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Effective Storytelling with Final Cut Pro X

Creating a disk image as a contained workspace


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Effective Storytelling with Final Cut Pro X

with Diana Weynand

Video: Creating a disk image as a contained workspace

As a media artist, you may want to hang onto absolutely every clip you shot and I recommend you do. That's called archiving your footage. In one of your drives somewhere, should contain everything you shot, at least until you finished editing the project. But why drag all that footage around with you if you're not going to use it to tell your story? Instead, let's create a virtual drive for your story footage that will let you focus on one story at a time. In Final Cut Pro, whenever you create a New Event, it's added to the list of other events also on that drive.
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  1. 5m 54s
    1. Welcome
      1m 20s
    2. Using the exercise files
      4m 34s
  2. 16m 21s
    1. Exploring different types of storytellers
      7m 9s
    2. Identifying story elements
      5m 9s
    3. Finding the essence of the story
      4m 3s
  3. 15m 6s
    1. Organizing footage into folders
      5m 29s
    2. Creating a disk image as a contained workspace
      4m 51s
    3. Importing folders and stills as keyword collections
      4m 46s
  4. 22m 52s
    1. Adding keywords to make clips accessible
      3m 33s
    2. Using favorite tags to call clips into action
      7m 16s
    3. Making notes to capture observations
      4m 1s
    4. Performing a complex search
      2m 28s
    5. Prepping clips for editing
      5m 34s
  5. 28m 47s
    1. Finding the meat of the clips
      5m 11s
    2. Don't be puzzled over your first edit
      4m 27s
    3. Creating project versions and developing story diversity
      5m 16s
    4. Putting story threads in order
      7m 25s
    5. Sculpting the story within the timeline
      6m 28s
  6. 46m 5s
    1. Trimming distractions from a story
      6m 48s
    2. Compounding thoughts into one primary story project
      9m 52s
    3. Evaluating the project for story content and pacing
      7m 1s
    4. Fine-tuning the edits in a project
      7m 36s
    5. Refining the primary sound bed
      7m 55s
    6. Organizing separate story segments into independent storylines
      6m 53s
  7. 24m 11s
    1. Storyboarding a narrative script using placeholders
      7m 22s
    2. Recording a narration track to explore script ideas
      4m 40s
    3. Changing pitch in a temporary narration track to identify different characters
      5m 27s
    4. Adding sound effects to create depth
      6m 42s
  8. 41m 2s
    1. Embellishing the story with cutaways to B-roll footage
      9m 3s
    2. Finessing cutaways to enhance the story
      5m 3s
    3. Editing and arranging a still-image storyline
      6m 22s
    4. Applying the Ken Burns effect to still images
      6m 33s
    5. Altering your story's "look" using the Color Board
      8m 4s
    6. Applying effects to enhance story elements
      5m 57s
  9. 28m 57s
    1. Retiming to lengthen or shorten music and clips
      6m 48s
    2. Adding freeze frames to end or start sections
      6m 40s
    3. Video finishing touches
      8m 6s
    4. Audio finishing touches
      7m 23s
  10. 1m 7s
    1. Goodbye
      1m 7s

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Effective Storytelling with Final Cut Pro X
3h 50m Intermediate Feb 01, 2012

Viewers: in countries Watching now:

Dive into narrative with Diana Weynand, as she shares a comprehensive method for finding, crafting, and developing a compelling story in Apple Final Cut Pro X. The course also covers key concepts such as building a primary storyline, evaluating content and pacing, trimming distracting clips, creating different story versions, and storyboarding. The course also explores how to capture and organize media, incorporate B-roll cutaways, apply the Ken Burns effect to still images, re-time music and clips, and add finishing touches.

Topics include:
  • Identifying story elements
  • Finding the essence of a story
  • Importing folders and stills as keyword collections
  • Using keywords to make clips accessible
  • Prepping clips for editing
  • Developing story diversity
  • Sculpting the story within the timeline
  • Fine-tuning edits
  • Organizing separate story segments into independent storylines
  • Recording a narration track
  • Adding sound effects
  • Applying effects to enhance story elements
  • Adding freeze frames
Subjects:
Video Video Editing
Software:
Final Cut Pro
Author:
Diana Weynand

Creating a disk image as a contained workspace

As a media artist, you may want to hang onto absolutely every clip you shot and I recommend you do. That's called archiving your footage. In one of your drives somewhere, should contain everything you shot, at least until you finished editing the project. But why drag all that footage around with you if you're not going to use it to tell your story? Instead, let's create a virtual drive for your story footage that will let you focus on one story at a time. In Final Cut Pro, whenever you create a New Event, it's added to the list of other events also on that drive.

Now you could hide this and work with an external drive, but the same thing would happen, whatever events are on that external drive would appear underneath. The same thing happens in the Project Library, if there are projects created, you can't really hide them all that well. I am going to quit Final Cut Pro and show you a way to focus on just one project at a time. It's really a great tip. The first thing we are going to do is get information about our Storytelling footage. And in the Get Info window, we find that it's under two gigs of content.

Now that wouldn't be realistic perhaps for your footage, because we're just working with the footage for this course. You might have up to 300 or more, maybe a terabyte of footage. For the Delicious Peace documentary, they used just under 400 gigs of footage. What we are going to do is we are going to create a disk image that we can place this footage on, to separate it from the other events inside Final Cut. What we are going use to do that is a Utility program that comes with Macintosh computers. In the Disk Utility window, find New Image and click on it.

This brings up a series of options. The first thing we want to do is name the Disk Image. And we are going to just call this DP for Delicious Peace, Drive. We will go ahead and place it on the desktop, and it will ask for a Name and you might be thinking didn't we just give it a name, DP Drive? No, you gave it the name of the disk image. Here, you want to give it the name that will appear as though it were a drive, and let's call it the name of the course, Storytelling with FCP X, click the Size pop-up and choose Custom.

Now we have already seen that our particular set of footage for this example is just under 2 gigs. Now you can set this at 2 gigs, but that wouldn't give you any wiggle room. It wouldn't give you any extra space if somebody came in with another batch of stills or some extra footage. So let's double that for now, and make this 4 gigs. Now you might be saying, oh gosh, but I don't really have 4 gigs, is it going to take 4 gigs of space? Well, no. Let's come down here to the Image Format and let's choose a sparse disk image. When you choose sparse disk image, it's going to create a disk image that has the shell of 4 gigs but it will only take up the amount of space of whatever is on it.

If you click on it, you see that it's just over 30 MBs, because we haven't put anything on it. The other thing that you might notice is that the drive itself has been mounted as though it's an external drive, and you recognize the name of the mounted volume. So what we want to do is take the DP STORYTELLING footage for our story and put it on the storytelling mounted volume, and treat it as though it's a virtual drive. It's like having a fake drive, it's sort of a way to trick Final Cut into thinking that this footage on this drive is separate, as though it's an external drive.

So it's transferring this footage onto our drive called Storytelling with FCP X. Now these files aren't the same files that you'll be working with. I'm showing this to you more as an example, so that you can apply it to your own storytelling and your own projects. Let's go ahead and launch Final Cut Pro now. When Final Cut Pro launches, it displays the events that are on the Mac hard drive, but it also displays a separate drive called Storytelling with FCP X. What we can do now is hide the contents of the Macintosh hard drive, which allows us to focus entirely on this one drive and this one project, and as we start to add projects and use projects we'll see that the same will be true for the Project Library.

This is a great way to focus. When we hide the projects in the Project Library that are currently on the Mac hard drive, we see here also that the Storytelling with Final Cut mounted volume appears, again, as though it were it's own drive, and that's really how Final Cut reads it, as it's own separate drive. Well, let's go ahead and quit Final Cut and eject the drive. Next time you launch Final Cut, it will not see it, because it's been ejected. So in order for it to see it, you must first double-click the disk image which will launch the drive.

Now you can launch Final Cut Pro to continue working on the project. So as you begin to focus your attention on what elements you need to tell your story, you'll have a virtual drive, a target, where you can place and organize those elements.

There are currently no FAQs about Effective Storytelling with Final Cut Pro X.

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