IntroductionWelcome| 00:04 | Hi, I am Abba Shapiro, and welcome to
Narrative Scene Editing with Final Cut Pro X.
| | 00:10 | In this course we'll look at the art
of cutting together a narrative scene.
| | 00:14 | I'll start by showing you how to customize
the interface of Final Cut Pro, I'll show
| | 00:18 | you some of the best practices in cutting between shots,
and we'll edit a dialogue scene for flow and continuity.
| | 00:25 | We'll also look at using Final Cut Pro X's
Multicam feature to edit a scene shot with
| | 00:30 | multiple cameras, and we'll explore how color
and transitions can affect the impact of a film.
| | 00:37 | We'll be covering all of these features, plus
plenty of other aesthetic and technical editing
| | 00:42 | strategies with Final Cut Pro.
| | 00:44 | Now, let's get started with
Narrative Scene Editing with Final Cut Pro X.
| | 00:49 |
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| Using the exercise files| 00:00 | If you're a Premium Member of the lynda.com
online training library, you have access to
| | 00:05 | the exercise files used throughout this title.
| | 00:08 | On the desktop, I have three self-contained
sets of exercise files which you downloaded
| | 00:13 | from the lynda.com site.
| | 00:15 | They each contain a Final Cut Events
folder and a Final Cut Projects folder.
| | 00:20 | I broke the exercise files into three
separate self-contained segments to make downloading
| | 00:25 | the files more convenient.
| | 00:27 | Since these segments are self-contained,
you don't need to download all three segments
| | 00:31 | just to use one part.
| | 00:33 | Let's open a new Finder window
and open Movies from the sidebar.
| | 00:38 | Now, if you've launched Final Cut Pro X and
saved a project, Final Cut will have created
| | 00:43 | these two folders for you, Final
Cut Events and Final Cut Projects.
| | 00:48 | All you need to do is drag the contents of
each of the three downloaded Event folders--
| | 00:53 | labeled Part 1, 2, and 3--into the existing
Final Cut Events folder, and do the same for
| | 01:01 | each of the project folders,
also labeled Part 1, 2, and 3.
| | 01:06 | I want to warn you that if you just drop the
folders labeled Final Cut Events, and
| | 01:11 | Final Cut Projects into your Movies folder, and
there are already those folders present, you
| | 01:17 | will overwrite and lose any other
project and event libraries inside.
| | 01:22 | Now, if you go to the Movies folder, and you
don't have either of these folders, you want
| | 01:28 | to open up the folder labeled Exercise 1 files,
and drag the entire Final Cut Pro Events folder
| | 01:35 | and Final Cut Projects
folder into the Movies folder.
| | 01:39 | Now just like we instructed earlier, drag
the contents of each of the remaining two
| | 01:44 | downloaded Event folders labeled Part 2 and 3
into their respective Final Cut Event folders
| | 01:51 | and Final Cut Project folders.
| | 01:53 | Finally, I want to point out that these files
are highly compressed, so you would have enough
| | 01:58 | alternative media to
enhance your creative experience.
| | 02:02 | Additionally, these lessons don't include every single
shot as that would have made the download enormous.
| | 02:09 | If you don't have access to the exercise
files, you can watch the course and use those as
| | 02:14 | an example and work with your own assets.
Let's get started.
| | 02:22 |
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| What you need to know about this course| 00:00 | What you need to know before you watch these
movies is that this is not an Essential Training
| | 00:05 | Course, but rather a techniques course.
| | 00:08 | You should already be familiar with
Final Cut Pro X prior to watching.
| | 00:12 | If you're not, then I recommend that you watch
Final Cut Pro X Essential Training also on lynda.com.
| | 00:19 |
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| Reviewing the rough cut: Long version| 00:00 | Abba Shapiro: What you're about to watch is
the first rough cut or assembly edit based
| | 00:04 | completely upon the script.
Go ahead and watch it.
| | 00:07 | It will give you an idea of what the story arc is
and some of the footage that is used in this course.
| | 00:17 | (music playing)
| | 00:29 | female speaker: What do you design for?
In other words, what drives you?
| | 00:34 | male speaker: Well, I design for the client,
first and foremost, but in doing that I use
| | 00:40 | my own inspirations to sort of tap into
what it is that the client is seeking.
| | 00:47 | Design, to me, is extracting the universal
emotions that drive us all, no matter what
| | 00:53 | the job is or what the building is meant to
represent, because when it comes down to it,
| | 00:59 | we all share the same wants and needs.
| | 01:01 | female speaker: Well said. So it's clear
you put a lot of heart into your work.
| | 01:07 | Sensation no more, once award winning architect
fails to deliver on his downtown music hall.
| | 01:13 | Mr. Dalton: Joseph is our most gifted architect.
He takes risks. We all know it.
| | 01:17 | These unique buildings
sometimes take time to accept.
| | 01:21 | I stand behind any and all of
his designs, and that's that.
| | 01:26 | Joseph, we need to talk.
| | 01:28 | This music hall project has really
caused the firm to take a hit.
| | 01:32 | Joseph: Well, then, there isn't much
else to talk about then, is there?
| | 01:44 | Mr. Dalton: So, how's the coffee?
Joseph: It's cold.
| | 01:52 | Mr. Dalton: Did you finish it?
| | 02:03 | You know, I'm taking a big risk
putting you on this Columbia project.
| | 02:07 | Firm could be on the line here.
Six p.m. tonight, simple deadline, meet it.
| | 02:16 | Joseph: That's it, 6 p.m., huh?
| | 02:21 | And if I'm a risky choice,
then don't use me.
| | 02:25 | We all know what risky decisions lead to.
| | 02:27 | Look, the company's in free-fall,
and you want to take risk again?
| | 02:33 | It's a creative approach.
| | 02:37 | Mr. Dalton: My creativity has nothing to do with this.
| | 02:42 | I did my time.
| | 02:44 | My job now is to wear this suit, please clients,
and make sure you do your job, nothing more,
| | 02:53 | nothing less, understand?
Six p.m., deliver.
| | 03:03 | Oh, and this design better not resemble the
last few of your strip mall-inspired creations.
| | 03:10 | Get out of the safety zone, Joseph.
Do your job.
| | 03:51 | (Clears throat)
| | 03:53 | Patton: Mr. Dalton sent me to
collect a design, is it ready?
| | 03:59 | Oh, I see. Well, 6 p.m.
| | 04:06 | Joseph: Is he sending you in here with
scripted-out dialogue and everything?
| | 04:11 | Patton: He suggested words, yes, and to come every
hour, but I decide whether to come before
| | 04:19 | or after the hour.
Joseph: Oh, I see.
| | 04:22 | Patton: Oh, I'm also supposed to tell you that--
Joseph: You know, Patton, hang on a minute, bud.
| | 04:28 | Um, I want to get the boss man on the horn here so
we can all have a little chit-chat, all right?
| | 04:39 | Mr. Dalton: Yes?
| | 04:40 | Joseph: Hey, yeah, I'm here with Patton, and he's
telling me that, um, you want him here every
| | 04:46 | hour on the hour, checking in on me?
Mr. Dalton: Patton, you there?
| | 04:50 | Patton: Yes, Mr. Dalton, I'm here,
and I never said on the hour.
| | 04:55 | I just told him that I decide
before or after the hour.
| | 04:58 | Mr. Dalton: No matter, just continue to do as I requested.
| | 05:02 | Oh, and Patton, did you let
Joseph know about the other details?
| | 05:07 | Patton: Oh, yes, Mr. Dalton, I will.
And no, Mr. Dalton, he didn't let me.
| | 05:10 | Mr. Dalton: Let him know.
Joseph: What other details?
| | 05:14 | Look, I don't have--
(Phone Clicks)
| | 05:20 | Patton: So, the other details.
| | 05:26 | The boss man decided to put Leavitt and Myron
from 42 Designs on the project as well.
| | 05:32 | They've been working on concepts all week.
| | 05:37 | The Columbia tower board meeting is after
the end of the day, and if they like any of
| | 05:42 | the concepts, then, well,
we'll all keep our jobs.
| | 05:47 | Joseph: All right, I see.
Patton: I'll see you in an hour.
| | 05:55 | Maybe more...maybe less...goodbye.
| | 06:21 | Joseph: Nuts!
I can't believe this!
| | 06:43 | (music playing)
| | 07:08 | Joseph: How's it stick together, dad?
Joseph's father: The sand?
| | 07:11 | Well, the water and sand mix, chemistry stuff.
But that's not the exciting part.
| | 07:16 | The exciting part is the lines.
Joseph: The lines?
| | 07:18 | Joseph's father: Yeah, the lines.
Here, let me show you.
| | 07:23 | You want strong lines, unique lines, fun lines.
Joseph: Can I try?
| | 07:36 | Joseph's father: All right, kiddo.
Get in there. Let's see it.
| | 07:41 | (music playing)
| | 08:08 | Mr. Dalton: Well, it's a complicated process,
but I assure you I'm bringing you the best.
| | 08:15 | Yes. No, it's not that. It's all right.
| | 08:23 | Well, I look forward to meeting
you and the board tonight. Yeah.
| | 08:39 | Patton: Here are the copies of the Bell contract
you asked for, and I grabbed you a coffee.
| | 08:42 | Mr. Dalton: Thanks.
Patton: I thought you could use it.
| | 08:45 | Oh, and you forgot this in the bullpen.
I need to get back to work.
| | 08:51 | Mr. Dalton: Oh yeah, I've been asking earlier,
trying to figure out who had this thing made up
| | 08:55 | for me for my birthday last week.
It's a thoughtful gift.
| | 09:02 | You know, I had this thing since I was
a young hotshot, just about your age.
| | 09:08 | Did you have anything to do with this?
| | 09:10 | Patton: Um, no sir.
Actually, that was a gift from Joseph.
| | 09:14 | As far as I know, no one else was in on that.
Mr. Dalton: I see.
| | 09:21 | Patton: I did put money in for your cake, though.
Mr. Dalton: Thanks.
| | 09:26 | Patton: Anything else?
Mr. Dalton: Um, just those designs.
| | 11:17 | Mr. Dalton: Patton, no need for the six o'clock
check in, I'll see Joseph myself this hour.
| | 11:33 | (music playing)
| | 12:33 | Joseph: Hey, dad.
Mr. Dalton: Hey, kiddo.
| | 12:40 | So, you got a design for me?
| | 12:46 | Joseph: Yeah, I think I do.
Mr. Dalton: Good.
| | 12:53 | Joseph: Thanks for the message.
| | 12:56 | Mr. Dalton: Just doing my job.
| | 12:59 | (music playing)
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| Reviewing the rough cut: Short version| 00:00 | Abba Shapiro: This next rough cut is
a much shorter version of the film.
| | 00:04 | As a matter of fact, 3 minutes were
cut out of a 12-minute project.
| | 00:08 | This was done through shortening some scenes
and removing some scenes altogether.
| | 00:13 | You'll notice that the whole thrust of the
story doesn't change, but it moves faster,
| | 00:18 | and it has more emotional impact.
| | 00:20 | (music playing)
| | 00:24 | female speaker: Sensation no more, once award winning
architect fails to deliver on his downtown music hall.
| | 00:29 | Mr. Dalton: Joseph is our most gifted architect.
He takes risks. We all know it.
| | 00:34 | I stand behind any and all of
his designs, and that's that.
| | 00:46 | Mr. Dalton: Did you finish it?
| | 00:53 | You know, I'm taking a big risk
putting you on this Columbia project.
| | 00:57 | Firm could be on the line here.
Six p.m. tonight, simple deadline, meet it.
| | 01:06 | Joseph: That's it, 6 p.m., huh?
| | 01:11 | And if I'm a risky choice,
then don't use me.
| | 01:15 | We all know what risky decisions lead to.
| | 01:17 | Look, the company's in free-fall,
and you want to take risk again?
| | 01:23 | It's a creative approach.
| | 01:28 | Mr. Dalton: My creativity has nothing to do with this.
I did my time.
| | 01:34 | My job now is to wear this suit, please clients,
and make sure you do your job, nothing more,
| | 01:43 | nothing less, understand?
Six p.m., deliver.
| | 02:10 | (Clears throat)
| | 02:13 | Patton: Mr. Dalton sent me to
collect a design, is it ready?
| | 02:19 | Well, 6 p.m.
| | 02:24 | Joseph: Is he sending you in here with
scripted-out dialogue and everything?
| | 02:29 | MS: He suggested words, yes, and to come every
hour, but I decide whether I come before
| | 02:34 | or after the hour.
Joseph: Oh, I see.
| | 02:37 | Patton: Oh, I'm also supposed to tell you that--
Joseph: You know, Patton, hang on a minute, bud.
| | 02:42 | Um, I want to get the boss man on the horn here
so we can all have a little chit-chat, all right?
| | 02:50 | Mr. Dalton: Yes?
| | 02:51 | Joseph: Hey, yeah, I'm here with Patton, and he's
telling me that, um, you want him here every
| | 02:58 | hour on the hour, checking in on me?
Mr. Dalton: Patton, you there?
| | 03:02 | Patton: Yes, Mr. Dalton, I'm here,
and I never said on the hour.
| | 03:07 | I just told him that I decide
before or after the hour.
| | 03:10 | Mr. Dalton: No matter, just continue to do as I requested.
| | 03:13 | Oh, and Patton, did you let Joseph
know about the other details?
| | 03:19 | Joseph: What other details?
| | 03:20 | Look, I don't have--
(Phone Clicks)
| | 03:27 | Patton: So, the other details.
| | 03:32 | The boss man decided to put Leavitt and Myron
from 42 Designs on the project as well.
| | 03:38 | They've been working on concepts all week.
| | 03:43 | The Columbia tower board meeting is after
the end of the day, and if they like any of
| | 03:47 | the concepts, then, well,
we'll all keep our jobs.
| | 03:55 | Joseph: All right, I see.
Patton: I'll see you in an hour.
| | 04:11 | Joseph: Nuts!
I can't believe this!
| | 04:30 | (music playing)
| | 04:54 | Joseph: How's it stick together, dad?
| | 04:57 | Joseph's father: The sand?
Well, the water and sand mix, chemistry stuff.
| | 05:01 | But that's not the exciting part.
The exciting part is the lines.
| | 05:05 | Joseph: The lines?
| | 05:07 | Joseph's father: Yeah, the lines.
Here, let me show you.
| | 05:09 | You want strong lines, unique lines, fun lines.
Joseph: Can I try?
| | 05:22 | Joseph's father: All right, kiddo.
Get in there. Let's see it.
| | 05:28 | (music playing)
| | 05:59 | Patton: Here are the copies of the Bell contract
you asked for, and I grabbed you a coffee.
| | 06:05 | Mr. Dalton: Thanks.
Patton: I thought you could use it.
| | 06:08 | Oh, and you forgot this in the bullpen.
I need to get back to work.
| | 06:13 | Mr. Dalton: Oh yeah, I've been asking earlier,
trying to figure out who had this thing made up
| | 06:17 | for me for my birthday last week.
| | 06:19 | Patton: Actually, that was a gift from Joseph.
As far as I know, no one else was in on that.
| | 06:26 | Mr. Dalton: I see.
| | 08:11 | (music playing)
| | 09:06 | Joseph: Hey, dad.
Mr. Dalton: Hey, kiddo.
| | 09:13 | So, you got a design for me?
Joseph: Yeah, I think I do.
| | 09:22 | Mr. Dalton: Good.
| | 09:27 | Joseph: Thanks for the message.
| | 09:29 | Mr. Dalton: Just doing my job.
| | 09:32 | (music playing)
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|
|
1. Preparing for the EditPreparing the interface| 00:00 | Before we get started editing our narrative
film, let's make sure that our user interfaces
| | 00:06 | all look the same, so it'll be easier for
you to follow along whether you're using the
| | 00:10 | exercise files or using your own files.
| | 00:13 | The first thing I want you to do is open up
your Viewer window, and this is located under
| | 00:18 | the Window dropdown menu, and it says Show
Event Viewer, and you'll see a new window
| | 00:24 | showing up in the middle.
| | 00:25 | Now this is very useful if I select a clip
in my Event Library, I can actually view it
| | 00:31 | and skim through it without affecting the
clips that are showing up from my timeline.
| | 00:36 | The other changes that I want you to make
is to adjust how we're viewing items in our
| | 00:41 | Event Browser, and you can of course view
that as a filmstrip view or as a list view,
| | 00:48 | but what I want you to do is go over
here to this cog and make some changes.
| | 00:52 | To make things easier to see, let me go ahead
and stretch out this window here to the right
| | 01:02 | and bring this window down, so you
can see a little bit more real estate.
| | 01:06 | Now you'll probably be seeing a lot more in
each of your windows, but I'm running at a
| | 01:10 | lower resolution, so you can actually
see what I'm doing during these movies.
| | 01:15 | Now if we go back down to the cog,
I want you to make some changes.
| | 01:19 | You can uncheck Arrange Events by Most Recent.
| | 01:22 | I'm really not interested when something was
recorded, I want to have them in an organized list.
| | 01:27 | So go ahead and uncheck that.
| | 01:30 | In addition to unchecking that, I want you to
change the way the clips are grouped, switch
| | 01:34 | it from Content Created to None and also if
you go down to Arrange Clips By, if you've
| | 01:41 | modified these in a previous edit, go ahead and
switch those back to Content Created and Ascending.
| | 01:47 | Now we're going to make a couple of
small changes in the actual Event Browser.
| | 01:52 | I want to reorganize the Event Browser.
| | 01:54 | I am going to make a little bit more space
here, and there are some things that I'm either
| | 01:58 | going to close or move around.
| | 02:01 | Now in my case, I am not using starter, and it
doesn't really matter to me for this exercise.
| | 02:07 | If I had time code or if I had notes that
I wanted to work with, I could go ahead and
| | 02:12 | keep these and move them to the right, but
for right now I am going to turn off Start
| | 02:17 | and turn off End and also I am going to
turn off when the content was created.
| | 02:24 | There are some elements that I do want to
turn on and one of those would be Scene and
| | 02:31 | the other would be Shot and Take, and that's
because cutting a narrative film, everything
| | 02:37 | is labeled by scene, shot, or
take as well as the camera.
| | 02:42 | Now you can see this more easily if I open up Part 2 and
show you how I've already pre-organized some of the elements.
| | 02:51 | It's important sometimes to know what the Camera
Angle was as well as the Scene and Take Numbers.
| | 02:57 | Now these elements are off to the right,
and because I find this valuable for when I'm
| | 03:02 | cutting, I prefer to have them closer to the
name of the clip, and I can just grab those
| | 03:07 | from the right side and
slide them over to the left.
| | 03:15 | So the organization that I like is Scene
number and then the Shot or the Take and then I want
| | 03:22 | to know what camera it was shot from in
case I'm going to be doing a multi-camera cut.
| | 03:27 | Now I can sort specifically by scene if I
click on the top here, and now the scenes
| | 03:31 | are in sequential order from three all the
way through 3D, so it's easier for me to find
| | 03:38 | the shots in the order that they were taken.
| | 03:41 | Now once you have set this up the way you
like it to follow along, let's go ahead and
| | 03:46 | reset our window back to its original layout.
| | 03:50 | You'll notice that when you do that,
the Viewer window closes again.
| | 03:53 | So again just so we are on the same page,
go ahead and show the Event Viewer and so
| | 03:58 | now we can all start off with the same setup.
| | 04:03 |
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| Setting preferences for narrative editing| 00:00 | Now, there are a few preferences that I
want to set, and I want to make sure that your
| | 00:05 | preferences match mine, so if you've been working
with Final Cut X, you may have modified some elements.
| | 00:10 | So let's just go up to the Preferences, you'll
find that under Final Cut Pro, click on Preferences,
| | 00:15 | and there will be four sets that we'll look at.
| | 00:17 | It's important that you have Show detailed
trimming turned on because this will be very
| | 00:22 | helpful when we discuss Ripple,
Roll, Slip, and Slide Edits.
| | 00:26 | I'd also want to make sure you have
Show reference waveforms turned on.
| | 00:30 | Now another change that I always make when
I am cutting a narrative film is I change
| | 00:34 | my Transitions from 1 second to a half a
second, I feel that a full second is too long.
| | 00:39 | So I'm just going to go ahead and
type in .5, and we'll be in good shape.
| | 00:43 | Let's step into the Playback section, and there are a
couple of things that are really important in this case.
| | 00:49 | I want you to turn off Background render
because this will slow down the performance of your
| | 00:54 | machine, and if you are using, say a laptop,
it's going to fill up your hard drive very quickly.
| | 01:00 | If you don't want to turn Background render off, at
least change it from five seconds to a couple of minutes.
| | 01:07 | Another thing that I need you to uncheck is
Create optimized media for multicam clips.
| | 01:12 | This is useful in the case of the lessons
because they are using a JPEG compression
| | 01:17 | and Final Cut will want to convert them to
optimized media. Again, this will fill up your hard drive.
| | 01:23 | You may want to also turn this off if you
are using highly compressed media, for instance
| | 01:27 | using an H.261 codec, because if it
optimizes it, for multicam, you may jump from a four
| | 01:34 | gigabyte file to a 50 gigabyte file.
| | 01:37 | Take a quick look at the other settings as
these are the defaults, and when we go to
| | 01:41 | Import, we're going to leave these the way
they are now, and as for Destinations, these
| | 01:47 | are the default destinations, and
you don't need to touch this either.
| | 01:51 | We'll go ahead and close this box, and now
with common preferences, we are ready to start
| | 01:57 | importing and analyzing our media.
| | 02:02 |
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| Getting perspective by reviewing the rough cut| 00:00 | Before you get started on any project, it's
important to know as much about the project
| | 00:05 | and the objective of the
story, before you start cutting.
| | 00:09 | So of course, reading the script is critical,
and if there is a rough cut that might have
| | 00:14 | been created onset, you should watch that
just to get a sense of the flow of the story
| | 00:19 | as the director envisioned it.
| | 00:21 | Now I'm going to quickly scrub through this
rough cut and talk about some of the highlights
| | 00:25 | that we're going to be covering.
| | 00:28 | And before I do that, I am going to go ahead
and turn off something called scrubbing--it's
| | 00:31 | right over here--it's just so you don't hear
the sound as I move my cursor across the timeline.
| | 00:37 | You can leave this on because you might
like to use it while editing, while some other
| | 00:42 | editors find it distracting and they
just turn it off from the very beginning.
| | 00:45 | Now, the first scene we're going to look at
and cut is this introductory scene, a dialog
| | 00:51 | scene, that creates the conflict
at the beginning of the story arc.
| | 00:56 | The conflict will then build throughout
the story until we get to the resolution.
| | 01:00 | The next thing we look at is building a
montage and why we would want to use a montage.
| | 01:06 | And we'll go through the steps there, and
it's a transitional scene into our third scene,
| | 01:10 | which again, increases the
conflict and the drama of the story.
| | 01:15 | So we'll be looking at this scene which is
actually a multi-camera scene that we are going to shoot.
| | 01:20 | There is also a flashback scene involved
in this story, and I'm going to look at some
| | 01:24 | alternatives to making it look
like it took place in the past.
| | 01:29 | Now my end result is different than what they did onset
in this rough cut where they went to black and white.
| | 01:34 | So, if you notice a discrepancy, don't worry,
every editor will envision something differently.
| | 01:41 | And finally, we'll look at the resolution
of the arc and some color correction that
| | 01:45 | will bring the story full circle.
| | 01:48 | So go ahead, if you haven't already watched
it, watch the long rough cut, read the script,
| | 01:54 | and get perspective on
what you're about to edit.
| | 01:59 |
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|
2. Understanding the Workflow of Cutting a Narrative FilmPreparing and importing media| 00:00 | One of the first steps when starting any
project, and in this case our narrative film, is to
| | 00:07 | organize and import your media.
| | 00:10 | And I actually said organize first because
you don't always organize your media once
| | 00:15 | it's been ingested, a lot of times you can do
that before, or it's already done for you before.
| | 00:21 | If you have access to the Exercise files I've already
imported and organized and tagged the media for you.
| | 00:29 | But let me go ahead and create a new
event just so you can see the steps.
| | 00:35 | I'm going to right-click create a New Event,
we'll call this Part 1 example, and now we're
| | 00:44 | going to import our media.
| | 00:47 | Now one thing I really like about Final Cut Pro X
is that I only have to go to one window
| | 00:52 | to import my media whether it's coming off
of a camera, whether it's coming off of an
| | 00:57 | archive or a camera card, or whether it's just
already on my hard drive, and I can just bring it in.
| | 01:03 | Now I'm going to go ahead and hide this
window because I want to show you my organizational
| | 01:07 | structure that I did before so that when I
import this media it's automatically tagged,
| | 01:13 | and I have a head start.
| | 01:15 | I'm going to hit Command+H to hide this, and if
you notice I have a folder called Media Organized.
| | 01:20 | And I'm going to open that up and what I did
is I structured this so the footage that I'm
| | 01:25 | using to cut in part 1, 2,
and 3 is all separate.
| | 01:30 | In your case it might be Act 1, Act 2,
and Act 3 of your narrative piece.
| | 01:36 | Now inside each of these folders I've
already pre-organized some of my media.
| | 01:42 | If I knew it belong to a specific
scene I would put it in that scene.
| | 01:46 | So for instance, Scene 02 Dialogue has all
the footage that I'm going to use--or all the
| | 01:51 | footage that I think I'm going
to use--to cut that scene together.
| | 01:56 | Now if I want to add additional footage it's easy
enough to bring in and meta tag but this starts me off.
| | 02:02 | And additionally I might have some sound effects,
so I put those into a separate folder as well
| | 02:07 | as other scenes, and in this case, I have some
Room Tone, and the Rough Cut for you to view.
| | 02:14 | Let me close this folder, and I'm
going to step back into Final Cut Pro.
| | 02:19 | So here we are, we're looking at our desktop.
I have Part 1, Part 2, and Part 3.
| | 02:23 | I'm going to simply select Part 1 because that's what
I want to import and press the Import Selected button.
| | 02:30 | Now we go through a lot of detail in the
Essential Training, but I just want to mention a couple
| | 02:34 | of key things that you might want to
remember, and that's under Organizing.
| | 02:38 | If you want to keep the media in its current
location uncheck Copy files to the Final Cut Events folder.
| | 02:45 | And every editor works differently, if this
is on an external hard drive already, if it's
| | 02:49 | on our backup drive, or a loading drive,
you may want to move it to your own drive.
| | 02:53 | So you may want to keep copy files to
the Final Cut Events folder checked.
| | 02:57 | If you want to work fast and not duplicate
media you can go ahead and uncheck that, but
| | 03:01 | it's important that you keep Import folders
as Keyword Collections selected, because this
| | 03:07 | is going to start adding the metadata
from the folders that I have that media in.
| | 03:12 | As for all the other selections every editor
works differently, go back and watch the Essential
| | 03:16 | Training and make the
decision that's best for you.
| | 03:20 | Now remember even after you've imported your
media you could always go back, right-click
| | 03:24 | on any piece of media or any event,
and run this analysis in the background.
| | 03:30 | I'm going to click Import, and
now take a look at Part 1 example.
| | 03:37 | We already have keyword
collections based upon each of the folders.
| | 03:42 | So for instance, if I look at Scene 02 Dialogue, all
of those clips are available and already pre-sorted.
| | 03:50 | So it's valuable that if you can organize
your media into separate folders before you
| | 03:56 | start working it will cut down on some of
the keywording that you need to do in the
| | 04:01 | organizational process once
you're inside Final Cut Pro.
| | 04:06 |
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| Evaluating shots and performances| 00:00 | Once you've imported all of your media, the
next step is to evaluate the shots and the
| | 00:05 | performances of your actors.
| | 00:08 | And there's several ways to do this, and I
like to do this as efficiently as possible.
| | 00:13 | Now of course, you could simply skim through
each of the scenes and step down and go through
| | 00:18 | them one at a time just to get
a feel for all of these takes.
| | 00:22 | But one thing I'd like to do is be able to
just very quickly look at them all at once.
| | 00:27 | Now I could stretch this out to make it a
little bit longer or switch to the Filmstrip
| | 00:31 | view, but I actually find the Filmstrip
view gets very cluttered, and it's really hard
| | 00:35 | to see what's going on.
| | 00:37 | So I like to keep it in the
List view, and this is what I do.
| | 00:40 | I select all of the clips, Command+A, and I
simply bring them down to my timeline, and
| | 00:45 | I can do that by hitting the E key.
| | 00:48 | So now all of my footage for
this one scene is in my timeline.
| | 00:52 | I'm going to hit Shift+Z, so you
see the entire time line at once.
| | 00:57 | So there's all my footage, and I can very quickly
skim through and get a feel for all of these shots.
| | 01:03 | I don't have to step through one by one, and
I can see which shots I like, and if I wanted
| | 01:09 | to I could also take notes.
| | 01:11 | Now if I'm going to take notes, it's
important for me to know what the timecode is, or if
| | 01:16 | the clip doesn't have timecode, to
know what the Control Track Number is.
| | 01:20 | For instance, if you shot this with a
DSLR, everything's going to start at zero.
| | 01:24 | Well, right now the dashboard is showing me the
time in the timeline, not the time in the clip.
| | 01:30 | But you can very easily fix this if you go up
under the View menu, and you turn on Clip Skimming.
| | 01:37 | Now when I hover over a clip, instead of
seeing the time based on the timeline I'm actually
| | 01:43 | seeing the time based upon the clip information.
| | 01:46 | So if I skim through, and I see something
I really like, I can simply jot down a note
| | 01:50 | and know exactly where to
find it time-wise on a clip.
| | 01:55 | Now I can do the same thing up here in my
Event Viewer, and as you can see, it also
| | 02:01 | updates in the Dashboard as I skim through it.
But sometimes I want more information.
| | 02:07 | So in this case, I'll go back to the View menu,
and I'll turn on Show Skimmer info, and now
| | 02:14 | when I float over this it will not only show
me the time, it will also show me any keywording
| | 02:21 | and also the name of the clip.
| | 02:23 | Now if there is a scene that I like that I
want to mark I can mark it one of two ways.
| | 02:27 | And we're going to go into a little more
detail throughout the course, and you can always
| | 02:31 | go back to the Essential Training course to
get a lot more detail on how to keyword and
| | 02:36 | mark clips as favorite and rejected, but I'll
quickly show you just to refresh your memory.
| | 02:41 | If I have a part of a clip that I want to
make a favorite I simply select that area
| | 02:46 | and hit the F key, and now as you see there's a
green line that shows me that this is a favorite.
| | 02:52 | If I want to reject part of a clip I can
select that and hit the Delete key, and I see a red
| | 02:58 | line that says I don't want to use this.
| | 03:01 | It's very easy to sort now because I can
look at all the clips that I rejected, or what's
| | 03:06 | even better, is I can look at all my
favorites, and I can find those very quickly.
| | 03:11 | Let me switch back to show all the clips,
and I just want to refresh you on how you can
| | 03:15 | put keywords onto a clip.
| | 03:18 | We're going to go ahead and we're going to
open up a Scene 02 dialog, and I want to find
| | 03:24 | the conversation between Mr. Dalton and Joseph.
| | 03:27 | And in this case, as you can see,
Joseph isn't even on camera.
| | 03:31 | But I want to be able to know who's talking
when and be able to sort through that very quickly.
| | 03:36 | So I went ahead and I made actually keyword
shortcuts for when Joseph speaks, when the
| | 03:42 | assistant speaks, and when Mr. Dalton speaks, and I can go
through and mark things very quickly, and it's going to create
| | 03:49 | a smart collection.
So if I go over here, and I hit Play.
| | 03:58 | So there Mr. Dalton speaks, and I'm just going to hold
down the Option key and mark that, and I can
| | 04:02 | click right there on control 3, or if I
wanted to this much quicker I can just grab that
| | 04:09 | selection and use the
keyboard shortcut of Ctrl+3.
| | 04:13 | So now I've actually added a keyword, so there's a smart
collection of all the sound bites of when Mr. Dalton is speaking.
| | 04:21 | Let's go ahead and just do one for
Joseph just so you can see the difference.
| | 04:26 | So Joseph is talking here in the
background, and I'll click on Joseph Speaks.
| | 04:31 | And I know he's talking here at the beginning
also, and I'll once again control 1 Joseph Speaks.
| | 04:38 | And as you see I now can click on my smart
collection and find those two clips very quickly
| | 04:44 | while I'm editing my program.
| | 04:46 | Now I've already keyworded most of the
things that you'll need to use for this course.
| | 04:52 | However, if you want to start fresh, and you
have the lesson files, you can go ahead and
| | 04:57 | import the Media folder that's inside your
Final Cut Events folder as a new event and
| | 05:04 | none of the keywording or
smart collections will be there.
| | 05:09 | This is an important step to do at the beginning
of the process, it may take some time to actually
| | 05:14 | review and organize your footage, but
you're going to end up being able to edit faster
| | 05:20 | and be able to find the best shots
to create the best finished program.
| | 05:25 |
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| Adding assets| 00:00 | As you go through the editing process you'll
probably be wanting to add additional footage
| | 00:06 | and, perhaps, even review your sound effects
and your music to make sure you like everything.
| | 00:11 | It's very easy to add footage as well as sound
effects and music throughout the editing process
| | 00:17 | and have them filed in the right place.
| | 00:20 | If I use the Import command I could just go
ahead and import those directly into the Event
| | 00:25 | Library that I want to work with, and we'll
cover that in detail in the Essential Editing course.
| | 00:31 | Final Cut Pro actually ships with a lot of
sound effects already that are going to be
| | 00:36 | available to you in your Music libraries as well as
any music that you might have stored in your iTunes library.
| | 00:44 | A lot of editors actually like to create a
special iTunes library, which is composed of
| | 00:48 | exclusively their royalty-free music
and they can use that in any program.
| | 00:54 | Let's go ahead and take a
look how I can bring that in.
| | 00:56 | I'm going to simply click on the musical
note to open up my music and sound library, and
| | 01:02 | here's an example of some of the Final Cut Pro
sound effects that ship with the application.
| | 01:07 | So for instance, if I wanted to add Adding
Machine as one of the sound effects that I'm
| | 01:12 | going to use later, I can simply grab it from
here, and I can drag it into the event that I want.
| | 01:18 | But instead of dragging it directly onto the
name of the event, in this case Part 1, I really
| | 01:23 | not only want to add it to the event, but I want to
add a keyword to it, such as this is a sound effect.
| | 01:30 | So if I drop it directly on any of my smart
collections not only will it add it to that
| | 01:36 | event, it will also add a keyword, so now it's always
available whenever I click to my office sound effects.
| | 01:43 | This is a very effective way to add music
and sound effects to your project on the fly.
| | 01:50 |
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| Understanding editing conventions| 00:00 | Before we start editing our individual scenes, I
want to review some of the traditional editing
| | 00:05 | conventions, and for some of you this will just
be a refresher, but this will help you get going.
| | 00:11 | Let's step into 02-04 Rules and take a look
at some of the wrong ways and then the right
| | 00:17 | ways to cut between two shots.
| | 00:20 | Now the first shot we're going to look at
is actually done pretty well, and I'm doing
| | 00:23 | this for reason, so take a quick watch.
| | 00:29 | (Mr. Dalton: Did you finish it? )
| | 00:34 | So what happens here is the shot is relatively
good, it's a little bit of a delay until he
| | 00:39 | says did you finish it, but I really don't
mind that because it's building up drama, and
| | 00:44 | the reason I started with this is some of
you will like the setting and some of you
| | 00:48 | will be bothered by it.
| | 00:49 | And this is intentional, because editing
is a very subjective thing, it's artistic.
| | 00:55 | So, always go with your gut, and you'll realize
that you're not going to make everybody happy,
| | 01:00 | and there's always a
different way to cut together a scene.
| | 01:03 | Now let's take a look at
some obviously incorrect edits.
| | 01:12 | (Joseph: It's cold.)
(Mr. Dalton: Did you finish it?)
| | 01:17 | Now the problem with this scene here is
that it goes from static to static. You should
| | 01:23 | always try to cut on action, because the
viewer is distracted by the motion in the scene
| | 01:29 | and they don't see the cut.
| | 01:31 | The objective of making a good
cut is so they don't even notice it.
| | 01:35 | So what we're doing instead of cutting from
a static wide shot to a static close-up, or
| | 01:40 | in this case a static over the shoulder, is
we do something very similar, but instead
| | 01:44 | when we cut we cut while Joseph is turning
his head to the left to look at the coffee
| | 01:50 | and he turns it back when we return to the shot.
| | 01:56 | (Mr. Dalton: So, how's the coffee?)
(Joseph: It's cold.)
| | 01:59 | Because he's turning his head, that's where
our attention is drawn, and we don't notice
| | 02:03 | the edit, and it doesn't matter that we don't
see his face, because we hear his voice, and
| | 02:07 | we see the reaction of Mr. Dalton.
Moving on to the next scene.
| | 02:15 | (Mr. Dalton: Meet it.)
(Joseph: The company's in--)
| | 02:18 | We actually did cut on the
action, so it should have worked.
| | 02:22 | But if you take a look when we cut between
the wide shot and the close-up, yes there
| | 02:27 | was action as he left the screen in the wide shot, but
look at the expression and the position of Joseph's head.
| | 02:33 | When we cut to the next shot not only has
the position changed, but his expression and his
| | 02:38 | mood, he went from kind of being downtrodden
to being angry all within a fraction of
| | 02:44 | a millisecond, and that's
why that edit doesn't work.
| | 02:47 | To make an edit like this work, you often
have to use B-roll or cut away and rethink how
| | 02:53 | you're going to transition from one shot to
the other, let's take a look at a more effective
| | 02:57 | way that this shot could work.
| | 03:00 | (Mr. Dalton: Firm could be on the line here.
Six p.m. tonight, simple deadline, meet it.)
| | 03:00 | (Joseph: The company's in free-fall, and you want to--)
| | 03:11 | So what happened here is we did cut on him
turning away, but we cut to a B-roll shot of his back.
| | 03:18 | Now this does two things for me, it allows
me to transition more smoothly because I can
| | 03:23 | actually put Joseph's voice underneath, and it also
makes a statement that he's turning his back on Joseph.
| | 03:30 | So it's really a win-win
situation when it comes to the editing.
| | 03:34 | And by the time we see Joseph's face, we've already
heard him speak, we know he's angry, and the cut works.
| | 03:42 | (Joseph: The company's in free-fall, and you want--)
| | 03:44 | Moving ahead, we have another situation
where we're cutting from the static wide shot.
| | 03:50 | (Mr. Dalton: Make sure you do your job,
nothing more, nothing less, understand? Six p.m.)
| | 03:57 | Now the timing is really good because it
builds up drama of nothing more and nothing
| | 04:02 | less and than the 6 p.m.
| | 04:04 | And I want that amount of
space, but it's a boring shot.
| | 04:09 | The wide shot gets boring,
and the close shot gets boring.
| | 04:12 | So again, we can fix it, it's a little more
complicated, because we're going to actually
| | 04:16 | move Joseph's response audio, and we're
going to mix up this scenes, but take a look how
| | 04:21 | you could edit it to make it
more fluid and more dramatic.
| | 04:27 | (Joseph: --another risk. It's a creative approach.)
| | 04:33 | (Mr. Dalton: My creativity has nothing to do with this.
I did my time. My job now is to wear this suit--)
| | 04:43 | So what makes this work?
| | 04:45 | Well, first of all, we have him turning his
back, and that's fine, but this is where we
| | 04:50 | actually make up some space.
| | 04:52 | When we cut to him, he is starting to walk
back into the shot from this angle, and that
| | 04:58 | has we cut to that side shot...
| | 05:01 | His is continuing to walk, and because there's
action we don't notice there's any difference.
| | 05:08 | Now take a look when we come back to him,
again it's not static, and that's why it works.
| | 05:16 | (Mr. Dalton: --has nothing to do with this.
I did my time. My job now--)
| | 05:19 | As he says the word now he actually leans
into the shot, so we're cutting on that action.
| | 05:24 | So instead of him like standing there,
because he's leaning in, we're drawn to that, and we
| | 05:29 | just listen to what he saying.
| | 05:32 | So that's the trick of how you can massage a
shot or massage multiple shots to make them flow.
| | 05:38 | Let's take a look at this next situation.
| | 05:43 | (video playing)
| | 05:47 | Now what you'll notice with this scene is
that they don't look like they're looking
| | 05:52 | at each other. They're actually both
looking off in the same direction, their eye lines
| | 05:56 | don't match, and that's happened sometimes
when they shoot something very quickly and the
| | 06:01 | actors aren't looking in the right direction,
or it's iso-cameras, and it's very distracting.
| | 06:07 | Well, the truth is is that I actually cheated
to illustrate this point, the director actually
| | 06:12 | did a very good job when editing this.
I simply flipped the scene.
| | 06:16 | So I'm going to go ahead and remove this,
let me just click on this and go ahead and
| | 06:20 | open up the Inspector, and there is our effect,
it's flipped actually it looks like I flipped,
| | 06:27 | and I flipped it again, but that's okay.
| | 06:29 | I'm going to simply turn off the flip, and
now he is looking in the right direction,
| | 06:33 | let me go ahead and close the inspector so
you can see it better, and I'll hit Play.
| | 06:40 | (video playing)
| | 06:44 | And as you see, it now looks as if
there actually having a conversation.
| | 06:48 | Now you'll probably noticed that there was no
audio with this scene, and I did that intentionally
| | 06:53 | because I wanted to make
another very useful point.
| | 06:56 | You should always watch your edits with
the sound turned off, because then you're not
| | 07:01 | distracted by the audio, and you can
easily see if an edit works or not.
| | 07:07 | As a matter of fact, I often recommend to
people if they want to become a better editor,
| | 07:11 | go and watch television with the sound off.
| | 07:13 | Now don't think I am crazy here. It's not
like I turn on the TV at 10 o'clock and watch a
| | 07:17 | 1-hour drama with no sound, but there are
a lot of times that I'm either in an airport
| | 07:23 | or restaurant or waiting somewhere where I can
see a television and not hear what's being said.
| | 07:30 | And it allows me to focus on the actual
cutting and the shots without being distracted by
| | 07:35 | the story or being cheated by the
sound space of J-cuts and L-cuts.
| | 07:41 | Another thing you should do when watching
this type of program is just start counting
| | 07:44 | whenever they cut to a scene, 1-2-3,
et cetera, and you'll notice that most shots
| | 07:51 | last between 4 and 6 seconds
before they cut to another shot.
| | 07:54 | Now this is not a hard and fast rule.
| | 07:57 | In a lot of situation like in a montage or
action sequence, you may cut every 10 or 20 frames.
| | 08:03 | Other times you maybe creating a very
lyrical moment or beautiful pan of a horizon, and
| | 08:08 | you may have a shot that's 30 or 40 seconds.
| | 08:11 | So don't say every show has to be 4 to 6,
but there is a natural rhythm that flows with
| | 08:17 | that frequency of cuts.
| | 08:19 | And finally, we're going take a look at this
last scene which we've actually watched earlier
| | 08:24 | to see how good it sounds and
not be distracted by the visuals.
| | 08:29 | This is the reverse instead of watching
without sound, sometimes it's good to listen without
| | 08:34 | watching, and I do these two ways, I
listen to TV when I am in the kitchen, and I can
| | 08:38 | actually hear how deep the sound is with all the
sound effects, and I am not distracted by the visuals.
| | 08:44 | Again, when you cut your show, playing it back
and listening to it without watching it, it
| | 08:50 | will allow you to find out if there are
audio issues, blank spaces, repeated words.
| | 08:56 | Now you could turn your head away or turn
your monitor off, but if you actually start
| | 08:59 | editing, sometimes you want to look
to the screen but not at the picture.
| | 09:03 | Now there are ways to turn the visibility
off on your video, but that's a lot of steps.
| | 09:09 | So what I like to do is simply put
something on top of it that's dark.
| | 09:14 | And so I'm going to go to the
Generators tab. I'll show you exactly what I do.
| | 09:17 | I will go to the Generators tab, I go to Solids, and I
just choose Custom, because that's going to give me black.
| | 09:25 | And then I can select
where I want that to start.
| | 09:28 | If I want I can either double-click on it
or just drag it over as the connected clip,
| | 09:33 | and now stretch it out as long as I need.
| | 09:37 | This allows me to watch my timeline,
but be focused on just the audio.
| | 09:43 | (Joseph: The company's in free-fall, and you want to
take another risk. It's a creative approach.)
| | 09:52 | (Mr. Dalton: My creativity has nothing
to do with this. I did my time.)
| | 09:56 | So these are just a few of some of the basic
editing conventions that we will explore throughout
| | 10:01 | the course, and we'll also look at a few
more tricks to make your edits smoother.
| | 10:06 |
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|
|
3. Editing a Dialogue ScenePlanning an editing strategy| 00:00 | Now, when you start to cut a scene, you shouldn't
just start throwing footage down on the timeline.
| | 00:06 | It's important to come off with a
strategy and a style and a design.
| | 00:10 | Let's step into 03-01 Strategy and take a look
at the first few shots that could be in our scene.
| | 00:18 | Now the way the scene starts.
| | 00:21 | (Mr. Dalton: So, how's the coffee?)
(Joseph: It's cold.)
| | 00:29 | (Mr. Dalton: Did you finish it?)
| | 00:31 | Now that's a traditional way that a scene could
start. There's a wide kind of establishing shot
| | 00:36 | as Mr. Dalton enters the room, he speaks, and then we see
a reaction shot in the response from Joseph, and then we see
| | 00:43 | a close-up reaction shot
and a comment for Mr. Dalton.
| | 00:46 | And we could go back and forth just trying to keep a
variety of shots just to keep our viewer interested.
| | 00:53 | But that's not necessarily the best way to
cut the scene, and it's important to look
| | 00:57 | at all your footage and make a decision on the look
in the feel before you lay down even your first clip.
| | 01:04 | So let's go ahead and switch from the list
view to the filmstrip view and shrink everything
| | 01:09 | down to its smaller size, so
you can see it on my monitor.
| | 01:14 | This way I can quickly look at the variety
of shots that I have and make some decisions.
| | 01:19 | So we have our establishing shot according
to the script where we start seeing some of
| | 01:23 | the designs, and I'm going to skip that
for now. That's not one of my favorite shots.
| | 01:28 | We also have a close-up of Joseph, and it
pans down to the table and the papers, again
| | 01:34 | looking at his designs.
We have this interesting wide shot of
| | 01:38 | Mr. Dalton on the left and Joseph on the right,
a very wide shot, and I really like this
| | 01:43 | because, to me, it starts saying the
relationship that's going on here.
| | 01:47 | Again, I have been nice over the shoulder
shot here, and I see papers, and what I also
| | 01:53 | see compared to the first shot is that there's
something separating them, and in this case
| | 01:58 | it's the table and the designs.
| | 02:00 | I have the close-up, but I want to keep distance.
I want not just distance between my characters,
| | 02:05 | I want physical distance
between my characters and my audience.
| | 02:10 | So, this is an okay shot, but I like the
effect created by the over the shoulder shot.
| | 02:16 | And for the reverse angle, I like this also,
because again, I see the table as a block and
| | 02:22 | he just kind of comes in and steps out
and comes in and dominates the scene.
| | 02:27 | So the three shots I like to work with are
all the real extreme wide shots with things
| | 02:31 | in between, and as you see, we have an alternative
take of this and then we have a close-up of
| | 02:37 | of Joseph and his reactions.
| | 02:39 | And again, I think I am going to try to avoid
this because I want some distance. I want all
| | 02:44 | my shots to have something blocking the characters,
and I don't want to get so close that I can
| | 02:50 | read their emotions right in their eyes.
| | 02:53 | I want to be able to feel it
from the distance and the emptiness.
| | 02:57 | So with that in mind, I'm going to start cutting,
and as we go through this chapter we'll see
| | 03:02 | if we need to adapt that initial
vision or if we can make it work.
| | 03:07 |
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| Editing dialogue: Building the basic assembly| 00:00 | Now that I've made my decision to use all the
wide shots, let's go ahead and start assembling,
| | 00:06 | kind of the first rough of our rough cut.
| | 00:09 | Step into 03-02 Assembly, and you'll see that
I've basically placed in the entire wide shot
| | 00:15 | between Joseph and Mr. Dalton.
| | 00:18 | And I'm going to use this as my
basis for cutting together my scene.
| | 00:22 | There is an old saying that when you're directing,
and there's a problem, always run for the wide
| | 00:27 | shot or run for the cover shot.
So I always like to start with a cover shot.
| | 00:34 | (Mr. Dalton: So, how's the coffee?)
(Joseph: It's cold.)
| | 00:40 | (Mr. Dalton: Did you finish it?)
| | 00:45 | Now I'm going to stop it at this point because
I can tell already that, yes, this has a really
| | 00:49 | hollow feel, but from the viewer's point of
view, I want to meet these people, I want to
| | 00:54 | know who they are, I have to see their faces.
| | 00:57 | So even though I like this shot, it doesn't
establish the characters for me. It doesn't
| | 01:02 | let me see their faces and
see what the problems are.
| | 01:05 | So I think I'm going to take a look at Mr. Dalton
coming in and swapping that out and also seeing
| | 01:11 | Joseph from that long over the shoulder shot.
| | 01:13 | And then maybe we'll cut to this wide shot to
really show the distance between these two characters.
| | 01:19 | So we'll go back to the beginning,
and we'll look at Mr. Dalton coming in.
| | 01:22 | Now this is the shot of where he goes to the
medium, and this is my longer, my wide shot.
| | 01:32 | Now I don't really need to
see him walk, walk, walk in.
| | 01:36 | It can be pretty quick, so I'm going to go
ahead and mark my end point here, and I can
| | 01:40 | even shorten it if I feel it's too
long to where it says his opening line.
| | 01:51 | (Mr. Dalton: So...)
| | 01:53 | Absolutely too long. Let's go
ahead and back up a little bit.
| | 01:56 | And even though this is the first cut,
you want to get this as close as possible.
| | 02:01 | So yeah, I could go ahead and throw these
down onto the timeline and then tighten them
| | 02:05 | up, but I know already that I'm
going to need to cut out that beginning.
| | 02:12 | (Mr. Dalton: So, how's the coffee?)
| | 02:17 | Now the trick here is going to be to
cut on action to make things smooth.
| | 02:21 | So as I see his head turn to the left to look
at his coffee, that's probably a good outpoint.
| | 02:25 | I'll press the O key, and now
it's time to bring it to my timeline.
| | 02:30 | I'll skim across until I get
to that point into that line.
| | 02:34 | (Mr. Dalton: How's the coffee?)
| | 02:37 | And I have a couple of
options when I bring this in.
| | 02:39 | I could do an overwrite edit at this point,
and that would simply replace my master shot
| | 02:45 | with that over the shoulder shot,
but I want a lot of flexibility.
| | 02:48 | And one thing I like about using Final Cut Pro X
is that I can put everything as a connected
| | 02:52 | clip on the layer above just to
get a feel for how things work.
| | 02:57 | If they work out fine, I can go ahead
and move them down to the main storyline.
| | 03:01 | So let's go ahead and hit the Q key to
bring in that shot and get a feel for it.
| | 03:06 | Now don't panic if you hear the
audio out of sync, that's okay.
| | 03:09 | I'm just trying to get a rhythm going, and
I know that one track is my master track and
| | 03:14 | one track are my cutaways.
| | 03:17 | (Mr. Dalton: How's the coffee?)
(Joseph: It's cold.)
| | 03:22 | (Mr. Dalton: So, how's the coffee?
Did you finish it?)
| | 03:25 | So obviously, there are some repeated words
there, but I kind of like the idea of him
| | 03:29 | coming in and have the coffee, and then we're
going to go to the cutaway of Joseph looking down.
| | 03:41 | (Joseph: It's cold. It's cold.)
| | 03:48 | Now that scene says a lot to me.
| | 03:49 | It says that I have that huge presence to
the left of the screen, he seems dejected,
| | 03:55 | it's a higher angle, he looks lower, this
really sets up the character for me and the
| | 04:00 | way he just sadly says cold, it works.
| | 04:03 | Now the time is going to be a little bit
different as I bring it in because I'm going to have
| | 04:07 | the cut on the head turn, but it
should be okay once I finesse it.
| | 04:11 | So let's go ahead and position this to our
timeline, and once again hit Q to bring it in.
| | 04:18 | (Mr. Dalton: So, how's the coffee?
Did you finish it?)
| | 04:22 | (Joseph: It's cold.)
| | 04:24 | So I don't want to be distracted by this audio.
Let me just go ahead and select this for the
| | 04:29 | time being go over to the Inspector,
select my audio, and turn it off.
| | 04:37 | (Mr. Dalton: So, how's the coffee?)
(Joseph: It's cold.)
| | 04:44 | The timing is nice. I want this to be a
lingering shot. The edit's not quite perfect.
| | 04:50 | He looks down. I really want to have
him start looking up before he says cold.
| | 04:58 | So we're going to go ahead and zoom into
this shot and really try to fine tune this.
| | 05:05 | So I can drag this out, and I can see in
the left screen his head starting to look up.
| | 05:10 | Now what I want to do is move this over, put it right
next to the first shot, and see how they feel together.
| | 05:17 | (video playing)
| | 05:19 | So this is where he really starts turning
his head, I'll simply shorten that, bring
| | 05:26 | that over, and see how it looks.
| | 05:32 | So as you see, I've created a rhythm here, and I've
cut on the action so ultimately it will be smoother.
| | 05:37 | Now there is going to be one more thing
we're going to do because I'm happy with how this
| | 05:42 | works, and then I'm going to continue these
actions throughout the rest of the scene.
| | 05:48 | Since my timing is good, what I want to
do is I want to connect these two clips.
| | 05:52 | I'm going to go ahead and zoom out and scroll up
a little bit so you can see what's happening here.
| | 05:57 | Each of these clips are right not
connected to different parts of my master, but it's
| | 06:01 | more important for them to
be attached to each other.
| | 06:03 | So I can simply select them by drawing a
box around them both, right-clicking, and what
| | 06:08 | I'm going to do is I'm going
to create a secondary storyline.
| | 06:12 | Now it's only attached in one place, let me
go ahead and zoom in, and this allows me to
| | 06:18 | work with the nuance between
the cut from scene 1 to scene 2.
| | 06:23 | (Mr. Dalton: So, how's the coffee?)
(Joseph: It's cold.)
| | 06:28 | The other thing it affords me is the ability
to do ripple and roll edits, and the scenes
| | 06:34 | will move in concert with each other as opposed to
always having to drag them back and forth. Take a look.
| | 06:41 | If I shorten this a little, this will
slide up, and I can really work on my timing.
| | 06:46 | (Joseph: It's cold.)
| | 06:49 | One last thing, I'll look at the wide shot
that we cut back to and see if we're ready for it.
| | 06:58 | (video playing)
| | 07:01 | Now the action's good. Remember, we did turn
the audio off, so let's go back, turn the
| | 07:05 | audio back on for the scene underneath.
| | 07:15 | (Mr. Dalton: You know, I'm taking a big risk putting--)
| | 07:18 | Now, if you look at the script, and you listened
earlier, I actually lost some of the next line.
| | 07:25 | So what I'm going to need to do
is move this out to the right.
| | 07:28 | But as you see, it's this game of putting puzzle
pieces together to get the look and the feel you want.
| | 07:34 | Now I'm going to go ahead and start
cutting and matching and stretching scenes out to
| | 07:39 | make the flow work, and you'll see how I've pieced
this together at the beginning of the next movie.
| | 07:44 |
| | Collapse this transcript |
| Refining the assembly by adjusting timing| 00:00 | Now that we've got the basic assembly put
together, it's time to review what we've cut
| | 00:05 | and really start some fine
tuning and start some adjusting.
| | 00:09 | Let's go ahead and step
into 03-03a Adjusting (Start).
| | 00:15 | Now I've laid down some B-roll, let me go ahead
and Shift+Z so we can see my entire timeline.
| | 00:20 | And this is just kind of a
quick and dirty assembly.
| | 00:22 | I really wanted to catch the flow, try some
cutaways, I wasn't really worried about precision here.
| | 00:28 | There may be some times where the audio repeats.
There also may be time where I hear both channels of audio.
| | 00:35 | So in this step I'm going to do some basic
cleanup to tighten some edits or maybe to
| | 00:40 | leave some breathing space to add some drama.
| | 00:43 | Let's watch a few shots together and see maybe where there
are some problems and how I would go about fixing them.
| | 00:50 | (Mr. Dalton: --could be on the line here.
Six p.m. tonight, simple deadline, meet it.)
| | 01:00 | (Joseph: That's it, 6 p.m., huh?
And if I'm such a risky choice, don't use me.)
| | 01:01 | Okay, we got to see at least three or four
problems right there. If we look at just the
| | 01:12 | very beginning, and we look at this cut...
| | 01:15 | (Mr. Dalton: --could be on the line here.
Six p.m. tonight--)
| | 01:18 | ...there's just too much space.
I am waiting for him to talk.
| | 01:24 | And as I said earlier, you should always cut
a moment before your viewer expects the cut,
| | 01:30 | and then they won't see it.
| | 01:31 | So let's go ahead and tighten this up
a little bit so we can make it work.
| | 01:36 | Now I'm going to zoom in by hitting the Command+Plus
key so I can really see my audio and video,
| | 01:41 | and I'm going to do a simple
ripple edit at this point.
| | 01:50 | So I want to cut to him right when he says
6 p.m., so we'll move this over and since
| | 01:55 | we're working with a gap clip underneath,
that didn't adjust the edit point here.
| | 01:59 | So I'm going to go ahead
and have to shorten that also.
| | 02:02 | (Mr. Dalton: --firm could be on the line here.
Six p.m. tonight, simple deadline--)
| | 02:09 | It's better. I like the timing, I may not switch to
those shots, but at least the pacing feels right.
| | 02:14 | Let's go ahead and look at our next problem.
| | 02:19 | (Joseph: That's it, 6 p.m.--)
Well, that's a simple fix.
| | 02:22 | I just have repeating
audio because this is too long.
| | 02:25 | So I'm going to go ahead and shorten that
and just feel how would this change in timing
| | 02:30 | the two shots now relate to each other.
| | 02:35 | (Joseph: That's it, 6 p.m., huh?
And if I'm such a--)
| | 02:41 | Well, I'll tell you, the wide
shot doesn't work for me.
| | 02:45 | Mr. Dalton steps out of frame, and Joseph is
just talking to nothing, and it's a little bit
| | 02:50 | too distracting. There's times when
this could work, but if he's talking to
| | 02:55 | Mr. Dalton, I either want to see him or
some sort of an over the shoulder shot.
| | 02:59 | So the audio is good, but let's go
ahead and cut to him a little bit sooner.
| | 03:04 | So in fact, I'm going to simply drag this over
here and connect it and see how the edit works.
| | 03:10 | (Joseph: That's it, 6 p.m., huh?
6 p.m., huh?)
| | 03:12 | Okay, well, there's a huge problem right
now as I'm hearing the audio from underneath,
| | 03:17 | and I don't want to do that.
And I want to show you a really great trick.
| | 03:21 | If I want to remove the audio from a track,
but I don't want to remove all of the audio,
| | 03:26 | for instance, the audio here is perfect so
I don't want to lower it, and I don't want
| | 03:30 | to start cutting it up and blading things.
| | 03:33 | And I have a great tool in Final Cut Pro X,
and that's simply the Range Select tool.
| | 03:38 | You can get to this with the keyboard
shortcut of R, and all I need to do is select the
| | 03:43 | range of audio underneath, and pull it down.
| | 03:48 | You'll notice that it actually creates a fade
and then we can hear the audio at this point.
| | 03:53 | Now I'll have a better sense of
the timing and the conversation.
| | 03:58 | (Mr. Dalton: Meet it.)
| | 04:01 | (Joseph: Six p.m., huh?
And if I'm such a risk, don't use me.)
| | 04:10 | That works a lot better for me for that edit,
because we actually see his face, and it's a dramatic
| | 04:16 | line, they're arguing.
| | 04:18 | So I think I'm going to keep it that way.
Probably I would do a split edit at this point.
| | 04:23 | We're going to learn all about J-cuts and L-
cuts or split edits in a later movie, but
| | 04:28 | for right now go ahead and work with the media that's
on the line and refine the cut to the way you like it.
| | 04:34 | And for those viewers that have access to
the exercise files, you can open up a more
| | 04:39 | refined version of this,
but we still have more to do.
| | 04:44 |
| | Collapse this transcript |
| Adding reaction shots| 00:00 | Now we've talked about cutaways in quite a lot of
detail, but let's go deeper into the reaction shot.
| | 00:06 | Go ahead and step into 03-04 Reaction
Shots, and what I have done here is just put one
| | 00:12 | clip on the main storyline, and I have
placed a couple of reaction shots for you to work
| | 00:17 | with already as connected clips.
| | 00:20 | Now they're actually grayed out, and you don't
see them, and you can gray out a clip or disable
| | 00:25 | a clip by simply selecting it and hitting
the V key to enable or disable it, or you
| | 00:30 | can right-click on any clip and then you
can choose to enable or disable it that way.
| | 00:35 | So if it's enabled, you'll see the
disabled option and of course vice-versa.
| | 00:41 | Now with the clips disabled, I'm going to
go ahead and play the scene, and you can see
| | 00:45 | the need to cut away from Mr. Dalton.
| | 00:51 | (Mr. Dalton: My job now is to wear this suit, please clients, and make
sure you do your job, nothing more, nothing less, understand?
| | 01:06 | Six p.m., deliver.
Oh, and this design better--)
| | 01:16 | So obviously, it's too long on Mr. Dalton,
and that's one reason you may want to cut
| | 01:21 | away from him to a reaction shot, but
an even better reason to cut away is you
| | 01:26 | want to see how Joseph is reacting to what
| | 01:30 | Mr. Dalton is saying, and depending on when you
cut to him and his expression, you can actually
| | 01:38 | evoke different feelings from your viewers.
| | 01:40 | So let's go ahead and turn these both on, I
am going to simply select them and hit the
| | 01:44 | V key, and now we'll watch playback with
the reaction shots, and I am going to show you
| | 01:49 | the difference if you move them earlier or later, make
them shorter, or even time them a little differently.
| | 01:57 | (Mr. Dalton: My job now is to wear this suit--)
| | 02:01 | Now first of all, since we're seeing this as
an over the shoulder shot, there is no reason
| | 02:05 | for me to have to listen to
the audio on the second track.
| | 02:09 | So for now I'm going to bring the volume down,
or if I wanted to, I could go ahead into the
| | 02:14 | Inspector and turn the audio off.
| | 02:19 | (Mr. Dalton: My job now is to wear this suit, please clients, and make
sure you do your job, nothing more, nothing less, understand?)
| | 02:34 | Now there is a whole different feeling,
because now instead of it being focused on
| | 02:39 | Mr. Dalton and him forcing and being kind of like
the mean boss, you actually see Joseph listening,
| | 02:45 | and you can see how upset he is
by his emotional reaction to what
| | 02:49 | Mr. Dalton is telling him to do, and it really changes
the entire vibe or feel of this part of the scene.
| | 02:56 | Let's take a look at the next one, and I think
that's going to require a little more tweaking.
| | 03:02 | (Mr. Dalton: Oh, and this design better not resemble the
last few of your strip mall-inspired projects.)
| | 03:12 | Now this reaction shot, the way it's placed
is very problematic, because when we cut to
| | 03:17 | him, he is looking down
almost as if he's not listening.
| | 03:20 | Now if that was our intent, that would be
great, but it's not. It's not that Joseph doesn't
| | 03:25 | care, his creativity is just
stifled and he can't move forward.
| | 03:30 | In this case, by trimming the head of the reaction shot
off the clip, we can get a better emotional response.
| | 03:37 | I want to make sure that the cut is he's walking
here and he steps into frame, and again, this
| | 03:43 | becomes a problem because if I make the cut
when Joseph looks up--and let me go ahead and
| | 03:48 | make this a lot bigger. I am going to go
ahead and slide this over, and now you can really
| | 03:52 | see what's happening with Joseph's expression.
And I'm going to go ahead and play this.
| | 03:56 | It'll look a little different,
but it still needs tweaking.
| | 03:58 | (Mr. Dalton: --design better not resemble the last
few of your strip mall-inspired projects.
| | 04:10 | Get out of the safety zone, Joseph.
Do your job.)
| | 04:15 | So by trimming the head, it's better. Our
reaction shot is almost too long, so I'd want
| | 04:21 | to cut this back a little bit.
| | 04:24 | (Mr. Dalton: --better not resemble the last few
of your strip mall-inspired projects.)
| | 04:32 | But that's just trimming off the heads and
the tail, there's a lot more to a reaction
| | 04:36 | shot than making it the right length
and cutting to it at the right moment.
| | 04:41 | Sometimes when you cut to a reaction shot,
if you cut earlier or later, it can make a
| | 04:44 | huge difference, so moving it up and down the
timeline will give a different feel for the viewer.
| | 04:50 | So in this case, let's go ahead and watch it and
determine what is the best time to cut to this reaction.
| | 04:56 | And as a matter of fact, let's go ahead and
select it and disable it so we can watch the
| | 05:01 | shot without Joseph's reaction so we
can see exactly where we want to place it.
| | 05:08 | (Mr. Dalton: Oh, and this design--)
| | 05:11 | I think right there on this design would be
the best spot, so let me go ahead and slide
| | 05:15 | this over, hit the V key to
turn it back on, and watch it.
| | 05:19 | (Mr. Dalton: This design better not resemble the last
few of your strip mall-inspired projects.
| | 05:31 | Get out of the safety zone, Joseph.)
| | 05:34 | So obviously, that is much more
dramatic, much more emotional.
| | 05:39 | I do have a couple of challenges with the
cutaway. I think there's too long of a pause in
| | 05:46 | Mr. Dalton's line between get out of the safety
zone, so I could go ahead and I could razor blade
| | 05:51 | this and just tighten it up and then use
the cutaway, not only for emotional response,
| | 05:56 | but also to cover this edit.
| | 05:58 | So let me go ahead and hit the B key, and
that'll switch me to the Blade tool--and by
| | 06:02 | the way, if you hold the B key while you're
cutting and then let go, it'll actually switch
| | 06:07 | you back to the Selection tool, so you don't have
to go back and click and adjust and click again.
| | 06:13 | Now we'll do a simple delete,
and we'll see how the reaction is.
| | 06:16 | I may need to stretch this out just a
hair to make sure that it covers the cutaway.
| | 06:21 | (Mr. Dalton: This design better not resemble the last
few of your strip mall-inspired projects.
| | 06:26 | Get out of the safety zone, Joseph.)
| | 06:28 | I think I can even cut some more out of that,
because I want to cut to him as he moves his
| | 06:33 | head up, and that way it's
going to be a much more natural cut.
| | 06:36 | In this case, since it's been already bladed,
I can simply slide this over until I see
| | 06:41 | Mr. Dalton's head start moving up,
and let's take a look at the playback.
| | 06:46 | (Mr. Dalton: --design better not resemble the last
few of your strip mall-inspired projects.
| | 06:53 | Get out of the safety zone, Joseph.)
| | 06:55 | And you could probably trim a little bit more, but
we'll worry about fine tuning later on in the course.
| | 07:00 | There's one last thing I
want to talk to about a cutaway.
| | 07:03 | As you can see, I can use a cutaway from any
part of the program, the audio doesn't even
| | 07:08 | have to match since I am turning it off, but
sometimes you like the duration of the cutaway,
| | 07:14 | it's the right length, it's in the right place,
but emotionally the person is not doing what
| | 07:20 | you want them to do in the scene,
they're not reacting properly.
| | 07:24 | So in that case, you're going to do something
called a slip edit where you're going to change
| | 07:29 | the start and the end point of the reaction
shot, but you're not going to change where
| | 07:33 | it is in the timeline.
| | 07:35 | To do this, you need to switch to the Trim
tool, and you'll notice that if you click
| | 07:39 | on the Trim tool, you'll actually get
yellow bars on the left and right, and as I move
| | 07:44 | my cursor left and right, what I'm doing
is is looking at a different beginning point
| | 07:49 | and a different endpoint, a new in and a new
out, and I can slide through until I see Joseph
| | 07:54 | looking a little more downtrodden.
| | 07:57 | In this case, I want him looking down at his designs,
and it shows how he's feeling like he's failing.
| | 08:02 | So, if you notice, on the right side is the
out point and on the left side is the endpoint.
| | 08:09 | So let's try that with him
looking down when we cut to him.
| | 08:12 | (Mr. Dalton: This design better not resemble the last
few of your strip mall-inspired projects.)
| | 08:19 | See, now I really like that because Mr. Dalton
is referencing the design, and when we cut to
| | 08:24 | him, he's looking down, and then he looks up sheepishly and
blinks, and one thing to keep in mind is sometimes the best
| | 08:32 | place to cut is right after a person blinks. It feels
very natural. It's kind of like what we do in real life.
| | 08:39 | Usually, when you turn to look at a different
part of the room or look at somebody else,
| | 08:43 | you momentarily subconsciously blink, and
you're literally making a cut in your head,
| | 08:48 | and you can follow that logic
whenever you need to make a cut.
| | 08:51 | So remember, a reaction shot is
a lot more than just a cutaway.
| | 08:55 | It changes the emotional feel of the piece.
| | 08:58 | A lot of times it's simple trial and error,
but when you get it you'll know it.
| | 09:03 |
| | Collapse this transcript |
| Using alternative takes| 00:00 | In this movie we're going to examine the
workflow of looking at alternate takes.
| | 00:04 | Now I know you've looked at alternate takes in previous
movies, but this is a whole different way of approaching it.
| | 00:11 | Let's step into 03-05
Alternative Takes and take a look.
| | 00:15 | Now I've set up my timeline with five clips
at the very beginning, and these are exactly
| | 00:20 | the same lines read from different angles and at
different times, so each read has slightly different nuance.
| | 00:28 | Let's take a quick look at the
five reads and see how they differ.
| | 00:32 | I'm going to just skim over the beginning of
each one of them to hear Mr. Dalton's line.
| | 00:37 | (Mr. Dalton: How's the coffee? How's the coffee? So, how's
the coffee? So, how's the coffee? So, how's the coffee?)
| | 00:56 | So we've seen this line before, but if
you notice, each read is slightly different.
| | 01:01 | Some are more firm and some are more compassionate,
and so it's more than just choosing the angle,
| | 01:06 | sometimes you need to choose the right
read to get them right emotional response.
| | 01:11 | And the same thing is
true for Joseph's response.
| | 01:16 | (Joseph: It's cold. It's cold. It's cold.)
| | 01:27 | (Mr. Dalton: So, how's the coffee?)
(Joseph: It's cold. It's cold.)
| | 01:37 | Now, when I look at this, I
thought the warmest read by
| | 01:40 | Mr. Dalton was actually our first clip, 2F_A_02,
and the response that was the saddest and
| | 01:47 | the most emotional for Joseph I
thought was the fourth clip, 2E_A_02.
| | 01:52 | So I'm going to go ahead and cut those two
together, and I'm going to show you a cool
| | 01:56 | little trick that you can use if you
decide to piece together best takes.
| | 02:01 | I'm going to go back to the first clip, and
I'm going to cut it in half using the Blade
| | 02:05 | tool right after his line.
| | 02:08 | Now, once I've cut it in half, I can switch
back to the Selection tool by hitting the
| | 02:12 | A key, and now I grab it, hold down the
Option key and drag, and what I'll do is make
| | 02:18 | an exact copy of that little chunk.
| | 02:21 | Now just to space that out a little bit,
I'll hit the Position tool, the P key, and drag
| | 02:26 | that over so I have some space to work with.
| | 02:29 | Let's go back to the beginning of our timeline,
I'm going to hit Shift+Z, and choose the take
| | 02:34 | that we want to use for the
response which was, "It's cold."
| | 02:38 | And I'm really give it little bit of
lead room, because I can always trim it.
| | 02:42 | So I'll go ahead and I'll switch over to the
blade and cut before and after, and once again
| | 02:48 | switching back to the Selection tool, Option-drag,
and put it right next to the first shot.
| | 02:56 | Let's take a look at how
those two work together.
| | 02:59 | (Mr. Dalton: So, how's the coffee?)
(Joseph: It's cold.)
| | 03:05 | That gives a very specific feel
to the emotional start of my film.
| | 03:10 | Now of course, these were just broad cuts, and I would
probably end up tweaking it because we have a head turn.
| | 03:15 | I could simply grab the edge here and make
sure that they match, and let's take a quick look.
| | 03:21 | (Mr. Dalton: So, how's the coffee?)
(Joseph: It's cold.)
| | 03:25 | So it gives me a nice feel,
and that was very easy to do.
| | 03:28 | I'm going to show you another great way to
kind of compare angles, and that's looking
| | 03:32 | at this middle chunk that I've already prepared.
| | 03:35 | Let me go ahead and hit Shift+Z,
so you can see the whole timeline.
| | 03:38 | What I've done here is I've actually selected
different opening shot with a nice flare from
| | 03:44 | the sun and then I want to try it with each of the
different takes from the beginning of the my timeline.
| | 03:50 | I'm going to go ahead and play it first.
| | 04:03 | (Mr. Dalton: So, how's the coffee?)
(Joseph: It's cold.)
| | 04:07 | Now I did add a little bit of street ambience
and some clock-ticking just to give it a feel,
| | 04:12 | but what I really want to focus on
is what if I tried the other takes?
| | 04:17 | Now if you look closely, I've actually created
this as an audition, and if you take a close
| | 04:23 | look in the upper left-hand corner you'll
see the icon is different, and that's because
| | 04:27 | this is an audition clip.
| | 04:29 | Now just as a refresher, to make
an audition clip is very simple.
| | 04:33 | There's several ways to do it. Probably
one of the easiest ones--and I'll show you on
| | 04:37 | this last clip in the timeline--is to simply grab
a clip and place it on top of an existing clip.
| | 04:45 | When I let go, one of my options
is to replace and add to audition.
| | 04:51 | Now if I click on this, take a look at
what happens in the upper left-hand corner.
| | 04:55 | I see the little spotlight, and now I can simply
click on the spotlight and switch between these two takes.
| | 05:01 | I'll go ahead and hit Done and take a look
at what I've pre-built for you, so we can
| | 05:06 | experiment with different
auditions of different takes.
| | 05:10 | Now if I click on this, you'll notice I actually
have six different takes here, five of the
| | 05:15 | different angles, and then I have a
different cut in point of my wide shot.
| | 05:19 | So I can click on any of these and hit Play.
| | 05:25 | And I can step through by clicking
and just hitting the Spacebar.
| | 05:42 | So if you notice, all I'm doing is clicking
on the next clip, hitting the Spacebar, and
| | 05:47 | Final Cut X will automatically play the outpoint of
the previous scene and the endpoint of the new one.
| | 05:54 | So I can actually see how these different
reads, how these different angles work without
| | 05:59 | having to constantly remove or add them.
| | 06:02 | It's a very powerful tool when
trying to examine alternatives takes.
| | 06:06 | Once I found the take that I like, I can simply
hit Done, and move on to the rest of my editing.
| | 06:12 | So it's important not just to pick a shot
based upon it being different than the previous
| | 06:17 | one, but that the read has
the emotional feel you want.
| | 06:22 |
| | Collapse this transcript |
| Using split edits| 00:00 | In this movie we're going to
take a closer look at Split Edits.
| | 00:04 | Let's go ahead and step
inside 03-06 Split Edits.
| | 00:08 | Now some people refer to Split Edits as J-
Cuts or L-cuts because the shape the clips make.
| | 00:15 | But the bottom line is that you want your edit to be
smoother, and you see this all the time on television.
| | 00:21 | Often you'll cut to a reaction shot while
the person is still speaking, and then the
| | 00:26 | person who's been cut to will start
talking, so the cut seems smoother.
| | 00:30 | Other times you'll hear the person starts
speaking off-screen and then we cut to them.
| | 00:36 | Either way, it can smooth out the
edit so the viewer doesn't see them.
| | 00:41 | Now Final Cut Pro X makes this very, very easy.
Let's a take at the first of our three segments.
| | 00:48 | (Mr. Dalton: So, how's the coffee?)
| | 00:50 | I mean, that cut kind of works.
His head looks up, but I want it to be smoother.
| | 00:57 | So to make a split edit, the first thing
I'll need to do is separate the audio from the
| | 01:02 | video, simply by clicking on the
audio track and they pull apart.
| | 01:06 | Now what I want to do is I want to hear the
audio first, so I'm going to shorten the video
| | 01:11 | by dragging it to the right.
| | 01:15 | Let's hear how that sounds.
(Mr. Dalton: So, how's the coffee?)
| | 01:22 | I like it. We're getting closer but we need to
finesse this, and I can finesse this by using the
| | 01:28 | Period and the Comma keys by moving my
edit points one frame at a time forward or backwards.
| | 01:33 | So I'm going to select the first clip, and
I'm going to add to it so I see his head fully
| | 01:38 | look up and see Mr. Dalton.
| | 01:41 | I'm simply pressing the Period
key to add one frame at a time.
| | 01:47 | Now if you notice the camera starts to tilt
down, so I'm going to step back a frame or
| | 01:51 | two, so we don't see that movement.
| | 01:54 | So my out point is perfect, and now I
want to make sure the in point is timed well.
| | 02:00 | Let me scroll up and take a look at the audio.
| | 02:01 | What I really need is I need to see just this
waveform, and I can go ahead and simply grab
| | 02:07 | that and move this over to the left.
| | 02:10 | Now if you don't have the control that you
want because it's snapping, you can go ahead
| | 02:16 | and zoom in by hitting the Command+Plus key,
and now I can drag over, and I can really
| | 02:21 | have that fine control.
| | 02:23 | So we hear the first words and then he
looks up, and then we see Mr. Dalton speak.
| | 02:28 | Let's go ahead and play
that back and see how it looks.
| | 02:32 | (Mr. Dalton: So, how's the coffee?)
| | 02:34 | So as soon as he said "so," Joseph looks up, and when we cut
to Mr. Dalton, it's natural, we don't even feel the cut.
| | 02:42 | We'll watch that one
more time just to make sure.
| | 02:47 | (Mr. Dalton: So, how's the coffee?)
| | 02:53 | Works perfectly. Now that's a simple way to do this,
and once you're done, feel free to close up the audio
| | 02:59 | by double-clicking on it, you'll notice that when you do
this that there's a little difference here in my audio.
| | 03:05 | As a matter of fact, if I zoom in you'll see
that there's a little space there that looks
| | 03:09 | different from the previous
in the following audio tracks.
| | 03:12 | That's just a visual indicator that I
actually have a Split Edit at that point, and if I
| | 03:17 | double-click it I can confirm that.
| | 03:20 | Let's go ahead and close that
up and go on to the next segment.
| | 03:24 | I'm going to hit Shift+Z so you can see my
entire window, and what we're going to do now
| | 03:28 | is look at these middle two clips and try
to re-create what's happening in the third
| | 03:34 | segment, which is a pretty complex set of J-cuts and
L-cuts, but it makes the scene move much quicker.
| | 03:40 | As a matter of fact, let me just play that
for you so you can see where we're going and
| | 03:45 | then we'll step into the middle
area, and we'll start to build it.
| | 04:02 | (Mr. Dalton: How's the coffee?)
(Joseph: It's cold.)
| | 04:07 | (Mr. Dalton: Did you finish it?
| | 04:12 | You know, I'm taking a big risk putting you on this
Columbia project. Firm could be on the line here.)
| | 04:20 | So, what we ultimately wanted to do is use
two separate audio tracks from this clip here--
| | 04:25 | and if I zoom in a little bit you
can actually see the name of the clip.
| | 04:28 | This is 2C-A-02, and I really liked his
read, and I really wanted to use that.
| | 04:35 | In addition, if we scroll down a little bit
more to the right, I like this reaction shot
| | 04:40 | here, and this is independent.
| | 04:42 | There's actually no audio associated with
it, but I like the fact that he looks from
| | 04:48 | up to down and shakes his head,
and then he looks back up to
| | 04:52 | Mr. Dalton, and this is
another trick that we pulled.
| | 04:56 | This video has nothing to do with this audio,
and because all we see is his shoulder, I
| | 05:01 | can actually choose the
exact reaction that I want.
| | 05:05 | Let's play that very quickly,
and I'll show you how I built it.
| | 05:10 | It's a very smooth cut
because we hear the audio continue.
| | 05:13 | Hitting Shift+Z to show us the whole
window again, let's go back to these two clips.
| | 05:19 | Now you'll notice that this clip is not a
standard clip, it's an audition clip, and
| | 05:24 | we learned about that in a previous movie.
| | 05:26 | If I click on that, I can see all the other
clips I used to build this complex series
| | 05:31 | of edits that makes my scene truly flow.
| | 05:35 | So the next edit that I want is actually to
2C-A-02, and I make sure that one is selected.
| | 05:42 | And this is the read that I like, so I'm
going to go ahead and I'm going to click Done, and
| | 05:47 | if I play it, it will just
play from the very tail end.
| | 05:53 | (Mr. Dalton: How's the coffee?)
| | 05:55 | I want to hear "How's the coffee"
underneath, just like we did before.
| | 05:59 | So we'll follow the same pattern very quickly, and
we'll shorten this up a little bit, and play that back.
| | 06:10 | (Mr. Dalton: How's the coffee?)
(Joseph: It's cold.)
| | 06:15 | Okay, so we got it that it's cold, and if you
take a look here if you are following along...
| | 06:20 | (Mr. Dalton: Did you finish it?)
| | 06:21 | After the word "you finish it"
is when we cut back to Joseph.
| | 06:25 | So I'm going to let it play.
(Mr. Dalton: Did you finish it?)
| | 06:31 | And I'm going to actually razor blade this
right now and take a look at what happens.
| | 06:35 | If I razor blade this clip, I
actually now get two audition clips.
| | 06:41 | Switching back to my Selection tool, I can switch back
over to 2E_A_02, which is our reaction shot, and select it.
| | 06:51 | Let me go ahead and press Done to select
that shot, and we'll go back and play it.
| | 06:59 | (Mr. Dalton: How's the coffee?)
| | 07:01 | If you notice, it actually took it from the very
beginning of that clip when it swapped it out.
| | 07:07 | So I'm going to need to trim it to the
part where he looks up and shakes his head.
| | 07:11 | However, I definitely don't want this audio,
so I'm going to go ahead and delete it so
| | 07:16 | I don't have to worry about that.
| | 07:18 | If I right-click on this clip, there's
an option to expand the audio components.
| | 07:24 | And now simply select the audio, and I can disable
it by hitting the V key, or right-clicking and choose Disable.
| | 07:32 | So now this audio won't
affect the rest of our scene.
| | 07:37 | Let's go ahead and see
what happens with the action.
| | 07:41 | It's the whole coffee part. What I really
want is I want when he's looking up and then
| | 07:46 | he looks down and shakes his head, so
we have that emotional response there.
| | 07:51 | So I'll put it right where he looks up, move
my playhead there, and I'll simply do an edit
| | 07:58 | and stretch that over so we can see Joseph looking
at Mr. Dalton and then looking down and shaking his head.
| | 08:08 | (Mr. Dalton: Did you finish it?)
| | 08:16 | Now we did trim off Mr. Dalton, so we can
stretch him out to the rest of the sequence.
| | 08:21 | And if I wanted to, I can go ahead and put
in another cutaway, which is simply an over
| | 08:26 | the shoulder shot, and it could be from
anywhere, and all I want to do is take the video.
| | 08:31 | So we'll go up to 2D_A_02, select the shot, and just
drag it down here and drop right into the timeline.
| | 08:41 | Now you'll notice...
| | 08:45 | (Mr. Dalton: You know, I'm taking a big risk--)
| | 08:47 | ...that once again we have
audio that we don't need.
| | 08:50 | If I want I can just bring the volume down.
| | 08:55 | (Mr. Dalton: You know, I'm taking a big risk
putting you on this Columbia project.)
| | 08:59 | And I really like Joseph's
reaction in this shot.
| | 09:01 | If I wanted to remove this so it's
clean, I can right-click, detach the audio.
| | 09:06 | With the audio detached, I can simply select it and
delete it, and now I don't have to worry about it.
| | 09:13 | So, as you can see, you can leverage the
audition function when creating J-cuts and L-cuts,
| | 09:19 | or you can just simply do Split
Edits when you have single shots.
| | 09:24 |
| | Collapse this transcript |
| Simplifying your timeline| 00:00 | In this movie we're going to show you how you can clean
up and make your storyline a little more efficient.
| | 00:05 | Go ahead and step into 03-07 single storyline,
and you'll see that we have a cut of the show
| | 00:12 | that's fairly complex with lots of J-cuts
and L-cuts and cutaways of B-roll and whatnot.
| | 00:19 | And it's visually a little bit distracting,
and it doesn't allow me to do some key things
| | 00:23 | that I might want to do, such as roll edits.
| | 00:26 | So what I'm going to do is select the clips in my
timeline and overwrite them down to the main storyline.
| | 00:34 | Now you need to be a little bit careful because,
if you select everything, including the main
| | 00:39 | storyline, and you right-click on any of the
clips, you'll see that Overwrite to Primary
| | 00:45 | Storyline is grayed out, and that's
because you can't overwrite a storyline to itself.
| | 00:51 | So go ahead to make sure
that doesn't happen.
| | 00:53 | I'm going to simply click in
that gray area to uncheck that.
| | 00:57 | And I'm going to grab all the
clips that are only above my storyline.
| | 01:03 | Now when I go ahead and I right-click,
Overwrite to Primary Storyline is available.
| | 01:09 | Once I select that, you see that everything
has merged down into its original position.
| | 01:15 | Now you maybe asking yourself well the
video did, but not all the audio did?
| | 01:20 | Well, the audio actually did merge down,
but like before we've separated the video and
| | 01:26 | the audio to make our J-cuts and L-cuts.
| | 01:29 | If I wanted to close those I can simply double-click
on any of them and they'll close, and I won't
| | 01:34 | have to worry about that.
| | 01:36 | Now one that's different is this piece of
audio here, and that was just brought in as
| | 01:40 | a cutaway piece of audio or piece of B-roll.
| | 01:43 | It's connected to this clip, but if I double-click
it it's not going to close anywhere.
| | 01:49 | So we'll close the last two remaining ones
just so you can see this look nice and pretty.
| | 01:53 | So, as you can see, we have this nice
single clean storyline that we can work with.
| | 02:00 | (Mr. Dalton: So, how's the coffee?)
| | 02:03 | Now, I still can perform
Ripple and Roll edits on this.
| | 02:07 | And if I needed to I can separate it from the main
storyline if I wanted to fine tune a split edit.
| | 02:13 | It's as simple as right clicking it
and selecting Lift from Storyline.
| | 02:17 | Now you'll notice when I've lifted something
from the storyline, it has replaced it with
| | 02:22 | a gap clip, but I can still do all the
same type of editing that I did before.
| | 02:27 |
| | Collapse this transcript |
| Grouping clips together| 00:00 | Let's step in to project 03-08
and take a look at our timeline.
| | 00:07 | Now this is the timeline that we've created
in an earlier movie where we actually overwrote
| | 00:12 | everything down to the primary storyline.
| | 00:15 | It looks very nice, but it
doesn't quite do what I need it to do.
| | 00:19 | I want to be able to group a bunch of clips
together, so I can either move them as a section
| | 00:24 | or put a video filter on it to change the
color of the scene to give it a certain mood.
| | 00:30 | If I didn't group them together, I'd have to put
that same filter on every single one of the clips.
| | 00:36 | And if the producer or my client comes
back and says, can you tweak it a little bit?
| | 00:40 | I have to find each one and make the same
adjustment, very time-consuming and very frustrating.
| | 00:46 | By grouping them together, I
can do it all in one fell swoop.
| | 00:50 | To group a set of clips, you can simply select
them and right-click and say create New Compound Clip.
| | 00:58 | And as you see the keyboard
shortcut is Option G as in group.
| | 01:04 | Now it's going to ask you to name this clip.
| | 01:06 | So let's go ahead and say 03-08 Compound
Clips Clip, is not really what I want, we will call
| | 01:13 | it Compound Clips Grouped.
| | 01:17 | And I'm going to say OK, and I can store
this in any event, but by default it stores it
| | 01:23 | in the event that it came from.
So we're going to store here in event Part 1.
| | 01:28 | Now it appears as if we have a single clip,
and I can go ahead and put filter on this
| | 01:33 | or perhaps I just want to shrink down all of
this footage and create a picture in picture,
| | 01:39 | so I can watch it with a
credit roll to the left.
| | 01:42 | I simply select what appears to be a single
clip, go over to my Filter menu, and I want
| | 01:48 | to pick a basic look to stylize this.
| | 01:51 | Now this is really early in the morning,
and I wanted to feel a lot cooler and distant.
| | 01:56 | And there's a great filter that I discovered,
and if you just type in steel--it's called
| | 02:01 | Cold Steel--and I'll drop that
directly on this entire scene.
| | 02:07 | And now if I look at the scene, it has this really
cool blue tone, but again it's a little bit over the top.
| | 02:14 | I don't want to be this dramatic.
| | 02:16 | So let's go up into my inspector and
select how much of this effect I want to see.
| | 02:22 | I'm going to just pull it back to about, I
don't know 65%, 70%, you can look at it subjectively.
| | 02:29 | The next thing I want to do is I
want to protect the skin tones.
| | 02:32 | I don't want the skin to go
blue just the rest of the scene.
| | 02:35 | So I'm going to go ahead and if you notice as I
pull this to the right, skin tones now come back.
| | 02:41 | And I'm pretty good, I
can tweak this a little bit.
| | 02:43 | If I want, I can scrub
through to see what it looks like.
| | 02:45 | I think I'm going to have a little less blue, I'll bring
it down to about 60, and I can go ahead and hit play.
| | 02:52 | And, as you can see, it gives a completely
different feel to the scene adding to the
| | 02:58 | drama, adding to the distance, and also
creating that sense of early morning.
| | 03:05 | (video playing)
| | 03:08 | Now you might be afraid that if you group a set of
clips, you're locked in, and you can't change them.
| | 03:13 | That's not the case at all.
| | 03:15 | As a matter of fact, if I double-click on
any compound clip, I can actually step inside
| | 03:20 | that group and do any edit I want.
I can replace the scene,
| | 03:24 | I can make scenes longer or shorter,
| | 03:26 | I can work with the audio, and then when I'm
done, I can simply step back into my original
| | 03:32 | show, and I'm good to go.
| | 03:37 |
| | Collapse this transcript |
| Reviewing the first cut| 00:00 | Now let's take a look at my
First Cut at the dialog scene.
| | 00:12 | (Mr. Dalton: So, how's the coffee?)
(Joseph: It's cold.)
| | 00:19 | (Mr. Dalton: Did you finish it?
| | 00:28 | You know, I'm taking a big risk
putting you on this Columbia project.
| | 00:34 | Firm could be on the line here.
Six p.m. tonight, simple deadline, meet it.)
| | 00:44 | (Joseph: That's it, 6 p.m., huh? Then don't use me.
We all know what risky decisions lead to.
| | 00:55 | Look, the company's in free-fall, and
you want to take another risk?
| | 00:59 | It's a creative approach.)
| | 01:02 | (Mr. Dalton: My creativity has nothing
to do with this. I did my time.
| | 01:09 | My job now is to wear this suit, please clients,
and make sure you do your job, nothing more,
| | 01:19 | nothing less, understand? Six p.m., deliver.
| | 01:28 | Oh, and this design better not resemble the
last few of your strip mall-inspired projects.
| | 01:39 | Get out of the safety zone, Joseph.
Do your job.)
| | 02:00 |
| | Collapse this transcript |
|
|
4. Editing a MontageUnderstanding the purpose of a montage| 00:00 | Cutting a montage is something
that you often need to do in a film.
| | 00:05 | Let's step into 04-01 and take a look at a
montage and talk about why people put montages in film.
| | 00:13 | So I'm going to go ahead and just cue this
up to right to where we cut to the montage.
| | 00:17 | And let's watch it and then we'll
talk about the whys and the whats.
| | 00:22 | (video playing)
| | 00:37 | So what just happened here?
| | 00:39 | We in a matter of 15 seconds--there were 15
seconds from the beginning to the end of that
| | 00:44 | montage--we experienced the frustration of
Joseph trying to design a building, and we
| | 00:51 | saw a much greater passage of time, because we
would see things get thrown into the trashcan
| | 00:57 | different angles of him drawing.
| | 00:59 | It allowed us to transition from the first
scene to the next scene, and show a passage
| | 01:05 | of time as well as create an
emotion of his frustration.
| | 01:10 | So montages can be used
for this type of effect.
| | 01:13 | It can also be to show the development of
say a relationship with a couple, and you
| | 01:18 | can see at the beginning of them wandering
in the park to all the way at the end, when
| | 01:22 | they're getting married and they're going
to the hospital and giving birth and then
| | 01:25 | watching their kids graduate.
| | 01:27 | So it allows you to compress time,
and you can break a lot of conventions.
| | 01:31 | You can actually do a lot of jump cuts
when you're doing any kind of a montage.
| | 01:36 | Now we're going to go ahead and look at the
flow of how I would review the footage, pick
| | 01:41 | out the best takes, bring it to the
timeline, and then refine it till it gets to be the
| | 01:47 | montage that tells the story that I want.
| | 01:52 |
| | Collapse this transcript |
| Selecting and organizing clips| 00:00 | The first thing I would do before I
started creating a montage would be to select the
| | 00:05 | images that I want to use in that montage.
| | 00:08 | Now in this case, we have one clip to
choose from, however, it is a 10-minute long clip
| | 00:12 | where the cameraman roamed around the room and
directed the actor to do different things.
| | 00:17 | And if we skim through this clip, we see a
variety of shots that I can use to create the montage.
| | 00:23 | Now, one of the workflows that I like to use
when creating a montage or selecting a lot
| | 00:27 | of clips out of a single really long take
is to use the Favorites option, and you can
| | 00:33 | see that I've already done this to
this clip with these little green dots.
| | 00:37 | Each of those green dots
are actually a favorite.
| | 00:40 | Now, if I go ahead and I want to look at these
favorites individually, I would go down, and
| | 00:45 | I could switch over to the Film Strip view
and instead of looking at all clips, I would
| | 00:50 | just look at my favorites.
And as you see there they are.
| | 00:55 | Now one of the problems with using favorites
to make sub-clips is if I accidentally modified
| | 01:00 | a favorite when I was looking at this clip for
perhaps another shot all of these would disappear.
| | 01:06 | So what I want to do is assign a keyword to
all of these shots, so I have redundancies.
| | 01:11 | So if I mess up the word favorites on
these, the keyword will always apply.
| | 01:16 | So to do that I'm simply going to right-click on the
event, I'm going to say make a New Keyword Collection.
| | 01:23 | I'm going to call that keyword collection
03 Selects, and now go back to the montage.
| | 01:31 | I'm going to switch back to the List view.
| | 01:34 | And this is very good if you have less RAM,
or an older computer, and I'm going to select
| | 01:39 | all of these clips and simply drag them
on top of 03 Selects to apply the keyword.
| | 01:47 | Now I'm going to go ahead and click on 03
Selects, and as you can see, it looks exactly
| | 01:52 | the same, as a matter of fact, all of these
clips are also in this keyword collection.
| | 01:57 | And now I don't have to worry about
accidentally--or even intentionally--changing my favorites
| | 02:02 | on the master clip, because I
already have these defined as my Selects.
| | 02:08 | Now once I do have them broken up, I'm
going to step inside my sequence, and I'm going
| | 02:12 | to put some of these clips inside.
| | 02:14 | Now of course, it's very
hard to see them this way.
| | 02:16 | So, we're going to switch
back to the Film Strip view.
| | 02:20 | And now I can simply skim over each other
clips, pick the ones I want, so perhaps we'll
| | 02:26 | start here with him looking down.
| | 02:28 | I can either bring the entire clip into my
timeline, or if I want, I can simply select
| | 02:35 | a range and hit the E key
and add that to my timeline.
| | 02:41 | Now I'm going to go ahead and put the rest of
the clips that I want to use into my sequence
| | 02:46 | and then I'm going to start fine tuning
their lengths and rearranging their order.
| | 02:51 |
| | Collapse this transcript |
| Laying down and organizing the base| 00:00 | Once I've selected the 30 or 40 clips that I may
use to create my montage, I'm going to create a base.
| | 00:07 | And let's step into 04-03 First Cut.
| | 00:11 | And as you see I have a, I
don't know, about 15 clips here.
| | 00:14 | I know I want this montage
to be about 15 seconds long.
| | 00:18 | So I threw in roughly enough
clips to give me about 15 seconds.
| | 00:23 | And I want to play with the length, I can swap
clips out, but at least I have something to work with.
| | 00:28 | I don't want a start with like a 4 minute
montage, and I have to take it down to 15 seconds.
| | 00:33 | I want to start with about a 15 second montage.
| | 00:36 | And then what I'm going to do is I'm going
to actually watch it and see the rhythm and
| | 00:40 | see if there are shots that
don't work and change the timing.
| | 00:43 | Now let's just watch the
first edit, for example.
| | 00:47 | (video playing)
| | 00:50 | So when I put this together I thought it would
be kind of cool if I had this coffee cup idea,
| | 00:55 | and the shaky cam, and I
realize I don't like it.
| | 00:58 | So instead, I'm going to just go ahead and I
can either delete it or move another shot there.
| | 01:03 | And I want to keep what I have,
because mostly I like everything.
| | 01:06 | So I need to find a replacement shot.
I'm always cutting on motion.
| | 01:10 | Whenever I do a montage that's this short,
cut on motion, and it works and in this is
| | 01:14 | where jump cuts really come into play.
| | 01:16 | So, so we're going to go from Joseph, to him
drawing, to him crumpling, to establish the mood.
| | 01:21 | I'm simply going to swap out these
shots and see how the timing works.
| | 01:29 | Well, I like the fact we're going to the paper.
It's a little bit short.
| | 01:33 | So then I'm just going to go ahead
and I could make it a little bit longer.
| | 01:36 | (video playing)
| | 01:37 | (video playing)
| | 01:39 | And I might want to make it a little bit longer
at the head and again we simply watch and listen.
| | 01:44 | (video playing)
| | 01:46 | Now if I want a little bit of more continuity,
and I'm going to go ahead and move this coffee
| | 01:50 | shot out, because I don't like it.
| | 01:51 | As a matter of fact, one thing that you can
do if you just want to replace a clip in the
| | 01:56 | timeline is select it, go up to any other
clip that you want to put in and simply put the
| | 02:01 | playhead at the endpoint where you want it.
I'm going to go ahead and press the I key.
| | 02:07 | And now I'm just simply
going to do a connect edit.
| | 02:09 | I'm going to drop it right down on top to
see if I like it, and I'll make it the right
| | 02:14 | length, and we'll see how this
works together with the previous one.
| | 02:18 | (video playing)
| | 02:21 | It's kind of there, as a matter of fact, one
of the things I usually do in a montage is
| | 02:25 | I would put this in for timing and then I
would hit the T key, and that switches me
| | 02:30 | to my Trim Edit View, and then I can simply
click and move this back and forth until I
| | 02:35 | see the action that I want.
| | 02:37 | So there we go, there is the item
falling right into the trashcan.
| | 02:40 | So that'll be my in point,
and that when I play this.
| | 02:44 | (video playing)
| | 02:46 | I kind of see this action, and it's a little
tight, but this is the trick of how to fix that.
| | 02:51 | So I know I want this shot.
| | 02:52 | I'm simply going to right-click on it, I'm
going to override it to the primary storyline,
| | 02:57 | it fits in perfectly.
Let me take out this extra piece of audio here.
| | 03:01 | And this is the trick I'm going to actually
stretch the audio of the previous shot, so
| | 03:07 | it continues as it falls into the trashcan.
(video playing)
| | 03:12 | So now they don't even
feel like there's an edit.
| | 03:15 | So as you see, this next up is all about massaging and
selecting clips, and it's a really about rhythm and timing.
| | 03:23 | And once you get the video where
you want, go ahead and overlap audio.
| | 03:27 | Because once the audio is overlapped, people
won't even notice the jump cuts so they will
| | 03:31 | appreciate the jump cuts, but it all
seems continuous because the audio flows.
| | 03:37 | Often I'll even add a sound effect track
underneath, such as office ambience, just to keep it fluid.
| | 03:43 | Now I have a lot of work to do to figure
out exactly how I want this scene to cut.
| | 03:48 | So I'm going to go ahead and finish this up,
and we'll take a look at what I come up with.
| | 03:53 |
| | Collapse this transcript |
| Exploring montage editing techniques| 00:00 | In this next movie I'm going to show you a
few really cool techniques that I like to
| | 00:04 | use when building a montage.
| | 00:06 | I may or may not use them for this montage, but
these are some good tricks to keep in your back pocket.
| | 00:12 | Let's go ahead and step into 04-04 techniques
and take a look at some other things you can
| | 00:17 | do when building a montage.
| | 00:19 | Now this montage is actually timed out based upon
what happens in the shot, the action in the shot.
| | 00:26 | And in this case, I cut at the
end of the beginning of an action.
| | 00:30 | But what if I want them
all to be the same duration?
| | 00:33 | This is a really cool technique.
| | 00:34 | I simply can select all the clips that I have
in my timeline, I press Ctrl+D, and the dashboard
| | 00:41 | changes to where I can enter
the duration I want of each clip.
| | 00:45 | I want this to say about the same length,
so I'm going to type in about 20 frames.
| | 00:50 | Watch what happens when I hit Enter.
| | 00:53 | The duration of each clip is
now exactly 20 frames long.
| | 00:57 | And this is great, if you're cutting to a
piece of music or if you have a lot of still
| | 01:01 | images, and you want
everything to be the same duration.
| | 01:04 | And I can simply go in and see how it works.
| | 01:08 | (video playing)
| | 01:12 | And if the timing isn't great within the shot,
remember you can always just select that one
| | 01:17 | clip with the Trim Edit tool, and you can
do a Slip Edit underneath just to find the
| | 01:22 | exact timing when the pen is in focus.
| | 01:25 | Let me go ahead and hit Command+Z a couple
of times, because I want to step back to where
| | 01:30 | it was when we stepped into this movie.
| | 01:35 | Now, just that you can see and feel the
difference, I'm going to play the first few shots again.
| | 01:39 | (video playing)
And now I'm going to add some music underneath.
| | 01:44 | And in my Sound Effects library--and let me
switch back to All Clips--I have one called Radio.
| | 01:53 | And this is just kind of a beat, beat, beat.
(music playing)
| | 01:57 | But I want you to hear and see how it feels
differently when I add this to the montage.
| | 02:03 | I'm going to go ahead and just press Q,
and it's going to attach to the clip.
| | 02:07 | Now even though I didn't have my playhead
exactly in the right place, I can simply press
| | 02:12 | the Selection tool and drag it to
the very beginning of my montage.
| | 02:18 | (video playing)
| | 02:26 | It has a completely different feel, a completely
different vibe as soon as I put some sort
| | 02:30 | sound effect or music underneath.
| | 02:32 | So things like a heartbeat, or a clock, or in
this case, just the sound of a Cymbal changes
| | 02:38 | the whole feel of the montage.
| | 02:41 | I'm going to go ahead and remove this,
because I want to show you one more thing that can
| | 02:44 | affect how a montage feels.
| | 02:47 | So again, I'll simply undo that a couple of
times, and we're going to talk about transitions.
| | 02:53 | Right now, we're doing jump cuts.
| | 02:55 | But this would feel a lot different
if we had dissolves between them.
| | 02:59 | And I'll tell you that the default duration
of a dissolve, because it's 1 second long.
| | 03:05 | And if I have clips that are only between
20 and 30 frames anyway, I'm going to be just
| | 03:10 | dissolving all the way through.
| | 03:12 | I'm going to go up here under my Preferences,
jump over to Editing and change my Transition
| | 03:20 | Duration from a half a second--which we set
up at the very beginning of this course--to
| | 03:25 | something even shorter. Let's make that 0.3.
We'll close that out.
| | 03:32 | And now, I'll select the first edit point, hit
Command+T, and it puts on my default transition
| | 03:40 | which is my one third of a second dissolve.
(video playing)
| | 03:46 | Now I could actually put this transition on
all of the clips at the same time by simply
| | 03:51 | selecting them, and now
once again hitting Command+T.
| | 03:55 | And now, I can see how would feel if we had
dissolves between each of them instead of cuts.
| | 04:00 | (video playing)
| | 04:06 | I might actually make the dissolves even
shorter, but I want you to notice it actually feels
| | 04:11 | like time is taking longer.
| | 04:14 | So if I wanted to create a montage that made
the audience feel that it took a lot longer
| | 04:19 | to get from the previous scene to the
following scene, I may build a montage with dissolves.
| | 04:25 | Now what if we didn't use a dissolve, but
use, say, a special effect as our transition?
| | 04:31 | We'll step into the Transition viewer and
underneath Lights I have a couple of cool options.
| | 04:38 | I think the Lens Flare since we use that sometimes to
transition in and out of the memory could be kind of cool.
| | 04:44 | Now I'm really a big fan of Lens Flares.
| | 04:47 | So I'm going to go ahead and put this in
and then I have it got feeling that a third of
| | 04:51 | a second maybe too jarring, because I
really want to see a bunch of flashes.
| | 04:55 | But let's go ahead and test it first,
and we can always shorten them later.
| | 04:59 | So I'm going to go ahead and select my
timeline and hit Shift+Z, so you can see everything,
| | 05:04 | and make sure everything is selected.
And then I want to put on my Lens Flare now.
| | 05:09 | This is a kind of a cool trick.
| | 05:11 | If I right-click on the lens flare, I
can make that my default transition.
| | 05:16 | So now it's very easy to simply select the
clips I want that transition on and hit Command+T
| | 05:24 | and instead of having dissolves, I
should have lens flares as my transitions.
| | 05:29 | (video playing)
| | 05:35 | I really do like this effect, but I probably
would make the transition a little bit shorter,
| | 05:40 | because it's drawing just
too much attention to itself.
| | 05:43 | But that's not a bad idea to try
different transition sometimes in a montage.
| | 05:48 | Just don't go overboard and make them subtle.
| | 05:51 | So as you see there is a lot of things you
can do in a montage with transitions, with
| | 05:57 | music, and with the timing of cuts that
affects the way your audience feels about a scene.
| | 06:02 |
| | Collapse this transcript |
| | Reviewing the first cut |
|
5. Editing a Multicamera ShootCreating a multicam clip| 00:00 | In this chapter we are going to examine what
you would need to do if you were using footage
| | 00:05 | that was shot with multiple cameras,
and it's a slightly different workflow.
| | 00:10 | Now in this case, we had footage that were
shot with two cameras in the close-ups and
| | 00:15 | then we had another take
where they shot the wide shot.
| | 00:18 | So the first thing I want to do is create a
Multicam Clip for the two cameras that were shot in sync.
| | 00:25 | Now, I've already built this, so if you have access
to the exercise files this is already done for you.
| | 00:32 | If you're using your own footage, I just want to
go over how to build a Multicam Clip as a refresher.
| | 00:38 | If you need more detail, go back and watch
the Essential Training for Final Cut Pro X.
| | 00:44 | The first thing we want to do is select
the two clips that we need to sync together.
| | 00:49 | Now I've labeled everything as I brought it
in and in the case of these two clips I can
| | 00:55 | see that it's scene 3A take 2
camera A and 3A take 2 camera B.
| | 01:02 | So I am going to go ahead and select both
of those, hold down the Command key, so they
| | 01:06 | are both selected simply right-click
and say, create New Multicam Clip.
| | 01:13 | Final Cut will automatically synchronize
the clip the only thing I need to do is change
| | 01:18 | the Name and the Name that I am
going to use is similar to the take.
| | 01:21 | I am going to make it 3A_M, for Multicam, _02
and then I'll say _test just because I
| | 01:30 | don't want to confuse it with
the ones that I already have.
| | 01:33 | When I click OK, Final Cut X will synchronize
these two angles and create the Multicam Clip.
| | 01:41 | Now you'll see in your Event browser there
is the new Multicam Clip that was created.
| | 01:48 | Now, I've organized all of my
multi-clips into a smart collection.
| | 01:53 | So if I click on this button here, I can see
all of my clips that are available to me and
| | 01:58 | the new one that says, test.
| | 02:01 | Now I want to show you how I created this
because this is very useful in organizing your media.
| | 02:06 | If you go up here and click on the magnifying
glass you'll open the Filter dialog box, and
| | 02:12 | under the Filter dialog box, you can actually
create a Filter for Clip Type. And your options
| | 02:18 | for Clip Type include Audition, Compound clips,
Multicam, and Layered Graphics, and you may
| | 02:25 | actually want to create smart collections
throughout your project, whenever you are
| | 02:29 | using these special types of media.
| | 02:31 | I am going to go ahead and select Multicam,
select New Smart Collection, and give it the
| | 02:38 | name practice, because I'm
just going to throw it away.
| | 02:43 | And as you see, when I click on practice
anything that's a Multicam clip, including the one
| | 02:48 | that I just created, is now available to me.
| | 02:52 | I am going to go ahead and delete those ones
that I have just created, so I don't get confused.
| | 02:57 | I can simply the Delete key and over here I
can right-click and delete the Smart Collection.
| | 03:04 | Now remember, we are just deleting the
pointers we are not deleting any media.
| | 03:09 | So now that we have our multi-clip created
we can go ahead and start editing I do want
| | 03:14 | to point out that I've pre-organized this
event with all the elements that I'm going
| | 03:19 | to need to build the scene.
| | 03:21 | And if you have access to the exercise files you can use
these keyword collections to build the entire scene.
| | 03:28 | And now I am ready to
edit my multi-camera scene.
| | 03:33 |
| | Collapse this transcript |
| Cutting multicam| 00:00 | Now that we've created our Multicam Clips,
let's step into 05-O2 Cutting and actually
| | 00:06 | start editing our multi-camera scene.
| | 00:10 | Now the first thing you want to do is select your
Multicam Clip and sometimes, if you double-click
| | 00:15 | it--which some people do when they select a
clip--you'll notice that it actually loads
| | 00:19 | two clips into your timeline.
| | 00:21 | What you're really doing is stepping into the
angle viewer, where you can adjust your Multicam Clip.
| | 00:26 | If you do this by accident, the best thing
to do is step back out of it by hitting this
| | 00:30 | back arrow, and you're back into your program.
| | 00:33 | Let's go ahead and bring
in our first multi-clip.
| | 00:36 | I've marked the best in an out point already
as a favorite, so I am going to click on the
| | 00:40 | green line to select the range.
| | 00:44 | Pressing the E key will bring the multi-clip
into my timeline, and I'm almost ready to edit.
| | 00:49 | There is a couple of things that we need to
change in the interface to make this more efficient.
| | 00:55 | First of all, I know longer need the
event viewer, what I need is my angle viewer.
| | 01:00 | So we are going to go down to our Window
and close the event viewer and then go back
| | 01:08 | to the Window and then go to
Viewer Display and say Show Angles.
| | 01:15 | Now I'll be able to see all of
the angles I have in my multi-clip.
| | 01:19 | Obviously we can only see four angles at
this point, but you can see up to sixteen angles
| | 01:24 | at once, by going to this dropdown window.
| | 01:28 | I'm going to place my playhead sort of at
the beginning of this scene but not quite,
| | 01:32 | because I know I am going to
replace this with a wide shot.
| | 01:35 | So we'll start here with our cutting point,
and now all I have to do is press the Spacebar
| | 01:41 | to play it, and literally click on
the scene that I want to cut too.
| | 01:45 | Bear in mind, we are going to be cutting
both audio and video, but if I wanted to I could
| | 01:50 | cut just the video and leave the audio or vice-versa
I could cut the audio and keep the video the same.
| | 01:59 | Let's go ahead and hit the
Spacebar and put in a couple of cuts.
| | 02:03 | (Patton: Well, 6 p.m.)
(Joseph: Is he sending you in here with
| | 02:09 | scripted-out dialogue and everything?)
MS: He suggested words, yes, and to come
| | 02:17 | every hour, but I decide whether to
come before or after the hour.)
| | 02:26 | So as you see, I just click on the shot that
I want, now I let this last shot go a little
| | 02:32 | bit longer than necessary, because I wanted
to show you that you're not locked in to any
| | 02:37 | of these edits, they're all very flexible.
| | 02:40 | For instance, if I wanted this to happen earlier
I simply bring my cursor down to the timeline,
| | 02:45 | and it automatically becomes the roll edit tool.
| | 02:49 | I don't have to switch any keys, Final Cut
is smart enough to know that when I'm working
| | 02:54 | with multi-clips that I want to do roll edit
so that I don't change the timing of my entire
| | 02:59 | scene, just the timing of where the edit occurs.
As you see, as I move this back left and right.
| | 03:08 | In the left window you see the last frame
of the outgoing scene and in the right window
| | 03:12 | you see the first frame of the incoming scene.
| | 03:16 | If I wanted to I can also jump later down
the timeline and start cutting from any point.
| | 03:21 | So I am not locked in, in a linear
fashion to switch from beginning to end.
| | 03:25 | I can also just position my cursor anywhere
that I want make a cut or switch angles
| | 03:31 | and simply click on the new angle
in the viewer and the cut appears.
| | 03:36 | But what if you want to switch back to a different
angle and not actually do a cut, that's easy to do also.
| | 03:43 | I am going to go ahead and switch
back to the angle of Joseph's reaction.
| | 03:49 | Now if I click at this point, I am going to be creating
a cut, and I know that because I see a Razor Blade.
| | 03:54 | If I hold down the Option key, my cursor
turns into a hand, and now instead of creating a
| | 04:00 | cut when I click, I just
swap out one angle for another.
| | 04:04 | The last thing that I want to show you is
how I would repair this edit, because a lot
| | 04:10 | of times you'll put an edit by accident,
and you don't want to leave it there, because
| | 04:15 | sometimes when you are trying to trim a scene, and you
want to go past that edit, it stops you at that point.
| | 04:21 | So you need to repair this, and this is called a
through edit, because literally it's continuous
| | 04:26 | from the same angle before the
cut to the same angle after the cut.
| | 04:30 | Now, you are going to see how simple it is
after the fact, but to remove a through edit,
| | 04:36 | you simply select it with
this Roll tool and press Delete.
| | 04:41 | The advantage of being able to edit a
narrative scene that was shot with multiple cameras
| | 04:46 | is you can switch back and forth without
having to worry about breaking the natural rhythm
| | 04:52 | of the performances of your actors.
| | 04:54 | Now I'm going to go ahead and cut the rest of the
Multicam, so I'll be ready to start inserting cutaways.
| | 04:59 |
| | Collapse this transcript |
| Using cutaways| 00:00 | Now, I finished cutting my multi-camera
clip, and I'm ready to put in some cutaways.
| | 00:06 | Let's step into 05-03 Cutaways and
take a look at what I need to do.
| | 00:11 | I have my basic cut of the back and forth
between Joseph and Patton, but I think I need
| | 00:16 | that wide shot because some of these
scenes demand establishing shots or when they're
| | 00:20 | talking on the phone, both of
them need to be in the shot.
| | 00:23 | What we are going to use for our cutaways is
from our master wide, and that's shot 3_A_04.
| | 00:31 | I am going to go ahead and select that clip,
and if you noticed when I selected it, I lost
| | 00:36 | the picture in my middle screen and what
happened was I have my angle viewer open.
| | 00:42 | So if this happens to you just make sure
you go ahead to your Window and hide the angle
| | 00:47 | viewer and then go back there
and click on Show Event Viewer.
| | 00:53 | So now in my left window I can actually skim
through a clip and see the shot that I want to select.
| | 01:00 | Now, the first thing I want to do is I
want to start with a nice establishing shot of
| | 01:04 | the two of them with
Patton walking into the office.
| | 01:07 | Now I've already marked an in and out range,
and I am going to play it just to make sure
| | 01:11 | I have exactly, what I want.
| | 01:14 | (video playing)
| | 01:21 | Looks good to me, it's establishing the
shot and then we'll probably cut to Patton.
| | 01:25 | So I am going to go ahead and move my
playhead all the way to the beginning, and I'm going
| | 01:29 | to select the range that I want to replace.
| | 01:33 | Now you'll notice that I
actually have an edit here.
| | 01:37 | (Patton: Mr. Dalton.)
| | 01:42 | Right before he starts speaking.
| | 01:45 | So I don't want to just
click on one clip and say ah.
| | 01:48 | I am going to replace that I want to select
a range of clips that I am going to replace.
| | 01:53 | Hitting the R key allows me
to select over my edit point.
| | 01:58 | Once this is done I am going to simply perform
an overwrite edit, and I can do that by clicking
| | 02:03 | on the D key, and it replaces
the close-up with the wide shot.
| | 02:09 | Now let's take a look at how the timing is.
| | 02:12 | (Patton: Mr. Dalton sent me to collect a design.
sent me to collect a design.)
| | 02:16 | So my problem here is that I have
redundancy, because he repeats the line.
| | 02:20 | But the nice thing is is I can edit between
the multiclip and my cutaway just like I would
| | 02:25 | edit between two clips.
| | 02:27 | For more precision, I'm going to zoom in by
hitting Command+Plus and go over to exactly
| | 02:33 | where I want to make the trim.
| | 02:36 | I need to switch my tool back from that Range
Selection tool to my Selection tool, and now
| | 02:42 | I can ripple edits either by shortening the end
of the first scene or shortening the beginning
| | 02:48 | of the following scene.
| | 02:50 | Let me go to the second scene and just pull
it across until he finishes saying that line.
| | 02:55 | As a matter of fact, the easiest thing to
do is simply hit the Spacebar and go Play.
| | 03:00 | (Patton: sent me to collect a design.)
| | 03:03 | Till he says, the word design.
| | 03:04 | Now make sure that snapping is on so that
it should be blue or hit the End key, and
| | 03:09 | I can simply grab this Edit and
snap it right to that cut point.
| | 03:15 | Let's take a look at our timing now.
| | 03:19 | (Patton: to collect a design, is it ready?)
| | 03:22 | Now don't worry about the
audio we'll fix that later.
| | 03:26 | My goal here is just to get a rhythm
going and to establish my cutaways.
| | 03:31 | Let's go ahead and put one more cutaway in
the middle, and that's when they are talking
| | 03:34 | on the phone to Mr. Dalton, I
want to see that entire action.
| | 03:39 | So I am simply going to hover over to where they
start to make the call, and let's see what the line is.
| | 03:45 | (Joseph: Hang on a minute, bud.
Um, I want to get the boss man on the...)
| | 03:47 | So we'll start with hang on I
am going to mark an in point.
| | 03:51 | (Joseph: Hang on a minute, bud.)
| | 03:52 | And we are going to take
it all the way through to...
| | 03:54 | (Joseph: every hour on the hour, checking in on me?)
| | 03:56 | ... checking in on me. So I am going to go ahead and
make sure that it's right on the cut point and mark an out.
| | 04:02 | And I am going go up here I am going to go
find the line where it says, hang on a minute.
| | 04:07 | (Joseph: Oh, I see.)
(Patton: Oh, I'm also supposed to tell you that--)
| | 04:18 | Mark an in point.
| | 04:20 | (Joseph: You know, Patton, hang on a minute, bud. I want to get...)
| | 04:22 | Now I am not sure if he's says Patton or not
in the close-up, but we are going to go ahead
| | 04:26 | and we are going to do this edit and simply
press the D key, and swap out the close-up
| | 04:32 | for this wide shot.
Let's see how it plays back.
| | 04:36 | (Joseph: You know, Patton.)
| | 04:38 | Again, not a problem, I can simply trim that,
And the easiest way to trim that is simply
| | 04:44 | my playhead is already parked
at the end of the word Patton.
| | 04:47 | I select the clip, and if you hold down the
Option key and hit the left bracket it
| | 04:53 | trims off everything from the beginning.
| | 04:56 | If I held down the Option key and hit the
right bracket it would've trimmed off
| | 04:59 | everything from the end to
where the play head is parked.
| | 05:02 | Let's take a look at that edit by hitting
the Shift and the forward slash key.
| | 05:07 | (Joseph: You know, Patton, I want to get
the boss man on the horn here.)
| | 05:11 | Its a little tight, but I'll tweak
that later when I'm polishing my audio.
| | 05:15 | I want to add one more cutaway because I
want to bring it in a little bit differently.
| | 05:20 | In both of these cases I have actually replaced
the Multicam Clip in the timeline with my wide shot.
| | 05:26 | But there are times when I want to add B-roll
and instead of cutting away the main storyline
| | 05:32 | I'll just add it as a connected clip.
| | 05:35 | So at one point he pushes this
chair out and Patton pushes it back in.
| | 05:39 | I just want to go to a close up of that.
| | 05:42 | So I'll line it up here, as he starts
putting the chair in, click on that section, mark
| | 05:50 | an in point with the I key and
then go and find that close-up.
| | 05:55 | Now I've labeled the close-up of 3B_A_01 with
the phone and the chair cutaway, and, as you
| | 06:02 | can see, they gave me B-roll of both the
phone and here is the chair getting pushed in.
| | 06:08 | So I am going to start picking up the action, hit
the I key to mark an in point, and an O to mark an out.
| | 06:20 | Now instead of hitting D, to do an overwrite
edit, I am pressing Q to do a connect edit.
| | 06:28 | Now this is a little bit long,
but we can easily shorten that.
| | 06:32 | (video playing)
| | 06:36 | And I think at that point we want to be out.
| | 06:39 | I am going to use the same technique that
I use earlier, which is simply making sure
| | 06:44 | that clip is selected, hold down the option
key, but this time use the right bracket, to
| | 06:49 | trim off the right side.
| | 06:52 | (Joseph: Hey.)
| | 06:58 | So that's pretty close, I am going to finesse
the timing, add some more B-roll, and cutaways
| | 07:03 | throughout the rest of the scene, and then I
can start doing some fine tuning and polishing
| | 07:09 | of both the cuts and the audio.
| | 07:14 |
| | Collapse this transcript |
| Polishing| 00:00 | I finished cutting in most of my B-roll,
and I'm ready to start polishing the scene.
| | 00:06 | So let's step into 05-04 Polishing and take
a look at some of the things that I can do.
| | 00:12 | The first thing I may want to do
is tweak some of the edit points.
| | 00:15 | I got close, but now I
really want to refine my timing.
| | 00:20 | So, I'm going to go ahead and listen, I think at
around if I recall at around 37, 38 seconds in.
| | 00:25 | I had a bad edit.
Let me go ahead and watch this.
| | 00:29 | (Patton: ...before or after the hour.)
(Joseph: Oh, I see.)
| | 00:34 | (Patton: Oh, I'm also supposed to tell you...)
| | 00:35 | Yeah, I should cut to him a little bit earlier,
and I could do a simple Roll Edit but I want
| | 00:40 | to show you another very useful technique.
| | 00:42 | I can go ahead and select the Edit point, and
by default, because this is still a Multicam
| | 00:47 | Clip, I don't have to change it to a roll
edit, its always going to be a roll edit and
| | 00:53 | then, I position my playhead
where I want the cut to be.
| | 00:57 | So I could do this by playing it, by dragging
it, and then simply press Shift+X--as in X-ray--
| | 01:04 | and I do what's called an extend edit, and
it quickly jumps the edit point to exactly
| | 01:09 | where my playhead is parked. It's a
very precise way of moving an edit point.
| | 01:15 | Another challenge that you face whenever
you cut scenes together is that sometimes you
| | 01:19 | need the actor's lines to overlap or just the
room tone to overlap so that you have a smooth edit.
| | 01:26 | Now this is very easy to do in Final Cut.
| | 01:29 | The trick is separating the
audio from the video temporarily.
| | 01:33 | To do this, I can simply double-click on any
audio track, and it actually separates from
| | 01:38 | the video track visually.
| | 01:40 | It still maintains connection, so it's not
going to go out of sync, but for instance
| | 01:45 | if I play this section.
| | 01:47 | (Joseph: ...telling me that, um, you want him
here every hour on the hour, checking up on me?)
| | 01:54 | I cut him off before he ends the word me.
| | 01:57 | So all I need to do is just select the end
of the audio and drag it to the right, and
| | 02:04 | everything else just jumps out of the way.
| | 02:06 | Now obviously, I'm not going to pull it far
because you can see even from the waveform,
| | 02:11 | he is starting to repeat,
and there will be an echo.
| | 02:13 | So let me go ahead and just bring it back to
this point and play it and see how it sounds.
| | 02:19 | (Joseph: ...every hour on the hour, checking up on me?)
(Mr. Dalton: Patton, you there?)
| | 02:24 | (Patton: Yes, Mr. Dalton.)
| | 02:26 | So we have kind of that
echo of redundant information.
| | 02:29 | So again, if I want to make that cut I
have the Edit selected, I am going to go ahead
| | 02:33 | and position my playhead right before Patton
responds and pause it, and do the same keyboard
| | 02:38 | shortcut for an extend edit that I did before.
| | 02:42 | (Joseph: ...on the hour, checking up on me?)
| | 02:44 | I hold down the Shift key and the X key, and it
automatically moves that edit point exactly where I want.
| | 02:51 | Now let me emphasize something here.
| | 02:53 | On a Multicam Clip, by default, whenever I hover my
mouse between two edits it's always a roll edit.
| | 03:02 | Every other time between regular
cuts it's going to be a ripple edit.
| | 03:07 | If I wanted to do an extend edit between
two normal clips, I need to switch to my Trim
| | 03:12 | Edit tool first before I hit Shift+X.
| | 03:18 | Now another challenge I have is this final
shot of the scene, and if we play this back,
| | 03:25 | and if you listen closely, you'll hear that
the mic on the actor playing Patton is rustling
| | 03:31 | against his shirt, and it's very distracting.
| | 03:34 | Now the mic on the other actor
playing Joseph is perfectly clean.
| | 03:39 | (Joseph: I see.)
(Patton: I'll see you in an hour. Maybe more.)
| | 03:47 | So I what to get rid of that rustling.
| | 03:49 | So what I need to do is I could separate
the audio--if you notice I still have my Trim
| | 03:54 | Edit tool selected, so I need to press the
A key to get back my Selection tool--and if
| | 03:59 | I double-click I only see one track,
and that's actually kind of disheartening.
| | 04:06 | Sometimes when things are recorded in camera
there is no way to tell the camera that you've
| | 04:11 | double miked it, and it thinks it's
stereo when it's truly dual mono.
| | 04:15 | So with this clip selected, I am going to
go up to the Inspector window, scroll down
| | 04:21 | to the bottom we see
there's potential audio problems.
| | 04:23 | And, as you can see, the problem here is
that Final Cut Pro is interpreting the clip as
| | 04:28 | stereo instead of mono, and that's because
the way it was recorded in camera probably
| | 04:33 | both mics were running into
the left and right channels.
| | 04:36 | What we need to do is tell Final Cut that
it's truly not stereo that each actor had
| | 04:40 | their own mics and switch it to dual mono.
| | 04:44 | When I switch this to dual mono, I can go
ahead down here and instead of double-clicking
| | 04:50 | on it to separate the clips I'm going to right-click
on it, and I'm going to expand the audio components.
| | 04:58 | And, as you can see, I can
see both clips independently.
| | 05:03 | I can simply turn off the track where the
rustling is, which is track 2, and listen to how it sounds.
| | 05:12 | (Patton: I'll see you in an hour.)
| | 05:16 | Well, there is no rustling, but it's a
little bit too soft so I am going to go ahead and
| | 05:19 | scroll up that's the problem
it detected that it's too soft.
| | 05:23 | Click over here, check my loudness button, and
go ahead, and we should hear Patton much clearer.
| | 05:33 | (Patton: I'll see you in an hour.)
| | 05:36 | No rustling. So those are some examples of what I would do
throughout the scene, to polish it by tweaking
| | 05:43 | my edit points and adjusting and modifying my audio,
so I can end up with a nice assembled scene.
| | 05:50 |
| | Collapse this transcript |
| Reviewing the first cut| 00:00 | Now let's take a look at my
first cut of the Multicam scene.
| | 00:06 | (video playing)
| | 00:18 | (Clears throat).
(Patton: Mr. Dalton sent me to collect a design, is it ready?
| | 00:26 | (Joseph: No.)
(Patton: Well, 6 p.m.)
| | 00:33 | (Joseph: Is he sending you in here with
scripted-out dialogue and everything?)
| | 00:37 | (Patton: He suggested words, yes, and to come every hour,
but I decide whether I come before or after the hour.)
| | 00:45 | (Joseph: Oh, I see.)
(Patton: Oh, I'm also supposed to tell you that--)
| | 00:48 | (Joseph: You know, Patton, hang on a minute, bud.
| | 00:50 | Um, I want to get the boss man on the horn here
so we can all have a little chit-chat, all right?)
| | 00:59 | (Mr. Dalton: Yes?)
(Joseph: Hey, yeah, I'm here with Patton,
| | 01:02 | and he's telling me that, um, you want him
here every hour on the hour, checking in on me?)
| | 01:09 | (Mr. Dalton: Patton, you there?)
(Patton: Yes, Mr. Dalton, I'm here, and I never said on the hour.
| | 01:15 | I just told him that I decide before or after the hour.)
(Mr. Dalton: No matter, just continue to do as I requested.
| | 01:22 | Oh, and Patton, did you let
Joseph know about the other details?)
| | 01:27 | (Joseph: What other details? Look, I don't have--.)
(Patton: So, the other details, um.
| | 01:40 | The boss man decided to put Leavitt and
Myron from 42 Designs on the project as well.
| | 01:46 | They've been working on concepts all week.
The Columbia tower board meeting is after
| | 01:53 | the end of the day, and if they like any of the
concepts, then, well, we'll all keep our jobs.)
| | 02:03 | (Joseph: All right, I see.)
(Patton: I'll see you in an hour.)
| | 02:19 | (Joseph: Nuts! I can't believe this!)
(music playing)
| | 02:54 |
| | Collapse this transcript |
|
|
6. Using Audio to Enhance a ScenePreparing to fix audio| 00:00 | In this chapter, we're going to explore
how you can find and repair audio problems.
| | 00:07 | Now let's step in to 06_01 Marking
Ranges and see what the situation is.
| | 00:12 | Well, this is a great scene of
Joseph and his dad reconnecting.
| | 00:17 | The only challenge is it was recorded on
location at the beach, and there's a lot of background
| | 00:22 | sound, such as waves and
seagulls and even the crew talking.
| | 00:27 | Take a listen at a couple of
sections, and you'll hear for yourself.
| | 00:32 | (Mr. Dalton: So, you got a design for me?)
| | 00:49 | Well, as you can see, even when the
actors are speaking you're fighting the wind, and
| | 00:55 | you could spend a lot of time trying to
repair that using filters and equalizers but the
| | 01:01 | easiest solution is simply to remove the
sound that was recorded live and replace it with
| | 01:07 | audio where the actors where in
a studio and recorded it cleanly.
| | 01:12 | And that's exactly what we're going to do.
| | 01:14 | As a matter of fact, we have
clean audio from both Joseph and
| | 01:18 | Mr. Dalton, and I've marked these already with the best
takes, and even keyworded them, to save you some trouble.
| | 01:26 | Let me show you what that looks like and then I'm going
to show you how you can keyword the same way I did.
| | 01:32 | Now if I open up these disclosure triangles,
you can see each of the phrases that the actors
| | 01:38 | say, and if I click on them, it'll actually select
that range for me to bring directly into my timeline.
| | 01:44 | I can scroll down to Mr. Dalton's
lines, and you can see the same thing.
| | 01:52 | Now let me show you how I went
about and created these keywords.
| | 01:57 | I can select any range on a
clip and mark it as a favorite.
| | 02:03 | Now as you can tell, this was a pretty long
take so it's really hard for me to find exactly
| | 02:08 | where they start and stop speaking.
| | 02:10 | This is a perfect opportunity to switch
from the list view to the filmstrip view.
| | 02:15 | So I'm going to go over here and switch to
the filmstrip view, and now I can see a lot
| | 02:20 | greater detail of my audio.
| | 02:22 | We're looking at this at about every five
seconds, I can shift this to maybe every 10
| | 02:27 | seconds or every 30 seconds, or I can even go
down to a smaller number say, every 2 seconds.
| | 02:35 | And now I can be quite precise about
getting the exact sound bite that I'm looking for.
| | 02:41 | If I hold down the Option key, I can ignore
the original selection and refine my selection
| | 02:47 | to exactly the area that
I want to use to replace.
| | 02:51 | And now, I want to mark it as a favorite.
| | 02:52 | I'm going to use the keyboard shortcut of
F for favorite, and you'll notice there's
| | 02:56 | a green line that appears on top.
| | 02:59 | Let's step back into our list view and
rename favorite to something more useful.
| | 03:05 | So I'll scroll to where we have the word
Favorite, simply select it so that we can change it--
| | 03:12 | and in this case since I know I'm not
going to be using it later on I'll just call it
| | 03:17 | Delete me--and hit the Return key.
| | 03:22 | So there we go, we have it labeled as delete
me, and as you can see, as I click any one
| | 03:28 | of these sound bites it actually will
highlight it, and I can drag it down to my timeline.
| | 03:33 | But it gets even better.
| | 03:34 | Let's jump back to our filmstrip view and
instead of looking at every two seconds we're
| | 03:40 | going to look at them all, and I can see
little dots for every one of my favorites.
| | 03:45 | Now all I have to do is switch from
viewing All Clips to just showing my Favorites.
| | 03:54 | And now, I have each of the individual
sound bites that I can very easily listen to.
| | 03:59 | (Mr. Dalton: Hey, kiddo.)
| | 04:00 | Or if I wanted to I simply can type in
the keyword, in this case kiddo, and I can
| | 04:07 | see all three takes where
the word kiddo is spoken.
| | 04:11 | So, as you can see, with a little bit of ground work,
you can easily select, label, and sort through sound bites.
| | 04:18 |
| | Collapse this transcript |
| Replacing location audio| 00:00 | Once you've gone through and picked out your
selects and marked them, you are ready to actually
| | 00:06 | start replacing the audio.
Let's step inside 6_02a Replace (Start).
| | 00:14 | Now since we have the Mr. Dalton clip voiceovers up, we'll
go ahead and replace this audio, and this is the shot
| | 00:21 | where he says kiddo.
| | 00:24 | It's very easy because I have already
keyworded these clips, to listen to the three different
| | 00:29 | takes and pick the one that I like the best.
| | 00:33 | (Mr. Dalton: Hey, kiddo. Hey, kiddo. Hey, kiddo.)
| | 00:40 | I actually think the second one sounds warmer and
friendlier so that's the one we're going to use.
| | 00:46 | So we're going to go ahead and I'm going to
mark it right where he starts to speak, and
| | 00:51 | I am going to hold down the Option key and
just grab the range of where he says hey kiddo.
| | 00:55 | Now if I wanted to verify that I didn't cut off
any of the beginning or the end of the words,
| | 01:00 | I can press Shift+Forward Slash.
| | 01:03 | (Mr. Dalton: Hey, kiddo.)
| | 01:05 | That's the Shift key and the slash
with the question mark above it, and I can
| | 01:10 | see that that's pretty close.
| | 01:12 | Now we are going to go and find in the timeline
exactly where the actor says the same line.
| | 01:20 | (Mr. Dalton: Hey, kiddo.)
| | 01:23 | Now don't worry about the fact
there we are hearing all that noise.
| | 01:27 | My goal is to make sure that his
lips are in sync with the words.
| | 01:32 | (Mr. Dalton: Hey, kiddo.)
| | 01:35 | If I want to see even more detail, zooming
in by pressing Command and Plus will allow
| | 01:41 | me to more easily select the
range, where he's saying his line.
| | 01:46 | (Mr. Dalton: Hey, kiddo.)
| | 01:53 | Now, if the clip is already selected, I
simply mark an in point by pressing I where the
| | 01:58 | line begins and mark an out point
after he says his line by pressing O.
| | 02:04 | So that's the part of the
clip that I need to replace.
| | 02:07 | I'm going to go back up, select the clip
that I've marked and simply press the Q key to
| | 02:13 | connect the good audio, to the
good video and the bad audio.
| | 02:18 | Let's go ahead and play that back
and see if the lips are in sync.
| | 02:23 | To make this a little easier, I am going to
go ahead and drag this over to the left and
| | 02:28 | make this frame as big as possible.
| | 02:32 | (Mr. Dalton: Hey, kiddo.)
| | 02:34 | I'm a little bit off there, I can hear it,
and that's a good thing because as I slide
| | 02:39 | it back and forth I can
get my timing just right.
| | 02:43 | Now keep in mind that a lot of times when an
actor rereads a line unless they're actually
| | 02:47 | rereading it to picture, sometimes it may be
shorter, sometimes it may be longer, and you'll
| | 02:53 | have to adapt either by cutting it up or
sometimes tightening it up and sometimes you just have
| | 02:59 | to do the best that you can with what you have.
| | 03:04 | (Mr. Dalton: Hey, kiddo.)
| | 03:06 | So my clean line is actually a little bit
late, so I can go ahead and simply drag it
| | 03:10 | over and play it again.
| | 03:14 | (Mr. Dalton: Hey, kiddo.)
| | 03:19 | As you can see, when trying to sync up audio,
a lot of times it's trial and error figuring
| | 03:25 | out, which track was first,
and which track followed.
| | 03:28 | I actually moved it to the left when
I should have moved it to the right.
| | 03:35 | (Mr. Dalton: Hey, kiddo.)
| | 03:38 | Now I can fine tune this by moving it back
and forth using the Comma and the Period
| | 03:42 | key, until I get it just right.
| | 03:48 | (Mr. Dalton: Hey, kiddo. Hey, kiddo. Hey, kiddo.)
| | 03:56 | There you go, sometimes moving it a
frame or two, and you can be spot on.
| | 04:01 | So that's how easy it is to match audio up.
| | 04:04 | Now, you may have noticed that I didn't
delete the original audio before I start putting
| | 04:09 | in the clean audio, and that's because I
wanted to be able to hear the original soundtrack,
| | 04:15 | so my matching would be a lot easier.
| | 04:18 | Once I've matched up all of the audio it's
at that point that I would either turn off
| | 04:23 | or delete the original track.
| | 04:26 | Now, before I do that I do want to point out
one thing that happens a lot when you're working
| | 04:31 | with actors, and you have them read lines
in studio. Let me zoom out and jump
| | 04:37 | a little bit later in this scene.
| | 04:42 | (Joseph: Yeah, I think I do.)
| | 04:45 | On set the actor says, yeah I think I do.
| | 04:49 | But in every single one of
the reads he doesn't say that.
| | 04:53 | I'm going to type in the word, yeah,
and if we listen to the line he goes.
| | 04:59 | (Joseph: Yeah, I think so.)
| | 05:01 | "Yeah, I think so." As a matter of fact, all three
takes he says, "Yeah, I think so."
| | 05:07 | So I wanted to point this out
so you don't go hunting for the line,
| | 05:10 | Yeah, I think I do, and if you do line it
up just right your audience won't notice that
| | 05:15 | he says so, instead of do,
when they watch the film.
| | 05:20 | Now getting back to how I would
delete the audio that I don't like.
| | 05:24 | Now don't worry if you've downloaded the
files there was a project file that shows all the
| | 05:30 | work when it's finally done.
| | 05:32 | Now I am going to show you two of the ways
that you can silence or remove the audio.
| | 05:37 | The first way is to simply select all of the clips with
your Selection tool, right-click, and say Detach Audio.
| | 05:49 | Once the audio is detached, I can
simply deselect and select all of my audio.
| | 05:55 | Now be the careful, because if you select all
of your audio, not only are you removing the
| | 05:58 | bad sound, but also the good sound.
| | 06:01 | So let me go ahead and deselect the one that
I matched up, and now, I can hit the Delete
| | 06:05 | key to all my bad audio has disappeared.
| | 06:09 | Now, this is rather destructive because there might be
a time I want to go back and listen to the original sound.
| | 06:15 | So I am going to show you a less
destructive way of doing the same thing.
| | 06:20 | I'm going to simply hit Undo a couple of
times to bring it back together, and now instead
| | 06:27 | of detaching the audio, what I can do is
again select everything, Command+A, right-click and
| | 06:34 | choose Expand Audio Components.
| | 06:37 | Now this might be new, if you haven't used
this before, so make sure that you select
| | 06:42 | Audio Components verses
expanding say audio and video.
| | 06:47 | With that selected all of my audio has now
been separated from the original clips, and
| | 06:54 | I can simply select those tracks
and press the V key, to disable them.
| | 07:01 | Now let's listen to the one
piece of audio that we substituted.
| | 07:06 | (Mr. Dalton: Hey, kiddo.)
| | 07:11 | Absolutely, perfect. The next step would be to add in the rest
of the audio, some ambience, some music, and
| | 07:20 | we'll end up with a perfectly sounding scene.
| | 07:25 |
| | Collapse this transcript |
| Replacing and repairing the dialogue track| 00:00 | Now that I've replaced all of the ambient, or
location audio, with nice clean studio audio,
| | 00:07 | I have one more thing to check.
| | 00:09 | Let's step into 06-03a Repair and take a
look at one of the problems that I'm facing.
| | 00:15 | And that is the actors were speaking at
different volumes or different levels.
| | 00:19 | Let's take a listen and hear how the father
and son are speaking at different volumes.
| | 00:25 | (Joseph: Hey, dad.)
(Mr. Dalton: Hey, kiddo.)
| | 00:29 | And actually in both cases, they are speaking
softer than they were on the beach because
| | 00:33 | they kind of had to project over the noise
of the waves and the noise of the seagulls.
| | 00:38 | So what I want to do is I want to maximize
the volume and Final Cut was smart enough
| | 00:43 | that when I ingested this material, it analyzed
my audio and actually discovered this problem.
| | 00:49 | I'm going to go ahead and open up the
Inspector and select my first audio clip.
| | 00:54 | Now at first blush, it doesn't
look like there's any problem.
| | 00:58 | But underneath where it says Audio Enhancements,
if I hover my mouse right next to the little
| | 01:04 | arrow, I can click on Show, and when it
analyzed the audio, it did determine a problem.
| | 01:09 | Now, I don't know what that problem is until
I actually click on this little arrow over
| | 01:14 | here, and I can see that there's a
problem with the Loudness in Uniformity.
| | 01:19 | So to fix this, it's simply a click, and
if I go ahead and play this clip back--
| | 01:26 | (Joseph: Hey, dad.)
| | 01:27 | --the volume level is much nicer.
| | 01:29 | So I can go through and simply select each
one of my clips, and since I'm already in this
| | 01:35 | Inspector window, I can just press the Loudness
button if needed and bring everything up to an equal level.
| | 01:48 | Now when I play this back, I am going
to notice a couple of more problems.
| | 01:53 | Let's jump ahead to this click right here.
| | 01:56 | (Joseph: Thanks for the message.)
| | 01:58 | I still hear a lot of background
noise because it boosted the volume.
| | 02:02 | So what I want to do is I
want to fade that audio out.
| | 02:06 | So I'm going to zoom in so I can see this
in more detail, simply hover my mouse right
| | 02:11 | by the edge, and I see a little pop up,
and now I can create a nice subtle fade.
| | 02:16 | If I wanted to, I can do the same
thing at the very beginning of the clip.
| | 02:22 | Be careful not to grab the edge of the clip,
because you could cut off the first part of the words.
| | 02:27 | If you have the downloaded exercise files,
there is a file called 06-03b Repair Finish,
| | 02:35 | that has all the audio
equalized and fades where needed.
| | 02:40 | Making sure that your ambient audio is at the
right level and clean is incredibly important
| | 02:47 | before you start adding any music or effects.
| | 02:53 |
| | Collapse this transcript |
| Building a soundscape| 00:00 | Now that the actors' voiceovers are in place and
repaired, it's time to bring back the sounds of the beach.
| | 00:07 | Let's step inside 06-04a Ambience and go
ahead and add back some waves and some birds and
| | 00:15 | maybe a little bit of music.
| | 00:17 | So the first thing I know I want is I do
want that beach atmosphere, that beach ambience.
| | 00:22 | Now all of these will be located in Part 3
under your Sound FX smart word collection.
| | 00:28 | If you select that, you will see these three cuts,
and we are just going to go ahead and choose Beach Ambience.
| | 00:34 | And you can be pretty loose about this,
you can just grab a selection because you can
| | 00:38 | always trim it later, and you can either
bring it down by hitting the E key, but make sure
| | 00:44 | that your playhead is at the very beginning, I'll
just drag and drop it to the beginning of the show.
| | 00:51 | Let's go ahead and listen
to the sounds of the beach.
| | 00:53 | (audio playing)
| | 00:57 | Well, if it was a hurricane, this would be
a good sound effect, but right now it's a
| | 01:01 | little bit too loud.
| | 01:02 | Let's go ahead and move our cursor right to
the middle of the clip and bring the volume
| | 01:06 | down until it's just in the background.
| | 01:10 | (Mr. Dalton: So, you got a design for me?)
| | 01:16 | Now remember volume is subjective, and you
want to make sure that it's loud enough that
| | 01:21 | the audience doesn't have to strain to hear
it, but not so loud that it overpowers the
| | 01:26 | voices in the scene.
| | 01:28 | For right now, I think that's about a good
level, but let's see what happens when I bring
| | 01:31 | in the seagulls and the music.
We'll bring in the seagulls the same way.
| | 01:35 | I am going to simply drag it, and I am going
to put them at the very beginning of the scene.
| | 01:39 | Now notice the difference when I
play back the beach with the seagulls.
| | 01:43 | (audio playing)
| | 01:47 | Because they are such high frequency, they
really punch through and they are way too loud.
| | 01:53 | So we are going to bring the seagulls down
pretty low. And the difference, here, is that
| | 01:58 | the beach can maintain the same level, but
since birds can come and go, I'm going to
| | 02:04 | actually bring their levels down a
little bit lower when my actors start to talk.
| | 02:09 | So I'll use them to establish the scene,
we'll lose them for a little bit, and bring them
| | 02:13 | back up at the end.
(audio playing)
| | 02:19 | Still think they're a little bit too loud,
let me bring them down here to maybe about
| | 02:23 | -31, -41, and then I am going to put a
couple of keyframes in simply by holding down the
| | 02:29 | Option key, right when the actors start to
speak, and when they stop speaking, and the
| | 02:36 | birds have left the area.
| | 02:37 | So I can bring them down really low and then
I'll bring them back up again as the movie finishes.
| | 02:45 | (audio playing)
| | 02:49 | So they're there, there are not too annoying,
but you'll notice that by the time the actors
| | 02:53 | start speaking, they are going to fade out.
| | 02:58 | (Joseph: Hey, dad.)
(Mr. Dalton: Hey, kiddo.)
| | 03:00 | I like that. Now there are just two more things I want
to add to this mix just to bring it to life
| | 03:06 | and one of those is footsteps.
| | 03:08 | I actually have some footsteps in the sand,
a lot of them, and then the key is picking
| | 03:12 | the right sound and the right level.
| | 03:15 | So if we go over here to the selection
that I have already marked, it's just a little
| | 03:23 | bit of shuffling and the key here
again is to make it really soft.
| | 03:27 | It's not Godzilla, coming up from behind, we
want it very subtle so you don't even notice
| | 03:33 | that you're hearing a sound effect.
| | 03:35 | Your audience should never realize that
you're adding sound, it should just feel natural.
| | 03:40 | So we'll start the sound a little bit off
screen, we'll go ahead and mark an in point,
| | 03:45 | and this time I am going to use the Q key
because I am going to connect it exactly where
| | 03:49 | my in points going to be.
| | 03:51 | There we have our Footsteps in the
Sand, and let's see how they time out.
| | 03:57 | Well, he should be done at this point.
| | 04:01 | So I am going to go ahead and drag the footsteps
back and by the time he sits down, the footsteps
| | 04:08 | should be over, so let's
end it about right there.
| | 04:12 | (video playing)
| | 04:21 | That seemed pretty natural, and I don't have
to worry that the viewer is going to think
| | 04:25 | I put in footsteps when
they weren't really there.
| | 04:28 | Finally, what I want to do
is add a little bit of music.
| | 04:31 | Now, we're just going to put in some
temp music to see how it works out.
| | 04:36 | So we'll select Love Story, and
I want the back half of the clip.
| | 04:41 | So let's go ahead and we will scroll down, I am
going to hit Shift+Z, so I can see the end of my show.
| | 04:46 | Obviously that Beach Ambience went way
longer than I wanted, so we'll drag that back, hit
| | 04:53 | Shift+Z again, and I want the audio to
end just a little bit after the video.
| | 05:00 | So we are going to go ahead and
we can drag it a little bit more.
| | 05:03 | With snapping on, it will end at the same time.
| | 05:07 | Let's listen to our music and
listen to the out point of our music.
| | 05:11 | (music playing)
| | 05:22 | I like that. So we are going to drop that in and kind of
line it up with the end and see how it works.
| | 05:32 | (Mr. Dalton: So, you got a design for--)
| | 05:39 | I think the music will need to be a little
bit softer, and I'm actually going to sneak
| | 05:43 | it in from the very beginning of the scene.
| | 05:46 | Now I really want the music to be under, as
a matter of fact, I don't want to really hear
| | 05:51 | it until they finish speaking,
and it's the wrap of the show.
| | 05:55 | So I am going to go ahead, press the Option
key, create a couple of keyframes, bring the
| | 06:00 | music way down, add a long fade at the
beginning, and take a listen to hear how it sounds.
| | 06:10 | (video playing)
| | 06:15 | Mostly, I am hearing the birds now, the beach,
but very slowly I am going to hear a little
| | 06:19 | bit of music under.
| | 06:23 | And I think I want to hear that a little bit
more as the father comes in, so we'll go ahead
| | 06:27 | and we'll pull that back.
| | 06:29 | (Joseph: Hey, dad.)
(Mr. Dalton: Hey, kiddo.)
| | 06:37 | So very subtle in the
background, at the end, it comes up.
| | 06:41 | (Mr. Dalton: Just doing my job.)
(music playing)
| | 06:51 | Perfectly timed with the bird, and I
usually like to have the audio fade out after the
| | 07:00 | video, it's kind of a smoother exit in my mind.
| | 07:03 | So we see the video has ended here, I can
simply go in and have all the audio fade out,
| | 07:12 | a little bit after the video.
And I think I have a pretty good pre-mix.
| | 07:18 | Now this won't be a final mix, but it will
give the producer or my client a pretty good
| | 07:23 | idea of what the scene will look
like and what the scene will sound like.
| | 07:28 | Now if you have downloaded the exercise files,
there is a project 06-04b, Ambience Finished,
| | 07:35 | which has this whole mix
just as I've created it.
| | 07:40 |
| | Collapse this transcript |
| Reviewing the first cut| 00:00 | Now let's take a listen to how I
cut together the audio for scene 10.
| | 00:23 | (Joseph: Hey, dad.)
(Mr. Dalton: Hey, kiddo.)
| | 00:34 | (Mr. Dalton: So, you got a design for me?)
(Joseph: Yeah, I think so.)
| | 00:43 | (Mr. Dalton: Good.)
(Joseph: Thanks for the message.)
| | 00:55 | (Mr. Dalton: Just doing my job.)
| | 00:58 | (music playing)
| | 01:12 |
| | Collapse this transcript |
|
|
7. Finishing TechniquesTransitioning between scenes| 00:00 | In this movie we're going to look at
transitioning from one scene to the next.
| | 00:05 | Now usually you would use a cut or a dissolve,
but in this case, we have a little more latitude
| | 00:11 | because we're actually transitioning
to a memory, or to a flashback.
| | 00:15 | Let's step inside 07-01 Transitioning
and take a look at what we can do.
| | 00:21 | Now the first thing we should do is take a look
at the cut and then we can make some decisions.
| | 00:26 | So let's just play the cut point where Joseph
picks up the picture, and we cut to him as a child.
| | 00:35 | Now of course, this is going to be processed so it
looks older, but a straight cut doesn't work for me.
| | 00:41 | It's too abrupt, and I
want to be taken back in time.
| | 00:44 | Now I could put a cross dissolve there,
but again that doesn't quite work.
| | 00:49 | You also might think that a Fade To Color
would work, but the problem with the Fade
| | 00:54 | To Color is it tends to slow
down the pace of your film.
| | 00:59 | So if I drop a Fade To Color there and by
default it's a fade to black, you can see
| | 01:04 | that I'm kind of waiting for the scene to come back,
and that slows down the emotional feel of this film.
| | 01:13 | So, I don't want to necessarily use a
Fade To Color, let's try something else.
| | 01:18 | Now there actually is a Flashback Transition.
| | 01:22 | So since we're going to a memory,
let's see what Flashback would look like.
| | 01:26 | I am going to select fade and
instead of fade just type over flashback.
| | 01:30 | Well, that's good enough because actually
get down to a choice of two, I am going to
| | 01:34 | go ahead and grab the Flashback Transition
and drop it over, and let's see how that looks.
| | 01:44 | Magical? I think not.
It's actually a little bit cheesy.
| | 01:49 | This is what they would do in
a bad movie for a Flashback.
| | 01:52 | I want to do something a little bit different,
I want to do something creative, and I want
| | 01:54 | to leverage what the director might've had in
mind, and if you notice the window is actually
| | 02:00 | blown out a little bit in the first shot,
so why don't we leverage that and use some
| | 02:05 | sort of a Light or a Lens Flare.
| | 02:08 | Let's go ahead and click on the X to remove the
word Flash, so we can see all of our transitions
| | 02:14 | and go ahead and click on Lights.
| | 02:16 | Now there are a lot of different light options
available, and you can go ahead and try them.
| | 02:21 | I think the Lens Flare is what I really want.
| | 02:24 | So let me go ahead and grab the Lens Flare
and replace that wonderful transition that
| | 02:29 | we had earlier, which was
Flashback, and see how this looks.
| | 02:35 | (video playing)
| | 02:38 | That's really cool because it actually
leverages that blown out window from the first shot.
| | 02:43 | Now I could stop here and be very happy, but
I want to take it to the next level, and this
| | 02:48 | is something you should consider.
| | 02:50 | Sometimes if you know you're going to be
transitioning to something dramatic, in this case a memory,
| | 02:56 | I might want to
reinvestigate how I cut into that.
| | 02:59 | Now I remember when I looked through the raw
footage, there were some great close-ups that
| | 03:03 | even had bigger flares, some on his glasses
and some actually off the glass in the frame.
| | 03:09 | So let's hop down to Scene 04 Flashback and
the two scenes that have these flares in them
| | 03:15 | are 3D_A--and I've actually marked these as
Favorites for you, so you can get them quickly--
| | 03:21 | but there I have a little bit of the
glint of the glass if I go through here.
| | 03:25 | I am going to go ahead and hit
Option+X and remove any selection.
| | 03:31 | There is my favorite.
| | 03:31 | I am going to click on that, and it actually
picks the selection, and if I hit the Spacebar,
| | 03:37 | that's that really cool glare.
| | 03:39 | Now I've also highlighted some other
favorites that do very similar things.
| | 03:44 | In the other clip, there we have a flare on
the glass and another flare, and you can again
| | 03:50 | try all of these to see what works best for
you, I'm going to go ahead and work with this
| | 03:55 | one, and I want to go through, and I
want to select the best part of the shot.
| | 04:00 | So let's go ahead and mark the in
and out points that we want to use.
| | 04:05 | Now I am going to go ahead and move the
out point right about where it gets all blown
| | 04:10 | out by the light and for the in point, we
want to make sure we cut on some action, because
| | 04:15 | the viewer won't notice
the cut if things are moving.
| | 04:21 | There, I think that's a good point.
| | 04:24 | Now let's go back here, I am going to select
and remove the other transition that we already
| | 04:29 | have and pick a good matching action point.
| | 04:34 | He's picking it up to look at it, and I
want to pick it up where there's some movement.
| | 04:37 | Before they tilt up, there we go just as
this is probably moving, is good, we can mark
| | 04:45 | that as an in point, and I can go ahead and
do an Override Edit to replace this, and I
| | 04:52 | can do that simply by pressing the D key.
| | 04:55 | Now if I hit Play, you'll see the cut is
pretty close, and we can go ahead and tweak that
| | 05:04 | a little bit later, but what I want to do
is I want to make sure that we are out of
| | 05:08 | it right at that flare point.
| | 05:10 | So I'm going to simply do a Ripple Edit and
drag it back, there we go, we are right at
| | 05:15 | the flare, and now let's go ahead and drop Lens Flare
on top of that cut and take a look at our transition.
| | 05:26 | (video playing)
| | 05:34 | Well, I think the transition really works,
but as you notice the director was moving
| | 05:38 | that back and forth quite a bit.
| | 05:40 | So I picked the wrong out point, but I can
simply grab the left clip, move it to the
| | 05:45 | point where we see the very first lens flare,
there it is, and we should be good to go, perfect.
| | 05:55 | So, transitioning from one scene to the next
is often a cut or a dissolve, but there are
| | 06:02 | times that you can have a
little bit more artistic license.
| | 06:05 | Just remember, don't go too far and just
because the transition says Flashback, it doesn't
| | 06:11 | mean you have to use it.
| | 06:16 |
| | Collapse this transcript |
| Using effects to create a flashback| 00:00 | In this movie, we're going to look at some
effects you can use to give the feel of a
| | 00:05 | memory or a flashback.
| | 00:06 | Now we previously looked how to get into
the flashback, but right now it looks exactly
| | 00:11 | like all the other footage.
| | 00:13 | So let's go ahead and step into 07-02
Flashback and take a look at some of our options.
| | 00:19 | Now, as you can see, this is pretty vanilla,
looks exactly like it would if I shot it today.
| | 00:26 | And I want to give it an aged feel, and
there's a lot of options in Final Cut Pro X that
| | 00:31 | will allow me to do that, and
it's very easy to step through them.
| | 00:35 | So the first thing we want to do is go over
to our Effects browser, and as you can see,
| | 00:39 | Final Cut X has a lot of
options for you to choose from.
| | 00:43 | Now the two areas that we're going
to examine are Looks and Stylize.
| | 00:48 | Now, as you can see, even at first blush,
there's a lot of looks that are available.
| | 00:53 | I can make it look like old Super 8 film.
| | 00:56 | And as you see, when I skim over this, right
off the bat that kind of gives me a good feel.
| | 01:01 | It does feel old, it feels maybe late
60s or early 70s so that could work.
| | 01:06 | A Vignette sometimes works with a memory.
| | 01:10 | You need to be careful though
because you don't want to go too far.
| | 01:13 | For instance, Aged Film is nice, but it's
film--and the odds are this would have been
| | 01:18 | shot with film--and those lines would
actually be a disconnect for the memory that we have.
| | 01:24 | Another option would have been black and white,
but to me black and white goes really old,
| | 01:28 | and that would be something in the 40s.
| | 01:30 | So let's go ahead and take a look
at some of the ones that we can use.
| | 01:35 | And I'm going to choose Super 8, and I'm
going to see how it feels when I play it back.
| | 01:44 | Now I've turned off the audio so that we're
not distracted by it, but I do want to point
| | 01:48 | out that with any filter you can
modify it for your specific need.
| | 01:53 | All you need to do is go into the Inspector
with the clip selected, and you can see there's
| | 01:58 | lots of ways you can adjust.
| | 02:00 | For instance, if I felt there was too much
Grain in this shot I could pull it back, and
| | 02:09 | that's going to give me a feel
of it being either older or newer.
| | 02:14 | So go ahead, feel free to play with the slide
as you can actually do it while you're playing
| | 02:18 | back the video, and if you completely mess
everything up just hit the Reset button, and
| | 02:24 | you're back at square one for this filter.
| | 02:26 | Now you can mix them because I think one
thing that would be really nice would be having
| | 02:30 | this Super 8 look, but also
throwing a Vignette on top of it.
| | 02:35 | And what this will do is it will darken the edges
here, and it will give me more of that 70s old feel.
| | 02:43 | Well, I think that works for me, don't be afraid
to try lots of different effects simultaneously.
| | 02:53 | For instance, let's say I like this Super
8 and this Vignette, but I'm going to go
| | 02:58 | over to the Looks section and under Looks
I do have this great option called Memory.
| | 03:04 | And I'm going to go ahead and click and add
that to the mix, and as you can see, it's
| | 03:08 | getting darker. But look over here, all I
have to do is I can toggle these on and off, and
| | 03:14 | see how the different effects can
combine to give me the feel that I want.
| | 03:20 | I actually like this I pulled the Super 8,
so I don't have that Grain, but I do have the
| | 03:24 | Vignette, and I do have the Memory.
| | 03:27 | Now we've only done this to a
single clip in our timeline.
| | 03:31 | In the next movie, I'm going to show you how
you can put an effect across multiple clips
| | 03:37 | very easily, and if you need to change
them you won't have any problems at all.
| | 03:42 |
| | Collapse this transcript |
| Using color to enhance a scene| 00:00 | In this movie, we're going to look at how easily
you can apply an affect, or a look, to several clips.
| | 00:07 | Earlier on we showed you how to apply the
effect to just a single clip but in real life
| | 00:12 | you'll probably want to
apply it to an entire scene.
| | 00:14 | Let's go ahead and step into 07-03a Color (Start),
and take a look at the scene of Joseph
| | 00:21 | and his father at the end of
the film talking on the beach.
| | 00:25 | Now this is a really warm scene, and I want this to
have a much different feel than the rest of the show.
| | 00:30 | It's the end of the day, I want that golden
hour, but I don't want to apply an effect to
| | 00:36 | each individual clip because if I need to
modify it, or remove it, it's going to be laborious.
| | 00:42 | What I want to do is to be able to apply that
look to all of them at the same time and adjust
| | 00:47 | them all at the same time.
And that's really simple to do.
| | 00:51 | What I need to do is if your clips are not
already selected--I just clicked off my clip
| | 00:55 | so none of them would be selected--and I'm
going to drag the mouse over the clips that
| | 01:00 | I want to put the video effects on.
| | 01:02 | I don't really need to worry about the
audio here if I selected the audio it won't be a
| | 01:07 | big problem, but what I'm going
to do is create a compound clip.
| | 01:10 | I'm going to take all of these clips and
put it into a container so I can put my effect
| | 01:15 | on that container and
modify all of them all at once.
| | 01:19 | So once your clips are selected, you can right-click
on any one of them and say New Compound Clip,
| | 01:26 | or use the keyboard shortcut Option+G.
| | 01:28 | You're going to need to name this clip, so
let's go ahead and name it Color (Start) compound.
| | 01:37 | And as you see what was many
clips now appear as a single one.
| | 01:43 | As a matter of fact, you can see that the
name says compound, and it has a unique icon
| | 01:47 | that indicates it's a compound clip.
| | 01:50 | Now don't panic thinking that you
can't change anything within the scene.
| | 01:53 | If you need to modify anything inside of a
compound clip all you have to do is double-click
| | 01:58 | on it, and you can step inside.
| | 02:00 | Any changes you make will
ripple back up to your main timeline.
| | 02:04 | To step back into your main timeline,
simply hit the Back button, and we're good to go.
| | 02:10 | Now the beauty of this is I can apply a
single effect to everything all at once.
| | 02:17 | I'm going to go ahead and open my Effects browser,
and while I'm at it let me open up my Inspector.
| | 02:23 | Now there's a lot of different looks you can put
on here and the one that I like is called Heat Wave.
| | 02:29 | I'm going to go ahead and simply type H-E-A-T,
I'll see all the different effects that have
| | 02:34 | the word heat in it, and simply grab
Heat Wave and drop it on my compound clip.
| | 02:40 | It immediately gives me a whole different feel.
| | 02:44 | This feels like that golden hour, that
hour at sunset, which not only sets the time of
| | 02:49 | day, but an emotional feel that there's now a
greater bond between the father and the son.
| | 02:55 | Let's play a little bit of
this scene and see how it feels.
| | 03:03 | (Joseph: Yeah, I think so.)
(Mr. Dalton: Good.)
| | 03:13 | (Joseph: Thanks for the message.)
| | 03:18 | So I really like the way this looks. I
didn't have to do to each of the scenes one at a
| | 03:22 | time, and if I wanted to adjust it, I
simply can go into my Inspector and dial it down
| | 03:28 | or dial it back up, and
it affects all of the clips.
| | 03:33 | Another really cool thing about working
with a compound clip is I can use the Audition
| | 03:38 | feature to put a variety of looks on it so
I can step through them when my producer or
| | 03:43 | the client wants to see a variety
of looks that I might have created.
| | 03:48 | To do this, I can make sure that the compound
clip is selected, I go up under Clip, select
| | 03:55 | Audition, and I have one of two choices.
| | 03:57 | I can either duplicate as an audition, in
which case the effect will be there, or I
| | 04:02 | can duplicate from the original, and that's
going to give me a copy without the effect on there.
| | 04:08 | Now one thing you'll notice is in the upper
left-hand corner that the symbol has changed
| | 04:13 | to a little spotlight, and if I click on
that spotlight I can actually step through the
| | 04:18 | two different looks, the one with Heat
Wave and the one without anything at all.
| | 04:23 | I'm going to go ahead and duplicate that one
again, and now on this third clip I can simply
| | 04:30 | load it back into my timeline, choose another
effect, and maybe we'll go over here instead
| | 04:36 | of doing Heat Wave I'll do Dry Heat to see
if that has a different feel that I like.
| | 04:42 | I can drop that on, and this is a lot more
muted, and maybe I'm going to try something
| | 04:48 | else, because the advantage of an audition
is I can tweak it and put multiple effects
| | 04:53 | on it, and easily swap back and forth.
| | 04:56 | So let's go ahead and add a Vignette, add a
little more blur to it, take out the darkening,
| | 05:05 | change the size, and now I have a completely
different look for this alternative scene when I play it.
| | 05:16 | (Mr. Dalton: You got a design for me?)
| | 05:20 | Now, perhaps that's not to feel that I
want, but it's very easy to switch back.
| | 05:25 | All I have to do is go back
to the beginning of the clip.
| | 05:27 | I'm going to hit Shift+Z, so we can
see the entire clip in our timeline.
| | 05:31 | And once again, click on a little spotlight,
I can step back to the different looks.
| | 05:40 | I like this book, simply hit Done, and
play it back for my client or my producer.
| | 05:47 | Now I also have a finished version for you
to look at, and if you step back out into
| | 05:53 | the Project Library you'll see something
named 07-03b Color (Final) and what I have here
| | 05:59 | is the compound clip, and you can go ahead and put
any filters you want on this and try them out.
| | 06:07 |
| | Collapse this transcript |
| Cutting down the rough cut| 00:00 | All along, as you've been editing, you've
probably been looking at each scene and seeing what
| | 00:05 | you can remove and what you can leave in.
| | 00:08 | One of the last steps is to look at your
assembled film and see if the whole film can be shortened.
| | 00:14 | I'm going to step inside 7.04, and I have
in my timeline both the original rough cut
| | 00:21 | and actually a shorter rough cut.
| | 00:23 | Now I'm not going to play it for you here
because you can go back to the table of contents
| | 00:28 | and watch both the long rough
cut and the short rough cut.
| | 00:32 | What I want you to take note of is that the
long rough cut followed the script precisely.
| | 00:37 | But once we watch the entire rough cut, before
we even did any of the polishing, we've realized
| | 00:42 | there were some scenes that
could completely come out.
| | 00:45 | A lot of times the first cut of the feature
film is four to four and half hours, which nobody
| | 00:49 | would ever sit through, and then they
cut it down to the best 90 to 120 minutes.
| | 00:54 | It's important at this stage to make sure
that the story is self-contained, and if there
| | 01:01 | are extra scenes that really don't move the
story along, or they detract from the story,
| | 01:06 | you should go ahead and remove them.
| | 01:09 | So go back and watch the long version, as well
as the short version, and see if you can tell
| | 01:14 | the difference and what was taken out.
| | 01:19 |
| | Collapse this transcript |
| Understanding finishing steps| 00:00 | Once your film is done, and you've looked
it over to make sure that it's not too long,
| | 00:05 | you don't have any extra scenes,
you're ready for the finishing step.
| | 00:09 | Let's step into 07-05, now as you see, I just
have one scene here for illustrative purposes.
| | 00:16 | But the whole idea of finishing is making
sure that when you have your scenes connected
| | 00:21 | back to back, that the audio is consistent,
that the luminance and the color are all balanced
| | 00:27 | for each other, that it's a finished product.
| | 00:30 | Now, there are two
scenarios to finish your project.
| | 00:34 | You could finish it completely inside of
Final Cut Pro X or perhaps you're going to send
| | 00:39 | it out to somebody else who is going to
work on the audio or the color separately.
| | 00:45 | In that case, you would simply go up on to
the File menu and Export an XML to hand off
| | 00:51 | to your audio editor or your colorist.
| | 00:54 | The other option you have is directly sending
out a finished copy, and you can do this through
| | 01:00 | the Share menu, or this button right here.
| | 01:03 | Now the Share menu allows you to send it out
to create a DVD or send it to YouTube or video
| | 01:09 | as well as to our variety of Apple devices.
| | 01:12 | If you have compressor loaded on your system,
you can also make custom exports and send
| | 01:18 | them out one at a time, or even as a batch.
| | 01:23 |
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| Looking at your visual arc| 00:00 | As we wrap up this course, I want to
remind you that when you're editing, only a small
| | 00:06 | part of it is actually the technical.
| | 00:08 | To really make a good film it's the
creative and the aesthetic, it's coming up with the
| | 00:13 | theme from the very beginning, and carrying
that theme all the way through to the end.
| | 00:19 | Now the theme for me was
the relationship between
| | 00:22 | Mr. Dalton and Joseph, who by the end of the
short film we discover is actually his father.
| | 00:28 | Now in the opening sequence, you notice the way it's cut,
there's a lot of distance between the two characters.
| | 00:34 | And we looked at this earlier, we
always try to put something between
| | 00:38 | Mr. Dalton and Joseph at the very beginning of the scene,
and we made it bluer so it has a colder feeling.
| | 00:45 | And we never really took a close up
because that way we were not emotionally attached
| | 00:50 | to either one of the characters.
| | 00:52 | Now we completely flip this around by the
end of the film, when we take a look and
| | 00:57 | Mr. Dalton is discovered to be Joseph's dad.
| | 01:00 | So not only do we have the scenes
where they're both in the same shot.
| | 01:04 | The shots are also much
tighter so we can see their reactions.
| | 01:08 | And as for color, it's that golden hour,
it's a very warm moment in their relationship.
| | 01:14 | And that's completely
different from how the film starts.
| | 01:17 | As a matter of fact, if we look at the closing
shot and one of the opening shots of the film
| | 01:22 | side by side, you can see both visually the
distance between them, as well as the color
| | 01:29 | telling us that it's a cool relationship. And
then at the end, it's a private moment we're
| | 01:34 | not even part of their conversation, it's a
private moment for the two of them and the
| | 01:39 | lighting is telling us it's the golden hour,
it makes us feel good, and this is the perfect
| | 01:44 | way to come full circle in the
relationship between Joseph and his dad.
| | 01:49 |
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ConclusionNext steps| 00:00 | Well, we've come a long way since the
beginning of this course, and you should have a better
| | 00:04 | sense of how to cut a narrative story.
| | 00:07 | A reminder of some of my best techniques:
always cut on motion. If the audience expects
| | 00:13 | your edit, you're too late. Always cut a moment
before they expect it and things will go well,
| | 00:19 | and watch TV without the sound or without the
picture, and you'll be amazed at how much you can learn.
| | 00:25 | Now one of the best resources for
Final Cut Pro X is the Help menu.
| | 00:30 | It is always being updated.
| | 00:32 | And under the Help menu, you have the
opportunity to look at the entire documentation and keyword
| | 00:37 | search that. There's also a help menu which will
just take you directly to all the keyboard shortcuts.
| | 00:45 | There's an opportunity to find out what cameras
are supported, and also, if you click on Service
| | 00:50 | and Support, you'll be sent to Final Cut Pro X
service and support page, which could help
| | 00:55 | with troubleshooting
problems that you might have.
| | 00:58 | In addition to the Service and Support page,
the Final Cut Pro X page is extremely useful.
| | 01:04 | You can find out what are the technical specifications
to run Final Cut Pro and additional resources that you could use.
| | 01:13 | There are several other courses on lynda.com that
can enhance your editing skills with Final Cut Pro X.
| | 01:19 | The first, of course, is Final Cut Pro X Essential Training,
which can reinforce the basics of using the tool.
| | 01:27 | There's also Color Correction in Final Cut Pro X,
Fundamentals of Video: Cameras and Shooting.
| | 01:32 | Now this isn't necessarily a Final Cut Pro X
course, but it will improve the quality
| | 01:37 | of the video that you have to work with.
| | 01:40 | There's also a Documentary Editing course with
Final Cut Pro X and an Effective Storytelling
| | 01:46 | course with Final Cut Pro X. Final Cut Pro X is
an excellent tool for cutting a narrative film,
| | 01:53 | now it's your turn to start editing
your own movie with Final Cut Pro X.
| | 01:59 | I'm Abba Shapiro and thanks for watching.
| | 02:04 |
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