IntroductionWelcome| 00:03 | Hi, I'm Diana Weynand, and welcome to
Documentary Editing with Final Cut Pro X.
| | 00:10 | In this course we'll look at what makes a
good documentary, how to cultivate an audio
| | 00:14 | narrative, and how to evaluate a
documentary for pace and timing.
| | 00:18 | I'll start by showing you how to annotate
Click Content and focus your organizational
| | 00:23 | structure in the event browser.
| | 00:25 | Then I'll look at how to use individual
projects to create the building blocks for a story
| | 00:29 | and then combine those projects
into a single primary storyline.
| | 00:33 | We'll combine audio sources together and fix awkward
sound edits to achieve a fully-polished sound mix.
| | 00:39 | We'll be covering all these features
plus plenty of other tools and techniques.
| | 00:44 | There are so many ways to edit a documentary,
but the more you learn about the process and
| | 00:48 | how to apply specific tools, the better prepared you
will be to solve any problem that's presented to you.
| | 00:54 | Now, let's get started with
Documentary Editing with Final Cut Pro X.
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| Using the exercise files| 00:00 | If you are a Premium Member of the lynda.com
online training library, or if you're watching
| | 00:05 | this tutorial on a DVD, you have access to
the exercise files used throughout this title.
| | 00:11 | On the desktop I have the exercise files
that I've downloaded from the lynda.com site.
| | 00:17 | Notice that they contain Final Cut Event
for our project and the project itself.
| | 00:24 | Let's open a new Finder window
and go to Movies on the sidebar.
| | 00:29 | If you've launched Final Cut and saved a
Final Cut Event in projects, Final Cut will have
| | 00:33 | created these folders for you.
| | 00:36 | All you need to do is drag the form to table
folder into the Final Cut Events folder that
| | 00:41 | you already have and the same for the projects.
| | 00:46 | Drag the Documentary Editing
project into Final Cut Projects.
| | 00:50 | Now if you go to Movies, and you don't have
either of those folders, then what you'll
| | 00:55 | want to do is drag the entire Final Cut Events
and Final Cut Projects folder into this location.
| | 01:03 | If you're not a premium subscriber to lynda.com
you don't have access to the exercise files,
| | 01:08 | but you can follow along from
scratch with your own assets.
| | 01:11 | Let's get started.
| | 01:16 |
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1. The Call to ActionUnderstanding what makes a good documentary| 00:00 | Creating a good documentary can be fascinating
work because of the endless subjects and topics
| | 00:05 | on which you can focus your camera.
| | 00:07 | But it's important to define your intent from
the beginning, so the plot of your documentary
| | 00:12 | can develop clearly and to
achieve your goal effectively.
| | 00:16 | In this course you will begin at the editing
stage using footage that's already been shot.
| | 00:21 | Before diving into that project, let's step
back and examine, what makes a good documentary?
| | 00:28 | All documentaries, like fictional stories, begin
with an idea, often that idea is a simple curiosity.
| | 00:35 | What happens if I don't eat healthy?
What was somebody's life like?
| | 00:39 | Why isn't something fair?
But documentaries need more meat.
| | 00:43 | If you have a curiosity, you have to focus
your intent and be specific about your question,
| | 00:49 | which of course becomes the plot you follow.
| | 00:52 | Rather than ask, "What happens if I don't eat right?"
you might create a plot around the
| | 00:56 | very specific challenge of, "What happens to
my body if I eat fast food for 30 days?"
| | 01:02 | In the 2004 documentary Super Size Me, director and
star Morgan Spurlock posed his very specific question.
| | 01:10 | He documented himself eating at McDonald's
for 30 days and then evaluated the physical
| | 01:16 | consequences from having done just that.
| | 01:19 | He revealed some pretty horrific facts
about eating fast food as a primary diet.
| | 01:24 | The stakes were personal for Spurlock
because he made himself the main character.
| | 01:29 | He became the guinea pig that ate
nothing but fast food for 30 days.
| | 01:34 | It was his body he was
putting through the test.
| | 01:36 | Those are pretty high stakes, and it's
what made his documentary so compelling.
| | 01:42 | In fact, Super Size Me was nominated for an
Academy Award for Feature Documentary, and
| | 01:47 | it won the Grand Jury Prize for Best
Director at the Sundance Film Festival.
| | 01:52 | Robert Flaherty is often referred to
as the Father of the Documentary Film.
| | 01:57 | In 1922, he produced what is thought of as
the first commercial full-length documentary.
| | 02:04 | While on business on the Belcher Islands in
Northern Quebec, Canada Flaherty became fascinated
| | 02:09 | by the Inuit people living
there and decided to document them.
| | 02:12 | To bring this documentary into sharper focus, he
examined what life was like within a single Inuit family.
| | 02:20 | But Flaherty also wanted the main character,
a Nanook, to look representative of the Inuit
| | 02:25 | people so he chose the particular
person to play the role of Nanook.
| | 02:29 | And in order to show a more complete cycle
of life events over the course of a year,
| | 02:35 | Flaherty actually had to
stage certain situations.
| | 02:38 | But as Flaherty himself acknowledged, "One
often has to distort a thing to catch its
| | 02:43 | true spirit." As an editor, you're part of
a team of people whose job it is to shape
| | 02:49 | and tell a very specific focused story.
| | 02:53 | You use your storytelling and editing skills,
and you help create a clearly defined drama.
| | 02:58 | After all editors are story conveyers, you assemble
and deliver the story elements as a cohesive whole.
| | 03:06 | Documentaries run the gamut of raw observations
captured on hidden cameras to semi-planned events.
| | 03:12 | And while the premise may begin as a simple
curiosity a lot of thought and research goes
| | 03:16 | into clarifying the intent and developing a plot
around which the documentary story can be told.
| | 03:22 | Mixing characters who have something at stake
like Morgan Spurlock or Nanook from the Nanook
| | 03:27 | of the North, and you have a clearly
defined drama, and hopefully one where the viewer
| | 03:32 | doesn't get sidetracked or weighed
down with unnecessary information.
| | 03:37 |
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| Interpreting a creative brief to establish goals| 00:00 | So, you've just been handed a pile of media to
edit which you will explore in the next movie.
| | 00:05 | Since your job as editor is to make something
specific out of this media, you have to ask
| | 00:09 | yourself a few questions:
| | 00:12 | What do I have here? And why do I have it?
Who or what is this project about?
| | 00:16 | What do I need to make from it?
| | 00:17 | When is it due? And where
does it need to be delivered?
| | 00:20 | You'll find the answers to all of these
questions in the Creative Brief for this project.
| | 00:25 | If you're a lynda.com subscriber, you'll find the
Creative Brief in the exercise files for this project.
| | 00:32 | The title of this project is Creative Brief
is the Santa Barbara Farm To Table project.
| | 00:37 | From the letterhead you can see it from
the Santa Barbara Farm-To-Table Commission.
| | 00:41 | Think of this creative brief as your job order.
It's a statement of intent.
| | 00:46 | It represents the sharpened focus from a
general curiosity to a very specific interest.
| | 00:52 | When you read the brief you'll learn some
background and the overall project goals.
| | 00:57 | Because of Santa Barbara's climate and culture,
it's becoming the focal point of a movement
| | 01:02 | that merges ideas from
agriculture, cuisine, and ecology.
| | 01:06 | These are key points we'll need
to address in the documentary.
| | 01:10 | And here's another
important point we need to make:
| | 01:12 | Shoppers want to support local growers to help
the environment by reducing the need for shipping.
| | 01:18 | Another key point is that locally grown
organic food is not just a consumer trend.
| | 01:23 | Chefs from local restaurants are eager
to offer locally grown organic food.
| | 01:29 | So who are the characters?
| | 01:31 | As you learned in the previous movie, when
Robert Flaherty wanted to create documentary
| | 01:35 | on the Inuit people, he chose a single family and
a primary character, Nanook, to tell the story.
| | 01:42 | The Farm To Table documentary has a main
character, BD Dautch of Earthtrine farms.
| | 01:47 | BD is a farmer that grows organic produce
in the Santa Barbara area and sells it at
| | 01:53 | the farmers market and to local restaurants.
Let's listen to a few seconds of BD.
| | 01:58 | (BD Dautch: Okay, my name is BD Dautch,
and I have Earthtrine Farm, and we've got
| | 02:04 | about 10 acres in Ojai and 5 acres
in Carpinteria that we're--)
| | 02:09 | So this is BD. As a local grower, he
represents the voice of agriculture.
| | 02:15 | There are other
characters that we'll hear from.
| | 02:17 | The next character is John Downey who owns
the Downey's restaurant in Santa Barbara.
| | 02:22 | (John Downey: As I said, we opened this restaurant in 1982,
and in about 1983 BD came through the back door.)
| | 02:32 | So he has a part of the story to tell, too,
how he uses BD's produce in his restaurant.
| | 02:39 | Then we'll also hear from other people, patrons,
people who just simply want to buy locally
| | 02:43 | grown organic food and people that might
be also involved in other restaurants.
| | 02:49 | So the target audience, then is going to be for
those people who have an interest in purchasing
| | 02:54 | organic food or to raise
visibility about that as an option.
| | 02:58 | And what do you need to
deliver? How will it be used?
| | 03:01 | Well, you need to produce a 1- to 3-minute
mini-documentary suitable for Santa Barbara
| | 03:06 | County publicity kit or web delivery, and
we'll talk about that more in a later movie.
| | 03:13 | Creative Briefs are a great way to share the
vision of a documentary project with other
| | 03:17 | team members without you being at the production
shoot or even knowing the director of this project.
| | 03:23 | As editor, you'll become an integral part
of the creative team, and by following the
| | 03:28 | creative brief you will
deliver your work on target.
| | 03:33 |
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| Reviewing the project's media assets| 00:00 | What do you need to edit a documentary?
Video? Stills? Music? Graphics?
| | 00:06 | Now that you've reviewed the Creative Brief
and understand the goals for the project,
| | 00:10 | it's time to see what resources
you've been given to meet those goals.
| | 00:14 | In the next few movies, you'll screen, organize,
and import this footage into Final Cut Pro.
| | 00:20 | But before you begin, let's take a tour of
the media assets and make sure you've got
| | 00:25 | the categories you need to move forward.
| | 00:27 | On the desktop, notice there's
a folder called Raw Footage.
| | 00:31 | You won't see this as part of your exercise
files but I just want to look at this to demonstrate
| | 00:37 | how you might view some of the
footage that's been handed to you to edit.
| | 00:43 | Inside the Raw Footage
folder there are three folders.
| | 00:46 | Notice that there is an Assets folder, and
there are some folders inside the Assets folder
| | 00:51 | such as Archival, DSLR Images,
Graphics, and iPhone Images.
| | 00:57 | There's a Music folder with
a couple of music tracks.
| | 01:00 | And there is a Video folder.
| | 01:02 | I'm just going to expand that
column, so we can see names.
| | 01:06 | Let's take a little closer look at the Assets.
| | 01:09 | The first thing you want to do is ask yourself,
do you see everything that you think you need
| | 01:14 | to edit a documentary?
| | 01:16 | Remember, whoever prepared this footage may
have identified certain items differently
| | 01:20 | than you would so you have to take a close
look inside each folder to make sure the folder
| | 01:25 | itself is labeled to your liking.
And if it isn't, now is the time to change it.
| | 01:30 | Don't forget you can use your down and
up and left and right arrows to navigate.
| | 01:34 | So from here, I can use my right
arrow to step into the next column.
| | 01:38 | So there are four folders
inside the Assets folder.
| | 01:41 | It seems that several of these
have to do with still images.
| | 01:45 | This Graphics folder, although it has some
images, they are lower thirds, and it seems
| | 01:50 | that there is a movie of
an opening title and a map.
| | 01:54 | So, I would just as soon, think about graphics
as being a separate entity than still images.
| | 02:01 | So one thing you can do, if you agree with that is to
drag the Graphics folder into the previous column.
| | 02:08 | So now what you're left with are three folders
that contain still images or some sort of image.
| | 02:13 | So if that's the case, do you really want
this folder to be called Assets, or maybe
| | 02:18 | you want to change the name
of this folder to Stills.
| | 02:22 | Now, as you look at the images it's
good to understand what you've got.
| | 02:29 | If we look at this--this is labeled from
the camera--and notice that it's a jpeg,
| | 02:34 | you see the size, and you see the
dimensions of this image, 5616x3744.
| | 02:38 | It's a pretty big image.
| | 02:41 | If we go to an iPhone image, we see that it's a
little bit smaller in terms of the dimensions,
| | 02:47 | and the Archival image.
| | 02:48 | You can also press the spacebar to
do a quick view to look at something.
| | 02:53 | There seems to be a newspaper clipping
of BD, who you met in the previous movie.
| | 02:57 | If we take a look at the video clips, you see
that they all seem to be organized alphabetically,
| | 03:03 | and that there are the chunks that begin with
the same name, for example, farmers market.
| | 03:09 | It's great to know there's so many clips on
the farmers market and notice that there's
| | 03:13 | something that says B-roll, and then this
says BD so that name continues to tell us
| | 03:19 | what's going on in this clip.
| | 03:21 | If you press the spacebar, you see BD at
the farmers market just the name describes.
| | 03:35 | So, now you want to ask yourself,
whether or not you've got anything you need.
| | 03:41 | So as you review the Media Assets for your
documentary project, think of yourself as
| | 03:46 | camp counselor, just as you would make sure
every young camper is identified and accounted
| | 03:51 | for, as editor, your job is to make sure all
the footage categories you need to edit the
| | 03:56 | documentary are present and accounted for.
If they're not, you need to find them.
| | 04:01 | For this project, let's assume that you've
got enough video clips, still images, music,
| | 04:07 | and graphics to tell
the story you need to tell.
| | 04:12 |
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2. Organizing MediaOrganizing and screening footage| 00:00 | With a clearly defined story goal and a sneak
peek at your media, you're ready to get organized.
| | 00:05 | As editor of this project, that's a two-tier
process, organizing your assets but also organizing
| | 00:11 | your thoughts around how you'll tell the story.
| | 00:14 | So before you start importing into Final Cut
Pro, I recommend that in a documentary project,
| | 00:20 | you take a desktop detour where you can begin to
organize yourself as you look for opportunities
| | 00:25 | to organize your footage at the same time.
| | 00:28 | Now remember, this raw footage is not part
of your exercise files. I'm just using it
| | 00:34 | demonstrate one approach to
organizing footage on a desktop level.
| | 00:38 | Remember, anytime you organize or rename such as
we did with this Assets folder in the previous
| | 00:44 | movie, and moving the Graphics folder out of
it onto the same level as the Stills, that
| | 00:50 | it's important to do that before you import
the file so that it doesn't confuse
| | 00:55 | Final Cut Pro about where to look for these files.
Let's take a closer look at the video names.
| | 01:01 | I'm going to go ahead and expand this
column, so we can take a closer look.
| | 01:06 | Notice that the first three clips are Downey's.
| | 01:09 | Now you remember that you were introduced to
John Downey, the chef of Downey's Restaurant.
| | 01:15 | There's a driving clip; it
looks like they're driving away.
| | 01:19 | It's like with produce, perhaps
they're on their way to market.
| | 01:24 | And then we have a series of clips
that begin with Earthtrine Farms.
| | 01:29 | Now Earthtrine Farms is BD's Farm, and you met BD
in the previous movie, and this is different footage.
| | 01:35 | And if you take a look it says Earthtrine_Farms_B-roll,
then it tells us what it is, whether it's about
| | 01:40 | picking or packaging, so
it's very well-organized.
| | 01:44 | Scroll down a little further and
take a look at the farmers market.
| | 01:48 | There's some produce, there's some set-up
shots, if we look further, Farmers_Market_B-roll.
| | 01:53 | So, whoever organized this footage for you and
handed it off to you did a great job at naming.
| | 02:00 | Now it'll be really helpful if you took
that a step further, capitalized on that naming
| | 02:05 | convention, and created individual folders that
contained or organized each of these locations.
| | 02:11 | So if you select the Video folder and choose
File > New Folder, let's create a folder called
| | 02:19 | Downeys, and then let's place the Downeys clips--
and I'll click one and Shift-click
| | 02:25 | the last and drag it into the Downeys folder.
| | 02:30 | Let's create another folder, this time I'll
use the shortcut, Shift+Command+N, and
| | 02:34 | let's create a folder for Earthtrine Farms.
| | 02:38 | This time I'll click the first one, Shift-click
the last Earthtrine Farms, and drag it in.
| | 02:45 | Now, we have all the Earthtrine Farms clip
in an Earthtrine Farms folder. This is going
| | 02:51 | to be very helpful, it's going to help you
get your head around what the locations are
| | 02:55 | and what footage you have in each location.
| | 02:58 | We can also drag this Driving Clip into Earthtrine
Farms, since it was a clip of driving from the farm.
| | 03:04 | Let's create another folder, and
let's call this farmers market.
| | 03:09 | Again, we'll click the first farmers market clip,
Shift-click the last one, and drag it in.
| | 03:17 | So now we have all the
farmers market clips in one folder.
| | 03:21 | And finally, let's do the
same with the interview clips.
| | 03:24 | Looks like we have some
interviews of BD, let's take a listen.
| | 03:30 | (video playing)
So that's a BD clip.
| | 03:36 | This looks like it's an
interview clip with John Downey.
| | 03:39 | So, again, let's take the entire set of
interview clips. Let me go ahead and change that to
| | 03:44 | interviews since there's
more than one into this folder.
| | 03:49 | So, you'll do more organizing
once you're inside Final Cut Pro.
| | 03:53 | But by taking this desktop detour, you begin
to familiarize yourself with the footage you
| | 03:58 | have to tell the Farm To Table story.
| | 04:00 | And you also begin to establish an organizational
structure using folders for important locations.
| | 04:07 | This will be a big help when you import the
footage and also when you archive the project.
| | 04:12 |
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| Importing footage| 00:00 | When you shoot your own documentary, you
might begin the editing process by attaching the
| | 00:04 | camera's media card to the computer, launching
Final Cut Pro, and then importing the footage
| | 00:10 | directly from the card.
| | 00:12 | In this project, however, the assets have
already been organized into exercise files
| | 00:17 | you will use to edit.
| | 00:18 | But before you begin working with those files,
let's continue looking at ways to organize
| | 00:23 | the Assets as if you were working
with raw footage someone gave you.
| | 00:28 | First, you'll want to import the files, and if you
remember on the desktop we had a folder called Raw Footage.
| | 00:37 | So we're going to break the importing process up
into a few steps, and you'll see why in just a minute.
| | 00:42 | But let's start with the video footage.
| | 00:45 | Remember, in the previous movie, you organized the
footage into four different folders based on locations.
| | 00:52 | Now, when you import based on a folder, or
import an entire folder, what will that do?
| | 00:57 | Of course, Final Cut Pro will add a
keyword with the name of the folder to that clip.
| | 01:04 | If we selected video and imported these clips,
the word Video would be added as a keyword
| | 01:11 | to all of the other names of these folders.
| | 01:14 | And that's not necessarily that helpful because
most of the clips in this project will be video clips.
| | 01:19 | So rather than start here to import, I
would suggest you move down into the next level
| | 01:25 | and select the folders of the actual locations.
| | 01:29 | In the import window you would choose to import
folders as keyword collections and then click Import.
| | 01:36 | Now what that's going to do--and it's going
to add it to this existing event--that will
| | 01:42 | create keyword collections for every folder.
| | 01:47 | Notice in the Event library we
have Downeys, Earthtrine Farms.
| | 01:51 | Notice some of the pictures that you may
have seen before, here's the Driving Clip that
| | 01:55 | we included, farmers market, and Interviews.
| | 02:01 | So these are the four collections that you
started by simply importing those four folders.
| | 02:07 | Let's take a look at importing the other
files that we want to use and see if we want to
| | 02:12 | follow suit in the same way.
| | 02:14 | Now we know we want to import graphics and
music, let's take a look at the Stills folder.
| | 02:19 | In this case, we could import these three
individual folders but would it be a bad idea or a good idea?
| | 02:26 | In other words, would it help you if you also
had the word Stills attached to everything
| | 02:32 | inside the Stills folder as a keyword?
I think it would, from my point of view.
| | 02:38 | So, rather than step into that folder,
we'll select the folders at this level and know
| | 02:44 | that the Stills will
have two different keywords.
| | 02:47 | So we've got the import as keyword
collections, and we choose Import.
| | 02:53 | Now we have quite a few collections started.
| | 02:56 | We have the Archival, we have the DSLR Images,
and down here we have Stills so we can see
| | 03:02 | the combination of Archive and Still
Images, both the iPhone Images and the DSLR.
| | 03:09 | So we're starting to build quite a list of
collections, which is a good way to think about what you have.
| | 03:16 | So you've got graphics, you've got music,
you've got Downeys Restaurant, and you've
| | 03:21 | got these different locations.
So, all of your assets start to take shape now.
| | 03:26 | The more you handle the footage for this project,
and answer the questions about where it belongs
| | 03:31 | and how you want to label it, the more
familiar you'll become with your editing options.
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| Organizing and screening interview and B-roll footage| 00:00 | Organizing the footage by locations is a good
start and will allow you to search for a clip
| | 00:05 | based on where it was shot.
| | 00:07 | But it's helpful to think about
your footage in different ways.
| | 00:09 | For example, you could organize the same set
of footage into two distinct groups, the people
| | 00:15 | who were interviewed that tell the Farm To Table
story on camera, and the remaining clips which
| | 00:20 | of course is the B-roll Footage.
| | 00:23 | So let's take a second pass at organizing this
footage and focus around those two categories.
| | 00:29 | First of all, let's change the name of the event
to Farm To Table, that's the name of your project.
| | 00:37 | I see something else that I'd like to change,
and that's the name of this collection, rather
| | 00:42 | than Farmer Market, I'd like
to change it to farmers market.
| | 00:46 | Now notice that it's okay to change names of collections
or even clips here once you're inside Final Cut Pro.
| | 00:53 | What's not good is to go back at this point and
change the name of something on the desktop level.
| | 00:59 | So what we want to do is
literally clear the decks a little bit.
| | 01:04 | We've got a collection of locations and
different kinds of Assets, it will be very helpful if
| | 01:09 | we could organize and maybe sort of tuck away
those Assets we don't think we maybe use it
| | 01:15 | right away such as the Stills
and the Music and the Graphics.
| | 01:19 | One way to do that is to create
a new folder inside this event.
| | 01:24 | I'm just going to call this folder Miscellaneous,
and then I'm going to drag the Music into
| | 01:30 | it and then the Stills, the iPhone
Images, and grab the DSLR Images too.
| | 01:38 | Oh, let's put the Graphics in there as well.
| | 01:41 | I don't think I'm going to be
getting to the Graphics right away.
| | 01:44 | So now what we have is a folder that
contains a group of collections that we don't think
| | 01:48 | we're going to need all the time or right away.
| | 01:51 | That lets us narrow our focus on the collections that
remain, and these are, of course, the location collections.
| | 01:59 | But let's continue down this path, let's click the
farmers market collection, and scroll through this.
| | 02:06 | Yeah, depending on how you've set up the
event browser, I'm going to suggest you click the
| | 02:10 | first option of the thumbnails, and of course,
we can make the images a little larger or smaller.
| | 02:15 | And our Clip Height, if you
want to see more, just drag the icon.
| | 02:22 | Notice when you scroll through, you
see some people talking on camera.
| | 02:26 | Let's just listen to somebody speaking.
| | 02:28 | (female speaker: How do you feel about that
whole movement? Your general comments on it.)
| | 02:33 | (male speaker: How do I feel about the local food
movement? I feel like it's super-important and that--)
| | 02:38 | So obviously this is an interview.
It's a short interview, but you might say
| | 02:41 | something that's important that we want to add.
| | 02:44 | And this is another person talking,
another person, a patron of the farmers market.
| | 02:49 | So we have a few different things, and if
we click the View as list, we see that some
| | 02:55 | interview appears in the
name of some of these clips.
| | 02:58 | I'm going to go ahead and make this a
little wider so we can take a closer look at the
| | 03:01 | names and click on the name column.
| | 03:04 | Now when we scroll down we see that
these clips appear as interviews.
| | 03:08 | We know that we have an interviews collection,
so why don't we go ahead and take the interview
| | 03:14 | clips that appear in the farmers market and
drag them into our interviews collection?
| | 03:20 | Now this collection contains not only BD's
interview pieces, and John Downey, the chef,
| | 03:26 | but it contains the other
interviews from the farmers market as well.
| | 03:30 | So now our interviews
collection is more complete.
| | 03:34 | Well, let's take a look
at the Earthtrine Farms.
| | 03:38 | Notice that as part of the name, B-roll appears,
and most of this Earthtrine Farm is B-roll.
| | 03:45 | What does that mean?
| | 03:47 | Just simply means that no one is talking
directly to the camera. There are no interviews here.
| | 03:51 | B-roll is footage that's going to provide
the visual detail and create an image-based
| | 03:57 | story, whereas the interviews--since you don't
have a narrator to tell the story--we're going
| | 04:03 | to use the interview clips to verbalize it.
| | 04:05 | So we've got those in
our interviews collection.
| | 04:08 | Let's create another collection for the B-roll
footage, and what we're going to do is open
| | 04:13 | up the keyword editor.
| | 04:15 | Notice that this clip has Earthtrine Farms
already attached, and that's because the clip
| | 04:20 | was in the Earthtrine Farm's folder.
| | 04:23 | But let's add--and we can use the keyboard
shortcuts for this--let's add the word "B-roll."
| | 04:30 | Now if we want to add B-roll as a keyword
to this clip, we can just click the shortcut
| | 04:35 | Ctrl+1, and that placed B-roll onto the
clip, notice it created a B-roll collection
| | 04:42 | in our Event Library--right now we just have
one clip in it--and when we select the clip
| | 04:48 | in the keyword editor it shows us there
are now two keywords attached to this clip.
| | 04:52 | Well, this seems like a good approach so
let's go back to the farmers market, and let's go
| | 04:57 | ahead and choose all of the B-roll
clips in the farmers market.
| | 05:02 | So I'll click one and Shift-click the last,
and I can apply the B-roll shortcut by simply
| | 05:08 | clicking this button or pressing Ctrl+1, and it
applies that keyword to all of those at one time.
| | 05:15 | Now when I look at the B-roll collection, I see
I'm starting to build a little bit more of a group.
| | 05:21 | Let's do the same thing for
Earthtrine Farms as well.
| | 05:25 | Simply select the first B-roll clip, Shift-click
the last, and then click or press Ctrl+1.
| | 05:32 | Now you can continue to add to your B-roll, for
example, Downeys has a B-roll, and then there's a tour.
| | 05:40 | Some of this might be John Downey talking, but we
definitely want to put this clip into the B-roll.
| | 05:45 | I just see the Archival of the images.
That needs to go in Miscellaneous.
| | 05:50 | So by constantly thinking and looking
and observing, you're organizing yourself.
| | 05:55 | You're getting your head around the big key
pieces that you're going to use to tell the story.
| | 05:59 | Now you still got some locations, but we've
already said that this story is going to be
| | 06:04 | told through Interviews and B-roll.
| | 06:07 | So let's create a New Folder and
call this new folder Locations.
| | 06:13 | And let's drag into the Locations folder the
locations, the Earthtrine, the farmers market,
| | 06:21 | and we know that they are here if we want to
use them, but in the meantime we've organized
| | 06:25 | ourselves around the B-roll and the Interviews, the
two primary sets of footage that we're going to use.
| | 06:30 | Did you notice how many
clips there were of BD?
| | 06:34 | You could also create a keyword
collection of all the BD clips.
| | 06:38 | Taking the time to focus your organizational
structure is one of the most important stages
| | 06:42 | of the documentary editing process.
| | 06:45 | It's the time when you get to create a
structure that makes sense to you and will give
| | 06:49 | you different ways to think
about and access your footage.
| | 06:54 |
| | Collapse this transcript |
| Annotating and renaming clips| 00:00 | When you screen the footage, did you notice
how clear and yet complex the clip names are?
| | 00:05 | That approach to clip labeling can be very helpful,
especially when the editor is not at the shoot.
| | 00:11 | And yet finding one particular Earthtrine clip might
feel like you're looking for a needle in a haystack.
| | 00:17 | Final Cut Pro is almost limitless when it
comes to the amount of metadata it can hold
| | 00:21 | for a clip, so why not add a note about a
clip's content so you have more criteria
| | 00:26 | to search for when you need to find it?
| | 00:30 | If we take a look at BD, you know already
that he is one of the primary storytellers
| | 00:35 | of the Farm To Table project.
| | 00:38 | He tells the story of his farms, which represents
one of the key points of the piece, agriculture.
| | 00:44 | He also talks about bringing his food to
market and working with the local chefs.
| | 00:49 | If we look at his interview clips,
we see that there are several clips.
| | 00:53 | The reason for this is that the original
interview was too long to combine with all of these
| | 00:57 | assets, so individual
sections were actually created.
| | 01:02 | But it's hard to tell which section is
which and what he's speaking about in either of
| | 01:06 | these simply by the name of the clip.
| | 01:10 | So what we can do is add note to each of these clips
that will help identify what he's speaking about.
| | 01:18 | So in this first one, let's take a
listen and see what his primary topic is.
| | 01:23 | (female speaker: So I'm going to start,
and if you could kind of introduce yourself
| | 01:27 | and the farm and what kind
of produce you grow here.)
| | 01:32 | (BD Dautch: Okay, my name is BD Dautch--)
So this clip is his introduction.
| | 01:37 | So we just simply want to
add that note somewhere.
| | 01:40 | Well, let's go ahead and shorten this name column
and see if there's a place we could add that information.
| | 01:45 | Well, sure enough, there's a note column,
but because it's so far over here, it might be
| | 01:50 | a little hard to work with, so I'm simply
going to drag the note column as far left
| | 01:54 | as I can, next to the Name column.
| | 01:57 | That allows me to see both the name
of the clip and the notes column.
| | 02:01 | Now I'll click in the Notes column,
and I'm just simply going to type intro.
| | 02:06 | That will help me know what this clip is about.
| | 02:09 | Well, let's listen to the next clip, and as you can
see, there's some off-camera, probably a question.
| | 02:14 | I'm going to just play a little bit
of that and then see what BD says.
| | 02:19 | (female speaker: ...that you have
with restaurants in Santa Barbara?)
| | 02:22 | (BD Dautch: Well, because we have this hundred varieties
of things and all the odd-ball things and are willing
| | 02:28 | to plant herbs or vegetables that they're interested in,
we have a really good relationship with the restaurants.)
| | 02:37 | Okay, so this one is about the restaurants, and we know that
that's one of the key points that we want to make
| | 02:43 | based on the creative brief is the
relationship with the local restaurants.
| | 02:48 | Let's look at the next clip.
| | 02:50 | (BD Dautch: I love what I do. I feel like
I'm the luckiest person in the world.)
| | 02:55 | Well, that would help me remember this clip, just
typing the word "lucky." So you get the idea.
| | 03:00 | We simply want to add a note to the different
clips in the project, so just as little reminders.
| | 03:07 | And we can do the same thing if we go
to Interviews and look at John Downey.
| | 03:11 | John Downey talks about different things.
Let's see what he says here.
| | 03:14 | (John Downey: ...greater than what we'd find available 30 years ago.
And so that got me going to the farmers market--)
| | 03:24 | So he talks about the farmers market, and
there's a point where he might talk about BD.
| | 03:30 | He might talk about creating a special plate.
And let's look at another camera.
| | 03:34 | I'm going to actually make this a little wider.
| | 03:36 | Notice that if we take a closer look at this
clip name, we have a JohnDowney_A and then
| | 03:43 | another one that's JohnDowney_B.
| | 03:44 | Well, if we click between the A, you notice
that it's all very similar camera framing,
| | 03:48 | but if you go to the one with B, now the
camera has changed, and we're close up.
| | 03:53 | And if we listen to this clip...
| | 03:55 | (John Downey: ...most of it is
organically grown from the market--)
| | 03:59 | Well, oops, we hear that the audio is
really off camera, probably just recording
| | 04:04 | the one primary track onto the
other camera. Not to worry.
| | 04:07 | We'll have a movie later where we'll show
you how to combine one audio track from one
| | 04:11 | camera to a different camera.
| | 04:14 | If we look at the B-roll, there are
lots of opportunities for notes here.
| | 04:18 | I mean, you really sort of want to figure
out what some of the stuff is besides just
| | 04:23 | being produce, this is radishes.
| | 04:27 | And not only radishes, but close-up of radishes, so there
might be a point where you need a close-up of produce.
| | 04:33 | So I recommend that you go through and add
notes so that you see exactly what things
| | 04:39 | are so that you can get to them quickly.
| | 04:42 | Of all the people on this project, you as
the editor will screen and view these clips
| | 04:46 | probably more than anyone else, so you need to be
accountable for what you have and where to find it.
| | 04:52 | If the director or producer came in and asked,
"Where was that close-up shot of radishes?"
| | 04:57 | how cool would it be for you to say,
"Hey, I've got it right here"?
| | 05:02 |
| | Collapse this transcript |
| Filtering and searching for clips| 00:00 | Half the battle of preparing to edit this
documentary is knowing what clips you have
| | 00:04 | to tell the Farm To Table story.
| | 00:07 | That comes with repeated
screenings of this footage.
| | 00:10 | The other half of the battle is knowing where
to find the clips you need when you need them.
| | 00:15 | That's where Final Cut Pro's
Filter window comes in handy.
| | 00:18 | It not only lets you create a complex search
but you can also organize your findings into
| | 00:22 | a smart collection.
| | 00:24 | So if we take a look in the event browser,
we see columns such as Name, Notes, Start,
| | 00:31 | End, Duration, Content
Created, Roles, and so on.
| | 00:35 | This is all the information that
Final Cut Pro knows about a clip.
| | 00:40 | And it can search for a clip based on any
criteria that it knows, or that you give it.
| | 00:47 | Such as keyword collections, it can search
by any of the keyword collections that have
| | 00:52 | already been created.
| | 00:53 | The simplest way to search is to simply click in the
search field and type what you want to search for.
| | 01:01 | Now we could type for BD and all the
clips of BD in this collection come up.
| | 01:07 | If we wanted to search for BD in the
entire event, that gives us a longer list.
| | 01:14 | If we wanted to remove that and type
something else, let's type radishes.
| | 01:18 | Now remember, in the previous movie we
added radish as a Note to identify what type of
| | 01:25 | produce we're actually seeing in some of these shots
and the radishes actually make very pretty pictures.
| | 01:30 | So, simply typing a word in the search field
brings those clips up in the event browser.
| | 01:38 | But what if you wanted a more complex search?
| | 01:41 | Sometimes searching is just simply more
complex, you want to search for multiple criteria,
| | 01:46 | and sometimes it's just
referred to as a weighted search.
| | 01:49 | For example, what if we wanted to search for
two groups of clips, those that are radishes
| | 01:54 | and those clips that have money signs?
| | 01:58 | To create a more complex search, click
the magnifying glass in the Filter field.
| | 02:03 | This brings up the Filter window.
| | 02:05 | Now notice the first option is Text, so we
can choose, for example BD, and again all
| | 02:12 | of BD clips appear.
| | 02:14 | But let's instead choose
radishes, or just radish.
| | 02:19 | So notice that the event browser has already
brought up the clips that have radish as some
| | 02:24 | part of their metadata.
| | 02:26 | It doesn't have to be in the Name,
in this case it's from the Notes.
| | 02:31 | But what if we wanted to add to
that search the money sign clips?
| | 02:35 | So we click on the Add rule and say, okay,
that's another text. And notice that there
| | 02:39 | are many other ways that you can add criteria,
through Ratings such as Favorite, or Keywords.
| | 02:46 | But now watch what happens when
we type money. No clips match.
| | 02:52 | Now let's go back to our
Filter window and see what's wrong.
| | 02:55 | First of all, we're saying show us the clips
that have all of this criteria, radish and money.
| | 03:01 | Well, that's the problem.
| | 03:03 | We don't want clips that
contain all of that criteria.
| | 03:06 | We want clips that contain any of it.
| | 03:08 | So go ahead and choose Any, and now we see
in the event browser, those clips that have
| | 03:15 | radishes or money attached as
some part of their metadata.
| | 03:19 | Now if this particular group, with a combined
search criteria of radish and money, is something
| | 03:25 | that you find useful, and you think when you
start to edit the farmers market that this
| | 03:29 | would be a good collection to look at, you
can go ahead and click on New Smart Collection
| | 03:35 | in the Filters window.
| | 03:37 | What that does is it creates a smart
collection in the Event Library, and I'm going to go
| | 03:42 | ahead and call this Produce.
| | 03:45 | And now, anytime I want to get to this collection, I
can just simply go to the Produce smart collection.
| | 03:52 | If I chose to add the same criteria to another
B-roll clip, it would automatically be added
| | 03:59 | to my Produce collection.
| | 04:01 | Now that I've demonstrated these different
organizational techniques, we're at the point
| | 04:04 | where you will begin to use the
exercise files for the course.
| | 04:07 | Of course, anytime you spend organizing your
footage is time well spent organizing yourself.
| | 04:13 | Once you translate thoughts into notes and use
multiple criteria to create a smart collection,
| | 04:19 | you are well on your way to
being king of your footage hill.
| | 04:24 |
| | Collapse this transcript |
|
|
3. Building Story SegmentsMake preliminary editing decisions| 00:00 | Now that you're familiar with the clips in
this project, you can see there is no narrator.
| | 00:04 | So you're going to have to build a story using
segments or sound bites from the interview clips.
| | 00:10 | And since you're aiming for a 3-minute
movie, you're going to need to be pretty ruthless
| | 00:14 | about which clip segments to use.
| | 00:17 | But as a first pass at choosing bite-sized
story morsels, let's make things easy and
| | 00:23 | not do any editing just yet.
| | 00:25 | Instead, let's use Final Cut Pro's rating
system to save your preliminary editing decisions.
| | 00:32 | In the Farm To Table project, let's
choose the Interviews collection.
| | 00:37 | This is the interviews that we're
going to use to tell the story.
| | 00:42 | And let's scroll down and look at
one of the John Downey interviews.
| | 00:49 | And let's listen to a little bit of this.
| | 00:51 | (John Downey: And you've met the man.
You know he's dedicated.
| | 01:00 | He makes you want to cry, how dedicated he is
to producing the very best vegetables, herbs,
| | 01:09 | whatever, that he can.)
| | 01:13 | So this is a very good sound bite that we could make
use of because he's talking about how dedicated BD is.
| | 01:19 | Now, what I want you to start to look at and
think about is how the waveform, the audio
| | 01:25 | waveform, is your friend.
| | 01:27 | You're going to eventually pay close
attention to the little valleys, because those little
| | 01:32 | pauses which are very natural when you hear
somebody or you speak to somebody, they're
| | 01:37 | not so natural when you have other visuals
covering them. Then you hear those ums and ahs.
| | 01:42 | So we'll in a later movie
learn how to pull those out.
| | 01:46 | But for right now, let's figure out what
portion of this we might be interested in using.
| | 01:51 | What portion might address one of
the key points of the creative brief?
| | 01:58 | (John Downey: And you've met the man.
You know he's dedicated.)
| | 02:03 | Well, after a few rough starts of
he's-he's-he's, he says he's dedicated.
| | 02:08 | So we might want to bring in that
particular phrase at that point.
| | 02:13 | (John Downey: He's dedicated.
He makes you want to cry--)
| | 02:18 | We might even want to just have "he's dedicated"
by itself, so we could mark an outpoint.
| | 02:24 | Now, if we were ready to edit, we could go
ahead create a new project and edit this clip
| | 02:29 | using one of the edit buttons by
editing it into a primary storyline.
| | 02:34 | But right now, we're still hunting for some
of these sound bites, and we want to sort
| | 02:39 | of search wider. What else do we have?
| | 02:41 | Let's click another John Downey clip and
then go back to the one I was just on.
| | 02:47 | The area that I mark is no longer marked, so
we have to do something that preserves those
| | 02:53 | marks, and what we can do is
again, we can mark that section.
| | 02:58 | I'm just looking at the
waveform as an identifying factor.
| | 03:02 | And the way we're going to preserve that section is by
marking it as a favorite by clicking the green button.
| | 03:10 | Now, if I click away to another clip and
come back, that particular section has a little
| | 03:16 | green bar, and in fact, I can snap to it.
(John Downey: He's dedicated.)
| | 03:22 | In the event browser, there's a green star,
and if I click on Favorite, Final Cut actually
| | 03:28 | highlights this section
that's a favorite. And if I play...
| | 03:32 | ...it queues up directly to that point.
| | 03:35 | So it's a very helpful way to start to collect sound
bites that might be able to be used in the story.
| | 03:43 | Let's create another one.
(John Downey: He makes you want to cry--)
| | 03:48 | So that's another good start,
he makes you want to cry.
| | 03:51 | (John Downey: He's dedicated. He makes you
want to cry, how dedicated he is to producing
| | 03:58 | the very best vegetables,
herbs, whatever, that he can.)
| | 04:04 | And again, I'm marking out there knowing
that when we get into editing, we'll trim some
| | 04:08 | of those blank sections out.
| | 04:10 | But right now, go ahead
and make that a favorite.
| | 04:13 | Once you've created some favorites,
you can actually add notes to them.
| | 04:19 | (John Downey: He's dedicated.)
So in this particular favorite,
| | 04:24 | I can say dedicated.
If I click this favorite and play it.
| | 04:28 | (John Downey: He makes you want
to cry, how dedicated he is--)
| | 04:33 | So let's add a note that says
makes you cry to this favorite.
| | 04:37 | And that note is simply to help
you remember which one this is.
| | 04:43 | You could even search by cry,
and it would find that.
| | 04:46 | Now you can filter by favorites going up
to the filter pop-up and choose Favorites.
| | 04:53 | And I've actually already gone through and
created some favorites in some of the other interviews.
| | 04:58 | That's why we're seeing so
many different favorites.
| | 05:00 | In fact, if we look at a BD clip, you
see that there is a favorite in one clip.
| | 05:06 | And now because we're viewing his favorites,
all we're going to see are the favorite portions.
| | 05:12 | Let's go back to see all clips.
| | 05:14 | Now we'll see the whole clip and can go through to
individual favorites to see what each favorite sounds like.
| | 05:22 | So this is a very good workflow for this mini
documentary because it lets you grab the meat
| | 05:26 | of the project without getting
distracted about how you're going to use it.
| | 05:30 | For example, let's look at the
third favorite in this BD clip.
| | 05:34 | (BD Dautch: ...and we sell mostly at the farmers market,
and also we sell to caterers, schools, restaurants--)
| | 05:42 | So that's a very good sound bite.
It tells us where BD sells.
| | 05:45 | But if we continue listening, we'll hear
him continuing to add to that sound bite even
| | 05:51 | though it may not really be helping that much.
| | 05:56 | (BD Dautch: ...and produce stands, only one store.
We try not to do any shipping. We try to keep it all local.)
| | 06:02 | So some of that information about local is
good, but when he continues to talk about the
| | 06:06 | selling and the selling, I like to refer to
that as dribble, because it's when somebody
| | 06:11 | has finished their point, and very often
the first time they say it is very clear, but
| | 06:15 | then they just keep
continuing to make the point.
| | 06:18 | So, as an editor you want to key into that.
| | 06:21 | And you may feel that you're ready to get
started editing, but spending a little more
| | 06:25 | time in this preliminary editing stage to
select your potential storytelling segments
| | 06:30 | is well worth your time. Because of how
Final Cut Pro can convert selections to favorites,
| | 06:36 | it's a very good workflow for this project.
| | 06:41 |
| | Collapse this transcript |
| Creating mini-storylines to contain groups of clips| 00:00 | Now that you've chosen your favorite sections from the
primary interview clips, it's time to start making soup.
| | 00:06 | But as in soup making, you often combine some
of the ingredients together before you place
| | 00:10 | them in the broth.
| | 00:11 | To follow suit with this project, I'm going
to suggest once again that you bypass the
| | 00:16 | traditional approach to editing where you edit
one clip at a time in a logical story order.
| | 00:21 | Why put the pressure on yourself at this point
to know exactly what you want and in what order?
| | 00:26 | Instead, I want you to experience the freedom of
editing mini storylines that you will eventually
| | 00:31 | simmer and stew into your mini documentary.
We're going to begin by creating a new project.
| | 00:38 | Let's go down to our project library and take a look
at the structure we've created for these exercise files.
| | 00:44 | First, there's a folder
called Documentary Editing.
| | 00:47 | So just in case you have other projects that are on
your Macintosh hard drive, these will stand together.
| | 00:54 | When I reveal the contents of these, you see
that there are folders inside the Documentary
| | 00:58 | Editing folder that represent each chapter.
| | 01:03 | We're in Chapter 3, in the second movie, so
let's put the new project inside this folder.
| | 01:09 | To create a new project inside this 03-02 folder,
right-click, and from the pop-up menu choose New Project.
| | 01:17 | This will direct the new project
to go inside that 03-02 folder.
| | 01:22 | Let's name this 03_02_BD, because the first
project, we're going to create is going to
| | 01:31 | be BD's favorite clips.
| | 01:34 | We have a new project
that's opened in the timeline.
| | 01:39 | Now the next step is to prepare BD's clips.
| | 01:42 | Well, let's go up to the BD collection and
notice that we're looking at all of the clips,
| | 01:48 | we're filtering by all clips so we see other
things here, too, driving and what have you.
| | 01:53 | But what we want to look at are just the
favorites that we've already selected.
| | 01:58 | So to do that, we go up to the
filters pop-up and choose Favorites.
| | 02:03 | And now as we scroll through, we see all of
the BD clips that we made favorites from and
| | 02:10 | these favorites represent the segments we're
going to use of BD speaking that will help
| | 02:15 | us tell the Farm To Table story.
| | 02:18 | Now we want to select all of these favorites
in the event browser. Press Command+A to
| | 02:23 | select all of the BD favorite clips.
| | 02:26 | And now click the Append button
to edit them into the project.
| | 02:31 | The benefit of putting all of these segments
into the timeline is that there are lots of
| | 02:37 | tools we can use to both view and edit and
rearrange these clips, one of which is the
| | 02:44 | magnetic timeline, which we'll use shortly.
Let's just take a listen to the first clip.
| | 02:48 | (BD Dautch: Okay, my name is BD Dautch,
and I have Earthtrine Farm, and we've got
| | 02:55 | about 10 acres in Ojai--)
| | 02:57 | So one way to just sort of step through and see what
all you have is just to simply to press the Down arrow.
| | 03:05 | (BD Dautch: ...and we grow about 100 different herbs--)
| | 03:09 | And now I'm using the spacebar
to stop and start playing.
| | 03:12 | (BD Dautch: ...and we sell mostly at the farmers--)
| | 03:14 | If I want to zip through very quickly, I just
play the project and keep pressing the Down arrow.
| | 03:21 | (video playing)
| | 03:29 | You can press the Up arrow to go backwards.
| | 03:32 | (video playing)
| | 03:35 | So that's just one of the helpful
abilities of having all of this footage in here.
| | 03:40 | Now as we start to edit this, we'll want to
add our B-roll later, but for right now, we
| | 03:45 | simply want to start to think
about what story BD is telling.
| | 03:50 | And I want you to key into a duration
that's down here on the bottom of the interface.
| | 03:56 | It says that right now the total
duration of this project is 02:12.
| | 04:00 | And that's just something to keep in mind,
because eventually we're going to want to
| | 04:03 | start looking at the duration of these
different projects or the combination.
| | 04:08 | Now if we go back to the Project Library, we
want to do the same thing but for JD, John Downey.
| | 04:19 | So we'll create another
project inside that folder.
| | 04:23 | Let's go to the Interviews collection, and
notice that there are three John Downey clips.
| | 04:29 | If we select those three and click
Append, they appear here in the timeline.
| | 04:33 | Now I can press Shift+Z to stretch them out.
| | 04:37 | But notice that the duration of these
three clips is just about 38 seconds.
| | 04:42 | Let's listen to a little of these clips.
| | 04:44 | (John Downey: ...and in about 1983
BD came through the back door.
| | 04:50 | He's dedicated. He makes you want to cry--)
So this is great.
| | 04:58 | It's really nice to have
two different camera angles.
| | 05:00 | The only problem is we have that drop in audio.
| | 05:03 | That's okay, because in the next movie we're
going to look at how you can correct that.
| | 05:06 | Well, I'd recommend you go ahead and create a
third project with the farmers market patrons
| | 05:12 | using the same approach that we just did.
| | 05:15 | And remember, you know, you're not going to
have an area for these projects, so you need
| | 05:18 | to find all of those important bits
from the creative brief to tell the story.
| | 05:24 | Good soup takes a long time to make, and adding
ingredients at the right time is an important
| | 05:28 | part of that process.
| | 05:30 | So don't be afraid to buck tradition, side
step the one edit at a time approach and be
| | 05:34 | a chef who combines ingredients
before adding them to the pot.
| | 05:38 | With this project, you'll be in good
company with the Santa Barbara chefs.
| | 05:43 |
| | Collapse this transcript |
| Syncing audio tracks from two different cameras| 00:00 | Shooting with multiple cameras is
a plus when editing a documentary.
| | 00:04 | It gives you more editing options and creates
visual interest when you cut from one angle to another.
| | 00:09 | But oftentimes the primary microphone
attached to the person being interviewed is connected
| | 00:14 | to just one of the cameras.
| | 00:16 | The other camera may have
good video but not great audio.
| | 00:20 | So, where does that leave you?
| | 00:22 | With Final Cut Pro X, you actually have a
pretty easy time of combining sync sources.
| | 00:27 | Let's take a look.
| | 00:28 | In our Interviews, let's view the John Downey
close-up camera clip at the favorite section.
| | 00:37 | (John Downey: He's dedicated. He makes you want to cry--)
| | 00:42 | So, we definitely would like to be on this
close-up shot of John when he's talking about
| | 00:47 | how dedicated BD is. That
would make a nice strong point.
| | 00:50 | But we don't really want that audio.
| | 00:52 | Well, if we have that audio coming from
another camera like the A camera, let's see if that
| | 00:58 | is something that we might be able to marry.
(John Downey: He's dedicated. He makes you want to cry--)
| | 01:05 | Okay, so we in fact do have
the same audio, the good audio.
| | 01:09 | So what we want to do is we want to select
those two sources, the video source and the
| | 01:14 | audio source, and right-click on one of them and
choose Synchronize Clips from the short cut menu.
| | 01:21 | You can also press Option+Command+G.
| | 01:24 | Now, as soon as you select this, take a
look at the background tasks on the dashboard.
| | 01:29 | Final Cut just finished making something.
| | 01:32 | So what it made was an actual compound clip
that combined, and let's see where it placed
| | 01:40 | that--oh, here it is right
under the clip we had selected.
| | 01:44 | And it actually added the words
Synchronized Clip to the name of the clip.
| | 01:49 | The icon for the clip is a compound clip.
| | 01:52 | And we can actually right click on that
and say Open this Clip in the Timeline.
| | 02:00 | And what we have is two clips on top of
each other that if you take a look at the wave
| | 02:06 | form they sort of match even though this bottom
clip is so low--because it's off camera--but
| | 02:12 | you can tell there's a peak
there and there's another peak.
| | 02:15 | You can sort of tell
that there is a similarity.
| | 02:18 | Let's play the clips and what we're
going to hear is a combination of audio.
| | 02:22 | (John Downey: And you've met the man.
You know he's--)
| | 02:25 | So we aren't hearing anything wildly
out of sync. It sounds like it's in sync.
| | 02:30 | Is this what we want?
| | 02:31 | Well, no it's not because what we want is
the close-up camera, and what we see is the
| | 02:39 | shot of John Downey in the wider shot.
| | 02:42 | So what we're we going to do is just actually
give ourselves a different view where we have
| | 02:47 | a bigger waveform and maybe make these
clips a little smaller in the clip height.
| | 02:53 | We're also going to see about
making these clips the same length.
| | 02:58 | And we don't need anything that came before,
so we can actually go ahead and trim this
| | 03:03 | clip so that it starts at the
same place as the wider shot does.
| | 03:09 | Now, what we want to do is separate the good audio
from this clip so that we, in fact, can lose its video.
| | 03:18 | And the way we do that is we right-
click on the clip and say Detach Audio.
| | 03:23 | You can also select the clip
and press Ctrl+Shift+S.
| | 03:28 | Now what that did is it took the audio portion
of that clip and placed it beneath the clip
| | 03:35 | on the primary storyline.
| | 03:37 | Now if it's not already selected, you can
select that. Notice it's just video now devoid of
| | 03:42 | any audio, and that's the video we don't
want, so you can go ahead and delete it.
| | 03:48 | Now if I scroll up, I can see
that I have the close-up camera.
| | 03:54 | I've got that camera's audio, which was a
little low, and I've got the good audio.
| | 03:59 | So now I have a choice.
| | 04:01 | I can either detach the audio from this clip
and delete it, or I can drag the volume of
| | 04:06 | this all the way down to nothing.
| | 04:09 | When we drag the volume down, let's listen
to see if this clip sounds like it's in sync.
| | 04:14 | (John Downey: He's dedicated. He makes you want to cry,
how dedicated he is to producing the very best
| | 04:27 | vegetables, herbs, whatever, that he can.)
| | 04:30 | So, much, much better.
Now we can actually use this in the story.
| | 04:34 | So, remember the project that we created in
the previous movie, it looks something like
| | 04:41 | this only it had the bad audio.
(John Downey: He makes you want to cry--)
| | 04:46 | So what we can do now is delete these two
clips and instead edit the compound clip.
| | 04:57 | (John Downey: And you've met the man.
You know he's dedicated.)
| | 05:02 | And this is where we might want to actually trim
it up and to be just the portion that we wanted.
| | 05:09 | Now, this is exactly how you sync clips.
| | 05:12 | We have one more clip to sync, and that's
John Downey which matches with the other audio clip.
| | 05:20 | So I'll let you do that on your own.
| | 05:22 | Keep in mind that if someone is saying
something important, and you want to include it in your
| | 05:26 | story, it's worth going out of your way a bit to
help them say it more clearly and with good audio.
| | 05:32 |
| | Collapse this transcript |
| Deciding what you don't want in each segment| 00:00 | If you ask me which shot I like best from
the Farm To Table footage, it might be hard
| | 00:05 | for me to pick just one, but if you ask me
which shot I like least, I have a list of
| | 00:10 | five for you in a few seconds.
| | 00:12 | That's because the editing process is as
much about chiseling away which you don't want
| | 00:17 | as it is choosing what you do want.
| | 00:19 | You've got a few project segments underway that
form the basis of BD's narrative story track.
| | 00:26 | Let's remove the unwanted, uninteresting chunks, so you
can see more clearly what he's contributing to the story.
| | 00:32 | In the Project library, let's
look at the 03-04 folder contents.
| | 00:39 | Here we have several projects.
| | 00:40 | We have BD Chisel, which is the one you're
going to work on, and notice the duration
| | 00:45 | of this project is 02:10.
| | 00:49 | I have a finished version that I've
already created, and it's chiseled quite a bit,
| | 00:53 | so you can see a before and after.
| | 00:55 | There's also a JD project that you can chisel
away at, and then one that's finished, as well
| | 01:01 | as the market patrons.
| | 01:03 | Let's go ahead and open
the 03-04_BD Chisel project.
| | 01:09 | This is the same project that you've seen
before in the past few movies where you've
| | 01:12 | simply taken all of the favorite
sections from BD and put them into one project.
| | 01:18 | What's different is that you see that there are
some markers, some red markers that have been added.
| | 01:24 | Those markers will guide you for some suggestions of how
you might trim or chunk away at these selected sections.
| | 01:33 | Now, I want to encourage you to be ruthless.
| | 01:36 | What you're looking for is
the meat of what he's saying.
| | 01:38 | You don't have a lot of time
to let him continue to dribble.
| | 01:43 | So the good time to review the creative brief and
remind yourself of what points you need to address.
| | 01:47 | BD represents the agriculture and the face of
the local grower in the Santa Barbara area.
| | 01:54 | Well, if you want to see what these markers
mean, a good way to do that is to click on
| | 02:00 | the Timeline Index, and very often
clips is what's selected there.
| | 02:05 | But if you click on Tags and click on Markers, in
this case, To-Do markers, you'll see them listed.
| | 02:14 | If you can't see the name,
go ahead and drag over.
| | 02:17 | And just as a reminder, anytime you click
one of the markers in the Timeline Index,
| | 02:22 | the playhead in the
Timeline goes to that marker.
| | 02:25 | So it's a great little system of communicating,
even if it's just communicating from me to you.
| | 02:31 | Now, what we want to do is we want to look
in a clip and then prepare yourself at what
| | 02:38 | happens at the marker point and determine
how we want to respond to the suggestion.
| | 02:43 | So for example, this first marker says tighten.
Well, let's back up and listen to the beginning
| | 02:48 | of this clip and see if we in fact
want to tighten the clip at this point.
| | 02:54 | (BD Dautch: ...I have Earthtrine Farm, and we've got
about 10 acres in Ojai and 5 acres in Carpinteria that
| | 03:00 | we're farming on. It's all certified organic by CCOF--)
| | 03:04 | Well, I see what we mean by tighten, because
from this point on, it gets a little bit too
| | 03:10 | much detail of information.
| | 03:11 | Maybe we want him to continue
making other larger points.
| | 03:15 | So I'm going to go ahead and zoom in a
little bit by pressing Command+Plus so we can
| | 03:20 | see the section a little bit clear.
| | 03:23 | There are different ways
to remove chunks of video.
| | 03:25 | I could just drag an edge and
drag it in. That's one way.
| | 03:30 | I'm going to undo that.
| | 03:32 | Another way is to simply snap to
the marker and mark an In point.
| | 03:37 | And notice that automatically selects the rest
of the clip, and now I can simply press Delete.
| | 03:42 | Well, there's one little
chunk gone very easily.
| | 03:46 | Notice that To-Do marker is gone too.
| | 03:48 | Okay, so let's go to the next
marker and listen at this point.
| | 03:53 | (BD Dautch: We have a really good relationship
with the restaurants. This is the era of--)
| | 03:58 | Well, that's interesting.
| | 04:00 | We have a good relationship with the
restaurants, but that's the only point he's making here,
| | 04:04 | so I'm not sure that we need to keep that.
| | 04:06 | So let's select that clip and
simply delete the entire clip.
| | 04:11 | Now, here's a note on this marker
that says we're good until here.
| | 04:16 | Well, let's go and listen and see if we agree.
| | 04:18 | (BD Dautch: This is the era of California cuisine,
which is buying what's local and in season, and so
| | 04:25 | they're part of this whole renaissance of eating.)
| | 04:29 | So I hope you can start to get the idea and
the feel for when somebody is saying something
| | 04:34 | clear and concise that contributes to the story,
and when they are sort of talking off point.
| | 04:39 | And in fact, at this point he does sort of
talk a little bit more generally off point.
| | 04:44 | So we can simply mark and In point by
pressing I and hitting the Delete key.
| | 04:48 | Now, let's go to the next one.
Here it is, strong enough.
| | 04:52 | (BD Dautch: So the restaurants now, many, many
restaurants come to the market, and you know,
| | 04:57 | it's great for us because we have so many different
things that they come maybe needing one thing, or five things,
[00:05:054.49]
and end up getting a whole cart full--)
| | 05:07 | Well, we could just leave this here, because
we're not sure if we're going to need it or not.
| | 05:13 | And it's easier sometimes to delete
something later than it is to add it back.
| | 05:17 | So I'm going to press Shift+Z, and
let's go to the next marker, the last marker.
| | 05:23 | (BD Dautch: ...tied for luckiest. A lot of lucky--)
| | 05:25 | Okay, the marker says we're done here.
Well, let's listen up to that point.
| | 05:29 | (BD Dautch: I feel like I'm the luckiest
person in the world--tied for luckiest.)
| | 05:34 | Okay, so even though that's a very cute remark,
hope you're starting to get that idea that
| | 05:40 | we don't need the extra
continuation of the thought.
| | 05:43 | We just need the thought itself,
so let's go ahead and delete that.
| | 05:47 | So we're starting to carve this project and
make it a little tighter, tweak it a little
| | 05:52 | bit to make sure that we're getting just those
key segments that are going to help you tell
| | 05:57 | the Farm To Table story.
| | 05:59 | Now, let's go back to the Project library,
and let's open the JD Chisel project.
| | 06:06 | This project has two markers, and you'll learn to add
markers to notate your own thoughts in a later movie.
| | 06:12 | So let's delete here and
the next marker says to here.
| | 06:17 | Let's listen to this clip.
| | 06:19 | (John Downey: He's dedicated. He makes you want to cry,
how dedicated he is to producing the very best
| | 06:32 | vegetables, herbs, whatever, that he can.)
| | 06:34 | So what we have is the thought of that
he is producing the best that he can.
| | 06:40 | And the idea is if we remove what's in between
these markers, we get a more succinct sound bite.
| | 06:46 | (John Downey: --to producing the very best
vegetables, herbs, whatever, that he can.)
| | 06:52 | So one way that we can select this is to use
the Range tool, and that's the letter R,
| | 06:59 | chooses the range, and simply snap to the marker,
drag and snap to the next marker and delete it.
| | 07:06 | Now, what this is creating is a
little cut, we call those jump cuts.
| | 07:10 | We will have to cover these jump cuts with
B-roll footage, but we don't have to worry
| | 07:15 | about that right now.
| | 07:16 | Right now we're just trying to
tell the best narrative story we can.
| | 07:19 | (John Downey: --producing
the very best that he can.)
| | 07:22 | And that helps quite a bit.
So don't be afraid to get the hatchet out.
| | 07:26 | The sooner you start chipping away what you
don't want, the sooner you'll be able to see
| | 07:31 | the story you want take shape.
| | 07:36 |
| | Collapse this transcript |
|
|
4. Creating a Rough CutCombining primary story segments into a primary storyline| 00:01 | You've marked sound bites, edited segments, and
chiseled away what you think you don't want.
| | 00:06 | The chunks that remain will become a rough version of
the audio narrative for the Farm To Table project.
| | 00:11 | The narrative of course is the story.
| | 00:14 | And every story needs a
beginning, middle, and end.
| | 00:17 | So the next step in the editing process is
to combine these sound bites or narrative
| | 00:22 | elements into a single project and then
reposition them to form a beginning, middle, and end.
| | 00:29 | Let's take a look inside the Chapter 04
folder and then 04_01 for this movie.
| | 00:34 | As you can see, we have the individual movies
and these are the trimmed-down versions from
| | 00:40 | the work you did in the previous movie.
And we have BD, JD, and then the Patrons.
| | 00:47 | So what we want to do is we want to create a new
project and combine all of these story segments.
| | 00:53 | Since BD is the longest, why don't we--instead of
starting from scratch, let's just duplicate the BD project.
| | 01:00 | And we do that by right clicking and
choosing Duplicate Project or pressing Command+D.
| | 01:06 | And we want to call this rough cut because
we're now putting together our first rough cut.
| | 01:11 | Now, in this duplicate window, if you're not that
familiar with it, we're only duplicating the project.
| | 01:15 | We're not duplicating any of the clips
or any of the referenced media,
| | 01:20 | and we're just going ahead and click OK.
| | 01:23 | This created the rough cut project right here,
and notice it looks the same as the BD project.
| | 01:28 | So let's go ahead and open the 04_01 Rough
Cut_v1, and the first thing we want to do
| | 01:34 | is simply add the other
project segments to this.
| | 01:39 | So I'm going to press Command+Minus
to make these clips a little smaller so I
| | 01:44 | have some room to play with here.
| | 01:45 | Now, before I add JD's clips,
I'm going to actually edit a Gap.
| | 01:50 | I'm going to insert a Gap.
| | 01:53 | And the way I do that is I go up to the Edit menu,
come down to Insert Generator, and choose Gap.
| | 02:00 | You could also use the shortcut Option+W.
| | 02:04 | When you do that, I'm
going to click on the Gap.
| | 02:06 | The Gap is just 3 seconds, as you can see,
from the duration, three seconds of black.
| | 02:11 | Now, what that's going to allow me to do is just put
a little buffer in between JD and the other clips.
| | 02:18 | Now, let's go back to the
Project Library and open JD.
| | 02:22 | Just go ahead and press
Command+A to select them all.
| | 02:26 | And now you can choose Edit > Copy or use the
shortcut, Command+C, to copy these clips.
| | 02:32 | Using the History arrows, click back once, and
that'll take us back to the rough cut we just opened.
| | 02:38 | And with your playhead positioned after the Gap,
press Command+V to paste the John Downey clips.
| | 02:45 | Let's create another Gap, Option+W, using
that shortcut, move the playhead after, open
| | 02:52 | the Patron Project, Command+A to select
all, Command+C copies, use the History arrow
| | 03:00 | to get back to our rough
cut, and Command+V, paste.
| | 03:04 | So now what we have are all of the
segments that we've chosen to tell the story.
| | 03:09 | What we don't have is we don't
have them in any particular order.
| | 03:13 | So we're going to rely now on the flexibility
that Final Cut Pro gives us with its magnetic
| | 03:18 | Timeline to move things around, shift them.
| | 03:22 | And what we're going to use, since we have
these two Gaps in our project, we're going
| | 03:27 | to use these Gaps as buffers.
| | 03:29 | So we're going to try to place all the clips in
front that might have to do with the beginning
| | 03:34 | portion of this--and a lot of that is BD and
him in his farm--and then after that will
| | 03:39 | be the middle portion, and
finally, what we like at the end.
| | 03:44 | So this is the part where you simply listen clip by
clip and determine what part of the story it represents.
| | 03:50 | (BD Dautch: Okay, my name is BD Dautch,
and I have Earthtrine Farm, and we've got
| | 03:56 | about 10 acres in Ojai, and we
grow about 100 different herbs--)
| | 04:03 | So, so far you could tell that the work you've
done so far in pulling out some of the extraneous
| | 04:08 | portions of these
segments has worked really well.
| | 04:10 | It's already starting to tighten this up.
| | 04:13 | So I say anything that BD says about his farm and
growing his produce belongs at the beginning of this story.
| | 04:21 | So I'm going to jump ahead to the next clip.
(BD Dautch: This is the era of California cuisine.)
| | 04:25 | But now he's talking about cuisine, which is
going to get into who buys his produce, which
| | 04:31 | is going to get into restaurants.
| | 04:33 | So I think I'm going to move that
on the other side of this first Gap.
| | 04:37 | I simply drag the clip over to
just on the other side of the clip.
| | 04:42 | Everything else slides aside
and lets me drop it there.
| | 04:46 | And I don't have to worry yet
about the particular order.
| | 04:49 | I'm just deciding whether I like that clip for the
beginning section, the middle section, or the end.
| | 04:55 | So you would continue
doing this for every clip.
| | 04:58 | Just listen a little.
(BD Dautch: So the restaurants now, many, many--)
| | 05:02 | So the restaurants, well, again
that's the part of the second portion.
| | 05:06 | So we slide down and drop it in.
| | 05:09 | So we're starting to
develop a little bit of a feel.
| | 05:12 | If the first part is all about the farming
and the produce, maybe the second part is
| | 05:17 | getting the produce to market
and selling it to the chefs.
| | 05:21 | In fact, we can leave JD in this middle
section because he is a chef, and we'll want to hear
| | 05:27 | from him when we get to that stage.
| | 05:30 | (BD Dautch: ...right up to the urban fringe. So at the farmers
market, you'll get people coming from just a few miles away--)
| | 05:38 | So because he's talking about the
farmers market, we might want to use that.
| | 05:43 | (BD Dautch: ...to bring their produce, and that
allows a high quality of freshness, and because
| | 05:49 | of all the micro-climates that there are around--)
| | 05:51 | Well, he's still talking about growing.
So let's leave it where it is.
| | 05:54 | (BD Dautch: ...so that's really beneficial and makes the
Santa Barbara market, which has a small-town feel, but it's a--
| | 06:02 | I feel like I'm the luckiest person in the world.
It incorporates everything that I look for in life.
| | 06:08 | It becomes--)
| | 06:10 | So all of these clips at the end about how
good BD feels about doing what he's doing,
| | 06:15 | I think would make a great close.
| | 06:18 | He's sort of summing things up
about his work and how it feels.
| | 06:22 | So let's select all three and
drag all three to the very end.
| | 06:26 | Don't forget, you're still early in the editing
process, and you can change your mind along the way.
| | 06:31 | But for now, by combining narrative
elements and placing them in a story order, you've
| | 06:37 | created a good rough start that forms
the basis of the entire Farm To Table piece.
| | 06:43 |
| | Collapse this transcript |
| Clarifying the story| 00:00 | Ever sit around a campfire
listening to someone tell a story?
| | 00:04 | The storyteller's words
paint clearly defined images.
| | 00:07 | They don't ramble or get off track. If they did,
you'd probably lose interest or get confused.
| | 00:12 | Well, before you begin adding B-roll visuals
to the story, you need to make sure the audio
| | 00:17 | narrative is clear and concise.
| | 00:20 | No need adding a cutaway if you're going to
end up cutting that portion of the story anyway.
| | 00:24 | So with the clips in order, let's take another
pass at the rough cut to clarify the story.
| | 00:30 | In the Timeline, we have the project that
includes BD's clips with a spacer indicating
| | 00:36 | that this was the beginning portion.
| | 00:38 | Then we have the middle portion, which includes
Going to Market and talking about the Farmers
| | 00:44 | Market and the Chefs that he works with, and
then the wrap-up where we hear other people
| | 00:48 | at the market talk and
some final words from BD.
| | 00:51 | Well, let's take a look at the first few clips,
and what we're listening for are places that
| | 00:56 | might be distracting
with ums, ahs, long spaces.
| | 01:00 | We want to sound as though this is very clear
when we close our eyes and listen, as though
| | 01:04 | we're listening to a story on the radio.
| | 01:06 | (BD Dautch: ...have Earthtrine Farm, and we've got
about 10 acres in Ojai, and we grow about 100 different
| | 01:15 | herbs, vegetables, flowers, fruits, and we sell mostly
at the farmers market, and also we sell to
| | 01:23 | caterers, schools, restaurants.
The Santa Barbara area--)
| | 01:27 | That's a lot of information
and he said it very well,
| | 01:30 | so I wouldn't change those first two clips.
Let's take a look at this third clip.
| | 01:35 | I see some dips in the waveform.
And the waveform now is your friend.
| | 01:39 | You really want to look more closely at that,
and there are a couple things you can do to
| | 01:43 | help emphasize that as a resource.
One is to zoom in.
| | 01:47 | So I'm going to press Command+Plus
to zoom in to the single clip.
| | 01:51 | And now we see even more so where those sort
of valleys are, where it doesn't sound like
| | 01:55 | any talking is going on, so we're
going to want to key into those areas.
| | 02:00 | Another thing you can do is go into our Clip
Appearance window and choose one of the selections
| | 02:05 | that minimizes the video thumbnail
and maximizes the audio waveform.
| | 02:11 | So let's go ahead and do that.
| | 02:13 | And now, let's listen to this clip, and I'll stop when
I feel that there's a place that could be tightened.
| | 02:19 | (BD Dautch: The Santa Barbara area has been
fortunate enough to have, uh, a slow growth--)
| | 02:25 | Okay, he sort of stopped and
said uh, and we don't need that.
| | 02:29 | That doesn't add to our story.
(BD Dautch: ...to have, uh, a slow--)
| | 02:34 | Let's zoom in to that area.
| | 02:35 | And again, the more you zoom in, the
clearer you see what's going on in the waveform.
| | 02:41 | Let's listen to that part again.
(BD Dautch: ...fortunate enough to have, uh, a--)
| | 02:45 | So this is the uh that we want to remove.
Now, there are a couple of ways to do it.
| | 02:50 | One of the easy ways is simply to mark an
In point by clicking the letter I, and that
| | 02:55 | begins a range selection.
| | 02:58 | Then move your pointer to where you want to end it,
again in this valley and mark an O, an Out point.
| | 03:04 | So we have a selection start point and a selection
end point, which if we listen to identifies the uh.
| | 03:11 | Now, all you have to do is press Delete.
| | 03:14 | What that does is it does create an edit point,
which means that we have a little jump in
| | 03:19 | video which we're going to have to cover with
another visual, which is--of course--a cutaway.
| | 03:25 | And let's listen to how this sounds. Don't focus
on how it looks. Focus on how it sounds.
| | 03:29 | (BD Dautch: ...has been fortunate enough to have a slow
growth state of mind so that there are a lot of farms right--)
| | 03:37 | Very nice. So taking that uh out, really, really helped.
I see another valley coming up.
| | 03:42 | Let's hear what happens there.
| | 03:43 | (BD Dautch: ...there are a lot of farms right
up to the urban fringe. So at the farmers market--)
| | 03:49 | So let's try to get rid of
at least some of that space.
| | 03:51 | And another thing we can do--another
way to do it is to use the Range tool.
| | 03:56 | You can click on the tools pop up and choose
Range Selection or just press the letter R
| | 04:01 | and simply drag over the space that you
want to select and then press Delete.
| | 04:06 | Let's see if this helped.
| | 04:07 | (BD Dautch: ...right up to the urban
fringe. So at the farmers market--)
| | 04:10 | Now, that particular edit
was a little too tight.
| | 04:14 | So what we can do is simply go back to our
Selection tool, the letter A, click on the
| | 04:20 | In point, which is what got chopped off a
little bit, and use what I like to refer to
| | 04:24 | as our Nudge Tools, that would be the comma
and the period, and every time I'm going to
| | 04:28 | press the Comma key which opens up our adds
on one more frame to that selected edit point.
| | 04:35 | (BD Dautch: ...right up to the urban
fringe. So at the farmers market--)
| | 04:39 | And you can play with that.
| | 04:40 | If you want to tighten it,
press the period key.
| | 04:42 | As long as the edit point is selected,
it will trim one frame either way.
| | 04:47 | So another section.
(BD Dautch: ...to bring their produce, and that--)
| | 04:53 | So that's another section that you
could select and just simply tighten.
| | 04:59 | (BD Dautch: ...to bring their produce, and that--)
| | 05:02 | And you see the point.
You can keep going.
| | 05:05 | Another clip I'd like to key
into is the one of John Downey.
| | 05:08 | And this is really interesting, because he
is someone who has a relationship with BD
| | 05:14 | and talks about it, but sometimes as
people do on camera, they repeat themselves.
| | 05:19 | So when you hear opportunities, you have to
decide, do I want to use this person on camera
| | 05:25 | and allow those repetitions or uhs and ums,
or do I want to delete those, tighten, and
| | 05:31 | clarify the story and
cover them with B-roll visuals?
| | 05:36 | (John Downey: ...and uh, you know,
it gives me something to--)
| | 05:38 | So the and uh, don't
really need that, delete that.
| | 05:42 | (John Downey: You know, it gives me something to think
about too. You know, I mean, I like to--I like to--)
| | 05:47 | So he has a few I like, I likes.
| | 05:49 | And I am a fan of just diving in, selecting
it, and seeing what you've got, because it's
| | 05:54 | easy to trim if you need to
add a frame back here or there.
| | 05:57 | So I encourage you to spend a little time
going in and honing the John Downey clip,
| | 06:02 | knowing that you're going to be
covering him with some other visuals.
| | 06:05 | As you can see, we could spend all day
making these narrative adjustments. And why not?
| | 06:10 | This is when you clarify
and tighten your story.
| | 06:12 | You wouldn't dream of sharing a story
around a campfire if you hadn't honed it first.
| | 06:16 | So kick back and hone away.
| | 06:21 |
| | Collapse this transcript |
| Identifying and marking project needs| 00:00 | As the narrative to the Farm To Table project
starts to become clear and more concise, you
| | 00:06 | will start to get ideas about what shot you
might want to place where, or perhaps what
| | 00:10 | shot needs color correcting, or even where you
think some music might provide a nice transition.
| | 00:15 | These are important thoughts,
and you don't want to lose them.
| | 00:18 | The best way to capture them in a project
is by adding markers at specific locations
| | 00:23 | throughout the editing process.
| | 00:25 | Now, there are three types
of markers that you will see.
| | 00:29 | Let's just do a quick review if
you haven't been used to using them.
| | 00:32 | First of all, let's
listen to the very first clip.
| | 00:35 | (BD Dautch: Okay, my name is BD Dautch.)
One more time.
| | 00:38 | (BD Dautch: Okay, my name is BD Dautch.)
| | 00:39 | So it sounds like his name and the way he's introducing
himself is a little bit of a problem with the audio.
| | 00:45 | I'm going to want to come back and look at that
later when I focus on audio, but not right now.
| | 00:51 | So what I do is put my marker, in this case,
I position the playhead at the beginning of
| | 00:55 | the clip and press the letter M.
A blue marker is attached to that location.
| | 01:00 | Now, if I press the letter M again,
it brings up a marker window.
| | 01:05 | So here I'm going to just say check
audio and click Done. Now, let's see.
| | 01:10 | If we come back down and just sort of scan
through and see if there is anything else--
| | 01:16 | Oh, I think in one of these clips, I'd
like for him to be on camera, and I'm not
| | 01:19 | sure which one, so I can just press marker
again or M to set a marker and say on camera.
| | 01:28 | So this is just the way of
me communicating with myself.
| | 01:32 | Notice both of these markers were blue.
| | 01:35 | If we click the Timeline Index in the Timeline,
it brings up a little window where we can
| | 01:41 | actually see the markers.
| | 01:43 | Now, sometimes the default is to see the clips,
and of course, clicking a clip will go to
| | 01:48 | that particular clip in the project.
| | 01:51 | But if we click on Tags, the clip names disappear,
and now we can click on what tag we want to see.
| | 01:57 | So if we go to the Show markers,
we see we have two markers listed.
| | 02:02 | If I click on the first one,
the playhead goes to check audio.
| | 02:06 | If I click the next one, the
playhead jumps down to on camera.
| | 02:10 | So let's just take a look at the second clip
and listen and see if there's anything that
| | 02:15 | we might want to tell
ourselves about this clip.
| | 02:17 | (BD Dautch: ...and we grow about 100
different herbs, vegetables, flowers--)
| | 02:24 | This clip would be a good place to
see some of the footage of BD's farm.
| | 02:29 | So let's add a marker here
and name this add farm footage.
| | 02:34 | Now, if that's something you want to remind
yourself to do as a list like a checklist,
| | 02:40 | click Make To Do Item.
| | 02:42 | When you make a marker a
To Do Item, it becomes red.
| | 02:45 | Notice it no longer appears in the simple tags
list here, you have to click the To Do Items.
| | 02:51 | So markers are very clearly identified in
Final Cut Pro X between informational and action.
| | 02:58 | If you want one of your markers to be used as a
checklist, go ahead and make it a To Do Item.
| | 03:04 | Once you do add that footage, you can come
back to this marker, and when you click on
| | 03:08 | it, it appears in the To-Do list of items that
have been done, and now this marker turns green.
| | 03:16 | So those are the different
ways you can mark items.
| | 03:18 | Now, another thing you can do to mark is to
actually add or insert a gap just as we did earlier.
| | 03:24 | I'm going to go ahead and
close this Timeline Index.
| | 03:27 | If we, during this middle section, want to
go to the farmers market and see produce,
| | 03:33 | it might be nice have a
little musical transition.
| | 03:36 | So what we can do is we can Edit > Insert Generator > Gap,
shortcut is Option+W, and the default is 3 seconds.
| | 03:45 | When I select it, you see 3 seconds.
| | 03:47 | And we might even want to drag it out, make it a
little bit longer, maybe more like 10 seconds.
| | 03:54 | And now, we can just put a marker over this
that says music interlude, and that's just
| | 04:00 | informing you of how you
want to use that space.
| | 04:05 | Another thing you can do is use
something in Final Cut Pro called a placeholder.
| | 04:10 | Perhaps you were waiting for the interview to come in
from the chef, and you haven't got that material yet.
| | 04:16 | Well, what you can do is go into the Generators browser,
and you can click on Elements, and double-click Placeholder.
| | 04:25 | Now, what's cool about the placeholder is
that you can choose what that looks like,
| | 04:30 | how many people are in it,
what the background is.
| | 04:33 | And if you're waiting for a particular clip--
let's say it's a Chef--then you can click
| | 04:38 | on the information window, go to Generator,
let's choose 1 Person, and maybe we want this
| | 04:47 | to even be a Medium Shot.
| | 04:49 | So by choosing and placing this placeholder,
you're sort of indicating to yourself that
| | 04:53 | this footage is still getting ready to come in.
| | 04:56 | It's not here yet, and of course placeholders
can be trimmed just like any the other clip.
| | 05:01 | So markers and placeholders are great
resources to keep track of what you still need to do.
| | 05:07 | And well, since you still have a lot to do, why not
start keeping track during the rough cutting stage?
| | 05:12 |
| | Collapse this transcript |
| Adding cutaways from B-roll footage| 00:00 | A good documentary combines an informative
and concise narrative with compelling visuals.
| | 00:05 | There are some really good
B-roll footage in this project.
| | 00:09 | And now that you've tightened up the story,
you get to sprinkle in some of the pretty
| | 00:12 | pictures that show what the
storytellers are referring to in their interviews.
| | 00:16 | While you can edit B-roll a thousand
different ways, let's look at some things that will
| | 00:20 | help guide you along your
decision making process.
| | 00:24 | First of all, there are several places throughout
this rough cut where you took out ums and uhs.
| | 00:30 | Anytime you have those little changes, you're
going to get what we call a little jump cut.
| | 00:34 | Let's go down to the John Downey section
and listen to this and just sort of watch his
| | 00:38 | head bop in between the different edits.
| | 00:41 | (John Downey: ...that he can. You know,
it gives me something to think about too.
| | 00:44 | You know, I mean, I like to put on my plates something
which is equally as special as he is bringing to the market.)
| | 00:52 | So obviously, we're going to want to
cover this section with some visuals.
| | 00:55 | If you closed your eyes, that
would sound perfectly fine.
| | 00:58 | So cutaways are going to be great to cover the audio
narrative where we've made changes and tightened it.
| | 01:04 | And also, for example, we have a little
area where we want a music interlude, so we'll
| | 01:08 | have some cutaways that just help
transition us into a new section.
| | 01:12 | Well, there are two different ways
you can approach choosing cutaways.
| | 01:16 | One would be by choosing the portion that
you want to cover of the clip in the Timeline
| | 01:20 | and the other is to choose the
action from the Event browser.
| | 01:24 | Now, let's take a look in our library.
| | 01:26 | We've been working in the B-roll section, but
this might be a good time to go to our Locations
| | 01:31 | collections, because this entire first
section is BD talking about his farm.
| | 01:36 | So let's just focus on the
Earthtrine footage for just a moment.
| | 01:41 | Another question you might ask is do you
want the audio that comes, the natural sound?
| | 01:51 | Well, some natural sounds such as this clip
is sync audio, and it might add some depth
| | 01:55 | to the clip if you hear it.
| | 01:57 | So my suggestion is to go ahead and edit audio
with these B-roll clips and then we can choose
| | 02:02 | later if we want to use that audio or not.
| | 02:05 | Let's take a look at the first BD clip, and
I'm going to zoom in to it so we get a really
| | 02:09 | clear idea of what's going on.
| | 02:12 | And let's figure out whether or not there's
something in this clip that would indicate
| | 02:16 | where we want to start or
stop using B-roll footage.
| | 02:19 | Well, we know we want to start at the
beginning, but let's see what happens next.
| | 02:22 | (BD Dautch: My name is BD Dautch, and I
have Earthtrine Farm, and we've got about--)
| | 02:29 | Well, that little pause, I have Earthtrine Farm,
would be a great place to cut to a different clip.
| | 02:34 | So let's say we want to cover this
entire area with something from BD's farm.
| | 02:39 | Let's take a look.
There is a shot of DB walking.
| | 02:42 | That might be a great way to introduce, because
we're seeing him and seeing him on his farm.
| | 02:46 | So what we have to do is simply indicate where
we want to start this clip in the Event browser
| | 02:51 | by pressing I to set an In point, because the
clip in the Timeline is already identifying
| | 02:57 | the length of the clip.
| | 02:58 | Now, when you press the Connect button, it
edits and connects the portion starting from
| | 03:05 | the point that you marked into the Timeline
just up to the point that you identified.
| | 03:10 | (BD Dautch: My name is BD Dautch, and I
have Earthtrine Farm, and we've got
| | 03:16 | about 10 acres in Ojai--)
| | 03:19 | So, this leaves you the option, do
you want to come back to him here?
| | 03:22 | But since he jumps to another edit point,
it might be good to continue to cover, so
| | 03:26 | when we do go to him, we're on
him for a little bit longer.
| | 03:29 | Now, let's take a look at another shot.
| | 03:31 | We know that John Downey later talks about
how dedicated he is. What if we took a look
| | 03:36 | at how he actually digs in the farm himself?
This is a great shot for that.
| | 03:41 | And there are some very specific actions.
| | 03:43 | What if we took a shot where he is starting to
pull a weed and maybe we can choose just one weed?
| | 03:53 | So this is where you might choose the
portion in the Event browser that you want to use.
| | 03:58 | And in that case, if that's what you choose,
you just click the Connect button, and it
| | 04:01 | adds it to the clip. You can also choose another
portion of that clip, and let's do that.
| | 04:07 | Let's just see--let's just get a portion
of the marker portion where BD is sort of
| | 04:14 | moving his arm from one side to
another, and again, just connect.
| | 04:18 | So because this is a rough cut,
you don't have to be terribly picky.
| | 04:23 | You can put clips in and
then refine them later.
| | 04:25 | Let's see how these three clips work.
| | 04:27 | (BD Dautch: My name is BD Dautch, and I
have Earthtrine Farm, and we've got
| | 04:33 | about 10 acres in Ojai, and we grow about
100 different herbs, vegetables, flowers--)
| | 04:41 | So you're starting to be well on your way here.
| | 04:45 | If we take a look at a finished version of
the rough cut, this version has some B-roll
| | 04:50 | shots already edited in.
| | 04:52 | This will give you an idea of what one
particular approach to this could be.
| | 04:57 | Let's just look at a particular section.
| | 05:00 | (BD Dautch: This is the era of California cuisine,
which is buying what's local and in season--)
| | 05:06 | And if we look at a few shots from the
beginning, you'll recognize the shots that we edited.
| | 05:10 | (BD Dautch: My name is BD Dautch, and I
have Earthtrine Farm, and we've got
| | 05:16 | about 10 acres in Ojai, and we grow about 100 different
herbs, vegetables, flowers, fruits, and we sell mostly
| | 05:27 | at the farmers market, and also we sell to
caterers, schools, restaurants.)
| | 05:33 | We take advantage of different pauses, but
these clips can be edited in any number of
| | 05:38 | ways, and I encourage you to experiment and
try combining methods, what the narrative
| | 05:44 | story is saying, and from the B-roll itself.
| | 05:48 | Adding cutaways and colorful shots
always make a documentary start to shine.
| | 05:51 | And although you have a lot of flexibility
about what shots to use where, keep in mind
| | 05:56 | the goals of the creative brief
and what's story you're telling.
| | 05:59 | You don't want to hear one story with the audio
narrative and see conflicting visuals at the same time.
| | 06:08 |
| | Collapse this transcript |
|
|
5. Refining the StoryEvaluating the project's pace and timing| 00:00 | While you won't broadcast this documentary
in a specific timeslot, you still need to
| | 00:04 | review whether it's hitting its own target length
and whether the story pacing reflects the creative brief.
| | 00:11 | Do you want people to feel a gentle ooh and
ah as they watch, or do you want to cram in
| | 00:15 | as much information as possible
in the shortest amount of time?
| | 00:19 | Based on the music selection in the -B-roll
video, I'd say the director intended the tone
| | 00:23 | of this piece to be in the ah category.
| | 00:26 | In the next several movies, you'll make
editing decisions that fine tune the Farm To Table
| | 00:30 | piece toward that direction.
| | 00:33 | The first step in determining the pace of the
piece is to first figure out where you are time-wise.
| | 00:39 | So if you look at the duration at the bottom
of the interface, we're at 02:50, and we have
| | 00:45 | a little time to play with.
| | 00:46 | In this project, we've already
included a gap that's 7 seconds.
| | 00:52 | That's going to represent the open
when we add that in the later movie.
| | 00:56 | We've also expanded the music where we go
into the market, and that's about at 10 seconds.
| | 01:01 | So we've allowed for two big chunks, and even with that
we still have a little bit of time to play with.
| | 01:07 | Now, what that says is that it's okay to
open up and add little breaths and pauses where
| | 01:13 | you feel it would make the
narrative sound more authentic.
| | 01:16 | Now, notice that this project has some markers,
so let's go ahead and open the Timeline Index
| | 01:21 | so we can use those as a reference.
| | 01:24 | We're not going to do the open yet, so let's
go to the first marker that says add beat,
| | 01:30 | and let's zoom in to that
area, and let's play into it.
| | 01:35 | (BD Dautch: ...schools, restaurants.
The Santa Barbara area has been--)
| | 01:40 | I'm going to give it a little bit more of a
run up, because it sounds like BD is changing
| | 01:44 | topics a little bit.
Let's see if that's what's happening.
| | 01:48 | (BD Dautch: ...and we sell mostly at the farmers market,
and also we sell to caterers, schools, restaurants.
| | 01:55 | The Santa Barbara area has been
fortunate enough to have a slow growth--)
| | 02:01 | So, in fact, that is really what is happening.
There is a change of topic.
| | 02:04 | When you have a change of topic, it's a good
idea to create a little pause so that the
| | 02:09 | audience can get set and follow along.
So what we want to do is build a pause in.
| | 02:15 | And the way we're going to do that is we're going
to Edit > Insert Generator > a Gap, into this section.
| | 02:21 | Now, a Gap by default is 3 seconds long.
| | 02:25 | We don't want 3 seconds, so we can simply
trim it, as we would trim in the other clip.
| | 02:29 | Now, notice how we're getting sort of caught,
or we're snapping, and if you go all the way
| | 02:35 | close, it actually closes that Gap.
So by pressing Option+W, you can add it again.
| | 02:41 | So what I wanted to show you that is if you
don't want to snap to anything, like a playhead,
| | 02:46 | then you can turn snapping off, and that
will give you more room and more flexibility.
| | 02:50 | So we don't need a lot of frames, I mean, maybe
just 10 or so frames to give it a little pause.
| | 02:57 | So let's just focus not on the
video now, but just on the sound.
| | 03:00 | You can always close your
eyes to see if this pause helps.
| | 03:03 | (BD Dautch: ...we sell to caterers,
schools, restaurants.
| | 03:07 | The Santa Barbara area--)
| | 03:09 | That helps quite a bit, actually.
| | 03:10 | We could probably even open it up
a little bit more if we wanted to.
| | 03:13 | Now, by doing that, because the B-roll is connected
vertically to the primary storyline, the following
| | 03:21 | clips were pushed down by
the duration of this gap.
| | 03:25 | So you have to go in and change that by
deciding which clip you want to extend and then just
| | 03:32 | grabbing the edge and extending
it so that it closes that gap.
| | 03:37 | So basically, there are several
beats that could be expanded.
| | 03:41 | (BD Dautch: ...to bring their produce.
And that allows a high quality--)
| | 03:46 | And we can continue doing the same thing.
| | 03:48 | You click on the Edit point, Option+W adds
the Gap, trim the gap some number of frames,
| | 03:54 | probably less than half a second, and
then make the adjustment with the video.
| | 04:00 | And we're going to take care of trimming
these B-roll clips in another movie, so for right
| | 04:05 | now you can just go ahead and close up the Gap.
| | 04:07 | Now, there's a section with the music where
we have put in a 10-second Gap for the music.
| | 04:13 | Let's go ahead and add the music now.
| | 04:17 | We put our music collection
in the Miscellaneous folder.
| | 04:23 | Let's listen to the
beginning of Delayed Goodbye.
| | 04:26 | (music playing)
| | 04:33 | This is definitely ah music, so this is going to work
perfectly to introduce the farmers market section.
| | 04:39 | Now, as you've seen before, if you select
the beginning and the end of a particular
| | 04:46 | section of the Timeline,
that defines the duration.
| | 04:49 | And then to edit into that duration,
all we have to do is select the clip.
| | 04:54 | In this case, we want the beginning, so we want
to just connect the audio to this particular Gap.
| | 05:01 | So we have the music in place.
| | 05:08 | And there are lots of B-roll footage, like the
radishes and other things, that we can edit
| | 05:14 | at this point to establish the
produce of the farmers market.
| | 05:18 | So, now let's take a look at the duration.
| | 05:21 | Well, we've added a couple of
Gaps, and I just added a second.
| | 05:24 | So you see that you have plenty of room to
continue adding Gaps, especially at the end,
| | 05:30 | when BD starts to talk about really
important things and how we feels and sums up, it's
| | 05:35 | great opportunity to add a little space.
Let's look at that section.
| | 05:40 | (BD Dautch: I feel like I'm
the luckiest person in the world.
| | 05:43 | It incorporates everything
that I look for in life.)
| | 05:48 | So each one of these statements
could have a little pause in between.
| | 05:52 | So there's lots of work to
do in the pacing of this.
| | 05:55 | I want to show you a finished
version of this particular timeline.
| | 06:01 | And I'm going to go ahead and close the index.
Now, this particular version has the music.
| | 06:05 | It also has some B-roll
that goes with the music.
| | 06:08 | So let's take a look at that section.
(music playing)
| | 06:27 | (BD Dautch: This is the era of California cuisine.)
| | 06:30 | So obviously, we want to continue the music
underneath to make it smoother, but we'll
| | 06:34 | do that in another movie.
| | 06:36 | You don't have to be a professional
musician to have a feel for timing.
| | 06:40 | That's a skill that editors use
all the time, so don't be shy.
| | 06:43 | Take a breath, give a breath, do whatever
you have to do within the project timeframe
| | 06:48 | to make the audio narrative sound real and
authentic, even though you may have edited
| | 06:53 | together a single sentence
from three different paragraphs.
| | 06:58 |
| | Collapse this transcript |
| Tying up loose ends| 00:00 | Once you evaluate the project's pace and timing,
you have a blueprint for how to refine your story.
| | 00:06 | That blueprint might include trimming edits,
retiming music, or replacing a clip with better content.
| | 00:11 | And since editing is all about making choices,
you just need to keep previewing the creative
| | 00:15 | brief to make sure your choices
support the Farm To Table story.
| | 00:20 | In this movie, you'll trim edits, slip content, roll into
sync, and even check matching action between two shots.
| | 00:27 | This project is a little different than some
of the others you've been working with, in
| | 00:30 | that there are few clips in the B-roll
footage that are purposefully out of kilter and a
| | 00:36 | little off so that you can experiment with
bringing them back into a more refined selection.
| | 00:42 | Notice the markers in this project are on the
connected clips, not the clips in the primary storyline.
| | 00:49 | The way you place a marker on a connected
clip is that you first have to select it so
| | 00:54 | that Final Cut knows where
that marker should be placed.
| | 00:57 | Otherwise, it would go to the clip
beneath the playhead on the primary storyline.
| | 01:03 | Let's zoom in to the third clip of this second
group of B-roll footage, and I'm going to actually
| | 01:07 | press Command+Plus a few
times to get really close.
| | 01:10 | Let's take a look at this.
| | 01:12 | (BD Dautch: ...there are a lot of farms right up
to the urban fringe. So at the farmers market--)
| | 01:18 | So just before the shot ended--in fact, let's
take a look at the marker. The way you view
| | 01:22 | a marker without opening the Timeline Index is
to move the playhead toward and press Shift+M.
| | 01:28 | So this tells us that the
marker is called trim camera bump.
| | 01:31 | Okay, good direction.
(BD Dautch: ...urban fringe. So at the farmers market--)
| | 01:35 | So a couple of ways to trim, the
easiest way is just to simply drag.
| | 01:41 | Now, notice how when we drag,
we're seeing two images in the viewer.
| | 01:46 | One is the image of the outgoing connected
clip, and we can see when we go before or
| | 01:52 | after that camera bump.
| | 01:53 | The other is the clip that we're going to be
cutting to once we're through with that connected clip.
| | 01:59 | You don't always get this
two-up display in the viewer.
| | 02:01 | You have to make sure that your Preferences are
selected for it, and you find those in Editing.
| | 02:07 | In this case, under Timeline, Show
detailed trimming feedback is already selected.
| | 02:13 | The default is for it to be unselected.
| | 02:16 | So if you do not see the two-up display in the viewer,
make sure you go into Preferences to select it.
| | 02:21 | While we're here, go ahead and click Playback and
notice that you have a Pre-Roll Duration and a Post-Roll.
| | 02:27 | That Pre-Roll and Post-Roll will come into
play as you preview some of your edit points.
| | 02:32 | So, for example, we've
trimmed this back before the bump.
| | 02:35 | If we wanted to preview the area around
this edit point, we can press Backslash.
| | 02:41 | (BD Dautch: ...urban fringe. So at the
farmers market, you'll get people coming--)
| | 02:45 | And what happens is that Final Cut takes the
Playhead back 2 seconds, rolls through the
| | 02:50 | point where the playhead was originally located,
continues its Post-Roll for 2 seconds, and
| | 02:55 | then repositions at the edit point.
| | 02:57 | That's a very helpful tool when you begin to trim
and want to look at and refine different edit points.
| | 03:04 | Now, let's go back a few. I
see another marker before.
| | 03:08 | If we wanted to see what that marker
was telling us, we'll press Shift+M.
| | 03:11 | It says a different selection.
| | 03:13 | Well, the first thing that I'd like to know:
is there anymore to this clip and how would
| | 03:17 | I know if I wanted to see it?
| | 03:19 | Well, the way you see more around that clip
is to right-click and choose Open in Timeline.
| | 03:25 | And now what we see is a Timeline dedicated
to this one clip, and you can tell that the
| | 03:30 | highlighted area is marked, the In and Out of
what's currently being used in the project.
| | 03:36 | By skimming through the portion before, we
see that the man walks up to the box before
| | 03:41 | he puts the lettuce in.
| | 03:43 | So that tells us that in fact, we do
have a good amount of material there.
| | 03:46 | Now, clicking the History arrow
backwards takes us back into the project.
| | 03:50 | This time, what we want to do is use this
particular clip length, but we want to slip
| | 03:54 | the content of the clip.
| | 03:56 | We do that using the Trim tool--
you can just press the letter T--
| | 04:00 | and when we move the pointer
inside the clip, we get the Slip tool.
| | 04:03 | And we want to drag to our right so we
can get some of the man walking forward.
| | 04:10 | Let's take a look at this.
| | 04:11 | (BD Dautch: ...schools, restaurants. The Santa Barbara
area has been fortunate enough to have a slow--)
| | 04:18 | We see a little bit of
hesitation of his hands at the end.
| | 04:21 | I'd slip back, and I'm looking at the right image in
the viewer, so it's nice to have these two images.
| | 04:27 | And I can see where his hands land,
and that's a good place to end.
| | 04:30 | (BD Dautch: ...schools, restaurants. The Santa Barbara
area has been fortunate enough to have--)
| | 04:37 | So that helps improve that particular clip.
| | 04:39 | I'm going to press Shift+Z, and go down
toward the end of the project and zoom in there.
| | 04:48 | Another really great way to trim is because
we use the playhead so often to move to a
| | 04:53 | place that we want or want to mark, we
can utilize that when we make a trim.
| | 04:58 | First, I'm going to press A to get my Select
tool back, and then I'm going to select the
| | 05:04 | Out point of a clip.
| | 05:07 | Now when I move my Playhead, let's go ahead
and move it to the edit point between these
| | 05:11 | two clips, I can press Option+Right Bracket, and
Final Cut Pro trims the Out point to the Playhead location.
| | 05:21 | And what that has done has allowed a little bit of an
opening so we can see this person speak on camera.
| | 05:27 | Now, another way to trim that's really helpful
but gets a little challenging if you're working
| | 05:33 | with B-roll is to roll edit points.
| | 05:36 | Let's look at this B-roll clips and
concentrate on how they hit to the beat in the music.
| | 05:41 | (video playing)
| | 05:53 | These are great shots, but it might be fun to play
with the timing so that they hit the beat of music.
| | 05:58 | The only problem is that when you get the
Trim tool, and let's zoom in to this area,
| | 06:02 | and you move over the edit point, you can
get a Trim tool on either side of the edit
| | 06:07 | point, but you don't get the Roll tool that you get
if you come down into a clip on the primary storyline.
| | 06:14 | Remember, connected clips connect to
the primary storyline, not to each other.
| | 06:20 | One way to allow them to connect to each other
is to bring them down to the primary storyline.
| | 06:26 | I'm going to go back to the Select tool, choose this
group of clips, notice there's nothing underneath them.
| | 06:33 | So if I choose them and say, Overwrite to
Primary Storyline, that brings this set of
| | 06:39 | B-roll clips into my primary storyline, and now I
can go ahead and roll in between the edit points.
| | 06:45 | Another thing I can do is I can select the music
and put markers where the beats of music are.
| | 06:53 | (video playing)
| | 07:01 | And of course, you can add markers on the fly.
So that gives us a target.
| | 07:10 | Now, when we press T to get our Trim tool, we get
the Roll tool because we're on the primary storyline.
| | 07:16 | And now I can roll this edit point to
this beat and roll this edit point to this.
| | 07:22 | Let's see if that helps.
(video playing)
| | 07:31 | So it's one option, and it's one way to go.
As an editor, you do a lot of tweaking.
| | 07:37 | Sometimes it's to fix something that's broke,
like when you trim a B-roll clip to cover a
| | 07:41 | new gap you created for pacing, and other
times you slip and roll and trim and tweak
| | 07:46 | simply to make things look better.
| | 07:51 |
| | Collapse this transcript |
| Smoothing the project's story content| 00:00 | Let's face it, sometimes during the rough
cutting stage you see a clip that doesn't
| | 00:04 | stand as strong as its neighbors.
| | 00:06 | Maybe you weren't crazy about the clip when you
edited it, and thought I'll find something better later.
| | 00:11 | As you work on the project,
those clips start to gnaw on you.
| | 00:15 | Well, later is now.
| | 00:17 | So let's take a closer look at the visuals
to see if there are any you might want to
| | 00:20 | replace to improve the content
for the Farm To Table story.
| | 00:25 | In the project in the Timeline, if you
focus on the connected clips, the B-roll, you'll
| | 00:29 | see that there are three markers, one here
where BD is standing at the table, another
| | 00:36 | where we see a crowd of people, and another where
we see some radishes and a shot of the produce.
| | 00:42 | So let's take a look at this first shot, and
let's read the marker by pressing Shift+M.
| | 00:48 | It says replace with a different shot,
and it gives us the name, slider 04 1.
| | 00:53 | So if we go to our B-roll collection and find
the Produce_Slider_04 1, we can skim through
| | 01:00 | that and say, okay, that's very
interesting. It's a very nice shot.
| | 01:04 | We see a lot of really great-
looking produce on BD's table.
| | 01:09 | So what we want to do is, instead of seeing
BD stand here in this wide shot with people
| | 01:14 | walking by, we're going to keep the shot
the same length but replace the content with
| | 01:18 | what we're seeing up here.
| | 01:19 | Now, we can choose where we
want to pick the shot up.
| | 01:22 | Do we want to start it at the beginning?
| | 01:24 | I don't think so, because it doesn't
look like the camera is panning yet.
| | 01:28 | So if we sort of pick it up once the camera has
gotten going, go ahead and mark an end at that point.
| | 01:34 | And down in the Timeline let's zoom in
to the clip that we're going to replace.
| | 01:39 | And what we do to replace a clip, of course, is just
drag the clip on to the clip we want to replace.
| | 01:44 | Once we release it, Final Cut
shows us a list of options.
| | 01:47 | If we wanted to replace the clip with the
full length of the B-roll as marked in the
| | 01:52 | Event browser, we would click Replace.
| | 01:55 | But if we want to just replace the content
and the duration of the content that exists
| | 01:59 | in the project, we just
click Replace from Start.
| | 02:03 | Now the length of the shot stays the same,
but the content is replaced by that pan.
| | 02:11 | (BD Dautch: This is the era of California cuisine,
which is buying what's local and in season.)
| | 02:18 | So if we wanted to continue with that shot
and not see BD unpacking, because that shot
| | 02:24 | was really working, he was talking about
California cuisine, what we can do is we can just delete
| | 02:30 | this shot of BD and open the shot up to
extend it the full length of that space.
| | 02:38 | (BD Dautch: This is the era of California cuisine,
which is buying what's local and in season.
| | 02:45 | Many, many restaurants--)
| | 02:47 | Now, another thing that we can do--if we wanted to make
adjustments, we can also bring it in a little earlier--
| | 02:53 | you can actually overwrite a clip to the
Primary Storyline when there's audio there.
| | 02:58 | In this case, what happened is that BD's
audio became a separate clip beneath this.
| | 03:04 | Let's look at this.
| | 03:07 | (BD Dautch: This is the era of California cuisine,
which is buying what's local and in season.)
| | 03:13 | So this is another way that we can, if we wanted to,
roll edit points as we saw in the previous movie.
| | 03:19 | Let's go to the next marker and
see what needs to happen there.
| | 03:26 | So this is a shot of people and of the crowd.
So let's see what we want to replace that with.
| | 03:32 | The FM stand 01, okay, so
let's see if there is some stands.
| | 03:37 | Ah-ha! Well, this is a different kind of
shot of the crowd, people are walking through.
| | 03:43 | Why don't we pick it up just before this woman
in the purple shirt walks in from the left side?
| | 03:49 | So if we just mark an In point there,
we would approach it the same way.
| | 03:54 | Drag the source clip from the Event browser onto
the Target clip in the Timeline and release it.
| | 04:00 | And to keep it the same length,
we'll just say Replace from Start.
| | 04:04 | (John Downey: ...which is equally as
special as he is bringing to the market.)
| | 04:12 | Well, they say a picture
is worth 1,000 words.
| | 04:15 | At this stage of your documentary, you need
every image to count to reflect and support
| | 04:20 | the audio narrative.
| | 04:21 | So when you spot a weak image in your
project, take the time to replace it.
| | 04:25 | In the end, it could
make an important difference.
| | 04:30 |
| | Collapse this transcript |
| Retiming clips| 00:00 | Once you've evaluated the pace of your project,
trimmed it, and replaced weaker clips, you
| | 00:06 | might find there are sections that you want
to move through more quickly or others where
| | 00:10 | you want to slow the pace a bit.
| | 00:12 | While changing the speed of a clip may not
be something you do in every documentary.
| | 00:17 | There is a section in this project
that might benefit from that effect.
| | 00:21 | Let's focus our attention at
the very end of this project.
| | 00:24 | I'm going to move my playhead
down and zoom in to that area.
| | 00:30 | This includes several clips of BD talking
about and sort of summing up the importance
| | 00:35 | of this experience for him.
| | 00:37 | Above it, we have images of the market, BD
being happy doing what he's doing, and then
| | 00:43 | a woman, it seems almost be hugging the
vegetables, which is sort of a close shot.
| | 00:47 | But if you notice, there's a guy walking behind and
the portion where she hugs is actually very short.
| | 00:54 | So it might be ideal to take that short section
and maybe play it back sort of in a slow-mo way.
| | 01:01 | And with the BD image, it might be nice to
take his face and freeze on a frame where
| | 01:07 | he's smiling or laughing
and end the piece in that way.
| | 01:11 | In fact, if you want to think about ending the
piece with him, go ahead and drag him to the end.
| | 01:16 | You have to do a couple of changes because
the connected clips do not act the same way
| | 01:23 | as the magnetic timeline in the primary storyline,
so you have to a little bit more manual when
| | 01:28 | you move things around.
| | 01:30 | So for right now, let's go ahead and select
these B-roll clips, and I'm going to just
| | 01:36 | say Disable them, and a shortcut for that is V,
so that we can focus on the BD clips beneath.
| | 01:41 | (BD Dautch: I feel like I'm the luckiest person in
the world. It incorporates everything that I--)
| | 01:47 | So obviously, we need a
little bit of a gap there.
| | 01:49 | We've learned how to do that, just Option+W, and
we're going to make it a little bit of a shorter gap.
| | 01:57 | (BD Dautch: ...luckiest person in the world.
It incorporates everything that I look for in life.
| | 02:02 | It becomes a--)
| | 02:04 | So that gives us a little bit of breathing
room, and now we can turn on our visuals,
| | 02:09 | just press the letter V, and
focus on the timing of how this works.
| | 02:14 | Let's take a look now, if we deselect the
clips, look at our timing in our interface.
| | 02:19 | We're almost up to 3 minutes,
and we still have a black gap up here.
| | 02:23 | We're going to keep that black gap,
and I'll show you why in a second.
| | 02:27 | That's going to be like a
little holding pad for us.
| | 02:29 | So first, what I'm going to do is just drag
a clip over there and let it sit there so
| | 02:33 | I can focus on this next clip.
| | 02:35 | Now, we know we want to
see BD in the second clip.
| | 02:39 | We want to see him on camera.
| | 02:41 | So we need to extend the
previous clip to cover that gap.
| | 02:44 | And if we chose to make that gap a little
shorter, we can just flex with it a little
| | 02:49 | bit, however you want to do it.
| | 02:53 | (BD Dautch: I feel like I'm the luckiest person in the world.
It incorporates everything that I look for in life.
| | 03:01 | It becomes a celebration of life, as well as--)
Okay so that works for me on camera.
| | 03:06 | Now, if he's talking about a celebration of
life, we want to take the best part of this
| | 03:11 | clip which starts right about here, and
we actually want to use it but in slow-mo.
| | 03:16 | Now, as I start to drag, I get stuck.
| | 03:19 | I snapped to the playhead,
and that's a problem.
| | 03:22 | But if I press the letter N, that will
turn snapping off on the fly, and it will allow
| | 03:27 | me to drag through that point
so I get the edit point I want.
| | 03:31 | I'm going to do the same thing at the end because
this is not the frame at the end that I want to use.
| | 03:35 | I just want that portion where
she's sort of hugging the vegetables.
| | 03:38 | And, as you can see, it's not a long clip.
| | 03:42 | We're going to reposition it over this third clip,
and notice I can't really snap to the other point.
| | 03:48 | Why? Because snapping is off.
I just turned it off to have more control.
| | 03:51 | Now I'm going to press N to get that control
back, and when I turn it off and on it appears
| | 03:57 | as blue when it's active
up here in the timeline.
| | 04:00 | So let's take a look at this.
(BD Dautch: ...in life. It becomes a celebration--)
| | 04:06 | Well, clearly we need this clip to continue,
and one way we can do that is to change the
| | 04:09 | timing of the clip.
| | 04:11 | So we select the clip, and we go to our Timing
menu and choose Slow, and let's start by making
| | 04:15 | it play 50% slower.
(BD Dautch: It becomes a celebration of life.)
| | 04:22 | So if we wanted to, we could
drag that out and the 50% stays.
| | 04:26 | (BD Dautch: It becomes a celebration of life.)
| | 04:30 | And maybe if there's any more, we may be
taking it up to life, and let's go ahead and drag
| | 04:35 | BD shot back in and look at it.
| | 04:38 | (BD Dautch: It becomes a celebration of life,
as well as a culinary celebration.)
| | 04:45 | And rather than just end,
let's go ahead and freeze frame.
| | 04:49 | Find a nice frame that we want to freeze on
where BD is actually laughing, and maybe we
| | 04:53 | bring the music up right at the end there,
but let's see if we got a good frame.
| | 04:58 | We don't want him looking over to his side.
| | 05:00 | It will be nice to look at the person he's
talking to, because this is what gives him such joy.
| | 05:07 | So we put our playhead where we want to freeze, and we
select the clip, go to our Retime menu, and choose Hold.
| | 05:15 | And this brings up the Retime area, and we
see that we have 0%, and we can drag that
| | 05:21 | to create a longer freeze, and then we can
trim the clip back so that we end on it.
| | 05:26 | Let's see if we like this effect.
| | 05:30 | (BD Dautch: It becomes a celebration of life,
as well as a culinary celebration.)
| | 05:40 | Depending on the style you're trying to create,
you probably wouldn't want to use a lot of
| | 05:44 | timing effects in a piece like this.
| | 05:46 | The most important thing is to make the
narrative sound and feel natural by creating the right
| | 05:50 | amount of pause when someone says something
you want to view or to take in and then to
| | 05:55 | make the most of the clips you've
chosen to support that narrative.
| | 06:00 |
| | Collapse this transcript |
|
|
6. Embellishing the StoryEditing still images or creating a montage| 00:00 | Still images can be magical if they capture
a moment or expression that video hasn't.
| | 00:05 | On most documentary shoots, there are
at least a few people shooting stills.
| | 00:09 | As avid photographer, I'm
usually one of those shooters.
| | 00:12 | So just to be sure you haven't overlooked
any magical moments, I recommend you gather
| | 00:16 | all the stills from anyone who is shooting,
even if it was on their cell phones, and see
| | 00:20 | if you can't find a good use
for them in your documentary.
| | 00:24 | One use for stills might be to
provide a background for a credit role.
| | 00:27 | Let's create a credit role for this project.
| | 00:30 | Now to begin, let's create a New Project,
and we'll create it inside the 06-01 folder
| | 00:36 | in the Project Library.
| | 00:38 | Let's name this 06-01_Credits, because I
have a few parts to this, and we'll continue
| | 00:47 | in the next movie, we'll call this version 1.
Final Cut creates an empty project for us.
| | 00:54 | Now you might be asking, or wondering, well why
are we getting away from the primary storyline
| | 01:00 | that we've been creating of the project?
| | 01:03 | And you could certainly
build your credit role there.
| | 01:06 | I like to sort of clear the decks, take
everything off the table, and have a totally new project
| | 01:11 | that I can focus a particular segment on,
when it comes to something like this where
| | 01:16 | it will be a stand-alone kind of
a piece such as the credit role.
| | 01:20 | Now the only problem is if I go to one of
my still images and edit it, Final Cut will
| | 01:26 | ask me about the Video Properties since it doesn't
recognize them, and it wouldn't because it's not video.
| | 01:32 | So cancel that.
| | 01:33 | A good rule of thumb is to select a clip,
any clip, it doesn't matter, but a clip from
| | 01:38 | the project, and edit it to the timeline first.
| | 01:42 | Once you have that clip there, then you can
go about the process of editing still images
| | 01:47 | and they'll follow suit to
the particular video settings.
| | 01:52 | So what we've got in our Miscellaneous
Folder are a couple of different options.
| | 01:56 | We have the DSLR Images and the iPhone Images.
| | 01:59 | So let's go ahead and find 1042, and
you can Command-click on these if you like.
| | 02:09 | And let's see, and 09, there we go.
| | 02:12 | So we Command-clicked four of them, and now let's
just append them to the timeline. There we go.
| | 02:19 | Now once you start adding your stills, you
can get rid of that video clip at the head.
| | 02:23 | You don't need it anymore because the Video Settings
for this project have already been established now.
| | 02:30 | So we have four clips that
actually were from an iPhone.
| | 02:34 | Let's go ahead and find a few
more clips from the DSLR images.
| | 02:38 | We like this one, and this
one with the scarecrow.
| | 02:44 | So now we can Command-click these and append them.
| | 02:49 | And if you see the orange bar, that means
that Final Cut is just doing some rendering.
| | 02:55 | Notice the background tasks is at zero, and
now it's continuing to move through--and
| | 03:01 | the orange Render Line is gone now.
So now we have seven still images.
| | 03:05 | If we play, obviously nothing will happen
because they're still, but we have a default.
| | 03:10 | Each of these has a default of 10 seconds.
| | 03:13 | We're going to want to add some music
and put these in a particular order.
| | 03:16 | Let's put them in order first.
| | 03:18 | And one thing that I thought might be fun,
since these are the credits, is to put these
| | 03:22 | in an order where we can
sort of establish the crew.
| | 03:26 | For example, this seems to be the
director talking to the shooter.
| | 03:29 | So let's make that first and then you
want to say well, what are they looking at?
| | 03:33 | Well, maybe they're looking at this shot so now
we go to shot that they might be looking at.
| | 03:39 | This is a nice shot of the
shooter framing something.
| | 03:41 | What might they be framing?
Maybe it's the scarecrow.
| | 03:45 | So we're just using the
benefit of the magnetic timeline.
| | 03:48 | Just roll these clips into some order.
Now let's go back to the shooter again.
| | 03:52 | She's shooting some of the produce, and
there's some flowers in the background there so then
| | 03:56 | we go from her to the flowers and
then we can end on the shot of BD.
| | 04:00 | So this is the order that we're going to use.
Let's go ahead and add the music.
| | 04:05 | So if we go to our Miscellaneous and Click
on Music, and this particular point in this
| | 04:10 | clip that begins at 1:25:23.
| | 04:14 | So if you Drag through and look at the
Dashboard, we're looking for a number 1:25:23.
| | 04:21 | And if you get close, you can always Click
and then just use your Forward Arrow to get
| | 04:27 | you to the frame you want.
| | 04:30 | Mark an endpoint, and now, we
really only want about 30 seconds.
| | 04:36 | Let's go ahead and drag the
Outpoint till we have about 30 seconds.
| | 04:40 | Again, it doesn't have to be exact, we can
finesse it in the timeline, and let's append
| | 04:44 | this in the project.
| | 04:46 | The nice thing is that the director said yes,
let's have some credits because you guys did
| | 04:50 | such a great job but he
said limit it to 30 seconds.
| | 04:54 | So obviously, you're going to need to shorten
some of these clips, and there are a couple
| | 04:57 | of ways you can do that.
| | 04:59 | You can actually get the Blade
tool and just go through it.
| | 05:03 | It looks like the clips are about
twice as long as they need to be.
| | 05:06 | So you can just literally go through, blade
each of these, sort of somewhere in the middle.
| | 05:11 | And again, we're going to finesse as
we go and then just delete every other one.
| | 05:23 | So we're getting closer.
| | 05:24 | We're going to need to get even closer, and we can
do that and finesse as we go along a little bit.
| | 05:29 | But for the moment, we're in the ballpark.
| | 05:32 | So we've got the clips, in order, we've got
music added, so we're getting very close.
| | 05:39 | We're not quite done with the credit piece,
we still have to add some moves to it.
| | 05:43 | So the first step in creating a montage is to
choose the images, put them in the timeline,
| | 05:49 | but make sure you create the
Video Settings first, as we did.
| | 05:52 | Place the images in an
order that makes sense to you.
| | 05:55 | In our case, we're leading with
the crew and then add some music.
| | 05:59 | Now, we obviously need to cut this down,
which we did by using the Blade tool, but we have
| | 06:04 | more work to do, and we'll do that
other work in the rest of this chapter.
| | 06:09 |
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| Animating still images| 00:00 | While stills can provide a fun or important
addition to the story, the viewer might lose
| | 00:05 | interest if you just sit on a still.
| | 00:06 | Why not take the time to direct the viewer
to what you think is important to see in each
| | 00:11 | still and at the same time, correct
something that might be distracting.
| | 00:16 | You can do that quite easily using the
Ken Burns Cropping Effect in Final Cut Pro.
| | 00:21 | Let's take a look at the current project.
| | 00:24 | This contains the individual stills we
chose and placed in order in the previous movie
| | 00:29 | along with the music.
| | 00:30 | But rather than just sit still on each of these
stills, let's go ahead and make some changes.
| | 00:37 | If you select the first clip and then select
Crop, you notice that an Option Bar appears
| | 00:43 | with Trim, Crop, and Ken Burns.
| | 00:46 | The first Trim Option allows you to
literally cut away certain portions of the image.
| | 00:51 | The second, Crop, allows you to maintain the
aspect ratio but simply choose a different
| | 00:56 | part of the picture.
| | 00:58 | And Ken Burns allows you to create a
starting point with the green outline and an ending
| | 01:04 | point with the red outline.
| | 01:06 | So what if we decided to start a little bit
tighter on--let's call this the Director?
| | 01:12 | He seems to be describing the
shot he wants to the shooter.
| | 01:16 | And then the red where we end up would include the
director and the shooter, more of a wider shot.
| | 01:22 | Now if you want to preview this, you can just
Click the Preview button, and you might say,
| | 01:31 | gee, that looks awfully fuzzy.
| | 01:33 | Don't worry about that because that is
just the way a still image is played back.
| | 01:38 | So if we like that, we can Click Done, and
that particular move is attached to this image.
| | 01:44 | Notice we have the orange Render Bar, and
you can see in the background rendering that
| | 01:48 | Final Cut Pro is
rendering that particular move.
| | 01:50 | In the meantime, we can
go ahead to the next clip.
| | 01:53 | So let's select the second clip and
go into the Crop mode and Ken Burns.
| | 01:58 | Now in this case, you have choice.
Do you want to maybe tilt up?
| | 02:02 | We don't want any of the black in this shot.
| | 02:04 | So we can either start down or start on a
lower framing of this and then end by tilting
| | 02:11 | up and including the palm tree.
| | 02:13 | We could even zoom into the palm tree a
little bit by readjusting the framing.
| | 02:18 | Let's see what this looks like
by Clicking the Preview button.
| | 02:20 | (video playing)
| | 02:28 | We may not know if that's going to work with the
whole project unless you go ahead and start with that.
| | 02:34 | So you can continue doing this.
| | 02:35 | You simply Click a Clip, you select Crop,
Ken Burns, you decide on the starting framing.
| | 02:42 | For her, we'll start with something a little
tighter, and if you decide that, well, maybe
| | 02:47 | in fact you would rather start wide and zoom
into her, which is opposite of what you chose,
| | 02:52 | Click these little reverse arrows, and it
simply reverses that and then Click Done.
| | 02:57 | So if we take a look.
| | 02:59 | (video playing)
| | 03:11 | So as a credit roll or a background for credits,
you have nice music, and you get to see some
| | 03:16 | of the people who helped make
this particular shoot happen.
| | 03:20 | Let's open a finished version.
| | 03:22 | In this version, all the clips have been
adjusted and transitions have been added to both the
| | 03:26 | music and the clips.
Let's see what it looks like.
| | 03:30 | (video playing)
| | 03:59 | Still images can tell a unique
story sometimes better than video.
| | 04:03 | So if you have the resources at hand
consider all your options when you're editing your
| | 04:06 | project and don't forget to
ask the director your credit role.
| | 04:11 |
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| Incorporating sound effects| 00:00 | Throughout this documentary, you edited
farmers market B-roll clips with their natural sound.
| | 00:05 | But some of the clips in the farmers market
contain music playing in the background that
| | 00:10 | you might not have permission to use.
| | 00:11 | So what do you do when you want to use
clips with a natural sound but not the original
| | 00:16 | sound, and especially not with music?
| | 00:19 | You find other sound options
and marry them to the clip.
| | 00:22 | In this particular
project there's just one clip.
| | 00:25 | This is a clip of the crowd.
Let's take a listen.
| | 00:28 | (music playing)
| | 00:32 | So, you hear some music.
| | 00:34 | And let's say that we don't have permission
to use that music but that we might want to
| | 00:37 | use this particular clip.
| | 00:39 | Well, what we want to do is we want to edit
sound from other clips, the length of this clip.
| | 00:46 | So if we want to edit to the
links, we need to mark the clip.
| | 00:50 | Now notice, that selecting the clip and
having a yellow outline is not the same as marking
| | 00:55 | it because there are no handles.
| | 00:58 | If I press X, that marks an in and out around the
selected clip and notice now we have the handles.
| | 01:05 | So now it's defining the
particular length for our next edit.
| | 01:09 | Let's look at the Event browser, and
let's take a look at this clip the Stand01.
| | 01:14 | So, this is another clip
of the farmers market.
| | 01:23 | It seems to have sound--background
sound--but I don't hear any music playing.
| | 01:26 | So, it might be a good
source to edit the audio from.
| | 01:30 | And the way we want to edit just audio.
| | 01:32 | So, we go to our Editing
Options and choose Audio Only.
| | 01:36 | And now we connect to that clip to this one.
| | 01:40 | So now we have the particular
audio from that clip attached.
| | 01:44 | Now what we're going to do is go ahead and
Drag down the audio on the video clip and
| | 01:49 | listen to what this sounds like.
| | 01:51 | (video playing)
| | 01:58 | Well, it's plausible, but let's keep looking.
| | 02:00 | There might be a few other
shots that could add to this.
| | 02:04 | Let's look at the
Shoppers_01 clip and listen to it.
| | 02:08 | (video playing)
| | 02:13 | So, like the other one, this adds something to
it, maybe some handling, or talking a little
| | 02:19 | bit in the background.
So, let's do the same thing.
| | 02:21 | We go ahead and we select the clip, press X,
and now we can connect that particular
| | 02:27 | sound, and now what it did is it
added another soundtrack beneath.
| | 02:31 | Let's hear what they sound like together.
(video playing)
| | 02:35 | So, we keep building the sound.
| | 02:37 | Well, there's one more sound
that I want to take a look at.
| | 02:40 | It's called Stand_Slider_02.
(video playing)
| | 02:51 | So, I'm not sure if this will add enough of
what we need or if it will be long enough.
| | 02:56 | So, we can definitely take out that portion
we don't want, and we can add it to the mix
| | 03:02 | and see what we get.
| | 03:04 | And what Final Cut tells us is that
there's not enough media to fill the range.
| | 03:07 | And we can say go ahead and
put what we've got in there.
| | 03:10 | (video playing)
| | 03:15 | So, the nice thing is that, that added a little
bit of depth, as you'll hear when we continue
| | 03:19 | to adjust the two sources.
(video playing)
| | 03:24 | So, one thing you can do is
do the old Option+Drag.
| | 03:28 | Just press Option and then Drag from the clip, and
now you've duplicated it, and then you can trim it back.
| | 03:34 | Now, what have you got, you've got
video and three different audios.
| | 03:38 | That might get a little tough to wrangle when you
try to work with that if you want to edit the clip.
| | 03:43 | So, what you can do is
select all of those tracks.
| | 03:47 | Right-click on one and
choose Make New Compound Clip.
| | 03:51 | And now, all of that audio is
contained within this one clip.
| | 03:56 | (video playing)
| | 04:00 | To see that, you can Double Click on it and in the
separate timeline, it opens all the individual tracks.
| | 04:06 | So, at any point you can go in and change
the volume of one to increase that sound.
| | 04:16 | And then of course, adjusting the volume in the
Compound Clip adjusts all three clips together.
| | 04:21 | Now, let's say we want to
undo the Compound Clip.
| | 04:27 | If you wanted to use this audio by itself
with other clips in the market, you can select
| | 04:33 | those three audio clips and make a
Compound Clip of those audio clips.
| | 04:38 | And then you can use just the audio to play
underneath other farmers market clips that
| | 04:42 | might not have appropriate sound.
It may take a little time.
| | 04:46 | But like the game of concentration, making
the best sound effect, or group of effects, to
| | 04:51 | a video clip is always rewarding.
| | 04:53 | When you get it right, it feels as
though the clips have been married forever.
| | 04:58 |
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|
|
7. Completing the ProjectAdding titles and lower thirds| 00:01 | Once you've refined the story, you'll want to
turn your attention to finishing the piece.
| | 00:05 | And no documentary will be complete without
an opening title announcing your masterpiece,
| | 00:09 | and the lower thirds that
identify who is talking.
| | 00:12 | Whether you get the text clips from the
graphic's team or add them from within Final Cut Pro,
| | 00:17 | it's your job as editor to make sure titles
and lower thirds are placed within the image
| | 00:21 | so they can be easily seen
for the target audience.
| | 00:24 | Now, as a Final Cut Pro X Editor, you're
probably very familiar with how to apply titles from
| | 00:30 | within the Title browser.
| | 00:32 | Final Cut offers quite a few different options,
Bumpers, Credit Rolls, and even Lower Thirds.
| | 00:39 | But in this particular project, the
graphics team has actually created some titles for
| | 00:44 | us so that the overall style and
design match with the project.
| | 00:49 | So here are some lower thirds of the
different people that speak that are interviewed, and
| | 00:53 | you'll be adding those throughout the project.
There's also an opening title.
| | 00:57 | And when you skim through the opening title,
it's hard to see that anything is there, but
| | 01:01 | if you look closely at the viewer, you see
that there is a title, it's just dark text.
| | 01:06 | Now, once we edit these clips on to
a background image, they'll pop up.
| | 01:11 | And let's just take a quick look at the Timeline Index so
we can see what we're going to accomplish in this movie.
| | 01:18 | We're going to add the open at the beginning,
but before we do that I'd like to start by
| | 01:22 | adding a lower third over BD.
| | 01:26 | Then there are names, marker names, of the other
people that you want to add the lower third to.
| | 01:31 | We can close the Timeline Index.
| | 01:33 | Something else that will be helpful, as we work with
titles, is to Show the Title or Action Safety Zones.
| | 01:40 | There are two lines that come up to form an
area that we like to call Title Safe.
| | 01:46 | The inner box is for Title Safe.
Now, that's Broadcast Title Safe.
| | 01:51 | It's important if you're broadcasting something to
be inside that box, but if you're not broadcasting,
| | 01:55 | then you can be within the Action
Safe Box, which is the outer edge.
| | 02:00 | In this particular project, since the goal
is for a publicity kit and for web delivery,
| | 02:06 | you don't have to worry so much about being
on the inner box, the outer box will be fine.
| | 02:10 | So we'll leave that on just to
take a closer look as we go along.
| | 02:14 | Another thing that will be helpful when you
start to work with titles, titles are visual,
| | 02:18 | so you don't need to take up a lot of screen
room in your Timeline with these waveforms.
| | 02:23 | So let's go to our Clip Appearance, and first
of all, change the Clip Height and then turn
| | 02:29 | off the Waveforms altogether, and adjust
those two things until you get something that's
| | 02:33 | a little easier for you to read.
| | 02:36 | Like always, we're going to want to zoom
in to the area that you want to work with.
| | 02:41 | In this case, we want to add a lower
third in the section where we first see BD.
| | 02:46 | One thing you can do is simply mark an In
and mark an Out where you want that lower
| | 02:51 | third to go. That creates the range selection,
then you select the source, and we'll just
| | 02:56 | connect, and that places it in the Timeline.
| | 02:59 | So, as you can see, the lower third has
been placed over the background clip.
| | 03:03 | Let's just click here.
| | 03:05 | And everything else around the lower third has
dropped out so that we can see BD behind the lower third.
| | 03:12 | Now, the reason that's dropped out is because
there's an Alpha Channel attached to that title clip.
| | 03:17 | And Alpha Channels are attached to all the
text clips within Final Cut Pro, and that's
| | 03:22 | how a graphic artist would produce clips or
titles to use, because you have to drop that
| | 03:27 | background out in order to see
what's behind it, in this case BD.
| | 03:31 | (BD Dautch: ...mostly at the farmers market,
and also we sell to caterers, schools...)
| | 03:34 | Now, in another movie we'll talk about
adding transitions to smooth the lower thirds so
| | 03:41 | we can fade in and out.
| | 03:43 | There are other places in this project where
you can add a lower third, here's John Downey,
| | 03:47 | and you would do the same thing.
| | 03:48 | You would mark an In and an Out where you want
that title to go and then simply connect to that.
| | 03:57 | But I'd like to focus your attention now on
the opening title, because that's going to
| | 04:01 | take a little more work than
what the lower thirds will.
| | 04:04 | Now, remember, we've already created a gap of
seven seconds, but what we need is a background
| | 04:09 | clip that, that title can go above.
| | 04:12 | And we can get that background
clip from the Earthtrine Farms.
| | 04:16 | If we scroll down, there's a farm clip
that provides a really nice background.
| | 04:21 | Notice there's a Camera Pan.
| | 04:24 | So why don't we mark the beginning of this
just as the tree gets a little bit closer
| | 04:28 | to that right edge.
| | 04:31 | And since we want that amount that's already
defined by the gap, click the gap and press
| | 04:37 | X, and now that creates an Active
Range Selection around that clip.
| | 04:41 | Now when we connect the background shot, the
exact amount, or the exact length, of the gap
| | 04:46 | is edited and connected to it.
| | 04:48 | So this is our background clip, and now
we want to connect the title clip to this.
| | 04:54 | So we can go ahead and select this
clip and press X to identify the range.
| | 04:59 | And now notice that we have in our Graphics
collection, in addition to the lower thirds,
| | 05:04 | there's also that opening title,
which we looked at briefly before.
| | 05:08 | It's really hard to tell where that opening
title begins and ends, so I'm just going to
| | 05:12 | go ahead and connect it from the beginning.
Let's take a look and see what we have here.
| | 05:18 | (video playing)
| | 05:25 | Terrific. Now, in another movie we'll take
care of finessing this a little more by fading
| | 05:30 | out or transitioning out the title, but
for now, let's just do a couple more things.
| | 05:36 | One is that, going straight from the
title into BD talking sounds way too abrupt.
| | 05:41 | (BD Dautch: My name is BD Dautch.)
| | 05:45 | So I think what we want to do is expand that space
a little bit more, maybe another 3 seconds or so.
| | 05:51 | And what we want to do is mark an In and an
Out and find another clip that we can place
| | 05:58 | there, something that will help us transition.
| | 06:01 | And a clip that I like is this close up of
the leaf, it really speaks to the freshness
| | 06:05 | of the produce, and at the end there's a nice
little rack focus between the two leaves and
| | 06:09 | the dewdrops on the leaves.
| | 06:11 | Well, since you already have a marked range
selected in the Timeline, we can just mark
| | 06:15 | that In Point and connect, and we
get the exact link that we need.
| | 06:20 | Now let's take a look.
| | 06:21 | (BD Dautch: My name is BD Dautch.
And I have Earthtrine Farm.)
| | 06:32 | So there are a few other
things we can do to finesse this.
| | 06:34 | One is to roll the Edit Point a little earlier and
allow us to see BD walking before we hear him talk.
| | 06:42 | Let's take a look at it from this point.
(BD Dautch: My name is BD Dautch.)
| | 06:49 | Well, we still have a little bit of an abruptness
because we're cutting to BD walking and hearing
| | 06:54 | him talk at exactly the same time.
Sometimes it's helpful to soften that.
| | 07:00 | And one way to soften it is to create a little
bit more space, which we can do by extending
| | 07:04 | the gap and then adding a little bit
more of BD walking before we hear him talk.
| | 07:10 | (BD Dautch: My name is BD Dautch.)
That's starting to work a lot better.
| | 07:16 | Sometimes adding a title is as simple as adding a lower
third over a background clip in the primary storyline.
| | 07:23 | Other times, as in this situation, you may
have to roll up your sleeves and scoot things
| | 07:27 | around a bit to make that opening title
sequence look like it has always belong there.
| | 07:32 | But since it's first thing that the viewer
will see, it's worth the time to finesse it.
| | 07:37 |
| | Collapse this transcript |
| Smoothing out the rough edges with transitions| 00:01 | By the time you've combined an assortment
of shots and people, you'll no doubt end up
| | 00:05 | with a few rough edges.
| | 00:06 | Those might include jarring video cuts of
location changes, people moving within the
| | 00:11 | frame, and even text clips that cut in and out.
| | 00:14 | But it's amazing how effective a simple transition
can smooth those rough edges, even when switching
| | 00:19 | from one audio source to another.
| | 00:22 | Transitions can even bring a little
style to your documentary as well.
| | 00:26 | As a little guide I've created some markers
that identify places that we might want to
| | 00:32 | look at in terms of adding transitions to
help. And you can take a closer look at those
| | 00:37 | in the Timeline Index.
| | 00:38 | We'll, obviously, want to do some finessing
around the opening title, perhaps fade in
| | 00:44 | and out on one of the lower thirds, but at
the middle of the project, where we actually
| | 00:49 | change gears from our Earthtrine Farms to
the farmers market, there's a place and an
| | 00:53 | opportunity there that we can apply a
transition that might create a little bit of a style.
| | 00:58 | Let's start at the beginning of the project.
I'm going to zoom in a little to that.
| | 01:02 | This is our open, and when we play the end of
this opening title, the text just cuts out.
| | 01:11 | For the style of this
piece that's a little abrupt.
| | 01:14 | So to add a transition to fade out, we can select
the Out Point and just press Command+T, the shortcut.
| | 01:21 | Now what happens when you add a transition
to a connected clip is that Final Cut Pro
| | 01:25 | creates that storyline bar, and that's what
it does, it's nothing you did, it just adds
| | 01:31 | it whenever you add a transition.
| | 01:34 | Now, when we transition out of the title,
then we have a straight cut between these
| | 01:41 | two background clips, and
that feels a little jarring.
| | 01:44 | So go ahead and select that Edit Point and
press Command+T, and again you get the storyline.
| | 01:50 | (BD Dautch: My name is BD Dautch.)
| | 01:59 | Now, if we wanted to, we could continue this sort
of nice, smooth feeling by adding a transition
| | 02:05 | into BD and then that completes the feeling
of going smoothly, from dissolving from one
| | 02:12 | clip to another to another
and then we're in the story.
| | 02:16 | Let's take a look at how this feels.
| | 02:18 | (BD Dautch: My name is BD Dautch.)
| | 02:31 | So now you might have noticed that the audio
background from this clip dropped out abruptly.
| | 02:36 | In the next movie we're going
to fix that by extending it.
| | 02:39 | But for now let's focus on
transitions applied to the visuals.
| | 02:43 | Let's jump down to the lower third for BD.
| | 02:45 | If we play the beginning of his clip,
watch how the lower third cuts in and out.
| | 02:50 | (BD Dautch: ...and we sell mostly at the
farmers market, and also we sell to caterers...)
| | 02:55 | Now, for the style of this piece, that's a
little abrupt, so we want to fade in and out.
| | 02:59 | To do that at one pass, you
select the clip and press Command+T.
| | 03:03 | Now, the default for the
transitions is 1 second.
| | 03:07 | Let's see if that makes
this a little bit too slow.
| | 03:09 | (BD Dautch: ...and we sell mostly at the
farmers market and also we sell to caterers, schools...)
| | 03:16 | So because we are on BD for
a while, that might be okay.
| | 03:20 | But if we scroll down to the next lower third,
which is John Downey, we're not on his lower
| | 03:26 | third all that long, so we might
want to change the default duration.
| | 03:30 | So if you find you want to apply shorter
transitions on a consistent basis, you can go into
| | 03:36 | Final Cut Pro Preferences, and make
sure you're on the Editing tab.
| | 03:40 | And then in this case, we want half a second, so
let's type 0.50, which would be a half second.
| | 03:49 | Now when we select the clip in the Timeline and
press Command+T, we get 15 frame, or depending
| | 03:55 | on your frame rate, could
be 12 frame transition rate.
[00:0:58.35]
(John Downey: ...and in about 1983 BD came through the back door.)
| | 04:04 | So you have to adjust your transition rate
based on the style you're using and also the
| | 04:09 | length that you have on that clip.
| | 04:12 | Now, here's another place where we're going
right in the middle here, we're going from
| | 04:16 | the Earthtrine Farm to the farmers market.
And this is an opportunity to actually bring
| | 04:22 | another kind of transition in.
| | 04:25 | So let's open our Transitions browser, and there are
different things we could do, Dissolves, Lights, Movements.
| | 04:33 | In Lights, there's something called Lens Flare.
| | 04:35 | Let's go ahead and select the Edit Point,
double-click Lens Flare, and see if that might
| | 04:41 | be a nice way to sort of get
our focus onto this new section.
| | 04:51 | There might be some fiddling you could do
with the music to get that just right, but
| | 04:55 | it does add something to the piece, it sort
of takes your attention and says, focus now,
| | 05:00 | we're going someplace else.
| | 05:01 | So just to be clear, I'm not suggesting you
use transitions in place of making good editing
| | 05:07 | decisions, but documentary footage can include
a wide range of quality and textures in both
| | 05:12 | video and audio clips.
| | 05:14 | Through no fault of your own, you could end
up with what looks like a myriad of editing
| | 05:18 | sins, so it's good to keep in mind the
different way those sins can be erased.
| | 05:23 |
| | Collapse this transcript |
| Combining and mixing sound sources| 00:01 | I've heard countless stories over the years
of people watching awful looking film, or video,
| | 00:05 | with bad color, clips that are too dark or
too bright, with film scratches, and even
| | 00:09 | spots on some images.
| | 00:11 | The viewer watches in silence as though
everything is just fine, and yet the moment the audio
| | 00:15 | falls out of sync one frame, or makes a somewhat
awkward cut, the person will perk up and say,
| | 00:20 | did you hear that?
| | 00:22 | Even though we get 90% of our information through our
eyes, it can be much more forgiving than our ears.
| | 00:27 | So you want to make sure to fix, or remove,
any negative distractions from the audio in
| | 00:32 | your documentary, or
believe me, you'll hear about it.
| | 00:36 | Now, speaking of fixing things that are
distracting, we've been stepping over this first clip of
| | 00:41 | BD where he introduces himself.
| | 00:43 | So let's take a moment to fix that one
and check that off our list right now.
| | 00:46 | We'll zoom into that section and
just play a part of that clip.
| | 00:51 | (BD Dautch: My name is BD Dautch.)
| | 00:53 | And there it is, that little jump because he
was saying something else before, and we didn't
| | 00:57 | get a clean entry.
| | 00:58 | Well, what's very cool about Final Cut is
that, if we had the waveform showing, we could
| | 01:03 | use the Fade control.
| | 01:05 | So we're going to set the Timeline up in
a way that will help us work with audio.
| | 01:10 | First, let's change the Clip
Appearance and bring our Waveform back.
| | 01:16 | And since we're focusing on audio in this
movie, let's go ahead and add a taller waveform.
| | 01:21 | Now, we could make our clips a little
taller as well to see even more of the waveform.
| | 01:26 | We also want to look at, throughout this
particular project, as we're working on audio, we want
| | 01:31 | to look at the actual audio meters. And you get the
audio meters by clicking right here in the dashboard.
| | 01:37 | You can adjust the size of the meters.
| | 01:41 | And now that we have the audio waveform, we
see that little fade control in the clip.
| | 01:47 | Now, every clip that has audio has this
fade control, but you have to be right over it
| | 01:50 | in order to adjust it.
| | 01:52 | If you move your pointer a
little higher, you get the Trim tool.
| | 01:55 | Right on that little fade,
you get the fade control.
| | 01:59 | Now, let's just start with 2 frames, and the
fade is actually acting like a little transition.
| | 02:05 | Let's see what 2 frames does for us.
| | 02:08 | (BD Dautch: My name is BD Dautch.)
| | 02:10 | So the next thing you want to do
is think about your primary audio.
| | 02:15 | Primary audio is going to be anyone who is
contributing to the primary narrative storyline.
| | 02:19 | So let's go ahead and listen to
the content of BD's first clip.
| | 02:23 | (BD Dautch: ...BD Dautch, and I have Earthtrine Farm.)
| | 02:27 | As you listen, look at the audio meters.
| | 02:30 | And you have to think about what's
the target level for this project,
| | 02:33 | -12 dB is often used as the target
audio level for broadcast audio and video.
| | 02:40 | Sometimes it goes a little bit
higher, but really never more than -6.
| | 02:44 | You can take an audio output up to 0, but
you don't want to go over that, or it will
| | 02:49 | distort the audio.
| | 02:50 | For this project, since it's going to be
part of a publicity kit and then eventually end
| | 02:54 | up on the web, you have a little more elbow
room, and you could utilize the space, but
| | 02:59 | if it was ever going to air for broadcast,
you'd want to come back down to the -12.
| | 03:03 | So let's use that as the target
range for the work we do now.
| | 03:07 | (BD Dautch: ...and we've got about 10 acres in Ojai,
and we grow about 100 different herbs...)
| | 03:14 | So it sounds like BD's clips are all
very much in that target, the -12 dB.
| | 03:19 | I'm going to press Shift+Z
and jump to John Downey.
| | 03:24 | He was much more soft-spoken.
| | 03:25 | I'm going to zoom into his set of clips, and let's see
what his first clip looks like on the audio meters.
| | 03:32 | (John Downey: We opened this
restaurant in 1982, and in about 1983...)
| | 03:38 | That was a really good opportunity to point
out that if there's any secondary clips playing
| | 03:42 | at the same time, go ahead and drag their
audio down, or disable the clip, by selecting
| | 03:49 | it and pressing V so that you won't hear the sound,
and you won't compete with the primary audio.
| | 03:59 | So this is a simple case of needing
to raise the volume up a little bit.
| | 04:03 | When you are displaying a taller waveform,
you can see when you start to raise the level
| | 04:08 | too high, because Final Cut
shows you yellow and then red.
| | 04:13 | So if we raise it maybe 5 dB,
and let's see if that helps us.
| | 04:17 | (John Downey: ...in 1982, and in about
1983 BD came through the back door.)
| | 04:24 | So that's very acceptable.
| | 04:26 | So if we're done with that, I'm going to
go ahead and bring this clip back online.
| | 04:29 | We'll raise its volume a little bit.
| | 04:32 | If we know we want the same amount of volume
to be added, or applied, to all of these John
| | 04:38 | Downey clips, what we can do
is select them as a group.
| | 04:42 | Remember, this is the section that we took
out a lot of his little repetitive words.
| | 04:47 | Select these clips, go up to the
Modify menu, choose Volume, and choose Up.
| | 04:53 | And every time we use that shortcut,
Ctrl+Equals, it will raise the volume 1 dB.
| | 04:59 | I'm going to go ahead and do this once.
| | 05:02 | And now I'm going to use the shortcut, Ctrl+Equals, and
watch the waveform get higher every time I do it.
| | 05:09 | Now, we start to see a little bit of yellow
introduced here, so I might want to go back
| | 05:14 | down, which is Ctrl+Minus.
Let's take a listen.
| | 05:19 | (John Downey: He makes you want to cry,
with how dedicated he is to producing
| | 05:28 | the very best that he can. It gives me
something to think about.)
| | 05:33 | So the next stage, after you get the primary
audio at the level you want is you start to
| | 05:37 | listen to the primary audio
mixed in with the secondary.
| | 05:40 | Here's a group of clips, the B-roll clips, the
cutaways, that actually provide some secondary audio.
| | 05:46 | And one thing you can do
is just take a quick look.
| | 05:49 | Notice that this Farmers
Market clip jumps up pretty high.
| | 05:53 | Let's see if that's distracting.
| | 05:55 | (John Downey: I like to put on my plate something which
is equally as special as he's bringing to the market.)
| | 06:03 | So one thing we could do is just maybe adjust
the faders a little bit. So we just sort of
| | 06:08 | ease in and ease out of the clip.
| | 06:10 | (John Downey: ...special as he's bringing to the market.)
| | 06:13 | And we might still need to lower the volume.
So those are very simple things you can do.
| | 06:17 | But let's head back to the beginning of the
project, and let's take a look at some things
| | 06:21 | we can do around this opening sequence.
| | 06:25 | For one thing, when we listened to this before,
we noticed that there was a background sound
| | 06:29 | that we liked from this first background clip.
But then the background sounds stopped.
| | 06:37 | It might be nice to
continue that background sound.
| | 06:40 | An easy way to do that is just to right-click
on the clip and say Expand Audio/Video.
| | 06:47 | Now, let me just scroll up
a little so we can see it.
| | 06:50 | And what that does is it gives us
independent control over each track.
| | 06:55 | So now I can actually trim the audio by
itself and extend it underneath the two clips.
| | 07:02 | Let's see how we like that.
| | 07:04 | (BD Dautch: My name is BD Dautch, and...)
| | 07:09 | Well, that really starts to sell
this particular group of clips.
| | 07:17 | And another little thing we can do to finesse
it is just to fade that sound out underneath
| | 07:22 | him walking so it doesn't
sound abrupt when it cuts out.
| | 07:26 | (BD Dautch: My name is BD Dautch, and...)
| | 07:30 | Now, you don't have to leave that clip like
that, you can say Collapse it now, and it's
| | 07:36 | tucked away, but it's still doing
the same thing as it did before.
| | 07:45 | So now it's time for music.
| | 07:47 | What we have is the gap as a reference point
from where we want the music to go, that gap
| | 07:53 | has come in very handy.
By pressing X we select the gap.
| | 07:57 | Let's go find a music
that we want to place here.
| | 08:01 | Let's go ahead and use
Silent Charm at the beginning.
| | 08:06 | Let's listen to what that sounds like.
| | 08:08 | (music playing)
| | 08:14 | I think that's going to work, but I'm sort of missing
the natural sound that we started out with before.
| | 08:20 | So one way to allow that natural sound to
get started is just to scooch over the track
| | 08:28 | and then we get to hear a little bit.
| | 08:30 | Another thing we can do is to ease the
music in by creating a little bit of a fade.
| | 08:35 | (music playing)
| | 08:42 | This is one of those projects where you really
want the music to sort of be part of the story,
| | 08:47 | because it adds an emotional component,
and this story is very emotional.
| | 08:51 | So what we're going to do is go ahead and
extend the music track all the way out to
| | 08:56 | where the other music begins or right up to it.
| | 09:00 | The thing is we may not be able to
listen to it at full volume, right?
| | 09:05 | Let's take a look at where the
volume is hitting on the audio meters.
| | 09:09 | (music playing)
| | 09:13 | In general, the audio is much louder, or higher,
than all the primary audio, which you don't want.
| | 09:20 | You never want the music when it's up full
and by itself to be higher in volume than
| | 09:24 | the primary audio.
| | 09:25 | (music playing)
| | 09:33 | And then when the primary audio begins, and
you start to hear someone speak, well, you
| | 09:37 | need to bring the audio down.
| | 09:39 | One way you can do that
is by creating keyframes.
| | 09:43 | If I press the Option key and click on the
volume line, a keyframe is added wherever I click.
| | 09:51 | Think of a pushpin on a rubber band that nails one of
the areas down, then allows me to adjust the other ones.
| | 09:57 | So now we've sort of nailed down the volume
of the music track prior to BD speaking, and
| | 10:03 | these are adjustable, so we can actually drag them
around to change the placement of the keyframes.
| | 10:09 | Let's see if this volume is now at a low
enough level to provide some emotional support for
| | 10:13 | the piece but still allow
BD to be the primary audio.
| | 10:18 | (BD Dautch: My name is BD Dautch, and I have...)
| | 10:25 | Well, to sum up, there are a
few key points about audio.
| | 10:28 | Never allow your audio sources to
compete unless you want that as an effect.
| | 10:33 | Always pick a clear winner, decide which
source is the most important, and needs to be heard
| | 10:37 | above all the other audio sources in the mix.
| | 10:39 | And then balance the other
sources as supporting cast members.
| | 10:43 | Don't compete with the star.
| | 10:48 |
| | Collapse this transcript |
| Matching and correcting color in clips| 00:01 | Documentaries are often shot on the run, and
videographers don't always have the time to
| | 00:05 | white balance their camera or even position
the sun behind their backs. They're focused
| | 00:10 | on getting the action in that moment.
| | 00:12 | So as editor you could end up with clips
side by side in the project that were shot in a
| | 00:17 | variety of locations, times of day, and
very possibly with different cameras.
| | 00:22 | A larger documentary project might enlist the
services of a specialized coloring facility,
| | 00:28 | but for a smaller project, such as your Farm
to Table doc, you as editor will be expected
| | 00:32 | to make the clips match
as seamlessly as possible.
| | 00:35 | Now we won't be getting into a lot of depth
about color correcting, there are other courses
| | 00:40 | in lynda.com, such as Color Correction in
Final Cut Pro X, but I do want to just show
| | 00:45 | you a few little tricks and tips that you
can use to apply to the clips in this project.
| | 00:51 | First thing we want to do is to prepare the
Timeline and the entire interface to focus
| | 00:56 | on coloring, and we won't be focusing on
audio so we can toggle off the audio meters.
| | 01:01 | We won't be looking at waveforms in our clips,
so we can go to our Clip Appearance and just
| | 01:06 | use the video thumbnails.
| | 01:09 | We can make our Clip Height a little taller
so we can see a clear reference to what we
| | 01:14 | want to work with.
| | 01:15 | Now, there are some things we can
do in the area above the Timeline.
| | 01:19 | For example, we don't need to be working
with the event library, so we can close that.
| | 01:24 | We can create more space for the viewer by
dragging the boundary line, and we're definitely
| | 01:29 | going to need the information
window so we can go ahead and open that.
| | 01:33 | Another thing we're going to want to do is
we're going to turn on some scopes, video
| | 01:37 | scopes, and we find those under the
Window menu, the shortcut is Command+7.
| | 01:44 | When you display the Video Scopes, it
shares the viewer with the image, and what comes
| | 01:49 | up is an RGB Overlay as a default.
What I like to choose is Waveform.
| | 01:56 | So if you go to the first marker in the
Timeline and select that clip and then zoom in, we
| | 02:01 | can see that this looks like a really good
clip, good color, but it's just a little dark.
| | 02:06 | Well, one of the things that you can do in
Final Cut Pro, when you click on the Video
| | 02:10 | tab of a particular clip in the information
window, is that there's an option to choose Balance.
| | 02:17 | Notice that it says
Balance and then Not Analyzed.
| | 02:20 | Well, Balance is one of the things
that Final Cut Pro can look at on import.
| | 02:26 | When you import clips, you can ask Final Cut
Pro to go ahead and take a look and automatically
| | 02:31 | give it its first pass at balancing, and that
would be the same thing as clicking this button now.
| | 02:37 | Let's go ahead and do that and see what we get.
| | 02:39 | Well, notice, and you can look over here in the
waveform that, that raised the overall video levels.
| | 02:45 | I'm going to deselect it, because you
can toggle it off and on anytime you want.
| | 02:49 | Notice the levels are a little low and the
image looks a little dark just clicking that
| | 02:53 | Balance button raises everything up, and you can
see the effect of it over here in the waveform.
| | 02:58 | Well, let's jump down to some other clips.
| | 03:00 | There are these three clips of this man picking,
and then cutting or trimming these particular
| | 03:07 | herbs, and then the next one
of throwing them in the box.
| | 03:10 | Well, all of these have a greenish tint, and
then this third one looks particularly dark.
| | 03:16 | Let's see what happens when we change
the Color Balance for this first clip.
| | 03:21 | First, select the clip, because right now
we're still seeing the selected clip that
| | 03:25 | you've just adjusted over
here in the information window.
| | 03:28 | So select the man who is doing the picking
and notice his Balance box is not checked,
| | 03:34 | so go ahead and click that, and
look at what a difference that made.
| | 03:38 | That took a lot of the green out of that shot.
| | 03:42 | You may not be entirely pleased with that, but
it certainly gets you in the right direction.
| | 03:46 | If you want to continue to tweak that color,
go ahead and step in to the Color Board.
| | 03:52 | The Color Board is divided into three areas,
Exposure, Saturation, and Color, and these
| | 03:57 | are the three aspects of an image that
you can change when it comes to color.
| | 04:01 | The three knobs below allow you to adjust
the highlights, the brighter portion of the
| | 04:05 | image, and notice how the
waveform changes there. The midrange--
| | 04:09 | now, the midrange is a good thing to know,
because that often is what you adjust to bring
| | 04:14 | the level down for faces.
| | 04:16 | In fact, if we put it back to normal, his
face looks a little washed out, so we'll drop
| | 04:20 | the level down for his face just a
little bit, and we'll leave the Color alone.
| | 04:24 | Go back to the video, and if you want to see
what it looks like before and after, you just
| | 04:29 | click the Color button.
| | 04:30 | Now, if we go to the next clip, we see we
have a similar problem with that green.
| | 04:36 | Well, rather than start from scratch, what
we know is that we really want this clip to
| | 04:41 | sort of match up and look a lot like this clip.
| | 04:44 | So what we can do is do that very thing, we
can ask Final Cut Pro rather than Balance
| | 04:49 | it independently, we can
say no, Match the Color.
| | 04:53 | And as soon as you click the Match Color button,
see the little box is not completely filled
| | 04:57 | yet, and that's because
Final Cut is talking to you.
| | 05:01 | Right here it's saying, Skim
to a frame you want to match.
| | 05:04 | And let's go to the clip that we just
finished adjusting and find a frame that you think
| | 05:09 | is representative.
This might be good right here.
| | 05:13 | Notice in the Timeline, above the clip,
there's a little camera next to the pointer.
| | 05:17 | So when you click that frame, Final
Cut applies that fix to this clip.
| | 05:23 | Now, if you're not happy with
it, well, pick another frame.
| | 05:29 | So you can keep hunting for the frame you
want, and when you do find it, go ahead and
| | 05:33 | click Apply Match.
| | 05:34 | Now, remember, you may not get exactly what
you want, but it gets you in the ballpark.
| | 05:39 | And then what you can do once you're in the
ballpark is you can go ahead and go to your
| | 05:44 | Color Board and make
adjustments to this particular clip.
| | 05:47 | And again, as you would do with anything,
you would find a representative frame.
| | 05:52 | And I'm going to look at the frame where his
hands are visible because what I'm thinking
| | 05:56 | there is that they look a little purplish.
| | 05:59 | So this might be where you click on the Color tab
and take the overall level in a different direction.
| | 06:06 | So let's see, well, if I drag down, I go
towards red, and that's not good. I go up.
| | 06:12 | So you can adjust and play around a little bit,
but know that when you make these sweeping
| | 06:17 | motions, they can improve things, or
they can make things look not as good.
| | 06:23 | And if you don't like what you did,
you can just press Command+Z.
| | 06:26 | The trick with that is don't let go of the
knob as you're controlling it so that you
| | 06:31 | can just do one undo.
| | 06:34 | So basically what we've got are two shots
that are starting to look the same, and then
| | 06:38 | we have a third shot.
| | 06:39 | Well, let's see what happens
if we just Balance that clip.
| | 06:42 | Well, Final Cut Pro really made it a little
brighter, and now it seems to match the others.
| | 06:48 | Let's take a look at these in real-time.
| | 06:49 | (BD Dautch: ...to bring their produce. And that
allows a high quality of freshness. And because of
| | 06:57 | all the micro-climates that there are around here,
people grow everything from mangos to cherries...)
| | 07:05 | This gives you an idea--I'm going to press
Shift+Z--and what you can do is go through
| | 07:09 | your project and find clips that need help.
And I would suggest, always select the clip,
| | 07:15 | and then starting with what Final Cut Pro
can offer in that clip, in it's automatic
| | 07:20 | Balance or Matching Color, and then go
into the manual correction from there.
| | 07:25 | Any steps you take to color correct, even the
shortest documentary, will make a huge difference
| | 07:29 | to the final piece. So make sure to put on
your colorist hat and take a pass through
| | 07:34 | your doc before you sign off on it.
| | 07:36 | The more you can restore a realistic color
balance and match out of whack clips, the
| | 07:41 | more professional your documentary will look.
| | 07:46 |
| | Collapse this transcript |
|
|
8. Exporting and Archiving the ProjectSharing the movie| 00:00 | Not all documentaries are destined for movie
theaters. Some have other roles, for example,
| | 00:05 | to change public opinion or educate people in
libraries or even at a street-corner kiosk.
| | 00:11 | The producers of the Farm To Table Project
had a very specific destination in mind, to
| | 00:16 | create a Santa Barbara publicity kit
and also to air the movie on the web.
| | 00:20 | That gives you a clear destination.
| | 00:22 | But along the way, it's very likely the producers
will want to see how the documentary is progressing.
| | 00:28 | So let's take a look at how you might share this
project and then prepare it for its final destination.
| | 00:34 | First of all, if you haven't already, I would
recommend doing a few things to take a
| | 00:39 | bird's-eye view of the project.
| | 00:42 | One is to make the image as small as possible,
and I'm going to go down and click the far
| | 00:47 | right option of the Clip Appearance.
| | 00:49 | So notice that you don't get any thumbnails
in the Timeline, but you get to see all of
| | 00:55 | the clips that were used in making this project.
And that's a good thing when you're taking
| | 01:00 | that bird's-eye view.
| | 01:02 | Another thing that I recommend, is that at
some point, before you get ready to output,
| | 01:07 | you queue up to the beginning of your movie,
and you go into the Full Screen mode, and
| | 01:13 | you watch the entire movie.
| | 01:18 | Only by watching in full screen, and I mean
setting things down, getting your coffee cup,
| | 01:23 | or maybe popcorn, and pushing back,
and really putting a different hat on.
| | 01:27 | You're putting the hat on of the viewer, so
that you can see if anything pops out to you
| | 01:32 | as being uneven, or an awkward cut, or something
that needs fixing, something you thought you
| | 01:37 | may have taken care of but
actually haven't gotten to it yet.
| | 01:41 | So once you've taken that bird's-eye view,
you see there's no extraneous clips, you've
| | 01:45 | watched it at full screen, now
you're ready to think about sharing this.
| | 01:51 | And Final Cut Pro has a lot of sharing options.
| | 01:54 | There are different times and ways
you might want to share the project.
| | 01:59 | One requirement of you may be to share the
project while you're in process of editing
| | 02:05 | it, and a producer or director may be down
the hall and pop in and see it, but if not,
| | 02:09 | you may have to send them
different versions along the way.
| | 02:13 | So you can Email the version, skim through
here to take a look at it, and you can decide
| | 02:19 | what Size you want to Email it.
| | 02:21 | The information beneath the Size pop-up tells
you how large the file will be, and then you
| | 02:26 | can compose your message
and send it on its way.
| | 02:29 | Another way that a producer or director
might want to see the project is on their iPad,
| | 02:36 | or maybe even their iPhone.
| | 02:38 | So you might want to export the film so that
they can see it in the most convenient way
| | 02:44 | possible, and if we show Details,
it will tell you the information.
| | 02:48 | Now, I recommend that when you send the movie
out over the course of your editing process,
| | 02:54 | make sure you're always sending out the movie
with a version number, because when you start
| | 02:59 | to talk to your producer and director,
they're going to want to know, or you're going to
| | 03:03 | want to know, what version they're looking at
so you know where to go to make those changes.
| | 03:08 | Now, we're up to version 12 in our work,
because we've been keeping track as we go along, you
| | 03:14 | might not have that many versions, but still I
recommend that you put the Title of the piece.
| | 03:18 | So let's go ahead and change
this, Farm To Table v, depending
| | 03:22 | on what version you're exporting, give it the
appropriate name, and then go ahead and Share it.
| | 03:29 | After you've exported the film to let your
producer and director screen it, get their
| | 03:34 | input from them, then you're going to be
thinking about exporting the movie to be used for its
| | 03:40 | destination, for the web,
or for the publicity kit.
| | 03:44 | So here we're going to want to go to
Export Media, and the shortcut is Command+E.
| | 03:50 | In Export Media we get to choose, first of all,
whether we want to Export Video and Audio
| | 03:56 | together, there are some other options,
but we also get to choose the Video codec.
| | 04:01 | It could be Current Settings,
but it can also be something else.
| | 04:04 | I'm going to recommend that for the
purpose of this project you export in H.264.
| | 04:09 | H.264 is a great format for the web, it plays
well, it's a smaller file, and it also will
| | 04:17 | play well for the publicity kit as well.
| | 04:20 | Now just a note about H.264, it's not a good format to
edit in, because in fact it's actually MPEG compression.
| | 04:29 | So make sure you finalize the movie before
outputting, otherwise you'll need to go back
| | 04:33 | to the original format, make
your edits there, and re-export.
| | 04:37 | After delivering the required movies and
making the final versions and the final edits that
| | 04:43 | you've been given notes on, then I would
recommend you go back and share and export a version
| | 04:49 | in the Current Settings of the movie.
| | 04:51 | This gives you a completed movie that you
can use to make other types of movies in other
| | 04:55 | apps if necessary.
| | 04:58 | Part of the magic and fun of editing a
documentary is bringing all the little pieces together
| | 05:02 | into a cohesive whole, but don't forget, you
have the responsibility to share your progress
| | 05:08 | and deliver the goods, and along the way
keep track of the versions you're sending out.
| | 05:13 |
| | Collapse this transcript |
| Archiving the project| 00:01 | Even though you've delivered the final version of
the documentary, your job as editor is not over.
| | 00:06 | You want to make sure a copy of the final
project, and its associated files, are neatly
| | 00:10 | tucked away. Just in case you or other
team members want to make changes later.
| | 00:15 | Final Cut Pro can handle the job of duplicating
a project quite easily. But first, let's take
| | 00:20 | a slight detour and create a sparse image
drive so you can easily move your project
| | 00:25 | files when you need to.
| | 00:27 | Now, remember, don't change the location of
any folders or clips after the project has
| | 00:31 | been completed or Final Cut Pro
won't know where to find them next time.
| | 00:36 | First of all, let's start by creating that drive we
talked about, which is called a sparse image drive.
| | 00:41 | You do that in the Disk Utility Program.
| | 00:46 | When you launch Disk Utility,
you have different options.
| | 00:49 | One is to create a New Disk Image.
| | 00:51 | Now, we're going to do that and then we're going
to make changes to choose what kind of disk image.
| | 00:56 | Now, we can save this, and we'll just save
this as FTT Drive--because
| | 01:01 | that's how we're going to use it--and
we'll save it to the Desktop, that's fine.
| | 01:05 | And when we mount the drive, what do we
want it to be called when we mount it?
| | 01:09 | I like to start with the date, the year,
the month, the day, followed by what's on the
| | 01:14 | drive, or what I'd like to put there.
| | 01:17 | And Size, well, it's best to customize the
size, and always go for something larger than
| | 01:23 | what you think you have.
| | 01:25 | So, for example, why don't we just go up
to 10 gigs to make this a 10 GB drive.
| | 01:30 | Now, you may be thinking to yourself, gee, I
don't have 10 gigs of space on my computer.
| | 01:35 | Well, that's where the beauty
of a sparse drive comes in.
| | 01:38 | If we come down to the Image Format and
choose sparse image, this particular kind of drive
| | 01:45 | is designed to hold up to 10 gigs, but it only takes
up the amount of space that's actually on the drive.
| | 01:53 | So if your material only takes about 3 gigs, that's
all the space on your computer that it will take.
| | 01:59 | We're just making it 10 gigs so that you
can add later down the road if you choose to.
| | 02:04 | Let's go ahead and create
the sparse image drive.
| | 02:07 | Now I can get out of Disk
Utility, and notice what happened.
| | 02:12 | On the Desktop we have the disk image, but then
that automatically mounted as a drive called 2012.
| | 02:20 | Now that we have a place to save our project
to, the disk image, well, now let's go into
| | 02:26 | Final Cut Pro and duplicate the project that
we ended up with, the one we were sharing,
| | 02:33 | but let's change the name.
| | 02:38 | I always like to add the word MASTER to the
end of a project, if this is the final one.
| | 02:42 | You don't want to make it hard for yourself, or
anyone else, to question which one was the final version.
| | 02:48 | The next is the Location,
let's click that pop-up.
| | 02:52 | Notice that our drive, the one we just
created, appears as an option, a target option.
| | 02:57 | So let's select that,
that's now our new target drive.
| | 03:01 | Rather than just duplicate the project,
we're going to click the second option.
| | 03:05 | In this case, Final Cut will duplicate this
particular project, the Farm To Table one,
| | 03:10 | and any referenced events so that will bring
all the media over on to this drive that we
| | 03:16 | used to create this particular project.
Let's go ahead and click OK.
| | 03:23 | Notice, in the dashboard, that we
have a background task going on.
| | 03:29 | Final Cut is in the process of
copying those clips to that drive.
| | 03:33 | We'll give it just a second to do that.
| | 03:38 | Once Final Cut Pro has completed copying the
media, you can close the background task windows,
| | 03:44 | and I'm going to go ahead
and quit Final Cut Pro.
| | 03:47 | When you quit Final Cut Pro, you can
take a look at the drive on the Desktop.
| | 03:52 | At this point it now has the Final Cut Events,
FARM TO TABLE, which includes all of the original
| | 03:58 | media that you used to cut the project.
It also includes the project itself.
| | 04:03 | So you've got everything you need to go
back into this project and make changes.
| | 04:08 | Now, the beauty of the sparse drive too is
that it can grow, so if someone comes in at
| | 04:13 | a later date and gives you other footage,
you can add to the sparse drive and continue
| | 04:19 | building on the project.
| | 04:20 | Once you've copied your files to the drive,
you can simply eject it, and now you would
| | 04:26 | take this disk image and place it somewhere
on another drive or in a different location.
| | 04:32 | But in this particular configuration, Final
Cut won't try to read it as an active project
| | 04:38 | when you launch Final Cut, so it allows you to
tuck this project away, set it on the shelf,
| | 04:43 | until you're ready to use it again.
| | 04:45 | To mount it again, when you're ready to use it,
just double-click the image, and it becomes
| | 04:49 | loaded and then launch Final Cut.
| | 04:52 | Even as a freelancer you never know when
you might be called back to tweak or change a
| | 04:56 | documentary project, so take a few extra minutes
to duplicate the project and archive the files
| | 05:02 | in an organized way, so you'll have
everything at your fingertips when, and if, you need it.
| | 05:07 |
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ConclusionGoodbye| 00:00 | In my opinion, the best position to have on
a documentary project is the role of editor.
| | 00:05 | It's where discoveries are
made and the story magic happens.
| | 00:08 | So make sure you always stay open to
possibilities you weren't expecting and learn as much as
| | 00:13 | you can about the process and
the tool you're using to edit.
| | 00:16 | A few places you might go for resource.
| | 00:19 | One is to my website, Revuptransmedia,
where I have a blog called TELLING STORIES.
| | 00:25 | And in that blog I talk about different ways to put
stories together, you might find that interesting.
| | 00:30 | You can also go to lynda.com
courses on Final Cut Pro.
| | 00:36 | There's another course I've created called
Effective Storytelling with Final Cut Pro
| | 00:40 | X, and especially if you're just learning
how to put a story together, this course could
| | 00:45 | be very helpful in guiding you along that path.
| | 00:48 | Thanks for joining me. I'll
see you in the next course.
| | 00:53 |
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