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Final Cut Pro X Essential Training
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Trimming clips: Using the Ripple tool


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Final Cut Pro X Essential Training

with Ashley Kennedy

Video: Trimming clips: Using the Ripple tool

Getting the right material in the timeline in the right order is certainly only part of the story. Truly anyone can edit in that sense, because honestly the mechanics of editing are not that difficult. The real art of editing comes in the trimming process, one frame at a time. In this chapter on trimming we are going to jump over to our other project, which is a dialogue scene from the film Castles. So, I'm going to pop into 4.1, and right now keep in mind that this is a very basic rough cut.
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  1. 6m 16s
    1. Welcome
      1m 0s
    2. Using the exercise files
      5m 16s
  2. 23m 30s
    1. Understanding the world of nonlinear editing
      5m 2s
    2. Understanding how FCP X works: A new take on story creation
      1m 48s
    3. Taking a tour of the FCP X interface
      8m 59s
    4. Accessing additional tools
      6m 23s
    5. Getting to know the projects for this course
      1m 18s
  3. 24m 41s
    1. Creating and organizing events from scratch
      5m 20s
    2. Organizing footage with keywords and ratings
      8m 19s
    3. Performing searches and creating Smart Collections
      4m 59s
    4. Displaying event data
      6m 3s
  4. 42m 11s
    1. Playing and marking clips in preparation for editing
      7m 16s
    2. Understanding different types of editing tools
      6m 20s
    3. Making the first edits: Using Insert and Append edits
      7m 31s
    4. Changing shots: Using Overwrite and Replace edits
      5m 54s
    5. Performing video- and audio-only edits
      3m 45s
    6. Moving clips within the primary storyline: Swapping shots and creating gaps
      3m 28s
    7. Removing material from the primary storyline
      3m 44s
    8. Understanding timeline navigation: Snapping, skimming, zooming, and panning
      4m 13s
  5. 23m 58s
    1. Trimming clips: Using the Ripple tool
      9m 9s
    2. Manipulating transitions: Using the Roll tool
      5m 36s
    3. Changing clip content and position: Performing Slip and Slide edits
      5m 40s
    4. Using the Precision Editor for fine trimming control
      3m 33s
  6. 14m 2s
    1. Connecting clips to the primary storyline
      7m 0s
    2. Understanding the features and limitations of Connected Clips
      3m 40s
    3. Working with secondary storylines
      3m 22s
  7. 31m 23s
    1. Adjusting the audio level and channel configuration via the Inspector
      8m 47s
    2. Keyframing audio in the timeline
      4m 57s
    3. Repairing audio problems automatically
      5m 25s
    4. Adjusting audio EQ
      4m 46s
    5. Recording audio
      4m 4s
    6. Syncing audio from multiple sources
      3m 24s
  8. 25m 6s
    1. Nesting and breaking apart clips
      4m 1s
    2. Performing quick extractions using Top and Tail edits
      6m 16s
    3. Auditioning clips to try multiple editing options
      4m 9s
    4. Working with markers
      4m 57s
    5. Customizing the keyboard and workspace
      5m 43s
  9. 14m 28s
    1. Syncing your multicam group clips
      6m 47s
    2. Performing a multicam edit
      3m 53s
    3. Refining the multicam edit
      3m 48s
  10. 1h 26m
    1. Working with basic motion effects: Transform, Crop, and Distort
      10m 32s
    2. Using motion effects with still photos and graphics
      6m 25s
    3. Adding and adjusting transition effects
      7m 46s
    4. Adding and adjusting video effects
      6m 26s
    5. Adding and adjusting audio effects
      4m 30s
    6. Keyframing video and audio effects over time
      6m 18s
    7. Copying and pasting effect properties
      4m 15s
    8. Creating and adjusting titles
      7m 18s
    9. Working with generator effects
      6m 46s
    10. Adding animated themes
      4m 7s
    11. Creating freeze frames
      3m 51s
    12. Using speed effects to retime clips
      8m 2s
    13. Working with layered Photoshop files
      6m 19s
    14. Understanding rendering options and preferences
      4m 4s
  11. 36m 15s
    1. Analyzing footage for problems
      3m 49s
    2. Following a proper color correction workflow
      10m 29s
    3. Apply multiple color corrections to clips
      3m 41s
    4. Using color correction templates
      3m 11s
    5. Using automatic color correction tools
      6m 15s
    6. Performing secondary color correction with color masks
      4m 30s
    7. Performing color correction adjustments using shape masks
      4m 20s
  12. 18m 54s
    1. Taking a closer look at the import and analysis options
      5m 56s
    2. Importing from cards and file-based cameras
      4m 14s
    3. Importing iMovie projects and events
      1m 58s
    4. Capturing from tape
      3m 18s
    5. Making a tape archive
      3m 28s
  13. 16m 13s
    1. Managing events between different drives and destinations
      6m 13s
    2. Managing render files
      2m 56s
    3. Collaborating and archiving
      7m 4s
  14. 34m 38s
    1. Sharing projects using presets
      7m 41s
    2. Exporting a hi-res QuickTime movie
      3m 46s
    3. Using Compressor to export with custom settings
      7m 54s
    4. Exporting a still image
      1m 22s
    5. Exporting to DVD or Blu-ray with chapter markers
      5m 33s
    6. Exporting stems out of the timeline using roles
      8m 22s
  15. 14m 1s
    1. Solving offline media problems
      10m 29s
    2. Troubleshooting data and settings corruption problems
      3m 32s
  16. 3m 28s
    1. Next steps
      3m 28s

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Final Cut Pro X Essential Training
6h 55m Beginner Mar 14, 2013

Viewers: in countries Watching now:

Learn how to build and refine your story with the redesigned editing toolset in Final Cut Pro X. In this course, author Ashley Kennedy focuses on getting you comfortable with each aspect of the editing process in Final Cut—from preparation and organization, to editing and refining, to audio and effects, to media management and exporting. Each stage of the postproduction workflow is explained thoroughly and concisely, and uses real-world examples from both narrative and documentary workflows.

This lynda.com course and its exercise files are not compatible with Final Cut Pro X v10.1 or later. If you are running Final Cut Pro X v. 10.0.8 or 10.0.9, please do not upgrade your software to v10.1 if you would like to use these exercise files. For more information, please see the FAQs tab.

Topics include:
  • Understanding nonlinear editing
  • Creating and organizing events
  • Organizing footage with keywords and ratings
  • Playing and marking clips
  • Performing Insert, Append, Overwrite, and Replace edits
  • Moving and removing clips
  • Trimming in the timeline: performing ripple, roll, slip and slide edits
  • Working with connected clips and multiple storylines
  • Adjusting audio levels, EQ, and more
  • Performing a multicam edit
  • Adding and animating video and audio effects
  • Working with motion effects, speed effects, titles, themes, and generators
  • Performing primary and secondary color correction
  • Importing and analyzing footage from multiple platforms
  • Managing media and project data
  • Sharing and exporting projects
Subjects:
Video Video Editing
Software:
Final Cut Pro
Author:
Ashley Kennedy

Trimming clips: Using the Ripple tool

Getting the right material in the timeline in the right order is certainly only part of the story. Truly anyone can edit in that sense, because honestly the mechanics of editing are not that difficult. The real art of editing comes in the trimming process, one frame at a time. In this chapter on trimming we are going to jump over to our other project, which is a dialogue scene from the film Castles. So, I'm going to pop into 4.1, and right now keep in mind that this is a very basic rough cut.

It still needs a lot of work. So let me play the first part of this sequence so we can get some context on what we will be editing. (male speaker: So, how's the coffee?) (male speaker 2: It's cold.) (male speaker 1: Did you finish it? You know, I'm taking a big risk putting you on this Columbia project. Firm could be on the line here. Six p.m. tonight. Simple deadline. Meet it.) (male speaker 2: That's it? Six p.m., huh? And if I'm a risky choice, then don't use me.

We all know what risky decisions lead to.) Okay, I am going to stop there for now. So the shots are laid in, but we have got some pretty glaring timing and pacing issues. Also, just so you know, this is the second scene in the film, and its job is to set up the problem, which is that Joseph, the architect, is in some trouble. He's on a serious deadline to come up with an idea for a building design. So there's got to be some tension here between these two men. We need to use timing and pacing to help tell this story.

Now where exactly do we start? Well, we need to watch each and every edit very closely. We need to take a look at each of the transitions in the sequence and ask ourselves does this edit need to be changed? Do we need to add frames or subtract frames? And to do this we are going to use the Ripple tool. And just real quick, it's easy enough to figure out how we subtract frames, but how exactly do we add them? Well, that goes back to when we were selecting the In and Out points for the clips in our sequence. Let me show you.

I am just going to select this clip and right- click and choose Reveal in Event Browser, and as you can see, this selection right here matches with this selection right here. So, this is the In and Out points, and we have all of the frames to the left of the In point and all of the frames to the right of the Out point that are still available to me during the trimming process. This extra material is called Handle, so we are going to use that a lot while we trim. So, let's start at the beginning and work our way forward. Okay, so I am just going to park on the first edit here, and Command+Plus to sort of zoom in, and first, because I want to watch this edit, I am going to use the Play Around command.

If you take a look up here in View > Playback, Play Around is Shift+Question Mark, so it's going to play a certain number of seconds before and a certain number of seconds after this edit. This is called Pre-Roll and Post-Roll. And to determine those settings, you can go to Final Cut Pro > Preferences and then under Playback, Pre-Roll and Post-Roll Duration, we're going to be going 2 seconds before and 2 seconds after. All right, so I am going to press Shift+Question Mark, and let's see what we think about this edit.

Okay, so what do we think? Now, I recommend we take it one side at a time. We are going to start with the A side of the edit and then move to the B side of the edit. And as far as this edit goes, I think we need to try to match on action so that Joseph's boss walks continuously through this edit. Right now it's not very fluid. All right, so I am just going to select the A side, and I'll perform a basic ripple trim. Now I can did this one of two ways, I could just grab the edit and move it, like so.

or if I want to use the keyboard, I just want to make sure the side is selected, and then just use the Comma and Period keys. I press Comma to trim one frame to the left and Period to trim one frame to the right. Again, because I'm always stressing keyboard editing, I'm going to use the keyboard commands. So, I think I'm going to let out the edit by using the Period key to trim to the right so that he walks a little bit further into the space. All right, I'm going to stop there for now. Now I am going to jump over to the B side, so I'll select the B side of the edit, and we want to make sure that we see him coming into the frame right there.

I'll probably be trimming all of this away. So, I'll press Period to take away frames, and let's go ahead and Play around the edit. I'll just press Shift+Question Mark. (video playing) That's much more fluid. It's matching on action. I think I like it. All right, let's move on to the next edit. I am just going to go ahead and select it and press Shift+Question Mark. (video playing) We have got some problems there.

He is still walking here and he is standing still there. Let's try to do the same thing. Let's try to match on action. This time I am just going to drag to kind a see what I have got. And notice that when I drag, I see two monitors. What I'm seeing are the last frame on the A side clip and the first frame on the B side clip. Now if you don't see that this, then again, you would need to come up to Final Cut Pro > Preferences, and then under Editing you need to choose Show detailed trimming feedback.

If you have this unchecked, you are not going to get those two monitors. All right, so let's go ahead and make sure that he is still moving on the A side, and you can kind of see that I have about the right moment there, and let's drag over here and make sure that he is still moving in this shot. He is got the forward momentum. Many times editors try to match on action like this. It really tends to hide the edit.

All right, so I'm going to Play Around the edit, let's go ahead and press Shift+Question Mark. (video playing) All right, well, I think that the forward momentum works. It does help hide the edit. This is quite short. Let's just check, Ctrl+D, it's a little over a second long, but I do like that it sort of sets up the space between the two men, and I'm going leave it there for now.

I think it's working well. But that is something that I might let out and make longer in a second pass on my trimming. This also opens up quite a few seconds before he starts talking, but I think it really works, because we have this tension between the two men that we need to show. So, I am just going to play here and into the next edit and see what I think. (male speaker: So, how's the coffee?) (male speaker 2: It's cold.) (male speaker 1: Did you finish it?) All right, so I do think that this works pretty well.

Let's go to this one, though. He answers much too quickly for the tension that's in the scene. So, let's go ahead play around this edit and see what we think, Shift+Question Mark. (male speaker: So, how's the coffee?) (male speaker 2: It's cold.) He really can't even look at his boss until this moment, and I think we need to stress that. So let's go ahead and just let out some frames on the B side to increase the tension here and see what we think. So, I am just going to press the Comma key to trim to the left. He still can't look at him, he still can't look at him, and I think maybe about right there.

All right, I am going to Play around the edit, Shift+Question Mark. (male speaker: So, how's the coffee?) (male speaker 2: It's cold.) Maybe a couple more frames. Okay, let's see if we like it. (male speaker: So, how's the coffee?) (male speaker 2: It's cold.) Very good! And if I wanted to include this entire line there, I could go up to Final Cut Preferences and increase my Post-Roll, but I think that's pretty good. So, I'm going to continue on in this manner going from transition to transition, watching, making sure the A side is looking good, making sure that the B side is looking good and then playing it and watching it again.

And remember, we're using the timing and pacing to speak the scene's mood and intention. We have got a lot of tension here, and we have got to show that. Then once I get through each and every edit in the scene, I am going to watch the whole thing again and make sure that I'm happy with my decisions. Trimming is so much about relying on your instincts. So, take your time and make sure you do this part well. It's truly a thing that sets great editors apart from the rest.

Find answers to the most frequently asked questions about Final Cut Pro X Essential Training.


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Q: Why are the exercise files not compatible with my version of Final Cut Pro X?
A: The exercise files for this course require Final Cut Pro X 10.0.07 or higher. Final Cut Pro X upgrades are free in the Apple App Store and we recommend upgrading your software if you are able.

 

Q: The exercise files aren't working for me in Final Cut Pro X 10.1.
A: This lynda.com training and these exercise files are not compatible for FCP X v. 10.1 OR 10.0.7 and earlier versions of the program. If you are running FCP X v. 10.0.8 or 10.0.9, please do not upgrade your software to v. 10.1 if you would like to use these exercise files.
 
Note: We are currently in the process of updating this training to be compatible with v. 10.1 and later, but that training won’t be available for several weeks. We appreciate your patience as we optimize this training.
 
FYI: If you’ve already upgraded to v. 10.1 and would like to use these exercise files, then it is actually possible to work with them to a limited degree. Simply follow the directions in the “Using the Exercise Files” movie of this course to place the Final Cut Events and Final Cut Projects folders in the appropriate location. Then, from within FCP X 10.1, choose File > Update Projects and Events. Choose Locate > and navigate to the appropriate location.  Your projects and events will be updated, but the file structure won’t mirror the experience within the current training.  If you are new to FCP X, it will likely be confusing to follow along through some of the training.  Again, we recommend that you check back for this training in several weeks to get the optimal experience.
 
Also, because FCP X exercise files are not backward compatible, you won’t be able to use the exercise files if you have FCP X v. 10.0.7 or earlier. You will need to upgrade to v. 10.0.9. Apple only offers 10.1 in the App Store, but if you have not yet upgraded to OS X Mavericks, you can click the Install button for 10.1 and the App Store will ask if you want to download an older version of the software (10.0.9). If you have already upgraded to Mavericks, unfortunately downloading FCP X 10.0.9 is not possible.
 
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