IntroductionWelcome| 00:04 |
Hi.
I'm Ashley Kennedy.
| | 00:05 |
Welcome to Commercial Editing with Final
Cut Pro X.
| | 00:08 |
In this course, we'll be taking a
project-based approach to cutting a
| | 00:12 |
commercial, from concept to creation.
We'll begin by taking a lot at
| | 00:16 |
pre-visualization materials to get a
strong sense for brand Audience and intent.
| | 00:22 |
Then we'll take a close look at our
project assets and begin organizing them
| | 00:26 |
for practical and easy access.
We'll start building the spot by creating
| | 00:32 |
the base audio foundation, and then
design a solid visual structure.
| | 00:37 |
We'll then have fun by fleshing out the
main content of the commercial.
| | 00:41 |
Designing creative montage segments with
plenty of flair.
| | 00:44 |
But always connected to our central brand
messages.
| | 00:48 |
We'll also take a look at adding some
creative effects.
| | 00:51 |
And finish by bringing everything full
circle to deliver a polished product to
| | 00:55 |
the client.
So, let's have fun as we begin to take a
| | 00:59 |
look at the many exciting possibilities
in cutting a commercial in Final Cut Pro X.
| | 01:05 |
| | 59:59 |
(MUSIC).
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| Using the exercise files| 00:00 |
If you're a premium member of the
Lynda.com online training library or if
| | 00:03 |
you're watching this tutorial on a DVD,
you have access to the exercise files
| | 00:07 |
used throughout this title.
The exercise files have been compressed
| | 00:12 |
to a zip file.
Once you unzip the file, you'll see a
| | 00:15 |
folder called exercise files.
If you open up this folder, you'll see 2
| | 00:20 |
folders inside.
Final Cut Events, which contains all of
| | 00:23 |
your media And the Final Cut project
folder, which contains all of your
| | 00:27 |
project data.
You need both of these folders in order
| | 00:31 |
to effectively work in Final Cut Pro X.
Now, not only do you need both of these
| | 00:35 |
folders, but you need to put them in one
of two very special locations for Final
| | 00:39 |
Cuts to be able to see all of your media
and projects.
| | 00:44 |
We're going to go over both of these
locations.
| | 00:46 |
First of all if you want to work off your
internal drive, you need to put them in
| | 00:50 |
the movies folder on your system.
So I have that right here.
| | 00:55 |
And all you need to do is just drag and
drop the folders right into the movies folder.
| | 01:01 |
Now I'm not going to do this right now.
because I want to discuss one very
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special situation.
It's possible if you've already been
| | 01:07 |
working in Final Cut that you already
have a Final Cut Events and a Final Cut
| | 01:10 |
Projects folder.
So, you wouldn't drag and drop in that situation.
| | 01:15 |
Let me simulate this.
I have a a Final Cut Events and Final Cut
| | 01:18 |
Projects folder and I'll just move these
into (SOUND) this location.
| | 01:22 |
So, they're in the Movies folder.
And I can't drag-and-drop, because that
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would overwrite.
So, instead, I'm just going to reach
| | 01:27 |
inside of these folders, and drag the
contents.
| | 01:30 |
I'm going to come in to Events and get my
H+ Sport event, and drag that on over.
| | 01:36 |
(SOUND) And then I can come over to final
cut projects and inside there is some sub
| | 01:40 |
folders taht I ahve organized per
chapter.
| | 01:44 |
You don't have to reach in and get those,
you just can drag the entire exercise
| | 01:48 |
files folder over to Final Cut Projects,
and that's good enough.
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OK, so we ahve our final cut events and
final cut projects populated correctly I
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want to go ahed and just open up final
cut now.
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As you can see we've got the H plus sport
even right here and if I twirl this down
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you can see that I've organized much of
it for you.
| | 02:07 |
Also, you can see the castles event which
was the event that was here before we
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added our event media.
If we come down to the Mac hard drive
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down here in the project library, you can
see that all of the projects are laid out
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for you within numbered folders for each
chapter.
| | 02:23 |
So, that's how you're going to follow
along.
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When you're in chapter 3, movie 3, you'll
just follow along just like this.
| | 02:30 |
Also, just so you know, this course
contains a lot of effects and we couldn't
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provide pre-rendered media in all cases.
In some cases you'll see undrendered
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effects like this and so you might need
to render to guarantee real time playback
| | 02:43 |
and then of course up here is the castles
project which is the project that was
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already here.
So needless to say, if you don't want to
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see certain events or projects you can
just drag them out of the Final Cut
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events or Final Cut projects folders,
thereby hiding them from Final Cut.
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Let me show you that right now.
I'm going to quit Final Cut Pro and then
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come back to my movies folder here, and
I'll drag out the castles event and
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projects and then relaunch Final Cut.
Notice this time those projects and
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events are not in there.
All we see is h plus sport.
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I want to show you the other location
that you can put your events and media now.
| | 03:29 |
Again I'm going to quit Final Cut Pro 10,
and I'd like to show you what to do if
| | 03:32 |
you're working with an external hard
drive.
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I'm going to go back into my movies
folder because I actually moved my
| | 03:39 |
exercise files out of here, these are no
empty.
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I'm just going to grab the contents and
bring them back over.
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I'm going to go ahead and just close that
and so now we have our exercise files,
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populated with everything.
What I'm going to do now, is just open up
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my media drive and i'm just going to drag
my final cut events and final cut
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projects folders to the root directory of
my media drive.
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The route director just means that
they're not inside any other folders,
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they're at the top level.
Everything's moving over.
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Again, if you do have a final cut events
or final cut projects folder already on
| | 04:14 |
your media drive, then you just copy the
contents inside of those, just like we
| | 04:18 |
did before.
Everything's copied over.
| | 04:22 |
I'm going to go ahead and launch Final
Cut.
| | 04:24 |
Again, we're on the media drive, so watch
for that when we open up the software.
| | 04:28 |
Okay, so this time, instead of looking at
Mac hard drive, we're looking at our
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media drive.
And as you can see, we have our H plus
| | 04:34 |
sport event, here.
And, if we come down to the Media Drive
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in the Project Library, we also have our
exercise files down here.
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Ready to follow along.
Pretty easy.
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You just need to know where to put your
materials.
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Now, if you don't have access to the
Lynda.com exercise files, then you should
| | 04:50 |
definitely follow along from scratch,
with your own assets.
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Okay.
Let's get started.
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| What is my version of Final Cut Pro X?| 00:00 |
Before getting started with this course,
it's important to talk a little bit about Versioning.
| | 00:04 |
Now, this course is recorded using Final
Cut Pro X version 1008.
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This means that you must have a minimum
of version 1008 installed, to be able to
| | 00:14 |
work with the exercise files provided
with this course.
| | 00:19 |
If you try to work with a prior version
of Final Cut Pro X, you'll receive an
| | 00:22 |
error detailing the problem of trying to
access Final Cut events and projects that
| | 00:26 |
are too new.
Fortunately, this isn't a problem.
| | 00:31 |
You'll just need to upgrade your Final
Cut Pro X software to the latest version.
| | 00:35 |
As long as you have a licensed copy of
the software, this is free and easy to do.
| | 00:41 |
Just go to the Apple in the upper left
corner of your desktop, and select
| | 00:44 |
Software Update.
If Final Cut Pro X needs updating, it
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will appear in the App Store window, and
then you can easily update the software
| | 00:51 |
and begin working with the exercise
files.
| | 00:55 |
Now, in all actuality that's all you've
gotta do to make everything work okay,
| | 00:58 |
but I wouldn't be doing my job if I
didn't tell you that to cover all basis
| | 01:02 |
Apple does recommend that you complete
any active projects before upgrading to a
| | 01:05 |
new version of Final Cut Pro.
They also recommend that you make a
| | 01:11 |
current backup of your projects and
events, and even a copy of the current
| | 01:14 |
version application.
The reason that you might need to back up
| | 01:18 |
your application is that the App Store
only offers the most current version of
| | 01:21 |
Final Cut Pro X, so if there ever is any
issue with the current version, you can
| | 01:24 |
always go back in time and access your
previous version if you need to.
| | 01:30 |
To check the version of Final Cut Pro X
you have, just open the application and
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choose Final Cut Pro > About Final Cut
Pro.
| | 01:38 |
To backup your application, just create a
New Folder in your Applications Folder.
| | 01:42 |
And then, name it with the name and
version of your application.
| | 01:46 |
Then, just select the Final Cut Pro X
application in the applications folder,
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right click and choose Compress Final Cut
Pro, then just put that in the folder you created.
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You can then Move that folder anywhere
you want.
| | 02:01 |
Now, as far as backing up your projects
and events, you can do this via the
| | 02:04 |
Finder or inside the application.
To do this via the Finder, you can go to
| | 02:09 |
location that your projects and events
are stored.
| | 02:12 |
Either the movies folder of the Mac you
are working on or the root level of the
| | 02:15 |
drive that you are using for your media.
And then just drag the Final Cut projects
| | 02:19 |
and Final Cut events folders to a new
location.
| | 02:23 |
To back up projects and events within the
application, which you might want to do
| | 02:26 |
if you only want to back up certain
events or certain projects, just select
| | 02:30 |
the event or project you want to back up
and then choose duplicate project or
| | 02:33 |
duplicate event from the Final Cut Menu.
Here I have duplicate event, you can then
| | 02:39 |
select the drive that you want to save
the events and projects to.
| | 02:44 |
Notice that when you back up projects,
you can also choose to save the
| | 02:47 |
associated events, or even just the clips
that your project references.
| | 02:51 |
For more detailed information on both of
these processes, you can check out the
| | 02:55 |
Final Cut Pro X essentials course.
Now, if you upgrade to a version of Final
| | 03:01 |
Cut that is later than version 1008.
Then when you start the software, you'll
| | 03:06 |
receive a message stating that the
project needs to be upgraded.
| | 03:09 |
Just select OK, just realize that once
projects and events are updated for use
| | 03:13 |
in a new version, you can't open them in
an earlier version.
| | 03:18 |
Bottom line, you just need to make sure
your software is updated.
| | 03:21 |
And in general, it's a good idea to make
sure you've appropriately backed
| | 03:24 |
everything up before upgrading.
Now, that you've got everything sorted
| | 03:28 |
out let's get started with the course.
| | 03:30 |
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|
|
1. Forming a PlanWhat is commercial editing?| 00:00 |
Commercial editing is the interesting and
challenging combination of part art, part sales.
| | 00:06 |
Commercial editors have a very unique
job.
| | 00:09 |
They must tell a very concise story that
sells a product in a compelling way.
| | 00:15 |
Every single moment counts in a
commercial spot.
| | 00:18 |
If you lose your audience for even a
moment, the prospect of sending the
| | 00:21 |
appropriate message can drift away.
Commercial editing is also unique and
| | 00:25 |
that it is often one of the most
collaborative positions within the
| | 00:28 |
post-production industry.
In many situations, you're working with
| | 00:32 |
an entire team of people to create the
brand and craft the message, and
| | 00:36 |
ultimately gain approval as you deliver
multiple rough-cuts, getting many levels
| | 00:40 |
of feedback as you complete the spot.
Seldom do commercial editors work in a
| | 00:46 |
complete vacuum.
In some cases you might be working
| | 00:49 |
directly for a client that needs your
services.
| | 00:52 |
And in other cases you'll be working with
an ad agency that is been hired to create
| | 00:55 |
the spot.
And in those situations, you'll often be
| | 00:58 |
working through several layers of
creative professionals in order to reach
| | 01:02 |
approval for your finished product.
Many times this type of collaboration
| | 01:07 |
occurs within the same room, with your
clients or creative team sitting
| | 01:11 |
alongside you as you try different
approaches.
| | 01:14 |
And other times, you're working with
others remotely, getting feedback, taking
| | 01:18 |
notes, and trying new things to try to
please all parties.
| | 01:22 |
In this way, the commercial editor can
best be thought of as the master designer
| | 01:26 |
that controls the road map of how the
spot will play out.
| | 01:31 |
Bringing together many ideas and elements
that come from the writers, director,
| | 01:35 |
agency, and client.
Commercial editors must be adapted
| | 01:38 |
managing expectations they should be
comfortable with having curve balls
| | 01:41 |
thrown at them and they should be able to
think on their feet to come back with
| | 01:44 |
something really terrific in the face of
the great challenge of cutting a 30
| | 01:48 |
second spot.
Commercial editors have many tricks to
| | 01:53 |
help sell a message in as short a period
of time as possible.
| | 01:56 |
But no commercial contains the same set
of strategies.
| | 01:59 |
Often, it's just a matter of trying
several approaches, then tweaking it
| | 02:03 |
until it's perfect.
And indeed, having a very solid set of
| | 02:07 |
editing skills is paramount.
As a fast thinking commercial editor, you
| | 02:11 |
never want to think about the editing.
You just want to think about the story
| | 02:15 |
and be able to very quickly pull
solutions together.
| | 02:18 |
Over the course of this training, we're
going to be figuring out the best way to
| | 02:22 |
make a commercial about a sports drink
called h+ Sport.
| | 02:26 |
Before getting started with the editing
though, we'll need to start learning a
| | 02:29 |
lot about the product message and brand.
| | 02:32 |
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| Getting involved early: The editor's role in pre-production| 00:00 |
In nearly all genres of editing, it's
generally a good thing for the editor to
| | 00:04 |
be involved as early as possible, so that
he or she can be aware of the creative
| | 00:08 |
decisions and processes, and also offer
creative and technical input.
| | 00:14 |
However, many times in commercial
editing, the editors early involvement
| | 00:17 |
can be an essential part of securing the
commercial bid.
| | 00:21 |
Now, if you're an editor that already has
a job editing a commercial, great.
| | 00:25 |
You're lucky.
You can get started on creating a spot.
| | 00:28 |
However, many times clients or agencies
who want to do a commercial, start by
| | 00:32 |
first shopping around.
Many times you'll need to bid for the job
| | 00:37 |
and at the very least provide an estimate
of time, money, and resources to complete
| | 00:40 |
the job well.
And sometimes you may even need to go
| | 00:44 |
further by editing a sample project.
Now often the footage won't actually be
| | 00:49 |
shot yet, but you'll be provided with
story boards, or boards as they're often
| | 00:52 |
called in the industry.
It's not uncommon to edit the boards to
| | 00:58 |
provide a visual idea of what you think
the spot will look like.
| | 01:03 |
Now, editing the board simply means that
you perform an edit with the still
| | 01:06 |
pictures or illustrations that you're
given with a soundtrack to get a sense of
| | 01:09 |
how the scene will look and feel with
motion and timing.
| | 01:14 |
This can be as simple as a series of
still images edited together with rough
| | 01:17 |
dialogue and soundtrack.
Or, it could be taken a step further by
| | 01:21 |
zooming and panning over the images to
simulate camera movement.
| | 01:26 |
These mockups are called animatics.
And they not only can help secure a
| | 01:30 |
commercial bid, but they can also help
the creative team best shoot or acquire
| | 01:34 |
the proper assets by determining how the
sound and image are working together.
| | 01:41 |
Now our particular commercial won't
actually be using storyboards or
| | 01:44 |
animatics, but I did certainly want to
call out their significance to the
| | 01:47 |
editors typical line of duties early on
in the process.
| | 01:51 |
To show you a little bit about what I'm
talking about, here we're looking at a
| | 01:55 |
series of storyboards and animatics from
another lynda.com course promoting a
| | 01:58 |
shark program.
>> After 400 million years, they're
| | 02:04 |
still the scariest thing in the ocean.
Get a little closer, if you dare.
| | 02:09 |
Shark Zone, all week long on the
Adventure Channel.
| | 02:14 |
Okay, so that gives you a little bit of
an idea.
| | 02:16 |
Now even if you are not editing story
board materials, it's still a great idea
| | 02:20 |
for editors to become involved early to
offer information about expectations
| | 02:24 |
about time, scheduling, resources, and
workflow because as with many things its
| | 02:28 |
often useful to start at the end and And
then plan backwards.
| | 02:35 |
It's also a great idea for editors to be
aware about the ideas for the spot,
| | 02:38 |
because an editor's eye is often a great
asset in getting the best possible footage.
| | 02:45 |
Occasionally editors even have the
opportunity to be on set for some of a
| | 02:48 |
shoot, to see how everything is coming
together.
| | 02:52 |
Now for this particular course, we're
going to work as if the bid has already
| | 02:56 |
been secured.
So we can get started right away in the
| | 02:58 |
creative process.
But don't assume it'll always be this way.
| | 03:02 |
Indeed editors often need early
involvement to secure commercial bids by
| | 03:06 |
providing information, managing
expectations, and informing game plans,
| | 03:11 |
and in some cases even providing initial
visual sample materials to help the
| | 03:15 |
process along.
| | 03:18 |
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| Branding: Understanding product audience and intent| 00:00 |
One of the most important things to be
very aware of during the process of
| | 00:03 |
making a commercial is the product
message, audience, and intent.
| | 00:09 |
This unique information, which
essentially identifies one sellers good
| | 00:12 |
or service as distinct from others, is
called branding.
| | 00:16 |
As an editor, it's very important to take
the time to understand why the product
| | 00:20 |
you're working on is unique in the
marketplace.
| | 00:25 |
Often, when you're approached to make a
commercial, the brand of the product has
| | 00:28 |
already been largely designed, and it's
just your job to communicate it.
| | 00:33 |
This certainly isn't always the case.
Sometimes you'll need to help craft
| | 00:36 |
branding information as well.
However, in the case of this commercial,
| | 00:40 |
we've got quite a lot of brand
information provided by the client in the
| | 00:43 |
form of a style book.
Let's go over that now.
| | 00:47 |
So this sports drink, H+ Sport, caters to
a specific market.
| | 00:52 |
Let's first take a look at what H+ Sport
is.
| | 00:56 |
As you can see here, H+ Sport is an
electrolyte based sports drink that
| | 01:00 |
replaces important nutrients and
rehydrates fluids lost during intense activity.
| | 01:06 |
All right.
Great.
| | 01:07 |
But so does Gatorade and PowerAde and a
dozen other sports drinks on the market.
| | 01:12 |
What makes H+ Sport so special?
Let's move on.
| | 01:17 |
H+ Sport is all natural.
It contains very little sugar but instead
| | 01:20 |
replenishes your body with real minerals
and plant infusions.
| | 01:24 |
Its benefits are numerous.
It's made from pure water, natural electrolytes.
| | 01:29 |
It's dye and chemical free.
It's the cleanest sports nutrition drink
| | 01:33 |
you can buy.
Okay.
| | 01:34 |
So I think we're getting a better idea
here.
| | 01:37 |
We're dealing with a more organic,
healthy product than Gatorade and similar drinks.
| | 01:41 |
Let's keep going.
So we've got a description of the
| | 01:45 |
background of the drink, but we still
need the brand.
| | 01:48 |
And here it is.
The brand information is going to tell
| | 01:50 |
our audience what is so unique about this
specific drink.
| | 01:54 |
I'm just going to read this.
H+ Sport athletes are sophisticated, not aggressive.
| | 01:59 |
Are clever, not confrontational.
Work hard and play fair.
| | 02:04 |
And know that natural rehydration is the
best.
| | 02:07 |
Okay.
So we've got a natural product for a
| | 02:09 |
sophisticated, hard working, wholesome
type of athlete.
| | 02:13 |
Can anyone drink H plus sport?
Sure.
| | 02:16 |
It's just a drink.
But we've gotta find ways to speak to
| | 02:19 |
this niche audience in the clearest, most
innovative ways possible.
| | 02:23 |
Gatorade is playing more to the hardcore,
intense, jock-type of athlete.
| | 02:27 |
And H+ Sport is catering to this new
version of pure athlete.
| | 02:32 |
So obviously there may be some more
background information about the product
| | 02:35 |
and message that we can research.
But this gives us at least a good basis
| | 02:39 |
for the direction that we are going to
take in designing the spot.
| | 02:43 |
In the next few movies, we'll be looking
at some pre-production materials to make
| | 02:46 |
sure we've clarified the vision before
getting started.
| | 02:50 |
But for now, I think our understanding of
H+ Sport is coming along pretty well.
| | 02:54 |
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| Examining pre-visualization materials: The script and storyboard| 00:00 |
In addition to general brand information,
you will likely be given some
| | 00:04 |
previsualization materials like a script,
style frames, and story board.
| | 00:10 |
A script will provide the voice over or
dialogue for the spot as well as some
| | 00:13 |
description of the action.
Style frames are meant evoke a specific
| | 00:18 |
feeling for the spot and often are
heavily styalized to give a detailed look
| | 00:21 |
and feel that the client or director is
going for.
| | 00:26 |
Storyboards are series of illustrations
or images that are meant to lay out a
| | 00:30 |
sequence of the spot as well as to focus
the story and timing and define several
| | 00:34 |
technical paramenters like description of
motion Camera and lighting.
| | 00:41 |
Now, as I mentioned earlier, this
particular commercial doesn't have
| | 00:44 |
storyboards, but it does contain a script
and style frames.
| | 00:48 |
Let's take a look at those.
First, let's take a look at the script.
| | 00:53 |
I'm just going to read it aloud so we get
a sense of how it's all coming together
| | 00:56 |
at this stage.
You work hard and play harder.
| | 01:00 |
Water alone can't get you back the
minerals you lose.
| | 01:03 |
H+ Sport has what you need.
All natural electrolytes from plant
| | 01:08 |
infusions not chemicals.
H+ Sport is not made in a lab.
| | 01:13 |
Too much sugar can dehydrate you, robbing
you of energy when you needed most.
| | 01:17 |
H+ Sport has only 5 grams.
Everything you need, nothing you don't.
| | 01:22 |
H+ Sport, natural rehydration.
Also, notice the brief description at the
| | 01:28 |
top, which speaks of the commercial's
visual style.
| | 01:31 |
The visual style will be a series of
stylized live action quick-cut montages
| | 01:35 |
that resolve to a bullet time hero shot
that has been graphically treated with
| | 01:40 |
the H+ Sport logo Motion Graphics tracked
into the footage.
| | 01:45 |
Now what's bullet time?
Bullet time are frozen time, is a visual
| | 01:49 |
effect that was made really famous by the
movie Matrix.
| | 01:53 |
It's where time slows down so much that
it can portray normally imperceptible
| | 01:56 |
moments like a flying bullet.
So it can also mean that the audience's
| | 02:01 |
point of view can actually shift around
an event as time is slowed down.
| | 02:06 |
So, our image was shot on a red camera
that was cranked up to about 80 frames
| | 02:09 |
per second and in some cases 100 or a 120
frames per second so we're definitely
| | 02:12 |
going to get some of that super slow
motion associated with Bullet Time.
| | 02:18 |
Here's a good indication of the direction
that we're going with this.
| | 02:22 |
We're going for some really quick cuts of
various athletes interspersed with these
| | 02:26 |
hero shots.
Which are going to be highly stylized
| | 02:29 |
shots that are getting motion graphically
treated with that H plus sport logo.
| | 02:35 |
Now that sounds interesting but its
perhaps a bit hard to visualize.
| | 02:38 |
I think all of this will make a little
bit more sense once we see actually some
| | 02:41 |
more visual materials.
Let's move on to the style frames.
| | 02:47 |
So our style frames are images that are
simply meant to invoke the emotion that
| | 02:51 |
the spot is supposed to show.
>> As you can see here, we have four
| | 02:55 |
different style frames.
The first three convey a high energy
| | 02:59 |
bursting from these athletes.
And that H plus logo is eminating from
| | 03:03 |
their core.
These are these hero shots.
| | 03:06 |
And then we also have the H plus sport
logo on the bottle.
| | 03:09 |
Now just to show you how these were
created, I have the original Photoshop
| | 03:13 |
files right here.
Now the pitch artist just stole some
| | 03:16 |
Getty images or stock images and treated
them in Photoshop before the commercial
| | 03:21 |
shoot even began.
So as you can see here, we have the image
| | 03:25 |
of the soccer player plus all of these
layers.
| | 03:29 |
He's just basically creating this look
and feel for how he wants the spot to look.
| | 03:33 |
And I have a couple more here.
Here's our track athlete, and we have a
| | 03:36 |
basketball athlete here as well.
So different ways to convey this, but you
| | 03:41 |
pretty much get the gist of these hero
shots.
| | 03:44 |
We have these H+ Logos just shooting out
from them.
| | 03:48 |
These are going to give the creative team
the inspiration for the look that we're
| | 03:51 |
going for in the commercial.
And as the commercials editor we are
| | 03:55 |
given these ahead of time, so that we
have the heads up about how we're going
| | 03:59 |
to be working with the graphics team to
stylize this footage for these hero shots.
| | 04:06 |
There are other pre-visualization
materials that we might get and as I
| | 04:09 |
mentioned before, (UNKNOWN) boards are
extremely popular for commercial editing.
| | 04:14 |
Again, we won't be working with them,
because of the intense (UNKNOWN) nature
| | 04:17 |
of the spot.
We're going to have so many different
| | 04:20 |
cuts of athletes from so many different
angles, that the style frames are just
| | 04:23 |
better suited for us to begin fashioning
our commercial's look and feel.
| | 04:28 |
All right.
So getting back to the H Plus sports
| | 04:30 |
spot, I think I've got a pretty good idea
of how we're going to go about this.
| | 04:34 |
We just need to take a look at all of the
project assets delivered by the creative
| | 04:37 |
team to finish rounding out our idea of
what we've got to work with, and we'll do
| | 04:40 |
that in the next movie.
| | 04:44 |
| | Collapse this transcript |
| Taking a look at project assets| 00:00 |
Before starting out, it's important to
know exactly what you've got to work with.
| | 00:04 |
As an editor, you'll be given a lot of
material and it's so important to go
| | 00:08 |
through everything and screen it and
organize it, so that your creative
| | 00:11 |
process isn't hindered by looking for the
perfect shot.
| | 00:16 |
Now, let's take a look at what basic
assets we have for this project, so that
| | 00:20 |
we can get off on the right foot.
After the script was drawn up and the
| | 00:24 |
style frames were created, the production
team staged a shoot based on the design
| | 00:27 |
concepts from these pre-visualization
materials.
| | 00:32 |
The shoot produced a little more than two
hours of original footage.
| | 00:35 |
A various athletes performing activities
from many different camera angles.
| | 00:40 |
Our job is to create a 30 second
commercial from all of this footage, so
| | 00:44 |
we are working with about a 240 to 1
shooting ratio or we have about 240 times
| | 00:48 |
more footage as this going to end up in a
final spot.
| | 00:53 |
Now, that sounds daunting, but lets just
take a look at what we've got.
| | 00:56 |
Well, first of all I have all of the
(UNKNOWN) footage of the athletes.
| | 01:01 |
Now, I've already gone through and
separated each athlete's footage into a
| | 01:04 |
separate folder, and for the purposes of
this course I've trimmed down all of that
| | 01:08 |
content even further by half, so that you
would have a manageable package of
| | 01:12 |
exercise files.
Additionally, just as a heads up, I've
| | 01:17 |
had to compress the footage rather
dramatically to fit within the limited
| | 01:21 |
allowed space of the lynda.com exercise
files.
| | 01:25 |
It began as beautiful 2K footage, which
is 2,048 pixels by 1,024 pixels, and I
| | 01:30 |
had to compress it to SD footage at 720
pixels by 486 pixels.
| | 01:37 |
So, just be aware that we're working with
a much lower resolution footage, then we
| | 01:40 |
started with for the purposes of this
course.
| | 01:44 |
As you can see, we have four different
types of sports that we're dealing with here.
| | 01:48 |
Now, I won't be able to show you all of
the footage right now, but I thought I'd
| | 01:51 |
just show you a few samples of what this
footage looks like through screenshots.
| | 01:56 |
Here are a couple samples from the soccer
footage, from the stair climbing footage,
| | 02:03 |
from the football footage, and from the
track footage.
| | 02:11 |
Quite a good sampling, lots of different
angles, lots of different activities happening.
| | 02:17 |
And we've also got some other assets to
talk about.
| | 02:20 |
We have some temporary music and this is
just music from a stock music library,
| | 02:24 |
we're going to use it for the spot, and
then later a composer will score a
| | 02:27 |
different piece of music at the same
beats per minute as this sample music.
| | 02:34 |
I'm just going to play this really quick,
so you can see, basically what we're
| | 02:37 |
dealing with here.
| | 02:39 |
(MUSIC)
| | 02:41 |
Okay?
And we've also got some temporary VO or
| | 02:46 |
voiceover here.
And this just provides some read through
| | 02:49 |
of the script.
It is not a final VO, but we'll work with
| | 02:52 |
it in the meantime, while we craft the
spot.
| | 02:55 |
And later, we'll get professional
voiceover to slide in.
| | 02:59 |
I'll go ahead and just play a little bit
of this too.
| | 03:01 |
>> You work hard, and play harder.
Otter can give you back what you lose.
| | 03:05 |
>> We do have a couple of temporary
things to work with, our music, our voice
| | 03:09 |
over and then we also have some temporary
visual effects.
| | 03:14 |
This is from the Getty library, which is
a very large stock footage library that
| | 03:17 |
allows you to use Watermarked footage
during the editing process, so I knew I
| | 03:21 |
wanted some sort of flashy transitions.
And I'll just sort of play a couple of
| | 03:26 |
these for you here.
And you can see the watermark there.
| | 03:31 |
When we find out which one we want to
use, we can go ahead and purchase it and
| | 03:34 |
the watermark goes away.
Now, we may pick up other assets as we go
| | 03:37 |
along, but this is a good starting place.
Now again, for the purposes of this
| | 03:42 |
course, I've already done a lot of the
organizing in terms of B-roll.
| | 03:46 |
It came to me as just one big folder
without labels, but I've gone ahead and
| | 03:49 |
organized it like so.
So, it's important that you as the editor
| | 03:54 |
are involved a lot in the organization
and gathering process early on.
| | 03:59 |
Again, some of this can be done outside
of Final Cut, like I've done here.
| | 04:03 |
But there'll also be a fair amount of
organization to be done within the
| | 04:06 |
software, as we'll see in a future movie.
| | 04:08 |
| | Collapse this transcript |
|
|
2. Organizing and Assembling the Rough CutSetting up the project| 00:00 |
Okay, so now we've go a pretty clear idea
of our brand, our message, our audience,
| | 00:04 |
and we've got a good handle on our
assets.
| | 00:08 |
Let's get started setting up our project.
Now, I wanted to provide you with a
| | 00:12 |
project that was totally setup.
So, for this movie, just watch.
| | 00:16 |
I'll do all the hard work now, and then
after the next few movies, you should
| | 00:19 |
have a well organized project going
forward.
| | 00:22 |
Okay, so I've got Final Cut Pro X open
and if you take a look here I have
| | 00:26 |
several drives connected.
I have my Mac Hard Drive, I have a Media
| | 00:31 |
Drive, and a Demo Drive.
Now, the already organized footage is on
| | 00:35 |
the Media Drive.
So, let me show you that.
| | 00:38 |
And for this demo, to show you how to set
everything up from scratch.
| | 00:41 |
I'll place materials on the Demo Drive,
so we'll have a before and after.
| | 00:46 |
Alright, so I am just going to right
click on the Demo Drive.
| | 00:50 |
And create a New Event, and I'm going to
call it H+ Sport DEMO.
| | 00:55 |
And now I'm going to go ahead and click
on Import Media.
| | 00:58 |
So I'm going to navigate to my assets,
and if you watched in the previous movie,
| | 01:02 |
these have been loosely organized by
asset type.
| | 01:07 |
Alright, so they're on the Demo Drive
under Assets, and you can see here they are.
| | 01:12 |
Again, in the Athlete B-Roll folder, I do
have these sub-folders sort of
| | 01:16 |
categorizing all of these athletic shots
into various sports, all right?
| | 01:21 |
So, I'm just going to click and then
Shift + Click on all four of these
| | 01:25 |
folders, and I'll choose Import Selected.
Okay, so first of all, we want to check
| | 01:31 |
at the top here.
Add to existing event, H+ Sport DEMO,
| | 01:34 |
that looks good.
I'm going to check this box.
| | 01:37 |
Copy files to final cut events folder.
This is going to create new media files
| | 01:40 |
for me.
And then I also want to make sure that I
| | 01:43 |
check Import folders as keyword
selections.
| | 01:46 |
That's going to allow all the work that I
did outside of Final Cut to benefit me
| | 01:50 |
coming into the software, all right?
We don't need the transcode, I think I
| | 01:54 |
will leave analyze for balance color
checked that might be useful later.
| | 01:58 |
And we're going to ignore find people for
now, and these have no audio, so I'm
| | 02:02 |
going to ignore those as well, okay?
I'm going to choose Import.
| | 02:07 |
Okay, so as you can see, the footage is
coming into the project and I have one
| | 02:10 |
giant collection right here.
So, we are seeing everything sort of come
| | 02:15 |
into view.
But if you take a look of here the
| | 02:18 |
keyword collections are categorizing all
my media.
| | 02:22 |
So, for now, I'm just going to take a
look at football and soccer, my stair
| | 02:26 |
footage, and my track footage.
And the reason that I have these, is
| | 02:31 |
because I checked that box.
Import folders as keyword collections.
| | 02:36 |
So, if you do work outside of the
software, this is where it really starts
| | 02:39 |
to benefit you.
I think I am going to come up and create
| | 02:43 |
a New Folder here, Shift + Cmd + N.
And I'm just going to call this B-Roll,
| | 02:49 |
and lets go ahead and get all of our
B-Roll into that folder, like so.
| | 02:57 |
Okay, we're starting to get organized
here, and we've got our Background Task
| | 03:00 |
Manager working away here, doing some
analysis and importing all of our media.
| | 03:04 |
We'll go ahead and let that go, and
coming back over here to my keyword
| | 03:07 |
collections I really only have these four
keyword collections right here.
| | 03:12 |
Now, I could go deeper.
I could come in and label very specific
| | 03:15 |
shots in terms of activity, and shot
composition, and so on.
| | 03:19 |
But I think instead what I'll do is take
the very best part of every single shot
| | 03:24 |
and isolate it.
So first off, you should know that each
| | 03:28 |
of these shots has a lot of material
within it that is not important.
| | 03:32 |
So, I'm going to go ahead and just take a
look at all of my B-Roll here and we'll
| | 03:35 |
start at the top.
And we have a shot here of him running up
| | 03:39 |
the stairs.
You know, we might just want to pick a
| | 03:42 |
certain part of that.
If I just drag here, and take 5 seconds
| | 03:47 |
from the middle, and then press F.
I Favorited that, I've isolated that.
| | 03:53 |
And I move here, we have a lot of footage
of the field.
| | 03:57 |
Nobody's kicking the ball and.
There is the action of the kicking of the ball.
| | 04:02 |
So again, I can just drag or I can mark
in in with I, and then just go to the end
| | 04:06 |
of the kick and mark in out with O and
press F for favorite and if I take a look
| | 04:11 |
all the rest of that I'm not going to
need.
| | 04:17 |
So I'll just go on down the line and get
all of the best parts of each one of
| | 04:21 |
these shots.
And a couple of these have several good
| | 04:26 |
parts within the same clip.
So you can have more than one favorite in
| | 04:29 |
the same clip, like so.
And any more in this one?
| | 04:33 |
Yeah, we've got a close-up here.
And I'll go ahead and mark an in and an
| | 04:39 |
out, and F.
Just then, we have one, two, three, four,
| | 04:43 |
five, six separate sections that we like
and a bunch of stuff that we don't care about.
| | 04:49 |
Now, if you haven't used this method for
montage cutting in Final Cut Pro X, I
| | 04:52 |
really think you'll like it, because take
a look up here.
| | 04:56 |
If I just come to this Menu here, and
right now it says all clips, I'm just
| | 05:00 |
going to change it to favorites.
And you can see that it only displaying
| | 05:05 |
the stuff that I'm isolating.
So, again for the montage cutting, which
| | 05:09 |
is what we're going to be doing here.
This is great, I don't have to deal with
| | 05:12 |
any of that extra footage.
This is super useful, so I'm going to
| | 05:16 |
continue doing this for every single one
of my clips to the entire project, just
| | 05:19 |
isolating the sections that are the most
important and favoriting them like I
| | 05:23 |
showed you here.
And in the next movie, we'll use markers
| | 05:28 |
to identify the best of the best, our
most preferred takes from the favorited selections.
| | 05:33 |
| | Collapse this transcript |
| Marking the best shots to prep the edit| 00:00 |
Now that we favorited the best parts of
each clip, it's time to dig a little
| | 00:04 |
deeper and identify the best takes.
Let's take a look at how to do this in
| | 00:08 |
Final Cut Pro 10.
Because I've already done this for you,
| | 00:11 |
you can just sit back and watch this
movie.
| | 00:14 |
And enjoy the organized content from here
on out.
| | 00:17 |
As you can see, I've got my favorited
material highlighted on each and every
| | 00:20 |
one of my clips.
Lot's of little green lines all over the place.
| | 00:25 |
And if I come in to each one of my
keyword collections you can see that all
| | 00:27 |
of the segments are marked within each
one of these categories.
| | 00:32 |
So we still see all of the footage that
we're not going to use.
| | 00:36 |
So again, to isolate just our best parts,
I'm going to come up to this menu here,
| | 00:40 |
and change it from All Clips to
Favorites.
| | 00:44 |
So now this is just those parts of the
clips that we are going to consider for
| | 00:48 |
our montage.
What I'm going to do now is add markers
| | 00:52 |
to the very best shots, the best takes.
This allows me to spend the time up front
| | 00:58 |
highlighting the most usable material so
that when I'm in the thick of the
| | 01:01 |
creative process I don't have to spend
all my time sifting through every shot
| | 01:05 |
especially when so many are so very
similar.
| | 01:10 |
So again this stage of the process
requires extensive screening to isolate
| | 01:13 |
the best take.
We won't necessarily have time to do that
| | 01:16 |
now, but I do want to show you what to do
once you've identified the best material.
| | 01:20 |
I'll just come up to my football keyword
collection here.
| | 01:24 |
And as you can see the first 4 of these
shots are very similar.
| | 01:29 |
So let's say I've gone through, I've
screened it, and shot 3 is the best one.
| | 01:35 |
So when I want to consider if I would
like a shot of him throwing the football
| | 01:37 |
within my montage.
So I'm just going to place a marker.
| | 01:40 |
If I just want to place a marker without
a comment, I'm going to press M and you
| | 01:44 |
can see that its placed right here, or of
you'd liek to add a comment, let's say,
| | 01:47 |
on this one, I want to make mention of
this sort of socus drift here.
| | 01:53 |
I'm going to press MM and this dialogue
box opens.
| | 01:58 |
And I'm just goign to type in Rack Focus.
And I can continue on on down the line
| | 02:04 |
identifying my best takes.
So, let's say I like that one M and so on
| | 02:08 |
and so forth.
And because this is a time intensive
| | 02:11 |
process, I've already done this part for
you in the exercise files.
| | 02:16 |
If I come down to the media drive, where
I've already organized your footage You
| | 02:21 |
can see that if I go to for example the
football keyword collection, I have the
| | 02:25 |
markers on my favorite takes.
If I want to navigate from marker to
| | 02:31 |
marker I can do so by pressing control
apostraphe to move forward or control
| | 02:36 |
semicolon To move back through the
markers.
| | 02:41 |
So it's a very easy way to identify the
best takes, within your favorited material.
| | 02:47 |
As you can see this is a really efficient
way to work.
| | 02:50 |
Now that we've got our best material
organized and marked, let's get started
| | 02:54 |
on laying out the foundation for our
spot.
| | 02:57 |
| | Collapse this transcript |
| Building the audio foundation for the spot| 00:00 |
Once you've organized and identified your
best visual material, it's time to start
| | 00:04 |
laying the audio foundation for your
spot.
| | 00:07 |
Then, you can later work on fitting the
visual pieces together to best match with
| | 00:10 |
the bed of audio you've created.
We're in our project now on the media drive.
| | 00:15 |
We're no longer on the demo drive.
From this point on, you're free to follow
| | 00:19 |
along with the exercise files.
Notice that in this project there are
| | 00:22 |
several elements you recognize like the
Broll and Temporary music and Voiceover.
| | 00:27 |
And there's some other things that you
probably don't recognize.
| | 00:30 |
But don't worry about that.
We'll get to that.
| | 00:32 |
Just don't touch them for now.
Let's first talk about music.
| | 00:36 |
Now our commercial is going to be a
montage which is a collection of images
| | 00:39 |
that will be very motivated by the rhythm
and the tempo of the music.
| | 00:43 |
Now the thing is, we don't actually have
our final music yet.
| | 00:47 |
However, what we do have is this
30-second spot that we've selected with
| | 00:51 |
the client from a stock music library.
Later a professional musician will score
| | 00:56 |
our new piece of music at the same beats
per minute.
| | 00:59 |
For our intents and purposes we're going
to edit the spot as if this was our final music.
| | 01:03 |
But we're just going to need to tweak it
a little bit later.
| | 01:05 |
I'm just going to play a few seconds of
this music clip, so you can get a sense
| | 01:07 |
of what we're working with.
(SOUND).
| | 01:09 |
(MUSIC).
All right.
| | 01:15 |
So, you get the picture.
Very punchy, high energy, strong beat, synthesizers.
| | 01:19 |
We need to create a project to edit this
into.
| | 01:22 |
I'm just going to make sure I'm in the
2.3 folder.
| | 01:25 |
And I'm going to create a project.
And I'm just going to call those
| | 01:28 |
Commercial Spot Audio Bed.
Take a look here.
| | 01:31 |
Video properties set based on a first
video clip.
| | 01:34 |
Well, I just told you that we're going to
be editing audio in first.
| | 01:38 |
So when I edit in that first audio clip,
it's going to then ask me, well, what
| | 01:41 |
properties do you want?
I can actually make that decision now.
| | 01:45 |
If I say use custom settings, and then
under Video Properties, I can choose Custom.
| | 01:50 |
I happen to know that my video settings
are NTSC SD and 720 by 486 Anamorphic at
| | 01:56 |
a framerate of 23.98.
I know this because I compressed the
| | 02:02 |
footage for this project.
Basically, if you know your footage
| | 02:05 |
already, you can predetermine it at this
time.
| | 02:07 |
I'm going to leave my audio and render
properties as default and I'll say OK.
| | 02:14 |
So if I head back here and I select my
project and I open up the inspector, you
| | 02:17 |
can see that my video properties are set.
Just once super quick work around for this.
| | 02:23 |
I'm going to go ahead and create another
project and I'm just going to call this Test.
| | 02:28 |
And I'm going to (SOUND) use my automatic
settings, Video Properties, Set based on
| | 02:32 |
first video clip.
Even if you're editing in audio first,
| | 02:36 |
what you can do is just grab a super tiny
part of video and edit this in.
| | 02:42 |
Just insert that in.
And now the properties for this whole
| | 02:45 |
sequence have been set based on the
properties of this tiny sliver of video.
| | 02:49 |
If I come back out here you can see, you
can see that it has analysed that video
| | 02:53 |
and it has set everything up.
If you don't know your video properties,
| | 02:57 |
you can always do this workaround with a
tiny sliver of video.
| | 03:00 |
And then, of course you just remove that
sliver of video later.
| | 03:03 |
I'm going to go ahead and move that to
the trash for now.
| | 03:05 |
And let's go ahead and enter our empty
project.
| | 03:09 |
Let's go to our music.
And just real quick, before we edit this in.
| | 03:13 |
Just so you're aware, many, many times as
the editor, you'll often need to comb
| | 03:16 |
through stock music libraries, combine
different cuts of music together to fit
| | 03:20 |
exactly what you need.
For our purposes, as I said, we've
| | 03:24 |
already located the stand-alone 30-second
music cue to cut to.
| | 03:28 |
With that said, I'm going to go ahead and
edit this into the timeline by pressing W.
| | 03:32 |
And I'm going to come down here and press
Shift+Z to fit everything in.
| | 03:37 |
And I'm going to go ahead and just lower
the levels here, so that we can actually
| | 03:40 |
hear the voice over when we play.
We've got our 30 seconds here and now
| | 03:44 |
we're going to start editing in our voice
over.
| | 03:47 |
I'm going to click on my temporary
voiceover here and we just close the
| | 03:50 |
inspector, so we have a little bit more
real estate.
| | 03:53 |
And as you can see, we have quite a few
clips in here.
| | 03:56 |
Each one of the clips contains several
readings of the lines from the script.
| | 04:00 |
The differences between the readings are
ever so slight putting stress on one word
| | 04:04 |
or another.
As you can see, I've already gone through
| | 04:07 |
and identified my favorites.
My favorite lines here, the bright green.
| | 04:11 |
But I'm just going to play just a little
bit of this, so you can see sort of what
| | 04:13 |
we started with.
>> Work hard and play harder.
| | 04:16 |
You work hard and play harder.
Water can't give you back what you lose.
| | 04:21 |
H+ has what you need.
You work hard and play harder, you work hard.
| | 04:25 |
>> All right.
So we have a lot to choose from but we
| | 04:28 |
don't actually have to have maximum
discretion with this because it's
| | 04:32 |
temporary voiceover.
We're going to replace it with
| | 04:35 |
professional voiceover later on.
Also, just so you're aware, this scratch
| | 04:39 |
narration is just a tiny bit off from the
actual lines of the script because the
| | 04:42 |
narrator was given a slightly different
version of the script.
| | 04:47 |
And so he calls it H+ instead of H+
Sport.
| | 04:50 |
And just a couple of other little
differences.
| | 04:52 |
But again, we won't worry about that too
much since we know the professional
| | 04:55 |
voiceover is coming later anyway.
I'm going to move from All Clips to
| | 04:58 |
Favorites, and I have my four little
chunks of narration.
| | 05:02 |
I'm just going to go ahead and click on
my first sound bite here.
| | 05:06 |
And I think I maybe want three to four
seconds or so before we get our first line.
| | 05:10 |
I'm going to go ahead and edit this in
with queue.
| | 05:12 |
And go ahead and just continue doing this
down the line.
| | 05:18 |
And I know that I need this last bit to
basically end with this spot.
| | 05:22 |
So I can start moving this around.
So as you can see, I have the lines
| | 05:25 |
interspersed throughout the music spot.
This is just a starting place.
| | 05:29 |
We'll definitely be tweaking this as we
begin adding the visuals.
| | 05:32 |
But let's just give it a quick listen to
see where we're at.
| | 05:40 |
(MUSIC).
>> You work hard, and play harder.
| | 05:42 |
Water can't give you back what you lose.
H+ has what you need.
| | 05:46 |
All natural electrolytes from plant
infusions, not chemicals.
| | 05:51 |
H+ isn't made in a lab.
(MUSIC) Too much sugar can dehydrate you,
| | 05:55 |
robbing you of energy when you need it
most.
| | 05:58 |
H+ has only 5 grams.
Everything you need, nothing you don't.
| | 06:04 |
H+, natural rehydration.
(SOUND).
| | 06:07 |
>> All right.
So again, this is the starting place.
| | 06:09 |
We will continue to tweak this.
One thing I want to do right away though,
| | 06:12 |
everything is stereo, so if you didn't
notice.
| | 06:15 |
All of my narration was coming out of the
left channel here.
| | 06:18 |
So I'm just going to select my narration
and go into the inspector audio and
| | 06:22 |
change this from stereo to dual mono.
So now when I play this, this should
| | 06:28 |
sound better coming out of both channels.
(MUSIC).
| | 06:31 |
>> You work hard and play harder.
Water can't give you back what you lose.
| | 06:34 |
>> Things are sounding okay.
We've started our audio foundation, and
| | 06:37 |
now we can begin laying down the visuals
which we'll explore in the next movie.
| | 06:42 |
| | Collapse this transcript |
| Laying in the visual structure for the spot| 00:00 |
Now that we've got the audio foundation
laid in.
| | 00:02 |
We're ready to begin adding some visuals
to our spot.
| | 00:05 |
Before doing so hover lets talk a little
bit about our plans for the commercial.
| | 00:09 |
Now with our client we've identified a
little bit about how the structure of the
| | 00:12 |
spot will be laid out.
In the last chapter, we learned from the
| | 00:16 |
style frames, and brand information that
there are going to be three hero shots,
| | 00:19 |
that will be punctuating the spot.
Let me just jog your memory by showing
| | 00:24 |
you the style frames that were drawn up.
Okay.
| | 00:27 |
So we'll be choosing three shots to send
to a motion graphic artist.
| | 00:31 |
So that they can animate the H Plus Sport
logo within the footage.
| | 00:35 |
It'll have the logo, and there'll be this
little H pluses emanating from the
| | 00:38 |
athlete's core.
Its going to be very stylized, very
| | 00:42 |
dramatic lots of flavour and of course
they'll also be designing a final shot of
| | 00:45 |
the bottle with the logo over it, but as
we know we don't actually have these
| | 00:48 |
shots from the motion graphics artist
yet, so we'll just be working with
| | 00:51 |
placeholder footage, so lets just layout
where are these placeholder shots are
| | 00:55 |
going to go I'm going to go into my
visual structure start sequence and this
| | 00:58 |
is where we left off in the last movie
here.
| | 01:04 |
I'll go ahead and press Shift + Z and put
everything in.
| | 01:06 |
We've got our music and our four chunks
of narration and what I think we could
| | 01:10 |
maybe start out with is it probably makes
sense to put up our flashy hero shots in
| | 01:13 |
conjunction with our narration.
At least I can give us a general starting
| | 01:19 |
place for where we place the shots.
So, what exactly should the shots be of?
| | 01:25 |
We can choose anything we want for our
hero shots and we certainly have a lot of materials.
| | 01:30 |
Because we have four separate activities
though, football, soccer, stairs and
| | 01:34 |
tracks, I think it would be nice if we
chose distinct, specific type of actions
| | 01:38 |
for each.
I'm going to pull up our Style Frame
| | 01:41 |
again real quick.
As you can see, the pitch artist drew up
| | 01:44 |
three distinct types of activities for
these hero shots, running, kicking and pivoting.
| | 01:49 |
Now again, these were drawn up before any
of the footage was short so it might not
| | 01:52 |
be the best reflection of the direction
we should actually go.
| | 01:56 |
For example, we don't even have any
basketball footage so we'll have to
| | 01:59 |
adjust these ideas at least somewhat.
So back to the project here.
| | 02:04 |
Now that the footage has been shot I'm
thinking we should instead go with
| | 02:07 |
kicking, jumping, and throwing.
I think they'll represent our sports
| | 02:11 |
rather well and as you can see I'm going
to come down here to hero place holders.
| | 02:16 |
I've already identified three shots that
I think will be good for this.
| | 02:19 |
So I'm going to show you these so you can
get a sense of what I'm talking about.
| | 02:23 |
We got this first one here, the soccer
kick.
| | 02:26 |
Really nice motion across the frame.
You can see that this person's hand comes
| | 02:30 |
up to try to protect the camera.
Not a problem at all.
| | 02:33 |
The camera's locked down so the motion
graphics artist can mask that out.
| | 02:37 |
Got another shot here.
Of throwing a football and another shot
| | 02:40 |
here of the long jump.
Notice that there all in a long shot.
| | 02:44 |
The motion graphics artist has asked that
I choose shots in the long shot, so that
| | 02:48 |
he has the most amount of space possible
to do his animation work.
| | 02:52 |
Okay, so, instead of going for those
closeups, we're going to provide some
| | 02:55 |
sharp looking long shots.
So, everything will work out with our vision.
| | 02:59 |
So let's go ahead and start laying this
into our sequence.
| | 03:02 |
I'm going to go ahead and working an in
and an out, right like that.
| | 03:08 |
And we'll go ahead and edit this in right
above the first sound bite.
| | 03:11 |
Press Q.
Ok.
| | 03:13 |
So we have here our first soccer shot and
then we'll have a lot of flashy soccer
| | 03:17 |
shots to follow in a montage.
And then next, I think we'll go ahead and
| | 03:22 |
do our.
Long jump here in and out and queue, and
| | 03:26 |
then down on the third one in, out and
connect, okay and then finally at the
| | 03:32 |
very end we want to get our bottle short
with the logo, we got marketed at right
| | 03:38 |
here that and at the end queue.
Okay, so obviously this is not the H plus
| | 03:48 |
sports bottle but they've shot some
placeholder footage for us.
| | 03:55 |
Again, so I have my four placeholder,
this is going to be really stylized.
| | 03:59 |
Lots of those little H's flying all over
the place, but for now, we got it lay down.
| | 04:04 |
And just for each of these placeholders,
I think I'm going to do something that
| | 04:07 |
allows me to immediately recognize them
as such, okay?
| | 04:10 |
I'm just going to select all of them and
then come over to my Video Effect browser
| | 04:13 |
and go to maybe just black and white so
that basically I know that they're the
| | 04:17 |
ones that I'm going to be switching out
when I get the images back from the
| | 04:20 |
motion graphic artist.
Okay, so are you getting a sense for the structure.
| | 04:26 |
I'm going to go ahead and, Shift + Z
here.
| | 04:28 |
We're going to open with a fast-paced
montage, and then we're going to get to
| | 04:31 |
our first stylized hero shot, which is
going to set up this next section.
| | 04:34 |
And then we'll repeat that 2 more times,
and then finish on the logo of the water bottle.
| | 04:40 |
Okay?
So it will be build, release.
| | 04:42 |
Build, release.
Build, release.
| | 04:44 |
Okay?
So getting our structure laid out in this
| | 04:47 |
way is a good place to start when we've
got so much visual information to consider.
| | 04:51 |
| | Collapse this transcript |
| Creating subsequences to experiment and flesh out content| 00:00 |
Okay, we've got our principle audio laid
down, and we've got the skeleton of shots
| | 00:04 |
laid in, that's going to define the
structure of the spot.
| | 00:07 |
Let's start laying in some more visuals
now.
| | 00:10 |
So I'm going to go into my spot base
which is where we left off and we're
| | 00:13 |
going to focus on getting the four main
sections edited.
| | 00:17 |
As you can see we've got these four parts
here that are blank and need some
| | 00:21 |
engaging content.
Editors approach this in many different ways.
| | 00:25 |
Some work in a single project, building
out one long sequence and then work to
| | 00:29 |
pair it down.
While others build out different sections
| | 00:32 |
separate from one another
>> And then join them up later.
| | 00:35 |
No approach is wrong, it's just a matter
of your own personal working style.
| | 00:38 |
For this course though we're going to do
the latter of these approaches.
| | 00:41 |
We're going to work in a totally seperate
space, and then join everything back up
| | 00:44 |
to the main master sequence once things
are looking good.
| | 00:47 |
I'm going to go back out to the project
library, and I'm going to go in this
| | 00:51 |
blank sequence.
I really like this approach.
| | 00:54 |
Basically, it lets us get messy, get
creative, flush out our ideas, and see
| | 00:58 |
what works and what doesn't.
In essence, it's sort of like a sandbox
| | 01:02 |
in which to experiment.
Then when we're happy with what we've
| | 01:05 |
got, we can just bring it back into our
master sequence and go from there.
| | 01:09 |
I know I just entered this blank
sequence, but I'm going to pop back out
| | 01:11 |
and go back into the Spot Base.
because I do want to check out some durations.
| | 01:16 |
I want to see how long each of these
sections is, so that I can plan accordingly.
| | 01:20 |
I'm just going to mark an IN And an out
right here, and then press Control D to
| | 01:24 |
find out the duration.
The very first part before we get to the
| | 01:29 |
sound byte in the first hero shot is 4
seconds and 3 frames so not a lot of time.
| | 01:35 |
And let's move on to the section here and
Control D, 421 so.
| | 01:43 |
These are pretty much four seconds, five
seconds a piece here.
| | 01:47 |
In out, Control-D.
Four and a half seconds.
| | 01:52 |
And, this one's probably just a little
bit longer.
| | 01:56 |
I'm able to tweak it later, but that at
least gives me a little bit of an idea
| | 02:00 |
about what I need to end up with before
joining it back up to this master sequence.
| | 02:06 |
So let's go back out to My blank
sequence, and lets get started.
| | 02:10 |
I'm going to come up to my event library
and I think I'm going to start with the
| | 02:14 |
stairs footage.
I want to start this spot out with the
| | 02:17 |
stairs footage, because I think stairs
represent sort of the physical and the
| | 02:21 |
psychological build up to the actual
sports shots that define the spot.
| | 02:27 |
What I mean is, running stairs isn't a
sport itself, it's the workout that many
| | 02:30 |
athletes do in order to prepare for a
sport.
| | 02:33 |
And I think it really sets up the first
line.
| | 02:35 |
You work hard and play harder pretty
well.
| | 02:38 |
I'm going to come up to my menu here and
change it from All Clips to Favorites,
| | 02:42 |
and I'm just going to give myself a
little bit more real estate so that I can
| | 02:45 |
quickly skim over all of this material.
And you know, I've already gone through
| | 02:51 |
and I've screened it and I've gotten some
ideas.
| | 02:53 |
So when you're going to build your visual
elements, make sure you commit enough
| | 02:56 |
time to the screening process.
But I do want to give you a sense of what
| | 03:00 |
these shots look like.
We've got a lot of long shots, and we got
| | 03:05 |
people running downstairs and upstairs.
We've got side views.
| | 03:12 |
So, what I think I'd like to do, is start
out really wide.
| | 03:15 |
We use one of these really gorgeous wide
shots here, and then work my way in very
| | 03:18 |
quickly, and I want to do that twice, on
two of the athletes.
| | 03:22 |
And this is all happening in about four
seconds, the very first part of the commercial.
| | 03:26 |
I also want to play with contrast, not
only because it's visually interesting,
| | 03:30 |
but also because it can help convey that
H+4 caters to all types of people who are
| | 03:35 |
willing to work hard.
So we can show athletes of different
| | 03:40 |
genders, wearing different colors, moving
different directions.
| | 03:43 |
I think that will provide some exciting
visuals to set up this message that we
| | 03:47 |
want to convey about this more natural,
more wholesome way to get ahead.
| | 03:51 |
Like, real athletes work hard to achieve
results.
| | 03:54 |
Real athletes drink H plus sport as a
natural supplement for high activity.
| | 03:58 |
Lets go through and pick out the shots
that we want to feature.
| | 04:01 |
And you typically want to start out with
something pretty striking to grab your
| | 04:04 |
viewer's attention right off the bat, and
I actually keep coming back to this shot here.
| | 04:09 |
It's very simple but it has really
beautiful symetry and the shadows and
| | 04:12 |
light are really interesting and the
runner is just sort of cutting through
| | 04:16 |
the visual space There's a couple of
shots that are similar to this.
| | 04:21 |
We've got this one here and then we've
got this one here and this one here.
| | 04:27 |
And I think I would like to start out
with this one.
| | 04:30 |
I'm going to just Mark an In and an Out.
And we'll start this off by inserting
| | 04:36 |
this into the timeline.
I'll press W.
| | 04:39 |
And again we're just throwing this down
first and we're going to see where it
| | 04:41 |
takes us.
I'm not going to pay too much attention
| | 04:44 |
to length right now.
I just want to get the shots down and
| | 04:46 |
then I'm going to trim.
Next shot.
| | 04:49 |
I want to stay on this female athlete
here.
| | 04:52 |
And just so you know we're going in slow
motion I'm just going to play this so you
| | 04:54 |
can see.
I want to stay on her but I want to go to
| | 05:00 |
a different angle and I actually, I don't
have snapping turned on.
| | 05:05 |
So I'm going to press N, and now I'm able
to snap in, sort of magnetizes to my cut
| | 05:09 |
point so that'll make it easier, and lets
find another short of her, here is one we
| | 05:14 |
can use and there is also some.
Here, if we're going to go wide and then
| | 05:21 |
cut in, I think what we can do is get
this shot of her from the side.
| | 05:28 |
Click an in, and an out.
And insert that down, press W.
| | 05:35 |
Wide, a little bit closer, but from a
different angle.
| | 05:38 |
And the rest of her shots are down here.
We've got her running away from the
| | 05:42 |
camera, from the side, and running toward
the camera.
| | 05:46 |
So I think I'm going to next pop to this
one, and out, and insert, and then we
| | 05:52 |
would have the option of following her
away or having her come towards the camera.
| | 06:02 |
Just I think what I'm going to do.
We are going to go ahead and drop this
| | 06:05 |
shot in last.
Let'd do something similar but with a
| | 06:09 |
different athlete.
Again, seeing if we contrast a few key elements.
| | 06:15 |
As I go through the footage, I believe
that there's only one athlete that's
| | 06:19 |
actually running down the stairs.
And there he is.
| | 06:24 |
So, he might be a good candidate to
introduce this contrast.
| | 06:28 |
He's moving a different direction.
He's also wearing a light colored shirt,
| | 06:33 |
when the first athlete was wearing dark.
So, I think this might work.
| | 06:38 |
Let's go ahead and, let's see, I believe
we've got him here.
| | 06:41 |
We've got him here.
And we've got him here.
| | 06:44 |
And if we want to do the same pattern of
starting wide, and then, going in, let's
| | 06:49 |
go ahead and do that.
So I'm just going to work an in and an
| | 06:54 |
out, and edit that in, and will next cut
to this one.
| | 07:00 |
So he is sort of a rack focus.
I might want to include that but I think
| | 07:04 |
right now I'm going to go on the other
side of that.
| | 07:06 |
Edit that down and let's go ahead and get
the short here, and let it that down to.
| | 07:19 |
I'm going to come down to the timeline
and just press Shift-Z to fit everthing
| | 07:22 |
within the timeline view.
We've got a start here.
| | 07:25 |
We've got one athlete from various
angles.
| | 07:29 |
We've got another athlete from various
angles.
| | 07:31 |
We've got this idea of contrast happening
and I think we've got some really nice
| | 07:34 |
visuals here.
I'm going to continue on like this using
| | 07:37 |
this separate space as a creative place
to try things out and assemble my shots.
| | 07:41 |
And in general I think I'm going to keep
up on this theme, editing contrasting
| | 07:44 |
shots in terms of gender, movement, and
color with shots that also seem to meld
| | 07:47 |
into one another.
So if I want to carry on, I'm going to
| | 07:52 |
just go to the end here and if I want to
go next to my soccer shots, just click on
| | 07:56 |
the soccer keyword collection and say for
example I want to start on a close-up of
| | 08:01 |
the ball getting kicked like so.
So, I'll just mark an in and an out.
| | 08:09 |
And now I want to edit that in but
separate it from all of this.
| | 08:14 |
I can just switch to the position tool,
or just press P if I want.
| | 08:17 |
And the move it down and then that will
give me some space.
| | 08:20 |
So, I could go into a whole another
project completely to keep fleshing this
| | 08:24 |
out Or, as you can see we can work within
the same one.
| | 08:28 |
I'm going to go back out into the project
library and show you kind of how I've
| | 08:32 |
already done this with my four sports.
So, here's the stairs and here's my
| | 08:40 |
soccer shots, and my track, and my
football.
| | 08:49 |
So that gives you a little bit of an idea
of the shots.
| | 08:52 |
Again, we are not worried about timing or
pacing yet.
| | 08:54 |
We've just laid them in.
So we still have quite a lot of cutting
| | 08:57 |
to do, but we'll explore trimming in the
next movie.
| | 09:00 |
| | Collapse this transcript |
| Focusing on timing and pacing| 00:00 |
Once you've made the decisions about what
content you want its time to start
| | 00:03 |
getting the timing of your shots right
and because we're cutting a commerical
| | 00:06 |
every moment counts.
We really need to consider how everything
| | 00:10 |
fits together visually before we rejoin
everything to the master sequence.
| | 00:15 |
I already figured out the durations that
our montages need to be.
| | 00:18 |
Let me just refresh our memories about
that, I'm going to go into the spot base.
| | 00:23 |
And just for the first one here I'm just
going to walk in in, in and out and Ctrl
| | 00:26 |
+ D.
This very first part of the one that
| | 00:29 |
we've been working on the stair climbing
footage has to be 4 seconds and 2 frames,
| | 00:33 |
at least to start with.
So that we can rejoin it to our master sequence.
| | 00:38 |
We can certainly tweak it afterwards.
I'm going to go back out to My Project
| | 00:42 |
Library and I am going to go into my
subsequence's Trim Start sequence here
| | 00:46 |
and so these are my four very lose
montages.
| | 00:51 |
I've made the decisions about what shots
I want and in what order but my timing
| | 00:56 |
still isn't there.
I am going to take this first session the
| | 01:00 |
one we've been working on and lets just
check the duration.
| | 01:03 |
I am going to mark in N and then I am
just going to come down here and hover
| | 01:06 |
I'm not going to click.
It's not going to work if you click.
| | 01:09 |
So, I'm going to hover and just press
Out, and that will basically select the
| | 01:13 |
entire range, and then I'm going to press
Ctrl + D.
| | 01:16 |
I've got 10 seconds and three frames
here.
| | 01:20 |
So I'm going to need to turn this down
basically takes six seconds away from
| | 01:23 |
here and there's various ways that you
can do this.
| | 01:27 |
I'm just going to zoom into the timeline
a little bit here, command plus.
| | 01:31 |
One way you can do it is to perform
ripple trims just literally.
| | 01:35 |
Go through and trim away like this.
But a really nice way to actually
| | 01:39 |
approach this is to do top and tail
editing.
| | 01:42 |
And quite simply top and tail editing
just means that you are extracting either
| | 01:46 |
the first part of the shot or the last
part of the shot.
| | 01:50 |
I'm going to show you how to do it and
then I'm going to show you why this is a
| | 01:53 |
really cool way to cut montage.
If I want to perform a Top Edit, say, for example.
| | 01:59 |
I would like to basically start this shot
right here and take away all of this material.
| | 02:04 |
I just hover my Skimmer right there and
then press Option, Left Bracket.
| | 02:11 |
And if I wanted to perform a tail edit, I
just hover my Skimmer right here and
| | 02:15 |
press Option + Right Bracket.
It just very quickly lops off the first
| | 02:20 |
and the last part of the shot.
So let's go ahead and use that.
| | 02:24 |
But first, let's go ahead and cut in our
music.
| | 02:26 |
Again, Montage is very music driven.
And our final music is going to be the
| | 02:30 |
same beats per minute as the sample one
that we have.
| | 02:32 |
So let's go ahead and use that to our
advantage.
| | 02:34 |
I'm going to go ahead and just cut this
in at the beginning.
| | 02:37 |
I'll connect with queue.
And what I'm going to do first is add
| | 02:40 |
markers on the fly.
So every time I hear a strong down beat,
| | 02:43 |
I'm going to press M and then I'm going
to have a lot of markers in my music
| | 02:46 |
track that will determine where I want to
cut.
| | 02:50 |
And then we'll use top and tail in
conjunction with those markers.
| | 02:53 |
To make this easier for us, I'm just
going to select my music track here and
| | 03:02 |
press M on the beats.
(MUSIC) This can be my guide where I'm
| | 03:10 |
going to cut and I'm just going to use
top and tail in order to make this happen.
| | 03:17 |
I think when I was demoing this I got
this a little bit 2 shorts, I'm going to
| | 03:21 |
just drag this out to here but here lets
go ahead and perform a tail edit option
| | 03:24 |
right bracket.
And then keep going and see how quick
| | 03:31 |
this is and lets see how long this is.
We think we'll probably have to cut it
| | 03:36 |
down a little bit further.
I mark and in and an out and control d.
| | 03:41 |
Yep, 704 so we still have a little bit
more to go, so as we keep cutting this
| | 03:45 |
down we'll probably have to fit at least
two of these shots in between beats and
| | 03:50 |
so on, I am going to come back out to the
Project Library and I am going to come to
| | 03:54 |
subsequence's, trend end and as you can
see here I've marked out my beads with
| | 03:58 |
markers and I've also added some gap
clips that are the exact duration as my
| | 04:02 |
hero shots just to show you real quick.
If I go into my master sequence you can
| | 04:13 |
see that my first hero shot here is 122
and my next one, Control + D, is 222 and
| | 04:18 |
so on.
I've just mimicked this environment here
| | 04:24 |
in my sandbox with those same duratios,
122, 222 and so on.
| | 04:29 |
Now let's go ahead and just play this,
and see what we think at this point.
| | 04:39 |
(MUSIC)
| | 04:42 |
Okay, and then, of course, it would end
there.
| | 05:05 |
On the shot of the bottle.
Its looking pretty good.
| | 05:07 |
Again this process is going to take you a
while so take your time and figure out
| | 05:11 |
how you want to approach it.
Look at the visuals.
| | 05:14 |
Listen to the music and keep trying
things out but in our case now that we're
| | 05:17 |
sort of done with this messy editing part
I think it might be time to join
| | 05:20 |
everything back up to the master sequence
which is what we'll explore in the next movie.
| | 05:26 |
| | Collapse this transcript |
| Continuing the edit and working with compound clips| 00:00 |
Once, you've gotten messy and gotten
creative and have figure out how you want
| | 00:03 |
to approach the various mini sections of
the spot in your sandbox sequence, it's
| | 00:06 |
time to start making them accessible.
Now, how do you do this?
| | 00:11 |
Well, there are several ways to get
material from one project to another.
| | 00:15 |
But the method I want to explore here is
by creating compound clips, or nests,
| | 00:18 |
which will let me move a series of shots
to the event library, so I can continue
| | 00:21 |
working with them really easily.
I'm going to go into my one sub sequences
| | 00:28 |
project here.
And again, this is our perfectly timed
| | 00:31 |
shots that we're going to put in our
master sequence.
| | 00:35 |
I'm going to come to the first series of
shots, my stair shots that we've been
| | 00:38 |
working on.
And I can either right click and choose
| | 00:41 |
New Compound Clip or press Opt + G.
Alright, when I do this Final Cut is
| | 00:45 |
going to ask me where I want to store the
compound clip in the event library, and I
| | 00:49 |
do want to bring it to the H+ Sport
Event.
| | 00:53 |
And I'm just going to call this, Stairs
Montage and say OK.
| | 00:57 |
A couple of things have happened, I have
a compound clip here within my sequence.
| | 01:03 |
All of my shots are perfectly accessible.
I just have to double click and here they
| | 01:07 |
all are, and I can edit them however I
like.
| | 01:10 |
I'm going to come back.
And the other thing that's happened is
| | 01:12 |
that I had a compound clip deposited up
here in my Event Library.
| | 01:17 |
I could go search for it and put it in a
keyword collection, but what I want to do
| | 01:20 |
instead is set up a smart collection.
So that all of my compound clips go to
| | 01:25 |
the same place automatically.
So I'm just going to click on this
| | 01:28 |
Magnifying Glass.
And I think I'm going to name each one of
| | 01:31 |
these the sports and then montage.
So let's go ahead and choose Text > Montage.
| | 01:37 |
And you can see it found it right away,
just to differentiate from anything else
| | 01:41 |
I'm going to also choose Clip Type and
then Compound.
| | 01:45 |
And I'm just going to do a new smart
collection and I'll just call this
| | 01:49 |
Montage Nests, and I'm just going to move
it into my Assets folder.
| | 01:54 |
And I'm just going to keep doing this
down the line.
| | 01:57 |
Let's go ahead and select Opt + G and
Soccer Montage.
| | 02:05 |
So, as you can see, as I skim through all
of these, these are all of my editing
| | 02:09 |
decisions laid out for me.
So, I'm just going to go back to the
| | 02:14 |
Project Library and we're going to go
into Base > Start.
| | 02:18 |
Let me just come down here and make my
clip height a little shorter here, so we
| | 02:23 |
can see everything.
Now, let's just start editing this in.
| | 02:27 |
First thing's first, I have my stairs.
I'm going to go ahead and just edit this
| | 02:30 |
in by pressing Q.
You can see I timed it perfectly, I knew
| | 02:34 |
I needed four seconds and two frames, and
that's what that is.
| | 02:39 |
Then get my soccer, so I've got my soccer
hero shot followed by the soccer montage queue.
| | 02:46 |
And then, track and connect with queue,
and finally football, like so.
| | 02:56 |
Now again, I was really careful to edit
each of these sections to fit within the
| | 02:59 |
exact space provided.
But you know, if you didn't, you'll just
| | 03:02 |
need to do a little bit of trimming to
get everything to fit, no problem at all.
| | 03:06 |
If you do need to do some editing, all
you do is just double click on compound
| | 03:09 |
clip that you want to edit, and you can
perform any types of edits in here that
| | 03:13 |
you want.
But for now, let's go ahead and go back
| | 03:16 |
to the main sequence by clicking on this
little arrow up here.
| | 03:21 |
I'm going to click in the timeline here
and press Shift + Z, and so everything is
| | 03:24 |
going to fit within my timeline view.
And I just want to go over one more thing.
| | 03:28 |
Right now, as you can see, the audio or
the music actually is on the primary
| | 03:32 |
story line.
And then, I have my narration as
| | 03:36 |
connected clips and I have all of my
video as connected clips.
| | 03:40 |
This is because we laid the music down
first when we're laying our audio foundation.
| | 03:44 |
Now, if you want, and I usually do this,
I'm just going to select all of my video
| | 03:48 |
here and then right-click and choose
Overwrite to Primary Storyline and watch
| | 03:52 |
what happens.
Now, my video is on the primary storyline
| | 03:58 |
and all of my audio is down here as
connected clips.
| | 04:02 |
Again, this is just a matter of personal
preference, but I do often find it easier
| | 04:05 |
to have my chief video material being the
primary storyline while I'm still
| | 04:08 |
tweaking it.
So we've got everything together.
| | 04:11 |
Let's play it and see how it's working so
far.
| | 04:20 |
(MUSIC)
>> You work hard and play harder.
| | 04:22 |
Water can't give you back what you lose.
H+ has what you need.
| | 04:26 |
All natural electrolytes from plant
infusions, not chemicals.
| | 04:31 |
H+ isn't made in a lab (MUSIC) Too much
sugar can dehydrate you robbing you of
| | 04:36 |
energy when you need it most.
H+ has only five grams.
| | 04:42 |
Everything you need, nothing you don't.
H+ natural rehydration.
| | 04:47 |
>> Not bad, we still got a little bit
of work to do, but for now it's a pretty
| | 04:50 |
good base to work with as we continue to
tweek and refine our spot.
| | 04:54 |
| | Collapse this transcript |
|
|
3. Working with EffectsManipulating speed with stutter edits| 00:00 |
Okay.
We've laid our audio bed and we formed a
| | 00:02 |
cohesive visual structure.
We formed our four montage sections by
| | 00:06 |
flushing out content in our creative
sandbox space.
| | 00:10 |
And we've joined everything back up
again.
| | 00:12 |
Now it's time to start figuring out what
else we can do with the sequence.
| | 00:16 |
And in this movie we'll explore some
techniques that will help us manipulate
| | 00:19 |
time by performing different types of
stutter edits.
| | 00:22 |
Let's take a look.
All right.
| | 00:23 |
So I'm going to go into my pre-speed
sequence here.
| | 00:26 |
And in editing our montage we played with
various contrasting shots, but there's
| | 00:30 |
also a lot of matching on action takes us
smoothly through various series of motions.
| | 00:35 |
All in all it still feels rather fluid
and I think we might just want to stylize
| | 00:38 |
it a bit with some speed effects.
I'm going to come back to our stairs
| | 00:42 |
montage and double click on this compound
clip and we can begin editing the clips
| | 00:46 |
inside here.
Everything is timed pretty well, and
| | 00:51 |
flowing pretty smoothly and now I want to
introduce some edge to it.
| | 00:55 |
Now there are a few ways I can do this.
I can just start chopping away frames
| | 00:58 |
from the clips to create jump cuts, but I
think what would be more striking is if I
| | 01:02 |
quickly reverse the motion and then
repeated it during some key movements.
| | 01:07 |
So fortunately there's a very easy ways
to accomplish this in Final Cut Pro 10.
| | 01:11 |
And that's by creating instant replays.
To set myself up for this I'm just
| | 01:14 |
going to go through and choose one of
these shots that I'd like to stutter.
| | 01:19 |
And I think the first one I want to
explore is here, of her just running up
| | 01:23 |
the stairs.
I want her to basically stutter that step
| | 01:26 |
right there.
I'm just going to mark an N.
| | 01:30 |
Add an out around the area that I'd like
to stutter and then I just come up to the
| | 01:33 |
retiming menu and choose instant replay
and so a couple of things have happened here.
| | 01:40 |
I'm just going to zoom in, command plus,
plus and you can see here that its very
| | 01:44 |
quickly reversed my motion and then its
repeated again at normal speed.
| | 01:49 |
So you can adjust these.
I can reverse more slowly, and then
| | 01:55 |
repeat again, more quickly.
And we can take a look at what that looks like.
| | 02:02 |
So you can kind of see that she sort of
took that step, reversed and took it again.
| | 02:09 |
And we can try it again on this shot
here.
| | 02:12 |
Let's see where we want to stutter.
How about right here?
| | 02:18 |
So in and out.
And Instant Replay.
| | 02:24 |
And I'm just going to adjust these
durations just a little bit.
| | 02:33 |
And let's zoom back out and let's play
both of them together.
| | 02:40 |
So, I can continue doing this and I don't
want to do it to every clip of course,
| | 02:44 |
just enough to give this part a bit
enough of visual rhythm here and there.
| | 02:48 |
Now just one more thing to point out
here.
| | 02:51 |
One good thing about working in compound
clips is that I have a very clear
| | 02:54 |
reference about my boundaries.
I'm just going to close these two
| | 02:57 |
retiming menus here.
You can see here that I have my light
| | 03:00 |
gray area and then my dark gray area.
If I want to still make all of these
| | 03:04 |
shots fit within the area that is defined
within the master sequence, then I am
| | 03:08 |
going to need to make sure that
everything falls within this light gray area.
| | 03:16 |
I can begin, sort of trimming away and
make sure that everything falls within
| | 03:19 |
this light gray area.
I've actually already done this.
| | 03:23 |
I'm going to go out back to my project
library here and I got this sequence here
| | 03:26 |
where I've done a lot of stutter editing
and I want to show it to you.
| | 03:31 |
And of course as you go through it you
may make different decisions on which
| | 03:34 |
shots you like to stutter but take a
look, see how its working and try to
| | 03:36 |
identify the stutter edits as you watch.
>> (MUSIC) You work hard and play harder.
| | 03:46 |
Harder can get you back what you lose
Hplus has what you need.
| | 03:50 |
(MUSIC) All natural electrolytes from
plant infusions not chemicals.
| | 03:54 |
H plus isn't made in a lab.
Too much sugar can dehydrate you, robbing
| | 04:00 |
you or energy when you need it the most.
H plus has only 5 grams.
| | 04:05 |
Everything you need, nothing you don't.
H plus, natural rehydration.
| | 04:10 |
OK, so there we go, hopefully you were
able to identify, the stutter edits,
| | 04:12 |
there were quite a few.
Things are looking pretty good as we
| | 04:15 |
continue building our base.
| | 04:17 |
| | Collapse this transcript |
| Adding transition effects| 00:00 |
Now that we've added our stutter edits,
our spot is coming along pretty well.
| | 00:04 |
On more effect I'd like to consider is
the use of transitions.
| | 00:06 |
Let's take a look.
I'm going to go into my pre-effect
| | 00:09 |
sequence here, and you know, right now
we've got hard cuts in between each and
| | 00:13 |
every edit.
And as we know, we have these four
| | 00:16 |
distinct sections in the commercial.
We have the first one, here, and then we
| | 00:19 |
have our hero shot.
And then we have another section here,
| | 00:22 |
and then another hero shot, and so on and
so forth.
| | 00:25 |
I think I'd like to play with that,
perhaps put a creative transition in
| | 00:27 |
between each of these 4 sections, which
we'd be going for here.
| | 00:32 |
Well probably nothing too overly
complicated.
| | 00:34 |
We're looking for simple, clean, pure,
just like the brand message.
| | 00:38 |
And I'm actually thinking that something
that flashes a little light quickly, but
| | 00:42 |
not over the top, might be a nice touch.
We can just use the transitions that we
| | 00:46 |
generate within Final Cut.
But we can also use transitions from
| | 00:50 |
other sources as well.
Now, I've gone ahead and pulled some
| | 00:53 |
transition templates to try out from
Getty Images, a massive stock photo and
| | 00:57 |
footage agency.
And I'm just going to go to Scratch
| | 01:01 |
Visual Effects here, and here they are.
I'm just going to skim over them for you.
| | 01:06 |
As you can see, each one of these has
that sort of natural white pattern we're
| | 01:09 |
looking for.
But because I want to go as simple as
| | 01:13 |
possible, I'd like to try this one here.
So let's take a look at how we can use this.
| | 01:18 |
Now, some transitions you place in
between two clips.
| | 01:20 |
But when we have an external video that
we want to use as a transition, we're
| | 01:24 |
going to connect it above the primary
storyline as a connected clip.
| | 01:29 |
I'm just going to come down to my
sequence, and I'd like to experiment with
| | 01:32 |
starting the entire spot off of this
transition.
| | 01:36 |
So I'm just going to park down here, and
I'm going to come up here and I'll just
| | 01:39 |
mark an in and an out.
And let's say that I want exactly one second.
| | 01:44 |
I'm just going to press control D and
I've got 29 frames here.
| | 01:47 |
And in this project about 24 frames is a
second, so I'm just going to type in 24 Enter.
| | 01:54 |
Now I've marked one second.
Now I'm just going to press Q.
| | 01:59 |
You can see that it was inserted above my
primary storyline.
| | 02:02 |
Now when I play it right now, (SOUND) you
can't see her underneath.
| | 02:07 |
What we're going to do, is open up the,
effect browser and then go ahead keying.
| | 02:13 |
And because we want to key out the black
here, I'm just going to go to luma keyer.
| | 02:19 |
And I'm just going to add that to this
effect.
| | 02:21 |
I'm going to go to the inspector.
And you can see here that we can sort of
| | 02:26 |
see her behind all of the flashing white
lights.
| | 02:30 |
And you can basically just adjust these
parameters so that we see less, or more
| | 02:35 |
of the white.
And I think I'm going to play with this
| | 02:39 |
just a little bit.
Until I like the look.
| | 02:46 |
I'm just going to zoom in a little bit.
Let's go ahead and play it in real time
| | 02:49 |
(SOUND).
And I think I'm going to actually just
| | 02:53 |
lengthen it a tiny bit.
And let's just add some dissolve to
| | 02:58 |
soften this up.
I'm just going to press command T.
| | 03:01 |
And you can see that dissolves were added
to each side of this and I'm just
| | 03:04 |
going to ripple these dissolves back just
a little bit.
| | 03:09 |
And let's go ahead and play.
| | 03:10 |
(MUSIC).
| | 03:13 |
I can continue tweaking this but this is
basically the look I'm going for.
| | 03:18 |
Now if I wanted to add this same
transition on down the line in between
| | 03:21 |
each of my hero sections, I, I certainly
could, but I think I'm going to go for
| | 03:24 |
something a little bit less dramatic, a
little more subtle.
| | 03:28 |
And then also, just so you know, as you
can see you can sort of still see the
| | 03:31 |
Guetty images Watermark.
When I buy this visual effect I'm just
| | 03:34 |
going to slot it in and then it won't
have a watermark, so don't worry about that.
| | 03:39 |
I'm going to just zoom out a little bit,
(INAUDIBLE) and minus, and we want the
| | 03:43 |
next transition to appear right before
Our first hero shot here.
| | 03:48 |
What I'm going to do is check out the
Final Cut library of effects.
| | 03:52 |
I'm going to go to the transistion
browser, and I think what I want to do is
| | 03:56 |
look in the lights catagory.
let's just check some of these out.
| | 04:00 |
I'm just going to hover over them and go
left to right so I can see what basic
| | 04:03 |
look each of these is offering.
And, you know, this one's pretty similar
| | 04:10 |
to the one that I just chose.
But again, not quite as dramatic.
| | 04:18 |
Yeah, I think I'd like to experiment with
light noise.
| | 04:21 |
Alright.
So, I'm going to just drag this in
| | 04:23 |
between huh, do you see that I cannot do
this?
| | 04:27 |
It's because you can't put a transition
on in between a compound clip and a
| | 04:31 |
regular clip.
No worries, I'm just going to break apart
| | 04:36 |
these clip items.
I do that by just clicking on the
| | 04:39 |
compound clip coming up to the click menu
and breaking apart clip items or pressing
| | 04:42 |
shift command G.
So, here is all those individual shots
| | 04:47 |
and now I am going to be able to add my
transition, as you can see, and let's go
| | 04:50 |
ahead and see what this looks like.
>> You work hard and play harder.
| | 04:56 |
>> I think I will continue adding these
light, noise transitions before each of
| | 05:00 |
the other hero shots.
Now I've already done this, and I am just
| | 05:04 |
going to go to the post effects sequence
here.
| | 05:07 |
Let's take a look here.
I'm going to go ahead and give this a
| | 05:10 |
play and I'll just forward to each one of
these so you can see how it's working.
| | 05:16 |
>> (MUSIC) You work hard, and play
harder.
| | 05:21 |
All-natural electrolytes from plant
infusion.
| | 05:26 |
Too much sugar can dehydrate you, robbing
you of energy.
| | 05:29 |
Everything you need, nothing you don't.
H+.
| | 05:33 |
>> We have about 5 total.
We have one in between each one of the
| | 05:36 |
hero shots, including the bottle here,
and then one at the very beginning that's
| | 05:39 |
a little bit more dramatic then the rest.
I think the addition of these white light
| | 05:44 |
transitions is working nicely in the
context of our commercial.
| | 05:47 |
Let's now just continue working though
the logistics of the commercial to
| | 05:51 |
perfect its overall look and style.
| | 05:54 |
| | Collapse this transcript |
| Compositing layers within the spot| 00:00 |
One additional thing I'd like to explore
is some very light compositing, which
| | 00:03 |
means that we'll be layering some video.
I think I'd like to play just a little
| | 00:08 |
bit with some superimpositions.
I'm going to go into my pre-layer
| | 00:12 |
sequence here.
One interesting thing I thought we could
| | 00:15 |
explore would be to simultaneously show
an image of some of these athletic
| | 00:18 |
activities from multiple shot angles.
Let's take a look at where this strategy
| | 00:23 |
might best be implemented.
I'm thinking that we could perhaps do
| | 00:27 |
this three times, within each of the hero
segments.
| | 00:31 |
And in this first segment, I was thinking
that perhaps we could explore a close up
| | 00:35 |
of the soccer ball coming straight at the
camera over a couple of these per shots here.
| | 00:41 |
I'm just go and click on my soccer
keyword collection here.
| | 00:45 |
And I have a couple of favorites.
I'm going to just select, Favorites here.
| | 00:50 |
And, that's okay, but not quite the angle
I was looking for.
| | 00:56 |
That's pretty good, and, that one.
I think that would be great.
| | 01:02 |
I'm going to mark an in.
(SOUND) And an out right before the
| | 01:07 |
camera bobbles here.
And, let's go ahead and try to find where
| | 01:12 |
I want this to occur.
So not over the hero shot itself, but
| | 01:16 |
right afterwards.
Maybe starting about right here.
| | 01:20 |
So, I'm just going to place my playhead
here and press Q to connect.
| | 01:25 |
And obviously when I play this right now,
you'll only see the close-up.
| | 01:28 |
(MUSIC)
>> Water can't give you back what you lose.
| | 01:30 |
>> We'll let's go ahead and composite
this.
| | 01:32 |
I'm going to click on the clip and then
open the inspector and I'm going to come
| | 01:37 |
all the way down to compositing.
We want to key frame this so we want to
| | 01:43 |
basically start so that you can't see it.
And slowly bring it up and then bring it
| | 01:47 |
back down.
So I'm going to go to the very beginning
| | 01:51 |
of the clip and I'm going to turn
snapping on so that this snaps and then
| | 01:55 |
lets go ahead and set our first key frame
and bring it all the way to zero and then
| | 02:00 |
maybe about a quarter of the way through
lets go ahead and bring it up A little
| | 02:05 |
over half.
Yea, about 60%, 65%.
| | 02:16 |
And another key frame here, bring it down
a little bit and than go to the very end.
| | 02:22 |
I'm going to zoom in a little bit and
bring it back towards zero.
| | 02:30 |
So let's go ahead and play this.
>> Water can't give you back what you lose.
| | 02:34 |
H+ have.
>> So, not bad.
| | 02:36 |
We have this superimposition, of the ball
that you can see at the same time, as a
| | 02:39 |
couple of these other actions.
So that's kind of nice.
| | 02:42 |
>> And, let's do the same thing down
here with the track sequence.
| | 02:46 |
Let's go ahead and zoom out and let's go
ahead and play and see what sort of ideas
| | 02:50 |
we get.
>> Not chemicals.
| | 02:53 |
H+ isn't made in the lab.
>> We have the long shots, of the long
| | 02:56 |
jumper here, and then we have several
Medium shot, close-up shots here.
| | 03:01 |
Let's go ahead and maybe experiment with
another long shot of the long jumper.
| | 03:07 |
Let me just go to track here and get
myself a little bit more space.
| | 03:14 |
And go ahead and find some of these long
shots of the long jumper, I could have
| | 03:18 |
him coming straight at us Or, there's the
one we actually use for the hero shot.
| | 03:26 |
Straight at us, and then here's from the
side.
| | 03:30 |
And these are the ones that are actually
in the sequence right now.
| | 03:33 |
It might be cool to see this one coming
from the side at the same time that you
| | 03:37 |
see this one right here.
So let's try that.
| | 03:41 |
I'll go ahead and mark an end, and I'm
going to play.
| | 03:44 |
And mark an out and let's go ahead and
connect it above the shots here.
| | 03:52 |
I'm going to place my playhead and press
Q.
| | 03:55 |
And I could go in and keyframe the
compositing again, but what I'm going to
| | 03:58 |
do instead is actually steal the work
that I've already done.
| | 04:01 |
I'm going to come back to do this shot
here, and press Cmd + C.
| | 04:05 |
And I'm going to come here, and instead
of pressing Cmd + V, which is actually
| | 04:09 |
going to copy and paste this entire shot
plus its effect attributes, is just paste
| | 04:13 |
the effect attributes.
I can come up to Edit and Paste
| | 04:18 |
attributes and we just want compositing.
And because this is a different length
| | 04:25 |
clip than this one, we don't want the key
frames to maintain timing.
| | 04:31 |
Because then it's going to copy the key
frames exactly.
| | 04:34 |
Instead we want to stretch to fit.
I'm going to choose that and paste and
| | 04:38 |
let's go ahead and take a look.
>> (MUSIC) Not chemicals H plus isn't
| | 04:42 |
made in a lab.
>> You know what?
| | 04:45 |
I think I might like to adjust this just
a bit.
| | 04:47 |
In this one, I thought that the
compositing works well at values that I chose.
| | 04:52 |
But this one, while you can still see him
long jumping in the long shot there, I
| | 04:55 |
think I'd like it to be a little more
opaque.
| | 04:58 |
What I'm going to do is just right-click
and choose show video animation.
| | 05:04 |
I'm going to open up my compositing graph
here, and let's just Drag this up just a
| | 05:08 |
little bit so that, that shot is a little
more opaque.
| | 05:14 |
You see how much more we can see him now?
And I think I like that.
| | 05:17 |
We can see him much better, and I think
it goes well with our, medium shots here.
| | 05:22 |
I'm going to close this, and instead of
going down to the football sequence I'm
| | 05:26 |
going to pop back out to the project
library.
| | 05:29 |
>> And just show you what I've already
done with this.
| | 05:33 |
I'm just going to play these three
sections again.
| | 05:35 |
Just popping to the next one.
>> Harder.
| | 05:37 |
Water can't give you back what you lose.
(MUSIC) Fusions, not chemicals.
| | 05:41 |
H+ isn't made in a lab.
Energy when you need it most.
| | 05:45 |
H+ has only 5 grams.
>> Three super impositions within each
| | 05:49 |
of the three hero sections.
So hopefully we've added just a little
| | 05:54 |
bit more depth to this piece, by
compositing these layers.
| | 05:57 |
| | Collapse this transcript |
|
|
4. Finishing and DeliveryAdding the final graphics, music, and voiceover| 00:00 |
We've come to the part of the editing
process where we need to take what we've
| | 00:03 |
got, which contains a lot of
placeholders, in terms of graphics, music
| | 00:06 |
and voice over, and rejoin the
professional products to this piece.
| | 00:11 |
Now, this can sometimes happen
organically, as in when it's ready, you
| | 00:14 |
just perform the replacement as needed.
But in the case of this course, we're
| | 00:18 |
going to do it all at once.
Let's take a look.
| | 00:20 |
I'm going to go into my pre-ad project
here.
| | 00:23 |
And let's start with our music since
we're replacing a single spot of music
| | 00:26 |
with another.
I'm going to go down to my final folder
| | 00:30 |
here and click on Final Music.
This music was composed at the same beats
| | 00:35 |
per minute as the sample music.
I'm just going to click on it and play a
| | 00:38 |
little bit of it for you so you can see
what it sounds like.
| | 00:41 |
(MUSIC) I'm just going to drag and drop
it before I'm replace it and as you can
| | 00:49 |
see its actually just a little bit
longer.
| | 00:56 |
But this is all silent so we'll shorten
that as needed.
| | 00:59 |
Now let's tackle the voice over.
I've got the professional quality of
| | 01:03 |
voice right here.
>> And I'll play a little bit of this
| | 01:06 |
for you as well.
>> You work hard and play harder.
| | 01:10 |
Water can't give you back what you lose.
H+ Sport has what you need.
| | 01:17 |
So, as you can see, quite a bit different
style than our scratch narration.
| | 01:21 |
Very Hollywood Trailerish and frankly
very commercialish, but that's what we'll use.
| | 01:26 |
I'm probably going to lay the whole thing
in, when this was profesionally recorded
| | 01:29 |
it was spaced pretty much perfectly over
30 seconds so my timings are probably
| | 01:31 |
going to be a little bit different here.
I am just going to take out my scratch narration.
| | 01:40 |
My scratch narration started with my
first hero shot which is right here if I
| | 01:44 |
put my play head here and then connect
with queue you can actually see that its
| | 01:49 |
too long, I have this extra narration
here.
| | 01:55 |
This is probably because the professional
narrator speaks at a slower pace than the
| | 01:58 |
scratch narrator.
So we'll definitely have to address that.
| | 02:01 |
For now, I'm going to just move it down
earlier, so that it ends roughly in the
| | 02:05 |
right location.
Then we can tweak later.
| | 02:09 |
Now for the visual replacements.
Just to review, the footage was sent away
| | 02:13 |
to a professional graphic artist who
applied a treatment to them,
| | 02:15 |
superimposing the H+ logo, as well as
performing some other stylistic elements.
| | 02:21 |
Let's check it out.
I'm going to go into final visual
| | 02:23 |
effects, and I'd like to play a couple of
these for you.
| | 02:26 |
Okay, so here's the soccer kick, and my
long jump, and my football throw.
| | 02:38 |
We have this H+ sport logo.
We have these little Hs coming out of the athletes.
| | 02:47 |
And that's looking pretty good.
Here's the bottle, and then they also
| | 02:50 |
provided us this H+ sport transition.
This a little bit more intense than the
| | 02:54 |
transitions that we were working with
before.
| | 02:57 |
But maybe we can try it out, I'm just
going to come into my first hero shot
| | 03:01 |
here and I want to perform a replace edit
here as well.
| | 03:06 |
You can see that it's a tiny bit shorter
so there's a little bit of differences in
| | 03:09 |
length in the original hero shots so we
have a little bit of tweaking to do, but
| | 03:13 |
let's continue.
The next one is my long jumper.
| | 03:18 |
Let's go ahead and replace here.
And my football player and my bottle, and
| | 03:27 |
then let's just try putting the
transition at the beginning.
| | 03:40 |
And I think it's a little bit much to do
it in between each and every one of these
| | 03:43 |
hero sections.
I think I'll just leave the more subtle
| | 03:47 |
light effect transitions everywhere else.
But maybe I'll try it here at the end as well.
| | 03:53 |
I'm just going to place it above, and
let's get rid of the existing transition.
| | 03:59 |
We've replace all of the placeholders
will the professional elements.
| | 04:02 |
I'm going to go ahead and play it.
Now we're definitely going to have some
| | 04:05 |
tweaking to do as far as length and also
just general look and feel.
| | 04:08 |
Let me go ahead and just lower my music
so that I'll be able to hear everything okay.
| | 04:12 |
Let's have a listen.
(MUSIC)
| | 04:16 |
>> You work hard and play harder.
(MUSIC) Water can't give you back what
| | 04:21 |
you lose, H+ Sport has what you need.
Natural electrolytes from plants, not
| | 04:27 |
chemicals, H+ Sport isn't made in the
lab.
| | 04:31 |
Too much sugar dehydrates you and robs
your energy when you need them most, H+
| | 04:35 |
Sport only has five grams.
>> (MUSIC) Everything you need, nothing
| | 04:41 |
you don't, H+ Sport, natural rehydration.
>> I think it's definitely taking on a
| | 04:47 |
little bit of a different feeling with
our new music, new voice over and new
| | 04:50 |
visual effects and, in some respects,
it's more polished but in others it
| | 04:53 |
definitely needs more tweaking.
So, we have a little bit more work to do
| | 04:58 |
in achieving picture lock which will
continue in the next movie.
| | 05:01 |
| | Collapse this transcript |
| Tweaking the spot to reach picture lock| 00:00 |
Now that we got everything reassembled,
let's just take a close look at how
| | 00:03 |
everything is working.
We'll definitely need to change a few
| | 00:06 |
things before performing color correction
and eventually getting approval from our client.
| | 00:12 |
I'm going to go into my pre-tweak
sequence here.
| | 00:15 |
And there were definitely a few issues
that arose because of re-adding the new elements.
| | 00:19 |
There were just a few slight timing
discrepancies between the lengths of the
| | 00:22 |
hero placed holders and the lengths of
the provided graphically treated shots.
| | 00:26 |
Additionally, there were differences in
the music and the voice over.
| | 00:29 |
So at the very least, we'll need to fix
those timings and we'll likely need to
| | 00:32 |
adjust some sync issues between the
picture and audio as well.
| | 00:36 |
Let's take a look.
First of all, let's just select the music here.
| | 00:41 |
And, I'm going to press Ctrl+D, and we've
got a shade over 35 seconds here.
| | 00:46 |
I'm just going to type in 30:00 and
Enter.
| | 00:50 |
And now my music is the exact length that
the commercial should be.
| | 00:56 |
Now, let's take a look at the voiceover.
In our initial rough cut the voiceover
| | 01:00 |
began at the same time as the first hero
shot.
| | 01:04 |
But this narrator speaks at a slower pace
than the scratch narrator.
| | 01:08 |
Now lets time this out.
One line that I know that needs to be in
| | 01:11 |
a certain location is the last tag line.
Everything you need, nothing you don't,
| | 01:16 |
H+ sport natural dehydration.
That needs to be over the short of the
| | 01:20 |
bottle here.
I am just going to find that line.
| | 01:23 |
(MUSIC).
>> Everything you need.
| | 01:25 |
>> All right.
There it is.
| | 01:26 |
I'm going to use my Blade tool, B, and
cut that right there.
| | 01:31 |
And I'm going to zoom in a little bit and
just trim the last part of this off.
| | 01:37 |
We know that the music is 30 seconds.
I'm just going to move this over to
| | 01:43 |
basically fall right in line with this
part of the sequence.
| | 01:49 |
And I'm going to need to do the same
thing to this shot.
| | 01:52 |
I'm going to switch to the Position tool,
P, and move this to the very end as well.
| | 01:58 |
And if I want to nudge it, I can actually
use my Comma and Period keys to get it
| | 02:02 |
exactly perfect.
I'm just going to switch back to my
| | 02:06 |
Select tool, A.
And I'm just going to nudge this with the
| | 02:09 |
Comma over just a little bit, so that
it's just in line with the music here.
| | 02:14 |
And same thing here.
And I don't need this gap clip here.
| | 02:18 |
Let's just take a look at the very last
part of the sequence here.
| | 02:22 |
(SOUND).
>> Everything you need.
| | 02:23 |
Nothing you don't.
H+ Sport.
| | 02:26 |
Natural rehydration.
(SOUND).
| | 02:28 |
>> I think that's working well.
Now, what else about the narration?
| | 02:32 |
We already know that it's starting
earlier than it was in my rough cut.
| | 02:36 |
I was starting it right here as the first
hero shot started.
| | 02:40 |
But now, it's starting here, in the
stairs footage.
| | 02:42 |
I just want to take a look and see what I
think of this.
| | 02:45 |
I'm going to go ahead and play the very
first part of the sequence.
| | 02:49 |
(MUSIC).
>> You work hard and play harder.
| | 02:51 |
Water can't give you back what you loose.
>> I think it actually works.
| | 02:55 |
You basically have this message of work
hard, play harder.
| | 02:59 |
And you have the training footage of the
stairs.
| | 03:02 |
So, I think I like that.
Let's go ahead and just use the Blade
| | 03:05 |
tool to break up the rest of it, so that
basically, we have a complete sentence
| | 03:08 |
beginning with each of the hero shots.
I'm just going to play this real quick.
| | 03:15 |
Natural electrolytes from plants.
Let's go ahead and Blade tool that and
| | 03:19 |
then down here as well.
And we can move these to start with each
| | 03:25 |
of these hero shots.
So that, basically, we have the same
| | 03:29 |
premise as before.
But we just have this very first part
| | 03:32 |
that starts a little bit earlier.
So I'm just going to play the very first
| | 03:35 |
part of each one of these lines and make
sure that they're synching well.
| | 03:39 |
>> You work hard and play harder.
(BLANK_AUDIO) (MUSIC) Natural
| | 03:43 |
electrolytes from plants, not chemicals.
Too much sugar dehydrates you and robs
| | 03:50 |
your energy.
Everything you need, nothing.
| | 03:53 |
>> Well, the narration is now synced
with my structure.
| | 03:56 |
And because they're connected clips, even
if I move them around, it should move
| | 03:59 |
with the shot.
So that's good.
| | 04:02 |
Another thing I know I need to do is fade
up at the beginning and fade down at the end.
| | 04:06 |
I'm just going to zoom in here, Cmd++.
And open up my Video Animation tool.
| | 04:12 |
And open up Opacity and I can just drag
this knob over, like so.
| | 04:18 |
And, let's do the same thing here on the
transition.
| | 04:22 |
(SOUND) Opacity (SOUND) and five.
Very good.
| | 04:29 |
So we'll close both of those and we're
going to fade up from black here.
| | 04:36 |
(MUSIC) And let's do the same thing at
the end.
| | 04:41 |
(SOUND).
And let's do ten frames.
| | 04:45 |
And let's just play it.
>> Natural rehydration.
| | 04:50 |
>> Okay.
Now I can go in and start tweaking the
| | 04:53 |
lengths of my shots.
So even though we're at 30 seconds, that
| | 04:57 |
doesn't mean that each one of these cut
points should be where they're currently at.
| | 05:01 |
I have a pretty good idea that the
narration is in roughly the right location.
| | 05:06 |
I have a pretty good idea that the
(UNKNOWN) end is basically as it should be.
| | 05:10 |
But I really need to go in and start
looking at each one of these cut points.
| | 05:14 |
Does it flow into the next one?
Does it go with the music?
| | 05:17 |
Does it go with the voiceover?
I definitely have to fix things, like
| | 05:19 |
this gap clip here.
Basically, I would just go into trim mode
| | 05:23 |
and roll this over.
But there might be some more decisions as well.
| | 05:27 |
Now I have already gone through this and
done this in another sequence.
| | 05:30 |
I may now come back to my Project Library
and go into the sequence here.
| | 05:34 |
And I've done my work in making sure my
visuals and audio are all working well together.
| | 05:40 |
And I just like to play it for you.
(SOUND).
| | 05:43 |
(MUSIC).
>> You work hard and play harder.
| | 05:47 |
Water can't give you back what you lose.
H+ Sport has what you need.
| | 05:52 |
Natural electrolytes from plants, not
chemicals.
| | 05:56 |
H+ Sport isn't made in a lab.
Too much sugar dehydrates you and robs
| | 06:01 |
your energy when you need it most.
H+ Sport only has 5 grams.
| | 06:06 |
Everything you need.
Nothing you don't.
| | 06:09 |
H+ Sport.
Natural rehydration.
| | 06:13 |
(SOUND).
>> Okay.
| | 06:14 |
I think this is really starting to come
together pretty well.
| | 06:17 |
Now, one thing you've probably noticed
though is that my color is drastically
| | 06:21 |
different between the untreated footage
and the treated footage.
| | 06:25 |
So, let's address that in the next movie.
| | 06:27 |
| | Collapse this transcript |
| Color correcting for style| 00:00 |
Okay, now that we've worked toward
achieving picture lock, we're ready to
| | 00:03 |
color correct the spot.
Now, in some cases, we would just be
| | 00:06 |
offering a suggesting for color
correction.
| | 00:08 |
Which would be officially carried out by
an online editor later in the process on
| | 00:12 |
another color correction system all
together.
| | 00:15 |
Sometimes, however, for smaller
operations, you'll be color correcting
| | 00:18 |
right within the application.
Additionally, you'll always want to
| | 00:22 |
perform color correction on your high res
footage.
| | 00:25 |
Now, as we know, right now, we have
highly compressed footage so that I could
| | 00:28 |
provide you a reasonable download size
for exercise files.
| | 00:32 |
But when you color correct, you always
want to color correct your high res files.
| | 00:36 |
You don't have the high res files in your
exercise files, but I do.
| | 00:40 |
And I just want to show you how to
re-link those if you need to, which you
| | 00:43 |
would if you were working in this pseudo
offline online workflow.
| | 00:47 |
You can, of course, just correct the
compressed exercised files that you have.
| | 00:51 |
I'm just going to make sure that I'm on
the top level of my event here.
| | 00:55 |
And I'm just going to select one of my
clips in here and press Cmd+A, so that
| | 00:59 |
all of my event media is now selected.
And now, I'm going to come up to File >
| | 01:05 |
Relink Event Files.
And we don't want to relink missing ones.
| | 01:10 |
We just want to relink them all to the
high res version.
| | 01:13 |
So, I'm just going to select one of these
and then Cmd+A, and then let's just go
| | 01:16 |
find that high res folder.
And here it is, H+ Sport HI-RES.
| | 01:21 |
And I'm going to choose that.
And it's going through verifying the
| | 01:26 |
compatibility, and it found 108 out of
108.
| | 01:30 |
We're going to go ahead and just relink
those files.
| | 01:35 |
And now, when we just come up and take a
look at these I'm going to open up he Inspector.
| | 01:40 |
You can see that now, we have our 2K
footage no longer the SD version.
| | 01:45 |
Lets go ahead and go into our sequence.
Oh, by the way, let's go ahead and change
| | 01:49 |
the properties of our sequence as well.
I'm just going to click on my sequence
| | 01:53 |
and then go in to the inspector.
And I want to change this to 2K and then
| | 01:59 |
it's actually 2048 by 1080.
And the frame rate is the same.
| | 02:06 |
Okay.
Here, we have our sequence and it is not
| | 02:09 |
color corrected yet, but we're going to
get started on that.
| | 02:13 |
And also, just before we get started I
just wanted to mention that the complete
| | 02:17 |
color correction workflow Is a deep one.
And so, for the full workflow, you should
| | 02:21 |
check out the color correction in Final
Cut Pro X Lynda Course.
| | 02:25 |
We'll just be hitting the very basics.
As we know, the footage that we sent off
| | 02:29 |
to the motion graphics artist was
stylized.
| | 02:32 |
Not only in terms of adding graphic
images, but also through some really
| | 02:35 |
dramatic color correction.
Primarily dark shots with stark
| | 02:39 |
highlights, and definitely a bluish cast.
We'll actually be able to match our
| | 02:43 |
correction to that footage, which is not
always the way it goes, but in this case
| | 02:46 |
we do have that opportunity.
First of all, we'll want to perform some
| | 02:50 |
very basic baseline adjustments.
To do, this I'm just going to open up my
| | 02:54 |
video scopes.
I'm going to come up to this little plug
| | 02:57 |
here and say Show Video Scopes.
And I want to make sure that I'm selected
| | 03:01 |
on Wave Form and Luma.
Because the first thing that we're going
| | 03:05 |
to do is correct our Luma.
And what I'm going to do is skim through
| | 03:09 |
the sequence.
And what you're looking for is that the
| | 03:12 |
blacks are right here resting you know
near zero.
| | 03:16 |
And that any true whites are up here near
a hundred.
| | 03:19 |
And then everything in between, you can
see whether its weighted towards dark,
| | 03:23 |
whether the trace is down here, or
whether it's weighted towards lighter if
| | 03:27 |
the trace is up here.
But bottom line, we want to look at our
| | 03:31 |
blacks and we want to look at our whites.
And I'm just going to skim through here.
| | 03:38 |
Get a sense of kind of what the Luma
range of the sequence is before we do any correction.
| | 03:44 |
So, as you can see, it's not too bad.
The footage was really well shot.
| | 03:49 |
But, you know, you want to make sure that
your blacks are truly black.
| | 03:53 |
So, in cases like this, we just need to
lower just a little bit.
| | 03:56 |
And while this is dark footage, we
probably will be going up to a 100% on
| | 03:59 |
whites in our cases, but we want to take
a look at that as well.
| | 04:03 |
Let me just choose one image incorrect
that, and then I'll skip to a sequence
| | 04:06 |
that is already been corrected.
When I choose an image that is
| | 04:10 |
prominently closeup of a person so we can
take a little time to talk about flesh tones.
| | 04:15 |
Oh, I think I'm going to perhaps choose
this shot right here.
| | 04:21 |
And I'm going to park my play head here,
but I'm also going to select it.
| | 04:25 |
And then I'm going to come into video and
we just want to open up Correction 1.
| | 04:31 |
And so first of all, I'm going to set my
black to 0.
| | 04:33 |
As you can see, that it's hovering just a
little bit above it, all of this black
| | 04:37 |
here and her shirt, there is really
nothing that is registering true black.
| | 04:42 |
We want to do it across the board so that
every shot in this entire sequence has a
| | 04:46 |
true black.
I'm going to first come into my Shadows.
| | 04:51 |
And just bring this down right to 0.
And, again, because these shots are so
| | 04:55 |
dark, there may not always be a true
white.
| | 04:59 |
So, in many cases, as I do this, I'll
just need to set the lightest part of the
| | 05:02 |
image to a value approaching white.
That said, in this image, I have a few
| | 05:07 |
things called specular highlights.
Specular highlights are basically just
| | 05:12 |
light glinting off of a reflective
surface.
| | 05:14 |
Sometimes it's glass, sometimes it's
water.
| | 05:17 |
In this case, it's reflecting off of the
ball and also off of her skin.
| | 05:22 |
Sometimes people like to let the specular
highlights soar a little bit above 100
| | 05:25 |
and then clip it down later.
But because these shots are a little on
| | 05:29 |
the darker side, I think I will bring my
speculars below 100.
| | 05:33 |
And now, let's talk about mid-tones.
And mid-tones are said to really control
| | 05:37 |
the mood of a shot.
Your job is to set accurate whites and
| | 05:39 |
blacks, just like we did.
And then set the mid-tones either darker
| | 05:43 |
or lighter, depending on the look and
feel you're after.
| | 05:45 |
Let's experiment with this.
Once I've set my blacks and whites, as we have.
| | 05:50 |
I'm going to come in and I'm going to
raise my mid-tones.
| | 05:53 |
And you can see what that looks like
versus lowering my mid-tones.
| | 05:57 |
You can see the difference here.
And with the type of footage that we've
| | 06:00 |
got which you get are mostly night shots
with this stark stadium lighting.
| | 06:04 |
But eventually, to say that a lot of the
time, we're going to lower the mid-tones,
| | 06:07 |
darken the shots and give the mood more
drama.
| | 06:11 |
And that is kind of the base adjustment
that we're looking for.
| | 06:15 |
We've set our blacks.
We've set our whites.
| | 06:17 |
We've lowered our mid tones.
And we're going to do the same thing for
| | 06:20 |
every shot throughout the sequence.
I've already done this to the sequence
| | 06:24 |
here, number 2.
And I'm going to just skim through here.
| | 06:29 |
Look for the blacks.
Look for the whites when I've set them here.
| | 06:33 |
Sometimes there might be a little bit
above a hundred if I have a specular
| | 06:35 |
highlight and that's okay.
And, in general, I've lowered my
| | 06:38 |
mid-tones below the half point here.
And, of course, when they have like a, a
| | 06:42 |
really high key transition here, things
will look a little bit different.
| | 06:47 |
So I'll just kind of go through here so
you can see the Luma range.
| | 06:51 |
I now have, for the most part, really
nice blacks, and I've set my whites
| | 06:55 |
appropriately as well.
Let's go ahead and take this same shot
| | 07:00 |
and select it.
And I want to open up the RGB parade.
| | 07:06 |
I want to take at look at the RGB parade
on my reference shot.
| | 07:09 |
As we can expect, it is skewed towards
blue.
| | 07:12 |
I select this here.
We've got definitely blue in the
| | 07:15 |
highlights and in the mid-tone.
And the shadows remain mostly black
| | 07:18 |
across the board, which means that you
have equal levels of red, green, and blue.
| | 07:23 |
So we're basically going to be adjusting
the mid-tones, and the highlights to make
| | 07:27 |
sure we get this bluish cast.
Let me also take a look at the vector
| | 07:31 |
scope so you can see that the trace is
definitely in the blue and the cyan.
| | 07:35 |
It's also not very saturated.
The trace is concentrated toward the
| | 07:39 |
center of the vector scope, so not very
saturated, if it was out here it would be
| | 07:42 |
very saturated.
I'm going to go back to.
| | 07:46 |
My waveform RGB parade, and let's go to
the image that we're correcting here.
| | 07:51 |
I'm jut going to zoom in a little bit
here.
| | 07:55 |
What we want to do first is open up the
color control here.
| | 07:59 |
And as we said, the midtones and the
highlights, we want to scoot towards blue
| | 08:03 |
in cyan, so I'm just going to bring this
up.
| | 08:07 |
And this as well.
What we're looking for it to sort of
| | 08:12 |
mirror our reference image.
I'm going to just make sure that my
| | 08:18 |
blacks still remain black.
So I'm going to go down a little bit.
| | 08:21 |
She definitely looks blueish, but again,
if we go back to our reference image,
| | 08:25 |
this is what we're dealing with.
We don't have this nice, healthy pink
| | 08:29 |
skin color.
Everything has this very blue undertone.
| | 08:32 |
Well, I can continue perfecting this, but
this is basically what we're after, this
| | 08:35 |
cool icy look.
If I want, I can make a preset out of
| | 08:38 |
this, by just come to Presets and then
Save Preset.
| | 08:41 |
I'm just going to call this H+ Sport
Cool1, because I might have a multiple
| | 08:45 |
templates depending on what I'm
correcting.
| | 08:49 |
Say OK, and then I want to color correct
another image, I can just select it.
| | 08:55 |
Go down to Presets, H+ Sport Cool1, and
it was automatically applied.
| | 09:00 |
So I can then come in and tweak it
further if I like.
| | 09:04 |
I do want to show you just one other
thing.
| | 09:06 |
It's sometimes useful, but mostly, I just
want to make sure that you're aware of
| | 09:09 |
how to use it.
I'm going to come to the shot that I just
| | 09:13 |
corrected and let's go ahead and Undo
this.
| | 09:16 |
The way that you reset a correction is to
just click on this Reset button right here.
| | 09:21 |
Instead of actually performing the
adjustment or using a preset, this time
| | 09:25 |
I'm going to use Final Cut's Color Match
function.
| | 09:29 |
I'm just going to select the shot, come
into this menu here, Match Color.
| | 09:34 |
And it's Option Cmd+M and then you just
skim to the frame that you want to match
| | 09:37 |
it to.
I could either match it to this one here,
| | 09:41 |
where I've already made the correction,
but I could also try to match it to the
| | 09:45 |
reference shot.
I'm just going to click here, and you can
| | 09:50 |
see that it automatically performed an
adjustment.
| | 09:53 |
Now, is it perfect?
Absolutely not.
| | 09:55 |
We would definitely need to tweak it.
It darkened it far too much.
| | 09:57 |
But when I apply the match, this is what
I want to show you.
| | 10:01 |
When you do a color match, nothing
actually happens in the color board.
| | 10:05 |
So this color correction is separate from
the normal workflow.
| | 10:08 |
Also, notice that it did affect my
exposure.
| | 10:11 |
If I come back to Luma, Waveform here,
you can see that everything is now too
| | 10:15 |
dark and I would need to then come in and
adjust this.
| | 10:19 |
Again, to actually make it look okay.
And we would probably need to come in to
| | 10:22 |
Color it as well.
Generally, I say just perform your own
| | 10:25 |
corrections manually, they're clear and
more accurate.
| | 10:29 |
But the Color Match function is an
option.
| | 10:31 |
Just know how to use it.
I'm going to come back to my project
| | 10:35 |
library, and go into this version of the
sequence, where I've already performed
| | 10:38 |
the corrections.
And let's go ahead and just close the Inspector.
| | 10:43 |
And also the Video Scopes.
I just want to skim over everything, so
| | 10:47 |
you can see how everything's working, now
that I've corrected the Luma.
| | 10:51 |
And I've also adjusted the chrome so that
everything has this bluish tint.
| | 10:55 |
So hopefully, you can see that color
correction is an essential part of the
| | 10:58 |
whole process.
Not only that it's used to improve the
| | 11:01 |
look of the shots, in terms of correct
Luma levels.
| | 11:05 |
But it's also add a whole new look and
feel to match our brand message.
| | 11:09 |
I think it's time to talk about showing
this version to our client.
| | 11:12 |
| | Collapse this transcript |
| Delivering the project and receiving feedback| 00:00 |
Once everything is looking how you like
it, it's time to get final approval from
| | 00:03 |
the client.
As we mentioned before, however, chances
| | 00:07 |
are the client or agency has been
involved throughout the editing process.
| | 00:11 |
As commercial editing is an extremely
collaborative art.
| | 00:15 |
In this course, we've been focusing
primarily on the art of constructing the
| | 00:18 |
commercial, but just remember, editors
don't do this in a vacuum.
| | 00:22 |
Realize that all of the ideas and
approaches would have likely been reached
| | 00:25 |
through a highly collaborative process,
with many screenings, re-cuts,
| | 00:28 |
re-screenings, and so on.
And you know what?
| | 00:32 |
Most editors would say that in general
it's immensely beneficial to have
| | 00:35 |
multiple points of feedback built into
the schedule throughout the post
| | 00:38 |
production process.
That way, when you finally do reach
| | 00:42 |
picture lock, you can be confident that
the cut is generally in good shape.
| | 00:45 |
But what I'd like to do is talk a little
bit about getting a high quality version
| | 00:48 |
of your project out of Final Cut and into
the hands of your client for feedback and approval.
| | 00:54 |
Now, we won't be going through all of the
steps in finishing the commercial since
| | 00:57 |
we're primarily talking about the
practice of offline editing, but there
| | 00:59 |
are a few things I want to mention.
Now if you're working with compressed
| | 01:04 |
footage you'll certainly want to make
sure to re-link to your high-res files.
| | 01:08 |
We perform this step in the last movie.
So take a look at that again if you need to.
| | 01:12 |
You'll also often need to send the
project away for other online editing
| | 01:15 |
services like titling, graphics, color
correction, and sound design.
| | 01:21 |
Definitely more often than not, you won't
be relying strictly on the tools within
| | 01:24 |
Final Cut Pro 10 to perform all of the
finishing operations.
| | 01:28 |
We had limited exposure to part of this
workflow when we incorporated
| | 01:31 |
professional graphics into our
commercial.
| | 01:34 |
Once you've got the commercial looking
good, you'll need to produce a high
| | 01:36 |
quality viewing experience for your
client screening.
| | 01:39 |
Now often when you're performing a
screening on site, you'll just play it
| | 01:42 |
right from the software onto a client
monitor.
| | 01:45 |
That way, you have instant access to not
only go to a very specific moment within
| | 01:48 |
the commercial, but you can also perform
changes on the fly, which is extremely
| | 01:52 |
common in commercial editing critique
sessions.
| | 01:57 |
Other times, especially for offsite
screenings, you'll export a file and
| | 02:00 |
either deliver it as a QuickTime movie, a
Blu-ray or upload it to the web.
| | 02:05 |
If I want to do that, coming back into
Final Cut here, you just select the
| | 02:08 |
project and then come up to my Share
button and then Master File.
| | 02:13 |
We have our info here.
We can, of course, rename this.
| | 02:16 |
Down here along the bottom are my
settings, and if I want to change any of
| | 02:19 |
those, I can.
Format, Video and Audio obviously.
| | 02:23 |
Video codec, there are several options in
here from uncompressed to web based formats.
| | 02:28 |
H264 is a very common, high-quality, low
bitrate codec used for the web, Blu-ray,
| | 02:33 |
and other methods of distribution.
I've asked a lot of editors what codec
| | 02:38 |
they used for client screenings and many
of them said they used this option.
| | 02:42 |
And the resolution is correct.
I'm not going to worry about any of this
| | 02:45 |
down here.
I'm just going to choose next and we'll
| | 02:47 |
go ahead and send it to the Desktop.
So I'm going to minimize here and I have
| | 02:52 |
the file right here.
And just because we haven't screened it
| | 02:55 |
in a few movies, I'm going to go ahead
and play now and then we'll talk about
| | 02:58 |
the client feedback session.
(MUSIC).
| | 03:02 |
You work hard and play harder.
Water can't give you back what you lose.
| | 03:07 |
H+ Sport has what you need.
Natural electrolytes from plants, not chemicals.
| | 03:14 |
H+ Sport isn't made in a lab.
Too much sugar dehydrates you and robs
| | 03:19 |
your energy when you need it most.
H+ Sport only has 5 grams.
| | 03:25 |
Everything you need, nothing you don't.
H+ Sport, natural rehydration.
| | 03:32 |
For your screening, you want to do what
you can to make sure everything goes as
| | 03:35 |
well as possible.
Again, you might be sending the
| | 03:38 |
commercial away to view offsite or you
might conduct the viewing yourself onsite.
| | 03:43 |
Because you can't control the environment
offsite, I'm going to talk mainly about
| | 03:46 |
conducting the screenings in an
environment you can control.
| | 03:49 |
You want to make sure the video looks
good, the audio sounds good, the lighting
| | 03:52 |
is good, the temperature is good,
everything is good.
| | 03:56 |
So, bottom line, make sure you test
everything in the environment before
| | 03:59 |
conducting a screening.
Now, the commercial is short, so you'll
| | 04:02 |
probably play it quite a few times, and
you'll probably be asked to play just
| | 04:05 |
certain sections again and again and
again.
| | 04:09 |
The first time you play it, of course,
you want to play it all the way through.
| | 04:12 |
Because your eventual audience will
likely only get one chance to see the
| | 04:15 |
commercial when it's aired, it's pretty
important to gauge first reactions.
| | 04:20 |
Don't go into picking it apart moment by
moment right off the bat.
| | 04:24 |
Instead, ask questions about how the
commercial made the viewing audience feel
| | 04:27 |
if the brand message was clear or if they
ever lost interest at any moment during
| | 04:30 |
the commercial.
Keep the questions broad in the beginning.
| | 04:35 |
You can get more specific later on during
the re-screenings.
| | 04:39 |
Sometimes feedback, especially negative
feedback, might be vague.
| | 04:43 |
In this case you need to try your best to
figure out exactly what isn't working by
| | 04:46 |
asking good and specific questions.
Often if you can predict certain
| | 04:51 |
reactions, you can even offer multiple
versions of a project to show your client
| | 04:55 |
during a feedback session.
And, as I said before, you'll also often
| | 05:00 |
cut-on-the-fly to offer immediate
suggestions for change.
| | 05:04 |
Be sure never to argue with your
audience.
| | 05:06 |
Don't get defensive.
The point of the screening is to figure
| | 05:09 |
out what's working and what isn't.
And after all, you're providing the
| | 05:12 |
service of cutting someone else's
commercial, so you'll need to deliver
| | 05:15 |
that service.
Hopefully, you won't receive a barrage of
| | 05:19 |
negative feedback at the end of the
process if you've involved the client in
| | 05:22 |
intermittent screenings every step of the
way.
| | 05:25 |
Once you've gained valuable feedback,
it's time to make any necessary changes
| | 05:29 |
to the commercial.
Sometimes you'll be expected to make
| | 05:32 |
adjustments on the fly, while the client
is in the room.
| | 05:35 |
Other times, you'll need to take good
notes and then come back and reedit and
| | 05:39 |
then rescreen until it's approved.
But above all, getting good, specific
| | 05:43 |
feedback is crucial in being able to
deliver the commercial your client is
| | 05:47 |
happy with.
| | 05:49 |
| | Collapse this transcript |
|
|
ConclusionNext steps| 00:00 |
Now that you've taken this course, you
should be more familiar with what it
| | 00:03 |
takes to bring a commercial from concept
to creation.
| | 00:06 |
Please realize there are so many
different types of commercials.
| | 00:10 |
Ours was a montage based spot with
voiceover and music, but it's really only
| | 00:13 |
the tip of the iceberg in terms of all
the different possibilities.
| | 00:18 |
But the takeaways that you can hopefully
get from this course should be related to
| | 00:22 |
workflow, from analyzing
pre-visualization materials, to building
| | 00:25 |
the audio foundation to designing,
engaging visual content to working with
| | 00:29 |
place holder materials, and bringing
everything full circle and completing a
| | 00:33 |
polished product.
Now, one thing I didn't discuss in this
| | 00:38 |
course are the two sister programs that
come as add-on options for $50 apiece,
| | 00:42 |
Compressor and Motion.
Compressor will open up a whole host of
| | 00:46 |
other compression possibilities so that
you can deliver exactly what your client needs.
| | 00:52 |
And, Motion allows you to explore some
exciting motion graphics and titling possibilities.
| | 00:57 |
For our project, the Motion Graphic
artist used after effects to create the
| | 01:00 |
graphically treated hero shots but you
can also achieve, very good results in motion.
| | 01:07 |
That said, if you'd like to see how to
construct the hero shots and after
| | 01:09 |
effects, you may want to check out, a
Lynda.com course called Mograph
| | 01:12 |
Techniques: Retiming and tracking footage
by Ian Robinson.
| | 01:16 |
Speaking of other Lynda courses, if you
need help with basic and intermediate
| | 01:20 |
final cut pro 10 cut concepts and
procedures, please take a look at my
| | 01:23 |
Final Cut Pro 10 Essential Training
course on Lynda.com.
| | 01:27 |
Here, I cover in detail many of the
assumed concepts within the commercial course.
| | 01:32 |
In this course, we cover organization,
editing, audio, multi-cam effects, color
| | 01:37 |
correction, input/output, and median
project management.
| | 01:43 |
In the course if you just have a quick
question about something on the way,
| | 01:45 |
remember that the Final Cut Pro help menu
is a vast resource.
| | 01:48 |
First, if you just need to locate a
specific menu item, you can type your
| | 01:52 |
inquiry in the search field here, or if
you use a Final Cut Pro X help topics,
| | 01:56 |
you have access to the entire Final Cut
manual, which is accessible with the
| | 02:00 |
internet connection.
And because it is keyword searchable, it
| | 02:06 |
can really help you find exactly what you
need.
| | 02:10 |
As far as immersing yourself in the world
of commercial editing, most of the time
| | 02:14 |
you'll start as an assistant studying how
another commercial editor approaches the craft.
| | 02:19 |
Most commercial editors do work several
years as an assistant before moving into
| | 02:22 |
the position as lead editor, so expect to
take it a bit slow.
| | 02:26 |
Embrace your years as an assistant,
because it will help you understand and
| | 02:30 |
respect organization, and learn the
proper workflow.
| | 02:34 |
And when it's your turn to sit in the
Head Editor's chair, you'll have all the
| | 02:36 |
more appreciation for what you went
through to get there.
| | 02:39 |
Well that's it for now.
I do hope this lynda course has been
| | 02:42 |
helpful in getting you started in a
dynamic approach to commercial editing.
| | 02:46 |
Good luck as you set out to make the most
engaging 30 second and 60 second spots around.
| | 02:51 |
I'm Ashley Kennedy.
Thanks for watching.
| | 02:53 |
| | Collapse this transcript |
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