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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.
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If you have worked in Photoshop before then you know that its design structure is based on a layer model, whereby each element can contain its own layer. You can use that to your benefit in Final Cut because you can bring in each layer separately and affect them in different ways. Let's take a look. So I'm going into 9.13, and I just have a shot here acting as a background. And let's get the titles that we are going to be using, I am going to go into the graphics keyword collection, and I have two titles here.
This title has an alpha channel which means that its background is transparent, and it's going to allow me to see below to the background here. This title does not have an alpha channel, it just has a white background, so it's not automatically going to let me see to the video beneath. So we are going to take a look at how to work with both of these types of titles. Let's first start with one of the alpha channel. Okay, I'll go ahead and mark an in and an out and connect to storyline queue.
So basically you can see that I can see below to the video layer underneath, but the cool part is if I double-click here, you can see that I have access to each one of these layers. Now there is lots of possibilities of what I can do. Let me just Shift+Z to fit everything in here. For example, maybe we want the layers to come on separately and so we can just ripple trim, no problem at all. Let me undo that because I want to show you one way that you can view this with the video underneath. I am going to click on this arrow right here to go back to the main storyline.
And this time instead of double-clicking to see inside of this title, I'm going to just select it and then go up to clip and break apart clip items. So here are our three layers and again we can ripple trim so that they each come on separately, and I can animate these separately, I can add different effects to each one of these, I can have each of the letters fly into view, there is all sorts of things I can do. So I am just going to perform a very simple animation, and you can use that as a metaphor for all of the different things that you can do.
So let's go ahead and click on Farm, and I will open up the Inspector, Cmd+4. And I'm going to enable the Transform properties, because I just want to scale it up. At the very beginning I am going to mark a keyframe on scale and then by the time it gets here I want another keyframe. And then you can use these little arrows to go from keyframe to keyframe, so I'm going to click on his arrow and bring my Scale down to zero.
So, we should be able to see this word grow now, and notice that it didn't do it to "to" or to Table, but let's copy, Cmd+C so I'll just select this and press Cmd+C, we'll copy some attributes to these real quick. So I will just select both of those and then go up to Edit > Paste Attributes and all we want to do is paste scaling, and now we should have "Farm to Table" and let me just say done so that we can get a better view here.
I'll close the Inspector, and if I wanted to add some transitions to soften it out, I could. I will just select all of these and press Cmd+T, and now we just have our basic dissolves on the beginnings and ends of each of these clips. Let's go ahead and just play it one more time. (video playing) So very soft, very nice, very basic, and I'm sure that you can do something much more complex once you start playing around with it. But the sky is the limit when you have these various layers to work with.
Now I do want to draw your attention to just one thing that you might think is pretty neat. Let me come back up and edit this in once again, so I'll go ahead and just drag this down, and this time I am not going break apart the clip items, but instead I'm just going to park on what is essentially a compound clip. So I'm going to open up the Inspector, Cmd+4, and then I am going to come down to Compositing. And notice that I have Blend mode, and this should be familiar to you if you use a lot of Photoshop as well.
So there is a lot of things that you can use in here, but if you come down to Stencil Alpha then you will notice that what's happened is the video in the background is now inserted into the title. And if you need to increase the size of the title, you can so that you can see it. Okay, I'll go ahead and come up to scaling and make the title a little bit bigger. And now you can literally see the video behind it, and of course you can add some more exciting effects to the background to make it really pop.
But this is a very easy way to insert video inside of a title. So moving on, what if the title does not contain an alpha channel? So this title here was created just with a plain white background, I am going to drag this one down now. And it's very, very easy to actually make an alpha channel without too much effort. I am going to double-click on this again just like we did before, and as you can see, I have my three layers, and then I have my white background.
I can't just delete this, if I delete this then the whole thing goes away. But what I can do is disable it. So if I right-click and choose Disable, then this is disabled, and I will step back out and voila! I have my alpha channel. It's very easy to instantly create transparency, so bottom line don't panic if you're given a title or graphic without an alpha channel. So, as you can see, taking advantage of each of the separate elements within a layered Photoshop file is really easy in Final Cut, and you have some pretty nice control working in this fashion.
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