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Learn how to build and refine your story with the redesigned editing toolset in Final Cut Pro X. In this course, author Ashley Kennedy focuses on getting you comfortable with each aspect of the editing process in Final Cut—from preparation and organization, to editing and refining, to audio and effects, to media management and exporting. Each stage of the postproduction workflow is explained thoroughly and concisely, and uses real-world examples from both narrative and documentary workflows.
NOTE: This course and its exercise files are not compatible with Final Cut Pro X v. 10.1 or later. If you are running v. 10.1 or later, please watch Final Cut Pro X 10.1.1 Essential Training instead.
In this movie, we will take a look at how to create a camera archive which allows you to easily turn your tape-based media into file-based media backup. Let's take a look. So to create a camera archive from your tape- based media again make sure you have plugged your camera in, turned it on and have it set to VTR mode. Then just like before, I am just going to select the event that I want it to go into, and then I'll press Cmd+I and the Media Import window opens. You just want to make sure that your camera is showing over here, which it is, and we see our image right here.
So we are set to go. So instead of choosing Import like we did before, I'm instead going to come over to Create Archive. I just need to name my camera archive, so I'm just going to say "Swing Broll", and let's just send it our Media Drive, and I'll say OK. So, Final Cut is going to rewind the tape and begin ingesting. You can manually stop the process by clicking on the Stop Import button or Final Cut will eventually stop importing once it reaches a long break in timecode.
(video playing) For right now, I'm just going to click Stop Import, so we can get on with the process. And we want to make sure that we keep the archive. So I am just going to select that. So even though that was a very short capture, we have got the archive and under Camera Archives you can see that there it is right there. Now we only have one Camera Archive in this case, but if I had multiple then my system is automatically going to see those and display them right here in the sidebar.
If I just hide Final Cut for a moment, Cmd+H, and go into my Media Drive, we can take a look at the folder that was created: Final Cut Camera Archives. This folder is created whenever you create a Camera Archive, so this is where it goes looking for those camera archives. So again, we just have one. And there it is and when I click on it, it lists the clips inside of that archive. So if I click on this, you can see that this is the footage that I brought in. If I was working from a camera with a lot of timecode breaks, then there would be individual clips for every single one of those timecode breaks.
In this case, I only have one clip, but I can come up here and import exactly the sections that I want to. I just drag across the section that I'd like to import, and then come to the next part, and then Cmd+drag and then maybe right there, Cmd+drag again. So I have three separate sections that I'm bringing in from this one Camera Archive. This is of course very, very short. But think of it as a metaphor for an entire tape.
Now that I have chosen those, I can go to Import Selected. Again, we should be very familiar with this box by now. We are going to the Swing Dancing event. And I think I'm okay with just the balance color analysis, and I'll choose Import, and you can see that they're brought in immediately from my Camera Archive. So in this sense creating a Camera Archive is really great, instead of having to baby-sit the system and start and stop and start and stop your imports. You can just create the Camera Archive from the get-go, let Final Cut ingest the entire tape, go to lunch, come back, and then have instant access to those moments you want to import and save a lot of time by turning the tape-base capture into a quick file-based one.
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