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Video finishing touches

From: Effective Storytelling with Final Cut Pro X

Video: Video finishing touches

When you approach the end of a project, you will be focusing on the story's finishing touches before its big debut. But as you dot your I's and cross your T's, don't forget there are always opportunities to reflect the heart and soul of your story, to remind the viewer of the story essence. In the Project Library, let's open the Final Video Touches project. In this project, there are just a few clips because I just want to show you a few ideas of how you can combine images together to create something more than what they might be alone.

Video finishing touches

When you approach the end of a project, you will be focusing on the story's finishing touches before its big debut. But as you dot your I's and cross your T's, don't forget there are always opportunities to reflect the heart and soul of your story, to remind the viewer of the story essence. In the Project Library, let's open the Final Video Touches project. In this project, there are just a few clips because I just want to show you a few ideas of how you can combine images together to create something more than what they might be alone.

At the beginning of the project, you'll notice the three freeze frames that you created in a previous project. Now these freeze frames could easily be integrated into anything; a montage where we zoom in, or a music video where we intercut these to the beat of the music, perhaps the children playing. But another thing you can do is that by stacking these clips on top of each other, you can actually create a multi- frame effect which means that you'll get to see all three images at the same time.

Now we have a magnetic timeline so we have to be careful that we stack them. I am going to zoom in so we can see these clips very clearly. So now we have one clip in the primary storyline, and then we have the next clip connected to it, and the next clip connected to that. Now the only problem is that the only clip we see in the viewer is the top-level clip. In nonlinear editing, whatever clip is on top, wins. You don't get to see the clips beneath it at that location unless you change the opacity of the uppermost clip, or unless you crop it and change its position.

As soon as you change the position of this clip, then you see the clip beneath it. Okay! So I am going to press Command+Z to undo that, and turn the Transform button off. Let's move to the next group of clips because that's exactly what I did here. I created a multi-frame effect by cropping each image and positioning it, so that we see all three of them at the same time. Now that gives us a totally different reaction as a viewer of what these three clips represent.

So by isolating these particular images, by cropping them around the hands, you start to make a statement, which you can use to actually be the cover of your DVD. You could use it as part of a graphic to talk about a particular section. In fact, you could export or share, well, you want to make sure that you are actually on that image, put your playhead on it. And in the Share menu, you could choose Save Current Frame, and now you would be able to export this as a single frame composite image that you could then send to a graphic artist to add titles to, or you could use it in Motion.

Now I have actually added a title, I am going to select it and enable it, and let's take a look at what you can do just inside the editing app. So it's very quick, but you could slow it down, and it gives you an idea of what it might be like to utilize these three images together to get a point across, a point about your story, the story that as Paul talked about, these are loving people and they love their coffee and they love each other.

So this might be a nice way to bring focus to that aspect of your story. Now just as another style approach, if you take those same three clips, but you stagger them in terms of starting one at one point, and the next one a little later, and the next one a little later, you get a nice little treatment and when you add transitions to the head of each clip, you get something like this. Now that might be another way to come in or go out of a segment of your project.

Again you keep bringing the viewer, the audience back, to what you think is important about your story, what story are you telling and you are reminding them by combining these very powerful images together. And together they create an even more powerful impact. Let's take a look at the two clips that are stacked on top of each other at the end of the project. Again the same rule applies. The only clip you see is the uppermost clip, and this is the map of Africa, which has a nice little animation where we zoom into Uganda.

Now if we hide this clip by pressing V, that will disable it, let's look at the clip beneath it. (Video Playing) Well, music has been playing a very important part in this project and in this story, it appears to be a very important part of the people's lives who grow the coffee. Well, let's go ahead and enable that Africa map, and if we can think of some way to combine that clip with this Uganda map, it might be really special.

Let's see what happens when we just simply hear the music beneath the map. (Video Playing) Well, I like that quite a bit and if that's all we did I would say that's quite a nice improvement, rather than just seeing the static map of Africa. Let's see if we can take it one step further, let's see if we can add an effect that could key out the continent of Africa in order to see the drummer beneath it coming through. Well, that kind of effect is called a Key.

So if we click on the Keying category, and then as long as the Africa map, make sure that's selected, and then we can double-click the Luma Keyer effect. Now we can close the Effects browser and open the Inspector. Notice you start to see something happening, we start to see that image come through, that lower image, but we can do more. Now if the Luma Keyer effect appears closed, where you don't see the parameters, just click the disclosure triangle so that you can see them.

There's several different things you can change, and I have to say keys are one of those things you have to fiddle with in order to get it right. And not every clip will perform perhaps as neatly and cleanly as this one is, this one is a nice little lucky bit of magic. So we are going to apply a Luma Key to this clip. A Luma Key will drop out a consistent luminance portion of the image, that could be a dark or a light color. But notice that the color in the Uganda map is consistent color.

So by applying a Luma Key, it will drop out the similar luminance in the image. Okay! So now that you can see the parameters in the Luma Key, we're going to simply slide the Luma Rolloff all the way to the right, and notice that when we do that it drops the darkest part of the image out all together. Now we could invert that so it drops out the outer area, which is the lighter portion, but we want to replace the inside of the continent of Africa with the music drums clip.

Let's see how this looks. (Video Playing) So only you can decide whether or not something like this, this composite image, gives you what you need and you might decide you might want to add a few other little tweaks like preserving the RGB, so that the lines of the different countries might show through. But this is where you have to decide as the storyteller, is this composite image saying more than what it might say without marrying these two images together? So if a picture is worth a thousand words, what are two pictures worth? What about three pictures in a title, or two clips composited as one.

Never forget that your images are speaking for you up until the end of your editing process.

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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 · 11869 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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