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Learn how to build and refine your story with the redesigned editing toolset in Final Cut Pro X. In this course, author Ashley Kennedy focuses on getting you comfortable with each aspect of the editing process in Final Cut—from preparation and organization, to editing and refining, to audio and effects, to media management and exporting. Each stage of the postproduction workflow is explained thoroughly and concisely, and uses real-world examples from both narrative and documentary workflows.
This lynda.com course and its exercise files are not compatible with Final Cut Pro X v10.1 or later. If you are running Final Cut Pro X v. 10.0.8 or 10.0.9, please do not upgrade your software to v10.1 if you would like to use these exercise files. For more information, please see the FAQs tab.
As we're aware by now, Final Cut Pro X is built upon the principle of building sequences on storylines rather than tracks. Now, so far we have only been working in the Primary Storyline, where we build the foundation of the program. Now we can add some supplementary material to that foundation. So in this movie we're going to explore the first type of supplementary material that we can work with called Connected Clips. So I am going to go into the 5.1 project, and I am back into the Farm to Table project, and we have got our basic foundation of our into laid down.
But let's continue to lay down our B-roll. We have got a few opening shots of the close-up of our fruit and then out to the orchards. So let's continue with visuals of harvesting and the farmer's market and so on over these interview clips. In most other track-based editing applications, you have several methods in which you can lay down B-roll. One way is to overwrite the B-roll on the existing video tracks. So if I go into Farm to Table, and I want to go into the On the Farm keyword collection, let's say that I want to bring this bringing the boxes in from the orchard shot down here as BD begins talking.
So let's talk about what would happen if we did overwrite this. So I am just going to mark an in and an out in the Timeline where I want this to occur. And let's mark this shot here. We want Video Only, so we want to make sure that we're only bringing video down and keeping the audio. But look what happens, if I press D to overwrite, and I play through this section, that's not what we want at all.
So, as you can see, overwriting doesn't work in Final Cut Pro X. It literally overwrites the entire section of the Primary Storyline even if you are bringing down a Video Only edit. So let me undo this, and I am going to move myself back to video and audio, because that's not what we do. Now the other way that you can add B-roll in other track-based editing applications, and the way that you need to do in Final Cut Pro X is to actually add the B-roll physically above the existing footage. So in other applications you just add it to a higher existing video track, but in Final Cut Pro X there are no tracks, so instead you add it in the form of something called a Connected Clip.
So how you do this? You just place the Playhead at the location where you want the connected clip to be added in, we have got our shot marked, and instead of using any of the editing methods that we know so far, we're going to use a different method called a connect to storyline edit. This corresponds to this on-screen key right here, or the Q key on the keyboard. So I am just going to press Q. We can see that the clip is physically above my interview, and when I play it we see the shot but still hear BD.
(BD Dautch: There is definitely a movement happening. It's not just here, it's worldwide.) So we have got our B-roll, and if I zoom in here, Command+Plus, you can see that this shot is literally anchored to the shot below it right here. If I move the clip on the Primary Storyline, then the connected clip literally moves with it. If I should delete this clip on my Primary Storyline--I'll press Delete on the keyboard-- the connected clip goes away. Let me undo, then I am going to zoom out just a little bit.
Now notice that I can remove my connected clip and the connection point moves with it, if I wanted to, I could attach it to another clip on the Primary Storyline, and now this where it's anchored. So that connection point is an important element. I am going to move it back to BD. This is certainly a new way of working if you're coming from another application, so it might take a little getting used to. In the meantime, let's go ahead and edit another connected clip to fill out our B-roll. So after the shot of the boxes coming out from the orchard, let's go to a shot of boxes coming off the truck.
So I am just going to market, and I could position my Playhead and press Q again, but I also want to show you that you can click and drag, and you can see that connection point is right here above BD. I want to make sure that it snaps right next to the pervious clip, like so. And I am going just going to zoom out just a little bit here. And now we have got two shots of B-roll and they're both connected to this shot on the Primary Storyline, they are literally anchored there.
If I play this and decide that this clip is too long, I can shorten it with a ripple edit. Now there are some limitations about what we can do here on the connected clips, and we're going to explore that in our next movie. But in general, ripple edits are okay. If I ripple from this side, notice that it behaves a little bit differently but I can make it work. So let's go ahead and play over this and see how we like it. (BD Dautch: There is definitely a movement happening. It's not just here, it's worldwide, and in a way, like I said, it's a renaissance. So many people now--) All right, so I am going to continue adding B-roll on down the line until all of my talking heads are covered with interesting visuals. Now I can also do this with audio.
I know that I want music to go under this video, and so I am just going to park at the very beginning of the sequence and press Shift+Z to fit everything in our timeline. And my music that I want to use is this one right here, the Silent Charm. Now I want to get the right length, so I am going to go to the very end here, and I have got 38 seconds from this sequence, so I'm just going to click on this one, and as you drag here you can see how long this is. So I'm going to get roughly 39 seconds here.
So I have got enough music to cover this entire sequence now. So I'm going to park and again just press Q. And now I have got my music coming underneath all of my video. If I zoom in here, Command+Plus, notice that the audio, too, has a connection point. So if I move this around it's going to be connected, if I delete my orange shot, the audio is likewise deleted, so let me undo that. So again just be aware when you are working with clips on the Primary Storyline what's going to happen to the associated connected clips.
Shift+C, so I'll just continue in this manner, laying in my connected clips, adding them as supplementary footage to the Primary Storyline. For now just be aware of how the connection points come into play with the clips in the Primary Storyline, and we'll explore this dynamic in more details as we continue through the course.
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