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Using favorite tags to call clips into action

From: Effective Storytelling with Final Cut Pro X

Video: Using favorite tags to call clips into action

We use rating systems all the time for movies, books, apps, even images in iPhoto. These ratings allow us to respond to something we like or don't like. In Final Cut Pro, ratings go a step further. They're not passive, they are a call to action to begin editing your story. You may not feel ready just yet, but this pre-editing stage is a great way to begin thinking about how you might want to use your clips. Your thumbs up and thumbs down options are right here in your toolbar.

Using favorite tags to call clips into action

We use rating systems all the time for movies, books, apps, even images in iPhoto. These ratings allow us to respond to something we like or don't like. In Final Cut Pro, ratings go a step further. They're not passive, they are a call to action to begin editing your story. You may not feel ready just yet, but this pre-editing stage is a great way to begin thinking about how you might want to use your clips. Your thumbs up and thumbs down options are right here in your toolbar.

Remember the green is for favorites, the red is to reject a portion of a clip, and the middle one will undo something that you've done, it'll remove any rating system. Well, sometimes it's easier to reject something or to be sure about what you don't want than what you do. So let's start with an easy one to warm-up. We'll choose VO_07 and we'll listen to this clip. (Audio Playing) Now, it might be easier to look at these clips in this List View, so that we can see it spread out a little bit more.

(Audio Playing) Narrator: of fair trade wages. The farmers of Delicious Peace Coffee Co-op are a testament to this mutually beneficial relationship which they've enhanced by adding the requirement of peace. Let me try that one again. Diana Weynand: So a great way to start the process of editing is to just make these simple decisions. I don't need that last part when the narrator said, let me try it again. So just simply drag a selection over it and reject it by clicking the red Reject button.

We also don't want that first part, so select it, and this time I'll just hit the Delete button and it creates the same effect. So now what we can do, if we click on our filter and say hide the rejected portions of clips, or rejected clips, and listen to this clip. (Audio Playing) Narrator: The farmers of Delicious Peace Coffee Co-op are a testament to this mutually beneficial relationship which they've enhanced by adding the requirement of peace. Diana Weynand: Now, when you reject the portions of a clip that you know you don't want, that you know are not usable, it gives you a clip that's ready to edit, it's ready to go.

You don't have to mark ins and outs later, you can just drop it into the timeline as is. Let's look at another clip. Let's listen to VO_09. (Audio Playing) Narrator: (clears throat) In the global world (clears throat) excuse me. In the global world of commodities, coffee takes second place only to petroleum. Diana Weynand: Well, this sound bite is great, but we don't want what came before and we don't need that little bit after. So let's reject that portion. Again, select the portion you don't want, and because we're filtering by hiding the rejected portions, it automatically hides and goes away.

So all that we're seeing now is the portion of this clip that we might want to use. So rejecting is a way to help us get to the meat of the clip, the portion of the clip that you want to use. Now, this has been fairly easy because there have been mistakes or do-overs. If you go to the Coffee Growing clips and apply the same approach, you'll find that it actually gets easier the more you do it. For example, this particular clip shows a woman grinding coffee, but when you move further into the clip you see that the camera starts to pan off.

Now, let's play that in real- time from the middle of the clip. (Video Playing) Female Speaker: It has a nice smell. So it's nice to include her saying. It has a nice smell. You might be able to use that in the story, find a good place for it, but you're certainly not going to want to use the portion where the camera pans off into the sky. (Video Playing) So, let's reject that portion. Another way you can reject is simply to mark an in by pressing the letter I, and now I'm going to press the Delete key to reject it, and notice that portion is now gone from this clip's representation.

It's not gone from the clip but just the representation. Why? Because we have Hide Rejected on. So, now we'll just start playing from the middle. (Video Playing) Female Speaker: It has a nice smell. Diana Weynand: Perfect! Okay, so another thing that we can use the rating system for is to start to break up things like your interviews into portions that you think you want to use. For example, this clip of Paul has a little bit about the risk-taking. (Video Playing) Paul: were there if you focus on people. If you focus on product, then the risk was incredible, the risk was a seventy five thousand dollar risk.

Diana Weynand: Well you see that little dip in the audio waveform is where he stops talking and I'm just going to press O to set an out point, and that gives me a range selection, and rather than reject that I'm going to make that part a favorite, because I know I'm going to want to use Paul talking about risk somewhere in this story. I don't know where yet, and guess what, I don't have to know where, but by making that part a favorite, I can then filter out everything but the favorite portions. So now I have basically -- (Video Playing) Paul: so what was the risk? There was no risk. It was clear. It was clear that all the pieces of the puzzle were there if you focus on people.

If you focus on product, then the risk was incredible, the risk was a seventy five thousand dollar risk. Diana Weynand: So this gives me a clip that's ready to go and ready to be edited, but again, you don't have to know exactly where you're going to edit it. Now, another way you can use the rating system is to -- and this is interesting because I clicked on Narration and I see no clips appear, but that's because I'm viewing it by Favorites. If I go back to All Clips, I'll see all my Narration clips appear again. I want to take a look at VO_08. Let's listen to this.

(Audio Playing) Narrator: We delight in the smell of the brew. We drink it to start the day. When we meet friends. Diana Weynand: Well, what you can see is that there are three distinct statements that the narrator makes about the coffee. So, listen again. (Audio Playing) Narrator: We delight in the smell of the brew. Diana Weynand: So, we delight in the smell of the brew, that's one thought. (Audio Playing) Narrator: We drink it to start the day. Diana Weynand: We drink coffee to start the day. Does that give your mind some ideas? Did you even think in terms of a sunrise picture with that rooster in the background that we might have available? (Audio Playing) Narrator: When we meet friends.

Diana Weynand: This might suggest a shot of being together and maybe even the coffee growers sitting around and drinking coffee together. But the point is that you might like each of these statements, but you may not like them together in this timing and space. So if you choose to make a favorite from each group then that will give you, when we choose to view by Favorites, three distinct VO_08 clips, each one being a particular sound bite.

(Audio Playing) Narrator: We delight in the smell of the brew. We drink it to start the day. When we meet friends. Diana Weynand: This gives you a tremendous amount of flexibility when you get ready to actually edit these clips into a project. So by rating clips you're making choices about what you most likely don't want in your story, and what you're sort of sure you do want. You're responding to the story's call to action.

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This video is part of

Image for Effective Storytelling with Final Cut Pro X
Effective Storytelling with Final Cut Pro X

39 video lessons · 11751 viewers

Diana Weynand
Author

 
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  1. 5m 54s
    1. Welcome
      1m 20s
    2. Using the exercise files
      4m 34s
  2. 16m 21s
    1. Exploring different types of storytellers
      7m 9s
    2. Identifying story elements
      5m 9s
    3. Finding the essence of the story
      4m 3s
  3. 15m 6s
    1. Organizing footage into folders
      5m 29s
    2. Creating a disk image as a contained workspace
      4m 51s
    3. Importing folders and stills as keyword collections
      4m 46s
  4. 22m 52s
    1. Adding keywords to make clips accessible
      3m 33s
    2. Using favorite tags to call clips into action
      7m 16s
    3. Making notes to capture observations
      4m 1s
    4. Performing a complex search
      2m 28s
    5. Prepping clips for editing
      5m 34s
  5. 28m 47s
    1. Finding the meat of the clips
      5m 11s
    2. Don't be puzzled over your first edit
      4m 27s
    3. Creating project versions and developing story diversity
      5m 16s
    4. Putting story threads in order
      7m 25s
    5. Sculpting the story within the timeline
      6m 28s
  6. 46m 5s
    1. Trimming distractions from a story
      6m 48s
    2. Compounding thoughts into one primary story project
      9m 52s
    3. Evaluating the project for story content and pacing
      7m 1s
    4. Fine-tuning the edits in a project
      7m 36s
    5. Refining the primary sound bed
      7m 55s
    6. Organizing separate story segments into independent storylines
      6m 53s
  7. 24m 11s
    1. Storyboarding a narrative script using placeholders
      7m 22s
    2. Recording a narration track to explore script ideas
      4m 40s
    3. Changing pitch in a temporary narration track to identify different characters
      5m 27s
    4. Adding sound effects to create depth
      6m 42s
  8. 41m 2s
    1. Embellishing the story with cutaways to B-roll footage
      9m 3s
    2. Finessing cutaways to enhance the story
      5m 3s
    3. Editing and arranging a still-image storyline
      6m 22s
    4. Applying the Ken Burns effect to still images
      6m 33s
    5. Altering your story's "look" using the Color Board
      8m 4s
    6. Applying effects to enhance story elements
      5m 57s
  9. 28m 57s
    1. Retiming to lengthen or shorten music and clips
      6m 48s
    2. Adding freeze frames to end or start sections
      6m 40s
    3. Video finishing touches
      8m 6s
    4. Audio finishing touches
      7m 23s
  10. 1m 7s
    1. Goodbye
      1m 7s

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