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Dive into narrative with Diana Weynand, as she shares a comprehensive method for finding, crafting, and developing a compelling story in Apple Final Cut Pro X. The course also covers key concepts such as building a primary storyline, evaluating content and pacing, trimming distracting clips, creating different story versions, and storyboarding. The course also explores how to capture and organize media, incorporate B-roll cutaways, apply the Ken Burns effect to still images, re-time music and clips, and add finishing touches.
When you're shooting your production, there're a million distractions, lights, sound, swapping camera cards, finishing before the sunset, and you may not know the answer to what did you actually get until you start screening your footage. But screening footage isn't something you do just once inside Final Cut Pro, it requires repetition and begins on the desktop level. I want to show you how I prepared the files for your exercises. This is a folder that you won't see in your exercise files, I just want to show you how we prepared the clips for you.
Some of the clips are loose in this folder, and some have already been placed into folders. For example, the Coffee Growing folder contains individual clips of the coffee growing. (Video Playing) So simply by placing all of these clips together, it tells you a couple of things. First of all, it just simply organizes very cleanly and neatly all of these clips together in one location, and by the way, when you do this work on the desktop level, this work will also be recognized inside Final Cut Pro as it creates keyword collections.
But what's more important to you as a storyteller is that you're giving yourself an opportunity to look at a clip, (Video Playing) to think about it, and once your eyes have seen that, it'll start to take root, and you'll be able to start to grow ideas about how you can use that footage. You watch a clip often enough and you learn what it has to say. It informs you and guides you in your storytelling process. So, it's a good idea to group clips together, because a single clip could be different things, but when you group them together, they take on a higher-level meaning.
In our primary folder, we see there's different voiceover clips. So, let's create a folder in our DP STORYTELLING folder for narration. Now, any time you have clips that are of the same thing, such as these narration clips or voiceover clips, name the clips in a way where they'll all appear together. That'll not only save you time, but it will start to establish a flow in your editing process, so you know that anytime you see a clip that begins with VO, that would be an audio only voiceover clip, likewise, with these music clips.
(Music Playing) These are all great music clips that you may decide to use in your project. You may use just the audio or both audio and video, but if you were to name these clips church music, guitar music, they wouldn't appear together in this folder. And by the way, since there're a few different music clips, let's go ahead and create a folder for music, and drag these music clips together and see how easy it is to select all of these music clips at one time, because you took the time to name them, music and then what type of music it was.
We have a folder for Interviews and notice just as in Coffee Growing, we colorized the jj, we labeled it with the color yellow, and jj here appears the same way, so that's another little aid for you on your desktop level. If you see a clip that you think is fine but there's not a lot of action in this clip, it doesn't tell you much more about the story than there're some beans on this twig, you can put it into an Unused folder. I find creating an Unused folder very helpful. The clips that I put in my Unused folder are those clips that I'm sure I don't want to use in my story.
Let's take a quick look at the B-Roll footage. B-Roll footage of course are those clips -- (Video Playing) that will help you tell your story, cover some of those talking head edits that you're going to create when you use interview footage. But if you notice, there're a couple of different graphic clips, there is a bumper and there was a map and here's another map. Rather than just let these hang out together, let's create a folder inside this folder, and again, we'll just call this Graphics, and again, if you create a folder on the desktop level, that work will be recognized by Final Cut Pro when you import.
Are there other clips that we can combine together? Here's buffalo, elephant, giraffes, so guess what? Let's create an Animals folder. Wouldn't it be easier to look for animals in their own folder, than to have to sort through a list? And this is a very short list, maybe your list ends up to be much bigger. There are two other sections. There are some clips from Uganda and then there're some clips from America. So, let's create a folder for Uganda clips, and let's while we are at it, go ahead and create a folder for the America B-Roll clips.
The boy on the rock is Uganda, coffee tasting is America, delivery truck is America. So, as you start to spend time with the clips on the desktop level, you're starting to get a sense of the footage and the tools you have to tell the story. And now we're much more organized, everything is in its place. Your mind can be a workhorse if you let it. By screening clips in this initial stage, you plant a seed about how a single clip might combine with another clip, and with repeated screenings, those seeds will grow and develop into your story.
So don't skip this very important step of repetition, because it's one of the keys to crafting a story.
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