IntroductionWelcome| 00:03 | Hi, I am Ashley Kennedy.
Welcome to Final Cut Pro X Essential Training.
| | 00:08 | In this course, I'll show you many of
Final Cut's powerful organizational tools,
| | 00:14 | I'll show you basic and intermediate editing techniques
as I work in both documentary and dramatic narrative projects,
| | 00:21 | we'll take a look at how to enhance your
program's audio using many of the integrated Audio Editing
| | 00:27 | and Equalization tools as well as how to
use Final Cut's robust Color Correction tools
| | 00:32 | to perform both primary and
secondary color correction,
| | 00:36 | we'll explore how to apply all types and
effects to enrich your video, graphics, and audio,
| | 00:42 | and I'll show you how to input, output,
media manage, and troubleshoot your materials
| | 00:48 | so that you can feel comfortable with the technical
components of editing as well as the artistic.
| | 00:53 | So let's have fun as we begin to take a look at the many
exciting possibilities inside of Final Cut Pro X.
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| Using the exercise files| 00:00 | If you're a Premium Member at 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.
| | 00:10 | The exercise files have
been compressed to a zip file.
| | 00:14 | Once you unzip the file, you'll
see a folder called Exercise Files.
| | 00:18 | If you open up this folder, you'll see two
folders inside, Final Cut Events, which contains
| | 00:24 | all of your media, and the Final Cut Projects
folder, which contains all of your project data.
| | 00:30 | You need both of these folders in order
to effectively work in Final Cut Pro X.
| | 00:34 | Now not only do you need both of these folders,
but you need to put them in one of two very
| | 00:39 | special locations for Final Cut to be
able to see all of your media and projects.
| | 00:44 | We are going to go over both of these locations.
| | 00:46 | First of all, if you want to work off your
internal drive, you need to put them in the
| | 00:51 | movies folder on your system.
| | 00:53 | So, I have that right here, and all you need
to do is just drag and drop the folders right
| | 01:00 | into the movies folder.
| | 01:01 | I am not going to do this right now because
I want to discuss one very special situation.
| | 01:07 | It's possible if you have already been working
in Final Cut that you already have a Final Cut Event
| | 01:11 | in the Final Cut Projects folder.
| | 01:13 | So, you wouldn't drag and drop in
that situation. Let me simulate this.
| | 01:17 | I have here a Final Cut Events and Final Cut Projects
folder, and I'll just move this into this location.
| | 01:22 | Okay, so they are in the movies folder, and I
can't drag and drop, because that would overwrite.
| | 01:27 | So, instead, I am just going to reach
inside of these folders and drag the contents.
| | 01:31 | So, I am going to go to Events and just drag
over at my Castles and Farm to Table events--
| | 01:37 | we are going to be working with two separate
events in this course--and I am just going
| | 01:40 | to drag back to Final Cut Events.
| | 01:43 | And then I can come over to Final Cut Projects,
and inside there are some subfolders that
| | 01:48 | I have organized per chapter.
| | 01:49 | You don't have to reach and get those, you
just can drag the entire Exercise Files folder
| | 01:53 | over to Final Cut Projects,
and that's good enough.
| | 01:57 | Okay, so we have our Final Cut Events and
Final Cut Projects populated correctly,
| | 02:02 | I am going to go ahead and just
open up Final Cut now, okay?
| | 02:05 | And as you can see, on our Mac hard drive,
we have our Castles events, and we have our
| | 02:10 | Frame to Table event, and then we also our
Swing Dancing event, which was the event
| | 02:14 | that was there before we started.
| | 02:16 | If we come down to the Project Library, again,
under my Mac hard drive, you can see that
| | 02:21 | here's my Exercise Files folder, and then as
we burrow into each of the chapters, we have
| | 02:26 | everything organized, and this how you are going
to follow it. When you are on Chapter 1, movie 3,
| | 02:30 | you are just going to follow along
by accessing the projects like so.
| | 02:34 | And then we have our Swing Baby Project,
which was there before we added anything.
| | 02:39 | So, needless to say, if you don't want to see
certain events or projects, you can just drag
| | 02:44 | them out of the Final Cut Events or Final Cut
Projects folders, thereby hiding them from Final Cut.
| | 02:49 | Let me show you that right now.
| | 02:51 | I am going to click Final Cut Pro and then
let's go ahead and go back into the Movies
| | 02:56 | folder, and we'll just take Swing Dancing out.
| | 03:01 | Okay, so I'll go ahead and just drag
this into here, same thing here.
| | 03:09 | All right, so now the only things in there
are our Castles and Farm to Table Materials.
| | 03:14 | Let's lunch Final Cut again, and the only
thing that we see are our Castle and Farm
| | 03:19 | to Table events, Swing Dancing has now been
hidden because it's not in that special location.
| | 03:24 | Same thing for our projects.
| | 03:27 | All right, so I want to show you the other
location that you can put your events and media now.
| | 03:32 | Again, I am going to click Final Cut Pro X,
and I would like to show you what to do if
| | 03:36 | you're working with an external hard drive.
| | 03:38 | So, I am going to go back into my Movies folder,
and because I actually moved my exercise files
| | 03:45 | out of here, these are now empty.
| | 03:46 | I am just going to grab the
contents and bring them back over.
| | 03:56 | Okay, so now it's like we never
put anything in the Movies folder.
| | 03:58 | I am going to go ahead and just close that and so now
we have our exercise files populated with everything.
| | 04:05 | What I am going to do now is just open up
my Media drive here, and I'm just going to
| | 04:10 | drag my Final Cut Events and Final Cut Projects
folders to the root directory of my Media drive.
| | 04:17 | Now the root directory just means that they're not
inside any other folders, they are at the top level.
| | 04:23 | So everything is moving over.
| | 04:25 | Again, if you do have a Final Cut Events
or Final Cut Projects folder already on your
| | 04:30 | Media drive, then you just copy the
contents inside of those just like we did before.
| | 04:35 | So, everything is copied over, I am going to go
ahead and lunch Final Cut, again, run the Media drive.
| | 04:40 | So, watch for that when we open up the software.
| | 04:43 | So, instead of looking at Mac hard drive,
which is our Movies folder we're now looking
| | 04:48 | at the Media drive, and again we have our
Castles Event and our Farm to Table Event, and then
| | 04:54 | again, we are not looking to Mac hard drive,
we are looking at Media drive, and then inside
| | 04:58 | there we have all of our various exercise
files where we can go in and follow along.
| | 05:03 | So, pretty easy, you just need to
know where to put your materials.
| | 05:07 | Now if you don't have access to the lynda.com
exercise files, then you should definitely
| | 05:11 | follow along from scratch with your own assets.
Let's get started!
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1. Getting to Know the Editing Environment and the ProjectUnderstanding the world of nonlinear editing| 00:00 | In Summer 2011, Final Cut Pro X joined the
ranks as Apple's newest Digital Nonlinear
| | 00:06 | Editing application with a totally
reinvented take on story creation.
| | 00:11 | Since then there have been quite a few
updates in adding to and flushing out the software,
| | 00:16 | and we'll explore many other things that make
Final Cut Pro X so unique throughout this course.
| | 00:21 | First, however, it's important to know a
little bit about how Final Cut Pro X is similar to
| | 00:26 | other Digital Nonlinear Editing applications.
In other words, let's talk about the basic
| | 00:30 | structure of all editing software.
| | 00:33 | First, the easy part, Final Cut Pro X is a
digital system because it uses computer files
| | 00:40 | to make up its structure.
But what are these files?
| | 00:43 | Well, there are two main groups of files
that we need in the editing environment,
| | 00:48 | media files and project files.
| | 00:51 | Media files are the raw video and audio
files that come from recording footage
| | 00:56 | on a video camera or another device.
| | 00:58 | These files are very large, and you
don't actually change them at all.
| | 01:03 | They remain whole and untouched and in
Final Cut Pro X, the media files are called Events
| | 01:08 | and they live in a folder
called the Final Cut Events folder.
| | 01:14 | Project files are much smaller files and they
essentially point to the larger media files.
| | 01:20 | Project files are the files you actually
edit with, allowing you to combine video images,
| | 01:25 | audio, and other types of
media together in sequences.
| | 01:29 | In Final Cut Pro X, the project files
live in a folder called Final Cut Projects.
| | 01:35 | Both the Event folder and the Project folder
reside and work together to make editing possible.
| | 01:41 | Okay, so I said that you edit with your
project files, and that's where the nonlinear
| | 01:47 | nature of the software comes in.
| | 01:49 | You can combine video and
audio in anyway possible.
| | 01:53 | You can start with the end, you can add the
beginning later, you can then insert shots
| | 01:59 | in between shots and so on and so forth.
| | 02:02 | Again, this is nondestructive, because no
matter how many cuts you make in the footage
| | 02:07 | to build your sequence, the actual
media remains untouched and whole.
| | 02:11 | Now, this relationship between media files and
project files is a little like the relationship
| | 02:17 | between a card catalog
and the books in a library.
| | 02:21 | Card catalog entries contain a lot of information
about their corresponding books, and in a sense
| | 02:26 | they point to or refer to the actual book,
just as the project files point to the media
| | 02:31 | and then Final Cut Events folder.
Now let's just talk about some basic rules.
| | 02:36 | We'll go over these in much more detail later,
but I want to just address some important logistics.
| | 02:41 | And just as an FYI, these are rules
that are mostly for your knowledge.
| | 02:45 | Final Cut does pretty much all of the work,
you just need to be aware of this stuff, and
| | 02:50 | there is no better time to embrace
media management than at the beginning.
| | 02:54 | The Final Cut Events and Final Cut Projects
folder must live in a special location, well,
| | 02:59 | one of two special locations.
| | 03:01 | If you're editing on your Mac, and you
don't have a separate media drive, then both the
| | 03:05 | Final Cut Events and Final Cut Projects
folders must live in the Movies folder
| | 03:10 | within the folder structure of your Mac.
| | 03:12 | If you try to rename these folders or take
them out of the Movies folder, even to put
| | 03:17 | them inside of a subfolder,
everything will basically fall apart.
| | 03:21 | So bottom line, leave everything alone.
| | 03:24 | The other place the Final Cut Events and
Final Cut Projects folders can live is at the root
| | 03:28 | directory of your media drive.
| | 03:31 | The root directory simply means that these folders
have to be at the top level, not inside any other folders.
| | 03:38 | Same rules apply for these folders, don't move
them or rename them or everything will go offline.
| | 03:42 | And finally, just one more thing: many times the
Final Cut Events folder contains the actual raw media.
| | 03:51 | If you take a look here in my Final Cut
Events folder, you see that I have got large files
| | 03:56 | that are the actual raw video and audio.
| | 03:59 | You can tell this by the fact each of them has a
thumbnail of the media, and you can tell by the size.
| | 04:06 | Sometimes, however, the Final Cut Events
folder just contains virtual files which can point
| | 04:11 | to another folder where
the actual media resides.
| | 04:15 | So in this case, you can see that there aren't
thumbnails, just these little arrows and they're
| | 04:20 | much smaller, all 65 bytes or less.
| | 04:24 | They actually refer to this folder here
which contains the actual media from my camera.
| | 04:30 | Again, we'll learn exactly how to make these
decisions about whether or not you copy your
| | 04:35 | media a little later in the course.
| | 04:37 | For now I just wanted to introduce you to
the basic folder structure that exists within
| | 04:42 | the Final Cut environment
before we open the software.
| | 04:45 | So, as you can see, it's important to be organized and
to be aware when you're setting up your project.
| | 04:51 | Don't worry, though, we'll learn exactly what
all the project in event data actually means
| | 04:56 | in just a bit, as we get our feet wet in
the Final Cut Pro X editing environment.
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| Understanding how FCP X works: A new take on story creation| 00:00 | In this movie we're going to talk about some of
the things that make Final Cut Pro X so unique.
| | 00:05 | Up until now, most editing applications,
including all previous versions of Final Cut Pro,
| | 00:11 | have been based on the
concept of Track-Based Editing,
| | 00:14 | where you can have a large number of tracks
in which you edit segments of video and audio
| | 00:18 | together to create sequences.
| | 00:21 | In this model, video clips must reside on video
tracks, and audio clips must reside on audio tracks.
| | 00:27 | And most of the elements within the
track-based model are independent.
| | 00:31 | So, if you move a shot around, then the other video and
audio elements in the timeline remain where they are at.
| | 00:38 | In Final Cut Pro X, things are a little different,
there aren't any tracks. Instead, there are Storylines.
| | 00:45 | The primary storyline is where you assemble
the foundation of your program and both video
| | 00:51 | and audio can reside in the primary storyline.
| | 00:54 | Attached to the primary storyline are both
secondary storylines and connected clips,
| | 01:00 | and each is literally anchored to
a shot on the primary storyline.
| | 01:04 | Now in this model everything is a lot more
connected. Every single secondary storyline
| | 01:11 | or connected clip is literally
anchored to a shot on the Primary Storyline.
| | 01:16 | Therefore, when you move a shot on the
primary storyline, everything that is anchored to
| | 01:22 | that clip just moves along with it. This is
designed to reduce sync problems and enhance organization.
| | 01:29 | This may seem like a small difference
if you're brand new to editing.
| | 01:33 | But working with storylines is certainly a different
approach if you're coming from a track-based editing program.
| | 01:39 | Fortunately, we'll be covering all of the ins
and outs of working in a storyline environment,
| | 01:43 | regardless of whether you're new to
editing or coming from a track-based platform.
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| Taking a tour of the FCP X interface| 00:00 | Okay, it's time to start getting our feet
wet in the Final Cut Pro X editing environment.
| | 00:05 | So in order to show you around, I thought
I'd first show you what everything looks like
| | 00:08 | when you open the software without
anything loaded, and then we'll take a much closer
| | 00:12 | look at the software
populated with events and projects.
| | 00:15 | All right, so I am going to go ahead and
just launch Final Cut, and again, we are opening
| | 00:18 | into an empty interface. You won't have an
empty interface, so just sit back and watch
| | 00:23 | for this very first part.
| | 00:25 | So, as you can see, we have three main areas here,
we have the Event Library, the Project Library, and the Viewer.
| | 00:33 | Now within the Event Library, we see the hard
drives where various groups of events or media can live.
| | 00:38 | Essentially, these are all of the locations
that we can have a Final Cut Events folder.
| | 00:44 | The same thing goes for the Project Library.
| | 00:46 | This is where the various groups of
projects can live, or in other words, the locations
| | 00:50 | that we can have a Final Cut Projects folder.
| | 00:53 | In this default view, the Viewer functions
to show the visual output of the material
| | 00:58 | in either the Event Library or the Project
Library, depending on where your cursor is.
| | 01:04 | So now let's examine the same space, but
this time loaded with events and projects.
| | 01:08 | I am going to go ahead and quit Final Cut,
Command+Q, and I am going to go into my Media Drive.
| | 01:13 | So, remember in a previous movie when I
said that the Final Cut Projects and Final Cut
| | 01:17 | Events folders need to be named exactly
right for Final Cut to be able to see them?
| | 01:21 | Well, this is proof.
| | 01:23 | As you can see, in order to show you an empty
interface, I just put an X in front of these
| | 01:27 | names, so I basically hid
these folders from the software.
| | 01:31 | Again, don't try this at home, my advice to
you is to just leave these alone, but again,
| | 01:36 | this is proof that it does work to hide
these folders from Final Cut, all you need to do
| | 01:41 | is rename them by a single character
and they are hidden from the software.
| | 01:45 | All right, so let's go ahead and launch again.
| | 01:48 | And as you can see, we now have the same
hard drives, but if I twirl this down, you can
| | 01:53 | see that I have some events here, I have
my Castles Event and my Farm to Table Event,
| | 01:59 | and if I twirl it down further, we have
some keyword collections which we'll go over
| | 02:03 | in a much more detail in a later movie.
| | 02:06 | But down here we also have under the Media
Drive, our exercise files, and I am going
| | 02:11 | to just burrow into Chapter 1,
and we are in Chapter 1.3.
| | 02:16 | I am going to head back up here to the Event
Library and talk about this just a little bit.
| | 02:21 | So the Event Library is essentially a repository
where you store and organize all of your media,
| | 02:26 | all of your video, your audio, your
still images, your graphics, and so on.
| | 02:31 | And as you can see, to the right of the main part of
the Event Library is a filmstrip view of my Event Media.
| | 02:38 | So notice as I drag the playhead over the Event
Media, we see the visual output in the viewer.
| | 02:44 | I'm not clicking my mouse down.
| | 02:46 | I am just hovering and dragging, and I am
getting a sense of what all this media is.
| | 02:53 | Now you may or may not be able to hear this.
| | 02:56 | I right now have my audio skimming turned
off as I prefer it, but if you would like
| | 03:01 | to hear the audio as you skim across here,
you can just go up to View, turn on Audio Skimming,
| | 03:07 | that keyboard shortcut is Shift+S, and as
I drag across now, you'll be able to hear the clips.
| | 03:17 | So I am going to turn that off for now.
| | 03:19 | So I'll just press Shift+S again and
right now I am just getting my video skimmed.
| | 03:25 | Let's come down to this menu here.
| | 03:27 | If I drag this slider here all the way to
the right, then each of the clips in the
| | 03:31 | Event Library is shown as a single thumbnail.
| | 03:36 | If, however, I start dragging this to the left,
then the clips begin to give an indication of length.
| | 03:42 | So if I drag it all the way to the left, then
each of these squares represents a half a second.
| | 03:48 | Now you really wouldn't
use this view very often.
| | 03:50 | So I'm going to just drag it back
to the right to about 10 seconds.
| | 03:56 | So this means that each of these thumbnails
represents 10 seconds or less of footage.
| | 04:01 | So I think this gives us a good
indication of length without being overbearing.
| | 04:06 | Notice that you can also show the audio
waveforms for clips that contain both video and audio,
| | 04:10 | and that's right here.
| | 04:12 | So if I just click on Show Waveforms, the
waveforms disappear from my video and audio clips.
| | 04:18 | I can bring that back.
| | 04:20 | And then my Clip Height, if I want to make
everything really big, really small to fit
| | 04:25 | more things in, and I think I'll just
leave it right about there, like that.
| | 04:32 | Now let's go ahead and head down to the
Project Library where we have our projects.
| | 04:36 | Now projects in Final Cut Pro X are simply
sequences which are essentially the edited
| | 04:42 | program made from combinations of clips.
| | 04:45 | Now in past versions, you could have
multiple sequences in one project,
| | 04:50 | but in Final Cut Pro X, each project
can contain only one sequence.
| | 04:54 | So, as you can see here, we have a couple of
projects that contain various versions of sequences.
| | 04:59 | I am going to go ahead and just select the
sequence, and as I drag the playhead through
| | 05:03 | the project, you can see the
visual output in the Viewer.
| | 05:08 | If I go back to the Event Library, the visual
output changes to the content that I have up here.
| | 05:14 | Now I can change this to show two viewers, one for
the Event Library and one for the Project Library.
| | 05:21 | I do this by coming up to window and then
Show Event Viewer, and now I have my
| | 05:28 | Event Viewer and then the Viewer for my project.
| | 05:33 | This gives you dual display that is
typical of many other editing programs.
| | 05:37 | Now let's go ahead and climb into one of
the projects so that we can see the timeline.
| | 05:42 | Now I can do that by simply selecting the
project and pressing Enter or by double-clicking
| | 05:47 | on the project, and here we are inside the
project, and this is the timeline right here.
| | 05:53 | Now notice as I skim my mouse over the content,
we again see the visual output in the Viewer,
| | 05:58 | and I also want to show you kind of how to
change the size of the clips in the timeline,
| | 06:03 | that's down here, another light switch.
I'll go ahead and click on this, and as I drag
| | 06:07 | to the left, my clips get smaller,
and I can make them actually very large.
| | 06:13 | I can also change the way that I
see my video in relation to my audio.
| | 06:18 | If I click over here on the far left, I only
get audio waveform, no visual indication at all,
| | 06:23 | and then as I kind of go from left to
right, I get more and more visual indication,
| | 06:30 | and this optional right here is just bars.
| | 06:32 | I am going to go ahead and select this one,
because I like this for basic editing, and
| | 06:38 | there are several ways to navigate the sequence.
For now we'll just touch upon a few.
| | 06:43 | To play this sequence, you can just press
Spacebar, so I am just going to go ahead and
| | 06:47 | press Spacebar, and then I'll
press Spacebar again to stop.
| | 06:51 | (male speaker: You know, I'm taking a big risk.)
| | 06:58 | And then to go to the beginning of
a sequence, you can press the Home button,
| | 07:03 | or Function+Left Arrow on a laptop and to go to
the end of the sequence, you can press the End button
| | 07:08 | or Function+Right Arrow on a laptop, and
obviously we already know that to scrub through,
| | 07:15 | I'm just going to click and drag.
| | 07:17 | If I want to go frame by frame, I can use
my left arrow and my right arrow, like so.
| | 07:25 | If I want to go clip by clip, so if I want
to go from the head of one clip to the head
| | 07:30 | of the other, I can use my up and down arrow,
so if I press the Up Arrow, I am going back
| | 07:35 | clip by clip, and if I press the Down Arrow,
I am going forward clip by clip.
| | 07:40 | As you can see, when we move through the
sequence, we get a readout of our time code which is
| | 07:45 | a time-based readout of where we are at in the
program in hours, minutes, seconds, and frames.
| | 07:51 | Now in the same general area is a toolbar
which contains quite a few useful tools that
| | 07:56 | we'll be exploring in future movies.
| | 07:59 | Now if I want to go back to the Project Library
to access other projects, I simply click on
| | 08:03 | this little film canister down here, and
that gets me back to the Project Library.
| | 08:09 | I can then enter another sequence by clicking on
it and pressing Enter or by double-clicking
| | 08:15 | and of course all the same
navigation tools apply here.
| | 08:19 | And just one more thing, if I want to select the
Event Library, I can press the keyboard shortcut Command+1.
| | 08:26 | Now the Event Library is selected, if I want
to select the timeline, I can press Command+2,
| | 08:32 | and now the timeline is selected, and if
I want to select the Viewer, Command+3.
| | 08:38 | So as I go through these options, you can
see each of these areas becomes highlighted
| | 08:42 | and thus will respond to
the commands that I input.
| | 08:45 | Obviously, this was just a very quick
introduction to the major elements of the interface,
| | 08:51 | but with that foundation, however, we are ready
to continue learning about all the various
| | 08:55 | windows, tools, and buttons in later movies.
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| Accessing additional tools| 00:00 | Let's take a closer look at some of the windows
and tools within the Final Cut Pro X interface.
| | 00:06 | Now, depending on whether you just came with
the last movie, your viewers may be populated
| | 00:10 | with material, but as for me, I've kind of got a
fresh view here as if I just started up the software.
| | 00:16 | So I am just going to jump into a project.
Let me just twirl down Exercise Files/Chapter 1.4,
| | 00:21 | and I am just going to
double-click to enter this project.
| | 00:27 | Okay, and we already know what this button
down here does, it gets us back and forth
| | 00:32 | from the project library
into the project itself.
| | 00:37 | And I want you to explore this button here next.
This is the Timeline Index.
| | 00:42 | And this allows us to look at a lot of
different information about our sequence.
| | 00:47 | Right now I'm on Clips, we will explore the
Tags and Rules settings a little bit later
| | 00:51 | in the course, but make sure
that you have Clips selected.
| | 00:55 | As you can see, we have lots of various pieces
of material that we have used in this sequence.
| | 01:00 | And as I click on each one of these pieces
of material, it's likewise selected here in
| | 01:06 | my sequence, so it's a
very way to jump to a shot.
| | 01:11 | But what you'll probably use it
mostly for is this searchbox right up here.
| | 01:16 | You can search for a specific
shot by just typing it right in here.
| | 01:19 | So if I want to find my John Downey
interview, I can just type in John, oops!
| | 01:24 | It already found it under John, and if I click
here, it jumps right to that part in the timeline,
| | 01:29 | so that's really great.
| | 01:30 | If I have a couple of shots that will match
certain criteria, I can come in here and maybe
| | 01:36 | I want to find my orange shots for my
orange grove, I can just type in Orange and click
| | 01:42 | on these and here they are highlighted in
the timeline, so it's a really nice way to
| | 01:47 | isolate material and get right
to it as efficiently as possible.
| | 01:51 | You will want to clear your search
criteria as soon as you are done searching
| | 01:55 | so that you can see all of the material again.
| | 01:58 | Also, just so you know, you can separate this
out by looking at all of your material,
| | 02:02 | just your video clips, just your audio
clips, and then titles if you have any.
| | 02:07 | I am going to go ahead and close my Timeline
Index, and just briefly I did want to mention
| | 02:12 | one area that we are going to be going
into much more detail later in the course,
| | 02:17 | but I just want to make mention of them now so
you knew what they were, that's right along here,
| | 02:20 | along the right side.
| | 02:22 | So, right along here, I have a number of browsers
that I can add various multimedia elements to my program.
| | 02:29 | So from left to right, we have the Effects
browser, where I can add video and audio effects
| | 02:34 | to the clips in my sequence.
| | 02:36 | The Photo Browser, where I can
access and add images from my system.
| | 02:40 | By default it's looking right at my iPhoto Library,
and you can see a lot of my personal
| | 02:44 | photos are showing here, the Music and Sound Browser,
where I can pull in audio files from my system.
| | 02:49 | Right now it's looking at my iTunes Library
and the Transitions browser where I can add
| | 02:54 | Transition Effects between
the clips in my sequence.
| | 02:57 | The Titles browser, where I can add all sorts of
different stills and animated titles to my project.
| | 03:03 | The Generator browser where I
can create new media from scratch.
| | 03:08 | And the Themes browser which gives me the
option to add some fun packaged themes to my program.
| | 03:13 | Again, we'll explore most of these in the
Effects chapter of this course, but for now
| | 03:17 | we are just going to leave them closed.
| | 03:19 | Now to the right of this group of browsers is
a very important window called the Inspector.
| | 03:25 | The Inspector is where we can find out detailed
information about each of the elements in the project.
| | 03:31 | So if you take a look here--let's go ahead
and I'll click on Owen's interview--
| | 03:36 | you can see that I have the Info tab selected,
and there is all this information about the clip
| | 03:41 | that is at my fingertips.
| | 03:44 | If I click on the Video tab, you can see
that I have quite a few basic editing parameters
| | 03:49 | that I can use to change the clip in various
ways. Just very briefly I'll go through this,
| | 03:55 | so you can kind of see my options here, and
same thing for the Audio tab, lots of various
| | 04:01 | audio parameters that I can
change and improve my clips.
| | 04:06 | Now I can use the Inspector for clips
within my timeline or within my Event Library.
| | 04:13 | So if I come into my Event Library and
click on any one of these clips, I can find out
| | 04:19 | all the information about this
just like I could in my Timeline.
| | 04:25 | If you click on a clip that does not contain
audio, by the way, for example my radishes,
| | 04:31 | you're not going to get an Audio tab.
| | 04:33 | Again, we'll go through all of this in great
detail a little later in the course, but rest
| | 04:38 | assured the Inspector will serve a large
purpose in almost everything we do going forward.
| | 04:43 | I am going to go ahead and close it for now.
| | 04:45 | You can click on the button, but I would
definitely get used to the keyboard shortcut of Command+4,
| | 04:50 | so I'll press Command+4 right now, and I
also wanted to show you the audio meters which
| | 04:54 | are located right here in the toolbar area.
| | 04:57 | If I click on this button here, the audio
meters appear to the right of the timeline
| | 05:02 | and they show a visual readout of
the audio levels when I play material.
| | 05:05 | Now if I want to make them a little larger,
I can go ahead and grab this and drag it to
| | 05:10 | the left, and as I play, you can go
ahead and see my audio levels over here.
| | 05:15 | (video playing)
| | 05:22 | So we are going to talk all about how to
edit your audio later, but if you do want to see
| | 05:26 | a visual indication of your audio, you
might want to leave your audio meters open.
| | 05:30 | Again, you can go ahead and drag this back
and forth to make room, and I am just going
| | 05:34 | to go ahead and close it for now, and just so you know,
you can drag any part of your interface in that way.
| | 05:40 | If you want your dual viewer to be more
similar, between your event and your project view,
| | 05:46 | you can go ahead and drag that.
| | 05:48 | You can also drag up and down, like so, and give
yourself more room in all parts of the Final Cut interface.
| | 05:56 | Okay, if you ever want to reset your view,
you can just go to window and Revert to Original Layout,
| | 06:03 | and there's my original layout, and notice
that it got rid of my Event Viewer altogether.
| | 06:09 | Okay, I think we have a pretty good
understanding of the Final Cut Pro X interface
| | 06:13 | along with some of the more important windows and tools.
| | 06:17 | Knowing how to quickly access each of these
will definitely help you as you go forward
| | 06:20 | in the entire editing workflow.
| | Collapse this transcript |
| Getting to know the projects for this course| 00:00 | Before embarking on our editing journey, let's
just take a little bit of time to get introduced
| | 00:04 | to the material that we'll working with.
| | 00:07 | In this course, we'll be working in two
separate projects, a documentary called Farm to Table
| | 00:12 | and a narrative project called Castles.
| | 00:15 | For most of the course, we'll be working with
Farm to Table, which is a documentary about
| | 00:19 | organic farming in Santa Barbara, California.
| | 00:23 | We have numerous different types of assets
for this project, including interviews, B-roll,
| | 00:27 | music, titles, and graphics.
| | 00:30 | The documentary follows one farmer BD Dautch
and examines each phase of the Farm to Table movement,
| | 00:35 | from the growing to the harvesting
to the selling at the Farmer's Market
| | 00:39 | to the relationships with
consumers and restaurants.
| | 00:43 | Now we won't be editing the entire documentary,
but we'll be focusing on several scenes.
| | 00:48 | We'll also be working with the dialogue
scene from a dramatic film called Castles.
| | 00:53 | This film is about a frustrated architect
named Joseph that has recently been having
| | 00:57 | some pretty serious professional setbacks.
| | 01:00 | The film focuses on the relationship
between Joseph and his boss, where Joseph
| | 01:05 | is given the task of coming up with
a design for a big project or else.
| | 01:09 | Our assets for this project just
include the basic shots of dialogue.
| | 01:13 | Now that we're acquainted with the projects
that we'll be editing, we're all set to begin.
| | Collapse this transcript |
|
|
2. Organizing Your Project in the Event LibraryCreating and organizing events from scratch| 00:00 | So as we have previously seen, we have two
projects that we're working with in this course.
| | 00:05 | However, I wanted to at least show you how
to set up an event from scratch, since that's
| | 00:09 | most likely how you'll be starting out when
you set up your own project inside of Final Cut.
| | 00:14 | This will be more of a brief introduction.
| | 00:15 | If you would like to learn all of the ins
and outs of bringing in media and setting
| | 00:19 | up events from scratch, you can check out
Chapter 11: Additional Importing and Capturing Options.
| | 00:25 | Okay, so again, for this movie I'm not
working inside the constructs of the exercise files
| | 00:29 | I provided, so if you would like to follow along,
you can, you just need to use your own assets.
| | 00:34 | All right, so here I am, software launched,
and I'm ready to bring in my footage.
| | 00:38 | I just need to create an event, and
there are several ways to do that.
| | 00:43 | I could come up to File and New Event, or
I can right-click here in the Event Library
| | 00:49 | and say New Event, and because organization
and awareness from the very beginning is the
| | 00:55 | key to good media management, I recommend
right-clicking on the actual drive that you
| | 01:00 | want to create the event in.
Then New Event and just name it here.
| | 01:06 | So I'm just going to type in Farm to Table
because I will actually be using the Farm to Table media.
| | 01:12 | So once you have created and named your event,
there are several ways you can bring in your footage.
| | 01:16 | As you can see, from the File menu, I can
come to Import and then Media, that keyboard
| | 01:22 | shortcut is Command+I, or you can go
ahead and click on this button right here.
| | 01:27 | As you can see, the Media Import
window is just a basic browser.
| | 01:30 | You just need to navigate to the media you want to
bring in and select it and then press the Import button.
| | 01:36 | You may think that's it, but there's actually one
more extremely important window that pops up after that.
| | 01:41 | So let's get our media, it's not Castles,
it's Farm to Table, so here it is, Farm Media,
| | 01:47 | and then inside there are all of my subfolders.
And I'm going to make this work to my advantage.
| | 01:53 | I have all of these various folders, and I want to keep
the metadata attached to these coming into the software.
| | 01:59 | So I'm just going to click on the first one
and then Shift-click on the last one on all
| | 02:03 | of my folders and press Import Selected.
| | 02:08 | This is the very important window,
do not pass this over too quickly.
| | 02:11 | I can't say it enough times: the key to good
media management is not only proper organization
| | 02:17 | but also constant awareness
of all your media decisions.
| | 02:20 | So starting at the top, this window is where we
defined the destination event and the destination drive.
| | 02:27 | Make double sure that you're importing the
media into the correct event and the correct drive,
| | 02:30 | and if you need to change the information,
it's easy enough to do it from right here.
| | 02:35 | Now below that are quite a few additional
options, many of which perform various forms
| | 02:39 | of analysis on the footage in order to
identify if the footage needs color balancing,
| | 02:44 | or if the audio needs fixing, and some of the options even
use facial recognition to find people in the shots.
| | 02:51 | There are also several options that will
actually transcode the media to an optimized format
| | 02:56 | that Final Cut Pro works best with, and
we'll go over many of these later in the course.
| | 03:01 | For now, however, let's just focus
up here in the Organizing section.
| | 03:05 | If you check this first box that says Copy
files to the Final Cut Events folder, this
| | 03:09 | means that new media will actually be
created and placed in the Final Cut Events folder.
| | 03:15 | If you leave this box unchecked, then the only
thing that will be placed in the Final Cut Events
| | 03:19 | folder is a pointer file that will refer to the
media where it currently resides, wherever that may be.
| | 03:27 | So if you'd like to copy all of your media
into one folder without having to worry about
| | 03:31 | keeping the links to the original media,
then you'll want to check this box.
| | 03:35 | The option directly underneath that is
Import folders as Keyword Collections,
| | 03:40 | and this is actually really great.
| | 03:42 | If you have organized your media in folders
outside of Final Cut, then the structure will
| | 03:47 | be maintained when you bring
that footage into the software.
| | 03:51 | Now this is really useful because it allows
you to first do as much organization as you
| | 03:55 | like, and then you can hit the ground running
with great organization when you import the footage.
| | 04:01 | And as we know, I have already organized the
footage in folders outside of Final Cut so
| | 04:05 | this is going to be really great for me.
| | 04:07 | Okay, so once you have set the appropriate options, you
can click on import, and the footage comes into Final Cut.
| | 04:14 | You can see that even though I chose for
the media to be copied in the Final Cut Events
| | 04:18 | folder, it still comes into the software right
away, that's because it does give me the files
| | 04:23 | as pointer files first and then
creates the media in the background.
| | 04:27 | In fact, I can check out these background
processes by clicking on the HUD, Heads-Up Display,
| | 04:33 | right here, and you can see
that media is being created.
| | 04:39 | You can also see that it's being created if
we take a look at the Final Cut Events folder.
| | 04:44 | Go ahead and hide Final Cut and open up my
Final Cut Events folder, and you can see here
| | 04:53 | that it's coming online clip by clip.
| | 04:56 | We have a bunch of pointer files down here,
but we have that media is being created and
| | 05:01 | more and more thumbnails will be
generated as this media is created.
| | 05:05 | Okay, so it's coming along
just fine and back into Final Cut.
| | 05:10 | All right, I'm going to go
ahead and close my background tasks.
| | 05:14 | And all right, so we have got the media in, and we were
one step closer to get everything organized for editing.
| | Collapse this transcript |
| Organizing footage with keywords and ratings| 00:00 | In the last movie, we learned how to bring
media in from scratch to create an event.
| | 00:05 | Now because we created the Farm to Table event
from scratch, we have now got the files organized
| | 00:10 | how your exercise files should be,
so feel free to follow along again.
| | 00:13 | Okay, so if I open up the Farm to Table event
and move this over just a little bit so that
| | 00:19 | we can read everything, as you can see, we
already have a lot of structure going on,
| | 00:24 | and that's because we chose for our folders
to come into Final Cut as Keyword Collections.
| | 00:29 | Now Keyword Collections are the main way that
you can label your shots in Final Cut Pro X.
| | 00:34 | They are more like tags than folders, because you can
label a clip with as many different keywords as you like.
| | 00:41 | So in this sense, shots can exist in multiple
locations, making it easier for you to find what you need.
| | 00:47 | Let's take a look at the shots that used
to reside in my folder called Interviews and
| | 00:51 | are now branded with the keyword Interviews.
| | 00:54 | So here are all of my interview shots, and
just so you know, my slider over here is dragged
| | 00:58 | all the way to the right so that each
one of these appears as a single thumbnail.
| | 01:03 | Now we have got several interview subjects in
here, so let's filter these down even further.
| | 01:06 | I have got the shots of BD Dautch.
| | 01:08 | He is the main subject of the documentary,
and so let's add the appropriate keyword.
| | 01:13 | I'm just going to click on the shot, and
I'm going to come down to this Key button here
| | 01:17 | and the keyboard shortcut is Command+K, and
as we see Interviews is already part of this
| | 01:24 | clip keyword collection, but
I'm going to add another one.
| | 01:26 | I'm going to just type in BD,
and then I'm going to press Enter.
| | 01:31 | And right now this shot is now branded
with two keywords, Interviews and BD.
| | 01:38 | Also we have BD attached to Ctrl+1.
So we can do a couple of things here.
| | 01:44 | I could just come in and Command-click on
the rest of many BD shots and press Ctrl+1,
| | 01:52 | and all of them have been added, and
notice over here that the keyword collection has
| | 01:57 | been added, so now when I click on
BD, I only get my BD interviews.
| | 02:02 | So that's really handy.
Let's go ahead and add one for John Downey.
| | 02:07 | So I could select both of these at once but
I want to show you one more way that you can
| | 02:10 | add a shot into a keyword collection, so I'm
just going to do one for now, and I'm going
| | 02:15 | to press Command+K to open the Keyword Editor,
and I'm just going to type in John Downey and Enter.
| | 02:25 | And I'm just going to close this, and we
want to add that one to John Downey as well, so
| | 02:29 | one other way that you can add a shot to a
Keyword Collection is to just click and drag
| | 02:35 | right on top of the keyword collection and let
go, and here are both of my John Downey shots.
| | 02:40 | Notice they did not leave the Interview
keyword collection, they are still in there because
| | 02:44 | they are interviews, but we filtered it down
further to make that a lot more useful to us.
| | 02:49 | Now you can even label portions of clips,
so instead of clicking on the entire shot
| | 02:54 | you just drag over the section
you want to label and include that.
| | 02:58 | So I'm going to back in the Interviews, and
I have already screened this, so I know kind
| | 03:03 | of what parts of the interview I want to use.
| | 03:06 | My Owen interview, it's at the very beginning,
so I'm just going to drag this over a little
| | 03:11 | bit to the left, so we get a little
bit more of an indication on length.
| | 03:16 | And let's go ahead and take a listen.
| | 03:17 | I know it's at the beginning, I know he says
eating local is the way we should be eating,
| | 03:21 | that's the part I would like
to section out as a sound bite.
| | 03:24 | Let's go ahead and take a
listen by pressing Spacebar.
| | 03:27 | (Owen: Organic and local because it's just--it's um--
eating local is the way we should be eating.)
| | 03:32 | So there it was. I'm just going to drag to
that part, and let's see if I have got it.
| | 03:38 | (Owen: Eating local is the way we should be eating.)
| | 03:40 | All right, perfect!
| | 03:41 | Now I could go ahead and drag all of this
over to get to that point, but what you can do--
| | 03:46 | and we'll explore this in much more detail
in a future movie--is just press O to mark
| | 03:50 | an out, so you can actually mark an in
by pressing I and an O by marking out.
| | 03:57 | And we have got this sound bite.
| | 03:58 | So let's take a listen...
(Owen: Eating local is the way we should be eating.)
| | 04:02 | So let's go ahead and mark
that out as a sound bite.
| | 04:05 | So I'm just going to open up my Keyword Collection,
Command+K, and I'm just going to type soundbite
| | 04:10 | Enter, and now this portion is in there.
| | 04:16 | So if I click on soundbite and play this...
(Owen: Eating local is the way we should be eating.)
| | 04:23 | All right, so we can go ahead and put all of
our sound bites in here so that we have everything
| | 04:29 | ready to go for when we start
editing it, it's very, very handy.
| | 04:34 | Now another way you can categorize your
footage is through ratings where you can attach both
| | 04:38 | positive and negative labels.
| | 04:39 | So if I want to characterize a shot with a
favorable rating, I can simply click on the
| | 04:44 | clip, so let's go ahead and
find one of my favorite shots.
| | 04:48 | I definitely like this close up of the
orange as the keeper, so I'm going to click on it,
| | 04:52 | and then I'm simply going to either come
down to this green star down here or press F on
| | 04:58 | the keyboard, which is what I'm going to do.
| | 04:59 | So I'll press F on the keyboard and notice
that I have a green line that appeared here.
| | 05:06 | So the blue line is from a keyword collection,
it's keyword collection that it's Farm Scenery
| | 05:10 | Keyword Collection, so it's already got that
attached to it, but now it's also got a green
| | 05:15 | line which represents that it
has a favorite attached to it.
| | 05:19 | I can also do a portion of a clip, so if I
come up to the shot here in my Flower rack
| | 05:26 | focus, I definitely like that right here.
| | 05:31 | My rack focus, it got a lot of other kind of
parts of the shot that I can include as well.
| | 05:36 | But I want to make sure that I
favorite that section right there.
| | 05:40 | So I'm just going to click and drag, or I
could just press I mark an In and O to mark
| | 05:48 | an Out, that's perfectly fine too.
| | 05:51 | But let's go ahead and favorite that so I'll
press F, and you can see that the green line
| | 05:55 | appeared just in that section.
| | 05:57 | Now if I want to give an unfavorable rating
to a clip, I do the same thing, but instead
| | 06:02 | of pressing the green star or the F button, I
press this Red X or the Delete button on the keyboard.
| | 06:09 | So let's say I have some Farmers Market footage
here, and let's just say that I did not secure
| | 06:19 | the rights to show any of these people.
So, I actually just can't show the shot at all.
| | 06:24 | So let's go ahead and attach
an unfavorable rating to this.
| | 06:27 | I have selected it, and I'm just going to
press Delete, and now you can see that we have
| | 06:32 | a red line marking this clip.
| | 06:34 | Now, realistically you can use these for
anything, not just favorable and unfavorable,
| | 06:39 | maybe the green line represents the shots you know
you'll use in the program and red represents
| | 06:43 | shots you know you won't use, or maybe
green represents primary materials
| | 06:48 | and red represents supplementary materials.
| | 06:51 | But regardless of what you have set them as, you can
specify how you view these clips from this menu up here.
| | 06:57 | If I click up here and click on Favorites, ah-ha!
There is nothing in here.
| | 07:02 | Well, the reason is that it's looking at favorites,
and it's looking at my keyword collection Farmers Market.
| | 07:07 | I didn't mark any favorites in the
Farmers Market keyword collection.
| | 07:11 | So if I come back up here and select the
entire event at large, you'll notice that there
| | 07:15 | are my two favorite shots that I made.
| | 07:17 | And if I want to go back up and just hide
my rejected clips, then it's going to show
| | 07:23 | me absolutely everything in here
except the stuff that I have rejected.
| | 07:27 | So that shot that I rejected from the
Farmers Market of the crowd of people is not
| | 07:31 | going to be in here, and you can see there
are several other criteria as well.
| | 07:34 | But I would say that those are
the two main ones that you'll use.
| | 07:38 | Now if you want to remove a rating from a clip--
| | 07:41 | for example, let's say that I want to just
take away that Favorite rating--it's this
| | 07:47 | white star here or the U key on the keyboard.
| | 07:50 | So if I want to take that away, I'm going
to press U, that's gone, and if I show my
| | 07:56 | Favorites again, now that shot is gone.
So it's been unrated.
| | 08:01 | So, as you can see, adding metadata to our
clips allows us to really hone in on exactly
| | 08:06 | what materials we are working with.
| | 08:08 | I recommend spending a lot of time up front
doing this type of organization, because it
| | 08:12 | really helps out later when you're deep in the creative
process, and you need to quickly access your shots.
| | Collapse this transcript |
| Performing searches and creating Smart Collections| 00:00 | Now that we have a good understanding on how
metadata can help us further define our footage,
| | 00:05 | I want to go over the methods for
actually searching for specific elements.
| | 00:10 | Now Final Cut Pro X has a really robust
search tool and even lets us save search criteria
| | 00:15 | in dynamic groupings called smart
collections. Let's take a look.
| | 00:19 | So I'm just going to click on my Farm to Table
event, and to search through the clips in your
| | 00:24 | event library, you just click in the
search field here and begin typing.
| | 00:29 | So, if I want to locate all of the clips that contain
the word field, I can just type it in here, like so.
| | 00:36 | and so all of these clips
have field in their name.
| | 00:40 | One word of caution, if you type something
in this field and then go on to edit, you
| | 00:44 | may forget to clear out your search criteria.
| | 00:47 | If you do, then you might accidentally find
that you have a lot fewer clips than you thought
| | 00:50 | you did, so just make sure to delete your
search term after you're done with the search.
| | 00:53 | So I'll just go ahead and click on
this X, and we have all of our clips back.
| | 00:58 | So that basic function is fine
for quick and dirty searches.
| | 01:01 | But Final Cut has a much deeper search function
than that, so this time instead of just typing
| | 01:06 | something into the search field, I'm going
to click on this magnifying glass right here.
| | 01:11 | So, as you can see, a filter box pops up,
and we can begin inputting additional data.
| | 01:17 | Now by default, it first comes up with a Text
search field, and you can choose that it Includes,
| | 01:23 | Does Not Include, it Is--so it matches
exactly--or it Is Not, it does not match.
| | 01:28 | You can also click on this Plus sign and put
in any other criteria that you wish, and you
| | 01:34 | can do this as many times as you like.
| | 01:37 | So what I want to do is find all the clips
with the Text of BD, and as you can see, it
| | 01:44 | performs it lives, so everything in this
view are now my BD clips, both on the Farm and
| | 01:51 | at the Market, and what I want to find
are all the shots at BD at the market.
| | 01:56 | So I'm going to click on this Plus sign
and go to Keywords, and it allows us to check
| | 02:02 | or uncheck all of these keywords right here.
| | 02:05 | I think that if I chose Market Setup and
Farmer's Market here, that should include everything.
| | 02:14 | All right, so I have BD at the market if I'm
looking for B-roll of him when I'm discussing the market.
| | 02:22 | Now that's going to be a group of search
criteria, and I'm going to make what's called a smart
| | 02:27 | collection out of it, all of the clips with
the Text BD in the keyword collection of either
| | 02:32 | Market Setup or Farmer's Market, I'm going
to choose New Smart Collection, and I'm just
| | 02:37 | going to title this BD Broll market.
| | 02:43 | So we have some B-roll that we can go to right away
when we need footage of BD working at the marketplace.
| | 02:49 | Fantastic, Let's do it again, but this time
let's show B-roll of BD working on the farm.
| | 02:54 | So I'm just going to click on my event up
here and my magnifying glass, and again,
| | 03:00 | we'll do BD keywords, and notice that there are
a lot of other things you can search on.
| | 03:04 | You can search on ratings if you favored clips, and
you have all sorts of metadata that you can search from.
| | 03:10 | We're going to go into Keywords again, and
I'm going to uncheck all, because I just want
| | 03:16 | to get on the Farm and Farm Scenery maybe.
| | 03:20 | Now we have all the shots of BD at the farm
and so that will be a new smart collection,
| | 03:26 | and I'm just going to title this BD Broll Farm, okay,
and so we have our two smart collections right here.
| | 03:34 | A lot of times I like to just put my smart
collections in a folder, and you can do that,
| | 03:38 | you can go to File and New Folder, and I
just typed in Smart Collections I'll click,
| | 03:46 | and I'll Shift-click and move those in there, like so.
| | 03:50 | So now we have our smart collections kind of
sequestered from the rest of our Keyword collections.
| | 03:55 | The cool part about this is that whenever any
clips match this criteria, they will automatically
| | 04:00 | be deposited in this collection.
So let me just demonstrate this really briefly.
| | 04:05 | If I come back up to let's see the
Farmer's Market, and let's just add the word BD to
| | 04:14 | one of these, okay, let's say those are BD's hands,
and so I'll just say BD hands Beets foreground.
| | 04:24 | So now let's go ahead and
take a look at BD Broll Market.
| | 04:31 | As you can see, the shot was added,
and I didn't even do anything.
| | 04:35 | It's a smart collection, it automatically
sensed that the metadata matched this search
| | 04:39 | criteria and put it in there automatically.
So, pretty cool stuff.
| | 04:44 | As you can see, it's very easy to perform
both basic and dynamic footage searches in
| | 04:48 | Final Cut Pro X, and this is an important
thing in letting you stay in your creative
| | 04:53 | mode without needing to hunt and peck through your
materials when you are finding the perfect shot.
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| Displaying event data| 00:00 | Once you have the tools to appropriately
categorize and search for your footage, there are just
| | 00:05 | a few more things about the event library that
you should know before starting the editing process.
| | 00:11 | Let's take a look.
| | 00:12 | So we have our event here, our Farm to Table
event, and if you want to hide your event
| | 00:18 | library area right here, you can do so by
clicking on this toggle switch right here,
| | 00:23 | and this just gives you a little bit more real
estate if you don't need your event library information.
| | 00:29 | We'll go ahead and show it, though.
| | 00:30 | And to the right of that is a gear with
a dropdown menu which allows you to view
| | 00:36 | the event data in various ways.
| | 00:39 | So, as you can see, by default it groups the different
events visually by what drive they live on or disk.
| | 00:45 | So you can see here that I have
my Mac hard drive, my Media drive.
| | 00:49 | If I click this off, those go away, and I'm just
looking at the events without any drive indication.
| | 00:56 | Let's put that back on.
| | 00:57 | Now below that are options
to display date information.
| | 01:02 | While data regarding a clips creation date
isn't as useful for a narrative project,
| | 01:08 | it can be really great when you're working
with documentaries if you need to locate footage
| | 01:12 | from a certain time period.
| | 01:14 | So if I ask Final Cut to show information by
year, notice that it puts on the year here,
| | 01:20 | and no more information than that, so let's
go ahead and filter it further to year and
| | 01:26 | month, and so we see we have some September
and some November dates here, and I can even
| | 01:33 | go further Show Date Ranges in Event Library,
and it's showing me kind of exactly when that
| | 01:38 | footage is coming in.
| | 01:39 | So not a lot of date information here, I'm
going to go ahead and turn that off, but this
| | 01:43 | can be very useful if you have a lot of
footage coming in over a longer period of time.
| | 01:48 | Let's go ahead and Don't Group Events By Date,
and I'll turn off my date ranges and below
| | 01:54 | that I have the option of categorizing
my events from the Most to Least Recent.
| | 01:59 | But down here I have clip
organization information.
| | 02:02 | So this is events basically how the
information in this setup is shown,
| | 02:06 | and clips are over here in this window.
So we have both Group Clips and Arrange Clips.
| | 02:13 | The difference between these are that when
I'm grouping clips, a heading is placed above
| | 02:18 | the categorized clip options, and when I'm
arranging clips, there are no headings, the
| | 02:24 | clips are just organized in
the manner that you choose.
| | 02:26 | So let's take a look.
So let's choose to Group Clips by Duration.
| | 02:32 | So, as you can see, we have the longest clips
up here at the top, 1 to 10 minutes, and the
| | 02:38 | shortest ones toward the bottom, 0 to 10 seconds,
and you can see that everything has a heading.
| | 02:46 | So it allows you really quickly and easily
find clips that match a certain duration.
| | 02:52 | Now if you want the reverse of this
organization, you just come in here and say
| | 02:57 | Group Clips By and then say Ascending instead of
Descending, and now we have all of the shortest clips
| | 03:03 | up at the top and all of our
longest clips grouped at the bottom.
| | 03:09 | As you can see, we do have quite a few
different grouping criteria that we can use here.
| | 03:14 | For now I'm just going to turn this off.
Now let's explore some arranging options.
| | 03:20 | I can come down to Arrange Clips By, and for
example, if I want to arrange them by name,
| | 03:26 | so alphabetically, I have got let's see that
starts with a number so that comes first,
| | 03:30 | or we should probably have our As and
Bs here, all the way down to our Ws.
| | 03:37 | Notice that there are no headings like
there was in grouping, it's just simply Arrange
| | 03:41 | the Clips in Alphabetical Order.
| | 03:43 | If I want to reverse that, I can come down
to Descending, and I get all of my Ws up here,
| | 03:52 | change that back to Content
Created for now, and Ascending.
| | 03:58 | So we're back to where we were.
| | 04:00 | Now the last thing I want to show you
about working with your event media is changing
| | 04:04 | back and forth between
Filmstrip View and List View.
| | 04:08 | But so far we have been working in Filmstrip
View, which is where we see the thumbnails
| | 04:12 | of all of our clips.
| | 04:14 | Again, I can use the slider here to show more
visual representation related to the duration
| | 04:21 | of the clips--drag that back over to the
right here--but that's about it for showing
| | 04:26 | any additional information.
| | 04:28 | If you need to know more about your clips,
then you can switch to List View by pressing
| | 04:33 | this button here. As you can see, there
are many columns of data you can display.
| | 04:38 | I can drag this over, and you can take a
look at all the ones that are here by default or
| | 04:45 | you can actually customize what columns you
see by right-clicking here and choosing the
| | 04:51 | options that you want from this list.
| | 04:54 | So if I have input data on shot and take
information, I can display that, and here it is.
| | 05:02 | You can move these around by simply
dragging back and forth, like so.
| | 05:06 | You can also remove them by right-
clicking and just unchecking, like so.
| | 05:13 | One thing about List View, if you need to
remove a clip from the Keyword collection
| | 05:17 | you'll want to do it in this view.
| | 05:19 | So let's see, if I want to come in to this
one right here where I have this clip,
| | 05:26 | and I want to take it out of the Farmer's Market,
I could just right-click and say Remove All Keywords,
| | 05:32 | and that keyword disappears.
| | 05:35 | So that's how you would want
to remove a keyword from a clip.
| | 05:38 | So real quick, I am just going to add this
back into the correct Keyword collection,
| | 05:42 | Farmer's Market, it's back, there we go, and I
will go back to thumbnail view, and we're ready to go.
| | 05:49 | Okay, so as you can see, there are quite a few options
for viewing your event and clip data in Final Cut Pro.
| | 05:55 | It's good to know these useful techniques
so that you can customize various options
| | 05:59 | to make your media retrieval
process that much more efficient.
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|
|
3. Basic Editing: Laying the Foundation in the Primary StorylinePlaying and marking clips in preparation for editing| 00:00 | Now that we have got a good handle on how we
can access and organize our event data,
| | 00:05 | let's begin combing through the
footage to begin editing.
| | 00:07 | Now the first scene we are going to edit is
the opening scene of the documentary
| | 00:11 | which is essentially just getting us
acquainted with the Farm to Table movement.
| | 00:14 | We'll have several people talking about the
benefits of organic farming and then later
| | 00:18 | we will add B-roll to enhance
their words and really make it work.
| | 00:22 | So let's go ahead into the Farm to Table event, and
we want to take a look at couple of interviews,
| | 00:28 | and specifically, actually, I want take a
look at BD's interviews right here because
| | 00:32 | he is going to start us out, and just as you
know, I have really screened all of this footage
| | 00:36 | very well and taken good notes, so I have a pretty
good idea of how I would like this to come together.
| | 00:41 | When you are putting together your own
program, I highly recommend that you do the same.
| | 00:45 | All right, so I think I would like this
section to open up with BD talking about how there
| | 00:49 | is this growing organic food movement worldwide,
and I know that he talks about it here in Interview 4.
| | 00:56 | So I am just going to play this part of
the clip, and I am actually going to hop over
| | 00:59 | to List View, so we have a little bit more
room here, and I am going to play this, and
| | 01:04 | we already know that we can play and
stop a clip by pressing the spacebar.
| | 01:08 | However, I want to introduce a navigation method
that is definitely far more efficient, and that is JKL.
| | 01:14 | Now JKL is a three-button play tool, whereby J
plays in reverse, L plays forward, and K pauses.
| | 01:23 | So if you just look at the J, K, and L
buttons on your keyboard, you can sort of see why
| | 01:27 | this is really great. Just put your three
fingers on J, K, and L, and you have total control.
| | 01:31 | All right, so what am I going to do is
play over this section and then when I want to
| | 01:35 | mark an In, which is where my edited shot is
going to start, I am going to press the I key.
| | 01:41 | Then when I want to mark an Out point,
which is where I want my edited shot to end,
| | 01:46 | I am going to press the O key.
| | 01:47 | Again, look at your keyboard, the I and O
keys are right above the J, K, and L keys, so
| | 01:52 | hopefully you are getting the idea that this
playing and marking business is very efficient
| | 01:56 | if we just use our keyboard.
| | 01:57 | All right, so better go ahead and play, and
I will mark an In and an Out where I see fit.
| | 02:03 | I will press L to go forward.
| | 02:06 | (female speaker: Can you talk more about this movement?
Like, do you see a movement going on?)
| | 02:09 | (BD Dautch: Yeah, there is definitely a movement happening.
It's not just here, it's worldwide, and in a way,
| | 02:15 | like I said, it's a renaissance, it used to exist--)
| | 02:18 | Okay, so I have marked an in and an out,
and I don't think it's perfect, but I am just
| | 02:24 | going to finesse it just a little bit.
| | 02:27 | Let's go ahead and play the selection. I am
going to press the Forward Slash key, which
| | 02:31 | is the same button that the question mark is on.
So let's see how close we got it.
| | 02:35 | (BD Dautch: Definitely a movement happening.
It's not just here, it's worldwide, and in a way,
| | 02:40 | like I said, it's a renaissance, it used to exist--)
| | 02:45 | Okay, so let's go ahead and
just tweak this just a little bit.
| | 02:47 | I am going to go back over to Thumbnail view,
and I am going to just give myself a little
| | 02:53 | bit more room, 5 seconds or so, so each
one of these thumbnails is 5 seconds, and here
| | 03:00 | you can see my marked portion.
| | 03:01 | This time instead of just using J, K, and L,
what I am going to do is go in Slow motion,
| | 03:06 | and I am going to do this by holding down the K
button and then rocking forward with either J or L.
| | 03:12 | This is going to go about one-quarter speed,
and it's going to allow me to really hone
| | 03:16 | in on the word that I want to mark.
| | 03:19 | (BD Dautch: There is definitely--)
| | 03:25 | Okay, let's go ahead and
play that, see if it's okay.
| | 03:29 | (BD Dautch: There is definitely a movement happening.)
| | 03:32 | All right, I like that, and I am going
to go to the end and do the same thing.
| | 03:35 | (BD Dautch: It's not just here, it's worldwide,
and in a way, like I said, it's a renaissance--)
| | 03:41 | And I am just going to mark an out right there,
and I think I am in good shape here.
| | 03:45 | Let's go ahead and press the Forward
Slash key and see how we like it.
| | 03:48 | (BD Dautch: There is definitely a movement happening.
It's not just here, it's worldwide, and in a way,
| | 03:54 | like I said, it's a renaissance--)
| | 03:56 | All right, and I am just going to the end
here and make sure that I have this perfect.
| | 04:01 | So I am going to go in slow motion here.
| | 04:07 | (video playing)
| | 04:09 | Okay, I have got it there, and I want to make
to sure that I permanently save this sound bite.
| | 04:14 | Now we have already mentioned several ways to
do this, one way is if I press F and favorite
| | 04:21 | this section and then if I come over to my
List View, you can see that I have my sound
| | 04:27 | bite right here, and it's very
easily marked, and I can even rename this.
| | 04:31 | So if wanted to call this
Growing movement, I can.
| | 04:37 | Okay, and then when I show just my Favorites, it's
just going to be right there, and it's ready to go.
| | 04:43 | And I also want to remind you that you can
save it out in the soundbite Keyword collection,
| | 04:49 | as we examined in a previous movie, so if
I wanted to grab that, and I can open up my
| | 04:56 | Keyword Editor, soundbite is already
attached to Ctrl+3, so I can click on that,
| | 05:02 | I can press Ctrl+3 on the keyboard, but now I
also have this in my soundbites there as well.
| | 05:09 | So there are a couple of ways to save that out.
| | 05:11 | The reason that I mention this is that when
you have a portion of a clip that you have
| | 05:17 | marked, and you want another part of this
interview that you also want to mark,
| | 05:22 | once you do that, this goes away, so you
need to make sure that you save it.
| | 05:28 | Just to show you that, let's go to List View,
and I have placed a marker, and we haven't
| | 05:33 | actually covered markers yet, but just
realize that a marker is a digital Post-It note,
| | 05:38 | it allows me to leave notes to myself or to
other people working with me about something in
| | 05:43 | the editing process, and in this case, it's just
that I want to include a sound bite in this general area.
| | 05:49 | So I am going to play this, I am going to
do the same thing that I did before, notice
| | 05:53 | that when I mark my in and my
out, this in and out goes away.
| | 05:58 | So that's why we put
that permanent marker there.
| | 06:00 | All right, so I am going to again use J, K,
and L and get this section just perfect.
| | 06:05 | I will go ahead and press L to go forward.
| | 06:08 | (BD Dautch: --consumer's point of view,
so many people now--)
| | 06:14 | And I am trying to get it right on that
so, so I am going to go in slow motion.
| | 06:19 | Okay, and let's see how this goes.
| | 06:23 | (BD Dautch: So many people now are aware that getting
it directly from the producer is the way to go.)
| | 06:28 | Okay, and I have marked my out, and I am just
going to go ahead and press my Forward Slash key
| | 06:32 | to make sure that everything sounds good.
| | 06:35 | (BD Dautch: So many people now are aware that getting
it directly from the producer is the way to go.)
| | 06:40 | All right, perfect!
| | 06:42 | So I have marked this section, and
then I want this to come right after it.
| | 06:45 | Again, I could press F to give it a Favorite,
I could just drag it over to my soundbites,
| | 06:51 | there are a couple of ways to
save that as a permanent solution.
| | 06:55 | But you can pick your own way.
| | 06:57 | So, as you can see, we now have two
soundbites subclipped out and ready to use.
| | 07:01 | You can keep going through each of the interviews
in order to get what you want for your sequence.
| | 07:05 | I recommend that you take your time here,
screen your footage, mark the material.
| | 07:10 | Taking the time up front to prep your footage will certainly
help you later in the scene construction part of the process.
| | Collapse this transcript |
| Understanding different types of editing tools| 00:01 | Once you have reviewed and marked your footage,
it's time to form a sequence and begin editing.
| | 00:06 | Before we jump in, though, I just wanted to
give you a high-level explanation of all of
| | 00:10 | the mechanics of the different types of
edits that you can do in Final Cut Pro X.
| | 00:15 | Then in the next several movies, we will go through
each of these in practice as we put together our scene.
| | 00:20 | So I am going to just go to into Chapter 3.2,
and I will go ahead and enter this project.
| | 00:29 | Now as I mentioned earlier when talking about
the features of Final Cut Pro X, we are going
| | 00:34 | to be working in a model dictated
by storylines rather than tracks.
| | 00:39 | Now there are certain types of edits that
affect clips on the primary storyline which
| | 00:43 | again is the narrative spine of our project.
| | 00:46 | So this is the primary storyline, this dark
gray portion, so we are going to be talking
| | 00:50 | about only Edits that affect
clips on the primary storyline.
| | 00:54 | Now again, we are just exploring the general
mechanics of the edits here, so I will just
| | 00:58 | go ahead and grab some shots from the
Scenery keyword collection to demonstrate my point.
| | 01:05 | I'll go ahead and drag this to
the right, and we are all set to go.
| | 01:09 | Now the first type of edit I would like to
explore is the Insert Edit, with the Keyboard
| | 01:13 | shortcut of W or this
onscreen button right here.
| | 01:17 | All right, so I have got a shot already
loaded in the timeline, if I position my playhead
| | 01:23 | at the end and grab a portion of a shot
and press W, it is inserted at the end.
| | 01:31 | If I position my playhead in between two shots,
I can grab a portion of a shot, press W,
| | 01:38 | and it goes in between these two shots.
| | 01:41 | Now if I grab a portion of a shot, and place
my playhead in the middle of this shot, it's
| | 01:47 | simply going to insert right here in the
middle of the shot and split this clip in two.
| | 01:53 | So again I'll press W, and I would like to
zoom out here a little bit, so I am going
| | 01:59 | to press Command+Minus, and I am zoomed out,
and you can see that the Fields tilled was
| | 02:04 | split in the half, and we have our Mountain orchid
tilled down that way in the right of the middle there.
| | 02:08 | So that's all inserting is.
| | 02:09 | It basically puts the shot
wherever your playhead is.
| | 02:14 | Now you can also perform an insert edit by
grabbing a shot and clicking and dragging
| | 02:18 | and dragging it down here and
inserting it in the primary storyline, like so.
| | 02:23 | so wherever you drop it is
wherever that's inserted.
| | 02:26 | Again, however, keyboard methods are usually
faster and more efficient ways of working,
| | 02:31 | so we will explore both, but I
will always come back to the keyboard.
| | 02:34 | Now the next type of edit is the Append Edit with the
keyboard shortcut of E or this one screen button here.
| | 02:41 | So no matter where the playhead is, if I
grab a shot and press the E key, it always goes
| | 02:48 | to the end, regardless of where the playhead is.
| | 02:51 | Now this is really useful if you know that
you are adding clips one after another, but
| | 02:55 | you don't have to worry about constantly making
sure the playhead is in the correct location.
| | 02:59 | Okay, so I can grab a shot, no matter where my
playhead is I press E, and it goes to the end.
| | 03:08 | The third type of edit we will explore is the
Overwrite Edit, with the keyboard shortcut of D.
| | 03:13 | Now the Overwrite Edit is used to essentially
they write over a shot or a portion of a shot.
| | 03:19 | So when performing an Overwrite Edit,
usually making in and an out in the Timeline around
| | 03:25 | the area that you would like to affect, and
then you mark the portion of the shot in the
| | 03:28 | Event library that you would like to overwrite.
| | 03:31 | So let's say that we want to basically write
over this portion right here, so all of this
| | 03:39 | shot and the first part of this shot.
| | 03:41 | So I am just going to place my playhead here
and mark an I to mark an In, and I will mark
| | 03:47 | an Out right here by pressing O, all right,
so this is the portion that I would like to
| | 03:52 | overwrite, and let's go ahead and grab this shot
here, now I can't just mark an in or just mark an out.
| | 04:00 | When I mark an in, it basically
marks the entire clip to the end.
| | 04:04 | So a general overwrite is going to take
however many frames this is and I can count that by
| | 04:09 | just basically marking the section and pressing
Ctrl+D, and it's going to tell me right here
| | 04:15 | it's 2 seconds and 17 frames.
| | 04:18 | So it's going to take the first 2 seconds
and 17 frames and overwrite them right here.
| | 04:23 | Okay, so I will go ahead and press D to overwrite
and notice that my Field mountain in background
| | 04:31 | overwrote this section, and if I click here
and press Ctrl+D to find out the duration,
| | 04:36 | it's 2 seconds and 17 frames.
| | 04:39 | So, as you can see, when you overwrite, Final Cut
calculates the number of frames needed
| | 04:42 | to perform the operation, and
that portion of the clip is replaced.
| | 04:46 | We are going to learn some more mechanics about
overwriting later on in the course, but those are the basics.
| | 04:52 | Now the fourth type of edit is the Replace Edit.
| | 04:55 | The Replace Edit is a lot like the Overwrite Edit, but
it's typically used to replace one shot with another.
| | 05:00 | There is no keyboard shortcut. You need to
physically drag a marked clip from your event
| | 05:06 | library onto a clip in your sequence.
| | 05:09 | So if I take my flower shot here, mark an
in and an out right there, so I am going to
| | 05:17 | just take this portion, click, drag, and when I
see my green plus sign, I am going to release the mouse.
| | 05:24 | Now I have Replace which basically
replaces the clip outright regardless of duration,
| | 05:30 | so this basically performs a full-out shot
swap and most often affects the resulting
| | 05:34 | duration of the sequence, or you can
replace the clip from the beginning of the marked
| | 05:38 | section or the end of the marked section, and
both of those will leave the sequence of the
| | 05:43 | same length before and after the replace edit.
| | 05:46 | So I'll just perform a general Replace Edit
right now, and we will explore these other
| | 05:51 | options a little bit later.
| | 05:53 | So Replace, so my flower
shot was actually much longer.
| | 05:57 | It swapped out the entire shot, and I am just
going to zoom out a little bit, Command+Minus,
| | 06:02 | and you can see that there is my replace shot.
| | 06:05 | Okay, so insert, append, overwrite, and replace,
as you can see, there are a quite a few ways
| | 06:11 | you can add material to your
primary storyline in Final Cut Pro X.
| | 06:15 | So now that we have this foundation,
let's go ahead and start editing our sequence.
| | Collapse this transcript |
| Making the first edits: Using Insert and Append edits| 00:01 | Okay, we have learned to mark our clips, and
we're ready to begin editing, let's get started.
| | 00:06 | Now to start editing, we need to create a
sequence, which in the world of Final Cut Pro X
| | 00:09 | means that we need to create a project,
since a sequence and a project are one at the same.
| | 00:15 | So I'm just going to go into Chapter 3.3.
| | 00:19 | And I can either right-click and choose
New Project or just press Command+N.
| | 00:23 | Now when we create a new
project, we have a few options.
| | 00:26 | First and foremost, we need to name
the project, so Farm to Table Intro.
| | 00:31 | And I need to set a default event, which is
basically just going to be the event that's
| | 00:36 | going to be associated with this
project, so right now that's correct.
| | 00:41 | Then we need to tell Final Cut what
format we want the audio and video to be.
| | 00:45 | Now if we know the type of media we're using
ahead of time, we can select Custom and then
| | 00:50 | come into each of these dropdown
menus and choose the appropriate options.
| | 00:55 | Or we can just set our options based on
the first video clip that we added in.
| | 01:00 | And these are the Automatic Settings, which is
what we're going to use in this case. So I'll say OK.
| | 01:05 | Okay, we're inside the project which
means we're ready to start editing.
| | 01:09 | As you can see, here's the primary storyline, and this
is where we'll be crafting the backbone of the scene.
| | 01:15 | So because this is an interview-driven scene,
let's go ahead and lay our interview bites
| | 01:18 | in first, so I'll go to the Farm to Table
event, and I can either go to my interviews
| | 01:25 | or BD, because I know that in the previous movie, I
marked a couple of sections in the BD interview 4.
| | 01:31 | So I'm just going to select this and go into list view,
and I Favorited out a couple of soundbites.
| | 01:37 | Again, if you did not do this,
you'll just want to go through the interview,
| | 01:41 | make sure that you find some parts that
you would like to include and then mark an in
| | 01:45 | and out around them, and you
can Favorite time like I did here.
| | 01:48 | All right, so let's go ahead and just
play this. I'll press Forward Slash.
| | 01:52 | (BD Dautch: There is definitely a movement happening.
It's not just here, it's worldwide, and in a way,
| | 01:56 | like I said, it's a renaissance.)
| | 01:58 | All right, perfect!
So we'll go ahead and edit this in.
| | 02:01 | Now because this is the very first shot
that I'm laying in, it honestly doesn't matter
| | 02:06 | if I edited it in using Insert Edit or an
Append Edit or if I just drag this in.
| | 02:11 | So let's go ahead and press
the W to insert this shot.
| | 02:16 | When I do this, a window appears letting me
know the video and audio settings that will
| | 02:21 | define in this project.
And if I want, I can change these.
| | 02:24 | I would like to keep these as
they are, so I'll select OK.
| | 02:28 | And you can see that I have made my first edit.
| | 02:31 | Now as you can see, the clip is
very small within this large timeline.
| | 02:35 | If I want to fill the sequence inside the
timeline window, I just press Shift+Z,
| | 02:41 | and as you can see, it expands, and I
can see everything a lot better.
| | 02:44 | Now let's go ahead to the next soundbite.
Again, if you have not marked these, then
| | 02:49 | just go ahead and find your favorite part of this interview
and mark them like we learned in the pervious move.
| | 02:54 | All right, so let's go ahead and give this
a play, make sure everything sounds good.
| | 02:58 | (BD Dautch: So many people now are aware that getting
it directly from the producer is the way to go.)
| | 03:02 | All right, perfect!
| | 03:05 | And I'm just going to go ahead and press W
again, and we have got our second shot laid in.
| | 03:10 | Now because my playhead was at the end of the last
clip, my shot was edited at the end of the sequence.
| | 03:16 | I'm going to undo by pressing Command+Z
and just review one thing about insert edits.
| | 03:21 | If my playhead was for example, at the beginning
of the sequence, and I press W, then my second
| | 03:28 | bite is going to be included at
the beginning of the sequence.
| | 03:31 | Let me press Command+Z to undo and place my
playhead in the middle of the shot, then it's
| | 03:37 | going to basically split this in two,
all right, so Command+Z again.
| | 03:42 | Again, I do want it to come to the end, so
in this case I'm going to leave my playhead
| | 03:46 | right where it's at, and I'm going to press
the E key, and I'm going to do an Append Edit.
| | 03:52 | So now I don't need to think
about where the playhead is.
| | 03:55 | So insert is going to insert it at the playhead location,
and append edit is always going to insert at the end.
| | 04:01 | All right, so I'll press Shift+Z to fit
everything within the timeline view, and I'd like
| | 04:06 | to continue adding my interview bites,
mostly from the various chefs.
| | 04:11 | I'm going to go back to interviews and thumbnail, so I
can give you a sense of where we're going to go next.
| | 04:19 | The next thing we're going to do is insert
Justin's interview. Just to get us going into
| | 04:23 | this exercise, I have marked
this sound bite as a Favorite.
| | 04:27 | So that when I click on it, it's all set to
go with the appropriate in and out points.
| | 04:31 | Now if you don't have the portion of the shot
marked and Favorite it as you like, then you
| | 04:35 | should feel free to find your own
interesting soundbites to include.
| | 04:38 | All right, let's see I'm going to go to list
view again, we have got Justin, and I'm going
| | 04:43 | to go ahead and just play
this section here, Forward Slash.
| | 04:46 | (Justin: I don't know how I'd run my restaurant
without all these farms, that's for sure.
| | 04:49 | This is where the magic starts.)
| | 04:52 | Okay, so I'm going to edit this in, my
playhead is at the end of the sequence so it really
| | 04:56 | doesn't matter if I insert or append, so I'll append,
I'll press E, and I have got my next interview laid in.
| | 05:03 | All right, so I'm going to go back to my
interviews here, and I have got another chef, Owen here,
| | 05:09 | and again, I Favorite it this section, we
actually did perform this in our prior movie.
| | 05:13 | I'm going to go ahead just play this so you can
see what I'm laying in next, press Forward Slash.
| | 05:19 | (Owen: Eating local is the way we should be eating.)
| | 05:23 | All right, so I'd actually maybe like to
include that right after BD talks, so I'm going to
| | 05:29 | go ahead and position my playhead
right in between these two shots.
| | 05:33 | And as you can see, it sort of
magnetizes right in between these two shots.
| | 05:37 | This is called snapping. It kind of pulls to
that section and also the playhead turns yellow.
| | 05:44 | Now snapping is really nice to have
one when you're editing like this.
| | 05:47 | So if you'd like to make sure that the
snapping behavior is enabled, you just need to make
| | 05:51 | sure that this snapping button right here
is blue, and the keyboard shortcut is N.
| | 05:57 | So if I press N again, then you can see
that I don't really get that magnetic behavior.
| | 06:03 | If I press N again to turn it back on, it sort
of snaps right in there, so that's really nice.
| | 06:09 | So I want to put Owen's interview
right in between BD and Justin.
| | 06:13 | So I'm just going to put my playhead here and
press W to insert, and there's Owen's interview.
| | 06:19 | And just one last soundbite coming from
John Downey. Again, I have picked this section
| | 06:24 | out, I Favorite it, and I'm just going to
go ahead and play it so you can see what I'm
| | 06:27 | laying in here, I'll press Forward Slash.
| | 06:30 | (John Downey: --its freshness, its flavor,
it's just a much better product, it really is.)
| | 06:38 | All right, and I want that to go, I think
at the end, so I'm not going to worry about
| | 06:42 | positioning that playhead at the end,
I'm just going to press E to append.
| | 06:45 | And there's John Downey's interview.
| | 06:47 | I'm going to press Shift+Z to make sure I
can fit everything in, and let's go ahead
| | 06:51 | and just take a listen at my
interview base as it is now.
| | 06:54 | (BD Dautch: There is definitely a movement happening.
It's not just here, it's worldwide, and in a way,
| | 07:00 | like I said, it's a renaissance.
| | 07:01 | So many people now are aware that getting it
directly from the producer is the way to go.)
| | 07:06 | (Owen: Eating local is the way we should be eating.)
| | 07:08 | (Justin: I don't know how I'd run my restaurant
without all these farms, that's for sure.
| | 07:11 | This is where the magic starts.)
| | 07:12 | (John Downey: --its freshness, its flavor,
it's just a much better product, it really is.)
| | 07:18 | All right, I think we're well on our way to
laying a good foundation for this scene.
| | 07:23 | As you can see, inserting and
appending are great ways to add your material,
| | 07:27 | one shot at a time in any order that you like.
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| Changing shots: Using Overwrite and Replace edits| 00:01 | Once you have laid in the foundation for your sequence,
you'll often want to change a few things about it.
| | 00:06 | In this movie will explore the Overwrite and
Replace tools, which are two tools that let
| | 00:11 | you change the material that
you have edited in your sequence.
| | 00:14 | All right, so I'm going to go into 3.4.
| | 00:21 | And as you can see, we have the same
interviews that we have edited in previous movies,
| | 00:27 | and then we have similar B-roll that's going to
basically play over music as the film opens.
| | 00:33 | Now I think I'd like to
change out some of the B-roll.
| | 00:35 | For example, the second shot, I think is a
little long, and I think I'd like to break
| | 00:40 | it up with another shot or so right here.
| | 00:42 | All right, so I'm going to perform an
Overwrite Edit, and to do this I'm going to Mark
| | 00:48 | an in and an out around the
area that I'd like to replace.
| | 00:52 | So I'm mark an in right here, and maybe an out
about right there, and let's check the duration.
| | 01:02 | I have marked this section, and I'll Press Ctrl+D.
And I see that it's 5 seconds and 4 frames.
| | 01:10 | So let's find some material to overwrite.
| | 01:12 | So I'm going to go to Farm to Table
and Farm Scenery I think.
| | 01:17 | And I think what I would like to do is use this really
beautiful shot of the Orange Grove with the solar flares.
| | 01:26 | Okay, so let me just mark a
portion that like here, and it's great!
| | 01:33 | So let's check the duration of what
I have marked up here in the event library.
| | 01:37 | I just going to press Ctrl+D.
| | 01:40 | And this is 6 seconds and 6 frames, so it's a
longer than the portion that I have marked here.
| | 01:45 | Now for an Overwrite Edit, the duration that is
honored is the duration that's set in the timeline.
| | 01:51 | So when I perform this overwrite, what it's
going to do is take the first 5 seconds--
| | 01:56 | and let me just remind myself, 4 frames--
it's going to take the first 5 seconds
| | 02:01 | and the 4 frames of this shot and just
overwrite it right here, okay, so let me just
| | 02:06 | press D to overwrite, all right, so just to
prove to you I'll just press Ctrl+D, and it's
| | 02:14 | 5 seconds and 4 frames.
All right, perfect!
| | 02:18 | So if I kind of look at this shot, you know, I really,
actually kind of liked how the portion that
| | 02:26 | I marked ends right as we're looking straight at
this orange tree, so let me undo that, Command+Z,
| | 02:34 | and instead of the front timing the edit,
so instead of taking the 5 seconds and 4 frames,
| | 02:40 | this time I am going to back time it, so it's
going to take the last 5 seconds and 4 frames.
| | 02:46 | So instead of pressing D, I'm going to
press Shift+D to back time my edit.
| | 02:52 | Now it's pretty similar, but let's go ahead and just
watch it and see how it's just slightly different.
| | 02:59 | (video playing)
| | 03:04 | All right, so we're ending on the shot
of the Orange tree just like we like it.
| | 03:07 | All right, so that's overwrite.
| | 03:09 | Now an Overwrite Edit is a lot like a
Replace Edit, which is what I want to show you now.
| | 03:14 | So a Replace Edit is for swapping out shots.
| | 03:17 | So one shot I would like swap out
is this one here, the opening shot.
| | 03:22 | Let's get a sense for how long this shot is.
| | 03:24 | I'm just going to press Ctrl+D,
and it's 3 seconds and 23 frames.
| | 03:29 | And I'm thinking instead that I'd like to
open up with the extreme close-up of this
| | 03:35 | Orange here, so my idea is to start with
an extreme close-up of the orange, then back
| | 03:41 | out to the Orange Grove and then maybe to
this wider shot of the Orange Grove and then
| | 03:46 | we'll get footage of the fruit being harvested and
taken to the market and sold and all the way through.
| | 03:52 | I think that will help
illustrate the point of the program.
| | 03:55 | All right, so let's go ahead and mark the
portion that we like here, let's see, mark an in
| | 04:01 | and mark an out right before that Zoom out.
| | 04:05 | And let's just check the duration, Ctrl+D.
So that's 2 seconds and 1 frame.
| | 04:10 | All right, so this is
shorter than this shot here.
| | 04:14 | So I'm just going to click and drag and release,
and when I release, I get this pop-up dialog box,
| | 04:21 | and I want to take a look
at a couple of these options.
| | 04:25 | The first one just outright replaces the shots,
so regardless of duration, it's going to replaced
| | 04:30 | a shot, which when I do this, you can see that a shot of
the Orange was shorter, so it gets inserted into the sequence
| | 04:37 | and all of the other shots just
sort of slide down to accommodate.
| | 04:41 | All right, so I have exactly what I want, I don't
have that zoom out, and everything is looking good.
| | 04:46 | Let me Undo, Command+Z, and this time I'm
going to do the same thing except I want to
| | 04:52 | talk about Replace from Start
and Replace from End.
| | 04:55 | If I chose one of these options, then the shot
duration will be determined by the shot in the sequence.
| | 05:01 | And the replace edit will either front time
if I choose Replace from Start, or it will
| | 05:06 | back time if I choose Replace from End.
| | 05:09 | We talked about front timing and back timing
when we discussed the mechanics of Overwrite Edits
| | 05:13 | and this behaves the exact same way.
So here I'll choose Replace from Start.
| | 05:19 | And as you can see, the duration does not
change, the shot comes into the timeline,
| | 05:24 | but I have that zoom out which is not desirable.
| | 05:27 | So that is the consequence of this edit here,
so I'm going to Command+Z, and it looks like
| | 05:33 | we did just want the
outright replace in this case.
| | 05:38 | Now if I add something important that I wanted
to show near the out point in my orange shot,
| | 05:42 | then I would perform a Replace from End.
| | 05:45 | But as you can see, performing Overwrite
Edits and Replace Edits is a relatively simple way
| | 05:50 | to tweak your sequence
during the editing process.
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| Performing video- and audio-only edits| 00:01 | So far we have been exploring how to perform
edits to the primary storyline in various ways.
| | 00:06 | Now if you have noticed, we have been
cutting both video and audio in at the same time.
| | 00:11 | Sometimes, however, you need to
perform video-only or audio-only edits.
| | 00:16 | So in this movie, we'll take a look at
how and when you would want to do this.
| | 00:19 | All right, so I am going to go into exercise
3.5, and as you can see, we're kind of in the
| | 00:28 | same shape that we were in the last movie.
| | 00:31 | I want to replace this first shot with the close-up
of the orange before we get into the Orange grove.
| | 00:37 | So, I am going to go into Farm to Table Event
and Scenery, and let's go ahead and mark this
| | 00:45 | shot again in and out right there.
| | 00:50 | And this time instead of just
watching it, I want you to listen.
| | 00:54 | All right, so I'll press Forward Slash.
(video playing)
| | 01:02 | All right, so a very loud crow. We might
not want to include that in our edit.
| | 01:07 | So let's perform a video-only edit.
| | 01:10 | All right, so what I'm going to do is come
down to this little menu here and instead
| | 01:15 | of All with the keyboard shortcut of Shift+1,
I am going to choose Video Only with a keyboard
| | 01:20 | shortcut of Shift+2, and
notice that Audio Only is Shift+3.
| | 01:24 | So Video Only, and what I am going to do is
actually just insert this right here, because
| | 01:30 | I want to show you what
happens when you perform a replace.
| | 01:34 | So while we would want to perform a replace
here, I am just going to hold off just a little
| | 01:38 | bit so that I can show you the proper way.
| | 01:40 | All right, so we have got
a video-only edit set up.
| | 01:43 | I am going to press W, and you'll notice
that I don't have any audio waveform here,
| | 01:48 | and if I play this, we don't have any audio.
| | 01:54 | Now if I would have gone ahead and performed
the Replace edit, drag, drop and Replace,
| | 02:02 | notice that it doesn't work.
| | 02:03 | The Video Only Edit is not honored, I still
get audio when I perform the Replace Edit.
| | 02:09 | All right, so let's go ahead and just
remove this one, we want to keep this one.
| | 02:14 | We're going to talk about removing material
a little bit later in the course but I just
| | 02:18 | want to get rid of this for now.
I'm just going to click on it and press Delete.
| | 02:22 | So now my first short is Video Only, and I'm
going to need to obviously replace this with
| | 02:26 | some type of audio underneath the video.
| | 02:29 | Now I'm going to show you a really quick
way to fix this, something we'll go into much
| | 02:32 | more detail in a future movie, but I am going
to perform just a quick and dirty fix right now.
| | 02:37 | I am going to just double-click on the audio part of
this clip, and it basically breaks apart these elements.
| | 02:45 | Now I can just drag this over and the audio
from my Orange grove shot is now under the
| | 02:54 | video from my Orange close-up.
| | 02:57 | Okay, so again, this is something we'll go
into much more detail a little bit later,
| | 03:01 | but I did want to put some sort of
audio underneath this shot for now.
| | 03:05 | So, let's go ahead and take a listen.
(video playing)
| | 03:12 | All right, so we have got that very loud crow out
of the way and everything is looking pretty smooth.
| | 03:19 | Just a reminder, when you need to go back
to editing both video and audio, you need to
| | 03:23 | press Shift+1, so now I am back to editing
both, and as you can see, it's quite easy to
| | 03:29 | isolate the video or audio that
you want to include in each edit.
| | 03:34 | Now in most other track-based editing programs,
this operation is performed by enabling and
| | 03:39 | disabling track selectors, but in Final Cut Pro X
we make these decisions by the touch of a key.
| | Collapse this transcript |
| Moving clips within the primary storyline: Swapping shots and creating gaps| 00:00 | Adding Material to your sequence is only
part of the story, among other things it's also
| | 00:05 | important to be able to effectively
move material around within the timeline.
| | 00:09 | Let's take a look at the most
effective ways to do this in Final Cut Pro X.
| | 00:12 | All right, so I am going to go into 3.6.
| | 00:17 | Okay, so I have a sequence here, and it's
certainly coming along, but I think I'd like
| | 00:23 | to try out a few things.
| | 00:25 | And the first thing we want to try is to
switching a couple of these interviews here.
| | 00:29 | I want to switch these two interview
clips here so that Justin comes before Owen.
| | 00:34 | And I can easily do this by just clicking
on one of the clips and then dragging, in
| | 00:39 | this case I'll drag to the left, like so.
| | 00:42 | And we can see that Final Cut
basically does all of the work for me.
| | 00:45 | I just need to hover a long enough for the clip
to get out of the way and move over to swap places.
| | 00:49 | So, I'll just release,
and I have swapped my shots.
| | 00:53 | So you can do this for any clip anywhere in
the sequence. They don't need to be adjacent.
| | 00:57 | So, if want to John Downey's interview to
come over here, I do the same thing, release,
| | 01:03 | and that's all there is to it.
But I think I'll move him back for now.
| | 01:07 | Now when we swap shots like this, the
duration of the sequence never changes.
| | 01:12 | We are just changing the position of clips,
but not adding or subtracting anything.
| | 01:16 | Now if I want to add some space
between clips, I can't do it this way.
| | 01:21 | So, let's say I would like to put some
space before John Downey's soundbite.
| | 01:26 | Maybe I want to include some B-roll of this
restaurant before he comes on screen.
| | 01:30 | But notice that when I grab onto the
clip and move it to the right, like so.
| | 01:35 | it snaps to right back into position. This
is because Final Cut Pro X works in a magnetic
| | 01:40 | timeline where in the default edit mode,
everything remains attached and you cannot separate them.
| | 01:47 | So, if we want to introduce some space in
between these clips, we have to switch edit modes.
| | 01:52 | So, if we come up to this menu here, as
you can see right now we are using the Select tool,
| | 01:58 | whose keyboard shortcut is A.
| | 02:01 | This is the tool we use most
of the time for most editing.
| | 02:04 | If I open this menu and switch to the
Position tool, keyboard shortcut P, now things
| | 02:11 | they are going to behave a little bit differently.
| | 02:12 | So, I want to put up some breathing room in
between these two clips, I'll just drag on
| | 02:16 | to John Downey's clip, and
drag to the right, like so.
| | 02:21 | and release, and notice that when I do
this I create something called a Gap clip.
| | 02:26 | A Gap clip behaves exactly like a regular clip.
| | 02:30 | Now I am going to switch back over to the Select
tool real quick so I can show you what I mean.
| | 02:34 | So, I am just going to press A to switch back
to the Select tool, and now notice I can take
| | 02:39 | my Gap clip and drag it around and
swap shots just like regular clips.
| | 02:44 | Okay, I am going drag that
back over to where I had it.
| | 02:48 | If I had stayed on the Position tool, so I'll
press P, and I drag around my Gap clip,
| | 02:55 | something else entirely happens.
| | 02:56 | I'll drag it over, release, and you can see
that I overwrote that shot, so that's usually
| | 03:02 | not what you want, I'm going to undo that.
| | 03:05 | So, in general, when you're finished
workings with the Position tool, go ahead and press A
| | 03:10 | right away to get back into the Select tool.
| | 03:13 | If you forget to do this, you could end up
doing something you don't intend, and frankly
| | 03:17 | it's easy to forget, because the Position
tool looks so much like the Select tool.
| | 03:21 | So, bottom line, just make sure to re-enable the Select
tool, every time you're finished repositioning your clips.
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| Removing material from the primary storyline| 00:00 | So, we know how to add material to the timeline,
we know how to move material within the timeline,
| | 00:05 | the last main operation we need to cover
is removing material from the timeline.
| | 00:10 | Now there are several methods of
doing this which we will explore now.
| | 00:13 | So, I am going to go into 3.7, and
let's take a look at our removal methods.
| | 00:22 | Now sometimes you'll just need to remove an entire
clip from the sequence and then close the gap behind it.
| | 00:28 | So, say for example I would like to
get rid of Justin's interview altogether.
| | 00:31 | I am just going to click on the clip and
then press the Delete button on the keyboard.
| | 00:36 | When I do this, the clip is extracted and the
downstream clips shuffle in to fill in the gap.
| | 00:41 | The duration of the sequence shortens.
| | 00:44 | Let me undo that, Command+Z, and now I'll
show you the other basic way to delete material.
| | 00:50 | Rather than extract a clip, which
creates no gap, I'll now lift the clip out.
| | 00:55 | So, let say for example, that I like the timing
of my sequence, but I want a different shot here,
| | 01:02 | but I am going to search for it later.
So, I just want to lift it out.
| | 01:05 | I am going to select it, and this time I
am going to press Shift+Delete, or if I'm on
| | 01:10 | a full-length keyboard, you can just press the
Delete key to the left of the Home and End buttons.
| | 01:14 | So, as you see, lifting the clip removes the clip
from the sequence and replaces it with a gap clip.
| | 01:20 | When I do this, the Duration of
the sequence remains unchanged.
| | 01:24 | Now I can keep editing and then come back
and maybe I want to go in when I have some
| | 01:29 | time to find the clip that I'd like to replace there,
and maybe I want this clip here of the orchard.
| | 01:37 | I can just mark it, perform a Replace Edit,
and in this case I am able to perform this
| | 01:47 | on my own time, which could be later
in the day or even several days later.
| | 01:51 | Well, that's easy enough.
| | 01:52 | Now if I want to remove a partial clip or
several clips, I do the same exact thing,
| | 01:57 | but I first had to set in and out points.
| | 02:00 | So I am going to play BD's interview here and
like to get rid of the last part of what he says.
| | 02:04 | So, I am going to forward with J, K, and L, and then mark
with an in and out points the part I would like to extract.
| | 02:10 | (BD Dautch: --definitely a movement happening.
It's not just here, it's worldwide.)
| | 02:20 | Okay, I think I have got it.
| | 02:23 | (BD Dautch: In a way, like I said, it's a renaissance.)
| | 02:25 | So, I have just marked a portion of this clip,
and now I'm going to press the Delete key
| | 02:30 | to extract and just the portion that I
marked is gone, and let's take a listen.
| | 02:35 | (BD Dautch: --not just here, it's worldwide.
So many people now are aware that getting it directly--)
| | 02:42 | So, it needs a little bit of tweaking, but
in general it's okay. Later on I can trim that
| | 02:46 | to get it exactly perfect.
| | 02:48 | Now just one more thing about deletion, we
have just gone over the extracting and lifting
| | 02:53 | methods within the timeline, but what if you want
to delete something that's in your event library?
| | 02:58 | Well, if I click on the clip and
then press Delete, what happens?
| | 03:04 | It gives it a rejection.
| | 03:05 | So, we have already gone over what a rejection
is and that's certainly not deleting the clip.
| | 03:10 | Let me undo that by
pressing U or unrate the clip.
| | 03:14 | So, if I want to delete anything in the event
library, I right-click and choose Move to Trash.
| | 03:20 | Now this is actually going to move it to my
system's recycle bin so you can get it there
| | 03:24 | if you need it after you delete it.
| | 03:25 | I am not going to delete this right now, but
as you can see, it's a right-click, move to trash.
| | 03:29 | Rather than pressing the delete button,
you can also press Command+Delete.
| | 03:34 | So, as you can see, removing material is an
important process, and it's also very easy
| | 03:40 | to isolate precisely the
frames that you want to take away.
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| Understanding timeline navigation: Snapping, skimming, zooming, and panning| 00:00 | So we have got a pretty good foundation on the
basics of working within the Final Cut timeline.
| | 00:04 | I would like to take an opportunity in this
movie to just go through and review many of
| | 00:09 | the important navigation techniques that
will streamline your experience even more.
| | 00:13 | So I am going to hop into 3.8, and there are
couple of techniques that we have already covered,
| | 00:21 | which I'll briefly recount here, and then
I'll go over some additional tips as well.
| | 00:26 | I am going to start up
here in this general area.
| | 00:28 | Now we already know about Snapping.
| | 00:30 | When I have Snapping on then my playhead
is sort of magnetized to my edit points.
| | 00:37 | This is really useful for
a lot of editing functions.
| | 00:39 | If I want to turn that off I just press N,
and it's no longer magnetized, it's just kind
| | 00:45 | of free-floating playhead, and that's
also useful for several editing functions.
| | 00:49 | So most of the time I do leave that on, as
that is really handy, and I want to skip over
| | 00:54 | the Solo button for now
and go to Audio Skimming.
| | 00:57 | Now Audio Skimming simply enables a
digital audio scrub during skimming,
| | 01:01 | so if I turn that on and...
(video playing)
| | 01:10 | So, this can be really useful if you're
trying to find a particular audio edit cue.
| | 01:15 | You know but most of the time I turn this
off, because it tends to drive me a little
| | 01:18 | crazy if I'm going through the timeline like...
| | 01:21 | (video playing)
| | 01:22 | It's not a very good way to work.
| | 01:24 | So I tend to turn this off. You can do
that by pressing Shift+S and then whenever you
| | 01:29 | need it, Shift+S, and it's back on.
| | 01:32 | To the left of Audio Skimming is just the
Skimming controls, which lets you skim video.
| | 01:37 | Now this is on by default and allows me to
skim over clips without clicking my mouse.
| | 01:42 | If I want to turn this off, which I can do
by clicking on this button or by pressing
| | 01:45 | the keyboard shortcut S, then skimming is
disabled, and when I move my cursor around
| | 01:51 | in the timeline, I do not receive visual feedback.
This behavior now in the next, and prior versions
| | 01:56 | of Final Cut Pro, as well as
other major editing platforms.
| | 02:01 | If I do want visual feedback in the viewer,
I just click up here in this Timecode bar,
| | 02:06 | and that's how I receive my visual feedback.
| | 02:09 | Let's go ahead and turn that back on for now, so I'll
just press S, and I have have got my video skimming back.
| | 02:14 | Now let's talk about zooming.
| | 02:16 | To zoom into the timeline you just press Command+Plus
several times, Command+Plus, and it's always
| | 02:21 | going to zoom around my skimmer.
| | 02:23 | If I want to zoom out, I press Command+Minus
several times, and that's zooming out,
| | 02:29 | and if I would like to fill my entire
sequence in the timeline, I just press Shift+Z.
| | 02:33 | If I want to navigate from clip to clip, I
just press the Up and Down arrow, like so.
| | 02:37 | I press up to go backwards, and I
press the Down Arrow to go forwards.
| | 02:42 | If I want to nudge a clip to the left or
right, I just select the clip and then press the
| | 02:47 | comma key to move it one a frame to the left or
the Period key to move it one frame to the right.
| | 02:53 | I am going to zoom in here so that we can
see exactly what's going on, Command+Plus.
| | 03:00 | So as I am nudging this back and forth
with the Comma key and the Period key, you can
| | 03:06 | see that the area left
behind becomes a Gap Clip.
| | 03:11 | If I want to nudge the clips 10 frames to
the left or the right, I just select the clip
| | 03:15 | and then press Shift+Period to go to the
right 10 frames at a time or Shift+Comma to go
| | 03:21 | to the left 10 frames at a time.
| | 03:24 | And again, you can see what
happens with the Gap Clips.
| | 03:26 | And just to review, if I would like to play
a particular portion of the timeline, I just
| | 03:31 | mark an in and an out and then press the Forward Slash
key, which is the same key that the question mark is on.
| | 03:37 | (BD Dautch: There is definitely
a movement happening. It's not just here--)
| | 03:43 | And one last thing, if you are zoomed in
and you just want to pan around the Timeline,
| | 03:48 | I can come in into this menu here and get
the Hand button and then just sort of grab on
| | 03:55 | to the Timeline and move it around, like so.
| | 03:58 | So, there are some good tips and techniques
for some further timeline navigation methods.
| | 04:02 | I recommend that you use as many of these
as often as you can so that you can rely more
| | 04:07 | and more on your keyboard and less on your mouse.
Doing so will make you a faster and more efficient editor.
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|
|
4. Refining the Edit: Using Trimming ToolsTrimming clips: Using the Ripple tool| 00:00 | Getting the right material in the timeline in the
right order is certainly only part of the story.
| | 00:06 | Truly anyone can edit in that sense, because
honestly the mechanics of editing are not that difficult.
| | 00:12 | The real art of editing comes in the
trimming process, one frame at a time.
| | 00:17 | In this chapter on trimming we are going to
jump over to our other project, which is a
| | 00:21 | dialogue scene from the film Castles.
| | 00:23 | So, I'm going to pop into 4.1, and right now
keep in mind that this is a very basic rough cut.
| | 00:31 | It still needs a lot of work.
| | 00:33 | So let me play the first part of this sequence so
we can get some context on what we will be editing.
| | 00:44 | (male speaker: So, how's the coffee?)
| | 00:47 | (male speaker 2: It's cold.)
| | 00:49 | (male speaker 1: Did you finish it?
| | 00:56 | You know, I'm taking a big risk putting
you on this Columbia project.
| | 01:01 | Firm could be on the line here.
Six p.m. tonight. Simple deadline. Meet it.)
| | 01:12 | (male speaker 2: That's it? Six p.m., huh?
And if I'm a risky choice, then don't use me.
| | 01:21 | We all know what risky decisions lead to.)
| | 01:24 | Okay, I am going to stop there for now.
| | 01:26 | So the shots are laid in, but we have got
some pretty glaring timing and pacing issues.
| | 01:31 | Also, just so you know, this is the second
scene in the film, and its job is to set up
| | 01:36 | the problem, which is that Joseph, the architect,
is in some trouble. He's on a serious deadline
| | 01:41 | to come up with an idea for a building design.
| | 01:43 | So there's got to be some
tension here between these two men.
| | 01:47 | We need to use timing and
pacing to help tell this story.
| | 01:51 | Now where exactly do we start?
| | 01:53 | Well, we need to watch each
and every edit very closely.
| | 01:57 | We need to take a look at each of the
transitions in the sequence and ask ourselves
| | 02:02 | does this edit need to be changed?
| | 02:03 | Do we need to add frames or subtract frames? And
to do this we are going to use the Ripple tool.
| | 02:10 | And just real quick, it's easy enough to figure out
how we subtract frames, but how exactly do we add them?
| | 02:16 | Well, that goes back to when we were selecting
the In and Out points for the clips in our sequence.
| | 02:20 | Let me show you.
| | 02:21 | I am just going to select this clip and right-
click and choose Reveal in Event Browser, and as
| | 02:28 | you can see, this selection right here
matches with this selection right here.
| | 02:32 | So, this is the In and Out points, and we
have all of the frames to the left of the
| | 02:36 | In point and all of the frames to the
right of the Out point that are still available
| | 02:40 | to me during the trimming process.
| | 02:43 | This extra material is called Handle, so we
are going to use that a lot while we trim.
| | 02:47 | So, let's start at the
beginning and work our way forward.
| | 02:50 | Okay, so I am just going to park on the
first edit here, and Command+Plus to sort of zoom
| | 02:56 | in, and first, because I want to watch this
edit, I am going to use the Play Around command.
| | 03:01 | If you take a look up here in View > Playback,
Play Around is Shift+Question Mark, so it's
| | 03:08 | going to play a certain number of seconds before
and a certain number of seconds after this edit.
| | 03:15 | This is called Pre-Roll and Post-Roll.
| | 03:17 | And to determine those settings, you can go
to Final Cut Pro > Preferences and then under
| | 03:23 | Playback, Pre-Roll and Post-Roll Duration, we're
going to be going 2 seconds before and 2 seconds after.
| | 03:28 | All right, so I am going to press Shift+Question Mark,
and let's see what we think about this edit.
| | 03:36 | Okay, so what do we think?
Now, I recommend we take it one side at a time.
| | 03:43 | We are going to start with the A side of the
edit and then move to the B side of the edit.
| | 03:49 | And as far as this edit goes, I think we
need to try to match on action so that
| | 03:53 | Joseph's boss walks continuously through this
edit. Right now it's not very fluid.
| | 03:58 | All right, so I am just going to select the
A side, and I'll perform a basic ripple trim.
| | 04:03 | Now I can did this one of two ways, I
could just grab the edit and move it, like so.
| | 04:09 | or if I want to use the keyboard, I just
want to make sure the side is selected, and then
| | 04:13 | just use the Comma and Period keys.
| | 04:15 | I press Comma to trim one frame to the left
and Period to trim one frame to the right.
| | 04:22 | Again, because I'm always stressing keyboard
editing, I'm going to use the keyboard commands.
| | 04:26 | So, I think I'm going to let out the edit
by using the Period key to trim to the right
| | 04:30 | so that he walks a little
bit further into the space.
| | 04:36 | All right, I'm going to stop there for now.
| | 04:38 | Now I am going to jump over to the B side,
so I'll select the B side of the edit, and
| | 04:43 | we want to make sure that we see
him coming into the frame right there.
| | 04:47 | I'll probably be trimming all of this away.
| | 04:49 | So, I'll press Period to take away frames,
and let's go ahead and Play around the edit.
| | 04:57 | I'll just press Shift+Question Mark.
(video playing)
| | 05:04 | That's much more fluid.
It's matching on action. I think I like it.
| | 05:08 | All right, let's move on to the next edit.
I am just going to go ahead and select it
| | 05:11 | and press Shift+Question Mark.
(video playing)
| | 05:18 | We have got some problems there.
| | 05:20 | He is still walking here and
he is standing still there.
| | 05:23 | Let's try to do the same thing. Let's try
to match on action. This time I am just going
| | 05:27 | to drag to kind a see what I have got.
And notice that when I drag, I see two monitors.
| | 05:33 | What I'm seeing are the last frame on the A side
clip and the first frame on the B side clip.
| | 05:40 | Now if you don't see that this, then again,
you would need to come up to Final Cut Pro >
| | 05:44 | Preferences, and then under Editing you
need to choose Show detailed trimming feedback.
| | 05:50 | If you have this unchecked, you are
not going to get those two monitors.
| | 05:53 | All right, so let's go ahead and make sure
that he is still moving on the A side,
| | 06:02 | and you can kind of see that I have about the
right moment there, and let's drag over here
| | 06:08 | and make sure that he is
still moving in this shot.
| | 06:13 | He is got the forward momentum. Many times
editors try to match on action like this.
| | 06:19 | It really tends to hide the edit.
| | 06:20 | All right, so I'm going to Play Around the edit,
let's go ahead and press Shift+Question Mark.
| | 06:26 | (video playing)
| | 06:34 | All right, well, I think that the forward
momentum works. It does help hide the edit.
| | 06:40 | This is quite short.
| | 06:41 | Let's just check, Ctrl+D, it's a little
over a second long, but I do like that it sort
| | 06:47 | of sets up the space between the two men,
and I'm going leave it there for now.
| | 06:52 | I think it's working well.
| | 06:53 | But that is something that I might let out
and make longer in a second pass on my trimming.
| | 06:59 | This also opens up quite a few seconds before
he starts talking, but I think it really works,
| | 07:04 | because we have this tension
between the two men that we need to show.
| | 07:08 | So, I am just going to play here and
into the next edit and see what I think.
| | 07:17 | (male speaker: So, how's the coffee?)
| | 07:20 | (male speaker 2: It's cold.)
| | 07:22 | (male speaker 1: Did you finish it?)
| | 07:24 | All right, so I do think
that this works pretty well.
| | 07:26 | Let's go to this one, though. He answers much too
quickly for the tension that's in the scene.
| | 07:30 | So, let's go ahead play around this edit
and see what we think, Shift+Question Mark.
| | 07:35 | (male speaker: So, how's the coffee?)
| | 07:37 | (male speaker 2: It's cold.)
| | 07:40 | He really can't even look at his boss until
this moment, and I think we need to stress that.
| | 07:46 | So let's go ahead and just let out some
frames on the B side to increase the tension here
| | 07:49 | and see what we think.
| | 07:50 | So, I am just going to press
the Comma key to trim to the left.
| | 07:55 | He still can't look at him, he still can't
look at him, and I think maybe about right there.
| | 08:03 | All right, I am going to Play
around the edit, Shift+Question Mark.
| | 08:08 | (male speaker: So, how's the coffee?)
| | 08:10 | (male speaker 2: It's cold.)
| | 08:13 | Maybe a couple more frames.
Okay, let's see if we like it.
| | 08:20 | (male speaker: So, how's the coffee?)
| | 08:22 | (male speaker 2: It's cold.)
| | 08:25 | Very good! And if I wanted to include this entire line
there, I could go up to Final Cut Preferences
| | 08:30 | and increase my Post-Roll,
but I think that's pretty good.
| | 08:33 | So, I'm going to continue on in this manner
going from transition to transition, watching,
| | 08:38 | making sure the A side is looking good, making
sure that the B side is looking good and then
| | 08:42 | playing it and watching it again.
| | 08:45 | And remember, we're using the timing and
pacing to speak the scene's mood and intention.
| | 08:50 | We have got a lot of tension here,
and we have got to show that.
| | 08:53 | Then once I get through each and every edit
in the scene, I am going to watch the whole
| | 08:56 | thing again and make sure
that I'm happy with my decisions.
| | 09:00 | Trimming is so much about
relying on your instincts.
| | 09:02 | So, take your time and make
sure you do this part well.
| | 09:05 | It's truly a thing that sets
great editors apart from the rest.
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| Manipulating transitions: Using the Roll tool| 00:00 | Trimming your shots is so important, and in
the previous movie we saw how ripple trims
| | 00:05 | can help you improve the timing and pacing of a
scene by working on one side of an edit at a time.
| | 00:11 | Now sometimes, however, it's beneficial to be
able to manipulate both sides of the transition
| | 00:16 | simultaneously, and this is called a Roll Edit.
| | 00:19 | Let's go into our 4.2 sequence, and usually
you won't use a roll edit for normal trimming,
| | 00:26 | because honestly when you're adding frames
to the A side, chances are you don't need
| | 00:31 | to simultaneously subtract the
same number of frames from the B side.
| | 00:34 | Now that just isn't practical.
| | 00:36 | However, you do use roll edits all the time
when you create split edits or L cuts which
| | 00:42 | is what you do when you trim the video
but not the audio of a cut or vice-versa.
| | 00:48 | So let me just zoom in a little bit here,
Command+Plus, and so what are roll edits useful for?
| | 00:55 | Well, it's useful when you have a scene
with two people talking, and you want to cut to
| | 00:59 | the reaction of one of the non-speaking
characters either before or after the cut.
| | 01:05 | So let's take a look at how to do this.
| | 01:06 | All right, so by default when on I click on a
transition with the Select tool, I can select
| | 01:11 | only the A side or the B side of
the edit, not both simultaneously.
| | 01:17 | But if I come to this menu here and switch
to the Trim tool, keyboard shortcut T, now
| | 01:24 | notice that I can select
them both at the same time.
| | 01:28 | Okay, now I have got this edit selected, about
38 seconds in, I am just going to play around
| | 01:33 | the edit, Shift+Question Mark so
we can see what's going on here.
| | 01:38 | (male speaker: Meet it.)
(Joseph: That's it?)
| | 01:41 | Joseph's boss is telling him to meet the
deadline and Joseph is kind of reacting in disbelief.
| | 01:48 | Now what I want to do is
actually show Joseph's boss walk away.
| | 01:53 | We can't actually see him do that.
| | 01:55 | Now if I was to roll the
edit to the right, like so,
| | 01:59 | you can notice in the A side
clip that he starts to walk away.
| | 02:03 | But now if I release, let's take a look at
what happened to this Edit, Shift+Question Mark.
| | 02:11 | (Joseph: Six p.m., huh?)
| | 02:13 | I roll right over the beginning of Joseph's
dialogue, and that isn't what I want to do at all.
| | 02:18 | So let me Command+Z to unto that, and we want to talk
about how we can trim just the video and not the audio.
| | 02:25 | So the way that we do this in Final Cut Pro X
is to select the clips that you want to
| | 02:29 | separate the video and audio from, and then I am
going to right-click and choose Expand Audio/Video.
| | 02:37 | Now when I click on the video, notice that I can
roll just the video, and the audio remains intact.
| | 02:44 | So let's go ahead and see Joseph's boss
walk away, and we are not rolling over Joseph's
| | 02:51 | audio, so let's go ahead and take
a listen to see how this works now.
| | 02:55 | (male speaker: Meet it.)
(Joseph: That's it? Six p.m., huh?)
| | 02:59 | Okay, so we were able to create this split
edit, and it's called a Split Edit or an
| | 03:07 | L Cut or a J Cut in this case because we have
split the audio from the video, but everything
| | 03:12 | remains in sync, and we
haven't destroyed anything.
| | 03:15 | Also when I am rolling a shot, all of the
keyboard shortcuts from rippling still apply.
| | 03:20 | So I can use my comma and period keys to
roll back and forth, one frame at a time.
| | 03:28 | Now when you are done working with the clips
in the Expanded form, you can close them back
| | 03:33 | up by selecting them and then right-clicking
and choosing Collapse Audio/Video or keyboard
| | 03:40 | shortcut Ctrl+S, and now everything is wrapped up,
and I'll just zoom out a little bit, Command+Minus,
| | 03:46 | and you can kind of see that there's an
indication that we have this split edit here,
| | 03:52 | but when we play it, everything looks good.
| | 03:54 | (male speaker: Meet it.)
(Joseph: That's it? Six p.m., huh?)
| | 03:59 | Let's just try one more.
| | 04:02 | So let's come downstream, and let's take a
look at a couple of these edits and see if
| | 04:06 | there are any opportunities for a Roll edit.
| | 04:09 | (Joseph: ...then don't use me.
We all know what risky decisions lead to.
| | 04:15 | The company's in free-fall and you want to
take risk again. It's a creative approach.)
| | 04:23 | Maybe right there.
| | 04:25 | As Joseph is finishing his line, maybe we can
cut to his boss' reaction a little bit early.
| | 04:31 | So again, I don't want to just roll right
here with the video and audio, I want to select
| | 04:37 | these clips, press Ctrl+S to break them apart,
then select just my video and roll over and
| | 04:46 | catch him turning around like saying, "What are
you talking about?" and let's see how this looks.
| | 04:54 | (Joseph: ...free-fall and you want to
take risk again. It's a creative approach.)
| | 05:01 | I think I like it.
It's pretty tense there.
| | 05:05 | Let's go ahead and close up these clips, so
I will just select them, press Ctrl+S, and
| | 05:10 | we are back just in Normal mode.
| | 05:12 | Now just as with other types of tools, as
soon as I'm done using the Trim tool, I am going
| | 05:16 | to press A to get back to the Select tool
so that I can perform most of the other basic
| | 05:22 | types of edits that can only
be done with the Select tool.
| | 05:25 | But bottom line, I will continue rolling
through the sequence, making sure that I'm showing
| | 05:28 | the right image at all times while not sacrificing all of
the important work I did in getting the audio perfect.
| | Collapse this transcript |
| Changing clip content and position: Performing Slip and Slide edits| 00:01 | So this entire chapter on trimming is all
about manipulating transitions, and we have
| | 00:05 | already seen some very important forms
of this through rippling and rolling.
| | 00:10 | Now there are two more forms of trimming that we
will explore in this movie called slipping and sliding.
| | 00:14 | I am going to go into 4.3,
let's talk about slipping first.
| | 00:21 | When you perform a Slip Edit, you change a
shot's content but not its position or duration.
| | 00:28 | I have got a marker here, and I'm going to
zoom in, Command+Plus. So what a slip is
| | 00:34 | it's essentially leaving a clip parked right
where it is but reaching into the shot handles
| | 00:40 | to pick a different set of
frames to include within the shot.
| | 00:44 | So I want to play this, and I have got a reaction
shot here of Joseph which I think is positioned
| | 00:49 | nicely, but I am not convinced that
the shot itself is really working.
| | 00:53 | So let me play through with these
couple of shots to show you what I mean.
| | 00:58 | (video playing)
| | 01:05 | So he is coming up, again, we have this tension,
and I have inserted this reaction shot from
| | 01:11 | Joseph and then his boss speaks.
| | 01:14 | Now I think it would be better if the shot
of Joseph wasn't just of him looking straight
| | 01:19 | ahead, but he is looking down, he can't
even look at his boss, so what we want to do is
| | 01:24 | reach into an earlier point in time into
the shot's handles and bring it into this space
| | 01:29 | that the shot is occupying.
| | 01:31 | What I am going to do is enter Trim mode,
which again, I can do by accessing it from
| | 01:36 | this menu or by pressing T on the keyboard,
and I just click on the clip and then drag
| | 01:43 | it in the direction that I want to access.
| | 01:45 | I know that he is looking down earlier, so
I am going to drag to the right, and notice
| | 01:50 | up here in my monitors that when I drag to the
right, I am accessing earlier points in times.
| | 01:56 | So I am going to drag, drag, drag, drag, drag,
until I see that he is looking down, right
| | 02:06 | about there, so he is looking down, he can't
even look at him, and I am going to release.
| | 02:12 | Now let's go ahead and play, again, we have changed
the shot content, but not its position or duration.
| | 02:19 | Let's see how it's working, and I like it.
| | 02:28 | Again, if I want to access earlier points
in time, I drag to the right, if I want to
| | 02:32 | access later points in time, I drag to the
left, and you can see visually pretty well
| | 02:37 | what's going on if you look at the clip itself.
| | 02:40 | So you can also use the keyboard, you just
need to make sure you are in Slip mode which
| | 02:45 | you know that you are by looking at these
yellow brackets that are on the inside of
| | 02:49 | the clip, you can use the period and comma key
just like you could with other forms of trimming.
| | 02:54 | I am slipping to the left by using the comma;
I am slipping to the right by using the period.
| | 03:02 | It is nice to be able to drag, to be able
to see both the beginning and end frames of
| | 03:07 | the first and last part of the clip when I
am looking at this detailed trimming display.
| | 03:14 | Let's try that out, and I am just
going to play and see how I like it.
| | 03:21 | I think that works pretty well. So that's slip.
| | 03:24 | Now I would like to discuss Slide, which is changing
a shot's position, but not its content or duration.
| | 03:31 | When you slide a shot, you actually change
where it's positioned between two adjacent shots.
| | 03:36 | I am going to press Shift+Z to fit it into
the Timeline window, and then I have another
| | 03:41 | marker down here where I
think I'd like to slide a shot.
| | 03:45 | So I am going to zoom in, Command+Plus, and
I am going to play this part of the sequence
| | 03:50 | so we can see what's going on.
| | 03:54 | (Joseph: That's it? Six p.m., huh?
And if I'm a risky choice, then don't use me.)
| | 04:03 | As you can see, we have a shot of Joseph's boss
here, and he is walking away, and then he stops short.
| | 04:10 | So I like the shot content, and I like how
long it is, but I think it would be better
| | 04:15 | if it was positioned a little earlier,
closer to where Joseph delivers his line.
| | 04:20 | So that's where slide comes in.
| | 04:22 | To slide a shot, I am going to enter Trim mode--
and I am actually already in Trim mode, so
| | 04:26 | Trim mode is T on your keyboard--and then
instead of just clicking and dragging, which is going
| | 04:31 | to get into Slip mode, I'm
going to Option-click and drag.
| | 04:34 | And notice that when I do this, the
clip literally slides back and forth.
| | 04:41 | Okay, and if I want to position it earlier,
I'm just going to go to the left, and I also
| | 04:47 | can do this on the keyboard, just make sure
that I'm in slide mode, which means my yellow
| | 04:51 | brackets are on the outside and then
just press my comma and period key, like so.
| | 04:58 | Let's go ahead and check out this edit.
| | 05:02 | (Joseph: Six p.m., huh?
And if I'm a risky--)
| | 05:08 | All right, I think that's better.
| | 05:10 | So our cutaway at him stopping short is coming
much closer to the thing that he's reacting to,
| | 05:14 | so it's not so far downstream.
| | 05:16 | All right, so that's slide, and you will
notice that I already put myself back into
| | 05:21 | Select mode by pressing A. Again, if I am in Trim
mode, I just press A, I am back in the Select
| | 05:26 | mode, and I am ready to go.
| | 05:28 | So, as you can see, slipping and sliding shots
are really great additional ways to manipulate
| | 05:33 | your transitions by dynamically changing your shot
content or position, thereby improving your edit.
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| Using the Precision Editor for fine trimming control| 00:00 | Manipulating transitions through the process
of trimming is very powerful, but sometimes
| | 00:05 | you're doing it a little blindly, that is
the shot handles that you need to access frames
| | 00:10 | for trimming are essentially hidden, so you're never
sure exactly how many frames you have to work with.
| | 00:15 | Let me show you what I mean.
| | 00:16 | I am going to go into 4.4, and for this
demonstration I am going to go back into Farm to Table,
| | 00:23 | because this is best shown with clips that
have shorter and more unpredictable handles,
| | 00:28 | and the clips in the narrative project we
had been working with have much longer handles.
| | 00:31 | So, we are going to learn
about the Precision Editor.
| | 00:34 | So, this is a basic montage. Just mechanically
speaking, let me show you a few things.
| | 00:40 | If I click on this clip here and perform a ripple
edit, and I extend to the right, do you see that?
| | 00:47 | I run out of frames, that's because the source
clip that the shot originated from just doesn't
| | 00:51 | have any extra handle in this case.
| | 00:54 | So, if I undo this, Command+Z, and perform a
Roll edit, go into Trim mode and then just
| | 01:00 | grab onto this transition and do the same thing,
you can see that I run into the same problem.
| | 01:05 | Any type of trimming is restricted by the
number of available frames that I have, but
| | 01:10 | essentially we can't see that this is a
case until we have already run out of frames.
| | 01:13 | So, if you are working with a sequence
with a lot of shorter clips like this one, you
| | 01:18 | may want to work with the Precision
Editor to be able to see your handles.
| | 01:23 | So to show my Precision Editor, I am going
to go back into Selection mode, press A, and
| | 01:29 | I am just going to double-click on this
transition, and the Precision Editor opens up, and you
| | 01:35 | can see the handles of the A side
shot and B side shot.
| | 01:40 | This gives me some sense of what I can do, and
if I need to make changes, I know ahead of time.
| | 01:45 | Now not only does this give me the awareness,
but I can do all of my editing right from
| | 01:49 | within the Precision Editor.
| | 01:51 | So, if I want to perform a ripple edit, I
just click on the clip, like so, and drag,
| | 01:56 | and mechanically you can kind a see what's
happening. I am performing all of the mechanics
| | 02:01 | of a ripple and manipulating one side of the
transition, while everything else remains untouched.
| | 02:07 | But what it's doing is allowing me
to see what's going on under the hood.
| | 02:11 | If I want to perform a Roll Edit, instead
of dragging the clip itself, I come down to
| | 02:16 | this little slider in the middle.
| | 02:18 | Again, as I do this, watch that the mechanics
of this edit are identical to that of a Roll Edit.
| | 02:24 | Both transition points
are moving simultaneously.
| | 02:29 | But again, we get a good sense of
what's going on underneath the hood.
| | 02:32 | If I want to move on to the next edit, I
just use my up and down keys, notice how I can
| | 02:36 | hop from one transition point to the other,
and I'm really seeing all of the handle available
| | 02:42 | to me on each of these clips.
| | 02:44 | Notice on this one I don't have any end
available to me on either of these clips,
| | 02:49 | so trimming would not be possible.
| | 02:51 | To exit the Precision Editor, I just double-click on
the slider in the middle, and everything closes back up.
| | 02:56 | So, as you can see, the Precision Editor is
a really nice way to give yourself a little
| | 03:01 | more awareness of what's going on with clips
that don't have as much handle to work with.
| | 03:06 | The way I typically work is that I edit
without the precision editor most of the time, but
| | 03:10 | if I run into a section of the sequence where I
have a lot of clips without many extra frames,
| | 03:15 | then I'll enable the Precision Editor and
dive into work with it for a little while,
| | 03:19 | as they can certainly help in
fine tuning that type of situation.
| | 03:23 | However, I do know editors who like working with it
so much that they leave it enabled much of the time.
| | 03:28 | You'll just have to experiment with it to
determine exactly how you would prefer to work.
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|
|
5. Beyond the Primary Storyline: Exploring Connected Clips and Secondary StorylinesConnecting clips to the primary storyline| 00:00 | As we're aware by now, Final Cut Pro X is
built upon the principle of building sequences
| | 00:05 | on storylines rather than tracks.
| | 00:08 | Now, so far we have only been working in the Primary
Storyline, where we build the foundation of the program.
| | 00:14 | Now we can add some
supplementary material to that foundation.
| | 00:17 | So in this movie we're going to explore
the first type of supplementary material that
| | 00:21 | we can work with called Connected Clips.
| | 00:24 | So I am going to go into the 5.1 project,
and I am back into the Farm to Table project,
| | 00:30 | and we have got our basic
foundation of our into laid down.
| | 00:34 | But let's continue to lay down our B-roll.
| | 00:35 | We have got a few opening shots of the close-up
of our fruit and then out to the orchards.
| | 00:41 | So let's continue with visuals of harvesting and the
farmer's market and so on over these interview clips.
| | 00:48 | In most other track-based editing applications, you
have several methods in which you can lay down B-roll.
| | 00:54 | One way is to overwrite the B-roll
on the existing video tracks.
| | 00:58 | So if I go into Farm to Table, and I want to
go into the On the Farm keyword collection,
| | 01:04 | let's say that I want to bring this bringing
the boxes in from the orchard shot
| | 01:11 | down here as BD begins talking.
| | 01:14 | So let's talk about what would
happen if we did overwrite this.
| | 01:17 | So I am just going to mark an in and an out
in the Timeline where I want this to occur.
| | 01:23 | And let's mark this shot here.
| | 01:26 | We want Video Only, so we want to make sure that
we're only bringing video down and keeping the audio.
| | 01:32 | But look what happens, if I press D to
overwrite, and I play through this section,
| | 01:43 | that's not what we want at all.
| | 01:45 | So, as you can see, overwriting doesn't work
in Final Cut Pro X. It literally overwrites
| | 01:49 | the entire section of the Primary Storyline
even if you are bringing down a Video Only edit.
| | 01:55 | So let me undo this, and I am going to move myself
back to video and audio, because that's not what we do.
| | 02:02 | Now the other way that you can add B-roll
in other track-based editing applications,
| | 02:05 | and the way that you need to do in Final Cut Pro X
is to actually add the B-roll physically
| | 02:11 | above the existing footage.
| | 02:14 | So in other applications you just add it to
a higher existing video track, but in
| | 02:19 | Final Cut Pro X there are no tracks, so instead you add
it in the form of something called a Connected Clip.
| | 02:26 | So how you do this?
| | 02:27 | You just place the Playhead at the location
where you want the connected clip to be added in,
| | 02:31 | we have got our shot marked, and instead
of using any of the editing methods that we
| | 02:37 | know so far, we're going to use a different
method called a connect to storyline edit.
| | 02:42 | This corresponds to this on-screen key
right here, or the Q key on the keyboard.
| | 02:50 | So I am just going to press Q.
| | 02:53 | We can see that the clip is physically above my interview,
and when I play it we see the shot but still hear BD.
| | 03:02 | (BD Dautch: There is definitely a movement happening.
It's not just here, it's worldwide.)
| | 03:07 | So we have got our B-roll, and if I zoom in
here, Command+Plus, you can see that this
| | 03:13 | shot is literally anchored to
the shot below it right here.
| | 03:18 | If I move the clip on the Primary Storyline,
then the connected clip literally moves with it.
| | 03:25 | If I should delete this clip on my Primary
Storyline--I'll press Delete on the keyboard--
| | 03:30 | the connected clip goes away. Let me undo,
then I am going to zoom out just a little bit.
| | 03:37 | Now notice that I can remove my connected
clip and the connection point moves with it,
| | 03:43 | if I wanted to, I could attach it to another clip on
the Primary Storyline, and now this where it's anchored.
| | 03:51 | So that connection point
is an important element.
| | 03:53 | I am going to move it back to BD.
| | 03:56 | This is certainly a new way of working if
you're coming from another application,
| | 03:59 | so it might take a little getting used to.
| | 04:01 | In the meantime, let's go ahead and edit
another connected clip to fill out our B-roll.
| | 04:06 | So after the shot of the boxes coming out from the
orchard, let's go to a shot of boxes coming off the truck.
| | 04:13 | So I am just going to market, and I could
position my Playhead and press Q again, but
| | 04:19 | I also want to show you that you can click
and drag, and you can see that connection
| | 04:24 | point is right here above BD. I want to make sure
that it snaps right next to the pervious clip, like so.
| | 04:32 | And I am going just going to
zoom out just a little bit here.
| | 04:36 | And now we have got two shots of B-roll and
they're both connected to this shot on the
| | 04:42 | Primary Storyline, they
are literally anchored there.
| | 04:46 | If I play this and decide that this clip is
too long, I can shorten it with a ripple edit.
| | 04:53 | Now there are some limitations about what
we can do here on the connected clips, and
| | 04:56 | we're going to explore that in our next movie.
But in general, ripple edits are okay.
| | 05:01 | If I ripple from this side, notice that it
behaves a little bit differently but I can make it work.
| | 05:07 | So let's go ahead and play
over this and see how we like it.
| | 05:11 | (BD Dautch: There is definitely a movement happening.
It's not just here, it's worldwide, and in a way,
| | 05:17 | like I said, it's a renaissance. So many people now--)
| | 05:19 | All right, so I am going to continue adding B-roll
on down the line until all of my talking
| | 05:25 | heads are covered with interesting visuals.
Now I can also do this with audio.
| | 05:31 | I know that I want music to go under this
video, and so I am just going to park at the
| | 05:35 | very beginning of the sequence and press
Shift+Z to fit everything in our timeline.
| | 05:41 | And my music that I want to use is
this one right here, the Silent Charm.
| | 05:47 | Now I want to get the right length, so I am
going to go to the very end here, and I have
| | 05:51 | got 38 seconds from this sequence, so I'm
just going to click on this one, and as you
| | 05:57 | drag here you can see how long this is.
So I'm going to get roughly 39 seconds here.
| | 06:03 | So I have got enough music to
cover this entire sequence now.
| | 06:06 | So I'm going to park and again just press Q.
| | 06:10 | And now I have got my music
coming underneath all of my video.
| | 06:16 | If I zoom in here, Command+Plus, notice that
the audio, too, has a connection point.
| | 06:23 | So if I move this around it's going to be
connected, if I delete my orange shot, the
| | 06:29 | audio is likewise deleted, so let me undo that.
| | 06:33 | So again just be aware when you are working
with clips on the Primary Storyline what's
| | 06:38 | going to happen to the
associated connected clips.
| | 06:41 | Shift+C, so I'll just continue in this manner,
laying in my connected clips, adding them
| | 06:47 | as supplementary footage
to the Primary Storyline.
| | 06:50 | For now just be aware of how the connection
points come into play with the clips in the
| | 06:54 | Primary Storyline, and we'll explore this dynamic
in more details as we continue through the course.
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| Understanding the features and limitations of Connected Clips| 00:00 | When working with connected clips, you'll no
doubt encounter some pretty different behavior
| | 00:05 | from those editing
operations on the Primary Storyline.
| | 00:08 | I want to go through some of these in this
movie and then in the following movie we'll
| | 00:12 | explore some solutions to work with
some of these different behaviors.
| | 00:15 | I am going to go into 5.2.
| | 00:18 | I have our Farm to Table sequence here with
some more connected clips, and the first thing
| | 00:25 | I want to show you is moving clips around.
| | 00:28 | So in the Primary Storyline, as you can see,
I can just move clips around with ease, I
| | 00:33 | drag, it makes room for it,
and it's no problem at all.
| | 00:37 | Now when I go to do that with
connected clips, you can see what happens.
| | 00:42 | What this is doing is preventing a clip
collision and the clip that I am displacing goes up
| | 00:47 | a level to accommodate the shot moving over.
Let me take that back, and it comes back down.
| | 00:55 | Now notice that if I don't even try to fully
swap the shots and just move it over
| | 00:59 | a tiny bit it still goes up.
| | 01:02 | So that's moving clips, let me undo that,
and now let's talk about trimming clips.
| | 01:08 | If I want to perform a basic ripple trim
in the Primary Storyline, notice that when I
| | 01:14 | do so, all other clips accommodate,
they have rippled down and fill in the gap.
| | 01:19 | This is the case if I perform
an A side trim or B side trim.
| | 01:24 | But if I try to ripple a connected clip to
make it longer, something very similar to
| | 01:28 | before happens where it pops up a level to
accommodate, basically because it needs to
| | 01:34 | keep these anchor points intact.
| | 01:37 | Let me undo that, and notice
that when I take away frames.
| | 01:42 | For example, from the A side here, instead
of everything rippling in to fill in the gap,
| | 01:48 | it's going to basically trim away
frames and leave nothing in its wake.
| | 01:54 | If I trim away frames from the B side it looks
like a traditional ripple, and I'll undo that.
| | 02:02 | Now let me enter Trim mode and perform a roll, so
I am going to press T and click on Transition,
| | 02:10 | and this is rolling just
as I would expect it to.
| | 02:13 | But notice that when I come up to a connected
clip in Trim mode, I physically cannot enter a roll.
| | 02:19 | It's just letting me ripple but I
cannot even activate a roll by having both
| | 02:24 | sides of the transition
selected, so rolls are not possible.
| | 02:28 | Now while still in Trim mode, let's
take a look at slip and slide edits.
| | 02:32 | Now just to remind you, slip edits in the
Primary Storyline let me change the shot
| | 02:37 | content but not its position or duration,
and this is actually something that works
| | 02:42 | in a connected clip, so you can see that a
Slip Edit works just fine, it stays put, and
| | 02:48 | it's allowing me to access the shot's handles.
However, a Slide Edit is not possible.
| | 02:53 | Again, in the Primary Storyline if I Option-drag this clip,
it's allowing me to slide it between two adjacent clips.
| | 03:00 | But if I Option-click here notice that I
just can't activate the slide at all,
| | 03:06 | it's only letting me slip, even
though I am holding down Option.
| | 03:10 | So I know this all might seem a little random,
how you can do some things, sort of do other
| | 03:15 | things, and still not be
able to do other things.
| | 03:18 | But this has to do with the nature of the
way the connected clips attach to and interact
| | 03:23 | with the Primary Storyline.
| | 03:26 | They are simply not treated as standard
clips with standard editing capabilities.
| | 03:30 | However, if you want to convert connected
clips to an environment where they can perform
| | 03:35 | many of those basic editing functions, there is
a way which we will explore in the next movie.
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| Working with secondary storylines| 00:00 | In this chapter we have been exploring the nature
of how connected clips interact with the primary
| | 00:05 | storyline, how they serve us well,
as well as what limitations exist.
| | 00:11 | In this movie we'll explore secondary storylines
which can offer us the flexibility and functionality
| | 00:16 | we often desire with supplemental material.
| | 00:20 | So I'm going to go into 5.3, and again, I
have here our sequence with plenty of connected
| | 00:27 | clips, and as you can see, they
each have their own connection point.
| | 00:33 | This can often be difficult to negotiate all
of these various connections when you're still
| | 00:37 | in the process of fine tuning your sequence.
| | 00:40 | Connected clips can start colliding, and as we
explored previously, this can become a problem.
| | 00:47 | So I'm going to undo that, and I want
to talk about some solutions now.
| | 00:52 | So a really good workflow to pursue is
that when you have added several connected clips
| | 00:56 | together, and you're relatively certain
that they are generally in the right place, you
| | 01:01 | can convert the clips to a secondary storyline.
| | 01:04 | Now when you do this, all of the basic editing
functionalities of clips on the primary storyline
| | 01:10 | return to these clips.
Let's take a look at how to do this.
| | 01:15 | So all I'm going to do is select these clips,
and then I'm going to right-click and choose
| | 01:20 | Create Storyline or Command+G.
Now as you can see, several things happened.
| | 01:27 | I have this sort of bar above all of the clips,
but notice that I no longer have the separate
| | 01:33 | connection points, I only have one.
| | 01:36 | So the secondary storyline is only connected
to my primary storyline in a single location.
| | 01:42 | This certainly makes
things easier on many levels.
| | 01:45 | Let's explore how our basic editing functions
have been restored in our secondary storyline.
| | 01:52 | So before, we weren't able to swap shots,
but notice how now I can, everything behaves
| | 01:57 | just like I would expect.
| | 02:00 | Notice that when I ripple edit, everything
behaves just like I would expect in the primary
| | 02:04 | storyline, on the A or B side.
| | 02:08 | Notice that I can enter trim mode, press T,
and perform Roll Edits just like I would expect
| | 02:14 | in the primary storyline, something
I could not do with connected clips.
| | 02:19 | And notice that while in Trim mode, I not only can perform
Slip Edits, but I can also perform Slide Edits.
| | 02:27 | When I press Option, I can actually slide
these clips between the two adjacent clips,
| | 02:31 | something that was not
possible with connected clips.
| | 02:35 | So basically, if you would like to edit in
the same fashion that you do in the primary
| | 02:40 | storyline, then you'll want to convert your
connected clips to a secondary storyline.
| | 02:46 | Now if you should ever want to break them
back out into separate connected clips, you can.
| | 02:50 | Just select the entire storyline and
then come up to Clip and Break Apart Clip Items,
| | 02:58 | and that's Shift+Command+G.
| | 03:01 | And now you have got your connected clips back
with all of the separate connection points
| | 03:05 | and all of the functionalities of connected clips.
| | 03:09 | But by and large, you are going to be going
the other way most of the time, converting
| | 03:12 | your connected clips to a secondary storyline
so that you can reduce the connection points
| | 03:19 | and add your basic editing functionality.
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|
|
6. Basic Audio EditingAdjusting the audio level and channel configuration via the Inspector| 00:00 | So, up to this point, we have mainly been focused on the
art of video editing without specific emphasis on the audio.
| | 00:07 | However, it's important to know that having good audio
is one of the most important parts of the entire process.
| | 00:13 | So, in this movie, we are going to take a
look at some basic audio manipulations that
| | 00:17 | you can do via the Inspector.
| | 00:19 | So, I am going to go into 6.1, and I
have my Farm to Table sequence loaded here.
| | 00:26 | I have got everything
edited in a basic rough cut.
| | 00:29 | However, it definitely has some
audio issues that I'd like to correct.
| | 00:33 | Before taking a look at the audio, let's
make sure to open up the audio meters which I do
| | 00:37 | by pressing this button here, and I'm just
going to expand them, so I can see them pretty well.
| | 00:44 | Normal sounds like the human voice should
peak roughly right in here between -12 and -6.
| | 00:51 | Quiet sounds can be quieter, and louder sounds
can be louder, but nothing should really peak
| | 00:57 | above 0 or it can be distorted.
| | 01:00 | Generally, what I like to do is correct my
main audio first in isolation which in this
| | 01:05 | case is my dialogue, and then I can go back and turn on
my supplementary audio and correct everything together.
| | 01:12 | So, when you do this in track-based editing
programs, you just solo your track, and you have
| | 01:17 | got to make sure that all of one type of
audio like my dialogue is on the same track.
| | 01:23 | In Final Cut Pro X, however, you solo clips.
| | 01:26 | So, to solo a clip, I am just going to select it
and then click on this button here or press Option+S.
| | 01:35 | It's the only one in color, everything else
is in black and white, so we are soloed on it.
| | 01:41 | When I play back the main dialogue, I need to
make some basic adjustments to make sure the
| | 01:45 | audio is peaking properly.
| | 01:47 | I am going to open the Inspector, and
again it's this button here, or Command+4.
| | 01:54 | We want to make sure that we are on Audio tab,
and we are primarily going to be focused
| | 01:59 | right here on the Volume slider.
| | 02:01 | Notice that when I drag to the right,
this black line right here raises.
| | 02:08 | And when I drag to the left, it lowers.
| | 02:12 | You could either drag the slider, or you
could actually also drag this black bar.
| | 02:18 | Notice that it gives you a visual indication
when you are peaking. Anything that's red
| | 02:23 | is distorted, and yellow is
kind of right below that.
| | 02:28 | What we're going to do, instead of dragging
the black bar here is use the slider because
| | 02:32 | it's really nice to be
able to do this on the fly.
| | 02:35 | I am just going to play Loop, and we know that we
can play around by pressing Shift+Question Mark.
| | 02:43 | So as it's looping, I am
just going to adjust on the fly.
| | 02:46 | All right, so I am going to press Shift+Question Mark
and then ride this Volume slider accordingly.
| | 02:53 | (BD Dautch: It's not just here, it's worldwide,
and in a way, like I said--
| | 02:58 | It's not just here, it's worldwide,
and in a way, like I said--)
| | 03:00 | So, BD is sounding pretty
good without much adjustment.
| | 03:05 | Let's move on to the next clip which is
also BD, so probably not much adjustment there
| | 03:09 | as well, Shift+Question Mark.
| | 03:12 | (BD Dautch: ...people now are aware that getting
it directly from the producer is the way to go...
| | 03:17 | ...people now are aware that
getting it directly from the--)
| | 03:20 | So a little bit more adjustment there, and I
will move on to Justin, Shift+Question Mark.
| | 03:26 | (Justin: ...I'd run my restaurant
without all these farms, that's for sure.
| | 03:29 | This is where the magic starts...
| | 03:31 | ...I'd run my restaurant
without all these farms, that's for sure.
| | 03:33 | This is where the magic starts.)
| | 03:35 | So, he required a lot more adjustment.
| | 03:37 | There is definitely some other issues
with his. He has a lot of background sound.
| | 03:41 | But as far as levels, he is sounding good.
We will fix the rest of the stuff later.
| | 03:45 | We'll go on to Owen.
| | 03:48 | I think that I am probably going to have to fix my
Pre and Post Roll here because this clip is so short.
| | 03:53 | Let's just go up to Final Cut > Preferences >
Playback and go down to 1 second Pre- and Post-Roll.
| | 04:02 | I will use the keyboard this time,
Option+S and play around, Shift+Question Mark.
| | 04:09 | (Owen: Eating local is the way we should be eating.
Eating local is the way we should be eating.
| | 04:13 | Eating local is the way we should be eating.)
| | 04:15 | Sounding good! And let's check out John Downey, Option+S,
and let's bring our Pre- and Post-Roll back
| | 04:23 | to 2 seconds and Shift+Question Mark.
| | 04:29 | (John Downey: It's just a much better product, it really is.
It's just a much better product, it really is.)
| | 04:38 | He definitely has some issues with his background
sound, but his voice is peaking right in the right place.
| | 04:44 | So, that's okay for now.
| | 04:46 | So I am going to un-solo my dialogue clips,
and let's take a look at the rest of the audio.
| | 04:51 | Basically, after you get the main audio
sounding okay, you want to make sure that the rest
| | 04:55 | of the audio is falling in line. The music should not
interfere, but we should still be able to hear it.
| | 05:01 | And if there's background audio behind any
of our B-roll, we want to make sure that it
| | 05:05 | doesn't drown out the dialogue.
| | 05:07 | The music in this case is a special case
because we probably want to start off full strength
| | 05:12 | and then dip down when the dialogue starts.
| | 05:16 | So, in this sense, we are going to be
making many adjustments within the clip.
| | 05:21 | Instead of doing that right now, we are going to do
that in the next movie when we talk about keyframing.
| | 05:25 | So, let's not worry about the music for now.
| | 05:29 | Let's go ahead and see how the audio
behind this B-roll sounds with our dialogue.
| | 05:34 | So, I am just going to select everything here and
solo, which means that I am not going to hear my music.
| | 05:43 | And let's go ahead and play and see
how the audio of the B-roll is sounding.
| | 05:47 | (BD Dautch: There is definitely a movement happening.
It's not just here, it's worldwide, and in a way,
| | 05:53 | like I said, it's a renaissance.
So many people--)
| | 05:56 | Well, I didn't mind the ambience behind these
first two shots, but this one is a little bit loud.
| | 06:01 | So, I am going to drag this black line down.
| | 06:05 | And as you can see, we sort of visually
can see the waveform here, it's very low,
| | 06:10 | and this one is a lot higher.
| | 06:11 | So, I am just going to visually try to match
that and then play back and see if that sounds okay.
| | 06:16 | (BD Dautch: So many people now are aware that getting--)
And let's go forward and play this one here.
| | 06:23 | (video playing)
| | 06:25 | And let's lower that. We are probably going to actually
have to remove that person talking right there.
| | 06:32 | I will do that in the next movie as well.
| | 06:34 | But in general, I think this
is sounding a little bit better.
| | 06:37 | So, the B-roll is no longer interfering with
any of the dialogue, everything is sounding okay.
| | 06:43 | Later on, when we add the music back in and
also correct the problems with the main dialogue,
| | 06:48 | everything is going to sound really nice.
I am going to un-solo all my clips, Option+S.
| | 06:54 | Now, one thing about Final Cut Pro X is that
by default all of my audio is located within
| | 07:00 | the primary story line in the connected clips
with my video even when the footage was shot
| | 07:06 | with multiple audio channels.
| | 07:08 | This tends to confuse editors coming to the
program for the first time because it seems
| | 07:13 | you can't treat each audio channel separately.
| | 07:15 | However, if you click on the clip and then
come to the Inspector, you can see that you
| | 07:21 | do have some control over this.
| | 07:23 | Specifically, let's take a
look at Channel Configuration.
| | 07:27 | If I wanted to, I could switch this from Stereo
to Dual Mono, and then I could twirl this down,
| | 07:34 | and you can see that
I do have multiple channels.
| | 07:38 | Now, I can adjust each of these separately,
or I can even turn them off and on.
| | 07:44 | So, in this sense, if you have the main audio
captured on say a Lavalier mic, and then you
| | 07:50 | had some audio via your onboard camera mic,
you could just turn off your onboard camera
| | 07:55 | to get the clearest audio possible.
| | 07:57 | Now, in this case we don't have that
situation, but it's a really good thing to know that
| | 08:01 | you have that option to just turn
off an entire channel if you like.
| | 08:06 | Another useful thing you can do is actually look at
both of these mono channels right in the timeline.
| | 08:12 | To do this, I just right-click right here on
the clip and choose Expand Audio Components.
| | 08:18 | So, as long as you have dual mono channels,
you are able to view them both, and now you
| | 08:23 | are able to adjust them both separately if
you like. To collapse these back up, I just
| | 08:28 | right-click again, and say
Collapse Audio Components.
| | 08:32 | Now, there are a couple of more audio
adjustment options within the Inspector that we will
| | 08:36 | explore a little later in the course.
| | 08:38 | But for now, figuring out the audio levels
and channel configuration is a good start
| | 08:43 | in building the appropriate
audio foundation for your sequence.
| | Collapse this transcript |
| Keyframing audio in the timeline| 00:00 | Adjusting audio levels is fairly standard when
you're making adjustments for an entire clip at once.
| | 00:06 | However, when you need to make audio adjustments
within the boundaries of a clip, you need
| | 00:10 | to do things a little bit differently.
| | 00:12 | So, in this movie, we are going to
explore how to perform audio keyframing.
| | 00:17 | So I am going to go into 6.2, and I have our
Farm to Table sequence, we have adjusted some levels,
| | 00:25 | but I want to make some
special adjustments with my music.
| | 00:28 | I'd actually like my music to fade up and
down depending on whether it's playing alone,
| | 00:33 | just behind some B-roll, or
whether it's playing behind some dialogue.
| | 00:36 | I am just going to position my cursor
right about here, zoom in, Command+Plus.
| | 00:44 | Right where I want it to dip, I am going to kind of
hover right over this black line and then press Option.
| | 00:50 | And you can see that my cursor changes, and I
have this little diamond to the right of the cursor.
| | 00:56 | I am just going to click, and then I
am going to click again right here.
| | 01:00 | Now, what I have done is add two keyframes,
and keyframes act as points of change where
| | 01:08 | I can make adjustments in my audio.
| | 01:11 | Right now I can just drag one of these
keyframes up and down, and you can see that my audio
| | 01:17 | levels are raising up and down, and you can see by
how much the relative decibel amount is displayed.
| | 01:24 | Notice that I can also drag my keyframe
from left to right to affect the basic ramp.
| | 01:29 | So, if I wanted to be really abrupt or
really gradual, I can affect that as well.
| | 01:35 | I want to make sure everything
is sounding good in the beginning.
| | 01:39 | I am going to go ahead and play.
| | 01:41 | (video playing)
| | 01:43 | (BD Dautch: There is definitely a movement happening--)
| | 01:46 | Maybe a little bit too much, so I am going
to raise that just a little bit, and actually
| | 01:51 | bring this up a little bit too.
Let's play again.
| | 01:56 | (BD Dautch: There is definitely a movement happening.
It's not just here, it's worldwide, and--)
| | 02:02 | And then at the end, let's just bring
it up a little bit here as well.
| | 02:07 | So again, I am going to Option-click,
Option-click, and let's actually just add 4.
| | 02:15 | And then what I can do is I can just
grab this bar in the middle, and drag up.
| | 02:21 | I just want to bring the music up just a
little bit in between these two interviews.
| | 02:26 | So let's check this out.
(video playing)
| | 02:31 | (John Downey: --its freshness, its flavor--)
| | 02:34 | So, I think the music is sounding okay.
| | 02:36 | Now, it can be tedious to
add all of these keyframes.
| | 02:40 | There is another way to do that which I will show you
now, press Shift+Z to fit everything in the timeline.
| | 02:46 | And as you can see, I have my keyframes here.
| | 02:48 | Let's just undo, Command+Z, get rid of all of these
keyframes, and I am going to show you one other way.
| | 02:56 | If I want to, I can switch from the Select tool
to the Range Selection tool, keyboard shortcut R.
| | 03:04 | And then all I need to do is drag
over the area that I want to affect.
| | 03:08 | So, if I want to dip the music down right here,
I just click and drag and then bring it down.
| | 03:16 | I think I had it down by about 9 decibels, and I
will do the same thing over here, and that was easy.
| | 03:24 | So, I am just going to re-enable
my Selection tool, A.
| | 03:29 | And you can see that it
added my keyframes for me.
| | 03:31 | If I want to zoom in, Command+Plus, I can
affect these keyframes however I want after
| | 03:38 | the fact as well, they're just normal keyframes.
| | 03:41 | But using the Range Selection
tool is just another way to add them.
| | 03:45 | If I want to delete keyframes, I just click on it
until it turns orange, like I have here, and press Delete.
| | 03:50 | I am going to undo that, Command+Z.
| | 03:53 | Now, there is just one more way to fade audio within
a clip, and it's at the very beginning or very end.
| | 03:58 | If I come to the beginning here, if I hover
near the edge, do you see this little knob?
| | 04:07 | Once I see this, and once my cursor changes to
this double-sided arrow, I just drag inwards,
| | 04:13 | and I have automatically
created a nice easy audio ramp.
| | 04:17 | By default, it looks like
this broad sweeping curve.
| | 04:21 | But I can change that if I want to.
| | 04:23 | I just right-click and choose one of
these other configurations, like so.
| | 04:29 | Now, I have a little bit of an audio pop
at the beginning of BD's interview, so let's
| | 04:35 | just do that right here and see if we
can soften that up, and I will Play.
| | 04:41 | (BD Dautch: There is definitely a movement--)
| | 04:44 | And I think we have eliminated it
just by causing that little ramp.
| | 04:48 | So, as you can see, keyframing your audio
is both a simple and powerful technique to
| | 04:53 | raise and lower the audio levels
within the boundaries of a clip.
| | Collapse this transcript |
| Repairing audio problems automatically| 00:00 | As we're going to the sequence, editing and
enhancing the audio, there may be some clips
| | 00:05 | with some basic audio problems that we want
to fix, like unwanted background noise, or hum.
| | 00:11 | We have some ways to really dig in and fix this adjusting
Audio EQ, which we'll look at in the next movie.
| | 00:17 | But there are also some automatic functions for
fixing basic audio problems. Let's take a look.
| | 00:23 | So I'm going to go into 6.3, and when we
import footage for the first time, one of the options
| | 00:29 | is to analyze and fix audio.
| | 00:32 | Let me just bring up the Import dialog box
to remain you of this option, I'm just going
| | 00:36 | to Import Media, and I'm just going to
pretend to bring this in, import selected, this box
| | 00:45 | right here, Analyze and fix audio problems.
| | 00:48 | If you check this box, then Final Cut is going
to go through the footage and determine whether
| | 00:51 | or not there are any underling audio issues
and then potentially it will offer some solutions
| | 00:56 | to eliminate those issues.
| | 00:58 | These auto fix issues include loudness, which
improves the main audio signal to make it more uniform;
| | 01:05 | background noise removal, which reduces
background noise; and hum removal, which reduces common
| | 01:10 | electrical hum noise at either 50 or 60 Hz.
So I'm going to Cancel here.
| | 01:16 | If you did not perform this analysis on
import, you can always do it after as well.
| | 01:21 | All you need to do is right-click on a clip
or all clips, Command+A, and then right-click
| | 01:26 | and choose Analyze and Fix, and then you can
select this option, Analyze and fix audio problems.
| | 01:33 | If you're following along with exercise files, then
this has already been done, so I am going to Cancel.
| | 01:39 | How do we determine if there are problems?
| | 01:41 | Well, all I'm going to do is either click
on the clip in the Event Library or click
| | 01:46 | on the clip in the Timeline and then open
the Inspector, Command+4 and then right here,
| | 01:53 | Audio Analysis, it's going to tell me if
there were problems detected, then if I click
| | 01:57 | on this arrow, it opens up the
Audio Enhancements window.
| | 02:01 | By the way, if you don't go to the Inspector,
you can just open up the Audio Enhancements
| | 02:05 | window by going to Window and then
go to Audio Enhancements, or Command+8.
| | 02:13 | So when you take a look at the Audio Enhancements
window, it shows you what's recommended as a fix.
| | 02:18 | If there's a green check mark, that means Final Cut
did not detect a significant problem with the audio.
| | 02:24 | If there's a red exclamation mark, then that
means Final Cut deemed the problem to be severe.
| | 02:28 | And if there is a yellow warning sign, that
means that potential audio issue has been flagged.
| | 02:34 | All you need to do to enable the fix is to
click on this button here, and Final Cut will
| | 02:39 | apply a basic fix, it's as easy as that.
| | 02:41 | Again, you can do this to clips in the
timeline or to clips within the Event Library.
| | 02:49 | Now I don't really care so much about the
problems that exist in my B-roll because I have
| | 02:53 | lowered the volume so much.
I care more about my interviews.
| | 02:57 | So I'm just going to click on each one of
these and see if there were any problems detected,
| | 03:01 | and as you can see, it didn't find any
with BD or Justin or Owen or John Downey.
| | 03:10 | We already know there are quite a
few problems with our interview clips.
| | 03:13 | So I just want to show you that even though
a problem was not detected, that doesn't mean
| | 03:17 | that enabling one of these quick
fix options won't improve your audio.
| | 03:21 | For example, let's come
down here to John Downey.
| | 03:24 | We already know that there are some
significant issues with this interview audio,
| | 03:28 | let's go ahead and just check it out.
I am going to press Shift+Question Mark.
| | 03:32 | (John Downey: It's a much better product, it really is.)
| | 03:37 | I'm going to enable the background noise removal,
and let's check it out again, so I'll do Shift+Question Mark.
| | 03:43 | (John Downey: It's a much better product, it really is.)
| | 03:46 | And then again without it.
(John Downey: --it really is.)
| | 03:51 | So, as you can see, it does
improve it significantly.
| | 03:55 | I'm going to play around again and then
increase background noise removal so that I can
| | 03:59 | show you that you need to be careful
about how much of this you apply.
| | 04:02 | And I think I'll decrease my pre- and post-roll
real quick. Right now it's not on, I'm going
| | 04:09 | to play loop, and let's apply
the background noise removal.
| | 04:13 | (John Downey: It's a much better product, it really is.
It's a much better product, it really is.
| | 04:18 | It's a much better product, it really is.
It's a much better product, it really is.)
| | 04:24 | So, as you can see, you need to be careful
of bringing the amount up too much because
| | 04:27 | it can start to sound like the
person is in a tunnel or under water.
| | 04:31 | But it can offer some significant improvement.
Same thing with Justin, if I come over here
| | 04:37 | Shift+Question Mark, and I'll apply
background noise removal and see if that improves it.
| | 04:41 | (Justin: --all these farms, that's for sure.
This is where the magic--
| | 04:43 | --all these farms, that's for sure.
This is where the magic--
| | 04:45 | --all these farms, that's for sure.
This is where the magic--
| | 04:47 | --all these farms, that's for sure.
This is where the magic--
| | 04:49 | --all these farms, that's for sure.)
| | 04:52 | So, as you can see, that did help, but it sort
of sounds like he's on a telephone, so we'll
| | 04:55 | probably need to apply some other fixes.
| | 04:58 | But both background noise removal and hum
removal can be really helpful in this regard.
| | 05:03 | So, as you can see, these basic audio fixes can
improve your audio in certain circumstances.
| | 05:08 | If you need additional control in fixing and
enhancing your audio, you may want to explore
| | 05:12 | EQ adjustments and audio filters, both of
which we will cover a little later in the course.
| | 05:18 | For now, though, make sure you always take
a look to see how Final Cut recommends you
| | 05:21 | perform these basic fixes, as
it can really make a difference.
| | Collapse this transcript |
| Adjusting audio EQ| 00:00 | Audio equalization is the act of altering
the frequency of a sound signal in order to
| | 00:05 | improve, enhance, or change it.
| | 00:08 | In the world of video editing, this
can mean a lot of different things.
| | 00:11 | But in our case, it most often means that
we're manipulating the frequency to reduce
| | 00:15 | unwanted frequencies and enhance desired ones.
| | 00:19 | Now, there are several useful built-in EQ
adjustments in Final Cut Pro X, and there
| | 00:24 | are also some tools where you can do this manually if you know
little something about audio frequencies. Let's take a look.
| | 00:30 | So, I'm going to open up 6.4, and we're
continuing to work on the audio of our interviews.
| | 00:39 | Specifically I'm going to take a look at the ones
in worst shape, which is John Downey and Justin.
| | 00:44 | Let's start off with John Downey here.
| | 00:46 | We have already applied some
Background Noise Removal.
| | 00:48 | I'm going to quickly show you where we came
from, where we're at now, and then we'll go
| | 00:53 | forward with some further EQ adjustments.
| | 00:55 | So, I have the Inspector open, and I'm
going to just turn off Background Noise Removal
| | 01:00 | for a moment, so you'll see where we came
from, and then I'm going to enable it so you
| | 01:04 | can see where we're at.
| | 01:05 | So, I'll turn that off, I'll solo this, Option+S,
and I'll play a loop, Shift+Question Mark.
| | 01:12 | (John Downey: --its freshness, its flavor--
--its freshness, its flavor--)
| | 01:16 | So, greatly improved, but
let's see what else we can do.
| | 01:19 | I'm going to come back to
the main Inspector View.
| | 01:22 | I'm going to come down to Equalization.
| | 01:25 | And right now, Flat simply means
that there's no EQ adjustment applied.
| | 01:29 | If I click on this menu, I have a
number of options that I can choose.
| | 01:34 | Most of the time with interviews, I like to
choose Voice Enhance first to see how it sounds,
| | 01:39 | and so I'll press Voice Enhance.
| | 01:41 | And before we play this, I want
to show you what's going on here.
| | 01:45 | I'm going to click on this button here,
and we can see exactly what's going on.
| | 01:49 | Voice Enhance is going to boost the frequencies around
the human voice spectrum, and reduce the lower ones.
| | 01:56 | Notice that this is editable.
| | 01:58 | I can grab these, and drag them
and edit this further if I like.
| | 02:03 | But I want to see what this
sounds like before any editing.
| | 02:05 | So, I'll go ahead and play loop again, and
see how Voice Enhance sounds, Shift+Question Mark.
| | 02:11 | (John Downey: --its freshness, its flavor--
--its freshness, its flavor--)
| | 02:16 | I don't really like what that did
to it. I think it was better before.
| | 02:19 | Another EQ template that
I use a lot is Loudness.
| | 02:24 | And let's just take a
look at what this is doing.
| | 02:26 | This is an interesting template.
Let's see how it works with our audio here.
| | 02:30 | I'm going to go ahead and Shift+Question Mark.
| | 02:33 | (John Downey: --its freshness, its flavor--
--its freshness, its flavor--)
| | 02:37 | I think it sounds pretty good.
| | 02:39 | I could either leave it like this, or
I could come in and edit this further.
| | 02:44 | I can edit in 10 bands, or I can go up to 31.
| | 02:48 | You can see that this is very specific on
exactly what frequencies I'd be boosting and cutting.
| | 02:53 | I'm going to go back to just Loudness, and
I think I'm actually pretty happy with it.
| | 02:59 | Now, this course won't cover the science of
audio frequencies, but you can always find
| | 03:03 | out more about this in several of the
audio postproduction courses on lynda.com.
| | 03:09 | Let's just go quickly into Justin's interview,
and see how we can improve that, Option+S,
| | 03:14 | and let's see where we're at.
| | 03:17 | Remember, we did remove some background
sound already, so I'll Shift+Question Mark.
| | 03:21 | (Justin: --all these farms, that's for sure.
--all these farms, that's for sure.)
| | 03:25 | So, the background noise is gone, but it
does kind of sound like he is on a telephone.
| | 03:29 | Let's see what the Loudness EQ adjustment
does to this one, and Shift+Question Mark.
| | 03:35 | (Justin: --all these farms, that's for sure.
--all these farms, that's for sure.)
| | 03:39 | Let's go ahead and try to edit
this just a little bit further.
| | 03:42 | I'll go ahead and open up the Graphic Equalizer.
| | 03:45 | While this is playing, I'm just going to sort
of ride a couple of these sliders right here
| | 03:49 | in this general region where
the human voice spectrum is.
| | 03:53 | So, I'll go ahead and Shift+Question Mark, and
I'm just going to be doing a little bit of editing.
| | 03:58 | (Justin: --all these farms, that's for sure.
--all these farms, that's for sure.
| | 04:03 | --all these farms, that's for sure.
--all these farms, that's for sure.)
| | 04:07 | (video playing)
| | 04:23 | So, what I was doing was taking the
sliders right around the human voice spectrum and
| | 04:28 | then making some rather severe adjustments,
going way up and way down and seeing how that worked.
| | 04:33 | And then once you make a severe adjustment
and see what happens, then you can kind of
| | 04:37 | make smaller adjustments
until you're happy with it.
| | 04:40 | So again, experiment with these templates
to see what blanket adjustments are being
| | 04:44 | done, and then you can tweak from there.
| | Collapse this transcript |
| Recording audio| 00:00 | Most of the time when you're working with
voiceover narration, the voice will be professionally
| | 00:05 | recorded, and you'll be provided with
audio files that you can then import into
| | 00:09 | Final Cut, and work with like any other clip.
| | 00:11 | However, sometimes you just need to record
some basic scratch audio as a placeholder
| | 00:16 | to work with until you
get the professional audio.
| | 00:20 | Let's talk about how to
record the scratch audio.
| | 00:21 | So, I'm going to go into 6.5, and I have our
Farm to Table opening sequence, and I am waiting
| | 00:29 | for the professional voiceover audio to come in.
| | 00:31 | Basically, the narration is just going to
give a little tease of the program here
| | 00:35 | at the end of the sequence.
| | 00:36 | I'm going to set everything up, and then I'll
record the audio so we can plug it into the right spot.
| | 00:42 | So, first of all I'm just going to position
the playhead at the location that I want
| | 00:46 | the scratch narration to start.
| | 00:48 | So, I'm here at the end and
probably a little bit after that.
| | 00:53 | And because Final Cut's default setting is
to loop the playback as soon as we get to
| | 00:56 | the end of the sequence so it starts over
at the beginning, I want to turn that off
| | 01:00 | because I want to record the
narration past the end of the sequence.
| | 01:03 | So, I'm going to come up to View > Playback,
and turn off Loop Playback for now.
| | 01:09 | Now, I'll open up the Record Audio window.
| | 01:12 | I'll go to Window > Record Audio,
and we just need to configure this.
| | 01:17 | So, here at the top, we have the Destination event,
so it's going in the Farm to Table event which is good.
| | 01:22 | And we have an Input Device.
| | 01:24 | So, I have a USB microphone
connected to my system so that's good.
| | 01:28 | And then we have this Monitor check box which you can
check if you would like to hear yourself as you record.
| | 01:34 | So, as long as you have some
headphones, you can go ahead and check that.
| | 01:37 | Next, you want to make
sure your levels are okay.
| | 01:40 | And as you can see here, I have my
audio meters that show me my levels.
| | 01:44 | And just as before, we want to make sure that
my voice is peaking within normal ranges between
| | 01:49 | -12 and -6, so far so good.
| | 01:52 | One other thing I am going to do is just
disable the music because this is going to play
| | 01:58 | as I run over this last part of the sequence.
| | 02:00 | So, I want to make sure that it's quiet, so
I'm just going to right-click and choose Disable.
| | 02:05 | I think I'm set, so I'm going to go ahead
and press this red button to start,
| | 02:10 | and then I'll press it again to stop.
| | 02:13 | Prepare to follow BD Dautch as we embark
on the journey of the Farm to Table movement,
| | 02:17 | a delicious adventure of organic farming.
| | 02:22 | So, if you take a look in the timeline, the
audio was recorded right into my sequence,
| | 02:26 | and it was also saved in my Event Library.
| | 02:28 | If I come to Farm to Table,
and here it is, Voiceover 4.
| | 02:35 | And if I like, I can create an
audio keyword collection to store it in.
| | 02:38 | But coming down to the audio clip in my
timeline, let's go ahead and listen to it, and then
| | 02:42 | we might want to trim it up to make sure
that we remove any parts that I don't want.
| | 02:46 | So, let's enable the music again, and we'll
probably actually want the music to play over
| | 02:53 | the narration, but we'll probably
want to bring it down a little bit.
| | 02:57 | And let's see what we have got.
| | 02:59 | (video playing)
| | 03:01 | (Ashley: Prepare to follow BD Dautch as we embark
on the journey of the Farm to Table movement,
| | 03:06 | a delicious adventure of organic farming.)
| | 03:11 | Perfect! Let's go ahead and just ripple trim
this so that I get rid of my empty space.
| | 03:17 | I can move this around.
| | 03:18 | Notice that my connection point
here is connected to a gap clip.
| | 03:23 | So, regardless of if there's material in
the primary storyline or not, every connected
| | 03:28 | clip must connect to something.
So in this case, it's connected to a gap clip.
| | 03:33 | But maybe I want to replace it with an exciting
visual, so I can just come up to Farm Scenery--
| | 03:37 | let me close my Record Audio.
| | 03:40 | Let's go ahead and just do a Replace
Edit right here, Replace from Start.
| | 03:47 | Now we have got some
visuals to go with our narration.
| | 03:51 | So, as you can see, this is a
pretty streamlined process.
| | 03:55 | Again, you should certainly strive for professional
recording conditions for any serious project,
| | 04:00 | but getting some basic scratch track
into Final Cut Pro X couldn't be easier.
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| Syncing audio from multiple sources| 00:00 | Sometimes you may be working with
footage that doesn't contain the best audio.
| | 00:04 | Perhaps, an interview was recorded with an
onboard camera mic, but perhaps good quality
| | 00:09 | audio was recorded separately.
This is a very common workflow.
| | 00:13 | Fortunately, in Final Cut Pro X, you can
quite easily marry a video clip containing poor
| | 00:18 | audio with an audio clip of higher quality.
Let's take a look at how.
| | 00:22 | So, in my Farm to Table event, I have a keyword
collection called Audio Sync, and I have a clip of BD here.
| | 00:30 | And if I play it, you can tell
that it doesn't have the best audio.
| | 00:35 | (BD Dautch: And that's why the farm that
I have is kind of designed like a garden, it's--)
| | 00:39 | I do have much cleaner audio here
which I'll play for you as well.
| | 00:43 | (BD Dautch: The farm that I have is kind of
designed like a garden. It's very diverse--)
| | 00:48 | Now, what I am about to show you only works
if you actually recorded audio of some sort
| | 00:53 | on the clip with the poor audio.
| | 00:54 | The reason is that the built-in synching
feature actually matches the shape of the waveform
| | 01:01 | between the clip with the poor
audio and the clip with the good audio.
| | 01:05 | So, all I need to do is select both of these and then
right-click and choose Synchronize Clips, or Option+Command+G.
| | 01:15 | Now, it looks like nothing happened, but that's
because I am in my Audio Sync keyword collection.
| | 01:21 | If I pop back out to the main event, you can see
that this is my clip that has now been created.
| | 01:27 | You can just drag that into the Audio
Sync keyword collection if you like.
| | 01:32 | This clip contains both the
bad audio and the good audio.
| | 01:36 | Click on the clip and then
open the Inspector, Command+4.
| | 01:41 | And I'm on the Audio tab, let's go down to
Channel Configuration, and you can see that
| | 01:45 | I have two configurations here,
Storyline and Connected.
| | 01:49 | I'm going to play each one of these.
| | 01:51 | Let's go ahead and select
just Storyline and play.
| | 01:56 | (BD Dautch: And that's why the farm that
I have is kind of designed--)
| | 01:59 | All right, so that's the bad audio.
| | 02:01 | And then I will select
this one here and play again.
| | 02:05 | (BD Dautch: And that's why the farm that
I have is kind of designed like a garden--)
| | 02:09 | So, if you want, you can just uncheck the
one that you don't want, edit it in and then
| | 02:14 | leave it attached to the clip.
| | 02:16 | If, however, you actually want to delete the bad
audio once you edit it into the timeline, you can.
| | 02:21 | I have an empty sequence here, 6.6, and let's
go ahead and just edit this whole thing into
| | 02:27 | the timeline, I'll just press W, okay?
| | 02:32 | And right now this contains
both the bad and the good.
| | 02:35 | But let's go ahead and delete the bad.
| | 02:37 | So what I'm going to do is click on the clip and
then go up to Clip and Break Apart Clip Items.
| | 02:44 | This is the video, this is the bad
audio, and this is the good audio.
| | 02:49 | I need to detach the bad audio from the video.
| | 02:53 | So I'm just going to click on it,
right-click, and Detach Audio.
| | 02:57 | And so now, this is the bad audio,
I can go ahead and just delete it.
| | 03:01 | Now, we can go ahead and play it.
| | 03:06 | (BD Dautch: And that's why the farm that
I have is kind of designed like a garden--)
| | 03:10 | Everything is sounding good.
| | 03:13 | So, as you can see, synching audio is a relatively
quick process, especially because this functionality
| | 03:18 | is built into the software, so there is no
need to go to a third party to do the job.
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|
|
7. Additional Editing and Organizational TechniquesNesting and breaking apart clips| 00:00 | I'd like to address a useful organizational
technique that can help clean up your timeline
| | 00:05 | and make the editing process easier.
| | 00:07 | This process is called Nesting with Compound Clips. We'll also
explore how to Break Apart Clip Items into separate elements.
| | 00:14 | Let's take a look.
| | 00:16 | So I'm going to go into 7.1,
and have a sequence here.
| | 00:21 | This is Scene 1 of the Farm to Table film,
right after the intro we have been working on.
| | 00:26 | So we have several sound bites from BD and
have lots of B-roll, telling the story,
| | 00:33 | and we have got a lot going on.
| | 00:34 | We have some connected clips here, we have a
secondary storyline here and here, a connected
| | 00:39 | clip down there, and of course lots
of material in our primary storyline.
| | 00:43 | So a lot going on, and I thought we'd just
clean everything up a little bit by condensing
| | 00:48 | the number of visible elements.
| | 00:51 | So let's say that we would like this first
soundbite to all exist together, I'm just
| | 00:56 | going to select these clips and then right-click
and choose New Compound Clip, or Option+G.
| | 01:04 | Now when I create a compound clip, it's going
to put this group of clips into my Event Library
| | 01:09 | so that I can easily use it in other projects.
| | 01:12 | So I just need to choose which Event I would
like it to go into, so that's correct, I'll say OK.
| | 01:18 | And now you can see that everything is collapsed into
this Nest and things are a little bit easier to look at.
| | 01:23 | Maybe I want to do it
for this interview as well.
| | 01:26 | So I have a secondary storyline and my
primary storyline clips, I'll just select everything
| | 01:31 | here, right-click, New Compound Clip, good,
and again, we have cleaned it up and while we
| | 01:40 | are at it, let's just do this
section here, New Compound Clip, beautiful!
| | 01:49 | So we have got a much easier to look at timeline
and what we have done is essentially Nest multiple
| | 01:54 | clips together into one container, which
can make it easier to move and navigate groups
| | 01:59 | of clips as you edit.
| | 02:02 | Notice that when I drag a compound clip
around in the timeline, all elements move together,
| | 02:07 | you can literally swap giant portions of your
sequence very, very easily when you do this.
| | 02:13 | Also we haven't yet explored effects, but
just know that I'm able to apply effects to
| | 02:18 | this entire compound clip at once, which is a
very efficient way to affect an entire group
| | 02:23 | of clips in the same way, we'll take a
look at that a little later in the course.
| | 02:28 | And if I come up to my Farm to Table events,
you can see that I have my compound clips
| | 02:34 | right here, you can see the icon
in the upper left, identifying them.
| | 02:38 | So essentially I'm able to use these
groups of clips together in any other project
| | 02:43 | as long as I have access to my Event
Library, so that's very handy as well.
| | 02:48 | So what if you want to edit the
elements inside of the compound clip?
| | 02:51 | Fortunately that's easy too.
| | 02:53 | All you have to do is double-click on your
compound clip, and you have got everything back,
| | 02:59 | you can edit as normal, add stuff, remove,
trim, whatever you like, and when you do this
| | 03:05 | within a compound clip, nothing is
affected in the main part of the timeline.
| | 03:10 | If you want to go back to the main storyline,
you just press this arrow here, and you're back.
| | 03:16 | If you want to separate the clips in the
compound clip back into the separate elements,
| | 03:20 | you just select the Compound Clip and then come up
to clip and Break Apart Clip Items, or Shift+Command+G.
| | 03:29 | And as you can see, the Compound Clip breaks apart
into its original elements in the main timeline.
| | 03:34 | And also, as we have seen in a prior movie, you
can Break Apart Clip Items even a step further.
| | 03:39 | If you want to take a clip and detach the
video and audio, you do the same thing, come
| | 03:44 | up to Clip > Break Apart Clip Items, and
now the video and audio are separate,
| | 03:49 | and you could affect them differently.
| | 03:50 | I'm going to undo that. Command+Z.
So, as you can see,
| | 03:54 | cleaning up your timeline by creating
Compound Clips can really help you stay organized
| | 03:58 | by consolidating groups of clips together.
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| Performing quick extractions using Top and Tail edits| 00:00 | In this movie, we're going to explore a
technique you can use for quick extraction
| | 00:04 | of material called top and tail editing.
| | 00:07 | It's especially a great technique for
editing montage, which is a series of short images
| | 00:11 | that are usually set to music or voiceover,
usually to show a progression of time or ideas.
| | 00:18 | Let's go into our 7.2 sequence, and
I have already got some music laid down.
| | 00:23 | So again, the best setup for using top and
tail is to just loosely edit several shots
| | 00:28 | into the timeline without paying much
attention to specific start and end points.
| | 00:32 | Let's go ahead and do that now.
| | 00:34 | I'm going to create a montage of
Farm Scenery shots set to music.
| | 00:38 | So let's go ahead and open up my
Farm Scenery keyword collection.
| | 00:43 | And again, I'm not going to set in and out
points, I'm just going to select everything,
| | 00:47 | and then I'm going to drag them down to my
Timeline and attach them all as connected clips.
| | 00:56 | Yes, these clips are way too long to fit over
the music, but that's fine, that's where top
| | 01:01 | and tail editing is made for.
| | 01:04 | Now we have already learned that connected
clips often don't behave like storyline clips in
| | 01:07 | various forms of editing, and top
and tail editing is no different.
| | 01:12 | So what I'm going to is first press Shift+Z
to fit everything in my view, and then I'm
| | 01:17 | going to convert these connected clips to a
storyline and then everything is going to be okay.
| | 01:23 | So right-click and Create Storyline.
| | 01:27 | Okay, now I have my secondary storyline
above the primary storyline, and I'm ready to go.
| | 01:33 | Okay, I'm just going to make sure I have my
Selection tool enabled, which I do, and now
| | 01:38 | I'm just going to hover my skimmer where I
want each of these shots to start and end.
| | 01:44 | So I think I'm okay with the duration of
this first shot, but let's go ahead
| | 01:47 | and make this shot start right here.
| | 01:50 | So what I'm going to do is basically
extract everything from the beginning
| | 01:53 | of the clip to my skimmer location.
| | 01:57 | I'm just going to press Option+Left Bracket
to perform a top edit, and I think I'm happy
| | 02:05 | with the end of that.
| | 02:07 | Let's just get that rack focus, okay, so I'm
going to press Option+Left Bracket and then
| | 02:14 | let's do a tail edit at the end of that
rack focus, Option+Right Bracket. Keep going.
| | 02:21 | Maybe I'll go ahead and take that out
altogether, so I'll just delete that.
| | 02:27 | And then we know our Flower rack focus is
right there, so Option+Left Bracket, go to
| | 02:33 | the end of the rack focus
and Option+Right Bracket.
| | 02:38 | This is going to be a big extraction
because this clip is so long, Option+Right Bracket,
| | 02:44 | and make sure we don't get that zoom.
So this is going to be a tail-only edit.
| | 02:50 | Again, I will just hover right here,
Option+Right Bracket, and let's get that panned down.
| | 02:57 | So we'll start the clip here, top edit
Option+Left Bracket, Option+Right Bracket,
| | 03:06 | and we'll make sure we don't get that zoom out,
so this is going to be a tail edit.
| | 03:10 | Let's end that clip right there.
| | 03:15 | And we will go ahead and include
everything up to this point right there.
| | 03:23 | So we'll make a tail edit
right here, Option+Right Bracket.
| | 03:26 | All right, it's perfect.
| | 03:28 | So that was a very quick way to get rid of
all the material that we didn't want, and
| | 03:33 | we can even go in and get some more clips and
do the same thing to finish out this sequence.
| | 03:38 | Now I want to show you one more thing.
| | 03:41 | I'm going to just grab a couple more shots,
maybe some of the On the Farm shots, and let's
| | 03:47 | go ahead and select all
of them and drag them down.
| | 03:55 | And Shift+Z to fit everything in. This is
a lot of clips, and again, we have to Create
| | 04:02 | a Storyline or it's not going to work.
| | 04:05 | All right, so I'm all set to go, and this
time I'm not going to hover my skimmer,
| | 04:13 | I'm just going to play along in real time.
| | 04:15 | And as it's playing along, I can just press
my top and tail edits on the fly and then
| | 04:22 | all of that material goes away.
| | 04:23 | So this is much more instinct-driven where
you're just watching it and then deciding what
| | 04:28 | you do and don't want to include.
| | 04:30 | Let's zoom in a little bit, Command+Plus,
and I'm not going to do everything because
| | 04:38 | this is obviously going to take a
little bit longer going in real time.
| | 04:41 | But I'll go ahead and start playing and
perform my top and tail edits on the fly.
| | 04:47 | (video playing)
| | 05:14 | So you get the idea.
| | 05:16 | You have the option to play in real time and
sort of select them as you go or have a more
| | 05:21 | global approach where you are just
skimming through and figuring out what you want.
| | 05:26 | One last thing, I can also perform Gap Clip
top and tail editing, and this simply means
| | 05:31 | that instead of immediately extracting the
material with everything in to fill the gap,
| | 05:36 | I instead replace the marked area with a gap.
| | 05:40 | So to do this, you just need to switch from
the Select tool to the Position tool and then
| | 05:46 | let's say that I want to remove
this part of the clip but leave a gap.
| | 05:51 | We'll go ahead and just perform a tail edit,
Option+Right Bracket, and it leaves a gap clip
| | 05:57 | in its place so I can go and find
another shot and put that here if I want to.
| | 06:01 | So sometimes you might want to do that,
but most of the time, you're going to want to
| | 06:04 | work with the Select tool and perform
top and tail Editing like we just learned.
| | 06:09 | So, as you can see, top and tail editing is a really
efficient way to work, especially when creating montage.
| | Collapse this transcript |
| Auditioning clips to try multiple editing options| 00:00 | In this movie, I want to take a
look at how to audition clips.
| | 00:04 | Auditioning is a way to try multiple shots
in your sequence without actually committing
| | 00:08 | to one until you see how it works in the
context of the surrounding shots. Let's take a look.
| | 00:14 | All right, I'm going to go into 7.3, and I
have my Castles sequence, and I think everything
| | 00:21 | is looking good, but I'm kind of curious how a couple
of lines might be delivered differently in another take.
| | 00:27 | I don't necessarily want to edit them in,
because I might not like it as well, and then
| | 00:32 | I'd just have to remove it and edit the
first shot back in if it doesn't work out.
| | 00:36 | So this is where we can audition
to make things a little easier.
| | 00:39 | All right, so the first idea I had was
the first line, "So, how's the coffee?"
| | 00:45 | I'm just going to zoom in here, Command+Plus, and
let's go ahead and just take a listen to this line here.
| | 00:55 | (male speaker: So, how's the coffee?)
| | 00:58 | So we have Joseph's boss this in the long shot. Let's
just see how this line is delivered in the medium shot.
| | 01:06 | So I'm just going to go into
Castles, and here is the medium shot.
| | 01:11 | I'm going to go ahead and get myself a
little bit more space to work with here.
| | 01:17 | And let's find it, he is about to deliver
it, I'm just going to mark an In
| | 01:22 | and an Out point around that line.
(male speaker: How's the coffee?
| | 01:28 | How's the coffee?)
| | 01:30 | So I have got it marked.
Same line delivered here and here.
| | 01:34 | Now what I'm going to do is just drag this down.
| | 01:37 | Now you might be saying this kind of looks
like a Replace edit, and you would be right,
| | 01:41 | but when I release the mouse, instead of choosing one
of the Replace Edits, I'm going to say add to Audition.
| | 01:49 | Now right away it doesn't look like anything
happened, but if you take a look at this little
| | 01:53 | spotlight icon up here in the upper left corner,
this is what indicates that the clip has an
| | 01:59 | auditioned clip added to it.
| | 02:01 | If I click on the spotlight, the Audition
window opens up, and now I see the multiple
| | 02:06 | shots I can try out.
| | 02:08 | All I need to do is select the next one
that I would like to try out, you can see that
| | 02:13 | it updates live in the timeline.
| | 02:15 | So this line is shorter, and you
can see here, and I can go back and forth.
| | 02:20 | So let's try this one out, let's go
ahead and press Done, and let's play through.
| | 02:28 | (male speaker: How's the coffee?)
| | 02:30 | And just as with any other clip, you
can take an audition clip and ripple it.
| | 02:34 | I think it needed a little bit more room.
And I'll play it again.
| | 02:39 | (male speaker: How's the coffee?)
And maybe I don't like it quite as well.
| | 02:43 | So, no problem, I just go back into the Audition window,
pick the first one, and say Done, and back it comes.
| | 02:51 | You can add as many clips as you want into
an audition. Maybe instead of two takes,
| | 02:56 | I want to try out three or five or ten. All you
do is mark the section that you want to add
| | 03:02 | into the audition, drag it down, add it to
the audition, and then you have it available.
| | 03:07 | Let me open the Audition window once again, and
I just want to mention the Duplicate button here.
| | 03:13 | This is most often used if you want to try out a
clip with a specific video effect applied to it.
| | 03:18 | So maybe you want to try out a clip as is
and then also just duplicate it and then apply
| | 03:24 | a video filter or effect to it.
| | 03:27 | We haven't covered video effects yet, but
you get the gist of what I mean here, and
| | 03:30 | we will cover it later.
All right, so let's close this.
| | 03:34 | Now when you audition clips, you don't ever
have to take the other clips out of the audition.
| | 03:39 | But if you're sure that you want to keep one
shot, and you know you won't need any others,
| | 03:43 | then you can just right-click on the clip
and choose Audition and Finalize Audition.
| | 03:50 | You can also press Option+Shift+Y.
| | 03:53 | Now notice that when I do this, the Audition
spotlight is gone, and this is now just a normal clip again.
| | 03:59 | So, as you can see, auditioning clips is an
easy and efficient way to try out different
| | 04:03 | shots without the logistical slow-down of actually
committing to the edit in order to see it.
| | Collapse this transcript |
| Working with markers| 00:00 | Often it's nice to be able to leave yourself
or other members of the editing team a note
| | 00:05 | about a particular shot or
communicate that something needs to be done.
| | 00:10 | In the digital world of video editing, it's
not very practical to leave actual notes,
| | 00:14 | because you're often referring to a very
specific shot or even a specific frame.
| | 00:20 | Instead you need to be able to zero in and
leave these notes right within the editing project.
| | 00:25 | Fortunately, that's where markers come in, the digital
Post-It notes of the editing world. Let's take a look.
| | 00:31 | I'm going to go into 7.4, and again, we're
in Farm to Table, and this is Scene 1,
| | 00:38 | and I have a few comments that I'd like
to leave for myself and for my producer.
| | 00:42 | For example, let's start simple.
| | 00:44 | This shot here is too dark
and needs to be color corrected.
| | 00:48 | I just want to leave a marker for myself to
remind myself to color correct it before
| | 00:52 | I screen it for the client.
| | 00:54 | So to do this, I'm just going to park the
playhead right on the shot and press M.
| | 01:00 | This adds a marker.
You can see the blue marker right there.
| | 01:03 | Now to actually leave a note, I have to
press M again and my Marker dialog box opens.
| | 01:09 | I'm just going to type color correct, and I
could press Done, but I want to take a look up here.
| | 01:17 | Now if I click the middle button, this changes
the Marker from just a general informational
| | 01:23 | marker to a to-do item which turns this into a task
that I can check off whether I have completed it or not.
| | 01:31 | As an aside, this third box lets you add
chapter information for when you export your project,
| | 01:35 | but we'll take a look at
that a little bit later.
| | 01:38 | So since this color correct is an actual task, I'm going
to click on the middle button, and then I'll press Done.
| | 01:45 | Now I have got another question down the line.
| | 01:48 | I know that we have secured Talent Release
Forms for most of the interviewees, but I'm
| | 01:53 | actually not sure about this farm
worker, and we need to get everybody.
| | 01:57 | All right, so I'm going to go ahead and
just park here, and instead of pressing M twice
| | 02:04 | you can also just press Option+M,
and Marker dialog box opens right up.
| | 02:09 | And I'm just going to type,
Did we clear this talent release?
| | 02:17 | And then I'll press done.
And one more. Over BD's interview here,
| | 02:22 | he's talking about what he
does before the sun rises.
| | 02:26 | So I know that we shot footage of the sun rising over
his house, and I want to make sure that we include it.
| | 02:31 | So I'm just going to press Option+M and type
Insert sunrise shot, and this is a to-do item and done.
| | 02:43 | Now, notice that when I click on my
markers, I don't actually see anything.
| | 02:48 | To see the note that I left, I just
double-click, and it opens up right here.
| | 02:53 | Also if I want to move from marker or marker,
I can press Ctrl+Semicolon and Ctrl+Apostrophe.
| | 02:59 | So Ctrl+Apostrophe to move to the right,
Ctrl+Semicolon to move to the left.
| | 03:04 | Well, this is okay, but I'd really like to
do is be able to see the information contained
| | 03:09 | within these markers in a list.
| | 03:12 | Fortunately, that's where
the Timeline Index comes in.
| | 03:16 | I'm just going to click on the Timeline
Index here, and we looked at this previously
| | 03:21 | when we were examining the
various clips in a sequence.
| | 03:24 | But we can also use it to
look at marker information.
| | 03:28 | I just need to make sure that tags is
selected, and then if I click on the Marker icon
| | 03:33 | at the bottom it gives me a list of my markers.
| | 03:36 | If I come over here and click on this one,
it gives me a list of all of my to-do items,
| | 03:42 | and then over here it gives me
a list of my completed tasks.
| | 03:46 | We don't have any completed tasks yet,
so let me show you how to do that.
| | 03:50 | So I have gone through, and let's say--I haven't
done it yet, because we haven't learned about
| | 03:54 | color correction--but let's say
that I color corrected this shot.
| | 03:58 | So I can double-click on this and then say
Completed, and notice that it moved from the
| | 04:05 | to-do list to the Completed list.
| | 04:10 | Another way to check off to-do
items is right from within this list
| | 04:13 | I can just check it right here and again it
disappears from here and goes to Completed.
| | 04:19 | Just a few more logistics on markers before we
wrap up. If I want to move a marker, I actually
| | 04:24 | have to right-click on it and choose Cut,
and then we need to color correct this shot
| | 04:31 | as well, and then I'll paste Command+V.
| | 04:35 | So there is no actual moving of markers, it's just
cutting and pasting, and also you can copy and paste.
| | 04:44 | If I want to delete a marker, same
thing, I just right-click and say Delete.
| | 04:49 | So, as you can see, markers are a great way
to digitally communicate specific information
| | 04:54 | in the digital world of Final Cut Pro.
| | Collapse this transcript |
| Customizing the keyboard and workspace| 00:00 | So far throughout this course, I have been
spouting off keyboard shortcuts galore.
| | 00:05 | If you take a look in the menus, almost every
command in Final Cut has a keyboard shortcut
| | 00:09 | associated with it, some may be easy to remember,
others may be more difficult, especially when
| | 00:15 | you start adding in all the modifiers with
the Command, Ctrl, Shift, and Option keys.
| | 00:21 | Depending on your particular editing style,
you may have any number of preferred commands
| | 00:25 | that you want to keep more
accessible and easier to remember.
| | 00:30 | Fortunately there is a very easy way to reconfigure your
keyboard to fit your own preferred editing environment.
| | 00:35 | And you can even take his editing
configuration with you as you move from system to system,
| | 00:40 | so you never have to reprogram your workspace.
Let's take a look at how.
| | 00:44 | If I come up to Final Cut Pro > Commands >
Customize, I get a customizable keyboard.
| | 00:52 | Now I can't actually customize the default
keyboard, so I first have to come to this
| | 00:56 | menu here and choose Duplicate.
| | 00:58 | And I'm just going to name
it with my initials and FCP.
| | 01:04 | Okay, so there are several ways
that you can work in this window.
| | 01:09 | If you take a look over here, there are
quite a few categories of editing functions.
| | 01:14 | As I click on each, it lists all of the
associated commands that belong within that category.
| | 01:20 | If you want to take a look at the entire
keyboard within a given modifier, you can come up here.
| | 01:25 | So this is a keyboard with no modifiers
attached, and then here is the keyboard
| | 01:30 | with Command and Shift and Option and Ctrl.
| | 01:34 | And you don't actually get the individual
commands listed here, but you can see which
| | 01:39 | keys have commands mapped to them which is
signified by a white dot, and then you also
| | 01:45 | get the category that each command resides.
And everything is color coded appropriately.
| | 01:49 | So you can see basically
how the keyboard functions.
| | 01:53 | You can also select multiple modifier keys.
| | 01:55 | So for example this is what happens
when you hold down both Command and Shift.
| | 02:00 | So, needless to say, a lot of commands for sure.
| | 02:04 | And if you ever want to know what commands
are already attached to a particular key,
| | 02:08 | you can just click on the key and all of
the associated commands appear over here.
| | 02:13 | So if I want to know all of the commands associated
with the R button, you can see the list over here.
| | 02:20 | With each letter containing so many
associated commands it can certainly become difficult
| | 02:25 | to store all of these in your memory.
| | 02:27 | So let's take a look at how to remap commands.
Let's first of all take top and tail.
| | 02:32 | Now as we know, by default these are mapped to
Option+Left Bracket and Option+Right Bracket.
| | 02:38 | Let's see about mapping them just
to left bracket and right bracket.
| | 02:41 | So, first of all I am going to check
to see what's mapped to those already.
| | 02:44 | I am going to click on left bracket and with
no modifier attached that is select left edge
| | 02:51 | and right bracket is select right edge.
I'm okay with remapping those keys.
| | 02:56 | So what I am going to do is just come up to
this text field right here and type trim start
| | 03:03 | which is what Final Cut calls a top edit.
| | 03:06 | And I don't see anything right now, so I am
just going to come up here and say
| | 03:10 | all Final Cut Pro commands, and here's my trim
start, and as we know Option+Left Bracket.
| | 03:16 | All I am going to do is just drag this right
on top of my left bracket, and let's do the
| | 03:21 | same thing, trim end, and I'll drag and drop.
| | 03:29 | So now when I click on left bracket, it's now
trim start for no modifier, and when I click
| | 03:35 | on right bracket, it's now trim end.
| | 03:38 | So we have replaced those commands.
Okay, so let's see, what else?
| | 03:43 | Well, let's say that I'm doing a lot of voiceover
work, and I am laying in a bunch of scratch dialogue.
| | 03:48 | We learnt how to record scratch audio, but
if you take a look at the Window menu and
| | 03:54 | Record Audio, there's no
modifier attached to it at all.
| | 03:58 | So let's give it one.
| | 03:59 | When I am mapping keys, I usually like to
try to choose something that I'll remember.
| | 04:03 | So since this is recording audio, let me see
what candidates are available with the A key.
| | 04:07 | I am just going to click on A, and I don't
really want to replace any of those, but it
| | 04:14 | looks like Option+A is available.
| | 04:17 | So let's go ahead and
remap Record Audio to Option+A.
| | 04:20 | I am just going to come up here and type in
record audio, there it is. As you can see, no modifiers.
| | 04:28 | And I am just going to click
on Option and drag it on over.
| | 04:34 | So I just keep going like this, not necessarily
all at once, but as things come up as I identify
| | 04:40 | what commands I use the most
often, I just map them as I go.
| | 04:44 | Now if I want to save my keyboard settings
so that I can use them on another system,
| | 04:49 | I just come to this menu here and choose Export.
| | 04:53 | I'll give my settings a name and then
save them to a location on my system.
| | 05:01 | I recommend ultimately putting your settings
on a portable thumb drive or placing it within
| | 05:05 | a cloud-based location like a Dropbox folder.
| | 05:08 | Then when you go to another Final Cut system
you just come up to Import, find your settings,
| | 05:17 | open them up, and you're ready to go.
| | 05:19 | All of your hard work in setting up your editing
environment appears right in front of your eyes.
| | 05:24 | So taking the time to learn keyboard
shortcuts is an extremely important part of editing.
| | 05:29 | You don't want to be slowed down by constantly
searching through menus, trying to find what you need.
| | 05:35 | So, fortunately mapping these commands and
remapping them and then taking them with you
| | 05:40 | wherever you go couldn't be easier.
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|
|
8. Multicam EditingSyncing your multicam group clips| 00:00 | Final Cut Pro X's ability to simultaneously view and
edit up to 64 separate clips is really rather incredible.
| | 00:08 | You have an awful lot of flexibility as
none of your clips need to even share the same
| | 00:13 | resolution, frame rate, or codec, but if
your clips were shot at the same time, you can
| | 00:18 | automatically sync your shots together using
Final Cut's built-in Audio Analysis feature.
| | 00:24 | Then with everything synched together, you
can easily switch between your various angles
| | 00:28 | to assemble your edit.
| | 00:30 | Now there are quite a few options
in setting up your multicam edit.
| | 00:33 | And in this movie, we'll explore how to
appropriately prep and sync your footage.
| | 00:38 | Let's go ahead and open the Farm to Table
event and click on the Multicam keyword collection,
| | 00:43 | where we have three separate
camera angles of the same interview.
| | 00:47 | Now depending on the clips that you are using,
synching for the Multicam edit can be superfast
| | 00:52 | and effortless, or it may require
just a little bit of prep time.
| | 00:56 | So I thought I would first show you how
synching a Multicam edit can be done the fast way,
| | 01:01 | and then we'll double back and cover some of the
additional options you may need to or want to use.
| | 01:07 | So the fast and easy way involves synching via
Final Cut's built-in Audio Analysis feature.
| | 01:13 | So, essentially what it does is match up
the audio waveform for each of these clips.
| | 01:18 | We saw this before when we learned
how to sync video to high-quality audio.
| | 01:22 | So just as before, it's crucial that audio
is actually recorded on each of these cameras
| | 01:27 | as they capture the footage, even if
you have no intention on using it.
| | 01:32 | So all we do is select each of these clips and
then right-click and choose New Multicam Clip.
| | 01:38 | When you do this, a dialog box is going to pop up,
and if you're doing this for the first
| | 01:42 | time, this is how yours should look, but if
you see a whole lot of other options displayed--
| | 01:48 | this is probably what you see--go ahead and
click on Use Automatic Settings, and you should
| | 01:52 | be looking at this basic view.
| | 01:54 | And then for this type of sync, you just need to
check the box that says Use audio for synchronization.
| | 01:58 | I am going to say OK.
| | 01:59 | And Final Cut is going through the process
of analyzing the audio waveforms, and it's
| | 02:06 | produced a new multicam clip, and
this is the icon for a multicam clip.
| | 02:11 | I am just going to drag this into the
multicam keyword collection to stay organized.
| | 02:16 | And so here is my new multicam clip.
| | 02:18 | I forgot to rename this. I am just going to go
ahead and call this BD Interview multicam clip.
| | 02:27 | You'll first want to just check to
see that the clips are in fact in sync.
| | 02:31 | So if I double-click on my multicam clip, it
opens up into what's called the Multicam Editor.
| | 02:38 | To see the visual output as well, I just need
to come to window > Viewer Display > Show Angles.
| | 02:46 | So as I sort of scrub through this, it looks
to be in sync, you can see all three interviews
| | 02:53 | are basically moving and talking at the
same time, but I am going to go ahead and play,
| | 02:57 | and let's make sure that everything is in sync.
| | 02:59 | (BD Dautch: --certified organic by CCOF, which is a certifying
organization, and we grow about 100 different herbs, vegetables--)
| | 03:11 | It looks great.
| | 03:13 | Now if by chance things were off by a frame or two,
you could move these clips left and right as needed.
| | 03:20 | So I'm going to switch to my Select tool,
you can select the clip and then use your
| | 03:25 | comma and period key to
nudge the clip back and forth.
| | 03:29 | Also just for your information, if you'd like to
change the order that these clips are displayed
| | 03:34 | within the Multicam editor, you can just grab
these black bars and drag up and down, like so.
| | 03:40 | So as I said, the scenario I just showed you
is great if audio was recorded to each camera
| | 03:45 | because of Final Cut's
built-in Audio Analysis tool.
| | 03:49 | But there are other ways
that you may want to synch.
| | 03:52 | So, let's just select all
three of my clips once again.
| | 03:56 | And again, right-click and
choose New Multicam Clip.
| | 04:00 | This time we want to go into Custom
settings because we want to take a look at a couple
| | 04:04 | of these other options.
| | 04:06 | If you look at Angle Synchronization, these
are the other methods that you can sync by,
| | 04:10 | and we won't talk about all of them, but I am
going to talk about a couple of the most common.
| | 04:15 | First of all, Timecode.
| | 04:17 | Timecode is the physical address of each frame
of footage dictated by a number that represents
| | 04:22 | a specific number of hours,
minutes, seconds, and frames.
| | 04:25 | Now if the cameras that shot all the footage
were set up to have jam-synched timecode,
| | 04:31 | then each clip from each camera would have
identical timecode, and then you could sync this way.
| | 04:36 | Now, our interviews do not contain
identical timecode, so it won't work in this case.
| | 04:41 | Another way you can sync your footage is to
manually place a marker--and we have already
| | 04:46 | learned about markers--at a common
location on each of the camera angles.
| | 04:50 | So if each camera angle starts with a shot
of a common slate and clap sticks, then you
| | 04:55 | could place a marker at that location on each of the
shots and then sync by this first marker on the angle.
| | 05:01 | Let me just cancel here.
| | 05:06 | In our case, there is a person clapping at
the very beginning of each one of these.
| | 05:15 | As you can see, there's the person
clapping here and here and here.
| | 05:26 | All right, so that would be a common place
that you may want to place a marker, and then
| | 05:30 | you could sync that way.
| | 05:32 | Let me go back into this window real quick,
and I just want to discuss one more thing,
| | 05:38 | and as you see, under the Angle Assembly dropdown, you
have various ways that you can display your angles.
| | 05:43 | I am going to cancel here. I want to show you how
to attach the metadata in case you want to do this.
| | 05:50 | I am going to just pop into list view, and
as you can see, we have a lot of metadata about
| | 05:56 | each of these clips, and of course if I
right-click here, we can choose anything else.
| | 06:01 | However, there's some metadata that you can
add yourself, such as camera name and camera angle,
| | 06:07 | and you do that in the Inspector.
| | 06:10 | If I change from Basic View to Extended View,
and then I come down to Camera Angle and Camera Name,
| | 06:18 | I can put data in here that's then going
to allow me to sort my clips accordingly.
| | 06:24 | And for 3 it's not a big deal, but if you
have 20 different cameras, you might want
| | 06:28 | to attach the metadata to it so
that everything is organized well.
| | 06:32 | I am going to go ahead and close this
because we won't need to do it in our case.
| | 06:35 | All right, so as you can see, there are some pretty powerful
forces that work inside of Final Cut's Multicam editor.
| | 06:41 | And once you have got your Multicam group clips synched
and ready to go, you are ready to begin editing.
| | Collapse this transcript |
| Performing a multicam edit| 00:00 | Once you have got all your camera angles synched
into a multi-group clip, you're ready to start editing.
| | 00:06 | Let's take a look at how to get started.
| | 00:08 | I am going to go into my 8.2
sequence which is blank.
| | 00:14 | And I need to go into my
Multicam keyword collection.
| | 00:17 | And in the previous movie we created
the Multicam group clip right here.
| | 00:23 | And all I'm going to do is mark an in and an out
where I would like to insert this into the timeline.
| | 00:26 | And I think this is the interviewer talking and
then BD starts talking here. Let's just confirm that.
| | 00:32 | (video playing)
| | 00:36 | So I'm going to edit all of that in,
and I will just press W to insert it in.
| | 00:42 | And as you can see, it just looks like one
clip in here, but we know better. It's really
| | 00:46 | the group clip that
contains all three camera angles.
| | 00:49 | So let's press Shift+Z to fit it in there,
and we need to now show the different angles.
| | 00:55 | So that's available Window > Viewer Display
> Angles, and it's actually also available
| | 01:01 | over here or Shift+Cmd+7.
| | 01:05 | So let's make this nice and big.
| | 01:09 | Now before we start cutting
we have got to make a few decisions.
| | 01:12 | First, we have got to determine if we are going
to cut video and audio together or just video.
| | 01:17 | Now often when you have a superior audio source
on one of the cameras or even a separate audio
| | 01:22 | recorder you will restrict your edits to video
only so that you can keep the same good audio
| | 01:28 | running throughout.
| | 01:29 | Now that is the case for us here, we have
one camera angle with superior audio, and
| | 01:33 | it is the first camera here.
| | 01:36 | And so if I want to cut both video
and audio I am going to select this.
| | 01:39 | If I'm going to cut video only, which is what
we're going to do, I am going to select this
| | 01:43 | one here in the middle, and if I want
to cut audio only it's this one here.
| | 01:47 | So we are going to cut video only and also
just to point out one thing, we only have
| | 01:53 | three camera angles here so
our quad display is just fine.
| | 01:57 | But you can always come up to
Settings and choose more angles if you like.
| | 02:01 | So basically, what we are going to be doing
is editing using a cut and switch technique.
| | 02:06 | As you see here, my tool is this blade, so every
time I select another angle I am simultaneously
| | 02:12 | cutting and switching to that angle.
| | 02:15 | And because I am making video only edits,
we are just going to be cutting video, but
| | 02:18 | leaving the audio intact
from this chosen camera angle.
| | 02:23 | So here is how I recommend you do this.
| | 02:25 | Take your first pass on instinct, act like
this is a live show and pretend that you're
| | 02:29 | doing live switching.
| | 02:31 | And then you can later go back and refine it.
| | 02:34 | But let's give this a go.
| | 02:35 | Again, this is just an interview. It's not
going to be exciting, there is not going to
| | 02:39 | be much in the way of any real changes between
these shots, but just to demonstrate let's give it a go.
| | 02:44 | So I am going to go to the beginning here,
and as I play I am just going to click on
| | 02:49 | one of these camera angles, I can also use the
number keys 1, 2 and 3 if I like on my keyboard.
| | 02:55 | So, I am going to go ahead and play.
| | 03:00 | (video playing)
| | 03:18 | And I will stop there
because this is not that riveting.
| | 03:21 | So, as you can see, I have all of these
little dotted lines in between each of my clips,
| | 03:26 | and if I zoom way in Cmd+Plus+Plus
you can see how everything is patched.
| | 03:33 | So video, camera 3, audio camera 1,
video, camera 2, audio camera 1.
| | 03:39 | So, as you can see, editing the sequence based
on an instinctual first pass is a pretty fast
| | 03:43 | and efficient way to work.
| | 03:45 | However, you're never going to get it totally
perfect the first time, so fortunately there
| | 03:49 | are many ways to refine
the edit as we'll learn next.
[00:3:53.00]
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| Refining the multicam edit| 00:00 | Once you've laid the foundation of
your multicam edit by doing an instinctual
| | 00:04 | first pass live switching style, you'll
no doubt need to change shots or adjust
| | 00:09 | transitions and just tweak
the entire sequence in general.
| | 00:12 | Let's take a look at how to do this.
| | 00:14 | I am going to go into 8.3 and because
this is a multicam group clip that I have
| | 00:20 | edited, we have access to any of the
other clips within the group at any time.
| | 00:25 | If I decide I want to switch my shot
there are a couple of ways I can do that,
| | 00:30 | one way is to just right-click on a
clip and then just change the Active Video
| | 00:35 | Angle or the Active Audio Angle.
| | 00:37 | And then if I come down and click on
the clip it will update visually and I'll
| | 00:43 | just change that back.
| | 00:46 | Another way to change camera angles is
to park on a clip and then open up the
| | 00:52 | Angles viewer and then Opt+Click on
the one that you want to switch it to, so
| | 00:58 | may be I want to switch this one to
camera 2, I'll Opt+Click on camera 2 and
| | 01:05 | then if I click back down here it updates.
| | 01:07 | If instead of swapping out the entire
shot I want to make a cut, I do the exact
| | 01:12 | same thing but I just don't hold down Opt.
| | 01:15 | So I'm just going to park my playhead
here and then click and now it's made a
| | 01:22 | cut and its switch to the
camera angle that I want.
| | 01:25 | Another way to refine your edit is to
manipulate your transitions because many
| | 01:28 | times when you're in that live
switching mode you might cut a little bit too
| | 01:32 | late and sometimes too early.
| | 01:34 | So, notice that when I hover my cursor right
in between two transitions I get the Roll tool.
| | 01:41 | This allows me to roll back and
forth between these two shots and I can
| | 01:45 | manipulate the edit point really well.
| | 01:47 | Remember, instead of dragging if I want
to use the keyboard I can, I just want
| | 01:51 | to select it and then use my comma to
roll to the left one frame at a time and
| | 01:56 | my period to roll to the
right one frame at a time.
| | 01:59 | Now just to point something out.
| | 02:01 | If I was in any other type of sequence
other than a multicam edit my default
| | 02:06 | transition editor would be a Ripple edit tool.
| | 02:09 | But Final Cut knows that I don't want to
add or subtract any frames in this type
| | 02:13 | of editing so it defaults to the Roll tool.
| | 02:16 | And remember you can also open up the
Precision editor if you like, so that you
| | 02:20 | can see the exact video on either side.
| | 02:22 | I'll just double-click and then I
don't see it right away but if I just click
| | 02:27 | again here in the middle you can see
all of the video to the left and to the
| | 02:32 | right of the edit point.
| | 02:33 | So that can help out as well.
| | 02:35 | I will go ahead and double-
click to close this backup.
| | 02:37 | Also, you'll sometimes want to remove an
entire chunk from your sequence, you'll
| | 02:41 | do that the exact same way as a regular
sequence, just marking in and out around
| | 02:45 | the area that you want to
remove and then press the Delete key.
| | 02:49 | So let's say that I just wanted to
remove this little part from the sequence, I
| | 02:53 | can go ahead and mark an in and an
out and press Delete and it's gone.
| | 03:00 | Now there is one sort of
gotcha about this scenario though.
| | 03:03 | When you remove footage, you no longer
have what are called through edits, which
| | 03:07 | represent continuous frames
going through an edit point.
| | 03:11 | So in this case the Roll tool as you
can see is no longer going to be the
| | 03:16 | default transition editor, notice that
as I click on here it's the Ripple tool.
| | 03:21 | So just be careful of that or at
least be aware of it as it does change
| | 03:25 | the default behavior.
| | 03:26 | If I go back to another through
edit I have the Roll tool back.
| | 03:30 | So as you can see, there are many ways to go
back and refine your footage in a multicam edit.
| | 03:36 | Again, it's a nice workflow if you
rely on a live switching instinctual first
| | 03:40 | pass, but then come back and put on
your meticulous hat to get each and every
| | 03:44 | shot and each and every
transition as perfect as you can.
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|
|
9. Working with EffectsWorking with basic motion effects: Transform, Crop, and Distort| 00:00 | Final Cut Pro X is loaded with effects that
you can add to your clips, and we'll explore
| | 00:05 | many of these in this course.
| | 00:07 | There are also some basic built-in motion effects that
come as part as every video clip. Let's take a look.
| | 00:14 | So I am going to go into 9.1, and I am going to
go into the Farm to Table Motion FX 1 sequence.
| | 00:22 | And so again, this is scene one from the film, and
there is a lot of really nice farming produce footage.
| | 00:27 | But in some cases, the framing could be a
little bit better, and in other cases I think
| | 00:31 | a little movement might be
nice in an otherwise static shot.
| | 00:35 | So let's just zoom in right around here,
Cmd+Plus, and I have got this shot of BD
| | 00:44 | working in the field.
| | 00:45 | But here I have got a cameraman on the right
side of the frame, and we need to make sure
| | 00:49 | that we don't include that.
| | 00:51 | So let's rescale it.
| | 00:53 | We'll do that with the Transform tool.
| | 00:54 | Again, we don't have to add an effect, I
am just going to click on the clip, and I am
| | 01:00 | going to open the Inspector, Cmd+4, and then
this Transform category is going to give me all I need.
| | 01:07 | Now I can either just increase the Scale here,
and you can see that the cameraman disappears
| | 01:15 | off screen when I do that, and I can keep
going if I want it to be more of a close-up.
| | 01:20 | If I want to reposition the frame,
it's better to do that with the Wireframe.
| | 01:23 | So, I can just come up here and click.
| | 01:26 | And you also notice that
the Wireframe is right here.
| | 01:28 | This is just a toggle, I
can click this on and off.
| | 01:31 | When I do that, I have the ability
to just drag stuff within the viewer.
| | 01:35 | Now it's a little bit hard to see right now.
| | 01:36 | So, I am just going to switch from 50% to 25%.
| | 01:41 | And now, you can see right here,
I can grab on to the Wireframe.
| | 01:45 | I want to make sure that I constrain
proportions, so you want to drag on one of the corners,
| | 01:50 | if I drag on one of the sides then I am
going to stretch and squeeze, and I don't want to
| | 01:54 | do that, Cmd+Z.
| | 01:56 | So, rescaling, repositioning, not a problem
with either the Inspector tools or with the
| | 02:03 | Wireframe and then when I'm done, I am
just going to say Done, and I am just going to
| | 02:08 | switch back to 50%, and that's my new framing.
| | 02:13 | Just for your reference, there are some other
transform properties that you may want to explore.
| | 02:17 | We have already touched on Scaling and Position,
but there's also Rotation and Anchor Point.
| | 02:23 | And we won't go into all of those right now,
but if you're familiar with these types of
| | 02:27 | controls from other applications,
they behave in basically the same way.
| | 02:31 | So, I'm going to just head downstream a
little bit, and I have this section here where
| | 02:38 | BD is talking about all of the hundreds of
herbs and vegetables and fruits and flowers
| | 02:44 | that he grows on his farm.
| | 02:46 | I am just going to zoom out
just a little bit, Cmd+Minus.
| | 02:51 | And I'm going to go ahead and play it so you get
a sense of what we're talking about right here.
| | 02:57 | (video playing)
| | 03:15 | All right, so basically what I have done--
I have sort of prepped this part--I have stacked a
| | 03:21 | bunch of clips on top of one another.
| | 03:24 | So, I have a stack three tall, and I switch
from one set of images to another set of images.
| | 03:31 | Right now we can only see the topmost image
because we haven't done any work with this,
| | 03:36 | but basically what we're going to do
right now is create a split screen.
| | 03:39 | First, let's just do a couple of these with
some basic transforms, we'll resize and rescale.
| | 03:45 | So I will just come to this shot right here,
and we'll toggle the Transform button, and
| | 03:50 | I will get myself a little bit more space
here, and I will just drag, and reposition,
| | 03:58 | and maybe do the same thing on this lower level.
| | 04:02 | And you can kind of see how we're doing this.
| | 04:06 | We'll take the time to get it exactly
perfect right now, but you get the idea.
| | 04:11 | This is a really easy way to
do some split screen action.
| | 04:13 | So now let's go ahead and take a
look at when you would want to crop.
| | 04:18 | So, if I go from Transform, the second
category is Crop, and you'll also notice that we have
| | 04:25 | Crop parameters right here within the Inspector.
| | 04:29 | I am mostly going to concern myself with working
right here in the viewer, but you certainly can do either.
| | 04:35 | Let's come over to this image
and explore the Crop Parameter.
| | 04:38 | Now, there are actually
three different types of crop.
| | 04:42 | If you come in here, there's Trim, there's
Crop, and there's Ken Burns, and we'll look
| | 04:46 | at each one of these.
| | 04:47 | First, let's talk about Trim.
| | 04:49 | Trimming is simply removing portions of the
video frame, revealing the image underneath.
| | 04:54 | So, if I sort of trim away here, I'm just
trimming away portions of this video frame.
| | 05:04 | And then if I need to rescale or reposition,
notice that if I drag this, it's not going
| | 05:09 | to rescale or reposition, I
have to switch back to Transform.
| | 05:13 | So, once I have cropped appropriately, I can
go into Transform. Now I can move it around
| | 05:20 | and rescale it if I want to,
like so, maybe over here.
| | 05:26 | And let's go to my orchard
shot, and do the same thing.
| | 05:30 | So, I am going to go back to Crop, and we're
going to go on Trim, and let's just look at
| | 05:37 | this tree right here, like so.
| | 05:45 | Okay very good, and if I wanted to rescale
and reposition, I can move it around like that.
| | 05:54 | So that's how that works.
| | 05:56 | Rather than take the time to go through each
one of these images and make it as meticulous
| | 06:00 | as possible, I have already done this in
the Farm to Table Motion FX 2 sequence.
| | 06:07 | Let's see, my stack is right here.
| | 06:11 | So here's my stack, and I have also added
some transitions just some dissolves to soften
| | 06:16 | it a little bit so the
images didn't pop right on.
| | 06:19 | But I will just kind of go through
this, so you can see how it's looking.
| | 06:26 | Okay, so you basically have this composite
of different images while he is talking about
| | 06:31 | all of these various fruits and
vegetables and herbs and all of that.
| | 06:35 | So that's Transform, and that's
the Trim part of the Crop parameter.
| | 06:39 | I am going to head down to this shot down here.
| | 06:43 | I want to talk about a different type of crop.
| | 06:47 | So, if I switch to Crop and go from Trim to
Crop, so it's kind of funny, it's the Crop
| | 06:53 | category, Crop parameter.
This is a little bit different.
| | 06:57 | Cropping constrains the proportions to the
shape of the video frame so that it lets you
| | 07:02 | isolate an area of the image and then when you're
finished it resizes it to the appropriate video resolution.
| | 07:08 | So let's take a look.
| | 07:09 | I have got this shot of BD pruning his tree, and I
think I can go to 50% if I close the Inspector here.
| | 07:20 | It's kind of weird framing.
| | 07:21 | I think that I would like
to reframe him a little bit.
| | 07:25 | So I am just going to drag, like so.
| | 07:28 | and notice that I can't drag it
in any shape other than 16x9.
| | 07:34 | So I will just drag, reposition, and when
I am happy with it, I am just going to say
| | 07:40 | done, and it resizes it within my video frame.
| | 07:45 | So in that sense it's a little bit like the
Scaling Parameter within the Transform category.
| | 07:49 | It resizes full frame, and
now I have got a shot that I like.
| | 07:53 | Finally, there's the Ken Burns effect.
| | 07:55 | If you're familiar with Ken Burns documentaries,
he is famous for the slow panning and scanning,
| | 08:00 | mostly over still pictures which essentially
add some move movement to otherwise static images.
| | 08:05 | Well, you can do this with video as well.
| | 08:08 | So I have a shot here.
| | 08:10 | I thought that it might be a little bit
more interesting, if I started zoomed in on the
| | 08:16 | man and then zoomed out to the field.
| | 08:18 | So a Ken Burns effect would be nice here.
| | 08:21 | So, I'll select it, and select
Crop and then come over to Ken Burns.
| | 08:28 | And you'll notice that I have a start frame
and an end frame, and both frames are sized
| | 08:33 | in the correct aspect
ratio for this video frame.
| | 08:36 | So, we'll start, zoomed in on him, and
end zoomed out over the entire field.
| | 08:48 | So, we can't really see the product of it
until we press Done, and now I will play through,
| | 08:58 | and you can see it in action.
| | 09:00 | (video playing)
| | 09:06 | Okay, so that's Ken Burns.
| | 09:09 | Now the last built-in parameter is Distort.
| | 09:13 | For basic projects, you'll rarely use it as
there's not really much need for distorting your video.
| | 09:18 | But it behaves basically as you would expect.
| | 09:21 | Let's just go ahead and grab
an image to demonstrate here.
| | 09:25 | I'll switch to Distort, and I am going to
open the Inspector real quick, and Distort
| | 09:30 | is right below Transform and Crop.
| | 09:33 | You if wanted to work with it
in the Inspector, you could.
| | 09:37 | You basically just pick one of these values,
and you can drag up, you can drag down, you
| | 09:43 | can see kind of what's happening
to each of these corners, like so.
| | 09:49 | But probably, what you do is actually drag here
right in the viewer and see what's happening here.
| | 09:55 | So, if you are doing some creative video work,
you might use it, but I really rarely do.
| | 10:01 | If you ever want to reset your
parameters it's this little arrow right here.
| | 10:06 | I can just click on it, and it brings it back.
| | 10:08 | And there's a Reset button for every
single one of these, you can see right here.
| | 10:12 | So, as you can see, each and every video clip
has some basic built-in motion effect parameters
| | 10:18 | that allow you to do these basic things like
Reposition, Rescale, Rotate, Crop, and even
| | 10:24 | add a targeted movement to your image.
| | 10:26 | It's definitely a handy built-in option
since these are things you do all the time in the
| | 10:30 | world of video editing.
| | Collapse this transcript |
| Using motion effects with still photos and graphics| 00:00 | So far, we have just been dealing with video.
| | 00:03 | In the world of video editing, however, you often work
with still images like photographs, graphics, and maps.
| | 00:10 | In this movie, we'll take a look at some of
the basics surrounding working with still images.
| | 00:13 | So, if I click on the Stills keyword collection,
you'll see that I have several photographs.
| | 00:21 | In my Filmstrip View, when I click on each
of these images, you'll notice that I get
| | 00:25 | a set In and Out point.
| | 00:27 | This is a default four second amount.
| | 00:30 | And you can of course shorten
or lengthen this as you need to.
| | 00:34 | But if you need to change
the default amount, you can.
| | 00:37 | You just come up to Final Cut Pro >
Preferences and then under Editing, you would just change
| | 00:43 | this amount from 4 seconds to whatever you want.
| | 00:46 | I will leave it at 4 seconds for now.
| | 00:48 | So let's go ahead and switch over to List View
because I want to take a look at something here.
| | 00:52 | I want to look at this Frame Size column.
| | 00:55 | Again, if you don't see this, you just right-
click and make sure to come down to Frame Size and
| | 01:01 | put a check mark there.
| | 01:03 | But as you will notice you will see here that
each of the images have very different frame sizes.
| | 01:08 | Now this is one of the main
differences between images and video.
| | 01:12 | Typically, video comes in at
the same basic aspect ratio.
| | 01:15 | So, while there are quite a few video formats,
both SD and HD, there is little room for vast
| | 01:22 | differences in aspect ratio among like formats.
| | 01:26 | Images on the other hand can come in any shape
or size, 40 pixels by 20 pixels, or 4,000 by 2,000,
| | 01:33 | the possibilities are limitless.
| | 01:35 | Therefore, there are a few things that
are useful to know when working with stills.
| | 01:40 | Right now, I have each
one of these sized at 100%.
| | 01:42 | I am going to switch to Fit so
that we can see each one of these.
| | 01:48 | So, most of the time we are on Fit, notice how
this number changes when I go for an image to image.
| | 01:53 | So, I am at 53% on this frame size of 994 by
576 and so on, and here, this is a huge image.
| | 02:04 | So it's down to 5%.
| | 02:06 | And here we're at 55% zoom.
| | 02:10 | So because Final Cut is sort of fitting each
one of these images within this frame right
| | 02:15 | here. It's performing various
sizing calculations to do that.
| | 02:19 | Now let me switch to 100%.
| | 02:21 | Now, we're looking at
these images pixel for pixel.
| | 02:25 | You can see here that I get an indication
of exactly where that is so I can sort of
| | 02:29 | drag this around and see
all over this image, like so.
| | 02:37 | Same thing here, and so on and so forth.
| | 02:40 | So it does matter how you view this.
| | 02:44 | Most of the time you will be viewing it as a
fit, but it's very good to get a good context
| | 02:49 | of the various sizes you may encounter
because you might not be aware of it unless you have
| | 02:54 | looked at frame size or at
each of the images at 100%.
| | 02:58 | So I'm going to go into my 9.2 sequence
where I have each one of these images laid into
| | 03:05 | the timeline, and I am just going to
select this first one and open up the Inspector,
| | 03:11 | Cmd+4, and I am going to make sure the
Video tab is selected, and come down to the
| | 03:17 | bottom here, Spatial Conform.
| | 03:20 | By default just like in the Event Library,
the Fit option is chosen, where the images
| | 03:25 | fit within the video frame and
the aspect ratio is maintained.
| | 03:29 | This often results in some letterboxing or
pillarboxing, and that's what this is right here.
| | 03:33 | It is pillar boxing it in this case so that
the aspect ratio is maintained, same thing
| | 03:39 | here, got a lot of pillar boxing,
and a little bit on this one as well.
| | 03:48 | Again, letterboxing or pillarboxing just
means that you end up with these black bars along
| | 03:52 | the top and bottom, or along the sides,
because of the discrepancy between the shape of the
| | 03:57 | image and the shape of the video frame.
| | 04:00 | Let me come back to my first image here.
| | 04:02 | Now, if I change the option from Fit to Fill,
then Final Cut zooms in on the image without
| | 04:12 | any letterboxing or pillarboxing.
| | 04:14 | This means that some of the edges of the
image probably aren't going to be visible.
| | 04:18 | But you don't end up with the black
bars along the sides or along the top.
| | 04:22 | So if I do at this one, something
pretty drastic is going to happen.
| | 04:25 | I am going from Fit to Fill, and now we're seeing
this image zoomed in, so there's no pillarboxing.
| | 04:34 | And then finally there is the None option.
| | 04:37 | So, if I come here and choose to None, and
basically what this does is it doesn't do
| | 04:43 | any type of scaling, but rather leaves it
alone, and you're looking at it pixel for pixel.
| | 04:48 | In the last movie, we talked about various
motion effects like Transform, Crop, and Distort
| | 04:53 | that you can apply to your video.
| | 04:55 | Well, you can certainly do the
same thing to your still images.
| | 04:59 | I won't be going through to explain what
each of these does again, but I'll demonstrate
| | 05:02 | how you can do any of these
same operations with still images.
| | 05:06 | So, if I selected this and switch to the
Transform Properties, I can do the same exact thing,
| | 05:16 | and if I wanted to layer several images in together, I
certainly could, rescale, reposition just like before.
| | 05:22 | I can really zoom in on him if I like.
| | 05:24 | I will press Done, and there you go.
| | 05:28 | Same thing with Crop, so if I do Crop here,
and I am going to fit this back into a Fit
| | 05:37 | Spatial Conform, and my trim is going to
let me trim away pixels, like so and then Crop
| | 05:45 | lets me constrain my Video Aspect Ratio, and pick
any part of this image and then zoom in on that.
| | 05:53 | And then of course there is my Ken Burns,
where I can start zoomed in, and zoomed out,
| | 06:09 | and add movement to my image.
| | 06:11 | So, as you can see, there are a lot of
creative ways to work with still images in Final Cut.
| | 06:17 | But it's very good to be aware of how large
the images are, their aspect ratio, and how
| | 06:22 | Final Cut is calculating them.
| | Collapse this transcript |
| Adding and adjusting transition effects| 00:00 | Transition Effects are effects that you
place in between clips, controlling how the image
| | 00:05 | on the A side exits and how
the image on the B side enters.
| | 00:09 | Let's take a look at how to
apply and adjust transitions.
| | 00:11 | I'm going to go into 9.3, and I want to
show you first how to add the most common type
| | 00:17 | of transition, the Dissolve.
| | 00:19 | All you need to do is click on the Edit
point in between two clips and press Cmd+T.
| | 00:25 | As you can see, a transition
has been added to the space.
| | 00:29 | If I click on the Transition and press Ctrl+D,
you'll notice that it is one second long.
| | 00:35 | You can always change this by going up to
Final Cut Pro > Preferences and then under
| | 00:40 | Editing > Transitions you can either
make that shorter or longer as you want.
| | 00:47 | To change the duration within the
sequence there are couple ways you can do that.
| | 00:51 | I'm just going to zoom in, Cmd+Plus+Plus.
| | 00:53 | If I want to change the duration of the transition I
just grab on the edge here and drag out or drag in.
| | 01:01 | Notice that when I drag out I get a red bar
over here on the left-hand side, and that's
| | 01:07 | simply means that I have run out
of frames, and I'll drag back in.
| | 01:11 | If I want to keep a transition while I
perform a ripple edit, I drag on these lines right
| | 01:17 | here, and I'm performing a ripple edit as you
can see on the A side clip or on the B side clip.
| | 01:24 | If I want to keep a transition intact while I
perform a roll edit, I just go in the middle
| | 01:29 | here and then roll back and forth between the
clips and the transition remains where it is.
| | 01:35 | Notice that I have an orange line up here,
that just means that it's rendering. It's
| | 01:39 | going to do so in the background, and now it's
gone. It's rendered, and I can play it in real-time.
| | 01:44 | Let's go ahead and just play our transition.
| | 01:46 | (video playing)
| | 01:49 | To delete a transition you just click on it
and press Delete and to apply a transition
| | 01:55 | to either side of a clip, you just click on
the clip itself and then press Cmd+T and
| | 02:02 | transitions are applied to either side.
| | 02:04 | Notice that if I select the clips on either
side of a transition and right-click and choose
| | 02:09 | Expand Audio/Video, the transition was
applied to the video and an audio cross-dissolve was
| | 02:15 | applied to the audio.
| | 02:17 | So you could adjust this accordingly if you
wanted to once you have expanded the components.
| | 02:21 | I'm going to collapse this for now.
| | 02:23 | So that's the Dissolve.
| | 02:25 | Again, far and away the most
common type of transition by far.
| | 02:29 | Now let's head over to the Transition browser.
| | 02:31 | I'm just going to click on this button
right here and the Transition Browser opens up.
| | 02:37 | And as you can see, the left side contains
Categories and the right side contains the
| | 02:43 | effects within those categories.
| | 02:45 | If you want to take a look at what this is
basically going to look like once you apply
| | 02:49 | the transition you kind of have this image
of the forest and the image of the mountains,
| | 02:54 | and it sort of performs the transition as
you hover your mouse from left to right.
| | 03:00 | There is definitely some interesting
transitions out there so I would recommend that you not
| | 03:05 | use them that often, be very judicious about it,
it's a very common mistake of rookie editors
| | 03:10 | to overuse them, so just be careful there.
| | 03:13 | So let's go ahead and Shift+Z to fit
everything in the window, and we'll apply a transition
| | 03:20 | in between these two clips here.
| | 03:22 | All you need to do is drag and drop, so if
I wanted to bring a Lens Flare in between
| | 03:31 | these two, I'll just drag and drop, and we
are going to need a little bit of rendering
| | 03:35 | time here but let's go ahead and
play it out and see how this is looking.
| | 03:40 | (video playing)
| | 03:42 | Okay. Now a lot of times you'll just leave
it alone but sometimes you do have the ability
| | 03:47 | to reach into the transition
and change some things about it.
| | 03:51 | I'll just go ahead and click on it and then
open the Inspector, Cmd+4, and you can
| | 03:55 | see that our Lens Flare transition for
example has a few parameters that we can change.
| | 04:00 | Let me go ahead and apply a Fade To Color
because this is a little bit more obvious on this one.
| | 04:07 | Right now this is fading to black.
| | 04:09 | Let's just click on it, go in the Inspector,
and we'll change something very obvious.
| | 04:13 | We'll change the color from black to white.
| | 04:17 | And if I zoom in a little bit, I'll go
ahead and shorten it, so now instead of fade to
| | 04:23 | black we have kind of a flash to white going on.
| | 04:26 | And let's go ahead and look at it.
| | 04:28 | (video playing)
| | 04:29 | Okay, again, you can basically either rely on
the parameters that each one of these contains
| | 04:35 | or in many cases you can come into the
Inspector and change something about it.
| | 04:39 | So one more thing, let me go ahead
and press Shift+Z to fit everything in.
| | 04:43 | I'm going to grab some more clips here Farm
Scenery, and I'm just going to add some connected
| | 04:50 | clips to this sequence, like so.
| | 04:55 | (video playing)
| | 04:56 | Okay, so I'll just add these to connected
clips, and I want to show you that just like
| | 05:03 | many other types of editing in Final Cut
Pro adding transitions does not really respond
| | 05:08 | in the same way with connected clips
as it does with clips in a storyline.
| | 05:14 | So if I zoom in a little bit and try to apply a
transition here, notice that I just physically
| | 05:22 | cannot drag and drop this on.
| | 05:26 | I can convert this to a storyline, so I'll
select them, right-click and Create Storyline,
| | 05:33 | and just as with many other types of
editing in Final Cut Pro I have now fixed my issue.
| | 05:37 | I can go in and add it, and it's treated
just like any clip in the primary storyline.
| | 05:43 | All right, I'm going to delete some
of this stuff here and clean things up.
| | 05:50 | If I wanted to delete multiple transitions
I just need to Command-click them and then
| | 05:55 | press Delete and they all go away.
| | 05:57 | I want to address one last thing about
transitions, and that is the function of shot handle.
| | 06:03 | So just to remind us of what shot handle
is I'm going to open up the Precision Editor
| | 06:07 | by double-clicking on the transition, and
we have handle or unused portion of the clip
| | 06:14 | right here for the A side clip
and right here for the B side clip.
| | 06:19 | So when I apply a one second transition the
transition is actually going to take 15 frames
| | 06:25 | from this side and 15 frames from that
side and meld them together, or in the case of
| | 06:30 | 24 frame per second video 12 and 12.
| | 06:34 | So if you don't have the appropriate
amount of shot handle to make this happen?
| | 06:37 | Well let's go ahead and simulate this.
| | 06:39 | I'll go ahead and perform a ripple edit so
that I don't have any frames here, and I'll
| | 06:45 | close my Precision Editor for now, and I'll
add a transition Cmd+T, and it says, hey!
| | 06:51 | There's not enough extra media beyond
the clip edges to create the transition.
| | 06:55 | Basically it's saying
there's not enough shot handle.
| | 06:58 | And then it says, do you want to overlap or
ripple trim your media to perform the transition.
| | 07:03 | So it does exactly what it's saying.
| | 07:05 | It's going to basically trim so that some
of this media is going to disappear from the
| | 07:11 | visible timeline and go into the shot
handle in order to make the transition possible.
| | 07:17 | So you can either cancel and deal with it
on your own, or say yeah, Create Transition.
| | 07:23 | And so now I have the transition and my
whole sequence shortened because of this.
| | 07:29 | So you just need to be aware of this if you
choose the option for it to create the transition.
| | 07:35 | So, as you can see, applying and adjusting
transitions is an easy process, and as long as you use
| | 07:40 | them judiciously, transitions can add the
necessary melding of images that can help
| | 07:45 | tell your story.
| | Collapse this transcript |
| Adding and adjusting video effects| 00:00 | Changing the way a clip looks whether it
be in regards to its general color structure
| | 00:05 | or superimposing new elements altogether is often
a desirable and essential aspect of video editing.
| | 00:11 | Let's take a look at how to
do that in Final Cut Pro X.
| | 00:13 | I'm going to go into 9.4, my video effects sequence,
and let's go ahead and open up the Effects browser.
| | 00:23 | That is right here.
| | 00:25 | And again, the Categories are listed along
the left and the effects within those categories
| | 00:31 | are along the right.
| | 00:32 | Notice that there are both video and audio
effects, and in this movie we're going to
| | 00:37 | be talking about Video Effects.
| | 00:40 | So I'm going to just click on one of my clips,
and if I come back over to the Effects browser
| | 00:44 | and hover over one of the effects you can
see in the viewer how it will look once the
| | 00:49 | effect is applied to the specific clip.
| | 00:53 | So what I want to do to this one actually
is make it look like it's raining, so I'm
| | 00:58 | going to just type in -- I know there
is a rain effect and here we go, Rain.
| | 01:04 | I can do a couple of things, so this is kind
of what it's going to look like once I apply it.
| | 01:08 | I can either click and drag and release, or
all I have to do if the clip is selected is
| | 01:14 | just double-click, and it's applied.
| | 01:17 | If you wanted to apply an effect to multiple
clips in the sequence, no problem, you just
| | 01:22 | select all of the clips that you want to
apply it to and then double-click on the effect,
| | 01:26 | and it's applied to everything.
| | 01:27 | I'm going to undo that for now.
| | 01:30 | So I'm going to click on my first clip
here and open up the Inspector, Cmd+4, and
| | 01:35 | let's adjust some basic parameters.
| | 01:37 | I'm going to, we can really make it
rain, or I can dial it down a little bit.
| | 01:46 | You can see this is the Density,
let's sort of make it a little bit less.
| | 01:50 | Colorize, I think probably may be right
around there, and I think that's good.
| | 01:58 | And again, if I wanted to change all of the
clips in the same way I would just need to
| | 02:02 | select all of the clips in the timeline
that had the effect applied, and I could adjust
| | 02:06 | all my parameters at once.
| | 02:08 | Now let's say I would like to add another
effect to one or more clips. I certainly can.
| | 02:13 | I want to add the Water Pane effect.
| | 02:18 | So essentially I'm looking at this scene in
the rain through a window, and so this time
| | 02:24 | I'll just click and drag.
| | 02:26 | And I have other fun
parameters that I can change.
| | 02:29 | If I come down to Water Pane, let's see, very good,
and it's kind of take away most of that Tint Color.
| | 02:41 | I'm basically happy with that.
| | 02:43 | So let's just play through it.
| | 02:44 | I'm going to come back down
to my sequence, and let's play.
| | 02:49 | (video playing)
| | 02:51 | So pretty good, pretty believable.
| | 02:53 | If I like the adjustments that I made here,
I can keep them or if I want to reset them
| | 02:59 | to the default parameters I can click on
this button here, and it will reset everything
| | 03:03 | to the factory defaults.
| | 03:05 | We can also delete these by just clicking
here on the heading and pressing Delete and
| | 03:11 | they are deleted one at a time,
and now all the effects are gone.
| | 03:15 | Now I want to show you something else.
| | 03:17 | Just for fun let's go ahead to this clip
right here, and I'm going to apply Aged Paper, and
| | 03:27 | maybe I'll adjust some of
the parameters here, like so.
| | 03:32 | a little antiquated look to this.
| | 03:36 | And now let's add a Tint,
okay, and just drag that on.
| | 03:42 | So I'll come in and change this
just a little bit, may be orangish.
| | 03:48 | So let's say that this is the
look that I'm after for this clip.
| | 03:52 | Now here's the thing.
| | 03:53 | These two effects are producing this specific
look, but the effects are processed from top
| | 03:59 | to bottom so the paper is
coming in first and then the tint.
| | 04:03 | What happens if I switch the
order that they are processed?
| | 04:05 | Well, to change this order you just
drag the effect up and down, like so.
| | 04:10 | so if I release here now you
can see it looks different.
| | 04:13 | The Tint is applied first and then
the Aged Paper is on top of that.
| | 04:19 | So I have changed the processing order,
that's why things look different.
| | 04:22 | I can change it back by
simply dragging, and there we go.
| | 04:25 | And speaking of achieving different looks
you can always apply multiple effects and
| | 04:29 | then just turn off or on these effects by
clicking on this little blue light here just
| | 04:34 | so you can kind of check out to see what
each one of these effects is doing in isolation
| | 04:38 | and then what it looks like together.
| | 04:41 | Now one last thing I'd like to cover about clip
effects is the ability to use them within an audition.
| | 04:46 | We have covered auditions in a previous movie
so you should already be pretty familiar with
| | 04:50 | their purpose which is to provide a series
of options for your edit without actually
| | 04:54 | committing to those options, but
in this case it's a little bit.
| | 04:58 | So let's take this third shot here and come up
to Clip > Audition and Duplicate as Audition.
| | 05:07 | Now you see that we have the little Audition
spotlight up here in the upper left corner.
| | 05:12 | So if I open my Audition you can see
that I have two identical clips here.
| | 05:17 | I'm going to apply an effect to this one.
| | 05:19 | I also can duplicate as many times as I want.
| | 05:22 | So maybe I want to duplicate it a third time,
and on this one let's go ahead and apply an effect.
| | 05:28 | And the reason that I don't see anything
is that I have tint still in here, so you want
| | 05:32 | to make sure to clear your results.
| | 05:35 | And let's see for this one, let's go ahead
and add a Cross Hatch and for this one let's
| | 05:42 | go ahead and add Film Grain.
| | 05:47 | Okay, so I can just click on
each one of these to try them out.
| | 05:52 | You can notice that it is live
switching here in the timeline.
| | 05:54 | You can also use your Left and Right Arrow
keys to switch back and forth between them
| | 05:58 | so that you can find the right style,
and again you're not committing to it.
| | 06:02 | As soon as you press Done, and you say, what
did I do, I don't want to do that just open
| | 06:06 | up the Audition again and say, actually
I want this one, and you're ready to go.
| | 06:11 | So Auditions are really great not only for
different clips entirely to try out but also
| | 06:16 | the same clip but with
different video effects applied.
| | 06:19 | So as you can see, it's really easy to quickly
change the overall look of your video footage
| | 06:24 | in your project.
[00:6:28.00]
| | Collapse this transcript |
| Adding and adjusting audio effects| 00:00 | We have just explored how to apply
effects to change the way something looks.
| | 00:04 | I'd now like to explore how to apply
effects to change the way something sounds.
| | 00:09 | So I am going to go into 9.5, and let's go
ahead and open up the Effect browser, and
| | 00:17 | we have AUDIO effects right here at
the bottom underneath our VIDEO Effects.
| | 00:23 | And as you can see, there are quite a few,
again the categories are along the left and
| | 00:27 | the effects within the
categories are along the right.
| | 00:29 | So you can get a sense of some of the
effects that are contained within this browser, I
| | 00:33 | will go back to All for a second.
| | 00:35 | And as far as applying and adjusting AUDIO
effects, they behave exactly like VIDEO effects.
| | 00:40 | You can either drag and drop from the
browser onto individual clips or you can just click
| | 00:47 | on the clip and then double-click
on the effect that you want to apply.
| | 00:51 | So I am going to go into Distortion and
just to demonstrate something that has a rather
| | 00:55 | large change, I am going to
go ahead and choose Telephone.
| | 01:00 | So if I want to preview in with the clip selected
I just go ahead and click right on here and play.
| | 01:05 | (video playing)
| | 01:09 | And if I want to apply it I'll just
double-click, and it's applied we can play.
| | 01:14 | (video playing)
| | 01:17 | And of course if I'd like to solo this and
not have the music playing underneath, I can
| | 01:21 | just click on it and then
come up to Solo or Opt+S.
| | 01:27 | And just like Video Effects we can apply
multiple Audio Effects to the same clip.
| | 01:31 | So again just to show you something that
has rather a large change let's go ahead into
| | 01:36 | Spaces and apply Cathedral.
| | 01:39 | So with the phone effect I'm going to go
ahead and just play this and see how a phone in
| | 01:43 | a cathedral sounds.
| | 01:44 | (video playing)
| | 01:48 | So yes, this sounds very strange and even
thought it's very unrealistic let's go ahead
| | 01:51 | and apply it, because I want
to show you one other thing.
| | 01:55 | If I click in its clip and then play loop,
and you want to make sure that under Playback
| | 02:01 | you have Loop Playback turned on.
| | 02:03 | But remember Play Around is Shift+Question Mark,
so I am just going to press Shift+Question
| | 02:08 | Mark and then adjust and
parameters as I do this.
| | 02:12 | So I am just going to open up the Inspector,
Cmd+4, and as you can see, I have my Telephone
| | 02:18 | and my Cathedral applied.
| | 02:20 | So I'm going to press Shift+Question Mark and
then adjust some parameters and they'll adjust live.
| | 02:26 | (video playing)
| | 02:35 | So, as you can see, there are some fun
parameters to adjust here and on some of the parameters
| | 02:40 | you could even dive deeper and
really adjust the EQ of each one of these.
| | 02:46 | So we won't do this right now, but just be
aware that Final Cut has some pretty powerful
| | 02:50 | manipulation tools.
| | 02:52 | Since this is very unrealistic,
I am just going to delete these.
| | 02:55 | So, I'll just click on it
and press Delete, like so.
| | 02:59 | And let's use something a
little bit more realistic.
| | 03:01 | I am going to come over to
Justin, and let's solo him Opt+S.
| | 03:08 | And as you can see, we have an EQ category.
| | 03:11 | Now we have talked previously about applying basic
EQ effects via the Inspector, as you may remember.
| | 03:17 | But you can see that we have several
templates right here within the audio effects as well.
| | 03:22 | So let's go ahead and apply a Voice or Music
enhance effect, and let's see what it sounds
| | 03:29 | like before we apply it, so again I have the clip
selected, I am clicked on my effect, and I'll play.
| | 03:36 | (video playing)
| | 03:38 | So by default it's bringing up the voice,
let's go ahead and apply it, I will double-click,
| | 03:42 | and let's go ahead and edit this further.
| | 03:44 | As I play loop I can come up and adjust
some basic parameters like the Amount, or I can
| | 03:49 | really dig deep and adjust the frequency curve.
| | 03:52 | So we will go ahead and play loop Shift+Question Mark.
| | 03:56 | (video playing)
| | 04:07 | So I can continue tweaking until I get it
exactly right, but I think taking this down
| | 04:12 | a little bit did help. It's not quite so tinny,
and we can continue adjusting frequency curve
| | 04:17 | accordingly until he's sounding really good.
| | 04:20 | So as you can see, applying and manipulating
your audio with audio effects is both simple
| | 04:25 | and effective and can add yet another
layer to the soundscape of your project.
| | Collapse this transcript |
| Keyframing video and audio effects over time| 00:00 | So far in this chapter, we have been
exploring how to apply effects to clips in which the
| | 00:04 | change we create is applied for
the entire duration of the clip.
| | 00:09 | Sometimes, however, you want to make an effect
come in gradually, or leave abruptly, or even both.
| | 00:15 | Fortunately through keyframes, we can change an
effect over time in either gradual or abrupt manners.
| | 00:21 | Let's take a look.
| | 00:21 | All right, so I'm going into 9.6,
and let's open up the Effect browser.
| | 00:29 | And let's say that we want our first shot
here to come in with sort of an aged antiquated
| | 00:35 | look and then just slowly come into
full color the way it is right here.
| | 00:40 | So, what I am going to do is apply
Aged Paper and Aged Film to this shot.
| | 00:49 | Let's open the Inspector, Cmd+4, and
if we want to make any Global adjustments, I
| | 00:55 | am going to do that now.
| | 00:56 | So, I think it's a little much, so I'm
going to sort of bring it down, like so.
| | 01:02 | and bring back the Aged Film a little bit.
| | 01:06 | Okay, so this is kind of what it's
going to look like when the shot opens.
| | 01:09 | But of course we need to dial it down as the
shot progresses so that we come to full color.
| | 01:15 | So what I am going to do is park at the very
beginning, and we first have to set a keyframe
| | 01:21 | to store these full on values.
| | 01:24 | So, what I am going to is come up to Aged
Paper, and I'm going to select keyframe, Add
| | 01:31 | a keyframe, so this is the keyframe that's
going to store the full value, and I'm going
| | 01:36 | to press it here, and here, and here.
| | 01:41 | So one keyframe isn't going to do us any good,
we need multiple keyframes to actually produce
| | 01:45 | a change over time.
| | 01:46 | So about right here, I am going to
set my next set of keyframes like that.
| | 01:53 | I think what we'll do is get rid of it
completely, and take away all the amount and then right
| | 02:02 | here, take it away as well.
| | 02:04 | So, we should be progressing from our Aged Paper,
Aged Film look, slowly to our full-color shot.
| | 02:12 | Okay. It works really well.
| | 02:15 | In this case, we only added two keyframes,
one at the beginning and one halfway through.
| | 02:20 | But you can add as many as you want.
| | 02:22 | You can have this effect going full
strength and then back to 0 and then halfway, many
| | 02:27 | times throughout the duration of the effect.
| | 02:30 | It's totally up to you.
| | 02:31 | If you do have a more intricate keyframe
animation or if you'd like to see how multiple effects
| | 02:36 | are interacting with one another, you will
probably want to show it here in the timeline.
| | 02:42 | The way you do that is you just click on the clip
and then right-click and choose Show Video Animation.
| | 02:49 | Notice that Show Audio Animation is also available,
so if you wanted to keyframe your audio effects,
| | 02:53 | you certainly could.
| | 02:55 | Keyboard shortcut here is Ctrl+V, so I am
just going to select that, and let's take
| | 03:00 | a look at what we have got here.
| | 03:02 | Now, as you can see, we have an entire stack of
keyframeable effects, and you'll recognize most of them.
| | 03:08 | We have our Trim, our Transform.
| | 03:10 | We haven't talked about color yet,
but you can see you can keyframe color.
| | 03:14 | But here are our two effects at
the top, Aged Paper and Aged Film.
| | 03:17 | Notice that each one of these effects has a
blue light over here to enable and disable it.
| | 03:23 | So, as I do this in the stack here, also
notice that it is performed here in the Inspector.
| | 03:30 | Also notice that if I change the order of
the effects in the Inspector, the order is
| | 03:34 | likewise changed here.
| | 03:36 | So I am going to move that back actually
because I want the paper processes first.
| | 03:41 | And we can see the various
keyframes here in this view.
| | 03:46 | Now, depending on the effect, there may be
a dropdown menu where you can choose which
| | 03:51 | parameter within this
effects you want to change.
| | 03:55 | So right now we're affecting Mask
Size, we can also affect Amount.
| | 03:59 | Some of them like, Mask Size, allow you to
open it up even further into this graphical
| | 04:05 | view where we can take a look at our
keyframes and then drag them up and down accordingly.
| | 04:11 | If this Graphical View is not available,
then you just have to click on this keyframe and
| | 04:16 | then come up to the Inspector
and adjust your amounts, like so.
| | 04:20 | So that's how that works.
| | 04:22 | Sometimes, you get to do it here in the
timeline, and sometimes you need to interact between
| | 04:27 | the timeline, and the Inspector.
| | 04:29 | So let's actually take a
look and see how this is looking.
| | 04:33 | We have got the general effect going.
| | 04:36 | But I think with Mask Size let's go
ahead and do a little something here.
| | 04:41 | Let's start with this all the way down to 0.
| | 04:45 | And then right here let's go ahead and
add a keyframe and make it come up abruptly.
| | 04:51 | So what I am going to do is I can either just
drag this up, like so, and you can see that
| | 04:57 | a keyframe was added for me.
| | 04:59 | Let me undo that, Cmd+Z.
| | 05:01 | Notice that I can also hold down Opt,
and as you can see, I have the indication that
| | 05:05 | I can add a keyframe with that
little diamond to the right of the cursor.
| | 05:09 | And I am going to click, and I add a
keyframe, and I can just drag up, like so.
| | 05:14 | So now this is how it's opening up.
| | 05:16 | Okay, so we kind of have this vignette coming up,
and then we gradually have everything else coming on.
| | 05:24 | Okay, so I think that's looking good.
| | 05:26 | Also, one last thing, we again have these
little knobs here, and we have seen these before
| | 05:31 | in audio, but they also work in video.
| | 05:35 | Let me just come down to Opacity so
that I can show you how this works.
| | 05:39 | Let's go ahead and open up my
graph, and here's my little knob.
| | 05:44 | If I just drag this over like this, this is
going to be a ramp of coming up from totally
| | 05:51 | black to full opacity.
| | 05:55 | So it's just a way to quickly
fade your clips up and down.
| | 05:59 | And then to close your stack, you just click
on this X and the Video Animation tool has gone.
| | 06:06 | But all the work that we
did in there is retained.
| | 06:09 | So, as you can see, adding keyframes is an
effective way to intimate your effects, allowing
| | 06:14 | them to change over time in
exactly the way that you want.
| | Collapse this transcript |
| Copying and pasting effect properties| 00:00 | Doing the work and creating the perfect effect
is great, but it's also important that you're
| | 00:05 | easily and efficiently able to apply the
affect and use it again on other clips.
| | 00:10 | That's what we're going
to explore in this movie.
| | 00:12 | Now, in many other editing programs, you're
often able to save an effect into a sort of
| | 00:17 | Favorites container or Bin that you can
easily apply to other clips when you need to.
| | 00:22 | Now unfortunately that's not
an option in Final Cut Pro X.
| | 00:26 | You're able to save out custom color correction
templates as we'll examine later in the course,
| | 00:30 | but there is no ability to create
general effect templates per se.
| | 00:34 | So let's take a look at what you should do.
| | 00:36 | I am going to go into 9.7.
| | 00:41 | So while you can't save out an Effect
Template, you can copy and paste effects and effect
| | 00:47 | attributes which is a carryover from Final Cut
Pro 7 for those of you who come from that software.
| | 00:52 | Let's take a look.
| | 00:54 | I have got this shot here, and
I have applied several effects to it.
| | 00:57 | I'm going to select it and then
open the Inspector, Cmd+4.
| | 01:02 | So I have got Film Grain, and I have got Dream,
I have got Vignettes, I have also altered this
| | 01:07 | clip in several ways and
some of the built-in effects.
| | 01:12 | And what I want to do is basically apply the style
that I have put here on the other clips in my sequence.
| | 01:18 | If I had known this ahead of time, I could
have just selected all of the clips in my
| | 01:22 | sequence and done all the work at once.
| | 01:24 | But if you have done the work to one clip,
and you want to apply it to others, I want to
| | 01:28 | show you what to do.
| | 01:29 | So, I'm going to select it,
and just press Cmd+C.
| | 01:33 | And then instead of coming over here to
press Cmd+V because that would actually copy
| | 01:38 | the entire clip and its effects rather than
just the effects, I am going to come up to
| | 01:43 | Edit and then Paste Effects
which is Opt+Cmd+V.
| | 01:48 | And when I do this, I can do this to
one clip, or I can do it to all of them.
| | 01:53 | So I will just press Opt+Cmd+V, and now
everything has the effects that I have applied.
| | 02:02 | Now, another thing, I do have a
little bit of keyframing going on.
| | 02:06 | Let me just click on this, right-click, and
Show Video Animation, and I have some keyframing
| | 02:13 | going on in my Dream effect, like so.
| | 02:18 | Notice that when I open up the video animation
for any other clips, let me just take something
| | 02:23 | that's a little bit longer
here, and take a look at this.
| | 02:31 | The animation is copied, but
then it goes back to 0 here.
| | 02:37 | So, in this case, my keyframes are not
elastic, and that it would just basically space it
| | 02:42 | out proportionally across
the clip but they're fixed.
| | 02:45 | So I basically have the exact same
animation curve going on, and then it comes down and
| | 02:51 | stays at the same value
for the rest of the clip.
| | 02:53 | So there is the possibility that you may need
to come in and alter these curves a little bit.
| | 02:57 | Let me just close this out.
| | 03:00 | But indeed, you can come into each one of
these and then change around the parameters
| | 03:04 | as you need to for each individual clip.
| | 03:07 | Now let me show you something else.
| | 03:09 | I am going to undo that Cmd+Z, okay, so now
the effects are taken off of the rest of these clips.
| | 03:16 | This time, I'm going to select the clip, press
Cmd+C to copy, and instead of Paste Effects,
| | 03:22 | I am going to choose Paste Attributes.
| | 03:25 | So I just come up to Edit and Paste Attributes,
that's Shift+Cmd+V, and now I get this window here.
| | 03:35 | This will let me customize which effects
I want to bring over to the other clips.
| | 03:39 | So say for example I'd like Film Grain and
Dream, and then I'd like to bring over Scale,
| | 03:46 | but I want to ignore the rest of my changes.
| | 03:48 | Also, notice that I can
copy Audio Attributes as well.
| | 03:51 | So when I paste here, I have Film Grain
and Dream but not the Vignette, and I have the
| | 03:59 | changes made to my Scaling,
but nothing else was touched.
| | 04:04 | So as you can see, it's really easy to copy
and paste entire effect structures, or you
| | 04:10 | can customize down to the very
parameter what you do and don't want to copy.
| | Collapse this transcript |
| Creating and adjusting titles| 00:00 | Adding titles to your program is how you
communicate all sorts of information in
| | 00:04 | text form whether it'd be a lower-
third title to identify who is speaking,
| | 00:09 | slates to show program information,
title credits to identify the cast and crew,
| | 00:13 | or even title graphics to creatively
communicate different types of data.
| | 00:18 | Because there are so many different
types of titles, we won't have the
| | 00:21 | opportunity to explore each one, but
we're going to dive in to creating a
| | 00:25 | lower-third title for our Farm to Table project.
| | 00:28 | I'm going to go into 9.8, and
we're going to create a title for BD.
| | 00:34 | So let's just park where we want the
title to go, so right at the beginning of
| | 00:38 | his sound bite, and then we're going to
click on this T button, and then we're
| | 00:42 | going to open up the Inspector, so click
here or press Cmd+4.Now just as before,
| | 00:48 | we have all of the categories of
titles along the left and then all of the
| | 00:52 | titles within the categories along the
right, for Lower Thirds, you can see all
| | 00:57 | of the different options.
| | 00:58 | If I just hover over these from left
to right, you can get a sense of how
| | 01:02 | these are going to look.
| | 01:03 | Most of these are pretty plug and chug,
everything is done for you except for
| | 01:08 | what the actual text says.
| | 01:10 | However, you can create total custom titles too.
| | 01:13 | So, I thought we'd try that.
| | 01:14 | That way, you can get a sense of
what's possible when starting from scratch.
| | 01:18 | Custom Title, I am just going
to go up to All, and Custom.
| | 01:23 | And you can either drag and drop, and
when I do that, you can see that this
| | 01:27 | becomes a connected clip.
| | 01:28 | So another thing you can do is actually just
select the title, press Q, and it's in there.
| | 01:34 | When I click on there
it's as simple as it can get.
| | 01:37 | It just says Title right here in the middle.
| | 01:39 | So, I'm first going to go to the Text
tab, and put-in my actual text, and I
| | 01:44 | think that's going to be
BD Dautch Organic Farmer.
| | 01:50 | And let's go ahead and reposition
this to the lower-left for a lower-third.
| | 01:57 | Now you can see here that I do have
Title Safe and Action Safe lines here.
| | 02:02 | If you want to put those on, that's
available via this menu here, Show
| | 02:05 | Title/Action Safe Zones.
| | 02:08 | So, I recommend that you work with
that when you are working with titles.
| | 02:11 | Also, to zoom in on this area,
let's go ahead and just go to 100%.
| | 02:18 | Now we can see it a little bit better.
| | 02:20 | So, if you have worked with other
graphics creation programs, pretty much
| | 02:23 | everything is going to be the same, but let's
go ahead and go through these in a basic way.
| | 02:28 | First, I am going to change the
Alignment so that everything is aligned to the
| | 02:32 | left, and we'll move that back over.
| | 02:34 | And you can change the Size by
just sliding this slider right here.
| | 02:38 | You can also change per line or even per letter.
| | 02:42 | So, if I wanted BD Dautch to be a
little bit bigger, I can just select it
| | 02:46 | and make it larger.
| | 02:47 | Also, when I am dealing with these two
lines, I can either select the lines here
| | 02:52 | in the Viewer window, or I can come
up here, and select it right here.
| | 02:58 | You can see in the Viewer
that it mimics it exactly.
| | 03:00 | Let's go ahead and change the font.
| | 03:04 | I am just going to select both of
these and then come down to Font.
| | 03:08 | And what's nice about this is that it
actually updates there in the viewer so
| | 03:11 | that you can see exactly how
each of these is going to look.
| | 03:15 | So I think I am going to come down
to Tahoma, and we'll choose that.
| | 03:20 | The rest of this is fairly self-explanatory.
| | 03:23 | We have Line Spacing as well as Tracking.
| | 03:25 | Tracking is the spacing between letters.
| | 03:27 | Maybe I want the Tracking for my upper title
to be a little further apart, maybe like that.
| | 03:35 | Let's go ahead and go down to Face.
| | 03:38 | Face is the actual face of these letters.
| | 03:42 | I can make them different colors.
| | 03:45 | Let's go ahead and make sure that
everything is selected actually, so we'll go
| | 03:49 | up and select both lines, and
bring everything to a similar color.
| | 03:56 | You can also change the
Opacity, and also add some Blur.
| | 04:01 | Let's go ahead and hide that.
| | 04:03 | An Outline will basically give it a
little bit of punch from the background, so
| | 04:07 | I will go ahead and enable that.
| | 04:09 | By default it's this red color.
| | 04:10 | Normally, you don't want that.
| | 04:12 | So, I'm going to just change it to
Black, and also increase the Width just a
| | 04:18 | little bit to make it pop a little bit.
| | 04:21 | And there is also Glow.
| | 04:24 | It's going to go ahead and produce a
glow around the letters as you can see, in
| | 04:28 | various colors, whatever you like.
| | 04:30 | I am going to go ahead and disable
that and come down to Drop Shadow.
| | 04:38 | Usually, a drop shadow is a nice thing
to add to help separate the title from
| | 04:41 | the background, so let's make sure that
we have a nice black shadow, and I like
| | 04:46 | it a little bit crisper, so
I am going to up the Opacity.
| | 04:49 | You can see here, when I increase the Distance,
you can see the shadow a little bit better.
| | 04:54 | Let's go ahead and increase
it just a little bit there.
| | 04:57 | The Angle of course is going to
determine where that shadow is going to fall.
| | 05:02 | So, a fairly simple title!
| | 05:05 | If I want to save this out for use for
later, I can come up to here, and just
| | 05:10 | Save All Basic & Style Attributes and
maybe I just want to call this Farm to
| | 05:15 | Table Template and Save.
| | 05:17 | So now that's available to me, "
Farm to Table Template", right there.
| | 05:23 | You can also use any of these
other templates if you like.
| | 05:26 | So I will just pick
something very different, like so.
| | 05:30 | And as you can see it
takes on those characteristics.
| | 05:33 | Let's go back to Farm to Table.
| | 05:35 | Things are looking okay.
| | 05:36 | Again it's fairly basic.
| | 05:38 | If I wanted to add some pizzazz to this
title, I could come over to the Title tab.
| | 05:42 | And as you can see, we have a lot of in, in,
in, in and a lot of out, out, out, out.
| | 05:48 | This is basically going to animate
properties coming into the title, and also
| | 05:53 | going out of the title.
| | 05:54 | So if we wanted the title to grow
over time or track in over time or blur
| | 05:59 | over time, we can mess with these properties,
keyframe them, and things would animate.
| | 06:04 | So, I am not going to go into that,
but it is possible to really dig in and
| | 06:09 | animate your titles however you want.
| | 06:10 | So I could do all the work in
building this title from scratch, or, hey!
| | 06:15 | I could use any of the
templates that come with the program.
| | 06:18 | So, I am going to go down to Lower
Thirds again, and I was taking a look at one
| | 06:23 | of these -- this one right here.
| | 06:25 | I was thinking that this one might
look kind of nice for this program.
| | 06:29 | I think it would be good for Farm
to Table, it's a nice little sun.
| | 06:33 | So, I actually don't have to recreate it,
you can swap titles out pretty easily.
| | 06:37 | I am just going to drag and drop right
on top of here and perform a Replace edit.
| | 06:44 | And as you can see it took the text from
my previous title and applied it right here.
| | 06:48 | So as you can see it's
really easy to swap them out.
| | 06:51 | So again, I can come over to the
Inspector, and it has some preset Build In,
| | 06:55 | Build Outs as well as some other properties.
| | 06:57 | Then we can come over to Text, and we
have all of these properties as well.
| | 07:02 | Again, nothing too out of the ordinary,
everything you would expect for a titling program.
| | 07:06 | So, as you can see, designing titles
is pretty straightforward, whether you
| | 07:10 | build one from scratch or whether you
take advantage of the dozens of built-in
| | 07:14 | templates available within
Final Cut X's title browser.
| | Collapse this transcript |
| Working with generator effects| 00:00 | Generator Effects are clips that you
create from nothing, things like backgrounds and
| | 00:05 | placeholder elements and number or
time code displays. Let's take a look.
| | 00:09 | I am going into 9.9.
| | 00:13 | And as you can see, this is an empty project.
| | 00:15 | I thought the best way to show you how to
create something from nothing is to literally
| | 00:19 | start from nothing.
| | 00:20 | So, I am going to go ahead and open up the
Generator browser which is this little 2 button
| | 00:25 | here, and we'll open up the Inspector as well.
| | 00:29 | And as you can see, same structure, we have
the categories of effects over here on the
| | 00:34 | left, and the effects within
the categories along the right.
| | 00:37 | Let's go ahead and start by creating a
placeholder graphic which is a clip that you create as
| | 00:42 | a dummy piece of footage for
something that hasn't been shot yet.
| | 00:45 | It's actually a very cool little template.
| | 00:47 | So, I'll go ahead and just
drag this into the timeline.
| | 00:51 | And when I do it wants to know what
format it should create this new piece of media.
| | 00:55 | If I was dragging it into a sequence that already
has clips in it, it would just conform to that format.
| | 01:00 | All right, so this sounds good to me.
| | 01:03 | I will go ahead and press OK, and
let's press Shift+C to fit this in.
| | 01:07 | Let's go ahead and choose Fit
so we can see the whole thing.
| | 01:11 | Now as you can see it starts off by
showing a man and a woman on a sunny day.
| | 01:14 | So let's change that.
| | 01:16 | I am going to go to my Generator tab, and
let's say that we're editing The Castles project,
| | 01:21 | and there's a scene with Joseph and his
boss on the beach which there actually is.
| | 01:26 | So this would be true to life.
| | 01:27 | So let's say we want to start
off in the long shot so that's good.
| | 01:31 | And there's two people, both are men, so
we'll change this to 2 Men, and the background is
| | 01:38 | the Beach, and it's a cloudy day.
| | 01:42 | Okay, we're all set.
| | 01:44 | Now, if I wanted to provide some notes, I
just come up to Text and then enter here,
| | 01:50 | To be filmed next week, and then we
would just need to check View Notes.
| | 01:56 | And we can use this in our scene, even though
we don't have the footage, so we have essentially
| | 02:00 | created a clip from thin air.
| | 02:03 | So now let's create a background.
| | 02:05 | Let's go grab something from
Textures, maybe the Natural background.
| | 02:10 | Let's go ahead and just drag this in the
primary storyline, and a lot of these backgrounds
| | 02:16 | have various things that you can change
about them, for this one, there aren't too many.
| | 02:19 | I can change the type, maybe I want it
to be Banana Leaves, or maybe Wheat Grass.
| | 02:26 | And then there aren't too many things I can
add to it beyond that, I can change the Tint
| | 02:30 | Color if I like, and
bring up the Amount, like so.
| | 02:35 | I'll pick another one of these textures just
so you can get a sense of other options that
| | 02:38 | you might have for various backgrounds.
| | 02:40 | I am just dragging Grunge right on top, and just
changing these various textures as you can see, like so.
| | 02:48 | Okay?
| | 02:49 | Let's go ahead and just tint
this a little bit red, like so.
| | 02:55 | All right, any background that you want, you
can sort of form from these various templates,
| | 03:00 | and change some parameters, that's totally fine.
| | 03:02 | Let's go ahead and actually put
it behind our placeholder graphic.
| | 03:06 | Let's just drag this down there, like so.
| | 03:13 | And of course, right now, you can't see it,
but a lot of times when you use a background
| | 03:17 | in Final Cut, what you're going to do is key through
your foreground so that you can see the background.
| | 03:23 | And of course most of the time what you're
keying through is some green screen footage,
| | 03:28 | but we don't have green screen footage, so we're sort of
simulating this with this placeholder example right now.
| | 03:34 | Let's go ahead and just add a key.
| | 03:35 | We won't go into great detail about keying
but I do want to show you how to actually
| | 03:39 | use a background, so if I come into my Video
Effects and Keying, I am going to apply the
| | 03:49 | Luma Keyer, and because these are black
and white values, this should work okay.
| | 03:55 | So what I am going to do is
just go in to the Video tab.
| | 03:59 | So my Luma Keyer is going to allow me to
replace anything of a particular luminance value which
| | 04:04 | just means dark or light values
with the background underneath.
| | 04:08 | As you can see, right now, it just has some
blanket values, and you can kind of see underneath,
| | 04:12 | but let's go ahead and adjust some of these
parameters so that it looks a little bit cleaner.
| | 04:17 | So, I am just going to drag the slider over
to the left until it's keying out everything
| | 04:24 | except the lightest values, like so.
| | 04:28 | That background is not the best for this, so let's
go back to Generators, and we can just swap it out.
| | 04:34 | I'll take, maybe go to
Backgrounds, and let's do Underwater.
| | 04:39 | I will just do a little Replace Edit here,
like so., and now that's a little bit easier
| | 04:44 | to see, we have our two guys under water.
| | 04:46 | Very strange I know, but
the possibilities are endless.
| | 04:50 | And because we're creating something out of
nothing, I just wanted to show you one, how
| | 04:53 | to create a graphic, and two, how to create a
background that can interact with that graphic.
| | 04:58 | I'll try one more, Replace, like so, and we
can come in to Generator and change anything
| | 05:09 | we want about this graphic.
| | 05:13 | So thanks for bearing with me on that one,
but again, I did want to show you A, how to
| | 05:17 | create a graphic, B how to create a
background and then C, how to actually interact between
| | 05:22 | these two elements.
| | 05:24 | There are also some numbers
related generators you can use.
| | 05:27 | Let's come into Elements and choose Counting.
| | 05:31 | I'll go ahead and drag this on top.
| | 05:34 | Now, we have three generators right in a row, and
this is just counting numbers, counting numbers.
| | 05:40 | So, if I just come into the Inspector, I have
some various parameters that I can change here.
| | 05:47 | As you can see it's counting from 0 to 300.
| | 05:51 | You can make that do whatever you want.
| | 05:54 | So let's say I wanted it
to count down from 10 to 0.
| | 05:57 | My Start number, I can make 10, and my End
number, instead of 300, can be zero, and my Minimum
| | 06:04 | Digits, let's bring that down to one so that
we don't have all these zeros in front of
| | 06:10 | it, and let's see is there anything
else we'd like to change, maybe not.
| | 06:16 | So let's just go ahead
and make this happen faster.
| | 06:20 | So basically it's counting down from 10
to 0, in this period of time rather than the
| | 06:24 | longer period of time we had,
and that's all there is to it.
| | 06:29 | There is others things we can change, we can
come in and change the color if we want and
| | 06:33 | other parameters if we
like but you get the idea.
| | 06:37 | So definitely, feel free to play around
with all the various Generator Effects so that
| | 06:41 | you can become accustomed to all the options
you have in creating something from nothing.
| | Collapse this transcript |
| Adding animated themes| 00:00 | In this movie, we're going to
take a look at animated themes.
| | 00:04 | Themes are motion animations that you can
add to your project to give it a sort of extra
| | 00:08 | packaged feel, or sometimes just providing a
prepackaged opening sequence or transition between scenes.
| | 00:14 | It's a little hard to understand until you
start playing around with it, so let's go
| | 00:18 | ahead and take a look.
| | 00:19 | I am going to go into 9.10, and then I'll
open up my Themes browser, and let's open
| | 00:27 | up the Inspector as well.
| | 00:30 | We have the categories of the Themes along the
left, and the Themes right here in the right.
| | 00:36 | And again, you just hover to see what it's going
to look like once you put it into the sequence.
| | 00:42 | So, a lot of them are titles, a lot of
them are transitions, some of them incorporate
| | 00:46 | the footage right within the transition.
| | 00:48 | In fact, we might just start off with this one to
show you a little bit about what this is all about.
| | 00:53 | So same as before, I can either drag and
drop, and this is going to be a connected
| | 00:57 | clip here, or just select it and press Q, and you
can drag this in and out, ripple edit as you want.
| | 01:07 | Now some of these are transitions. They're
going to go in between clips. It all depends
| | 01:10 | on which one you choose.
| | 01:11 | It does tell you these are Titles and
these are Generators, these are Transitions.
| | 01:17 | So, each one of these is going to be quite
different, you'll just have to play around
| | 01:20 | to see exactly what happens with it.
| | 01:22 | So let's just take the one we just applied,
and I am going to come up to Text, and I'll
| | 01:28 | just type in "Farm to Table".
| | 01:31 | As you can see, this looks exactly like a
plain old title, and I'll go ahead and change
| | 01:35 | the size, and the tracking a little bit, and maybe
the color, make it a little bit of a darker blue.
| | 01:50 | So same thing with titles, you just come in
and manipulate the parameters as you like.
| | 01:54 | Over here under Title, we have Build In, Build Out,
you can include the Build In animation or not.
| | 02:00 | We have other various
parameters that we can change.
| | 02:03 | So, very, very similar to a title, I am
going to go ahead and play it so you can see how
| | 02:06 | it interacts with the footage underneath.
| | 02:09 | (video playing)
| | 02:16 | Okay, so again just sort
of a very packaged feel.
| | 02:18 | If you wanted to swap it out just like with
titles, you can come in and find something
| | 02:23 | else you want. See, let me sort of hover
and see what each one of these looks like.
| | 02:30 | Okay, I'll go ahead and choose zoom in here,
and you can just drag and drop, and Replace.
| | 02:41 | And the Farm to Table is retained, so
anything we put in the text field is still there, and
| | 02:45 | we can come in and manipulate the parameters
even more if we want to.
| | 02:53 | And so on and so forth.
| | 02:55 | So if we wanted to explore what a transition
would look like, we could choose one of these
| | 03:00 | Video Transitions, and maybe we'll just do
this Boomerang one, and we can go right in
| | 03:09 | between these two clips, and I am just going to wait
for it to render real quick, and let's check it out.
| | 03:15 | (video playing)
| | 03:17 | Okay, and if I click on this transition, you
can come in, you notice these little bubbles
| | 03:23 | I can choose for this to be the number one
image, and this to be the number two image.
| | 03:30 | You can see that it's sort of updating live
right there within the viewers as to how that's
| | 03:34 | going to look depending on where you drop this.
| | 03:37 | I am going to go ahead and just drop this
right there on the two adjacent clips on either
| | 03:42 | side of the transition.
| | 03:43 | I think that will look fine.
| | 03:46 | And otherwise, we just have a couple of
other parameters that we can change based on its
| | 03:49 | Fade In and Fade Out Types.
| | 03:51 | So, as you can see, there are quite a few
theme options that you can play around with.
| | 03:56 | And if this packaged look is what you're
after, then you might like to use Themes in your
| | 04:01 | project, as title sequences or as
transitions between sections or scenes.
| | Collapse this transcript |
| Creating freeze frames| 00:00 | In this movie we are going to take a look at
how to create freeze frames in Final Cut Pro.
| | 00:05 | So I am going to go into my 9.11
sequence, my freeze frames sequence.
| | 00:10 | And we have two ways that
we can create freeze frames.
| | 00:13 | We can create them right in the Timeline
or we can create them in the Event Library.
| | 00:18 | Let's first take a look at how
to create them in the Timeline.
| | 00:21 | So all you need to do is park on the
frame that you want to create a freeze frame.
| | 00:25 | So let's say that I want the
last frame of this clip here.
| | 00:30 | And then I am just going to come up to
Edit and then Add Freeze Frame, Opt+F.
| | 00:36 | And it adds a freeze frame in the Timeline.
| | 00:38 | If I find out the duration
Ctrl+D, it's four seconds.
| | 00:43 | If you ever want to change that default
duration you can in Final Cut Pro > Preferences and
| | 00:49 | then under Editing, Still Images the Editing
duration is 4 seconds, you can make that shorter
| | 00:54 | or longer if you want.
| | 00:56 | You can also just ripple this out or in
you can also click on it and press Ctrl+D and
| | 01:04 | here it says the duration, but you can
just type in new duration if you want.
| | 01:08 | If I want a six second freeze frame, I
just type in "600", Enter, and now I have my six
| | 01:15 | second freeze frame.
| | 01:16 | So that's all there is to it,
let's go ahead and play it.
| | 01:19 | (video playing)
| | 01:23 | So obviously a freeze frame doesn't have any sound
under it, so you would probably need to add some.
| | 01:27 | Let me just show you the other way to
create a freeze frame in the Timeline.
| | 01:31 | So again I am going to go to the frame that
I want to create the freeze frame. Let's go
| | 01:36 | ahead and make it this frame right
here, the last frame of this shot.
| | 01:41 | And this time instead of choosing Add Freeze Frame from the menu, I am going to come to
| | 01:46 | the Retiming menu and then come to Hold.
| | 01:50 | And this keyboard shortcut is
Shift+H, so I'll press that.
| | 01:56 | And then the Retiming menu opens and here
is normal 100% and here is 0%, and you can
| | 02:03 | drag this in or out.
| | 02:04 | I have to hold on to these little black bars here
as I drag or else it's going to ripple the clip.
| | 02:10 | Now this used to be the only way that you
could create a freeze frame in Final Cut until
| | 02:13 | recent software updates.
| | 02:15 | So in a sense you don't really have to do it
this way anymore unless you are also working
| | 02:20 | in some other timing effects
either before or after the freeze frame.
| | 02:25 | And we'll learn about how
to do that in the next movie.
| | 02:27 | But for now this is just sort of the
second old-school way to do a freeze frame.
| | 02:32 | I'll go ahead and close the Retiming menu, and
you can see that we have our freeze frame here.
| | 02:38 | I can also create freeze frames
from clips within my Event Library.
| | 02:42 | So let's go up to my Event Library, and let's
go ahead and make a freeze frame of our orange.
| | 02:50 | If I park my playhead here and then again
go up to Edit and instead of Add Freeze Frame
| | 02:58 | this now says Connect Freeze Frame.
| | 03:00 | But notice that the keyboard
shortcut is still Opt+F.
| | 03:04 | So wherever the playhead is in the Timeline
is where it's going to connect. It's going
| | 03:09 | to make a connected clip.
| | 03:11 | So I'll just choose this, and you can see
that we now have a freeze frame of our orange
| | 03:16 | connected to our sequence.
| | 03:20 | So if you wanted that to be in your primary
storyline, you'd actually just have to drag
| | 03:24 | it down, and then you can
ripple it in and out accordingly.
| | 03:28 | But there is really no way to immediately
bring it to my primary storyline. It's always
| | 03:33 | going to want to make it a
connected clip above my primary storyline.
| | 03:37 | So that's the one thing you have to know about
creating freeze frames from your Event Library clips.
| | 03:42 | So, as you can see, adding freeze frames in
Final Cut Pro is easy to do, whether you're
| | 03:47 | working with footage in your
sequence or your Event Library.
| | Collapse this transcript |
| Using speed effects to retime clips| 00:00 | It's sometimes a very useful thing to be able to
speed up and slow down your clips for various reasons.
| | 00:06 | Let's take a look at how to do this.
| | 00:08 | So I'm going into 9.12, and I am going to view
clips here that I'd like to change the speed for.
| | 00:16 | This one is a pan, and it's quite slow, I
am going to play it in real-time just so you
| | 00:20 | can get a sense of it.
| | 00:22 | (video playing)
| | 00:28 | So it's very slow, if I check out the
duration Ctrl+D, it's almost 17 seconds long.
| | 00:35 | So let's go ahead in speed this up, and I
think we could probably double the speed,
| | 00:39 | and it should still look pretty natural.
| | 00:41 | So what I am going to do is just click on
the clip and then come to my Retiming menu,
| | 00:46 | you can also press Cmd+R to get here,
and then you have lots of choices here.
| | 00:51 | Just to speed up the entire clip we are
going to go to Fast, and you have various choices
| | 00:56 | here, I am going to start
off with 2x speed.
| | 01:01 | And you notice the clip shortened by half,
and that's because it's playing the frames
| | 01:06 | of the clip much faster than real time,
double speed, so the clip becomes shorter.
| | 01:12 | Now there is also this blue bar above the clip.
| | 01:14 | There is a couple of things I can do here.
| | 01:17 | One, I can do the dropdown menu and sort
of switch to a different speed from here, or
| | 01:23 | I can grab these little black bars and drag
in and out, and as long as I'm still faster
| | 01:28 | than real time, the bar will remain blue.
| | 01:31 | If I get right on 100% it goes green and then
if I go slower than real time it becomes orange.
| | 01:40 | And I am affecting the
entire clip the same amount.
| | 01:44 | So let's say we want it to go a little
bit faster than double, maybe about 220.
| | 01:51 | Let's go ahead and take a look.
| | 01:53 | (video playing)
| | 01:58 | So I think it looks good. It's pretty natural.
| | 02:01 | The sound of the crows in the
background sound a little manic.
| | 02:04 | So we'll probably have to remove those and
replace it with the normal sounding crows,
| | 02:09 | but visually I am happy with it.
| | 02:11 | I have another clip down here that I want
to slow down, so this is a pan across the
| | 02:16 | farmer's market stand,
I'll go ahead and play it.
| | 02:19 | (video playing)
| | 02:22 | So I just want to slow it down just slightly.
| | 02:24 | Again, I'll click on it, this time I'll press
Cmd+R and my Retiming menu opens up at 100%.
| | 02:32 | Let's go ahead and try 86% and play.
| | 02:37 | (video playing)
| | 02:43 | I think if we sort of took down the audio,
got some other audio and use just the visuals,
| | 02:48 | it would look okay.
| | 02:53 | So you have got to see what's realistic, what will
actually work, you might have to experiment a bit.
| | 02:58 | Now let's examine how to
change the speed of a clip variably.
| | 03:02 | So we will start out normal and
then go really fast and then slow down.
| | 03:08 | So I am going to click on this and again I am
going to go to the Retiming menu and instead
| | 03:13 | of going to Slow then Fast, I
am going to go to Speed Ramp.
| | 03:18 | And it really doesn't matter which one I choose
in this case, I am just going to choose to 0%.
| | 03:24 | And as you can see here, we have four
different speeds that were going here, but each one
| | 03:31 | of these is totally able to be manipulated.
| | 03:34 | So if we are going to start off in real-time,
I just want to drag this to 100%, and if we
| | 03:42 | play this, this should
look just fine in real-time.
| | 03:45 | (video playing)
| | 03:49 | And then if we want to go super fast, we'll
go ahead and just drag this in, like so, and
| | 03:59 | then finish off in real-time. Let's go
ahead and zoom in so that we can get this right,
| | 04:04 | Cmd+Plus, and we need to go to 100% here.
| | 04:11 | It also gives me the option of ending on a
freeze-frame, if I just drag this out, and
| | 04:16 | I can have a freeze-frame
last for as long as if I want.
| | 04:19 | Let me Shift+Z to get everything in there,
and as you can see here, we have variable speeds,
| | 04:26 | I'll go ahead and just play a
little bit of it so you can see.
| | 04:28 | (video playing)
| | 04:32 | So, Normal, Super Fast, Super Slow, the sound adjusts
accordingly so you want to make sure that you fix that.
| | 04:43 | Now the one issue with the Speed Ramp is
that we have these four sections, and we really
| | 04:48 | don't have a say on what specific
part of this clip is a specific speed.
| | 04:54 | If I undo this, Cmd+Z,
so now we are at normal.
| | 05:01 | If I want to choose a specific part of
the action to be a specific speed, I can.
| | 05:06 | So it's a little bit different than last time.
| | 05:08 | What I am going to do is switch from the
Select tool to the Range Selection tool and then
| | 05:13 | select the area that I'd like to affect.
| | 05:17 | So let's say that from here to
here I want it to go superfast.
| | 05:25 | So I am no longer dictated by those
default amounts, I am setting my amount.
| | 05:29 | Then I can come up to my Retiming menu and choose
my amount, so Fast, and we'll say 4x.
| | 05:37 | And so now this is the section that's going to be
affected, and I can drag us in and out as I want.
| | 05:43 | I can do it again, I can, with the Range
Selection tool here and may be I want this to be slow.
| | 05:52 | So this is a great way for you to choose
exactly where your variable motion takes place.
| | 05:57 | Okay, other things. Let's go ahead
and close my Retiming menus here.
| | 06:01 | And I am going to switch
back to the Select tool "A".
| | 06:05 | I have the ability to reverse speed, so if
I want this pan to go the other way I can
| | 06:10 | just select it and then go in to
Retiming menu and choose Reverse Clip.
| | 06:16 | And now it's going the other way, no problem.
| | 06:19 | Let me undo that. Let me go
ahead and close those Retiming menus.
| | 06:24 | Just a couple of other things, if I come into
the Retiming menu I do want to mention there
| | 06:28 | is an Instant Replay feature.
| | 06:30 | We really don't have any footage that is
conducive to showing instant replays, but basically
| | 06:35 | all you do is you select the frames that you
would like repeated, and then it automatically
| | 06:40 | repeats them, and then you can either slow
down or speed up those frames accordingly.
| | 06:45 | So basically if you have a sports play, and
you would like to highlight a specific moment,
| | 06:51 | you would just mark an in and an out around
that moment, and then it would immediately
| | 06:55 | duplicate that footage, and then you could slow it
down so that you could highlight a specific action.
| | 07:00 | So that's all Instant Replay is.
| | 07:02 | Rewind allows you to reverse your footage
in real-time or double or quadruple, and you
| | 07:07 | can just add accordingly.
| | 07:10 | And then I want to talk a
little bit about Video Quality.
| | 07:13 | Now Video Quality is where I can set the
smoothness quality of the speed effects.
| | 07:17 | If I choose Normal, when I slow down a
clip Final Cut repeats frames which can look a
| | 07:23 | little jerky if you slow it way down.
| | 07:26 | If you choose Frame Blending, then Final Cut
actually includes these small little micro-dissolves
| | 07:33 | between the frames that you have slowed down
to make a smoother result and does take a
| | 07:38 | little longer to render, but its better quality.
| | 07:41 | And then finally there is Optical Flow which
actually creates new pixels by analyzing the
| | 07:47 | vectors of movement, and this of course takes a
long time to render, but the results are really great.
| | 07:53 | So, as you can see, there are quite a few
creative ways to affect the speed of your clips both
| | 07:58 | constant and variably in Final Cut Pro.
| | Collapse this transcript |
| Working with layered Photoshop files| 00:00 | If you have worked in Photoshop before then
you know that its design structure is based
| | 00:05 | on a layer model, whereby each
element can contain its own layer.
| | 00:09 | You can use that to your benefit in Final Cut
because you can bring in each layer separately
| | 00:14 | and affect them in
different ways. Let's take a look.
| | 00:17 | So I'm going into 9.13, and I just
have a shot here acting as a background.
| | 00:25 | And let's get the titles that we are going to
be using, I am going to go into the graphics
| | 00:29 | keyword collection, and I have two titles here.
| | 00:32 | This title has an alpha channel which means
that its background is transparent, and it's
| | 00:37 | going to allow me to see
below to the background here.
| | 00:42 | This title does not have an alpha channel,
it just has a white background, so it's not
| | 00:46 | automatically going to let
me see to the video beneath.
| | 00:49 | So we are going to take a look at how to
work with both of these types of titles.
| | 00:53 | Let's first start with one of the alpha channel.
| | 00:55 | Okay, I'll go ahead and mark an in and
an out and connect to storyline queue.
| | 01:03 | So basically you can see that I can see
below to the video layer underneath, but the cool
| | 01:09 | part is if I double-click here, you can see
that I have access to each one of these layers.
| | 01:15 | Now there is lots of possibilities of what I can
do. Let me just Shift+Z to fit everything in here.
| | 01:20 | For example, maybe we want the layers to come on
separately and so we can just ripple trim, no problem at all.
| | 01:27 | Let me undo that because I want to show you one
way that you can view this with the video underneath.
| | 01:32 | I am going to click on this arrow right
here to go back to the main storyline.
| | 01:39 | And this time instead of double-clicking to
see inside of this title, I'm going to just
| | 01:45 | select it and then go up to
clip and break apart clip items.
| | 01:50 | So here are our three layers and again we
can ripple trim so that they each come on
| | 01:57 | separately, and I can animate these separately,
I can add different effects to each one of
| | 02:02 | these, I can have each of the letters fly
into view, there is all sorts of things I can do.
| | 02:08 | So I am just going to perform a very simple
animation, and you can use that as a metaphor
| | 02:12 | for all of the different things that you can do.
| | 02:15 | So let's go ahead and click on Farm, and
I will open up the Inspector, Cmd+4.
| | 02:22 | And I'm going to enable the Transform
properties, because I just want to scale it up.
| | 02:27 | At the very beginning I am going to mark a
keyframe on scale and then by the time it
| | 02:35 | gets here I want another keyframe.
| | 02:38 | And then you can use these little arrows to
go from keyframe to keyframe, so I'm going
| | 02:42 | to click on his arrow and
bring my Scale down to zero.
| | 02:47 | So, we should be able to see this word grow
now, and notice that it didn't do it to "to"
| | 02:55 | or to Table, but let's copy, Cmd+C so
I'll just select this and press Cmd+C,
| | 03:03 | we'll copy some attributes to these real quick.
| | 03:07 | So I will just select both of those and then
go up to Edit > Paste Attributes and all we
| | 03:13 |
want to do is paste scaling, and now we
should have "Farm to Table" and let me just say done
| | 03:24 | so that we can get a better view here.
| | 03:27 | I'll close the Inspector, and if I wanted to
add some transitions to soften it out, I could.
| | 03:32 | I will just select all of these and press
Cmd+T, and now we just have our basic
| | 03:37 | dissolves on the beginnings and ends of each of these
clips. Let's go ahead and just play it one more time.
| | 03:43 | (video playing)
| | 03:48 | So very soft, very nice, very basic, and I'm
sure that you can do something much more complex
| | 03:54 | once you start playing around with it.
| | 03:56 | But the sky is the limit when you
have these various layers to work with.
| | 04:00 | Now I do want to draw your attention to just
one thing that you might think is pretty neat.
| | 04:04 | Let me come back up and edit this in once
again, so I'll go ahead and just drag this
| | 04:10 | down, and this time I am not going break
apart the clip items, but instead I'm just going
| | 04:17 | to park on what is essentially a compound clip.
| | 04:21 | So I'm going to open up the Inspector, Cmd+4,
and then I am going to come down to Compositing.
| | 04:28 | And notice that I have Blend mode, and this
should be familiar to you if you use a lot
| | 04:32 | of Photoshop as well.
| | 04:33 | So there is a lot of things that you can use
in here, but if you come down to Stencil Alpha
| | 04:38 | then you will notice that what's happened is the
video in the background is now inserted into the title.
| | 04:47 | And if you need to increase the size of
the title, you can so that you can see it.
| | 04:51 | Okay, I'll go ahead and come up to
scaling and make the title a little bit bigger.
| | 05:00 | And now you can literally see the video behind
it, and of course you can add some more exciting
| | 05:05 | effects to the background to make it really pop.
| | 05:08 | But this is a very easy way to
insert video inside of a title.
| | 05:12 | So moving on, what if the title
does not contain an alpha channel?
| | 05:17 | So this title here was created just with a plain
white background, I am going to drag this one down now.
| | 05:26 | And it's very, very easy to actually make
an alpha channel without too much effort.
| | 05:31 | I am going to double-click on this again just
like we did before, and as you can see, I have
| | 05:37 | my three layers, and then
I have my white background.
| | 05:40 | I can't just delete this, if I delete
this then the whole thing goes away.
| | 05:45 | But what I can do is disable it.
| | 05:48 | So if I right-click and choose Disable, then this
is disabled, and I will step back out and voila!
| | 05:56 | I have my alpha channel.
| | 05:59 | It's very easy to instantly create
transparency, so bottom line don't panic if you're given
| | 06:05 | a title or graphic without an alpha channel.
| | 06:08 | So, as you can see, taking advantage of each
of the separate elements within a layered
| | 06:13 | Photoshop file is really easy in Final Cut,
and you have some pretty nice control working
| | 06:17 | in this fashion.
| | Collapse this transcript |
| Understanding rendering options and preferences| 00:00 | As you have no doubt gathered, Final Cut Pro X
contains a feature called Background Rendering.
| | 00:06 | This simply means that if you leave your computer
alone for X number of seconds then the application
| | 00:11 | will begin rendering any effects
or video that need to be rendered.
| | 00:15 | It does this in the background
so that you can continue working.
| | 00:18 | Now at the time of its release this was
actually a pretty revolutionary addition, since the
| | 00:23 | other top editing programs still
did not contain such a feature.
| | 00:27 | In most other applications when you render, you
have to commit all the system's resources to it.
| | 00:32 | Final Cut's default background render time
is set in preferences, so I'm going to go
| | 00:37 | to Final Cut Pro and
Preferences, and I come to Playback.
| | 00:43 | As you can see, Background Render is
on, and it says Start after 5 seconds.
| | 00:49 | Now personally I think this timing is a
little short. That's because if I'm designing titles
| | 00:55 | or effects or whatever, and I'm still in the
process of creating them or even just trying
| | 00:59 | something out, then the
program is going to begin rendering.
| | 01:03 | This can be kind of wasteful since it may
render effects that you won't actually be
| | 01:07 | using in your finished
sequence if you're not done with them.
| | 01:10 | Also you may not even need background
rendering all the time if you have got a robust system,
| | 01:15 | because its real-time
playback can be quite good.
| | 01:18 | So you can bump this number up.
| | 01:20 | I think I will, so I'll go
ahead and just type in "60" seconds.
| | 01:25 | And if you're worried about drive space,
you can always just turn background rendering
| | 01:29 | off altogether and then
manually render every time you need to.
| | 01:34 | I'm going to turn mine on for now.
| | 01:37 | Speaking of Manual Rendering let's talk
about that, there are two manual render settings,
| | 01:43 | Render Selection and Render All.
| | 01:46 | So I'm just going to come down to my 9.14
sequence, and let's just apply several effects,
| | 01:53 | so it'll call for a render.
| | 01:54 | I'm going to open up my video browser by
pressing Cmd+5, and let's fit everything in by
| | 02:00 | pressing Shift+Z, and we'll go ahead and
select all of my b-roll here, and let's just give
| | 02:08 | it a look, we'll give it a Bleach Bypass
look, and I'll go ahead and double-click.
| | 02:15 | So now as you can see, all of these clips
need to be rendered as indicated by the orange
| | 02:20 | bar above them. They'll still most likely play
in real time okay, but if I want to guarantee
| | 02:25 | playback, I'll need to render, which
creates new media files with the effects in place.
| | 02:30 | But now that I set my background render to
60 seconds. It's actually not going to render
| | 02:35 | for another minute.
| | 02:36 | So if I want to force a render, I'm
going to have to do this manually.
| | 02:39 | I just come up to Modify, and then I have
Render All or Render Selection. Render Selection
| | 02:46 | is going to render anything that I have got
selected in my sequence, so everything that
| | 02:51 | I have outlined in yellow right now, whereas
Render All is going to render anything that
| | 02:56 | needs rendering in the timeline.
| | 02:58 | So you'll certainly need to use these manual
options if you have turned off background rendering,
| | 03:03 | or if you just want to trigger a
render before the background render starts.
| | 03:07 | You might want to remember these keyboard
shortcuts, we have got Ctrl+R and Ctrl+Shift+R,
| | 03:12 | All right, so I'll go head and render my selection,
Ctrl+R. Now everything is going to start rendering.
| | 03:18 | You can see here that the
progress is going from 0 to 100%.
| | 03:22 | If I'm ever curious as to this progress, I can click
on this, and it will tell me exactly what's going on.
| | 03:31 | I'm going to go head and close this, and as
you can see my orange line is disappearing,
| | 03:35 | everything is rendering, and now I should
be able to watch the sequence just fine.
| | 03:39 | (video playing)
| | 03:45 | Rendering is an important part of the
editing process, and it's important that you make
| | 03:49 | some decisions about this in
order to streamline your workflow.
| | 03:53 | Also just to reiterate, in this movie
we talked primarily about executing renders,
| | 03:58 | later in the course when we discuss media
management, we'll talk about deleting our
| | 04:02 | unused render files.
| | Collapse this transcript |
|
|
10. Basic Color CorrectionAnalyzing footage for problems| 00:00 | Color Correction is an essential
part of the postproduction process.
| | 00:04 | Now in order to effectively color correct a
scene, taking it through all of the steps,
| | 00:08 | you need two main things in order to do it right.
| | 00:11 | First, you need your eyes to
determine what you need to do.
| | 00:15 | Second, you need a series of video scopes
in order to measure the Luma or light and
| | 00:20 | dark values of an image, as well as
the Chroma or color values of the image.
| | 00:25 | In this movie we'll take a look at the first part of
this process, where we analyze footage with our eyes.
| | 00:30 | So I'm going to go into 10.1. Okay, so in
order to get an idea of the process I'm going
| | 00:36 | to take a look at a couple of images from
Farm to Table, and we're going to focus on
| | 00:40 | the first part of the color correction process,
which is correcting individual images in regard
| | 00:46 | to contrast, color balance, and saturation.
| | 00:49 | So this image of BD certainly has some issues,
let's just go through a list of basic questions
| | 00:53 | and get an idea for what might be wrong with it.
| | 00:56 | First, what part of the image is
the brightest and should be white?
| | 01:01 | Well, his white shirt, as well as some of the
highlights in the background are the brightest
| | 01:05 | part of the image, and we'll
definitely need to bring those up.
| | 01:08 | Next, which part of the
image is supposed to be black?
| | 01:11 | Well, the shadows around his face and neck,
as well as maybe some of the shadows in the
| | 01:15 | background are the darkest part of the image.
| | 01:18 | Everything is way too bright,
so we'll have to darken that.
| | 01:21 | Next how are the Brightness and Contrast?
| | 01:23 | Well, again this is a very muddy, very flat
image, so we'll need to increase the contrast
| | 01:29 | significantly, which means we'll have to brighten the
light parts and then darken the dark parts of the image.
| | 01:35 | Next how are the colors?
| | 01:37 | Is there a color cast?
| | 01:39 | There seems to be a yellowish
color cast to the entire image.
| | 01:42 | So we'll probably have to
remove yellow hues to correct this.
| | 01:45 | Finally, how is the saturation level?
| | 01:48 | Well, this image is pretty de-saturated, we
could certainly increase the saturation to
| | 01:52 | give the entire image a
little bit more vibrance.
| | 01:55 | I think we have a pretty good idea
on where we're going with this shot.
| | 01:59 | Now let's come to the second shot in our
sequence and go through the exact same process.
| | 02:04 | Now this shot of Owen also has some issues.
| | 02:07 | First of all, what part of the
image is supposed to be white?
| | 02:10 | Well, his white shirt, as well as some of
the highlights around his face probably are
| | 02:14 | the lightest part of the image,
maybe some in the background as well.
| | 02:17 | Every thing is certainly too dark,
so we need to lighten things up.
| | 02:21 | Next which part of the
image is supposed to be black?
| | 02:23 | Well, the shadows in the background are the
darkest part of the image, but I think they're
| | 02:28 | actually too dark the blacks are crunching,
and we're definitely losing some detail in
| | 02:32 | the shadows, so we'll probably
have to lighten those up a bit.
| | 02:36 | Next, how are the brightness and contrast?
| | 02:39 | Well, the entire image is too dark.
| | 02:42 | We're going to have to brighten the
darkest part of the image a little bit, and we'll
| | 02:46 | have to brighten the lightest part
of the image a lot more than that.
| | 02:50 | Next, how are the colors is there a color cast?
| | 02:53 | There seems to be a slight reddish color cast
in the midtones, not too bad, but we may need
| | 02:58 | to remove some red from
the midtones in this image.
| | 03:01 | Finally, how is the saturation level?
| | 03:03 | Well, with our brightness problem, our eyes
maybe deceiving us, but in regard to the saturation,
| | 03:09 | it seems that it's a little too saturated,
we might have to dial it back just a bit.
| | 03:14 | But there's also the chance that once we
brighten things up the color structure will improve,
| | 03:18 | so we'll have to see.
| | 03:20 | And then here I have an image of Justin
that also has some issues, we won't go through
| | 03:24 | this right now, but you should feel free to
take it through the exact same analysis that
| | 03:28 | we just performed on the prior two images.
| | 03:32 | So again, even before we start looking at how
to measure the video signal of these images,
| | 03:36 | we already have a pretty good idea of where
we want to go in correcting them. Now soon
| | 03:41 | you'll get so skilled at this part of the
process that you can perform the analysis
| | 03:45 | in a matter of seconds,
before you dive into correction.
| | Collapse this transcript |
| Following a proper color correction workflow| 00:00 | Now that we have identified what needs to be
done to each of our images, we are going to
| | 00:04 | go step-by-step through a
basic color correction workflow.
| | 00:08 | This workflow has been broken down into
three basic parts, and you can use this formula
| | 00:12 | whenever you approach basic color correction.
| | 00:15 | I'm going in to 10.2, and as you can see, we have
the same images that we saw in the previous movie.
| | 00:22 | I am going to select the first image here,
and then I am going to open up the Inspector,
| | 00:27 | Cmd+4, and there is no need to apply a
color correction effect eclipse in Final Cut
| | 00:32 | Pro X, color correction is
yet another built-in effect.
| | 00:36 | So let's take a look at the
Color category here at the top.
| | 00:39 | We will get into all of these items a little bit
later, but for right now let's come to Correction 1.
| | 00:45 | This is indeed the first of any number
of corrections I can apply to my clip.
| | 00:50 | I recommend, however, that the first correction
that you apply to a clip is the basic correction
| | 00:55 | that we are about to go through.
| | 00:57 | So I'm simply going to click on in this
arrow right here and my Color Board opens.
| | 01:02 | Now first controls that you should use are
the Exposure controls, so I'll click up here,
| | 01:07 | and let's take a look here.
| | 01:09 | This knob on the far left is the Global control,
it raises and lowers the exposure of the image
| | 01:15 | uniformly across the
blacks, midtones and whites.
| | 01:19 | However, most of the time Global isn't going
to cut it, we'll need more control in isolating
| | 01:25 | our Luma values so we will be
dealing primarily with these controls here.
| | 01:29 | We have got the Shadows control which controls
the darkest parts of the image, the Highlights
| | 01:34 | control which controls the lightest parts
of the image and the Midtones control which
| | 01:39 | controls the Luma values in between.
| | 01:41 | Also, by the way, I may occasionally referred
to the Shadows control as the Setup control,
| | 01:46 | the Highlights control as the Gain control
and the Midtones control as the Gamma control,
| | 01:52 | those are all terms you can
also use for adjusting Luma values.
| | 01:57 | We also need to open up
the appropriate video scope.
| | 01:59 | There are a few you can use but the one we
are getting use is the Luma waveform monitor.
| | 02:05 | So I open up the Video Scopes by coming up
to this menu here and choosing Show Video
| | 02:10 | Scopes or Cmd+7.
| | 02:11 | And we are a little bit crunched on space
here, the resolution that I'm recording this
| | 02:16 | movie at is causing this problem, but you'll
probably be working at a much higher resolution
| | 02:22 | so you will probably be able to
see all of these windows just fine.
| | 02:25 | In this configuration I'm not even allowed
to really drag this over any further to the
| | 02:30 | left, so bear with me here
just a little bit, we'll be fine.
| | 02:34 | Let's go ahead and make sure that the Luma waveform monitor
is showing, so Waveform and Luma, looks good here.
| | 02:43 | And let's take a look at how to read this.
| | 02:45 | Now this Video Scope captures the light and
dark values of the image without measuring
| | 02:50 | the Chroma or color values.
| | 02:52 | Zero represents video black and 100
represents video white, so let's go ahead and change
| | 03:01 | this to Fit so we can see the entire image,
and we will make just a little bit of room there.
| | 03:07 | And before we make our first adjustment I
just want to call out one thing about the
| | 03:11 | relationship between our Waveform and our image.
| | 03:15 | As we look at this image we can see we have
tree, then we have BD, we have his face and
| | 03:20 | his body, and then we have more trees.
| | 03:22 | And if we come here it's the same thing.
| | 03:24 | These are all of the Luma values for the trees,
here are the Luma values for BD's face and
| | 03:29 | body and here are the Luma values for the trees.
| | 03:33 | So if we look down here the darkest part of the
image is mapped to the shadows right around his collar.
| | 03:41 | The lightest parts of the image here is mapped to
probably this highlight right here in the trees.
| | 03:48 | So that's how we are going to look at it.
| | 03:50 | So the first thing I am going to do is take
my Setup control and drag down, and you notice
| | 03:56 | that the image changes live
and the waveform approaches zero.
| | 04:02 | So we don't want to go below zero, but I'm
going to approach zero, so we have the very
| | 04:06 | darkest parts of our image
right there at video black.
| | 04:10 | You can see that it's already improved a lot.
| | 04:12 | And then we do the same thing with our Gain
knob, I am going to just drag this up, and
| | 04:18 | again I don't want to go above a
hundred but I want to approach 100.
| | 04:24 | And you can see that by opening up our
Contrast scale, this is already so much better.
| | 04:31 | Then you come to your Gamma, and you can either
lighten it up a little bit or darken it up a little bit.
| | 04:38 | And I think I am just going to bring it
slightly below the middle, and I think I like that.
| | 04:44 | So that's step one and
usually this helps out a lot.
| | 04:48 | Now let's move to step two which is
where we correct color balance problems.
| | 04:52 | I'm going to move from the Exposure
controls to the Color controls, and I'm in a switch
| | 04:57 | from the Luma waveform monitor to
the RGB Parade waveform monitor.
| | 05:04 | The RGB Parade breaks the signal out
into the red, green and blue color signals.
| | 05:10 | So usually our aim here is to balance the image
across these three color channels specifically
| | 05:16 | in the areas that should be color
neutral which are the blacks and the whites.
| | 05:22 | So it looks like our image is pretty well
balanced between the red and green channels,
| | 05:27 | but we are a little low in blue.
| | 05:29 | So let's go ahead and take our Highlight knob
and drag up in blue, and you can see the channels
| | 05:35 | adjust accordingly.
| | 05:37 | Also look at the image,
it's cooling everything off.
| | 05:40 | So that yellow color cast that we had
over the entire image is going away.
| | 05:45 | And I can take my Shadows knob and come over to the
blues and just start to tweak it just a little bit.
| | 05:52 | And what I am going to do really briefly is
just come back over to Luma controls, because
| | 05:58 | sometimes when you adjust your color channels it
affects the Luma and in this case you can see that it did.
| | 06:03 | So it's kind of like a dance.
| | 06:05 | I am going to come back over to Exposure and
just bring up my Exposure just a little bit
| | 06:10 | more, and then I'll come back over to RGB
Parade and everything is looking good still.
| | 06:17 | So you might have to go back and forth a
little bit there, but already looking a lot better.
| | 06:22 | And finally, the last part of the
process is checking your saturation.
| | 06:26 | So I'm going to click on Saturation here,
and then we are going to switch from the RGB
| | 06:32 | Parade to the Vectorscope.
| | 06:35 | Now to Vectorscope is the one video scope
we have seen so far that only measures Chroma
| | 06:40 | or color values without taking
into account the Luma signal.
| | 06:45 | It measures values around the color wheel,
starting here, red, magenta, blue, cyan, green and yellow.
| | 06:53 | So if you notice our image here we have got
Chroma values residing in the red but mostly
| | 06:58 | yellow and green area, and we
have also got some blue here.
| | 07:02 | And also notice this line right here, this
is called the Flesh Tone line where you should
| | 07:08 | try to get the flesh
tones in your image to reside.
| | 07:12 | So, as you can see, we do have our flesh tones
here, and we also have our yellow here which
| | 07:18 | is mostly the background, and we
have our blue here which is his shirt.
| | 07:23 | So I think the flesh tones could probably
be saturated a little bit more, usually I
| | 07:27 | like to have the flesh tones reside about
a third of the way from the center of the
| | 07:31 | Vectorscope out to the edge.
| | 07:34 | So let's just take a Midtone control, so we are only
affecting the saturation of our midtones and drag up.
| | 07:41 | You can see the Vectorscope adjusts accordingly,
you don't want to go too much or it turns orange.
| | 07:46 | But let's just give him a
nice healthy skin color here.
| | 07:51 | I think I like that.
| | 07:52 | I am going to come over to the Global control and
just see what riding this up and down does to the image.
| | 08:01 | I think I am not going to do too much to that.
| | 08:04 | So now let's go back to the main
Inspector window by clicking on this arrow here.
| | 08:09 | Let's take a look at our before and after.
| | 08:11 | I'm going to hide my Video Scope so that we
can get a little bit more real estate here.
| | 08:16 | So this is after, and this is
before, big difference isn't it?
| | 08:22 | So now we are going to thorough this entire
workflow that we have just done, but quickly
| | 08:27 | on this image, you can see
how quickly this can be done.
| | 08:30 | So we are going to select this image,
we are going to go into Correction 1.
| | 08:34 | I am going to first go to Exposure controls
and make sure that we show the Video Scopes
| | 08:40 | for the Luma waveform.
| | 08:43 | We're going to bring our lightest parts of
the image up, and we are also going to bring
| | 08:51 | the darkest parts to the image up
so that we are between 0 and 100.
| | 08:55 | I am going to just ride my Gamma to see
kind of if I want to darken or lighten it.
| | 09:00 | So I think I'll probably be right around here.
| | 09:04 | Next we are going to switch to the RGB Parade
and then come over to Color, and we are little
| | 09:13 | bit weighted towards red.
| | 09:15 | Let's take our Highlight control, go to
red and just bring it down just slightly.
| | 09:20 | I also want to come down here to my dark
values and adjust my blues just a little bit.
| | 09:25 | So I am going to take my dark value go over to
the blues and raise them up just a little bit.
| | 09:32 | And now I'm going to the Vectorscope and
Saturation, and you can see that we definitely have a
| | 09:41 | pretty saturated image.
| | 09:42 | If I ride the Global controls up and down,
I'll probably just bring everything down slightly
| | 09:48 | here, and then I'll come over to my Midtones
and maybe just have the midtones up a little
| | 09:57 | bit, but then over all down,
so I think that will work well.
| | 10:01 | So let's go ahead and take a look at
before and after, Hide Video Scopes.
| | 10:05 | So this is after, and this is before.
| | 10:08 | So we could probably do a little bit more
tweaking here, but you can see that we have
| | 10:11 | brought out some detail in the shadows, he doesn't
look so red and so dark, and our contrast is a lot better.
| | 10:19 | So, as you can see, there is a certain
workflow you should take in correcting your images,
| | 10:23 | but as you do it again and again you'll get
faster and more efficient, and it will become
| | 10:28 | second nature.
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| Apply multiple color corrections to clips| 00:00 | We have now got a good sense of how to
apply a basic correction to a clip.
| | 00:04 | Well, I do highly recommend that the first
correction you apply to any clip is the basic
| | 00:09 | correction by following the steps
we learned in the previous movie.
| | 00:12 | I also wanted to show you that that's only the
beginning, you can truly add as many corrections
| | 00:17 | as you like to your clips, in order to try
out different things or to give your footage
| | 00:22 | a particular look or style.
| | 00:24 | So, I'm going to go into 10.3, and as you
can see each of my images have been color
| | 00:31 | corrected, and I am going to
add a couple more corrections.
| | 00:34 | So, I am just going click on BD's clip here,
and as we come up to the Color category we
| | 00:39 | see that Correction 1 is applied.
| | 00:41 | If we want to look at it before we just click
on this light here, and that's before and after.
| | 00:47 | And now let's take a look at
how to add a second correction.
| | 00:50 | I just come up to this Plus sign here, and
you can see their Correction 2 is right here,
| | 00:57 | and I'm going to just click on this arrow
just as before and enter my color board.
| | 01:02 | Now I can do whatever I want in this correction,
while the previous correction is maintained.
| | 01:07 | So let's first try to add a
Bleach Bypass style to this image.
| | 01:11 | I am going to go to Saturation and lower
the Global saturation about to there, and then
| | 01:19 | I am going to go to Exposure, and I'm going
to lower the Black point, and I am going to
| | 01:25 | raise the White point.
| | 01:28 | And then we come over to Color, and I'm
going to take my mid-tones and raise the blues,
| | 01:34 | and we are getting kind of
that Bleach Bypass look here.
| | 01:37 | Now if I go back to the main Inspector, here
I am looking at both of them, and if I toggle
| | 01:44 | Correction 2 I am just looking at the
base correction that I made initially.
| | 01:48 | I am going to leave this one off
and then add another correction.
| | 01:51 | So, I'll just press the Plus button again,
and this time let's add a correction that
| | 01:56 | warms up the image.
| | 01:58 | So, I'm going to just enter this correction,
and I'm going to go to Saturation, and I'm
| | 02:06 | going to lower my Midtone saturation values
you can sort of see the color in his face go away.
| | 02:14 | The reason I'm doing that is that I'm going
to come over a Color and then increase the
| | 02:19 | mid-tones in my orange.
| | 02:20 | So I didn't want them to go way orange, I'm
going to come over here you can see that the
| | 02:26 | image is warming up.
| | 02:28 | If I had left my saturation here you can see he
looks like an Oompa Loompa: very, very orange.
| | 02:33 | So you want to make sure that you do that and
maybe I want to adjust my Blacks just slightly.
| | 02:42 | I'm going to go a little bit below on orange
so that I don't just totally give an orange
| | 02:48 | cast to the image, and I am going to come
with my Highlights and do the same thing to
| | 02:53 | sort of right up and down and see, I'll go just
a little bit higher than the middle on that one.
| | 03:00 | And let's go ahead and increase the Contrast
a little bit by going down on my Black point
| | 03:05 | up and up on my White point.
| | 03:06 | So, we have warm the image up. Let's go back
to my main window here and so here's before
| | 03:12 | and here's after and then of course here's
before on my Bleach Bypass, and here's after,
| | 03:19 | and I don't have to use either one of them
if I want, if I want to turn them both off.
| | 03:22 | So, again you'll pretty much always use
Correction 1, because this is actually correcting the
| | 03:27 | problems with the image, and then you can
apply either one of these stylistic corrections
| | 03:32 | either, or, probably not both so that
you can give your image a certain style.
| | 03:36 | As you can see, you have a lot of
control in layering these manual corrections.
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| Using color correction templates| 00:00 | We just took a look at how to manually
apply stylistic color corrections to your clips
| | 00:05 | by way of adding multiple corrections.
| | 00:07 | In this movie we'll take a look
at how to do much the same thing.
| | 00:10 | But instead of applying manual adjustments,
I am going to show you how to use templates.
| | 00:15 | So, I'm going into 10.4, and I have my same
three images with just the base correction
| | 00:22 | applied, and I'm going to briefly revisit
one thing that we have already learned in this
| | 00:27 | course, and it has to do with
something that's in the video Effect browser.
| | 00:32 | As you may remember the Effects browser
contains a lot of color correction looks.
| | 00:36 | So, if I go down to Looks, you can see that we have
quite a few options for ways to manipulate the image.
| | 00:43 | So, with my BD clip selected, I can just come
over here and take a look at the various looks
| | 00:49 | that we can achieve.
| | 00:50 | Now in the previous movie we manually applied a
Bleach Bypass I have a Bleach Bypass here as well.
| | 00:57 | So, if you didn't want to go through the
work of creating it from scratch you could apply
| | 01:01 | this Bleach Bypass template.
| | 01:02 | So, I'm going to go ahead and just apply this, and
as you can see, I get much the same look as before.
| | 01:08 | However, if I open up the
Inspector I want to show you something.
| | 01:12 | I don't really have the ability to
further manipulate this via the Color Board.
| | 01:16 | I can really only come up here and adjust
this Amount slider, so not too much control
| | 01:22 | here in this effect.
| | 01:23 | So it's quick and easy but you have much
less control than if you created it manually
| | 01:28 | since, these effects are not tied to
the built-in color correction effect.
| | 01:32 | Now what if you did want more control let
me disable the Bleach Bypass effect for now
| | 01:37 | and instead I'm going to apply an additional
color correction effect by pressing my Plus sign here.
| | 01:43 | So, we have got Correction 1, which is my base
correction, Correction 2, I am going to click
| | 01:48 | on this arrow to enter the Color Board.
| | 01:51 | And instead of applying a manual
adjustment we are going to go ahead and come down to
| | 01:55 | Presets here and take a look
at a couple of these options.
| | 01:58 | So, I am just going to click on a couple of
these so that you can see how the image is
| | 02:02 | affected. Here is Ash, Dust, we'll try Spring
Sun, you can get a sense for how each of these
| | 02:12 | templates is affecting the image.
| | 02:13 | So, if I come in and choose Winter Sun this
is kind of getting close to the Bleach Bypass
| | 02:21 | that we had before, but I
can manipulate it further.
| | 02:24 | So, I won't go through the entire process
of tweaking this but let's just increase the
| | 02:30 | blue a little bit and decrease it in my
shadows and my highlights, and go into Exposure and
| | 02:38 | crunch my blacks and
whites just a little bit more.
| | 02:42 | So, we have made the adjustment, I can come
down to Presets and choose Save Preset and
| | 02:47 | just Save it out "Bleach Bypass" and OK.
| | 02:53 | And now I can use one of the built-in
Presets or one of my own is now saved in this list.
| | 03:01 | So, as you can see, applying presets is an
easy and efficient way to quickly change the
| | 03:06 | look of your footage, and if you need to
manipulate that look further, no problem.
| | Collapse this transcript |
| Using automatic color correction tools| 00:00 | In this movie we'll take a look at how
to apply automatic color corrections.
| | 00:05 | So I am going to go into my 10.5 sequence,
and as you can see, in the beginning here,
| | 00:10 | we have our same three images but without any of
the based corrections that we have already applied.
| | 00:16 | This time we are going to see how
Final Cut's Automatic Corrector does.
| | 00:20 | This automatic corrector is specifically a
balance color effect, which is basically the
| | 00:25 | same as removing the color
cast which we did before.
| | 00:29 | So I'm going to select my image and open up
the Inspector, Cmd+4, and I am also going
| | 00:35 | to bring up some Video Scopes,
specifically the RGB parade.
| | 00:39 | So you want to make sure you have
Waveform and RGB Parade selected.
| | 00:44 | And so just as before we see that this has
a color cast, our blue values are too low.
| | 00:50 | So what I am going to do is come over to
this button right here, where it says Balance,
| | 00:55 | and then it says Analyzed.
| | 00:57 | Now the reason it says Analyzed is because
when I imported this footage I check the box
| | 01:01 | that says analyze for balanced color, this
means that Final Cut has gone through every
| | 01:06 | frame of my clip and analyzed
the color for the entire shot.
| | 01:09 | If you hadn't checked Analyze for balanced
color, then this balance color command is
| | 01:14 | going to base its analysis of the color
balance on the frame that you are resting on.
| | 01:18 | And just to remind you, you can either
select for Final Cut to analyze the color balance
| | 01:22 | when you import the
footage or in the Event Browser.
| | 01:26 | So just real quick, if I come to one of my
clips I can just right-click, choose Analyze and Fix,
| | 01:32 | and then I just need to check this box
right here Analyze for balance color,
| | 01:37 | and then it will perform the
analysis, and we just cancel here.
| | 01:41 | So coming back over here we have our
shot that needs a little bit of help.
| | 01:46 | And I'm just going to click on in this button
Balance, and you can see that my color channels
| | 01:52 | were balanced. It's brought
everything into alignment.
| | 01:54 | I can select one clip, or I can select multiple clips
to do this for, we can just balance them all at once.
| | 02:01 | And now you can see that it's
gone through and balance the color.
| | 02:04 | But do you see that there's a problem, the
issue is is that my contrast is still not very good.
| | 02:09 | In this case, the shot is too flat, in this case
the shot is too dark, and the shot is too contrasty.
| | 02:17 | So if you remember from our workflow that is
supposed to be the very first step of the process.
| | 02:22 | So in that sense the Balance Color command is best
used once you have already correct your Luma values.
| | 02:28 | So let me undo this correction, Cmd+Z and
then quickly correct my Luma and then do it again.
| | 02:35 | So I have got my BD clip selected, and I
am going to go into Correction 1. Let's just
| | 02:42 | go over to the Luma waveform, and then I'll
go to Exposure, and we'll bring our blacks
| | 02:48 | down and our whites up.
| | 02:51 | So much better, now we'll
come back and balance the color.
| | 02:56 | And it looks much better, we will have to
go in and fix a couple of these values where
| | 03:00 | it's gone above a hundred and below zero.
| | 03:02 | But in general much better than
just balance color on its own.
| | 03:06 | Same thing here, come in and
correct Luma first, like so.
| | 03:15 | then come, back balance the color,
and things are looking a lot better.
| | 03:19 | So use those in conjunction with one
another rather than relying entirely on this magic
| | 03:25 | color balance control.
| | 03:27 | Now I am going to come down to this middle set
of clips, and I want to talk about Match Color.
| | 03:33 | Match Color is going to let me match one shot's
basic color scheme to another shot's basic color scheme.
| | 03:40 | So I'm going to close out my Video Scopes
right now so we can see this image better.
| | 03:44 | So if you take a look at these two shots you
can see that they look different, even though
| | 03:49 | they are very similar. They do look
different as far as their basic color scheme.
| | 03:55 | So let's try to match this one that definitely
needs some color correction to this one right here.
| | 04:02 | So the first thing I am going to do is click
on the clip that I want to change, and then
| | 04:07 | I am going to come up to Match Color.
| | 04:09 | And when I click on Choose it's going to ask me
to select the frame that I want to match it to.
| | 04:15 | So I'm going to just skim, and you can see that
when a skim there's a little camera attached to it.
| | 04:19 | I am going to click right here and
then just watch these two images.
| | 04:24 | So basically it's matched, the color scheme
from this image to this one, and this looks
| | 04:29 | much better, and you could edit these together
within the same scene now, it's going to work.
| | 04:34 | I'll apply the match, and it's looking good.
| | 04:39 | Same thing here we have got BD pruning
his tree here and then here and then there.
| | 04:46 | And I think one and three could go together,
but then you have this very icy blue shot here.
| | 04:53 | So let's do the same thing I am going to
select this clip, come up to Match Color, Choose.
| | 05:00 | And first I'll select this one right here,
and you can definitely tell that it's matched
| | 05:07 | the color scheme. It might be a little bit
too sandy here I think we need to retain some
| | 05:12 | of the blue sky, so let me cancel and do
the same thing, again let's choose this middle
| | 05:18 | one and then select this one instead.
| | 05:22 | So that's more like it, we will probably have
to tweak it further, but if I apply this match
| | 05:27 | and then go from this image to this image to
this image it's looking a little bit more like it.
| | 05:34 | Again, we will have to tweak this a
little bit further, but it's looking
| | 05:38 | okay. Now let me undo that and let me
show you if we would have gone the other way.
| | 05:43 | Let me try to match this shot to this one.
| | 05:46 | So I'll select it, I'll choose Match Color
and then come over here and then say I want
| | 05:51 | you to match it to this one, select and so you
can come up with some interesting results here.
| | 05:57 | We have just made this a very icy shot.
| | 06:00 | So as you can see, not what we would
want to do here. Let me cancel this out.
| | 06:04 | Fortunately, you can further manipulate the
controls after you perform a Match Color in
| | 06:08 | order to get everything
looking as good as possible.
| | 06:11 | But this can at least give you a
good starting place for your corrections.
| | Collapse this transcript |
| Performing secondary color correction with color masks| 00:00 | Adjusting a single hue or a range of hues in
a scene is called secondary color correction.
| | 00:06 | Final Cut has a basic secondary color
corrector which is what we'll explore in this movie.
| | 00:11 | All right, so I'm going into 10.6, and
let's take a look at what we have got here, we have
| | 00:18 | got our opening shots of the orange grove,
and we have our close-up image of the orange,
| | 00:23 | and this really gorgeous shot of the orange
grove with the solar flares, and then we have
| | 00:28 | the shot here, and even though I have taken
it through the appropriate color correction
| | 00:33 | workflow to improve its contrast, color balance,
and saturation it still doesn't contain nearly
| | 00:39 | the same beautiful orange
colors as the previous two images.
| | 00:43 | So if I go into this correction and say okay,
well I'll just add some more orange to it--
| | 00:49 | let's open up the Inspector and go into
Correction 1--and I have already added some. But as I keep
| | 00:57 | adding orange you can see that it's not
really working in the way that I want it to, even
| | 01:02 | when I come over. And this is not working
at all because it's applying it to the entire
| | 01:06 | image and so on and so forth.
| | 01:09 | So what I want to do is isolate these oranges
and get everything looking a lot more vibrant.
| | 01:16 | Let's pop back out to the main Inspector
window and take a look at how to do this.
| | 01:21 | So rather than going into my Correction 1,
which is what I have applied to improve the
| | 01:25 | image from before to after, I'm going to
click on the Plus sign to add another correction,
| | 01:32 | and then I'm going to click on
this button here Add Color Mask.
| | 01:37 | I'll just come into my image here and then
sample a color that I would like to change.
| | 01:44 | So I'm going to get right
here on an orange and drag out.
| | 01:48 | Notice that if I drag too far it's going to
include everything, and that's not going to be good.
| | 01:52 | I just want to make sure that I include
these orange colors, and you can sort of see them
| | 01:58 | isolate from the rest of the
image, and I'll let go here.
| | 02:01 | And you can see right here
that it's sampled that color.
| | 02:04 | And just like we suspected it's not a nice vibrant
orange color. It's this sort of brown peachy color.
| | 02:11 | So let's go ahead, in Correction 2, open up
the Color Board and then under color we're
| | 02:16 | going to just globally bring the orange way
up, and as you can see here, it's a little bit
| | 02:22 | too far, but may be up like that and
then saturation bump that up as well.
| | 02:29 | And now the oranges are coming alive.
| | 02:32 | Now if I come back to the Inspector window,
let's just take a look at before and after,
| | 02:38 | and things are looking good the oranges are
coming alive, I'll just take a look at this
| | 02:42 | slider here, this is the softness slider,
and it let's me blend the correction into
| | 02:47 | the background, and in this case I think
bumping it up just a little bit looks nice.
| | 02:52 | So let's say I also want to affect the color of
the trees maybe made them more green and vibrant.
| | 02:58 | Again, I'm going to come up to this Plus sign,
and select Color Mask and then select the
| | 03:04 | colors of the trees and again if I go too far,
its going to get the background, I don't want that.
| | 03:10 | So may be about like that, so again here's the color
mask, this is the color that's going to be affected.
| | 03:16 | Again, I'm going to come into the
Color Board with this arrow here.
| | 03:21 | And let's go to Color and take my Global
controls on green, go to sort of more of a yellow-green.
| | 03:28 | And maybe I don't want the Global control
actually maybe I just want the mid-tones.
| | 03:32 | So, I think so I think we'll just kind of
go in to the mid-tones and get that yellowish
| | 03:38 | green and also the
shadows, there we go, like so.
| | 03:46 | And I'm going to go back and take a look at
my saturation a little bit, and let's go check
| | 03:52 | the softness slider.
| | 03:57 | So it'll need a little bit of tweaking, I
probably I'm going to want to go and then
| | 04:00 | apply a third Correction back here.
| | 04:02 | It's a little bit dingy gray, and I think
we'll probably want to make sure that that's
| | 04:06 | nice and green as well.
| | 04:07 | But if we take a look at here, versus
here, and here we're getting closer.
| | 04:12 | And it's certainly better than where we
came from which was that. So we got our oranges
| | 04:19 | looking, we got our trees looking good, and
then we'll keep going, keep tweaking until
| | 04:23 | it really looks like it
belongs in this world, right here.
| | 04:27 | That's what secondary
color correction is all about.
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| Performing color correction adjustments using shape masks| 00:00 | In this movie we'll take a look at how to
color correct a specific area of the frame
| | 00:04 | by applying Shape Masks.
| | 00:06 | I'm going to enter 10.7, and I have got the
shot of BD carrying some flowers, but let's
| | 00:14 | just save that on video these flowers
showed up much whiter than they are in real life,
| | 00:19 | in actuality they're very
pink, and we want to show that.
| | 00:22 | Well, how do we do that, we already know about
Secondary color correction so maybe that'll work.
| | 00:27 | I'll just park on a frame here and
then open up the Inspector, Cmd+4.
| | 00:31 | Now I have already got a base correction
applied right here the before and after.
| | 00:36 | So let's go ahead and apply another correction,
and I'll go ahead and get my Color Mask tool
| | 00:41 | here, and try to get just the flowers but
yeah BD's hair is getting included, if I come
| | 00:47 | in here and go to Color and bring up the pink.
| | 00:53 | Yeah that's not going to work, he
has pink here, and I don't like it.
| | 00:57 | So let me just Cmd+Z undo that. A Color
Mask alone is not going to work we're also
| | 01:02 | going to need a Shape Mask.
| | 01:04 | So let's go ahead and click on this button
here, this is the Shape Mask, I can apply
| | 01:08 | it to the same correction.
| | 01:10 | So on Correction 2, I want to get a Shape
Mask, and I'm just going to position this
| | 01:16 | shape around the part of the
frame that I want to affect.
| | 01:21 | The inside shape is going to be what I
affect and the outside shape is going to determine
| | 01:25 | the fall off, the sort of fading between
the inside shape and the outside shape.
| | 01:29 | So if it's in like it will be will be very
harsh, and if its out like this it will be
| | 01:33 | very soft, so probably something in between.
| | 01:36 | If I want it to be more of a rectangular
shape I can drag on this control right here, so
| | 01:43 | I think probably a little bit
rectangular and just around these flowers.
| | 01:49 | Okay, so BD hair is no longer in that at all.
| | 01:53 | And now well we have got the Color
Mask, we have got the Shape Mask.
| | 01:57 | Let's go ahead and get our pink flowers and
it's looking good, BD's hair no longer pink.
| | 02:07 | All right, and maybe I want it to be a little
bit more saturated, and we'll just drag this
| | 02:12 | out a little bit more so that we include these
on the very edges, and we also have the ability
| | 02:17 | to up this softness just a little bit.
| | 02:21 | You can see that I'm also catching it right,
so I can also try to eliminate that from my
| | 02:25 | shape, okay, and get that looking just so.
Okay, so that's looking a little bit more like
| | 02:33 | how I want it, and I have eliminated the other
problematic area that was very similar in hue to my flowers.
| | 02:40 | So that's a really good use for a Shape Mask.
| | 02:42 | And just so you know you can apply as many Shape
Masks as you want to an image when you're correcting it.
| | 02:48 | Let's go to this image here, and I have BD
working at the market place, and let's say, I want
| | 02:53 | to put him in sort of a vignette.
| | 02:55 | Okay, I already have a base
correction applied to him.
| | 02:59 | So again I'm going to click on this Plus sign,
and we'll go ahead and draw a shape around
| | 03:05 | him, like so. Make it circle, and not
that much of a fall of but maybe like that.
| | 03:15 | Okay now if I go into this Correction,
Correction 2, if you take a look down here I have mask,
| | 03:23 | and then I have inside and outside.
| | 03:26 | Now first of all if I wanted to adjust anything
about the way that he looks inside the mask I could so.
| | 03:32 | I don't want to in this case I have already
done that, so I'm going to go to outside,
| | 03:36 | and let's just go to
Exposure and dial it way down, okay?
| | 03:41 | And I can also take my Saturation down.
Okay, and that's looking good.
| | 03:50 | And again I can control the fall off, like so.
| | 03:53 | I think I'll stick to right there.
| | 03:57 | Okay. Now just to demonstrate if I came back
to inside and said, I want this to be a black
| | 04:03 | and white image, no problem, we're on Saturation,
dial this down and maybe give myself a little
| | 04:10 | bit more contrast, and
you can continue tweaking.
| | 04:15 | But as you can see, I'm basically treating
two separate areas of my frame in different ways.
| | Collapse this transcript |
|
|
11. Additional Importing and Capturing TechniquesTaking a closer look at the import and analysis options| 00:00 | Up until this point we have been working
primarily with footage that's already been brought into
| | 00:04 | the Final Cut environment.
| | 00:06 | We have had limited exposure to the various
options we have when importing assets, but
| | 00:10 | in this chapter we are really going to go
through every possible scenario about how
| | 00:15 | you get material into the application.
| | 00:17 | And in this movie we will get a little
more acquainted with the Import dialog box.
| | 00:22 | So let's start from scratch, I have got some
footage I am going to import and just so you
| | 00:26 | know this material is not
included in the exercise files.
| | 00:30 | But because we won't actually be editing
with it you can use any of your own media that
| | 00:34 | you like to follow along with if you wish.
| | 00:37 | So I am going to create a
new event on my Mac hard drive.
| | 00:40 | I'll just press Opt+N, and I
am going to call it "Swing Dancing".
| | 00:47 | Then I'll import media, I can click on this
big button right here or just press Cmd+I
| | 00:52 | and my Import dialog box opens.
| | 00:56 | The footage I want to import is on the
desktop in this folder called Swing Dancing.
| | 01:01 | So I'll just go ahead and click on the
Swing Dancing folder and say Import All.
| | 01:06 | And let's take a look at
the Import dialog box here.
| | 01:09 | Starting at the top let's just review
several things we have already covered.
| | 01:13 | We are already aware that we're bringing the
media into the Swing Dancing event, and that
| | 01:17 | the event resides on the Mac hard drive.
| | 01:20 | If I wanted to create a new event and then move
it to another hard drive, I could do it up here.
| | 01:25 | We also already know that if I select Copy
files to Final Cut Events folder that brand-new
| | 01:31 | copies of media files will be
created inside the Final Cut Events folder.
| | 01:36 | If I leave his option unselected I'll just
end up with pointer files in my Final Cut
| | 01:40 | Events folder that will refer
to that media on my desktop.
| | 01:44 | So I am going to go ahead and check this
and also we already know that if I check this
| | 01:49 | box that says Import folders as Keyword
Collections that any subfolders that I have will come
| | 01:54 | into Final Cut as Keyword Collections.
| | 01:56 | I don't have any subfolders, in fact I just
have that one folder that says Swing Dancing,
| | 02:01 | so I'm not going to check this box.
| | 02:03 | Now let's head down to Transcoding.
| | 02:05 | Under Transcoding I have two options,
Create optimized media and Create proxy media.
| | 02:11 | If I select Create optimized media, then Final Cut
is going to transcode or convert the footage
| | 02:17 | from its native format into Apple ProRes 422
media, which essentially is the optimal type
| | 02:23 | of media that Final Cut likes to work with.
| | 02:26 | So if I do this I'll end up with the best
possible combination of performance and image
| | 02:30 | quality but I'll need some additional
storage space, since optimized media is roughly 60
| | 02:36 | GB per hour of material.
| | 02:39 | If I select Create proxy media then Final Cut
is going to convert the media from its
| | 02:44 | native format into ProRes 422 proxy.
| | 02:47 | Now this option improves system
performance significantly and still provides a pretty
| | 02:53 | good image quality and requires less storage
space than regular old ProRes 422 at roughly
| | 02:59 | 18 GB per hour of material,
so about a third of the space.
| | 03:03 | And of course if they leave these boxes
unchecked than my media is imported in its native format,
| | 03:09 | this generally gives you the most saving and
storage space but could cause some performance
| | 03:13 | issues for slower systems.
| | 03:15 | And moving down to Video options just
really briefly this Remove pulldown check box.
| | 03:21 | We won't have the opportunity to go into what
a pulldown removal really is but essentially
| | 03:25 | if you check this box Final Cut analyzes
video clips and removes pulldown patterns.
| | 03:30 | This option is only available when importing
from a tape-based camera or device and should
| | 03:34 | really only be used in very specific
workflows when your original footage was shot on film
| | 03:39 | or shot with a camera
with a 24p advance setting.
| | 03:43 | Bottom line, most of the time you leave this box
unchecked or it's simply uncheckable as it is now.
| | 03:48 | And then below that we have already
touched on the Analyze for balance color option,
| | 03:53 | if you check this on Import then Final Cut
is going to go through each clip to get a
| | 03:56 | sense of any color balance problems.
| | 03:59 | It's not going to fix the problem immediately,
but it's going to offer an immediate suggestion
| | 04:03 | for a correction if you choose to
click the balance button in the Inspector.
| | 04:08 | Now below that we have Find people.
| | 04:10 | Find people is going to employ facial
recognition technology or Final Cut is going to try to
| | 04:15 | analyze your video to determine if
there are any human faces in the frame.
| | 04:20 | After Final Cut finishes the analysis the
shots are key worded with labels such as one
| | 04:25 | person, two people, group, close-
up shot, medium shot, and wide shot.
| | 04:30 | It doesn't always work so you'll need to
go through and make sure it did the analysis
| | 04:35 | correctly, but I have to say
it does a pretty decent job.
| | 04:38 | Again, you can choose to create smart collections
after analysis which will appear in your Event Library.
| | 04:44 | Now below that are some Audio analysis
options many of which we have covered briefly.
| | 04:49 | Analyze and fix audio problems will analyze any
issue regarding audio levels, background noise or hum.
| | 04:55 | And again will give you the option to check
buttons within the Inspector to perform immediate
| | 04:59 | corrections which you can then tweak further.
| | 05:03 | Then take a look at the bottom two options Separate
mono and group stereo audio and Remove silent channels.
| | 05:10 | Now neither of these options is actually
destructive. It's not actually stripping media.
| | 05:15 | They are simply arranging how the audio
channels are configured within the Inspector.
| | 05:20 | The first option actually analyzes each
audio channel's waveform, and if they don't match
| | 05:25 | each other then Final Cut makes them dual mono.
| | 05:29 | If they do match then Final Cut will
configure them to be a stereo pair.
| | 05:33 | The second option will simply mute
any channel that contains no sound.
| | 05:38 | So that's the Import window. A lot of options,
and I didn't necessarily want to go into all
| | 05:43 | of them at the beginning of the course before
you had a chance to get your feet wet with editing.
| | 05:47 | But as you can see, there are quite a few
useful selections that you can make in order to get
| | 05:51 | your media into the Event
Library exactly how you want it.
| | Collapse this transcript |
| Importing from cards and file-based cameras| 00:00 | So far we have just reviewed how to import
Media files from a location on our system,
| | 00:05 | like when we navigate to a folder full of
QuickTime Movies and bring them in to Final Cut.
| | 00:10 | Now in this movie we are also going to talk
about how to bring media files into the system,
| | 00:14 | but with one big difference.
| | 00:16 | We are going to talk about how to
bring files that reside on a camera card.
| | 00:20 | So you can either plug your
camera straight into your computer.
| | 00:24 | Or in my case, put the camera card into a
card reader and then plug that into your system.
| | 00:29 | So that's what I have done here, this
Untitled drive, I am just going to double-click on
| | 00:33 | it to see what inside. And you'll notice
that we have some folders and files, and don't
| | 00:40 | worry, we don't actually have to go in and
burrow in to find exactly what files to bring
| | 00:45 | into Final Cut; it does that for us.
| | 00:47 | So let's take a look at how.
| | 00:49 | For now I'm going to eject this card reader,
because I want to show you what happens when
| | 00:52 | you plug it in when Final Cut is open.
| | 00:55 | So let me bring Final Cut back into view
here, and then I'm going to plug my card reader
| | 01:01 | back in. And as you notice Final Cut
immediately brings up my Media Import window. It auto
| | 01:09 | detects that you need to bring media in,
so you don't even need to press Cmd+I.
| | 01:13 | So, notice that my card reader is listed
right up here on the left-hand side, and when it's
| | 01:19 | selected, we automatically see all the
video clips that reside on that card.
| | 01:23 | So, all the confusing folders and files don't even
matter, Final Cut burrows down to exactly what counts.
| | 01:30 | So just as before, I can select the clips
that I want to include on this import, you
| | 01:34 | can Shift-select multiple clips or we
press Cmd+A to select all of them.
| | 01:40 | I can import entire clips,
or I can import partial clips.
| | 01:43 | So, if I take the shot right here, I can come
up and skim to find out the part that I want
| | 01:49 | to import. Really I just care about this
action right here, so I am just going to drag to
| | 01:54 | select the range, and now that's
going to be the only part that comes in.
| | 01:57 | I can do that for each and every one of my
clips if I want to, so I am only bringing
| | 02:01 | in what I think I'm going to use.
| | 02:03 | For now, I'm just going to press Cmd+A, so I
can bring all of these in and choose Import Selected.
| | 02:10 | Now this window should look pretty familiar,
we are able to do any of the options that
| | 02:14 | we were previously able to do.
| | 02:16 | We'll need to select an Event in the drive,
we can configure the options down here as
| | 02:21 | needed, but I want to draw your
attention right up here under Organizing.
| | 02:25 | If you remember before, we had the option
of copying the files to the Final Cut Events
| | 02:30 | folder or just creating pointer files, and
leaving the actual media in the original location.
| | 02:36 | In this case that's not an option, the files
are on a camera card, and we can't just constantly
| | 02:41 | point to that. So that's grayed out as is the
option below it, because we can't import subfolders
| | 02:46 | when things live on a camera card.
| | 02:48 | So for our purposes, I'll go ahead and Create
optimized media, so it creates that ProRes 422 Media for me.
| | 02:55 | We will go ahead and perform some video
Analysis for balance color, and let it try to find
| | 03:00 | people in the shots, and I am not worried about the
Audio, so I am going to go ahead and press Import.
| | 03:06 | So, my footage is coming in, you can see that
I have all of my clips immediately available
| | 03:17 | to me, but I have some
analysis that's being done.
| | 03:20 | When I take a look here on the HUD, the Heads
Up Display, I see the application is working
| | 03:26 | away, importing the footage, performing
any analysis that I programmed it to do.
| | 03:30 | If I click on this to show the Background Tasks
window, you can see that there's a lot going on here.
| | 03:35 | I'm Importing Media here and then also we are
Transcoding and Analyzing each one of these
| | 03:41 | clips, and you can see the progress on each one.
| | 03:44 | I am going to let Final Cut finish
Importing and Transcoding and Analyzing all of this
| | 03:52 | media. If you take a look down here, my smart
collections are forming based on all the facial
| | 03:56 | recognition that i s going on, you can
kind of see here that it's identifying the people in
| | 04:01 | the shots so that's pretty cool.
| | 04:03 | So as you can see, bringing in media from
camera cards is a pretty intuitive process, and you
| | 04:08 | have a lot of flexibility in selecting exactly
the clips, or portions of clips, that you want
| | 04:13 | to bring in.
| | Collapse this transcript |
| Importing iMovie projects and events| 00:00 | If you have iMovie projects or events you can
very easily promote them to work in Final Cut Pro X.
| | 00:06 | Let's look at how.
| | 00:07 | To import a single iMovie project I just come up
to File and then Import and then iMovie Project.
| | 00:15 | I then navigate to my iMovie Project so I'm in my
Movies folder and iMovie Projects and here it is.
| | 00:22 | I'll go ahead and choose Import, and as
you can see everything came in great.
| | 00:28 | I have all my edits, my audio, my titles,
as well as my transitions. And now in Final Cut
| | 00:34 | I can tweak this further however I
like, and also take a look up here in my Event
| | 00:39 | Library I also have access to the
associated events that go with this project.
| | 00:44 | Now speaking of events let's take a look
at how we can bring in iMovie events without
| | 00:49 | regard to specific Projects.
| | 00:51 | So to do that I am going to go ahead and
just delete these events for now. Right-click
| | 00:56 | and move Events to Trash and these Events are in
use, because I do have a project associated with it.
| | 01:02 | You can take a look at what happens to a
project when you delete its events, all the media
| | 01:06 | goes offline as we knew it would.
| | 01:08 | I'll go ahead and back out to the project
library and then just delete this project
| | 01:12 | so that we don't have to
look at the offline media.
| | 01:15 | If we come back out to File and Import, and
this time iMovie Event Library, it's going
| | 01:22 | to say your iMovie Event library
will be imported into Final Cut Pro.
| | 01:26 | And then it also says if you have already
imported iMovie Events into Final Cut Pro
| | 01:29 | only the new stuff is going to be imported here.
| | 01:32 | So it is as simple as it sounds, I am just
going to press OK and Final Cut is going to
| | 01:38 | analyze all of the events and here we go!
Everything is brought in, and I can begin
| | 01:42 | using it in my Final Cut Environment.
| | 01:45 | So, as you can see, promoting your
iMovie Projects and Events is easy.
| | 01:49 | No matter how long ago
you worked on this material,
| | 01:52 | You can bring it forward and then hit the
ground running working with your iMovie material
| | 01:56 | in Final Cut Pro.
| | Collapse this transcript |
| Capturing from tape| 00:00 | In this movie we will take a look at how to
import footage from a tape-based camcorder or deck.
| | 00:05 | Final Cut Pro X is compatible with most DV
and HDV camera formats, which use a FireWire
| | 00:11 | cable to transfer footage into
the system. Let's take a look.
| | 00:14 | So, first you need to connect your
camcorder or device to your system using a FireWire
| | 00:19 | cable. And if necessary you may need to
configure your device for remote control over FireWire,
| | 00:24 | which is usually just a toggle switch.
| | 00:26 | You'll also need to turn on a
device and set it to VTR or VCR mode.
| | 00:30 | In Final Cut I am just going to select the
event that I want the media to come into,
| | 00:36 | and you can either click on the big Import
Media button or click on this button here
| | 00:39 | or Cmd+I. And we have seen this window before, but
this time I have my camera connected right up here.
| | 00:47 | And as long as this system is seeing the camera
correctly, I'll see the image from the current
| | 00:50 | tape position in this window right here.
| | 00:53 | I can use the playback controls down here
or what I would like to do is use the J, K,
| | 00:58 | and L keys just like
navigating footage inside of Final Cut.
| | 01:02 | I can press L to go forward, J
to go backward, and K to pause.
| | 01:11 | All right, so you just cue your tape to
the point where you want to begin importing.
| | 01:14 | So, for right now this is fine, and
I am just going to click on Import.
| | 01:19 | Now this next window should
also look pretty familiar.
| | 01:22 | Now I will need to configure the correct event,
which I have already done. And then coming
| | 01:26 | down here we have our same basic
Transcoding and Analysis options.
| | 01:30 | I don't think I am going to do much besides maybe
Analysis for balance color, and then I'll click Import.
| | 01:37 | Final Cut immediately starts importing from
the current location on the tape, and it will
| | 01:41 | continue until you stop the import by
clicking Stop Import or until it reaches the end of
| | 01:46 | the tape, or until your
destination drive is full.
| | 01:49 | Now just as with all tape-based captures,
the capture is real-time, and you can watch
| | 01:53 | the video play as it imports.
| | 01:55 | (video playing)
| | 02:00 | I am going to go ahead and Stop this
Import here and then if I wanted to, I could use
| | 02:04 | my controls, again my Deck Controls here or
my J, K and L keys to go to the next point
| | 02:09 | on the tape and then Import that section.
| | 02:12 | I'll go ahead and just import one more clip,
so I'll go forward with L and pause with K,
| | 02:21 | and I'll press Import,
and every thing looks good.
| | 02:25 | Let's go ahead and do it.
| | 02:26 | (video playing)
| | 02:36 |
And Stop.
| | 02:38 | Okay, so I'll go ahead and close the Media
Import window, and you can see in my Swing
| | 02:42 | Dancing event that we have our two clips.
| | 02:45 | So as you see it's pretty easy to bring in
tape-based media, but Final Cut Pro X isn't
| | 02:51 | really built for any type of
sophisticated tape capture.
| | 02:54 | In other programs you may have more
compatibility other than FireWire, and you'll probably be
| | 02:59 | able to log and capture, which means that
you can set multiple In and Out points on
| | 03:03 | one tape and then capture
the selections all at once.
| | 03:07 | Now these advanced options just aren't
available in Final Cut Pro X, as it's primarily a tool
| | 03:11 | for file-based ingestion. But again, if you
need to capture over FireWire it's really
| | 03:16 | not a problem to get the footage in.
| | Collapse this transcript |
| Making a tape archive| 00:00 | In this movie, we will take a look at how
to create a camera archive which allows you
| | 00:04 | to easily turn your tape-based media into
file-based media backup. Let's take a look.
| | 00:09 | So to create a camera archive from your tape-
based media again make sure you have plugged your
| | 00:13 | camera in, turned it on
and have it set to VTR mode.
| | 00:17 | Then just like before, I am just going to
select the event that I want it to go into,
| | 00:21 | and then I'll press Cmd+I
and the Media Import window opens.
| | 00:27 | You just want to make sure that your
camera is showing over here, which it is, and we
| | 00:31 | see our image right here.
| | 00:32 | So we are set to go.
| | 00:33 | So instead of choosing Import like we did before,
I'm instead going to come over to Create Archive.
| | 00:40 | I just need to name my camera archive, so
I'm just going to say "Swing Broll", and let's
| | 00:46 | just send it our Media Drive, and I'll say OK.
| | 00:49 | So, Final Cut is going to
rewind the tape and begin ingesting.
| | 00:54 | You can manually stop the process by
clicking on the Stop Import button or Final Cut will
| | 00:58 | eventually stop importing once it
reaches a long break in timecode.
| | 01:02 | (video playing)
| | 01:14 | For right now, I'm just going to click Stop
Import, so we can get on with the process.
| | 01:18 | And we want to make sure
that we keep the archive.
| | 01:20 | So I am just going to select that.
| | 01:22 | So even though that was a very short capture,
we have got the archive and under Camera Archives
| | 01:27 | you can see that there it is right there.
| | 01:30 | Now we only have one Camera Archive in this
case, but if I had multiple then my system
| | 01:34 | is automatically going to see those and
display them right here in the sidebar.
| | 01:39 | If I just hide Final Cut for a moment, Cmd+H,
and go into my Media Drive, we can take a
| | 01:45 | look at the folder that was created: Final Cut
Camera Archives. This folder is created
| | 01:51 | whenever you create a Camera Archive, so this is
where it goes looking for those camera archives.
| | 01:56 | So again, we just have one. And there it is and
when I click on it, it lists the clips inside
| | 02:02 | of that archive. So if I click on this, you can
see that this is the footage that I brought in.
| | 02:07 | If I was working from a camera with a lot of
timecode breaks, then there would be individual
| | 02:12 | clips for every single one
of those timecode breaks.
| | 02:15 | In this case, I only have one clip, but I can come up
here and import exactly the sections that I want to.
| | 02:21 | I just drag across the section that I'd like
to import, and then come to the next part, and
| | 02:27 | then Cmd+drag and then maybe
right there, Cmd+drag again.
| | 02:36 | So I have three separate sections that I'm
bringing in from this one Camera Archive.
| | 02:40 | This is of course very, very short.
| | 02:42 | But think of it as a
metaphor for an entire tape.
| | 02:45 | Now that I have chosen those,
I can go to Import Selected.
| | 02:48 | Again, we should be very
familiar with this box by now.
| | 02:51 | We are going to the Swing Dancing event.
| | 02:54 | And I think I'm okay with just the balance
color analysis, and I'll choose Import, and
| | 03:01 | you can see that they're brought in
immediately from my Camera Archive.
| | 03:04 | So in this sense creating a Camera Archive
is really great, instead of having to baby-sit
| | 03:08 | the system and start and stop and start and
stop your imports. You can just create the
| | 03:13 | Camera Archive from the get-go, let Final Cut
ingest the entire tape, go to lunch,
| | 03:18 | come back, and then have instant access to
those moments you want to import and save
| | 03:22 | a lot of time by turning the tape-base
capture into a quick file-based one.
| | Collapse this transcript |
|
|
12. Managing Media and Project DataManaging events between different drives and destinations| 00:00 | We have been working with events through this
entire course, so hopefully they make a lot
| | 00:04 | of sense to you by now.
| | 00:05 | However, there are some things you can do
with events that we haven't discussed yet.
| | 00:09 | Like moving clips between events,
splitting events up, merging them, and moving events
| | 00:14 | around from drive to drive.
| | 00:16 | Let's talk about some of these.
| | 00:17 | So, I'm going to create a new event on my
Media Drive, Opt+N, and I'll name it "Broll".
| | 00:26 | And basically what I want is a bunch of
blanket beauty shots that I can use to demonstrate
| | 00:31 | very basic montage cutting
techniques in my intro editing class.
| | 00:35 | I know where I have a lot of really nice
beauty shots, and that is in the Farm to Table, Farm
| | 00:40 | Scenery keyword collection.
| | 00:42 | Now you may think that I can just drag
this keyword collection up to my new event.
| | 00:47 | But when I do that, look there's no clips in here.
This is just metadata, so this isn't going to work.
| | 00:54 | I am going to delete this, and let's head
back down to my Farm Scenery keyword collection.
| | 01:00 | Instead, what I have got to do is come into the
Keyword Collection and drag the clips to my new event.
| | 01:07 | Look what happens when I do that, though.
If I grab this clip and drag it to my new event,
| | 01:13 | notice that it leaves this event completely.
It's no longer in this keyword collection,
| | 01:18 | and it's not in this event at all,
it's now here in this new event.
| | 01:22 | If I go ahead and minimize Final Cut and go
into my Media Drive, we can see that we have
| | 01:29 | a new event. And inside here we have
Original Media, and we have literally moved that clip
| | 01:35 | and the title of this is
Field mountain in background.
| | 01:39 | If I come to Find to Table > Original Media,
you will notice that it's no longer here.
| | 01:46 | So we have literally moved it.
| | 01:49 | It's not exactly what we want to do.
| | 01:51 | So let's talk about duplicating media instead.
| | 01:55 | Let's go ahead and move this back. So now
it's no longer here and again I am just going
| | 02:00 | to delete this keyword collection to avoid
confusion. And this time I'm going to just
| | 02:07 | select all of these clips, Cmd+A, and
then I am going to press Cmd+D to duplicate,
| | 02:13 | and you will see that I have a copy
for every single one of my clips.
| | 02:16 | You will also see that they're all
selected so that will make it easy to move over.
| | 02:21 | So now I'm going to move the
copies over to my new event, like so.
| | 02:27 | It said that these clips will
be copied; I am going to say OK.
| | 02:32 | So now I have left the Original Media here in
my Farm to Table event, and I have it here
| | 02:38 | in my new Broll event.
| | 02:41 | So that's a very important difference.
| | 02:42 | Again, we'll go ahead and check here. My
b-roll event now contains all of this media, and
| | 02:49 | then we also have it
retained within our original event.
| | 02:54 | So that's moving media from one
event to another on the same drive.
| | 02:57 | But what if I want to move
media from one drive to another?
| | 03:00 | Well as you can see in my Event Library, I
have another drive connected to my system.
| | 03:06 | Let's move this Broll event to this drive.
| | 03:09 | I am going to close a couple of these
events to clean up my view a little bit.
| | 03:15 | So I am just going to drag Broll up to my
backup drive and notice that when I do that,
| | 03:19 | I get this green plus sign.
| | 03:22 | This means that Final Cut is going to create a
copy of the event and place it in the new destination.
| | 03:27 | So when I release my mouse, you can see that
this dialog box comes up letting me know that
| | 03:32 | I'm duplicating this event.
| | 03:34 | Well, I don't necessarily want two copies
of the same event, instead I'd like to move
| | 03:39 | the event completely.
| | 03:40 | So I am going to press Cancel here. And
instead what I am going to do is hold down Command
| | 03:46 | while I track. Notice that I do not get the
green plus sign. Instead of duplicating it,
| | 03:51 | I am moving it. And now when I release my
mouse it's telling me that I'm moving the
| | 03:56 | event, and I'll say OK.
| | 04:00 | So I have moved the Broll event to the new
drive; it's no longer on my Media Drive.
| | 04:05 | Now another way to do this is to just select
your event and come up to File and Move Event,
| | 04:11 | and you'll see that we have the same
dialog box, and you can choose the drive to move
| | 04:15 | it to from this pop-up.
| | 04:16 | I am going to go ahead and cancel this for now.
| | 04:20 | Coming back up to the File menu, though, I
do want to show you one more thing, and that
| | 04:24 | is merging events. You will see that right
now it's grayed out, but if I have more than
| | 04:28 | one event selected--if for example, I wanted
to just merge these two events--I can come
| | 04:35 | up to File, and now it's not grayed out. I
can merge events, and it's going to ask me
| | 04:41 | what my new event name is going
to be and where I want to put it.
| | 04:45 | Now I cannot undo this, and obviously I
don't want to do this to my media right now, so
| | 04:49 | I am going to cancel, but in some
cases you might want to do this.
| | 04:52 | I am going to go ahead and cancel.
| | 04:54 | Finally, let's talk about deleting.
| | 04:57 | Now you can delete individual clips as
we have talked about before or entire events.
| | 05:03 | Let's come up to my b-roll event, and as you
may remember, you can delete a clip by simply
| | 05:07 | selecting it and right-clicking and
saying Move to Trash or Cmd+Delete.
| | 05:12 | Remember, you can't just press Delete, or
it's just going to put a rejection mark on this.
| | 05:18 | Now if you want to delete an entire event,
you do the same thing, you just select it,
| | 05:22 | right-click, and Move
Event to Trash. And it's gone.
| | 05:26 | The entire event is now in my system trash,
so I still do have the opportunity to go in
| | 05:31 | there and get it back if I need to.
| | 05:33 | Now if you do delete clips or events, then
any project files that use media from that
| | 05:37 | event will go offline, so be very sure
that when you delete a clip or event, you don't
| | 05:42 | really need anything from the
material that you're deleting.
| | 05:46 | As you can see, copying and moving material
around the Final Cut environment is pretty easy.
| | 05:50 | However, I will say that one of the most
common mistakes people make is that they do some
| | 05:55 | of this type of thing on accident
and then wonder where their media is.
| | 05:59 | So bottom line, be aware and be deliberate. Don't
move things around without having a firm grasp
| | 06:04 | of exactly what you're doing.
| | 06:07 | If perchance things do go offline or missing,
you can take a look at the Troubleshooting
| | 06:10 | chapter later in the course.
| | Collapse this transcript |
| Managing render files| 00:00 | With the advent of background rendering,
comes a lot of efficiency, but it also comes with
| | 00:05 | the need to clear your render
files on a more regular basis.
| | 00:08 | After all if the application is performing
media processing under the hood during the
| | 00:12 | entire time you are working, there will no
doubt be more media that you won't end up
| | 00:16 | using in your final project.
| | 00:19 | So in this movie, we are going to explore
how to perform some much needed housekeeping.
| | 00:23 | Now there are actually two ways to clear
render media in Final Cut Pro X: by deleting project
| | 00:28 | render files and by
deleting event render files.
| | 00:31 | Let's first talk about how to
get rid of project render files.
| | 00:34 | I am going to first come down to my
Project Library and select my 12.2 sequence.
| | 00:40 | Now each project has a set of render
files that were created during its duration.
| | 00:46 | It's fairly easy to say that anything that didn't end
up in the final project is probably safe to eliminate.
| | 00:51 | So to do that just make sure you select
the project and then come up to File and then
| | 00:56 | Delete Project Render Files.
| | 00:59 | This dialog box pops up asking you if you
want to delete all of the render files or
| | 01:03 | just the unused render files.
| | 01:06 | So if you're really looking to clear up space,
you can choose all render files and just render
| | 01:10 | the files again when need to or in our
case we are just going to select Unused Render
| | 01:15 | Files so that any media that was created
during the entire editing process that didn't end
| | 01:20 | up in the final show is
going to be blown away right now.
| | 01:24 | So I am going to say OK, and now we
have cleared up our wasteful render files.
| | 01:29 | Just so you know you can only select
one project at a time when you do this.
| | 01:34 | So notice that if come up to previous chapter
here to try to get more than one project open,
| | 01:40 | I can't click on one and
then Cmd+click on another.
| | 01:44 | You can only select one project at a time.
| | 01:46 | So you can only delete one
project's Render Files at a time.
| | 01:49 | Now there is one more way you can delete
render files, though, and that's at the event level.
| | 01:55 | So in this case, you can
select as many events as you want.
| | 01:59 | I can go ahead and just select both my Farm
to Table and Castles events, and then I can
| | 02:04 | come up to File, and then I can
say Delete Event Render Files.
| | 02:08 | Noticed that, Delete Project Render Files
is no longer even an option here, when you
| | 02:12 | have events selected,
this is the one that you see.
| | 02:15 | So I am going to go ahead and select this.
And again you can choose whether to delete
| | 02:20 | All Render Files or just those unused ones.
| | 02:23 | Again we'll go ahead and just delete the
Unused Render Files, I'll say OK and again
| | 02:28 | we have cleaned up our waste.
| | 02:31 | So in general it's a good idea to go through
and clear out your render files every few weeks.
| | 02:36 | This is especially true if you leave your
default background rendering value at a low
| | 02:40 | number like the default value of five
seconds because you could potentially end up with
| | 02:45 | hundreds of unused render
files without really realizing it.
| | 02:49 | Good render file management is just another
way of keeping your project and your editing
| | 02:53 | environment as organized as possible.
| | Collapse this transcript |
| Collaborating and archiving| 00:00 | In this movie, we will talk about the various
ways you can copy and move your project data,
| | 00:05 | which can help you collaborate with others
as well as efficiently archive your program.
| | 00:10 | I'm going to just select my 12.3 project,
but not go into it. And I am going to come
| | 00:16 | up to the File menu and examine some of these
choices down here, starting with Duplicate Project.
| | 00:23 | Now the keyboard shortcut here is Cmd+D,
so most of the time you'll just select your
| | 00:26 | project and press Cmd+D.
| | 00:28 | But when you do this, you
have several choices here.
| | 00:32 | First, you can name it, so I'll just name this
"v2", and then you choose the Location,
| | 00:38 | but I am going to take a look
at these three choices here.
| | 00:42 | The first one is Duplicate Project Only.
| | 00:45 | This will just create a duplicate
project in your Project Library.
| | 00:49 | This option won't make any sort of duplication in
my Event Library whatsoever, so no media duplication.
| | 00:54 | So this is generally what you want to do at
the end of every editing day so that you have
| | 00:58 | a version copy of your project from day-to-day.
| | 01:01 | So in short, this is just making a
copy of your sequence for versioning.
| | 01:06 | Option two, Duplicate Project and Referenced
Events is going to duplicate the project just
| | 01:11 | like before, but it's also going to duplicate
every event that contains media that I'm working
| | 01:15 | with in this project.
| | 01:17 | Now this is really useful if you're still
working on your program but you want to make
| | 01:21 | sure to take all of the event media with you,
because you're not sure what you'll end up using.
| | 01:26 | Then you have option number three,
Duplicate Project and Used Clips.
| | 01:30 | This is going to perform the duplication and
only bring along the clips that are in the project.
| | 01:35 | Now this is what you would choose if you
needed to move a project and were finished with your
| | 01:39 | program and knew you didn't need
any more clips from any of the events.
| | 01:44 | So instead of copying the entire Event Library,
it actually forms a brand-new Event Library
| | 01:49 | and puts the used clips in it.
| | 01:52 | You can name this new event right down here and
then let's take a look at Include Render Files.
| | 01:58 | If you want to move render files now and not
render later, then go ahead and check this,
| | 02:03 | or you can move less now and
render later. It's up to you.
| | 02:07 | If you do choose to move your render files,
you at least should make sure to perform the
| | 02:12 | render file housekeeping first just
like we learned in the last movie.
| | 02:16 | For our purposes right now I'm just going
to duplicate the project, no event media.
| | 02:22 | And I'm going to not include the render files, and
I'll say OK. And you can see that this is the copy.
| | 02:29 | Let me go back up to my File menu and take
a look at a couple of other options here.
| | 02:34 | Move Project, when I choose this I get
something that looks a lot like duplicate, but usually
| | 02:40 | when you move you're moving
something from one drive to another.
| | 02:44 | So if I wanted to move this project to--for
example my Backup Drive--I could, and then
| | 02:49 | I could choose to move the
project only or its Referenced Events.
| | 02:54 | If you do include Referenced Events, however,
just be careful when you're moving stuff around.
| | 02:59 | Because if you move an event it actually
does move, so you want to make sure that you
| | 03:03 | don't have other projects
referencing the event that you're moving.
| | 03:07 | So again just be aware and be deliberate when
you're managing your media. I am going to Cancel here.
| | 03:14 | And then coming back up to the File menu, below
that I have Merge Events which we talked about
| | 03:18 | in a previous movie, but then we
have Consolidate Project Media.
| | 03:23 | I could choose this if my project is not on
the same drive as the events it references.
| | 03:28 | Then it just moves
everything to the same location.
| | 03:31 | Now notice that when I choose this right now,
it says there is nothing to consolidate because
| | 03:35 | my project and events are on the
same drive, so I am good to go there.
| | 03:39 | And the last thing I want to discuss under File
is Move Project to Trash, again Cmd+Delete,
| | 03:45 | this is also available if I was to just right-click
on my project and Move Project to Trash. And
| | 03:51 | then also notice there are several other right-click
functions in here, Duplicate Project, Consolidate Project and so on.
| | 03:58 | So I'll go ahead and delete this, because
I don't actually want that version 2.
| | 04:03 | Now there will be those that tell you that
you should generally perform any project or
| | 04:07 | event duplication and moving within Final Cut.
| | 04:09 | However, it is totally possible to do this at the
finder level as well, you just need to be careful.
| | 04:15 | So let's take a look.
| | 04:16 | Let me minimize Final Cut, Cmd+H, and
I'm going to open up my Media Drive here and
| | 04:23 | my Backup Drive which is
where I want to bring everything.
| | 04:26 | So I know that I need to transfer two things over:
the Final Cut Events and Final Cut Projects folders.
| | 04:33 | And I know that each of these
folders needs to go in a special location.
| | 04:36 | If I'm moving it to my system drive, then
it needs to go into the movies folder, but
| | 04:40 | in this case I am moving it to you my Backup
Drive so it just needs to go at the root directory
| | 04:46 | of this drive, so right here.
| | 04:48 | Now if there is no Final Cut Events and
Final Cut Projects folders over here already, and
| | 04:52 | I want to move everything over, then I
can just select both of these and then drag.
| | 04:58 | And then everything is
copied over, and I'm good to go.
| | 05:02 | For right now I'm not going to do this,
because I want to discuss something else.
| | 05:06 | Let's say that the drive I am transferring
it to already does contain one or both of
| | 05:10 | the Final Cut Project or Final Cut Events
folder. Or maybe I don't want to transfer
| | 05:15 | absolutely everything over.
| | 05:18 | So what do I do then?
| | 05:18 | I am going to simulate this, I have in
here a Final Cut Events and Final Cut Projects
| | 05:23 | folder. Let me move that to the root directory.
| | 05:26 | Now I want to move specific events and
specific projects over, I do already have at least
| | 05:32 | one event and one project in here.
| | 05:34 | So now I can't just drag and drop,
because then that would be overwriting.
| | 05:38 | So, I am just going to go inside of the Events
folder and drag over only the event that I want to copy.
| | 05:45 | In this case, maybe I want to drag over my
Farm to Table Event, so I would just drag
| | 05:49 | this right into the Final Cut Events folder that
already exists there, release, and it's copying over.
| | 05:57 | Then as far as the
projects go, do the same thing.
| | 05:59 | I just go into my Projects folder, and I have
quite a few folders in here because I wanted
| | 06:05 | to organize this for your exercise files.
| | 06:07 | But if I went into my Chapter 12 folder, and
I know it's in here, so this is the project
| | 06:12 | folder, all of the
projects are actually folders.
| | 06:14 | There are important files within here, I have
this project file as well as these Render Files.
| | 06:20 | But I am just going to select this Project
folder and then drag it into Final Cut Projects.
| | 06:27 | And I can do that for each and
every project that I want to drag over.
| | 06:30 | If I want to drag over the entire Chapter
11-14 segment, or maybe all of them,
| | 06:36 | I would just select them and then drop them
in the Final Cut Projects, because I can drag
| | 06:40 | over projects plus their parent
folders, That's not a problem at all.
| | 06:44 | In this case, I am not going to do that.
| | 06:47 | As you can see, there are quite a few
options for getting project data where you need it,
| | 06:51 | whether it's because you just need to move
or archive a project, or whether it's because
| | 06:54 | you're working with other people, and
you need to give them your material.
| | 06:58 | Regardless, you should be able to do what you
need. Just be sure to be aware and be deliberate
| | 07:02 | in your actions.
| | Collapse this transcript |
|
|
13. Sharing and ExportingSharing projects using presets| 00:00 | In this movie, we will take a look at how you
get your program out of Final Cut Pro by using
| | 00:04 | one of the many available sharing templates.
| | 00:06 | Okay, I am going to select my 13.1 project,
which is the project I want to share and then
| | 00:12 | come up to this button here.
| | 00:15 | By default it's going to share the entire
project, but as I hover over this button,
| | 00:19 | you'll notice I have the option of sharing
the project, event clip, or Timeline range.
| | 00:24 | So just know I can also share clips in my
Event Library or a portion of my project if
| | 00:30 | I went into it and selected a
Timeline range once I was inside the project.
| | 00:35 | So I'm going to go ahead and click on this
button, and you can see that I get a pop-up
| | 00:38 | menu that has several options,
let's go through several of these.
| | 00:41 | I am going to skip DVD and Master File for now,
because I am going to cover those in future movies.
| | 00:47 | But as you can see, below that we
have YouTube, Vimeo and Facebook.
| | 00:51 | Each of these options allows you to input
your username and password for immediate access
| | 00:56 | to popular video hosting sites.
| | 00:58 | So let's just go through a few of these, so
you can see a couple of the settings within each.
| | 01:02 | Let's start with YouTube, and you can see
that I have a still frame of my program here,
| | 01:08 | but if I skim over the image,
it shows the entire thing.
| | 01:13 | I also have the title and description right
here. You can simply click in here and just
| | 01:18 | rename this, and I can rename my Description.
| | 01:25 | And you can also change Creator
information as well as give it some more Tags.
| | 01:35 | Now along the bottom I have my default settings.
| | 01:38 | Notice that I can not click on
any of these to make any changes.
| | 01:41 | Instead, if I want to make an adjustment,
I have to come over here to Settings.
| | 01:46 | Depending on your Project Settings you'll have
various options under this pulldown menu right here.
| | 01:51 | If I change to a new resolution, the
settings along the bottom change accordingly.
| | 01:56 | So if you take a look at frame size as well
as size here, I am going to change from Large
| | 02:01 | to SD, and you can see that may frame size
decreased and my size of my file decreased
| | 02:08 | pretty dramatically.
| | 02:08 | I am going to go back to Large.
| | 02:12 | I also have the ability to change my Compression type
where I have the option for Faster encode or Better quality.
| | 02:19 | Now this is just asking for the
quality of Compression that I want.
| | 02:22 | Better quality is a multi-pass compression
which means the Final Cut first analyzes the
| | 02:27 | video and then compresses it. This results in a
sharper, smaller file, but it will take longer.
| | 02:34 | And Faster encode is a single pass compression,
which means the video is compressed on the
| | 02:39 | fly, which means that it would be
quicker, but it won't look quite as good.
| | 02:42 | We'll go ahead and
change this to Better quality.
| | 02:44 | I also have a couple of
YouTube-specific settings,
| | 02:47 | where I can choose whether or not to make
the movie Private, and I can choose which
| | 02:51 | Category to put it in.
| | 02:53 | When I am all done at these settings, I can
press Next and then put in my YouTube Account
| | 02:59 | Name and Password, and then it's going to
encode it and then publish it directly to
| | 03:03 | YouTube under my YouTube account.
| | 03:04 | I am going to Cancel this for now, because I
want to move on to a couple of these other options.
| | 03:10 | Now the Vimeo and Facebook options are very,
very similar to YouTube, I'll just quickly
| | 03:14 | open each of these to show
you the various settings.
| | 03:17 | If I choose Vimeo, looks exactly the same on the
Info tab, basically we have our entire program here.
| | 03:23 | I can change the Title, Description and so on.
| | 03:26 | I have my settings along the bottom, which
if I want to change I can go into here and
| | 03:30 | do that and then here is a Vimeo-specific
setting, Viewable by, and then you can change
| | 03:35 | that if you need to.
| | 03:37 | And then when I click on Next, same deal, I
sign in, and it sends it directly to Vimeo.
| | 03:43 | And Facebook same deal. And then under Settings
I have Facebook-specific settings of Viewable
| | 03:50 | by, and you can see that you can choose who you
want to see it and then sign in and away it goes.
| | 03:58 | Now there are a couple of other share options
which you can access via the Add Destination
| | 04:03 | button here, for examples CNN iReport. If I
double-click here I can put in my information
| | 04:10 | here, choose my Resolution and Compression,
and it's the same sort of deal. I am going
| | 04:14 | to go ahead and remove that from that menu.
| | 04:17 | Now there are two more options to get your
program ready to be viewed on an Apple device.
| | 04:21 | There are two HD templates that it
allows you to use, the 720p or 1080p flavor.
| | 04:28 | Many of the options are quite similar to
the ones we just covered, but there are several
| | 04:31 | differences which I'll quickly go over.
| | 04:34 | So I'm going to select the 720p option, but
just note that the 1080p options are very similar.
| | 04:40 | So, as you can see, under the Info tab,
everything is behaving basically the same way. I can
| | 04:45 | change my basic information.
| | 04:47 | And then along the bottom
I have my various settings.
| | 04:50 | These settings are optimized for an Apple
device like an iPad, iPhone, or Apple TV, and
| | 04:55 | if I hover my mouse over this button here it
tells you exactly what devices it's optimized for.
| | 05:01 | So if I come over to Settings, there are a few
additional options which we can briefly cover.
| | 05:07 | Now as you can see, it's sending it out as an
Apple MPEG-4 movie, with a Video codec of H.264.
| | 05:14 | Now this is a very common Apple codec and
again I can choose Faster encode or Better
| | 05:19 | quality just like before.
| | 05:21 | I can also choose the
Resolution that I want just like before.
| | 05:24 | Notice that when I choose a lower resolution, I get a
few more supported devices included in my list here.
| | 05:30 | I'm going to go ahead and change that back.
| | 05:33 | I can also choose to include chapter markers, which
we're going to go into more detail in a future movie.
| | 05:39 | Below that it asks me if I want
to add this file to any playlists.
| | 05:43 | By default it's going to sent it to my
iTunes Library, which makes it readily available
| | 05:47 | to move directly to my Apple device or to
mirror it on an Apple TV via home sharing.
| | 05:53 | You can also send it to the Media Browser,
which makes it available in other Apple applications
| | 05:58 | that use the Media Browser,
like GarageBand or Keynote.
| | 06:02 | If I choose Do Nothing, then it's just
going to save it as a file on my system.
| | 06:07 | Now let's come up here to Format.
| | 06:10 | As we're aware right now it's optimized for
Apple devices, specifically these Apple devices here.
| | 06:15 | If I change this to Computer or Web Hosting,
these settings along the bottom are going
| | 06:20 | to change and make it optimized for
viewing on a computer, or for the web.
| | 06:27 | But if I instead come up to the options
under Mastering, I am going to get significantly
| | 06:31 | more available settings.
| | 06:33 | First I can choose whether to include
Video and Audio or isolate my Video or Audio.
| | 06:38 | I am going to choose Video and Audio here,
and you can see that under Video codec instead
| | 06:43 | of just my H.264, it gives
me quite a few other options.
| | 06:48 | So in this sense I'm not locked into this
one codec, I can choose anything that I want,
| | 06:52 | I do have other options.
| | 06:55 | And I can still come down here and send it
to my iTunes Library if I want to, receive
| | 07:00 | a little bit more control.
| | 07:01 | I am just going to change this back to
Apple devices and everything is looking good, we
| | 07:07 | don't need chapter markers.
| | 07:09 | I don't want it to add to a playlist, so I
am going to hit Next, and we'll go ahead and
| | 07:14 | just save it to my Desktop.
| | 07:16 | And if we minimize Final Cut, I have my
Apple device optimized file right here. Let's go
| | 07:23 | ahead and just play it in QuickTime, and
you can see that I have my file right here.
| | 07:28 | (video playing)
| | 07:34 | So, as you can see, there are quite a few sharing
options that let me send my project to various
| | 07:38 | programs in various formats.
| | Collapse this transcript |
| Exporting a hi-res QuickTime movie| 00:00 | In the last movie, we covered all of the
various ways that you can share your program primarily
| | 00:05 | to web-based platforms,
playlists, and Apple devices.
| | 00:09 | In this movie, we'll take a look at how you
export a high-resolution QuickTime movie of
| | 00:13 | your program using one of
the built-in Final Cut presets.
| | 00:16 | Okay, so we'll select our project once again,
13.2 and then come back over to the Share
| | 00:22 | menu, and this time choose Master File.
| | 00:26 | This will probably be the option that you
choose the most often when you just want to
| | 00:30 | create a basic archival copy of your program.
| | 00:33 | Now again, we have the basic setup here under
Info, we can look at our program, we can change
| | 00:39 | the various title, Description, Creator, and
Tag information and then down here we have
| | 00:44 | our various settings.
| | 00:46 | Instead of being optimized for an Apple
device, you can see that the only thing chosen is
| | 00:50 | Mac because it's expecting me to come into
settings and select exactly what I want to
| | 00:55 | do in creating this QuickTime movie.
| | 00:57 | If I choose Format, I can choose Video and
Audio or just Video and just Audio. And this
| | 01:03 | should look pretty familiar because in the
last movie we had a pretty much identical
| | 01:08 | menu when we were discussing how to create
a file optimized for Apple devices which you
| | 01:12 | can see I can choose right here.
| | 01:14 | It's really exactly the same.
| | 01:16 | For now, I just going to go back up to Video and Audio
because that's what you will choose most of the times.
| | 01:21 | Under Video codec, I have a little more
than a dozen options, you can see day H.264 is
| | 01:26 | the one that's selected, but I have
all of these that I can choose as well.
| | 01:30 | So you have the Apple ProRes family which
is Apple's high-quality Codec, and then you
| | 01:35 | have H.264 which again is very popular when
optimizing for iDevices and the web. And then
| | 01:41 | you have Uncompressed, both 8 and 10 bit flavors
for sending out the file without any compression;
| | 01:47 | so that would be your largest file. And
then you have some basic DV options. And finally
| | 01:52 | a few different flavors within the MPEG IMX family
which is an MPEG-2 based standard definition codec.
| | 01:58 | Now other editing programs tend to have a whole
lot more options, sometimes dozens and dozens.
| | 02:04 | However, what Final Cut has done is to include
the big hitters, the most popular and effective
| | 02:09 | options right within the application.
| | 02:11 | If you need to export a different video codec,
then what you do is you send it through Compressor,
| | 02:16 | which is Apple's encoding program that
you can purchase right along with Final Cut.
| | 02:20 | We'll take a look at how to work
with Compressor in the next movie.
| | 02:23 | For now we will stay in here, and I think I
am going to select Apple ProRes 422. Which
| | 02:28 | again is a very high-quality, very
versatile codec in the world of video editing.
| | 02:33 | Below that, you can Include chapter markers,
which we will take a look at a little bit later,
| | 02:38 | and then you choose what it does
with it when it's done exporting.
| | 02:41 | You can open it into QuickTime so that you
can review it, or you can set it to Compressor
| | 02:46 | if you want to do some further compression, and again
we'll take a look at how to do that in the next movie.
| | 02:50 | If you want to send it to iTunes you can
or you can do nothing just make the file.
| | 02:55 | In this case let's go ahead and
choose to open it in QuickTime.
| | 02:59 | Now right below that, there is an
option to export specific roles.
| | 03:02 | We are going to ignore this for
now and just choose QuickTime Movie.
| | 03:06 | We're going to explore
roles in a future movie, though.
| | 03:09 | So I'll just go ahead and choose Next, and
I'll tell Final Cut where I want the file
| | 03:13 | to go, Desktop is fine. And I am just going
to click Save, and we chose for it to open
| | 03:20 | it QuickTime when it was done so
that's exactly what it's done for me here.
| | 03:24 | I can go ahead and just put it in full-
screen mode and review it if I want to.
| | 03:30 | (video playing)
| | 03:35 | So, as you can see, the QuickTime movie we
created is a high-quality file that you can
| | 03:40 | deliver to your client,
| | 03:41 | keep as an archival copy, or bring
into another program for further work.
| | Collapse this transcript |
| Using Compressor to export with custom settings| 00:00 | We learned in the last movie how to export a
QuickTime movie using one of the built-in Final Cut presets.
| | 00:06 | Again, there are just over a dozen options
available, a dramatic decrease from the usual
| | 00:11 | number of available codecs in most
other video editing applications.
| | 00:14 | However, the solution Final Cut offers is
to include Compressor as an available add-on
| | 00:19 | program for about $50.
| | 00:22 | Let's take a look at how
to work with Compressor.
| | 00:24 | So again I have got my project I'd like to
export here, and I am going to come up to
| | 00:28 | the Share menu. And there are a number of
ways that I can access Compressor settings.
| | 00:33 | One is by way of a method we
already know, so we'll explore that now.
| | 00:37 | I am going to select Master File and go to
Settings and under Open With, I am going to
| | 00:44 | choose open with Compressor.
| | 00:47 | Now I can change some other settings but probably
the most important one for now is under Video codec.
| | 00:51 | I don't want to compress something twice.
| | 00:54 | So let's go ahead and send this out
uncompressed so that when it gets to Compressor it hasn't
| | 00:58 | already gone through any compression.
| | 01:00 | Okay, so I'll just go
ahead and select Next and Save.
| | 01:05 | Final Cut is exporting the file and then in
just a moment Compressor is going to open.
| | 01:10 | Okay, so here we are.
| | 01:11 | Again, this is a totally separate program,
but it integrates really well with Final Cut.
| | 01:16 | As you can see, in the upper left corner is my
program here, and it doesn't have any compression
| | 01:21 | settings applied to it yet. But if you take
a look down here in the lower left there are
| | 01:26 | an awful lot I can choose from.
| | 01:29 | So, as you can see, each one of these folders
contains various codecs and so I can go through,
| | 01:35 | and I can search for what I want. Or if I know
what I want, I can come up here to the search
| | 01:39 | field and just type it in.
| | 01:41 | So let's say that we were told that we must
deliver our program at a very specific compression.
| | 01:45 | For example, the delivery specs for lynda.com
say that I have to deliver my media in the
| | 01:50 | animation video codec with linear PCM audio,
which is a really high-quality compression
| | 01:55 | for both video and audio.
| | 01:57 | So again I could drill down and look for it,
but I'm going to go ahead and just type it
| | 02:00 | in, "animation" and here it is. Okay so I just
drag this up, and drop it right on top of my movie.
| | 02:08 | Now I can leave it with Compressor's default
settings, or I can come down to this window
| | 02:12 | here and configure it further.
| | 02:14 | In the first tab here I get a summary of
all of my settings. Then as I go across, there
| | 02:20 | are various things that I
can adjust about this file.
| | 02:23 | I can change any of my video or audio settings
here, then I can also perform Frame Rate control.
| | 02:29 | I can perform Video and Audio Corrections
and Adjustment, which is pretty cool. So here's
| | 02:33 | some Color Correction stuff, and if you come
down here, we can put in some Text, Timecode,
| | 02:38 | Watermark, all sorts of neat things.
| | 02:41 | And then we can introduce some Cropping
and Padding and then add some specific actions
| | 02:45 | if we want to as well.
| | 02:47 | So a lot of things that we can change
about this file. I won't change a lot, but let's
| | 02:51 | say that we want to do just a couple of things.
| | 02:53 | I want to come in here and just come into
video settings and change this from Millions
| | 02:59 | of Colors+ to Millions of Colors. That will
help keep the file size down a bit but still
| | 03:04 | maintain superior quality.
| | 03:07 | Then maybe I want to come into my Video
and Audio Adjustments and add a Timecode burn
| | 03:12 | in. Let's just go in and choose Timecode Generator.
And if we want to make it a little bit bigger,
| | 03:19 | we can go into Select Font and bring up the
size just a little bit. Okay and then maybe
| | 03:25 | we want to just change the color, like so.
| | 03:28 | Okay, so it looks pretty good.
| | 03:32 | If this is a setting I want to save to be
able to use later, I can just choose Save
| | 03:37 | As, and we'll go ahead and save this, so I
am just going to type in "Animation" and then
| | 03:41 | my initials and Save.
| | 03:44 | Okay, so we have officially applied
one compression setting to our movie.
| | 03:49 | Now another cool thing about Compressor is
that you can create an entire compression
| | 03:53 | setting from scratch.
| | 03:53 | So if you don't want to modify an existing
one like we just did, you can just come down
| | 03:59 | here--I am going to clear out animation--and
then you can come to this Plus sign here and
| | 04:04 | then just choose a base
compression that you want to start from.
| | 04:08 | So in our case let's go ahead and choose
QuickTime Movie, and then you can come in and change
| | 04:12 | all of the settings exactly how you want.
| | 04:13 | So notice that it's called Untitled
QuickTime Movie here and here it is over here in the
| | 04:18 | list. So I could make all my changes, name
it how I want, and then it could be my special
| | 04:23 | codec that I can use again and again.
| | 04:26 | I am not going to go through all of this
right now, but I did just want to make you aware
| | 04:28 | of this complete custom option in case you were
given a set of deliverables that you needed to meet.
| | 04:33 | I am going to go ahead and just
select this and delete this for now.
| | 04:36 | Finally, I want to show you
how to perform a batch export.
| | 04:40 | Right now I just have my custom QuickTime
Animation codec applied to this file, but
| | 04:44 | let's say that I also wanted to add a basic
MPEG-2 setting to this, this one right here.
| | 04:54 | We will go ahead and just drag that on. And let's say I
also just want one for video podcasting, that's perfect.
| | 05:03 | So we have three applied to this one file.
| | 05:05 | Now I could come in and customize these
further--again in this window here--but for right now
| | 05:09 | I am just going to leave it alone.
| | 05:11 | Now before I submit, I am
going to do one more thing.
| | 05:14 | Compressor likes to save the compressed file
to the same location as the source file. But
| | 05:18 | if I want to change that, you can just come
into this list here, I can just drag a different
| | 05:23 | destination right on top of those. So if I
want them to go to the desktop, I can just
| | 05:27 | go right here, and we are just changing
that to a desktop destination, like so.
| | 05:34 | So this is ready to go.
| | 05:35 | If I come down here and hit Submit, and
then I'm going to Submit this and all three of
| | 05:42 | these jobs get sent to compress, and I can
let that go while I go do something else.
| | 05:46 | And when I come back to it, I'll have three
compressed files for three separate purposes.
| | 05:50 | We can take a look down here and see
details on how exactly each one is going.
| | 05:55 | While these compress I want to
show you one more thing in Final Cut.
| | 05:59 | Let's go ahead and head back into Final Cut,
and I want to show you one more way to access
| | 06:04 | Compressor Settings without
actually opening Compressor.
| | 06:08 | Now I do that by coming to my Share
menu and choosing Add Destination.
| | 06:12 | When I do this, I am going to choose add
Compressor Settings. And as you see when I do this it
| | 06:18 | doesn't actually open Compressor, but it gives me
a list of all of the available Compressor Settings.
| | 06:24 | So, we have lots of options here.
| | 06:28 | So if QuickTime Animation codec is something
I'll use a lot, then I can go ahead and just
| | 06:32 | search for this, so and I'll say OK, and
now it's been added to my Share menu as one
| | 06:41 | of the export settings.
| | 06:43 | Now notice I don't have all of my Video and
Audio dropdowns anymore, but it does allow
| | 06:47 | me to just totally change the
Compressor setting out completely if I want to.
| | 06:51 | So if I want to go to
something else, now that's what it is.
| | 06:55 | So it's kind of blanket adjustment.
| | 06:57 | But the cool part is is that I can access
it every single time right within Final Cut.
| | 07:00 | So let's go back to Animation--and you
can see that it even saved my custom ones,
| | 07:08 | so maybe I want to choose
that--and go ahead and close this.
| | 07:14 | Now, I'll go Share and then my Animation AK,
you can see that, everything pretty much looks
| | 07:20 | the same. But when I go to the Settings tab,
there is really nothing to change. It knows
| | 07:25 | that it's sending it to
compressor with a special set of settings.
| | 07:27 | I am going to say Next, and let's go ahead
and just name this something else, "v2"
| | 07:32 | and Save and away it goes.
| | 07:36 | Let me go ahead and minimize Final Cut.
| | 07:39 | Yeah, we have all of our movies. They are
already exported, ready to go, from our batch
| | 07:43 | export from Compressor.
| | 07:45 | So, as you can see, if you need to access
additional codecs not included in Final Cut, you have
| | 07:49 | some real power in using Final Cut's
sister program, Compressor.
[00:7:54.00]
| | Collapse this transcript |
| Exporting a still image| 00:00 | In this movie, we will take a look at how to
export a still image from anywhere from within
| | 00:04 | your project or Event Library.
| | 00:06 | So I am going to come up to my Event Library,
and let's go ahead and export one of these
| | 00:12 | frames from the Farm Scenery keyword collection.
| | 00:17 | How about my orange here?
| | 00:19 | So I am just going to park here, and then
I am going to come down to my Share menu,
| | 00:24 | and then I am going to choose Add Destination.
| | 00:26 | Now I'm going to choose Save Current Frame.
| | 00:29 | I'll go ahead and double-click, and I get
this window here where I select the type of
| | 00:33 | file I want to create.
| | 00:34 | I want a high-quality file,
so I think TIFF is good.
| | 00:38 | And you have this box here, which you will
almost certainly want to check, Scale image
| | 00:42 | to preserve aspect ratio.
| | 00:44 | A lot of video formats actually
compress an image horizontally.
| | 00:48 | So you wiill want to check this to prevent from
ending up with a 4 by 3 image, rather than a
| | 00:52 | 16 by 9 image, which is the
aspect ratio of our video frame.
| | 00:56 | Okay, so I am all set here, I am going to
close this. And then I can come in and choose
| | 01:01 | Save Current Frame which is what I just added.
And I have here some information that I can
| | 01:06 | change some settings.
| | 01:07 | Again, I can change the type here if I want to.
| | 01:10 | But then I just hit Next and
then choose where I want to save it.
| | 01:13 | I'll go ahead and do that and
minimize Final Cut, and there it is.
| | 01:18 | We have got a high-quality
still image of our video frame.
| | Collapse this transcript |
| Exporting to DVD or Blu-ray with chapter markers| 00:00 | In this movie we will take a look at how to export
your program to DVD or Blu-ray with chapter markers.
| | 00:06 | So I'm going to go into my 13.5 sequence,
and I'm going to enter it, instead of just
| | 00:11 | select it, because I want
to add some chapter markers.
| | 00:13 | So we already know how to add
markers, and you do this the same way.
| | 00:18 | I'm just going to press Opt+M to
both add a marker and open this dialog box.
| | 00:22 | But instead of adding a marker or to-do item,
I'm going to go over to this third tab, which
| | 00:26 | is Chapter marker. And I'm just going to title
this "Introduction" and say Done. And it actually
| | 00:34 | adds a marker, plus it adds just this
little orange ball that you just can drag for as
| | 00:42 | long as the chapter lasts,
which about right here is good.
| | 00:47 | All right, so that's the introduction, and
then I want chapter 2 to come right here.
| | 00:53 | So we'll park here and press Opt+M, and
we want it to be, "Chapter 1: Meet BD", I'm
| | 01:02 | going to make sure it's a
Chapter marker, and Done.
| | 01:05 | And then again, if I want to I can go ahead and
drag this over for as long as Chapter 1 lasts.
| | 01:18 | So Shift+Z, we can see everything here,
and we have got our two chapters, very good.
| | 01:24 | Let's go ahead and export.
| | 01:25 | Now you can export right from within the project if
you want, you don't have to go to the Project Library.
| | 01:29 | So I'm just going to click on the Share
menu, and this time I'm going to choose DVD.
| | 01:35 | So again, we have our program here that we
can see, and we have some information about
| | 01:40 | it, and when we come to
Settings we can configure a few things.
| | 01:44 | Now these are certainly not your fancy DVDs that
you would expect to create in a DVD authoring program,
| | 01:49 | by any means. These are for
quick and dirty screeners.
| | 01:53 | So the very first thing I want
to choose is the Output Device.
| | 01:56 | As you can see here, the only thing, I can
choose right now is Hard Drive, because I'm
| | 02:01 | working on one of the latest generation MacBook
Pros, and it doesn't contain a built-in DVD burner.
| | 02:07 | So I'd either have to attach a DVD burner to
my system or what I could do is just create a
| | 02:12 | disc image by selecting Hard Drive here from
this menu, and then I could take my disc image
| | 02:16 | to another system that contains a
DVD burner and just burn it later.
| | 02:20 | So we will go ahead and go down to Layers,
and when we want to choose either Single-layer
| | 02:24 | Double-layer or Automatic.
| | 02:27 | Most of the time you'll just
want to leave it on Automatic.
| | 02:29 | Now if you have a longer movie, you may want to
force it to do a Double-layer DVD for higher-quality.
| | 02:35 | If you leave it on Automatic, though, then
no matter what type of blank you insert into
| | 02:39 | your computer, a single layer or dual layer
writable DVD, Final Cut will adjust to it accordingly.
| | 02:45 | Okay, so next up is your Disc Template.
| | 02:48 | You have lovely black or a lovely white.
| | 02:51 | So as you can see, nothing very fancy here.
| | 02:53 | However, you can also choose a background,
and you know what, we just exported a lovely
| | 02:58 | TIFF of our orange here in our last movie,
so we'll just go ahead and choose that.
| | 03:04 | Now coming back up here, you can also
choose what happens when the user loads the disc,
| | 03:08 | whether it comes to a main menu
or whether it plays automatically.
| | 03:12 | So we will want it to go to the menu. And then
under Markers, Use Chapter Markers as Subtitles.
| | 03:17 | Since we went through the trouble of actually adding
chapter markers, let's go ahead and check that box.
| | 03:22 | So I'll go ahead and click on Next, and I
can choose where to save the disc image. In
| | 03:27 | my case, since I don't have a
DVD burner attached to the system.
| | 03:31 | Or if you did have a DVD burner built-in,
you would just press a button that says Burn,
| | 03:35 | which I don't have.
| | 03:37 | So I'll go ahead and just Save this out, and
now I have got a DVD disc image being written
| | 03:42 | to my Desktop that I can then bring to another
system or to a DVD duplicator. Okay, it's done.
| | 03:48 | I'll go ahead and just hide Final Cut, and
you can see that this is my disc image.img
| | 03:53 | file, so this is the file I would
bring to another system to burn my DVD.
| | 03:58 | So back into Final Cut, because I
want to talk a little bit about Blu-rays.
| | 04:02 | Notice that Blu-gray is not
on this list automatically.
| | 04:05 | I have to go to Add Destination, and then
I want to choose Blu-ray, double-click, and
| | 04:10 | now I can configure this menu.
| | 04:12 | So up at the top, once again, I have to go
to a Hard Drive, because I don't have a
| | 04:16 | Blu-ray burner in my system.
| | 04:18 | And again, you have the choice of choosing
whether you want single-layer, dual-layer
| | 04:22 | or automatic, we'll leave it on
Automatic, so Final Cut adjusts accordingly.
| | 04:26 | And below that is the Disc Template and
instead of just Black and White, we have Black, White,
| | 04:31 | and then these other options
here, so three more options.
| | 04:34 | So I'll go ahead and just choose that one
right there, and you can see that it has a
| | 04:39 | little bit of animation to it.
| | 04:42 | But notice that you can also even bring in
your own background if you want, and it gives
| | 04:46 | you the additional options of bringing in
a Logo graphic and a Title graphic if you
| | 04:51 | like. And then coming back up here, we can
choose whether to come to a main menu or play
| | 04:55 | the movie automatically
when the disc is inserted.
| | 04:58 | And then of course, we can Use
Chapter Markers as Subtitles again.
| | 05:01 | And then right below that is a command where I
can include a button to play loop my movie if I wish.
| | 05:07 | So I'll go ahead and X this out, and we can
come up to the Share menu. There's Blu-ray,
| | 05:13 | here's the settings that I chose there, and
I can go ahead and hit Next, and again, we
| | 05:18 | would be doing a disc image
that will be sent to my Desktop.
| | 05:21 | I'll go ahead and Save that out, and I
can bring that to another system if I like.
| | 05:24 | All right so as you see, creating very
basic screener DVDs and Blu-ray discs is a pretty
| | 05:30 | easy process in Final Cut Pro.
| | Collapse this transcript |
| Exporting stems out of the timeline using roles| 00:00 | As you are no doubt very clear on by now,
Final Cut Pro X doesn't contain any tracks.
| | 00:06 | So what happens if you want a version of your
sequence without music, or with just the dialogue,
| | 00:12 | or without the titles?
| | 00:13 | Well, in track-based editing programs, you just
disable the tracks that you don't want and then voila!
| | 00:19 | You have what you need.
| | 00:20 | But in this program that's not possible.
| | 00:23 | You can only really work with
storylines and connected clips.
| | 00:26 | So let's talk about what to do in Final Cut Pro
where we'll use roles to define what we want to output.
| | 00:32 | So first of all let's step into our roles
project, 13.6, and as you can see, I have got
| | 00:39 | an awful lot going on here.
| | 00:41 | If I want to give myself the ability to export
the sequence with different versions of included
| | 00:46 | elements, then I'll need to set up some roles.
| | 00:49 | Roles are just like
categories of video and audio.
| | 00:53 | By default Final Cut contains five: Video,
Titles, Dialogue, Music, and Effects.
| | 01:01 | Actually your clips already contain one of
these main default roles because when you
| | 01:06 | import or create footage, Final Cut Pro
analyses the existing clip metadata to assign one of
| | 01:12 | these five default roles.
| | 01:14 | So if I select any one of these clips and
then open the Inspector, Cmd+4, and then
| | 01:19 | under the Info tab, I just come down to
Roles, and I can see what's assigned to it.
| | 01:24 | So this one has both Video and Dialogue
assigned to it. It's actually just a piece of b-roll.
| | 01:30 | I'll go ahead and zoom in here, Cmd+Plus.
| | 01:33 | Now in my opinion I think this clip should
probably be categorized just as Video but
| | 01:38 | not Dialogue, because it's just b-roll.
| | 01:40 | So we'll keep that in mind just taking a
look at a couple of other ones too. This one is
| | 01:45 | both Video and Dialogue, as you can see here.
| | 01:48 | And if I click on my Music, you
can see that this is just dialogue.
| | 01:52 | But really it should be categorized as Music.
| | 01:55 | So we're probably going to have to go in and edit
some of these roles, so let's just edit a couple here.
| | 01:59 | I am just going to press Shift+Z, and let's grab my
Music first. I'll go ahead and select both of those.
| | 02:06 | Then I just come up to Modify and Assign Roles.
| | 02:10 | So instead of Dialogue we're
just going to move this to Music.
| | 02:14 | So now when we click on this,
we have the Roles set correctly.
| | 02:18 | So now let's go ahead and fix our b-roll.
| | 02:21 | Before I do that I am just going to open up
my Timeline Index so that you can see that
| | 02:25 | my Music role is now in here.
| | 02:27 | What I want to do is actually deselect
both Video and Music, because I want to see in
| | 02:32 | my b-roll what's characterized as Dialogue. Aand
most of it is you know, incorrectly characterized
| | 02:37 | as Dialogue, but there is a couple that aren't.
| | 02:40 | So I'm going to go ahead and press Shift+Z.
| | 02:42 | I want to go ahead and select
everything that is, so that I can correct it.
| | 02:47 | I can do this all at once, I am just going
to Lasso, and then I am going to hold down
| | 02:51 | the Command key and Lasso and click and just sort of
get everything in here that fits that bill, like so.
| | 03:03 | Okay it's going pretty quick.
| | 03:09 | All right, so all of this b-roll should not be
Dialogue, no one is speaking, so why have it be Dialogue?
| | 03:14 | And so I'm just going to come back up to
Modify and under Assign Roles we don't really have
| | 03:20 | anything that matches this, we don't really
want to call it Dialogue or Music or Effects.
| | 03:25 | So I am actually going to come to Edit
Roles, and I am going to add a b-roll category.
| | 03:31 | So to do this I am just going to click on
this Plus sign and call it New Audio Role,
| | 03:37 | and I am just going to call this "Broll audio".
| | 03:42 | And we'll say OK, and now with all of this
selected I can come up to Modify > Assign
| | 03:47 | Roles and then just call this Broll audio.
| | 03:51 | So now everything has a Video and a
Broll audio characterization or Role.
| | 03:56 | And let's go ahead and
put everything else back on.
| | 04:00 | And then I want to come in and give my
placeholders their own role, so let's go ahead and just
| | 04:06 | select each one of these placeholders, like so.
And go up to Modify > Edit Roles, and we'll
| | 04:15 | add a New Video Role, and I am just going
to call this "Placeholder", OK, and with all
| | 04:24 | of those selected I can just say
Modify > Assign Roles and Placeholder.
| | 04:29 | So you can see these appear in
my Timeline Index one by one.
| | 04:33 | Just one more thing about editing roles,
notice that I can also add Subroles.
| | 04:39 | So if I click on Dialogue for example, I can
click on this Plus sign here and a New Subroll
| | 04:45 | appears, and I can put in Mary dialogue, John
dialogue, Peter dialogue, and so on. It really
| | 04:52 | lets you burrow in and get very, very specific.
| | 04:55 | So in our case I'll just say "BD Dialogue",
OK, and let's go ahead and just grab all of
| | 05:05 | our BD Dialogue and assign
it. So that is my Subrole.
| | 05:15 | Okay so let's talk about how we can use this.
| | 05:19 | As you can see, we can enable and disable
certain roles, so if I just want to disable
| | 05:24 | all of my Dialogue at once, I
can go ahead and just do that.
| | 05:28 | You can see that everything turns gray and so
basically all of my Dialogue is now disabled,
| | 05:33 | it's not going to play.
| | 05:34 | (video playing)
| | 05:42 | So that's a really easy way to go about this.
| | 05:44 | Sometimes it can be really
nice to isolate it this way.
| | 05:47 | For now I am going to go ahead and close my
Timeline Index because I want to talk about
| | 05:50 | how to export stems.
| | 05:53 | So I'm just going to come up to Share and
then Master File, and let's go ahead over
| | 05:59 | to Settings. And then we're going to come down here,
and I said we'd come back to this and here we are.
| | 06:05 | So if I wanted to export a sequence that included some
elements but not others, I have several choices in here.
| | 06:10 | So QuickTime Movie is just going to export
all roles together, and then I can also export
| | 06:16 | my Roles as a Multitrack QuickTime Movie, I
can export my Roles As Separate Files, and
| | 06:22 | then I can also export Video Roles Only As
Separate Files and Audio Roles Only As Separate Files.
| | 06:28 | So let's come up to Roles As Separate Files,
that's going to include both video and audio.
| | 06:34 | You can see here that this is all of my roles,
both the ones that came with Final Cut and
| | 06:38 | the ones that I added.
| | 06:40 | Okay and if I did not want to export one
of these, I would just come over, and you
| | 06:44 | can see this Minus sign. So let's say I
wanted to export everything except for the Music.
| | 06:50 | I would just click on this
Minus sign and the music goes away.
| | 06:54 | So I'm going to actually change this to go
back to H.264, and let's just Do Nothing here,
| | 07:00 | let me just look and make
sure everything looks good.
| | 07:03 | So, we are going to
export these as separate roles.
| | 07:06 | What I am doing here is exporting stems,
so I am using roles to define the stems that
| | 07:11 | I'm going to export.
| | 07:14 | And let's go ahead and
choose Next, and I'll Save.
| | 07:20 | So it looks like everything is exported
according to my background tasks, so let's go ahead
| | 07:24 | and take a look at our Desktop.
| | 07:27 | And as you can see, I have my video, and I
have another video file here, and I have two
| | 07:32 | audio files exactly what I wanted to export.
| | 07:36 | So let's just take a look, and this is
probably going to be my placeholders. Yup, it sure is.
| | 07:44 | And here is the rest of my principle video,
but when it comes to a placeholder, like right
| | 07:52 | there, it's not in there.
| | 07:54 | And then we have our
Dialogue and our Broll Audio.
| | 07:59 | So there are going to be certain circumstances
where you would want to separate your elements
| | 08:02 | like this, maybe not to this degree
where we're separating everything out.
| | 08:06 | But you certainly might need to send your
sound off to somebody, you might need to send
| | 08:09 | your graphics off to somebody.
| | 08:11 | So, as you can see, exporting stems based on
roles is really powerful and lets you export
| | 08:16 | exactly what you want or don't want without
having to organize everything on special tracks.
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14. Basic TroubleshootingSolving offline media problems| 00:00 | One of the most frustrating things when
editing is opening your project just to discover that
| | 00:05 | you can't get started because
some or all of your media is offline.
| | 00:10 | Now throughout this course I have stressed numerous
times that you need to be aware and be deliberate
| | 00:15 | about your choices in media management.
| | 00:17 | But sometimes, something happens.
| | 00:20 | So in this movie we're going to explore
how to diagnose and fix offline media.
| | 00:25 | So throughout this movie, I am going to be
working with media that you don't have, because
| | 00:29 | I didn't want to mess up
your Final Cut Events folder.
| | 00:31 | However, I have gone ahead and messed up
mine, so you can just sit back and watch.
| | 00:36 | First, just a little bit of
review on where everything lives.
| | 00:39 | You have two folders that
really make everything happen.
| | 00:42 | Final Cut Projects which is where all your
projects live and Final Cut Events which is
| | 00:47 | where all your events or media lives, you
need both to be able to work in Final Cut.
| | 00:53 | As we know these folders
can live in one of two places.
| | 00:56 | If you don't have an external or a
partitioned hard drive connected to your system, they
| | 01:00 | can live in your Movies folder. Or if you
have an external or partitioned drive connected
| | 01:06 | to your system, then these two very important folders
must live at the root directory of your Media Drive.
| | 01:12 | And another point of review, when you
import media into Final Cut, you have the option
| | 01:17 | to copy the media into
the Final Cut Events folder.
| | 01:22 | When you select this it actually makes physical copies of
the media, thereby becoming a self-contained media folder.
| | 01:29 | You can always tell that this is the case
because in the original Media folder you see
| | 01:33 | thumbnails of the media
and the media size is large.
| | 01:37 | When you don't select this option, Final Cut
just places small pointer files in the Final
| | 01:42 | Cut Events folder, but it's actually
pointing to media files elsewhere on your system.
| | 01:47 | So in this case you don't see media thumbnails,
you just see pointer files with little arrows
| | 01:53 | and the media size is very small.
| | 01:54 | So with all of that covered, let me tell
you some very common ways that your media
| | 01:59 | can end up offline.
| | 02:00 | One, the drive that contains the Final Cut
Events folder isn't connected to the system.
| | 02:06 | This is really common, especially when
you're working with multiple drives or when you're
| | 02:10 | constantly moving from system to system.
| | 02:13 | Fortunately, this is the easiest to fix,
since you just need to reconnect your drive to the
| | 02:17 | system and your media comes back online.
| | 02:20 | Two, your Final Cut Events folder is in the
wrong place and thus Final Cut can't see the media.
| | 02:26 | May be you inadvertently moved it, may be
you were doings some general file housecleaning
| | 02:31 | and accidentally put it in
another folder. Hey, it happens!
| | 02:34 | The important thing is
getting it back where it belongs.
| | 02:37 | So searching for Final Cut Events via the
spotlight function on a Mac can generally
| | 02:42 | help you locate a missing folder pretty well.
| | 02:45 | Three, if you choose to not copy the media
into the Final Cut Events folder, which again
| | 02:50 | means that you just have those pointer
files in the Final Cut Events folder that refers
| | 02:54 | to media elsewhere, then the link
between these two locations, has been broken.
| | 03:00 | This most often occurs when you aren't
careful about where you choose to have your media
| | 03:03 | live, and then you move it and the link breaks.
| | 03:06 | This can often be difficult to fix
if you can't find the original media.
| | 03:11 | Now if you know where it
is then it's easy to fix.
| | 03:13 | You just relink the media to the new location.
| | 03:16 | Four, and this is the big one, you
accidentally copied your media to the internal hard drive
| | 03:21 | of the system that you are working on, which
thereby put the media in the Final Cut Events
| | 03:25 | folder and the Movies folder of
the Mac that you were working on.
| | 03:29 | Now again, this is extremely common, and this
is why I always say to be aware and be deliberate
| | 03:34 | about your media import destination.
| | 03:36 | If you copy the media to internal Movies
folder on the Mac you were working on, on Monday
| | 03:42 | and then on Wednesday you are on a
totally new computer, your media is offline.
| | 03:46 | The only way to fix it is to go back to the
original computer and copy everything over
| | 03:51 | or to re-import your media from scratch.
| | 03:53 | Okay so in my
experience these are the big four.
| | 03:58 | Now most often you'll notice that one of these
four things has happened, because you're going
| | 04:02 | to fire up Final Cut and
things will look a little like this.
| | 04:06 | So I recommend doing a couple of things here.
| | 04:08 | First, find out where the
media is supposed to be.
| | 04:12 | If you click on your project here and then
go up to the Inspector, Cmd+4, and then
| | 04:18 | go to the Properties tab, you can check out
the Referenced Events, what it thinks it's
| | 04:23 | pointing to and where that is.
| | 04:25 | So, as you can see here, the Referenced Events
are from the Farm to Table event, and it's
| | 04:29 | on the Media Drive.
| | 04:31 | So this gives me a very good clue as to where
Final Cut is looking for this media and right
| | 04:35 | away I can say, "Aha!
| | 04:37 | It's looking for media in the Firm to
Table event in the Media Drive, let's go see if
| | 04:41 | it's actually there."
| | 04:42 | So that's step one.
| | 04:43 | I am going to minimize Final Cut, and I
have ensured that the Media Drive is connected,
| | 04:47 | so we have completed that step.
| | 04:49 | Next, I want to make sure that my
Final Cut Events folder is in the right place.
| | 04:54 | So it needs to be at the root directory of
my Media Drive, so it needs to be right here,
| | 04:58 | and I can see that it's not.
| | 05:00 | Final Cut Projects is here,
but Final Cut Events is not.
| | 05:03 | All right, so I can just tell you that I have purposefully
hidden it right here inside of this Miscellaneous folder.
| | 05:10 | But you probably won't know where it is so
you'll just may be want to use the Spotlight
| | 05:13 | up here to find it.
| | 05:14 | All right, but I'm just going to go ahead
and drag this back into place, and let's fire
| | 05:20 | up Final Cut again, and you can see that
everything in Farm to Table is magically back online.
| | 05:28 | That's great, and we have everything except the
very first clip, which we'll come to in a second.
| | 05:34 | But you can see that everything else is back
online just because I have moved my Final Cut
| | 05:39 | Events folder to the
right location. So very nice.
| | 05:43 | But we still have our Swing, Baby!
| | 05:46 | Project Offline and our Swing Dancing event offline,
so let's keep going through the diagnostic steps.
| | 05:54 | So number three, you're going to make sure
that the media that any pointer files are
| | 05:58 | referencing is in the correct location.
| | 06:00 | So again let's hide Final Cut, and let's go
into Final Cut Events and Swing Dancing and
| | 06:09 | Original Media and what we're looking at is
to make sure that these are pointer files,
| | 06:15 | that they are aliases pointing to another
location, and you can see that they are.
| | 06:19 | We don't see the thumbnails, we see these
little arrows. And if you click on one of
| | 06:23 | these, you can see that they are aliases.
| | 06:26 | So these are pointing to a location
that is not matching up correctly.
| | 06:30 | So, what I am going to do is actually just
search for it, I can do so via the Spotlight up here.
| | 06:36 | But you know what, I actually know exactly
where this media is because I threw this offline
| | 06:40 | on purpose, so I'll spare us the search.
| | 06:44 | I put it in MEDIA and then MISC and then Swing.
| | 06:48 | So I may have thought I was doing some
housekeeping, but you know things didn't work out so well.
| | 06:53 | So let's just redirect Final Cut to this media.
| | 06:58 | So I am going to open Final Cut again, and
I am just going to right-click on the event
| | 07:03 | and choose Relink Event Files.
| | 07:07 | And here are all of the files that have come
up missing, so I am just going to select one
| | 07:13 | and Cmd+A to select all of them.
| | 07:17 | So once I have located the folder full of files, I am
just going to click on Locate Selected and here it is.
| | 07:23 | I can go ahead and just click on the
parent folder, should find everything inside.
| | 07:27 | We're looking for 32 for 32,
let's see how successful this is.
| | 07:33 | It found all of them 32 for 32, very good.
| | 07:37 | Now in order to prevent this from happening
again, I strongly recommend that you select
| | 07:42 | Copy Files into Final Cut Events folder.
| | 07:45 | So no longer will I have to maintain this
link, instead I'm going to make my Final Cut
| | 07:51 | Events folder a self-contained media
folder and things will be a lot better.
| | 07:55 | Okay, so I'll go ahead and Relink Files, you
can see that everything in the Event Library
| | 08:00 | came back on, fantastic!
| | 08:04 | And my project is back
online as well, wonderful!
| | 08:08 | So those are steps one, two and three.
| | 08:10 | Remember, that fourth possibility is that
you captured the media on to the internal
| | 08:14 | drive of another system.
| | 08:16 | So if these three don't work it probably
is that fourth option, and you might have
| | 08:20 | to go hunting for media on other systems.
| | 08:24 | Let's go back to this third option
about bringing event media back online.
| | 08:28 | Now what if it isn't an entire folder,
what if you're just missing one or two or
| | 08:33 | a couple of event files.
| | 08:34 | If you come down here, we're missing a file
from this project. And if I go ahead and enter
| | 08:41 | this, you can see that it's my orange close-up, we have seen that plenty of times before.
| | 08:45 | Well, I am going to click on this and then
right-click and Reveal in Event Browser, because
| | 08:51 | I want to see if it's also missing
in the Event Browser, which it is.
| | 08:55 | So in this case what probably happened is that this
file got moved or renamed, and then it lost its link.
| | 09:02 | So what you can do here is just click on the
file and then come up to File and Relink Event
| | 09:10 | Files, and then we're going to go
ahead searching for this one clip.
| | 09:14 | So it's Orange CU, and I'll try to
locate it, and I don't know where it is actually I do.
| | 09:21 | But let's say I don't know where it is so I
am going to go hunting for it in Final Cut
| | 09:24 | Events to begin with, and Original Media,
and let's see if we can find it in here.
| | 09:34 | So here is a classic example of someone
renaming or moving or changing in some way your media
| | 09:41 | once it's been imported into Final Cut.
| | 09:43 | You can see that Final Cut thinks it's called
"Orange CU" and in here it's called "Orange closeup".
| | 09:50 | So even though it's the same piece of media,
it's been renamed so that link has been broken.
| | 09:55 | So what I am going to do is just relink this,
so I am going to go ahead and Choose it.
| | 10:02 | Right now it's verifying for
compatibility. It says, "Oh yeah!
| | 10:04 | You are the same file." And then it found it,
and then I can relink it, and it's back online.
| | 10:12 | So bottom line, you should always strive to
be very aware and very deliberate about your
| | 10:17 | media management in the first place.
| | 10:19 | But if something goes missing, there are
quite a few ways to bring your media back online
| | 10:23 | in Final Cut Pro.
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| Troubleshooting data and settings corruption problems| 00:00 | Let's face it, sometimes software crashes.
| | 00:03 | Many times it's because of problems with
corrupt settings or corrupt data that a program will
| | 00:08 | launch or crashes while launching or
crashes while doing a certain task.
| | 00:13 | Fortunately there are a few troubleshooting
tips that you can try to follow to de-corrupt
| | 00:17 | your settings and data and get
back up and running in no time.
| | 00:21 | Now one of the first things you can try to
do is simply delete your preference files
| | 00:25 | to clear up buggy behavior.
| | 00:27 | To do this you'll first need to quit Final Cut
Pro. Then you'll need to delete your Preference
| | 00:31 | files. They are located in your personal
User folder. Then inside the Library folder and
| | 00:37 | then inside Preferences.
| | 00:40 | Now to make matters even more difficult, the User
Library folder has been hidden in recent versions of OS X.
| | 00:47 | So if you're not afraid of poking around in
the Mac terminal, the command to display the
| | 00:52 | user Library folder is "chflags
space nohidden space ~/Library".
| | 01:00 | If you launch Final Cut and are still
experiencing problems after doing that, then you'll next
| | 01:06 | need to go beyond settings corruption and
troubleshoot your events and projects using
| | 01:10 | divide and conquer.
| | 01:13 | So first you should determine if
you have any corrupt media files.
| | 01:17 | To do this you'll need to temporarily hide
the Final Cut Events folder from your system.
| | 01:22 | Now as we know you can do this by simply dragging the
Final Cut Events folder into another folder temporarily.
| | 01:29 | Once you have done this, you
should re-launch Final Cut Pro X.
| | 01:32 | If everything launches okay and everything
is acting okay in the software, then chances
| | 01:36 | are one of your events is causing the problem.
| | 01:40 | So to figure out which of the events is the
problem, you'll need to add your events back
| | 01:44 | to the Final Cut Events folder one by one
and then re-launch Final Cut each time to
| | 01:50 | try to determine which one it is.
| | 01:53 | If during one of these times you detect a
problem with one of your events, then great,
| | 01:58 | you have isolated the exact group of
media that's causing the problem.
| | 02:02 | So now you'll just need to continue the
divide and conquer method to determine the exact
| | 02:06 | media file that's causing the problem.
| | 02:09 | To do this I recommend placing the problematic
event in the Final Cut Events folder all by itself.
| | 02:15 | Then you'll divide and conquer by removing
half of the media from the event and then
| | 02:20 | re-launching Final Cut.
| | 02:22 | If it launches okay, then you know the
corrupt media was in the batch you removed.
| | 02:26 | If it still doesn't lunch,
then you know the opposite.
| | 02:29 | But basically, you will just continue this method of
process of elimination to locate the corrupt media file.
| | 02:35 | Now it might take a little while,
but it's usually not too bad.
| | 02:39 | Now if you have done all the work in dividing
and conquering your Event Library, and you
| | 02:43 | are still experiencing crashes, then you'll
just do the exact same process, but this time
| | 02:49 | with your projects.
| | 02:50 | You'll simply hide all of your projects and
then start adding them back in one by one.
| | 02:56 | Once you have located the problematic project,
you won't be able to use it anymore, but you
| | 03:00 | can most likely use one of the backups, which
is found within the Final Cut Projects folder.
| | 03:05 | Finally, if all of the above steps don't work,
you might want to consider just re-installing
| | 03:10 | the software altogether.
| | 03:11 | First, uninstall Final Cut Pro X from your
system, by removing Final Cut Pro X from the
| | 03:16 | application folder and throwing it in the trash.
| | 03:19 | Then re-download and install
Final Cut Pro X from the App Store.
| | 03:24 | Once you're sure that the problem has been
eliminated, you can make a backup copy of
| | 03:27 | the software to install during
future troubleshooting sessions.
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ConclusionNext steps| 00:00 | Now that you have taken this course, you
should have the confidence to take what you know
| | 00:04 | and begin experimenting in the wide
world of editing that is Final Cut Pro X.
| | 00:09 | If things seem a bit different from other
programs you're used to that's because they
| | 00:13 | are. But all I can say is embrace it.
| | 00:16 | You're a storyteller. Find out how Final Cut Pro X
can best help you tell your stories
| | 00:21 | in it's totally
redesigned storyline environment.
| | 00:25 | Now my first piece of advice is that if you
haven't already, you consider purchasing Compressor
| | 00:30 | and Motion, each priced at about $50 so that
you can access the full functionality of what
| | 00:36 | is possible in working in Final Cut Pro X.
| | 00:39 | Now if you need help along the way, remember
that the Final Cut Pro Help menu is a vast resource.
| | 00:44 | First, if you just need help locating a
specific menu item, you can type your inquiry in this
| | 00:49 | search field right here. It's a very quick
and easy way to find out what you need to know.
| | 00:56 | Or if you go to Final Cut Pro Help, you'll
have access to the entire Final Cut manual,
| | 01:04 | and because it's keyword searchable it can
really help you find exactly what you need.
| | 01:11 | Okay? You can also use the Help menu to
study up on your Keyboard Shortcuts, as well as
| | 01:18 | what Supported Cameras there are for Final Cut
and then you can also access the Service
| | 01:23 | and Support page on Apple's website.
| | 01:25 | Also, if you're looking for additional
royalty free materials, like sound effects and audio
| | 01:30 | effect presets to edit with, as well as a
bunch of other supported codecs and plug-ins,
| | 01:35 | you can get all of that by coming up to Final Cut Pro
and then Download Additional Content.
| | 01:40 | Also, if you ever want to send along some
feedback to Apple about your experience using
| | 01:44 | Final Cut Pro, you can do
so very easily right here.
| | 01:51 | Finally, if you would like to update your
software, you can do so from Software Update,
| | 01:56 | and it will allow you to upgrade to the latest
release of Final Cut Pro, as well as Compressor
| | 02:00 | and Motion if you have those applications.
| | 02:02 | I recommend that you run
updates as often as possible.
| | 02:06 | Also as you're no doubt aware, the web is a
great place to look for answers to your questions.
| | 02:10 | I have a few places I want to call-out,
starting right with Apple's own Final Cut Pro website.
| | 02:16 | Here you can find out what's new about the
latest software release, which is nice, since
| | 02:20 | the software updates every few months.
| | 02:23 | Another good place to go is Tech Specs so
that you can find out exactly what's needed
| | 02:28 | to work efficiently in the Final Cut,
Motion, and Compressor environments.
| | 02:33 | And there's also this View resources page
which provides access to third-party plug-ins,
| | 02:37 | tools and content, helpful workflow
specific white papers, tutorials, as well as access
| | 02:43 | to many of the Final Cut user
groups, web forums, and blogs.
| | 02:48 | Now there's also the Final Cut Pro Frequently
Asked Questions page, which is quite helpful
| | 02:53 | for some of the most common
Final Cut related inquiries.
| | 02:58 | If you'd like to go beyond the web and join
a user group to attend regular meetings with
| | 03:03 | other like-minded people, you can check out
the Community's page which offers links to
| | 03:07 | most of the national and international user groups,
as well as to helpful online communities and forums.
| | 03:16 | So that's it for now, I do hope this lynda
course has been helpful in getting you started
| | 03:20 | using Final Cut Pro X.
| | 03:22 | Good luck, as you continue
in your editing ventures.
| | 03:24 | I'm Ashley Kennedy, thanks for watching!
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