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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.
In this chapter we have been exploring the nature of how connected clips interact with the primary storyline, how they serve us well, as well as what limitations exist. In this movie we'll explore secondary storylines which can offer us the flexibility and functionality we often desire with supplemental material. So I'm going to go into 5.3, and again, I have here our sequence with plenty of connected clips, and as you can see, they each have their own connection point.
This can often be difficult to negotiate all of these various connections when you're still in the process of fine tuning your sequence. Connected clips can start colliding, and as we explored previously, this can become a problem. So I'm going to undo that, and I want to talk about some solutions now. So a really good workflow to pursue is that when you have added several connected clips together, and you're relatively certain that they are generally in the right place, you can convert the clips to a secondary storyline.
Now when you do this, all of the basic editing functionalities of clips on the primary storyline return to these clips. Let's take a look at how to do this. So all I'm going to do is select these clips, and then I'm going to right-click and choose Create Storyline or Command+G. Now as you can see, several things happened. I have this sort of bar above all of the clips, but notice that I no longer have the separate connection points, I only have one.
So the secondary storyline is only connected to my primary storyline in a single location. This certainly makes things easier on many levels. Let's explore how our basic editing functions have been restored in our secondary storyline. So before, we weren't able to swap shots, but notice how now I can, everything behaves just like I would expect. Notice that when I ripple edit, everything behaves just like I would expect in the primary storyline, on the A or B side.
Notice that I can enter trim mode, press T, and perform Roll Edits just like I would expect in the primary storyline, something I could not do with connected clips. And notice that while in Trim mode, I not only can perform Slip Edits, but I can also perform Slide Edits. When I press Option, I can actually slide these clips between the two adjacent clips, something that was not possible with connected clips. So basically, if you would like to edit in the same fashion that you do in the primary storyline, then you'll want to convert your connected clips to a secondary storyline.
Now if you should ever want to break them back out into separate connected clips, you can. Just select the entire storyline and then come up to Clip and Break Apart Clip Items, and that's Shift+Command+G. And now you have got your connected clips back with all of the separate connection points and all of the functionalities of connected clips. But by and large, you are going to be going the other way most of the time, converting your connected clips to a secondary storyline so that you can reduce the connection points and add your basic editing functionality.
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