys.
| | 01:36 | (Video Playing)
| | 01:39 | So whatever you need to do to get
through the project, stop, back it up, go
| | 01:42 | slower, you've got those tools
or those keystrokes to do it.
| | 01:46 | So now if we press the Home key it
will take us back to the beginning, and I
| | 01:50 | wasn't kidding, I really do want you to
physically move your chair back further
| | 01:54 | than where you usually sit to edit.
| | 01:56 | If you're like me, you're right in
front of that monitor, but this is a great
| | 02:00 | time to literally push your chair back a
little bit further, you've got the full
| | 02:04 | screen and look at your project.
| | 02:06 | It'll give you a different
perspective from the one you have when you're up
| | 02:09 | close and personal in Editing mode.
| | 02:11 | So what you want to do is play the
project all the way through, just watch
| | 02:16 | and evaluate.
| | 02:17 | (Video Playing)
Narrator: In the foothills of Africa's fourth largest
| | 02:20 | mountain, a group of Christian, Jewish, and
Muslim coffee farmers affirmatively
| | 02:25 | decided to marry peaceful inner-relationships,
with economic development.
| | 02:30 | Diana Weynand: As you watch, find those popcorn moments,
where you stop eating, or where you want
| | 02:35 | to lean in a little bit more.
| | 02:37 | They could be good edits or bad.
| | 02:40 | (Video Playing)
JJ: We want other people to copy from us
| | 02:43 | so that everywhere you could go,
you could find peace.
| | 02:48 | We want that.
| | 02:55 | Diana Weynand: This is a good time to allow yourself
to react to things, react to the timing,
| | 03:00 | react to the choice of clips,
react to what people are saying.
| | 03:03 | But you don't have to do anything
about it just yet, just make a mental note.
| | 03:08 | (Video Playing)
| | 03:10 | (Video Playing)
Ben: Here at Thanksgiving Coffee Company
| | 03:12 | we've learned to focus on the people. If you focus
on product, then the risk was incredible,
| | 03:17 | the risk was a seventy five
thousand dollar risk.
| | 03:22 | Diana Weynand: So as you can see there were
few things that may jumped out at you, I happened
| | 03:25 | to notice the cut between
one Paul and another Paul.
| | 03:29 | That's what we call a jump cut,
because we are cutting from one framing
| | 03:32 | to another.
| | 03:33 | His audio sounds great, but we
are going to need to fix that.
| | 03:36 | Now I am going to press Escape to get
out of this screening mode and dive back
| | 03:40 | into thinking about what we might want to fix.
| | 03:44 | Now don't forget I did suggest to
screen the entire project several times.
| | 03:48 | After you have screened it a few
times you can come back out and you can
| | 03:52 | make notes.
| | 03:53 | And if you want to use the markers as
we have shown in the past, you can do
| | 03:56 | that, or you can just step in and write
notes down or whatever you need to do to
| | 04:01 | indicate where you want to make changes.
| | 04:03 | Since we are parked right here on the
Paul clip, I am going to go ahead and
| | 04:06 | press M, and press M again to add a
marker, and I'm going to say, add cutaway.
| | 04:12 | That cutaway will help cover the jump cut.
| | 04:14 | And I am going to make that a To Do Item.
| | 04:18 | Were there any places
that were confusing to you?
| | 04:21 | Were there places where you
wanted to change what you were seeing?
| | 04:24 | Let's look at this clip of Ben.
| | 04:26 | (Video Playing)
Ben: We worked really closely with the farmers
| | 04:27 | to help them develop this co-operative
as a business, and to learn about
| | 04:32 | the American speciality coffee market.
| | 04:35 | Diana Weynand: Continue screening and evaluating
for content and pacing in your project.
| | 04:40 | In the clip Ben 1, you might feel that
we're staying too long on the clip and
| | 04:45 | might feel a need or desire to head
back visually to one of the coffee growers.
| | 04:50 | Let's take a look.
| | 04:51 | (Video Playing)
Ben: We worked really closely with the farmers
| | 04:53 | to help them develop this co-operative
as a business, and to learn about
| | 04:57 | the American speciality coffee market.
| | 04:59 | Diana Weynand: Let's listen to that again and
find a place where we might want to stop and
| | 05:03 | cut back.
| | 05:04 | I'm going to zoom into this area, so
that we can get a better view looking
| | 05:08 | at the audio waveform.
| | 05:09 | (Video Playing)
Ben: We worked really closely with the farmers
| | 05:11 | to help them develop this co-operative
as a business --
| | 05:14 | Diana Weynand: Well, right here that's
a complete thought.
| | 05:16 | It might be a nice place to cut back to
one of the coffee clips, so just press M
| | 05:22 | to set a marker, and M again and
we'll name this, cut out of video here.
| | 05:27 | That's what you think you would like to do.
| | 05:29 | Doesn't mean you have to end up doing it,
but at least you're translating your
| | 05:33 | reactions into notes that you can
then go through and follow-up on.
| | 05:38 | I am going to press Shift+Z to come back out.
| | 05:40 | It's good to go in when you're
working and come back out when you need that
| | 05:43 | bird's eye perspective.
| | 05:45 | And let's continue looking at
or skimming through this project.
| | 05:48 | For example, I see a clip further down
of Sinina and I think she says something
| | 05:53 | important, let's listen to what she says.
| | 05:57 | (Video Playing)
Sinina: (unintelligible speech)
| | 06:03 | Diana Weynand: Well, that's a very interesting
thought and a nice contribution to the story,
| | 06:08 | only problem is we don't see her.
| | 06:09 | So another note you could place at
this point in the project is simply to,
| | 06:14 | see Sinina.
| | 06:16 | Okay, make that a To Do marker.
| | 06:19 | There were a few other places in the
project where for example the woman who is
| | 06:23 | grinding to coffee with the stone,
says how good the coffee smells.
| | 06:27 | Let's listen.
| | 06:28 | (Video Playing)
Female Speaker: That's a nice smell.
| | 06:32 | Diana Weynand: It may be that at this volume you
can't really hear that, and it may be that
| | 06:37 | you'd like to raise the volume of
this portion of the audio, no problem.
| | 06:41 | Just skim to that location, set a
marker, and give yourself a note of what you'd
| | 06:45 | like to do, raise volume, and you're ready to go.
| | 06:49 | Taking a break to simply watch your
emerging story is not only fun, especially
| | 06:54 | if popcorn is involved, but it's an
important stage in evaluating your story
| | 06:58 | for content and pacing.
| | Collapse this transcript |
| Fine-tuning the edits in a project| 00:00 | When you insert interview clips into
your primary storyline, you may end up
| | 00:04 | with some jarring cuts, and that's
because sometimes the audio portion of these
| | 00:08 | clips may be important to your story,
but they may not fit exactly the way you
| | 00:12 | want them to.
| | 00:13 | So your job as an editor is to sell the cut.
| | 00:16 | In the trade, that simply means you
have to make the edit point work as
| | 00:19 | naturally as possible.
| | 00:21 | No worries, it's a good time to fiddle
with the clip placement, adjust volume
| | 00:25 | and use the old film style
adjustments, L-cut and J-cut.
| | 00:29 | Since there are already markers in this
project, let's use them to go directly
| | 00:33 | to the places where we want to make
changes, and we can do that by opening up the
| | 00:37 | Timeline Index, clicking Tags, and then
clicking the To Do markers, let's click
| | 00:42 | the first To Do marker.
| | 00:44 | In the project, that took our playhead
directly to the Paul clip in this area.
| | 00:49 | And if we look at that, we're
going to see a jump cut between the two
| | 00:52 | Paul clips.
| | 00:54 | (Video Playing)
Paul: Here at Thanksgiving Coffee Company
| | 00:55 | we've learned to focus on the people. If you
focus on product then the risk was incredible.
| | 01:00 | The risk was a seventy five thousand
dollar risk.
| | 01:03 | Diana Weynand: If you closed your eyes that
audio would work perfectly together, Paul
| | 01:07 | introduces himself and
then he talks about the risk.
| | 01:10 | But when you see it, you realize that
you're cutting from one camera framing to
| | 01:14 | another, which isn't always pretty to watch.
| | 01:17 | So what we can do to rectify that is
simply drag this first Paul clip down and
| | 01:23 | under, beneath the previous coffee clip.
| | 01:25 | What that will do is that it will allow
us to hear Paul's audio, but we'll see
| | 01:30 | the coffee clip instead.
| | 01:32 | (Video Playing)
| | 01:36 | (Video Playing)
Paul: Here at Thanksgiving Coffee Company
| | 01:37 | we've learned to focus on the people. If you
focus on product then the risk was incredible.
| | 01:43 | The risk was a seventy five thousand
dollar risk.
| | 01:45 | Diana Weynand: So now we don't have the distraction
of that video jump cut, but we still get to
| | 01:49 | hear Paul talk and introduce himself.
| | 01:51 | Let's to go to the next To Do marker,
and let's take a look at this to refresh
| | 01:55 | our memory about what we want to do.
| | 01:57 | (Video Playing)
Ben: We worked really closely with the farmers
| | 01:58 | to help them develop this co-operative
as a business, and to learn about the
| | 02:04 | American speciality coffee market.
| | 02:05 | Diana Weynand: Right where the marker is, is
where we would rather see a coffee clip, but we
| | 02:10 | still want to hear Ben talk.
| | 02:12 | Let's zoom into this area, as I have
mentioned before it's always a good idea to
| | 02:16 | zoom into the area that you want to work in.
| | 02:17 | If we want to see Ben up to this
point, where the marker is, and then see the
| | 02:21 | following coffee clip at this point,
we're going to need to expand the audio and
| | 02:26 | video of each of these clips.
| | 02:28 | So we right-click on this clip and
choose Expand Audio/Video, or press Ctrl+S.
| | 02:32 | We are going to need to do
that for the next clip as well.
| | 02:36 | With the expanded audio and video now,
we can change or adjust where the edit
| | 02:40 | point is between the two
video clips versus the audio.
| | 02:44 | Now we like the audio the way it is, let's review.
| | 02:47 | (Video Playing)
Ben: the American speciality coffee market.
| | 02:51 | Diana Weynand: Nothing wrong with that, even
the narration is fine where it is.
| | 02:54 | What we need to do is to adjust the
in point and out point of these two
| | 02:57 | clips together in tandem.
| | 03:00 | And to do that we go to the Trim tool.
| | 03:02 | When we position the Trim tool over this
edit point, we see the Role tool appear.
| | 03:07 | Clicking the Role tool and dragging
will allow us to actually snap that edit
| | 03:12 | point to the marker.
| | 03:14 | Now we have less of Ben's video and
more of the pounding coffee video.
| | 03:18 | But notice that the audio has
remained in the same place and ends at the
| | 03:23 | same place as it did.
| | 03:24 | This is called an L-cut because the
audio continues past the video, and the
| | 03:29 | shape of the edits look a little bit
like an L. Let's listen to how this sounds
| | 03:33 | and watch how it looks.
| | 03:34 | (Video Playing)
Ben: We worked really closely with the farmers
| | 03:36 | to help them develop this co-operative as
a business, and to learn about the American
| | 03:41 | speciality coffee market.
Narrator: In the global world of commodities
| | 03:45 | coffee takes second --
| | 03:47 | Diana Weynand: Now we did hear the coffee pounding
drop out a little bit there, and there is a
| | 03:51 | way for us to drop that in, but we'll
take a look at that at another time.
| | 03:55 | Let's move further down to the next marker,
in fact let's click on the next marker
| | 03:59 | in the Timeline Index.
| | 04:01 | And that moves our playhead
to a marker called nice smell.
| | 04:04 | (Video Playing)
Female Speaker: That's a nice smell.
| | 04:06 | Diana Weynand: I'm going to go back and select my
Select tool, and listen to that one
| | 04:10 | more time.
| | 04:10 | (Video Playing)
Female Speaker: That's a nice smell.
| | 04:11 | Diana Weynand: Let's zoom into that area;
| | 04:13 | this is a lovely place where the woman
talks about how lovely the coffee smells.
| | 04:17 | (Video Playing)
Female Speaker: That's a nice smell.
| | 04:18 | Diana Weynand: The only problem is that that
volume is a little low and we can't really hear
| | 04:21 | it that well.
| | 04:22 | So if there's an audio section in any
clip that you want to pop-up, simply grab
| | 04:28 | the Range Selection tool
and select that portion.
| | 04:32 | That allows you to control -- let's go
back and get our Select tool -- control the
| | 04:37 | volume of this selected area
separately from the rest of the clip.
| | 04:41 | (Video Playing)
Female Speaker: That's a nice smell.
| | 04:43 | Diana Weynand: Let's listen to that again.
| | 04:44 | (Video Playing)
Female Speaker: That's a nice smell.
| | 04:47 | Diana Weynand: So now that portion of
the clip really pops out.
| | 04:50 | Let's go to the next To Do
marker, this is called show Sinina.
| | 04:56 | And let's look at this.
| | 04:59 | (Video Playing)
Sinina: (unintelligible speech)
| | 05:05 | This is a very important
contribution to the story.
| | 05:09 | The only problem is we can't really
see Sinina, we can hear her but we can't
| | 05:13 | see her.
| | 05:14 | So let's do this, let's drag Sinina
above the primary storyline and connect it
| | 05:21 | where it was, and now we see her
the entire time.
| | 05:23 | (Video Playing)
Sinina: (unintelligible speech)
| | 05:28 | Diana Weynand: But to smooth this out, it'd be
better if we stayed on the clip beneath, a
| | 05:32 | little bit longer, and again as we
did before we would have to expand this
| | 05:36 | clip to do that.
| | 05:38 | So with the audio and video expanded
in this clip I can simply trim just the
| | 05:43 | video portion back a little bit,
which will allow us to hear the audio but
| | 05:47 | continue to watch the video from
the primary storyline of the project.
| | 05:52 | Notice that when the audio end point of
the clip precedes the video end point, it
| | 05:56 | looks similar to a J;
thus the old film term J-cut.
| | 05:59 | (Video Playing)
Sinina: (unintelligible speech)
| | 06:07 | I am going to press Shift+Z so
we can see the entire project.
| | 06:10 | There's one more To Do marker in
the Timeline Index called more sugar.
| | 06:14 | So let's go to that, and now in the
project, let's listen to this area.
| | 06:19 | (Video Playing)
JJ: I want more sugar.
| | 06:21 | It sounds like, and I think that's JJ
talking, wanting more sugar for his coffee.
| | 06:26 | But just as the woman before who
talked about the sweet smell of the coffee,
| | 06:29 | that line could easily get
buried unless we raised the volume.
| | 06:33 | So let's zoom into that particular
section and see if we can't recognize using
| | 06:38 | the audio waveform when he says that line.
| | 06:41 | (Video Playing)
| | 06:43 | (Video Playing)
JJ: I want more sugar.
| | 06:45 | Diana Weynand: Okay great, I want more sugar
is right here at the marker.
| | 06:48 | So again, I'm going to just press R to
select the Range tool and drag over that
| | 06:53 | particular section, and
then I'll just listen to that.
| | 06:56 | (Video Playing)
JJ: I want more sugar.
| | 06:57 | Diana Weynand: Great!
| | 06:58 | So now that I have identified that section,
I'm going to press A to bring back my
| | 07:01 | Select tool, raise the volume a
little bit, and now let's listen.
| | 07:05 | (Video Playing)
| | 07:07 | (Video Playing)
JJ: I want more sugar.
| | 07:09 | Diana Weynand: So this is something that has now
brought that volume up a little bit, it keys
| | 07:13 | us into some of the interaction
with the folks that are sitting around
| | 07:17 | drinking the coffee, you may want to
fiddle with that a little bit more to get
| | 07:20 | that balance just right.
| | 07:22 | As you can see, on camera interviews and
other sources are an important part of
| | 07:26 | the primary story, and by fine-tuning
those edits, you will ensure your viewers
| | 07:30 | find that portion of your story not
only enjoyable but believable too.
| | Collapse this transcript |
| Refining the primary sound bed| 00:00 | Some people are great conversationalists.
| | 00:02 | They express themselves clearly
and succinctly, they choose each word
| | 00:06 | carefully and almost seem to edit
what they're saying in their heads before
| | 00:10 | saying it out loud.
| | 00:12 | Not all of us are eloquent enough to
nail our thoughts on the first try,
| | 00:16 | especially when we're talking about
something important to us, we um and ah in
| | 00:21 | search of the right words
to express our feelings.
| | 00:23 | But when you're wearing the editors hat
and trying to tell a succinct story, those
| | 00:28 | ums and ahs become your responsibility.
| | 00:32 | In the Project Library let's
open the Sound Bed project.
| | 00:37 | In this project we're going to use a
single clip, in fact a very short 10 second
| | 00:42 | clip of Paul talking to the camera.
| | 00:44 | Let's listen to what Paul says in this clip.
| | 00:46 | (Video Playing)
Paul: If people, um, love their trees, their coffee
| | 00:53 | trees, uh, then the coffee trees are going
to be taken care of.
| | 00:58 | Diana Weynand: So that's a very interesting and very
poignant thought, if people love their
| | 01:02 | trees then their love will follow through
the whole process and all will be good.
| | 01:07 | So let's look at that one more time
and I want to ask you few questions, this
| | 01:10 | first question is, do the ums, ahs,
repetitions, or stumbles bother you in any way
| | 01:16 | when you see Paul talking
about the love of the trees?
| | 01:19 | (Video Playing)
Paul: If people, um, love their trees, their coffee
| | 01:26 | trees, uh, then the coffee trees are going
to be taken care of.
| | 01:31 | Diana Weynand: I don't know about you, but if I
were having a conversation with Paul and he was
| | 01:34 | saying this to me I wouldn't be
bothered in the least by that.
| | 01:37 | I think that seems very natural.
| | 01:39 | So here is your choice, when you're
telling your story there are going to be
| | 01:42 | times when you are going to want to
be on camera with somebody speaking and
| | 01:46 | telling some aspect of the story, and
there will be other times when you need
| | 01:50 | to show other images to help add more
complexity to the story or to help move
| | 01:55 | the story along.
| | 01:56 | So I want you to try this now.
| | 01:58 | Let's go back to the beginning of this
clip, play it again and this time I want
| | 02:01 | you to the close your eyes or look
somewhere else and just focus on the sound
| | 02:05 | of this clip.
| | 02:06 | (Video Playing)
Paul: If people, um, love their trees, their coffee
| | 02:12 | trees, uh, then the coffee trees are going
to be taken care of.
| | 02:18 | Diana Weynand: So when you focus on just the
sound and you don't have any pictures to look at
| | 02:22 | then your ear starts to pick up some of
those little extra words and some of the
| | 02:27 | spaces and the repetitions and the ums and ahs.
| | 02:30 | So what you can do as a
storyteller is help Paul tell the story more
| | 02:35 | efficiently, if you choose to use
his sound as a sound bed and then
| | 02:39 | place visuals over it.
| | 02:41 | And the way to do that is to cut and
dice and pull out what you don't want and
| | 02:46 | arrange what you do.
| | 02:47 | Now I've done that as a sample just so
you can see where we're going with this.
| | 02:51 | I took the 10 seconds of Paul and
shaved it to five seconds and added a
| | 02:56 | couple of visuals on top.
| | 02:58 | Now with other visuals to focus on,
you can hear Paul's edited version of
| | 03:04 | talking about love for the
trees much more succinctly.
| | 03:05 | See how you respond to this.
| | 03:08 | (Video Playing)
Paul: If people love their coffee trees,
| | 03:11 | then the coffee trees are going to be taken
care of.
| | 03:15 | Diana Weynand: Okay, one more time.
| | 03:16 | (Video Playing)
Paul: If people love their coffee trees,
| | 03:20 | then the coffee trees are going to be taken
care of.
| | 03:23 | Diana Weynand: So, now you've got something that
is showing you what he's talking about, loving
| | 03:27 | the coffee trees, loving the coffee,
and we're getting to the point much more
| | 03:31 | succinctly and in half the time.
| | 03:33 | So that's a really great choice and a
great way to go, if you decide not to
| | 03:37 | use Paul on camera.
| | 03:39 | Okay, so let's go ahead and dive in.
| | 03:41 | The first thing I want to do is zoom
into this clip so that we can see that
| | 03:45 | waveform. We can also choose to make
the waveform a little taller by choosing
| | 03:51 | one of the other clip appearance options.
| | 03:54 | And the first thing we can do is just
very simply trim the head of the clip to
| | 03:58 | where he begins talking.
| | 03:59 | Since we're not going to be seeing him
on camera, we don't have to establish
| | 04:02 | him, we just need his voice.
| | 04:04 | Let's see if this works.
| | 04:05 | (Video Playing)
Paul: If people, um --
| | 04:08 | Diana Weynand: Great that's perfect.
| | 04:10 | So when you review what you just
did, it's a nice approach to review the
| | 04:13 | correction and then continue playing
until you hear the next thing that you
| | 04:17 | want to fix.
| | 04:18 | And in reviewing that I heard a
little um that we can get rid of.
| | 04:21 | Let's listen again.
| | 04:22 | (Video Playing)
Paul: If people, um --
| | 04:25 | Diana Weynand: There it is, there is
our um right there.
| | 04:28 | There are a couple of ways
that we can get rid of this um.
| | 04:31 | We can use the Blade tool, that's one
way to cut before and cut after, and if
| | 04:37 | Snapping is on it might snap
you to where you don't want to go.
| | 04:40 | No worries just turn Snapping off, and
the shortcut for that is the letter N.
| | 04:45 | And now we can Snap or Blade away
from the playhead anywhere we like.
| | 04:50 | We would go back and get our Select
tool, select that um that we don't want,
| | 04:55 | and hit Delete.
| | 04:57 | Now let's listen to what we just did.
| | 04:58 | (Video Playing)
Paul: If people love their trees, their coffee trees --
| | 05:04 | Diana Weynand: Okay, so it made a good edit
there, it's clean, it looks like we have a
| | 05:08 | little bit of space we could play
with if we wanted to tighten that up
| | 05:11 | anymore, let's take a listen.
| | 05:12 | (Video Playing)
Paul: If people love their trees --
| | 05:15 | Diana Weynand: Well, if you want to tighten it
up just click and drag a little bit so that you
| | 05:19 | trim a little bit of space out.
| | 05:21 | (Video Playing)
Paul: If people love their trees, their coffee trees --
| | 05:26 | Diana Weynand: That sounded fine, and then when we
continue on we hear that he says their trees,
| | 05:31 | their coffee trees, we don't
need both of those for the story.
| | 05:35 | (Video Playing)
Paul: their trees, their coffee trees --
| | 05:40 | Diana Weynand: So we want to get rid
of one of them, right?
| | 05:43 | So another way that we can do that, we
can simply mark an in where we want to
| | 05:48 | begin getting rid of it, and an O for
out to define the Range Selection and then
| | 05:54 | press Delete, Let's listen to that.
| | 05:56 | (Video Playing)
Paul: love the-their coffee trees --
| | 05:59 | Diana Weynand: Now we hear that we have a
little bit too many these.
| | 06:03 | So that's easy, all we have to do is
select the in point, and let's zoom in so we
| | 06:08 | can see what we're doing here.
| | 06:09 | Simply by selecting the in point and
pressing the right angle bracket key, it
| | 06:14 | moves the edit point, or trims the edit
point, 1 frame at a time left or right.
| | 06:19 | Now, let's see if that helps.
| | 06:21 | (Video Playing)
Paul: love their coffee trees.
| | 06:25 | Diana Weynand: Beautiful!
| | 06:25 | Well, we have a nice long pause here and
a nice deep breath, breaths can be your
| | 06:29 | friend. Sometimes you can use a breath
and copy it and paste it somewhere else to
| | 06:33 | give you a nice little pause
that you feel like you need.
| | 06:36 | But if you don't think you need it you
can delete this pause and this break.
| | 06:40 | And another way that we can get rid
of a portion of this clip is to use the
| | 06:44 | Range Selection tool.
| | 06:46 | Simply click and drag over the portion
you want to delete, and press Delete.
| | 06:50 | Let's listen to what that gave us.
| | 06:52 | (Video Playing)
Paul: coffee trees. Uh, then the coffee are going --
| | 06:55 | Diana Weynand: And that's fine, but we see
that we have an uh.
| | 06:57 | We want to get rid of that uh at the
beginning of this clip, so let's zoom in to
| | 07:01 | that portion of the clip
and find where the uh is.
| | 07:03 | (Video Playing)
Paul: Uh, then --
| | 07:05 | Diana Weynand: Okay, well the uh is that
first little mountain in the audio waveform.
| | 07:09 | So again since I have the Range
Selection tool already selected I can just
| | 07:13 | click and drag, and notice that if I
wanted to I could drag over an edit point
| | 07:17 | into another clip, but I am just going
to drag up to the head of that clip and
| | 07:21 | press Delete.
| | 07:22 | Now I am going to go back
to my default Selection tool.
| | 07:25 | So I have showed you different
ways that you can trim this clip.
| | 07:29 | Let's see if that particular edit point works.
| | 07:31 | (Video Playing)
Paul: trees, then the coffee trees are going
| | 07:34 | to be taken care of
| | 07:35 | Diana Weynand: And again, if you need to trim or
finesse, you can go into one particular area or
| | 07:41 | another, but this gives us a clean story
and it shaves the time, and remember as
| | 07:47 | a storyteller, it's your job to make
sure the story is told efficiently, no
| | 07:52 | matter whose words you're using to tell it.
| | Collapse this transcript |
| Organizing separate story segments into independent storylines| 00:00 | So far the techniques we've been
seeing in this course could be generally
| | 00:04 | applied in any editing application.
| | 00:06 | But in this movie you'll see an editing
technique specific to Final Cut Pro X.
| | 00:10 | With this technique you can organize
your separate story segments, such as coffee
| | 00:15 | making, importing, and so on, into
independent storylines that would give you
| | 00:19 | lots of flexibility as you
edit and finesse your story.
| | 00:23 | In the Delicious Peace projects we've
edited narration clips, as well as sound
| | 00:27 | from interview clips to
provide an audio track for the story.
| | 00:31 | If one audio clip connects nicely to a
video clip that's never going to move,
| | 00:35 | then you're in good shape.
| | 00:37 | But if you find yourself doing a lot of
finessing with both the video and audio
| | 00:41 | clips, you might end up
frustrated by the connecting process.
| | 00:44 | By creating additional storylines in a
project and working with the Magical Gap
| | 00:49 | Clip, you can create all
the flexibility you need.
| | 00:54 | In the Project Library let's
open the Storylines project.
| | 00:59 | You might remember from a previous
movie that this project has clips of Ben
| | 01:04 | talking beneath clips of coffee.
| | 01:07 | And at times we have a gap clip
where we see Ben come through on camera.
| | 01:13 | And then when Ben's clips are beneath
the clips in the primary storyline, we
| | 01:18 | hear his voice mixed in with the audio
of the coffee clips, but we don't see him
| | 01:23 | until we get to a gap clip.
| | 01:25 | And gap clips are transparent in that respect.
| | 01:29 | Well, what we want to do is think in
terms of what happens when you're still in
| | 01:33 | that finessing process, which is
what editing is really all about.
| | 01:37 | For example, what if we wanted to take
this clip, and I am going to zoom in so
| | 01:41 | we could see that this is
called the coffee tree clip.
| | 01:44 | What if I wanted to take this clip and
move it somewhere else in this project?
| | 01:48 | Well, when I move it guess who comes with me.
| | 01:52 | Ben is coming with me, and of course the
reason is that Ben is connected to that
| | 01:57 | clip at this point, and you see
the connecting line right here.
| | 02:01 | Well, I really like the way Ben's audio
is working with this clip, so I want a
| | 02:06 | little more autonomy, I want some more
independence between my Ben set of clips
| | 02:11 | and between these clips.
| | 02:13 | Well, I can do that fairly easily.
| | 02:16 | First I am going to press Shift+Z,
and the way I am going to do that is to
| | 02:20 | select the Ben clips.
| | 02:22 | And this is where we go a little bit
outside the typical process of storytelling,
| | 02:26 | and work with a feature that is
perhaps more specific to Final Cut Pro X.
| | 02:31 | By selecting this group of clips, I can
right-click and choose Create Storyline,
| | 02:36 | or press the shortcut Command+G. When
I create a storyline out of all of the
| | 02:43 | Ben clips, a Storyline bar is formed
around them and I now have a single
| | 02:48 | connection line.
| | 02:50 | I have the flexibility of
moving all of these clips together.
| | 02:54 | And moving a single video clip
would not be a problem, because it's not
| | 02:59 | connected, at least at that point.
| | 03:02 | But there are other things that could happen.
| | 03:04 | For example, what if I decided I wanted
to delete this coffee tree clip because
| | 03:09 | I was going to start a little
bit further in the coffee process.
| | 03:12 | Watch what happens when I delete the clip.
| | 03:16 | Well, it deleted the clip and
everything that was connected to it.
| | 03:18 | I am going to press Command+Z
to bring back those clips of Ben.
| | 03:22 | So, again I would also like
a little more independence.
| | 03:25 | Gee!
| | 03:26 | Is there anyway that I can not
attach these clips of Ben to these clips.
| | 03:31 | I almost want to make this group of
coffee clips a separate storyline.
| | 03:36 | Well, I can do that as well.
| | 03:38 | Now in order to see this more clearly,
I'm going to change the Clip Appearance
| | 03:43 | and make them all very, very short.
| | 03:45 | That will just simply give me
more room to see more levels.
| | 03:50 | So, if I wanted to take this group of
coffee clips and make them a separate
| | 03:56 | independent storyline, not the primary
storyline, I can select them and choose
| | 04:01 | Lift from Primary Storyline, or
press Option+Command+Up Arrow.
| | 04:08 | What that did, was that it took those
clips and bumped them all up, each one of
| | 04:12 | them, individually bumped them
up above the primary storyline.
| | 04:16 | And what we have in the primary
storyline now is just individual gap clips.
| | 04:22 | And notice all the individual
places that these clips are connected.
| | 04:26 | If we wanted to clean this connection up,
so like the audio or like Ben's clip,
| | 04:30 | there's one single connection, I can
select these clips and do what I did with
| | 04:35 | Ben's clips and that's to
create a separate storyline.
| | 04:39 | By doing that, I have now placed
all of the coffee clips into their own
| | 04:43 | independent storyline that I
can move around wherever I want.
| | 04:47 | And as I have this now, I see that I
have individual gap clips that were created
| | 04:53 | the length of the original coffee
clips, which I no longer need, because
| | 04:57 | everything is connecting
off this first gap clip.
| | 05:00 | So what I can do is I can actually,
since nothing is attached to these gap clips
| | 05:05 | in the primary storyline.
| | 05:07 | I can delete those, and instead drag out
or trim the gap clip that's currently in
| | 05:14 | the primary storyline.
| | 05:15 | This gives me a tremendous amount of
flexibility, not only between segments in a
| | 05:20 | story, but within each storyline itself.
| | 05:23 | For example, now that I have made
this group of clips a storyline, a gap is
| | 05:29 | placed automatically where there were
no clips and I can go in and I can make
| | 05:33 | trims with those gaps, or with the
clips, and I am going to undo those.
| | 05:41 | So I can make whatever adjustments I want.
| | 05:44 | When you create an additional storyline,
you have other editing options as well.
| | 05:48 | For example, if I wanted to continue
adding coffee clips to this clip, I would
| | 05:54 | go to the Coffee group of clips and I
would say you know what, let's go ahead
| | 05:59 | and we see grinding the beans.
| | 06:00 | Let's go ahead and see making the coffee.
| | 06:03 | Well, I see I've got my favorite.
| | 06:05 | So with the Storyline selected in the
timeline, I can select Append and append to
| | 06:11 | that particular storyline.
| | 06:14 | I could do the same thing with
narration or with the Ben clip and continue to
| | 06:18 | grow the storylines and edit within them.
| | 06:22 | So anytime you create a separate
individual storyline, it gives you a great
| | 06:28 | deal of flexibility.
| | 06:29 | So now for example, this clip that we
wanted to move and we couldn't before, I
| | 06:33 | can relocate it anywhere in this
storyline and it doesn't affect Ben at all.
| | 06:39 | So, as you start to work with putting
together your different story segments,
| | 06:44 | make sure you give yourself all the
flexibility you need by creating separate or
| | 06:50 | additional storylines.
| | Collapse this transcript |
|
|
6. Previsualizing in Final Cut to Help Write Your StoryStoryboarding a narrative script using placeholders| 00:00 | Are you waiting for your camera team
to return with extra footage to fill a
| | 00:03 | story gap, or are you motivated by the
characters in Delicious Peace to write
| | 00:07 | a fictional story.
| | 00:09 | Final Cut Pro can't
really help with that, can it?
| | 00:11 | Well, with the generated item in Final
Cut Pro X called Placeholders, you can
| | 00:17 | literally hold the place for incoming
footage or storyboard a script idea.
| | 00:22 | Sounds promising, doesn't it?
| | 00:24 | Let's take a look at how it works.
| | 00:26 | In the Project Library let's create a
new project inside Chapter 06, let's call
| | 00:33 | this 06-01_Storyboards.
| | 00:42 | Because it's an empty project, we are
going to want to edit a dummy clip, if you
| | 00:46 | will, just to set the project settings.
| | 00:49 | Next we are going to want to open our
Generators browser, and this is where
| | 00:53 | different items that Final Cut
X generates on its own appears.
| | 00:57 | We are going to want to look at the
Elements category of the generated items.
| | 01:02 | Notice there's an item called Placeholder.
| | 01:05 | To add that to the project,
simply double-click it.
| | 01:11 | Now let's zoom into the timeline a
little bit, we don't need our starter clip
| | 01:15 | anymore so we can delete that, now
we just have this Placeholder clip.
| | 01:19 | Notice that we can skim through and
nothing moves, it's a static image.
| | 01:23 | But it does represent something, so if
you needed to communicate visually with a
| | 01:28 | team or your Director of Photography,
your DP, about what you wanted to shoot,
| | 01:32 | this one will be a great way to do it.
| | 01:33 | So we can make changes though to this
particular shot, select it and then go to
| | 01:38 | your Inspector.
| | 01:39 | And in the Inspector
window click the Generator tab.
| | 01:43 | In the Generator tab there are certain options.
| | 01:46 | There is a lot of information
that's vying for attention up here in the
| | 01:50 | interface, so I am going to close the
Event Library, and now we can have a little
| | 01:54 | bit more room for the
images we want to focus on.
| | 01:57 | So, if we again click on the clip
that's in the project and the Generator tab,
| | 02:03 | we see that we have some
options regarding framing.
| | 02:06 | We can change whether we're looking at
the people in the frame as a Close-up or
| | 02:12 | a Long Shot, Medium Shot;
| | 02:14 | let's go with the Medium Long to get started.
| | 02:16 | You also have a choice about
the number of people in the shot.
| | 02:19 | And two people is a good option.
| | 02:21 | Do you want two men talking?
| | 02:23 | If you were looking to replace one or
more of the coffee growing clips, there
| | 02:27 | were times when men were working together;
| | 02:29 | there are other times when
women were working together.
| | 02:31 | With this project we'll
do one woman and one man.
| | 02:35 | Right now, we are seeing them
against a pastoral background.
| | 02:39 | We could also throw them right in the
middle of downtown, or put them in an
| | 02:43 | urban scene.
| | 02:45 | Just put in limbo if you're not sure,
if you don't want to commit, or put them
| | 02:48 | in the mountains.
| | 02:49 | Again, for this little project
let's put them in a distant city.
| | 02:57 | We can also decide what the weather is
going to be like and a little bit of the
| | 03:00 | time of day with a sunrise or a sunset.
| | 03:04 | Let's make it a cloudy day; that'll
add some nice clouds into the sky.
| | 03:08 | Well, we have them definitely outside
against the background of the distant
| | 03:13 | city with some clouds, but we can very
easily tuck them away inside by clicking
| | 03:17 | the Interior box.
| | 03:18 | And this shows us the choices that we
made about the background and the weather,
| | 03:24 | but it clearly puts them inside.
| | 03:26 | Now notice that a box appears if we
want to add notes to this, maybe camera
| | 03:31 | direction or possible script
note, we simply click the box.
| | 03:35 | Now I'm going to select this text by
double-clicking, and have a little fun with
| | 03:39 | a slightly suspenseful script.
| | 03:41 | What'd you do with the money?
| | 03:48 | Now if we want to indicate that the person who
is speaking is the man, we can drag
| | 03:54 | the text box to position it
on his side of the screen.
| | 03:58 | You can also make changes to
text by clicking the Text tab in the
| | 04:01 | Inspector window.
| | 04:03 | You can change the size, you can also
change the alignment, notice right now it
| | 04:07 | seems to be justified left and right
but when I click the Left Margin justify,
| | 04:11 | it aligns the text to the left.
| | 04:13 | Now this may be a great clip to re-
create if we wanted to allow the woman to
| | 04:19 | speak, and we have a choice, we can
either go and start from scratch with a
| | 04:23 | brand new Placeholder clip, or we can
copy this clip, and I'll just go to Edit
| | 04:27 | and Copy, and then we can paste it,
and we have some things already set.
| | 04:36 | For example, we have the fact that
there's two people, and we have the type
| | 04:41 | of location, the distant city, we have
the clouds in the sky and we even have
| | 04:45 | the same text.
| | 04:47 | So what we can do now is just go
in and double-click on the text.
| | 04:50 | Another way you can change the
text though, is in the Text tab.
| | 04:54 | So I can come up here and select
this and type what the woman might say.
| | 04:59 | Don't worry, it's safe.
| | 05:02 | Now, as I did before, if I want to
indicate that the woman is talking, or
| | 05:07 | perhaps if you want to create a
camera direction for that particular person
| | 05:11 | to zoom into this person for example,
you can just simply position or resize
| | 05:17 | the text box.
| | 05:18 | Let's add another Placeholder clip.
| | 05:20 | So again, since we've already copied
one I can simply put my playhead where I
| | 05:24 | want to paste it, and press
Command+V to paste.
| | 05:27 | And if we're going to use this copy/paste approach,
I can go ahead and close my
| | 05:31 | Generated items browser.
| | 05:34 | Now I want to make changes to this.
| | 05:35 | So I am going to go ahead and select
the Placeholder clip, the third one, and
| | 05:39 | this time I am going to change my
framing, and I am going to make this a Medium
| | 05:43 | Shot, I am going to make it one
person, and it's going to be just the man.
| | 05:48 | So now we are going to focus and zoom
in a little bit on the man and we are
| | 05:52 | going to give the man a different line.
| | 05:54 | And again you can add that line
directly on the viewer or in the Text tab.
| | 06:04 | And the man is a little frustrated
by the woman's response, Now wait just
| | 06:07 | a minute.
| | 06:08 | And we need one more response from the
woman, so again in order to preserve some
| | 06:13 | of the choices we've already made, I
am going to just simply copy one of the
| | 06:18 | preceding clips and make changes to it.
| | 06:21 | This will be one person;
| | 06:23 | it'll be just the woman, and let's
zoom in close to her so that we have a
| | 06:28 | little variety of framing.
| | 06:30 | But notice all the other
choices are exactly as we want them.
| | 06:34 | In her text box let's write her comment.
| | 06:43 | So if we wanted to then play this, or
at least cut from one to the next using
| | 06:48 | our downward arrow, we can get a sense
of how this flows visually and whether
| | 06:54 | we like the feel of it, and whether
we might want to share this idea with
| | 06:59 | whoever's going to be going out to
shoot the additional material you need to
| | 07:03 | continue with your story.
| | 07:05 | Storyboarding is a great way to ensure
that you and your team are on the same
| | 07:09 | page; that you're capturing ideas
and expressing those ideas visually.
| | 07:13 | With the additional features in Final
Cut Pro's placeholder, you can literally
| | 07:17 | start developing your ideas
before your pen hits the page.
| | Collapse this transcript |
| Recording a narration track to explore script ideas| 00:00 | So you've got a visual storyboard and
even a few text lines attached to each
| | 00:04 | character or clip in your placeholder.
| | 00:06 | Maybe you wrote the text for the narrator
to record, and now you want to kick back
| | 00:11 | and hear a rough version before
entering the recording session.
| | 00:14 | That's going to be a little hard to do
when no one's talking right? But you can
| | 00:18 | record a rough narration track or even
script lines using the Record Audio tool
| | 00:23 | in Final Cut Pro. It's a perfect way to
bridge the gap from thinking through a
| | 00:27 | story scene or segment, to actually
listening to it. Let's start in the Project
| | 00:31 | Library and open the Record Audio project.
| | 00:34 | In this project, you see the four clips
that were edited in the previous movie.
| | 00:40 | Now the job here is to record the audio,
but when there's so much space between
| | 00:45 | each line, and the lines are fairly
short, you might want to take an extra moment
| | 00:49 | to simply trim each clip to be more
the length of the actual text itself.
| | 00:54 | Now what we want to do is select the
clip, move the playhead to the beginning and
| | 00:58 | read the text, where's the money and stop it.
| | 01:03 | Now a great trick that we're going to
apply is from the Edit menu, and it's
| | 01:08 | called Trim End; that shortcut, Option
+Right bracket is a terrific one to use in this
| | 01:14 | situation. So that's what we're going
to do, and notice it trims to the playhead.
| | 01:19 | So next thing we're going to do is
select the next clip, and do the same thing,
| | 01:23 | we're going to play from the
beginning and read the text.
| | 01:26 | Don't worry it's safe, you can give
yourself a little bit of breathing room
| | 01:31 | if you want, and now I'm going to simply press
Option+Right bracket, select the next clip
| | 01:37 | and let's read again.
| | 01:39 | Now wait just a minute, and Option+Right bracket
one more time, No you wait. I'm running
| | 01:49 | this show.
| | 01:51 | And right bracket, there we go.
| | 01:53 | So now I can press Shift+Z and spread
these out. They may look the same length
| | 01:57 | but they're not the same length, they're a
little bit closer to the amount of time
| | 02:01 | it'll really take to read
these lines, that's great.
| | 02:04 | Now we want to actually do the recording.
| | 02:07 | So we'll go up to the Window
menu and choose Record Audio.
| | 02:13 | Few things to keep in mind here: we
want to make sure that we've selected the
| | 02:17 | correct event destination, our event
with all our clips is DP Storytelling,
| | 02:22 | so you're actually going to
be creating an audio clip.
| | 02:26 | Go ahead and choose whatever input device,
if you have a separate microphone and
| | 02:30 | external mic you want a
plug-in, you can choose that.
| | 02:33 | And now position your playhead to the
beginning of the project and go ahead
| | 02:37 | and hit Record.
| | 02:39 | A little trick that I use is that if
there is a clear male/female voice that
| | 02:43 | goes back and forth, I try to raise or
lower my voice just a little in each
| | 02:47 | direction to sort of help imagine the
text being read by the actors of the
| | 02:53 | characters, or the narrator.
Let's go ahead and record.
| | 02:56 | Where's the money?
| | 03:00 | Don't worry it's safe.
| | 03:04 | Now wait just a minute.
| | 03:07 | No you wait. I'm running this show.
| | 03:11 | And we have a voiceover clip that
appears beneath the clips in the primary
| | 03:16 | storyline and we can play that clip.
| | 03:18 | (Audio Playing)
Where's the money?
| | 03:21 | Don't worry it's safe.
| | 03:25 | Now wait just a minute.
| | 03:27 | No you wait. I'm running this show.
| | 03:30 | Very cool so you can continue on.
| | 03:32 | Well, let's go ahead and close the
Record Audio window, and in the timeline I'm
| | 03:37 | going to right-click, I'm going to
say reveal this in the Event Browser.
| | 03:40 | So just as I said it does actually
record a clip,
| | 03:44 | (Audio Playing)
Where's the money?
| | 03:46 | and it makes that clip accessible
in the Event Browser.
| | 03:49 | If I right-click on the clip I can
also find this clip on the desktop level,
| | 03:53 | and here it is as well.
| | 03:55 | (Audio Playing)
Where's the money?
| | 03:58 | So in Final Cut Pro, we can also
record a narration and we don't have to be
| | 04:05 | recording our tied to these placeholders.
| | 04:08 | So in this case, I'll just position my
playhead at the end of the clips and
| | 04:12 | actually I'm going to go back to my
Record Audio window and start recording.
| | 04:17 | This story is about Delicious Peace,
and what will happen is that Final Cut
| | 04:22 | Pro will automatically insert a black
gap clip and attach the voiceover to
| | 04:27 | that clip.
| | 04:28 | Whether you're working on a documentary that
requires narration, or trying out
| | 04:33 | some new script ideas, don't forget
the Record Audio option within Final Cut
| | 04:38 | Pro can help.
| | Collapse this transcript |
| Changing pitch in a temporary narration track to identify different characters| 00:00 | Now that you have written text for
a narrator, or have a he-said she-said
| | 00:04 | dialog underway;
| | 00:05 | you could start to get a feel for
how your script might be working.
| | 00:09 | It's just a shame that the
actors couldn't come and deliver the
| | 00:12 | lines themselves.
| | 00:14 | Oh well maybe next time, or maybe you
can apply a Final Cut Pro audio effect to
| | 00:19 | change the pitch of your own recording
and make it seem more like a true he-said
| | 00:24 | she-said dialog, or a narrator speaking.
| | 00:28 | In the Project Library let's open
the He Said-She Said project.
| | 00:34 | This is the familiar project that
you have been creating with the text on
| | 00:39 | either side.
| | 00:41 | The text is already recorded, so let's listen.
| | 00:43 | (Audio Playing)
Where's the money?
| | 00:46 | Don't worry. It's safe.
| | 00:50 | Now wait just a minute.
| | 00:53 | No you wait. I'm running this show.
| | 00:55 | So that's the script that we
are going to be working with.
| | 00:58 | And in this particular script there are
two male sounding voices, or that's the
| | 01:03 | idea anyway, the intent; this
first one and the third one.
| | 01:06 | And then the female speaks
in the second and the fourth.
| | 01:09 | In order to apply these it would be
great to just simply use a Blade tool to
| | 01:14 | split these clips so that we have four
distinct clips that we can work with.
| | 01:18 | I am going to go ahead and get
the default Selection tool back.
| | 01:22 | So what we want to do is look at the
audio effects in Final Cut Pro and see if
| | 01:28 | there's something that could help us
change the sound of this recording to make
| | 01:33 | it more believable, instead of
obviously hearing my voice in both characters.
| | 01:37 | So if you click the Effects Media browser,
and scroll down to audio, you have some
| | 01:42 | different options and categories.
| | 01:44 | Click on the Voice category, and now
let's scroll to the top where we see
| | 01:49 | the Final Cut effects.
| | 01:52 | Now the way we preview audio effects in
Final Cut Pro is to select the clip in
| | 01:57 | the timeline, and then move our pointer
over the particular effect we want to
| | 02:03 | hear, and then press the spacebar.
| | 02:05 | (Audio Playing)
Alien Voice: Where's the money?
| | 02:08 | Alien Voice: Where's the money?
| | 02:10 | Diana Weynand: And then press
the spacebar to stop.
| | 02:13 | Let's listen to the cartoon characters.
| | 02:15 | (Audio Playing)
Cartoon Voice: Where's the money?
| | 02:19 | Cartoon Voice: Where's the money?
| | 02:21 | Diana Weynand: So as you can see, you could have
quite a bit of fun playing with this, how
| | 02:25 | about the Helium.
| | 02:26 | (Audio Playing)
High Pitch Voice: Where's the money?
| | 02:28 | Okay, so you get the idea. There
are a lot of things you can do,
| | 02:32 | but the one that actually will change
the pitch is the Pitch effect, and to apply
| | 02:37 | it to that clip we can drag
it or simply double-click it.
| | 02:41 | Now, with the clip selected we can go
into the Inspector and look at the Audio
| | 02:46 | tab, and here we see that that
effect in fact has been applied.
| | 02:50 | Well, let's go ahead and listen one
more time to this clip and you probably
| | 02:54 | won't hear anything different because
notice that the amount of pitch change
| | 02:58 | is still at zero.
| | 03:00 | (Audio Playing)
Where's the money?
| | 03:02 | If we drag that amount down a little bit,
let's see what it will sound like, how
| | 03:06 | that will affect it.
| | 03:07 | (Audio Playing)
Lower Pitch Voice: Where's the money?
| | 03:08 | Well, it's continuing to lower the voice,
let's go down even a little further, a
| | 03:12 | little closer to -80.
| | 03:13 | (Audio Playing)
Lower Pitch Voice: Where's the money?
| | 03:15 | Now we are starting to sound like
this could be a believable male's voice.
| | 03:21 | (Audio Playing)
Male Voice: Where's the money?
| | 03:23 | Diana Weynand: Okay.
| | 03:24 | Now if you like that, if that's an
effect or a range or pitch that you like,
| | 03:28 | you can copy this clip, and then we can
go down to the third clip, which is the
| | 03:34 | other male voice.
| | 03:35 | (Audio Playing)
Now wait just a minute.
| | 03:37 | And we can select it, and go to the
Edit menu, and choose Paste Effects, and the
| | 03:43 | shortcut for that is Option+Command+V.
What that has done is pasted the Pitch
| | 03:48 | effect that we applied to the
first clip, to this third clip.
| | 03:51 | (Audio Playing)
Male Voice: Now wait just a minute.
| | 03:54 | Diana Weynand: Now we do the same
thing for the woman's voice.
| | 03:57 | (Audio Playing)
Don't worry. It's safe.
| | 04:00 | So select it in the timeline,
and then double-click Pitch in the
| | 04:04 | Effects browser.
| | 04:06 | This time we want to raise the pitch.
| | 04:10 | (Audio Playing)
High Pitch Voice: Don't worry. It's safe.
| | 04:12 | Diana Weynand: Raising it to high or too low
may sound unrealistic, so you have to play with it
| | 04:17 | a little bit to find the best adjustment.
| | 04:19 | (Audio Playing)
High Pitch Voice: Don't worry. It's safe.
| | 04:21 | Diana Weynand: That might seem still a
little bit on the chipmunk side.
| | 04:23 | (Audio Playing)
High Pitch Voice: Don't worry. It's safe.
| | 04:24 | Diana Weynand: But you get the idea, we'll
drag it down just a little bit more so we just
| | 04:30 | bump it up a little bit.
| | 04:31 | (Audio Playing)
Female Voice: Don't worry. It's safe.
| | 04:32 | Diana Weynand: And just as we did before, we
can copy that clip and paste just the effects
| | 04:38 | portion of it to the last clip in order
to share it with the other female voice.
| | 04:45 | Now when we listen to this we have at
least a variation on the text which might
| | 04:50 | help make it a little bit believable.
| | 04:52 | Let's take a look.
| | 04:53 | (Audio Playing)
Male Voice: Where's the money?
| | 04:57 | Female Voice: Don't worry. It's safe.
| | 05:00 | Male Voice: Now wait just a minute.
| | 05:03 | Female Voice: No you wait. I'm running
this show.
| | 05:06 | Diana Weynand: And you can always trim and adjust
and pull things a little tighter to make it a
| | 05:10 | little bit easier to follow so
that it doesn't stall in between.
| | 05:15 | It might not add anything to your audio
storyboard to change the voice or pitch
| | 05:20 | of the narration, or the character's line,
but on the other hand it might be a
| | 05:24 | great way to sell the text or the script.
| | Collapse this transcript |
| Adding sound effects to create depth| 00:00 | What if I told you there's more you
can do to a stick figure scene than
| | 00:04 | alter the voices?
| | 00:05 | That's right;
| | 00:06 | the last step in selling the stick
figure scene is adding sound effects to it.
| | 00:10 | And once you hear how much depth and
interest sound effects can add to a scene,
| | 00:14 | I'm sure you will look for places to
add them in the scenes that you used real
| | 00:17 | people, even real people documentaries.
| | 00:21 | In the Project Library, let's
open the Sound Effects project.
| | 00:27 | Now this project contains the work
that's been done so far; to add text and to
| | 00:33 | record a voice over, even to add or
change pitch to the recorded sound.
| | 00:39 | Let's go to our Event Library because
when we work with sound effects, it's not
| | 00:42 | a bad idea to create another Keyword
Collection and call it sound effects, or
| | 00:48 | SFX, that way whatever sound effects we
find that we like we can drag them into
| | 00:53 | the keyword collection and we may find
a place to use them at another location
| | 00:57 | in the project.
| | 00:59 | In order to look for, or shop for
sound effects, we want to go to the
| | 01:03 | Media Browser.
| | 01:04 | And you're going to want to go to the
particular browser that has the musical
| | 01:07 | notes, this is the Music and
Sound browser and it has a couple of
| | 01:11 | different options.
| | 01:12 | We are going to want to look into the
Final Cut Pro Sound Effects, and once you
| | 01:16 | select that, you can drag the little
button up so that gives you more room to
| | 01:20 | shop or screen to particular options.
| | 01:22 | I have done a little prescreening,
you can go in and look at some of them
| | 01:26 | yourself, or you can click in the
Search field and type the word city.
| | 01:31 | Since we've already established that
there's a distant city in the background,
| | 01:34 | it might be helpful to have a sound
of the city in the distant background.
| | 01:38 | So if we look at the different cities
we see some Traffic City, and to listen to
| | 01:42 | these, you can just simply click
and play by pressing the Spacebar.
| | 01:46 | (Audio Playing)
| | 01:49 | Or you can use the Play and Pause
button next to the Search field.
| | 01:53 | So let's take a look at Traffic City 03.
| | 01:56 | (Audio Playing)
| | 02:02 | And number 4.
| | 02:03 | (Audio Playing)
| | 02:07 | Number 3 had a little
bit more of a mellow sound.
| | 02:09 | And since this is going to be in
the distance, that might work well for
| | 02:12 | this particular project.
| | 02:14 | So let's go ahead and drag this
particular sound effect from the browser into
| | 02:19 | the Event Library and into the Sound
Effects keyword collection. And here we have
| | 02:24 | that particular sound effect
that we can listen to here as well.
| | 02:27 | (Audio Playing)
| | 02:33 | Now it's somewhat of a static
sound effect, but we can add to it.
| | 02:36 | Let's go back to the Search field in
the browser and type dog, every good city
| | 02:40 | needs a dog sound, and let's see if
there are some dog barks that we might like.
| | 02:46 | Let's listen to Dog Bark Large 2.
| | 02:49 | (Audio Playing)
| | 02:51 | And Large 3.
| | 02:52 | (Audio Playing)
| | 02:54 | Oh yeah, let's go for the big dog, okay.
| | 02:56 | So we'll drag that into the Sound
Effects keyword collection, and again we have
| | 03:01 | the dog barking as a new clip.
| | 03:03 | (Audio Playing)
| | 03:08 | Now if we want to edit those two
particular sound effects to the length of the
| | 03:13 | project, we can mark an in
and out around the project.
| | 03:16 | So let's go ahead and close this Sound
browser, and mark an in at the beginning,
| | 03:23 | and mark an out at the end, and select
the Traffic and go ahead and connect that
| | 03:32 | to the particular project.
| | 03:35 | We now in the timeline have that
particular sound effect clip matching precisely
| | 03:40 | the length of the video
in the primary storyline.
| | 03:44 | So we can do the same
thing again with the dog sound.
| | 03:47 | So let's go ahead and just mark an
out at that point, and mark an in at
| | 03:51 | the beginning.
| | 03:52 | If you'll notice, when you use the
in and the out, that creates the range
| | 03:56 | selection around that group.
| | 03:57 | You can also create a range selection by
using the Range Selection tool, and just
| | 04:02 | dragging as far as you need to create
the selection that you want to identify.
| | 04:08 | This time, let's go ahead
and connect the Dog clip.
| | 04:14 | Now since we are getting some extra clips,
I am going to go ahead and change how
| | 04:18 | I view my Clip Appearance, so that I
can see more clips, and I'm going to make
| | 04:24 | the Clip Height a little smaller, but
that makes the audio too small, I can't
| | 04:29 | adjust the volume quite as easily.
| | 04:31 | I am going to try a different approach.
| | 04:33 | I am going to make the audio
waveforms a little taller, so we can more
| | 04:37 | easily adjust the volume.
| | 04:40 | Now if we scroll down, we see that we
have the voiceover clips and we have the
| | 04:45 | city traffic and the dog barking.
| | 04:48 | Let's go ahead and get our Select tool.
| | 04:50 | We know we want these to be in the background.
| | 04:52 | So let's go ahead and drag them down.
| | 04:54 | I am going to go down to about -11
to see, and the Dog Bark down to about
| | 04:59 | the same level.
| | 05:00 | Let's see if that works for
us as we look into the viewer.
| | 05:03 | (Audio Playing)
| | 05:12 | Now because they're inside and these
sounds are sort of competing a little bit
| | 05:16 | with the dialog, you might want to
bring that volume down even more, and so if
| | 05:22 | you take it down to maybe about -25,
and the dog barking may become too
| | 05:27 | incessant, in which case you can simply
take the Range Selection tool, drag over
| | 05:33 | a portion of it and drag that part
of the volume down almost to nothing.
| | 05:37 | That will seem like the dog
has stopped for a little while.
| | 05:40 | (Audio Playing)
| | 05:53 | So you can play with this and decide if
you want the dog at all or if you want
| | 05:58 | just some of it at certain
parts, but it's your choice.
| | 06:01 | The important thing is to go ahead
and add a few sound effects to something
| | 06:07 | like this because, sometimes just
hearing one particular sound, sounds a little
| | 06:12 | bit flat.
| | 06:13 | And don't forget that you can add sound
effects in your documentary to beef up a
| | 06:20 | little bit more of the natural
sound that might already be there.
| | 06:24 | So although you're working on a stick
figure scene in this audio and video
| | 06:28 | storyboard, adding sound effects to
any scene can really make a difference.
| | 06:33 | Talk about selling a shot, you can sell
an entire scene in your story, so don't
| | 06:37 | forget them, they are a valuable
resource for any type of story.
| | Collapse this transcript |
|
|
7. Embellishing Your StoryEmbellishing the story with cutaways to B-roll footage| 00:00 | At this stage of your storytelling
process, you're well on your way to
| | 00:03 | constructing a story of interest, a
story that has a beginning, middle and end.
| | 00:08 | Typically, the base of that story is
the sound bed, edited from the interview
| | 00:12 | footage or possibly a narration.
| | 00:15 | But once you have extracted the ums
and ahs to create your story's sound bed,
| | 00:19 | you are going to need to cover those
jarring edit points with a cutaway.
| | 00:23 | And this is where your B-
roll footage will come in handy.
| | 00:26 | In the Project Library
let's open the Cutaways project.
| | 00:29 | In this project, you'll find some
familiar clips of Paul, and at the end of the
| | 00:35 | project, you will see a group of clips
that will be especially familiar since
| | 00:39 | you worked very hard on
them in a previous movie.
| | 00:41 | Let's take a listen.
| | 00:42 | (Video Playing)
Paul: If people love their coffee
| | 00:44 | trees, then the coffee trees are going
to be taken care of.
| | 00:48 | Diana Weynand: So if you'll remember, these cuts
were important to help move the story along and
| | 00:53 | at the time we did them, we knew we
were going to have to cover these edit
| | 00:57 | points with a cutaway because
otherwise it would be too visually jarring.
| | 01:01 | So we'll get to that in just a minute.
| | 01:03 | Let's take a look at the clips
at the beginning of the project.
| | 01:06 | (Video Playing)
Paul: Here at Thanksgiving Coffee Company
| | 01:08 | we've learned to focus on the people.
If they could --
| | 01:12 | Diana Weynand: Well, that's all we need to look
at for right now, because what you'll see is
| | 01:17 | that we have two problems, let's skim
through the first clip and we see that
| | 01:21 | we have a medium wide shot of
Paul sitting in front of his company,
| | 01:24 | Thanksgiving Coffee.
| | 01:25 | If we skim to the next clip, we see
we have more of a medium close-up shot.
| | 01:29 | So the camera framing changed between them.
| | 01:32 | Now that happens all the time in an
interview, the only problem is when you
| | 01:35 | edit the clips together, they will be
visually jarring, and you want to avoid
| | 01:40 | that if you can.
| | 01:42 | The other thing is audio, let's
listen to the audio at the edit point.
| | 01:45 | (Video Playing)
Paul: Here at Thanksgiving Coffee Company
| | 01:47 | we've learned to focus on the people.
If they could form a co-operative based
| | 01:52 | on peace between three warring religions --
| | 01:57 | Diana Weynand: So let's go back and just focus
on just the edit point and listen again if you
| | 02:01 | need to close your eyes to see
whether or not it sounds natural.
| | 02:05 | (Video Playing)
Paul: to focus on the people.
| | 02:06 | If they could --
| | 02:08 | Diana Weynand: To me it doesn't, it sounds too
abrupt, and it sort of gives away that you cut
| | 02:12 | something out in between.
| | 02:15 | So we want to try to sell the cut
and make it sound just simply more
| | 02:19 | interesting, appealing, natural, so
that the viewer is not distracted by the
| | 02:23 | actual cut, and can focus more on
the story that Paul is telling.
| | 02:28 | So let's move the playhead to the
edit point, and what we are going to do is
| | 02:31 | create a little space in
between by inserting a gap.
| | 02:34 | You can also use the shortcut Option+W.
Now the default gap is three seconds, but
| | 02:41 | you can trim that, just as you would a clip.
| | 02:43 | And if we trim it down to maybe even
just a second that may give us just the
| | 02:47 | beat we need to make this a
little bit more believable.
| | 02:50 | (Video Playing)
Paul: Here at Thanksgiving Coffee Company
| | 02:53 | we've learned to focus on the people. If they
could for a co-operative based --
| | 02:59 | Diana Weynand: Well, at this point, that may
certainly help, but we won't know until we do the
| | 03:03 | very important next step of actually
adding the cutaway to cover this blank
| | 03:08 | space in between them now.
| | 03:10 | So what we want to do is go ahead and
leave the Paul clip at the beginning as is,
| | 03:15 | because here he's introducing himself,
who he is, what company he is with, and
| | 03:19 | then we can go away to a cutaway shot.
| | 03:21 | (Video Playing)
Paul: Here at Thanksgiving Coffee Company
| | 03:24 | we've learned to focus on the people.
| | 03:26 | Diana Weynand: So at this point, and we can move
the playhead directly to the end of that clip,
| | 03:30 | we'll go to our B-Roll footage, and
when we take a look at the B-Roll footage,
| | 03:34 | let's look for the hand shake clip.
| | 03:36 | There's the hand shake clip, and at this
point you have two choices, you can use
| | 03:41 | the clips in the project as a reference
point for length, or you can mark a clip
| | 03:47 | in the Event Browser.
| | 03:48 | Well, let's go ahead on this
clip and mark it in the Event Browser.
| | 03:52 | And if we want to come into the clip, not
at the very beginning when the man is
| | 03:56 | leaning, but perhaps a little bit
further in, just before he reaches his hand
| | 04:01 | out, we can move to that point and
press I to mark an in point, which starts
| | 04:06 | our Range Selection.
| | 04:07 | We let the clip play, we see the shake,
which is really quite a beautiful shake.
| | 04:13 | (Video Playing)
| | 04:16 | And then the clip continues with
some people talking, there is JJ in the
| | 04:19 | background reaching his hand; that
becomes distracting, it takes us away from the
| | 04:23 | important action in this clip
which is simply the hand shake.
| | 04:27 | So I am going to play backwards and
mark an out point where the hand
| | 04:32 | shake actually stops.
| | 04:34 | (Video Playing)
| | 04:39 | When I mark an out, it creates a
Range Selection around just the portion I
| | 04:42 | want to use.
| | 04:43 | Now again, that's not in reference to
anything here so we'll see how it works.
| | 04:48 | Well, with the playhead on the gap
we can simply say connect this clip.
| | 04:54 | Remember you can connect a clip to a
gap, just as it will connect to any
| | 04:58 | other clip.
| | 04:59 | Let's see how this plays over the two clips.
| | 05:01 | (Video Playing)
Paul: Here at Thanksgiving Coffee Company
| | 05:03 | we've learned to focus on the people. If they
could form a co-operative based on peace
| | 05:09 | between three warring religions --
| | 05:13 | Diana Weynand: So that works pretty well to
cover this gap, and then you can ask yourself was
| | 05:17 | it a long enough gap to take your
mind off the fact that these two clips were
| | 05:21 | not actually real-time clips?
| | 05:23 | (Video Playing)
Paul: If they could form a co-operative --
| | 05:28 | Diana Weynand: Then if you want to adjust this
and see a little bit more of the hand shake
| | 05:31 | before you hear Paul talk, no
worries just simply adjust the gap itself.
| | 05:36 | Well, let's take a look at the clips
at the end of this project that you'd
| | 05:41 | worked so hard to edit, and this time
let's take the approach of making it more
| | 05:46 | important to cover this group of clips,
than to choose a particular length from
| | 05:52 | a source clip in the Event Browser.
| | 05:54 | Now if we simply select a clip, and
let's zoom into this area because I think
| | 05:58 | it's important to see what happens.
| | 06:00 | When you select any clip, it
becomes selected with the yellow outline.
| | 06:05 | But that's different than
actually creating a Range Selection;
| | 06:09 | I want to give you an example.
| | 06:10 | Let's say that we want to edit from
the Coffee Growing clips, the clip called
| | 06:15 | pouring beans, and if we just skim
through this we see that that's the roasted
| | 06:19 | beans being poured and then
hands sort of moving through them.
| | 06:24 | So we are going to just simply
select that clip, and press Q or click the
| | 06:30 | Connect button.
| | 06:31 | Wow!
| | 06:32 | I have to press Shift+Z in the
timeline now to see what all happened.
| | 06:36 | Well, first of all when you do that,
Final Cut Pro totally ignored that we had
| | 06:41 | selected that clip, so I am going to undo.
| | 06:43 | If you do want to pay attention to
a particular length in the timeline,
| | 06:48 | you can't do it by simply selecting a
clip, you have to instead either use
| | 06:53 | the in and the out to start a Range
Selection, or to use the Range Selection
| | 06:57 | tool itself.
| | 06:58 | When you do that and drag over these
first few clips, well then notice that the
| | 07:03 | selection is a little different,
it's got these handles on it.
| | 07:06 | Now if we put the playhead somewhere in
the middle of this Range Selection and
| | 07:10 | make sure we have the appropriate clip
selected, now when we press Q to connect
| | 07:14 | the clip, notice it connects the clip
directly over those three clips for the
| | 07:19 | full length of the actual
selection, and it will cover these clips.
| | 07:23 | Okay, so let's take a look at
this and see how this looks.
| | 07:26 | (Video Playing)
| | 07:32 | So we have some work to do lowering
the volume and we'll do that in the
| | 07:35 | next movie.
| | 07:36 | What I want to focus on is the actual
selection of content from this clip.
| | 07:41 | When we skimmed before through this
full-length clip, there was another
| | 07:44 | portion of it that I quite liked and
thought it would be nice to put over
| | 07:48 | these three clips.
| | 07:49 | We have already got the
right length in the timeline;
| | 07:52 | we just need a different
selection from this clip.
| | 07:55 | Well, that's no problem and
it's a very easy change to make.
| | 07:58 | We simply choose the Trim tool, and move
the pointer over the middle of the clip
| | 08:04 | to see the Slip tool, click and drag left.
| | 08:07 | As you drag left, you are bringing
frames from the clip into the active
| | 08:12 | clip area.
| | 08:13 | And when you play, you see that you're
still pouring beans at the beginning of
| | 08:17 | the clip and you don't see much
of the hands action at the end.
| | 08:21 | So you'd simply drag left again to
bring more of those later frames into
| | 08:25 | this clip.
| | 08:26 | (Video Playing)
| | 08:27 | And now we see that this clip is
more of the hands on the beans than
| | 08:31 | the pouring.
| | 08:32 | So again, we have more work to do, but
in this stage, simply knowing that you can
| | 08:37 | either choose the length of a cutaway by
marking that clip in the Event Browser,
| | 08:42 | but you can also select a range of
material in the timeline in order to mind
| | 08:49 | that when you connect a clip.
| | 08:52 | In a way, adding clips to a primary
storyline is like playing dress-up.
| | 08:55 | It's accessorizing your story with pretty,
yet meaningful pictures, that tell a rich
| | 09:00 | and colorful story all their own.
| | Collapse this transcript |
| Finessing cutaways to enhance the story| 00:00 | Cutaways are great. They add visual
interest and spark to your story, and cover
| | 00:04 | the slew of edits after removing
the ums and ahs of someone on camera.
| | 00:09 | But they'll put the fire out of your
story if you let them overpower the
| | 00:12 | person that's talking, or choose a
visual that actually takes you out of the
| | 00:16 | story all together.
| | 00:18 | In the Project Library, open
the Finessing project.
| | 00:21 | This is where we left off
from the previous movie.
| | 00:23 | We have cutaways, but some of those
cutaways are a little loud and we can't
| | 00:27 | always hear Paul, who of course is
the primary storyteller in these clips.
| | 00:32 | Let's listen from the beginning.
| | 00:33 | (Video Playing)
Paul: Here at Thanksgiving Coffee Company
| | 00:35 | we've learned to focus on the people.
| | 00:42 | Diana Weynand: When Paul begins talking in the
second clip, we can't hear him at all.
| | 00:45 | Let's zoom into this area so we
can see how we can fix this best.
| | 00:49 | Now it's not objectionable to hear the
background sound of a cutaway when no
| | 00:54 | one else is speaking, but when
somebody does start to speak, that's when we
| | 00:58 | need to lower the volume.
| | 00:59 | So a great way to select this
particular range, of course is with the Range
| | 01:04 | tool, so simply pressing R brings that tool up.
| | 01:07 | We select the range, go back to our
Selection tool and lower the volume of
| | 01:11 | that area.
| | 01:13 | Now the typical background volume
is around -18 dB, depending on the
| | 01:18 | original volume of the clip.
| | 01:20 | Let's see if this corrected it.
| | 01:21 | (Video Playing)
| | 01:24 | Paul: If they could form a co-operative based
on --
| | 01:28 | Diana Weynand: It helped, but it wasn't
quite enough.
| | 01:29 | So if we expand that selection a
little bit more, we might need to move the
| | 01:34 | keyframes a little bit, but
let's see if this adjustment helps.
| | 01:39 | (Video Playing)
| | 01:41 | Paul: If they could form a co-operative based
on peace between three warring religions --
| | 01:48 | Diana Weynand: Well, that helped quite a bit
actually, we can hear what they're saying.
| | 01:52 | In this Kawomera sign, we hear
something going on in the background and I
| | 01:56 | find it distracting.
| | 01:57 | So I am just going to simply drag
that volume down a little bit to see if
| | 02:01 | that helps.
| | 02:02 | Now let's listen to these clips.
| | 02:04 | (Video Playing)
| | 02:07 | Paul: If they could form a co-operative based
on peace between three warring religions
| | 02:15 | in the world, then --
| | 02:17 | Diana Weynand: That helped a little bit and don't
forget when you've got keyframes, you can
| | 02:21 | drag them left or right to fine tune
or finesse where the audio fades and
| | 02:26 | how fast it fades.
| | 02:28 | Now if you remember from the very
beginning of the clip, you hear that this sound
| | 02:31 | starts a little bit abruptly.
| | 02:33 | (Video Playing)
| | 02:35 | Maybe more than a little
bit, but that's no problem.
| | 02:38 | When you zoom in and move your pointer
to the beginning of the clip, you see
| | 02:41 | the little fade handle, and when you
move your pointer directly over it, you get
| | 02:45 | left and right arrows.
| | 02:47 | I can simply drag this fade handle in
and notice it's creating a fade up of the
| | 02:52 | audio, see if that helps.
| | 02:54 | (Video Playing)
| | 02:57 | Paul: If they could form a co-operative --
| | 03:00 | Diana Weynand: And you can continue fiddling, maybe
bring down the middle audio a little bit,
| | 03:04 | as you go along.
| | 03:05 | If the end of the Kawomera sign is in
anyway distracting, you might want to
| | 03:10 | fade that out as well.
| | 03:12 | So it's seamless when you hear it.
| | 03:13 | (Video Playing)
| | 03:18 | So there's a lot of fiddling that goes
on, and a lot of finessing, but it does
| | 03:22 | make a very big difference.
| | 03:24 | Let's look at the next
cutaway area and zoom into it.
| | 03:27 | Simply seeing all of the yellow and
the red peaks there tells me that we're
| | 03:31 | way too high.
| | 03:32 | So I am going to immediately drag
down into a -20 dB area, and let's see if
| | 03:38 | that helps.
| | 03:39 | (Video Playing)
Paul: When you see all these pieces
| | 03:40 | come together, and you know that the
one thing that's missing is you.
| | 03:44 | Female Speaker: That's a nice smell
| | 03:45 | Paul: And the story --
| | 03:46 | Diana Weynand: Now this is that cutaway where
we hear the woman at the end of the clip say,
| | 03:50 | this is a nice smell.
| | 03:52 | So we have a couple of things we may
need to do to make this cutaway work;
| | 03:56 | one is we might want to fade in to
make it a nice smooth entrance, and the
| | 04:00 | other is that we might want to raise
the volume where Paul stops talking so we
| | 04:05 | can hear her line.
| | 04:07 | (Video Playing)
| | 04:08 | So it's somewhere right in here.
| | 04:10 | So I am going to go ahead and just
drag a selection over this area, and again
| | 04:14 | zoom in whenever you feel like
you're crowded by the width of the clip.
| | 04:18 | Now with the Selection tool, I am going
to simply drag up a little bit, doesn't
| | 04:22 | need to be as loud as Paul.
| | 04:23 | Let's see if this helps.
| | 04:25 | (Video Playing)
Paul: When you see all these pieces
| | 04:26 | come together, and you know that the
one thing that's missing is you.
| | 04:30 | Female Speaker: That's a nice smell
| | 04:31 | Paul: And the story has come to you --
| | 04:33 | Diana Weynand: So that really adds
something to this particular area.
| | 04:36 | If you'll notice later at the end of
this project, are the clips of Paul that
| | 04:40 | we edited together.
| | 04:41 | You can apply the same techniques, zoom
in, use the fade handles to fade in and
| | 04:47 | out of the audio, drag the volume line
down, and if necessary during audio breaks
| | 04:52 | of Paul's clips, raise the
volume of the cutaway clip.
| | 04:55 | Cutaways are your friends, but make sure
you treat them right by giving them the
| | 04:59 | care and attention they
need to enhance your story.
| | Collapse this transcript |
| Editing and arranging a still-image storyline| 00:00 | Taking still photos at a video shoot
might seem a little redundant, but I
| | 00:04 | believe our eyes see differently
through a still camera than a video camera.
| | 00:08 | Since you are not recording sound, you
have to look more closely to determine
| | 00:11 | what the image is saying, and
still images can be powerful.
| | 00:14 | Just ask a photojournalist, they can
tell very compelling stories simply by
| | 00:18 | using still images and an
audio recording of someone talking.
| | 00:22 | As part of a video project though,
stills can add a needed pause or an extra
| | 00:26 | dimension to your story.
| | 00:28 | In the Project Library
let's open the Stills project.
| | 00:31 | This is an empty project.
| | 00:33 | And remember in order to edit
something like stills or audio we are going to
| | 00:37 | first need to edit a video
clip to establish the settings.
| | 00:41 | Let's edit a clip from our Music selection.
| | 00:44 | We have different clips.
| | 00:45 | We have drumming, and kids playing
xylophone, but we also have this lovely clip
| | 00:49 | of kids singing and clapping together.
| | 00:51 | Let's edit this into the timeline.
| | 00:54 | Editing that clip now sets the
settings for the entire project.
| | 00:57 | Let's take a listen.
| | 00:58 | (Video Playing)
| | 01:04 | Well, as we have talked about throughout
this course, it's always a good idea to
| | 01:07 | adjust volume so that it's not
overpowering, no matter what you do or how
| | 01:12 | you're using it.
| | 01:13 | So we can adjust volume, we can also
edit or trim the beginning of this, so it
| | 01:17 | starts when they begin the new phrase of music.
| | 01:20 | (Video Playing)
| | 01:22 | Let's trim that, and let's drag the
fader so that we fade in a little
| | 01:25 | more gently.
| | 01:26 | (Video Playing)
| | 01:33 | Now this clip is really going to be
the heartbeat, but not so much because of
| | 01:37 | the visual, although that little boy
is adorable, we are going to add stills
| | 01:41 | over this music.
| | 01:42 | But we also want another component
to build a little more complexity.
| | 01:46 | So for that, let's go our Interviews
keyword collection, and let's edit the
| | 01:50 | section of Paul where he talks
about the love of trees and family.
| | 01:55 | (Video Playing)
Paul: If people love their trees
| | 01:59 | their coffee trees, then the coffee trees
are going to be taken care of.
| | 02:06 | Diana Weynand: This might be a really good layer to
blend in with this particular project.
| | 02:10 | So we've selected Paul.
| | 02:12 | Let's move our playhead back to the
beginning and connect Paul to this
| | 02:16 | primary storyline.
| | 02:17 | Now that's fine, but we
don't really want to see Paul.
| | 02:20 | We could leave these clips as they are
and put the stills above it, but I am
| | 02:24 | going to prefer to drag Paul beneath
the primary storyline because we're only
| | 02:29 | ever going to hear him speak here.
| | 02:31 | That will allow us to use the music
group on the primary storyline and edit
| | 02:35 | stills above it.
| | 02:37 | Let's go ahead and move our playhead
to the beginning, and take a look at some
| | 02:40 | stills that we might be able to use to
tell the story of love for family. And
| | 02:45 | since we're hearing a music
selection with kids singing and playing, let's
| | 02:49 | look for clips of kids.
| | 02:51 | Here is a great shot of the kids
standing next to the Kawomera sign.
| | 02:55 | So let's connect that clip to the project.
| | 02:57 | Let's look for other images of the kids.
| | 03:00 | Here is a beautiful shot of the boy on the rock.
| | 03:02 | So let's edit that.
| | 03:03 | And as we are editing, we're connecting.
| | 03:05 | Here is an image of a classroom and a teacher.
| | 03:11 | Here's a nice shot of
the kids on the xylophone.
| | 03:13 | Here is another great shot
of kids in the classroom.
| | 03:18 | And here is a beautiful shot of a
teacher at a blackboard, and I am going to
| | 03:21 | press Shift+Z so we can see everything in
the timeline, and it's not a bad
| | 03:25 | idea to perhaps change the Clip Height
so that we can see all of these clips
| | 03:30 | together.
| | 03:31 | What we're seeing is three layers.
| | 03:33 | We have three layers going on
that are going to create a little bit
| | 03:36 | of complexity.
| | 03:37 | We have the still images of all the clips,
we have the kids playing music and we
| | 03:41 | have Paul talking about the
love of coffee and community.
| | 03:45 | We are going to want to do a few things here.
| | 03:47 | First of all, we might
want to put these in order.
| | 03:50 | I think this boy in the rock
is a great shot to start with.
| | 03:53 | So if I reposition the boy
on the rock, watch what happens.
| | 03:57 | Because it's a connected clip, it
wants to be placed above the first clip.
| | 04:01 | So I am going to undo that.
| | 04:03 | You can't move clips around like you
would in the primary storyline unless you
| | 04:08 | either make a storyline of these
clips, or make a compound clip out of them.
| | 04:13 | Let's select these clips and make a
compound clip of this group of clips.
| | 04:18 | Now you have one clip that can be selected
and moved, and one connection point to
| | 04:24 | the primary storyline.
| | 04:25 | To edit this, simply double-click and
now you see a timeline that contains
| | 04:29 | just those still images, and those
still images are on a primary storyline of
| | 04:34 | their own.
| | 04:35 | Now we can take that boy on the rock
and position it to the head of this
| | 04:39 | particular compound clip, which at the
moment is acting like its own project.
| | 04:44 | So let's go ahead and put these in a
particular order, you might have an
| | 04:47 | order that you like.
| | 04:48 | I am going to start with the boy on the
rock and then go the kids drumming, and
| | 04:52 | then I'm going to bring the students in.
| | 04:54 | I like ending with the kids in
the Kawomera sign, that's meaningful.
| | 04:58 | So we have students, let's put the
teacher in the middle here, and then coming
| | 05:02 | back to the classroom with a different teacher.
| | 05:05 | So we've positioned the clips.
| | 05:06 | Now we can go back.
| | 05:07 | And a shortcut for going back to the
previous project that's been opened, is
| | 05:11 | Command+Left bracket, and now you see
the changes that you made and you see the
| | 05:16 | order that they appear.
| | 05:17 | Let's listen to this.
| | 05:18 | (Video Playing)
| | 05:22 | And right away I have to stop because
the music volume is too loud for me to
| | 05:26 | concentrate on what Paul is saying.
| | 05:29 | So I lower the volume and play again.
| | 05:30 | (Video Playing)
Paul: If people love their trees,
| | 05:34 | their coffee trees, then the coffee trees
are going to be taken care of.
| | 05:41 | And the trees have to produce food, clothing,
shelter, healthcare, and education for their
| | 05:46 | families and their communities.
| | 05:49 | Diana Weynand: Well, as you can see we've
got something going here.
| | 05:52 | It's not finished yet. These still
images begged to be zoomed in on and we'll
| | 05:56 | do that in another movie, and there
are some other things that we can do to
| | 05:59 | finesse this.
| | 06:00 | But as a concept, it really is
working to pull these stills together.
| | 06:04 | Still images can capture expressions
that are often too fleeting in video.
| | 06:09 | They are especially powerful when
they capture the amazing looks on
| | 06:12 | children's faces.
| | 06:13 | So don't forget to integrate stills
into your video project, or better yet
| | 06:17 | experiment with creating a
stills and audio project.
| | Collapse this transcript |
| Applying the Ken Burns effect to still images| 00:00 | So did you take the stills plunge and
find a place for them in your story or did
| | 00:04 | you decide to put your photojournalist
cap on and edit an entire piece using
| | 00:08 | just stills and audio?
| | 00:10 | Whenever you do decide to use
stills, you don't have to sit still on
| | 00:14 | them forever.
| | 00:15 | You can easily heighten the dramatic
effect of an image or a portion of an image
| | 00:19 | by zooming in or out on it.
| | 00:21 | You'll use motion effects to do that,
in Final Cut Pro X, it's called
| | 00:25 | the Ken Burns effect.
| | 00:26 | In the Project Library let's
open the Moving Stills project.
| | 00:30 | If you remember from the previous
movie, we created a compound clip that
| | 00:33 | contains six different still images.
| | 00:36 | At the moment, some of them don't even
fill the frame and you see what's behind
| | 00:41 | them, which in this case is Paul.
| | 00:43 | We also have the music, and we're
going to combine these things together to
| | 00:47 | make a very interesting story, but
first we have to make changes to those still
| | 00:50 | images.
| | 00:51 | To do that, we double-click the
Compound Clip to open them in a
| | 00:54 | separate timeline.
| | 00:56 | The first thing we want to do is
select the clip that we want to work on, and
| | 00:59 | we'll start at the
beginning with the boy on the rock.
| | 01:01 | Then we choose the type of
transformation, which is crop.
| | 01:04 | Now crop happens to have
three different possibilities.
| | 01:07 | The first type of crop, which is Trim,
allows you to drag an edge to remove
| | 01:13 | certain pixels from the image.
| | 01:15 | I am going to undo that because we
want to use or at least start with all the
| | 01:18 | pixels in this image.
| | 01:20 | The second crop option brings up a
frame in your image that represents the
| | 01:24 | aspect ratio of your project.
| | 01:26 | You have the choice then of
resizing the image, but maintaining the
| | 01:31 | aspect ratio.
| | 01:33 | By moving that over the portion of the
clip you want, you would now see this as
| | 01:37 | a still image, but
cropped in this particular way.
| | 01:40 | I am going to undo those options, and
the next thing I want to do is show you
| | 01:44 | the third option, which is what we're
going to use to apply moves on these still
| | 01:48 | images.
| | 01:49 | The Ken Burns effect brings
up two different framings;
| | 01:53 | one is the red framing, which represents
the end of the zoom, and the green
| | 01:58 | framing represents where you are
going to start the zoom, and notice you see
| | 02:01 | Start and End next to those frames.
| | 02:04 | Well, let's go ahead and leave the
starting frame as it is with the wide shot,
| | 02:08 | but let's click into the End frame and
drag a corner to make that smaller, and
| | 02:13 | then we can click inside and drag down
to reposition this, so that the boy is
| | 02:17 | more centered in the frame.
| | 02:19 | If you don't want to be that tight
and you want to create a little bit more
| | 02:22 | space around the boy, you can
certainly do that, but go ahead and resize, so
| | 02:27 | that the boy is the center focus of this image.
| | 02:30 | While you're in the Crop mode, you
have the ability to preview this motion
| | 02:34 | effect, and we see the zoom in to the boy,
just as though the camera were zooming in.
| | 02:39 | This allows you to direct the focus
and attention of your viewer to this boy.
| | 02:44 | It's allowing you to make
a statement about this boy.
| | 02:47 | The other thing you can try is swapping
the framing, where you might start with
| | 02:53 | where you were ending up, and then end
up where you were originally starting.
| | 02:56 | Let's preview that effect.
| | 03:00 | We see the boy is sitting on rock, we
zoom out to see the pastoral scene that
| | 03:04 | he is sitting in.
| | 03:05 | You might like that better.
| | 03:07 | For now, let's swap those back to what
we started with because the purpose of
| | 03:12 | this particular project is to focus
in on the children of the community.
| | 03:17 | So we'll leave that one as it is.
| | 03:19 | If you're finished, you say Done.
| | 03:21 | Then we can continue, and what you're
doing is simply choosing Crop, choosing
| | 03:26 | the Ken Burns type of crop, and then
choosing where you want to start and end
| | 03:31 | each motion effect.
| | 03:33 | So in this case, we could start with a
little bit of a wider shot to include
| | 03:36 | more of the kids that are in the shot,
but then we might want to end around the
| | 03:41 | boy who is so intently playing the xylophone.
| | 03:45 | Do you want to include
the sticks in the xylophone?
| | 03:47 | Is that important? Or is the look on
the boy's face what you're after?
| | 03:52 | You can choose, as a storyteller,
that's one of the choices that you make.
| | 03:55 | So once you get familiar with the
process of what you're doing and how this
| | 04:00 | effect works, you can fairly
quickly create some interesting effects.
| | 04:04 | If we wanted to just zoom in to the group
of children in the middle of the frame,
| | 04:08 | we can just crop and
reposition our End frame and click Done.
| | 04:13 | The teacher is quite a beautiful image.
| | 04:16 | If we go into Crop > Ken Burns, we are
going to reposition the start and make
| | 04:22 | this starting position a little wider,
and we're going to create the end zooming
| | 04:27 | in to the teacher, the
board and one of the students.
| | 04:31 | In the classroom, there is a young
girl who is staring at the camera.
| | 04:35 | We could be zooming into her and some
of the other children that are looking
| | 04:38 | at the cameraman.
| | 04:39 | Notice as we move from one
image to another, the crop stays on.
| | 04:43 | Final Cut is anticipating what you want to do.
| | 04:46 | So we'll just zoom in.
| | 04:48 | We are in fact just using this motion
effect in order to create the effect of
| | 04:53 | zooming in. And then finally we have the
shot of the kids with the Kawomera sign.
| | 04:58 | In this one, let's go ahead and crop,
but this time let's start with a close-up
| | 05:03 | of the sign and a few of the kids,
and then zoom out to the ending frame.
| | 05:08 | But we may not need to be so wide, so go
ahead and reposition and resize however
| | 05:13 | you want to, to tell the story you're telling.
| | 05:16 | Once you have created these zoom ins,
it's nice to add a little touch to smooth
| | 05:21 | them out, and that is transitions.
| | 05:23 | By pressing Command+T you add a
transition to all the selected clips.
| | 05:29 | Now I'll press Command+Left bracket,
and that will take me back to my primary
| | 05:34 | project and here I see the zoom ins.
| | 05:37 | Let's take a look at a few of these
clips to see how effective those zoom ins
| | 05:41 | have made this project.
| | 05:42 | (Video Playing)
Paul: If people love their trees,
| | 05:47 | their coffee trees, then the coffee trees are
going to be taken care of.
| | 05:54 | And the trees have to produce food, clothing,
shelter, healthcare and eduction for their
| | 06:00 | families and their communities in order to be
loved. Otherwise you look at the trees
| | 06:06 | if you are a farmer and you say, these
trees are producing strife, and misery,
| | 06:09 | and poverty, can't love that --
| | 06:11 | Diana Weynand: So zooming in or out of an image
gives you the ability to guide or force your
| | 06:16 | audience to look at something that
they may not have seen, or that isn't that
| | 06:20 | visible in a wider shot.
| | 06:22 | It's a great opportunity to juxtapose
two ideas, one spoken and one visual.
| | 06:27 | So ask yourself, what do you want
your audience to see and then guide them
| | 06:32 | to it.
| | Collapse this transcript |
| Altering your story's "look" using the Color Board| 00:00 | Making your clips look their best
may seem like a technical job, but as a
| | 00:04 | storyteller, it's important to make your
clips look as good as they can so your
| | 00:08 | audience isn't distracted by something as
easy to fix as say, color balance.
| | 00:13 | But there are other ways you can
impact the look and feel of your clips that
| | 00:17 | will support and enhance your story.
| | 00:20 | Let's take a look.
| | 00:22 | In the Project Library,
let's open the Color project.
| | 00:27 | This project contains a clip of Paul
and four cutaways covering a portion to
| | 00:33 | describe a portion of what he's saying.
| | 00:36 | Let's take a look at what he's saying,
and the clips that match his audio.
| | 00:39 | (Video Playing)
Paul: So what was the risk?
| | 00:41 | There was no risk. It was clear. It was
clear that all the pieces of the puzzle
| | 00:46 | were there if you focus on people. If you
focus on product then the risk was incredible,
| | 00:51 | the risk was a seventy five thousand dollar
risk. But when you see all these pieces come
| | 00:56 | together, you know, in a certain kind
of way, and you know that the one thing
| | 01:01 | that's missing is you. And the story
has come to you and you're ready.
| | 01:08 | Diana Weynand: So these are the clips
that we want to consider.
| | 01:11 | Now what happens when you work with
clips over and over to put a story together
| | 01:15 | is that you get used to looking at them
the way they are, and sometimes it dulls
| | 01:21 | your visual sense as to whether or
not they could be made to be any better.
| | 01:26 | For example, let's take a
look at this shot of the beans.
| | 01:30 | Now when we look at it and we see the
mature coffee beans ready for picking, the
| | 01:33 | green leaves, but if we take a closer
look and really dive into the color and
| | 01:39 | examine it from two points of view;
| | 01:41 | one is, is there something that
needs to be fixed? And is there something
| | 01:46 | that can be improved?
| | 01:48 | So to do that, we want to click on the
Inspector button to open the Inspector
| | 01:52 | window, and the first thing that you can
do to answer that question of, can it be
| | 01:57 | fixed, or does it need to be fixed is
to click on the Balance button in the
| | 02:02 | Color section.
| | 02:03 | Simply clicking this Balance enable
box will ask Final Cut Pro to look at it
| | 02:10 | and color balance it.
| | 02:12 | Now I am going to turn it off
because if you didn't notice that's a
| | 02:15 | pretty drastic change.
| | 02:17 | As you have been working with this
clip, you may have gotten really used to
| | 02:21 | seeing this clip as it is, without
realizing that there was a really strong green
| | 02:26 | color cast to it, perhaps a lot of
reflection from the green leaves.
| | 02:31 | So which would you prefer?
| | 02:34 | A little bit muddier, greener on everything,
even the green on the branch, or
| | 02:38 | would you prefer to remove some of
that color cast and start with the image a
| | 02:43 | little bit cleaner in this way.
| | 02:45 | I'm sure you'd agree that this
might be the better clip to start with.
| | 02:48 | Now let's take a look at the next clip;
| | 02:51 | the pounding of the coffee.
| | 02:52 | Now let's go ahead and play this clip.
| | 02:54 | (Video Playing)
| | 02:57 | Now again, we've been seeing this clip
in other movies. We have been working
| | 03:01 | with it and you might not even think
anything of it because frankly I think the
| | 03:06 | director of this documentary, Curt
Fissel, did an excellent job, and the images
| | 03:10 | are beautiful and he captured a lot of
the color of the region. Even the color
| | 03:15 | of the coffee is exceptional.
| | 03:16 | Let's see what happens when we ask
Final Cut to color balance this image.
| | 03:22 | Well, that's quite a change!
| | 03:24 | Once again, would you rather see this,
or this? Would you rather your viewers
| | 03:29 | see this, or this?
| | 03:32 | Now the this or this is
actually a starting point;
| | 03:35 | it's a first step.
| | 03:37 | You might say yeah, well, this
unbalanced one has more richness, more color
| | 03:41 | to it.
| | 03:42 | Well, that's fine, in our second
step of modifying color, we can do that
| | 03:46 | as well;
| | 03:47 | we can increase some of the color.
| | 03:49 | So for now, let's make sure that we
are looking at this clip with the color
| | 03:53 | balance applied, and now let's turn
on a color correction, and go into the
| | 03:59 | Color board.
| | 04:00 | There are three different ways that
you can correct an image for color;
| | 04:05 | one is Exposure, which is
the brightness or darkness;
| | 04:08 | the Saturation, which is simply
the amount of color an image has;
| | 04:12 | and then the actual color, or what
portion of the color wheel or what hue
| | 04:17 | an image has.
| | 04:18 | Well, it's always a good idea to
start with the exposure, which is the
| | 04:22 | brightness and the darkness, and a
great way to increase the contrast in an
| | 04:27 | image is to lower the midrange.
| | 04:30 | And when we do that on this image, we
see that it brings out our little bit of a
| | 04:35 | richer look to the color beans.
| | 04:37 | And the next thing we can do is go to
our Saturation tab, and just raise the
| | 04:43 | Saturation overall for the image.
| | 04:46 | So what that allows us to do is put
back some of the rich saturation in the
| | 04:51 | beans without making the bowl or the
pounding stick the yellow cast that it
| | 04:57 | was previously.
| | 04:59 | Let's take a look at the making coffee clip.
| | 05:02 | This clip looks almost perfect, why
would you change anything about it?
| | 05:06 | So, when we click the making coffee
clip, we don't see any color adjustment
| | 05:10 | applied. That's because we're
looking at the Color Board window.
| | 05:14 | If we click the button in the upper
left corner it takes us back to the Video
| | 05:17 | tab, and at that point we can enable the
color board by clicking on Correction 1.
| | 05:23 | But before we do that, it's always a
good idea to just take a quick look at the
| | 05:27 | color balance to see if you
prefer it unbalanced or balanced.
| | 05:31 | Let's go with the balanced, and we've
already enabled color Correction 1, so now
| | 05:36 | we can just click the forward
arrow to move to the Color Board.
| | 05:39 | Another way to move to the Color Board
is to click the Color pop-up, and choose
| | 05:44 | Color Board, or use th shortcut, Command+6.
| | 05:49 | Here we might want to increase the
contrast by dragging the midrange level down.
| | 05:55 | Notice the further I drag it down the
darker those mid-level pixels become.
| | 06:01 | We don't want it to get too dark,
but notice how it gets really white and
| | 06:04 | cloudy, if we have too much midrange.
| | 06:08 | It's nice to lower the midrange just a
little to increase the contrast of the
| | 06:12 | image. And if we go to the Saturation and
drag the global fader up, and notice how
| | 06:18 | rich the color appears in the rock
around and even the coffee on the coffee pot.
| | 06:25 | Now when we go back to our Video tab,
we can turn the Color Correction button
| | 06:31 | off and on to see if we like
the improvement that you made.
| | 06:37 | So again, I hope you're getting the idea;
| | 06:39 | first thing you want to do is see
whether or not there is a color balance
| | 06:43 | adjustment that could enhance the image.
| | 06:46 | I'm going to buy that for this one as
well, but also I see that this image is a
| | 06:50 | little milky, so let's go in and go to
our Exposure and drag the midrange down to
| | 06:57 | create a little bit
better contrast in the image.
| | 06:59 | Could this image use a little more
saturation to bring out the colors in
| | 07:03 | the back of the truck?
| | 07:04 | Absolutely!
| | 07:05 | So go ahead and raise the
global fader up a little bit.
| | 07:08 | And you can apply the same
sort of adjustment to Paul.
| | 07:12 | If we go back to our Video tab and see
whether or not there is any color cast in
| | 07:17 | this image, wow, well, that's a
different way to look at Paul.
| | 07:21 | You get used to looking at an image.
| | 07:23 | So go ahead and throw that color
balance on, and then go ahead and step into the
| | 07:27 | correction to see if
there's something you can do here.
| | 07:31 | So you might, in this, want to raise a
little bit of the saturation for the
| | 07:35 | whole image and that creates a
richness in both Paul's flesh tones and the
| | 07:40 | building behind him.
| | 07:41 | Well, the development of your story
needs your constant attention, sometimes
| | 07:46 | that attention includes taking a second
look and helping the clips look as good
| | 07:51 | as they can, so they hold
up their part of the story.
| | 07:55 | If you're working in Final Cut X and
want to learn more about these color
| | 07:58 | options, check out the Color
Correction in Final Cut Pro X course with
| | 08:03 | Robbie Carman.
| | Collapse this transcript |
| Applying effects to enhance story elements| 00:00 | Like the Wizard of Oz behind his
giant screen, storytellers also have magic
| | 00:04 | up their sleeves.
| | 00:05 | In the editing stage of a project, the
storyteller can apply an effect to one or
| | 00:09 | more images, and even to sound to
literally direct or certainly influence how an
| | 00:14 | audience might perceive the
words and images in the project.
| | 00:17 | But it's important to be mindful of
what affect the effect has, and not to get
| | 00:22 | swept up in the blustery cartoon aspect of
| | 00:25 | Mr. Oz, unless of course
that's what you're going for.
| | 00:28 | In the Project library,
let's open the Effects project.
| | 00:32 | This is the project that we worked on
in an earlier movie where we combined
| | 00:35 | still images into a compound clip, and
then we added the Ken Burns motion effect
| | 00:41 | in order to create a focus on what we
wanted the audience to see in that image.
| | 00:46 | Certain effects can add to that, they
can help us focus your audience on what
| | 00:51 | you want them to see.
| | 00:52 | So let's take a look at the effects
that we might be able to choose from.
| | 00:56 | First we'll click the Effects
button in the Media browser area, and notice
| | 01:00 | that there are video effects and
different effect categories, and audio effects
| | 01:06 | and those categories.
| | 01:07 | Let's look at the video category called Stylize.
| | 01:11 | Now in order to preview an effect, you
want to make sure that you have selected
| | 01:14 | the clip in the timeline.
| | 01:16 | In this case, we can actually apply
a clip to the entire compound clip.
| | 01:21 | Now if you wanted to apply it directly
to a single clip, to just one of these
| | 01:25 | clips, you would of course have to
double-click the compound clip and open a
| | 01:29 | timeline and then apply
it to a single clip there.
| | 01:32 | But we're going to apply an
effect to the compound clip.
| | 01:36 | So we select the clip in the timeline,
and then move into our Styles area and
| | 01:41 | simply by skimming across a style
thumbnail, we see that style previewed over
| | 01:47 | the clip selected in the timeline.
| | 01:50 | Bad TV, Film Grain, Half Tone.
| | 01:56 | So there are different ways that
you can change the look of this image;
| | 02:01 | some of them may not help you
tell the story of this, and some may.
| | 02:05 | For example, if you skim over the
Photo Recall effect, that has an interesting
| | 02:10 | effect and it seems to add to
what we are trying to create here.
| | 02:13 | We are trying to create a focus around
the individual children and the groups of
| | 02:18 | children in this community,
and this helps us do that.
| | 02:21 | So to apply this effect, let's double-click it.
| | 02:25 | Notice the orange line as it's
being rendered into the effect.
| | 02:29 | With it selected, let's open the
Inspector and take a look at some of
| | 02:33 | the parameters.
| | 02:34 | Notice in the Video tab, we
see the Photo Recall effect.
| | 02:38 | Now if we want to see or change,
modify any of its parameters, click the
| | 02:41 | disclosure triangle, and you see a
combination of faders and selections from
| | 02:46 | pop-ups that we can adjust.
| | 02:48 | An interesting way to look
at this is through the style.
| | 02:51 | Right now, we're seeing the Classic
style, but let's see what happens if we
| | 02:55 | change it to Instant.
| | 02:56 | Now we are looking at a snapshot,
almost like an old Polaroid image.
| | 03:00 | With the circle in the middle of the
image, you can change the position, and you
| | 03:05 | could use this to add additional information.
| | 03:08 | Then use this extra space to put bullet
points up to reinforce either what Paul
| | 03:13 | is saying or to create more
information about the education and that sort of
| | 03:17 | thing, or we can just
reposition this clip back to the middle.
| | 03:21 | Let's do that, and we get the nice
crosshairs to help guide us into that
| | 03:25 | center position.
| | 03:26 | If we want to change the size or
the amount of the frame, this lets us
| | 03:31 | change that.
| | 03:33 | If we want to adjust the Blur, we can
allow the background to drop out even more,
| | 03:37 | if we create more of a blur. And the
Separation will allow us to create more
| | 03:42 | separation by keeping the original
color inside the frame, but losing or
| | 03:46 | adjusting it on the outside.
| | 03:49 | Again, you might want to play with this,
play with different aspects of it, but
| | 03:53 | it does have an affect of helping
us focus on what we're zooming into.
| | 03:57 | Let's take a look at a couple of these images.
| | 03:58 | (Video Playing)
| | 04:15 | Now sometimes you can combine two
effects together and that can even heighten
| | 04:20 | what you're trying to do.
| | 04:22 | In the Video tab, let's collapse this
Photo Recall, and down in the Styles, let's
| | 04:27 | go to the Looks category, and scroll to
the top, if that's not already where you
| | 04:31 | are, and let's just skim over the 50's TV look.
| | 04:35 | This applies sort of a black and
white, it sort of washes out some of the
| | 04:39 | images, let's go ahead and
apply that by double-clicking it.
| | 04:42 | Notice the second effect
appears beneath the first one.
| | 04:46 | The only thing you can do here is
adjust the amount, 0 takes you back to normal,
| | 04:51 | and 100% takes you into a
zone that you may not want to go.
| | 04:55 | And if you want to get back to the original,
simply click the disclosure triangle on the
| | 04:58 | right, and from the pop-up
menu, choose Reset Parameter.
| | 05:01 | Now if we take a look at this.
| | 05:03 | (Video Playing)
| | 05:14 | You could make an argument that by
removing the color from these still images,
| | 05:20 | the viewer focuses more on the faces.
| | 05:23 | That's where my eye goes when I'm not
looking at what someone is wearing, or the
| | 05:27 | color of their hat or the color of their dress.
| | 05:30 | I'm looking at the faces in these images.
| | 05:32 | It depends on what you want
the viewer to be focused on.
| | 05:36 | Effects can turn your familiar footage
into lively eye candy, but keep asking
| | 05:41 | yourself, can the effect impact your
story? Does it bring you and your audience
| | 05:46 | closer to what you're trying to
say, or does it push you away?
| | 05:50 | Can an effect help you tell your story?
| | 05:52 | If yes, use it, but if not
then reconsider applying it.
| | Collapse this transcript |
|
|
8. Moving the Story Along Retiming to lengthen or shorten music and clips| 00:00 | Some say timing is everything, and if
you've ever edited the perfect clip to
| | 00:04 | cover a segment of narration only to
discover it's not long enough to cover it,
| | 00:09 | I'm sure you'd agree.
| | 00:11 | But don't fret and don't go looking
for a different clip, not just yet, trust
| | 00:16 | your instincts and then simply
change the speed of the clip.
| | 00:19 | This technique may not always
work, but it's always worth a try.
| | 00:24 | In the Project library,
let's open the Retiming project.
| | 00:31 | In this project, we have three clips,
well one's a compound clip of stills, but
| | 00:36 | we will refer to that as a single clip.
| | 00:39 | Notice that the compound clip matches
pretty well to the end of Paul talking,
| | 00:45 | but the music clip stopped short.
| | 00:47 | Now this might happen in your own
project where you have a music track and you
| | 00:51 | like it, and maybe whoever was shooting
the music shot a good amount of it, what
| | 00:56 | they thought was a good amount, but it
just didn't turn out to be long enough
| | 00:59 | for what you wanted to use it for.
| | 01:01 | Sometimes you don't know that
until you get into the editing room.
| | 01:04 | So you have a couple of choices;
| | 01:05 | one choice is that you could copy this
clip and paste it and join two copies
| | 01:11 | of the clip together.
| | 01:12 | Sometimes that works well, another
option is to utilize a retiming, or speed
| | 01:18 | function, in an editing application and
slow the clip down in order to make it
| | 01:23 | play slower and then make it longer.
| | 01:25 | Well, let's do that.
| | 01:27 | Let's select the clip, and then click on
the Retiming pop-up, and in order to make
| | 01:33 | the clip longer, we have to play it slower.
| | 01:35 | We will go with the fastest slow
speed which is 50% and select that.
| | 01:43 | When you apply a speed change to a
clip, in Final Cut Pro a little retiming
| | 01:48 | window pops up above the clip and
it displays a speed segment bar.
| | 01:53 | Now the color of the
speed segment is significant.
| | 01:56 | If the speed segment bar is orange
that indicates that you have a slower
| | 02:01 | than 100% speed.
| | 02:04 | Now we can change this because notice
what happened by doubling the length of
| | 02:09 | the clip, which is what occurred when
we slowed it down to 50%, it made it much
| | 02:14 | too long for this project.
| | 02:15 | No worries;
| | 02:16 | we can simply grab the little handle at
the end of the speed segment and drag it
| | 02:21 | closer in to the end of the other clips.
| | 02:24 | Now notice by shortening the length of
that clip, it also affected the speed;
| | 02:29 | it brought the speed up to 75%.
| | 02:32 | Let's listen to a little bit of this
and see how you feel about that change.
| | 02:37 | (Video Playing)
Paul: then coffee trees are going
| | 02:40 | to be taken care of. And the trees have to
produce food, clothing, shelter, healthcare
| | 02:46 | and eduction for their families and their
communities --
| | 02:50 | Diana Weynand: So we have a couple of things to
consider when you sit back and evaluate
| | 02:54 | what you just did.
| | 02:56 | First of all, do you like that the music
continues under the pictures throughout
| | 03:01 | the end of this project?
| | 03:03 | I would say that's a good thing.
| | 03:06 | The second thing is, in what
way did it impact the music?
| | 03:09 | Well, it slowed it down, so now you
hear the kids singing and playing, but not
| | 03:15 | at that faster speed that they did before.
| | 03:18 | Now you need to decide whether the
speed of the music is impacting the story.
| | 03:23 | Now you might be so used to hearing it
at the faster speed that it's a little
| | 03:27 | harder for you to tell, so you might want
to bring somebody in to just simply say,
| | 03:32 | hey how do you like the music
that I selected for this project?
| | 03:35 | Then they'll listening to it brand new.
| | 03:37 | (Video Playing)
Paul: so much love in their hearts,
| | 03:39 | that they could form a co-operative based on
peace between three --
| | 03:45 | Diana Weynand: So that's one of the things to
consider and that's one of the approaches
| | 03:48 | that you could take to even up the
sound and the still images within the
| | 03:52 | compound clip.
| | 03:53 | There is another approach we can take,
so I am going to press Command+Z to
| | 03:58 | undo what we did.
| | 03:59 | And then I am going to click the
Close button in the Retiming window.
| | 04:03 | This time, let's take the
approach to retime the compound clip.
| | 04:08 | Now if we were retiming a single clip,
this would work exactly the same way.
| | 04:13 | So first of all, if we liked
the music at the speed that it is.
| | 04:17 | (Video Playing)
| | 04:20 | And we chose instead to make the
still images move faster so we could get
| | 04:26 | through them quicker and end with the
music, that would be another alternative.
| | 04:30 | So we would approach it the same
way, select the clip, in this case,
| | 04:34 | the compound clip.
| | 04:35 | This time we go to the Retime menu and
choose Fast, and let's just go with twice
| | 04:40 | as fast which, of course,
will make the clip half as long.
| | 04:45 | Again, we see the Retiming window
appear above the compound clip, and we see
| | 04:49 | a blue segment bar.
| | 04:50 | When you see a blue bar, regardless of
the percentage, it's indicating that the
| | 04:55 | clip is playing faster than 100%.
| | 04:59 | So at this point, this compound
clip is too fast because it ends much
| | 05:04 | sooner than the music.
| | 05:06 | So we'll just grab the handle of the
speed segment and come out to the end
| | 05:11 | of the music clip.
| | 05:13 | Now that changed our speed to 133% in
this case, might be a little faster or
| | 05:19 | slower if you try it.
| | 05:21 | But let's look at a few stills of this
and see whether or not that has in any
| | 05:25 | way altered the impact of
the zooms on the stills.
| | 05:28 | (Video Playing)
Paul: communities, in order to be loved.
| | 05:31 | Otherwise you look at the trees, if you're a
farmer and you say, these trees are producing
| | 05:36 | strife, and misery, and poverty. Can't love
that.
| | 05:39 | Diana Weynand: So in a way, it might even improve
for the stills to go a little bit faster and
| | 05:44 | move through them a little quicker.
| | 05:46 | The other thing that this does, is it
opens up in room for Paul to speak to the
| | 05:51 | camera and to your audience directly,
which is sort of nice, so that we come out
| | 05:56 | of the stills and then go to Paul.
| | 05:59 | (Video Playing)
Paul: the fact that they could form a
| | 06:01 | co-operative based on peace between three
warring religions in the world --
| | 06:09 | Diana Weynand: And there are things you could
do to finesse this like perhaps change the fade
| | 06:12 | of the transition to come in smoothly
to Paul, but it is sort of nice to come
| | 06:16 | back to Paul after hearing him talk
for awhile, and finish up this thought.
| | 06:21 | Now, this approach is a great way to
do something such as add or subtract an
| | 06:26 | image in a project without
changing the length of the overall group.
| | 06:31 | You would group the clips and then
just change the speed in order to fit in
| | 06:35 | the same slot it had.
| | 06:37 | Changing the timing of a clip is often
used to create a special effect, a speed
| | 06:42 | effect, but don't forget;
| | 06:43 | it can also get you out of a jam
when you're trying to make a story
| | 06:47 | segment work.
| | Collapse this transcript |
| Adding freeze frames to end or start sections| 00:00 | When we point a still camera and say
hold it, we typically get what we want and
| | 00:04 | need or something close.
| | 00:06 | But when we shoot video, there are no
hold its, you just keep recording, maybe
| | 00:12 | 24, 25 or 30 frames a second
depending on your camera settings.
| | 00:14 | But somewhere in all that footage in
those frames, there's very likely one very
| | 00:19 | special frame, you could use to
emphasize something in your story.
| | 00:23 | Is it a meaningful handshake, a shy
smile or a hard-working coffee grower?
| | 00:29 | In the Event Library, in the Graphics
keyword collection, let's take a look at
| | 00:34 | the bumper called Delicious.
| | 00:37 | Throughout the Delicious Peace Grows in a
Ugandan Coffee Bean documentary, these
| | 00:42 | bumpers were used to go in
or out of a story segment.
| | 00:46 | Now of course they used text to communicate
what this was about, and by the way,
| | 00:51 | these bumpers were created in motion.
| | 00:54 | But notice the image in the background.
This was a still image of the coffee
| | 00:59 | growers standing around a weight as
they were weighing a bag of coffee.
| | 01:05 | But look how much texture and
depth it adds to this graphic.
| | 01:09 | So if you didn't come back from the
shoot with a bunch of still images that you
| | 01:13 | could use for this, you can grab
those stills out of the video itself.
| | 01:18 | In the Project Library, let's
open the Freeze Frames project.
| | 01:23 | In this project, there are a
couple of clips that have some really
| | 01:25 | beautiful frames.
| | 01:28 | In this handshake clip, there is
a nice frame of the two men in a
| | 01:31 | nice handclasp.
| | 01:33 | In the pouring beans, there is
another nice frame at the marker of hands on
| | 01:37 | the hot coffee beans.
| | 01:39 | Now let's take a look at this first clip
and listen to it against the narration.
| | 01:43 | (Video Playing)
Narrator: In the foothills of Africa's fourth
| | 01:46 | largest mountain, a group of Christian, Jewish,
and Muslim coffee --
| | 01:51 | Diana Weynand: In this clip the men shake hands,
and then the clip stops, and we don't really get
| | 01:55 | to pause or hold onto that moment
because that might be a really meaningful
| | 02:00 | moment to you in your story.
| | 02:01 | You might want to just stop on it as
the narrator talks about the people
| | 02:05 | coming together.
| | 02:06 | So what you can do is just click on
that frame and go to your Retime popup, and
| | 02:13 | choose Hold, or press the shortcut Shift+H.
What this does, I am going to zoom in
| | 02:19 | so we can take a closer look.
| | 02:22 | This brings up a Retiming window and we
see that what has happened is that Final
| | 02:27 | Cut has created a two second Hold section of 0%.
| | 02:33 | Notice the speed segment before is
100%, as is the speed segment after.
| | 02:38 | Now if you like this, this is sort of a
run-freeze-run, this might work very well
| | 02:43 | for you, let's see how it works.
| | 02:45 | (Video Playing)
Narrator: In the foothills of Africa's fourth
| | 02:47 | largest mountain, a group of Christian, Jewish,
and Muslim coffee farmers affirmatively --
| | 02:53 | Diana Weynand: So we have some ways that
we can work with this.
| | 02:56 | If we want the freeze portion to be
longer, we can click the edge or the handle
| | 03:00 | of the speed segment and drag it down.
| | 03:03 | Notice that we are simply creating
more freeze frames of the same image and
| | 03:09 | we're not changing the speed on either side.
| | 03:11 | (Video Playing)
Narrator: In the foothills of Africa's fourth
| | 03:14 | largest mountain, a group of Christian, Jewish,
and Muslim coffee farmers affirmatively decided
| | 03:21 | to marry peaceful inner-relationships --
| | 03:23 | Diana Weynand: So you get the idea.
| | 03:24 | I am going to press Command+Z to
take us back to where we started.
| | 03:28 | The other thing that you can do, if
you like a speed segment, is to click on
| | 03:32 | this Hold, the red Hold speed segment,
and that brings up a selection around the
| | 03:38 | freeze portion of this image.
| | 03:39 | I am going to press Shift+Z, and now I
can copy this clip, Command+C, and move my
| | 03:45 | playhead down to the end of the project
and press Command+V. So now I just have
| | 03:51 | two seconds of the freeze
here at the end of the project.
| | 03:54 | Now why did I pull that freeze out?
Because I might later want to use it as a
| | 03:58 | graphic, I might want to build a
multi-frame effect, which we'll do in a
| | 04:03 | later movie.
| | 04:04 | So pulling that freeze out is a
great way to just use it as though it's a
| | 04:07 | still image.
| | 04:08 | In the mean time, if you decide you
want to revert this clip back to just a
| | 04:13 | straight 100% speed, select the clip,
and go back to your Retiming pop-up
| | 04:18 | and choose Normal 100%.
| | 04:21 | You can also press the shortcut, Shift+N.
To close the Retiming window, just
| | 04:26 | click the X circle next to Retiming.
| | 04:29 | Now in our pouring beans clip,
we have a similar situation.
| | 04:33 | There is a frame we want, we can
simply click here, and from the Retiming
| | 04:38 | pop-up, choose Hold.
| | 04:40 | In this case, I want to click the red
speed segment, and press Command+C to copy
| | 04:44 | it, come down to the end, Command+V
to paste it.
| | 04:47 | And now I have two freeze frames.
| | 04:49 | Each of these freeze frames has
something to do with hands coming together or
| | 04:53 | working with the coffee.
| | 04:55 | Well, let's go ahead and revert this
clip back to 100%, and let's close the
| | 05:02 | Retiming window on it.
| | 05:04 | Now there's no marker in
the woman picks beans clip.
| | 05:07 | So let's look at a place where she
picks one of the right beans, somewhere
| | 05:11 | in here.
| | 05:12 | Now one thing that's really important
when you choose a freeze frame, is to
| | 05:16 | choose a frame that's really
as clear as it possibly can be.
| | 05:19 | Now in order to determine if this
frame is clear, I am going to click in the
| | 05:23 | viewer and press Command+ a few times.
| | 05:27 | This will allow us to zoom in to the image.
| | 05:30 | Now at this stage, you can press the
Left and Right arrow keys, and notice that
| | 05:36 | as the video was shooting, the woman
was moving her hands, so whenever the hand
| | 05:40 | was in motion, it's much more blurry,
but when she slowed down to actually pick
| | 05:45 | a bean, it looked more clear.
| | 05:48 | Now if you want to go back a little
further and see her pick something outside
| | 05:52 | the window, you notice you have a little
movement here, you have a little window
| | 05:56 | that will allow you to change what
portion of the image you're looking at, in
| | 06:00 | this zoomed out way.
| | 06:01 | Well, this looks like a fairly nice clear image.
| | 06:05 | So I am going to press Shift+Z in the
viewer, and that will pull us back to our
| | 06:09 | default size and I want to freeze this frame.
| | 06:12 | So I will go to my
Retiming pop-up and choose Hold.
| | 06:17 | Simply select the zero speed segment,
Command+C to copy, Command+V to paste it.
| | 06:23 | So that gives me now three still
frames that we can use to create
| | 06:27 | something really special.
| | 06:28 | So as you're editing, take the time
to sift through individual frames of
| | 06:33 | your footage.
| | 06:34 | You just might find a frame that
could enhance your story and give you
| | 06:38 | that priceless moment.
| | Collapse this transcript |
| Video finishing touches| 00:00 | When you approach the end of a project,
you will be focusing on the story's
| | 00:03 | finishing touches before its big debut.
| | 00:06 | But as you dot your I's and cross
your T's, don't forget there are always
| | 00:10 | opportunities to reflect the heart and
soul of your story, to remind the viewer
| | 00:15 | of the story essence.
| | 00:17 | In the Project Library, let's open
the Final Video Touches project.
| | 00:23 | In this project, there are just a few
clips because I just want to show you a few
| | 00:27 | ideas of how you can combine images
together to create something more than what
| | 00:32 | they might be alone.
| | 00:34 | At the beginning of the project, you'll
notice the three freeze frames that you
| | 00:39 | created in a previous project.
| | 00:42 | Now these freeze frames could easily be
integrated into anything; a montage where
| | 00:47 | we zoom in, or a music video where we
intercut these to the beat of the music,
| | 00:53 | perhaps the children playing.
| | 00:55 | But another thing you can do is that
by stacking these clips on top of each
| | 00:59 | other, you can actually create a multi-
frame effect which means that you'll
| | 01:04 | get to see all three images at the same time.
| | 01:08 | Now we have a magnetic timeline so we
have to be careful that we stack them.
| | 01:12 | I am going to zoom in so we
can see these clips very clearly.
| | 01:16 | So now we have one clip in the primary
storyline, and then we have the next clip
| | 01:21 | connected to it, and the
next clip connected to that.
| | 01:25 | Now the only problem is that the
only clip we see in the viewer is the
| | 01:30 | top-level clip.
| | 01:31 | In nonlinear editing,
whatever clip is on top, wins.
| | 01:35 | You don't get to see the clips beneath
it at that location unless you change the
| | 01:39 | opacity of the uppermost clip, or
unless you crop it and change its position.
| | 01:45 | As soon as you change the position
of this clip, then you see the clip
| | 01:49 | beneath it.
| | 01:51 | Okay!
| | 01:52 | So I am going to press Command+Z to undo
that, and turn the Transform button off.
| | 01:56 | Let's move to the next group of clips
because that's exactly what I did here.
| | 02:00 | I created a multi-frame effect by
cropping each image and positioning it, so
| | 02:06 | that we see all three of them at the same time.
| | 02:09 | Now that gives us a totally
different reaction as a viewer of what these
| | 02:14 | three clips represent.
| | 02:15 | So by isolating these particular images,
by cropping them around the hands, you
| | 02:21 | start to make a statement, which you
can use to actually be the cover of your
| | 02:25 | DVD. You could use it as part of a
graphic to talk about a particular section.
| | 02:31 | In fact, you could export or share,
well, you want to make sure that you are
| | 02:36 | actually on that image, put your playhead on it.
| | 02:39 | And in the Share menu, you could choose
Save Current Frame, and now you would be
| | 02:43 | able to export this as a single frame
composite image that you could then send
| | 02:49 | to a graphic artist to add titles
to, or you could use it in Motion.
| | 02:54 | Now I have actually added a title, I
am going to select it and enable it, and
| | 02:59 | let's take a look at what you
can do just inside the editing app.
| | 03:05 | So it's very quick, but you could slow
it down, and it gives you an idea of what
| | 03:12 | it might be like to utilize these three
images together to get a point across, a
| | 03:17 | point about your story, the story that
as Paul talked about, these are loving
| | 03:22 | people and they love their
coffee and they love each other.
| | 03:25 | So this might be a nice way to bring
focus to that aspect of your story.
| | 03:31 | Now just as another style approach, if
you take those same three clips, but you
| | 03:37 | stagger them in terms of starting one
at one point, and the next one a little
| | 03:42 | later, and the next one a little later,
you get a nice little treatment and when
| | 03:46 | you add transitions to the head of
each clip, you get something like this.
| | 03:53 | Now that might be another way to come in
or go out of a segment of your project.
| | 03:58 | Again you keep bringing the viewer,
the audience back, to what you think is
| | 04:02 | important about your story, what story
are you telling and you are reminding
| | 04:07 | them by combining these
very powerful images together.
| | 04:10 | And together they create an
even more powerful impact.
| | 04:16 | Let's take a look at the two clips
that are stacked on top of each other at
| | 04:19 | the end of the project.
| | 04:21 | Again the same rule applies.
| | 04:23 | The only clip you see is the uppermost
clip, and this is the map of Africa, which
| | 04:28 | has a nice little animation
where we zoom into Uganda.
| | 04:31 | Now if we hide this clip by pressing
V, that will disable it, let's look at
| | 04:36 | the clip beneath it.
| | 04:38 | (Video Playing)
| | 04:45 | Well, music has been playing a very
important part in this project and in this
| | 04:50 | story, it appears to be a very
important part of the people's lives who grow
| | 04:54 | the coffee.
| | 04:55 | Well, let's go ahead and enable that
Africa map, and if we can think of some way
| | 05:01 | to combine that clip with this
Uganda map, it might be really special.
| | 05:06 | Let's see what happens when we just
simply hear the music beneath the map.
| | 05:11 | (Video Playing)
| | 05:16 | Well, I like that quite a bit and if
that's all we did I would say that's quite
| | 05:20 | a nice improvement, rather than
just seeing the static map of Africa.
| | 05:24 | Let's see if we can take it one step
further, let's see if we can add an
| | 05:27 | effect that could key out the
continent of Africa in order to see the drummer
| | 05:34 | beneath it coming through.
| | 05:36 | Well, that kind of effect is called a Key.
| | 05:39 | So if we click on the Keying category,
and then as long as the Africa map, make
| | 05:46 | sure that's selected, and then we
can double-click the Luma Keyer effect.
| | 05:50 | Now we can close the Effects
browser and open the Inspector.
| | 05:55 | Notice you start to see something
happening, we start to see that image come
| | 05:59 | through, that lower image, but we can do more.
| | 06:02 | Now if the Luma Keyer effect appears
closed, where you don't see the parameters,
| | 06:06 | just click the disclosure
triangle so that you can see them.
| | 06:10 | There's several different things
you can change, and I have to say keys are
| | 06:14 | one of those things you have to fiddle
with in order to get it right. And not
| | 06:18 | every clip will perform perhaps as
neatly and cleanly as this one is, this one
| | 06:24 | is a nice little lucky bit of magic.
| | 06:26 | So we are going to apply
a Luma Key to this clip.
| | 06:29 | A Luma Key will drop out a consistent
luminance portion of the image, that could
| | 06:35 | be a dark or a light color.
| | 06:37 | But notice that the color in the
Uganda map is consistent color.
| | 06:42 | So by applying a Luma Key, it will drop
out the similar luminance in the image.
| | 06:48 | Okay!
| | 06:49 | So now that you can see the parameters
in the Luma Key, we're going to simply
| | 06:53 | slide the Luma Rolloff all the way to
the right, and notice that when we do that
| | 06:58 | it drops the darkest part of
the image out all together.
| | 07:02 | Now we could invert that so it drops
out the outer area, which is the lighter
| | 07:07 | portion, but we want to replace the
inside of the continent of Africa with
| | 07:12 | the music drums clip.
| | 07:14 | Let's see how this looks.
| | 07:15 | (Video Playing)
| | 07:24 | So only you can decide whether or not
something like this, this composite image,
| | 07:29 | gives you what you need and you might
decide you might want to add a few other
| | 07:33 | little tweaks like preserving the RGB,
so that the lines of the different
| | 07:37 | countries might show through.
| | 07:39 | But this is where you have to decide as
the storyteller, is this composite image
| | 07:43 | saying more than what it might say
without marrying these two images together?
| | 07:49 | So if a picture is worth a thousand
words, what are two pictures worth?
| | 07:54 | What about three pictures in a
title, or two clips composited as one.
| | 07:59 | Never forget that your images are
speaking for you up until the end of
| | 08:04 | your editing process.
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| Audio finishing touches| 00:00 | Just as you used video frames to build
a multi-frame effect and combined story
| | 00:05 | clips to create a composite image, you
can also take a moment before finishing
| | 00:09 | your project to improve the audio in your story.
| | 00:13 | Let's take a look at how.
| | 00:15 | In the Project Library, open
the Final Audio Touches project.
| | 00:20 | In this project, there are just a
few clips. You might recognize the clips
| | 00:24 | of Paul at the end.
| | 00:25 | Oh yeah! They're back.
| | 00:27 | We're going to have some fun with those.
| | 00:28 | But let's start at the beginning of
the project and take a look and listen to
| | 00:33 | the clip that we've used before
in the project and in the story.
| | 00:36 | (Video Playing)
Male Speaker: How many kilos do you get
| | 00:37 | from one plant? Just one kilo maybe?
Female Speaker: Yes, one kilo.
| | 00:41 | Diana Weynand: So if you remember, this clip is
essential to the story of coffee growing because
| | 00:46 | this is our baby coffee tree, and we
need it to start the story, but we don't
| | 00:51 | need that audio in the background.
| | 00:53 | And in fact we don't want to use it.
| | 00:55 | So in order to remove the audio from a
clip that's already been edited, you can
| | 01:00 | right-click and choose Detach Audio,
or use the shortcut Ctrl+Shift+S.
| | 01:05 | What will happen is, the audio
will detach from the video.
| | 01:10 | Now you can literally click on
the audio clip and delete it.
| | 01:14 | Now when you listen to the clip or
watch the clip in the project, you don't
| | 01:19 | hear any sound, and in fact, you see
there's no waveform beneath the video frames
| | 01:25 | either.
| | 01:26 | So we have to go sound hunting.
| | 01:28 | Well, we could go into a Sound
Effects library, but to make it really
| | 01:32 | realistic, look for what you already
have in your own footage, for example if
| | 01:37 | we go to the Animals keyword
collection and listen to the buffalos sound, see
| | 01:42 | what you think of this.
| | 01:43 | (Video Playing)
| | 01:49 | Personally, I don't see anything
wrong with that as a background to this
| | 01:52 | little tree.
| | 01:53 | So let's try it.
| | 01:54 | Okay so if we want to edit just enough
of the buffalo sound to cover this length
| | 02:01 | of this clip, well we could use a Range
Selection tool, we could mark an in and
| | 02:05 | an out, but another way to mark an in
and out together is to simply press the
| | 02:11 | letter X. Notice how those Range
Selection handles appear on either side.
| | 02:16 | Now we don't have to worry
about where the playhead is.
| | 02:18 | So in the Event browser,
let's select the buffalos clip.
| | 02:23 | And let's choose Audio Only as the type of Edit.
| | 02:28 | Notice that changes the icons of our edit types.
| | 02:32 | Now when we go ahead and say Connect,
notice that the buffalo audio is attached
| | 02:39 | to this clip and it covers
the exact length of that clip.
| | 02:42 | Let's listen to this.
| | 02:43 | (Video Playing)
| | 02:49 | If I hadn't seen what I had just done,
I would totally believe that this audio
| | 02:53 | belonged to this clip.
| | 02:54 | Now if it feels a little too loud or
too hot to you, you can lower it and that
| | 02:59 | might make it even more believable.
| | 03:00 | (Video Playing)
| | 03:04 | That's great!
| | 03:05 | Now we have got a video clip and
we've got a matching audio clip, but
| | 03:08 | they're separate.
| | 03:09 | Notice that the other clips
in the storyline are combined.
| | 03:14 | Well, if you want to combine this
baby tree with the buffalo sound, simply
| | 03:18 | select them, right-click and make a
new compound clip of the two of them.
| | 03:24 | Now they appear together as one single
clip, you will hear the sound beneath it,
| | 03:31 | you even have the ability to adjust
that sound, just as you do any other clip.
| | 03:37 | So that takes care of this clip.
| | 03:39 | It makes this clip viable, it makes it
fun to look at, you don't have to worry
| | 03:44 | about dropping the audio out all
together and it gives you something to use in
| | 03:48 | your project. It creates depth by
having that sound beneath this clip.
| | 03:54 | Let's jump down to our Paul clips where
we edited some of the ums and ahs out in
| | 03:59 | order to move the story forward.
| | 04:01 | You will notice there's a little gap
that's been added because there was a
| | 04:05 | point between these two clips where it
sounded like Paul was edited together
| | 04:10 | unnaturally.
| | 04:11 | Let's listen to this.
| | 04:12 | (Video Playing)
Paul: If people love their coffee trees,
| | 04:17 | then the coffee trees are going to be --
| | 04:19 | Diana Weynand: And just to focus on Paul's sound,
I'm going to select the pouring beans clip
| | 04:24 | and disable it, so that we can hear
just the audio from the primary storyline.
| | 04:28 | (Video Playing)
Paul: If people love their coffee trees,
| | 04:32 | then the coffee trees are going to be
taken care of.
| | 04:35 | Diana Weynand: Well, the truth is I like the
pause, but I don't like how the sound drops out.
| | 04:41 | When we play through the gap, you're
hearing no sound and it becomes very
| | 04:44 | obvious because there was a lot of
background sound behind Paul, it's what
| | 04:49 | we call ambient sound.
| | 04:50 | (Video Playing)
| | 04:54 | So what we want to do, is find some
ambient sound just like we discussed
| | 04:58 | before in the first clip.
| | 04:59 | We are not going to go to the Sound
Effects library for this, you've
| | 05:02 | already got this somewhere.
| | 05:04 | Some shooters will actually record a
minutes worth of ambient sound called room
| | 05:09 | tone before they give any
action cues and that's a great idea.
| | 05:14 | But if you will notice in this
original clip of Paul, the one that we used to
| | 05:18 | edit these little bits, there are
places where he doesn't speak, let's listen
| | 05:22 | to those.
| | 05:24 | (Video Playing)
| | 05:27 | When you key into this,
listen closely to the background.
| | 05:30 | (Video Playing)
| | 05:32 | So what you are hearing is the sound of
the background, whether it's cars passing
| | 05:36 | or the nature sounds, we do hear him
start to draw a breath, that might work for
| | 05:41 | us, or it might not.
| | 05:43 | What we want to do is select a
portion of this background ambient sound.
| | 05:48 | I am going to press R to select my
Range tool, and just grab a little piece of
| | 05:51 | that, about the same length of clip as this gap.
| | 05:55 | Once I have selected that range, I am
going to press Command+C to copy that
| | 05:59 | portion of this clip.
| | 06:01 | And now I can move my playhead down
to this location and press Command+V
| | 06:06 | to paste it.
| | 06:07 | Now I don't need the gap clip, so
select the gap clip and press Delete.
| | 06:13 | Now let's see what this sounds like
with the ambient clip inserted in between
| | 06:18 | the two final clips.
| | 06:19 | (Video Playing)
Paul: If people love their coffee trees,
| | 06:23 | then the coffee trees are going to be
taken --
| | 06:26 | Diana Weynand: Sounds pretty smooth.
| | 06:28 | Let's turn on the clip above
it and listen to it together.
| | 06:33 | (Video Playing)
Paul: If people love their coffee trees,
| | 06:37 | then the coffee trees are going to be
taken care --
| | 06:39 | Diana Weynand: Now I saw a little bit of a jump
cut which means we simply need to extend the
| | 06:44 | pouring beans, so that we don't see that.
| | 06:46 | Let's listen to it one more time.
| | 06:47 | (Video Playing)
Paul: If people love their coffee trees,
| | 06:51 | then the coffee trees are going to be
taken care of.
| | 06:54 | Diana Weynand: Great resolution to a
problem, gives you so many more options.
| | 06:58 | You don't always have the pause you
need when you make edits on these clips.
| | 07:03 | So don't forget to consider the
option of adding a pause from a
| | 07:07 | different location.
| | 07:08 | There are so many opportunities to
remind your viewers about how great your
| | 07:12 | story is even through ambient sound.
| | 07:15 | So never stop looking for ways to
improve your story until you actually export
| | 07:20 | it as its own independent movie file.
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ConclusionGoodbye| 00:00 | There's nothing like a good, effective
story, and fortunately, it's easier to
| | 00:04 | recognize one than it is to create one.
| | 00:07 | But if you follow the guidelines in
this course, you will be able to harness
| | 00:10 | your footage and combine the elements
in a way that will be effective, that you
| | 00:14 | will enjoy, and that hopefully will make
your audience laugh or cry or be deeply
| | 00:20 | moved, and that's how you will
know your story was effective.
| | 00:24 | If you'd like to learn more about
Final Cut Pro, Premiere or Avid editing
| | 00:28 | applications, you can find
Essential Training classes on lynda.com.
| | 00:32 | You can also learn about Final Cut Pro
from my book, Apple Pro Training Series:
| | 00:37 | Final Cut Pro X, which is the
certified course for the Apple Authorized
| | 00:41 | Training Centers worldwide.
| | 00:42 | And the book you'll need to study to
become Apple Certified on Final Cut Pro X.
| | 00:48 | And if you're a hands-on person, I
invite you to join me for one of my in
| | 00:52 | class training sessions.
| | 00:54 | You'll see the list of those
classes and dates on my web site
| | 00:57 | revuptransmedia.com.
| | 01:00 | It's been my pleasure
guiding you through this process.
| | 01:03 | I look forward to seeing
some of your stories soon.
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