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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.
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.
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