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Connecting clips to the primary storyline

From: Final Cut Pro X 10.0.9 Essential Training

Video: Connecting clips to the primary storyline

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.

Connecting clips to the primary storyline

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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This video is part of

Image for Final Cut Pro X 10.0.9 Essential Training
Final Cut Pro X 10.0.9 Essential Training

78 video lessons · 39237 viewers

Ashley Kennedy
Author

 
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  1. 6m 16s
    1. Welcome
      1m 0s
    2. Using the exercise files
      5m 16s
  2. 23m 30s
    1. Understanding the world of nonlinear editing
      5m 2s
    2. Understanding how FCP X works: A new take on story creation
      1m 48s
    3. Taking a tour of the FCP X interface
      8m 59s
    4. Accessing additional tools
      6m 23s
    5. Getting to know the projects for this course
      1m 18s
  3. 24m 41s
    1. Creating and organizing events from scratch
      5m 20s
    2. Organizing footage with keywords and ratings
      8m 19s
    3. Performing searches and creating Smart Collections
      4m 59s
    4. Displaying event data
      6m 3s
  4. 42m 11s
    1. Playing and marking clips in preparation for editing
      7m 16s
    2. Understanding different types of editing tools
      6m 20s
    3. Making the first edits: Using Insert and Append edits
      7m 31s
    4. Changing shots: Using Overwrite and Replace edits
      5m 54s
    5. Performing video- and audio-only edits
      3m 45s
    6. Moving clips within the primary storyline: Swapping shots and creating gaps
      3m 28s
    7. Removing material from the primary storyline
      3m 44s
    8. Understanding timeline navigation: Snapping, skimming, zooming, and panning
      4m 13s
  5. 23m 58s
    1. Trimming clips: Using the Ripple tool
      9m 9s
    2. Manipulating transitions: Using the Roll tool
      5m 36s
    3. Changing clip content and position: Performing Slip and Slide edits
      5m 40s
    4. Using the Precision Editor for fine trimming control
      3m 33s
  6. 14m 2s
    1. Connecting clips to the primary storyline
      7m 0s
    2. Understanding the features and limitations of Connected Clips
      3m 40s
    3. Working with secondary storylines
      3m 22s
  7. 31m 23s
    1. Adjusting the audio level and channel configuration via the Inspector
      8m 47s
    2. Keyframing audio in the timeline
      4m 57s
    3. Repairing audio problems automatically
      5m 25s
    4. Adjusting audio EQ
      4m 46s
    5. Recording audio
      4m 4s
    6. Syncing audio from multiple sources
      3m 24s
  8. 25m 6s
    1. Nesting and breaking apart clips
      4m 1s
    2. Performing quick extractions using Top and Tail edits
      6m 16s
    3. Auditioning clips to try multiple editing options
      4m 9s
    4. Working with markers
      4m 57s
    5. Customizing the keyboard and workspace
      5m 43s
  9. 14m 28s
    1. Syncing your multicam group clips
      6m 47s
    2. Performing a multicam edit
      3m 53s
    3. Refining the multicam edit
      3m 48s
  10. 1h 26m
    1. Working with basic motion effects: Transform, Crop, and Distort
      10m 32s
    2. Using motion effects with still photos and graphics
      6m 25s
    3. Adding and adjusting transition effects
      7m 46s
    4. Adding and adjusting video effects
      6m 26s
    5. Adding and adjusting audio effects
      4m 30s
    6. Keyframing video and audio effects over time
      6m 18s
    7. Copying and pasting effect properties
      4m 15s
    8. Creating and adjusting titles
      7m 18s
    9. Working with generator effects
      6m 46s
    10. Adding animated themes
      4m 7s
    11. Creating freeze frames
      3m 51s
    12. Using speed effects to retime clips
      8m 2s
    13. Working with layered Photoshop files
      6m 19s
    14. Understanding rendering options and preferences
      4m 4s
  11. 36m 15s
    1. Analyzing footage for problems
      3m 49s
    2. Following a proper color correction workflow
      10m 29s
    3. Apply multiple color corrections to clips
      3m 41s
    4. Using color correction templates
      3m 11s
    5. Using automatic color correction tools
      6m 15s
    6. Performing secondary color correction with color masks
      4m 30s
    7. Performing color correction adjustments using shape masks
      4m 20s
  12. 18m 54s
    1. Taking a closer look at the import and analysis options
      5m 56s
    2. Importing from cards and file-based cameras
      4m 14s
    3. Importing iMovie projects and events
      1m 58s
    4. Capturing from tape
      3m 18s
    5. Making a tape archive
      3m 28s
  13. 16m 13s
    1. Managing events between different drives and destinations
      6m 13s
    2. Managing render files
      2m 56s
    3. Collaborating and archiving
      7m 4s
  14. 34m 38s
    1. Sharing projects using presets
      7m 41s
    2. Exporting a hi-res QuickTime movie
      3m 46s
    3. Using Compressor to export with custom settings
      7m 54s
    4. Exporting a still image
      1m 22s
    5. Exporting to DVD or Blu-ray with chapter markers
      5m 33s
    6. Exporting stems out of the timeline using roles
      8m 22s
  15. 14m 1s
    1. Solving offline media problems
      10m 29s
    2. Troubleshooting data and settings corruption problems
      3m 32s
  16. 3m 28s
    1. Next steps
      3m 28s

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