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Learn how to build and refine your story with the redesigned editing toolset in Final Cut Pro X. In this course, author Ashley Kennedy focuses on getting you comfortable with each aspect of the editing process in Final Cut—from preparation and organization, to editing and refining, to audio and effects, to media management and exporting. Each stage of the postproduction workflow is explained thoroughly and concisely, and uses real-world examples from both narrative and documentary workflows.
NOTE: This course and its exercise files are not compatible with Final Cut Pro X v. 10.1 or later. If you are running v. 10.1 or later, please watch Final Cut Pro X 10.1.1 Essential Training instead.
When working with connected clips, you'll no doubt encounter some pretty different behavior from those editing operations on the Primary Storyline. I want to go through some of these in this movie and then in the following movie we'll explore some solutions to work with some of these different behaviors. I am going to go into 5.2. I have our Farm to Table sequence here with some more connected clips, and the first thing I want to show you is moving clips around. So in the Primary Storyline, as you can see, I can just move clips around with ease, I drag, it makes room for it, and it's no problem at all.
Now when I go to do that with connected clips, you can see what happens. What this is doing is preventing a clip collision and the clip that I am displacing goes up a level to accommodate the shot moving over. Let me take that back, and it comes back down. Now notice that if I don't even try to fully swap the shots and just move it over a tiny bit it still goes up. So that's moving clips, let me undo that, and now let's talk about trimming clips.
If I want to perform a basic ripple trim in the Primary Storyline, notice that when I do so, all other clips accommodate, they have rippled down and fill in the gap. This is the case if I perform an A side trim or B side trim. But if I try to ripple a connected clip to make it longer, something very similar to before happens where it pops up a level to accommodate, basically because it needs to keep these anchor points intact. Let me undo that, and notice that when I take away frames.
For example, from the A side here, instead of everything rippling in to fill in the gap, it's going to basically trim away frames and leave nothing in its wake. If I trim away frames from the B side it looks like a traditional ripple, and I'll undo that. Now let me enter Trim mode and perform a roll, so I am going to press T and click on Transition, and this is rolling just as I would expect it to.
But notice that when I come up to a connected clip in Trim mode, I physically cannot enter a roll. It's just letting me ripple but I cannot even activate a roll by having both sides of the transition selected, so rolls are not possible. Now while still in Trim mode, let's take a look at slip and slide edits. Now just to remind you, slip edits in the Primary Storyline let me change the shot content but not its position or duration, and this is actually something that works in a connected clip, so you can see that a Slip Edit works just fine, it stays put, and it's allowing me to access the shot's handles. However, a Slide Edit is not possible.
Again, in the Primary Storyline if I Option-drag this clip, it's allowing me to slide it between two adjacent clips. But if I Option-click here notice that I just can't activate the slide at all, it's only letting me slip, even though I am holding down Option. So I know this all might seem a little random, how you can do some things, sort of do other things, and still not be able to do other things. But this has to do with the nature of the way the connected clips attach to and interact with the Primary Storyline.
They are simply not treated as standard clips with standard editing capabilities. However, if you want to convert connected clips to an environment where they can perform many of those basic editing functions, there is a way which we will explore in the next movie.
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