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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.
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.
So far, we have just been dealing with video. In the world of video editing, however, you often work with still images like photographs, graphics, and maps. In this movie, we'll take a look at some of the basics surrounding working with still images. So, if I click on the Stills keyword collection, you'll see that I have several photographs. In my Filmstrip View, when I click on each of these images, you'll notice that I get a set In and Out point. This is a default four second amount.
And you can of course shorten or lengthen this as you need to. But if you need to change the default amount, you can. You just come up to Final Cut Pro > Preferences and then under Editing, you would just change this amount from 4 seconds to whatever you want. I will leave it at 4 seconds for now. So let's go ahead and switch over to List View because I want to take a look at something here. I want to look at this Frame Size column. Again, if you don't see this, you just right- click and make sure to come down to Frame Size and put a check mark there.
But as you will notice you will see here that each of the images have very different frame sizes. Now this is one of the main differences between images and video. Typically, video comes in at the same basic aspect ratio. So, while there are quite a few video formats, both SD and HD, there is little room for vast differences in aspect ratio among like formats. Images on the other hand can come in any shape or size, 40 pixels by 20 pixels, or 4,000 by 2,000, the possibilities are limitless.
Therefore, there are a few things that are useful to know when working with stills. Right now, I have each one of these sized at 100%. I am going to switch to Fit so that we can see each one of these. So, most of the time we are on Fit, notice how this number changes when I go for an image to image. So, I am at 53% on this frame size of 994 by 576 and so on, and here, this is a huge image. So it's down to 5%.
And here we're at 55% zoom. So because Final Cut is sort of fitting each one of these images within this frame right here. It's performing various sizing calculations to do that. Now let me switch to 100%. Now, we're looking at these images pixel for pixel. You can see here that I get an indication of exactly where that is so I can sort of drag this around and see all over this image, like so.
Same thing here, and so on and so forth. So it does matter how you view this. Most of the time you will be viewing it as a fit, but it's very good to get a good context of the various sizes you may encounter because you might not be aware of it unless you have looked at frame size or at each of the images at 100%. So I'm going to go into my 9.2 sequence where I have each one of these images laid into the timeline, and I am just going to select this first one and open up the Inspector, Cmd+4, and I am going to make sure the Video tab is selected, and come down to the bottom here, Spatial Conform.
By default just like in the Event Library, the Fit option is chosen, where the images fit within the video frame and the aspect ratio is maintained. This often results in some letterboxing or pillarboxing, and that's what this is right here. It is pillar boxing it in this case so that the aspect ratio is maintained, same thing here, got a lot of pillar boxing, and a little bit on this one as well. Again, letterboxing or pillarboxing just means that you end up with these black bars along the top and bottom, or along the sides, because of the discrepancy between the shape of the image and the shape of the video frame.
Let me come back to my first image here. Now, if I change the option from Fit to Fill, then Final Cut zooms in on the image without any letterboxing or pillarboxing. This means that some of the edges of the image probably aren't going to be visible. But you don't end up with the black bars along the sides or along the top. So if I do at this one, something pretty drastic is going to happen. I am going from Fit to Fill, and now we're seeing this image zoomed in, so there's no pillarboxing.
And then finally there is the None option. So, if I come here and choose to None, and basically what this does is it doesn't do any type of scaling, but rather leaves it alone, and you're looking at it pixel for pixel. In the last movie, we talked about various motion effects like Transform, Crop, and Distort that you can apply to your video. Well, you can certainly do the same thing to your still images. I won't be going through to explain what each of these does again, but I'll demonstrate how you can do any of these same operations with still images.
So, if I selected this and switch to the Transform Properties, I can do the same exact thing, and if I wanted to layer several images in together, I certainly could, rescale, reposition just like before. I can really zoom in on him if I like. I will press Done, and there you go. Same thing with Crop, so if I do Crop here, and I am going to fit this back into a Fit Spatial Conform, and my trim is going to let me trim away pixels, like so and then Crop lets me constrain my Video Aspect Ratio, and pick any part of this image and then zoom in on that.
And then of course there is my Ken Burns, where I can start zoomed in, and zoomed out, and add movement to my image. So, as you can see, there are a lot of creative ways to work with still images in Final Cut. But it's very good to be aware of how large the images are, their aspect ratio, and how Final Cut is calculating them.
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